Il y a aussi Lyle Workman (guitariste de Beck, maintenant avec Sting) qui utilise un GT-3 en plus de son rack CAE qui pilote ses je-ne-sais-combien-de-pédales.
Lyle Workman a écrit :
This is the equipment I used on the Beck 'Midnight Vultures' tour(1999-2001):
Guitars:
Fender 69 Tele
Fender Relic Tele
Fender Clarence White Tele with B-Bender
Hamer Newport
Gibson 58 reissue Les Paul
Gibson 57 Les Paul Junior
Old Kay hollow body archtop acoustic / electric
Rick Turner electric Classical
Amps:
Matchless DC-30
Fender Super Reverb
Effects:
(Housed in Bob Bradshaw effects and amp switching system with remote pedal
controller).
Electro Harmonics Big Muff
Ibanez TS-9
Stan Cotey fuzz
C.A.E. Freddy Fuzz
Fox Tone Machine
Diaz Tremelo
MXR Flanger
Ibanez Modulation Delay
Boss DD-5 Digital Delay
Boss Reverb/Delay
Boss VB-2 Vibrato
Boss CS-2 Compressor
With:
Boss GT-3 Multi Effects pedal board
Z-effects Fuzz Factory
Cry Baby wah
Citation:
Sideman extrodinaire Lyle Workman has recorded and gigged with heavyweights such as Todd Rundgren, Jellyfish, Tony Williams, and Frank Black. For his current job with Beck, Workman faces the challenge of covering parts laid down by such diverse players as ex-Beck guitarist Smokey Hormel and session stalwarts Greg Leisz and Jay Dee Maness.
What kind of gear are you bringing on tour?
For amps, I’ve got a MatchlessDC-30 and a ’65 blackface Super Reverb.
Do you switch between them?
No. They’re both on all the time and set to the brink of distortion. The thing I like about the Matchless is that it enhances midrange frequencies that enable you to hear yourself on stage. But fuzzboxes like bottom end and top end and not a lot of midrange, so I found that I needed something that produced more of an even frequency range – that’s why I added the Super Reverb. By running two amps together, I get the best of both worlds.
What about guitars?
I’m bringing a ’57 Gibson Les Paul Junior, a Gibson ’58 reissue, a Fender Relic Tele, a ’69 Fender Tele, a fender Custom shop Tele with a B-Bender, a Hamer Newport, a Rich Turner semi-hollow nylon string, and a funky old Kay.
Why all the guitars?
They’re all doing different things. For example, the Relic is tuned to Eb and the Kay is tuned to an open D. I also use a capo on a few tunes. The B-Bender is just to play Pedal steel parts – Frank Black gave it to me.
What do you have for effects?
My guitar goes through a Z.Vex Fuzz Factory, then into a CryBaby 525 and a Boss GT-3.
There are certain sounds that Beck wants to hear – such as a really thin reverb. – That involve extreme EQ or extreme effects, and it’s a lot easier to get those kinds of things with a programmable multi-effector like the GT-3. After that, my signal goes to a Bob Bradshaw/Custom Audio Electronics system loaded with 12 pedals. Each pedal is in a loop, and I can program any combination of pedals, store the program as a preset, and switch up to three amps on or off. In the rack, I’ve a got an Ibanez modulation delay, a Foxx Tone Machine, a Big Muff, a box that Stan Cotey built for me that’s like a Colorsound fuzz, a Diaz Tremodillo, an MXR flanger, a Bob Bradshaw-designed Freddy Fuzz, and a Boss Compressor, vibrato, and DD-5 delay.
Many of the guitar tones on Midnight Vultures were heavily manipulated in the studio. Pick a tune and explain how you recreate the tones live.
There’s a lot of guitar on "Peaches and Cream". On the opening riff, I’m playing my Les Paul Junior through the tremelo, the modulation delay set for just a little bit of warble – nothing too crazy or out of tune. Then there’s another section where I just use the Freddy Fuzz and play slide. I pretty much switch between those two sounds.
What were the biggest challenges that you came across from the record?
The biggest challenge was dealing with all the different types of sounds. For example if a song had fuzz, Well, I have a fuzz pedal, But what happens if the song starts with a really bright fuzz, then shifts into a breakup-type of fuzz, and then finally goes into full-on gain? That’s where the GT-3 helped. I could set a basic sound with my pedals, and program the GT-3 for anything that involved lots of tonal and gain changes.
Are the arrangements fairly rigid, or do you get to play around a little bit?
Generally I’m playing parts. We have been experimenting with different arrangements so there’s a bit more jamming and playing off each other so this adds more improvisation into the equation. That being said, we don’t stray too much, and I have only one solo. I do get to play around with my parts a little bit, and sometimes we’ll add guitar parts where there were none on the record. In this case, I’ll just wait for Beck to suggest that I play something or he’ll ask me to come up with something myself. He wants to duplicate the songs, but give them new life as well. So we respect the originals. But try to enhance the songs for the live show.
Lyle Workman a écrit :
This is the gear I¹m using with Sting live:
Guitars:
72 Fender Telecaster Thinline
05 Fender Tele Thinline with 74 pickups and custom neck by Pavel V.
Amps:
Divided By Thirteen LDW 37
Divided By Thirteen RSA 23
Radial Headbone Switcher
Divided By Thirteen 2 X 12 cabinet
Pedal board #one:
Boss TU-12 Tuner
EBS Multi Comp Compressor
Fulltone Full-Drive II
Menatone King of the Britains distortion
Prescription electronics Outbox
Maxon AF-9 Auto Filter
Digitech FX22 Vibro Thang
Line 6 DL4 Delay
Line 6 MM4 Modulation
Guyatone MD3 Delay
Cry Baby
Line 6 Expression Pedal
Voodo Labs Pedal Power II
(Board built by Paul ³Jr.² Garrison)
Pedal board #2:
Digitech Whammy Pedal
Fuzz Factory
Skreddy Zero distortion
DSL Roto Sim
Moogerfogger MURF
Electro-Harmonix POG
Boss AW-2 Aouto Wah
Ibenez DML modulation Delay
Voodoo Labs Pedal Power II
(Built by Paul ³Jr.² Garrison)
Tout cela provient de son site officiel où vous trouverez la liste complète de son matériel. Car ce n'était qu'un aperçu.
