Le matériel des guitaristes pro(s) - (Sommaire en page 1)

Question : a quoi sert les morceaux de scotch sur les pedales ?Je pensais a du ruban fluo pour les moments sans lumieres.

Plank : A question I am getting asked many times is whether or not Jonnys shredmaster has been modified - the current one is standard apart from the switch which gets replaced regularly. I made a version of the shredmaster a few years ago but after a couple of tours the prototype box was flattened due to being stomped on and that was it !!...... am checking out the true bypass questions and updating Eds guitar info

also the Shredmaster is not run through the overdrive, they are separate

placés ainsi et sans rien d'écrit, je pense que tu as raison

Joe Perry also relies on a relatively simple-but-effective approach and runs a Marshall 200 watt Major head into two 4 x 12 cabs. An additional Major is on stage and serves as a backup. One of the cabinets he calls “Brad” and it is – you guessed it – some signal from Brad’s system. To ease the power strain on the Major’s circuitry a variable AC controller, i.e. VARIAC, is used to drop the voltage a bit (“but not to the point of squashing the signal too much,” says Howard). Power for both guitar systems goes through an extensive UPS and power conditioning rig. Last but not least, Joe mixes in a Gibson Goldtone amp that is on all the time and mixes with the tone of the Marshall.

Was that your foundation tone?
An Epiphone Peacemaker and a Fender tweed Champ that I split with a VHT splitter box with a tube in it. I had a couple of pedals, and a Fatman compressor. I also had a César Diaz Vibramaster reverb and an old Fender reverb. For the pedals, I used a very hairy fuzz tone – one of those old red British Supa Fuzz pedals that’s kind of like what Townshend used. I used either that or this modern pedal by Chicago Iron called Octavian. It’s supposed to be an octave box, but it sounds like a cross between a really good Gibson Maestro and a Vox Tonebender. It’s got more bite and a tighter sound. It’s very close to that “Satisfaction” kind of sound. I also used an Electro-Harmonix Memory Man, a Digitech Whammy pedal into the Fatman, out to the splitter box, and then to the two amps.

So that was the rig. Once in awhile I’d switch from the Epiphone to a Fender Deluxe Reverb because it was cleaner and had a little more bottom.

I wouldn’t use the Diaz or Fender reverb in the line at that point. I used the Deluxe for the clean echo reverb, and I’d get all the dirt from the Champ. I have several Champs. I think I have two blackface and three tweed. The blackface seem to have a little more sustain, and the tweeds each have a different stage of dirt.

I wanted to use the Peacemaker or the Deluxe because they give a cleaner tone. When you play, you can hold the chords together, and when you mix it together just right, you get the sustain and the nastiness from the Champ, but you still get that cohesiveness of the chords and the definition from the clean amp.

My main guitars for the record were a ’66 Epiphone Casino and a late-’50s ES-175 with two P-90s, and it has a big crack in the neck. I think I used a Les Paul on “Stop Messin’ Around,” for old time’s sake. It was my original ’60 that I use onstage. I wanted to go with that one just for Fleetwood Mac’s sake, because that was how it was done. I had my Champ on a stool next to me, blowing right into the vocal mic.

I played a lot of the record with fingerpicks or no pick. “Baby, Please Don’t Go,” “Temperature,” “I’m Ready,” and “Back Back Train” were done without a pick. I did “Shame, Shame, Shame,” “Road Runner,” and “Never Loved A Girl” with a pick. For “Jesus Is On The Main Line,” I used fingerpicks. I use them on three fingers – the thumb and the first two fingers.

Playing without a pick makes you think a little differently about how you’re going to play things, and you can certainly play things right off the top different than you could with a pick. If you get real adventurous, you put fingerpicks on and you really realize that there’s a skill that you’ve got to spend some time learning. Jack had encouraged me to do that. So I got some metal ones and started working on it. But for a lot of the songs, I really wanted to get that sound where if you strum lightly, it’s just barely distorted. But when you start slapping the strings and pulling on them, it makes the speakers jump. It really contributes to the tone in a big way. You get a lot more dynamics when you use you fingers. And when you play an electric guitar without a pick, it’s a lot easier to get to the controls. My favorite thing is playing a Strat without a pick because then you can really go for it. You don’t have to worry about what you’re going to do with the pick when you go for the whammy bar or the controls and switches. All that stuff is just so much more automatic, so it’s a lot of fun.

Did you do much overdubbing on this record?
I did two overdubs – one for the slide lead answer-backs on “You Gotta Move” and a couple of leads on “The Grind.” That’s it.

Vintage Guitar: What was your setup for the record?
Brad Whitford: I recorded almost all the tracks with a Fender Super Champ – the Rivera-designed blackface, and it worked great. I had it semi-isolated, mic’ed with a Shure SM57, and I was very close to it. Most of the basic tracks were done in Joe’s basement, and it’s tight in there! If I wanted feedback, it was easy to make happen.

The nice part about this record was that it was very loose, so a lot of the stuff was just improvised on the spot. The basic tracks are live, and I was able to do whatever I wanted. A lot of the stuff I played was for the first time.

Were other amps used for overdubbing?
There was very little overdubbing. I did one solo on “I’m Ready” with a Germino Classic 45 and an ES-335. And I did an overdub with my Divided By 13 on “Stop Messin’ Around.” We did two versions of “Baby, Please Don’t Go,” the first with the Super Champ and the second with the Divided By 13. The second version made it onto the record. I also did a rhythm overdub with the Divided By 13 on “The Grind.”

Did you choose older instruments to capture more of a classic vibe?
Sometimes. I have a ’53 goldtop and the newer ES-335, which sounds killer. I also used a new G&L ASAT Special, which is a nice guitar that sounds incredible. I used that on the basic track on “You Gotta Move” and on “Temperature.” I also used a ’53 ES-295, but I honestly don’t recall where. I used an Olympic White ’66 Strat with a bound neck, but a couple other Strats and some newer guitars. I used a new Lace for a rhythm overdub on “The Grind.” It sounds great. I also had a Melancon Artist, ’58 reissue Les Paul, Tom Anderson T-Classic, Fender Telesonic, a new Floyd Rose guitar, an SG, a Dobro, a Taylor acoustic, and Martin DM12.

What was your approach for crafting tones?
My same old approach; I try to find something that complements what Joe’s doing, something to give us good variation, and that’s appropriate for the track.

Did you use any stompboxes?
Most was pretty much straight ahead. I experimented, but almost everything was just straight into the amp. I can’t think of anything I used. I might have used a little bit of a boost. I had all kinds of neat toys to play with. There was a great box that was the ultimate Hendrix box with three effects.

But as much as I experiment, I tend to go as transparent as possible. I like to get the guitar and the amp sounding like it doesn’t need anything. To me, that’s just a more powerful sound.

How are your guitars set up?
On Les Pauls, I use .009-.042s. On Strats and Teles, I basically go with a .010, or in some cases a little heavier. If I tune a guitar down, I might go to an even heavier gauge. It helps if you can tune it down, because it gets a little slinky, and with that big meaty string, there’s nothing like that sound. The action is nominal – I don’t go super low or super high. I keep it high enough where I’m getting nice ring, but fret noise drives me crazy.

What type of picks are you using?
Dunlop 1 mm black nylon. I used to use a Herco kind of like it, then I was just using standard plastic picks, but I found that I like these Dunlop nylon ones. They are kind of like the Hercos, which are hard to find. I have a bunch stashed away, but I’d kind of like to hold on to them.

Question : a quoi sert les morceaux de scotch sur les pedales ?Je pensais a du ruban fluo pour les moments sans lumieres.

Je renouvelle ma quéstions sur le matos de Andrew wk.