Nathan. a écrit :
Nathan. a écrit :
Vous auriez des infos sur le matos de John Mayer ?
Car les pages et liens sur le topic sont morts ou ne contiennent que quelques photos.
Ce qui m'intérèsse c'est d'avantage l'ampli et le pédalboard que les guitares.
Personne
?
j'ai trouvé ça sur un forum u.s.
"last time i checked, he uses a
Victoria Bassman Clone (45-410 model), a
Victoria Reverberato Head, a
Fender Super Reverb Blackface (reissue... drool, this amp rules), a fender Vibro-King, and
dumble overdrive special. The signal is split and fed into all these to get that rich, warm tone of his...
As far as effects go, I'm ALMOST sure he's got a bunch of toys patched into a MIDI foot controller to dial up any number of combos... Before this, his chain included a
Roger Linn Adrenalinn Effects Box, a Hughes and Kettner Rotosphere (for that washy sound on covered in rain and a few others), a
T-Rex CompNova Compressor (boost the lows and cuts the highs just enough for more sustain on his leads), a
Boss DD-5 digital delay (though, he's also got the Electro Harmonix Memory Man and the Mooger Fooger Analag Delay, but I couldn't tell ya why he has all three), a
Fulltone Full-Drive Overdrive Pedal (though, I know for a fact that he's toyed between this and the
Ibanez TS-808 booster and the Marshall Bluesbreaker II for his overdrive - i'm not sure which one he's using these days), a
Fultone Super-Trem Tremolo Pedal (to get that vibrato when he leads on Neon live)...
That's about as current as I can tell you..."
en bonus une interview de John Mayer
"(01.27.05)
Hey (gear) guys and gals -
I thought it might be fun to post a little something regarding gear, specifically that endless hunt for our guitar tone. ItÕs as much of an obsession for me as it is for some of you, and I want to share a little of what IÕve learned over the past few years. I read through some of the posts in this part of the forum, and I canÕt get over how much of a positive spin youÕve put on the guitar community. ItÕs has a tendency to be jaded, and I love to see that youÕre getting happiness and fulfillment out of it and not frustration.
There are some misconceptions that seem to constantly perpetuate, and I want to try and bust one of them up right now. Oh, and it should be noted throughout that this all applies to my take on tone. If you like heavy metal, youÕll probably disagree with everything I have to say.
Distortion pedals Ð One thing to keep in mind with distortion Ð I should say overdrive pedals, so as to distinguish them from fuzz pedals, which is more of an effect unto itself - is that theyÕre really made to simulate overdriving an amp naturally. Vintage tube amps have a threshold where they break up past a certain volume. A distortion pedal is used to make that Ôbreak up soundÕ happen at lower volumes, which is a reasonable expectation. You canÕt turn a Ô65 Deluxe Reverb to Ô8Õ in your bedroom without making a lot of people miserable. Stevie Ray Vaughan used an Ibanez Tube Screamer (TS-808 ), which in the 1980s was regarded as kind of a cheap pedal. HereÕs the misconception; he didnÕt really use that much distortion at all. He did when he was going for that Jimi sound, but listen to most any early SRV tune and you wonÕt hear as much break-up as you might think. I hear people all the time (I even remember hearing myself) who just dime the Ôdrive knobÕ and think the ÔvolumeÕ is a master knob for it. ItÕs a concept known as Ògain stagingÓ - it has to do with the way that the volume of each part of your signal chain interacts with the next. The ÔvolumeÕ knob of an 808 is the most important. ThatÕs by definition, the overdrive part of it. The ÒoverdriveÓ should be thought of as the ÒcheatÓ knob. Remember this Ð kicking on distortion should make your guitar louder, not quieter. Quiet sounding loud is just strange. Setting gain staging will make sure that when you kick the pedal on, your guitar signal will get appropriately louder. Again Ð Stevie Ray used so much less distortion than you can possibly imagine. He was loud, and the way it hit the tape (and your ear) made that sound. I use a vintage 808, which has some properties that I like, but it is by no means the holy grail of tone. It has itÕs place, though. Everything does. Just remember that turning that ÒcheatÓ knob too high also cheats you of the natural tonal characteristics of your guitar. Do work that volume knob, though.
So what if you donÕt have the 600 bucks for an 808? DonÕt even worry about it. There are so many pedals designed to emulate it, itÕs not even funny. Purists want the original 808 because of some fairly esoteric microchip differences. The Voodoo Labs Sparkle Drive is somewhat close, (and dirt cheap!) but it can also have a really harsh high end. (WhatÕs in a name, right?) I think the Fulltone Fulldrive 2 is a FANTASTIC update on the 808. The Keeley-modded TS-808 reissue is very close to an 808. These pedals are what I call Òpaint chipÓ close. If you didnÕt have an original 808 to A/B with, you wouldnÕt know what you were missing. If youÕre looking for a good ÒedgeyÓ tone, check out the Marshall Bluesbreaker pedal from the early Ô90s. Not the BB-2 (bad), but the original. ItÕs a great beefy sound that colors strat pickups in a really interesting way. The tone knob is like a ÒB.B.Ó dial. If you feel like your guitar just wonÕt cut it in the mix with your band, but you donÕt necessarily want more overdrive, check out the Fulltone Fat-Boost, or the Keeley Katana. Kick it on for a solo, and itÕs like having your own personal mixing engineer ride your fader. I use a Keeley-modded Boss BD-2 pedal as well. ItÕs got itÕs own thing going on, and I like it. So many pedals are cool, and most every one has a place for something. ItÕs fun to listen to a pedal and then play to itÕs strengths.
Oh, hereÕs another misconception: True bypass is all-around better than buffered (regular) bypass. Not so. Think of your guitar cable as a hose, and your guitar only pushes a certain amount of water pressure out of it. After a certain length, youÕre going to need some more pressure to squeeze the water out. True-bypass takes the ÒinÓ and ÒoutÓ cables of a pedal and connects them as if they were one long hose. After a certain length, youÕll get some pretty hefty tone loss. I learned this when I unplugged my guitar from my pedal switcher and went straight into the amp. Guitar pedals without the TB serve as a buffer for the signal, and naturally keep that water flow going. Yes, sometimes the trade-off can be harsh; some pedals, while buffering your signal, can also adversely color it, even when in bypass mode. ThatÕs a good time to think TB. True bypass is a concept that only really took off as a selling point over the last 5 years or so. It wonÕt kill you to have it, but it certainly isnÕt the only reason to get a pedal over another one without it.
I Hope that helps you out a little bit. There are so many other things I want to share with you, where to put your money, where to save it... Maybe IÕll get to it all over time. I canÕt think of anything more exciting than tone hunting, and I hope you canÕt either.
PLAY ON
JM"
trouvé ici:http://www.goodtimescheck.com/archive/index.php/t-386
