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

SONNY LANDRETH

http://www.sonnylandreth.com/b(...).html
http://www.sonnylandreth.com/b(...).html
http://www.sonnylandreth.com/e(...).html
http://www.sonnylandreth.com/tips.html

En plus de son travail en solo, ce spécialiste du slide a joué avec :
http://www.sonnylandreth.com/s(...).html

Osez, osez, Joséphine...

VERNON REID (Living Colour)

Le matériel de l'époque stain est dans les premières pages. Intéressons-nous ici à ce qu'il utilisait à l'époque du premier Living Colour (vivid) :

http://archive.guitarplayer.co(...)shtml

Matériel de Placebo :

http://placeboalternative.free(...)s.htm

c'est bourré de faute....

boss hyper metal MT2... hé hé hé

Vous connaisez l'histoire de Bill dans placebo?

Tu peux les corriger

heavy metal=hm2
metal zone=mt2

entre autres....

Sympa quand même le site sur Placebo
Ca donne une idée assez précise.



(Comment ça ce message est un up déguisé ? Mais non, voyons, un peu de sérieux )

NEIL YOUNG

http://www.thrasherswheat.org/(...)s.htm

D'autres articles intéressants :
http://www.thrasherswheat.org/sound.htm
http://members.tripod.com/~dan(...)r.htm

Son système whizzer :

RITCHIE BLACKMORE

Avec Deep purple:

GUITARS

Originally Ritchie used Gibson ES-335 semi hollow bodies but being the perverse sod he is he changed to Fender Stratocasters because they are 'harder to play'. Mostly white or sunburst customised CBS big headstock era with rosewood fingerboards

• The middle pickup is never used so it's dropped as low as possible his signature series Strat (right) has no middle pickup to go with it's neck and bridge Seymour Duncan Quarter Pounders.
• The rosewood fingerboards are scalloped out between the frets
• Bigger Gibson style frets
• He also in addition to the standard bolts glues in the necks
• Trems are set to go up and down with 4 springs, the arms are replaced with fatter ones to prevent snapping (though he has been know to snap the thicker ones)

• STRINGS - Picato .010, .011, .014, .026, .036, .042

AMPS

• Originally Vox's
• Marshall stacks with a customised 200-watt Major head
• Engl valve amps

EFFECTS

• Wah Wah pedal
• 1960's Aiwa tape deck - for echo, compression and as a pre amp

Quelques explications sur l'aiwa :

Ritchie's best known effects unit is the Aiwa open reel tape deck used both in the studio and live which acts as an echo unit and a preamp. Ritchie introduced the Aiwa on the Burn tour, although in various interviews Ritchie has said he used it earlier than 1974, live photographs contradict this.
Ritchie apparently tried a Revox but found this didn't work and he is shown at home in Didi Zill's book with a Watkins Copicat tape echo (both Lord and Coverdale are also shown with them) but clearly found it inappropriate as well.
The use of open reel tape decks for echo was a fairly common technique at the time, part of Mike Oldfield's sound on Tubular Bells was apparently his Gibson SG played through an Akai open reel machine. Lindsay Buckingham (of Fleetwood Mac) also used a Sony tape deck as a preamp.
In the 1970's, open reel tape decks with valve electronics (I don't know if Ritchie's used valves) were in widespread use, these could be used as guitar preamps as well an echo units. The echo effect comes from the delay between the record head and the playback head with the recorder in monitor mode to produce a delay. If the deck can do it, plug the guitar in and set the left channel to monitor the recorded signal and the right channel to the original signal. The faster the tape is run, the shorter the echo/delay.
In September 1978, Ritchie told Guitar Player: "I like a little bit of distortion which is controlled through my tape recorder. I built my own tape recorder; well, I didn't build it, but I modified it from a regular tape recorder to an echo unit. It also preamps and boosts the signal going to the amp. If I want a fuzzy effect I just turn up the output stage of the tape recorder. I just keep it on 'record' so it records, and it's like a continual echo because I couldn't get that echo with any echo machine. A continual boom, boom, boom, repeat. Most echo machines are awful; it's like you're in a hallway. The tape recorder doesn't interfere with the note you're playing. I used to do that at home; I used to take my tape recorder and use it as an echo. So I thought if I could use it at home I could use it onstage and it sounded right onstage. I tried using a Revox and it didn't work. I'd really be in trouble if somebody stole my recorder. I've been using it for the last four or five years.
There's a cord from the guitar into the tape recorder input, and the output stage just goes back to the amp. And I can control the volume, too; I can have it loud with no distortion or visa versa. I have a little footpedal that I can stop and start it with. A lot of people think when they see the tape going the solos are recorded. Lots of people ask that. Some guy shouted in New York, 'Turn the tape recorder off.' Actually all that inspired me, I turned it off and really whizzed around."
Recent photographs of Blackmore's Night show the Aiwa is still in use although without tape reels so it is now used solely as a preamp. Ritchie has said that the tape deck now has a psychological benefit providing him with comfort a factor.


A noter : aux débuts du groupe, il utilisait un treble booster

REEVES GABRELS

avec Bowie, période Earthling



Et un chouette lien :
http://www.guitar.com/cda/Colu(...)on=TL

Donc, le matériel de la tournée Outside (Bowie) :

In contrast, Gabrels was abundantly armed while touring behind Bowie's Outside album in '95 and '96. Then Gabrels put his Fly through a Fred Christiani custom-built effects switcher ("The Switcheroo") containing a Dunlop rackmount wah, a Fulltone Soul Bender, a Fulltone Ultimate Octave, a Univox Unitron, an MXR Dynacomp, a Fulltone Dejavibe, a Prescription Electronics Experience pedal, and a Zoom 9050. Then into a Mesa/Boogie Tri-Axis preamp and a DigiTech IPS Harmonizer and Eventide Harmonizer, both in the Tri-Axis' effects loop. Next came a Mesa/Boogie 2.90 stereo power amp, two Marshall SE100 speaker emulators (which went to the house p.a.) and two Mesa/Boogie Dual Rectifier 4x12s. A Lexicon Jam Man with 32 seconds of looping capacity was plugged into the recording-out of the Tri-Axis and fed to a Roland JC-120 so discrete loops could be created. Then he employed various on/off and MIDI switches.

Nan mais vasy, narre la nous !

Ben j'invente rien... en gros molko a dit un jour dans une interview que y'avait un mec qui s'appellait BIll qui jouait en live avec eux... le probleme c'est que le gros Bill ne correspond pas au canons esthetique du groupe "je cite molko: nous avons rien a voir avec les queen of stone edge!"

en gros le gros bill joue mais en backstage!

lemg si t'as le guitare et claviers ou guitariste je sais plus qui correspond, l'interview est dedans....

VE RI DI QUE!

Belle ethique!

Je n'ai pas l'article, mais je connais l'histoire (et en cherchant sur le net, on devrait trouver).
En fait, j'ai lu un truc où Stefan disait qu'il était très moche avec du maquillage.
Et évidemment, le maquillage, c'est primordial !
Bon, Brian, on t'aime bien quand même.

Le gars, c'est Bill LLoyd et il est assez important pour le groupe, tout à la fois producteur/technicien guitare de Brian et fournisseur de conseils avisés (genre quel single sortir en premier).

ouais mais le gars qui joue derriere les amplis pendant les concerts, ca rime a rien...

Qd un groupe est tellement attaché a son image qu'il ne laisse pas jouer sur le devant de la scene un mec qui joue reellement pendant les concerts...parce que sa gueule rend pas....

Moi personellement.....

moi deja si l autre tapette de molko me disait que je pouvait pas jouer sur scene parceque j avais une salle geule je lui dirait "achete toi un mirroirs alors pauv con " et je m en irait comme un prince