PORCUPINE TREE
Une interview intéressante de Steven Wilson :
http://www.musicplayers.com/fe(...)n.php
Le pourquoi du POD en studio :
Citation:
SW: Well in the early days, I was pretty much forced to find ways to create guitar sounds without relying on expensive equipment. I had very basic equipment when I started out, but also couldn’t rely on being able to go into studios and crank up amps and try different microphone techniques and all that stuff, so I was kind of in a situation where I had to create sounds using direct methods, and that’s how I got so familiar with using Line 6 stuff.
I know some people are a bit snobby about using guitar processing. They think that if you’re not using an amp and if you’re not cranking it up and miking it up then how can you be a good guitar player, but I’m a great believer that everything has its strengths. Every piece of technology you can create unique sounds from, so what I tend to do when I’m writing and when I’m demoing, I’m obviously doing it in a very basic way, sometimes just on my laptop in my apartment, so I’m using the Pods to create guitar tones very quickly and intuitively. Then what I find later in the session is a lot of those sounds have become integral to the way the track has developed, to the character of the track, and to the personality of the track, so it’s just not possible to recreate them.
And that’s what I mean by the Pod having its own kind of signature, its own kind of personality. Later on in the session, the more kind of generic heavy guitar tones, of course, you start cranking up Marshalls and you mic up Marshalls, and you get those better sounds, but some of the quirkier sounds I’m thinking of, definitely you know those are the kind of things that survive from the demo when I’m just using the Pod. And I do think it has a really distinctive quality.
Pourquoi il a opté pour le TC G-system en live, et pourquoi ça ne lui suffit pas.
Citation:
SW: Last year we did a short tour to promote our DVD and I’m just thinking maybe we used it on the Arriving Somewhere tour… it could be as long ago as mid-2005, halfway through the Deadwing touring cycle, and I can tell you exactly why we did it. It was simply because… it’s a nice piece of gear, but actually the practical reason was we could no longer afford to fly around our custom rigs. I used to have a huge Bob Bradshaw custom-made rig and it’s fantastic, but it was so heavy and it was so expensive [to cart] particularly when you’re doing things like fly-in/fly-out festival shows in Europe or in America. We would sometimes get like eight, nine, ten-thousand dollar freighting bills just for doing a single show!
We got to the stage where we thought, “Well no, we can’t do this, We’ve gotta’ find a way to make the guitar systems more portable, more mobile without sacrificing any of that kind of flexibility and quality” and Wes actually discovered the G-System before I did, and he recommended it to me. Every piece of gear has its own little kind of quirks that you have to get around, and the G-System has one problem which I’ve had to solve with another pedal board, a gig rig pedal board, which is that it’s too slow in switching from channel to channel, and so I’ve had to have another pedal board which bypasses the G-System when I need to get the direct-inject crunchy sound off the hot channel on the amp. So they’ve all got their little quirks but you kind of work around those things and you get used to them, and it’s working pretty well at the moment. And, it’s a lot more portable as a kind of system.
lemgement lemg
