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

J'avoue que je suis quand même assez épaté de constater à quel point la marque utilisé est utilisée par les pros ....

Any new gear on this opening cut?

I changed up a little bit and used an MXR Q-Zone pedal (QZ1) that gives it that nasally sound. This was all sort of like off the cuff. Like, “Let me try this and see if that works.” I had an idea of what I wanted the sounds to sound like in my head. So I had this great little MXR that they just put out. It’s this little box that’s got a gain button or a boost button and a distortion button. That was like my main tool for the entire record. Every time we did the solo, one of those two buttons and I’d be off and running.

Then I used a Voice Box on one tune. I just pick up little things here and there. But I did switch up guitars on a couple songs. Obviously, there’s a lot of slide, so there was that going on. So I had a (Les Paul) Junior that I had rigged up with high action for slide.

On “Spay”?

Yeah, “Spay” is one of them. And you haven’t heard it, but there are some other songs that aren’t on the record, and actually some of those songs branch out even more. But they’ll come out later. There was another song, a song called “This Fight,” where I used a Gretsch that I bought off some guy that day. I said, “Let’s just try this and see if it sounds good.” Because it’s a different kind of a song.

There’s a song called “Gravedancer,” where I picked up a brand new Strat at some point during rehearsal. I was going through a Strat phase because all I had been listening to for 6 months was Albert King and that was it. So I picked up this new Strat and that song was written on a Strat. So I picked up the new one, but I ended up in the studio using an old one that I had in storage. I recorded the rhythm track and I went to go do the guitar solo on the Strat, and it sounded very Strat. I was like, “You know what? I’m just going to do this on a Les Paul.” It’s just that I have a feel for a Les Paul. Where with the Strat, it’s like I’m trying to make it sound like a Strat. It doesn’t feel as comfortable to me. So that particular song, I put the Les Paul solo on the end with the wah wah pedal.

Then I had also gotten a hold of this pedal called an Octavian. It’s some company called Chicago Iron who has been remaking them. They sound really cool. I used it and did another solo on the end of that song, and it sounds fucking awesome. But then when I went to go mix, I realized that that solo sounded very much put on the track, as opposed to the wah wah pedal solo that I did that day with the song. So we took it off, but it’s a great sounding rig. The song, “She Mine,” that’s the Octavian boosted fucking like crazy at the beginning, that weird sound. Throughout the whole thing, the solo, then there’s a bendy riff. That’s what an Octavian sounds like if you crank the volume on your guitar all the way up and you put the boost on and have the pedal turned all the way up. It sounds like something’s dying.

What guitars did you use for the album?

I brought over some of my vintage guitars, like a couple of old Strats, an old Telecaster, an old les Paul and my usual collection of Explorers. I also bought a few guitars while over in LA too. I bought a very nice Gibson SJ-200 from 1948 which is the acoustic guitar you hear on the track Humanity. But I used for the most part of the album, my own Signature model Mastercaster which I’ve had for two years now. It looks like a Stratocaster but has all the options I need to reproduce all the stuff I do in the studio, on stage. It has 24 frets, a Floyd Rose and new type of patented pickups that are Humbuckers but also a real single coil pickup too. So I can get all sorts of sounds whether that would be a Tele, Strat, Les Paul or Explorer I get it all in that one guitar. Luthier Boris Dommenget invented the pickups as well made my guitar. Rudi and I play almost exclusively Dommenget guitars now. They look like my Gibsons I used to play, but the way Dommenget makes them are great and they’re reliable and they sound good.

How did you come up with the now trademark stripes for your guitar?

I had only this one white Explorer for our first tour of America in 1979 and we were coming through this small town in Minneapolis and were staying in a holiday Inn next to a guitar shop. I spotted a white Explorer in the display window of the store and I went’ wow’ and because it was cheap as well, I went in and bought it as that gave me a spare guitar for a change. And I wanted to show people that I had more than one so I put a couple strips of gaffer tape on the guitar in the form of the design that I’ve become known for today. And it was because I just wanted show people that I had more than one guitar because since the two guitars looked alike, nobody would have noticed the difference.

Moving on from guitars, let’s discuss amplifiers?

Amplifier wise I used mainly my Fender Prosonic amp and a Fender Tonemaster and for some things I used a Marshall as well as an old Vox AC-30. Live, I use mainly the Fender Prosonics amp and Wizard cabs.

Je cherche le materiel du groupe The Sunshine Underground

Encore rien sur Chan Marshall (Cat Power) ?

Quelqu'un serait quel modèle de Les Paul (Epiphone) utilise Skrymer de Finntroll?

Modéle standard

Ben je crois que depuis le debut de cat power, elle utilise une danelectro silvertone noire pour quasiment tout. (1 micro lipstick) et se branchait souvent dans des tout lampes fender. Les seuls effets qu'elle utilsait etait une big muff pour la disto (what would the community think, notamment).

Sinon autre remarque. Jimmy Page periode 1971-1979 jouait sur ses deux tetes Marshall Super Lead modifiées (ajout de 2 KT88 pour monter a 200 watts) + 1 tete Orange type "tiny terror". Pour avoir un son plus "LOUD" il utilisait egalement une pedale volume/booster/overdrive Univox Unidrive qui selon lui lui donnait un son plus "Metal" + sa Tone Bender modifiée par Roger Mayer + le Maestro Echoplex. J'ai pu constater sur divers sites et sur le DVD que tout ceci est vrai donc...