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

PAT METHENY

DI: What equipment do you use to achieve your unique sound?

PM: I'll be happy to go into detail about how my gear works, but I had a revelatory experience a few years ago when I realized that "equipment", although certainly a component in my sound, really had little to do with why I sound like the way I sound. For years, between around 1977 to 1987, I never did ANYTHING without my "rig". I would never "sit in" unless I could have my amps and stuff there, I basically didn't do any record dates at all other than my own cause I was sure they would "mess up my sound" -- etc., etc. Then in 1987, I went to the then-USSR on a tour with the group and there were a few "jam session" situations where I HAD to play with some Russian guys on their "gear" -- and I use the term loosely. I played one night on a Polish guitar and a Czech amp. Someone taped it and gave me the tape the next day. I was shocked to hear that I sounded JUST LIKE ME!!!! Since then, I sit in all the time on any old thing and have a blast and do record dates without worrying too much that it's gonna get mixed wrong, etc., etc. I feel much better knowing FOR SURE that it's more about conception and touch and spirit and soul, etc., than whether my hardware was in place. I do, however, totally envy horn players who are "sonically self-contained". They ARE their sound, especially if they can tote their own axe around with them, as they all easily can do.

The REAL answer to your question, though, is this. I used an Acoustic 134 model amp for 20 years, from 1974 to 1994. That amp had the SOUND for me. Flat, kind of midrangy-bright but mellow and LOUD without any distortion. A hard combination of things to find in one place. Unfortunately, it was also really noisy and tended to break a lot. I paid a lot of dues keeping that guy around. During the Josh Redman tour, I could see I was finally gonna have to change and also I had the urge to get modern a little. I knew there were new things out there, so I started trying everything. I finally settled on the Digitech 2101 DSP guitar preamp. With it, I could get the SOUND and some cool bells and whistles too, mainly pre-programmability -- no more moving the "barely-hangin-on-the-134-front-panel" treble control exactly 2.3 centimeters to get the sitar on "Last Train Home" to sound right, then in the 1.7 seconds before the next tune starts, trying to get EXACTLY back to where it was, etc.

Like the 134 always was, the output of the Digitech is run into 2 Lexicon Prime-Time digital delay lines, one on my left at 14 MS delay, one on my right at 26 MS delay. Each delay has a very slight "pitch bend" controlled by the VCO -- sine wave -- inside the Prime-Time. This is what gives it the "chorused" thing that I guess I would have to say I was the first to use extensively in jazz, and that seemed to have influenced a lot of other guys to do the same. Only thing, I HATE the way "chorus boxes" sound. My sound is mostly the "straight" 134/Digitech line, which is behind me with NO PITCH BEND, which gets blended IN THE AIR with the two DISCRETE delay pitch bends, which are much softer than the "straight" amp volume, to get a bigger sound. I HATE when I hear the "pitch bend" and the straight mixed together and coming out of the same speaker. It drives me crazy. You can then imagine that it's hard for me in a studio. Studios and records are STEREO, and I have THREE discrete sources -- "straight", delay left, and delay right. I don't feel like I've ever gotten it right on any record. I'm anxiously awaiting the coming days when we get to go back in and re-mix everything for everyone's home 6-track surround systems! I'll finally be able to get the guitar sound right!

Also, I always have a slight 450-500 MS delay mixed in right off the guitar, too. If you hear it too much, it's too loud. It just lengthens the notes some.

http://www.digitalinterviews.c(...)shtml

DOUG ALDRICH

période Bad moon rising
_ guitares jackson montées en seymour duncan (cordes : 10-46)
_ wah wah cry baby modifiée par Bradshaw (booster intégré)
_ bradshaw switching system
_ boss disto
_ mxr phase 90
_ boss octaver OC-2
_ tête marshall de 1971 modifiée par Jose Arredondo
_ yamaha spx900
_ bbe sonic maximiser
_ lexicon pcm-41
_ furman pq-3
_ marshall 4X12 alimentés par le marshall et ampli de puissance VHT


Avec DIO :






Avec Whitesnake : page 14 de ce sujet

Mise à jour

Andreas Kisser (sepultura) : le matos période against = page 59

Bon, j'en rajoute une couche: le rack de Vivian Campbell sur sa première tournée avec Def Leppard (91, visible sur le live à Sheffield):


J'essaie de trouver le matos des tournées avec Dio, vu qu'on a déjà vu une photo de son rack de la tournée avec Whitesnake et son matos des tournées récentes avec Def Leppard, mais dur dur...

quelqu'un aurait des infos sur le matos de Roger Hogdson periode Supertramp ?

personne n'aurai quelque chose sur thee michelle gun elephant?

JOHN SYKES

http://www.johnsykes.com/guitars.html
http://www.johnsykes.com/morel(...).html
http://www.johnsykes.com/moreg(...).html

Avec Blue Murder :



Jolie collection

Le chanteur (désolé, mais je ne connais pas les noms) : ampli fender et guitare gretsch

Le guitariste : guitare fender, ampli (je dirais un fender + un baffle 4X12) ?

Si quelqu'un a mieux...

WAYNE KRAMER (MC5, entre autres...)

pris sur vintageguitar.com

What did you use once you became guitarist for the MC5?
Equipment was always a big problem. Our people were all working-class folk; you could squeeze a guitar out of them, but getting amplifiers was something else.

We met a guy who wanted to manage the band and we convinced him we needed equipment, so he took out a bank loan for us. The first wave of the British invasion had just hit and we discovered these Vox amps the Beatles played. Before that, Fender was the state-of-the-art. When we purchased these Voxes, it was like the MC5 took a quantum leap from being this ragtag gang from Lincoln Park to being a professional band.

Fred Smith and I got 100-watt Vox Super Beatle amplifiers. Before the Beatles they were just called AC-100s. They were really great; nothing in America had 100 watts. The biggest amps were Fender Dual Showmans at 65 watts with two 15" speakers. The Super Beatles were 100 watts with four 12" speakers and two high-frequency horns mounted in a tubed frame cabinet you could tilt back. It was a huge piece of machinery and very intimidating because it was black. We had two of them; a T60, the transistor bass amplifier with a 15" and 12" speaker and two Vox columns for our PA system with six or eight 10" speakers mounted on chrome stands that went on each side of the stage. In those days, that was the state-of-the-art PA system; there was no such thing as monitors or side-fills.

What was the importance of the Vox amps?
They made us the loudest band in Detroit; a title we wore with great pride. Nobody could approach the volume at which we could perform. And we discovered we could push the sound beyond what had previously been accomplished with electric instruments. Because of the incredible volume we could push it into the level of feedback and distortion on a brand new scale.

The amps were designed for use in Europe, which has different power ratings. We found if you set the switch down the scale from the American settings, you could get more distortion at lower volume. The more we experimented with them, the more we found we could get into some brand new areas. We sat the guitars down once to take a break to go make some peanut butter sandwiches and the guitars began feeding back by themselves. We were pretty sure we had discovered the power to change the universe.
The Voxes were really a part of the MC5 legend being established.

What guitars were you playing during the height of the band?
I had traded the Silvertone for a Fender Esquire, which is the same as a Telecaster except it had one pickup. Finally, we got the manager to spring for another bank loan and I got a Gibson ES-335, and Fred Smith got a Gretsch Tennessean, and the bassist, a Fender Precision.

Of course, the guy who took out the loan expected us to make the payments, but we were completely-crazed teenaged lunatics and didn’t even consider the possibility of making payments. One night, at Detroit’s Ford Auditorium, the MC5 was opening for Jefferson Airplane – our biggest gig to date – and the guy shows up with two Detroit cops and a court order to repo our equipment. The promoter paid off $200 so we could use them for the night. But then they took it all, including the Voxes and the guitars.

What did you do for new stuff?
By then we were involved with John Sinclair and the White Panthers, and we started to see Marshall amps coming over from England. Cream played them; we knew Jimi Hendrix used them because we had opened for him. So we bought a load of the original 100-watt Super Lead heads. We got six of them and two 200-watt bass heads. They were terrific-sounding amplifiers, but incredibly inconsistent; we blew them up regularly. You might get two or three shows out of them and then they’d go up in smoke. We’d have two sets of Marshalls with us on the road and one set in the shop all the time.

What guitars did you feed through them?
I saw Jeff Beck playing an old Les Paul, so when I met a kid whose father had one, I traded my 335 for the Les Paul, one of the originals. Unfortunately, it was stolen after a gig, and in fact, almost every guitar I’ve ever owned has been stolen. Then I started playing a Firebird, then a Stratocaster, and I stuck with those for a long time. I had the Strat hotrodded with a Gibson humbucking pickup to stay competitive with the sound level of Fred’s Gibson. I used a Big Muff distortion pedal and used that during the “Kick Out the Jams” era, since the wah-wah pedal hadn’t been perfected yet. I also played a Telecaster and one lucite Dan Armstrong that sounded pretty good.

THE DARKNESS

http://www.thedarknessrock.com/spider/

BLUES SARACENO

6. What kind of guitar do you play?

Please refer to the equipment page (coming soon) which will include an in depth answer.

At the moment all of my old guitars (Plaid guitars, Yamaha Samick, Ibanez ) are all on the "Hard Rock Cafe" walls somewhere in the world. (I don't even know where). At the moment the only guitars I am actually playing are the "Ernie Ball" guitars.

My main guitar is an Ernie Ball music man gold sparkle "Albert Lee" which was build for me by a gentleman name Dudley Gimble at the Ernie Ball shop. In my opinion the Ernie Ball is the best quality guitar and Bass that are made today for new guitars and that is why I have been playing them. My guitar is an alder body with 1/2 inch maple top. I had them put a maple-top on it for more cut, more punch closer to a Les Paul. I have a maple neck which is very large (I have always had big necks on my guitars) I use 2 Seymour Duncan humbuckers pick ups in it. They change from guitar to guitar, I use everything like if they have tremolo in them, I will use my own model Trembucker in it. But they range from Seth lovers to custom customs.

As far as strings I use Ernie Balls 10's slinkys.I have been friends with Sterling Ball for a long time. I actually met him at a NAMM show about many many years ago.

About 4 or 5 years ago he said just let me make you a guitar, I'll make you the best guitar you've ever had. He made good on his promise and that is the one I play today.

7. What kind of amps do you use?

This is the kind of question I get asked almost as much as the previous one...


As far as the amps are concerned, it's quite simple. As an artist, I'm always searching in trying to find new sounds and do new things in order to keep myself excited and interested in making music. Getting new sounds is what will excite me and inspire me to play. My gear definitely changes a lot but the reality is this. As far as amps what I am using with the exception of my main amp which is my signature, the one that I am most associated is the Dirty Boy amp. An amp that was built by my father, maybe 10 years ago, on the kitchen table of his house, I guess because he was tired of my going out and buying vintage amps and having to get them modified by people who did not necessarily have the best social skills. So he decided to learn how to do it himself, hence ending the reliance on others. With the exception of that one which has an immensely high wattage (120 watts) and has 4 EL 34's, 2 drivers, a mid booster, 2X 5U4's rectifiers, 7 transformers including a Variac, and 6 pre-amp tubes, so that most of the sound actually comes from the power section which has huge filter banks as well as an adjustable feedback loop. It also has an adjustable bias which saves you from paying anyone to bias your tubes.

Once my dad built me my amp, and things went well with it, I pretty much recorded every record with it since I've had it.It's always found its way on there. So what I started getting into lately is very small, low wattage, combo amps for the studio since now I'm doing more studio work then touring. The reason being is when small amps are miked up properly, they can sound HUGE. What I've been doing is finding a bunch of small vintage amps that I really. They are mostly small British amps and I've been having my dad replicate them so they can be totally reliable.


We can also alter them to any application I may need. And that is pretty much what I Have been doing lately.He has built me a bunch of amps lately such as the Vox AC30, some Selmer amps, Supro thunderbolt and others in between. One amp of note is the Gucci amp that is modeled after a 4 input tweed De Luxe with a healthier, punchier, stronger sounding power section that is yet immensely smooth. The reason I like using these amps so much, is that he has actually found a way to give me all the sweetness of old amps ( richness of harmonics as well ) and things like compression that all the old amps have with a healthier, stronger more competitive sound, so it is not DUSTY sounding, which is a problem when you have nothing but just old gear. When you only have old gear, it is nearly impossible to compete with what is going on today. So in essence, I get all the pros that old gear offers with a fresh new sound as well and most importantly, I get reliability not to forget a healthier stronger punchier signal. And it's things like that, that have made my style and sound identifiable.


We use everything from Silvertones to Orange amps to Airlines, you name it and we probably have some kind of version of it. (I just recorded a commercial for some Japanese car company using a Selmer with a blown 6X9 speaker) go figure...


The amplifiers have always been a huge part of my sound. I know the guitars are probably what you associate me with the most, but the reality is that the amplifiers really directly affect my sound.


8. Guitars, vintage or new???


My answer is, the vintage market has been over for a long time. GO FOR NEW.


There is also the occasional vintage dealer that is not too honest, so you better know what you are buying. It is certainly BUYER BEWARE. The prices can be so inflated that most players can't afford them and if you did spend huge bucks on one, you would feel bad playing it knowing you could have bought a house for your family instead.


GET A NEW GUITAR AND GET AN OLD AMP.


I usually pay about $150 for a small amp and they are everywhere if you know where to look and how to look.


9. Where can I buy or get a Dirty Boy amp?


I'm always being asked where you can buy one of my dad's amps. Here is the reality of it. To make them right is an incredibly long and expensive process.


Companies have approached him to license his amp, but it's always the same story, they want to make them cheap and fast and it never ends up sounding right.


He doesn't see the point of of putting out an amp that will end up sounding like one of a thousand amps on the market. Every one knows that none of the new amps have THE DIRTY BOY SOUND so we since I have been using much smaller amps now, we have come up with a solution that definitely brings you into that window sound.To make up for the difference in the power section, I have been using BOOSTER PEDALS. (either distortion, boost , fuzz) He is making me these little pedals that make up for what is lacking in the amps. For more information on these, please look at the pedal section of this website.


Right now he offers 2 models for my hardcore fans but there are a lot more in the making.


10. What pedals are you currently using?


The pedals that I use are the "Germanium Boy " which is in essence a booster that can boost a wide range of sounds. It is not just a treble booster, it can boost the mids as well as the lows. and the reason I have been using the pedals is that those little pawn shop amps that have a signature great Low Fi sound, are not versatile enough and by using the pedals, you can create new sounds that were never meant to be instead of being one trick ponies.


I am also using an "Afro Fuzz " because I did not like the way the old fuzz face could only be used. They were too dark sounding and once activated, you would get a reduction in volume due to the distortion. The Afro Fuzz is a really powerful pedal that boosts the signal into infinite sustain if you set it up right and then you can really start ripping. They are louder, stronger, punchier and still just as smooth.

ce qui serait pas mal serait de faire un sommaire en première page de tous les artistes avec la page sur laquelle on peut trouver leur matos, parce que là...

Effectivement, mais ça risque d'être gigantesque. J'en ai fait un pour moi sur papier pour m'y retrouver, et c'est comment dire... interminable
Maintenant, c'est vrai, je peux le faire.

SCORPIONS (matos live, époque crazy world, face the heat)



Le rack de Matthias Jabs est en haut à gauche, les 2 autres concernent Rudolph Schenker.

EDIT : des photos datant de 2001

Le rack de Schenker :



Les guitares de Jabs :



Et regardez-moi ces guitares par ici : http://www.guitarmaker.de/scorps.htm

Un véritable amateur de flying V's :



RE-EDIT : le matos de la tournée 2003 :

Une photo permettant de découvrir ce qu'utilise actuellement Vernon Reid avec Living Colour :



(il y a aussi une wah-wah, une whammy II, pédale de volume et de la guitare synthé, mais pour ça, je ne suis pas certain de ce qu'il utilise )

et le Sommaire en page 1 alors, c'est pour quand ?