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

PORCUPINE TREE

Until 2001 : ESP Stratocaster guitar fitted with Fishman Powerbridge (for the acoustic guitar sounds), Standard Fender Strat, wah-wah pedal, volume pedal, Rat distortion, Boss distortion, Carl Martin compressor, Alesis Quadraverb and TC2290 digital delay. Amplifier : VOX AC30.



From 2002 : Paul Reed Smith Custom 22 guitar, ESP Stratocaster guitar fitted with Fishman Powerbridge (for the acoustic guitar sounds), wah-wah pedal, volume pedal, Rat distortion, Boss distortion, Carl Martin compressor, TC G Major effects processor, Line 6 Echo Pro. All run from a Custom Audio Electronics switching system. Amplifier : BAD CAT Hot Cat combo.

lemg > Hello, dis, c'est indiscret de te demander où tu as eu les infos sur Porcupine Tree, c'est excellent
Si tu as des précisions sur le modèle de distortion Boss je suis preneur

Très simple, j'ai trouvé tout ça sur leur site officiel

Oh? Tout simplement? Pourtant je le connais bien leur site officiel... Faut croire que non, je vais voir tiens merci

THE CLASH

Période London Calling

Guitars.
Electro Voice RE20 mixed with a Neumann U87.
Joe Strummer played his vintage Fender Telecasters through Music Man amps.
Mick Jones used several Gibson Les Pauls and a Gibson semi-acoustic; ran through various MXR effects into a Roland space echo, hooked to a Mesa Boogie amp combo with twin Marshall cabinets.
For the solo in London Calling (2:08 ) the tape was turned over, and Mick did some backwards guitar.

http://mixonline.com/mag/audio(...)lash/

LINDSEY BUCKINGHAM - Fleetwood Mac

http://www.angelfire.com/music(...).html

"We got a loud, clean stage sound, and we used tube amps and EV speakers," says Buckingham's long-time guitar tech, Ray Lindsey. "Lindsey's fingerstyle playing creates huge dynamics and lots of lowend, and we want to be able to keep the sound clean and tight so that when he goes for a solo, it really stands out.

"The Boss OD-1 has always suited Lindsey for his distortion tone. It adds sustain, but it still allows him to get a pretty clean lead sound. We also split his guitar signal before the amp so that the front-of-house guy can add some of the direct sound to the mix. This helps overcome the mushiness of the room, and it also adds attack and definition to the guitar sound."

"Lindsey prefers a heavier, more industrial tone onstage, and for The Dance we used Mesa/Boogie Dual rectifiers set up for the cleanest possible sound. They did the job, but I still think we could take it a step further. We just wanted a huge clean tone, but it's hard to find in the Dual Rectifier because there are so many overdrives stages that you have to neutralize to get there. We used custom cabinets, which were closed-back on the bottom and open-back on top. I think that setup worked okay for The Dance video because of the smaller stage, but when we got to the arenas it couldn't quite go to the next level."

"Lindsey used a Roland VG-8 extensively for the new album. I've experimented with a few different modeling amps, and the VG-8 seems more true in its sampled sounds. It also has less bells and whistles to deal with, and that allows us to get to the music faster."





http://www.followthesound.com/(...).html
http://www.followthesound.com/amps.html
http://www.followthesound.com/(...).html
http://www.followthesound.com/(...).html

NEIL ZAZA

http://www.neilzaza.com/gear.html

NUNO BETTENCOURT

Je rajoute à ce qui est déjà présent page 4 le lien suivant :

http://www.nuno-bettencourt.co(...).html

CYNIC

http://www.cynicalsphere.com/f(...).html

Alors là chapeau pour avoir trouver ça !!! Merci !

Cynic utilsait un matos de fou pour un "petit" groupe dans ce genre!!!

Mais le resultat est vraiment gigantesque, excellent groupe, je vous conseille l'album focus à tous

ALEX SKOLNICK

#5: Is there a preferred gear setup for jazz?

Skolnick: Everybody should develop their own setup, sound, and gear, but you can start with a basic jazz setup, like the Heritage guitar that I play [Heritage H575 hollow-body], which is similar to a classic Gibson ES175. For me at least, it was important to play a hollow-body instrument because it supports the style better. Now, jazz can be played on a solid-body, but it’s much more challenging, I think. For me, I had to get as far away from the solid-body as I could. I also suggest an amplifier that supports the sound. A good one is the basic Polytone amp. I wouldn’t use that for my Trio, as it’s not a very original sound, but, when you’re just starting out, it can work very well...

There really isn’t stock jazz gear as there is in rock. In rock, you have the Marshall setup—Van Halen, Angus Young, and Jimi Hendrix all used Marshalls—in jazz, there really isn’t that kind of overlap. Like, George Benson plays with a completely different setup than Pat Metheny, who plays with a completely different setup than Pat Martino. So, if you’re just starting out, a nice, decent hollow-body and an amp—Fender or Polytone—[will do].

#6: Do you use a lot of effects?

For the [Alex Skolnick] Trio, yeah. I’m using a lot of effects, probably more pedals than I’ve ever used, including a Jim Dunlop volume pedal, a Prescription Electronics Experience pedal, an ADA Flange, a Lexicon JamMan for loops, an Eventide harmonizer for delay, and a Tube Screamer for light distortion.

==============================================

How did you get your tone on the Testament album Souls of Black?

For some reason, more people ask about this sound than any other. It was my usual rig at that time which consisted of an ADA MP1 Preamp and Marshall JCM 900. I think any Marshall head will do, the only thing is it has to be set clean, as all your overdrive comes from the MP1. Usually preamps are put through power-amps, not Marshall heads, so doing it this way creates a lot of overdrive and it's a very noisy rig. But the sound was worth it. You shouldn't have too much overdrive on the MP1 either; a little bit goes a long way. Also, a pretty even balance between bass, mid and treble, not too much presence.

In the studio we added delay from my Eventide H3000 effects unit (which I'm still using for my jazz rig), and also a reverb unit which belonged to the studio, I think it was the PCM 70. Many professional studios have them, but they're so expensive that no-one uses them live (I think they're more than $10,000). For the tour, I used one of the cheapest reverbs out there, the Alesis Quadraverb, and it sounded fine in a live context. I still have most of this gear in storage. No I'm not planning to sell it, sorry...

BLINK 182

Ca doit avoir 2 ou 3 ans :

SANTANA

Du tout récent (2004), tiré d'un magazine italien d'après guitargeek:

Rack #1:
Furman Power Conditioner
2x 1970s Mesa/Boogie Mark I (with graphic EQ that he doesn't use)
Mesa/Boogie Mark I Reissue (a recent model, used as backup. It has Ruby Tubes)
The 70s Mark heads are used for songs like "Europa" and "Samba Pa Ti". Their settings are: Volume 1 & 2 = 8 ; Master = 7 ; Treble = 7 ; Bass = 3,5 ; Middle = 9. On the back: Presence = 6,5 ; Reverb = 3. His tech changes the Volume 2 & Master knobs during the show to create the long sounds that Carlos uses. These amps power a 1x12 cabinet with a Altec 417-8H speaker (the cab with a Christ icon put on).

Rack #2:
Furman Power Conditioner
Howard Dumble Overdrive Reverb (17.000$, my god!!!), powering a Marshall Slant Giant Cab 4x12 (2x Celestion Vintage 30 + 2x Celestion Greenback)
Howard Dumble Overdrive Reverb, powering a Brown cabinet 4x12 Tone Tubby with Hemp speakers.
Mesa/Boogie Lone Star
He never uses the Dumble amps along with the Mark I heads 'cause they create problems about sound ('cause of the great difference in their dynamics). The Lone Star is used for guest jam and stuff.

Every cab is mik'd with Shure KSM-32 mics set slightly out of the speaker's center on the left, high side of the cab.

Under the percussion risers:
Fender Cyber Twin 2x12 (2x Celestion speakers)

He controls his amps by a Jim Dunlop Pedal/Selector. It has a "Mute" switch used when he changes guitar; three amp switches (one for every amp) and a "Tuner" switch for his Boss Tuner.
His chain:
Guitar -> Home Brew Electronic Power Screamer -> Dunlop Wah Wah (activated by a Boss F5L) -> ??? (the magazine stops...)

The Screamer is basically a Tube Screamer using the old Ibanez T808's integrated. The Tone knob is set to half of its course; the Level is set about to minimum and a Overdrive control set to ??? (the magazine stops here... Damn!).
Then he has a switch for a 10 Db boost nad a selector (that he uses on central position) for compression (this is used in "Game Of Love").
The Overdrive output goes to the Dunlop pedalboard input. Then, from the pedalboard output it goes to a T-Rex Replica (an Analog Tape Echo emulator), and then to the Mark I amp. The other three outputs go to: the Dumble, the Fender amp, the Boss Tuner. He can switch them and select one or more of them.
He uses Monster Cables, and he has some taped places on the stage where he can get more feedback. These places are found by his tech (Ed Adair) playing the "Jingo" intro.

http://www.vintagerocker.com/p(...).html
http://www.vintagerocker.com/p(...).html

THE CRANBERRIES

Matériel utilisé en live en 2003 :

* Dolores O'Riordan
Gibson 335 Electric guitar x 2
Taylor Acoustic 6 string Guitar x 1
Guild D60 Acoustic Guitar x 1
Kurzweil PC88 Keyboard x 1
Korg M1 Keyboard x 1
Korg Triton Keyboard x 1
Marshall TSL100 JCM 2000 Amplifiers x 2
Effects: Boss Super Chorus CH1, Boss Flanger
Shure UHF Radio Systems x 4, Shure UC Radio Systems x 2
Microphone: Shure Beta 58A


*Noel Hogan
PRS Custom 22 Guitars x 3,
Fender telecaster x 1
Taylor Acc. Grand Auditorium 6 String x 2 ,12 String x 1
AB Pro Series Amplifiers x 2
Vox AC-30 Amplifiers x 2
Marshall 4 x 12 Speakers
Effects: Line 6 POD PRO systems x 4,
Behringer Compressor,
DOD Chorus Pedal,
Line 6 Distorton Stomp Box,
Roland CE1 Chorus.
D'Addario Strings, Dunlop Plectrums
Radio: 3 x Shure UHF Systems


*Steve Demarchi
Parker fly Guitars x 2
Parker Acoustic Guitar x 1
Marshall 6100 30th Anniversary Amplifier
Effects: Ibanez tube screamer,
Boss Dimension,
DOD FX 65 Chorus,
Boss Digital Delay
Boss CH Ensemble CE,
Dunlop Uni Vibe
Dan Electro Cool Cat,
Dunlop Tremolo
Roland GP 16, Behringer Compressor
Digital Music Corp 2 x 8 Midi patchbay
Custom Audio 4 x 4 Audio Controller
Custom Audio RS 10 Foot Controller
ADL Acc . Di
3 X Shure UHF Radio Systems

Super! merci pour l'article tres precis, c'est interessant les reglages de Santana avec le Mark1, je vais essayer ca avec le miens

cla son rack http://pinkmaggit.free.fr/phot(...)2.jpg