Puisque j'ai fait Verlaine, j'élargis :
TELEVISION
(trouvé sur le forum de
www.guitargeek.com ) :
TELEVISION SET LIST For the new Television album TOM VERLAINE relied mostly on his trusty Fender Jazzmaster and Stratocaster, the latter often used for chording. Also appearing were a Vox "with a vibrato arm that wouldn?t stay in tune," a hollowbody Gibson and hollowbody 12-string Harmony - "they?re much better than people give them credit for." For effects, Verlaine employed "a lot of little whacky ?60s boxes? generally not featured on the main part of a song, but a little bit that comes and goes." Among them were an Electro-Harmonix delay, a Fender Dimension 4, a Musitron and a tube Echoplex "that was in a fire and the plastic melted off. So sometimes it distorts and sometimes it doesn?t." His amplifier was a Valv-O-Tronics, a new tube amp made by Television techie Robert Derbie. Tube fan Verlaine also used old Ampeg, Danelectro and Sears Silvertone amps.
RICHARD LLOYD has held onto his 1961 Strat as his main instrument. The other guitars he played on Television were reissues of a ?62 Strat and Tele, and a "rare Gretsch double-cutaway cat?s-eye thing." Formerly a D?Addario string-bender, Lloyd now swears by Dean Markley Super Long Plays, .10-.46. "They keep their tone, they stay in tune and they don?t break. Television used to pop strings left and right." Besides borrowing Verlaine?s Echoplex for a preamp, Lloyd hooked up an MXR green box and a custom "Brownie" preamp. For amps, Lloyd trundled in "all these wonderful old Fenders - a 1950 Deluxe, ?55 Tremolux - and a ?59 Ampeg Jet, a ?63 Vibroberb. Some of the most expensive ones, you turn around and go, ?Hey, that sounds like a Pignose!?"
(This was for the Reunion tour, the Green MXR is a analog delay)
From another article on the Reunion
CABLE ACCESS: TELEVISION'S GEAR
Richard Lloyd still plays the same '61 Stratocaster with jumbo frets that he played on Marquee Moon and Adventure, although he takes a '62 reissue Strat and Tele on the road. On the new album's "Rhyme", he played a rare black f-hole Gretsch. Lloyd tends a stable of vintage Fender amps, including a '50 Deluxe, a '52 Pro, a '55 Tremolux, and a '56 Princeton. He also uses a '59 Ampeg Jet, a Vibraverb reissue, and a '65 Supro. Live, he relies on Vox AC30s: "You can change the current wherever you are without a transformer, so they're good the world over, and they have a nice high-end bite." Save for a few dinosaur pedals, Lloyd avoids effects, citing the dangers of "processors that make your guitar sound like Velveeta." And though he's a diehard fan of amp distortion, he admits, "I'm always fighting to get a combination that won't really distort the tonality of the guitar, but will just give you the edge you're looking for."
Tom Verlaine cracks up when I pop the gear question: "I'm gonna make up really great lies for you," he howls. "Fuzztones and Marshalls!" Actually, Tom is a longtime Fender Jazzmaster player: "They're really problematic tuning-wise, but they were the cheapest guitars in the '70s, so I'm used to them." Stray cats include a Stratocaster, a Harmony 12-string, a Vox with built-in fuzz, vibrator and tuner, a "Kay thing", an Al Caiola Epiphone, and a Monkees Gretsch.
In concert, Verlaine plays through either Fender Super Reverbs (also used on Marquee Moon) or Vox AC30s, but for Television he went with a Valvotronics tube amp made by the group's amp technician Robert Darby, although Super Reverbs, an Ampeg Jet, and a Silvertone amp all made their way into the mix. For effects, he brought his usual "trunkload of total garbage stuff", which includes Echoplexes used as preamps, "just to goose it up." Verlaine's full-bodied tone starts with the strings: What began as a way to keep his Jazzmaster in tune has become a wide proposition?.015s or .014s on the top to .054s down low.
