Je reviens sur son système de la tournée Absolution.
Avec le fameux site :
http://musegear.fobbedoff.net/
Où il est dit ceci :
Citation:
The guitar signal runs straight from Matthew's guitar to a transmitter that transmits the signal to the UHF Receiver in the rack. From here it runs into the Diezel heads. This leaves the signal completely clean and free from any loss of signal and unwanted noise that might be picked up if using lots of leads to connect pedals. The signal is then split into the second Diezel head. Then it runs from the send and return down through an A and a B rig (hence why there are two of each FX unit), both running the same system. If anything goes down in either system it's a seamless crossover to the other. The only difference between the two heads is that the signal is coming into one and then going into the other.
Matt uses three cabinets in total, one head is running two cabinets and the other is running one. The A and B rigs are mic'd offstage. One is a Marshall Mode Four and the other is a Soldano 100W fitted with Celestion Vintage 30s. They are all running simultaneously. The other amp is running the onstage cab that Matt uses to feed back through and generally abuse!
All the effects are midi based and are placed in the FX loop of the amp. The Diezel VH4 head that Matt uses is midi controllable as too are the Digitech whammys, which along with all the other effects can be selected through the Rocktron Midi Controller of Matt's pedalboard. The Ernie Ball pedal not only can be used as a volume pedal but any means of expression pedal for whatever effect is selected, most noticably the Digitech Whammys. This is all tied together in the rack through a series of Midi Solution Thru Box's and Rocktron Midi Controller. The Yamaha desk pictured behind the rack might also be used in conjunction with Matt's gear somehow.
"All settings are changed by MIDI using the Rocktron All Access and we use an immense amount of MIDI channels for Matt's setup alone. I think there are around five Rocktrons on stage, Matt has one, so do Shane and I. All three of us control different parts during the gig and the numbers on the set list represent MIDI channels and patches within. There are many patches within channels, so if you're on Channel 30, which is Hysteria, within it there are 15 different patches. Then it comes back through a Tech 21 SansAmp for distortion and vocals and out through the cab." - Paul English, Muse's guitar tech.
String gauges: .010, .013, .017, .026, .036, .060 (7-string: .010-.080)
Picks: Dunlop Tortex 73s
Le VH4 existe en version mono ou stéréo n'est-ce pas ?
Donc, si je saisis bien ce qui est écrit, son signal passe par la première tête Diezel, ne s'arrête pas (
) et file dans le deuxième, dans la boucle de laquelle sont placés les effets. J'imagine alors que cette deuxième tête est stéréo, lui permettant de sortir sur deux systèmes identiques (whammy + echo pro + mod pro) et en parallèles, chacun de ces systèmes étant diffusé par son baffle propre (Soldano pour l'un, Marshall pour l'autre).
Et les deux fonctionnent en même temps.
La première tête quant à elle envoie le signal dans le baffle situé sur scène.
Bon, je crois que c'est ça. Le fait que le signal passe par la première VH4 doit un peu trafiquer le son ce qui fait sonner la deuxième VH4 de manière différente, et il doit aimer ça.
OK.
Maintenant, le rôle de la table de mixage.
A mon avis, les 4 jacks branchés à droite correspondent aux 4 micros reprenant les baffles (2 pour le Marshall, 2 pour le Soldano).
Les deux autres, à quoi sont-ils reliés ?
Au système pour la voix ? Dans ce cas, il ferait pour chaque chanson son petit dosage perso guitare/voix qu'il enverrait à la sono par la suite.
Qu'en pensez-vous ?
lemgement lemg
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