muse59 a écrit :
lemg, tu aimes moins le son de guitare, ou bien la musique du groupe, des derniers albums ?
JohnFante -> Autant pour moi, j'avais vu cette vidéo à l'époque, mais j'ai totalement oublié qu'il parlait de ça.
Enfin dans tous les cas, on peut très bien parler de sons des précédents albums aussi
Par exemple, le son de guitare sur Thought Of a Dying Atheist, je le trouve très beau, une idée de ce que ça peut être ? Ca sonne strat, mais j'arrive pas à reproduire cela avec la mienne.
TOADA pour les couplets c'est l'Aloha Stratocaster (dans le Diezel ?). Bon courage pour le faire sonner, il faut mettre un tout petit peu de gain et du delay.
Et sinon, l'article de l'ingé son :
http://www.soundonsound.com/so(...)5.htm
Morceaux choisis :
Citation:
“During the writing and pre–production phase they tend to be mainly computer–based, so Matt uses soft synths, and [Modartt] Pianoteq for the piano sounds, because it is very tweakable, and for his guitar sound he uses a Kemper Profiler amp, which they also use live. I do the profiling for them, and it means that they have the same sounds that we achieve in the studio at home, and live. For example, I have created profiles for all Matt’s Vox, Marshall, Diezel and Fender amps. During writing and pre-production Matt’s focus is more on the musical content than the actual sound, and he can easily sketch things out using these sounds. He plugs his guitar into the Kemper and that into Pro Tools, and that’s it. He may be writing for a month, and then I’ll come in and do a general clean–up of his sessions, some fixing, some sound programming of synths and beats, and perhaps some rough mixes of his ideas.”
Citation:
During tracking we had an amp setup consisting of hand–wired Marshall 1959, Diezel VH4, and vintage 1960s JMI Vox amps, recorded with a standard Shure SM57 and Sennheiser MD421 pair, and just a mic pre and some desk EQ, keeping things quite simple. We also had two DIs, straight from the guitar and post–pedals.
Citation:
We ended up with two Mills cabs, one with a modified Ampeg V4, which originally was a bass amp and has a very deep sound, or with the modified Marshall 1959 head, or sometimes a Marshall Plexi amp from the studio. Another Mills cab was fed from the Diezel VH4, which we mostly use for clean sounds or highly distorted sounds. The Diezel is not the best amp for saturated mid–crunch sounds, but it’s very good for extremes. We also used the JMI Vox amp, and we had Fender combo–style amps, like the Super Reverb, plus a Watkins amp and a Selmer amp if we wanted to be a bit more experimental. We have not used many Fender amps in the past with Muse, so this was new.
Citation:
We did extensive amp research for the guitar sound for ‘The Globalist Part 1’. Matt had a very precise sound in mind, which was retro, warm and intimate. I took the DI from live tracking of the song to try out a collection of amps I rented, particularly many late-’50s Fender amps — Tremolux, Deluxe, tweeds, etc — and did a massive shootout to get the right sound. We ended up using a Deluxe and a Tremolux in combination, one with and one without tremolo.
Citation:
Pedal–wise there was a lot going on, but there are a few pedals that get used a lot, like the ZVex Fuzz Factory, the ZVex Super Hard On, which gives a nice clean boost so it distorts the amplifier, the Super Duper, and the Machsonic Thrust Drive pedal, which is made by someone in Turkey, and which we used with the Ampeg head for a very scooped–out fuzz sound, the JHS Colour Box, which mimics the sound of the Neve 1073, and a Roland SDD 3000 pedal.
