- Visualdistortion
-
Vintage Top utilisateur
Modérateur
- #1
- Publié par
Visualdistortion le 10 Août 2008, 14:10
Etant fan des Pumpkins et à la recherche d'un même style de son. J'aimerais bien dédier un petit topic au fameux son des Smashing Pumpkins, et aussi permettre de trouver des explications sur celui-ci. Bien sur c'est un premier jet, et j'ai besoin de votre aide pour trouver le plus d'informations (Merci à Lemg dans le topic de guitaristes pros pour ces informations)
Gish Era:
- ADA MP-1
- Marshall JCM800 for poweramp (modèle avec 2 Input à côté l'une de l'autre)
- Marshall 1960 JCM800 speaker loaded with Celesion G12-65
Effets:
- Fender Blender
Siamese Dream Era:
Je pense qu'il faudrait d'en un premier temps se baser sur le son des albums Siamese Dream et Mellon Collie, car à mon avis, ils sont le plus représentatif du fameux son Pumpkins. Avant que Billy Corgan commence à tourner du côté de chez Diezel & co sur les albums suivants.
Je qualifierai le son des Pumpkins de doux et crémeux, mais pourtant sur dimensionné et qui prend aux tripes.
Basiquement à mesure du temps, la légende décrit le son Pumpkins comme l'association:
- Marshall JCM-800 2203 ( KT-88 ) (modèle avec 2 Input à côté l'une de l'autre)
- Electro Harmonix Big Muff Pi (77/7 Version OP AMP, beaucoup plus fat, les réglages 6 en Volume, 6 en Tone, 10 en Sustain
Effets:
- Mutron Bi-phase
- Maestro Fuzz
- MXR Phase 100
Billy Corgan est connu pour son amour de la Big Muff, mais comme toute bonnes pédales de Fuzz, elle n'arrive que rarement a dépassé le stade du studio. Lorsqu'on utilise une Big Muff en groupe, principalement composé de 2 guitares, avec un basse assez présente et des cymbales explosant l'environnement sonore. On obtient une perte de son son quasi totale.
Certains groupes en ont fait leur arme sonore, par exemple les White Stripes, où Jack White l'utilise abondamment. Mais voilà, il n'y a pas de basse ni de seconde guitare dans ce groupe, du moins en live, la batterie est malgré tout moins présente que dans certains groupes et il faut avouer que le son est tout de même un peu "cra-cra" en live.
Voici ce qu'a écrit Billy Corgan sur son site officiel, il y'a quelques années:
“As I am good friends with our space mates (the local band) Catherine, I often stick around for their rehearsals to check out what they are working on and offer unsolicited advice...I notice that in this tight room, they sound very like some kind of jet taking off when they play...the feeling is very exciting, and being the sound whore that I am, I not so slyly interrogate them about how they create this dizzying effect...they all point sheepishly to these little silver boxes on the ground, and tell me that's about it...their vintage pedal, invented by The Electro Harmonix Company, is a simple old school distortion/fuzz device called 'The Big Muff Pi'...manufactured back in the 60's and 70's, it comes in a brushed metal frame, with cheap black knobs (the later models are more easily recognized by the big red Pi symbol stamped on the faceplate)...they sell used for about $75-100, and there are only three critical settings: volume, tone, and sustain (the volume sends the amount of signal to the amp, the tone the amount of bass vs. treble, and the sustain basically means how much fuzz overload you are going to get)...I notice that when the boys play the space hums with an electrical energy that shoots thru my bones and rattles my teeth...it's as if this room is made for this sound...they tell me that the reason they like using the pedal is the deep booming sludge it makes, as the sound within collapses from the intensified pressure, creating a bigger presence when they rock hard (and also managing to hide a few inconsistencies in their playing)...the affect is immediate, as they suddenly appear to me to be a much more dangerous combo than I last remember...somehow the alchemy of the concrete walls, the cool air, and this dumb little pedal make the band sound like God himself is coming down from the heavens...which of course means I have to go get one for myself...
It is almost impossible to describe the intensity of the practice space when the Pumpkins are playing at full tilt with The Big Muffs cranked...the basic dimensions of the room are around 25ft x 15ft, with the basic band circle smack in the middle of the shoebox...when you have possibly the loudest drummer in the world playing with passion and power (not to mention about 10 crash cymbals slicing the air) vs. 2 100watt Marshall half-stacks and one 400watt SVT bass amp, you've got your basic dull roar fully in hand...add this to that the fact that we are playing in a stone bunker with little or no soundproofing and you've got yourself a decent headache blast...but what really puts these tunes over the top, what makes the whole thing ring, and what discreetly pours our liquid brew from sonic anecdote into our own rock and roll riot, is switching to this almost forgotten device...
We are obsessed with technical precision, for it is obvious to us that the tighter we play the heavier we sound...adding the Big Muff pedal into our charge makes us appear wider and meaner than we truly are, but all this beefed up bludgeoning comes at a hidden cost...because the sound is so grossly overblown (the amps sound like they are going to explode at any second), the band sadly doesn't sound tight at all...at first, we figure the sound of the fuzz is going to take some time for us to get used to, and because we are having so much fun playing along with them anyway that it doesn't seem like a big deal...but after only a few days, it becomes obvious that certain aspects of what we do, little things that we take for granted (namely our focused attack), disappear in a haze once we light 'em up...we discuss ditching the pedals for good, naively talking ourselves into thinking that we can just go back to our normal sound and compensate in some other way...we only last a couple of minutes using our old equipment before we fall to a halt, puzzled because we now sound to our confused ears boring!...we are at a crossroads, as we have made a deal with the devil (of demon fuzz) and can't seem to go back...it is a Faustian deal for this most exciting sound that makes us deliver invincibility, but by taking away our detailed intensity, also degenerates us to a common pub band...after some discussion, we unanimously decide the fuzz pedals will have stay, and we will just discover a way, as yet unseen, to make them work...we will just have to practice all the harder...”
Siamese Dream Tour Era:
Ce que j'ai pu comprendre dans cette explication, c'est que Billy Corgan a essayé rapidement de trouver une solution pour les utiliser hors studio.
Comment Corgan a t'il réussi?
En regardant de plus près les racks de Billy Corgan et de James Iha de l'époque on va retrouver 3 pièces majeures du son:
- Marshall JMP-1
- Alesis Compressor 3630
- Mesa Boogie Strategy 500 ou Mesa Boogie 2:90 (pour Iha)
puis
- Mesa Boogie Triaxis preamp (grosse saturation)
Pour Corgan:
- Drawmer DS201 (GATE)
Pour Iha:
- Digitech GSP 2101 (Multi FX)
Le câblage est:
Guitar -> Alesis 3630 -> Marshall JMP-1 -> MB Strategy 500
Le compresseur Alesis est là pour rajouter plus de gain au Marshall.
Selon Lemg du forum
Le jmp-1 possède une fonction bass shift qui est très intéressante pour aller chasser sur lesterres de la big muff.
Mellon Collie & The Infinite Sadness Era:
Quasiment le même rack que pour la tournée de Siamese Dream
Gish Era:
- ADA MP-1
- Marshall JCM800 for poweramp (modèle avec 2 Input à côté l'une de l'autre)
- Marshall 1960 JCM800 speaker loaded with Celesion G12-65
Effets:
- Fender Blender
Siamese Dream Era:
Je pense qu'il faudrait d'en un premier temps se baser sur le son des albums Siamese Dream et Mellon Collie, car à mon avis, ils sont le plus représentatif du fameux son Pumpkins. Avant que Billy Corgan commence à tourner du côté de chez Diezel & co sur les albums suivants.
Je qualifierai le son des Pumpkins de doux et crémeux, mais pourtant sur dimensionné et qui prend aux tripes.
Basiquement à mesure du temps, la légende décrit le son Pumpkins comme l'association:
- Marshall JCM-800 2203 ( KT-88 ) (modèle avec 2 Input à côté l'une de l'autre)
- Electro Harmonix Big Muff Pi (77/7 Version OP AMP, beaucoup plus fat, les réglages 6 en Volume, 6 en Tone, 10 en Sustain
Effets:
- Mutron Bi-phase
- Maestro Fuzz
- MXR Phase 100
Billy Corgan est connu pour son amour de la Big Muff, mais comme toute bonnes pédales de Fuzz, elle n'arrive que rarement a dépassé le stade du studio. Lorsqu'on utilise une Big Muff en groupe, principalement composé de 2 guitares, avec un basse assez présente et des cymbales explosant l'environnement sonore. On obtient une perte de son son quasi totale.
Certains groupes en ont fait leur arme sonore, par exemple les White Stripes, où Jack White l'utilise abondamment. Mais voilà, il n'y a pas de basse ni de seconde guitare dans ce groupe, du moins en live, la batterie est malgré tout moins présente que dans certains groupes et il faut avouer que le son est tout de même un peu "cra-cra" en live.
Voici ce qu'a écrit Billy Corgan sur son site officiel, il y'a quelques années:
Citation:
Billy Corgan on the EHX Big Muff Pi:“As I am good friends with our space mates (the local band) Catherine, I often stick around for their rehearsals to check out what they are working on and offer unsolicited advice...I notice that in this tight room, they sound very like some kind of jet taking off when they play...the feeling is very exciting, and being the sound whore that I am, I not so slyly interrogate them about how they create this dizzying effect...they all point sheepishly to these little silver boxes on the ground, and tell me that's about it...their vintage pedal, invented by The Electro Harmonix Company, is a simple old school distortion/fuzz device called 'The Big Muff Pi'...manufactured back in the 60's and 70's, it comes in a brushed metal frame, with cheap black knobs (the later models are more easily recognized by the big red Pi symbol stamped on the faceplate)...they sell used for about $75-100, and there are only three critical settings: volume, tone, and sustain (the volume sends the amount of signal to the amp, the tone the amount of bass vs. treble, and the sustain basically means how much fuzz overload you are going to get)...I notice that when the boys play the space hums with an electrical energy that shoots thru my bones and rattles my teeth...it's as if this room is made for this sound...they tell me that the reason they like using the pedal is the deep booming sludge it makes, as the sound within collapses from the intensified pressure, creating a bigger presence when they rock hard (and also managing to hide a few inconsistencies in their playing)...the affect is immediate, as they suddenly appear to me to be a much more dangerous combo than I last remember...somehow the alchemy of the concrete walls, the cool air, and this dumb little pedal make the band sound like God himself is coming down from the heavens...which of course means I have to go get one for myself...
It is almost impossible to describe the intensity of the practice space when the Pumpkins are playing at full tilt with The Big Muffs cranked...the basic dimensions of the room are around 25ft x 15ft, with the basic band circle smack in the middle of the shoebox...when you have possibly the loudest drummer in the world playing with passion and power (not to mention about 10 crash cymbals slicing the air) vs. 2 100watt Marshall half-stacks and one 400watt SVT bass amp, you've got your basic dull roar fully in hand...add this to that the fact that we are playing in a stone bunker with little or no soundproofing and you've got yourself a decent headache blast...but what really puts these tunes over the top, what makes the whole thing ring, and what discreetly pours our liquid brew from sonic anecdote into our own rock and roll riot, is switching to this almost forgotten device...
We are obsessed with technical precision, for it is obvious to us that the tighter we play the heavier we sound...adding the Big Muff pedal into our charge makes us appear wider and meaner than we truly are, but all this beefed up bludgeoning comes at a hidden cost...because the sound is so grossly overblown (the amps sound like they are going to explode at any second), the band sadly doesn't sound tight at all...at first, we figure the sound of the fuzz is going to take some time for us to get used to, and because we are having so much fun playing along with them anyway that it doesn't seem like a big deal...but after only a few days, it becomes obvious that certain aspects of what we do, little things that we take for granted (namely our focused attack), disappear in a haze once we light 'em up...we discuss ditching the pedals for good, naively talking ourselves into thinking that we can just go back to our normal sound and compensate in some other way...we only last a couple of minutes using our old equipment before we fall to a halt, puzzled because we now sound to our confused ears boring!...we are at a crossroads, as we have made a deal with the devil (of demon fuzz) and can't seem to go back...it is a Faustian deal for this most exciting sound that makes us deliver invincibility, but by taking away our detailed intensity, also degenerates us to a common pub band...after some discussion, we unanimously decide the fuzz pedals will have stay, and we will just discover a way, as yet unseen, to make them work...we will just have to practice all the harder...”
Siamese Dream Tour Era:
Ce que j'ai pu comprendre dans cette explication, c'est que Billy Corgan a essayé rapidement de trouver une solution pour les utiliser hors studio.
Comment Corgan a t'il réussi?
En regardant de plus près les racks de Billy Corgan et de James Iha de l'époque on va retrouver 3 pièces majeures du son:
- Marshall JMP-1
- Alesis Compressor 3630
- Mesa Boogie Strategy 500 ou Mesa Boogie 2:90 (pour Iha)
puis
- Mesa Boogie Triaxis preamp (grosse saturation)
Pour Corgan:
- Drawmer DS201 (GATE)
Pour Iha:
- Digitech GSP 2101 (Multi FX)
Le câblage est:
Guitar -> Alesis 3630 -> Marshall JMP-1 -> MB Strategy 500
Le compresseur Alesis est là pour rajouter plus de gain au Marshall.
Selon Lemg du forum
Citation:
Le son rythmique (le fameux son pumpkins) est reproduit sur scène par le biais du marshall jmp-1 couplé au compresseur alesis. Corgan dans son rack utilise la même configuration, mais utilise comme un ampli de puissance un mesa boogie strategy qui tourne en mode demi-volume.Le jmp-1 possède une fonction bass shift qui est très intéressante pour aller chasser sur lesterres de la big muff.
Mellon Collie & The Infinite Sadness Era:
Quasiment le même rack que pour la tournée de Siamese Dream
