PierredesElfes a écrit :
Bon , je risque de filer un coup de vieux a certains ..mais comment , vu le peu de matos a l' epoque , John Fogerty obtenait il ce son " miaulant " , plus particulierement sur ce morceau !
A l' epoque il jouait sur Rickenbaker ou sa les paul custom ...et son ampli etait a premiere vue souvent un " Kustom " ...
Si quelqu' un a un idée pour se rapprocher du son ....
En studio il utilisait aussi des Fender Silverface en plus du Kustom.
On en voit un sur la pochette de Cosmo's Factory d'ailleurs (Deluxe ou Vibrolux).
Sa Rickenbacker 325 était modifiée avec un PAF Gibson en micro chevalet.
Pour moi le son de Fogerty c'était juste sa guitare dans l'ampli poussé à burne, ou avec un peu de la fuzz intégrée à son Kustom parfois.
Mais c'était du roots de chez roots ! J'adore ce groupe.
"Back in the Creedence times, everything was very simple. Creedence started out very much as an acoustic/electric rock’nroll band. Both my brother Tom and I were playing Rickenbacker electrics; I was doing lead on the Rickenbacker. Sometimes that sounded good, like on Green River; other times it sounded a little thin. I also used a black Les Paul custom that I mostly tuned down to D. I tuned every string down a whole step so it gave it a great big resonating sound with those humbuckers—especially with chords. That’s what you hear at the beginning of “Bad Moon Rising.” That big chord strumming—also at the beginning of “Midnight Special,” that great big sound. I basically learned that trick from the old folk artists like Leadbelly. They were getting that big sound on their 12-strings because they tuned down to D. If they tried to tune that guitar up to E, it would blow up! [laughs]
"I loved that sound, so I just started doing it on electric, and it turned out to be this serendipitous happy accident that everybody thought was a great big sound. In the beginning I used a Kustom amp—a solid-state amp from 1968, the old tuck and roll things. I never had colors and sparkles; mine were black. My brother Tom played through that as well. They didn’t break up. They had a lot of headroom so they sounded so clean and clear on strummed rhythms—they sounded great. Then to play a lead I would stomp on the internal fuzztone that Kustom had, it was called the Harmonic Clipper, and it was an absolutely great sound. It didn’t do the tube overdrive thing—it was yin or yang, you know? “SusieQ” is really those two sounds."
John Fogerty, Chapter 26, Artists on recording techniques
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