Comment se rapprocher du son de ce solo (Mike Oldfield live)

J'attends encore les bugs.

(Puis-je néanmoins me permettre de te dire que tu es particulièrement gonflant - je pense que tu le prendras comme un compliment - avec ça ? Mon utilisation de l'informatique est assez limitée, car je réserve mon geekisme au matériel guitare, alors ce que j'ai me convient, d'autant que je n'ai pas de problème, depuis tout ce temps. Après, je peux comprendre que certains pratiques nécessitent un autre armement. )

Bref, que de modèles! Ceci dit j'ai toujours voulu essayer ce genre de fuzz, ça peut être l'occasion, car c'est aussi ce genre de modèle qu'utilisait Steve Hackett non?

(Là, mollotof a une attaque. Non mais regardez-moi ces touches. )

nan ca me rappelle mon enfance....a 11 ans j'écoutais foxtrot en boucle...

(la ma réputation est définitivemenrt compromise.... )

ou une supa fuzz :

La classe de Peter Gabriel oO

Alors sinon ça se trouve en occaz les fuzz dont on parle là? Il faut compter quel budget?

At the time, Mike was using a complex chain of equipment in order to get his guitar sound. From the guitar, he plugged into a treble booster. Brian May, of Queen fame, explained once that because these devices remove a lot of low end from the sound, it helps the sound to distort more smoothly. They also add extra gain (i.e. they amplify the signal). Mike plugged the output from the treble booster into a small battery powered amplifier made by Vox, which Mike had set up to distort the sound a bit. From there, it went into the microphone amplifier section of a Teac tape recorder, which he overloaded to get some more distortion, and then into a graphic equaliser with the mid-range frequencies boosted. The guitar signal then went back into another channel of the Teac tape machine, which Mike said helped to bring the guitar down to the right level. The output of that was then plugged into the mixing console. From there, it went through a noise gate (a device that reduces the level of a signal, or cuts the signal completely, when the level of the input signal falls below a set threshold) and another graphic equaliser. It was this second graphic equaliser that Mike used if he wanted to change the sound at all. In addition, Mike had a limiter inserted, to stop any unwanted signal peaks.
Mike also had a Fender Twin Reverb amplifier in the studio, to which he sometimes fed the guitar signal from the mixing desk - he'd then record the signal with a microphone. Mike felt (and quite rightly if you ask me...) that doing this added warmth to the sound, helping it to sound more 'real' and less electronic.