Le matériel des guitaristes pro(s) - (Sommaire en page 1)

Sur le pedalboard de gauche, je peux voir clairement :

- Line 6 DL4 Delay Modeler
- Digitech Whammy WH-4
- Electro Harmonix Memory Man w/ Hazarai
Et on dirait que y'a aussi un Deluxe Memory Man normal dans la deuxième rangée, mais là je suis pas sûr. Y'a une boîte avec un switch tout à gauche de la deuxième rangée, sans doute un switcher ou un mute. En haut à droite, on dirait un pédalier midi, ou un truc comme ça.

Pour le pédalier de droite... du delay Boss, un autre Hazarai, un booster MXR Micro Amp on dirait, un Dynacomp ou un Phase 90 aussi. Entre les deux la pédale de volume Boss de base, et à droite en dehors du pédalier un switch Boss et un sampler Boss (SP-303 je crois)


Par contre, on dirait que le matos de Greenwood à pas mal changé. Déjà y'a un Boss RE-20, mais ça ça devait être à l'époque ou son RE-201 était cassé... P'têt qu'il l'a gardé comme backup. Il a remplacé sa vieille pédale de volume Boss par une nouvelle aussi. Le Polychorus a l'air d'avoir dégagé et j'arrive pas à voir si la Shredmaster est toujours là.

En live peut-être (bien que je ne sache pas précisément si c'est le Korg ou le TC sur ce riff ; sur le solo c'est facile, c'est les deux ), mais pas en studio.
Le TC n'existait pas encore à l'époque d'Unforgettable Fire.



Par terre. Ca ressemble à une wah-wah, car un des techniciens de The Edge (Rab McAllistair) a démonté la Kay Fuzztone et l'a remontée dans un châssis de wah-wah, pour des raisons de solidité. Au passage, la pédale a gagné le surnom de Rab Fuzz.

The Edge has a 1971 Fender Strat with a graphite nut, brass bridge saddles, modified Seymour Duncan quarter-pound stack pickup and Strat Tremelo. He also has a 1971 Gibson Explorer, an early 60s Les Paul Deluxe (used only on "Indian Summer Sky") and 1961 Telecaster. Then there's a new Washburn acoustic, and a 1959 Gretsch Falcon, with stereo pickups he rewired to mono, not to mention an Epiphone Elektra lap steel (1939 or '40) which he picked up real cheap in the U.S., and a Yamaha Jazz. His amps are an old Vox AC30 and Mesa Boogie MK-II C. Strings are Superwound by Rotosound.
He selects effects with a Boss SCC 700. These include two Korg SDD 3000 digital delays, a Yamaha R-1000 digital reverb, an MXR pitch transposer, a Yamaha D-15 digital delay, SPX-90 and Rev 7. There are also two Electro-Harmonic Memory Man analog delays: one side is used for the CP70, the other for the lap steel on "Surrender." He uses an MXR compressor and Boss TU-12 Tuner. For keyboards Edge uses a Yamaha DX7 and CP70, and Oberheim OB-8 and DSX. His lap steel and Yamaha CP70 piano, though, go through a Roland JC-120 amp.

"One alternative, which we've done before, is to change the arrangements, which I think is quite valid." The Edge changes guitars a dozen times during the course of the show, according to his technician, Steve Rainford. His main guitars, strung with heavy-gauge Superwounds, are a Fender Stratocaster and a Gibson Explorer. The Fender, customized only with a graphite nut and a Seymour Duncan Quarter-Pound pickup in the treble position, is preferred for its cleaner, top-end sound; the beefier Gibson is used on such songs as "Sunday Bloody Sunday." Effects include two Korg SDD-3000 programmable digital delays, an MXR pitch transposer, two MXR compressors and a Yamaha R-1000 digital reverb, all linked to a Roland SCC-700 programmer. The Edge still uses the Electro-Harmonix Memory Man echo he's had for years, and plugs into a Vox AC30 ("It has a clarity that I've never been able to find in any other amp") and a Roland JC-120, though for the Australian tour he was experimenting with a MESA/Boogie C-series amp.

Early in your career, you used an Electro-Harmonix Memory Man Deluxe for the echo effects. Is that still part of your setup?

That's been put out to pasture at this stage. It was getting so old and battered that our stage manager was having to dismantle it every night to try to get it to work. It was on a life-support system, the poor thing, by the time we stopped using it. Now I've got two Korg SDD-3000 digital echoes. They have the same sort of features as the Electro-Harmonix, but with a digital clarity. At first, I couldn't get used to digital because it is so clean. There were all these frequencies that I hadn't heard for years coming out of my amplifier. And the definition of the repeats was so clear that it was off-putting. What was an atmospheric thing from the old analog suddenly became a very scientific, precise repeat. I never find myself using the far reaches of the Korg's echo potential; I tend to stay within the mid-area, between the parameters of about 50 and 400 milliseconds. I began using the Korg at the start of the War tour.

The Edge's Onstage Equipment

The Edge plugs his Washburn Festival amplified acoustic into a Vox AC-30 combo amp with no effects. His Gibson Explorer and Fenders -- a Stratrocaster and a Telecaster -- run into a Boss SCC-700 Effects Center. This is connected to the Vox AC-30 most of the time, although for certain songs such as "Homecoming" and "Unforgettable Fire," some of the effects go through a Mesa/Boogie MK-IIC amp. The Boogie is also sometimes employed for stereo effects in the PA. (A second Mesa/Boogie is for Bono's guitar.) For most numbers, Edge's guitar effects consist of a Korg SDD-3000 digital delay, an MXR Pitch Transposer and reverb.

At left is a Yamaha CP-70B electric piano with an Oberheim OB-8 keyboard synthesizer on top. The OB-8 is linked via MIDI to a Yamaha DX7 keyboard synthesizer. To the right of the DX7 is an Oberheim DSX sequencer and an Oberheim DX digital drum computer. Next to the DSX and DX is a Roland JC-120 amp (the piano is usually played through an Electro-Harmonix Memory Man echo, which is plugged into the JC-120). The DX is used for a click track for Larry Mullen Jr., and to sync the DSX (the sequencer used on "Unforgettable Fire" and "Bad") to the DX7.

Edge's effects rack contains the following:
2 Korg SDD-3000 digital delays
2 Electro-Harmonix Memory Man echo units
1 Yamaha R1000 Digital Reverb
1 Yamaha D1500 MIDI Digital Delay
1 MXR Pitch Transposer
1 Roland Boss SCC-700 effects center

A custom footswitch board is employed for selecting programs and bypassing the Korg digital delays.

war/unforgettable fire set up jan 85
two korg SDD3000 delays(programs 42,100,140,200,330,400,600ms.
plus custom footswitch to change programs
yamaha R-1000 reverb(four presets,use mainly presets
no2 and no4
boss SDC700 effects selector computer
mxr dyna compressor
mxr pitch transposer four programs octave above and below,seventh
(above and below)
two electro harmonix Deluxe memory man
two boss tu12 tuners
yamaha D1500 midi programmable digital delay(for keyboards)
roland jazz chorus 120 watt
vox ac30 amps
keyboards yamaha DX7, poly-oberheim oba, poly-oberhiem
dsx sequencer-oberheim dx drum machine
yamaha cp70 piano
info from one two testing mag jan 1985

il a un magnetophone ou un repondeur a cote de son stack??

Can you share any insights about your primary instrument, and how you amplify it?
I play custom Dobros made by Gibson. My main one is a roundneck, wood-bodied cutaway. The volume knob is on the top left side, because I’m left-handed, and it’s all I need to control the tone from a Seymour Duncan mini-humbucker that’s voiced to sound like a Danelectro single-coil. I run the signal through a Dunlop Uni-Vibe, a Dunlop 95Q Crybaby wah, and an MXR ’74 Vintage Phase 90 into a Rivera KR55 Knucklehead Reverb powering a Rivera 4x12 and a Rivera Los Lobottom sub cabinet. Achieving the right balance of overdrive while dealing with feedback is different for every instrument. Chris Whitley got incredible results electrifying steel-body resonators, which I only use acoustically onstage.

How so?
Back in the ’80s, I had an Electro-Harmonix Echoflanger mounted on a stand, and I was able to get some really oddball sounds by reaching over and twisting the knobs—including getting the effect selector knob stuck between two positions, which is how I got most of my sounds. I miss quirky pedals like that, so I’m experi-menting with the Electro-Harmonix Flanger Hoax and some other pedals. The only problem with the Hoax is that I can’t get it to do the same thing twice [laughs].

What other pedals are you experimenting with?
I’ve got a Locomofon Fuz-Fabrik made by a couple of guys in Norway. It’s one of those devices that almost sounds like pulling Velcro pieces apart. Another new pedal is the Eventide Time Factor. I’ve got expression pedals connected to it via MIDI so that I can manipulate the delay time and feedback. My plan is to make unusual sounds with it, rather than the typical delay effects that I can already get. I’ve also just started working with the Eventide H8000 Ultra-Harmonizer, which is the big studio processor that Robert uses to create his Soundscapes.

You also recently acquired a Roland VG-99. How are you incorporating that into your rig?
I have three guitar systems. I use the Johnson Millennium 150 amplifier for about 75 percent of what do. I spent years programming it, and it also has a lot of custom software for effects such as backwards sounds and looping. Then there’s the Line 6 Vetta, which gives me sounds that I can slide in separately, or overlap with the Johnson’s sounds. And now, the VG-99 will let me play in altered tunings without bringing additional guitars, as well as get Dobro and other sounds that I couldn’t get otherwise.

Usually, I’m in a band with another guitarist, where I’m sharing the load, and I may even have to hold back a little bit. But in the Trio, all of a sudden it’s like I’ve got wings, and I can fly anywhere I want. As a result, I’m trying to have as many options as possible. A big part of that is looping—which is basically creating a virtual rhythm guitarist, and having him play while I run with the ball.

You mentioned looping patches in the Johnson. Don’t you mostly use a Boomerang for live looping?
The Johnson originally got me into looping, but the Boomerang is my main looper now. It goes into its own system so that Eric and Julie can monitor it separately. Of course, either of the Eventide units could also be used for looping in the future.

What tips can you offer for integrating looping into live performance with other musicians?
First of all, you have to have very good timing, because if you make a loop that’s the least bit off, you’ll have to erase it and record another one. The next thing is monitoring. You have to have a way to separate it out so that your bassist and drummer can hear as much of the loop as they want. We just began experimenting with the Bose L1 system—which is an amazing technology—and if that doesn’t work out, we may go to in-ear monitors.

What strings do you use, and how often do you change them?
I use D’Addario EXL125s. My ritual is to restring the guitar after the sound check as part of my warm up.

How about picks?
I use Ice Pix, which have material on one side that lets me stick them on the surface of the guitar while I’m playing with my fingers. They make a custom .67mm version for me.

How many times have people asked you how you get the elephant sound on “Elephant Talk”?
Enough that if I had a dollar for each instance I could probably buy an elephant. The funny thing is that every time I changed my gear, I had to figure out a new way to do it. If I had to make that sound exactly the way I did originally, I guess I’d have to scramble to get a Big Muff and an Electric Mistress.

How do you get those amazing backwards guitar sounds?
The folks at Johnson created a custom program for me. I’m not aware of any other way to get that sound—which is one reason the Millennium amps are so important. Of course, timing is crucial, and I’ve had to learn how to play ahead of myself, which is a bit tricky. I bring the effect in and out with an expression pedal.

What’s the latest on the Parker Adrian Belew Signature Model guitar?
I think we are getting to the point now where we can consider manufacturing it. I just had another meeting with Parker in Chicago. There have been a lot of hang-ups since the designer of the custom part, Axel Rudich, passed away. It became nearly impossible to reverse engineer what he had done, because he had manufactured so many of the parts himself. But I think we have finally resolved those issues, and in three months we should be able to put the signature guitar into production. It’s an incredible guitar. I can’t say enough good things about it. The Parker Fly Deluxe, period, is revolutionary to such a degree. The feel of it, the way it makes you play better, smoother, its perfectly in tune, there are no dead notes, it weighs four pounds. For the signature model we crammed in every possible electronic thing that you could have in there that’s modern, including the Line 6 Variax system, the Sustainiac system, and MIDI. So the Parker Fly Adrian Belew Signature Model will allow you to do just about everything. It’s got some vacuum cleaner attachments on the back, and a microwave somewhere in there.

How did you get the great compressed sound on the opening riff to “Beat Box Guitar”?
That’s just a sound that I dreamed up with the Line 6 Vetta II amp. It’s a very lo-fi-sounding backwards delay. It almost sounds like it is coming through a two-inch speaker. That’s what causes that squashed sound. And I did it with kind of a wah, which is unusual, as I never use a wah sound—but it worked for that passage.

How did you get the great fuzz-octave sound and the great bass-fuzz sound on “Incompetence and Indifference”?
The fuzz-octave sound is the ZVex Fuzz Factory. That’s exactly when I first got that device. Mr. Vex sent it to me and I was very excited, so I went right into the studio and started making sounds with it, and that’s part of that song. The fuzz bass was, I think, a Fender Jazz Bass through a rackmounted Tech 21 Comptortion. It’s a really lovely device, because it has compression and distortion in the same device, and one effect really matters a lot to the other.

Do you run the Satchurator straight into the JSX clean channel?
Yeah.

Is that your main full-on rock tone on stage?
It is. My basic signal chain is the guitar into the wah, into some kind of octave generating device—such as the Octavio, which I used on the “Musterion” melody—and then into the Satchurator. From there I go into the front of the amp. The JSX has a pretty dynamic clean channel, so if you want to hear mostly the sound of the pedal, keep the channel somewhere between about 0 and 4. If you want some sag, start pushing the channel towards about 6, and it gives you a barely perceptible amount of distortion. I do that when I really, really want to rock with the band. That sort of warms up the sound of the box and gives it more of a vintage tone.

How often do you kick in the JSX’s Crunch or Ultra channels?
It depends on the tour. On couple of tours, those were all I used.

Do you run digital delay in your effects loop?
Yeah. I’ve been using old Boss delay pedals. They can be a little annoying sometimes, but I’ve found that they are more reliable than some others.

On many of your albums your delay times are synched to the groove. Do you do that in concert, too?
Not very often. I’m just sort of setting up something that feels right, and it’s not always correctly timed. It’s just there to set up a feeling. I’ve got one pedal set short, the other set long, and the beauty of that setup is that when they’re both on, they create a sort of a ping-pong-y reverb sound after about four or five repeats.

Do you often run them both at the same time?
Yeah, if it’s a really dry room. But I’m running two JSX heads and 3 bottom cabinets, and one of those heads is running completely dry into one cabinet, so the front-of-house guy can mix in the wet sound as he sees fit to suit the natural ambience of the room, while I just deal with the sound on stage. He’s also getting the direct out that comes out of the JSX—the simulated cabinet signal—which is a really clean, punchy sound.

McLaughlin used his Godin Freeway SA electric guitar on the entire record. The Freeway SA is a humbucker/single-coil/humbucker instrument with a Graph Tech Ghost hexaphonic pickup/ preamp system that feeds a 13-pin Roland GR-series synth connector. The guitar section features a 5-way pickup selector and controls for volume and tone, while the synth section has a volume control. A small toggle switch selects guitar, synth, or both.

“I spent seven months in India, and due to baggage restrictions, I opted to take only the Freeway,” says McLaughlin. “I like its neck and fretboard, as well as the fact that it’s lighter than other guitars, without sacrificing the sustain. The pickups are also very good, and the MIDI captors are excellent.”

McLaughlin plays a considerable amount of synth guitar on Floating Point. He ran the Freeway’s MIDI out to a Roland GI-20 USB interface connected to an Apple Power Mac G5 running Apple Logic Pro 7 with Emagic’s ES2 synthesizer plug-in and IK Multimedia’s AmpliTube 2 for amp modeling.

“I used one tweaked ES2 synth patch for the whole album, simply because I liked the contrast it provided to my electric guitar sound,” says McLaughlin. “Synth guitar puts completely different demands on me. It forces me to use my fingers in different ways and makes me go places I wouldn’t normally go when I play regular electric guitar. There’s also a lyrical side that synth guitar allows me to explore that’s becoming more important to me.”

THE MARS VOLTA

Pas Omar, l'autre : http://flickr.com/photos/gilli(...)es/o/