effectivement c'est moi qui est posté cette vidéo sur Dailymotion
sinon quelques infos concerant le son si "muddy" de rythmeen (zz top pour les ignobles ignorants
Citation:
Rhythmeem sessions—a ’55 Gibson gold-top Les Paul. Stop tailpiece, no Tune-o-matic—just a simple, beat-up, and marvelously performing instrument with P-90 pickups. Ironically, I used that guitar on Rhythmeen for a song called “Hummbucking, Pt. 2.”
Well, speaking of Rhythmeen, there’s a strange tone phenomenon that started back when we cut that record. Brent Magnano out at Guitar Oasis in Huntington Beach, California, had created this custom Marshall for me that was portable enough to throw in the back seat of a car. I believe it started out as a ’68 100-watt head, but they installed an effects loop and put it in a cabinet with two Celestion 10s. It’s a real dark, smoky-sounding thing, and it really packs a punch for such a small unit.
Anyway, I had my guitar signal split through this Marshall combo and a Marshall JMP-1 preamp, which was going direct into the board, and we kept hearing this ghostly sort of delay through the control-room monitors. We couldn’t figure it out because we didn’t have a delay unit or any outboard gear patched in to play tricks on us. We finally realized that the signal from the JMP-1’s speaker-emulator output was hitting the board a little ahead of the signal coming from the mic on the Marshall combo. Electrons travel much faster over wire than they do when a paper speaker and a microphone get in the way, and while the delay time between the higher notes was very close, on the low notes it was wide enough to create a certain fatness that would change organically depending on what I was playing.
I’ve been tuning down as far as low A, which is just berserk, and I’m using a set that goes .008, .010, .012, .020, .030, .040. It’s very comfortable. B.B. King once asked me, “Why are you fighting them big, heavy strings? Don’t you know they make strings that are easier to bend?” I said, “Yeah, but I thought the bigger the string, the bigger the sound.” He said, “Well, just turn that amplifier up.” [Laughs.]
It definitely requires more concentration, because the lower you go, the more spaghetti-like the strings get, and the more monumental a challenge it becomes to play in tune. You really have to keep your attention focused on the fingerings to make it work
Mais bon comme il s'agit de Gibbons ce sont peut etre des infos a prendre avec une certaine reserve.
