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

oui exact! du coup si rien n'est branché à celle ci on doit en conclure qu'elle est la première dans la chaine ?

Sinon je vois pas l'intéret de faire un pedalboard si y'a sans arret des branchements à refaire

Kings Of Leon's, video des rigs des guitaristes.

http://www.musicradar.com/news(...)RNEWS

King Of Leon's c'est la famille Followill au complet: 3 frères et 1 cousin sur scène, un cousin guitartech...
Manque plus que les parents au management et les grands parents à l'enregistrement et la production !!!

C'est bien ca mais custom-made

Toutes les Gretsch de Jack White sont custom de toute facon, a part sa White Penguin qui est d'epoque - sale riche

PM: Can you take us through Steve's live rig?
BB: "Sure. He has six Ernie Ball Music Man Luke guitars plus an Ovation Adamas acoustic six-string guitar with him on the road. As for his rig, it is based on a preamp/power amp type configuration and is a three-channel system. Essentially, it means there is a dry centre image and stereo effects left and right. There are a couple of pedals in there just for some gimmicky things, such as a rackmounted Cry Baby and a Phase 90, which is set for a fast rate and only used for, like, one bar of a song, and a little overdrive box that adds a little crunch to his lead sound. And there are a few other things that come between the instrument and the input of the preamp. The preamp is my three-channel preamp called a 3 + tube preamp. And that is primarily the front end.
Because it is a GVCA system, there is no audio that runs out to the front of his position on stage. The GVCA controls the volume to the preamps. His main channel is the second channel of the preamp and is really the basis of probably about 85% of the music. For all his solos, he goes to the third channel, which is voiced with a Marshall-y kind of crunch sound. The overdrive sound of the lead channel is more of a modified Marshall type of sound for more thicker and sustained leads. The pre-volume means that when he pulls back the volume on his volume pedal, it cleans up the gain. And so he has a wide range, and that keeps the signal real pure and clean going into the preamp."
Effects
BB: "The output stage of the preamp then splits and goes into a tremolo device. It also splits into his main delay units, which are Lexicon PCM-70s; one is set for panned delays and the other is set for a circular delay. Those are used in different combinations, depending on what setting he's choosing from the foot controller. There are other augmentative effects too: a TC Electronic M-One; a Boss CE-1 Chorus ensemble that I rackmounted and modified to be used at line level, rather than at instrument level, and which comes after the preamp and gives a little shimmer and warble to the left and right; a Line 6 EFX Mod Pro thing that is set for a Leslie rotating speaker thing, which gets kicked in every now and then — that is a mono thing too, and so hits all three cabinets when it comes on. We also have an MXR Smart Gate in there, but that is rarely used too because the system is really quiet and there is no hum whatsoever in his system. There is gain noise, but there is no hum. All these effects come out of the right and left channels. There are no time-based effects coming out of the centre dry.
If you've turned all the effects off, you'll hear a dry sound across the whole thing. We don't use any reverb or anything like that. It is mainly echo effects. All the effects are mixed in a line mixer (a CAE Dual Stereo Mixer, which I built) and that signal feeds the VHT valve power amps — VHT G2150-C, which we only use half of because it is the dry centre image, and the VHT 62902, which is our left and right for the stereo effects. And they all feed the CAE 2 x 12-inch speaker cabinets. They are closed-back designs with four ports around one of the speakers for a real beefy sound. We just use six speakers miked up by three SM57s that go into the house. And we use Shure wireless systems that feed the front end."

PM: Does Steve pre-program all his effects so he can make simultaneous multiple effect changes, or does he switch everything individually?
BB: "Steve's needs for the show are pretty simple. He uses six presets and that's all. We never ever bank up any other presets. In the past, we used to program the sets and program each song, and have the same delay time and everything, but we have gotten over that. Now, everything is set on their own settings with each device. For example, instead of program changing either one of the PCMs, we'll add them together so you can have both of them come on for solos and things like that. And if Steve wants to make something deeper-sounding in terms of the echoes and stuff, he'll add another one in, rather than program-change an existing one to something else."

The only concession for the shows in Europe is that the band are not going to be able to make as many Schecters with them due to the cost of transportation, although it certainly doesn't sound like they're going to be without. At the time of our interview, Eric was planning on taking 10 or 11, including three spare S1s for Tommy Victor to cope with the rough-as-hell style of his playing. Amp-wise, there may also be changes for the European leg, as they're going to be hiring it all in.
"I'm not totally sure what we're gonna use in Europe," says Eric. "Back here, we were using Crates and Al had a Marshall JTM. Those were great for him. Tommy was using a new transistor Crate — the VTX350H — and I think we're gonna get them over there for everybody, the way it sounds at least for Tommy and Al, but I think they're all gonna play on Crate over there. It's a really nice setup and they're good transistors. I just couldn't believe the sound they're getting for a transistor it's a really cool amp!"
As far as spares go, Eric plans to have spares of every cab and head just as he did in the US.

Whilst Al Jorgensen doesn't use any effects other than what he can get out of his amp, Tommy Victor's pedalboard features a range of stomp boxes, including quite a few DigiTech products, which he is also endorsed by. He currently has a Boss TU-2 Chromatic Tuner, a Boss GE-7 equalizer, a DigiTech DigiDelay, a Dunlop Q95 Wah, a DigiTech Hyper Phase, a DigiTech Multi Chorus and an ISP Decimator pedal for noise reduction. Eric Gormley carries a complete spare pedal board in case they do encounter any problems.
"I'd try and work out if it's one single pedal and I may try and replace it that way," he says, "but the quickest way is to just unplug the pedalboard and plug the new one in as quick as you can just have it ready! That is usually the quickest way to do anything but I have never had that happen yet — everything's been going smooth, the equipment's been working great. I keep it up and that's my job — to make sure it doesn't happen. And it doesn't, so that's a plus!"
In addition to what's available on the pedalboard, on the song 'So What', Eric Gormley manually makes some changes to Tommy Victor's tone using effects built into the Crate head.
"On 'So What' I have to do a couple of little amp changes, changes to the settings on it," he says. "I turn the level down and put the reverb up on it and some levels go down you've got three different channels so I do those changes for him. There were a couple of other songs that I did changes on but we've got it down so that's the only song now, because when you start doing that kind of thing, it can become a problem and we try to eliminate any problems we can. So we keep the changes as minimal as possible but right now we're still having to change it for 'So What', which is the first song of our first encore."
Whilst Jourgensen again keeps things traditional by using a cable when he does play some guitar, Tommy Victor and Sin Quirin use EV's REV wireless system, which is another product that Eric Gormley can do nothing but wax lyrical about.
"Each guitar has its own pack," Eric says. "The REV wireless units are beautiful. They're usually $1500, I think, just for the unit, and like $800 for each pack, but EV give us all that. They're a great unit and I just love them — so user friendly with a clear signal, and they give us a real wide range of frequencies."

du coup on est sur que c'est une whooly mammoth et pas une fuzz facto utilisé en oscillation ?

Nice job fuzzbox ^^

MINISTRY

C'est quoi les guitare blanches ? j'ai vus sur les photos promo, ca semble etre celle de Jourgensen mais j'en sais pas plus.

Al Jourgenson, as well as using a Schecter acoustic when Ministry cover the Rolling Stones' 'Under My Thumb', plays a custom-made, coffin-shaped Schecter that he helped design personally. Both Al and Tommy also both plug in Schecter C1 SheDevils for the classic early Ministry track, 'So What', in which they push and pull the instruments' whammy bar right up into the red.

Before we get to those identical rigs, it's time to talk a little about Quo guitars. Currently, Lloyd is carrying six guitars on tour with him to cover Rick and Francis, and they're all Telecasters. Rick Parfitt's main guitar is his trademark refinished white '62 Tele, which he plays in standard E tuning. His backup is a white '62 Tele, which is tuned to drop-D for tracks such as 'Don't Drive My Car' and 'Whatever You Want', and then tuned back up to standard E by Lloyd as a spare. Rick also has a third guitar, an Esquire Tele, which is tuned to open G with a capo on the second fret for 'Down Down.'
As far as Francis Rossi's axe requirements go, he's also currently playing three Telecasters: a '68 Tele in open G with a capo on the fourth fret for 'Down Down'; another '68 Tele as backup; and his main guitar, one of the most gossiped about six-strings in British rock & roll — his iconic '59 faded and battered old green Tele, bought after the band's first hit record back in 1968. Lloyd explains the ins and outs of this legendary instrument.
"I guess it's a '59," he says. "Leo Fender did actually get hold of it to do some work on it back in the day when he was still alive, and he said the neck was a '59, although I think it was sold as a 1960 or maybe a '61. But there's nothing left on it now apart from the neck and the body that would relate to a Tele. It's a Strat configuration with three lace sensor pickups and a G&L bridge, so there's no through-the-body stringing or anything like that."
One of the more mysterious elements of the green guitar, which Francis Rossi apparently repainted personally with green fence paint, relates to the hole that's been drilled slap-bang through the middle of the body. Although various stories have been perpetuated and circulated over the years regarding the hole's origins, Lloyd believes he has found a fairly plausible explanation, despite the fact that Rossi himself will never quite confirm the real true story.
"A lot of it is done tongue in cheek just to keep the mystery surrounding it!" says Lloyd. "You don't want to give everything away; that's one of the main things about peoples' great guitars isn't it? Keep a little shroud of mystery about it. But as far as I'm aware through talking to a few people, the hole was put in the guitar (and some others) so that back in the day they could put a bike block through them to stop them getting stolen, because they did actually get stolen at one point. But you never know the real story. Francis said it was done as a precursor to putting your lead through your strap so it didn't get pulled out, so it would go through a hole in the body, but I think that's a little bit excessive!"

As mentioned earlier, both Rick Parfitt and Francis Rossi play their Telecasters through pretty much identical rigs, with the one exception being a difference in wireless system, although that might be about to change.
"Francis is quite dyed in the wool with the wireless system," says Lloyd. "He's got an old Samson Concert system that he's used for probably about 15 or 20 years, but it's now basically obsolete. You can't buy any parts for it. So because Rick wasn't as fussy and didn't mind changing, I went out and bought him a new Sennheiser system. And then all the Samson spares that I had I've used to try and keep Francis up to scratch. But it's been a nightmare. I think we're going through our last belt pack now, and that'll be it. But they like what they like and that's another part of the job really, just keeping that kind of thing going."
Amp-wise, the setup for Parfitt and Rossi is completely identical, using a combination of Vox and Marshall heads and cabinets, and a Palmer speaker simulator. "They're very basic really. They both use exactly the same setup," explains Lloyd. "The wireless systems go into a split box that we have built by a guy called Mike Hill, who actually developed the preamp at Marshall. The wireless splits to six outputs and out of that you can drive up to six amps, but what we do is use a Marshall JCM-800 and a Vox AC30, basically. But it's an AC30 built into a Marshall head, so when you look at it on stage they look like they're all Marshall, but it was built by Marshall at the time when they were building all the AC30s. Consequently, you've got a Marshall JCM-800 and a 4 x 12, and there's also a Palmer speaker simulator that sits in the middle of that. Then you've got the AC30 head that runs to an AC30 cabinet, which is off stage buried in a box so you can keep it at a good volume, and that's how the bottom end stays in. When you turn a Strat down or a Tele down, you lose everything, but having that AC30 turned pretty much full up off stage keeps that sort of chug going, but it also keeps the clean sound underneath it."
Both Parfitt and Rossi use minimal effects on their guitars. Both have a Roland GP-8, whilst Parfitt also has a Zoom G7 boost pedal. "Francis uses an old Roland GP-8 that he just uses four presets on," says Lloyd. "One is a straight through sound, one's just got a bit of delay, one's got a bit more drive, and one's got a delay and chorus just for soloing. Rick uses two effects really: a flanger or a chorus, which comes again from a Roland GP-8, and a boost pedal, which is just the G7 graphic, so when he comes to the start of 'Caroline' or whatever all we do is push the level up."

Wes Borland : (Rock Am Ring 2009)