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

Here is a board we just did for Anthrax/Damned Things guitarist Rob Caggiano. Its centered arounf the Musicom Labs switcher and all pedals are in front of the Fryette amps he uses. The Musicom also does the channel switching on the Fryette. Standout on this board was the Death By Audio Interstellar Overdrive Deluxe. Very cool pedal.

DWEEZIL ZAPPA

les strokes en studio

je pense que chez les strokes c'est le couple pédale/ampli qui est important (plus que les réglages de la pédale),c'est à dire blues deville+ jelyll and hyde.

Were you conscious of the guitar sounds you were trying to create? Or did it really not matter to you?

Iommi: Every time I’m questioned about this, it’s been confusing for me. It’s just something that came out of me that was totally different because it was like doomy and the riffs were a bit frightening. And you know, it was something that I felt. It’s really a mystical thing. I was always trying to improve the guitar sound all the time and for many years I worked on that. For Paranoid, I was using basically the SG and the Laneys. Everybody else was using HiWatts and Marshalls but I liked Laneys. I really didn’t have an idea for a specific tone. But I thought I got a good guitar sound on that album; I was happy with it.

Were they any specific settings you used?

Basically, I set the presence, middle and treble on 10 with no bass whatsoever. The guitar volume was usually set on full and the three-way toggle switch was set on the up position for chording and in the treble spot for soloing.

Any other pedals or devices?

rangemaster_iommiFor treble boost, I used a Rangemaster unit that had been reworked by my roadies [lots of big-time guitarists used, and still use, this unit, and the photo is supposedly of the actual unit Tony used -WT]. I used a wah-wah, a Rotosound box, and various boosters and phasers. For some of the solos, I used a Fender amp.

What was so special about the Laneys?

First of all, they were free! They gave them to us. Secondly, I liked working with them to get the sound I wanted from them. I never rested; I always kept trying to get it better or get this to do that. It used to drive everybody else mad as well ’cause I’d always want to get out for soundchecks. I always had to try this and that. That’s the way I was because I was always trying to improve the sound. And I would never accept that that’s how it’s gotta be and that’s it, you know? That’s probably why it got me in trouble, trying to get guitar companies to do this and do that. A nightmare. I tried to get them to make me an amp with a preamp. When I got the Laneys, I used to overload the inputs to give it more boost. That’s how I got those sounds on Paranoid.

Your choice of an SG was also a little bit off the beaten path inasmuch as everybody else was playing Les Pauls and Stratocasters.

Yeah, that’s right. I could never use a Les Paul because it was too big for me, too bulky in the back. It never felt comfortable. But I did use a white Les Paul. I did “Paranoid” on a Les Paul, an old one. And I used a black Les Paul, a Black Beauty, just to try something different than the SG. But that was the first and last time I used a Les Paul. I could never get the hang of it; I always wanted to but I could never do it. I could never get that sound that everybody else used to get. I remember there was this kid who used to jam with us around that time and he used one of my Les Pauls and plugged into my amp and he got that Les Paul sound. I thought, “Bloody hell!” I used to use a Fender. I actually started the first album with a Strat. We worked on “Wicked World” but it went wrong and I had this SG, which I had never used. It was just sitting there and I thought, “Oh, I’d rather use this.”

Was it a stock Gibson?

I replaced the pickups with specially built low-feedback pickups. I also put polyurethane on the neck, which resists corrosion of the wood and helps prevent the frets from wearing away. The frets themselves were filed down and I replaced the plastic tuning pegs with metal ones. I had a bridge built to raise the strings higher than usual; the height of the bridge prevented the lightweight strings from constantly rattling against the fretboard. On recording the album: For some of the songs on the album, I’d play rhythm and go straight into the solo. And then maybe I’d do some chords behind it afterwards. And then other times I’d try the guitar solo but what I didn’t want to do was keep doing them and doing them and doing them. I wanted to keep the freshness of it.

Pffff...un ampli ou même 3 amplis pour des amplis de secours ok mais à quoi ça sert d'avoir tout ça?
Il les met en série?

Parce que là c'est sûrement le côté de la scène donc ils ne sont pas là pour frimer.

Pffff...un ampli ou même 3 amplis pour des amplis de secours ok mais à quoi ça sert d'avoir tout ça?
Il les met en série?

Parce que là c'est sûrement le côté de la scène donc ils ne sont pas là pour frimer.

The Tony Iommi live rig consists of the following constituent parts:-

1) The speakers

The main stage sound comes from eight Laney straight fronted 4 x 12" speaker cabinets. These cabinets are mounted in four steel frames. The cabs are loaded with Celestion G12H loudspeakers. The cabs have been modified to take Neutrik Speakon connectors in parallel with 1/4" jacks.

There are also eight 2 x 12" wedges custom made by Laney distributed around the stage powered from within the guitar set-up. Along with a pair of earlier made but similar wedges for the drums, these serve as guitar monitors for Tony and the rest of the band to 'lock on' to a pure guitar sound as they move around the stage. These wedges are loaded with Celestion G12 75T loudspeakers.

2) The amplification

Each of the 4 x 12" cabs is driven by one of eight Laney GH 100 TI amplifiers. These are the Tony Iommi signature models. (See elsewhere on the website for the history). The GH 100 TI is an all valve (tube) 100 watt amplifier head. The amplifier is designed in such a way that the power amp section can be used independently of its pre-amp section. One of the heads is designated the master head and its pre-amp drives all eight heads as slave power amplifiers. See below for how this is configured. The output tubes used are the TAD EL 34STR, which have proved to be the best of all tested.

All of the monitor wedge speakers are powered by HH V800 power amplifiers, driven via an HH EQ 125 graphic equaliser, from one of the output sections of the Pete Cornish control rack.

3) The signal routing and control

At the heart of the system is a custom built signal routing and control unit from Pete Cornish. At the front end, the guitar plugs in. At the back end, the final guitar signal is fed out to all the power amps.

The guitar signal input can be switched between cable and radio sources. If a wireless system currently used, is the Shure ULX P. After many years of using cables, this is the only unit that Tony has felt happy with.

After the guitar input there are A/B switches for guitar swapping. Then there are 4 in-line relay switched effect send & return loops. Following them are 4 side-chain relay switched effect send & return loops. Following them are another 2 in-line effect send & return loops. Following them are the mute switch, dry mute switch and output boost controls for the various outputs that the Pete Cornish device has.
The first three in-line loops enable a wah, a compressor and an octave divider. Currently, these devices are a Tycobrahe Parapedal wah, a Drawmer LX20 compressor and either the Boss or Digitech stomp box octave dividers.

The fourth loop is the pre-amplifier of the master amp head. The send from the routing rack goes into the front high input of the head, and the return comes from the effects send of the head. The dry signal then continues through the unit with portions being tapped off for, and mixed back in from, the 4 side-chain effect loops. These are a short slap-back delay from a Korg SDD 1000, a longer delay from another Korg SDD 1000, a chorus from a Korg DL 8000 R multi-tap delay and a combination of effects as required from a Peavey Addverb III.

Next are two more in-line loops enabling a graphic equaliser and a Rocktron Guitar Silencer unit. All the signal cabling within the routing system is run as balanced line resulting in a significant drop of background noise compared to the previous system, it is not usually necessary to switch the Guitar Silencer in line. The graphic EQ in the system is an MXR stereo 15 band rack mount model, used in mono. This is the final unit before the output section that sends the signal to all the power amps. The purpose of this final unit is to iron out the differences in sound on stage due to the differing auditoria that Sabbath perform in.

After these devices the signal is fed to the power amp sections of all eight GH 100 TI amp heads for the main 4 x 12"s and a series of HH V 800 stereo power amps for the wedge monitors.

There is a remote Pete Cornish foot pedal board that houses parallel control of most of the effects loops and also the Tycobrahe Parapedal wah.