Sujet Interessant: Pourquoi Satriani a laisse tomber Marsall

33 réponses
12 participants
2 462 vues
1 follower

rondecuba

318

Posteur·euse AFfamé·e

Membre depuis 20 ans

Sujet de la discussion Posté le 21/07/2004 à 10:56:11

J'ai trouve cette interview sur le site musician's friends en me documentant sur le marshall 6100 que je cherchais d'occasion.

Si on en crois l'interesse, Marshall est tres loin d'avoir fait des efforts pour le garder comme client. Curieux non?

Guitar.com: Have you retired your Marshall amps?

Satriani: Yeah, they were very problematic. Through the last two or three tours, they'd make weird noises all of a sudden and they wouldn't work, and we couldn't get anyone to really understand the amp problem fully, especially Marshall. Every time we were in England, they would service the amps for us, but it would never quite be the same. It started to really bother me and so did the fact that they routinely said they were not interested in making a modified version of that amp for me. I finally said this is ridiculous. I've only got two of them and they're almost impossible to find. The 6100 model wasn't a very popular Marshall amplifier, and they weren't anywhere near interested in trying to revive it. So I finally said, do I really want to play through amplifiers that have a dwindling supply? There were some problems about it and I thought I could get a better version of it somehow. Once I started talking to Peavey, I realized that I had the ability to do it through James Brown. The largest problem I'd had was that I always record with tube amplifiers in the studio, but when I went out on tour, I was using the smallest tube section of a Marshall head. I was using an orange Boss distortion box to get my gain, and it helped on a number of levels, but there was always this sort of negative that I always tried to circumvent. Then James Brown and the guys at Peavey had a way of giving me the things I was looking for with an all-tube head. So it was like, wow, if you could do that, I'd gladly retire the Marshall stuff.

For a while, I was wondering if maybe I should become a collector of the 6100s, if that's what it's come down to. So James really saved me from that fate because I never really wanted to be a collector. I don't like that whole idea of playing things that are old and antique, and there are only two of them. It gets to me after a while and I thought all these things that I grew up listening to that were great, and you think about Hendrix. The guy would play a Fender guitar and when a new pedal would come out, he'd plug into it. And so I kept thinking that if Jimi were today, he'd be playing some new stuff. He'd be taking advantage of this. So I thought it was better to try and change the world than to try to hold it in some old space and try to cling. It's sort of an egotistical thing to say I'm going to make an amplifier with my name on it, and it's going to be great. It makes you kind of laugh at yourself. But practically speaking, if there's an amp that I know does exactly what I want, and I can get as many of them as I need wherever I am in the world, that's practical.

Afficher le sujet de la discussion

rondecuba

318

Posteur·euse AFfamé·e

Membre depuis 20 ans

11 Posté le 23/07/2004 à 10:49:26

A mon avis, t'a pas completement raison (ni completement tord d'ailleurs :-)

Evidemment, pour les guitaristes "jeune generation" (18-22 ans en gros) qui ecoutent du metal comtemporain, c'est pas marshall qui sera leur marque de predilection.

Maintenant, si on y reflechit, qui a plus d'argent a claquer dans un ampli? Le jeune guitariste de 18-22 ans ou le guitariste de 30-40 ans?

D'un point de vue strictement commercial, il doit souvent etre plus interessant pour une marque de bosser avec un guitariste qui s'adresse a une cible plus restreinte mais plus fortunee qu'avec l'idole d'une foule qui n'a pas encore les moyens d'acheter du haut de gamme.

Gibson a fait des editions limitees d'instruments pour Jimmy Page, Tony Iommi et meme Nikki Sixx. Je vois plutot les trentenaires et au dela clients de ce genre d'instruments.

Pour en revenir au peavey satriani, je ne pense pas qu'il ait cherche l'endorsement a tout prix. Il avait peut etre juste besoin d'un ampli qui lui convenait vraiment.

addagio

5904

Je poste, donc je suis

Membre depuis 21 ans

12 Posté le 23/07/2004 à 18:12:21

Tu crois trop en la bonté humaine mon bon...

il est toujours preferable commercialement parlant de faire dans le petit matos pour la simple et bonne raison que on vend beaoucoup plus de matos à un jeune qui n'y connait rien qu'à un mec qui sait ce qu'il veut, De plus sur le petit matos, y a une mare de dingue donc plus de sous ncore...enfin bon

pour ce qui est de la recherche ou non de modele signature...pourquoi dans ce cas satriani n'aurait pas fit appel à un des nombreux talentueux customisateurs d'ampli pour obtenir le son vraiment désiré?

ca reste un buisiness man...l fait pas dans l'humanitaire

klawn

15703