discussion Quel est votre guitariste préféré : attention débat stérile s'abstenir !
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Anonyme
... "nounours" comme pseudo semble doucement s'imposer...
patachew
De toute façon vous avez tous des gouts de chiotte, le seul guitariste valable c'est Malmsteen 
Anonyme
Azzy123 la prochaine fois donne toi la peine de comprendre les propos de ton interlocuteur avant de répondre
C'est promis la prochaine fois j'emploierai plus de synonymes du mot c*c* pour que tu comprennes.
[ Dernière édition du message le 12/10/2010 à 20:23:38 ]
Pretextat
Citation de : patachew
De toute façon vous avez tous des gouts de chiotte,
C'est vrai
Citation :
le seul guitariste valable c'est Malmsteen
C'est faux .
"Il faudrait essayer d'être heureux, ne serait-ce que pour donner l'exemple." Jacques Prévert" .
Anonyme
grozeil
J'ai beau insupporter Sttely Dan, voici ce qu'on peut trouver sur un site concurrent d'AF : 
Comme quoi, on peut écrire des conneries mais être constructif quand même 
STEELY DAN
2003 - matériel live
Walter Becker's setup on the Two Against Nature tour, consisted of two Sadowsky solid-body electrics, a fairly complex effects rack/switching system designed by electronics guru Bob Bradshaw (customaudioelectronics.com), as well as Bogner Ecstasy and Mesa/Boogie Maverick amplifiers. Despite having a rackfull of effects at his disposal (including a Lexicon PCM 80, a Lexicon Reflex, two Roland SE-70s, a CAE Super Tremolo, and more), Becker says he doesn't use that many effects onstage. “The reality is that, most of the time when you are playing in a venue, unless it is a concert hall, there's already more ambience and diffusion and more repeats than you want,” he says. “So you're trying to get clarity rather than lushness.” (There was talk in the Steely Dan camp that Becker's setup would be changing for this tour, but no firm details were available at press time.)
Et aussi
STEELY DAN
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| Guitars When playing with Steely Dan, Jon Herington’s lyrical, melodic approach to the guitar is performed mainly on his Gibson CS336, and occasionally on a Fender Telecaster, Hamer Monaco Elite and a bizarre guitar with bent frets that he calls his ‘Salvador’. The use of the half-acoustic 336 and the Telecaster are in line with Herington having one foot in the jazz and another in the rock camp, but, strangely, he appears to have reversed their uses; the 336 plays the more distorted material, while the Fender is used mainly for more clean playing. “Walter is playing Sadowsky Strats all the time,” explains Herington, “so it works well if I have a different sonic approach than him. This is what led me to using the 336. It has a beautiful, wide range of tone that’s very good for playing Larry Carlton’s solos from the ‘70s and it also works well for jazzy, big fat rhythm guitar voicings, playing big chord changes. It’s the most comfortable lead guitar that I have, and the small body size means that it doesn’t feel as strange when I change to another guitar. “In general, I prefer Gibsons, but Fenders have a certain sound and are more suited for playing clean, funky rhythm guitar, so I use the Telecaster on songs like ‘Show Biz Kids’, ‘I Got The News’ and so on. The Telecaster also complements Walter’s Strat, and sits better in the mix for certain single-note and/or muted-picking lines and R&B. My Tele has the treble pickup rewound to eliminate squealing, and a Van Zandt middle pickup was also added. It’s quite capable of a good solo sound and I play some solos on it, but mostly I find myself going towards humbucker pickups. “I use the Hamer Monaco Elite for the track ‘Godwhacker’. It’s tuned to dropped-D tuning and has a capo. It also serves as a backup for if I break a string on the 336. Hamers are fantastic rock rhythm guitars. There’s something about their focused mid-range that allows them to sit easily in a track. At home I also have a beautiful Hamer Korina Artist and an old Hamer Special with Duncan P-90 pickups that I love, but I don’t use them with Steely Dan. “My favourite electric guitar strings are Ernie Ball Rock ‘N’ Roll (pure nickel wrap), 10-46. Besides the greater ‘bendability’, there’s a certain ‘snap’ that’s only possible with lighter strings. For jazz guitars, I’ll use heavier strings. Contrary to what’s reported on the Internet, I don’t use a wireless anymore. Cables just seem simpler and they also sound better to me. I don’t use rackmount gear any more, so the wireless was an extra piece that didn’t seem worth bothering with.” Amps and effects “I have greatly simplified my on-stage setup over the years of playing with Steely Dan and I can now basically do the job with a guitar, a tuner, a reverb pedal and an amplifier. My amplifiers are a Guytron GT100 and a GT100 F/V, which is an updated version of the same amp. I carry two so I have a spare in case of an emergency. They’re great amps with two power stages — one clean and one dirty — and a beautiful sound. I use them with a single Guytron GT212 cabinet loaded with two different Celestion speakers. One is a Vintage 30 type and the other more a Greenback type with higher power-handling capacity. “For most solos, I go straight to the amp with a tiny bit of reverb from a Boss RV-3 pedal, and that’s it. My pedalboard these days mainly consists of what I call problem solvers. I have a Boss pedal tuner and a volume pedal, so I can mute to tune. I also have a wah-wah pedal, and a boost pedal from Radial Engineering with a buffer. The buffer makes sure that I don’t use too much signal on the way to the amplifier, and I use the boost for when I switch to the Telecaster. I also have a box made by Barber Electronics called a Tone Pump EQ. I normally solo with my treble pickup and set the dirty channel on my Guytron to match that. Very occasionally, I solo with my rhythm pickup, but if I use the dirty channel, it will sound too dark. So when I switch to the rhythm pickup, I go to the clean channel and use the Tone Pump to boost the signal. It’s basically a high-quality clean boost. The pedal imitates what it would sound like if I went back to the amplifier to adjust the controls, because I don’t have time to do that live. But I don’t go for that sound very often. In addition, I have a noise gate, which I don’t normally plug in. Plus I have a tremolo pedal and a couple of delay pedals, but I don’t use them very much either.” The Salvador “The Salvador guitar? It was made for me by Paul Schwartz at Peekamoose Guitars here in New York. It has a chambered Warmoth Les Paul-style body with three Lindy Fralin pickups: an Unbucker for the bridge, a middle Strat-style steel-pole 42 (I think) single coil and a P-92 neck pickup. I tried a five-way pickup selector in the position of one of the tone controls, but it was difficult to use. The guitar now has a master volume close to my hand and three tone controls. The tone control for the Unbucker has a push-pull to switch it to single-coil mode, and the tone control for the middle pickup has a push-pull that allows me to turn it on regardless of the setting of the pickup selector at the top, which has three settings, one for each of the pickups individually. So I now have a wide variety of pickup settings, and it’s the first time I’ve had a guitar that can give me that fat bridge humbucker solo sound and also a convincing rhythm sound that’s ordinarily only available on Fender-style guitars. If I can only take one guitar for a gig, I’ll grab this one before any other. “The reason for the nickname is the neck, which was made by True Temperament in Sweden. The company make guitar necks in three different temperaments. Because the frets are bent, it looks a bit like a neck drawn by Dali, hence its nickname. Basically, TT’s approach is to tune every single note on the guitar individually. My neck is made according to the Thidell formula, which is optimised for guitar keys like A and E and D and G. You can see me play it if you search for videos on YouTube of Steely Dan playing in Red Rock. I’ve decided to put a regular neck again on this guitar, because I find it difficult to use the True Temperament neck live. I’m too used to compensating for the flawed design of normal frets. Also, guitars go out of tune on stage and the TT neck makes it harder for me to identify which string is out, so I don’t have the confidence that I can keep it in tune live as I can with a standard guitar. But I’m having my True Temperament neck put on another guitar for use in the studio, because there is no question that it sounds better in the guitar keys.” Tuning “Even as I use a digital tuner, I actually tune all my guitars slightly differently. Insofar as there’s a general rule, it’s that when using a plain G-string I always tune the string slightly flat. I don’t like flat, but I find that fretted notes will sound right, whereas if the G-string is tuned exactly right on the tuner, fretted notes will always sound sharp when I play chords. Also, if I tune things slightly flat, I can adjust the intonation with the pressure I apply with my finger. I will also sometimes tune the low E a little bit low, because you get perfect fourth with the A-string, and this sounds more beautiful with distortion. When I’m recording, I may tune the guitar differently for each section of the song. The guitar is not a perfect instrument and our ears are sharper than they ever were, and the True Temperament people are really addressing that problem.” |
| Citation: |
| Becker’s setup Becker has long been known for his association with Sadowsky guitars, and since last year there is a Walter Becker signature model featuring a flamed maple top, chambered swamp ash body, custom-made Lollar P-90 pickups with F-spaced pole pieces on the middle and bridge pickups, a Brazilian rosewood fingerboard, locking Sperzel tuners, Gotoh 1089 bridge, and much more. “I’ve played Roger’s [Sadowsky] guitars for a number of years,” elaborates Becker, “and we came up with this idea for a guitar. In fact, Roger has more or less perfected the design of this particular type of guitar. I could add very little to it, except for the setup here and there. I have a couple of them and it’s a fantastic-sounding guitar; a little bit different than the more conventional Strat-like guitars that I have played in the past. The P-90s give a different tone than the humbucking pickups on the Strat-like guitar, but without sacrificing the ‘realness’ of the Strat pickups, for lack of a better phrase. There’s something about Strat pickups that gives you a level of detail and information about the way you are hitting the string, which makes the music more complex and expressive. Once you get used to that, guitars with humbuckers don’t seem as satisfying. “I use a Mesa Boogie Lone Star Special amplifier on stage and very few effects. All I have at the moment is a Demeter optical compressor stomp box and a Boomerang backwards repeat. I have about 400 effects pedals at home that I use in the studio — mostly analogue stuff, though the delay pedals are digital — but it doesn’t really make sense for me to use them live. You’re mainly just fighting for clarity, and the sonic environments in each theatre and on stage are so variable that you don’t want to mess with that. Our other guitar player does a lot of stuff where he changes the sound, so I leave that up to him.” Becker’s above described setup is not only very simple, but also, apparently, rather transient. Herington, the other guitar player, observes, “Walter is changing his live setup all the time. Very often he’s putting in new speakers in different cabinets and changing his effects. For a while he had a Suhr amp and then he had a Tophat, and now it’s definitely the Mesa Boogie. Recently, he’s been cranking up a little bit more than in previous tours, which probably has to do with the P-90s hitting the amp a little louder.” |
Guitarist Jon Herington's rig consists of Gibson ES-335 and ES-336 guitars and a Fender Telecaster and a Hamer Artist Korina. He uses a Guytron GT100 amplifier with a Guytron 2×12 cabinet. He also has a Digital Music Corporation GCX Guitar Audio Switcher to control his stompboxes, which include a Boss EQ pedal, a Boss TU-2 tuner pedal, an Ibanez Modulation Delay pedal (for a delay or a flanging effect), an MXR Phase 90, a Voodoo Labs Tremolo pedal, an MXR DynaComp, an Ibanez TS9 Tube Screamer, a Boss BD-2 Blues Driver (both modified by Robert Keeley), an Ernie Ball volume pedal, and a Real McCoy Wizard Wah.
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Anonyme
Grosse tuerie ce morceau de Steely Dan, et le chorus de sitar.... 
gromeul
J'aime bien Steely Dan moi 
...
Anonyme
10358 avis - tous constructifs, forcément - j'avoue ne pas avoir eu le courage de me les tartiner intégralement.
Le guitariste qui m'a fait aimer cet instrument dès... pfiouuuuuuu... 1978 - ça ne nous rajeunit pas, les gars - c'est "Buck Dharma":
Je compte, et oui ça fait 32 piges que j'ai toujours la banane à réécouter chacune de ses notes sur le double-album 33T (les minots, passez votre chemin, vous ne savez sans doute pas de quoi on parle, là 
) du fameux "On Your Feet Or On Your Knees". Un album qui est à la musique ce que le resto gastronomique est à la bouffe: on en sort aussi content que repu.
grozeil
Buck Dharma, voilà un guitariste sous estimé et bordel, c'est un sacré gars et un super compositeur aussi. J'ai eu la chance de voir Blue Oyster Cult il y a deux ans, grand grand souvenir! 
Mon projet principal, KREPYSKYL
Mes ventes : Cioks DC5 - Rockboard 4.1 + MOD - Pedaltrain Metro 20
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