- letsgofaster a écrit:
- Est ce que quelqu'un aurait gardé par chance les infos concernant le Setzer sound dans ce site qui malheureusement n'est plus actif?
J'ai pu récupérer ça grâce à WayBack machine : http://web.archive.org/web/20050505140351/http://www.cathyandnick.com/Nick_pages/setzer_sound.htm Setzer's Amps
1963 Bassman - 50 watts
- blonde Tolex with wheat grille cover
- 6G6-B unmodified circuit with solid-state rectifier (less sag than tube rectifiers)
- preamp tubes - NOS Chinese 12AX7
- output tubes - NOS Philips 5881
- cabinet - 2 x 12" Celestion V30, 8 ohm, 30 watt speakers with 12 gauge wiring
- normal input
- volume 4 (up to 5 for heavier overdrive)
- treble 10
- bass 4
- presence 10 Guitar cable lead (no wireless)
The trick to the amp sound is to set it just to the point of breakup. With a Gretsch, that happens at 4 to 4.5. At that setting, you can back the volume of the guitar off to clean up the sound or dig in with the pick to get a more distorted sound. The heart of Setzer's sound is overdriven tubes. Pedals will not get you the same sound.
Treble is the name of the game. Full treble, full presence. The bass is rolled off mainly because of the sealed cabinet. Sealing the cabinet tightens up the bass response and too much bass will muddy up the sound. There's plenty of bass in the cabinet without adding more.
The only real modification to the cabinet is replacement of the speaker wires. Heavy gauge (12 gauge?) is used to bring more, unrestricted signal to the speakers. Really an important part of the sound. The speakers are Celestion V30s. That seems to be a widely popular choice for a rock sound. Nice breakup.
Setzer uses long guitar leads for room on the stage, but it also has the effect of eliminating the super high frequencies that can get "ice-picky."
Live, Setzer always uses the Bassman, but in the studio, anything's game. Supros, blonde Showmans, Gretsch Cowboy amps, Princeton, etc... It's impossible to know what's what on his albums ampwise, but the basic sound is the same.Effects
Roland 301 Chorus Echo
- direct sig. - ON
- input #3
- volume - 4
- level -35dB
- chorus off, intensity - 0
- echo - ON
- mode 1 (2 for Sleepwalk)
- volume - 3.5
- repeat rate - 2.5
- intensity - 2.5
- switch on ECHO (not single delay)
- reverb - 0
- bass tone - 5
- treble tone - 5
- output level -25dB
Dunlop TS-1 TremoloVintage Fender Reverb unit (63-64)
It doesn't get much simpler. Setzer's ALWAYS using some delay. It's a quick slap-back, one repeat sound. He uses the tape because of the "grease" it adds. Analog will get that vintage, imperfect sound that digital just can't get. The Roland does add a bit to the overall guitar sound too, by adding just a hint of a top-end overdriven shimmer. The signal coming from the Roland hits the preamps hotter than a straight signal causing a quicker breakup.
In the studio, Setzer also uses an old EchoPlex unit. Great sound, but notoriously unreliable. They're know to break down on a regular basis and parts are hard to get, but their sound is almost unbeatable.
Lately, he's been spotted with the new Fulltone "Tube Tape Echo." Horribly expensive but has a good sound. Very reliable, but one drawback is the delay time isn't quite short enough.Guitars
- 1959 Gretsch Chet Atkins 6120- Gretsch Hot Rods
(prototypes, pre-Fender)- 1957 Gretsch Duo-Je
t (Johnny Kool, Drive Like Lightning, etc...)- TV Jones Spectrasonic
prototype (model for current Gretsch Spectrasonic)
- Sperzel replacement tuners (for weight and easy string changes)
- compound radius
- Dunlop 6105 fretwire (with triangle crown)
- Delrin nut (steep slope for minimal string contact)
- Schaller strap locks
- no pickguard (gets in the way)
- dice knobs
- ABR-1 bridge with Tone-O-Matic aluminum drilled saddles, pinned
- D'Addario XL110 - .010 to .046
- medium gauge plastic picks (pink, black or white)
All of Setzer's setups are done by TV Jones (see below). The nut and saddles deburred and lubed with graphite and oil at every string change. The nut is cut steeply to keep the amount of string contact to a minimum. This are all keys to keeping the Bigsbys in tune. Keep up this regimen you'll never have tuning stabliity problems. The Sperzels make string changes quick and are heavy enough to affect the sound of the guitar. They're simply fatastic.
The necks are replaned for a compound radius - flatter on the lower frets, rounder up high. This keeps the guitar from "fretting out" during bends.
Bridges are pinned to keep them from moving, but not permanently attached. The saddles are aluminum and are drilled front to back with a hole on either side. These add harmonic tone to the guitar that must be heard to be believed. Pickups
- TV Jones Classics
Straight from TV Jones -
"I like to see 5/32" from the top of the cover to the bottom of both E strings for the bridge pickup, and 3/16" from the cover to the bottom of both E strings for the neck pickup. If the neck position is too boomy, I like to see 7/32" on the bass side. This is without fretting any strings. It is not a definite measurement, just a place to start"
These pickups simply can't be overrated. He had one of Setzer's '59 Filtertrons analyzed and duplicated, but also made some key improvements - separate bridge/neck pickup hights, correct string spacing, double potting. Setzer describes it as "taking 50 years of gunk of the pickups."
Setting up these pickups is VERY tricky because they are so sensitive to adjustments. You'll know the sweet spot when you hit it.
75% of Setzer's playing is done with both pickups on. Set the individual volumes on full and use the master volume for changing the volume. Website by Nick
Copyright 2004 . All rights reserved.
Revised: 28 Apr 2005 14:11:28 -0500 .