Hej,
Czy ktos z Was ma ochote pobawic sie i opracowac taki dzial techniczny, w ktorym opisalibysmy sprzet, na ktorym gra Iron Maiden (a moze bedziecie tacy ambitni i opiszecie sprzet na jakim grali na poszczegolnych trasach?:P)
Na czym gra Iron Maiden - do opracowania na strone
Moderator: Administracja i Moderacja SanktuariuM
Re: Na czym gra Iron Maiden - do opracowania na strone
sorki za post troche nie na temat bo nie mam zamiaru opisywac a jedynie zapytac 
na jakich mikrofonach "krzyczy" Bruce?
na jakich mikrofonach "krzyczy" Bruce?-
Garfield
Re: Na czym gra Iron Maiden - do opracowania na strone
To chyba będzie trudne do zrobienia bo prócz napisów na wzmacniaczach i gitarach nic nie można dostrzec a jestem pewien, że wszystko jest jeszcze podrasowane na potrzeby Maidenów. Wiem, że na scenie od wczesnego okresu działalności stały zarówno Hiwatty jak i Marshalle(pierwotnie JMP albo JTM a potem JCM). Harris od pewnego czasu pyka na wzmacholach Gallien Kruger. Gitar jak wiadomo multum przy dominacji Fendera (choć były i Gibsony i romanse z Jacksonami i Ibanezami).A co pomiędzy gitarami i wzmacniaczami to pan Bóg raczy wiedzieć i wszyscy jego święci.
Jest taka stronka http://guitargeek.com/ . Conieco tam piszą:
http://guitargeek.com/rigview/351/ - Adrian
http://guitargeek.com/rigview/353/ - Dave
Jana nie ma....
To już wklejałem kilka razy i jest to stan na 2000 rok ale pan Bóg wie czy prawdę piszą. Najlepiej zapytać Maidenów.
Jest taka stronka http://guitargeek.com/ . Conieco tam piszą:
http://guitargeek.com/rigview/351/ - Adrian
http://guitargeek.com/rigview/353/ - Dave
Jana nie ma....
To już wklejałem kilka razy i jest to stan na 2000 rok ale pan Bóg wie czy prawdę piszą. Najlepiej zapytać Maidenów.
Ostatnio zmieniony śr sie 25, 2004 11:54 pm przez Garfield, łącznie zmieniany 1 raz.
-
Metalophil
- -#Moonchild
- Posty: 1915
- Rejestracja: pn cze 30, 2003 10:21 am
- Skąd: Lublin
Re: Na czym gra Iron Maiden - do opracowania na strone
z tego co pamietam to na pewno Dave i Janick opisywali swoj sprzet(a w przypadku Dave`a jestem pewien ze wymienial efekty) w Q&A na oficjalnej.Garfield pisze:To chyba będzie trudne do zrobienia bo prócz napisów na wzmacniaczach i gitarach nic nie można dostrzec a jestem pewien, że wszystko jest jeszcze podrasowane na potrzeby Maidenów. Wiem, że na scenie od wczesnego okresu działalności stały zarówno Hiwatty jak i Marshalle(pierwotnie JTM a potem JCM). Harris od pewnego czasu pyka na wzmacholach Gallien Kruger. Gitar jak wiadomo multum przy dominacji Fendera (choć były i Gibsony i romanse z Jacksonami i Ibanezami).A co pomiędzy gitarami i wzmacniaczami to pan Bóg raczy wiedzieć i wszyscy jego święci.
Jest taka stronka http://guitargeek.com/ . Conieco tam piszą:
http://guitargeek.com/rigview/351/ - Adrian
http://guitargeek.com/rigview/353/ - Dave
Jana nie ma....
To już wklejałem kilka razy i jest to stan na 2000 rok ale pan Bóg wie czy prawdę piszą. Najlepiej zapytać Maidenów.
Re: Na czym gra Iron Maiden - do opracowania na strone
ja mam wywiad z davem z 96 roku gdzie mowi na czym gra. http://members.lycos.co.uk/hiroszim/STRONA3.JPG - gdzies tam cos powiedzial o tym
Re: Na czym gra Iron Maiden - do opracowania na strone
Brusio pieje do sprzętu SHURE bodajże.
Natomiast w kwestii gitarników:
Iron Maiden
by Lisa Sharken
With the return of frontman Bruce Dickinson and guitarist Adrian Smith resurrecting Iron Maiden’s classic lineup, the group reunited in ’99 for a greatest hits tour that resulted in the creation of a powerful new album, Brave New World [Columbia]. GroundWire got the scoop—direct from bassist Steve Harris and guitarists Dave Murray, Jannick Gers and Adrian Smith—on how the multi-guitar arsenal functions to rejuvenate the group’s sound.
Groundwire: How does having three guitarists in the band change things? Steve Harris: There’s no room for me! [Laughs.]
Dave Murray: We try to keep it so the individual styles are still there. When Adrian came back, he changed some things where he’s now using dropped-D tuning on certain parts, so it gives a bit of depth to some of the passages. We all just try to complement each other and not step on each other’s toes. We’re fortunate because we’re all good friends, so we’re not competing with each other and work well together. It’s like a mini football team, where we’re passing the ball and ultimately, we score the goal. We never actually sat down and worked hard to make that happen, it came together naturally. Things are pretty much open for anyone to add their little bits and melodies amongst the songs, and you can hear that throughout the new album.
Adrian Smith: When I’d played with Bruce on his solo albums, we did a lot of songs in a dropped-D tuning, which is what many new bands are doing for a real heavy sound. So to make things a bit different for Maiden, I relearned all the old songs in that tuning and started playing lots of stuff like “Aces High” and “Wrathchild” in dropped-D. Playing in a lower register than Jannick or Dave creates a thicker sound with a bit more bottom end. I think the band is a lot heavier with three guitars.
Jannick Gerrs: All of the old recordings have lots of guitar parts on them and when you’d go to play live, you’d just pick one part out. You can’t do all the harmonies, you’ve just got to do the one part. There are so many inversions and different octaves you put on an album to make it sound thicker, but know you can’t do that live, even with two guitars. But with three of us, we can do more of those things. So whether it was a higher octave or lower octave or a higher inversion of a chord sequence, we can actually add all that to a song when we play it live. It’s great to have the extra guitar to add that bit of depth and give things a sonic twist.
I think each of us has a very different sound and style, and you can hear those differences in the songs. In the first part of Brave New World, you can hear the three different styles distinctly. I’m playing a lead melody, Dave is playing a stacatto arpeggio thing, and Adrian is playing some glass-like chords across it. Adrian is a more rhythmic guitar player and I’m more of a soloist in that respect—less rhythmic and more off-the-wall. I think Dave has a really smooth guitar sound with a bluesy feel. Everybody plays really well together and we don’t have to put as many things away because the talent and the abilities within the band are very high. We just try to make the songs sound as good as we can by adding what’s needed for the song, rather than overplaying.
GW: What does each player add stylistically and tonally?
JG: I think Adrian is a very creative player and he looks for things to play within the framework of what’s going on. Rather than to crash a G chord, he’d look to play something slightly different that adds to the music. I think the trick is to leave space so that everybody can get own their ideas in and add to the song as best as we can.
DM: I think Jannick tends to play more stuff off the bat. I think we all try to be spontaneous and not become too clinical. We try to keep a lot of feel within the song as opposed to it being more “by the numbers.” All of our solos are improvised, so we don’t always play the same thing. With a lot of the other parts, there’s more of a structure, but during the solos, that’s where we can really let loose. I think that’s really the good thing about music because you’re always trying to push yourself into another level of playing.
AS: I’ve known Dave since we were kids and he’s got a very distinctive style. I remember when he got his first guitar—he used to put on the neck pickup and play solos. He’s got that kind of creamy sound and his own individual style with lots of hammer-ons and a very fluid technique. Jannick has got his own style, too. He’s one of these guys who sort of walks on the edge and he likes to experiment when he’s playing. Jannick is also a very good songwriter, so we’ve got five songwriters in the band now. It doesn’t matter who wrote what, just as long as it rocks and we come out with a great album. You’ve got to be doing it with for the good of the team.
GW: What are your main guitars and how are they set up?
SH: I’ve been using a Fender® Precision Bass® for years. I’ve tried other basses over the years, but I always go back to using P-Basses. It’s a basic design, but it totally does what I need it to do. I’ve got one that’s white with my favorite soccer team’s crest painted on it, which the Fender Custom Shop did for me. That’s the bass that I’ve used for years. It used to be blue with a mirror scratchplate. Before that it was black and it was white when I first got it. So it’s had a few makeovers, but it’s the same one. It’s got a [Custom Shop] Basslines pickup which I use in all of my basses to help them keep a consistent sound, and a Badass II bridge. I like the pickup at about medium height—not too high or low. I like the action set as low as it can go without buzzing and I use Rotosound flatwounds, which is unusual for this kind of music. (a zatem macie dowód z ust Harrisa na to, że jego biały bas z logo WHU to ten sam, który w czasach LAD był niebieski, tyle że "odnowiony")
JG: I have a black Fender Custom Shop Strat® that’s a copy of my original ’66 Strat. It was the main guitar I used on the album and I also have a white ’70s model, too. I like the action pretty high because I don’t want any fret buzz. I use .010-.046-gauge strings and heavy picks.
DM: I’ve been playing Fender guitars for years and my main one is a Strat with Hot Rails and a Floyd Rose tremolo. The newer Fenders are real workhorse guitars that can take the strain of the road and they sound great for what we’re doing. I use a Les Paul®, too, which I played on some of the solos on the record. The Les Paul adds more variety to all the Strat sounds. I like to get underneath the strings so I can bend, so I don’t like the action too low—I prefer it sort of high. I’m using .009s and heavy picks.
AS: I’ve got a Strat with a maple neck and Floyd Rose bridge. It’s just one in a hundred guitars, but it’s a bit special. I don’t really use the single-coils, but use the bridge-position humbucker most of the time. I’ve also got a goldtop Les Paul® that I used on “Bloodbrothers,” but most of the time I use my Strat. I have the action set up quite high these days. I used to set it really low, but I think that it sounds better with higher action, because you get more vibration and sustain. I have the pickups set up as high as they can go without getting caught in the strings. I think that if you can get the guitar as loud as it can go acoustically, when you plug in an amp you’re going to be ahead of the game. I use custom-gauge strings (.009, .011, .016. .024, .036, .046) and heavy picks.
GW: What tips do you have for making the most with a multi-guitar band?
SH: Everyone needs to work around each other and work out parts and tones that fit together naturally. If you work it all out before you go into the studio, then you won’t have any problems. Don’t try to analyze things too much—just play by feel.
AS: Play for the band. Listen to what everyone else is doing and build around the strongest instrument. You’ve got to have cooperation between the members. Give each other space and respect as players.
DM: Try to keep your own identity and go for what you feel. Ultimately, everyone is going to sound different anyway, because the magic comes from your fingers. Make music because you enjoy it, not because it’s a competition.
JG: There are so many different parts that can be played with more instruments, as in an orchestra. Use each instrument to add something different to expand on the songs themselves.
Lisa Sharken is Seymour Duncan’s New York-based artist relations consultant.
Natomiast w kwestii gitarników:
Iron Maiden
by Lisa Sharken
With the return of frontman Bruce Dickinson and guitarist Adrian Smith resurrecting Iron Maiden’s classic lineup, the group reunited in ’99 for a greatest hits tour that resulted in the creation of a powerful new album, Brave New World [Columbia]. GroundWire got the scoop—direct from bassist Steve Harris and guitarists Dave Murray, Jannick Gers and Adrian Smith—on how the multi-guitar arsenal functions to rejuvenate the group’s sound.
Groundwire: How does having three guitarists in the band change things? Steve Harris: There’s no room for me! [Laughs.]
Dave Murray: We try to keep it so the individual styles are still there. When Adrian came back, he changed some things where he’s now using dropped-D tuning on certain parts, so it gives a bit of depth to some of the passages. We all just try to complement each other and not step on each other’s toes. We’re fortunate because we’re all good friends, so we’re not competing with each other and work well together. It’s like a mini football team, where we’re passing the ball and ultimately, we score the goal. We never actually sat down and worked hard to make that happen, it came together naturally. Things are pretty much open for anyone to add their little bits and melodies amongst the songs, and you can hear that throughout the new album.
Adrian Smith: When I’d played with Bruce on his solo albums, we did a lot of songs in a dropped-D tuning, which is what many new bands are doing for a real heavy sound. So to make things a bit different for Maiden, I relearned all the old songs in that tuning and started playing lots of stuff like “Aces High” and “Wrathchild” in dropped-D. Playing in a lower register than Jannick or Dave creates a thicker sound with a bit more bottom end. I think the band is a lot heavier with three guitars.
Jannick Gerrs: All of the old recordings have lots of guitar parts on them and when you’d go to play live, you’d just pick one part out. You can’t do all the harmonies, you’ve just got to do the one part. There are so many inversions and different octaves you put on an album to make it sound thicker, but know you can’t do that live, even with two guitars. But with three of us, we can do more of those things. So whether it was a higher octave or lower octave or a higher inversion of a chord sequence, we can actually add all that to a song when we play it live. It’s great to have the extra guitar to add that bit of depth and give things a sonic twist.
I think each of us has a very different sound and style, and you can hear those differences in the songs. In the first part of Brave New World, you can hear the three different styles distinctly. I’m playing a lead melody, Dave is playing a stacatto arpeggio thing, and Adrian is playing some glass-like chords across it. Adrian is a more rhythmic guitar player and I’m more of a soloist in that respect—less rhythmic and more off-the-wall. I think Dave has a really smooth guitar sound with a bluesy feel. Everybody plays really well together and we don’t have to put as many things away because the talent and the abilities within the band are very high. We just try to make the songs sound as good as we can by adding what’s needed for the song, rather than overplaying.
GW: What does each player add stylistically and tonally?
JG: I think Adrian is a very creative player and he looks for things to play within the framework of what’s going on. Rather than to crash a G chord, he’d look to play something slightly different that adds to the music. I think the trick is to leave space so that everybody can get own their ideas in and add to the song as best as we can.
DM: I think Jannick tends to play more stuff off the bat. I think we all try to be spontaneous and not become too clinical. We try to keep a lot of feel within the song as opposed to it being more “by the numbers.” All of our solos are improvised, so we don’t always play the same thing. With a lot of the other parts, there’s more of a structure, but during the solos, that’s where we can really let loose. I think that’s really the good thing about music because you’re always trying to push yourself into another level of playing.
AS: I’ve known Dave since we were kids and he’s got a very distinctive style. I remember when he got his first guitar—he used to put on the neck pickup and play solos. He’s got that kind of creamy sound and his own individual style with lots of hammer-ons and a very fluid technique. Jannick has got his own style, too. He’s one of these guys who sort of walks on the edge and he likes to experiment when he’s playing. Jannick is also a very good songwriter, so we’ve got five songwriters in the band now. It doesn’t matter who wrote what, just as long as it rocks and we come out with a great album. You’ve got to be doing it with for the good of the team.
GW: What are your main guitars and how are they set up?
SH: I’ve been using a Fender® Precision Bass® for years. I’ve tried other basses over the years, but I always go back to using P-Basses. It’s a basic design, but it totally does what I need it to do. I’ve got one that’s white with my favorite soccer team’s crest painted on it, which the Fender Custom Shop did for me. That’s the bass that I’ve used for years. It used to be blue with a mirror scratchplate. Before that it was black and it was white when I first got it. So it’s had a few makeovers, but it’s the same one. It’s got a [Custom Shop] Basslines pickup which I use in all of my basses to help them keep a consistent sound, and a Badass II bridge. I like the pickup at about medium height—not too high or low. I like the action set as low as it can go without buzzing and I use Rotosound flatwounds, which is unusual for this kind of music. (a zatem macie dowód z ust Harrisa na to, że jego biały bas z logo WHU to ten sam, który w czasach LAD był niebieski, tyle że "odnowiony")
JG: I have a black Fender Custom Shop Strat® that’s a copy of my original ’66 Strat. It was the main guitar I used on the album and I also have a white ’70s model, too. I like the action pretty high because I don’t want any fret buzz. I use .010-.046-gauge strings and heavy picks.
DM: I’ve been playing Fender guitars for years and my main one is a Strat with Hot Rails and a Floyd Rose tremolo. The newer Fenders are real workhorse guitars that can take the strain of the road and they sound great for what we’re doing. I use a Les Paul®, too, which I played on some of the solos on the record. The Les Paul adds more variety to all the Strat sounds. I like to get underneath the strings so I can bend, so I don’t like the action too low—I prefer it sort of high. I’m using .009s and heavy picks.
AS: I’ve got a Strat with a maple neck and Floyd Rose bridge. It’s just one in a hundred guitars, but it’s a bit special. I don’t really use the single-coils, but use the bridge-position humbucker most of the time. I’ve also got a goldtop Les Paul® that I used on “Bloodbrothers,” but most of the time I use my Strat. I have the action set up quite high these days. I used to set it really low, but I think that it sounds better with higher action, because you get more vibration and sustain. I have the pickups set up as high as they can go without getting caught in the strings. I think that if you can get the guitar as loud as it can go acoustically, when you plug in an amp you’re going to be ahead of the game. I use custom-gauge strings (.009, .011, .016. .024, .036, .046) and heavy picks.
GW: What tips do you have for making the most with a multi-guitar band?
SH: Everyone needs to work around each other and work out parts and tones that fit together naturally. If you work it all out before you go into the studio, then you won’t have any problems. Don’t try to analyze things too much—just play by feel.
AS: Play for the band. Listen to what everyone else is doing and build around the strongest instrument. You’ve got to have cooperation between the members. Give each other space and respect as players.
DM: Try to keep your own identity and go for what you feel. Ultimately, everyone is going to sound different anyway, because the magic comes from your fingers. Make music because you enjoy it, not because it’s a competition.
JG: There are so many different parts that can be played with more instruments, as in an orchestra. Use each instrument to add something different to expand on the songs themselves.
Lisa Sharken is Seymour Duncan’s New York-based artist relations consultant.
-
Alexander_The_Great
- -#Prisoner
- Posty: 113
- Rejestracja: wt lip 29, 2003 12:57 pm
- Skąd: Somewhere In Warszawa
Re: Na czym gra Iron Maiden - do opracowania na strone
Tak btw - wkleiłem gdzieś na Sanktuarium wywaid w którym mówią na jakich wiosłąch grają (jakie modele Stratów), jakie grubości strun, oraz jakich kostek i przystawek używają. Zaraz go wkleję.
-
Alexander_The_Great
- -#Prisoner
- Posty: 113
- Rejestracja: wt lip 29, 2003 12:57 pm
- Skąd: Somewhere In Warszawa
Re: Na czym gra Iron Maiden - do opracowania na strone
http://forum.sanktuarium.org/viewtopic.php?t=2731
ten link - do tekstu, który wkleiłem już jakis czas temu
Co do przystawek (pickupów):
ten link - do tekstu, który wkleiłem już jakis czas temu
Co do przystawek (pickupów):
Janick Gers (JB Jr for Strat, QuarterPound for Strat),
Steve Harris (various SD pickups),
Dave Murray (JB Model, Custom Custom, Hot Rails for Strat, Duncan Custom)
Ostatnio zmieniony śr wrz 01, 2004 12:43 pm przez Alexander_The_Great, łącznie zmieniany 1 raz.
Re: Na czym gra Iron Maiden - do opracowania na strone
H:
Ibanez Destroyer
Gibson Les Paul
Gibson SG
Lado 2003 Earth With Rocking Tremolo
Lado 2001 Earth With Floyd Rose Tremolo
Dean Baby ML
Charvel With Floyd Rose Tremolo
Hamer Scarab With Kahler Tremolo
50 watt Marshall heads with
Celestion speakers in 4x12" bottom
Dean Markley Strings (9, 10, 15, 24, 38, 44 gauge)
Peter Cornish Relay Switching Control Unit
Ibanez DDL DM 2000
Lexicorn PCM 60 Reverb Unit
Furman Parametric Equalizer PQ-3
Boss CE-3 Stereo Chorus
Boss DD-2 DDL
Korg WT-12 Tuners
David:
2 custom Jackson Stratocasters 2 custom Fender Stratocasters
1 Gibson Chet Atkins acoustic guitar
3 Marshall JCM 900 amplifiers
1 Mesa Boogie Mk IV
1 Gallien Krueger 2100
6 Marshall 4x12 cabinets with Celestion speakers
2 Marshall 4x12 cabinets with Electrovoice speakers
TC electronic effects processor
1 pair of red fluffy dice
Korg Chromatic Guitar Tuners WT-12
All guitars are fitted with Seymour Duncan, Jeff Beck or Di Marzio
super distortion pickups and Floyd Rose tremolo systems.
Ernie Ball strings (9, 11, 15, 24, 32, 36 gauge)
Ernie Ball Tortoise shell medium picks
Peter Cornish Custom Effects Board: Flanger, MXR Distortion,
MXR Phase 90, Cry Baby Wah-Wah, ADT Chorus, Graphic EQ.
Janko Muzykant:
4 Fender Stratocasters with Seymour Duncan Hot Rails pickups
Ernie Bull Heavy picks and customized strings (.10 - .46 hybrids)
Peter Cornish effects rack inc. Boss graphic equalizer
1 Ibanez tube streamer
8 Marshall amps and 4x12 cabinets with Celestion speakers
Gallien Krueger amps
Korg tuners
Ibanez Destroyer
Gibson Les Paul
Gibson SG
Lado 2003 Earth With Rocking Tremolo
Lado 2001 Earth With Floyd Rose Tremolo
Dean Baby ML
Charvel With Floyd Rose Tremolo
Hamer Scarab With Kahler Tremolo
50 watt Marshall heads with
Celestion speakers in 4x12" bottom
Dean Markley Strings (9, 10, 15, 24, 38, 44 gauge)
Peter Cornish Relay Switching Control Unit
Ibanez DDL DM 2000
Lexicorn PCM 60 Reverb Unit
Furman Parametric Equalizer PQ-3
Boss CE-3 Stereo Chorus
Boss DD-2 DDL
Korg WT-12 Tuners
David:
2 custom Jackson Stratocasters 2 custom Fender Stratocasters
1 Gibson Chet Atkins acoustic guitar
3 Marshall JCM 900 amplifiers
1 Mesa Boogie Mk IV
1 Gallien Krueger 2100
6 Marshall 4x12 cabinets with Celestion speakers
2 Marshall 4x12 cabinets with Electrovoice speakers
TC electronic effects processor
1 pair of red fluffy dice
Korg Chromatic Guitar Tuners WT-12
All guitars are fitted with Seymour Duncan, Jeff Beck or Di Marzio
super distortion pickups and Floyd Rose tremolo systems.
Ernie Ball strings (9, 11, 15, 24, 32, 36 gauge)
Ernie Ball Tortoise shell medium picks
Peter Cornish Custom Effects Board: Flanger, MXR Distortion,
MXR Phase 90, Cry Baby Wah-Wah, ADT Chorus, Graphic EQ.
Janko Muzykant:
4 Fender Stratocasters with Seymour Duncan Hot Rails pickups
Ernie Bull Heavy picks and customized strings (.10 - .46 hybrids)
Peter Cornish effects rack inc. Boss graphic equalizer
1 Ibanez tube streamer
8 Marshall amps and 4x12 cabinets with Celestion speakers
Gallien Krueger amps
Korg tuners
Re: Na czym gra Iron Maiden - do opracowania na strone
http://www.screamforme.com/forum/viewtopic.php?t=2496beaviso pisze:Brusio pieje do sprzętu SHURE bodajże.
-
WICKER MAN
- -#Rainmaker
- Posty: 6594
- Rejestracja: pn mar 31, 2003 3:35 pm
- Skąd: Warszawa
Re: Na czym gra Iron Maiden - do opracowania na strone
Co do Adriana to polecam stronkę http://www.geocities.com/adr_smith/
-
Lord Hypnos
- -#Charlotte
- Posty: 12
- Rejestracja: ndz gru 14, 2003 5:14 pm
- Skąd: Giżycko
Re: Na czym gra Iron Maiden - do opracowania na strone
Wickerman, thx za tę stronkę... Przyznam szczerze, że byłem zaskoczony obecnością ESP wśród sprzętu Adriana... Dotychczas nie zwróciłem na to uwagi
-
Metalophil
- -#Moonchild
- Posty: 1915
- Rejestracja: pn cze 30, 2003 10:21 am
- Skąd: Lublin
Re: Na czym gra Iron Maiden - do opracowania na strone
This list is from the Real Live One album with some stuff from earlier albums
and other sources. As always, any corrections are more than welcome!
Steve Harris - 4 Fender Precision bass guitars with mirrored scratchplates,
bad ass 11 bridges and Seymour Duncan custom SPB1 pick-ups
4 Sony WRT 27 wireless transmitters
2 Raycom/Sony WRR 37 receivers
Peter Cornish custom switching system
Trace Elliot GP12X pre-amps
1 DBX 160 compressor
2 C-1 audio FR707 amplifiers
8 Custom Marshall 4x12" cabinets fitted with EVM 12L speakers
3 Korg WT-12 tuners
Rotosound jazz bass flat wound strings
Spares: Electronic preamps, Carver PM 1-5 and PM1200 power amps
Dave Murray - 2 custom Jackson Stratocasters
2 custom Fender Stratocasters
1 Gibson Chet Atkins acoustic guitar
3 Marshall JCM 900 amplifiers
1 Mesa Boogie Mk IV
1 Gallien Krueger 2100
6 Marshall 4x12 cabinets with Celestion speakers
2 Marshall 4x12 cabinets with Electrovoice speakers
TC electronic effects processor
1 pair of red fluffy dice
Korg Chromatic Guitar Tuners WT-12
All guitars are fitted with Seymour Duncan, Jeff Beck or
Di Marzio super distortion pickups and Floyd Rose tremolo
systems.
Ernie Ball strings (9, 11, 15, 24, 32, 36 gauge)
Ernie Ball Tortoise shell medium picks
Peter Cornish Custom Effects Board: Flanger, MXR Distortion,
MXR Phase 90, Cry Baby Wah-Wah, ADT Chorus, Graphic EQ.
Adrian Smith - Ibanez Destroyer
Gibson Les Paul
Gibson SG
Lado 2003 Earth With Rocking Tremolo
Lado 2001 Earth With Floyd Rose Tremolo
Dean Baby ML
Charvel With Floyd Rose Tremolo
Hamer Scarab With Kahler Tremolo
50 watt Marshall heads with Celestion speakers in 4x12"
bottom
Dean Markley Strings (9, 10, 15, 24, 38, 44 gauge)
Peter Cornish Relay Switching Control Unit
Ibanez DDL DM 2000
Lexicorn PCM 60 Reverb Unit
Furman Parametric Equalizer PQ-3
Boss CE-3 Stereo Chorus
Boss DD-2 DDL
Korg WT-12 Tuners
Nicko McBrain - Sonor custom kit: 24" x 18" Bass drum with Ludwig Speed King
foot pedal, 18" x 19" floor tom, 6.5" x 14" Bell Bronze
custom snare, 6", 8", 12", 13", 14", 15" and 16" hanging
toms, 9-ply beechwood custom shelves
Paiste Signature series cymbals: 13" heavy bell, 16", 17", 19"
and 20" power crash, 20" full crash, 22" crash, two 18"
heavy china, 22" power ride, 1 pair 15" Sound Edge hi-hats
Nicko McBrain Signature Series sticks by Shawstix
Beyer Dynamic mics
Janick Gers - 4 Fender Stratocasters with Seymour Duncan Hot Rails pickups
1 Gibson Chet Atkins acoustic guitar
Ernie Ball heavy picks and customised strings (.10-.46 hybrids)
Peter Cornish effects rack inc. Boss graphic equalizer
Peter Cornish custom treble booster
1 Ibanez tube screamer
8 Marshall amps and 4x12 cabinets with Celestion speakers
Gallien Krueger amps
Korg tuners
Microphones - Drums: Beyer dynamic
Instruments: Beyer dynamic, Shure, AKG
Vocals: Shure Beta 58
Monitors - 10 Turbosound bi-radial wedges
6 Turbosound TMS 3 boxes
4 Tasco/Community sidefill frames
2 Turbosound McBrain specials for drumfill
1 pair P.R.S. personal monitoring headphones
14 channels controlled by Soundcraft series-4 monitor board
Klark Technic and Court equalizers
Effects by Drawmer, DBX and Yamaha
QSC and Carver amplifiers
Power systems by MGM transformers and Claude-Lyons stabilisers
PA system - 96 Turbosound TMS 3 boxes
24 Turbosound sub-lows, in some festivals (e.g. Donington)
augmented with Turbosound "Flashlight" boxes
All are powered by QSC and BSS amplifiers and controlled by
a Soundcraft series-4 mixing desk. BSS crossovers and
Klark Technik equalisers.
Front of house effects by Aphex, Urie, AMS, Eventide, Audio
Design, Yamaha, BSS and DBX compression
and other sources. As always, any corrections are more than welcome!
Steve Harris - 4 Fender Precision bass guitars with mirrored scratchplates,
bad ass 11 bridges and Seymour Duncan custom SPB1 pick-ups
4 Sony WRT 27 wireless transmitters
2 Raycom/Sony WRR 37 receivers
Peter Cornish custom switching system
Trace Elliot GP12X pre-amps
1 DBX 160 compressor
2 C-1 audio FR707 amplifiers
8 Custom Marshall 4x12" cabinets fitted with EVM 12L speakers
3 Korg WT-12 tuners
Rotosound jazz bass flat wound strings
Spares: Electronic preamps, Carver PM 1-5 and PM1200 power amps
Dave Murray - 2 custom Jackson Stratocasters
2 custom Fender Stratocasters
1 Gibson Chet Atkins acoustic guitar
3 Marshall JCM 900 amplifiers
1 Mesa Boogie Mk IV
1 Gallien Krueger 2100
6 Marshall 4x12 cabinets with Celestion speakers
2 Marshall 4x12 cabinets with Electrovoice speakers
TC electronic effects processor
1 pair of red fluffy dice
Korg Chromatic Guitar Tuners WT-12
All guitars are fitted with Seymour Duncan, Jeff Beck or
Di Marzio super distortion pickups and Floyd Rose tremolo
systems.
Ernie Ball strings (9, 11, 15, 24, 32, 36 gauge)
Ernie Ball Tortoise shell medium picks
Peter Cornish Custom Effects Board: Flanger, MXR Distortion,
MXR Phase 90, Cry Baby Wah-Wah, ADT Chorus, Graphic EQ.
Adrian Smith - Ibanez Destroyer
Gibson Les Paul
Gibson SG
Lado 2003 Earth With Rocking Tremolo
Lado 2001 Earth With Floyd Rose Tremolo
Dean Baby ML
Charvel With Floyd Rose Tremolo
Hamer Scarab With Kahler Tremolo
50 watt Marshall heads with Celestion speakers in 4x12"
bottom
Dean Markley Strings (9, 10, 15, 24, 38, 44 gauge)
Peter Cornish Relay Switching Control Unit
Ibanez DDL DM 2000
Lexicorn PCM 60 Reverb Unit
Furman Parametric Equalizer PQ-3
Boss CE-3 Stereo Chorus
Boss DD-2 DDL
Korg WT-12 Tuners
Nicko McBrain - Sonor custom kit: 24" x 18" Bass drum with Ludwig Speed King
foot pedal, 18" x 19" floor tom, 6.5" x 14" Bell Bronze
custom snare, 6", 8", 12", 13", 14", 15" and 16" hanging
toms, 9-ply beechwood custom shelves
Paiste Signature series cymbals: 13" heavy bell, 16", 17", 19"
and 20" power crash, 20" full crash, 22" crash, two 18"
heavy china, 22" power ride, 1 pair 15" Sound Edge hi-hats
Nicko McBrain Signature Series sticks by Shawstix
Beyer Dynamic mics
Janick Gers - 4 Fender Stratocasters with Seymour Duncan Hot Rails pickups
1 Gibson Chet Atkins acoustic guitar
Ernie Ball heavy picks and customised strings (.10-.46 hybrids)
Peter Cornish effects rack inc. Boss graphic equalizer
Peter Cornish custom treble booster
1 Ibanez tube screamer
8 Marshall amps and 4x12 cabinets with Celestion speakers
Gallien Krueger amps
Korg tuners
Microphones - Drums: Beyer dynamic
Instruments: Beyer dynamic, Shure, AKG
Vocals: Shure Beta 58
Monitors - 10 Turbosound bi-radial wedges
6 Turbosound TMS 3 boxes
4 Tasco/Community sidefill frames
2 Turbosound McBrain specials for drumfill
1 pair P.R.S. personal monitoring headphones
14 channels controlled by Soundcraft series-4 monitor board
Klark Technic and Court equalizers
Effects by Drawmer, DBX and Yamaha
QSC and Carver amplifiers
Power systems by MGM transformers and Claude-Lyons stabilisers
PA system - 96 Turbosound TMS 3 boxes
24 Turbosound sub-lows, in some festivals (e.g. Donington)
augmented with Turbosound "Flashlight" boxes
All are powered by QSC and BSS amplifiers and controlled by
a Soundcraft series-4 mixing desk. BSS crossovers and
Klark Technik equalisers.
Front of house effects by Aphex, Urie, AMS, Eventide, Audio
Design, Yamaha, BSS and DBX compression
Re: Na czym gra Iron Maiden - do opracowania na strone
ATG --> cytujesz tekst, który w całości zajmuje 8,22KB. Jakim masz cel w takim rozdymaniu bazy?!
Życze więcej opanowania i możesz zostawic 1 zdanie do ktorego sie odnosisz, a reszte wykasowac
Życze więcej opanowania i możesz zostawic 1 zdanie do ktorego sie odnosisz, a reszte wykasowac
-
kirk_pazdzioch
- -#Prisoner
- Posty: 104
- Rejestracja: pn lut 23, 2004 9:28 pm
- Skąd: Jaworzno
Re: Na czym gra Iron Maiden - do opracowania na strone
Caleb--> ATG nie zauważył, że ponad jego postem znajduje się ten sam text, co on zacytował... 
Pozdro
Pozdro
-
Alexander_The_Great
- -#Prisoner
- Posty: 113
- Rejestracja: wt lip 29, 2003 12:57 pm
- Skąd: Somewhere In Warszawa
Re: Na czym gra Iron Maiden - do opracowania na strone
Caleb - to przez roztagnienie. Fakt. Poza tym ...
Popatrz teraz
paździoch---> Mógłbyś się za mnie nie wypowiadać
Popatrz teraz
paździoch---> Mógłbyś się za mnie nie wypowiadać
Re: Na czym gra Iron Maiden - do opracowania na strone
Czy ktos mialby ochote wszystkie te informacje tutaj podane usystematyzowac?
Re: Na czym gra Iron Maiden - do opracowania na strone
Na marginesie: wczoraj zmarł niejaki Ernie Ball.
Re: Na czym gra Iron Maiden - do opracowania na strone
gitary , mikrofony a nicko to co...?
Premierzy rządzą i i naciągacze Remo
Premierzy rządzą i i naciągacze Remo
Re: Na czym gra Iron Maiden - do opracowania na strone
...oraz talerze Paistesticks pisze:gitary , mikrofony a nicko to co...?
Premierzy rządzą i i naciągacze Remo
....where images and words are running deep...