{"header": true, "time_fetched": "2022-10-02T14:09:23.737250"} {"kind": "youtube#commentThread", "etag": "kyiqm-ySBq7EvXgvpdso_Nsawcc", "id": "Ugw_RI7dWNNAG7cEjTJ4AaABAg", "snippet": {"videoId": "UN4kRi4dAHk", "topLevelComment": {"kind": "youtube#comment", "etag": "2naTNhf4EEr3C6NTH_5qX7CITwE", "id": "Ugw_RI7dWNNAG7cEjTJ4AaABAg", "snippet": {"videoId": "UN4kRi4dAHk", "textDisplay": ".............In June 1984, I had the opportunity to review "Peter Green" Les Paul Standard.A week does not pass without being asked about getting a "Peter Green tone". Usually the tracker has narrowed down his options to one truck or another, and just wants some definitive guidance. Although I am always surprised to hear the question, it actually begs the other. What Peter Green tone?\r
Most players, regardless of stylistic preferences, are aware of peter green's genius.\r
The English guitarist is respected for his incredible tone and fluid vibrato, and his work today is as inspiring as it was 40 years ago. Clearly influenced by Chicago blues greats like Otis Rush and Buddy Guy, Green had vocal and songwriting chops to stand with his American idols. In early 1969, Green and his bandmates performed a stay at Chicago's Chess Studios to do just that. To my ears, a little restrained playing on the resulting Fleetwood Mac in Chicago reveals the raw sound of Green's technique clearer than the jams Mac was known for at their live shows. Regardless of the session, Green's use of multiple download settings - sometimes within a single solo performance - demonstrates his adventurous spirit and desire to extract maximum emotional effect from any instrument he has played. For him, it was about the surroundings \u2013 the song itself.\r
I was lucky enough to see Green and Mac at the New Year's Eve show in Chicago in 1968.\r
The sheer power of their signature loping shuffle could make a believer out of a stone wall. During the show, Green alternated between Les Paul and Stratocaster. At the time, my limited understanding of the inherent differences between the two guitars didn't allow me to discover much difference. In his hands, the instrument made his offer.\r
Fast forward 15 years: In June 1984, I had the opportunity to review Les Paul's "Peter Green"\r
Standard. At the time, it belonged to the late Gary Moore, who supported Rush in town on their Grace Under Pressure tour. We worked together for a while and became friends, so he called me when he came to town. Moore had free time during the day and expressed interest in visiting the workshop. We were both big Peter Green fans and he mentioned that the legendary '59' snapped directly from Green. Moore couldn't wait to show me his guitar \u2013 so much so that when I picked him up at the hotel, he pulled it out of the case before we even got into the car. I remember how surreal it was to stand on Clark Street in Chicago holding that guitar. We grinned like little kids with a new toy.\r
At the store, I gave Gary a tour of the place and introduced him to all the boys.\r
Then Gary and I went to the office to play guitar. I turned on Marshall's '68 plexi and included it in a burst for him. Sitting right across from me, Moore launched into a note-for-note cover of Fleetwood Mac's "Stop Messin' Round." The dual takeover position gave a convincing tone that was recognizable and unique. Moore gave me a guitar and tried to get me to do my best. We traded the axe back and forth to the delight of the whole store.\r
To be honest, when Moore was playing, it sounded similar to Gary Moore even when he was channeling Green's licking.\r
When it was my turn, I did my best to replicate Green's riffs on the instrument that made the recordings from which I learned. Moore managed to be gracious about my playing. Nevertheless, with both guitar pickups selected, we admitted that something special is in tone. If it had been another guitar, we might have stopped there.\r
So far I have owned several original Sunbursts, and our store has bought and sold many more\r
that. But no one had the eerie tone that Green's guitar demonstrated in the middle selector position with both pickups. I always assumed that the hollow tone in certain Mac scans was the result of an out-of-phase state. On guitars, I was able to replicate it to a good extent by reversing the polarity on one of the pickup trucks. With the right instrument now at my fingertips, I suggested to Moore that we dismantle it and determine the cause once and for all. To my delight, Moore took the opportunity.\r
Back on the bench, I carefully removed the wires and\r
hardware. A quick look inside the control cavity revealed that everything was a stash. Hot to hot and minced to ground \u2013 original pots and caps. He didn't seem to be resoldered or disturbed in any meaningful way. Careful removal of pickups gave the same results. The download covers retained their original unobstructed solder joints. Still, I knew that something lurking inside gave this guitar an unusual sound. Removing the download cover also showed nothing unusual.\r
Pickup generates electricity using a magnetic field along with wire coils.\r
Both the wiring and orientation of magnetic poles determine polarity. If you change any of these, change the download stage from the second pickup. So, with the wiring intact, I decided to test the magnetic polarity with a compass. Bingo! The magnet was reversed on one of the trucks. Since the trucks looked undisturbed, I concluded that it must have been a mistake at the factory. Since Gibson made more than ten thousand electric guitars that year, the prospect of a mistake that appeared in Green's guitar seems incredible. But surprisingly, Joe Bonamassa recently acquired an original bang with the same condition!\r
To my surprise, the story of my examination of the Green/Moore guitar has now entered into the surrender surrounding the instrument, which explains the flow\r
Query. As for Peter Green's tone \u2013 here's another sidebar. Shortly after our meeting, Moore got the guitar we made him. It was equipped with Slammer humbuckers designed for me by Steve Blucher. Standing in the store's loading dock, I got a call from Moore, who almost screamed with enthusiasm. "What are the pickup trucks in this guitar?" he demanded. "They sound better than Greenie's guitar!" He asked me to send him half a dozen sets for his other guitars right away. I agreed and hung up, but the depth of his statement didn't sink in for a few days. I laughed when I realized that the tone is often "greener" on the other hand. Jol Dantzig is a noted designer, builder and player who co-founded Hamer Guitars, one of the first boutique guitar brands, in 1973.\r
\r
Today, as director of Dantzig Guitar Design, he continues to help define the art of custom guitar. LADISLAV&ZIVANOVIC.............", "textOriginal": ".............In June 1984, I had the opportunity to review \"Peter Green\" Les Paul Standard.A week does not pass without being asked about getting a \"Peter Green tone\". Usually the tracker has narrowed down his options to one truck or another, and just wants some definitive guidance. Although I am always surprised to hear the question, it actually begs the other. What Peter Green tone?\r\nMost players, regardless of stylistic preferences, are aware of peter green's genius.\r\nThe English guitarist is respected for his incredible tone and fluid vibrato, and his work today is as inspiring as it was 40 years ago. Clearly influenced by Chicago blues greats like Otis Rush and Buddy Guy, Green had vocal and songwriting chops to stand with his American idols. In early 1969, Green and his bandmates performed a stay at Chicago's Chess Studios to do just that. To my ears, a little restrained playing on the resulting Fleetwood Mac in Chicago reveals the raw sound of Green's technique clearer than the jams Mac was known for at their live shows. Regardless of the session, Green's use of multiple download settings - sometimes within a single solo performance - demonstrates his adventurous spirit and desire to extract maximum emotional effect from any instrument he has played. For him, it was about the surroundings \u2013 the song itself.\r\nI was lucky enough to see Green and Mac at the New Year's Eve show in Chicago in 1968.\r\nThe sheer power of their signature loping shuffle could make a believer out of a stone wall. During the show, Green alternated between Les Paul and Stratocaster. At the time, my limited understanding of the inherent differences between the two guitars didn't allow me to discover much difference. In his hands, the instrument made his offer.\r\nFast forward 15 years: In June 1984, I had the opportunity to review Les Paul's \"Peter Green\"\r\nStandard. At the time, it belonged to the late Gary Moore, who supported Rush in town on their Grace Under Pressure tour. We worked together for a while and became friends, so he called me when he came to town. Moore had free time during the day and expressed interest in visiting the workshop. We were both big Peter Green fans and he mentioned that the legendary '59' snapped directly from Green. Moore couldn't wait to show me his guitar \u2013 so much so that when I picked him up at the hotel, he pulled it out of the case before we even got into the car. I remember how surreal it was to stand on Clark Street in Chicago holding that guitar. We grinned like little kids with a new toy.\r\nAt the store, I gave Gary a tour of the place and introduced him to all the boys.\r\nThen Gary and I went to the office to play guitar. I turned on Marshall's '68 plexi and included it in a burst for him. Sitting right across from me, Moore launched into a note-for-note cover of Fleetwood Mac's \"Stop Messin' Round.\" The dual takeover position gave a convincing tone that was recognizable and unique. Moore gave me a guitar and tried to get me to do my best. We traded the axe back and forth to the delight of the whole store.\r\nTo be honest, when Moore was playing, it sounded similar to Gary Moore even when he was channeling Green's licking.\r\nWhen it was my turn, I did my best to replicate Green's riffs on the instrument that made the recordings from which I learned. Moore managed to be gracious about my playing. Nevertheless, with both guitar pickups selected, we admitted that something special is in tone. If it had been another guitar, we might have stopped there.\r\nSo far I have owned several original Sunbursts, and our store has bought and sold many more\r\nthat. But no one had the eerie tone that Green's guitar demonstrated in the middle selector position with both pickups. I always assumed that the hollow tone in certain Mac scans was the result of an out-of-phase state. On guitars, I was able to replicate it to a good extent by reversing the polarity on one of the pickup trucks. With the right instrument now at my fingertips, I suggested to Moore that we dismantle it and determine the cause once and for all. To my delight, Moore took the opportunity.\r\nBack on the bench, I carefully removed the wires and\r\nhardware. A quick look inside the control cavity revealed that everything was a stash. Hot to hot and minced to ground \u2013 original pots and caps. He didn't seem to be resoldered or disturbed in any meaningful way. Careful removal of pickups gave the same results. The download covers retained their original unobstructed solder joints. Still, I knew that something lurking inside gave this guitar an unusual sound. Removing the download cover also showed nothing unusual.\r\nPickup generates electricity using a magnetic field along with wire coils.\r\nBoth the wiring and orientation of magnetic poles determine polarity. If you change any of these, change the download stage from the second pickup. So, with the wiring intact, I decided to test the magnetic polarity with a compass. Bingo! The magnet was reversed on one of the trucks. Since the trucks looked undisturbed, I concluded that it must have been a mistake at the factory. Since Gibson made more than ten thousand electric guitars that year, the prospect of a mistake that appeared in Green's guitar seems incredible. But surprisingly, Joe Bonamassa recently acquired an original bang with the same condition!\r\nTo my surprise, the story of my examination of the Green/Moore guitar has now entered into the surrender surrounding the instrument, which explains the flow\r\nQuery. As for Peter Green's tone \u2013 here's another sidebar. Shortly after our meeting, Moore got the guitar we made him. It was equipped with Slammer humbuckers designed for me by Steve Blucher. Standing in the store's loading dock, I got a call from Moore, who almost screamed with enthusiasm. \"What are the pickup trucks in this guitar?\" he demanded. \"They sound better than Greenie's guitar!\" He asked me to send him half a dozen sets for his other guitars right away. I agreed and hung up, but the depth of his statement didn't sink in for a few days. I laughed when I realized that the tone is often \"greener\" on the other hand. Jol Dantzig is a noted designer, builder and player who co-founded Hamer Guitars, one of the first boutique guitar brands, in 1973.\r\n\r\nToday, as director of Dantzig Guitar Design, he continues to help define the art of custom guitar. LADISLAV&ZIVANOVIC.............", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 0, "publishedAt": "2022-01-07T21:08:13Z", "updatedAt": "2022-01-07T21:08:13Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}} {"kind": "youtube#commentThread", "etag": "eyUeI0tnO1U9pqSYOddW-dHPf3U", "id": "UgyVmLaCW1RD_7tQhOp4AaABAg", "snippet": {"videoId": "UN4kRi4dAHk", "topLevelComment": {"kind": "youtube#comment", "etag": "LxyaPEIMmiUqfsYpwSqWzeAH5Yg", "id": "UgyVmLaCW1RD_7tQhOp4AaABAg", "snippet": {"videoId": "UN4kRi4dAHk", "textDisplay": ".......U lipnju 1984. imao sam priliku pregledati "Peter Green" Les Paul Standard.Tjedan dana ne pro\u0111e bez da me pitaju o dobivanju "Peter Green tona". Obi\u010dno je traga\u010d suzio svoje mogu\u0107nosti na ovaj ili onaj kamionet, i samo \u017eeli neke kona\u010dne smjernice. Iako sam uvijek iznena\u0111en \u010duti pitanje, to zapravo moli drugoga. Koji Peter Green ton?\r
Ve\u0107ina igra\u010da, bez obzira na stilske sklonosti, svjesna je genija Petera Greena.\r
Engleski gitarist cijenjen je zbog nevjerojatnog tona i fluidnog vibrata, a njegov je rad danas inspirativan kao i prije 40 godina. O\u010dito pod utjecajem chicago blues velikana poput Otisa Rusha i Buddyja Guya, Green je imao vokalne i kantautorske kotlete da stane uz svoje ameri\u010dke idole. Po\u010detkom 1969. godine Green i njegovi kolege iz benda obavili su boravak u \u010dika\u0161kom Chess Studiosu kako bi upravo to u\u010dinili. Za moje u\u0161i, malo suzdr\u017eano sviranje na rezultiraju\u0107em Fleetwood Macu u Chicagu otkriva sirovi zvuk Greenove tehnike jasnije od d\u017eemova po kojima je Mac bio poznat na njihovim nastupima u\u017eivo. Bez obzira na sesiju, Greenovo kori\u0161tenje vi\u0161estrukih postavki preuzimanja - ponekad unutar jednog solo nastupa - pokazuje njegov avanturisti\u010dki duh i \u017eelju da izvu\u010de maksimalni emocionalni u\u010dinak iz bilo kojeg instrumenta koji je svirao. Za njega se radilo o okolini \u2013 samoj pjesmi.\r
Imao sam sre\u0107e vidjeti Greena i Maca na novogodi\u0161njoj reviji u Chicagu 1968.\r
\u010cista snaga njihovog potpisa loping shuffle mogao bi napraviti vjernika od kamenog zida. Tijekom emisije Green se izmjenjivao izme\u0111u Les Paula i Stratocastera. U to vrijeme, moje ograni\u010deno razumijevanje inherentnih razlika izme\u0111u dvije gitare nije mi omogu\u0107ilo da otkrijem veliku razliku. U njegovim rukama, instrument je obavio njegovu ponudu.\r
Premotavanje unaprijed 15 godina: U lipnju 1984. imao sam priliku pregledati "Peter Green" Les Paul\r
Standard. U to je vrijeme pripadao pokojnom Garyju Mooreu koji je u gradu podr\u017eavao Rusha na njihovoj turneji Grace Under Pressure. Radili smo zajedno neko vrijeme i postali prijatelji, pa me nazvao kad je do\u0161ao u grad. Moore je imao slobodnog vremena tijekom dana i izrazio interes za posjet radionici. Oboje smo bili veliki fanovi Petera Greena i spomenuo je da je legendarni '59' puknuo direktno od Greena. Moore mi je jedva \u010dekao pokazati gitaru \u2013 toliko da ju je, kad sam ga pokupio u hotelu, izvukao iz ku\u0107i\u0161ta prije nego \u0161to smo uop\u0107e u\u0161li u automobil. Sje\u0107am se kako je bilo nestvarno stajati u ulici Clark u Chicagu dr\u017ee\u0107i tu gitaru. Cerekali smo se kao mala djeca s novom igra\u010dkom.\r
U du\u0107anu sam garyju dao obilazak mjesta i upoznao ga sa svim de\u010dkima.\r
Onda smo Gary i ja oti\u0161li u ured svirati gitaru. Upalio sam Marshallov pleksi iz '68 i uklju\u010dio ga u rafal za njega. Sjede\u0107i to\u010dno preko puta mene, Moore je lansirao u notu-for-note naslovnicu Fleetwood Mac's "Stop Messin' Round." Pozicija dvostrukog preuzimanja dala je uvjerljiv ton koji je bio prepoznatljiv i jedinstven. Moore mi je dao gitaru i nagovarao me da dam sve od sebe. Mijenjali smo sjekiru naprijed-natrag na radost cijele trgovine.\r
Da budem iskren, kad je Moore svirao, zvu\u010dalo je sli\u010dno Garyju Mooreu \u010dak i kad je kanalizirao Greenove lizanje.\r
Kad je bio moj red, dao sam sve od sebe da repliciram Greenove rifove na instrumentu koji je napravio snimke iz kojih sam nau\u010dio. Moore je uspio biti milostiv u vezi mog sviranja. Ipak, s odabrana oba gitarska pickupa, priznali smo da je ne\u0161to posebno u tonu. Da je bila neka druga gitara, mo\u017eda bismo stali tamo.\r
Do sada sam bio vlasnik nekoliko originalnih Sunbursta, a na\u0161a trgovina je kupila i prodala jo\u0161 mnogo\r
toga. Ali nitko nije imao jeziv ton koji je Greenova gitara demonstrirala na poziciji srednjeg selektora s oba pickupa. Uvijek sam pretpostavljao da je \u0161uplji ton na odre\u0111enim Mac snimkama rezultat izvanfaznog stanja. Na gitarama sam ga uspio replicirati u dobroj mjeri preokrenuv\u0161i polaritet na jednom od kamioneta. Sa pravim instrumentom koji mi je sada na dohvat ruke, predlo\u017eio sam Mooreu da ga rastavimo i utvrdimo uzrok jednom zauvijek. Na moje odu\u0161evljenje, Moore je iskoristio priliku.\r
Natrag na klupi, pa\u017eljivo sam uklonio \u017eice i\r
hardver. Brzi pogled unutar kontrolne \u0161upljine otkrio je da je sve zaliha. Vru\u0107e do vru\u0107e i mljeveno do mljeveno \u2013 originalni lonci i kape. Nije se \u010dinilo da je resoldered ili poreme\u0107en na bilo koji smisleni na\u010din. Pa\u017eljivo uklanjanje pickupova dalo je iste rezultate. Poklopci za preuzimanje zadr\u017eali su svoje originalne nesmetane lemne spojeve. Ipak, znao sam da je ne\u0161to \u0161to vreba unutra dalo ovoj gitari neobi\u010dan zvuk. Uklanjanje poklopca za preuzimanje tako\u0111er nije pokazalo ni\u0161ta neobi\u010dno.\r
Pickup stvara struju kori\u0161tenjem magnetskog polja zajedno s zavojnicama \u017eice.\r
I o\u017ei\u010denje i orijentacija magnetskih polova odre\u0111uju polaritet. Ako promijenite bilo koji od ovih, promijenite fazu preuzimanja u odnosu na drugi pickup. Dakle, s o\u017ei\u010denjem netaknutim, odlu\u010dio sam testirati magnetski polaritet kompasom. Bingo! Magnet je obrnut na jednom kamionetu. Budu\u0107i da su kamioneti izgledali nesmetano, zaklju\u010dio sam da je to sigurno bila pogre\u0161ka u tvornici. Budu\u0107i da je Gibson te godine napravio vi\u0161e od deset tisu\u0107a elektri\u010dnih gitara, izgledi za pogre\u0161ku koja se pojavila u Greenovoj gitari \u010dine se nevjerojatnima. Ali za\u010dudo, Joe Bonamassa je nedavno stekao originalni prasak s istim stanjem!\r
Na moje iznena\u0111enje, pri\u010da o mom ispitivanju Green/Moore gitare sada je u\u0161la u predaju koja okru\u017euje instrument, \u0161to obja\u0161njava tok\r
upita. \u0160to se ti\u010de tona Petera Greena \u2013 evo jo\u0161 jedne bo\u010dne trake. Nedugo nakon na\u0161eg sastanka, Moore je dobio gitaru koju smo mu napravili. Bio je opremljen Slammer humbuckers dizajniran za mene Steve Blucher. Stoje\u0107i na utovarnom doku trgovine, nazvao me Moore koji je gotovo vri\u0161tao od entuzijazma. "Koji su kamioneti u ovoj gitari?" zahtijevao je. "Zvu\u010de bolje od Greeniejeve gitare!" Zamolio me da mu odmah po\u0161aljem pola tuceta setova za njegove druge gitare. Pristao sam i poklopio slu\u0161alicu, ali dubina njegove izjave nije potonula nekoliko dana. Smijao sam se kad sam shvatio da je ton \u010desto "zeleniji" s druge strane. Jol Dantzig je zapa\u017eeni dizajner, graditelj i igra\u010d koji je suosniva\u010d Hamer Guitarsa, jednog od prvih butik gitarskih brendova, 1973. godine.\r
\r
Danas, kao direktor Dantzig Guitar Designa, nastavlja pomagati u definiranju umjetnosti prilago\u0111ene gitare. LADISLAV&ZIVANOVIC...\u2026\u2026\u2026.", "textOriginal": ".......U lipnju 1984. imao sam priliku pregledati \"Peter Green\" Les Paul Standard.Tjedan dana ne pro\u0111e bez da me pitaju o dobivanju \"Peter Green tona\". Obi\u010dno je traga\u010d suzio svoje mogu\u0107nosti na ovaj ili onaj kamionet, i samo \u017eeli neke kona\u010dne smjernice. Iako sam uvijek iznena\u0111en \u010duti pitanje, to zapravo moli drugoga. Koji Peter Green ton?\r\nVe\u0107ina igra\u010da, bez obzira na stilske sklonosti, svjesna je genija Petera Greena.\r\nEngleski gitarist cijenjen je zbog nevjerojatnog tona i fluidnog vibrata, a njegov je rad danas inspirativan kao i prije 40 godina. O\u010dito pod utjecajem chicago blues velikana poput Otisa Rusha i Buddyja Guya, Green je imao vokalne i kantautorske kotlete da stane uz svoje ameri\u010dke idole. Po\u010detkom 1969. godine Green i njegovi kolege iz benda obavili su boravak u \u010dika\u0161kom Chess Studiosu kako bi upravo to u\u010dinili. Za moje u\u0161i, malo suzdr\u017eano sviranje na rezultiraju\u0107em Fleetwood Macu u Chicagu otkriva sirovi zvuk Greenove tehnike jasnije od d\u017eemova po kojima je Mac bio poznat na njihovim nastupima u\u017eivo. Bez obzira na sesiju, Greenovo kori\u0161tenje vi\u0161estrukih postavki preuzimanja - ponekad unutar jednog solo nastupa - pokazuje njegov avanturisti\u010dki duh i \u017eelju da izvu\u010de maksimalni emocionalni u\u010dinak iz bilo kojeg instrumenta koji je svirao. Za njega se radilo o okolini \u2013 samoj pjesmi.\r\nImao sam sre\u0107e vidjeti Greena i Maca na novogodi\u0161njoj reviji u Chicagu 1968.\r\n\u010cista snaga njihovog potpisa loping shuffle mogao bi napraviti vjernika od kamenog zida. Tijekom emisije Green se izmjenjivao izme\u0111u Les Paula i Stratocastera. U to vrijeme, moje ograni\u010deno razumijevanje inherentnih razlika izme\u0111u dvije gitare nije mi omogu\u0107ilo da otkrijem veliku razliku. U njegovim rukama, instrument je obavio njegovu ponudu.\r\nPremotavanje unaprijed 15 godina: U lipnju 1984. imao sam priliku pregledati \"Peter Green\" Les Paul\r\nStandard. U to je vrijeme pripadao pokojnom Garyju Mooreu koji je u gradu podr\u017eavao Rusha na njihovoj turneji Grace Under Pressure. Radili smo zajedno neko vrijeme i postali prijatelji, pa me nazvao kad je do\u0161ao u grad. Moore je imao slobodnog vremena tijekom dana i izrazio interes za posjet radionici. Oboje smo bili veliki fanovi Petera Greena i spomenuo je da je legendarni '59' puknuo direktno od Greena. Moore mi je jedva \u010dekao pokazati gitaru \u2013 toliko da ju je, kad sam ga pokupio u hotelu, izvukao iz ku\u0107i\u0161ta prije nego \u0161to smo uop\u0107e u\u0161li u automobil. Sje\u0107am se kako je bilo nestvarno stajati u ulici Clark u Chicagu dr\u017ee\u0107i tu gitaru. Cerekali smo se kao mala djeca s novom igra\u010dkom.\r\nU du\u0107anu sam garyju dao obilazak mjesta i upoznao ga sa svim de\u010dkima.\r\nOnda smo Gary i ja oti\u0161li u ured svirati gitaru. Upalio sam Marshallov pleksi iz '68 i uklju\u010dio ga u rafal za njega. Sjede\u0107i to\u010dno preko puta mene, Moore je lansirao u notu-for-note naslovnicu Fleetwood Mac's \"Stop Messin' Round.\" Pozicija dvostrukog preuzimanja dala je uvjerljiv ton koji je bio prepoznatljiv i jedinstven. Moore mi je dao gitaru i nagovarao me da dam sve od sebe. Mijenjali smo sjekiru naprijed-natrag na radost cijele trgovine.\r\nDa budem iskren, kad je Moore svirao, zvu\u010dalo je sli\u010dno Garyju Mooreu \u010dak i kad je kanalizirao Greenove lizanje.\r\nKad je bio moj red, dao sam sve od sebe da repliciram Greenove rifove na instrumentu koji je napravio snimke iz kojih sam nau\u010dio. Moore je uspio biti milostiv u vezi mog sviranja. Ipak, s odabrana oba gitarska pickupa, priznali smo da je ne\u0161to posebno u tonu. Da je bila neka druga gitara, mo\u017eda bismo stali tamo.\r\nDo sada sam bio vlasnik nekoliko originalnih Sunbursta, a na\u0161a trgovina je kupila i prodala jo\u0161 mnogo\r\ntoga. Ali nitko nije imao jeziv ton koji je Greenova gitara demonstrirala na poziciji srednjeg selektora s oba pickupa. Uvijek sam pretpostavljao da je \u0161uplji ton na odre\u0111enim Mac snimkama rezultat izvanfaznog stanja. Na gitarama sam ga uspio replicirati u dobroj mjeri preokrenuv\u0161i polaritet na jednom od kamioneta. Sa pravim instrumentom koji mi je sada na dohvat ruke, predlo\u017eio sam Mooreu da ga rastavimo i utvrdimo uzrok jednom zauvijek. Na moje odu\u0161evljenje, Moore je iskoristio priliku.\r\nNatrag na klupi, pa\u017eljivo sam uklonio \u017eice i\r\nhardver. Brzi pogled unutar kontrolne \u0161upljine otkrio je da je sve zaliha. Vru\u0107e do vru\u0107e i mljeveno do mljeveno \u2013 originalni lonci i kape. Nije se \u010dinilo da je resoldered ili poreme\u0107en na bilo koji smisleni na\u010din. Pa\u017eljivo uklanjanje pickupova dalo je iste rezultate. Poklopci za preuzimanje zadr\u017eali su svoje originalne nesmetane lemne spojeve. Ipak, znao sam da je ne\u0161to \u0161to vreba unutra dalo ovoj gitari neobi\u010dan zvuk. Uklanjanje poklopca za preuzimanje tako\u0111er nije pokazalo ni\u0161ta neobi\u010dno.\r\nPickup stvara struju kori\u0161tenjem magnetskog polja zajedno s zavojnicama \u017eice.\r\nI o\u017ei\u010denje i orijentacija magnetskih polova odre\u0111uju polaritet. Ako promijenite bilo koji od ovih, promijenite fazu preuzimanja u odnosu na drugi pickup. Dakle, s o\u017ei\u010denjem netaknutim, odlu\u010dio sam testirati magnetski polaritet kompasom. Bingo! Magnet je obrnut na jednom kamionetu. Budu\u0107i da su kamioneti izgledali nesmetano, zaklju\u010dio sam da je to sigurno bila pogre\u0161ka u tvornici. Budu\u0107i da je Gibson te godine napravio vi\u0161e od deset tisu\u0107a elektri\u010dnih gitara, izgledi za pogre\u0161ku koja se pojavila u Greenovoj gitari \u010dine se nevjerojatnima. Ali za\u010dudo, Joe Bonamassa je nedavno stekao originalni prasak s istim stanjem!\r\nNa moje iznena\u0111enje, pri\u010da o mom ispitivanju Green/Moore gitare sada je u\u0161la u predaju koja okru\u017euje instrument, \u0161to obja\u0161njava tok\r\nupita. \u0160to se ti\u010de tona Petera Greena \u2013 evo jo\u0161 jedne bo\u010dne trake. Nedugo nakon na\u0161eg sastanka, Moore je dobio gitaru koju smo mu napravili. Bio je opremljen Slammer humbuckers dizajniran za mene Steve Blucher. Stoje\u0107i na utovarnom doku trgovine, nazvao me Moore koji je gotovo vri\u0161tao od entuzijazma. \"Koji su kamioneti u ovoj gitari?\" zahtijevao je. \"Zvu\u010de bolje od Greeniejeve gitare!\" Zamolio me da mu odmah po\u0161aljem pola tuceta setova za njegove druge gitare. Pristao sam i poklopio slu\u0161alicu, ali dubina njegove izjave nije potonula nekoliko dana. Smijao sam se kad sam shvatio da je ton \u010desto \"zeleniji\" s druge strane. Jol Dantzig je zapa\u017eeni dizajner, graditelj i igra\u010d koji je suosniva\u010d Hamer Guitarsa, jednog od prvih butik gitarskih brendova, 1973. godine.\r\n\r\nDanas, kao direktor Dantzig Guitar Designa, nastavlja pomagati u definiranju umjetnosti prilago\u0111ene gitare. LADISLAV&ZIVANOVIC...\u2026\u2026\u2026.", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 0, "publishedAt": "2022-01-07T21:04:17Z", "updatedAt": "2022-01-07T21:04:17Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}} {"kind": "youtube#commentThread", "etag": "-4kR_6mv5tRZWyGAeJGff5gA6Ho", "id": "Ugzgc3uN2_mvgMV4jYh4AaABAg", "snippet": {"videoId": "UN4kRi4dAHk", "topLevelComment": {"kind": "youtube#comment", "etag": "eEjfQEj9GQUiuMuLH8vDeUCiFcA", "id": "Ugzgc3uN2_mvgMV4jYh4AaABAg", "snippet": {"videoId": "UN4kRi4dAHk", "textDisplay": ".......En juin 1984, j\u2019ai eu l\u2019occasion de revoir \u00ab\u00a0Peter Green\u00a0\u00bb Les Paul Standard.Une semaine ne passe pas sans qu\u2019on me demande d\u2019obtenir un \u00ab\u00a0Peter Green ton\u00a0\u00bb. Habituellement, le tracker a r\u00e9duit ses options \u00e0 un camion ou \u00e0 un autre, et veut juste des conseils d\u00e9finitifs. Bien que je sois toujours surpris d\u2019entendre la question, elle supplie en fait l\u2019autre. Quel ton de Peter Green?\r
La plupart des joueurs, ind\u00e9pendamment des pr\u00e9f\u00e9rences stylistiques, sont conscients du g\u00e9nie de Peter Green.\r
Le guitariste anglais est respect\u00e9 pour son ton incroyable et son vibrato fluide, et son travail d\u2019aujourd\u2019hui est aussi inspirant qu\u2019il l\u2019\u00e9tait il y a 40 ans. Clairement influenc\u00e9 par les grands du blues de Chicago comme Otis Rush et Buddy Guy, Green avait des c\u00f4telettes vocales et d\u2019\u00e9criture pour se tenir aux c\u00f4t\u00e9s de ses idoles am\u00e9ricaines. Au d\u00e9but de 1969, Green et ses camarades de groupe ont effectu\u00e9 un s\u00e9jour aux studios d\u2019\u00e9checs de Chicago pour faire exactement cela. \u00c0 mes oreilles, un peu sobre jouer sur le Fleetwood Mac r\u00e9sultant \u00e0 Chicago r\u00e9v\u00e8le le son brut de la technique de Green plus clair que les confitures Mac \u00e9tait connu pour lors de leurs spectacles en direct. Quelle que soit la session, l\u2019utilisation par Green de plusieurs param\u00e8tres de t\u00e9l\u00e9chargement - parfois au sein d\u2019une seule performance solo - d\u00e9montre son esprit aventureux et son d\u00e9sir d\u2019extraire un effet \u00e9motionnel maximal de n\u2019importe quel instrument qu\u2019il a jou\u00e9. Pour lui, il s\u2019agissait de l\u2019environnement \u2013 de la chanson elle-m\u00eame.\r
J\u2019ai eu la chance de voir Green et Mac au spectacle du Nouvel An \u00e0 Chicago en 1968.\r
La puissance pure de leur signature loping shuffle pourrait faire un croyant hors d\u2019un mur de pierre. Pendant le spectacle, Green alternait entre Les Paul et Stratocaster. \u00c0 l\u2019\u00e9poque, ma compr\u00e9hension limit\u00e9e des diff\u00e9rences inh\u00e9rentes entre les deux guitares ne m\u2019a pas permis de d\u00e9couvrir beaucoup de diff\u00e9rence. Dans ses mains, l\u2019instrument a fait son offre.\r
Avance rapide de 15 ans: En juin 1984, j\u2019ai eu l\u2019occasion de revoir \u00ab\u00a0Peter Green\u00a0\u00bb de Les Paul\r
Standard. \u00c0 l\u2019\u00e9poque, il appartenait au regrett\u00e9 Gary Moore, qui a soutenu Rush en ville lors de leur tourn\u00e9e Grace Under Pressure. Nous avons travaill\u00e9 ensemble pendant un certain temps et sommes devenus amis, alors il m\u2019a appel\u00e9 quand il est venu en ville. Moore avait du temps libre pendant la journ\u00e9e et a exprim\u00e9 son int\u00e9r\u00eat \u00e0 visiter l\u2019atelier. Nous \u00e9tions tous les deux de grands fans de Peter Green et il a mentionn\u00e9 que le l\u00e9gendaire \u00ab\u00a059\u00a0\u00bb s\u2019est cass\u00e9 directement de Green. Moore avait h\u00e2te de me montrer sa guitare - \u00e0 tel point que lorsque je l\u2019ai ramass\u00e9 \u00e0 l\u2019h\u00f4tel, il l\u2019a sorti de l\u2019\u00e9tui avant m\u00eame que nous ne soyons mont\u00e9s dans la voiture. Je me souviens \u00e0 quel point c\u2019\u00e9tait surr\u00e9aliste de se tenir sur Clark Street \u00e0 Chicago tenant cette guitare. Nous avons souri comme de petits enfants avec un nouveau jouet.\r
Au magasin, j\u2019ai fait visiter l\u2019endroit \u00e0 Gary et je l\u2019ai pr\u00e9sent\u00e9 \u00e0 tous les gar\u00e7ons.\r
Puis Gary et moi sommes all\u00e9s au bureau pour jouer de la guitare. J\u2019ai allum\u00e9 le plexi '68 de Marshall et l\u2019ai inclus dans un \u00e9clat pour lui. Assis juste en face de moi, Moore s\u2019est lanc\u00e9 dans une couverture note pour note de \u00ab\u00a0Stop Messin' Round\u00a0\u00bb de Fleetwood Mac. La double position de prise de contr\u00f4le a donn\u00e9 un ton convaincant qui \u00e9tait reconnaissable et unique. Moore m\u2019a donn\u00e9 une guitare et a essay\u00e9 de me faire faire de mon mieux. Nous avons \u00e9chang\u00e9 la hache d\u2019avant en arri\u00e8re pour le plus grand plaisir de tout le magasin.\r
Pour \u00eatre honn\u00eate, quand Moore jouait, cela ressemblait \u00e0 Gary Moore m\u00eame quand il canalisait le l\u00e9chage de Green.\r
Quand ce fut mon tour, j\u2019ai fait de mon mieux pour reproduire les riffs de Green sur l\u2019instrument qui a fait les enregistrements dont j\u2019ai appris. Moore a r\u00e9ussi \u00e0 \u00eatre gracieux dans mon jeu. N\u00e9anmoins, avec les deux micros de guitare s\u00e9lectionn\u00e9s, nous avons admis que quelque chose de sp\u00e9cial est dans le ton. Si cela avait \u00e9t\u00e9 une autre guitare, nous nous aurions peut-\u00eatre arr\u00eat\u00e9 l\u00e0.\r
Jusqu\u2019\u00e0 pr\u00e9sent, j\u2019ai poss\u00e9d\u00e9 plusieurs Sunbursts originaux, et notre magasin en a achet\u00e9 et vendu beaucoup plus\r
cela. Mais personne n\u2019avait le ton \u00e9trange que la guitare de Green a d\u00e9montr\u00e9 dans la position du s\u00e9lecteur du milieu avec les deux micros. J\u2019ai toujours suppos\u00e9 que le ton creux dans certains scans Mac \u00e9tait le r\u00e9sultat d\u2019un \u00e9tat d\u00e9phas\u00e9. Sur les guitares, j\u2019ai pu le reproduire dans une bonne mesure en inversant la polarit\u00e9 sur l\u2019une des camionnettes. Avec le bon instrument maintenant \u00e0 port\u00e9e de main, j\u2019ai sugg\u00e9r\u00e9 \u00e0 Moore que nous le d\u00e9montions et que nous en d\u00e9terminions la cause une fois pour toutes. \u00c0 ma grande joie, Moore a profit\u00e9 de l\u2019occasion.\r
De retour sur le banc, j\u2019ai soigneusement enlev\u00e9 les fils et\r
mat\u00e9riel. Un coup d\u2019\u0153il rapide \u00e0 l\u2019int\u00e9rieur de la cavit\u00e9 de contr\u00f4le a r\u00e9v\u00e9l\u00e9 que tout \u00e9tait une cachette. Chaud \u00e0 chaud et hach\u00e9 au sol - pots et casquettes d\u2019origine. Il ne semblait pas \u00eatre r\u00e9soluv\u00e9 ou d\u00e9rang\u00e9 de mani\u00e8re significative. L\u2019enl\u00e8vement soigneux des micros a donn\u00e9 les m\u00eames r\u00e9sultats. Les couvertures de t\u00e9l\u00e9chargement ont conserv\u00e9 leurs joints de soudure non obstru\u00e9s d\u2019origine. Pourtant, je savais que quelque chose qui se cachait \u00e0 l\u2019int\u00e9rieur donnait \u00e0 cette guitare un son inhabituel. La suppression de la couverture de t\u00e9l\u00e9chargement n\u2019a \u00e9galement rien montr\u00e9 d\u2019inhabituel.\r
Le ramassage g\u00e9n\u00e8re de l\u2019\u00e9lectricit\u00e9 \u00e0 l\u2019aide d\u2019un champ magn\u00e9tique avec des bobines de fil.\r
Le c\u00e2blage et l\u2019orientation des p\u00f4les magn\u00e9tiques d\u00e9terminent tous deux la polarit\u00e9. Si vous modifiez l\u2019un de ces \u00e9l\u00e9ments, modifiez l\u2019\u00e9tape de t\u00e9l\u00e9chargement \u00e0 partir de la deuxi\u00e8me micro. Donc, avec le c\u00e2blage intact, j\u2019ai d\u00e9cid\u00e9 de tester la polarit\u00e9 magn\u00e9tique avec une boussole. Bingo! L\u2019aimant a \u00e9t\u00e9 invers\u00e9 sur l\u2019un des camions. Comme les camions n\u2019avaient pas l\u2019air d\u00e9rang\u00e9s, j\u2019ai conclu que cela devait \u00eatre une erreur \u00e0 l\u2019usine. Depuis que Gibson a fabriqu\u00e9 plus de dix mille guitares \u00e9lectriques cette ann\u00e9e-l\u00e0, la perspective d\u2019une erreur qui est apparue dans la guitare de Green semble incroyable. Mais \u00e9tonnamment, Joe Bonamassa a r\u00e9cemment acquis un bang original avec la m\u00eame condition!\r
\u00c0 ma grande surprise, l\u2019histoire de mon examen de la guitare Green / Moore est maintenant entr\u00e9e dans la reddition entourant l\u2019instrument, ce qui explique le flux\r
Requ\u00eate. En ce qui concerne le ton de Peter Green - voici une autre barre lat\u00e9rale. Peu de temps apr\u00e8s notre r\u00e9union, Moore a obtenu la guitare que nous lui avons faite. Il \u00e9tait \u00e9quip\u00e9 de humbuckers Slammer con\u00e7us pour moi par Steve Blucher. Debout dans le quai de chargement du magasin, j\u2019ai re\u00e7u un appel de Moore, qui a presque cri\u00e9 avec enthousiasme. \u00ab\u00a0Quelles sont les camionnettes dans cette guitare?\u00a0\u00bb demanda-t-il. \u00ab\u00a0Ils sonnent mieux que la guitare de Greenie!\u00a0\u00bb Il m\u2019a demand\u00e9 de lui envoyer une demi-douzaine de sets pour ses autres guitares tout de suite. J\u2019ai accept\u00e9 et j\u2019ai raccroch\u00e9, mais la profondeur de sa d\u00e9claration ne s\u2019est pas enfonc\u00e9e pendant quelques jours. J\u2019ai ri quand j\u2019ai r\u00e9alis\u00e9 que le ton est souvent \u00ab\u00a0plus vert\u00a0\u00bb par contre. Jol Dantzig est un concepteur, constructeur et joueur r\u00e9put\u00e9 qui a cofond\u00e9 Hamer Guitars, l\u2019une des premi\u00e8res marques de guitares boutique, en 1973.\r
\r
Aujourd\u2019hui, en tant que directeur de Dantzig Guitar Design, il continue d\u2019aider \u00e0 d\u00e9finir l\u2019art de la guitare personnalis\u00e9e. LADISLAV&ZIVANOVIC.............", "textOriginal": ".......En juin 1984, j\u2019ai eu l\u2019occasion de revoir \u00ab\u00a0Peter Green\u00a0\u00bb Les Paul Standard.Une semaine ne passe pas sans qu\u2019on me demande d\u2019obtenir un \u00ab\u00a0Peter Green ton\u00a0\u00bb. Habituellement, le tracker a r\u00e9duit ses options \u00e0 un camion ou \u00e0 un autre, et veut juste des conseils d\u00e9finitifs. Bien que je sois toujours surpris d\u2019entendre la question, elle supplie en fait l\u2019autre. Quel ton de Peter Green?\r\nLa plupart des joueurs, ind\u00e9pendamment des pr\u00e9f\u00e9rences stylistiques, sont conscients du g\u00e9nie de Peter Green.\r\nLe guitariste anglais est respect\u00e9 pour son ton incroyable et son vibrato fluide, et son travail d\u2019aujourd\u2019hui est aussi inspirant qu\u2019il l\u2019\u00e9tait il y a 40 ans. Clairement influenc\u00e9 par les grands du blues de Chicago comme Otis Rush et Buddy Guy, Green avait des c\u00f4telettes vocales et d\u2019\u00e9criture pour se tenir aux c\u00f4t\u00e9s de ses idoles am\u00e9ricaines. Au d\u00e9but de 1969, Green et ses camarades de groupe ont effectu\u00e9 un s\u00e9jour aux studios d\u2019\u00e9checs de Chicago pour faire exactement cela. \u00c0 mes oreilles, un peu sobre jouer sur le Fleetwood Mac r\u00e9sultant \u00e0 Chicago r\u00e9v\u00e8le le son brut de la technique de Green plus clair que les confitures Mac \u00e9tait connu pour lors de leurs spectacles en direct. Quelle que soit la session, l\u2019utilisation par Green de plusieurs param\u00e8tres de t\u00e9l\u00e9chargement - parfois au sein d\u2019une seule performance solo - d\u00e9montre son esprit aventureux et son d\u00e9sir d\u2019extraire un effet \u00e9motionnel maximal de n\u2019importe quel instrument qu\u2019il a jou\u00e9. Pour lui, il s\u2019agissait de l\u2019environnement \u2013 de la chanson elle-m\u00eame.\r\nJ\u2019ai eu la chance de voir Green et Mac au spectacle du Nouvel An \u00e0 Chicago en 1968.\r\nLa puissance pure de leur signature loping shuffle pourrait faire un croyant hors d\u2019un mur de pierre. Pendant le spectacle, Green alternait entre Les Paul et Stratocaster. \u00c0 l\u2019\u00e9poque, ma compr\u00e9hension limit\u00e9e des diff\u00e9rences inh\u00e9rentes entre les deux guitares ne m\u2019a pas permis de d\u00e9couvrir beaucoup de diff\u00e9rence. Dans ses mains, l\u2019instrument a fait son offre.\r\nAvance rapide de 15 ans: En juin 1984, j\u2019ai eu l\u2019occasion de revoir \u00ab\u00a0Peter Green\u00a0\u00bb de Les Paul\r\nStandard. \u00c0 l\u2019\u00e9poque, il appartenait au regrett\u00e9 Gary Moore, qui a soutenu Rush en ville lors de leur tourn\u00e9e Grace Under Pressure. Nous avons travaill\u00e9 ensemble pendant un certain temps et sommes devenus amis, alors il m\u2019a appel\u00e9 quand il est venu en ville. Moore avait du temps libre pendant la journ\u00e9e et a exprim\u00e9 son int\u00e9r\u00eat \u00e0 visiter l\u2019atelier. Nous \u00e9tions tous les deux de grands fans de Peter Green et il a mentionn\u00e9 que le l\u00e9gendaire \u00ab\u00a059\u00a0\u00bb s\u2019est cass\u00e9 directement de Green. Moore avait h\u00e2te de me montrer sa guitare - \u00e0 tel point que lorsque je l\u2019ai ramass\u00e9 \u00e0 l\u2019h\u00f4tel, il l\u2019a sorti de l\u2019\u00e9tui avant m\u00eame que nous ne soyons mont\u00e9s dans la voiture. Je me souviens \u00e0 quel point c\u2019\u00e9tait surr\u00e9aliste de se tenir sur Clark Street \u00e0 Chicago tenant cette guitare. Nous avons souri comme de petits enfants avec un nouveau jouet.\r\nAu magasin, j\u2019ai fait visiter l\u2019endroit \u00e0 Gary et je l\u2019ai pr\u00e9sent\u00e9 \u00e0 tous les gar\u00e7ons.\r\nPuis Gary et moi sommes all\u00e9s au bureau pour jouer de la guitare. J\u2019ai allum\u00e9 le plexi '68 de Marshall et l\u2019ai inclus dans un \u00e9clat pour lui. Assis juste en face de moi, Moore s\u2019est lanc\u00e9 dans une couverture note pour note de \u00ab\u00a0Stop Messin' Round\u00a0\u00bb de Fleetwood Mac. La double position de prise de contr\u00f4le a donn\u00e9 un ton convaincant qui \u00e9tait reconnaissable et unique. Moore m\u2019a donn\u00e9 une guitare et a essay\u00e9 de me faire faire de mon mieux. Nous avons \u00e9chang\u00e9 la hache d\u2019avant en arri\u00e8re pour le plus grand plaisir de tout le magasin.\r\nPour \u00eatre honn\u00eate, quand Moore jouait, cela ressemblait \u00e0 Gary Moore m\u00eame quand il canalisait le l\u00e9chage de Green.\r\nQuand ce fut mon tour, j\u2019ai fait de mon mieux pour reproduire les riffs de Green sur l\u2019instrument qui a fait les enregistrements dont j\u2019ai appris. Moore a r\u00e9ussi \u00e0 \u00eatre gracieux dans mon jeu. N\u00e9anmoins, avec les deux micros de guitare s\u00e9lectionn\u00e9s, nous avons admis que quelque chose de sp\u00e9cial est dans le ton. Si cela avait \u00e9t\u00e9 une autre guitare, nous nous aurions peut-\u00eatre arr\u00eat\u00e9 l\u00e0.\r\nJusqu\u2019\u00e0 pr\u00e9sent, j\u2019ai poss\u00e9d\u00e9 plusieurs Sunbursts originaux, et notre magasin en a achet\u00e9 et vendu beaucoup plus\r\ncela. Mais personne n\u2019avait le ton \u00e9trange que la guitare de Green a d\u00e9montr\u00e9 dans la position du s\u00e9lecteur du milieu avec les deux micros. J\u2019ai toujours suppos\u00e9 que le ton creux dans certains scans Mac \u00e9tait le r\u00e9sultat d\u2019un \u00e9tat d\u00e9phas\u00e9. Sur les guitares, j\u2019ai pu le reproduire dans une bonne mesure en inversant la polarit\u00e9 sur l\u2019une des camionnettes. Avec le bon instrument maintenant \u00e0 port\u00e9e de main, j\u2019ai sugg\u00e9r\u00e9 \u00e0 Moore que nous le d\u00e9montions et que nous en d\u00e9terminions la cause une fois pour toutes. \u00c0 ma grande joie, Moore a profit\u00e9 de l\u2019occasion.\r\nDe retour sur le banc, j\u2019ai soigneusement enlev\u00e9 les fils et\r\nmat\u00e9riel. Un coup d\u2019\u0153il rapide \u00e0 l\u2019int\u00e9rieur de la cavit\u00e9 de contr\u00f4le a r\u00e9v\u00e9l\u00e9 que tout \u00e9tait une cachette. Chaud \u00e0 chaud et hach\u00e9 au sol - pots et casquettes d\u2019origine. Il ne semblait pas \u00eatre r\u00e9soluv\u00e9 ou d\u00e9rang\u00e9 de mani\u00e8re significative. L\u2019enl\u00e8vement soigneux des micros a donn\u00e9 les m\u00eames r\u00e9sultats. Les couvertures de t\u00e9l\u00e9chargement ont conserv\u00e9 leurs joints de soudure non obstru\u00e9s d\u2019origine. Pourtant, je savais que quelque chose qui se cachait \u00e0 l\u2019int\u00e9rieur donnait \u00e0 cette guitare un son inhabituel. La suppression de la couverture de t\u00e9l\u00e9chargement n\u2019a \u00e9galement rien montr\u00e9 d\u2019inhabituel.\r\nLe ramassage g\u00e9n\u00e8re de l\u2019\u00e9lectricit\u00e9 \u00e0 l\u2019aide d\u2019un champ magn\u00e9tique avec des bobines de fil.\r\nLe c\u00e2blage et l\u2019orientation des p\u00f4les magn\u00e9tiques d\u00e9terminent tous deux la polarit\u00e9. Si vous modifiez l\u2019un de ces \u00e9l\u00e9ments, modifiez l\u2019\u00e9tape de t\u00e9l\u00e9chargement \u00e0 partir de la deuxi\u00e8me micro. Donc, avec le c\u00e2blage intact, j\u2019ai d\u00e9cid\u00e9 de tester la polarit\u00e9 magn\u00e9tique avec une boussole. Bingo! L\u2019aimant a \u00e9t\u00e9 invers\u00e9 sur l\u2019un des camions. Comme les camions n\u2019avaient pas l\u2019air d\u00e9rang\u00e9s, j\u2019ai conclu que cela devait \u00eatre une erreur \u00e0 l\u2019usine. Depuis que Gibson a fabriqu\u00e9 plus de dix mille guitares \u00e9lectriques cette ann\u00e9e-l\u00e0, la perspective d\u2019une erreur qui est apparue dans la guitare de Green semble incroyable. Mais \u00e9tonnamment, Joe Bonamassa a r\u00e9cemment acquis un bang original avec la m\u00eame condition!\r\n\u00c0 ma grande surprise, l\u2019histoire de mon examen de la guitare Green / Moore est maintenant entr\u00e9e dans la reddition entourant l\u2019instrument, ce qui explique le flux\r\nRequ\u00eate. En ce qui concerne le ton de Peter Green - voici une autre barre lat\u00e9rale. Peu de temps apr\u00e8s notre r\u00e9union, Moore a obtenu la guitare que nous lui avons faite. Il \u00e9tait \u00e9quip\u00e9 de humbuckers Slammer con\u00e7us pour moi par Steve Blucher. Debout dans le quai de chargement du magasin, j\u2019ai re\u00e7u un appel de Moore, qui a presque cri\u00e9 avec enthousiasme. \u00ab\u00a0Quelles sont les camionnettes dans cette guitare?\u00a0\u00bb demanda-t-il. \u00ab\u00a0Ils sonnent mieux que la guitare de Greenie!\u00a0\u00bb Il m\u2019a demand\u00e9 de lui envoyer une demi-douzaine de sets pour ses autres guitares tout de suite. J\u2019ai accept\u00e9 et j\u2019ai raccroch\u00e9, mais la profondeur de sa d\u00e9claration ne s\u2019est pas enfonc\u00e9e pendant quelques jours. J\u2019ai ri quand j\u2019ai r\u00e9alis\u00e9 que le ton est souvent \u00ab\u00a0plus vert\u00a0\u00bb par contre. Jol Dantzig est un concepteur, constructeur et joueur r\u00e9put\u00e9 qui a cofond\u00e9 Hamer Guitars, l\u2019une des premi\u00e8res marques de guitares boutique, en 1973.\r\n\r\nAujourd\u2019hui, en tant que directeur de Dantzig Guitar Design, il continue d\u2019aider \u00e0 d\u00e9finir l\u2019art de la guitare personnalis\u00e9e. LADISLAV&ZIVANOVIC.............", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 0, "publishedAt": "2022-01-07T21:09:14Z", "updatedAt": "2022-01-07T21:09:14Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}