{"id":10004376,"date":"2025-12-26T09:55:00","date_gmt":"2025-12-26T08:55:00","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/fr\/?p=10004376"},"modified":"2025-12-19T13:57:08","modified_gmt":"2025-12-19T12:57:08","slug":"matos-iron-maiden","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/fr\/inspiration\/matos-iron-maiden\/","title":{"rendered":"Le Matos d’Iron Maiden \u25b7 le son d\u2019une institution britannique ! \ud83e\udd18"},"content":{"rendered":"\n

Zoom sur le matos d’Iron Maiden : 50 ans d\u00e9j\u00e0 que le bassiste Steve Harris a mont\u00e9 son groupe le jour de No\u00ebl dans le Londres du milieu des ann\u00e9es 1970. Un demi-si\u00e8cle plus tard, Iron Maiden a \u00e9crit les r\u00e8gles de la New Wave Of British Heavy Metal, s\u2019est impos\u00e9 comme un g\u00e9ant de la musique avec 17 albums, 130 millions d\u2019exemplaires vendus et 2500 concerts dans le monde entier, jusqu\u2019en Inde ou en Am\u00e9rique du Sud. Des dates auxquelles le groupe s\u2019est souvent rendu dans son avion priv\u00e9 pilot\u00e9 par le chanteur Bruce Dickinson, mais c\u2019est une autre histoire ! \u00c0 l\u2019heure o\u00f9 Fender met les petits plats dans les grands pour f\u00eater cet anniversaire, nous te proposons une plong\u00e9e dans le matos de la Vierge de Fer.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

<\/a>Le rayon basse<\/strong><\/h2>\n\n\n\n

Le Iron Maiden de la premi\u00e8re \u00e9poque est un autre animal par rapport \u00e0 ce que le groupe va devenir. L\u2019album \u00e9ponyme de 1980 et Killers<\/em> en 1981 ont la voix bien punk de Paul Di\u2019Anno au chant, et un c\u00f4t\u00e9 plus urgent et brut que les opus suivants. Pour le premier album, les deux guitaristes sont Dave Murray et Dennis Stratton, qui laissera sa place \u00e0 Adrian Smith pour le deuxi\u00e8me. D\u00e8s lors, le duo Murray \/ Smith est en place pour ce qui va devenir la p\u00e9riode classique du groupe, lorsque Bruce Dickinson devient le nouveau chanteur du groupe pour The Number Of The Beast <\/em>en 1982. Avec Powerslave<\/em> en 1983, c\u2019est Nicko McBrain \u00e0 la batterie qui vient solidifier la formation la plus culte du groupe.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Mais avant d\u2019en venir aux guitares de Murray et Smith, il faut aussi parler de la basse de Steve Harris. En effet, Iron Maiden est un de ces rares groupes, au m\u00eame titre que Thin Lizzy, dans lequel la basse est mix\u00e9e bien en avant et ne se contente pas de suivre les fondamentales. Harris est aussi le principal compositeur du groupe, et le seul membre \u00e0 \u00eatre rest\u00e9 en place du d\u00e9but \u00e0 l\u2019heure actuelle.<\/p>\n\n\n

\n \n \n \n
\n \n
\n
\n \"1960BV\n <\/div>\n <\/div>\n \n \n
\n \n

Marshall<\/p>\n

1960BV 412 Cabinet<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (34)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0049 \u20ac <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n\n\n\n

C\u00f4t\u00e9 amplification, Harris a tourn\u00e9 sur plusieurs syst\u00e8mes au fur et \u00e0 mesure des d\u00e9cennies, avec une t\u00eate Peavey Mark III Series 400, une Gallien-Krueger MB800, une Trace Elliot GP12X ou encore une Orange Four-Stroke. Pour ce qui ne change pas, il utilise un compresseur dbx 160A, et un baffle Marshall 4×12 avec des hauts-parleurs Electro-Voice (de quoi encaisser donc). R\u00e9cemment, il a aussi eu son pr\u00e9ampli signature chez Tech 21, le SansAmp SH1 Steve Harris, qui permet de retrouver son grain sans s\u2019exploser les tympans.<\/p>\n\n\n\n

Mais surtout, l\u2019\u00e9l\u00e9ment inamovible de son rig est \u00e9videmment la basse elle-m\u00eame. \u00c0 de tr\u00e8s rares exceptions pr\u00e8s, il n\u2019a pas l\u00e2ch\u00e9 sa Fender Precision Bass des ann\u00e9es 1970, un mod\u00e8le avec touche \u00e9rable et une plaque de protection miroir. \u00c0 l\u2019heure actuelle, elle est blanche avec le logo de l\u2019\u00e9quipe de football Westham United, la version qui a \u00e9t\u00e9 retenue pour le mod\u00e8le Fender Steve Harris P-Bass. L\u2019originale a connu plusieurs finitions, et l\u2019\u00e9dition limit\u00e9e du cinquanti\u00e8me anniversaire, la LTD 50th Steve Harris P-Bass, reprend les m\u00eames caract\u00e9ristiques en noir. Le chevalet est un Hi-MAss (apr\u00e8s avoir \u00e9t\u00e9 un BadAss), et le micro un Seymour Duncan signature, le SPB-4, avec un niveau de sortie cons\u00e9quent. Pour les cordes, Harris est rest\u00e9 fid\u00e8le \u00e0 Rotosound, l\u00e0 encore avec son jeu signature, les Rotosound Steve Harris SH77.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Steve\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

Steve Harris P-Bass<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (32)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0599 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SPB-4\"\n\n <\/div>\n\n
\n\n
\n\n \n

Seymour Duncan<\/p>\n

SPB-4<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (44)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 109 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Steve\n <\/div>\n\n
\n\n
\n\n \n

Rotosound<\/p>\n

Steve Harris SH77<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (104)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 49 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n
PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>

<\/a>L\u2019ind\u00e9boulonnable Murray<\/strong><\/h2>\n\n\n\n

Dave Murray a de son c\u00f4t\u00e9 connu un parcours assez proche du bassiste du groupe puisqu\u2019il n\u2019a que tr\u00e8s peu d\u00e9vi\u00e9 de sa trajectoire. Il a trouv\u00e9 ce qu\u2019il aimait d\u00e8s le d\u00e9part et s\u2019y est tenu, \u00e0 quelques exceptions pr\u00e8s (il reste un guitariste apr\u00e8s tout). La plupart de ses guitares de sc\u00e8ne comme de studio sont des Fender Stratocaster avec une configuration HSH. Sa guitare la plus l\u00e9gendaire a instaur\u00e9 cette recette d\u00e8s le d\u00e9part de tr\u00e8s belle mani\u00e8re, puisqu\u2019il s\u2019agit d\u2019une Stratocaster de 1957 qui a appartenu \u00e0 Paul Kossoff du groupe Free. Cette relique est noire \u00e0 plaque blanche, et Murray l\u2019a modifi\u00e9e avec deux humbuckers DiMarzio, un Super Distortion au chevalet et un PAF au manche, autour du simple bobinage d\u2019origine.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Phase\n <\/div>\n\n
\n\n
\n\n \n

MXR<\/p>\n

Phase 90<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (424)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 95 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"DCR\n <\/div>\n\n
\n\n
\n\n \n

Dunlop<\/p>\n

DCR 2SR Rack Crybaby<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (19)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 869 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Randy\n <\/div>\n\n
\n\n
\n\n \n

MXR<\/p>\n

Randy Rhoads Special LTD<\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (2)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 199 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Il modifiera ensuite plusieurs Stratocasters selon le m\u00eame principe : une autre noire, une rouge et une blanche. Pour le pharaonesque (dans tous les sens du terme) World Slavery Tour<\/em>, la tourn\u00e9e de 189 dates en 1984 et 85, Murray modifie une Strat avec un syst\u00e8me de vibrato Khaller type Floyd Rose. D\u00e8s lors, le vibrato \u00e0 blocage sera une partie importante de son style. On le verra aussi de fa\u00e7on plus \u00e9pisodique avec une Dean style Flying V sunburst, une Ibanez Destroyer (leur version de l\u2019Explorer), une superbe Les Paul Standard tr\u00e8s flamm\u00e9e, et plusieurs Jackson.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"JCM\n <\/div>\n\n
\n\n
\n\n \n

Marshall<\/p>\n

JCM 800 Reissue 2203<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (35)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"DP100\n <\/div>\n\n
\n\n
\n\n \n

DiMarzio<\/p>\n

DP100 Creme<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (82)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 105 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"DP223\n <\/div>\n\n
\n\n
\n\n \n

DiMarzio<\/p>\n

DP223 CR<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (20)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 116 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"K\n <\/div>\n\n
\n\n
\n\n \n

Kahler<\/p>\n

K 7300 CH<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (13)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 384 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Murray avait d\u00e9j\u00e0 eu deux mod\u00e8les signature chez Fender. La plus r\u00e9cente, la Dave Murray Stratocaster, allie un Floyd Rose \u00e0 trois humbuckers au format simple pour un look en trompe-l’oeil. Mais le mod\u00e8le anniversaire, la Fender LTD 50th Dave Murray Strat, reprend le look de la 57 noire avec deux vrais humbuckers mais un Floyd.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Dave\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

Dave Murray Strat 2TSB<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (66)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0299 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"LTD\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

LTD 50th Dave Murray Strat BLK<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0622 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"AV\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

AV II 57 Strat MN BLK<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0399 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Les\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

Les Paul Standard 50s FadedVHB<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (16)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0099 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

C\u00f4t\u00e9 amplis et p\u00e9dales, Murray est le pur produit d\u2019une \u00e9poque o\u00f9 les stacks Marshall \u00e9taient de rigueur. On l\u2019a donc beaucoup vu avec un mur de JMP, la version Master Volume du Plexi qui a donn\u00e9 le circuit 2203 du JCM-800 version un canal. Pour les pousser dans leurs derniers retranchements, il faisait appel \u00e0 une MXR Distortion+, et la MXR Phase 90 \u00e9tait charg\u00e9e des ambiances plus planantes. \u00c0 l\u2019heure actuelle, le Fractal Axe-FX III est venu remplacer les racks Marshall JMP-1 qui ont longtemps eu sa faveur, mais la wah wah reste analogique avec le rack Dunlop Crybaby.<\/p>\n\n\n\n

\n
<\/div>
<\/div>

Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

<\/a>Le reste de la bande<\/strong><\/h2>\n\n\n\n

Adrian Smith rejoint quant \u00e0 lui le groupe en 1980, et il arrive avec une guitare qui compl\u00e8te parfaitement le son de Murray, une Gibson Les Paul Deluxe GoldTop du d\u00e9but des ann\u00e9es 70. Cet instrument va subir plusieurs modifications, notamment un DiMarzio Super Distortion au chevalet \u00e0 la place du mini humbucker d\u2019origine, mais il restera un \u00e9l\u00e9ment central du son Smith. Il est un grand fan de la Ibanez Destroyer puis de la Stratocaster, mais on le voit aussi avec une superbe Les Paul Custom noire, notamment dans le clip de \u201cWicker Man\u201d en 2000. \u00c0 l\u2019heure actuelle, il a plusieurs mod\u00e8les signature chez Jackson, notamment sa superbe Dinky blanche (Floyd et configuration HSS) et sa version X moins co\u00fbteuse. Son mod\u00e8le anniversaire, la Jackson LTD 50th Adrian Smith Pro, reprend cette configuration en version blanche \u00e0 t\u00eate assortie et plaque noire.<\/p>\n\n\n

\n \n \n \n
\n \n
\n
\n \"LTD\n <\/div>\n <\/div>\n \n \n
\n \n

Jackson<\/p>\n

LTD 50th Adrian Smith Pro SW<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0629 \u20ac <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n\n\n\n

De son c\u00f4t\u00e9, Janick Gers est arriv\u00e9 en remplacement de Smith en 1990, mais il est rest\u00e9 dans le groupe lorsque ce dernier est revenu en 2000, transformant ainsi Iron Maiden en l\u2019un des rares grands groupes de heavy metal \u00e0 trois guitares. Comme Murray, c\u2019est un amateur de Strat, et lorsqu\u2019il int\u00e8gre le groupe, il joue sur un mod\u00e8le offert par le chanteur Ian Gillan (Deep Purple) \u00e0 l\u2019\u00e9poque o\u00f9 Gers faisait partie de son groupe. \u00c0 l\u2019heure actuelle, il reste plus vintage que Murray avec des Stratocaster qui ont encore leur vibrato d\u2019origine, mais avec une configuration \u00e0 trois humbuckers au format simple.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Les\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

Les Paul Deluxe 70s GT<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0439 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"DP100\n <\/div>\n\n
\n\n
\n\n \n

DiMarzio<\/p>\n

DP100 Creme<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (82)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 105 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Les\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

Les Paul Custom EB GH<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (121)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 4\u00a0979 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Adrian\n <\/div>\n\n
\n\n
\n\n \n

Jackson<\/p>\n

Adrian Smith Dinky<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (11)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0599 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Adrian\n <\/div>\n\n
\n\n
\n\n \n

Jackson<\/p>\n

Adrian Smith SDX MN SW<\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (92)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 539 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

La recette sonore des quatre pistoleros de la Vierge de Fer n\u2019a pas tellement boug\u00e9 depuis les d\u00e9buts, mais Iron Maiden continue de convaincre avec de tr\u00e8s bons albums et surtout avec un rythme de tourn\u00e9e et une intensit\u00e9 sur sc\u00e8ne qui laisse r\u00eaveurs apr\u00e8s un demi-si\u00e8cle de carri\u00e8re. Up The Irons!<\/p>\n\n\n\n

\n
<\/div>
<\/div>

Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

Zoom sur le matos d’Iron Maiden \u25b7 Alors, est ce que tu as le son d’une guitare ou une p\u00e9dale favorite ?<\/strong><\/h2>\n\n\n\n

Dis nous tout en commentaire !<\/p>\n

PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Zoom sur le matos d’Iron Maiden : 50 ans d\u00e9j\u00e0 que le bassiste Steve Harris a mont\u00e9 son groupe le jour de No\u00ebl dans le Londres du milieu des ann\u00e9es 1970 \ud83e\udd18<\/p>\n","protected":false},"author":63,"featured_media":10004405,"comment_status":"open","ping_status":"0","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[10688,926],"tags":[],"class_list":["post-10004376","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspiration","category-gear"],"category_colors":{"color_key":"inspire","css_classes":{"text":"cat-inspire","text_light":"cat-inspire-light","bg":"cat-bg-inspire","bg_light":"cat-bg-inspire-light","border":"cat-border-inspire","text_on_bg":"cat-text-on-inspire"}},"reading_time":{"minutes":7,"formatted":"7 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10004376","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/users\/63"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/comments?post=10004376"}],"version-history":[{"count":13,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10004376\/revisions"}],"predecessor-version":[{"id":10004425,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10004376\/revisions\/10004425"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media\/10004405"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media?parent=10004376"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/categories?post=10004376"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/tags?post=10004376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}