{"id":10021613,"date":"2026-09-18T14:55:00","date_gmt":"2026-09-18T12:55:00","guid":{"rendered":"https:\/\/www.thomann.fr\/blog\/?p=10021613"},"modified":"2026-09-18T11:19:36","modified_gmt":"2026-09-18T09:19:36","slug":"system-of-a-down-le-son-du-systeme","status":"publish","type":"post","link":"https:\/\/www.thomann.fr\/blog\/gear\/system-of-a-down-le-son-du-systeme\/","title":{"rendered":"System Of A Down – Le Son du Syst\u00e8me"},"content":{"rendered":"\n

Quel autre groupe de m\u00e9tal pourrait se permettre de remplir deux Stade de France (160 000 personnes tout de m\u00eame !) sans avoir sorti d\u2019album depuis vingt et un ans ? Pourtant, c\u2019est exactement ce que vient de faire System Of A Down, pour une s\u00e9rie de dates d\u2019anthologie avec les Queens Of The Stone Age en premi\u00e8re partie de luxe. C\u00f4t\u00e9 son de guitare, la recette de l\u2019inimitable Daron Malakian n\u2019a que tr\u00e8s peu boug\u00e9 depuis le premier album en 1998. Pour f\u00eater cette tourn\u00e9e \u00e9v\u00e8nement, nous te proposons donc un passage revue des \u00e9l\u00e9ments qui font le son SOAD.<\/p>\n\n\n\n

<\/a>Constance<\/strong><\/h2>\n\n\n\n

System Of A Down est un mod\u00e8le de constance \u00e0 plus d\u2019un titre : la formation du groupe n\u2019a pas boug\u00e9 depuis 1997, avec le chanteur Serj Tankian, le guitariste Daron Malakian, le bassiste Shavo Odadjian et le batteur John Dolmayan. Dans leurs convictions non plus les quatre de Los Angeles n\u2019ont pas boug\u00e9 : la d\u00e9fense de la cause arm\u00e9nienne, la d\u00e9nonciation du syst\u00e8me p\u00e9nitentiaire et de l\u2019hypocrisie de la guerre contre les drogues aux USA, ou encore l\u2019injustice fondamentale de la guerre. Mais surtout, le groupe a toujours sorti d\u2019excellents albums, une discographie parfaite de cinq opus (qui auraient pu \u00eatre trois, nous y reviendrons). Sur tous ces albums, on retrouve le savant m\u00e9lange de gros riffs m\u00e9tal, de refrains lyriques, de mesures impaires, d\u2019harmonies improbables et de sonorit\u00e9s du Moyen-Orient. Apr\u00e8s plus de 12 millions d\u2019albums vendus, on peut raisonnablement dire que la musique de SOAD a largement transcend\u00e9 les genres pour s\u2019imposer au grand public.<\/p>\n\n\n\n

Face \u00e0 cette extr\u00eame diversit\u00e9, l\u2019approche de Daron Malakian est toujours rest\u00e9e d\u2019une grande simplicit\u00e9. Il joue essentiellement avec deux sons, un clean qui ne l\u2019est jamais tout \u00e0 fait et une grosse saturation qui m\u00e9lange l\u2019\u00e9paisseur du classic rock avec le chug du n\u00e9o m\u00e9tal. Tr\u00e8s peu d\u2019effets, pas de simulateur, des amplis et de l\u2019intention !<\/p>\n\n\n\n

C\u00f4t\u00e9 accordages, les trois premiers albums sont en Drop C (du grave \u00e0 l\u2019aigu : C G C F A D) alors que les deux derniers sont en Drop C# (C# G# C# F# A# D#). C\u2019est entre autres pour cette raison qu\u2019il est pass\u00e9 du 10-52 au 10-50, toujours chez Ernie Ball.<\/p>\n\n\n

\n \n \n
\n
\n \n
\n
\n \"2215\"\n\n <\/div>\n <\/div>\n \n \n
\n \n

Ernie Ball<\/p>\n

2215<\/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 (2778)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 5,90 \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

L\u2019\u00e9tincelle<\/strong><\/h2>\n\n\n\n

Lors des d\u00e9buts de SOAD, Daron joue surtout sur une Fender Stratocaster noire. \u00c9tonnamment, les premi\u00e8res d\u00e9mos et les premiers concerts ont \u00e9t\u00e9 faits avec une Strat \u00e0 la configuration standard \u00e0 trois micros simples, ce qui pourrait para\u00eetre un peu l\u00e9ger pour le r\u00e9pertoire du groupe. C\u00f4t\u00e9 amplis, il jouait \u00e0 l\u2019\u00e9poque sur un Carvin X-100B, un choix sans doute li\u00e9 \u00e0 une question de budget plus que de son.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"IC420FM-TBG\"\n\n <\/div>\n\n
\n\n
\n\n \n

Ibanez\n <\/p>\n

IC420FM-TBG\n <\/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 739 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Am\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Am Pro Clsc Strat HSS MN FBLK\n <\/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 (2)\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 \"Pearly\n <\/div>\n\n
\n\n
\n\n \n

Seymour Duncan\n <\/p>\n

Pearly Gates Set Black\n <\/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 279 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SH-1N-59\n <\/div>\n\n
\n\n
\n\n \n

Seymour Duncan\n <\/p>\n

SH-1N-59 Neck Humbucker Black\n <\/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 (64)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 129 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"1959\n <\/div>\n\n
\n\n
\n\n \n

Marshall\n <\/p>\n

1959 HW\n <\/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 (22)\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 \"JCM\n <\/div>\n\n
\n\n
\n\n \n

Marshall\n <\/p>\n

JCM 800 Reissue 2203\n <\/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 (36)\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 \"TS9\"\n\n <\/div>\n\n
\n\n
\n\n \n

Ibanez\n <\/p>\n

TS9\n <\/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 (513)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 131 \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

En 1997, lorsque Rick Rubin signe le groupe et qu\u2019ils touchent leur premier ch\u00e8que d\u2019avance, ils s\u2019\u00e9quipent pour enregistrer le premier album. Selon la l\u00e9gende, Malakian va au magasin Guitar Center de Sunset Boulevard et il tombe instantan\u00e9ment amoureux de la forme Iceman de Ibanez, qu\u2019il trouve suffisamment diff\u00e9rente des autres pour avoir envie de se l\u2019approprier.<\/p>\n\n\n\n

Cependant, une grande partie de l\u2019album est enregistr\u00e9e avec une Fender Stratocaster Big Apple, un mod\u00e8le sorti quelques mois plus t\u00f4t caract\u00e9ris\u00e9 par ses deux micros humbuckers, un Seymour Duncan Pearly Gates au chevalet et un \u201859 au manche. Pour les amplis, le premier album \u00e9ponyme a \u00e9t\u00e9 enregistr\u00e9 avec un m\u00e9lange de deux classiques : un Marshall Super Lead pour l\u2019\u00e9paisseur et un JCM-800 pour le tranchant et le punch. Et pour lisser l\u2019attaque des deux, une Ibanez Tube Screamer.<\/p>\n\n\n\n

<\/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>On The Road Again<\/strong><\/h2>\n\n\n\n

Suite \u00e0 la sortie de l\u2019album, SOAD se fait vite remarquer et tourne avec Slayer, Sepultura ou encore Fear Factory avant de s\u2019imposer comme une t\u00eate d\u2019affiche. D\u00e8s 1999, Malakian s\u2019approprie pleinement la Iceman dont il joue plusieurs versions diff\u00e9rentes, en noir et silver sparkle notamment. On le voit aussi avec le mod\u00e8le ICX, une Iceman au corps plus compact qui inspirera son mod\u00e8le signature en 2004, une raret\u00e9 qui n\u2019a exist\u00e9 qu\u2019\u00e0 300 exemplaires.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"IC420FM-CRS\"\n\n <\/div>\n\n
\n\n
\n\n \n

Ibanez\n <\/p>\n

IC420FM-CRS\n <\/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 679 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"90s\n <\/div>\n\n
\n\n
\n\n \n

Mesa Boogie\n <\/p>\n

90s Triple Rectifier\n <\/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 4\u00a0179 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"TU-3S\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

TU-3S Floor Tuner\n <\/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 (52)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 106 \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

Pour les amplis, il suit la mode de l\u2019\u00e9poque avec l\u2019incontournable Mesa Boogie Triple Rectifier qui va rester un \u00e9l\u00e9ment central de son approche jusqu\u2019en 2005. Enfin, le setup live de Malakian de l\u2019\u00e9poque brille aussi par son absence totale d\u2019effets \u00e0 l\u2019exception d\u2019un accordeur Boss qui n\u2019est m\u00eame pas sur sc\u00e8ne !<\/p>\n\n\n\n

<\/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>Double ration<\/strong><\/h2>\n\n\n\n

Lorsque SOAD entre aux studios Cello de Hollywood pour y enregistrer leur deuxi\u00e8me album au printemps 2001, ils cherchent \u00e0 diversifier leur palette sonore. C\u2019est ainsi que Daron Malakian s\u2019\u00e9quipe de plusieurs guitares qui vont lui donner acc\u00e8s \u00e0 des textures plus riches que sa Strat et son Iceman. Il embarque des Iceman baryton, une Gibson SG, une Les Paul qui sert surtout pour les riffs metal, une Gibson Firebird, une Jackson Randy Rhoads blanche avec chevalet fixe et rep\u00e8res en ailerons de requin, et m\u00eame une Gibson EDS-1275, la fameuse SG double manche en version blanche.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"IC420-AAB\"\n\n <\/div>\n\n
\n\n
\n\n \n

Ibanez\n <\/p>\n

IC420-AAB\n <\/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 679 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SG\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

SG Standard HC\n <\/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 (67)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0479 \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\n <\/p>\n

Les Paul Standard 60s Ebony\n <\/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 (6)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0469 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Firebird\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

Firebird Custom EB GH\n <\/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 (3)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 3\u00a0999 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Pro\n <\/div>\n\n
\n\n
\n\n \n

Jackson\n <\/p>\n

Pro Rhoads RRT-3 IV\/BK Stripes\n <\/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 (10)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0042 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"DL4\n <\/div>\n\n
\n\n
\n\n \n

Line6\n <\/p>\n

DL4 MKII Delay\n <\/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 (38)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 219 \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

Le r\u00e9sultat reste \u00e0 ce jour l\u2019album le plus vendu du groupe, Toxicity<\/em>, un monument dont ils jouent pas moins de 10 titres sur les quatorze d\u2019origine sur la tourn\u00e9e actuelle. Les sessions s\u2019av\u00e8rent si intenses et cr\u00e9atives que SOAD enregistre plus de trente morceaux pour cet album, et le surplus donnera Steal This Album! <\/em>en 2002.<\/p>\n\n\n\n

Pour reproduire les textures plus vari\u00e9es et complexes de l\u2019album lors de la tourn\u00e9e qui suit, Malakian change \u00e0 peine son syst\u00e8me : il int\u00e8gre seulement deux p\u00e9dales multieffet de Line 6, la MM-4 pour les modulations et la DL-4 pour les delays.<\/p>\n\n\n\n

<\/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>Double vision<\/strong><\/h2>\n\n\n\n

On retrouve la m\u00eame productivit\u00e9 pour les sessions qui ont donn\u00e9 les deux derniers albums : Hypnotize<\/em> puis Mezmerize<\/em> ont beau \u00eatre sortis \u00e0 six mois d\u2019\u00e9cart en 2005, ils ont \u00e9t\u00e9 enregistr\u00e9s au cours des m\u00eames sessions et forment en fait un double album virtuel.<\/p>\n\n\n\n

Le son de Malakian change l\u00e9g\u00e8rement \u00e0 cette p\u00e9riode et gagne encore en \u00e9paisseur et en profondeur. C\u2019est le moment o\u00f9 il adopte une t\u00eate Marshall JMP 100 watts des ann\u00e9es 70 modifi\u00e9e par Dave Friedman. C\u2019est aussi le moment o\u00f9 il tombe amoureux de deux guitares vintage qui restent ses pr\u00e9f\u00e9r\u00e9es \u00e0 l\u2019heure actuelle : une Gibson SG Standard de 1962 (\u00e0 l\u2019\u00e9poque o\u00f9 la SG s\u2019appelait encore Les Paul) et une ES-355 de 1968.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Marshall\n <\/div>\n\n
\n\n
\n\n \n

Synergy\n <\/p>\n

Marshall JMP Preamp\n <\/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 (4)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 422 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"1961\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

1961 SG Standard Cherry VOS\n <\/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 3\u00a0515 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"1959\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

1959 ES-355 Reissue EB ULA\n <\/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 (3)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 6\u00a0599 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SG\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

SG 61 Standard Maestro VC\n <\/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 (42)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0019 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SG\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

SG 61 Standard Classic white\n <\/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 (6)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0895 \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\u2019est donc en toute logique qu\u2019on le voit beaucoup sur SG lors de la tourn\u00e9e qui suit, notamment deux mod\u00e8les reissue 61, une rouge et une blanche.<\/p>\n\n\n\n

<\/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>Suite et fin ?<\/strong><\/h2>\n\n\n\n

En 2006, les tensions internes ont fini par avoir raison du groupe tel qu\u2019il existait jusque-l\u00e0. Malakian s\u2019est alors tourn\u00e9 vers son propre groupe Scars On Broadway, sachant que sur les deux derniers albums de SOAD il tenait d\u00e9j\u00e0 la moiti\u00e9 des parties de chant.<\/p>\n\n\n\n

Mais le serpent de mer est d\u00e9j\u00e0 revenu plusieurs fois \u00e0 la surface, \u00e0 commencer par une premi\u00e8re reformation live en 2011. Pour la tourn\u00e9e actuelle 2025-2026, Malakian n\u2019a pas fonci\u00e8rement chang\u00e9 sa mani\u00e8re de fonctionner, mais il s\u2019est fait plaisir avec quelques beaux joujous. Ses guitares sont toutes des cr\u00e9ations custom noires avec accastillage dor\u00e9, et on y trouve deux Gibson Custom Shop SG (une avec un vibrola sans barre, l\u2019autre avec un vibrato sideways), une Flying V avec une t\u00eate de Les Paul Custom, deux ES-355 (une avec plaque dor\u00e9e, l\u2019autre avec plaque noire et trois micros, les deux avec vibrato sideways) et bien s\u00fbr des Ibanez Iceman Custom Shop, dont une noire avec binding noir dont le vibrola n\u2019est qu\u2019une plaque d\u00e9corative. Ses micros sont en g\u00e9n\u00e9ral des Seymour Duncan Pearly Gates ou Saturday Night Special.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"1961\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

1961 SG Standard Cherry VOS\n <\/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 3\u00a0515 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Flying\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

Flying V Custom EB\n <\/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 (4)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 5\u00a0298 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"1959\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

1959 ES-355 Reissue EB ULA\n <\/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 (3)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 6\u00a0599 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"IC420FM-VLS\"\n\n <\/div>\n\n
\n\n
\n\n \n

Ibanez\n <\/p>\n

IC420FM-VLS\n <\/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 (6)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 666 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Pearly\n <\/div>\n\n
\n\n
\n\n \n

Seymour Duncan\n <\/p>\n

Pearly Gates Set Black\n <\/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 279 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Saturday\n <\/div>\n\n
\n\n
\n\n \n

Seymour Duncan\n <\/p>\n

Saturday Night Special Set NC\n <\/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 309 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"BE-50\n <\/div>\n\n
\n\n
\n\n \n

Friedman\n <\/p>\n

BE-50 Deluxe\n <\/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 (2)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 3\u00a0899 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"BE-100\n <\/div>\n\n
\n\n
\n\n \n

Friedman\n <\/p>\n

BE-100 Deluxe Head\n <\/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 (4)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 4\u00a0690 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Control\n <\/div>\n\n
\n\n
\n\n \n

Voodoo Lab\n <\/p>\n

Control Switcher\n <\/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 (48)\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
\n
\n \"DD-8\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

DD-8 Digital Delay\n <\/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 (184)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 179 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Phase\n <\/div>\n\n
\n\n
\n\n \n

MXR\n <\/p>\n

Phase 90\n <\/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 (432)\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 <\/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

Pour le reste, les amplis sont encore au rendez-vous avec deux paires de Friedman, des BE-50 Deluxe et BE-100 Deluxe contr\u00f4l\u00e9s par un p\u00e9dalier Voodoo Lab Ground Control Pro. Quant aux effets, le minimalisme est toujours de mise avec deux p\u00e9dales que vous poss\u00e9dez peut-\u00eatre d\u00e9j\u00e0 : un delay Boss et un phaser MXR Phase 90.<\/p>\n\n\n\n

SOAD sera en octobre dans un festival texan, et c\u2019est \u00e0 ce jour leur derni\u00e8re date pr\u00e9vue. Impossible de savoir quand ils reviendront apr\u00e8s \u00e7a, mais une chose est s\u00fbre : nous y serons !<\/p>\n","protected":false},"excerpt":{"rendered":"

Quel autre groupe de m\u00e9tal pourrait se permettre de remplir deux Stade de France (160 000 personnes tout de m\u00eame !) sans avoir sorti d\u2019album depuis vingt et un ans ? <\/p>\n","protected":false},"author":76,"featured_media":10021791,"comment_status":"open","ping_status":"0","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[926],"tags":[],"class_list":["post-10021613","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gear"],"category_colors":{"color_key":"gear","css_classes":{"text":"cat-gear","text_light":"cat-gear-light","bg":"cat-bg-gear","bg_light":"cat-bg-gear-light","border":"cat-border-gear","text_on_bg":"cat-text-on-gear"}},"reading_time":{"minutes":7,"formatted":"7 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021613","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/comments?post=10021613"}],"version-history":[{"count":8,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021613\/revisions"}],"predecessor-version":[{"id":10021787,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021613\/revisions\/10021787"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/media\/10021791"}],"wp:attachment":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/media?parent=10021613"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/categories?post=10021613"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/tags?post=10021613"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}