{"id":10021878,"date":"2026-10-24T09:00:00","date_gmt":"2026-10-24T07:00:00","guid":{"rendered":"https:\/\/www.thomann.fr\/blog\/?p=10021878"},"modified":"2026-10-26T10:43:23","modified_gmt":"2026-10-26T09:43:23","slug":"les-10-pedales-les-plus-importantes-de-lhistoire","status":"publish","type":"post","link":"https:\/\/www.thomann.fr\/blog\/gear\/les-10-pedales-les-plus-importantes-de-lhistoire\/","title":{"rendered":"Les 10 p\u00e9dales les plus importantes de l\u2019histoire de la Musique"},"content":{"rendered":"\n

Pr\u00e9pare les torches et les piques, voil\u00e0 un classement qui risque de lancer le d\u00e9bat ! Pour t\u2019y retrouver dans la jungle terrible jungle des innombrables p\u00e9dales d\u2019effet disponibles sur le march\u00e9, voici un petit guide des dix mod\u00e8les les plus importants de l\u2019histoire, depuis que cet accessoire a commenc\u00e9 \u00e0 exciter l\u2019imagination des guitaristes dans les ann\u00e9es 60. <\/p>\n\n\n\n

Avant de hurler qu\u2019il manque ton mod\u00e8le pr\u00e9f\u00e9r\u00e9, prends quand m\u00eame le temps d\u2019\u00e9couter mes arguments : j\u2019ai ici choisi des p\u00e9dales qui repr\u00e9sentaient une v\u00e9ritable r\u00e9volution lors de leur lancement, qui ont marqu\u00e9 leur \u00e9poque, qui continuent d\u2019\u00eatre pertinentes et qui ont influenc\u00e9 de tr\u00e8s nombreuses copies ou versions am\u00e9lior\u00e9es. Bien s\u00fbr \u00e0 partir du moment o\u00f9 l\u2019on se limite \u00e0 10 il va forc\u00e9ment en manquer, mais \u00e7a sera aussi peut-\u00eatre l\u2019occasion de d\u00e9couvrir ta prochaine source d\u2019inspiration !<\/p>\n\n\n\n

Electro Harmonix Big Muff<\/strong><\/h2>\n\n\n\n

Lancement : 1969<\/em><\/p>\n\n\n\n

Trois versions actuelles : Electro Harmonix Big Muff PI Classic, Electro Harmonix Nano Big Muff, JHS Pedals Muffuletta<\/p>\n\n\n\n

La Big Muff n\u2019\u00e9tait pas la premi\u00e8re fuzz de l\u2019histoire, mais elle a \u00e0 la fois lanc\u00e9 la marque Electro Harmonix qui reste \u00e0 ce jour une r\u00e9f\u00e9rence absolue, et elle a aussi cr\u00e9\u00e9 un nouveau son. Il s\u2019agit d\u2019une fuzz plus \u00e9paisse, plus grasse, plus satur\u00e9e que la Fuzz Face, avec un sustain infini et des graves \u00e0 revendre. \u00c0 ce titre, elle fonctionne aussi bien sur les rythmiques que les solos. Elle a connu de nombreuses versions (d\u2019o\u00f9 la JHS Mufuletta qui propose six circuits en un) et a s\u00e9duit des artistes aussi diff\u00e9rents que Robert Fripp, David Gilmour, Billy Corgan et J. Mascis.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Big\n <\/div>\n\n
\n\n
\n\n \n

Electro Harmonix\n <\/p>\n

Big Muff PI Classic\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 (759)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 88 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Nano\n <\/div>\n\n
\n\n
\n\n \n

Electro Harmonix\n <\/p>\n

Nano Big Muff\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 (296)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 69 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Muffuletta\"\n\n <\/div>\n\n
\n\n
\n\n \n

JHS Pedals\n <\/p>\n

Muffuletta\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 (8)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 245 \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

<\/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

Ibanez Tube Screamer<\/strong><\/h2>\n\n\n\n

Lancement : 1979<\/em><\/p>\n\n\n\n

Trois versions actuelles : Ibanez TS808, Ibanez TS9, Keeley Noble Screamer Overdrive<\/p>\n\n\n\n

Il y avait des overdrives au format p\u00e9dale avant la Tube Screamer, mais aucune ne s\u2019est impos\u00e9e avec la m\u00eame \u00e9vidence que la petite bo\u00eete verte des japonais d\u2019Ibanez. Depuis 1979, cette r\u00e9f\u00e9rence \u00e0 trois boutons est \u00e0 la fois incontournable pour les bluesmen et les metalleux. Pour les premiers, la bosse dans les m\u00e9diums ajoute un crunch l\u00e9ger et musical \u00e0 un Fender Blues Deluxe d\u00e9j\u00e0 pouss\u00e9. Pour les deuxi\u00e8mes, la Tube Screamer taille dans les graves et permet d\u2019avoir un son plus d\u00e9fini sur un 6505 qui crache le feu.<\/p>\n\n\n\n

La TS808 d\u2019origine est devenue un objet de culte suite \u00e0 son utilisation par Stevie Ray Vaughan, mais les TS9 et TS10 sont tout aussi pris\u00e9es, surtout depuis qu\u2019on les a vues sur le pedalboard de John Mayer.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"TS808\"\n\n <\/div>\n\n
\n\n
\n\n \n

Ibanez\n <\/p>\n

TS808\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 (302)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 187 \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 (515)\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
\n
\n \"Noble\n <\/div>\n\n
\n\n
\n\n \n

Keeley\n <\/p>\n

Noble Screamer Overdrive\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 (7)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 222 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Blues\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Blues Deluxe Reissue\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 (115)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0077 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"6505\n <\/div>\n\n
\n\n
\n\n \n

Peavey\n <\/p>\n

6505 II 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 (2)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0429 \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
\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

Dallas Arbiter Fuzz Face<\/strong><\/h2>\n\n\n\n

Lancement : 1966<\/em><\/p>\n\n\n\n

Trois versions actuelles : Dunlop Germanium Fuzz Face Mini Red, Dunlop Jimi Hendrix Fuzz Face Mini, JAM pedals Fuzz Phrase Si<\/p>\n\n\n\n

La premi\u00e8re fuzz a \u00e9t\u00e9 lanc\u00e9e par Maestro au d\u00e9but des ann\u00e9es 60, mais le mod\u00e8le qui a mis tout le monde d\u2019accord est la Fuzz Face en 1966. Il s\u2019agit d\u2019une version britannique tr\u00e8s largement modifi\u00e9e de ce premier circuit, avec deux transistors au germanium qui passeront au silicium \u00e0 la fin des ann\u00e9es 60. Le r\u00e9sultat est un son ultra riche, fl\u00fbt\u00e9, presque vocal, qui donne le meilleur de lui-m\u00eame sur un ampli type Marshall Super Lead d\u00e9j\u00e0 pouss\u00e9.<\/p>\n\n\n\n

Hendrix lui a \u00e9videmment donn\u00e9 ses lettres de noblesse, mais on retrouve aussi la Fuzz Face chez des monstres du son comme Eric Johnson ou Joe Bonamassa.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Germanium\n <\/div>\n\n
\n\n
\n\n \n

Dunlop\n <\/p>\n

Germanium Fuzz Face Mini Red\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 (54)\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 \"Jimi\n <\/div>\n\n
\n\n
\n\n \n

Dunlop\n <\/p>\n

Jimi Hendrix Fuzz Face Mini\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 (118)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 177 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Fuzz\n <\/div>\n\n
\n\n
\n\n \n

Jam Pedals\n <\/p>\n

Fuzz Phrase Si\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 (15)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 228 \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 (23)\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 <\/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
\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

Vox Crybaby<\/strong><\/h2>\n\n\n\n

Lancement : 1967<\/em><\/p>\n\n\n\n

Trois versions actuelles : Vox VX V847A Wah, Dunlop Crybaby GCB95, Dunlop Dimebag Cry Baby Wah<\/p>\n\n\n\n

La wah wah est devenue l\u2019embl\u00e8me de l\u2019effet pour guitare, la p\u00e9dale par excellence. Il faut dire que dans sa version originale, cr\u00e9\u00e9e par la marque d\u2019amplis britannique Vox en 1967, elle \u00e9tait aussi simple qu\u2019efficace. Pas de bouton, tout est contr\u00f4l\u00e9 avec le pied, et le son se rapproche imm\u00e9diatement des formes du palais de la bouche d\u2019un chanteur. Gr\u00e2ce \u00e0 cette invention, on touchait enfin au fantasme de chanter \u00e0 travers son instrument !<\/p>\n\n\n\n

Zappa, Clapton et Hendrix ont \u00e9t\u00e9 les pionniers de l\u2019effet, puis c\u2019est devenu un indispensable en funk, en rock et en metal, avec des guitaristes comme Slash, Dimebag Darrell et Kirk Hammett. Vox fait encore des wah wah \u00e0 l\u2019heure actuelle, mais c\u2019est le groupe am\u00e9ricain Dunlop qui a rachet\u00e9 le nom Crybaby et fait donc de tr\u00e8s nombreux mod\u00e8les (surtout des signatures) sous ce nom.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"VX\n <\/div>\n\n
\n\n
\n\n \n

Vox\n <\/p>\n

VX V847A Wah\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 (586)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 85 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Crybaby\n <\/div>\n\n
\n\n
\n\n \n

Dunlop\n <\/p>\n

Crybaby GCB95\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 (1430)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 89 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Dimebag\n <\/div>\n\n
\n\n
\n\n \n

Dunlop\n <\/p>\n

Dimebag Cry Baby Wah\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 (32)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 238 \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
\"\"<\/figure>\n\n\n\n

Digitech Whammy<\/strong><\/h2>\n\n\n\n

Lancement : 1989<\/em><\/p>\n\n\n\n

Trois versions actuelles : Digitech Whammy 5, Digitech Pitch Shifter Whammy Ricochet, Boss XS-100 Poly Shifter<\/p>\n\n\n\n

\u00c0 la fin des ann\u00e9es 80, les p\u00e9dales n\u2019avaient plus la c\u00f4te et la plupart des guitaristes regardaient du c\u00f4t\u00e9 des racks, au sein desquels les types d\u2019effets \u00e9taient relativement standardis\u00e9s. Et pourtant, Digitech a eu le courage de proposer une vraie innovation, une p\u00e9dale qui exploite pleinement la technologie num\u00e9rique pour inventer un type d\u2019effet \u00e0 part enti\u00e8re : la Whammy. Il s\u2019agit d\u2019un pitch shifter qui d\u00e9place votre note sur un intervalle d\u00e9fini, souvent l\u2019octave sup\u00e9rieure, et comme pour la wah, l\u2019utilisation de la p\u00e9dale au pied est indissociable de l\u2019effet lui-m\u00eame.<\/p>\n\n\n\n

Digitech fabrique encore de nombreuses versions de ce best-seller absolu, et peu de concurrents se sont aventur\u00e9s \u00e0 d\u00e9velopper une version alternative. Pourtant, on entend cet effet bien particulier chez des musiciens aussi diff\u00e9rents que Tom Morello, David Gilmour, Jack White et Joe Duplantier.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Whammy\n <\/div>\n\n
\n\n
\n\n \n

Digitech\n <\/p>\n

Whammy 5\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 (537)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 189 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Pitch\n <\/div>\n\n
\n\n
\n\n \n

Digitech\n <\/p>\n

Pitch Shifter Whammy Ricochet\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 (176)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 135 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"XS-100\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

XS-100 Poly Shifter\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 (8)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 346 \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
\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

MXR Phase 90<\/strong><\/h2>\n\n\n\n

Lancement : 1974<\/em><\/p>\n\n\n\n

Trois versions actuelles : MXR Phase 90, MXR 1974 Vintage Phase 90, MXR M290 Phase 95<\/p>\n\n\n\n

Il y avait d\u00e9j\u00e0 la cabine Leslie, le tremolo puis l\u2019Uni-Vibe, mais lorsque la marque am\u00e9ricaine a lanc\u00e9 la Phase 90, sa premi\u00e8re p\u00e9dale en 1974, elle a red\u00e9fini ce qu\u2019\u00e9tait la modulation pour guitare. D\u00e8s lors, les Rolling Stones ou Johnny Winter se sont mis \u00e0 mettre ce son enveloppant et \u00e9pais \u00e0 toutes les sauces, avant que Eddie Van Halen n\u2019en fasse un redoutable son solo \u00e0 la fin de la d\u00e9cennie. Entre-temps, c\u2019est aussi devenu un classique sur des pianos \u00e9lectriques type Rhodes et Clavinet, surtout en funk et jazz fusion.<\/p>\n\n\n\n

Si de tr\u00e8s nombreuses marques ont repris le circuit du Phase 90 depuis une cinquantaine d\u2019ann\u00e9es, MXR fabrique toujours plusieurs versions de l\u2019original qui n\u2019ont pas fini d\u2019exciter notre imagination.<\/p>\n\n\n

\n \n
\n
\n
\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
\n
\n \"1974\n <\/div>\n\n
\n\n
\n\n \n

MXR\n <\/p>\n

1974 Vintage 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 (75)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 166 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"M290\n <\/div>\n\n
\n\n
\n\n \n

MXR\n <\/p>\n

M290 Phase 95\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 (49)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 125 \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
\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

Proco RAT<\/strong><\/h2>\n\n\n\n

Lancement : 1978<\/em><\/p>\n\n\n\n

Trois versions actuelles : Proco Rat 2 Distortion, Crazy Tube Circuits Motherload, Walrus Audio Iron Horse V3<\/p>\n\n\n\n

Avant les p\u00e9dales, le seul moyen d\u2019obtenir de la distorsion \u00e9tait de pousser son ampli. Pour ne rien arranger, les mod\u00e8les de l\u2019\u00e9poque n\u2019avaient pas de Master Volume, et il fallait donc vraiment pousser ! Si tu t\u2019es d\u00e9j\u00e0 retrouv\u00e9 devant un AC30 qui a atteint le crunch, alors tu sais le niveau de douleur que cela peut repr\u00e9senter.<\/p>\n\n\n\n

Heureusement, la marque de Kalamazoo Proco avait la solution : avec la RAT, on peut retrouver le gros son riche en harmoniques d\u2019un ampli bien satur\u00e9. Il y a eu des overdrives, boosters et pr\u00e9amplis avant elle mais aucune n\u2019avait un grain aussi flatteur et une distorsion aussi riche. D\u2019ailleurs, la plupart des p\u00e9dales de disto rock \u00e0 l\u2019heure actuelle empruntent au moins une partie de leur circuit \u00e0 la bonne vieille RAT.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Rat\n <\/div>\n\n
\n\n
\n\n \n

Proco\n <\/p>\n

Rat 2 Distortion\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 (1604)\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 \"Motherload\"\n\n <\/div>\n\n
\n\n
\n\n \n

Crazy Tube Circuits\n <\/p>\n

Motherload\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 (5)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 222 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Iron\n <\/div>\n\n
\n\n
\n\n \n

Walrus Audio\n <\/p>\n

Iron Horse V3\n <\/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 (12)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 209 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"AC30\n <\/div>\n\n
\n\n
\n\n \n

Vox\n <\/p>\n

AC30 C2\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 (150)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0098 \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
\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

Boss MT-2 Metal Zone<\/strong><\/h2>\n\n\n\n

Lancement : 1991<\/em><\/p>\n\n\n\n

Trois versions actuelles : Boss MT-2 Metal Zone, Boss MT-2W Metal Zone, Revv G4 V2 Distortion<\/p>\n\n\n\n

Les ann\u00e9es 80 marquent une course \u00e0 l\u2019armement entre les diff\u00e9rentes marques d\u2019amplis pour tenter de d\u00e9finir le gros son d\u2019un metal toujours plus extr\u00eame. Alors que l\u2019on passe de Iron Maiden \u00e0 Metallica puis \u00e0 Slayer et Death, il faut toujours plus de gain, toujours plus de tranchant et des m\u00e9diums toujours plus creus\u00e9s. C\u00f4t\u00e9 amplis, \u00e7a donnera le Marshall JCM800, le Soldano SLO100 puis le Mesa Boogie Dual Rectifier et le Peavey 5150.<\/p>\n\n\n\n

Mais d\u00e8s 1991, Boss cr\u00e9\u00e9 la p\u00e9dale d\u00e9finitive dans le domaine : la bien nomm\u00e9e Metal Zone, MT-2 pour les intimes. Le g\u00e9nie de cette cr\u00e9ation du g\u00e9ant japonais est son r\u00e9glage de m\u00e9dium semi-param\u00e9trique qui permet non seulement de creuser les m\u00e9diums \u00e0 mort, mais aussi de choisir pr\u00e9cis\u00e9ment la fr\u00e9quence concern\u00e9e. 35 ans plus tard, la MT-2 n\u2019a pas boug\u00e9 d\u2019un poil. C\u2019est l\u2019une des p\u00e9dales Boss qui a connu la plus longue dur\u00e9e de vie, et elle n\u2019a jamais \u00e9t\u00e9 arr\u00eat\u00e9e ou modifi\u00e9e, tout juste trait\u00e9e en mode Waza en 2018. Il s\u2019agit aussi de la disto m\u00e9tal la plus vendue du march\u00e9, avec plus d\u2019un million d\u2019exemplaires au total. Incontournable.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"MT-2\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

MT-2 Metal Zone Distortion\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 (296)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 125 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"MT-2W\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

MT-2W Metal Zone\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 (125)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 148 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"G4\n <\/div>\n\n
\n\n
\n\n \n

Revv\n <\/p>\n

G4 V2 Distortion\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 222 \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 (38)\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 \"SLO\n <\/div>\n\n
\n\n
\n\n \n

Soldano\n <\/p>\n

SLO 100 Classic 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 (7)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 4\u00a0099 \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 Dual Rectifier Standard\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\u00a0099 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"6505\n <\/div>\n\n
\n\n
\n\n \n

Peavey\n <\/p>\n

6505 1992 Original 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 (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0359 \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
\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

Klon Centaur<\/strong><\/h2>\n\n\n\n

Lancement : 1994<\/em><\/p>\n\n\n\n

Trois versions actuelles : J. Rockett Audio Designs Archer, Walrus Audio Voyager Mk2 SFM, Behringer Zentara Overdrive<\/p>\n\n\n\n

La Klon Centaur est l\u2019exception notable dans cette liste puisque la p\u00e9dale d\u2019origine n\u2019est plus fabriqu\u00e9e. Cette overdrive boutique lanc\u00e9e en 1994 par l\u2019artisan Bill Finnegan a \u00e9t\u00e9 arr\u00eat\u00e9e en 2008, et depuis les mod\u00e8les d\u2019occasion se vendent r\u00e9guli\u00e8rement au prix d\u2019une tr\u00e8s belle guitare. Mais la Centaur justifie sa place dans ce classement \u00e0 deux titres. D\u2019une part, c\u2019est la preuve que l\u2019on peut encore cr\u00e9er de nouveaux circuits qui deviennent tr\u00e8s pris\u00e9s. D\u2019autre part, le march\u00e9 de l\u2019overdrive \u00e0 l\u2019heure actuelle est satur\u00e9 de clones de Klon, au point qu\u2019on a invent\u00e9 une cat\u00e9gorie \u00e0 part enti\u00e8re pour ces p\u00e9dales : les Klones.<\/p>\n\n\n\n

Certaines, comme la J. Rockett Archer ou la Walrus Audio Voyager, sont devenues des classiques \u00e0 part enti\u00e8re pour leurs marques respectives. Et de nombreuses copies plus ou moins modifi\u00e9es apparaissent encore r\u00e9guli\u00e8rement. Il faut dire que le c\u00f4t\u00e9 \u00e0 la fois flatteur et transparent de l\u2019originale avait de quoi faire envie.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Archer\"\n\n <\/div>\n\n
\n\n
\n\n \n

J. Rockett Audio Designs\n <\/p>\n

Archer\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 (155)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 195 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Voyager\n <\/div>\n\n
\n\n
\n\n \n

Walrus Audio\n <\/p>\n

Voyager Mk2 SFM\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 (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 269 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Zentara\n <\/div>\n\n
\n\n
\n\n \n

Behringer\n <\/p>\n

Zentara Overdrive\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 (100)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 69 \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
\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

Line 6 DL4<\/strong><\/h2>\n\n\n\n

Lancement : 1999<\/em><\/p>\n\n\n\n

Trois versions actuelles : Line 6 DL4 MkII, Strymon Timeline, Walrus Audio Sl\u00f6er Ambient Reverb<\/p>\n\n\n\n

Line 6 \u00e9tait d\u00e9j\u00e0 LA marque \u00e0 suivre de tr\u00e8s pr\u00e8s \u00e0 la fin des ann\u00e9es 90 suite au succ\u00e8s colossal de leur pr\u00e9ampli \/ multieffet POD. Mais en 1999, ils se sont impos\u00e9s comme une marque qui pouvait aussi concevoir des multieffets parmi les plus musicaux du march\u00e9. C\u2019est \u00e0 ce moment-l\u00e0 que sont n\u00e9s les multieffets th\u00e9matiques de la gamme 4 : MM4 pour les modulations, DM4 pour les distorsions, FM4 pour les filtres et surtout le best seller absolu, DL4 pour les delays. Cette grosse bo\u00eete verte proposait \u00e0 la fois d\u2019excellentes simulations des delays classiques (Echoplex, Space Echo, Memory Man\u2026) mais aussi de tous nouveaux programmes bien barr\u00e9s, ainsi qu\u2019un looper ultra musical. <\/p>\n\n\n\n

Il faut dire que derri\u00e8re les algorithmes du DL4, il y avait notamment Jorge Tripps, le fondateur de la marque boutique Way Huge qui travaillait chez Line 6 \u00e0 l\u2019\u00e9poque (et qui sera plus tard le concepteur de l\u2019excellent Carbon Copy de MXR). Des guitaristes aussi diff\u00e9rents que Bill Frisell et The Edge ont fait du DL4 un instrument \u00e0 part enti\u00e8re, et de nombreuses autres marques se sont \u00e0 leur tour lanc\u00e9es dans la course au multieffet de delay.<\/p>\n\n\n

\n \n
\n
\n
\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 (41)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 222 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Timeline\"\n\n <\/div>\n\n
\n\n
\n\n \n

Strymon\n <\/p>\n

Timeline\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 (441)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 465 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Sl\u00f6er\n <\/div>\n\n
\n\n
\n\n \n

Walrus Audio\n <\/p>\n

Sl\u00f6er Ambient Reverb Blue\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 (9)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 367 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Echoplex\n <\/div>\n\n
\n\n
\n\n \n

Dunlop\n <\/p>\n

Echoplex 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 (57)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 245 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"RE-2\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

RE-2 Space Echo Delay\/Reverb\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 (46)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 197 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Deluxe\n <\/div>\n\n
\n\n
\n\n \n

Electro Harmonix\n <\/p>\n

Deluxe Memory Man\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 (85)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 176 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"M169\n <\/div>\n\n
\n\n
\n\n \n

MXR\n <\/p>\n

M169 Carbon Copy Analog 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 (581)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 175 \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
\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","protected":false},"excerpt":{"rendered":"

Pr\u00e9pare les torches et les piques, voil\u00e0 un classement qui risque de lancer le d\u00e9bat ! <\/p>\n","protected":false},"author":76,"featured_media":10022093,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[926],"tags":[],"class_list":["post-10021878","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":9,"formatted":"9 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021878","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=10021878"}],"version-history":[{"count":11,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021878\/revisions"}],"predecessor-version":[{"id":10021903,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021878\/revisions\/10021903"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/media\/10022093"}],"wp:attachment":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/media?parent=10021878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/categories?post=10021878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/tags?post=10021878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}