{"id":10021934,"date":"2026-10-27T09:55:00","date_gmt":"2026-10-27T08:55:00","guid":{"rendered":"https:\/\/www.thomann.fr\/blog\/?p=10021934"},"modified":"2026-10-14T23:36:42","modified_gmt":"2026-10-14T21:36:42","slug":"le-son-de-the-cure","status":"publish","type":"post","link":"https:\/\/www.thomann.fr\/blog\/gear\/le-son-de-the-cure\/","title":{"rendered":"Le son de The Cure : Zoom sur le matos du groupe"},"content":{"rendered":"\n

Le 30 ao\u00fbt dernier, les britanniques de The Cure ont mis tout le public du festival Rock en Seine d\u2019accord avec un concert d\u2019anthologie. Le groupe a beau f\u00eater son demi-si\u00e8cle d\u2019existence, sa pop gothique n\u2019a jamais \u00e9t\u00e9 autant d\u2019actualit\u00e9. D\u2019ailleurs, on peut entendre Robert Smith, le leader du groupe, en duo avec Olivia Rodrigo sur le dernier album de la chanteuse. Depuis 50 ans, The Cure d\u00e9veloppe un son tr\u00e8s personnel, et nous te proposons aujourd\u2019hui de revenir sur leur approche des guitares.<\/p>\n\n\n\n

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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>Pourri et charmant<\/strong><\/h2>\n\n\n\n

The Cure voit le jour \u00e0 Crawley, dans le West Sussex, au Sud-Est de l\u2019Angleterre. Nous sommes en 1976, et ils jouent donc les classiques rock et glam que tous les groupes de l\u2019\u00e9poque s\u2019approprient. Mais lorsqu\u2019ils enregistrent leur version de \u201cFoxy Lady\u201d sur leur premier album Three Imaginary Boys<\/em> (1979), Hendrix est bien loin. Entre temps, le punk a rebattu les cartes, et on entend aussi des traces du revival rockabilly sur un titre comme \u201cMeathook\u201d. \u00c0 l\u2019\u00e9poque, le groupe est un trio, et Robert Smith est \u00e0 la fois le chanteur et le seul guitariste.<\/p>\n\n\n

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\n \"Player\n <\/div>\n\n
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\n\n \n

Fender\n <\/p>\n

Player II Jazzmaster RW 3TS\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
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\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 829 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Spider\n <\/div>\n\n
\n\n
\n\n \n

Line6\n <\/p>\n

Spider V 30 MkII\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
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (98)\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 <\/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 1976, Smith est un ado de dix-sept ans et il joue alors sur la seule guitare qu\u2019il poss\u00e8de : une Woolworths Top 20. Woolworths est une cha\u00eene de grands magasins qui sous-traite la fabrication de nombreux objets bon march\u00e9, et l\u2019instrument est une guitare bien cheap fa\u00eete par Teisco au Japon. Lorsque The Cure entre en studio pour enregistrer Three Imaginary Boys<\/em>, Smith se doit de para\u00eetre professionnel, et d\u2019avoir une \u201cvraie\u201d guitare. Il jette son d\u00e9volu sur une Fender Jazzmaster, qu\u2019il choisit sans doute autant pour son look que pour le son qu\u2019elle produit. Mais il veut garder le c\u00f4t\u00e9 criard et lo-fi de sa Woolworths, et prend donc un des deux micros de cette derni\u00e8re qu\u2019il installe au milieu, entre les deux micros normaux de la Jazzmaster. Cette modification en dit long sur sa philosophie du matos. L\u00e0 o\u00f9 la plupart des groupes s\u2019offrent des instruments haut de gamme magnifiques lorsqu\u2019ils atteignent le succ\u00e8s, Smith a toujours fait appel \u00e0 des outils accessibles. En 2019 par exemple, le groupe jouait en entier l\u2019album Disintegration<\/em> (1989), consid\u00e9r\u00e9 par beaucoup comme leur chef d’\u0153uvre. Plut\u00f4t que d\u2019opter pour un backline de luxe, ils l\u2019ont fait avec des Line 6 Spider, des amplis \u00e0 mod\u00e9lisation plut\u00f4t vus comme des outils de travail \u00e0 la maison. On peut aussi imaginer que le nom Spider \u00e9tait un clin d’\u0153il pour les fans aux paroles ultra-sombres de \u201cLullaby\u201d, le premier single extrait de l\u2019album en question.<\/p>\n\n\n\n

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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

Le choix de la simplicit\u00e9<\/strong><\/p>\n\n\n\n

Smith n\u2019est pas un grand collectionneur, et c\u2019est donc la m\u00eame Jazzmaster que l\u2019on peut entendre sur les chefs d’\u0153uvre suivants : Seventeen Seconds<\/em> (1981), Faith<\/em> (1981) et Pornography<\/em> (1982). On croit en voir plusieurs, mais c\u2019est la m\u00eame Olympic White qui a ensuite \u00e9t\u00e9 repeinte en noir.<\/p>\n\n\n

\n \n
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\n \"Player\n <\/div>\n\n
\n\n
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Fender\n <\/p>\n

Player II Jazzmaster RW BLK\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
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (3)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"Paranormal\n <\/div>\n\n
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Squier\n <\/p>\n

Paranormal Troy V Leeuwen Tele\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
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\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 539 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"JC-120\"\n\n <\/div>\n\n
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Roland\n <\/p>\n

JC-120\n <\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (19)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0444 \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 autant, lorsqu\u2019il joue avec Siouxsie and the Banshees, le l\u00e9gendaire groupe goth londonien, Smith choisit une Fender Electric XII, un mod\u00e8le 12 cordes \u00e9lectrique dont le son compl\u00e8te bien les riches claviers de Steven Severin.<\/p>\n\n\n

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\n \"M-117R\n <\/div>\n\n
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MXR\n <\/p>\n

M-117R Flanger\n <\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (48)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 188 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"Deluxe\n <\/div>\n\n
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Electro Harmonix\n <\/p>\n

Deluxe Memory Man\n <\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\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
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\n \"Stereo\n <\/div>\n\n
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Electro Harmonix\n <\/p>\n

Stereo Electric Mistress\n <\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\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 115 \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

\u00c0 l\u2019autre bout du jack, Smith fait confiance \u00e0 la r\u00e9f\u00e9rence du mouvement new wave britannique, l\u2019ampli qui a d\u00e9fini le son clean des eighties : le Roland JC-120. Le Jazz Chorus, qu\u2019il utilise autant pour son grain que pour le chorus int\u00e9gr\u00e9, est un \u00e9l\u00e9ment indissociable du son The Cure.<\/p>\n\n\n

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\n \"CH-1\n <\/div>\n\n
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Boss\n <\/p>\n

CH-1 Chorus\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
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\n <\/svg>\n <\/div>\n
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\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 115 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SD-1\n <\/div>\n\n
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Boss\n <\/p>\n

SD-1 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
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\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 (1048)\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
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\n \"BF-3\"\n\n <\/div>\n\n
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Boss\n <\/p>\n

BF-3\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
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (157)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 144 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"TR-2\"\n\n <\/div>\n\n
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Boss\n <\/p>\n

TR-2\n <\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (271)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 115 \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 effets, Smith n\u2019a jamais \u00e9t\u00e9 fan des racks g\u00e9ants qui sont pourtant la r\u00e9f\u00e9rence \u00e0 l\u2019\u00e9poque. Il ne sera pas non plus fan des p\u00e9dales boutique qui sont \u00e0 la mode \u00e0 l\u2019heure actuelle. On l\u2019a vu jouer avec un MXR Flanger M117 et des Electro Harmonix (un delay Memory Man Deluxe et un flanger Electric Mistress), mais il est en g\u00e9n\u00e9ral rest\u00e9 d\u2019une fid\u00e9lit\u00e9 exemplaire aux compact pedals<\/em> de Boss. Son setup de la fin des ann\u00e9es 80 comprend une CH-1 Super Chorus, une SD-1 Super Overdrive, une BF-2 Flanger (devenue la BF-3 en 2002), et une PN-2 Tremolo\/Pan (devenue la TR-2 en 1997).<\/p>\n\n\n\n

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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

Exploration des profondeurs<\/strong><\/p>\n\n\n\n

Au milieu des ann\u00e9es 80, The Cure conna\u00eet enfin un d\u00e9but de succ\u00e8s commercial avec The Top<\/em> (1984) mais surtout avec le superbe The Head On The Door<\/em> (1985). C\u2019est le premier album sur lequel on entend la guitare de Porl Thompson, qui vient enrichir le son du groupe. Smith diversifie sa collection d\u2019instruments, puisqu\u2019on le voit avec une Telecaster noire \u00e0 touche \u00e9rable, mais aussi et surtout avec une Bass VI. Cet instrument, lanc\u00e9 par Fender en 1961, \u00e9tait une mani\u00e8re simple pour les guitaristes de marcher sur les plates bandes sonores des bassistes, avec un diapason tr\u00e8s long et six cordes \u00e0 l\u2019octave inf\u00e9rieure. Ce mod\u00e8le, avec sa forme type Jazzmaster et ses trois micros type Jaguar, n\u2019a jamais connu de succ\u00e8s massif, mais on le retrouve quand m\u00eame chez les Beatles et Cream. Robert Smith va trouver une voix bien \u00e0 lui gr\u00e2ce \u00e0 cet instrument, et on le voit surtout avec deux mod\u00e8les Fender : une noire \u00e0 plaque tortoise du d\u00e9but des ann\u00e9es 60, et une noire \u00e0 plaque noire de la fin des ann\u00e9es 60. On l\u2019entend par exemple sur \u201cThe Exploding Boy\u201d ou \u201cPictures Of You\u201d.<\/p>\n\n\n

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\n
\n \"Sonic\n <\/div>\n\n
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Squier\n <\/p>\n

Sonic Tele MN 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
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\n <\/svg>\n <\/div>\n
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\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 164 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"Vintera\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Vintera III E 60s Bass VI OWT\n <\/h3>\n <\/span>\n\n
\n Note : 6.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0379 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"CV\n <\/div>\n\n
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Squier\n <\/p>\n

CV Bass VI LRL BK\n <\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
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\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 469 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Troy\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Troy Van Leeuwen Jazzmaster\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 (37)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0666 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Johnny\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Johnny Marr Jaguar OWT\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 3\u00a0222 \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

M\u00eame si on l\u2019a vu sur Telecaster et Stratocaster, Porl Thompson est un amateur de Gibson. Il joue sur ES-175, Les Paul Gold Top et ES-345, une version plus luxueuse de l\u2019ind\u00e9modable semi-hollow. C\u2019est d\u2019ailleurs cette derni\u00e8re que Smith lui a emprunt\u00e9 pour le solo de \u201cFriday I\u2019m In Love\u201d en 1992.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Player\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Player II Tele MN BTB\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 (13)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 775 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Clapton\n <\/div>\n\n
\n\n
\n\n \n

Fender\n <\/p>\n

Clapton Strat Signature BLK\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 (25)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0799 \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 Studio Goldtop\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\u00a0699 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Marcus\n <\/div>\n\n
\n\n
\n\n \n

Gibson\n <\/p>\n

Marcus King ES-345 Sixties Ch.\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 3\u00a0799 \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

\u00c9volutions et cons\u00e9cration<\/strong><\/p>\n\n\n\n

La p\u00e9riode des ann\u00e9es 90 correspond \u00e0 plusieurs changements majeurs dans le matos de The Cure. Smith se prend d\u2019affection pour les grosses hollow body de Gretsch, une Country Gentleman Chet Atkins puis une Silver Falcon (p\u00e9riode Bloodflowers<\/em>). Il int\u00e8gre une Digitech Whammy parmi ses effets et s\u2019essaie \u00e0 l\u2019amplification \u00e0 lampes avec des Vox AC30 et Orange AD30. Mais le naturel reprend vite le dessus puisque sur sc\u00e8ne, ce sont des Peavey Special 212 Chorus \u00e0 transistors qui assurent.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"G6122T-59VS\n <\/div>\n\n
\n\n
\n\n \n

Gretsch\n <\/p>\n

G6122T-59VS Chet Atkins CG WS\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 3\u00a0499 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"G6136T-59VS\n <\/div>\n\n
\n\n
\n\n \n

Gretsch\n <\/p>\n

G6136T-59VS White Falcon\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 4\u00a0198 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\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 \"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
\n
\n \"OR\n <\/div>\n\n
\n\n
\n\n \n

Orange\n <\/p>\n

OR 30 Orange\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 1\u00a0889 \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 2005, The Cure s\u2019acoquine avec la marque am\u00e9ricaine Schecter, ce qui donne plusieurs mod\u00e8les signature. Robert Smith con\u00e7oit la UltraCure, un mod\u00e8le offset qui n\u2019est pas tr\u00e8s \u00e9loign\u00e9 de la Jazzmaster niveau look mais reprend le chevalet et les humbuckers d\u2019une Gibson. Le mod\u00e8le existe en version standard, 12 cordes et bien s\u00fbr UltraCure VI, leur version de la Bass VI. Porl Thompson a aussi son mod\u00e8le, la Corsair, qui \u00e9voque fortement la ES-345.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Bandit\n <\/div>\n\n
\n\n
\n\n \n

Peavey\n <\/p>\n

Bandit 112\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 (94)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 599 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Synyster\n <\/div>\n\n
\n\n
\n\n \n

Schecter\n <\/p>\n

Synyster Gates Custom S Gloss\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 1\u00a0799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Reeves\n <\/div>\n\n
\n\n
\n\n \n

Reverend\n <\/p>\n

Reeves Gabrels RG-SUS MKII\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 1\u00a0777 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Reeves\n <\/div>\n\n
\n\n
\n\n \n

Reverend\n <\/p>\n

Reeves Gabrels Space.Supr. VG\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 1\u00a0666 \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 2012, c\u2019est Reeve Gabrels (ex-David Bowie et Tin Machine) qui prend la rel\u00e8ve et devient le deuxi\u00e8me guitariste du groupe. Gabrels joue sur ses mod\u00e8les signature Reverend, et Smith reste fid\u00e8le \u00e0 Schecter. Ce dernier a toujours un pedalboard minimal compos\u00e9 uniquement de Boss (Boss SD-1 Super Overdrive, BD-2 Blues Driver, GE-7 Equalizer, PH-3 Phase Shifter et BF-3 Flanger) qu\u2019il branche sur deux amplis Roland Cube : le Roland Cube 60-XL pour la Bass VI, et plusieurs Cube 80GX pour le reste des textures, en combinaison avec un combo Supro Black Magick. Difficile de faire plus modeste pour un groupe qui a en grande partie d\u00e9fini l\u2019id\u00e9e m\u00eame d\u2019int\u00e9grit\u00e9 artistique pendant les 50 derni\u00e8res ann\u00e9es<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"SD-1\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

SD-1 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 (1048)\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 \"BD-2\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

BD-2 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 (674)\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 \"GE-7\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

GE-7 Equalizer\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 (817)\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 \"PH-3\"\n\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

PH-3\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 (97)\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 \"BF-3\"\n\n <\/div>\n\n
\n\n
\n\n \n

Boss\n <\/p>\n

BF-3\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 (157)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 144 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Cube-10GX\"\n\n <\/div>\n\n
\n\n
\n\n \n

Roland\n <\/p>\n

Cube-10GX\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 (117)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 149 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"1695T\n <\/div>\n\n
\n\n
\n\n \n

Supro\n <\/p>\n

1695T Black Magick\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 1\u00a0179 \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","protected":false},"excerpt":{"rendered":"

Depuis 50 ans, The Cure d\u00e9veloppe un son tr\u00e8s personnel, et nous te proposons aujourd\u2019hui de revenir sur leur approche des guitares.<\/p>\n","protected":false},"author":63,"featured_media":10022098,"comment_status":"open","ping_status":"0","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[926],"tags":[],"class_list":["post-10021934","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":6,"formatted":"6 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021934","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\/63"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/comments?post=10021934"}],"version-history":[{"count":8,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021934\/revisions"}],"predecessor-version":[{"id":10022101,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/posts\/10021934\/revisions\/10022101"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/media\/10022098"}],"wp:attachment":[{"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/media?parent=10021934"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/categories?post=10021934"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.fr\/blog\/wp-json\/wp\/v2\/tags?post=10021934"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}