45 Anni fa - MADE IN JAPAN

[luvi]

Questo suono appare cosi per la prima volta al secondo concerto al Rainbow di Londra del 01 Luglio 1972.
Ho i bootleg.
La sera prima, 30 Giugno1972,  Blackmore aveva un timbro molto simile alle distorsioni che possiamo sentire in Live In Concert 1970-1972.
La sera dopo merge la distorsione suprema Stratocaster-Marshall che sappiamo.
Probabilmente ha cambiato il Treble Booster o  altro ... non si sa ... fatto sta che seguire tutti i Bootleg del 1972 si vede proprio questo suono appariire il 01.07.1072

Interessante... ad ogni modo, un suono gustosissimo ed una performance "coralmente" eccezionale... e pensare che non volevano nemmeno lasciarla pubblicare!

[Fidelcaster]

Finalmente ha cacciato i soldi per una pila nuova nel booster? 

[luvi]

Finalmente ha cacciato i soldi per una pila nuova nel booster? 

[Cold_Nose]

Ma è sicuro al 100% che fosse il suono dei Marshall ? In più di un'intervista ho letto di quanto Blackmore usasse il Vox (perlomeno sui primi album dei Purple ed anche in alcuni dei Rainbow) e addirittura parla di Vox inseriti all'interno dei Marshall. Qui parla di quando nella fabbrica dei Marshall i tecnici provarono senza esito a creare il suono che Blackmore andava cercando :

"But they had a hell of a time trying to duplicate - I wanted a sound like a Vox, my AC30, which was perfect. But it wasn't politically correct, it wasn't a Marshall, so they tried everything. And you know what they did in the end, after six weeks of trying to copy it? They put the Vox in a Marshall cabinet... And I used to use that on stage, in the combo amp - it looked like a Marshall, but it was a Vox."

Cronologicamente, non so però di quale periodo musicale stia parlando.

[Grand Funk]

Io invece I miei Deep Purple preferiti li trovo proprio dopo Made in Japan che per me rimane comunque una delle pietre miliari del rock.
In particolare adoro due album che sono Deep Purple in Rock e Stormbringer e adoro la coppia Coverdale /Hughes alle voci 

Deep Purple " In Rock " è prima di Made in Japan......

[rggianfranco]

Concerto  e LP doppio dal vivo  indimenticabile e inimitabile.....Roger  Glover era stato  mandato via....licenziato e questo era l ultimo concerto con lui e  Gillan.....che dire la  passione e la professionalità ha lasciato un bel segno...ho 4 filmati degli anni 70 live....ma come Made in Japan  non li ho mai sentiti cosi...mi ricordo che con il mangiacassette ci sono andato avanti tutta l estate del  1973.....bei tempi.......

Parlando di volumi ampli.....il mio 40W lo metto a palla  e diciamo che  quello che fa la differenza per un bel brunch  lo trovo  usando il gain...se il gain lo lascio a 3 va tutto bene ...rimane un bel pulito.....appena salgo di gain.....fischia se cruncia di brutto.......nulla a che vedere con la distorsione.....tutto altra cosa il distortion.

[LawHunter]

Ma è sicuro al 100% che fosse il suono dei Marshall ? In più di un'intervista ho letto di quanto Blackmore usasse il Vox (perlomeno sui primi album dei Purple ed anche in alcuni dei Rainbow) e addirittura parla di Vox inseriti all'interno dei Marshall. Qui parla di quando nella fabbrica dei Marshall i tecnici provarono senza esito a creare il suono che Blackmore andava cercando :

"But they had a hell of a time trying to duplicate - I wanted a sound like a Vox, my AC30, which was perfect. But it wasn't politically correct, it wasn't a Marshall, so they tried everything. And you know what they did in the end, after six weeks of trying to copy it? They put the Vox in a Marshall cabinet... And I used to use that on stage, in the combo amp - it looked like a Marshall, but it was a Vox."

Cronologicamente, non so però di quale periodo musicale stia parlando.

Questa della Marshall data attorno al 1968: fece sovrapotenziare i Marshall Major.
Quanto alla questione Vox penso fosse più un'aspirazione che reale o al max un esperimento. Io so che nei Marshall sovrapotenziati fece mettere come Finali non le EL34 ma le KT88 che permettevano un suono molto definito.
Poi non scordiamoci il ruolo del Treble Booster che venne utilizzato fino a metà 1973 per poi essere sostituito nella stessa funzione dal preamp del Tape Echo AIWA.

[Caligarock]

Io invece I miei Deep Purple preferiti li trovo proprio dopo Made in Japan che per me rimane comunque una delle pietre miliari del rock.
In particolare adoro due album che sono Deep Purple in Rock e Stormbringer e adoro la coppia Coverdale /Hughes alle voci 

Deep Purple " In Rock " è prima di Made in Japan......

Hai ragione GF  ho fatto confusione tra In Rock e Burn... La senilità avanza! 

[Grand Funk]

Hai ragione GF  :sorry:ho fatto confusione tra In Rock e Burn... La senilità avanza! 

Ma quando mai !!!! su noi rokkettari non attaccano quelle cose, hai letto cosa dice la mia firma ? " Chi fà rock campa 100 anni ! " perciò .....?   

[Seventytwo]

A me pare che il suono ("stratosferico", è il caso di dire...  ) di Blackmore in Made in Japan non abbia eguali in altri album nè in altre registrazioni live dei DP, perfino dello stesso periodo... tutte differenti...
Secondo me, in quella serata c'è stato lo zampino fortunato di un trattamento particolarmente efficace da parte del fonico, se no non me lo spiego facilmente.
Un pò quello che è successo al Clapton di Just One Night, insomma... 

Questo suono appare cosi per la prima volta al secondo concerto al Rainbow di Londra del 01 Luglio 1972.
Ho i bootleg.
La sera prima, 30 Giugno1972,  Blackmore aveva un timbro molto simile alle distorsioni che possiamo sentire in Live In Concert 1970-1972.
La sera dopo merge la distorsione suprema Stratocaster-Marshall che sappiamo.
Probabilmente ha cambiato il Treble Booster o  altro ... non si sa ... fatto sta che seguire tutti i Bootleg del 1972 si vede proprio questo suono appariire il 01.07.1072

Concordo...sottovalutati molto i lavori con Coverdale alla voce, anche se i veri Deep Purple per tutti sono quelli di MKII

[Seventytwo]

A me pare che il suono ("stratosferico", è il caso di dire...  ) di Blackmore in Made in Japan non abbia eguali in altri album nè in altre registrazioni live dei DP, perfino dello stesso periodo... tutte differenti...
Secondo me, in quella serata c'è stato lo zampino fortunato di un trattamento particolarmente efficace da parte del fonico, se no non me lo spiego facilmente.
Un pò quello che è successo al Clapton di Just One Night, insomma... 

Se non sbaglio in regia c'era Martin Birch, che poi ha fatto la fortuna degli Iron Maiden nel decennio successivo.
Si apprezza una discreta differenza tra la registrazione di Iron Maiden e il successivo Killers (il primo con Birch in cabina di regia)
Anche se il culmine è il successivo The Number of the beast, dove per stessa ammissione di Bruce Dickinson Birch gli ha chiesto di andare oltre alle sue stesse capacità canore stressandolo in ogni singolo dettaglio.

Tornando a Made in Japan...curioso il fatto che lo avessero fatto controvoglia autorizzandone l'eventuale vendita solo per il mercato Giapponese (di un EP al massimo)e solo dopo un ascolto con approvazione della band.

Poi lo hanno ascoltato....per fortuna.

[LawHunter]

Mi permetto di postare alcuni estratti che indicano in maniera meravigliosa il suon di Blackmore con la Mk. II e quello con la Mk. III

Da ..:: BSM - Finest Treble Booster ::..


Ritchie Blackmore´s MkII sound
The DP_Mk2 sound of Ritchie Blackmore is dominated by the combination of a treblebooster and a 200 watt Marshall Major amp.
The circuit of the Major amps is very unique and has nothing to do with the common 50 and 100 watt models; so the 200 watt Marshall Major is not a louder 100 watt Marshall amp: simply the Major has a very special tone.
During the years, several versions of the Major amp had been released, the first edition from 1967 named "Marshall 200" and nicknamed "the pig" (two inputs, three controls for bass, treble and volume) is not important for us here. Only the later versions from 1968-1974 with the typical Marshall cosmetics, four inputs and six controls named "Marshall Major" are important for us, because Blackmore played only this amps.

Sporting an ultra-linear power stage, KT88 beam-power tetrodes and a Class-A push/pull driver stage, the Major is close to the typical hi-fi concepts, this is the reason for the tight and focused bass response of this amp.
Because of the ultra-linear power stage (aka "screen-grid negative feedback"), the internal resistance of the power stage is lowered notably, or as the hi-fi guys like to call it: the damping factor is raised notably. Because of this, the speaker is driven more precise, especially in the bass frequencies, works more stable and with less tolerances from its nominal parameters, eg. a lower THD factor and a better frequency response. That´s exactly the reason, why the ultra-linear concept is so widely used for high-priced hi-fi units.

Ritchie did have his Marshall Majors modified in the Marshall factory right from the beginning for his personal needs. The main mod over the years was having his amps to sound more like a VOX to give him his signature Blackmore sound: modified Majors + Booster + Strat.

During the years, two slightly different versions of the Major Lead Series (there are also Major models for bass and PA purposes) had been released: the difference was only about one single component, a treble bypass capacitor, soldered between in- and output of the volume pot. In comparison to the 50 and 100 watt Marshall models of this time, this capacitor was small, similar to the ones used on the "Bright Switch" on many Fender amps. Later on, the Major received the same bypass cap like the 100 watt Marshall amps.
The reason for this bypass cap was to keep the treble alive, when rolling back the volume. Because of this and depending on the volume, the upper highs were boosted notably and other than on the Fender, Boogie, Dumble and some other amps, you could not switch off this boost.
The Major amps with the treble bypass cap are called "Bright Volume" (BV) and this amps did not show up until early/mid 1972, while the amps without the cap are called "Neutral Volume" (NV).
After early/mid 1972, only the BV amps were produced and at the end of 1972, Ritchie switched over to this new BV version where its shining, bright tone is easy to identify.

The Hornby-Skewes treblebooster existed is several versions with at least four different capacitor arrangements and two different transistor setups: only two of this versions have been used by Blackmore.
Until spring 1971, Ritchie used the germanium version of the Hornby-Skewes (HS) version, as well as one of the silicon versions. Ritchie owned three HS booster in 1971, one of them was modified around 1970 and received an additional volume control. The silicon version was also used in the studio, eg. on the late 71 "Machine Head" recordings paired, ror this recordings, to a VOX AC30.

Ritchie then used the services of the late tech Bill Hough who was technical director of the UKs biggest PA rental company I.E.S. (Entertainers Service Inc.), a company that often provided the PA sound system for Emerson, Lake & Palmer and Deep Purple.
Therefore the electronic wizard Hough was often in charge of the PA and looked after Keith Emerson's keyboards, because he knew everything about Hammond organs. The two groups often competed in terms of PA power and volume. By the way: Bill was also responsible for all the quadraphonic "Mavis" mixer designs e.g. used at the California Jam 1974 or by the Who.
Obviously it was no wonder, Ritchie one time asked Bill for technical help, so Bill built a treblebooster for Ritchie that did not suffer from picking up radio signals and the (bit wah like) mid-rangy and compressed sound of the silicon Hornby Skewes booster. He built his electronics into the enclosure of the modified HS booster model with the additional volume control, by simply taking out all of the original guts.
Hough´s custom made silicon booster (CM) was used from spring/summer 1971 until the end of the DP_Mk2 period in summer 1973, but with one exception: the legendary "Made in Japan" recording from fall 1972 was recorded with the old HS germanium booster.

On a lot of live recordings Ritchie used the CM booster, as the legendary "Beat Club" session from Autumn 1971, the marvelous BBC session (a.k.a. "In Concert 1970-72") from Spring 1972 (both sporting the fresh and airy guitar sound) and the New York (NY) show from Hofstra University from 1973 as well, even if this time he played (and recorded) with  with a new Major BV version amp. Especially on this recording, it´s easy to hear the additional glassy-brilliant amount of treble as well as the funky, punching bass of the BV Major version.


Ritchie Blackmore´s MkIII Sound
Ritchies sound during his DP_Mk3 times, is an interesting subject on its own.
Until 1973, Ritchie used the treblebooster in front of his Marshall Major amp during his DPMk2 period.

With David Coverdale and Glenn Hughes as a substitute for Ian Gillan and Roger Glover in late 1973, Ritchie was the one and only leader of DPMk3 and He wanted to use an echoe effect for his live performances, but sadly he did not found anything to taylor his needs; after trying numerous echoe devices, he ended up with his home-based AIWA TP-1011 tape recorder - he did not like the well-known and common tape-echoe machines of this time like the Echoplex or the WEM Copycat.
In a nutshell, this specific AIWA machine was nothing fancy, just a simple budget 3-head tape recorder and not even in the same ballpark, compared to the top of the line models of this time from japanese manufacturers like Sony, AKAI, TEAC and Dokorder, the US-made Ampex or the famous swiss-made REVOX machines - Ritchie tried almost all of them ! The main AIWA products at this time were handheld dictaphones and small budget tape recorders. Besides this, AIWA also offered some "real" 7-inch open-reel machines, to compete with the other companies. Some of this machines were battery-powered, some others offered a built-in amplifier and small speakers - all typical things at the late 60´s.
The TP-1011 (with a tape speed of 19cm/sec.) was the only useable machine from AIWA at this time for hi-fi purposes, but the inexpensive AIWA machine contained a need feature, that not all three-head machines had: the so called "Sound-on-Sound" switch (aka "SOS switch"), providing an echoe effect by pushing a button. Adjusting the "Repeat" time was always a challenge, beacause the only way to do that, was to use the tape-speed: 19cm/sec. - 9.5cm/sec. - 4,75cm/sec. which was a 1/3 sec. or a 2/3 sec. delay that raised Ritchie´s attention.
At DP Mk3 Ritchie used the 1/3 sec. delay exclusively, later on with "Rainbow" he used the 2/3 sec. delay as well.
To bust some myths and urban-legends ..... the AIWA TP-1011 was not tube-powered and it also did not contain any germanium transistors - the whole machine was pure silicone powered !

But by accident, the AIWA´s mic pre-amp stage worked perfectly together with Fender-style pickups. Because a guitar pickup is not a microphone, that´s not always the case and depends on the specific tape machine. There are many tape machines (independent from the manufacturer, price and model) which did not work together with a guitar pickup, connected to the mic pre-amp input, so it was pure luck that it worked with the AIWA and Ritchie really liked this sound.

As a downside, the AIWA did not work with Ritchie´s Hornby-Skewes treblebooster in front of the machine for the result was a very distorted and noisy tone.
So Ritchie went to the Marshall company, because he knew Jim Marshall well from his successless early days in the music scene in the mid 60´s, when he spent a lot of time, hanging around in Jim Marshall´s music shop. To quote Jim Marshall: "Ritchie more or less lived in my shop".

As a result, Ritchies Major 200 Lead amp was modified by cascading the pre-amp stage, connecting an additional pre-amp stage with relatively low gain [/i](approx. factor 10 = 20dB instead of the common 35dB of a common used pre-amp tube[/i]) together with the stock one. The reason for this was, that the AIWA had something more to offer besides only an echoe-effect: gain until the very end and a high output level!
This was the reason, why Ritchie´s amp was not modded for maximum gain. The necessary high-pass function was built into the new cascaded pre-amp stage of the amp, because the Hornby-Skewes treblebooster which fullfilled this function in the past was not longer used.
While auditioning the modified amp in the Marshall factory (maybe not at maximum gain ?!?) Ritchie really liked this new powerful and dirty sound and He used this amp for the US "Burn" tour in spring 1974.
There are two recordings, where you can hear this sound: "California Jam" and "Perks and Tit" (aka "San Diego 1974").

But the modified amp also had a downside: the DPMk3 stage level was incredibly high and the new, highly motivated bassplayer Glenn Hughes was new a member of the "greatest rockband of the world" ... and he knew that! So he started to use Hiwatt 200 amps with 4 x KT88 power tubes and big bass-bins (built for PA purposes) to hold-up with Ritchies high volume level.
So Ritchie had the problem, that he had enough power and volume, but he needed more bite to cut through the mix. With maximum gain, his sound was way to mild, not as agressive and powerful as in the past with the treblebooster in front of the amp. This problem only occured at maximum gain, not below, because of uncompensated saturation-effects of the amp´s power stage, caused by the additional gain.

Soon after the US tour he went to the Marshall factory again to get rid of this problem, because the England tour was soon to come, starting in Scotland. To bust some myths again: Ritchie's Lead Major Amp still had 4 KT88 power tubes (!!!) This UK tour is documented as "DP Live in London" from May 1974, recorded by BBC. Ritchies new sound was tight, razor-sharp and with a lot of bite but at the same time he stopped playing the ultra-fat chords from the US tour you can hear on the "Perks and Tit" record in the "Burn" song and he started to play unisone single notes - this was one of the results of his new sound !

Ritchie played this amp without any new mods for the rest of his DP_Mk3 period. You can hear this sound on "Made in Europe" and the later "Mk III Final Concerts" and "Live in Paris 1975", all of them recordings from the last three DP Mk3 concerts, short before Blackmore left Deep Purple.
It is also from interest that RB´s tech changed later in Rainbow the stock driver tube ECC82 to the military high quality "JAN" tubes 5814A or 6189W.

[LawHunter]

VU se vuoi ti faccio un articolo traduzione ed esplorazione del Suono di Ritchie Blackmore 

[Vu-meter]

VU se vuoi ti faccio un articolo traduzione ed esplorazione del Suono di Ritchie Blackmore 

Se te la senti, noi possiamo solo ringraziare !!!

[LawHunter]

VU se vuoi ti faccio un articolo traduzione ed esplorazione del Suono di Ritchie Blackmore 

Se te la senti, noi possiamo solo ringraziare !!!

Lo farei volentieri perché è il mio idolo assoluto.
Diciamo però che ho bisogno almeno un mesetto e ... poi in privato mi dici le specifiche tecniche.