
hammered
Well-known member
Was looking for an old thread to bump but figured I'd just start a new one. This just surfaced a few days ago , pretty badass
I agree with you about plexi amounts of gain . Especially starting on VH2 . But VH1 was way more distortion than a usual plexi. It’s weird because I don’t think of vh1 as Ed’s tone . I think of vh2 to 1984 as Ed’s trie old school tone . But vh1 was definitely different than the 79to84 tone which I find all consistent in a way
Again the glaring observation with isolating all these VH tracks shows that Ed was really using PLEXI amounts of gain in these recordings and just strangling to ever living shit of that maple neck......................
It's amazing how gainy the amp sounds when sitting in the complete mix..................WOW!
Sure sounds like a PAF to me, as I am not hearing a huge mid bump from a 14-16K pickup.......
Just listen to how clanky, twangy and squeally that plexi is...........Oh how glorious it is..............that aint no Bogner XTC multi gain stage monster.................![]()
I’m with you 100% on this. I was always on the VH2 wagon when it came to pinnacle Ed tones. I realize VH1 changed the game but the growl and roar to me is so much more prominent on VH2. To this day everytime I hear the opening riffs to DOA and Beautiful girls it gets my blood pumping.I agree with you about plexi amounts of gain . Especially starting on VH2 . But VH1 was way more distortion than a usual plexi. It’s weird because I don’t think of vh1 as Ed’s tone . I think of vh2 to 1984 as Ed’s trie old school tone . But vh1 was definitely different than the 79to84 tone which I find all consistent in a way
I honestly like the tone on fair warning best though . But I’m with youI’m with you 100% on this. I was always on the VH2 wagon when it came to pinnacle Ed tones. I realize VH1 changed the game but the growl and roar to me is so much more prominent on VH2. To this day everytime I hear the opening riffs to DOA and Beautiful girls it gets my blood pumping.
I used to think Ed's amp had to be modded. It may still have been; but when you play a NMV Marshall, turned way up through JBLs you get way more 'hair' if you will in the high end, and that seems like extra gain...play the same amp with a different cab and that extra hair/gain is gone.I agree with you about plexi amounts of gain . Especially starting on VH2 . But VH1 was way more distortion than a usual plexi. It’s weird because I don’t think of vh1 as Ed’s tone . I think of vh2 to 1984 as Ed’s trie old school tone . But vh1 was definitely different than the 79to84 tone which I find all consistent in a way
I buy into this. I just recently bought some D120’s (1 OG, 1 reconed) and I can’t believe how much closer you get to that EVH tone. It’s probably the most overlooked aspect of his signal chain. Everyone else is busy overly obsessing with the actual amp.I used to think Ed's amp had to be modded. It may still have been; but when you play a NMV Marshall, turned way up through JBLs you get way more 'hair' if you will in the high end, and that seems like extra gain...play the same amp with a different cab and that extra hair/gain is gone.
VHII was greenbacks, no JBLs IMO and that's the difference in tones.
I buy into this. I just recently bought some D120’s (1 OG, 1 reconed) and I can’t believe how much closer you get to that EVH tone. It’s probably the most overlooked aspect of his signal chain. Everyone else is busy overly obsessing with the actual amp.
I’m sure a lot of you have already seen this video but this is 1 good example.
The really good ones were ripped from the "Guitar Hero" video game.Curious to know how these tracks are isolated? Cool to be able to hear on their own
James Brown (Peavey amp builder) said he would watch Ed setup to record, get the amp and mic/cab where he wanted it, then go into the control room and use the studio EQ to pull out all the mids.For me the the best guitar recorded tones are always pretty BRIGHT in the upper mids and top...Even more aparerant when isolated. This is no exception.
Maybe so...But lots of mids end up on his recordings.James Brown (Peavey amp builder) said he would watch Ed setup to record, get the amp and mic/cab where he wanted it, then go into the control room and use the studio EQ to pull out all the mids.
Dave Friedman -- "Yeah, he hates mids."
James Brown (Peavey amp builder) said he would watch Ed setup to record, get the amp and mic/cab where he wanted it, then go into the control room and use the studio EQ to pull out all the mids.
Dave Friedman -- "Yeah, he hates mids."
That would’ve been the Carnel Knowledge/Balance era when James Brown was involved and I’ve seen a shot of Ed’s settings and the mids were scooped on his 5150. I think he used to crank the mids back in the Marshall days , sure sounds like itMaybe so...But lots of mids end up on his recordings.