What’s the probability that Van Halen 1 was this settup
- Thread starter Amp_chaser
- Start date
Amp_chaser
Active member
Mh I admit that live sound is different from studio record. However there are guys like George lynch and Randy who came in the early days see Van Halen and their testimonies about tone clearly states that this tone was exceptionally unusual
Both. We were jealous and we were all trying to play catch up. We thought, Oh boy, we better get on board. This guy’s going to change the world. I remember my reaction when I first heard Eddie. I had been hearing about this guy with the weird European name. He’s got a torpedo onstage, the bass player wears clogs, they have bombs onstage, and the guy’s unbelievable. I saw him and it blew my mind. They were still doing covers at the time – Rainbow, Montrose – and their original stuff was as good or better than their cover stuff, which was pretty exceptional. After their show, I went back to our band room and played my guitar until the sun came up. I thought, Man! How can I get that tone? [Yes! Tone, not speed
I mean George lynch was familiar with super leads and not only him. Why were they all impressed by eddies tone if there wasn’t something weird about his setup or gear ?
It’s very difficult to estimate eddies tone live because some times he sounds very different show to show.
As many thought that the echo Plex was what helped Eddie to get his signature tone George Lynch bought Eddies original echo Plex years later… I believe he is still looking for the answer too. If guys like Dave Friedman which open Marshall’s everyday and guys like George lynch which played tons of super leads still have doubts about the first record and eddies early tone then there might be something fishy.
Last edited:
Amp_chaser
Active member
I want to hear that feel your love tonight test with your sl68. And see if you get 98-99% from the record. I believe I could be astonished but without a lot of mixing or using 2 amps I don’t think you’d be able to.
harddriver
Well-known member
I already have posted some of the best clips from all over the internet and by some of the best EVH players out there and you have found fault with all of them so what's the point. If I posted clips of live Ed you probably would say the tones were lacking bass and gain....
Again if you have not explored all of these facets of possibilities by yourself you will not believe it when people show a you a 68 plexi or superlead gets the tone...which I have numerous times. But... please do continue to get snarky without your video proof maybe you can post a LIVE recording of a Mod 5 Rockstah to prove your point, those probably don't have enough bass or gain either, the Bray 4550 didn't work for you and those have gain way beyond a Jose mod and that just tells me you are arguing to beleaguer the points.
Here ya go.... here's another one by Al Estrada, I bet this one sucks too....................
Please post a Jose mod or a 2203 that sounds as good or better than Jim Gaustad's or the Suhr SL68 into the OXbox? The fact is you are not able to do so, I on the other hand have posted tons of videos that prove my points concisely and effectively, it doesn't have to be my 68 plex Jims 68 is a great stand in or a Suhr SL68, a 68 circuit is a 68 circuit. I posted a clip my NOS parts 69 superlead without being variaced that got the tone 90% of the way there with a Clinch EPPRE and a Boss GE7, I'm sure it is also lacking bass and gain for you.
When you post those clips of the 2203, Jose or Mod 5 let me know. If you have one that beats Gaustads 68 plexi or the Suhr I will be the first to tell you how great it sounds.
Last edited:
Amp_chaser
Active member
I mean what’s the point of giving links to eruption ? What’s impressive is more the rhythm sound of eddie’s tone that’s were the unusual things and magic happens. Hot guitar signals just pick a Soldano it will get you there. But a hot articulated signal with this amount of bass that’s something out of this world.I already have posted some of the best clips from all over the internet and by some of the best EVH players out there and you have found fault with all of them so what's the point. If I posted clips of live Ed you probably would say the tones were lacking bass and gain....
Again if you have not explored all of these facets of possibilities by yourself you will not believe it when people show a you a 68 plexi or superlead gets the tone...which I have numerous times. But... please do continue to get snarky without your video proof maybe you can post a LIVE recording of a Mod 5 Rockstah to prove your point, those probably don't have enough bass or gain either, the Bray 4550 didn't work for you and those have gain way beyond a Jose mod and that just tells me you are arguing to beleaguer the points.
Please post a Jose mod or a 2203 that sounds as good or better than Jim Gaustad's or the Suhr SL68 into the OXbox? The fact is you are not able to do so, I on the other hand have posted tons of videos that prove my points concisely and effectively, it doesn't have to be my 68 plex Jims 68 is a great stand in or a Suhr SL68, a 68 circuit is a 68 circuit. I posted a clip my NOS parts 69 superlead without being variaced that got the tone 90% of the way there with a Clinch EPPRE and a Boss GE7, I'm sure it is also lacking bass and gain for you.
When you post those clips of the 2203, Jose or Mod 5 let me know. If you have one that beats Gaustads 68 plexi or the Suhr I will be the first to tell you how great it sounds.
Why don’t you use a sm57 instead of an oxbox ? I mean if we have to compare things let’s try to compare the way it was originally recorded.
If someone has a full cover of the song feel your love tonight with mic without mixing and with the guitar only post it.
And I believe there are better than Jim achieving the brown sound one of the best ones is probably this YouTuber :
However many people couldn’t achieve this tone with a bray, I myself included. Bray custom made amps seem to be a lottery. However I don’t know about the coco, I never ordered one. I think the issue is that when bray customize amps he asks you how strong you pick and he adapts this into his amps. It’s difficult for one self to know how hard he picks if he never compared this matter with other players.
If you didn’t know bray amps are hot rod plexis with some unusual values.
Last edited:
psychodave
Well-known member
It's interesting that his tone is cool, but doesn't sound that hard to achieve with a good Marshall. The bottom end is tubby and hairy in the isolated clips. Most people are trying to get the VH sound in the entire mix. As you can hear, two very different sounds.
Beyond Black
Well-known member
Not enough bass.
Meanjoegreene
Well-known member
Eddie said his VH1 tones were too bright
Ash body strat
Maple neck
PAF-ish pickup
Marshall amp
Celestion G12M greenbacks
SM-57
Neve 1073 mic pre
into recording desk
mentoneman
Well-known member
it’s ok to disagree with one another.
i don’t feel the audio from the live bootleg videos or the isolated studio tracks are as helpful as the actual mastered recordings.
the exception is the recent ted templeman instrumental tracks i posted. those are nice and the vh tone i care about.
the suhr SL68 clip with Al is cool because he plays exceptionally well in the VH style and the amp does capture that saggy plexi smear i hear as part of Eddie’s early tone.
this clip i made of Victor at the plexi palace on his mojave peacemaker proto 17 years ago still does the trick for me, covering the chirpy pick attack and string to string clarity while still achieving some sponge and low end cab resonance.
i don’t feel the audio from the live bootleg videos or the isolated studio tracks are as helpful as the actual mastered recordings.
the exception is the recent ted templeman instrumental tracks i posted. those are nice and the vh tone i care about.
the suhr SL68 clip with Al is cool because he plays exceptionally well in the VH style and the amp does capture that saggy plexi smear i hear as part of Eddie’s early tone.
this clip i made of Victor at the plexi palace on his mojave peacemaker proto 17 years ago still does the trick for me, covering the chirpy pick attack and string to string clarity while still achieving some sponge and low end cab resonance.
PiggySmallz
Active member
I don't give a whole hill of a shit about Ed's tone, but if you're trying to recreate sound from a mixed album with a ton of other shit going on before mastering, you're absolutely wasting time. Take the isolated tracks and recreate them with a modeler. Use the time you just saved to create similar signal chains from the albums mixing/mastering stage in a DAW and tweak from there. Once you find it, save it as a template. Congrats now you can waste your time on something else.
In my opinion, if you're trying to chase down the exact service provider for the electricity in that studio or what color underwear Ed was wearing that day then you've completely missed and lost the point of playing guitar.
In my opinion, if you're trying to chase down the exact service provider for the electricity in that studio or what color underwear Ed was wearing that day then you've completely missed and lost the point of playing guitar.
Pretty sure it's to spend 16 hours a day shit-posting on a guitar forum and talking about gear you wished you never sold.
Techdeth
RESIDENT ROCK PROFESSOR
But he’s wrong ! The highs are the best
ZEN Amps
Well-known member
Without the myths a lot of guys would have literally nothing to live for. You're basically advocating for the annihilation of an entire minority group you monster.
RaceU4her
Well-known member
its like i asked in one of the last 47 EVH threads last week, what exactly does one do when they finally nail the tone?? Play Janine's Crying? maybe Panama?? smoke a cig while taking a nice celebratory dump??
jabps
Well-known member
Great point.
harddriver
Well-known member
We're going to have to agree to disagree that Thorny's Bray tops Jim Gaustads work. I feel the evidence for a off spec'd 68 Marshall 12 series and Superlead amp run the way Ed was running them with his exact signal chain is quite evident. It get's the live tone every single time and the live tone was really really good, one might say almost the same as the record and that's good enough for me. Once you go beyond two gains stages it becomes more difficult to retain what makes a cranked plexi special, any player who's played a good Plexi or Superlead will tell you the exact same thing, because you hear it and feel it. Until you play a 68 plexi/superlead in the Zone you won't understand what I am talking about.
You vacillate between live and recorded tone charactheristics, you are going to have to pick one, once you have the live core tone then one can move on to the recording aspects is how I look at it. I feel I have a achieved Ed's live tones and I am satisfied with that, I'm not interested in getting an exact recorded tone because of all the variables, there are just too many to incorporate.
If you want the exact album tones with all the reverb and delay, Sunset sound effects for an amp the OXBOX gives you and attenuator and good IR's with all those tools in a complete setup that seems to work well for alot of people including Ossie Ahsen and others. Beyond that you are looking at Kemper.
I never once said the Jose's, Bray's, modded Marshall don't sound good or close enough for most, I have stated the actual 12 series 68 and most Superlead ran the same way sound more correct, at least to my ear and alot of other discerning ears also agree. Ed could have tried alot of strange shit and we'll never know it so my money is on 68 plexi's and Superleads until I hear something better, and I haven't for about 14 years and alot has transpired since then and the 68 plexi/Superlead is still on top for Ed's 78 tone for most.
Simon Hosford for Fair Warning has killer Ed tones via Kemper, this might work better for you where you could compare variaced 68 plexi's to say something like a BE100 and other like an SLO.
"Im using the Kemper as a pre-amp, and running it into the old Superlead Power section at the back, and then into a vintage Marshall Cab. The Plexi I've had modded to sound great on its own, but because we were playing "the album", the Kemper gave me the flexibility to have different gain structures and reverbs to match each song more closely. On the floor I'm just using a Strymon tape delay, and a MXR phase 90. I ran it "dry/wet" on the day, so that the Plexi & Marshall cab are bone dry unless I turn the delay on, and the other rig you see there is just doing 100% wet reverbs."
TopJimi (Kemper profiles) https://topjimi.com/
This show is all Kemper, he's running it into the power section of the Head, I don't think he used a Jose/or 2203 Kemper model
Last edited: