Rdodson
Well-known member
Ahh, last time I talked to Val was when she personally fired me from the VH camp.
Yolo Tomassi
Member
She's really fat now anyways.Ahh, last time I talked to Val was when she personally fired me from the VH camp.
ZEN Amps
Well-known member
I think some guys are WAY overthinking this, and letting speculative fine details get in the way of the important stuff.
I'm not saying this is perfect VH tone replica material, but it took maybe 10 mins total. I didn't reference the original, little care was taken - and still it's close enough for rock n' roll. More time messing about, post-EQ, dialling in the reverb etc would get it closer but whatever, it's just not important.
IMO here are the 'secret' ingredients to getting 90% of the way there (that we've all known since the 80's) -
1. A nice NMV Marshall type amp cranked up. This is our 69 Super Lead, but any quality clone can get you there.
2. G12M in a decent 412 miked with an SM57. This is a blackback, but earlier (or later) greenbacks work just fine.
3. A humbucker equipped guitar in Eb. Super strat, Gibson, whatever.
4. An appropriate riff played by someone with decent technique (I just qualify).
5. Don't be shy with the plate reverb.
Using 6CA7's, a variac, the right magic plckup, a JBL etc. may get you closer, but practicing an extra 10mins a day would probably make more difference in the long run.
In fact I think that a great player using this exact tone in a kickin' VH cover band would absolutely crush it. Happy to hear counter-arguments, but if someone could explain why this 'mystery' still needs solving I'll be impressed.
I'm not saying this is perfect VH tone replica material, but it took maybe 10 mins total. I didn't reference the original, little care was taken - and still it's close enough for rock n' roll. More time messing about, post-EQ, dialling in the reverb etc would get it closer but whatever, it's just not important.
IMO here are the 'secret' ingredients to getting 90% of the way there (that we've all known since the 80's) -
1. A nice NMV Marshall type amp cranked up. This is our 69 Super Lead, but any quality clone can get you there.
2. G12M in a decent 412 miked with an SM57. This is a blackback, but earlier (or later) greenbacks work just fine.
3. A humbucker equipped guitar in Eb. Super strat, Gibson, whatever.
4. An appropriate riff played by someone with decent technique (I just qualify).
5. Don't be shy with the plate reverb.
Using 6CA7's, a variac, the right magic plckup, a JBL etc. may get you closer, but practicing an extra 10mins a day would probably make more difference in the long run.
In fact I think that a great player using this exact tone in a kickin' VH cover band would absolutely crush it. Happy to hear counter-arguments, but if someone could explain why this 'mystery' still needs solving I'll be impressed.
DanTravis62
Well-known member
I posted this exact same thing, complete with sound clip, last time
Same exact steps, same exact gear, same clip (although I did YRGM)
(And I'm not even an EVH Fan!)
He completely ignored it, just like he's going to ignore you because he's off the lithium and posting the same 6 magazine articles as last time
A
Amp_chaser
Active member
I don't think the variac and the 6ca7 do a difference. Eddie used era el34 german tubes in 1978 he switched to 6ca7 because the bias was turned very hot and those tubes were better at whistanding critical temps. For the variac it was just the easiest way to atenuate the plexi.
this is a sv20h with a josé mod that i sold and i believe it's way closer than most super leads out there.
Nashville Riff Co
Well-known member
Uhh that’s a story I’d like to hearAhh, last time I talked to Val was when she personally fired me from the VH camp.
SonVolt
Active member
From Day 1 I've had a sneaking suspicion amp_chase/pat_rocks was Dave Friedman himself having a laugh.
jabps
Well-known member
Then clarify what you mean. Most of us when we hear 5150 we associate that with the Peavey amps. The Fender versions I think most associate with EVH's or 5153's.
And honestly if people wanna chase Ed's tone go chase the VHIII tour tone because that was monstrous. That tone could have played anything from death metal to pop rock.
And here's the kicker - it's been proven time and time again in numerous video's, that Ed's classic tone is easily copied even without the exact components, they've even copped his FU/Balance era tone and yet I've never heard anyone with a Peavey 5150II sound like Ed did on VHIII tour.
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P
psmith68
Active member
Jose was VH’s guitar tech for a period of time. Alex states this in his book. Crazy how no one ever mentions this.
SonVolt
Active member
Jose even went out on tour with Eddie as his tech.
BlueParfait
Well-known member
I think you'd go deaf first lol
H
harddriver
Well-known member
Yep that's the tone, the bite, the right amount of gain, the attack, the plexi/SL clank, it's all there.....
The clip from Mr Zen that proves the stock SL/plexi amp theory once again. 
I'm sure he will find something that's not right about your clip, like he does all the other clips posted that audibly without a doubt shows a good plexi or superlead get's it done every single time.We all know the conjecture and theories ad nauseum....It's also possible Ed slaved into another Marshall, Marshall PA amp or any number of slave power amps he used live for VH1 and or ran an EQ up front any number of addtional signal chain items when he wanted more push to the front of the plexi. But all of that other stuff is superfluous to the fact that the core tone and gain is provided by a very good sounding 68 plexi or Superlead and he was able to get THAT tone from other newer Marshall Superleads as well.
H
harddriver
Well-known member
I love the Vh1 tone but it is a studio processed tone and I accept that. For me the live tones here in these clips right after getting back from Japan without 12301 are as good or better IMHO and getting it done without 12301. A Jose amp can sound very good.....but it misses what a good stock plexi/superlead has cramming all that bright attack of Ed's hands into two gains stages and then cranked or run into a load then slaved.
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ZEN Amps
Well-known member
Based on your clip I disagree - but it doesn't matter. If you dig a modded SV20 for your VH tones that's cool, there's plenty of ways to get there. I mean if someone can't get ballpark with an 800 or DSL then it's not the amp at fault.
thegame
Well-known member
<speaking like an auto mechanic> Well, after putting her up on the hoist I think I found the problem:
Rdodson
Well-known member
I was a demo guitarist for Ed (got hooked up with his crew by Kimbo Davis who was close with Hartley and who'd reached out on behalf of Ed's business manager Barbara Page). That ended getting me hooked into working (this was all on the side, I was/am a fund manager IRL) on the brand new VH website on the "Equipment" section. I wrote up Ed's equipment history, and would interview people critical to that history. Wayne Charvel, Lynn Ellsworth, Steve Blucher, etc. Anyway, I got the idea to interview someone but (I won't share the details) was concerned about some situations therein. I emailed the guy running the website sharing my concerns and asking whether it was worth pursuing, but Val got hold of it and tore me a new one. That was fun.
Anyway, I was on the inside of the camp (at least as "inside" as I could be from Dallas, TX) and got to know a ton of folks. Scotty, the old tour manager, was great in particular.
No, Ed was never ever online back then. But he eventually grew to hate the "History" section I'd authored (it was too distracting from the new merch) and had it axed. He was very nice though, and even after getting let go invited me backstage the next time they came through. Invited me out to 5150 to jam (seriously) but I was in the middle of getting married at the time and it just didn't work out. I am not a "starstruck" kind of guy so maybe that's why they all trusted me, but it also meant kinda blowing that opportunity.
It was interesting being there when the Sammy thing blew up, the Dave thing happened, and the Cherone thing came together.
And honestly, I harbor zero ill will with VAVH (her old email prefix).
PS When I occasionally share details of old equipment stuff, I might know what I'm talking about
Kapo_Polenton
Well-known member
Your amp sounds good but if I'm honest, ZEN's amp above sounds closer and really good / better as well.
Speeddemon
Well-known member
That's what almost everyone, minus one here thinks.
And no, you can't convince him other wise.
Rdodson
Well-known member
I don't think he ran the bias that hot for very long.
A major part of the "sound" he stayed loyal to was the cold-bias crossover distortion.
Kapo_Polenton
Well-known member
that would make sense seeing as cold bias tends to impart the feeling of or sound of " more gain" or more on tap right? The 5150's and other high gainers do this to keep things tighter.