Then you pick your favorite spot and zone in. it sounds like alot of trouble but its time well spent-it'll serve you well later to know this stuff and its effects on the tone. You won't reach for an EQ so much later-less is more here.you'll also see very quickly-that JBL and greenback thing-well you can get those two different tones off of "one greenback"-by moving the mic-yes there is that much difference in brightness and mellowness to be found here
I would experiment heavily there the most-cause anythnig you do later is only gonna fix things so much-its best not to have to fix nothing if you can get it right at the mic placement first. Then there is all the less to screw around with later-I don't think studio polish made that sound to be honest-its only just a small fraction of it.
Then the rest is the quality of equipment and what you can afford really.
I wouldn't rule out a slightly delayed detune form an eventide of the 78 era [used as a "pre-delay"] feeding that verb-a detuned signal fed to reverb separates nicely from the source but blends well-sounds deeper and bigger-and you're able to make it much wetter without cluttering up the dry sound-IF you really want verb on it. Sounds hard to believe but I really really think thats a good possibility of what maybe was done. It is unlike any other verb on any other record to me.
Remember and keep in mind-live from the early days until today-Ed said he hates reverb-and he only used echo or delay units. So I don't see why everyone wants to get attached so much to the verb-its not what he actually jammed on alone or live that inspired him to pull off all that.
He never used verb live in 76-78-its not even in his rig today either. The verb really hasn't much to do with it tonally. I think people focus on the verb way to much-dry or wet his amp sounded only one way and thats it.
Of course the panning-thats obvious if you have a fader for your left and right speaks-you can hear the guitar disappear fading out of the left speaker and into the right only-pretty standard straight mono with a spread of reverb maxing out mostly on the opposire side of the dry tone-with some serious early reflections-and there is delay/echo on it thrown in in spots-like Atomic Punk-thats delay on the other side there-ATBL is another one-thats the delay smeared and smoothed in with verb basically. Then there is other positions on other records with various times and amounts of delay going on-thats a huge can of worms right there and like finding gold to get that short slap delay just right
