Rgorke got his picture with Eddie!

[rgalpin]

I always have stuff like that happen. One example... I will have the exact coin change in my pocket. I will think about someone and Bam, they call or I see them. It happens All the time. Rgalpin you had that dream? 60V?

No - it was real. See this post dated 1/10/2015.

http://forum.metroamp.com/viewtopic.php?f=16&t=44156

Never saw that Esquire interview quote. That one must a gone right by us. Hard to believe really. I thought we had the planet well covered. hahahahaaaaaaaaaaaaaaaaa.

[dirtycooter]

Then the very recent pic with the shiny new screamin red variac right next to him. Purposely I think he is sayin
"Loooooook! !!! Morons! Its all right here!"

[Tone Slinger]

But, like rgalpin also showed/demonstrated, you need an up front boost to get the stern BALLS and forth rightness back when you back the voltage down that low (60 to 70 volts). The blue 6 band only THEN starts making sense, again, just as Rob demoed

[rgalpin]

Have you guys ever considered that maybe they (Ted and Don) captured a DI of his performance and then toyed with the amp(s) after the fact to get it perfect by running the line level signal captured on tape into his signal chain and amp(s)?

I'm just sayin'... because that's what I always do if I want to combine the best performance with the best amp sound - you just separate the two into independent efforts. I know it doesn't sound like a very "Van Halen" thing to do - but it makes pretty good sense to me.

So he's performing the songs live - and it's going through his howling setup and getting all the necessary reactive feedback etc... and the amp is mic'd and it is all going to tape INCLUDING a DI that just has his guitar level signal going to tape for further amp-crafting.

Does anyone have any knowledge of Templeman or the like using this kind of a technique in the 70's?

[Strat78]

Have you guys ever considered that maybe they (Ted and Don) captured a DI of his performance and then toyed with the amp(s) after the fact to get it perfect by running the line level signal captured on tape into his signal chain and amp(s)?

I'm just sayin'... because that's what I always do if I want to combine the best performance with the best amp sound - you just separate the two into independent efforts. I know it doesn't sound like a very "Van Halen" thing to do - but it makes pretty good sense to me.

So he's performing the songs live - and it's going through his howling setup and getting all the necessary reactive feedback etc... and the amp is mic'd and it is all going to tape INCLUDING a DI that just has his guitar level signal going to tape for further amp-crafting.

Does anyone have any knowledge of Templeman or the like using this kind of a technique in the 70's?

That has been considered, but in some of the isolated tracks, drum tracks in particular, you can here a little bleed through of Ed's amp, it pretty much sounds the same as on the record but without all the verb.

[Tone Slinger]

I always thought that 'maybe' they (Ted/Donn) possibly mic'ed one of the studio moniters in 'real' time of Ed's recording performances, meaning Ed's 100 watter was blasting away non reverbed, non eq'ed, non compressed, etc, all the while that signal was mic'ed and being 'processed' and ran back through the studio speakers, which were also mic'ed , resulting in 'sounding' like VH1. That way, you get alot more ways to blend both the dry amp and the processed.

[dirtycooter]

I think its simply two mics, one center of cone the other placed for girth-blended for best tone-to the control room desk-one side is real time the other is a slight delayed copy-then sent to a blend of plate and back in on opposite side of the stereo track and the verb can be layed back onto the dry side some as plates have stereo returns to send back to the console.
Ed stated plainly-"there was so much plate reverb". He said plate.
So watchin the strymon deco demo....... having a "lag deck" feeding the plate a signal thats a delayed copy-boom there you go.
Maybe some EQ done to the dry before it was split then there was the mastering process. Which changes things again to some degree.

[rgalpin]

yeah - i'm just throwing crap out there - don't know why - questions that linger from 35 years of thinking about something too much - but back to the thrust of the thread - we have made contact with THE ALIEN!! too cool!

[dirtycooter]

You know, its almost as if he would like to maybe just set some of us straight. But if he came on here It would turn into the biggest clusterf@#& ever. For that I would be embarrassed as I know what it would turn into.
I am hopin he maybe continues to be clear healthy and sober and comes out of his cage he seems to have kept himself locked away from everyone for so many years. He is becoming more open and approacheable it seems, maybe a little more matter of fact and telegraphing some stuff thats been pure speculation ever since.
Ahh..... for a Metro member to do a interview and Q+A with Ed.... it would be like some CIA interrogation for him

[rdodson]

The plate was later...I think Ed is just misremembering. The VH1 reverb is mostly the echo chamber at Sunset. Again, I recorded a lot at Sumet Burnet in Dallas which had a 2...it is like its own instrument. Amazing really.

The plate started on VH2 and is that unmistakable sound on Drop Dead Legs. Once you hear it, you can easily hear the difference between that (an EMT) and a real echo chamber. An EMT is like the coolest spring reverb ever without the "boing".

[rgorke]

The plate was later...I think Ed is just misremembering. The VH1 reverb is mostly the echo chamber at Sunset. Again, I recorded a lot at Sumet Burnet in Dallas which had a 2...it is like its own instrument. Amazing really.

The plate started on VH2 and is that unmistakable sound on Drop Dead Legs. Once you hear it, you can easily hear the difference between that (an EMT) and a real echo chamber.

I think that is absolutely right, especially since only VH1 was in Sunset #1 with the reverb room. The others were n SS #2.

[guitar007]

So what's a reverb and settings that would simulate the Sunset reverb room? Wonder if the Kemper can profile room ambiance...

[rdodson]

There are some great articles/comments/etc. on the web regarding Sunset Sound's echo chamber. Each space is different, but the decay on some of these rooms is insanely long. What makes them unique is that most emulators do the vast hall/cavern thing to get a long delay time and the reverberations are completely different than in a highly reflective 20'x15' room. Most room settings I've heard sound like fizzed-out slapback. But, I've been out of the game for awhile so maybe the new stuff is better.

[VelvetGeorge]

How cool!!!! What a great event, glad you guys attended. Nice to see the theories get reeled in a bit. Some of them are pretty far out there.

george

[EJSLPlexi]

Now I've got to know a lot more about Ed's first 2 Mardhalls. Why is this only coming out now?

Yeah, it seems a bit more than just a coincidence that we have been recently really working on voltages lower than 90v and getting great results specifically at or above 60v. If "no one" is reading these posts and following this forum, why would Ed be so specific at this event? He has mentioned using a variac and wall dimmer for years but never using a really low voltage at specific venues.

Maybe his way of saying, "good job you guys!!"

or maybe not

well with all the hard work you guys put into this stuff i think a "good job guys" is in order!