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Thread: 1984 Album Gear

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    Romeo Delight
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    Default 1984 Album Gear

    The guitar tone, especially rhythm, EVH has on the 1984 album is probably my favorite overall of his. Crunchy but also still clean/clear. It also sounds fairly dry, i.e., no phase, flanger, etc. What was his set up here? I read some years ago it was guitar straight to Marshall amp, but is that really true? Thanks.

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    Quote Originally Posted by misterdetail View Post
    The guitar tone, especially rhythm, EVH has on the 1984 album is probably my favorite overall of his. Crunchy but also still clean/clear. It also sounds fairly dry, i.e., no phase, flanger, etc. What was his set up here? I read some years ago it was guitar straight to Marshall amp, but is that really true? Thanks.
    Yeah. You're right. It is drier than previous albums. No real obvious flange or phase. He was experimenting more with the Harmonizer as the main tone shaping tool though. It's definately there on tunes like DDL, and you can hear it subtly on the harmonic screams in GGB and HOP. It's very stripped though. There is delay, and reverb, but this was the period Eddie was doing a lot of experimenting with techniques with Donn. There's more actual competent rhythm doubling throughout songs all over this album than in the past, compared to say FW where he was starting to do a little more with it on tunes like Dirty Movies, HAIL.
    I'm with you....It's a great sounding record, and a real departure from the overall sound on the previous albums. The guitar was more in the middle and bigger in the mix.

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    Romeo Delight
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    Quote Originally Posted by we die young View Post
    Yeah. You're right. It is drier than previous albums. No real obvious flange or phase. He was experimenting more with the Harmonizer as the main tone shaping tool though. It's definately there on tunes like DDL, and you can hear it subtly on the harmonic screams in GGB and HOP. It's very stripped though. There is delay, and reverb, but this was the period Eddie was doing a lot of experimenting with techniques with Donn. There's more actual competent rhythm doubling throughout songs all over this album than in the past, compared to say FW where he was starting to do a little more with it on tunes like Dirty Movies, HAIL.
    I'm with you....It's a great sounding record, and a real departure from the overall sound on the previous albums. The guitar was more in the middle and bigger in the mix.
    Thanks for the info! Eddie's rhythm work is stellar on 1984. I was listening to GGB awhile ago and I love how Eddie's guitar is so up front even during the vocals, yet doesn't clash. Such chemistry between him and Dave. Sammy has complained the last couple of years how hard it was to find a place to sing in a VH song because Eddie's guitar is everywhere. Didn't seem to be a problem for Dave. But again, it's chemistry.

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    Quote Originally Posted by misterdetail View Post
    Thanks for the info! Eddie's rhythm work is stellar on 1984. I was listening to GGB awhile ago and I love how Eddie's guitar is so up front even during the vocals, yet doesn't clash. Such chemistry between him and Dave. Sammy has complained the last couple of years how hard it was to find a place to sing in a VH song because Eddie's guitar is everywhere. Didn't seem to be a problem for Dave. But again, it's chemistry.
    I should also say a big part of his tone on that album was his use of his 58' Gibson Korina V. The tunes that really have that very crisp bite to them on the rhythm were the V. HFT, GGB, DDL and a doubled track on HOP where he doubled the rhythm part with the Franky. Just a wicked sounding axe. For the record, he also reportedly used it on 5150's title track, and he said he recalled also playing it on BOBW, but I think he actually used his 57' Strat on that one. At least on the rhythm.
    Wish he'd pull it out on the new album if it ever see's the light of day.

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    Little Dreamer BSE's Avatar
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    Quote Originally Posted by we die young View Post
    I should also say a big part of his tone on that album was his use of his 58' Gibson Korina V. The tunes that really have that very crisp bite to them on the rhythm were the V. HFT, GGB, DDL and a doubled track on HOP where he doubled the rhythm part with the Franky. Just a wicked sounding axe. For the record, he also reportedly used it on 5150's title track, and he said he recalled also playing it on BOBW, but I think he actually used his 57' Strat on that one. At least on the rhythm.
    Wish he'd pull it out on the new album if it ever see's the light of day.
    I agree completely about the 58. However does anyone have any information about the pickups? I never can seem to find anything except for the reissues.

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    Quote Originally Posted by BSE View Post
    I agree completely about the 58. However does anyone have any information about the pickups? I never can seem to find anything except for the reissues.
    By all accounts they were original PAF's. If you listen to the beginning of DDL, it's quite clean, and as he rolls up the volume, it's just classic PAF through Plexi tone.
    Just one of my favorite axes of all time.

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    1984 is easily my favorite Eddie tone EVER. I believe the whole album was recorded on a 16 track machine in what was basically a shack of studio (the early 5150), but it's my favorite sounding album of the DLR era. Simple is good.

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    Were there ever any pictures of that studio?







    Don't read this.

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    Quote Originally Posted by Bullwinkle View Post
    Were there ever any pictures of that studio?
    This is about as close to the 84' era. Was shot around the time of 5150.
    It was his old raquetball court.
    Pretty much an absolute hovel really!. lol


    Here's his old console. a guy ended up buying it and stored it in his basement before selling it on Ebay....Who knows who has it now.


    This was actually shot right around 84. Just him, the control room, and a bottle of smirnoff


    It didn't really change until OU812. He got rid of the old Universal Putnam console, and started adding more higher end, newer gear. Until that time, most of his stuff was begged, borrowed, or stolen. Alot of it including the Console reportedly came from sunset Sound when they were upgrading. Donn heard they were parting out, so he made them an offer and 5150 was born.
    Last edited by we die young; 03.09.11 at 06:42 AM.

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    Thanks for the pics. I've seen most of those before. In the excerpt from Sammy's book, he called it a "garage." That got me confused.







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    Quote Originally Posted by Bullwinkle View Post
    Thanks for the pics. I've seen most of those before. In the excerpt from Sammy's book, he called it a "garage." That got me confused.
    yeah, I think everyone has seen them. It does look a lot like a "garage". Actually if I recall, it did actually have a garage attached to it...but it was officially a RB court. What a dump though huh? lol. Hard to imagine a record of 84's caliber coming out of such a rat hole!

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    The tones on '84 were most definitely the high-water mark for Ed...NO DOUBT.
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    The main sound on that record is his Marshall with a hint of Eventide 910 harmonizer, set to .99, just a tiny amount of pitchshift. Beautiful!
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    Romeo Delight
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    Quote Originally Posted by Jape Man View Post
    The main sound on that record is his Marshall with a hint of Eventide 910 harmonizer, set to .99, just a tiny amount of pitchshift. Beautiful!
    Yes, beautiful! Van Halen sounded like a band in it's prime on 1984. Still hard to believe they broke up - no matter who was at fault. 5150 was good but I'd have loved to have had a DLR-fronted VH follow up to 1984. Hard to believe it's 2011 and we're still waiting for it...

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    I never believe a word out of Eds mouth when it comes to gear or recording as he probably has the worst track record of any major talent when it comes to things like that. It goes back as far as to the famous story of the first time Randy Rhoades saw him play live and went back stage after the show and asked him how he was able to keep his trem (pre-Floyd) from not going out and staying in tune after so much abuse, and Ed told him he could not tell him as it was a secret Jeff Beck showed lol.

    I always look at Ed as the second Testament of rock guitar with Hendrix being the first as no one thought the electric guitar could be pushed any further than where Hendrix took it and Ed came along and sent it to another universe. As far as being #1 and #2 as the most innovative players in history both were killer rhythm players which is something that often gets over looked as everyone is so focused on lead playing, but though they have different styles there rhythm work is a study unto itself. IT has been quite sometime but now I have to to put 1984 and listen to the rhythm tone in depth lol.

 

 

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