Atomic Punk Phaser part. - Page 2
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  1. #16
    The Full Bug
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    Quote Originally Posted by turnbuckle View Post
    Listen to this version of Atomic Punk from Pasadena, Oct '77; the second type of delay Ed used, the very short ambient one I was talking about earlier, is kicked in at about 2:22 til 2:43;

    I'm fairly certain Edward had 2 EPs, even before the Japan Tour, set with two very different types of delay at his disposal, but nobody ever talks about that short one.
    The album version of Atomic Punk is very similar to this version, effect wise, probably because they were recorded at roughly the same moment in time.

    BTW, I ripped a lot of Ed's signature riffs off this particular Pasadena show, since I had it on vinyl in the very early '80s, and could spin it at 16 RPM.
    He was throwing in riffs that would later be used in many albums too follow.
    I like to call Pasadena Oct '77, Van Halen point 5, since it was after "Demo" and before "One".
    It's been my holy grail for a long time.
    Right, but we were talking about the EQs...the 6-band MXR and the 10-Band Boss GE-10. My point and the point of me sharing those clips for you to see if you haven’t seen them is that the EQs were not used in the studio, but only live on large stages and the picture you posted was from Japan, thus confirming my point.

  2. #17
    Big Bad Bill

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    Quote Originally Posted by garbeaj View Post
    Right, but we were talking about the EQs...the 6-band MXR and the 10-Band Boss GE-10. My point and the point of me sharing those clips for you to see if you haven’t seen them is that the EQs were not used in the studio, but only live on large stages and the picture you posted was from Japan, thus confirming my point.
    I dig your confirmation efforts
    But I thought we were talking about Echo Plexes and delay types.

    Honestly, I actually don't care about the EQs, especially not to the degree of Thorn's and Friedman's Edward obsession.
    I am more in loose query of Edward's multiple delay types, as heard in the Atomic Punk solo, both on the Pasadena and VH1 versions. It may have made an appearance on the Bottoms Up solos too, or those may have been early use of the Eventide, IDK, I've haven't been sold on any theories, as of yet.

    I am familiar with the default quarter-secondish delay that Edward used vey often, just not the other types.

  3. #18
    The Full Bug
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    Quote Originally Posted by turnbuckle View Post
    I dig your confirmation efforts
    But I thought we were talking about Echo Plexes and delay types.

    Honestly, I actually don't care about the EQs, especially not to the degree of Thorn's and Friedman's Edward obsession.
    I am more in loose query of Edward's multiple delay types, as heard in the Atomic Punk solo, both on the Pasadena and VH1 versions. It may have made an appearance on the Bottoms Up solos too, or those may have been early use of the Eventide, IDK, I've haven't been sold on any theories, as of yet.

    I am familiar with the default quarter-secondish delay that Edward used vey often, just not the other types.
    Ok, you confused me...You brought up the idea that Eddie used one or both of his graphic equalizers as part of the chain with one or both of the Echoplexes. I was just saying that he likely only used the EQs in 1978 for the long cable runs on larger stages like in Japan and then you posted a picture of the EQs in Japan sitting in front of the Echoplexes. I also thought we were just specifically talking about the studio recording tones on the first album sessions which is what Pete and Dave were primarily discussing.

    I was just trying to make the point that the EQs were likely not used in the studio and as such they weren’t a factor in Eddie’s tones on the first album or probably not any studio recording.

    Now to jump to discussing the Echoplexes, I’ve never figured out whether they were on separate chains, one being a back-up chain and the other his regular chain. He could also have used the Univox for the exaggerated slap-back in “Atomic Punk”...they do that sound really well, although I always thought the Univox was only for the dive at the end of “Eruption”, it is possible that he could have used one or both of the two Univoxes for actual echo rather than just for the parlor trick octave dive at the end of that one song.
    Last edited by garbeaj; 12.12.20 at 03:55 PM.

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  5. #19
    Bullethead

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    Yeah the way he has it set up there sounds like a comb filter trick or something, in that Pasadena boot. Much different then the atbl slap back. Good find.

 

 

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