Van Halen F.U.C.K. album

[Anonymous]

I never really paid much attention to this album but today I am listening to it at work and the tone just kills. Anybody have any idea on what he was using? Is this SLO?

Also, I hear some sort of chorusing or detuning going on. Anybody know what that was and was it recorded that way from the amp or added during mixdown?

It is an SLO...

W/D/W setup with an Eventide H3000 set for stereo micropitchshift and delay (+9/-9 cents L/R, 250 ms delay L/450 ms delay R). All three cabs (1 dry straight from the head) mic'd and mixed. You don't want a lot of the stereo effects - just low in the mix - kinda icing on the cake if you will...

(You can get the same effect of the Axe-FX...)

That will get you the tone exactly. I know because I used to have a SLO and an Eventide H3000-D/SX

Steve

I remember you posting about this on another thread. Can the Axe standard utilize your setting?

Yes, I believe it can. PM me an email if you want it...

Steve

 

[Anonymous]

BTW - to anyone that wants my patch. This is a stereo effects only patch. you need to send an amp signal (via Line out from your head or from line out of a Hotplate or Suhr line out, or whatever) to your Axe to use this patch and then you need a stereo power amp and 2 additional cabs (or a stereo cab) that you are using for EFFECTS ONLY! This patch is 100% wet, so you need your head to be feeding a single dry cab and then mix the volumes to get the F.U.C.K. sound. This is not a self-contained F.U.C.K. patch, but an effects patch to use with your amp in a W/D/W rig... To use this with an effects loop, you'd have to change the wet/dry mix or you'll have no dry sound at all...

Steve

 

[70strathead]

I read somewhere that he used the magic Marshall on Judgement Day?

He used the Marshall on "Top of the World" and a Flying V. F.U.C.K. was when he started using 5150 amp and SLO too. I personally think its mostly 5150 since i saw him like 3 times on that tour and it was 5150 stacks. Right Here, Right Now was a breakthrough for Eddie musically....big time Peter Gabriel influenced.

 

[Anonymous]

I read somewhere that he used the magic Marshall on Judgement Day?

He used the Marshall on "Top of the World" and a Flying V. F.U.C.K. was when he started using 5150 amp and SLO too. I personally think its mostly 5150 since i saw him like 3 times on that tour and it was 5150 stacks. Right Here, Right Now was a breakthrough for Eddie musically....big time Peter Gabriel influenced.

He used the 5150s live, but they recorded the album way before the tour began. It was mostly SLO...

Steve

 

[yngzaklynch]

Hey Bill did ya get a chance to try this yet?

 

[Anonymous]

Hey Bill did ya get a chance to try this yet?

Yup, he did. Here is what he told me:

"I got it! This sounds awesome. I wish I had tried this a long time ago.
Thanks for the help."



Steve

 

[yngzaklynch]

Hey Bill did ya get a chance to try this yet?

Yup, he did. Here is what he told me:

"I got it! This sounds awesome. I wish I had tried this a long time ago.
Thanks for the help."



Steve

Me and Bill are going to swap some gear here soon. I don't know if we'll actually find the time to hang out but if we do i gotta hear this.

Bill post a clip.

 

[JamesLimborg]

It is an SLO... W/D/W setup with an Eventide H3000 set for stereo micropitchshift and delay (+9/-9 cents L/R, 250 ms delay L/450 ms delay R). All three cabs (1 dry straight from the head) mic'd and mixed. You don't want a lot of the stereo effects - just low in the mix - kinda icing on the cake if you will... That will get you the tone exactly. I know because I used to have a SLO and an Eventide H3000-D/SX. - Steve

Thanks for the tip. I have been making BOSS GT-10 patches and I am currently working on a Van Halen, Judgement Day patch for the BOSS GT-10. Your delay settings are not correct for Van Halen, Judgement Day. It sounds like there is a 500ms delay slightly to the left of center, some reverb as well. Your harmonizer settings got me on the right track... so thank you Steve.

 

[Shark Diver]

SLO

 

[supersonic]

I always thought it sounded mostly like a SLO and his sig EBMM.

 

[petejt]

I always thought the guitar tone on this album was a little bit shrill, I prefer Eddie's older tones from the 1970s.
Still, I do like it and how he uses the Eventide.

You can cop it fairly easily with a Boss PS-5.

It's not that far off from the original.

 

[Meathead]

I always thought the guitar tone on this album was a little bit shrill, I prefer Eddie's older tones from the 1970s.
Still, I do like it and how he uses the Eventide.

You can cop it fairly easily with a Boss PS-5.

A Vox Tonelab into a Boss PS-5...sounds close enough to me.

 

[reverymike]

Yeah, that Kent guy really has the tone and feel nailed down. I remember seeing a lot of his other videos a few years ago. Impressive stuff. Makes me think about picking up a PS-5 and putting it in my VH tribute rack as a reasonable substitute for the Eventide.

 

[Meathead]

Yeah, that Kent guy really has the tone and feel nailed down. I remember seeing a lot of his other videos a few years ago. Impressive stuff. Makes me think about picking up a PS-5 and putting it in my VH tribute rack as a reasonable substitute for the Eventide.

I use a Tonelab LE on the quieter stage volume gigs and it's not too shabby either.
I've never thought that I needed to drop close to $2000 on an AxeFX to play direct when you can pick up a Tonelab for under $300.

 

[thiswaythatway]

I have grown to really hate that stereo spread chorused out tone. Gilbert had that going on the first Mr. Big album and his tone had more in common with a synth IMHO. Satriani used to to go for the spread out stereo tone and he ditched it for the Crystal Planet album and that's when his tone sounded better. For clean sounds chorus is pretty cool but it takes all the raw balls out of dirty hard rock tone.

 

[reverymike]

I thought Gilbert's tone on the first Mr. Big record was pretty sweet. It was raw, but still had a cool spread sound to it. But, I do understand what you're saying. It's NOT that focused, in your face, AC/DC sound.

 

[thiswaythatway]

I thought Gilbert's tone on the first Mr. Big record was pretty sweet. It was raw, but still had a cool spread sound to it. But, I do understand what you're saying. It's NOT that focused, in your face, AC/DC sound.

In the early 90's i used an ADA MP1, 2 ADA 2x12 cabinets, a Mosvalve poweramp and an Alesis processor and i ran a stereo chorus. Everyone in my band back then always told me they could NEVER hear me no matter how loud i turned up. I got a Marshall halfstack, only ran a Tubescreamer and a wah pedal! All of a sudden, there i was. Best thing i ever did was trash that bullshit rack.

 

[petejt]

Yeah, that Kent guy really has the tone and feel nailed down. I remember seeing a lot of his other videos a few years ago. Impressive stuff. Makes me think about picking up a PS-5 and putting it in my VH tribute rack as a reasonable substitute for the Eventide.

There's also the Neunaber Chroma Chorus pedal- it will the increase the pitch as well as detune it, just like the Eventide but a hell of a lot more compact and cheaper. I think the PS-5 just detunes. Anyway both are good.

 

[petejt]

I have grown to really hate that stereo spread chorused out tone. Gilbert had that going on the first Mr. Big album and his tone had more in common with a synth IMHO. Satriani used to to go for the spread out stereo tone and he ditched it for the Crystal Planet album and that's when his tone sounded better. For clean sounds chorus is pretty cool but it takes all the raw balls out of dirty hard rock tone.

I think that is why I always have trouble when running chorus with high gain. I miss that thick chunk when the chorus effect is on.
I wonder if chorusing causes a frequency cancelling in the low mids, like a phase cancelling thing?



I've posted this picture before- it's my old Marshall JCM 800 2204, slaved into the effects loop return jack of the Mother of Chorus- the Roland Jazz Chorus 120.

When I played with no effect on the Roland, the tone was gutsy, raw, and strong. Pure Marshall
When I turned the Chorus switch on, the sound spread across the room (which was cool)- but the guts were stretched out, the chunkiness was flattened. It's like all that focused strength just.........spread out .
Now I know that the nature of chorus is to spread out a sound, to give it three dimensions and float like a cloud. But in doing that, the tone had lost its impact.

It's hard for me, because I love both high gain AND chorus. But it's tricky to integrate the two so they compliment each other, without losing that original raw gutsy strength.


My 'new' idea is to run a wet/dry setup, with one amp running a 100% wet pitch-transposed signal, and the other to be completely dry. Instead of using mixers, I'll mix the sounds by speaker placement.

 

[Anonymous]

It is an SLO... W/D/W setup with an Eventide H3000 set for stereo micropitchshift and delay (+9/-9 cents L/R, 250 ms delay L/450 ms delay R). All three cabs (1 dry straight from the head) mic'd and mixed. You don't want a lot of the stereo effects - just low in the mix - kinda icing on the cake if you will... That will get you the tone exactly. I know because I used to have a SLO and an Eventide H3000-D/SX. - Steve

Thanks for the tip. I have been making BOSS GT-10 patches and I am currently working on a Van Halen, Judgement Day patch for the BOSS GT-10. Your delay settings are not correct for Van Halen, Judgement Day. It sounds like there is a 500ms delay slightly to the left of center, some reverb as well. Your harmonizer settings got me on the right track... so thank you Steve.

Cool - glad to help!

Steve