Excellent...this dislike of EMT Plate Reverb is yet another "fuzzy memory" situation from Ed's recent interviews. File this along with the outrageous claim he made where he said he used the 5150 Kramer to record the tremolo tracks on the 1984 when photographic evidence and his own earlier interviews confirm that he used the Frankenstein with the Kramer beak headstock neck. You can also file this with the claim at the Smithsonian that Tablature was invented for the sole purpose of transcribing his music. Unbelievable you say?! Yes it is rightly unbelievable because that is a crock of shit.rdodson wrote:Ed has a EMT at 5150. Donn installed it.
Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a box
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- garbeaj
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
The engineer for ADKOT mentioned he used the vintage EMT on Al's drums.garbeaj wrote:Excellent...this dislike of EMT Plate Reverb is yet another "fuzzy memory" situation from Ed's recent interviews. File this along with the outrageous claim he made where he said he used the 5150 Kramer to record the tremolo tracks on the 1984 when photographic evidence and his own earlier interviews confirm that he used the Frankenstein with the Kramer beak headstock neck. You can also file this with the claim at the Smithsonian that Tablature was invented for the sole purpose of transcribing his music. Unbelievable you say?! Yes it is rightly unbelievable because that is a crock of shit.rdodson wrote:Ed has a EMT at 5150. Donn installed it.
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
That's right...I forgot about that Sound On Sound interview and he did mention the gear at 5150 a bit though the album was done at Henson Studios and 5150 and mixed at least partly at the engineer's home studio.rdodson wrote:The engineer for ADKOT mentioned he used the vintage EMT on Al's drums.garbeaj wrote:Excellent...this dislike of EMT Plate Reverb is yet another "fuzzy memory" situation from Ed's recent interviews. File this along with the outrageous claim he made where he said he used the 5150 Kramer to record the tremolo tracks on the 1984 when photographic evidence and his own earlier interviews confirm that he used the Frankenstein with the Kramer beak headstock neck. You can also file this with the claim at the Smithsonian that Tablature was invented for the sole purpose of transcribing his music. Unbelievable you say?! Yes it is rightly unbelievable because that is a crock of shit.rdodson wrote:Ed has a EMT at 5150. Donn installed it.
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
Here is a geeky thread about the EMT and all that buying/owning/maintaining one involves:
https://www.gearslutz.com/board/high-en ... everb.html
...and a bit of history on EMT and the 140 (introduced in 1957!) and the follow-on products:
http://www.studioelectronics.biz/Services-EMT-13.html
https://www.gearslutz.com/board/high-en ... everb.html
...and a bit of history on EMT and the 140 (introduced in 1957!) and the follow-on products:
http://www.studioelectronics.biz/Services-EMT-13.html
Ron Dodson
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- MrBeasty
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
My recollection is that 5150 had AMS reverb units at that time ...rdodson wrote:Ed has a EMT at 5150. Donn installed it.
- rdodson
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
AMS as well.MrBeasty wrote:My recollection is that 5150 had AMS reverb units at that time ...rdodson wrote:Ed has a EMT at 5150. Donn installed it.

Ron Dodson
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
I been messin with my plate in the pcm. Program called *slap plate*. All I did was move the predelay to 100ms which was an instant improvement toward VH land and simply took the size from 43 to 47.5 in the parameters.
I have been layin into that for days now bag deep.
But also I can hear the difference between VH1 and 1984 much better now.
Both are great sounds.
Both are great examples of classic use of verb.
But I also get this
Ed dislikes verb because even though he has awesome ears and regardless of his acheivements, its a pain in the ASS to put verb on anything and have foresight.
I think the VH1 formula was shithouse luck. It stood the test of time and always has. If there woulda been any other engineer setting it up things coulda been quite different. It would be awesome if we could all take turns mixing the ambience on the raw tracks. That would show how really different things coulda sounded. And setting up the verb is not an easy thing to tweak for anyone including Ed. It can be a head ache really and time consuming. Because your mind will play tricks on you. Gee thats not wet enough gee thats too wet man that tails kinda short or too long etc etc.
Other records? Well it can get annoying. Like at first I dug Whitesnakes Still of the night treatment but now I feel its too hazy cloudy. Same thing with say Great Whites House of Broken Love. I used to dig that ambience they used but today it annoys me.
Some of these effects and reverb in particular can be great when your in a certain mood or you hear it for the first time. But a year later you use it and think to yourself-Self? Wtf self? This sounds like shit self! Why do you do this to me self?
I don't think anyone has ever engineered a reverb as timeless as VH1. And to me its a formula based on some certain parameters that sound great in a hall or plate program. Its a certain size and a certain predelay panned a certain way. When those 3 things are right it works pretty much the same for me on every machine except for how it mixes in with the dry tone, how it fades off, and how it sits and how much 3D dimension it expresses.
I have been layin into that for days now bag deep.
But also I can hear the difference between VH1 and 1984 much better now.
Both are great sounds.
Both are great examples of classic use of verb.
But I also get this
Ed dislikes verb because even though he has awesome ears and regardless of his acheivements, its a pain in the ASS to put verb on anything and have foresight.
I think the VH1 formula was shithouse luck. It stood the test of time and always has. If there woulda been any other engineer setting it up things coulda been quite different. It would be awesome if we could all take turns mixing the ambience on the raw tracks. That would show how really different things coulda sounded. And setting up the verb is not an easy thing to tweak for anyone including Ed. It can be a head ache really and time consuming. Because your mind will play tricks on you. Gee thats not wet enough gee thats too wet man that tails kinda short or too long etc etc.
Other records? Well it can get annoying. Like at first I dug Whitesnakes Still of the night treatment but now I feel its too hazy cloudy. Same thing with say Great Whites House of Broken Love. I used to dig that ambience they used but today it annoys me.
Some of these effects and reverb in particular can be great when your in a certain mood or you hear it for the first time. But a year later you use it and think to yourself-Self? Wtf self? This sounds like shit self! Why do you do this to me self?
I don't think anyone has ever engineered a reverb as timeless as VH1. And to me its a formula based on some certain parameters that sound great in a hall or plate program. Its a certain size and a certain predelay panned a certain way. When those 3 things are right it works pretty much the same for me on every machine except for how it mixes in with the dry tone, how it fades off, and how it sits and how much 3D dimension it expresses.
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Re: Catalinbread Talisman - EMT140 Reverb-Sunset Studio in a
Is the pcm miles better than my gforce?? Not really. Not when you aren't scrutinizing it to death.
But when your payin attention to the ultra fine details you look for?
Like the transparency, the lay in the mix, the texture of the breathy'ness, how complex the reflections are within, and the realisticness and feel of true space? The gforce is a joke then. Even my Lex MPX couldn't touch it any better really. But in a band situation? It would be pretty hard to give a rats ass too much as over 50% of that stuff that seperates the two is easily lost in cymbal wash and lost. Gone. Poof. Pooey!
But I been able to use several different verbs and apply the formula and come out pretty much the same. So I think its the engineering then the quality of the verb instead of the other way around
One other records ambiet treatment I really like is DefLepards Hysteria. That to me is a masterpiece in this area. Because you really have to strain to hear it yet the whole record breathes space. Yet I never been able to pinpoint what gives me this dimensional information? Can't even dare begin to put my finger on it let alone my lucky stinky one. But this record? I never tire of this one still to this day though. It always sounds fresh everytime
But when your payin attention to the ultra fine details you look for?
Like the transparency, the lay in the mix, the texture of the breathy'ness, how complex the reflections are within, and the realisticness and feel of true space? The gforce is a joke then. Even my Lex MPX couldn't touch it any better really. But in a band situation? It would be pretty hard to give a rats ass too much as over 50% of that stuff that seperates the two is easily lost in cymbal wash and lost. Gone. Poof. Pooey!
But I been able to use several different verbs and apply the formula and come out pretty much the same. So I think its the engineering then the quality of the verb instead of the other way around
One other records ambiet treatment I really like is DefLepards Hysteria. That to me is a masterpiece in this area. Because you really have to strain to hear it yet the whole record breathes space. Yet I never been able to pinpoint what gives me this dimensional information? Can't even dare begin to put my finger on it let alone my lucky stinky one. But this record? I never tire of this one still to this day though. It always sounds fresh everytime