Around the early 90-ies of the most influential appeared after Jimi Hendrix, rock guitarists, Edward Van Halen
is temporarily lost its sound nirvana - the elusive "brown" sound. Here's how he defines the "brown sound": "Sound in my understanding, has a brown. This vibration. It is the color vibration that sounds "brown". It is not green, not pink, not yellow - it is brown. Sound is close to the ground, a tree: something warm and pleasant to the ear, published on high volume, but not tearing eardrums. Here's what to me "brown" sound - this tree ".
In the determination to regain their lost he began looking for someone who could create for him a perfect power. The terms were simple - he was looking for a U.S. manufacturer with good reputation in the industry. As a result, some considerations in drawing up their short list of companies appeared Peavey Electronics.
What led to this crisis, or, if you will, arcade. Here's the view of the analog development engineer James Brown: "He needed a different sound. By that time, his guitar sound has evolved. He still used the Marshall for rhythm, but he preferred to solo head Soldano, because they had more HEJNA. Therefore, we tried to create power, which would bring in a sound both, and we have introduced several innovative solutions, which you will not find in these old amps ". Director Peavey for interaction with the artists Len McRae agrees: "Ed - same as all creative people: if nothing throws him a challenge, it gets boring. I think the new things inspire him and drives to be more creative. I do not know whether he then got stuck in the problem of sound, but he was looking for something new. He is constantly evolving - not changing drastically, but moving forward ".
And what will he EdvardN "I was looking for more sustain," - he admits. "I wanted something that would have made more than Marshall. I have always used Marshall in full, until it stops, and all the time like that it has issued more than 100%, but he did not do. Therefore we have created with James, such a power, which can so. I wanted a little more than Heine, but not so much that it was like a pedal fuzald.
Summer 1990goda Edward, his wife, Valerie Bertinelli and his manager Barbara Paige went to the city of Meridian, in Mississippi, on a reconnaissance mission. To bring Van Halen
all the available options, engineers analog group exhibited a number of amplifiers in test. "He played through the Ultra and VTM", - says Brown. "He liked VTM. Since then we began our relationship - show all amplifiers that we have to prove that we can make standing power, that is actually. And we have attracted his attention and convinced him that we are able to develop power ".
Intrigued new opportunities, Van Halen
and Hartley Peavy polished all the formal details, and the process began. At that time, senior engineer of the analog group Zondermayer Jack and James Brown were in the process of developing Classic 50/50 and 120/120 (rack tube power amplifiers), the project, which then had a significant influence on the development of 5150. Brown explains: "Normally, tube amplifier has a handle feedback suppression, known as Presence. It regulates the suppression at high frequencies. We tried to do the same but for a bottom. We have proposed a system that reduced the suppression of a fixed amount and gave the performers an opportunity to regulate how sweeping or tight should sound cabinet. And the frequency at which this happens depends on the resonance of the cabinet, however it was not. "
. By combining elements of the head Marshall, . similar to that, . that used in the original Van Halen
, . Head Soldano, . Peavey VTM and Ultra and control loop resonance, . developed for the line of power amplifiers, . engineers have created a prototype, . with the main characteristics, . put forward by Van Halen
In late 1990, McRae and Brown flew to Los Angeles and paid a visit to the studio 5150, a converted room to play reketbol, located in the hills above the valley of San Fernandez. 5150 (used by New York police symbol for criminals, psychopaths) - this unassuming 24-channel studio on the hill directly behind the house sprawning Van Halen
in the Tudor-style. 5150 - Van Halen
is a refuge, a workshop, a notebook for sketches, a barrel for hesitation, the House for creativity. It is also a launching pad, a place where Van Halen
recorded five multiplatinum albums - "1984" (1984), "5150" (1986), "OU812" (1988), "For Unlauwul Carnal Knowledge" (1991), "Balance" ( 1995) - and subsequent work.
Group by the time half-recorded "Carnal Knowledge". Engineer and co-produced the album was Andy Jones, a British studio ace, immortalized his name working with Led Zeppelin and Roling Stones. After the demonstration, guests fresh, piping hot, samples of work done in the studio of Van Halen
went into the studio and turned on my camera. McRae says: "It consisted of a preamplifier Soldano Amplifier his old head Marshall, where he worked on the cabinet with 4x12 Celestion speakers of two different types". Van Halen
played five minutes, looked stunned at Brown and said: "This is what you need to beat".
Collecting all his composure, McRae and Brown presented the prototype of 5150. Brown describes the reaction of Van Halen
: "He played through an amplifier and said:" I can not believe. This is great. It sounds amazing. This is exactly what I was looking for ". He just fell in love with adjustable resonance, . because it really difficult to obtain the required number from the bottom of the cabinet, . depending, . where you are - on stage or in studio, . and this control enabled him to give sweeping much, . what he wants. "Van Halen
characterizes this effect, . as an increase in "brown": "We really tune cabinet,
. It's just a presence to the grassroots. He can really pull the lower classes, so to speak, move much more air. "McRae and Brown started to" count the chickens ". "We flew home, thinking that the power in our pocket," - says Brown. "Then we got to the house, and a few days later the phone rang:" It sounds good, but something has changed. He sounded much better when you were here. Now it sounds Cardboard "
Houses in Meridian, analog design team began to work, tirelessly deciphering the cardboard puzzle. "We spent a lot of time experimenting with the settings," - says Brown. "We spent a lot of time trying to find out what was in Ed's mind. This is a problem of communication. I play the guitar, and it would seem, to me it would be easier to guess, but even in the case of two guitarists difficult to define such a subtle nuance ".
At the same time, the department of development of conductive materials Peavey received a seemingly routine mission to develop classrooms for 5150 goals. "Fortunately, by the time we met with Ed, we are fairly deep into the development program of speakers Sheffield", - said McRae. "The head office and 5150 were developed jointly. This is one system: they are perfectly matched to each other. The team conducting materials, . spent on developing the same time, . as James and analog design team spent on the development of electronics, . because it turned, . what, . then, . we imagine an easy project, . requires full immersion,
. This is reflected in the woods, which we have chosen and its thickness. We specifically calculated the number of layers and the thickness of individual layers of wood, when they made what would later become the direct and oblique cabinets 5150. I am convinced that everything you do with the cabinet gives its effect - sometimes barely perceptible, sometimes radical. Everything you do affects the resonance of the Cabinet, its output, its response to the high and low frequency ". Brown explains: "It's like doing an acoustic guitar. If you handled internally by the acoustic guitar in one way, you get one sound, if you use a different deck and the other a spring - you get a completely different sound. So it evolved into a much more complex process. We then used in our standard rooms to 4 speakers Triple plywood. In the study 5150, we finally replaced its 11-layer, which had a thickness of 9 / 16 inches instead of 3 / 4. She was thinner and had more layers, which completely changed the resonance of the cabinet.
Later that same year, in a desperate attempt to complete the product in time to present it at the winter NAMM show in 1991, Brown decided to release all brakes. "I just ate a bit and added more power one lamp 12AH7 that is ridiculous - no one puts five 12AH7 a 120-watt amplifier". Even a fan of Van Halen
has a decibel limit on the increase HEJNA. "When we added that last bulb - Brown is continuing - we adjust the number of Heine, who adds she, the last stage preamp. It was one of those cases where we started with some reasonable solutions, and Ed was a typical reaction, let's see how it would sound if we go beyond common sense. And when we went beyond that, until the moment when all meaning is lost, we came back half ago, and it stopped. It basically was a joint work with Ed on all projects, from cabinets to amplifiers, from combos to the guitar - above all. He insists on the transition boundaries of common sense, and then return to something meaningful. And you hit the target. You will not find yourself, if you just take aim at the target. You almost find yourself, if tselishsya little further, and then you come to where he wanted to be. "
. McRae and Brown returned to California to spend as they thought, the last session of the settings, but super-picky Van Halen
did not give blessing
Cardboard is very tenacious.
Brown and development team once again reflect on the mystery. "From time to time he used the words that I understood, for example, a tight bottom" or "it sounds nasally", but "carton" caught not easy. I finally came to the conclusion that the cardboard - so lifeless, flat, without emotion. I thought of it, and we literally reached the point that the amplifier is practically playing guitar for you. This is so beyond that guitarist is not fully in control - and this is what he likes. It is as if the sound of running away from you, and you just hang on a guitar so that he ultimately did not overclock and do not take off ".
Anti-Theory cardboard Van Halen
reads as follows: "It sounds like cardboard, so sounds very seredinisto, nasally. Cardboard - brown is the opposite - very trapped and sharply. When you hear, you will understand what I mean. If you compare it with the brown sound, you will understand what I mean, and just can not explain. My philosophy is very simple: I need something that both should napoddast the backside, but will not be too complicated. 5150 is very manageable - if you have something a bit too much, you can always clean up - but you always have the opportunity to go beyond. People do not know how much I work the volume knob on the guitar. In the pauses I have it completely clean, because if I leave everything as is, will squeal. But I like to have space, to know how far we can go and have the opportunity to step back a little later. At the same time, it is simply a tube amplifier: no junk like MIDI, no complications, it is simply power ".
Raised by the appeal, Peavey engineers produced five prototypes, and McRae and Brown have made seven trips to California. Finally, the summer of 1991, James Brown lucky. "It was quite late in the evening when we finished the last adjustment, and Ed called out to Andy Jones and asked him to come. They recorded that some are played through an amplifier to the tape to make sure that it is well written, as I thought, very cool. "At that moment loomed finish. Ed blessed 5150 and sent the visitors back in Mississippi.
After the last erasures Peavey Electornics sent amplifiers and cabinets in the 5150 production of 31 July 1991. About them was always rumor. "People heard about them in the summer before we submitted them, because Ed began to talk about this in an interview," - says Brown. "We started advertising at the end of the year, and we started selling even before they saw it. Several pieces we have sold before Christmas, in the same year, and then showed them in January, and of course all the crazy poshodili ". Peavey and Edward Van Halen
is officially presented at the 5150 Winter NAMM show 1992 in Anaheim (California).
Part 2. Combo 5150.
In late 1993, Peavey and Van Halen
joined forces on the next project: 5150 version in the form of 60-watt 2x12 combo with a closed rear wall. James Brown says, the similarity of situations: "It seems that every time we are working with Eddie amplifier, it is always superimposed on another important project that I work. In this particular case Zondermayer Jack and I were in the middle of the development of a series TransTube, in that it took two or three years. And while we were still engaged in this, we started working on combo 5150 ". According to Van Halen
, he "wanted something that was of the essence of the stack in small poluportativnogo device. It weighs a decent, but is small and can fit in the trunk of the car ".
Brown and a group of analog development decided that the conversion would be simple enough. In fact, the basic prototype was a 5150 head screwed to the cabinet 2x12. "We did upolovinennuyu version of the head, removing two lamps and changing transformers," - says Brown. "We simply cut power to 60 watts and to halve the number of speakers to two."
And the trick, daN
Unfortunately, the dynamics was not the. Think of it as the sound of Darwinism. "This led to a complete redesign," - says McRae. "I think in terms of requirements for the sound of Eddie's changed a bit during the recording of Balance, so that what we needed from the combo when we first led on this speech and what it all ended was totally different things".
It seems that Edward, so to speak, cleared his sound. "He then used a cleaner sound - says Brown - so we spent a lot of time working on the clean channel to achieve greater flexibility". Ironically, while working on the 5150 clean channel was a contentious issue. "Ed did not even like the clean channel, - said McRae - because in order to achieve a more pure sound he used the volume knob. We persuaded him to make a second channel for marketing reasons ". Van Halen
admits his skepticism: "I did not realize how many people love the clean channel. All that I wanted in the beginning - this is an amplifier with a pen. You turn it and get a great sound and point. But this was not the case, because people like to vary their sound. This is Hartley said: "Hey, people love and pure sound". So for me it was difficult. Only a sorcerer, James was able to make it real, because it is very difficult to get such an overloaded sound and make the same section of the power amplification to issue clear sound. And he managed to do it without making compromises. I think this raise his gray hair, but he did it ".
Design Corps was not an easy occupation. "It was hard," says Brown. "We made four different cabinet for combos, and ultimately chose between the two of them. One had a few sweeping down, and the second - a real tight bottom, closer to what gave our original study with four speakers. They have the same design, from the same material. In the center of a reflective screen, he has a stand which rests against the back wall, all those details that have made big rooms, so that they are. We moved it all in a smaller cabinet. You really can not get one-half of the cabinet as much a bottom, but from a cabinet - it does not swing the same way. But this room has the same quality, same intonation, it actually sounds like a large cabinet, but somewhat smaller bottom. A resonance control can achieve the necessary sweeping, and the number of warm bottom ".
In January 1994, McRae and Brown brought Van Halen
two prototypes, he chose the one that had a more dense bottom. Brown then straight into the studio, added to this instance path reverb. Again Van Halen
exulted. "At this point we felt like when we brought the first place," says Brown. "I came back and started doing what I thought was the final version"
"Again the bell rang, and Ed suggested:" It would be nice if he handles are not sticking out in front, but were behind ". Van Halen
defends his conviction: "It gives better access to the person who sits. If you play in a small club, you do not have to squat to Curl volume ".
Again to Kuhlmann. "We had to start all over again, - says Brown - because I had to change the entire layout. When designing the layout of the amplifier can sometimes affect how behaves electronics and sound, just as components and circuit, just how everything is. Development lasted for months. What we have done is take what was considered the final option, and recompose so that the handles were in the back. And we presented it to him a few months. It was just before the Summer NAMM show in 1994 where we presented the model. But when we returned from the exhibition, Eddie wanted him a little bit to finish, so I reined in his dispatch to production ".
In November, McRae and Brown returned to the studio 5150. "By making the last fine-tuning in the amplifier - Brown said - we realized that we had to do with the channel solo, a horse that we've never had to do on the powerful head. We tried to make the channel more dense solos, because with a 60 watts is very easy to exhaust the supply of power and ultimately resound slovenly. The second reason was that when recording the album "Balance" Ed for pure sound again returned to its Marshall, after some time they did not use. He did not have enough density HEJNA. This evolution: Ed is evolving and we are with him and change the power to meet its needs. Thus, at some point we have completed work on the amp, as far as we could imagine, and sent it into production in January 1995, just before the NAMM ".
At the same time, Van Halen
began rehearsing his world tour in support of the "Balance", during which he planned п+п¦п¦п¦я-п¦я-я- combo.
Once again, deja vu.
"Ed went to the rehearsal studio and started to play through it," says Brown. "Then he called and said:" It is very similar, but not quite ". He tried to play as loud as used to, of course, even that is not our intention. We have not attempted to do something that sounds like polustek ".
Undeterred, Brown stopped the production and analog engineers spent the next six months, bringing the clean channel. And only in the summer of 1995, when the group was passing through the southeastern United States, Edward wrapped in Meridian, oversaw the last finishing and gave the green light for production. "We had some work to get from the two speakers the same breath, as from a large cabinet," - shows Van Halen
. "But James managed to do. I do not know any other combo on the market, which rocked like this. It does not sound like a combo, it sounds like a stack ".
Part 3. Wolfgang Guitar.
In late 1994, Edward Van Halen
no longer meet the company Ernie Ball / Music Man, which produced its subscription guitar. Because of the connection with the Music Man Peavey Electronics is not insisted on his participation in the guitar program. According to McRae, "It did not seem right. He knew that we produce guitars. He was at the factory. He was aware of what we do, so we left it like it is. I felt that if he is interested, then he takes the first step. And finally, as it happened. I think the company has established itself. We have proven themselves in terms of marketing and sales. And perhaps the main reason was the strict quality of the products that we produced with his name. He began to believe in the company's ability to adequately address, . and as soon as the situation with guitars delineated, . He got in touch with us, . and began the process of development. "Brown almost repeats this statement:" I think, . ability to keep the bar was one of the things, . are impressed by Ed at the beginning of the project with amplifiers,
. He believed in the ability Peavey do things at the level. The same applies to the guitar program
Introducing Peavey Wolfgang: another good example of evolutionary design. "Wolfgang began as a very close version of his previous guitars," says McRae. "But what dalnshe was a process of development, the further we moved away from this. The fact that we have in many ways completely different from what we have chosen as a starting point ". According to the engineer designing. Peavey Guitar Jim decal, "This was the evolution. We have step by step, consider all options and factors and find what you were looking for Ed, and this determined result - guitar ".
What were the main changes and dorabotkiN
Responsible Van Halen
. "There are three things which are primarily distinguished by Wolfgang. Number one - this reduction of the top, that is more difficult to do, and is more expensive, but at the same time, the guitar is actually cheaper than the Music Man. That is the beauty Peavey. This sturdy American product, and he is quite at the level of the highest quality Les Paul. Second - it is D-Tuner, a patented device is a small cylinder, worn over the clamping screw 6 string, which makes it possible to lower it in the system Fe. This is just elementary. I'm surprised that nobody had not thought of. And it keeps the system well. And number three - for information from the top, a slightly different angle of headstock. Grief slightly bent backward to make it more comfortable to play. "
Working closely together with Van Halen
, decal was responsible for the development. It was critical to choose a tree, the decision is determined by sound, aesthetics and weighing. Case Wolfgang done either from a piece of lime (soft, light wood) or lime with a figured maple cap. "Lipa - is an easy tree" - says Decoli. "It gives the guitar a resonance. It provides rich rounded bottom, and soft top. Reduced top gives massiveness, and maple throw on the middle and increases sustain. Ed likes the sound of both models, and he finds each of its application. Variety lime was determined by well-known research. We take only a certain sort ". Grief and lining are made from northern maple, bird's eye "(hard, dense wood). "Grief is made of one piece with a separate lining, cut from the same piece of wood," continues decal, "that gives the best match of character wood and more stable structure. Grief polished with oil, so it is not slippery and not sticky, as lacquered fingerboard.
And of course, these "eyes" glaring ".
Why lime and maple, bird's eye "N" This is what I used for years, "says Van Halen
. "This is something from which it was made Music Man, and this is consonant combination. This is what works for me. I'm not going to try to force the world to use my tools - it's not my life goal. But if someone wants them, they are available ".
Case Wolfgang differs from Music Man in several respects. In addition to the maple cap shape themselves have evolved into an asymmetrical design. "The front of the upper horn has been increased, so that it looks like something between a horned and antlered design," says Decoli. "Behind the upper horn, was shifted in the same direction. We use a contrasting color for edging, to emphasize the silhouette. Changing the shape that this shift not only makes the appearance of a more rapid, but also gives better balance. The point of balance has shifted, due to the fact that from the top edge of the horns become longer. So, you're standing or sitting, the guitar does not outweigh the side headstock or body ".
Converted to the specifications neck Wolfgang Van Halen
is also changed somewhat. "Grief at the upper Nut wider than the old vulture," - says Decoli. Ed stopped on the 15-inch range, which allows him to perform poddtyazhki purer, higher on the fingerboard ". For greater stability and sustain the neck is reinforced with two strips of graphite, stacked in parallel on both sides of the anchor channel. Type of moderate Jumbo Frets. "They're high as a jumbo, - continues decal, - but they are a little narrower, so that at high odds is not so crowded."
. Van Halen
is sincerely convinced that, for maximum sustain, all components of the guitar from the doorsteps to the sensors and the tremolo must be fixation and not go shaking
. "Everything must be connected," he insists,. "That's what I did over the years. From the moment I started collecting my own guitar, I always screwed it all right to the tree. This, in my opinion, it makes sense: if everything is attached, it will be more sound ". Grief Wolfgang fastened directly to the body - no pads, or tilt adjustments vulture. "Ed wanted to do everything possible intact," says Decoli. "We used to drowning, countersink washers and bolts and did not use the heel plate. This gave us the opportunity to give the heel shape, making it more comfortable when you play at the top of fingerboard. Tremolo lies in the level of housing. Ed likes it, because that's how we get more resonance and disappears peculiar delicacy suspended tremolo sound. If you break off the string, it does not upset.
If he takes the sound to a thick string and pulls a thin, it does not upset ".
Sloping back headstock Wolfgang also has a distinctive design. "Hartley and I pohimichili, - says Van Halen
- and that is what we came. It looks like Wolfgang, he has character. "According to the decal, the slope of 10 degrees increases the pressure of the strings on the upper threshold of. In order to reduce the size of the headstock, decal has developed a step-pegs configured in two rows of three, which provides a negative allowance strictly straight strings along the fingerboard through to the very threshold of pegs. Kolka also installed so that access was more convenient. Each guitar equipped with chrome compact Kolkova mechanisms Schaller machine heads with pearl or cream color, depending on the color guitar. To give the guitar more individuality in his head was "scooped" small unpainted desperately.
Other innovations include the adjustment of the anchor, an additional anchor and the location of controls. "Adjusting the anchor, instead, speak of the headstock," says decal, "is located on the opposite end. It is an adjustment for the wheel with free access for the last fret, and allows you to adjust the anchor, and you can use any small tool. So we came to the additional voltage control system fingerboard dual action, which all may be withdrawn. If you need to replace it, you just weakens it and pulls out ". Three-position switch located in the traditional style lespolovskom on the upper horn, but its provisions are mirrored: the situation down the front includes a sensor, and up - rear. Van Halen
gave himself up to this heresy, in order to keep the two-handed Tapping. "The problem was that when I started to play Tapping, moving his right arm to the neck, I used to touch the switch. My hand was just over it. So I flipped it and everything was fine. This is the opposite, according to the alignment with a Les Paul, but who said that down, it's always back datchikN "Inverse provisions also make it easier to switch between sensors for rhythm or solo. "If you think about it, it makes sense," - said Decoli. "If during the solo switch on the rear sensor, the simplest way tilt switch up and then return to the game than to switch it down, and then back to solo."
Development pickup was a gradual process. "As a starting point were taken pickups, with the same parameters as those that Ed has used. "But, as far as how the guitar evolved, changed and how the sensors were consistent with the sound parameters". After listening to the first prototypes, Edward said decal, that "they sound like concrete, they must be" finalized.
BetonN Board of Higher proyavleniiN
"Exactly" - burst into laughter Van Halen
. "Concrete - this is the worst. It sounds cold and hard, that I do not like. I love the warm, soft, but at the same time, powerful sound ".
"We have replaced several types of wire, options winding and magnets, as in the rear and the front pickups until you come to that like Ed" - continues Decoli. "They both humbucker, but intone different for each position. He wanted the front of the sensor gave a hollow sound, and he wanted to cut through the rear sensor is good, but it gave decent bottom. We stopped in unregulated sensors screwed directly to the hull, which reduces zavodki at high volumes, but also improves the sound ".
"Pickups have simply tuned by my ear," - says Van Halen
. "They sent them to me, and I said that I do not like. Sensor - a simple device. This is just the core, coils and magnets. More coils and stronger magnets make sensor hot, but if you do the opposite, it will be weaker. I'm such a nit-picker when it comes to sound, it comes to funny. I can identify when one of the lamps in the preamplifier sits. Not that I had such a refined ear - this is more a question of sensations. If you play and disappears bit of sustain, it is either a lamp or sensor or something else. Your ears all the different ".
EVH Wolfgang issued as a fixed rear doorsteps and with the tremolo system. Model with fixed doorsteps equipped with recessed doorsteps in the style of "tune-o-matic" with teylpisom. Also recessed tremolo system is a model of the licensed Floyd Rose. Exceptional detail of this tremolo is a patented mechanism lowering Van Halen
down at the 6 th string. "Ed has developed a D-tuner, along with Adam Rivera - said Decoli. "In its repertoire there are several things that need dropped down, and in a system with locking doorsteps impossible to reorganize on the go. D-tuner slides along the screw clamping the strings in the saddle Floyd Rose, and shifted back down operation 6 th string to the tone. Thus, it does not need a separate guitar for dropped down ".
As for other options Wolfgang. "There are all sorts of models, which I would imagine - said Van Halen
- but first we decided to present at NAMM only one - with information on horseback, Floyd and two sensors. We're going to release their six colors: amber, purple, red, tobacco sunburst, black and ivory. And I want to submit the version with the singles and piezoelectric transducers. Just Hartley did not want to embarrass people releasing just a lot of models, so we started with one ".
During the tour, "Balance" Van Halen
run-six prototypes Wolfgang. "I think we have ten or twelve guitars, with whom I amused - said Edward, - and every little bit different from the others - not radically, but the configuration of sensors." The most interesting - a guitar with a piezoelectric pickup. "We put on a guitar back from the threshold of pezosistemoy, - said decal, - graphite saddles from Mike Christian and preamplifier. It has a volume control for magnetic sensors, piezoelectric transducers and control for stereo. Ed uses it on one song ( "Can't Stop Lovin 'You"), where he switches between acoustic and magnetic sound. He passes the signal from the piezoelectric transducers through the power amplifiers and monitors, and the signal from the magnetic - through their usual Amplifiers ".
The theory of Van Halen
's about volume knob: "If you need to improve the tone, add volume. Volume and tone is ".
Here it is a dispute about the volume knob and tone. According to the decal, "original prototype had two volume knob. Ed used both sensor and switch between them, but it is too strained the need to adjust two volume, so it decided that the volume will be one ". Hartley Peavy offers two knobs - volume and tone. "I still dive down to Hartley," - says Van Halen
. "I have so long been" odnoruchechnikom ", so that the tone knob is almost useless for me - I just twisted it until it stops. So my suggestion was to make a two-volume knob, so that you can vary the dynamics, switching between sensors: one to remove the volume and move from loud to quiet the sound. On the other hand, in order to make an "interim" sound with two handles, will be faced with difficulties, removing both the volume the same, to get this sound. I hesitated a long time, but will still handle timbre ".
Peavey Electronics, and Edward Van Halen
Wolfgang presented at the Winter NAMM show 1996. The key word describing Wolfgang - versatility. "This is a good guitar, you can use it in any style" - offers Decoli. "Wolfgang could be amazing blues guitar, or jazz or country music guitar. This is not just rock 'n' roll zapilschitsa. "
Epilogue 1. Legacy of Van Halen
What are the advantages of cooperation with the Van HalenomN
Is it his fault-finding and trouble unbearable vedlivostN
James Brown: It is really nit-picker, but it makes our agreement with them so valuable. He is not one of those guys that say, well, where you have podpisatN This amp is made for him and he should be in order.
When we started the project 5150, especially when we do studies, we thought rather banal: cabinet - is simply room. There are many things that you take for insignificant, such nuances, which tree you are using or how you are chaining reflects peregovorku, and so. And the first thing we had to learn to Eddie - this is the fact that all this is important - all. If you change the method of fixation baffle to the cabinet is to radically change its sound. This was a useful lesson for the series TransTube and all the other projects that I did vprosledstvii. He helped us understand that everything works together and everything has a value
. Len McRae: At any time, Ed would take the phone and call in Tokyo, . or get your manager to call in New York in store Manny's or C & C Music in Dallas or Dick Rumohr in Tampa and order a combo, . guitar, . 5150 head and cabinet, . to bring them into the studio, . and podklyuchitsya,
. And if he could not take anything from this equipment with them on stage and play it a concert, then, in his opinion, it would be wrong. This strongly.
DzhimDeKola: When Eddie was in Berlin, he literally made out his guitar to pieces and brought back, just to see how it works. He was just like a little child. I realized how closely he studied every detail. Not only the visible things, and all. It helped me realize how serious my work. I appreciate it very much.
In Ed's reputation as a guitar master of all trades, all the time working with their guitars, making the guitar. He worked with us very closely, and he likes the fact that he was involved in the development process, and that is an ongoing process.
Epilogue 2: Legacy Peavey
What are the advantages of cooperation with the Peavey ElectronicsN
Edward Van Halen
: I think this is a place with family atmosphere. Their home. Everything in the whole course, and this is just a place where well-placed. They are proud of what they do, and it is great. Very few American companies have such a spirit. A amplifiers 5150 - these amps were not as long as we have not done. Have you had Marshall, you had Hiwatt, you had Vox, whatever, but no power does that give 5150. He does things that Marshall can not, though, and Marshall may be the fact that this power can not. But I was asked to make imeeno something that can not Marshall, and we deal with it. That's why I wanted to do a second version of 5150, to receive and what gives Marshall
. Photo: Van Halen
and Hartley Peavey in guitar shop
. Collection of personal guitar Van Halen
. Collection of personal guitar Van Halen
. Electric PEAVEY EVH WOLFGANG
. Electric KRAMER VAN HALEN