"Eddie Van Halen preferred creative control over his guitar work and didn't allow double-tracking in his solo records, explaining his unique approach to guitar playing"
In the hallowed halls of 5150 studios, producer Ross Hogarth found himself immersed in the quirks of Eddie Van Halen's recording process. For the creation of Van Halen's twelve studio album, A Different Kind of Truth, Hogarth was tasked with capturing the legendary guitarist's sound in a new and innovative way.
Hogarth explains that Van Halen's approach involved sending his guitar signal to multiple tube amplifiers and cabinets simultaneously, creating a natural stereo effect. Two heads and two cabinets, miked with Shure SM57s, were used during the recording sessions. However, instead of a straightforward stereo left-right setup, the signals were delayed slightly differently to produce a subtle "stereo air dance." This setup provided a richer, more dynamic guitar sound without relying on traditional double-tracking or ribbon microphones.
To address the low-end issue with the SM57 microphones, Hogarth employed a tube-powered Royer R-122V ribbon mic. Van Halen, being an intuitive artist, quickly understood the effect of the new mic and appreciated its contribution to the sound.
The blending of two amps during the recording process resulted in a much broader sound. The two heads were dialed in to complement and contrast one another, creating a harmonious balance that enhanced Van Halen's intricate playing style.
Interestingly, Van Halen made an unlikely return to using his 1967/68 1959 Marshall Super Lead during the recording of A Different Kind of Truth. The sessions also saw a revisiting of relics from the band's early days, pulled from 5159's vast, air-conditioned storage units.
Despite the challenge of working with such a legendary artist, Hogarth found the experience unique and enjoyable. Most of Van Halen's guitar parts were not double-tracked due to his intricate playing style, and the album was recorded with a raw, one-take approach utilizing vintage Marshall amps and custom mic tricks.
In a departure from the dedicated analog bounce of stereo left and right, Van Halen's recording technique was not reliant on such methods. Instead, it focused on capturing the nuances and raw character of his playing directly, emphasizing the organic and spontaneous elements of the sessions.
A notable side note is that Paul Reed Smith was asked by Van Halen to build a guitar for him, adding another layer to the already rich history of A Different Kind of Truth.
In conclusion, Ross Hogarth's work on A Different Kind of Truth saw him navigating the unique recording techniques of Eddie Van Halen, resulting in a dynamic and richly textured album that showcases the guitarist's raw talent and innovative spirit.
- The 1967/68 1959 Marshall Super Lead, an unlikely choice for Van Halen, was dusted off from 5159's storage units during the recording of A Different Kind of Truth.
- Despite utilizing multiple tube amplifiers and cabinets, Van Halen's recording technique for A Different Kind of Truth did not rely on traditional double-tracking or ribbon microphones.
- Ross Hogarth, during the creation of A Different Kind of Truth, employed a tube-powered Royer R-122V ribbon mic to address the low-end issue with the SM57 microphones.
- Instead of a standard stereo left-right setup, the signals sent to multiple tube amplifiers and cabinets during the recording sessions were delayed slightly differently to produce a subtle "stereo air dance."
- Many of Eddie Van Halen's guitar parts on A Different Kind of Truth were not double-tracked, thanks to his intricate playing style and a raw, one-take recording approach using vintage Marshall amps and creative mic tricks.
