Allen Garber Interview: When EVH used the Phaser and Flanger on VH 1978 album

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Allen Garber Interview: When EVH used the Phaser and Flanger on VH 1978 album

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Re: Allen Garber Interview: When EVH used the Phaser and Flanger on VH 1978 album

Post by PLX »

Here's Allen's breakdown:

There seems to be mass confusion on when Eddie used his vintage MXR Phase 90 and vintage MXR Flanger, especially on the first album. I would like to offer my observations on where I believe these effects were used on each track on the first album with approximate timimgs for each track. I have owned and used both of these vintage effects since I bought them in 1987. These are my observations, and many will surely disagree with me. These are simply my observations for whatever they are worth.
One thing to note…there are no instances of both the MXR Phase 90 AND the MXR Flanger being engaged at the same time. I think that holds true for the entire catalog which has the MXR effects present, though I haven’t verified that for sure yet. Also, these timings vary GREATLY depending on which posted video that you use for the timings. I used the CD and isolated tracks, but the timings are still very approximate.

“Runnin’ With the Devil”- (The Destroyer) There is no use of either the MXR Phase 90 or the MXR Flanger at all on this entire track.

“Eruption”- (The Frankenstein) Phase 90 is engaged as the open G power chord is sounded (approximately 0:18) and left on for the rest of the track. No MXR Flanger on this track.

“You Really Got Me”- (The Destroyer) Phase 90 is engaged at the beginning of the guitar solo (approximately 1:23) AFTER the D chord and just as the actual lead guitar solo starts. The Phase 90 is then disengaged immediately at the end of the solo at approximately 1:47. The little fill during the quiet bridge does NOT have the Phase 90 engaged. There is no other use of the Phase 90 in the recording. There is no MXR Flanger on this track.

“Ain’t Talkin’ ‘Bout Love”- (the Frankenstein) The MXR Flanger is engaged to accent the “low-note riff” played within the main arpeggiated riff and then switched off. This occurs the same way at approximately 0:03, 0:07, 0:10, 0:13 and 1:02 (not for every occurrence of the low note riff in this sequence, but for several of them). Then the MXR Phase 90 is engaged as the G power chord is struck just prior to the first guitar solo at approximately 1:22 and is then disengaged at the end of the first guitar solo at approximately 1:39 as the guitar solo ends. To be clear, the overdubbed Coral electric sitar track on both guitar solos does not have any Phase 90 or MXR Flanger. Then the MXR Flanger is engaged to accent the Am chord stabs and natural harmonic passages in the quiet bridge starting at approximately 2:05 and disengaged as the chorus comes in again at approximately 2:19. Then the Phase 90 is engaged as the G power chord is struck just prior to the second guitar solo at approximately 2:45. It is then disengaged at approximately 2:58 during the last flurry of notes at the end of the solo. The MXR Flanger is then very quickly and briefly engaged for the brief fill and low E bar dive at approximately 2:59 and disengaged at approximately 3:00 just before the chorus begins. The MXR Flanger is again quickly engaged to accent the bar dive fill during the coda at approximately 3:33 and disengaged at approximately 3:34.

“I’m the One”- (The Frankenstein) the Phase 90 is engaged at the beginning of the first guitar solo (approximately 1:19) and disengaged at the end of the first solo (approximately 1:37). It is then re-engaged at the beginning of the second guitar solo (approximately 2:33) and disengaged at the end of the solo at approximately 2:50 just before the “walk-up” section that leads to the bridge with harmony vocals. The Phase 90 is then re-engaged just as the tremolo picked E power chord is strummed (approximately 3:29) leading into the ending lead guitar playing and left on until the final notes of the recording.

“Jamie’s Cryin’”- The main guitar track (Ibanez Destroyer) has the MXR Phase 90 engaged at the beginning of the pre-chorus (“She wants to send him a letter…”) at approximately 1:06 and then switched off at the end of the pre-chorus, just prior to the chorus at approximately 1:19. Then the Phase 90 is again engaged at the beginning of the second pre-chorus at approximately 2:05 and the switched off at the end of the second pre-chorus at approximately 2:20. The melodic harmony guitar overdubs (the Frankenstein) do not have Phase 90 as far as I can tell, but it is possible that one or more of the harmony overdubs has Phase 90. It is difficult to say because we don’t have the individual isolated harmony guitars available as individual tracks. I have a feeling that the Eventide Harmonizer might have been used on these parts, but again that it difficult to say with certainty because the isolated individual harmony guitar tracks are not available. There is no MXR Flanger on this track.

“Atomic Punk” (the Frankenstein) begins with the MXR Phase 90 already engaged to accent the “rubbing” of the strings near the bridge with the edge of the right hand in the intro. It is then disengaged at approximately 0:18. Then the MXR Flanger is engaged to accent the fill (that is performed in a way similar to the intro) at approximately 0:52 and disengaged at approximately 0:54. The MXR Flanger is then engaged during the fill that leads to the guitar solo (as is the exaggerated slap-back echo likely from the Echoplex which is engaged immediately after the flanger) at approximately 1:28. The flanger is then disengaged at approximately 1:30. I believe the MXR Phase 90 is then engaged at approximately 1:31 and left on for the duration of the solo until it is disengaged at approximately 1:57 (and the Echoplex is also disengaged VERY shortly thereafter) just before the B power chord stabs. Then the MXR Phase 90 is engaged to accent the same “rubbing’ technique as in the intro at approximately 1:59 and it is disengaged at approximately 2:09. The Phase 90 is then engaged at approximately 2:41 to accentuate the descending chords beginning with the A/E polychord and disengaged at approximately 2:47 during the pick slides just prior to the B power chord stabs. A LOT of “tap dancing” on this one!

“Feel Your Love Tonight” the main rhythm guitar track (the Destroyer) has no MXR effects at all. The Destroyer was again used for the overdubbed guitar solo and the solo begins with the MXR Phase 90 engaged at approximately 2:38. It is left on for the entire guitar solo which ends at approximately 3:03. There is no MXR Flanger on this track.

“Little Dreamer”- (the Frankenstein) To the best of my reckoning, there are no MXR effects on this track at all, not even during the guitar solo. This is just Eddie’s hands. I know that the repeated licks in the solo seem to have that “combing” sound of the slow Phase 90, but I don’t believe there is Phase 90 on it-as far as I can tell, that sound is coming strictly from the articulations that Eddie uses…the combination of hammer-ons and pull-offs and right hand muting.

“Ice Cream Man”- (the Frankenstein) The Phase 90 is engaged for the sliding major triads that lead into the guitar solo beginning at approximately 1:42. The Phase 90 stays on for the entire guitar solo and is then disengaged at approximately 2:22. Then the Phase 90 is again engaged for the sliding major triads that lead into the vocal and overdubbed lead guitar call and response (at approximately 2:35) and quickly disengaged (approximately 2:36) as that guitar goes back to rhythm playing under the overdubbed lead guitar. That overdubbed lead guitar comes in with the Phase 90 engaged at approximately 2:37 and disengaged at approximately 2:48. Then the main guitar returns for the coda and ending lead guitar flourish with the Phase 90 engaged at approximately 3:00 just as the F9 chord is strummed and left on for the remainder of the track. There is no MXR Flanger on this track.

“On Fire”- (the Destroyer) The MXR Flanger is engaged for the fills between the chords in the intro…first on at approximately 0:04 and off at approximately 0:05, then on again at approximately 0:08 for the tremolo picked figure that climbs up the G string and off again at approximately 0:13 just before the natural harmonic break. The flanger is then engaged again for the fill at approximately 0:34 and disengaged at approximately 0:36. Then the Phase 90 is engaged for the guitar solo at approximately 1:30 and disengaged at approximately 1:40 after the trill that ends the solo. The MXR Flanger is then engaged for the fill at approximately 2:03 and disengaged at approximately 2:05 just before the A5 power chord.

So to put this in a simpler form (all timings are-you guessed it-approximate and can vary greatly-please refer to the above descriptions to understand exactly where the parts come in):

“Runnin' With the Devil”- No MXR effects

“Eruption”-Phase 90 on 0:18 (no flanger)

“You Really Got Me”-Phase 90 on 1:23, off 1:47 (no flanger)

“Ain’t Talkin’ ‘Bout Love”- MXR Flanger on and off for fills at 0:03, 0:07, 0:10, 0:13 and 1:02
Phase 90 on 1:22 through 1:39, MXR Flanger on 2:05, off at 2:19. MXR Phase 90 on 2:45 off 2:58. MXR Flanger on 2:59 off 3:00, on 3:33 off 3:34

“I’m the One”- Phase 90 on 1:19 off 1:37, on 2:33 off 2:50, on 3:29 until the end of the track (no flanger)

“Jamie’s Cryin’”- Phase 90 on 1:06, off 1:19, on 2:05 off 2:20. (no flanger)

“Atomic Punk”- Phase 90 on 0:00, off 0:18. Flanger on 0:52, off 0:54. On 1:28, off 1:30. Phase 90 on 1:31, off 1:57. Phase 90 on 1:59, off 2:09, on 2:41 off 2:47.

“Feel Your Love Tonight”- (guitar solo only) Phase 90 on 2:38, off 3:03. (no flanger)

“Little Dreamer” No MXR effects

“Ice Cream Man”-Phase 90 on 1:42 off 2:22, on 2:35, off 2:36, (overdubbed guitar) on 2:37, off 2:48. (main guitar) on 3:00 until end. (no flanger)

“On Fire”- MXR Flanger on 0:04 off 0:05, on 0:08, off 0:13, on 0:34 off 0:36. (guitar solo) Phase 90 on 1:30 off 1:40. MXR Flanger on 2:03 off 2:05.
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