Peter Green reverb

Hootsmon

on the early FM records.....that be plate 'verb ya think?

EricTheWeary

Lots of info out there, much of it conflicting. Some of it was distance micing in an underground car park ( apparently!), some of it Fender amps with inbuilt spring reverbs and some of it his Matamp spring reverb unit. And some other things no doubt. 
Live he used all sorts of things but in those days would have been spring reverb either in an amp or separate unit. 

pintspiller

There's a moment or two in Man of the World that always reminded me of the sound of a spring g reverb when you kick an amp or change channel.

JezWynd

Oh Well Pt 2 has some epic reverb. Got lost in it once in my misspent youth.

zepp76

If you want a bit of Greenish reverb get yourself a Boss FRV-1 before the prices go through the roof. It's a fantastic reverb.

Octafish

zepp76 said:

If you want a bit of Greenish reverb get yourself a Boss FRV-1 before the prices go through the roof. It's a fantastic reverb.

Before! Think that's already happening.

zepp76

Octafish said:

zepp76 said:

If you want a bit of Greenish reverb get yourself a Boss FRV-1 before the prices go through the roof. It's a fantastic reverb.

Before! Think that's already happening.

You're right, I thought they were still going for around a ton but there's one on eBay for £200 BIN that's ridiculous!

ICBM

They're a very good pedal, but actually not exactly what you want for a Peter Green reverb - they very specifically model the original Fender outboard reverb unit, which is quite a bit different-sounding... more splashy and surfy, since of course it was the classic surf reverb unit. Great, but limited - that's actually why I sold mine, although I made a mistake with the timing!

steer

EricTheWeary said:

Lots of info out there, much of it conflicting. Some of it was distance micing in an underground car park ( apparently!), 

Yeah, I think that the car park was mentioned in the Peter Green documentary that was on a couple of months ago. I can't remember if it was for vocals or guitar, or both. Make you realise how lucky we are these days to have all these wonderful effects that fit into a pedal the size of a matchbox. 

Fretwired

ICBM said:

They're a very good pedal, but actually not exactly what you want for a Peter Green reverb - they very specifically model the original Fender outboard reverb unit, which is quite a bit different-sounding... more splashy and surfy, since of course it was the classic surf reverb unit. Great, but limited - that's actually why I sold mine, although I made a mistake with the timing!

Depends what you're after - studio or live. Often the studio was in a reverby area like a stairwell (loads of stuff on the net). Live from '69 he played through a specially built Orange-Meta amp which had an outboard reverb unit modelled on a Fender unit.

There's a guy, who I think is now dead, who worked on this amp (he was Peter's tech I think) and wrote about it and Peter's tone on the net.

springhead

steer said:

EricTheWeary said:

Lots of info out there, much of it conflicting. Some of it was distance micing in an underground car park ( apparently!), 

Yeah, I think that the car park was mentioned in the Peter Green documentary that was on a couple of months ago. I can't remember if it was for vocals or guitar, or both. Make you realise how lucky we are these days to have all these wonderful effects that fit into a pedal the size of a matchbox. 

Certainly for Green Manalishi they used the car park under De Lane Lea:

Recording Green Manalishi

The power chords that provide the track with so much of its menace were the result of late night experiment at De Lane Lea Studios. Using the underground car park beneath the studio, the engineers set out three 4X12″ speaker cabs. They close- miked one, then distance- miked the other two to catch the cavernous reverb generated when Green played the power chords on his Fender Bass VI-the blended guitar sound is one of the most startling ever captured on tape. ’It sounds like there must be loads of compression and fuzz and overdrive on the guitars to get that sound, but there isn’t,’ reveals Keen. ’Peter had things like Cry Babys and Coloursound distortion pedals but he didn’t use ’em that often. He was mainly into reverb-that was his big thing.’ 

The chilling solo guitar, was counterpointed by Green’s demonic howling vocal, was achieved in the same way as the chord bombast-though this time by having one microphone pick up the reflection off the far wall of the car park, effectively giving the sound a complex reverb delay.

From here:  https://guitarplayer.wordpress.com/2008/07/15/peter-green-the-greatest-forgotten-guitar-hero/

I wouldn't describe him as forgotten!