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Assuming we are talking about the original FM period it would have been spring reverb of some sort; I think he had a Matamp unit at one point, a Fender one at another and Fender amps with reverb at other points.
Pick the best sounding spring reverb emulation the Bluesky does and tweak to taste I should think.
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Watch out: there's a story going round that he recorded at least one of his big tunes late at night in an empty multi-storey car park with a few mics placed around the cabinet...
(That might have been "The Green Manalishi". It also might be incorrect, because I read it a long time ago on the internet. But it's a warning he didn't always use one particular piece of kit...)
Marshall also made a solid-state reverb unit which looks amazingly cool, like a slightly smaller 2061 head, but doesn't really sound that brilliant. Also very rare, I've only ever seen one.
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Clever stuff but I don't think I'll be going to those lengths! It seems Mr Greenbaum used all kinds of reverb, so I'm going to try for middle ground which hopefully the Bluesky can do but I can't help thinking how cool it would be to try a tank, certainly gives me something to think about.
Story lifted from Vintage Amps Forum post:
"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 pwer 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.
For live performances,Green almost exclusively used his '59 Les Paul occasionaly switching to his Strat 'when the mood took him.' On two occasions he used the Fender VI live.'The thing about Pete was that he had all the effects but he never used 'em adds Keen.'He could make a note distort just by overplucking it;that's how good he was.Total control.'
http://vintageamps.com/plexiboard/viewtopic.php?f=4&p=575022
Set it up almost full on, called up "Need your love........" and totally disappeared in the mix. Lesson learned but I've always been wary of on board reverb since then.
Remember, it's easier to criticise than create!
You're right! I thought it was the Bandmaster, but it's the Showman that he used. I think they're essentially a more powerful Fender Twin.
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It's basically the same amp (at least in that era) as the Twin Reverb, but in a head/cab format rather than a combo.
Nobody needs a more powerful Silverface Twin.
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