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Live he used all sorts of things but in those days would have been spring reverb either in an amp or separate unit.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
Remember, it's easier to criticise than create!
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!