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Mullen RP, Webb 6-14E, Peavey NV112, Hilton volume.

I've done it on guitar for years after being taught the "trick" by Albert Lee. I've been messing with it on steel as well.

You set your delay on approximately 300ms (the tricky part is getting the band to play in consistent time, or you're dead)...you have to tweak the exact setting...and learn how to "chop" the notes, playing just half of what you hear. The timing is really hard at first, but suddenly you "get" it. Your delay is set at unity gain so it's exactly as loud as the dry signal, and with no repeats. You HAVE to have a footswitch or volume pedal to cut the delays out so you can go back and forth between normal and "doubled" sound. Also, too much reverb really washes it out. Clean blocking is also essential.

I think Les Paul either originated the technique, or at least made it a "gee whiz" thing back in the 50's. I Orange Blossom special is the usual type of song to do it on -John Jorgensen did it that way on Tele with the Hellecasters and also on the You Tube-available "The Price I Pay" with Chris Hillman and Emmylou Harris, where he combines it with finger-taps into a virtual waterfall of notes.

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Mullen RP, Webb 6-14E, Peavey NV112, Hilton volume.

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Mullen RP, Webb 6-14E, Peavey NV112, Hilton volume.

Just cheap tricks

I think "Luxury Liner" (Emmylou) is THE canonical track.

Makes me wonder if Albert got the idea from Buddy.

I've also been using that trick for decades and, no, it's not easier to do with an Echoplex. The 'tap delay' feature that many modern analog and digital units have available is the best thing since sliced bread for synchronizing the delay, IMHO.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
My CD's: 'I've Got Friends in COLD Places' - 'Pedal Steel Guitar'
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 25 October 2006 at 12:20 PM.]

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Mullen RP, Webb 6-14E, Peavey NV112, Hilton volume.

from SugarHill Records website:

quote:

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As a solo artist, the version of Lee's song Country Boy from his 1979 album Hiding helped to redefine country guitar for a generation of players and later became a hit for Ricky Skaggs.

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Emmylou's Luxury Liner album was also released in 1979 -- it was her first album with Albert Lee. James Burton was with her before that.

I believe that Albert Lee's first gigs with the Everly Brothers were in 1973 and Buddy and Albert played on Don Everly's solo album 'Sunset Towers' in 1974.

. . . and, just for reference . . .
The Black Album was released in Jan, 1971 and recorded the previous year

Who invented the Echoplex trick?
Beats me, but I do know Emmons was using it on 'Witches Brew' in 1970 or so and the first I ever heard it from Albert Lee was on 'Luxury Liner'.

Maybe Buddy will read this and tell us the REST of the story -- like where he got the idea.

Certainly Luxury Liner was the one that drove ME nuts trying to figure out

And as I noted, It's something Les Paul did back in the 50's. There is a particular song he's noted for that uses the technique, but I can't recall it.

And FWIW, I think it IS easier to work with on a tape delay for some odd reason. There should be no difference, really - but My old Echoplex and the Sireko I have now are easier to do it on than my digital units (the H&K Replex seems to react like tape and is easy to dial in, though).

quote:

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And as I noted, It's something Les Paul did back in the 50's. There is a particular song he's noted for that uses the technique, but I can't recall it.

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He invented the tape delay in the same brainstorm that created multitrack recording. The device he used onstage was called the Paulverizer.