It’s safe to say that the guitar community has been trying to recreate Eddie Van Halen’s tone on Van Halen I since it’s debut in 1978. That’s over 46 years of detective work and speculation. If you’re a veteran, welcome… we’re not going to tell you anything that you didn’t already know. If you’re just getting started, counterintuitive as it may seem, this might not be the best place for you to begin. Regardless, we want to give you a chance to play through gear that actually sounds like that first record, a very specific tone not heard on later albums. In early interviews, Eddie hinted that he didn’t care for the sound of his guitar on that first record.1 In reality, it’s become one of the definitive sounds of rock guitar for many players, old and young, and though a mistake, immortalized as “The Brown Sound.”
The Magic Marshall
The main question on most people’s minds has always been, how did Eddie achieve such an extreme level of distortion out of a non-master volume Marshall? First on most lists is the Variac, used to reduce the voltage supplied to the amplifier, purportedly causing clipping at a lower volume. Next is setting the bias of the amplifier, some say high, while others say low because it might not have been adjusted post-Variac, and still some say it was correctly re-biased at the lower voltage level. Then it all gets mixed up, between EQ pedals and preamp boosts, specific brands of vacuum tubes, not to mention a resistive load placed on the output of the amplifier stressing the transformer to the point of destruction while simultaneously allowing the amplifier to be run at full tilt.
Did we capture any or all of this? No, of course not. But what we do have is an accurate model of a non-master volume Marshall that sounds like it should, with enough gain to spare. We’re of course referring to the 402C Amplifier.
The Speaker Blend
Once out of the amplifier, the next critical element is the speaker cabinet. In this case, and for many guitarists of this era, a blend of two or more speaker cabinets was used to create a distinctive tone that served as a sonic signature. Something that would be hard to duplicate and therefore set them apart on the airwaves. The predominant combination that most suggest is a blend of Celestion Greenbacks and JBL D120s. Of course, that still doesn’t narrow it down. No two speakers sound alike from the same lot, let alone those that were made years apart. And each speaker has a variety of incarnations. This was where our quest really slowed down, until now.
We managed to get a hold of a very particular speaker, the 2×12″ ’77 100W Cabinet, and when blended with the 4×12″ ’73 100W Cabinet, the whole definitely becomes greater than the sum of its parts. It was nothing short of magical when we first heard this combination of cabinets and speakers.
The Guitar
We also think it’s important to mention the guitar, because your guitar is probably not going to sound like ours. That’s one of the reasons why we make recordings, to ensure that you can hear what we hear regardless of the axe you’re using at home. And so in our case, we landed on a Strat with a beefy humbucker in the bridge position, straight not angled, with a modern two-point bridge. There is a thick quality to this tone that did not come through in the custom Frankenstrat builds that we attempted. Suffice to say, any normal Strat with a high-output humbucker in the bridge position is a reasonable starting point.
Everything Else
And that’s it really, the rest is history. We’ve got the EC101C Echo, EQ110 Ten Band Equalizer, PH103A Phaser, and FL101 Flanger to fill out the minor details. To our ear, the core tone is there. No need for fancy delays or reverbs, though we didn’t shy away from using the AMB 400 Plate Reverb. We think that once you strike your first A-chord, new portals will open up transporting you to tone nirvana. The chase is over, so… what are you waiting for?
1 Rosen, Steve. Tonechaser – Understanding Edward: My 26-year Journey with Edward Van Halen, Robert Smith/API Productions.com, 2022, p. 65, 75.