Edward Van Halen sits behind the colossal API console in 5150 Studio, plucking the strings of an unplugged Ernie Ball Music Man signature-model guitar. He grimaces as his fingers stumble while implementing a mind-boggling ascending lick. "I would not be a fantastic blind participant," he chuckles. "I still can not play without looking at the dots"
Leaning back in his seat, he places his feet on the console along with ferociously attacks the guitar's neck while somehow appearing casual and detached.
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The studio in which Van Halen has cut each record since 5150 is situated just a couple of steps up the mountain behind his Hollywood Hills house. Eddie has listed almost all of his Sammy-era studio guitar parts seated in the same location, probably in precisely the same seat.
The demos he records for Van Halen with the assistance of engineer Ken Deane are as great as what most bands set out as finished product.
Ed shared some of the secrets behind the making of Van Halen's latest record, Balance, a couple of weeks before the group embarked on their current world tour.
Which type of setup do you use for the recording?
I used exactly the same stuff on all--my Music Man guitar along with my 5150 amp my older Marshall, 1 cabinet out in the area.
From the old days ...
The guitar was always just about the left side. Especially when the left back speaker on your caris blown.
Can you use any chorusing?
It's almost not harmonizing much. I really don't use it to get a result. I just use it in order to find the signal from stereo. If you pan it in the center then it's mono. On "Seventh Seal" I used a MXR flanger which I plugged into the Skystomp on it when I want it. I didn't use the Phase 90 whatsoever.
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Can you still use SM-57s to miking your cabinet?
I use two of these--one straight in the center of the cone and a angled to the side just to find a little bit more meat from it.
"Take Me Back" has a compressed, direct sound for it. Can you do some direct recording that?
No. When the electrical comes in, it was just the center position on the Music Man.
Why did the group hire Bruce Fairbairn to generate Balance?
We did not wish to take action on our own again, and that we had done in the past. I prefer with an outside ear. We had a couple of guys who we spoke to. Bruce's entire vibe was cool--that he was really professional. There was a mutual respect there, and he did not attempt to sell himself"Look at my roster of hits." He just said, "I want to hear what you guys have obtained," and "What exactly are you?" I played with him a few things, and before we knew it we had been doing a listing.
It's quite difficult to say what a producer does. He made us work harder and faster. This was the quickest record we have made in quite a long time. We started in June, and in September we had been done. It was a joy to use the man. He was quite musical. Just by his vibe along with things he says that you can learn real fast if you trust that the man or not. We'd leave him to select the take. I am always one that goes, "We could do better than this," and he would say, "Nah. It's trendy." So I trusted him and in hindsight you listen back and go, "Oh yeah!" I might be enjoying sloppy, but it's got a vibe.
Which are the advantages of having a studio in your home?
It's possible to come up here anytime of night or day. You do not need to call and reserve time. My brother lives down the street I just go, "Hey, Al!" Even if it's four o'clock in the morning, he will go, "I will be right there."
Can you always maintain the studio set up?
No. At this time nothing is set up for recording.
Have you got a tech or scientist available all the time?
Ken Deane takes care of this studio. He's never done a listing with us. He's more of a maintenance man.
Is Your studio digital or analog?
I can not manage electronic. Besides, they are not musical. If you choose the tape and play with it in an analog machine, it's all pc conversation.
You have never attempted an ADAT or something like this?
No. I really don't see this point. It's like digital drum machines and all that. Actual drums and actual people are the only means to do it.
Have you got lots of tapes of ideas?
I am too lazy to go through these to see what's on these. One of these days I will get around to it. Whenever we start a listing I go, "God, I have this stuff," but I have new stuff also, and I get more excited about the newest songs. With this list we cut five extra tunes. We still have four or five straight out of the last listing. Bruce enjoyed them but I am moving, "Nah, I would rather work on new stuff." To me that's much more intriguing. I composed some songs on the last album, such as "Top Of The World," back in 1984. All of it pops up here and there.
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Perhaps you have had some ideas that you liked but could not fit into a song?
There's a good deal of those. There's all kinds of trash that doesn't create the document.
The pacing on this particular record is almost just like a live show.
You always try to gather a record this way, so that you can listen to it from beginning to end and feel as if you have one huge dish instead of just bits of stuff that do not mean anything or do not work nicely together.
Can you alter tempos in your songs after they have been written?
We do that if we are putting the record together. I generally do not enjoy two songs in exactly the same key back-to-back or exactly the same groove. Our first record came out around the time that Kiss' Love Gun was released. I asked Gene Simmons, "How come each song's got exactly the same defeat" He said, "After you have the kids groovin', you do not wish to lose 'em" I thought that was interesting, because I have always looked at it the other way round. I enjoy more variety. Not that his manner is wrong or my manner is appropriate.
How can you get the bass sounds on "Baluchitherium"?
I scrape on the string exactly the same way I do on the intro of "Do Not Tell Me" It's really Mike playing bass along with me enjoying 6-string bass overdubbed for it. I was playing a little melody on the top. The ending part was that the funny part, in which it breaks down using all the little drum. Bruce wanted me to do something silly, so I went, "Okay, you have got silly coming" There were a lot of funny noises. You may listen to my puppy, Sherman, in there also. We duct-taped a hot dog into a mike, and we would not allow him get it.
That's a pretty good recording hint. Have you got some similar tricks for vocalists?
