I distorted the preamp and put the master volume at four or five, because you wanted to get the tone rather than the volume in the studio.” I put it in the middle so I could get to the controls, and I didn’t put the volume way up. “That’s what made people go, ‘Jesus, it sounds like a multitrack!’ It was so fat! I had two stacks of two 4x12s, and I put the head in the middle of the two stacks. “I got a nice big fat sound on the rhythm, and that was the Sunns,” Leslie enthused. Gear-wise, West plugged his trusty sunburst Les Paul Junior into his (in)famous Sunn Coliseum amplifier, which had been designed as a PA system. As far as West remembers, the recording of Mississippi Queen was just as effortless as the writing had been, and the rhythm track was nailed in only two or three takes. The Climbing! album was laid down at New York’s Record Plant studio with Pappalardi taking up production duties. I got a nice big fat sound on the rhythm, and that was the Sunn Leslie West Mountain in 1970 (Image credit: Larry Hulst/Michael Ochs Archives/Getty Images)
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