I noticed some people asking about Eddie Hazel’s gear in the Ron B post. These are some notes I’ve collected. These are not my notes or thoughts. I just saved the information for reference. I’ve also included a link to an article on multiple P-Funk player’s gear. Hope they are helpful.
‘Good To Your Earhole’ has Eddie first using his most famous era sound. This is a Music Man HD-130 reverb head into a Music Man cabinet with 12 inch speakers. Eddie used a strat almost exclusively at this point. That particular track (‘Good To your Earhole’) sounds like Eddie was using a Maestro phaser.
The next big recording ‘session’ that Eddie was involved in was a jam with Buddy Miles (of Hendrix fame) on drums and Cordell ‘Boogie’ Mosson on bass. It was released in '94 and was titled ‘Jams From The Heart’. Here is Eddie really playing at his peak. Music Man HD-130, echoplex and an MXR phase 90 along with a strat was used.
Funny thing is that Eddie ‘SOUNDED’ like he was using a fuzz box, and he did, early on ('69-'74), but he wasnt. The Music Man HD-130’s have a Master Volume, which allows you to get the distortion out of the amp. In the Music Man HD-130 (I mess with amp circuits, and could go into greater detail, but this is getting to be a LONG post) this circuit sounds sort of like a really good fuzz box (sort of like the sound of a fuzz face and Distortion + mixed). Eddie would crank this master volume up all the way, and use his guitars volume knob to control the various shades of clean and dirty.
‘Hardcore Jollies’ contains the ‘prize’ of this afforementioned Jam, which is ‘Comin Round The Mountain’. That track was STRAIGHT from this jam, and shows you the spread of sound Eddie could get with turning his guitars volume up or down. The phase 90 and echoplex are also used to a great extent on this track.
The Music Man HD-130 amp was/is a very cool amp that has about as much headroom (SIZE of the sound) as any amp ever. It gets a very good clean ‘Funk’ tone, that a Marshall simply cannot, it is also capable of a bigger, brighter clean tone than any Fender. I alway’s enjoyed how Eddie could get very ‘authentic’ Funk type tones, as well as getting very distorted and heavy. The other Funkadelic guy’s (like Shider, and Hampton) were not able to do this.
Eddie pretty much used this same set up for his '77 solo album, though it sounded like he was using a Electro Harmonix small stone phaser.
Eddie’s was also using this set up (along with the strat that Glenn Goins used to use) on the '79 Houston show with P-Funk.