Bricks. Hmmm. I thought they were disguised as well. They are, after all, painted black.
The GT's are used for "extra things" during tracking. I 'only' have 12 channels of API-centric preamps, so when we are tracking a whole band, I will run some things that I think might be overdubbed later through these. Very often though, we either keep those things, or the sounds are working so well I just leave the chain for the overdubs.
In this case, the conga "close mic" (MD 402-U) went through one. Jimmy and JB's live tracking guitars went through 2 of them. And the B-3 organ (A-100 actually), which I totally forgot to write about, went through three of them. (The organ itself was in the tracking room, but the Leslie 122 was placed down the hall in our TV room.)
The organ in particular worked spectacularly this way. There were 2 K2's, one each on the opposite sides of the top of the Leslie, back about 6 inches with foam windscreens, and an RE-20 on the centre of the low front of the Leslie cab. So Leslie East and Leslie West went full L-R, and the low mic centered, in the stereo track.
I also forgot the Wurlitzer electric piano, which went DI through a passive transformer box, to a Lucas 4 band valve EQ, brightened up a bit at 7k and 2k8, with a little low mids at 350 rolled out, and a little 100 reduced, then to track. The DI Wurli is to me the one thing we have on this session that just has to have some tone control. Of course, if I were amping and mic'ing it, I could/would do the EQ there. This was the only equalisation used, except for a tiny bit of 550b sporadically on an instrument or two. I can tell you right now there will be very little, if any, EQ added even in the mix as well. To anything.
A split of the Wurli went to Jojo's two Line 6 effect pedals, where he has a lot of his special sounds dialed up. That was tracked separately, and is usually split dry/efx hard L-R.
