Hi Hans,
I hesited a little bit for posting my message...
You'll unterstanding why below (!)
First :
As Andy says, I think that the result of the "sound of Hank" is due to a large part of luck...
"Luck" to have and play the "right" guitar plugged in the "RIGHT" (!) DRUM echobox(es) and then in the "right" amplifier(s).
If you add the "right" place : Abbey Road studio 2, its fantastic echo room and the RIGHT staff for recording...............
What a lucky man !
Nevertheless, and as you says Hans : "Who was the creator of HIS UNIQUE sound" ?
A "sound" so much UNIQUE that nobody else than Hank, in the world with the same original stuff (if possible ?!) was (is) able to acheive or reproduce.
Secondly:
During my professional life between LF electronics and, during twenty years, in selling Vintage american guitars, I was (I'm always...) like so many other fans, looking for the physical and electronic reasons which permitted to Hank to obtain (ALONE with his own toys) the philosophy of "That Sound".
For exemple in this radio recording of Man Of Mystery :
http://www.youtube.com/watch v=hkJufHToWgY&feature=player_embedded
This is not the "record sound" (mainly because the Abbey Road reverb is missing) but immediately you know that the Shadows are playing, and nobody else.
Same thing when you listen to this Wonderful Land version you posted above...(Here, the Hank's echo box is broken down !)
So:
For my own and about "That Sound", I think there is a parameter which we don't speak enough : the "structure" (the base) of the "dry's Hank" sound (Without any effects added, just his guitar plugged in the amp)
And after so many years, I think (sincerely !) that, for Hank, this "unique" structure was obtained by means of a "special" electronic low cut filter inserted into HIS Vox amps...
Two remarks:
1) When I say that, I also hope that, today, every one is convince that this original and "unique" structure was (is) a physicaly result of an elimination of the bass frequencies of the (total) spectrum generated by the guitar.
And, in the same time, without ever boosting the "high frequencies". (before the Top Boost/Bass/Treble circuit added in the Vox amps...).
2) I don't invent anything, when I say that, because it's this same physical principle of a "low cut filter" we can find on the "Brillant inputs on the Vox amps...
3) The "only" difference for Hank (and it seems only for him) is the choice (by who Hans ?!) of a "special" cut frequency and the associated "slope" (behind this cut frequency) with an attenuation which is (which have to be...for the right result) done much more faster than the one (only 6dB/oct) found on this "same" Vox Brillant inputs.
Certainly some of you'll tell me that I'm crasy to say and think that ?!
Because in 1960 it was not too "fashionnable" to custom an amp.
But...
Nothing can prove, on the opposite, that the "EMI productor" (may be Norrie or some body else) wanted to "create" a "new" and "special sound" for The Shadows as soon as 1960 ?
May be, in the beginning, it was just an "idea" to obtain the best result sound for the "lead guitar"?
And a practice result which is a very mid range for the lead guitar for placing it (in the mix) like a "singer".
And when the final result appears, we can also imagine that the production wanted to protect this "unique" (structure of) sound for The Shadows only ?..
At least !
Today, and through this message, if I speak about a "special filter", it's because I can prove it.
Or rather than (!) when a Vox amp, on sale in the shops, new or old, AC 15 or AC 30, EF 86 or not, is modified with this kind of "special electronic filter", you can hear immediately the "difference".
This, also explains why the "Sound of the lead guitar of the Shadows" is "unique"...
To be continued with NO pretension, if you are interested ?
Best regards
Patrice
(And again excuse me for my english mistakes.
You can just imagine how is difficult for me to explain in english what I'm thinking... in french !
Thank you for your indulgence.)