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As far as I know, Sunset took the entire track, pumped it out an Altec A7, through the reverb chamber / room to the far mics, and recorded it back.  So, your Phase 90, M-117, etc. would add to the ‘smear’ in a reverb.  The Echoplex … I thought you were using it only as a pre-delay for the reverb.  So, everything going to the Fender [the wet path] would be 100% wet.  But – as an integral part of the sound – it should be at least on the dry path [Marshall], or both paths.  Then use a little PRE DELAY on the H9 Room as ‘separation’ for the wet reverb.

In a wet / dry setup, the H9’s MIX acts like a volume / level control for just the processed sound.  You can adjust it downward from 100%, or leave it there, and adjust the amp volume of the Fender.  With the MIX at 0%, you won’t get anything to the Fender.  Check this out in H9 Control’s Output Meters.

Yes, there’s something to be said for post-processing.  Or amplifier effect loops – after the preamp.  The tough part about splitting upstream is that you’re after a dimed Marshall sound, but none of that is making it over to the reverb.  If your drive characteristic is pedal-based, it’s less of an issue. That’s the direction I go, with a FRFR system, or two matched guitar amps.  Neither approach is essential ..  you can work around the amp differences with some tweaks to your wet / dry balances.

Where you place the H9 as a ‘splitter’ is going to be personal preference.  Split before all integral FX = a ‘drier’ & cleaner room sound.  Split after all of your FX = a more diffuse, and ‘messier’  room sound.