Jump to content

TheStairwayRemainsTheSame

Members
  • Posts

    3,474
  • Joined

  • Last visited

Posts posted by TheStairwayRemainsTheSame

  1. 11 hours ago, gibsonfan159 said:

    The 94 Marino mix is the way to go for this one in my opinion. It's a bit flatter and more compressed, but it's just got a more natural and warmer feel for the overall sound. The only exception is the intro for OTHAFA which sounds much too flat in the midrange. The Diament is great for the drums but lacks the warmth this album needs. 

    Then your next project is to somehow strip each instrument from the mix separately then make the mix you see fit for best sound

    Make the 10's late remasters look like bitches.

    Godspeed

  2. Why was my post deleted?

     

    On 12/27/2007 at 7:02 PM, SteveAJones said:

     

    Jimmy refers to the thieves as "those two bitches" because they were two women who were staying as guests in his home at the time. They helped themselves to several of the 1980 soundboard tapes which were subsequently released by bootleggers.

     

  3. 19 hours ago, jsj said:

    question 1. specifically I don't. im going on the reporting of others and common sense, and what other bands do. this is common practice. He might not have had the entire soundboards, ie for every gig as maybe some gigs they didn't make a tape of the mixdown for keeping, more likely in the early years but for those that were recorded Page had them. maybe copies were made for the other members of the band as well but if so this doesn't seem to be reported.it was essentially page's band and he paid more attention to these things seemingly, which is why its him that's in charge of all the releases, live albums and the DVD etc

    he doesn't have all the soundboards now as he had a stash of tapes stolen in the 80s(?). 

    question 2: I don't know and I doubt that is the case. there are pretty much whole gigs released that are soundboard recordings, particularly the 1980 gigs. try reading around the live forum and bootleg sites for more information

    How does the theft from "the bitches" relate to this?

    They weren't cutting the tapes apart from they 

  4. 18 hours ago, Sticks of Fire said:

    Going by the March 1973 soundboards; it appears for every one we have; they contain what would have been on Tape #2 containing the last part of the concerts.  IE, whoever stole these from Jimmy didn’t get the first reel of each concert.  Do we know 100% for sure; maybe not.  But with the evidence it’s a pretty sure bet. 
     

    Why would they purposely tell the sound man; “Don’t record the full show, only record two parts...”.   Doesn’t make sense.  It would be a pain in the ass.   They simply set up the tapes and hit record, and flipped them/added a new one when they ran out.

    Not saying it made sense, I am saying it's an anomaly that should be explored.

  5. On 11/4/2019 at 5:06 PM, Sticks of Fire said:

    Again, the copies we have were made this way:

    Jimmy has the entire soundboard and then upon listening to them in the late 1980s he made himself a copy of the parts he liked the most.  Maybe for new ideas for himself.

    What we have are simply those edited down copies.   Not the full master copy (which is complete).

    How do you know Jimmy has the entire SBDs.?

    Why in each of those EU shows does it meticulously only provide the SBD source for the major medleys.7

    Playback and listen yes maybe so but it happened and is odd. 

  6. On 11/4/2019 at 4:05 PM, SteveAJones said:

    I offered you the link to Eddie Edwards meticulous research (The Garden Tapes) THREE TIMES yet you just kept going on and on. You are finished TheStupidityRemainsTheSame. You'll never make the big leagues.

    Big leagues?

    I could sling some insults back but I just want to discuss this...

  7. 2 hours ago, Sticks of Fire said:

    Surely all those European shows exist in soundboard form.  They wouldn’t have just recorded parts of two songs and that’s it.    What we have is probably just partial “listening copies” that page made for himself of parts of the songs to get ideas.    Surely the masters are complete shows

    Why do the AUD bootlegs randomly get cut into recordings from the console, Essen, Vienna both examples of this happening for the same songs.

  8. On 11/1/2019 at 5:09 PM, Ram4 said:

    I haven't been on here in years and have been in hiding on Tatooine.  But I felt a disturbance in the force... 

    Everything you just said is WRONG. 

    (1) Your knowledge of stage recording is wrong and (2) your ears can't tell the difference.  So now here I am.  I have played music for over 30 years including live shows on stages, have set up multitrack recording for a couple of live shows in a live setting, can play music by ear, and have been listening to TSRTS since 1986 (all before you were born).  That likely makes me more qualified than you on both topics. 

    Let's start with your interpretation of what a soundboard recording is.  It's a two track recording, either mono or stereo, left and right channels from the front of house board (what the audience hears) or from a stage monitor board (what the band hears on stage; today they use in-ear monitors).  It is NOT the same as a multitrack recording which was used to make TSRTS.  To record TSRTS, they had to hire a mobile recording truck (maybe that is what confused you?  You thought it was just a truck in Mobile?!😀) with a balance engineer, tape operator and maybe a supervisor.  Eddie Kramer was hired to man the mobile (NOT in Mobile - following me so far?) truck parked in New York at MSG for the three shows in July.  They ADDED overhead condenser microphones above the drum kit.  The only time you will EVER see that is when the show is being recorded to multitrack for a live album, concert film or maybe radio/TV broadcast.  So take a look at the TSRTS film or photos of the New York shows.  She the two overhead mics IN ADDITION to the standard overhead mics (similar to what Plant holds) that are ALWAYS over the drums?  There are 4 microphones.  Two for recording, two for the F.O.H. SOUNDBOARD.  There are also extra mics all over the kit, and on extra in front of the bass drum.  Same thing in the Los Angeles and Long Beach 1972 shows or Tokyo and Osaka 1971 shows which were all recorded to multitrack.  None of those extra microphones were there in Mobile.  So visually I just debunked your theory of it being recorded to multitrack.  But you think you're smart, and very stubborn, and you still "know what you hear."

    Moving on.  An unbalanced, unmixed two track soundboard tape cannot be truly blended with a multitrack tape.  If that was possible, we would have gotten Ten Years Gone from Knebworth on the 2003 DVD.  Jimmy wanted to use it so badly.  But the guitar was not recorded to multitrack.  Only present on the board tape (in the video you probably have as well which is not the multitrack audio).  Jimmy had the multitracks.  This would be far EASIER than simply blending the Mobile board tape (as you claim they did) with TSRTS audio because Mobile would stand out like a sore thumb,  But no - he PASSED on using the soundboard tape of Ten Years Gone because the audio would not match the rest of the performance.

    With a multitrack you can mix all of the mic'd tracks as you like.  Guitar up high, bring the bass drum down a bit, tweak the ride cymbal, put JPJ bass in the left channel, etc.  You can't do any of that with a soundboard tape.  It's all mixed down on the fly during the show.  They are mixing live as the show goes based on what they are hearing at the mixing desk in the audience.  The only reason there is a tape is if a tape deck or reel was plugged in to record from it.  There are usually no audience microphones either for a board tape. 

    As far as the audio comparison goes.  Let me tell you a story.

    Around 1990 (before you were born), I first saw a chunk of the Royal Albert Hall 1970 film.  It was dark, grainy, edited and amazing to finally see.  We're Gonna Groove and I Can't Quit You Baby were the first two songs on this video and are the first two songs they played that night as you know.  Backtrack to Coda.  There is a studio version of We're Gonna Groove (from June 25, 1969) and a SOUND REHEARSAL version of I Can't Quit You Baby (from January 9, 1970) that is edited (though it doesn't say edited on Coda) from that same night at the Albert Hall.  The moment I heard We're Gonna Groove I instantly recognized Plant's vocal.  It sounded exactly the same.  I played Coda and the video side by side at the same time and it WAS a 100% match.  Hmm...  Apparently there was some fancy editing done to make a "faked" studio recording for Coda.  Jimmy used a "sub octivider" on it.  That didn't exist in 1969.  So now I speculated that We're Gonna Groove was actually live and from the Albert Hall show.  But I Can't Quit You Baby was 100% from the show.  They chopped off the intro, and cut to the final chorus after the solo because Robert says "Jimmy Page guitar" and the crowd applauds.  That certainly would blow their story of it being from a rehearsal.  Well the video and audio of ICQYB lined up perfectly of course and I spread the word to fans I knew who were unaware.  There was one guy who refused to believe me.  He insisted that the version on Coda was a rehearsal and that the band simply did it IDENTICALLY that night!  To this day it's one of the most unbelievably naive comments I've heard in Zep circles.  Sure enough when the 10 CD box came out and people knew the truth, the credits on Coda changed to both songs being recorded live at the Albert Hall concert.  Now here you are trying to usurp that guy as #1.  Are you sure you want to do that?  All your credibility will be gone (well it's already gone among the big collectors).  Just do us a favor.  Play the Mobile version AT THE SAME TIME as TSRTS version you are saying is the same.  The answer will become obvious.  But don't forget which TSRTS versions are edited from other nights in New York per Eddie Edwards.  The Celebration Day solo is NOT the same on the original TSRTS and the 2007 expanded version as you claim (and is 100% not the solo from Mobile!)  Just play the two TSRTS soundtracks at the same time (and then Mobile compared to either of them) to clearly hear that!  

    Here's a tip:  "When you find yourself in a hole.  Stop digging."  - Will Rogers

    Same old VibesAreReal.  Wants to be a big boy Jedi but is not ready...

    Finally someone who has been able to actually start a dialogue and show me where I was wrong rather than thro garbage at me.

    The "initial confrontation" I had with Mobile had me so riled up hearing the same sounds I heard from TSRTS and I had all these theories in my head of Pagey piecemealing  those EU shows 73' becuase they were SBD'd but I see it all now

    Thanks Ram.

     

    I don't think anyone was understanding I was NOT Saying Mobile is TSRTS song for song no edit, I was creating a sensatialist thread name, however I was listening the D&C and it dawned on me this sounds pretty fucking spot on with additional pieces and then realised other songs sounded oh so similar.

     

    (I still want to know why the D&C and WLL's were the only things getting recorded from the board across Europe (and thank fuck they were)

  9. 15 hours ago, SteveAJones said:

    Well, as long as we're exchanging theories about Black Dog here's mine: Most of Robert's lyrics for the song are derived from or inspired by traditional blues idioms. However, he was also thinking of the future. He imagined an interconnected world where people from all walks of life could gather to exchange ideas. An electric commune, a FORUM. Then he recalled how quickly television and all of its promise to broaden humanities horizons evaporated into lowest common denominator programming. He contemplated who or what would come along to pollute the forums of the future. The answer was obvious: Millennial retards starving for validation and attention. Hence with them in mind the original working title for the song became Bastard Dipshits. Jimmy, JPJ and Bonzo were skeptical about Robert's cynicism and encouraged him to come up with another title for the song. It was at that moment the black dog wandered into the studio. The rest is history.

    You can't wear that false crown for too long SAJ.

    Always someone right behind you.

  10. Just now, SteveAJones said:

    When a person acting in good faith gets called out for posting bullshit to a forum they take it to heart and adjust. You won't though, because you're not. At this point you're a spammer.  

    It's not bullshit. it just doesn't fit with your long studied narrative which I have nothing but respect for but there's holes to be seen everywhere.

×
×
  • Create New...