Well, seeing how you're taking about Marshall half stacks, & AxeFX systems it sounds like you've got plenty of cash to throw at this? That being said, I'll suggest another approach. Get yourself a Fender Super Reverb (or any good tube amp with a really great clean to slightly crunchy tone) and a bunch of top quality analogue overdrive pedals. That would be my preferred method if I was aiming at all the studio tones, as you say you are. For the pedals I personally use a couple of Pete Cornish drives, a SS3 and a G2, for lighter & heavier situations respectively. They're expensive, but totally worth it (I haven't changed my rig for nearly 15 years using these). Alternatively the other guitarist in my band uses a Carl Martin Plexitone (the big 3 button one) through a Marshall JTM45. That's also a great setup - you can't really tell where the amp ends & the pedal begins. Finally, for a tribute band, you need one of these for the LZII tones : https://drrobertpedal.com/ Hope that gives you a couple of ideas?

Simple - I'd sit them down in front of a TV, and show them the Danish Television Special off the DVD. Four songs, with visuals. If someone doesn't "get" Bonham after that, they never will...

Today's obscure classical music term for you all to memorise & use is "Lament Bass". http://en.wikipedia.org/wiki/Lament_bass Notice how many hundreds of years back the examples go. Stairway & Taurus both use a standard (almost cliché) practice for harmonising a descending bass line under a minor chord, that has been around almost as long as harmony itself.

Plenty of 1960 bursts came with those knobs, as well as the earlier paint shade too. Gibson did not make all of the "1960" changes in one go, on January 1st 1960 - these things happened gradually, over time. A 'burst from early 1960 has the same specs as one from late 1959.

Here's a list Evster posted ages back, with a couple of slight mods by me: WS/BMS - DADGAD Moby Dick - DADGBE Friends - CACGCE That's The Way - DGDGBD Bron-Y-Aur Stomp - DGDGBD Hat's Off - CGCGCE (CGCEGC ?) Going to California - DADGBD When the Levee Breaks - CFCFAC - (open G, down a tone) Rain Song (studio) - DGCGCD Rain Song (live) - EADADE Dancing Days (live) - DGDGBD In My Time Of Dying (studio)- EAEAC#E In My Time Of Dying (live) - DGDGBD Kashmir - DADGAD Bron-Yr-Aur - CACGCE Ten Years Gone - DADGBE Black Country Woman - DGDGBD Poor Tom - CACGCE Midnight Moonlight - DADGAD Jennings Farm Blues - EFCFAE ? Travelling Riverside Blues - DGDGBD Wonderful One (Double neck) - - 6 string - F#F#C#F#C#F# (GGDGDG) - 12 string - Standard tuning capo 1 City Don't Cry - EAEAC#E Wah Wah - AEAEEA No Quarter (on the "Unledded" Album) - DADGAD As far as Celebrtion Day goes, although Page played the live versions in standard tuning on the studio take there are multiple guitar tracks, not all in the same tuning: IIRC the intro slide part that JPJ has said is him is an open tuning, and Page's guitars are in standard.

Just been checking if I had the GW 2010 article you're so keen on finding, and I don't. But... I do have the GW July '03 which tabs out the HTWWW version of Immigrant Song, and just to add to the confusion there is yet another different version of "that" chord for consideration: E x B 3 G 3 D 0 A x E 3 On its own that's a straightforward Gm chord, but in this context - with the bass guitar definitely playing a C underneath - a C9 (no 3rd) Tabs, eh! Don't you just love them? For what it's worth I think that this "multiple tabs" situation is telling us that the notes Bb & D (on the G & B strings) are the important ones, and that it's probably not too important which version of the chord you play. If your band is tight, the sound is good & the crowd is jumping is anyone really going to come up to you after the gig and quibble over whether you should be playing an E or a G in the middle of the chord?

Thanks Sam! Wasn't sure about it being Beck myself, but that was the caption

Ok - here we have JP, Screaming Lord Sutch & Jeff Beck, during the recording of Sutch's album "...and Heavy Friends". Photo caption dates it as September 1969 (it's from Record Collector)but due to severe guitar-geekery (ie by September the Les Paul should have Grover tuners, not Klusons) I don't believe that. Searching doesn't turn up much, but what I could find suggests May 1969 to be a possible date. Anyone got a positive date for this? It's at Mystic Studios in Hollywood.

That's no pillow! Try this one then - you'll need to see the full size image: Interesting that this picture has the strip on the batter head, whereas the first one appeared to have it on the front head. There's a thread right now over at the hotel about Bonzo's felt strips, with these pics & more.

Never, Ev? Sure about that? At the bottom, running horizontally...

I love lots of jazz too, but you guys are making me smile by calling bop "old" jazz. Ok - so it's 40 or 50 years old, but there's great stuff from way before then. One of my personal faves is the great Louie Armstrong who influenced everybody who ever played music & called it jazz. He was cutting records in the 1920s & continued playing & recording untill his death in the 1970s. He was one of the finest improvisors ever, and although his style is very different from some of the things that came after few people have ever been as able to to take a tune & come up with limitless spontaneous variations. If you drew up a "family tree" of jazz, Armstrong would make up a large part of the trunk that holds it all together, & is where it all comes from. He's still required listening for anyone who aspires to play jazz trumpet, or who just loves great music.

Heck - he used a lot of different guitars & amps at different times in the studio. It's hard enough ttying to work out what he used, sometimes, nevermind what his setting were... But in vague, general terms, two rules would be lots of mids (far more important for Page than bass, which never wants to be too high) and less gain than you'd imagine (crank the amp up loud & let the power-amp do the work). Even with a modeler, those ideas will set you off in the right direction.

Reading back through this thread I came on this one. The vocals raised a whole octave? An OCTAVE? I call BS, & I'm quite confident in doing so. Anyone who has worked in a studio, or even spent a short time playing with a harmoniser, will know that the more the pitch of a source is altered (either by vari-speeding the tape OR by using a harmoniser) the more noticeable it becomes. Shift it too far & it sounds nothing like the original source. Vocals that had been shifted a whole octave using 1972 technology would be unusable (and things aren't that much better nowadays). Consider the "noise" guitar solos that Page played in 1977 - the harmoniser was heavily featured on that, raising & lowering the guitar pitch by octaves. Ask yourself this: when it was raised an octave, did it sound like a 12-string guitar? Did it sound like the same guitar, only higher? Or did it sound like some synthetic musical box? Be honest - it sounded nothing like a guitar, did it? Now imagine Plant's voice run through the same treatment. The result would not sound like his vocals on TSRTS. Results from vari-speeding would, if anything, be worse. For a start, Plant would have had to sing the song at half speed, holding his breath & sustaining notes twice as long as on the finished record. Then he would have had to match his pronunciation to be exactly paced so as to come out right when doubled in speed (hard to explain, but the middle of words would most likely sound wrong - the internal timing of the word - which is seperate from the timing of the phrase as a whole. And what would he have had to listen to while he sang at half speed? The whole backing track slowed to half speed? Imagine what a dense mush of noise that would have produced. The difficulties of pitching to it & staying in time with it would be huge. I can't believe that anyone would have ever thought it worth the effort. So while I could beleive that Plant's vocals had been vari-speeded up a touch, I cannot accept the idea that they were raised a whole octave - IMHO this has to be a case of internet gossip & rumour. Of course if anyone has a quote from Page saying that's what they did I'll be happy to see it. But I doubt that very much )

Pre - O2 publicity pic of Jason & kit, with double pedal clearly visible. Fair enough, this one is clear, not yellow like the one on the night, but this is obviously the set-up he was going for, & why bother with a double pedal for a photo shoot if you don't use it normally?