Wow, that's way better than the first source. Thanks to everyone who got this out.

Thanks for the info.

Is this it? If so, looks like it's been out for a couple of years.

No, I haven't heard those versions.

Jimmy at the Gibson factory discussing his #1 guitar:

Nice job. It must have been a ton of work to put this together.

Welcome. Did you get to see Led Zeppelin play live? If so, we'd love to hear about it.

Very cool. Thanks to everyone involved in getting this out.

While it has numerous issues, you might want to pick up a digital copy of the "Led Zeppelin Gear" book by Jeff Strawman. It's currently US$4.99 on Amazon. It has numerous entries on reverb, and you can easily find them in the electronic copy of the book using the search functionality.

Is it typical in Japan to be on your phone at the table during group meals?

Fantasy - Van Halen opening for Zep in 1977 (although I expect this would have gone over with Zep as well as it did with Sabbath the following year when VH opened for them.) Ones I got to see for real: Judas Priest opening for Kiss in 1979. Iron Maiden opening for Judas Priest in 1981 and 1982.

I'm glad you liked it. It's a really good show. Hopefully the rest of the soundboard gets released eventually.

Thanks. I'm glad you're enjoying it. I think I sent the link to everyone who asked for it, but if I missed anyone, please let me know.

Here's another installment in The Stereo Project. Send me a message if you want the link.

Nice way to start the weekend. Thanks to everyone involved in getting this released.

Thanks for doing this. It must have been a ton of work.

Thanks. I just sent you a link.

The best list of Zeppelin bootlegs I've found is in a post on the Royal Orleans site titled "The Best Led Zeppelin Bootlegs - A Guide for New Collectors". Here is the link: https://www.royal-orleans.com/phpBB/viewtopic.php?f=21&t=18827

Thanks to everyone involved in getting this released. Great to hear a new '69 festival show.

I listened to it today and I'm happy with it. The thing that's stopping me from releasing it is there's a ton of little details I check before I put out a show (fix SBEs, make sure the balance is OK, etc.), but doing that is a lot less fun than the rest of the remastering process, so I end up putting it off to do stuff that's more enjoyable. I'll get to it soon, I just need to buckle down.

There's not much I can do with audience recordings, which is why I focus on soundboards. If Winston did a version of that show, I'd track it down because it will be better than anything I would come up with.

I use to develop web sites for a living, although it was long enough ago that I can't give you up to date cost data. That said, the first question I would ask is how do you plan to make money from the site? Without advertisements or a direct tie to a merchandise store, this kind of site will be a financial drain. You can get out of the box code that will get the site up and running quickly, but if you want to customize it, the development costs will add up quickly. Also, hosting costs will vary based on how much traffic the site gets. And at minimum you'll need someone like Sam to administer the site. If you want custom content beyond member generated topics and comments, that will be another cost. And for the site to thrive, you'll want exposure in social media, which requires people who specialize in that kind of thing. If your site becomes the official one for the band, you may get some of that for free from the band's management company, but if it's unofficial, how will you get the word out that the site even exits? Unfortunately, "If you build it, they will come" only works in the movies. I'd also ask if the band you're considering doing this for is still active or retired? If they're active, are they at the start of their career with a good chance to get bigger and so bring a constant influx of new people to your site, or are they past their peak, which will likely mean fewer visitors to the site in the future?

I do have plans to work on the 5/24 show, although I'm not sure when I'll get to it. There are so many things I want to work on that I tend to wander between shows like a kid in a candy store, unable to focus for long on one thing because of all the other possibilities around me.