It was not intentional. The software I use to split songs into individual instruments occasionally mistakes a guitar sound for a vocal sound and puts it in the vocal track, which is centered between the speakers. Assuming Robert is not singing at the exact same time, I can move the sound to the right side with the rest of the guitar track pretty easily. However, I don't always notice these kinds of errors, so at times the guitar will briefly drift from the right channel to the center. The only time it will last for a longer time is in situations like the 1969 shows where Robert and Jimmy did their vocal\guitar duet. Because the guitar and vocal sounds happen at basically the same time in those, I can't really separate them so I normally leave them in the center.

They played Raleigh on 4/8/1970, not 4/7/1970. That date was corrected a few years ago through research by Mike Tremaglio. I'm looking at his "Evenings with Led Zeppelin" book right now and there is no mention in it of any show between Honolulu on 9/6 and Boston on 9/9. I'm not sure where the Raleigh 9/7/70 date is from, and it seems unlikely for a few reasons. As you mentioned, the time to get from HI to NC very much argues against it taking place. Also, we know they played in Raleigh five months earlier, so why would they return to what is a relatively small and out of the way market instead of playing one of the bigger cities on the East Coast that was nearer to Boston, where they needed to be on 9/9? And according to a review on the main LZ.com site, the 4/8/70 show didn't even completely sell out, so why go back there again if there wasn't enough demand the first time to sell all of the tickets? Based on that, I don't see a second Raleigh show having taken place in September.

Thanks for the kind words. When I work on a show, I spend so much time checking out how the instruments sound that I don't really hear what they're playing. It's not until I'm done that I listen to the performance and I realized this show is one of my favorites from the post-1973 era. For me, Dazed is a highlight, as is OTHAFA, and as you mentioned, No Quarter is excellent. For those who haven't heard the remaster, here's a sample of No Quarter. And if anyone wants the link for the full show, send me a message:

12 to 16 inches of snow are supposed to fall today, and be accompanied by high winds. Turns out there's no "heart attack while shoveling" emoji or I'd put one here

For those of you who missed it, blackmikito's post included a link to an interview with Randy Brutsche, head of Showco, on the day of the Seattle '77 show. In it, he discusses the equipment that band uses to achieve their live sound. The interview starts on page 42 and is highly technical, but it's worth reading even if you don't know much about live sound to get an idea of what was involved in making a Zep show happen. https://worldradiohistory.com/Archive-All-Audio/Archive-Modern-Recording/70s/Modern-Recording-1978-02.pdf

Here's an interview with Randy Brutsche, head of Showco, on the day of the Seattle '77 show. In it, he discusses the equipment that band uses to achieve their live sound. The interview starts on page 42 and is highly technical, but it's worth reading even if you don't know much about live sound to get an idea of what was involved in making a Zep show happen. https://worldradiohistory.com/Archive-All-Audio/Archive-Modern-Recording/70s/Modern-Recording-1978-02.pdf I found the link in blackmikito's outstanding research into Led Zeppelin soundboards that he posted over at the hotel: https://www.royal-orleans.com/phpBB/viewtopic.php?f=3&t=46925

One of my buddies was at the 6/7/77 show in NYC. He said he normally hates drums solos, but seeing Bonzo do his live was amazing. And I never listen to Jimmy's "noise" solos, but I would have loved to see it in person. The sound bouncing around the arena must have been overwhelming, and how cool would it have been to see Jimmy in the middle of the laser pyramid, then the solo slowly morphing into the first few notes of Achilles Last Stand and then the blinding white lights as the rest of the band joined in.

Check out the "Zeppelin Mysteries" thread for discussions about lesser known aspects of the band:

Earthless: Graveyard:

Thanks. I'm glad you enjoyed it.

The AirRaid site is gone. Looks like their their hosting service shut down. A translation of the text on the page that now shows up when you try to go to their site says: Thank you for using So-net. We are pleased to inform you that we will end the provision of the "U-page +" service on January 28, 2021 (Thursday). We deeply apologize for any inconvenience caused to our customers who use the service, and we would like to express our sincere gratitude for their patronage.

According to this Rolling Stone article, Aubrey Powell came up with the idea, and it was based on the monolith in the 2001 movie (the section on Presence is about two thirds of the way down): https://www.rollingstone.com/music/music-lists/hipgnosis-life-in-15-album-covers-pink-floyd-led-zeppelin-and-more-110213/

That info was from Hot Wacks, which used to be the bootleg bible back when that post was written.

Swingin' Pig version on white splash vinyl: Info (halfway down the page) - http://hotwacksonline.com/database/news.php?id=1196748920 Pic - http://www.hotwacks.com/database/news//data/upimages/TSP_70LP_ZepOption.jpg

Try the Musician's Corner section of this site: https://forums.ledzeppelin.com/forum/17-musician39s-corner/

Yes. One of my buddies was at the show, so I want to get it into stereo for him. When I do, I'll release it here, although I'm not sure when that will happen.

Via Google Translate: "One of my drawings, I hope you like it!" Very nice.

Thanks for posting the link.

There are a couple of Youtube channels that cover this kind of music. First one is Stoned Meadow of Doom: https://www.youtube.com/channel/UCknVpWR6m2Ijzkqo-aPXs_g. The second is 666MrDoom: https://www.youtube.com/channel/UC7eKF0lPY8LNwfczq9UFlxg. There's tons of albums on each one so you'll need to do some digging, but it's well worth it to find the best of the current bands. If you're interested in stuff from the 1970s that influenced the modern bands, try these: Lucifer's Friend (1st album) Gun: Jukin' Bone: Dust: Armageddon (Keith Relf's last band) Warpig: Master's Apprentices:

As far as I know, the only thing available from the first night at Earls Court is an audience recording. Regarding turning existing official mono recordings into stereo, this technology can work wonders when it's sufficiently trained to understand the parts that make up the song it's being asked to break into individual instruments. Out of the box, it knows what bass, drums, vocals, and acoustic piano sound like, and it puts everything else in an "Other" track. That actually works great if a song contains those instruments and a single guitar, because the guitar ends up in the "Other" track by itself. The problem is if there are additional instruments being played, the software needs extensive training to understand what they sound like so it can put them in their own tracks. Without training, it just sticks them in the "Other" track. That's not the end of the world because there are ways to deal with it, but it's not ideal. For Zeppelin specifically, the software struggles with things like when Robert and Jimmy do their vocal/guitar duet, acoustic songs that feature Jonsey playing anything resembling a guitar, songs where Robert plays harmonica, and whenever Jonsey plays keyboards that don't sound like a traditional piano. Luckily, aside from the vocal/guitar duets, the software works well without any training on a lot of the early mono Zep recordings (BBC sessions, etc.) For reference, it would be possible to convert many of those early official mono recordings into something that sounds like the 3/14/69 Swedish radio sample below. I hope Zep decides to do this, and I assume other bands will use it to remaster their early catalogs, especially now that we're seeing a lot of older acts sell their back catalogs to corporations.

Here's a small section of the jam section of No Quarter from 5/25/75. It starts with the drums by themselves for 30 seconds, then the piano for the same time, and then the guitar. The final 30 seconds is all of them combined. I should have included Robert's vocals, but this example will give you an idea of how the instruments sound by themselves versus when they're all played together:

The software I use splits songs into individual tracks for drums, bass, vocals, and "other" (it can also split out a piano track, if I ask it to.) On "power trio plus vocals" songs like Sick Again, the "other" track is just Jimmy's guitar. However, on some (e.g. songs in an acoustic set where Jonsey plays mandolin), it contains multiple instruments. Unfortunately, if you listen to the individual tracks by themselves, they don't sound nearly as good as you would hope. There are a lot of artifacts that are introduced when the software splits a song apart. Strangely, they disappear when you play all of the individual tracks at the same time. I'm not sure how that works, but hearing them together sounds way better than hearing them separately. When I first started this, I hoped to be able to listen to Jimmy's parts in isolation, and while I can, it's not a pleasant experience. I'll try to post some examples later today so you can hear what I'm talking about.

That sample of Woodstock was from the 5/24/75 show, not 3/24/75 (just wanted to clarify that because a similar question came up yesterday.) I've done very preliminary work on 5/24/75 (basically remixed it to stereo, but that takes little time. The work and majority of time is in remastering it.) The next show I'm planning to release is 9/28/71, which is 99.5% done. After that, my goal is to work on 6/7/77, although that may change depending on how it goes.

The software that splits the songs into individual files is open source and can be downloaded for free. I'll send you a message with info about it. The software that I use to do the rest of the remastering is "Ozone" by a company called Izotope. It's designed for mastering, although it's meant for music that is relatively well recorded to begin with, so getting it to work on raw Zep soundboards requires multiple passes. The VST plugins are produced by different companies but sold through an online store called the Plugin Alliance. When I began doing this about a decade ago, I used all free software. While it was great to not have to spend money to get started, free software can change the sound of what you're working on in unexpected and unwanted ways. Once I realized this was going to be a long-term hobby, I decided purchasing professional software made sense because it reduced my frustration level and therefore made the hobby more enjoyable. The issues you noted in the Woodstock sample are some of the reasons each release takes me so long to finish (e.g. I worked on the remaster of the Sept 29 1971 show on and off for two years.) The guitar wandering from the right channel to the center is easy to fix, but it needs to be done manually and on a long song like Dazed that takes a while. Also, I always want the bass to hit hard and not be bloated, but getting that balance right is difficult. Also, whenever you modify the bass, it changes the perception of the high end (and vice versa), so you end up changing two things at once, which is difficult to manage. And the biggest issue is that there's no standard for what the final version of any song should sound like since it's all subjective. I do use the official releases as guides but often deviate from them, either because the source I'm working from is just too ragged to ever get near an official release or because I want something like the bass to be more prominent than it is on HTWWW or the TSRTS soundtrack.

Thanks. I use two main programs. One splits the songs into individual instruments so I can remix them into stereo and the other I use to remaster the sound of the songs after they're remixed. In the latter program I use about a dozen separate VST plugins, which are essentially mini programs that each modify different aspects of the sound. Here's the Woodstock section of Dazed from the May 24 1975 show. I did this quickly and the final version would hopefully sound a lot better, but this will give you an idea of what the process above can do.