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eagle87

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    Whisky Tread

    in Ramble On

    Posted

    Bad Economy? Not For Bourbon Makers

    WLEX-TV

    updated 9:44 a.m. CT, Thurs., July. 3, 2008

    LAWRENCEBURG, Ky. (AP) - To Wild Turkey master distiller Jimmy Russell, the piercing sounds of a warehouse rising in the Kentucky countryside are the sounds of prosperity.

    "As long as you see work going on - and the construction, and increasing your size - you know your business is doing well," said Russell, who started working for the bourbon maker in 1954.

    Distillers are expanding their bourbon production and storage and dispatching sales teams around the world, bullish for a traditionally Southern beverage gaining popularity worldwide. Surging exports, the weak U.S. dollar and rising popularity among younger Americans are driving the boom.

    "It's an exciting time to be in the bourbon business," said Max L. Shapira, president of Heaven Hill Distilleries Inc., a family-owned liquor company based in Bardstown. "Most of the time that I've been in the business - up until about the last 10 years - everybody was trying to consign the bourbon category to that great liquor store in the sky."

    Heaven Hill recently spent nearly $4 million boosting capacity 50 percent at its distillery in Louisville, where it makes Evan Williams and Elijah Craig bourbons.

    Wild Turkey, part of beverage company Pernod Ricard SA, based in France, sold more than 1 million cases worldwide last year for the first time. Its $36 million expansion near Lawrenceburg will nearly double its production. The distillery at Jack Daniels Tennessee Whiskey in Lynchburg, Tenn., is about to undergo a nearly $6 million addition to install nine more fermenters.

    Maker's Mark is preparing for a second expansion. And Jim Beam, the world's biggest bourbon maker, is in the midst of a $70 million expansion in Kentucky. Beam and Maker's are part of Fortune Brands Inc.

    Well that's good news... Is a nice business, not only for the money... I have a friend that always says: "Money is not everthing, only 99%"... :lol:

    Zeppelin Mysteries Hosted by Steve A. Jones

    in Led Zeppelin Master Forum

    Posted · Edited by eagle87

    This explanation courtesy of blackmikito:

    As for the question as to whether or not the common recording that we have for this show is really an excellent audience recording instead of a soundboard....

    First off, let me say this. Since I was in no way responsible for having made this recording, I admit that I can't say with any authority exactly why this recording sounds the way it does. I don't know why Bonham is so loud on the recording, while Plant is at times almost completely inaudible. I also can't say why it sounds better than almost every other audience recording I've ever heard, but yet also sounds worse than most any soundboard. It's a confusing tape, to say the least.

    In any case, as we all have opinions as to what the recording is, I'll cut to the chase and give you mine. I think it's a soundboard.

    Here's why...

    Get out a copy of the show, and listen to "Going To California" through a pair of headphones. Notice that Jones' mandolin can be heard in the left channel, Page's guitar can be heard in the right, and Plant can be heard in the center. If you remove one earphone or the other, you will find that you can eliminate Jones or Page from the mix. Sure, you can still hear them in the background in the opposite channel. But when you put them back on, you'll see how isolated they really are in each ear.

    To which...

    Strict stereo separation = Soundboard

    No recording from the audience, nor the stage, could provide the kind of stereo separation found on the Osaka recording. It just isn't possible. Sure, microphones from the audience could capture a general "stage left/stage right" feel. But not so much, nor so specific, so as to be able to strictly capture Jones in the left channel and Page in the right channel.

    blackmikito1971-09-24.jpg

    Notice that the shot accurately reflects the channel separation present on the recording: Jones on the left, Page on the right, and Plant in the center. Sure, you might see that photo and think to yourself "But why couldn't someone have recorded from in front of the stage, using two microphones expertly directed at Jones and Page? Why isn't that possible?"

    To which, sure it's possible. But, the reality is that it didn't happen. See this photo from the Osaka show itself, of the only known performance of "Friends":

    blackmikito1971-09-29Friends.jpg

    This shot occurs later in the show, after the band had played "Going To California", and Jones had gotten up to put on his bass. Note that Bonham is now to the left of Plant, having taken Jones' spot onstage. Which means, that if the recording we have was really made from the stage/audience, we should now hear Bonham's conga drums in "Friends" in the left channel of the recording, given that Bonham was now situated physically in the same place where Jones and his mandolin were during "Going To California", correct? Yet, this doesn't happen. Instead, during "Friends", we hear Bonham in the right channel with Page, and Jones in the left. Which, if this was an audience, or stage recording, wouldn't make any sense. Whereas a soundboard not only reflects what the microphones are recording, but also where the soundman wants to put them in the stereo spectrum (regardless of where the players actually are onstage), a stage recording is slave to the physical location of whatever is making the sounds onstage. To which, whatever is making sound on the left of the stage, will always be heard on the leftside of the recording. Just as whatever's on the right, will always be heard in the right. Yet, that isn't the case when you look at those two photos while listening to the recording. What is "left" on one song (Jones in GTC) becomes "right" a few songs later (Bonham in Friends).

    And so, you might ask "But what about the possibility of the recording having been made off of the band's stage monitors? Couldn't that explain the channel separation and all of those questions about stage positioning?"

    For that, the short answer is again "No". Because, if the recording was made from anywhere else but in front of the stage, then there wouldn't have been any of that stereo separation found in the acoustic set on the recording at all. Sure, perhaps recording from stage monitors on the side or from another place onstage might have been possible, but consider that the band didn't even use monitors during this period. Neither on the stage, to the side of it, nor in the air above:

    blackmikitoJapan71.jpg

    Which means, given the band's equipment setup, that if someone really recorded on the stage (besides the arguments against this above) that person would also have had to have found a way to not only pickup the jet-engine-loud sound of Page's amps and Bonham's drums without distorting, but they also would've had to have been able to pick up something so quiet as the sound of the band's acoustic instruments during that portion of the show and still have that be audible too. Given that no monitors were present to help compensate for the volume difference should anyone have tried to record from the stage, the difference in sound would've been enormous. And, again, it goes back to that question about the physical position of the band onstage during the different times of the show. How could any one set of mics strictly split the sound of Jones' Mandolin in the left channel, with Page's acoustic in the right, and yet, in the same recording, also split Bonham's drums and Page's amps the same way? Especially when those two groups of instruments (Jones' mandolin and Page's acoustic guitar vs. Bonham's drums and Page's amps) are located on completely different parts of the stage? The answer is, again, no, that isn't possible.

    And so on and so forth. There are more examples I could give for why this recording is a soundboard (such as Plant's mic-handling noise, and the proximity effect of his voice/breathing into his mic during certain parts) but I'm guessing that if you didn't buy the points above, chances are that you won't agree with those either. To which, all of my ranting will amount to little more than technical talk trying to discredit theories about a "magic stage microphone". The proof will ultimately depend on whether or not a more complete or otherwise obvious version of this recording surfaces. As you can see, I think that the version that we've had all this time is more than enough to prove what this recording is and what it isn't. But, that's neither here nor there, I suppose. What's most important is that, regardless of what any of us think this recording might be, the concert it features is one of the very best shows that the band ever gave.

    blackmikito 1/22/08

    First off, let me say this. Since I was in no way responsible for having made this recording, I admit that I can't say with any authority exactly why this recording sounds the way it does. I don't know why Bonham is so loud on the recording, while Plant is at times almost completely inaudible. I also can't say why it sounds better than almost every other audience recording I've ever heard, but yet also sounds worse than most any soundboard. It's a confusing tape, to say the least.

    Also was a little confusing for me to read this... :blink::lol:

    Is a very interesting opinion and I want to hear this recording because until now I did not know of its existence... then I will give my opinion, if I can... (well I finaly find a good translator, that helps me -some times-)...

    Whisky Tread

    in Ramble On

    Posted

    Hey, I finally got around to trying a Jack & Coke last night! Good stuff!! My drink of choice recently has been rum and Coke, which is pretty good, but after trying JD, I definitely like it better. The JD cuts the sweetness of the Coke more and makes it more...refreshing, I guess? Whereas the rum seems to amplify the Coke flavor and make it a little on the cloying side. Does that make any sense at all?

    I love being a girl...I can have a Jack and Coke one minute and a strawberry daiquiri the next, and no one will give me any crap about it. :D

    Jack & Coke... Whiscola! And the Rum with Coke (and lemon) it's the famous Cuba Libre.

    Whiscola:

    wiscokegq7.jpg

    I never saw this before... Cool!

    Cuba Libre

    CubaLibre.jpg

    Whisky Tread

    in Ramble On

    Posted

    Whiskey Man's my friend, he's with me nearly all the time

    He always joins me when I drink, and we get on just fine

    Nobody has ever seen him, I'm the only one

    Seemingly I must be mad, Insanity is fun

    If that's the way it's done

    Doctors say he just a figment of my twisted mind

    If they can't see my Whiskey Man they must be going blind

    Two men dressed in white collected me two days ago

    They said there's only room for one and Whiskey Man can't go

    Whiskey Man will waste away if he's left on his own

    I can't even ring him 'cause he isn't on the phone

    Hasn't got a home

    Life is very gloomy in my little padded cell

    It's a shame there wasn't room for Whiskey Man as well

    Whiskey Man's my friend, he's with me nearly all the time

    He always joins me when I drink, and we get on just fine

    Just fine

    Cheers! B)

    :notworthy:

    Zeppelin Mysteries Hosted by Steve A. Jones

    in Led Zeppelin Master Forum

    Posted · Edited by eagle87

    Promotional duties for 'No Quarter - Jimmy Page & Robert Plant Unledded' brought Jimmy

    & Robert to Buenos Aires in November 1994. While in town, they actually met up with Aerosmith who were on the South American leg of their tour to support 'Get A Grip'.

    Joe Perry & Jimmy met for lunch during which Jimmy asked him if he would be willing to do the introduction speech for Led Zeppelin into the Rock And Roll Hall of Fame at a ceremony to be held at the Waldorf-Astoria in New York (1/12/95). Joe agreed to do so,

    and on the night of the event Stephen Tyler also shared anecdotes concerning Jimmy (after Joe spoke).

    Before leaving Argentina, having granted at least two lengthy interview to MTV, Jimmy & Robert recorded performances of 'I Can't Quit You, Babe' and 'Dazed And Confused' for local radio on 11/30/94.

    On Sat, Jan 25 1996 the long-awaited Page/Plant 1995-96 World Tour was presented

    at the Serro Carril Stadium in Buenos Aires. It was professionally filmed my MTV and broadcast soonafter. Having arrived from Chile for this concert, they stayed at the Hyatt Hotel before moving on to Brazil.

    Nice story... Good memory man.

    Serro Carril Stadium
    It's Ferro.

    Thanks again...

    Zeppelin Mysteries Hosted by Steve A. Jones

    in Led Zeppelin Master Forum

    Posted

    Collaboration is the key! I see your in Argentina. Peter Grant had intended for Led Zeppelin to tour South America in late 1975, but Robert's accident in August '75

    squelched it, as well as a return to Scandanavia in Nov '75. Just FYI if you didn't

    know this already.

    NICE!. I always forgat to ask you about that..

    Jimmy and Robert came to Argentina in '95? Because I heard that a few months ago...

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