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Ed A

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  1. OK... we NEED to know... wondering if it REALLY is his original that was stolen in May '70 and returned to him by Perry Margouleff?... Quality of the pix isnt good enough to see if there is any sign or the two extra switches that were next to the original toggle....
  2. Yes the production mirrored tele is USA and the dragon is MIM, which accounts for the price difference... I personally dont mind that the dragon is MIM, I have and have had a couple MIM roadworns that are silly good quality in terms of the lightweight wood and harder and thinner nitro that is not always seen on many USA models... but after hearing that the dragon is a sticker and not screen printed has me thinking of cancelling my pre order as well...
  3. One of my all-time favorites Zeppelin tracks. The guitar tones the interplay between Bonham and Jones the riffing between Page and Plant is fantastic. Zeppelin often played their studio songs slower than live. In my opinion I much prefer this slower ballsier feel. Same goes with how many more times the original album version is slow and majestic and huge sounding. Zeppelin sped it up so much live it sounded more like an R&B romp. Anyway a couple of interesting things about the studio lemon song. It was recorded live but with a second guitar overdub. Interestingly enough the opening guitar that is doing the riff is the overdub. That rhythm guitar track in the left channel may have been done through the Vox 4120 that you see in the pictures at Olympic studios. With a distortion in front of it. Or a Vox super beetle which he claims he used on zeppelin II that has a built in MRB distortion circuit. That’s where that nasty awesome main riff tone comes from. Same amp as used for the studio Whole Lotta love riff. During the lead breaks in the right channel you hear the Les Paul through most likely the Marshall. Both of these amps you can see set up in the pictures from Olympic studio. What Page did is track the song originally with the right channel guitar, the Les Paul through the Marshall. He overdubs the left channel guitar which is the main rhythm track and removed the riff from the right channel leaving only the lead breaks on the right channel. You can hear the faders being pulled in and out when this happens. I know this is geeky stuff but I love hearing how he created that great interplay between the guitars in the left and the right channels. Someone mentioned panning the balance left and right. Well try having it all to the left and listening to just that nasty overdubbed rhythm track it’s killer!
  4. Well that is absolutely the first time I’ve ever heard that and that actually blows me away! But if I had to guess that is the flying V tracking throughout the entire song all of the slide parts and the rhythm Riffing and chording. Sounds very much like a neck humbucker. I still believe the solo is the telecaster overdubbed with the tonebender pedal. But very cool info!
  5. Yes I get it and I should clarify. When I said the Les Paul is a muddy mess I meant if you try to use it through the same tonebender petal. The toneBender is actually more suited to work with the telecaster. But as far as you not liking the tone as much that’s all good everybody has their own opinions about what we like and don’t like. As I said I love and play les pauls because that is the sound I dig the most.
  6. Well let’s agree to make this a discussion and not an argument. Although I’m not sure either one of us will see things the same way! First let me say that I am a Les Paul and humbucker lover. Been playing them since I first saw Zeppelin at the Nassau Coliseum in 1972. And although I own a telecaster Les Pauls are my weapon of choice. And the sound of the Les Paul through a vintage Marshall with no fuzz at all as Heartbreaker was done on Zeppelin II is my favorite tone of all time. But that being said I can’t agree less about single coil pickups not accepting fuzz boxes well. If you’ve ever tried a Les Paul through a vintage tonebender as I have you will never get what Jimmy got on Dazed and you shook me and how many more times on Zep I. It is the humbuckers that are too thick and muddy and the whole thing ends up like a muddy mess. But because single coils are thinner and brighter the telecaster was the perfect guitar to use with that pedal. And I’m not the only one that is of that opinion. Single coils are cleaner thinner and brighter than a humbucker. Now if you personally didn’t like the combination that’s fine. But in my opinion and many others that combination was fantastic although Jimmy only used it for the one album and up until March 69 live. Dazed and confused solo is the bridge pickup through the tonebender and I don’t think you can get a much more menacing tone than that! Sure playing that song like he did a couple years later live with the Les Paul and Marshall is a whole different thing and a wonderful trip, but the original stands alone. And how many more times solo that is the next pickup on the telecaster and an equally incredible tone. And you shook me solo is one of the most incredible recorded solos I’ve ever heard! That is the telecaster with both pickups on which is out of phase which normally would be quite thin and nasal as heard on early bootlegs when you don’t have the fuzz on. But click on the fuzz and you get what is on Zeppelin I. But I can’t make you like the tone and that’s OK! One last thing. When you say single coils don’t work with overdrive. Tell that to David Gilmour! Some of the best guitar tones ever recorded. Single Tone Strat played through Hiwatt amps set clean with heavy drive pedals in front. Just saying!
  7. Huh? Hey no problem if you are not a big fan of the tone but your comment about fender pickups getting too fuzzy through heavy overdrive? Fender pickups are the perfect match for the tonebender fuzz used on Zeppelin I simply because they are much cleaner than Gibson humbuckers. They are anything but too fuzzy. And as much as I love the combination of the Les Paul and the Marshall that came later, Jimmy Page’s tone on that first album whether it was without the fuzz on Communication Breakdown or with the fuzz on Dazed was absolutely glorious! In my humble opinion of course. 😛
  8. Well as far as the Merv rewound the original pickup thing goes, lets just say that stories can be bent through the years. The simple fact is way back in the 70s Jimmy said that the pickup failed while on tour in Australia and he had it replaced with a newer Gibson pickup. A newer Gibson pickup at the time would have been a T top. The pickup we see in the guitar after Australia has a chrome cover not a nickel one which was what Gibson was using by the late 60s. Now you could say maybe they just put a chrome cover on his original pickup except for when Jimmy took the cover off in the 80s Pictures in the original Tony bacon book and GW poster clearly show the T marking on the double black pickup.
  9. I agree with some of this and disagree with some of this.... Yes, some of the folklore about original vintage Les Pauls is based on snobbery and collectibility..... For years I played nothing but custom shop '59 reissues and convinced myself that they sounded just as good as originals... Until I had opportunities to compare, and not just a couple of guitars, but MANY comparisons and it was undeniable that there was a difference in tone.... So what did I do?... I dont have the money to get the same 200k '59 burst as famous rock stars.... I bought a '53 goldtop with a repaired headstock for around the same money as a high end custom shop '59, converted it to accurate humbucker specs and have never looked back. Ive had three of them.... That's not snobbery, thats me searching for the best tool and staying within a reasonable budget. I still have my '05 Jimmy Page R9 which is a really nice guitar but it just doesnt sound like the old wood.... NOW some may prefer the tone of new reissues, they tend to be thicker and more aggressive. Gibson has come a long way with the reissue, using hide glue, removing the truss rod condom and continuing to refine their pickups. We are very lucky that the Les Pauls they produce today blow away the LPs from 25 years ago. But they are too big of company to source whats left of the real old-growth mahogany, flame maple and brazilian rosewood used on the originals...
  10. Hey sixpence, you are certainly entitled to your opinion. And let me be clear I am not saying that current Gibson 59 reissues are bad guitars. They are not they are excellent guitars. But how much comparing have you really done? I have owned at least 50 1959 reissues from 1994 to the present. And I have had a half a dozen vintage Les Pauls including my current 1953 goldtop which has been converted to 57 specs with all original parts including PAF's. Every guitar and every piece of wood is different. Yes there are some older guitars that are dogs just like there are some newer guitars that are dogs. But the best old Les Paul will always beat the best new Les Paul when it comes to tone. And that's all I care about is tone. It is not because the wood got older since the 50s. It is because the wood they started with when the guitar was brand new was already very old and grown more slowly and harvested from an area in Honduras where these trees no longer exist. I am not going to explain it here you can research it. But there is a difference in the tone of the wood used on the original guitars. Is it twice as good sounding as a new guitar? No. But is there a difference? Absolutely. And yes there are great PAF replicas being made now. I have tried just about all of them and my name is on some of the manufacturers models. But none of them sound exactly like an original PAF either. My issue is with your statement of the reissue he played being a better guitar than his original. To make that statement without physically playing the two guitar side-by-side is ridiculous. Especially when it's commonly known that the originals generally will outperform reissues. Recently I have had a Les Paul replica built with all old-growth woods, the correct glues, lacquers and construction and it sounds exactly like my 53 goldtop. Whereas no reissue I've had sounds like my 53 goldtop. Again more proof that the materials used has everything to do with tone produced. And by the way when Jimmys bridge pickup crapped out in 1972 he did NOT replace it with the Seymour Duncan. He replaced it with a Gibson T top. The T top has a lower output than the PAF and a quackier tone. A great sounding pickup in its own right and had everything to do with the change in his tone from that point onward. It was not until much later after Zeppelin that he put in the Duncan and the push-pull pot ruining the tone of the guitar in my opinion.
  11. Oh really? Curious how you have come to this conclusion. There is more precision available today due to computer aided machinery but make no mistake today's Gibsons still cannot compare to the originals. Jimmys 1960 black beauty custom will smoke any new Gibson in many ways. First and foremost, the wood. It no longer exists, gone, finito. Gibson can say they are using Honduran mahogany but it is not the same wood used back then. That was old growth, very dry, resonant and light weight mahogany that Gibson can not offer today . Not to mention all of the original glues, construction methods and hard nitro lacquer that was used as well. They all make for a better sounding instrument in 1960. Then you have the electronics. No matter how hard Gibson tries they cannot replicate and have not replicated the sound of the original PAF pickups. And the original centralab pots and bumblebee capacitors do not choke the tone like modern parts. I have had dozens of recent model custom shop Les Pauls. They are great guitars but they are not the same as original vintage Les Pauls which I have and have had as well.... Also, Jimmy not only used the guitar on sessions he was using it a lot with Zeppelin at the end just before it was stolen. Especially after he modded the wiring and added the extra switches. He loved that guitar. Glad to hear he has it back.
  12. I have not read through this whole thread but this post above says it all and I totally agree. Plus you further spoke about his loose wrist versus scrubbing from the elbow later on which is a very telltale sign. But a sign of what I am not sure? Did his technique degrade because of lack of practice or did the drug and booze abuse actually affect his motor skills? I know I'm being technical here and only speaking of playing ability. But he did absolutely peak in 1973 and went downhill from there as far as ability and technique is concerned. That's not to say that he still didn't have creative moments of genius in later years.
  13. I couldn't disagree more but hey I totally respect that everyone will have different opinions. Maybe part of it has to do with where you came into Zeppelin and first fell in love with the band for me it was after seeing them live in 72 and buying Zeppelin II as my first album. I was 14 years old and played it to death. Sure the fidelity of the album is not great it is muddy but the sound of the instruments and the performances is perfection to me from the beginning to the end and yeah that includes living loving made too! I started collecting bootlegs in 73 and have pretty much every live recording possible. And I saw them in 72, 73, 75, and 77. That being said believe it or not there was not one live performance that I like better than the original studio versions of Zep II. Of course there were many great live performances of those songs but to me there was no better sound than the original heartbreaker. Same goes for me with the lemon song, bring it on home, right down the line. Of course the band would go on to become more creative, but the raw sound and performances captured on that album to me are second to none. Although the fourth album is a very close second followed by the first and then the third and then Houses!
  14. So am I the only here who finds this alternate take to be the gem of all gems!!!.... Sure, love Pod and Keep On Raining, but man my head is still spinning over this alternate take of Bring it on Home.... Im biased because Zep II is my fave album, always will be and as a guitarist, I have alway thought that Jimmys aggressive playing and tone on those two note chords under the vocals is some of the best shit Ive EVER heard recorded. So to hear that awesome sound one more time in a different take blows me away.... And Jimmy never got that sound live which makes this even more special to me..... PLUS I love how we are hearing what I believe is the band pretty much learning the song in the studio... my guess is that by later that day they had the track down... this earlier version is all over the place, the arrangement has not been figured out yet.... according to the notes this was recorded July 24, '69 at Alantic during a three day break before heading out to the west coast.... As I said my guess is they got the backing track down by the end of the session and finished overdubs afterwards... If I remember correctly I believe Plant put down his final vocals a few days later in Vancouver.... LOVE to hear how quickly this song developed from this alternate take to the final take... And that opening line: 'All you pretty women, staying out all night long!'.... c'mon you young whippersnappers, THIS is why Zeppelin ruled!
  15. Well when you listen to what Mick Wall says it sounds like its more than just a different mix.... obviously hoping we here something different, vocal, solo, etc...
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