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woz70

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About woz70

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    Zep Head

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  1. Firstly - the intro to OTHAFA is very idiosyncratic (as is much of Page’s playing) and not at all easy from a rhythm point of view. I wouldn’t recommend trying this tune to anyone who: doesn’t know all their ‘open position’ chords; isn’t able to smoothly move between those chords; isn’t comfortable moving from chords to single notes and vice versa; isn’t comfortable with different strumming patterns and alternate picking; isn’t comfortable with hammer-ons and pull-offs... the list goes on. Simply put, it’s hard. As for the rest... it all depends on the student and their interests and a
  2. Dude. My apologies. There are soooo many complete tits on this forum that it's hard to sort the wheat from the chaff sometimes. Looking at the comments on Marty's videos tells me that enough people have noticed that he is mostly er.. 'less than accurate' that my voice will get lost in that ocean too... If you're not going to play note for note for fear of copyright infractions you need to state that clearly at the beginning of the video. Students, as you well know, are often lazy and are always looking for the shortcut. Explaining that the only way to get good is the hard way
  3. If you're going to teach somebody something first learn it right, then teach it right. Sarcastic comments like that don't make a wrong thing right. I haven't got the time, the video gear or the inclination to compete with the ocean of videos out there. There are a few video tutorials out there that get it right, but they're, sadly, in the minority. It annoys me that a big trusted site like Premiere Guitars, using a big trusted name like Marty Schwartz teach things wrong - especially for such an iconic song. And then people who are obviously guitarists, like you, always give snarky comme
  4. Aaargh! Incorrect timing on intro (he keeps adding a beat!!!), incorrect chords in the verse. It's like he listened to the song once about 15 years ago and this is how he remembered it. If you're going to do tutorials on a song, the least you can do is check you're playing it right first 🤬
  5. He sings “see how they run” in the middle section. Tenuous, yes. But true.
  6. Reverb is generally (but not always) added at mixdown. It won't be tracked, but will be used as a buss effect during the mixing process and only printed onto the mixed master tape. You might want to do a little bit of reading about signal flow on a mixing desk and how and why 'buss' and 'insert' effects are implemented. I can point you at some useful resources if you're interested. The Rolling Stones mobile may have had some basic reverb units (spring reverb probably. Plate reverbs are way too big, heavy and delicate to put in a mobile studio) to help with tracking vocals (for the benefi
  7. 'Thank You' has some acoustic 12 string, really clear at the beginning. Descending phrase in 'Kashmir' has an electric 12 string. 'Carouselambra' has the only released studio use of the EDS1275 doubleneck - the 12 string chimes in at about 4 minute mark, just before the 'Where was you word?....'. section. Other than that, I think you've got all the rest.
  8. Is it in G major? Sort of. is it in Am? Sort of. You’ve discovered one of the interesting things about trying to describe ‘popular’ music in terms of ‘keys’. Look at how the different sections of the song ‘feel’: The verses have a minor, slightly mournful feel to them. The choruses are more major in their tonality, and the solo starts of minor and ends feeling major. There is a common thread though, and that’s the notes that are used in the melody. Here’s the lyrics and the melody notes used underneath: Measuring a summer’s day C. D. C. B B. A.
  9. There are three chords: G, C and D. Play along with it - you'll soon work it out.
  10. Listen to music recorded by other bands that recorded in the same studios as Zep used during the same period. Do they sound murky or muddy? That should answer your question. (This is actually a bit of a red herring... because Zep used studios all over the place, as well as the Ronnie Lane and The Rolling Stones mobile studios, often recording basic tracks in one studio and overdubs in another! But I digress....) it’s a blend of engineering choices, equipment choices, mixing choices, mastering choices, and a result of the hearing of everyone involved in all of those parts of the rec
  11. I meant comment on this too, but I forgot. This is actually a really interesting bit of recording, used a lot nowadays. There’s actually only one guitar here (the only obvious overdub is when the guitar sound changes during the solos)... but the signal has been split and sent to two different amplifiers - one with a fuzzy tone, one with a cleaner tone, each recorded to a different track. It would literally be physically impossible to play that slide guitar part exactly the same twice, without making a single mistake or going out of sync over the duration of an eleven minute song. A
  12. Not an oversimplification at all. As a real-world example, here's the actual track setup for Ramble On (the tracks might not be in the order the are on the original multitrack tape, but they are (copies of) the original multi's and it's how I've got them arranged in my studio): Track 1: Acoustic guitar Track 2: Bass (Judging by the spill that can be heard it was recorded simultaneously with Drums and acoustic guitar) Track 3: Drums L Track 4: Drums R Track 5: Electric guitar - obviously recorded as an overdub, but it was recorded on a pristine empty track, so only first gen. ta
  13. No you don't..... Unless you do it like The Beatles had to. Most of their output was recorded on 4-track tape. If you filled the four tracks up and wanted to overdub some more you had to do a submix (or a bounce) to a second tape machine - hence adding a second generation of tape hiss. For example : Track 1: drums Track2: bass Track3: guitar Track4: vocal You want to add some backing vocals and a tambourine... But you've run out of tracks. So you could send a mixed signal (sometimes called a stem) of drums, bass and guitar to track 1 on a second tape
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