woz70
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Posts posted by woz70
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From the steering wheel and the posh wood on the door, it looks like a Bentley. S1 Continental maybe? 1950's/60's.
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21 hours ago, michael pasquarella said:
what is said at the beginning of the crunge ? Can anybody play the right drums? Oh yeah I can.... is that the lines?
"do you want to take it away John?"
"if you like Jim"
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17 hours ago, SteveAJones said:
He wants to be seen playing live don't you know. 😒
Gonna be tough going with all his main guitars on show in a museum....
Wonder what their insurance costs are! -
3 hours ago, Sticks of Fire said:
The Black Beauty!!
'The' Black Beauty? Maybe the one that was played at the 02.
Page's original one had three selector switches by the time it went AWOL... -
19 hours ago, gibsonfan159 said:
Just listened to the album again and "What if" just keeps rattling around my brain the whole time. The music is there and the musicianship is definitely there (Jones are Bonham are ridiculous). The problem is undoubtedly how it's presented. It's presented with an unbalanced and over-compressed mix (mainly the rhythm guitars and vocals) which just gives a bad impression of the music overall. Hell, Candy Store Rock is an awesome track which could easily be improved by centering the guitar more and cutting the reverb on the vocals in half. The vocal recordings also, just sound lo-fi even for 1976. Almost like he's singing into a plastic cup. Bass and drums? No problem here. They sound fantastic and are some of the duo's finest moments. Whoever pushed Page's guitar way over to the right channel and killed the top end needs to be sued.
I know this horse has been beaten back to life, but I'd love to just have the multitracks for this album so I could liven up this trainwreck of a mix. Why the "Remaster" didn't address this blows my mind.
I find the two bolded comments a bit baffling, just from the context of previous work:
LZ I
GTBT - 2 guitars one panned hard L, one panned hard R
BIGLY - Acoustic guitar panned hard L (reverb in R channel), other guitars come in panned hard L & R
D&C - mostly guitars panned hard L & R, some active panning
YTIGC - Acoustic hard panned R
HMMT - Guitars panned hard L & R, some active panning.
LZII
WLL - Guitar panned hard L
LS - Guitars panned hard L & R - main part hard L
TY - Guitars panned hard R
HB - Guitars panned hard L & R
LLM - Main guitar panned hard L - other guitars need hard R
Ramble On - Guitar panned hard R - other guitars hard L
BIOH - Main guitar hard R, another one L, another in the middle.
LZIII
Immigrant Song - Main guitar panned hard L, other guitars hard R
Celebration Day - Main guitar hard L, other hard R
OOTT - Guitars panned hard L & R
Gallows Pole - Guitar panned hard L
Hats Off - ermm.... extreme example but still stands up.
LZIV
BD - one guitar hard left, one hard R
R&R - main guitar hard L
STH - acoustic hard R, other guitars hard L & R
MMH - guitar hard L
WTLB - main guitar hard L
I think you can see the point. If there was a 'formula' that Page worked to production-wise, it would seem that for a majority of the time he had his guitars hard-panned, often with a big reverb on the opposite channel - BIGLY and WLL being excellent examples. He also compressed the living shit out of his guitars throughout their entire recording career.
If you're criticising the guitar placement of Presence, why not on every other album too?
If your criticising the use of reverb on the vocals, why not just about every other album too? (I think you don't like the slapback delay being used on Candy Store Rock (I'm not a fan either), but it was supposed to be a bit of a pastiche so it kind of stands up.)
(Totally off-topic, but interesting an fact, Candy Store Rock is also unique because - despite what they've said - there's an acoustic guitar strumming away in there.)
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On 2/12/2019 at 7:18 PM, tyler19 said:
Immigrant song is the most poorly produced song in their catalog. It sounds dull and the amount of tape hiss at the beginning of the song is awful.
On 2/12/2019 at 7:30 PM, tyler19 said:The tape hiss makes me think the song was bounced too many times in its creation and this is the cause of the dullness as well.
On 2/12/2019 at 7:44 PM, Stryder1978 said:...maybe the hiss is due to re-using a tape....he's famous for doing that and getting bleed through on some songs.
It's definitely deliberate, and it's not tape hiss (or at least it's not a product of too much bouncing like with 'She's so heavy' by The Beatles). It's the sound of an echorec (or similar) delay unit with the feedback set high - the same device Page used with the theremin on stage.
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11 hours ago, bluecongo said:
So what’s happened to the Brown B Bender Tele ?
He'll have had the Fender custom shop make an exact copy of the neck to put on it probably.
That's what those guys do! -
So, now we see one of the reasons Page was at Abbey Road Studios recently.
He now seems to be into recreating his gear to make it marketable, rather than creating new music.
Obviously there will always be an audience for this stuff, but you're going to have to have some serious wedge to be able to afford it I reckon.
https://www.sundragonamp.com/?fbclid=IwAR1LRvvEZSz_e28rmKbvAJyYi_jD-7nK0RroRR6cZekPX6qaC_hwpe4zGN8 -
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12 hours ago, zeplz71 said:
Personally love that pic. I think you're completely missing Robert's sense of humor. Must be a reason behind the photo and not something negative. They tag the location in the post.
It's the kebab shop in Camden Town he went to straight after the O2, rather than going to the after party. It's a five minute walk from his house in Primrose Hill, and he's a regular customer. I believe (please correct me if i'm wrong) he referenced it quite recently as being the only place a reunion would happen - with tongue firmly in cheek.
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Looks like Jimmy's Gibson only deal may be at an end....
https://m.facebook.com/story.php?story_fbid=10156759326952612&id=9366537611
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3 hours ago, the-ocean87 said:
He could be too busy practicing for his new solo record. Maybe we will see him playing somewhere soon 🤣
Bwahahahahaha!
😂
That's hilarious.
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2 hours ago, the-ocean87 said:
I forgot the mandoline and acoustic guitar. So I assume all drum mics were mixed together in one recorded track? Say they had 8 drum mics, but on record it is only 1 track? Assuming that is the case, you can't do any post-mixing on the drums and we'd get the drum mix of that evening. Since they said the recordings sound awful I guess there was a problem with this recording.
We don't know what the condition of the tapes is and what the seperate tracks contain.
Mic-ing every piece of a drumkit in the studio didn't really start happening until the late '70's.
The early recordings would have had 3/4 mics max - this is why the room that the drums were recorded in was absolutely essential to the sound. The 3/4 mics would have been mixed in the studio (and processed by a series of compressors/limiters) to get the required sound, and sent to either 1 track (mono) or 2 tracks (possibly stereo, or to give you a little bit of room to play about with balance in mono).
The Drum sound in Levee, for example, relies heavily on one single microphone dangling above a well tuned, brilliantly played drum kit in an obviously fabulous sounding room, and stuck through a great sounding compressor/limiter.
This article gives a brief overview of some of these techniques which were made popular by Glyn Johns and still get used today with great results:
https://www.recordingrevolution.com/the-glyn-johns-drum-recording-method/As I said before, it's not the number of mics, or tracks, that determine the drum sound. It's how they're played and recorded - or in the case of Japan, premixed - before they get to tape.
With some of the post-processing available today a great deal can still be done with a less-than-optimal pre-mix - again I point you at the Beatles Hollywood Bowl recordings, which George Martin thought were pretty much unusable back in 1964/5.
If the Japan tapes were recorded too hot and distorted, then very much less can be done with them. -
2 minutes ago, the-ocean87 said:
This is a huge disappointment. Nobody needs a remastered HTWWW. Only a remixed version would be welcomed (from my side). No Bonus tracks? WTF really. This is only $$$-making at its best.
I fear this was the "Mastering" that John Davis mentioned. The Japan 1971 tapes seem unlikely to be relased. I read about them again in "The Concert File" and Grant said the quality was too bad. Robert said the same about the sound. They only recorded 6 tracks which is a bit few for a good sound quality. Assuming vocals, bass, melotron, guitar each have one track, only two tracks remain for the drums. It is almost impossible to get a good sound with only two drum tracks, at least for Jimmy's liking. I'm sure most fans here would welcome even a not-so-good-sounding release as long as we get something NEW at least.
Absolute rubbish. Have you heard 'The Beatles at The Hollywood Bowl'? That's a Three track recording.
The Drums on Led Zeppelin II (for example) are ALL on only two tracks. It's far from impossible to get a good drum sound with only two tracks, in fact some of the best ever recorded drum sounds have used only two tracks. It all depends on HOW they were recorded. -
Dancing Days is played in an open tuning (DGBDGE I think, if memory serves) so it would have required either a re-tune or yet another guitar. Probably considered too much hassle for such a short song.
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1 hour ago, the chase said:
Let It Be was released after Abbey Road, but it was recorded before..
True.
But from the perspective of the buying public Let It Be was the final album of newly recorded music.
I think Phil Spector's production set it aside from the rest of The Beatles' canon anyway.... but it was still the last album.
Much as, like or loathe it, CODA was Zep's last album.
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10 hours ago, zosokm said:
Abbey road is the greatest last album by A major band . And I am a led zeppelin fan . If zeppelin had broken up after physical graffiti perhaps the statement would hold good
Er... Let It Be was released after Abbey Road.
Or doesn't it count because they'd split by the time it was released? -
34 minutes ago, babysquid said:
But it's the same mix? So are you saying that rather than having a bad mix ITTOD was actually badly mastered in the first place?
Badly mixed and badly mastered in the first place.
Good mastering can iron out some of the problems of a bad mix, as we can hear in the latest remaster of ITTOD. However, even thought the new remaster is a vast improvement, it doesn't hide the fact that some questionable choices were made in the original mix.
Back on topic... I think Presence sounds great. -
7 hours ago, Rubytuesday said:
The Wrye forest is in England ..so he must be on the border some how...
It's the Wyre Forest, and the property is about 40 miles from the Welsh border. So it's nowhere near the border at all, really.
The nearest big(ish) town is Kidderminster.
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9 hours ago, IpMan said:
I have never heard anything along those lines. Zep touring in 91' or any other time post 80' I never heard. Even after the O2 gig when expectations were high Plant nixed that pretty much ASAP. Where did you hear this?
Robert nixed that waaaay before the O2. I heard him say he wouldn't work with 'those guys' again - full stop - the July before the gig. He may have been cagey about it in public, but his mind was very firmly made up. It was a one-off for Ahmet, and after that the door was shut for good.
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10 hours ago, Mithril46 said:
So even though I doubt he even weighed 120 pds in 80'( when I was 17 I was 5'11 and 125 pds, still not
skeletal like Page) Jimmy was still very enthusiastic about playing live, and that dbl-neck---that's like 34 pds, yet Jimmy
could throw it around no problem.
34 lbs???? It's made from wood, not lead!
My '69 deluxe weighs about 9lbs and it's not a light guitar. The doubleneck could possibly weigh twice that, at a push (although the SG style body is much thinner than an LP). I think it's more likely to be in the 12-18lbs range. I wouldn't want to have over my shoulder for 2 hours, but 15-20 minutes? Even at his most emaciated it shouldn't have been too much of a burden. Lifting it above his head for a few seconds? Not really an issue.
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4 hours ago, bluecongo said:
That's a pro camera what show is this?
I think you're clutching at straws a bit there. Not big enough to be a video camera. Looks like a guy taking a stills shot to me.
Also most video cameras would be rested on the right shoulder. -
13 hours ago, Boleskinner said:
Interested to know where you read that Jones pro-actively called Grohl after the Wembley appearance?
Never read that anywhere before.
What's the source?
Perhaps not a literal 'call' (but you never know...), but the point I'm trying to make is that Jones obviously networks with people. He's always doing something, working with new people, getting up on stage and jamming, collaborating, producing, writing, arranging, experimenting, and obviously says 'Yes' quite a bit to the idea of working. Grohl was champing at the bit to work with JP & JPJ. JPJ was/is active and made himself available. JP was/is not and didn't.
Page won't even get up and jam onstage any more, let alone collaborate with anyone (other than Halfin...). He's renowned for being reclusive, and he's his own manager, so I bet he's on the phone constantly drumming up interest for new musical projects.
Not.
The guy has a horde of people who would love to work with him, but nada, zilch, nothing musical (save a couple of noodly minutes in IMGL) that's new in 17 years. And then he's snarky at Jones for not asking him along? -
2 hours ago, Boleskinner said:
True, a phone call should have been made.
Maybe Jones got his revenge by not telling Page he had joined Them Crooked Vultures after the Wembley guest encores.
Page was peeved at that.
Ah, life's too short....
All Page had to do was pick up the phone and say to Grohl 'about that project you mentioned? I'm interested....', like Jones did.
Jones - proactive, collaborates constantly. I don't think he's into revenge, but I'll bet he appreciates a bit of karma.
Page - gives off the hermit vibe, waits around for calls and gets disappointed and snarky when no-one does.
A Car of Bonham's
in Photos
Posted
Nope!
It's a Rolls Royce Silver Could II.
Check out the door detail.