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Dallas Knebs

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Everything posted by Dallas Knebs

  1. You have great ears. Caveman referred to restricting "tightening" the drums to a ~range of -45L and +45R which does several things. Primarily the drums no longer step on and compete with the ambience. Surgically applied gating to the individual drum tracks added focus and room to the overall sound. Significant bleed outside of this range covered up some of the performance which then allows the listener to hear the boxiness of the vocals. They were tightened up as well for the same reasons. Additionally the guitar was sweetened by block eq and parallel dynamic eq throughout. Adds clarity and smooths out some of the signal. If anyone is a guitar player, the frequencies targeted were roll off under 180hz -24db slope, cut at 505hz Q6, 632 boost Q8, 1.86hz boost Q6, roll off at 6.32 -12db slope.
  2. just speaking for myself I have regarded the perfectionist aura as urban legend, a great deal of LZ material is sonically tragic or near tragic. To a fault, Page left it alone if he thought it sounded good at the time. LZ tracks are notoriously less processed and finished out than most of the era- which allowed the dynamics to keep the spotlight and that is what the band is about- the band dynamic. 24/96 reveals so much that it is to the point of distraction. I admire and appreciate the commitment to not deviate from the source but... nvm. on the subject of royalties- this a side topic to the point of securing copyright renewal on the subject of different releases being compressed/chopped is urban legend as the technique primarily employed is block eq and parallel eq- an enormously effective go to method of restoration/remastering. While technically a superior outcome, it leaves some of us with listening fatigue and a less pleasant experience. I went back and listened to some original boots [1/4" TDK cassettes from the late 70s] of the BBC and I have to say they are slightly more pleasing to my ear than what I hear on the promos. Noticed that a LP from which the cassettes were made must have been missing some tracks and they were rearranged to better fit the 30mins a side. Seriously good boot. Didn't even have to hit the DBX A/B button on the deck... as a nostalgic moment I remember when KZPS 92.5 played this bootlegged version of D&C in 1982 just before midnight- I just could not believe it. We were in a parking lot on Greenville Ave and the entire parking lot was listening to it. The power of music to unite was on full display. Next night we caught TSRTS at midnight. Dallas in the 80s... and Austin. Yet I digress... am thankful for this release warts/bumps/winces and all. The joy that LZ music brings is it's own treasure regardless of the form.
  3. Mountains of 1/4" tape could make mountains of releases yet why bother when it is outside the scope of what the band was about... ref. Roger Waters travesties... so including companions LZ has released more than 20discs which for me is plenty. Live LZ music is available thru boots although so many marked as "SoundBoards" are not. Plenty of boots for me. EC official release, now that is it for me. "Take Me Home/In the Morning/In the Light" and "Fire/HOFN +Closer by The Firm + SMT on C/P" and a few of the others on The Firm and Walking into Clarksdale have their origins from '71 & '72.
  4. am thinking maybe Page should grow out the sideburns to match 1967- he could pull it off
  5. On LZII there was a full mix done prior to the test press that if available was heavy bias toward bass and had less consistent spatial pattern/separation from track to track... which would have been ok by me. The second mix [bass pulled down] is what we enjoy in release. On IV alone there were two full shots at mixing. The cause was reputed to be the vocals were buried and the drums were over worked. If accurate, the final test press required almost 6months re-work to get there. Have heard that BOE also had percussion at one point which did not make it to release. Unreleased songs: speculation on a track that was recorded concurrent to HHWCID, seen as even more camp/commercial than LLM and dropped. speculation on a track recorded during the ITTOD sessions at Polar [different than what was used in The Firm and CP]. Have always expected Jimmy to pull the drum track out and do another Montreax with guitar over it. Rumored to have been given some time again during rehearsals in June at Shepperton on 6/6/80 heavy, heavy slide and whammy work on the guitar. I have my hopes up that a LZ single will be released one day...
  6. My fan expectations raced far ahead of what is made available. When I slowed down and finally got back to reality I have an appreciation for being allowed into "the window of the creative process" as to how some tracks arrived. The exclusion of some material baffles me- some questions answered now being included on the new release. The inclusion of some material loses my interest after one or two times listening- yet it does accomplish the above in providing a window and for this I am grateful. As a technical textbook/workbook the Physical Graffiti companion is a treasure to me. It's clever, it's sharp, it's loaded with signature moments.
  7. Really wish you had a gig writing reviews...
  8. BC thats one honest review... you working up a mandecello ALS intro for your new cd now that you broke the code?
  9. Deborah J I am liking this much more than the Cadillac commercials with R&R
  10. Steve he looks teady to strap up and handle his business...
  11. seeing my daughter show me that she bought a dress instead of some MissMe jeans. She used a coupon and cash. Got it on sale. Got her mama's good looks and her daddy's money and sensibility all her own.
  12. Probably not much of a mystery to some- it is to me. Other than a bolo hat, did JHB ever donne a costume or stage wear?
  13. Deb sometimes you really make my mornings. Thank you.
  14. all three adore Led Zeppelin and each would never get in the way of something if it was of the right heart and right timing and what is best for the band. Insofar as "its a business" "Demand unprecedented" applies to one band only. No Led Zeppelin Mystery at all on this.
  15. GC, Jr. and Ane Brun are two that stand out for me. I am ridiculous picky, makes it difficult to connect. Appreciate yes, connect- really difficult.
  16. It's clear SAJ. So clear. So blinded by its clarity that some will pound sand and cry and pout for proof clinging to the comfort of their disuage and unbelief.
  17. Bee Bee See http://www.youtube.com/watch?v=xq_sCDYCGwU&list=PLD9A088010D2CCE99
  18. since his rig was not tarted up for Knebworth, the only thing really available to him to step on was a boost he used for lead work (wah was not engaged) or an on/off switch. Stomped at it once, didn't like what he got... gave it another shot. Don't know if the switch failed or what happened, usually he gets a 6db+ boost and I don't hear any on that source- nada. Wish he would have got a boost on that... kinda needed it. No, it was sorely needed. FYI if you are not familiar with the boost pedal reference it is on the photo below... a comparative photo for O2 Later era: Modern era: for those who like minutia that matters and do not already have it memorized: Pedal Board Signal Path > Guitars connected to Pete Cornish Input Selector and Line Driver (off stage) via Pete Cornish HD Guitar Cables > Selected Guitar Signal to Effects / Amps Pedalboard via Pete Cornish Custom Signal Cable Loom (Loom includes Amp Feeds and Remote Mute Control) > Pedalboard Input – Unity Gain > Emergency Automatic Mechanical Bypass to Output #1 in case of Power Failure > Send / Return to Spare FX #1 with Bypass Switch > Roger Meyer Voodoo Fuzz – Removed in January 1996 – Replaced by Amp Lead switch for 2 off Fender Tone Master. [At the time the board was built, JP was using two Fender Tone Masters and two Vox AC30s (original T.Boost model), according to Cornish.) > MXR Phase 90 with Bypass Switch > Yamaha CH-10Mk II Chorus with Bypass Switch > Send / Return to Spare FX #2 with Bypass Switch > Boss CE-2 Chorus with Bypass Switch > Jen Cry-Baby Wah with Bypass Switch > Digitec WH-1 Whammy + Pete Cornish Linear Boost 0/+20dB with Bypass Switch > Send / Return to Echoplex EP3 (modified by Pete Cornish) with Adjustable Gain and Bypass Switch > Linear Boost all Outputs 0/+20dB with Bypass Switch > Master Volume > Local and Remote Mute All Outputs > 3 off Outputs to Amps - Output #4 added January 1995 > 115V Output to Echoplex [older products require variaxe type power]
  19. The only evidence that is proof enough is when there is a video in my hand. However, at least for me, I am not comfortable dismissing totally the information that is available. I can tell for others it makes more sense to dismiss the possibility and declare that specific events were not recorded. Completely understandable. Regarding Houston, the only thing I can offer personally, first hand is a reporter from KHOU who did two live remote news broadcasts from The Summit during the Led Zeppelin concert told me that the TVs in the concession and common areas were on the entire time at The Summit during the Led Zeppelin concert and during one of the live remotes he intentionally placed himself so that one of the monitors was behind him over his shoulder in the background during his remote. Additionally, David McDavid of Irving, Texas told me that he saw the monitors on in The Summit during the Led Zeppelin concert. Also, through the years more than a few people have said they saw a video of the Led Zeppelin concert in Houston, that it was played during a New Year's eve bash each year. A tape of high quality and impressive audio. The guy with the concert tape in Houston is a high profile former athlete and it would not surprise me if he has the Elvis tape as well. He has a lot of things. Also, personally, I have heard audio from a different source than the one that circulates for Houston. It is stereo and multitrack-ish sounding. Regarding Zurich, the only thing I can offer personally is a collector in Palm Beach told me this past December that a Zurich video may surface soon as he had been contacted as a possible buyer by a private collector in Montreal. On his iPad he had a :30 seconds sample he was sent for consideration, a source different than what circulates for Zurich. It was stereo, impressive and sounds multitrack-ish. If I had access to them, they would be public. I have no doubt that people who read this forum know more than what they are sharing, wish they would. I have never understood the not sharing mentality.
  20. glad you shared. Several forum members some of whom reported and answered to Grant are best suited to speak about him. Its awful that anyone would pull isolated actions or appearances out of the context of someone's job and hype, scrutinize and label. It's wrong. Hope you find more articles to share.
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