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  1. I recently got close (to my ears) by using an overdrive pedal into my wah-wah pedal leaning toward the treble side. I kind of had to play around with it and not move my foot at all. Page probably had a better way to do it.
  2. Forgot to mention in my earlier post (must have been confused with another thread) that Page did not have any push-pulls in his Les Pauls until the 80s i.e. Post-Zeppelin. So he did not use any of the following mods in Zep records: Coil tapping, coil splitting, out of phase (through his LP), or Series/Parallel switching. Any claim that he used these settings to get Zep sounds is incorrect. In fact, Jimmy has admitted to barely even using the push-pulls since their installation. He just played with his knobs (hehe) and used in-studio techniques. Many people confuse his use of a wah-wah with out
  3. I don't know if Amazon was the problem in my case. All of the sets, including the three Codas, have been immaculately packed in foam-lined cardboard boxes inside bigger padded boxes. The damage to my Coda sets was within the shrink wrap, which to me indicates production errors.
  4. I have had minor scuffs on a few of mine (I bought all of the Super Deluxes) but CODA has by far been the worst. I have had three sent to me by Amazon, all with problems. The first had wear on the box - scuffs, worn corners - and the some of the pages in the book were not separated. I had to carefully tear them apart. There was also a blemish on the back cover like it was water damaged. The second had a small blemish on the front of the box. Nothing major but it shouldn't be there. Third: Slightly better than the previous two but I noticed that once I opened the box, that the spine on the box
  5. Nobody can officially confirm except Jimmy, and I would guess even he is a little fuzzy on things recorded in later years. You have to take into consideration that Jimmy used different amps and mic techniques for different tracks, and that the Les Paul is an extremely versatile guitar. By simply turning down the volume on the LP and distance micing, the fat sounds of a LP can sound a lot thinner. Also, while his Number One LP was used for the majority of recording, Page had other guitars at his disposal and I'm sure he wasn't afraid to use the one he felt worked best. Also consider that Page d
  6. While I wouldn't call them rubbish, I do find the Companion Audio to be very disappointing. Like OP said, and I have said similar many times in the last thirteen months, most of the tracks are just the masters we know with a slightly different mix (tambourine higher), fewer overdubs, or a missing vocal. When these remasters were announced, and it was said we would get unreleased material, I was expecting alternative takes, demos/song sketches, outtakes... something akin to The Beatles Anthology. I agree with The Old Hermit, I wish Page hadn't been so hardliner on not released already bootlegg
  7. Could be that the album was mastered at a resolution deemed inadequate quality for vinyl (like 48/16 or 48/24) Or Jimmy's just been busy with other things...
  8. Oh for sure he did. Watch any live performance from any time period (when Page is playing a Les Paul) and you will see him constantly flipping the toggle switch back and forth, and fiddling with knobs throughout songs.
  9. #2 has both switches under the pickguard and 4 push-pulls. #1 just has a single push-pull in the bridge tone pot to reverse the phase. It's a common misconception that Page had these mods during Zeppelin because of the vast ocean of tones he was able to create on record, but he actually had the work done in the 80s. During the Zep years, his LPs were stock (except for the tuners being changed to Grovers and the bridge pickup being replaced in #1 due to failure). Many tones that people associate with being created through the switching were just Page adjusting his knobs and the result of th
  10. Page acquired Number 2 in 1973 as a backup for Number 1, and to play during Dazed and Confused and songs with alternate tunings (like Kashmir). I'm quite sure he just sent someone out to find him another burst (Les Paul) as he loved his Number 1, and he was able to get one due to his increasing fortune (not that bursts had yet reached the stratuspheric prices they are at now) and fame. In the early 80s he had the neck shaved to resemble the thin neck on Number 1 and the fancy four push-pull wiring (now known as the Jimmy Page wiring) installed. In addition to Number Two, Page also had
  11. It really is! I was expected a rough mix like so many of the others, with just variances in the instrument levels, but this is a totally different, majorly ballsy take! I love it!
  12. I read an interview yesterday in which Jimmy said he doesn't necessarily need a singer on each track. He will rehearse the song and decide whether lyrics are necessary.
  13. Original LZ III version first, TSRTS version comes second. If the Companion audio version is included, I would pick that as #2 but its similarity to the album master may disqualify it in some people's eyes.
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