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Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble


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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 of phase. Page knew all the tricks and he used them.
  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 began to crack a little - like a new book, but due to the colouring, the crack became a faint line down the spine. I figured this was the best I was going to get so I kept it, but last weekend I noticed that the 'fabric' on the spine was getting saggy as if the glue was separating from the box. So this one might go back too. I think CODA had some serious manufacturing problems.
  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 did have a 1964 Strat and a brown Tele that he used in later years (both acquired in 1975, and Page swapped out the neck of the brown Tele for the one from the Dragon Tele). The Strat was used on Presence, and the Page can be seen playing the Tele on the 1977 and at Knebworth. It's reasonable to assume he used these guitars on Presence and ITTOD (if only for solos and overdubs), in addition to his LP, along with different amps, mic techniques, and board effects.
  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 bootlegged material. I would have been totally ok with material that has been bootlegged if it were clean, clear, and coming from master or early-generation tapes. It angers me when Page says the vaults are empty and there's nothing left. We Zep heads know there's more! Page was getting there with the alternate SIBLY, In The Light (both alt. versions), Bring It on Home, and India recordings, but he really dropped the ball. Not a good way to close the Zeppelin vaults.
  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 the amps he used. One or two people have theorized that his neck pickup in #1 had an accidental magnet flip like Peter Green's but there isn't much evidence to support it. Page has even stated that he has barely even used the fancy switching. There is a video of him using the under-pickguard switches during the Page/Plant years but there are few other examples.
  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 (during the Zeppelin years) a red Number Three (thought to be a 1969) and "The Other Number Three", a Les Paul that is nearly-identical to it.
  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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