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pluribus

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  1. Nah. There are so many more Millard releases for them to copy from Dime. Those and whatever else the Empress Valley folks decide should be released as a budget Moonchild release.
  2. What amp and guitar are you using? Regarding Page’s live tone, there is no mystery here. He used his modified Marshall Superbass, with an EP-3 Echoplex in the signal chain, along with his wah. I guarantee you that it was plenty loud onstage, which allowed the amp to go into natural overdrive. So searching for the right amount of “gain” misses the point, especially since your average overdrive pedal uses clipping and op-amps which don’t behave/react the same way. Much more significant is the amount of rolling of the guitar’s volume and tone controls, his picking technique, and the fact that the loud amp allowed him to get various shades of tone depending on how hard or soft he picked.
  3. Those are actually from the first set photos of him with the guitar. He kept it at relatively “normal” height through 1972. It really wasn’t until he got that skinny strap in mid-72 that the guitar dropped lower.
  4. Yep. The amp pictured here, on the ground to the right of Page, to be exact. A Supro 1690T Coronado with the 2x10 speakers replaced with a single 12 inch speaker: Here's what the amp looks like in stock form: https://reverb.com/item/4664267-jimmy-page-1961-supro-coronado-tube-amp-2-6l6-2-x10-jensons-valco-made-tube-rectified-combo-amp#full
  5. Yes, Page used the 12 string for Gallow’s Pole. Listen to Ipswich 1971 for another example.
  6. Which was invented by one of the players who Page lifted from the most: Davy Graham. Besides the Stairway to Heaven intro being lifted from Graham’s rendition of “Cry Me a River”, Page took Graham’s playing and turned it into White Summer, Four Sticks, Over the Hills and Far Away, Kashmir...
  7. Keep in mind that the longer shows don't automatically = better shows. For some of the ones listed, like Seattle 7/17/77, Earls Court 5/23-25/75, and LA 3/27/75, 6/25/77, and 6/27/77...none of those would be considered their "Best" show of those tours. Oftentimes, what pushed the length of the show was something like Bonham going 10 minutes longer on his drum solo, or a few additional minutes from an extra bit of banter or a guitar solo that went a few bars longer. Or they played a single standard encore vs not playing any. It's not like Osaka 9/29/71 or Seattle 6/19/72, where the band played EVERY song longer, and did extra encores. In the case of 7/17/77, that's not a good show by any stretch. Both 3/27/75 and 6/27/77 are so long because Page drew everything out, for the final nights at the venue those years, but to little actual effect. Stand-outs for the "long shows" are: LA 6/22/77, 6/23/77 Long Beach 3/12/75 Seattle 3/21/75 Memphis 4/17/70 Osaka 9/28-29/71 Seattle 6/19/72
  8. And even those are still off. Seattle 3/21/75 is closer to 3:39 and is still missing crowd noise between encores, which was probably another 4-5 minutes. LA 3/27/75 is closer to 3:42, but is also likely missing 4-5 minutes of crowd noise between encores. Add in varying tape speeds across recordings, and the list would likely change some more.
  9. www.ledzeppelin-reference.com/geekbaseweb/recordedlistpage.aspx?sort=1
  10. Eddie Kramer doing Page's bidding at Electric Lady, chopping up the three MSG Performances.
  11. I think most of the discussion here has been around recording origins, not playback systems. For the Destroyer soundboard, there is A) the version that first came out on vinyl, B ) lowgens of that source that have been traded for years, and C) a fresh transfer of the master cassette made a few years ago. Sure, each one of those versions of the same root recording will sound different, depending on your system, but the origins of those specific versions plays the bigger part here.
  12. FWIW, I also tend to gravitate to an older compilation (Tomislaw).
  13. 7/27/73. A CRIME that we still haven’t got the unedited soundboard for the entire show. There is zero value in holding it back, and it’s been that way for 40 years. There are no more dollars to squeeze out of yet another soundtrack reissue. Just leak the complete gig out already. Amazing that we somehow managed to get complete digi videos for both 5/24/75 and 5/25/75 and even Southampton 73 (!) out of those HTWWW and DVD sessions, yet the show that had already been commercially available for 30 years still couldn’t find its way out.
  14. Weedwacker’s version was a transfer from the low gen (or master?). That got used by most of the recent bootlegs.
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