Jump to content
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble


  • Content Count

  • Joined

  • Last visited

About huw

  • Rank
    Zep Head

Recent Profile Visitors

1,097 profile views
  1. Well, seeing how you're taking about Marshall half stacks, & AxeFX systems it sounds like you've got plenty of cash to throw at this? That being said, I'll suggest another approach. Get yourself a Fender Super Reverb (or any good tube amp with a really great clean to slightly crunchy tone) and a bunch of top quality analogue overdrive pedals. That would be my preferred method if I was aiming at all the studio tones, as you say you are. For the pedals I personally use a couple of Pete Cornish drives, a SS3 and a G2, for lighter & heavier situations respectively. They're expensive, but totally worth it (I haven't changed my rig for nearly 15 years using these). Alternatively the other guitarist in my band uses a Carl Martin Plexitone (the big 3 button one) through a Marshall JTM45. That's also a great setup - you can't really tell where the amp ends & the pedal begins. Finally, for a tribute band, you need one of these for the LZII tones : https://drrobertpedal.com/ Hope that gives you a couple of ideas?
  2. A few years ago I spent way too much time going through all the live footage I could find looking at exactly this aspect of his playing. After all that work the simple fact was that, with a few certain exceptions, his most used setting were these: Rhythm parts - commonest tone was mid position, bridge volume about 7, neck volume about 5. (Exact numbers will vary from guitar to guitar, and depending on amp settings etc) Clean parts (intro to OTHAFA etc) neck pickup, volume down to about 3. Solos mostly on bridge pickup, volume up to 10. Tone controls are a lot harder to gauge, and I didn't see much evidence of him using them mid song, except for specific things like the "woman tone" solo he did in Sick Again for a while (neck pup, full volume, tone down). I suspect that he often had the bridge tone rolled down as a 'pre-set' to tame the treble coming off the amp, but that's just my opinion. Something like SIBLY is an exception, where he'd use all positions during the solo, and switch to the bridge pup for the picking parts in the 3rd verse. NQ solo also, which tended to feature neck position too. But really, once you are used to the three "common settings" for rhythm, clean, & lead, then the exceptions will become easier to spot. A special mention for the beginning of OTHAFA - start on the neck pup, volume low, as the band entry gets nearer roll up the volume to around mid-way, then flick to mid position for the stabs with the band (having made sure that the bridge volume was set high to be ready). The live solo would frequently feature a mid position sound.
  3. Very quick listen, but I think that it's Am > G > Am > F each time, all on top E, B, & G strings. First time through Am is at 8th fret, G at 7th, F at 5th. (The same inversions could be played on B, G, & D strings : Am at 13th, G at 12th, F at 10th) Second time Am is at 17th, G at 15th, F at 13th. Third is same as first, fourth time plays the Am then goes into next lead bit. Something similar, anyway :)
  4. The link that second post doesn't take you there anymore, but thanks to the Wayback Machine, we can still access the website that it eventually became. There are lots of "Page's gear" sites, but this is the one you want: https://web.archive.org/web/20150609032908/http://wholelottaled.webs.com:80/
  5. It is extremely well documented that #1 is missing the serial number of the back of the headstock. At this point in time, the original cause may simply be filed under "miscelaneous repairs".
  6. The EP-1 & EP-2 were tube units, but the EP-3 changed to solid state. Page used an EP-2 until early '72, when he switched to the EP-3, so as far as TSRTS goes (1973 tour) he's not using the tube model anymore. https://web.archive.org/web/20150607193141/http://wholelottaled.webs.com:80/effects.htm
  7. Simple - I'd sit them down in front of a TV, and show them the Danish Television Special off the DVD. Four songs, with visuals. If someone doesn't "get" Bonham after that, they never will...
  8. I wrote an answer to a similar question on another forum: Hope that adds something for you?
  9. Today's obscure classical music term for you all to memorise & use is "Lament Bass". http://en.wikipedia.org/wiki/Lament_bass Notice how many hundreds of years back the examples go. Stairway & Taurus both use a standard (almost cliché) practice for harmonising a descending bass line under a minor chord, that has been around almost as long as harmony itself.
  10. Yeah, I mean Bonham put the band together, wrote most of the songs, and produced the recordings, so of course he was the leader. Oh, hang on a minute... I'm thinking of someone else Only kidding - and no offence intended! Joking aside, I think you could perhaps make an argument for Bonham being a "musical director" at times on stage, where he was in charge of the time keeping, and the tempos, but even there, Zeppelin is one of those bands where each member is the "leader" at different times during a concert: at times they're following Page, at times they're following Bonham, at times they're following Plant, and at times they're following Jones - it was symbiotic, not one of those situations where one guys is simply in change and that's that.
  11. Hi Bonzoghost, good to see you. Yeah, I remember now: Sam did say, very briefly, that Jason had dismissed that photo, but he didn't go into any details. Such as how much time Jason spent at Polar Studios whilst they were recording, etc? Personally I still have my suspicions that the photo really does show Bonham's kits. I checked out the dates that the photographer visited the studios to take the pictures (which match), and the makes & configurations of the kits used by ABBAs drummers (they don't match), etc etc It seems quite a stretch to think that photographs taken at a studio where Zep were recording, showing drums in unusual sizes (26" bass, 15"x12" rack), that match Bonham's known configuration, that don't match the usual kits of ABBAs own musicians, and whose set up in the room matches the description that the studio manager gave of Bonham's set up in the big drum room, might not be Bonham's? With all due respect to Jason - I'm not buying that. Anyway - the Presence drums seem to be solved. That's a neat video.
  12. You might find this photo interesting, the large version of my avatar. It's the cover of the Polar Studios information brochure, taken at the time that Zep had just been recording ITTOD. The photo is of the drum room at Polar, and you can see two kits - one green, one silver - in rather familiar sizes. Now, this is just a brochure, and it doesn't say "John Bonham's kits at Polar" on the photo, but the photo dates check out, so they might indeed be Bonzo's kits. If so, try your eyesight out on that silver kit: Sparkle? Chrome?
  13. They had a very wide range of influences, Robert in particular being very familiar with lots of stuff that was outside the "blues mainstream". For Jimmy, Hubert Sumlin is one who needs to be added to the list.
  14. Today's show is brought to you by the word "humour", as in: you guys really need to learn to spot a joke when you see one. It's not as funny as the author clearly thinks it is, but that's clearly a spoof, like the stuff in The Onion. Made me laugh, though!
  • Create New...