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huw

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  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. Plenty of 1960 bursts came with those knobs, as well as the earlier paint shade too. Gibson did not make all of the "1960" changes in one go, on January 1st 1960 - these things happened gradually, over time. A 'burst from early 1960 has the same specs as one from late 1959.
  11. Here's a list Evster posted ages back, with a couple of slight mods by me: WS/BMS - DADGAD Moby Dick - DADGBE Friends - CACGCE That's The Way - DGDGBD Bron-Y-Aur Stomp - DGDGBD Hat's Off - CGCGCE (CGCEGC ?) Going to California - DADGBD When the Levee Breaks - CFCFAC - (open G, down a tone) Rain Song (studio) - DGCGCD Rain Song (live) - EADADE Dancing Days (live) - DGDGBD In My Time Of Dying (studio)- EAEAC#E In My Time Of Dying (live) - DGDGBD Kashmir - DADGAD Bron-Yr-Aur - CACGCE Ten Years Gone - DADGBE Black Country Woman - DGDGBD Poor Tom - CACGCE Midnight Moonlight - DADGAD Jennings Farm Blues - EFCFAE ? Travelling Riverside Blues - DGDGBD Wonderful One (Double neck) - - 6 string - F#F#C#F#C#F# (GGDGDG) - 12 string - Standard tuning capo 1 City Don't Cry - EAEAC#E Wah Wah - AEAEEA No Quarter (on the "Unledded" Album) - DADGAD As far as Celebrtion Day goes, although Page played the live versions in standard tuning on the studio take there are multiple guitar tracks, not all in the same tuning: IIRC the intro slide part that JPJ has said is him is an open tuning, and Page's guitars are in standard.
  12. Just been checking if I had the GW 2010 article you're so keen on finding, and I don't. But... I do have the GW July '03 which tabs out the HTWWW version of Immigrant Song, and just to add to the confusion there is yet another different version of "that" chord for consideration: E x B 3 G 3 D 0 A x E 3 On its own that's a straightforward Gm chord, but in this context - with the bass guitar definitely playing a C underneath - a C9 (no 3rd) Tabs, eh! Don't you just love them? For what it's worth I think that this "multiple tabs" situation is telling us that the notes Bb & D (on the G & B strings) are the important ones, and that it's probably not too important which version of the chord you play. If your band is tight, the sound is good & the crowd is jumping is anyone really going to come up to you after the gig and quibble over whether you should be playing an E or a G in the middle of the chord?
  13. Thanks Sam! Wasn't sure about it being Beck myself, but that was the caption
  14. Ok - here we have JP, Screaming Lord Sutch & Jeff Beck, during the recording of Sutch's album "...and Heavy Friends". Photo caption dates it as September 1969 (it's from Record Collector)but due to severe guitar-geekery (ie by September the Les Paul should have Grover tuners, not Klusons) I don't believe that. Searching doesn't turn up much, but what I could find suggests May 1969 to be a possible date. Anyone got a positive date for this? It's at Mystic Studios in Hollywood.
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