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Everything posted by huw

  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.
  15. There's a few out there that have Live Aid well & truely beaten. For starters does Tempe ring a bell?
  16. #2 has always had a nickel cover on the neck pickup, and the bridge has been: 1975 - no cover, double white pickup exposed early 80s - nickel cover O2 gig - no cover, double white pickup exposed. #1 has also always had a nickel covered neck pickup, and the bridge went: April 1969 - nickel cover Autumn 1969 - no cover, double white pickup exposed mid 1972 - pickup replaced, chrome cover (not nickel), 1988 - no cover, exposed double black pickup. Simple as that...
  17. Went a bit off topic there, didn't it? Basically, I've never heard a single piece of info about Walsh's posession of the guitar. He had a few, and was a bit of a trader I think - he provided Pete Townshend a couple of guitars, too. So perhaps an Eagles/Walsh site would turn up some better info. Sorry not to have anything.
  18. Hey Ev - Noel's got a jacket just like yours! Good photoshop skills there my friend - that's one on the neatest I've ever seen...
  19. Like Ev said - it's not a dispute, it's only a discussion... Moose, I'm always happy to proven wrong. It's just that I like to see the proof... I don't just want to be right, I want to know - that's the thing. If you can drop a picture on me showing #1 with a zebra pickup I would be absolutely delighted . I'd have found out something that I didn't know yesterday. That's what it's about, so please don't feel like anyone is infallible & always right & knows everything (least of all me) - that's not how it works. And we always looooove talking about this stuff...
  20. The Black Beauty LP Custom, as used at RAH & later stolen had a zebra amongst it's three pickups: ...but as far as I know neither #1 nor #2 has ever sported an (uncovered) zebra. Happy to be proven wrong, as always, but this is one of those things I feel pretty safe on. Anyway, I don't know why but talking about a zebra - ie a black & white pickup - made me think of this again... Spot the difference: The first is Jimmy Page, live in 1975 with #2 - note the exposed white pickup. The second is the same picture photoshoped by Gibson's ad dept to publicise the Page signature model (based on #1) - note how Jimmy has had a new pickup installed in a split-second on-stage move... ...or not.
  21. But seriously... I don't think that I know anything that isn't known by lots of folks with the same interests. In fact, there are many people whose "specialist topics" are much wider than mine (for instance on this forum both SAJ & Evster), so overall I would never claim to be anymore than middle ranking on the "factoid-meter". But, for one reason or another, my interests in Zeppelin, & my interests in guitars (Les Pauls in particular) converge on Jimmy's guitars, so I soak it up from all sources, learn from the best, put it all together & find out what fits & what contradicts. As an example - the idea that one of Jim's guitars is a 1958 causes lots of contradictions in the stories. The idea that they are both 1959's can produce a clear cut story of all the guitars without contradictions. It gets long & involved & we can discuss any number of tiny points at great length (funfunfun!) but we get there in the end... Most important is to enjoy the ride.
  22. Depends who you ask... Some say he's really an old member of the Zeppelin road crew... Some say he's been trapped in the Gibson factory since the '50s and can only communicate with the world via a computer he built from left over Norlin-era electronics... Some say he's this missing-link librarian guy, moving between the Les Paul Forum, The Hotel, most of the Zep websites, and a few other places besides... My wife says he's an over-educated-muso-geek who spends too much time thinking about Jimmy Page's guitars... Me - I think he's a new father who doesn't get as much time to be on line as he used to, but would be amused to death to see how many times he's been quoted already in a thread he hasn't posted in yet... When SAJ is quoting me, & Ev is giving up the respect (right back at you, BTW ) it's a good day So enough gabbing - have I anything to add to the thread? 1) No ideas whatsoever about #1 before Walsh sold it to JP/ 2) The guitar with the zebra pickup was indeed the original guitar Gibson's custom shop (in the person of Roger Giffen) made for Jimmy as a great-grandpa-prototype of the original Page sig model back in the early 90's. I don't think it still has the uncovered zebra, but to be honest that guitar doesn't get out much so it's hard to tell. However it wasn't used on Thank You off "Unledded" - that was the cherry red from 1970, with added b-bender. 3) Selling price was $500, confirmed by both Jimmy & Joe 4) Guitar World? Don't get me started... 5) As quoted by SAJ above, the #1 is sometimes thought of as "the '58", but the clues all say "it's a '59". As Ev pointed out, the uber-geeks on the LPF (& I can call them that because I'm talking about me & my friends... ) are pretty consistent on that one. I call it #1, or "the 5X". 6) The "great confusion", as I call it (which guitar is which, which one is the Walsh guitar, what year each is etc basically comes down to two things, IMNSHO (that would be IMHO but I've had a beer ): pickup covers, & Tim Marten. Covers: Because #1 & #2 have both had open coil double white pickups at the bridge at one time (never the same time) some folks mix them up. Once they're mixed, facts that belong with one guitar get attached to the other guitar. To recap - #1 had both covers on when Jimmy got it, but by the end of the year had gone to open coil. In 1972 that pickup failed & was replaced by one with a chrome cover. In 1988 an open coil double black appears & is still there. #2 showed up in 1975 with a double white & stayed like that until 1982 (possibly 81) when the cover reappeared. Stays like that until the O2 gig when it reverts to double white open coil. Hey isn't this fun! Tim Martin: After a lot of looking into this issue I've come to the conclusion that he is the only person ever to say #1 was a '58 as a direct source - every time since has been a recycling of his original statements. He said it twice, once to Guitar Heroes mag in 1982, & once in 1986 to the GW guys. Those two interviews, because they covered the gear more than Jimmy tends to do, have been quoted, recycled, & rerun - sometimes not even accurately - so the "58" thing has spread. Just my 2c, of course...
  23. That's no pillow! Try this one then - you'll need to see the full size image: Interesting that this picture has the strip on the batter head, whereas the first one appeared to have it on the front head. There's a thread right now over at the hotel about Bonzo's felt strips, with these pics & more.
  24. Never, Ev? Sure about that? At the bottom, running horizontally...
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