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huw

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Posts 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. 17 hours ago, irondirigible said:

    ...if someone who didn't know Zeppelin very well asked you for 2 or 3 songs that show Bonham's greatness the most, what would you suggest?

    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...

     

    :)

  3. 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.

  4. Just been checking if I had the GW 2010 article you're so keen on finding, and I don't. :slapface:

    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?

  5. 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.

    pagesutchbeck20001.jpg

  6. That's no pillow! :D

    Try this one then - you'll need to see the full size image:

    1263350387_7889a461f3_o.jpg

    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.

  7. I love lots of jazz too, but you guys are making me smile by calling bop "old" jazz. Ok - so it's 40 or 50 years old, but there's great stuff from way before then.

    One of my personal faves is the great Louie Armstrong who influenced everybody who ever played music & called it jazz. He was cutting records in the 1920s & continued playing & recording untill his death in the 1970s.

    He was one of the finest improvisors ever, and although his style is very different from some of the things that came after few people have ever been as able to to take a tune & come up with limitless spontaneous variations. If you drew up a "family tree" of jazz, Armstrong would make up a large part of the trunk that holds it all together, & is where it all comes from.

    He's still required listening for anyone who aspires to play jazz trumpet, or who just loves great music.

  8. Heck - he used a lot of different guitars & amps at different times in the studio. It's hard enough ttying to work out what he used, sometimes, nevermind what his setting were...

    But in vague, general terms, two rules would be lots of mids (far more important for Page than bass, which never wants to be too high) and less gain than you'd imagine (crank the amp up loud & let the power-amp do the work).

    Even with a modeler, those ideas will set you off in the right direction.

  9. Songfacts -

    "The Song Remains the Same" features a furious, galloping rhythm and beautifully shimmering, multi-tracked guitar from Jimmy Page. Lead singer Robert Plant's vocals were raised an octave during mixing. Original working titles were "The Overture", "The Campaign" and even simply "Zep".

    http://forum.songfacts.com/showtopic.php?tid/140570/

    Reading back through this thread I came on this one. The vocals raised a whole octave? :blink:

    An OCTAVE? :o

    I call BS, & I'm quite confident in doing so.

    Anyone who has worked in a studio, or even spent a short time playing with a harmoniser, will know that the more the pitch of a source is altered (either by vari-speeding the tape OR by using a harmoniser) the more noticeable it becomes. Shift it too far & it sounds nothing like the original source.

    Vocals that had been shifted a whole octave using 1972 technology would be unusable (and things aren't that much better nowadays).

    Consider the "noise" guitar solos that Page played in 1977 - the harmoniser was heavily featured on that, raising & lowering the guitar pitch by octaves. Ask yourself this: when it was raised an octave, did it sound like a 12-string guitar? Did it sound like the same guitar, only higher? Or did it sound like some synthetic musical box? Be honest - it sounded nothing like a guitar, did it?

    Now imagine Plant's voice run through the same treatment. The result would not sound like his vocals on TSRTS.

    Results from vari-speeding would, if anything, be worse. For a start, Plant would have had to sing the song at half speed, holding his breath & sustaining notes twice as long as on the finished record. Then he would have had to match his pronunciation to be exactly paced so as to come out right when doubled in speed (hard to explain, but the middle of words would most likely sound wrong - the internal timing of the word - which is seperate from the timing of the phrase as a whole.

    And what would he have had to listen to while he sang at half speed? The whole backing track slowed to half speed? Imagine what a dense mush of noise that would have produced. The difficulties of pitching to it & staying in time with it would be huge. I can't believe that anyone would have ever thought it worth the effort.

    So while I could beleive that Plant's vocals had been vari-speeded up a touch, I cannot accept the idea that they were raised a whole octave - IMHO this has to be a case of internet gossip & rumour.

    Of course if anyone has a quote from Page saying that's what they did I'll be happy to see it. But I doubt that very much ;) )

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