Microphones used on Zeppelin songs

[lobstman]

ok, i lied..one more post

ROTMFLLMAO!!!!!

[Zeppelin4Life]

ok, i lied..one more post

ROTMFLLMAO!!!!!

u b famous

[OM15.2]

ok, i lied..one more post

ROTMFLLMAO!!!!!

u b famous

Oo Oh you lied you lied you lied you lied you lied hehehe I'm telling

[bobbydj]

LZ were shite. Cringey vocals - just stupid. It's all about Sabbath. EOS.

[numberthirty]

Skeeter, I'm not trying to be a jerk but, one thing comes to mind when I consider you art vs. talentless assembly line run of the mill things that make up a lot of what comes out today comment: how does Jimmy Pages involvement in the P Diddy song on the Godzilla soundtrack fit into what you're talking about? I'm pretty sure where I think it fits. Second, If Jimmy Page is mostly responsible for the sounds on the records Eddie Kramer mixed then just who is responsible for the sounds so many of you seem to love? It would seem it could be one or the other of them but not both. Third, I was talking about Eddie from Iron Maiden(he INVENTED the sitar right around the aces high period) Now, once you've considered Jimmy Page may very well be responsible for these amazing sounds: the question is this- how do you explain Outrider and that Coverdale/Page record? Those both suck like a black hole! Jimmy Page and Robert Plant never called John Paul Jones to take part in the Page/Plant thing. Why could this be? Maybe because he's been doing consistently interesting work since Led Zepplin broke up and they seem content to play the same old thing? Last, my main gripe with Jimmy Page is this: he seems to think he's the only person during that period that was interested in trying to come up with new and interesting sounds and/or trying to document how the elements of records actually sounded. Considering that Big Star's Third/Sisters Lovers came out in '75, it was probably recorded in the same general window of time as a lot of Zepplin. "Holocaust" and "Kangaroo" are still miles ahead of most things now when it comes to the new sounds it put into recording. Also, the cowbell in the end of "Kangaroo" is still one of the most realistic sounds I've ever heard on a record. It(along with the other elements) actually sound like the equivalent of audio 3D. It just bugs me a little to hear Page say the things he says when(to me) he was getting beat hands down by other records. All that said Zepplin4life, keep right on trucking if you love Zep and it sounds good to you. That's really all that matters.

[Everybody's X]

I for one am just thrilled that there's a kid out there who genuinely CARES about a band like Zep. My son is 13 and every kid in this whitebread suburb is wearing FUBU and "Keepin it real"
I lived in Oakland, I lived in the hood. I'd love to throw one of these wannabes into the trunk of my car and drop his ass off at 12th and Troost in KC and see how "real" he keeps it as he running his pasty ass back to the cul-de-sak as fast as he can.
The most thrilling moment in my life was the morning I woke up and my kid was cranking out the riff to "WAR PIGS" on his flying V.

Zep, you are the new guard, crank it up and KEEP IT REAL

[SKEETER]

I don't know about any of all that. I don't know about Mr Pages attitude about himself or his attitude about other musicians, about whether he has sold out or not, his relationship to other band members , or any of it. That is all aside from the point. The point being, when ZEP came out, I was in high school and a guitarist, and NOONE was doing anything remotely as interesting as Jimmy Page was doing, either on guitar or his studio abilities. That is the point period. I personally am not real fond of the guy judging by some of the things I have seen him say in interviews I have read. That is all aside from the point, what is, is what is. What is is that the guy had a creative stroke of genius that has effected music greatly. Period. Noone that has gotten popular in the last 20 years is likely to have the impact on music that he or ZEP had.

[kellyd]

One of the downsides to the Page thing is he has always taken credit for everything. Ever heard Willie Dixon's version of Whole Lot of Love? They had to pay out eventually and change the credit like so many other blues songs they morphed but didn't write. With that said, he is responsible for so many ground breaking sounds but not the only one. Jeff Beck was doing very similar things on the Truth record just not quite as cool and didn't take it quite so far. Page is a master of hearing something and making it his own. And lets not forget John Paul Jones who never got the credit he deserved for the whole Zep thing. Eddie Kramer gives him credit cuz he knows. I remember reading an interview w/ Jonesy where someone asked him about always doubling Page's riffs on bass. His response? What makes you think it was a guitar riff. Many times it was the guitar doubling the bass riff. I believe he used Black Dog as an example. Because Page took credit for so much, everyone assumes he came up with every heavy riff in Zep history. Not all of them. I respect Page for what he has done but I'm realistic about what's what.

[SKEETER]

KELLYD well said, give criticism where it is do, but don't let it detract from the truth by not giving credit where it is due.

[Rick Hunter]

LZ were shite. Cringey vocals - just stupid. It's all about Sabbath. EOS.

finally you say something that makes sense.

[SKEETER]

The first time I heard black sabbath I thought it was some kind of national lampoon parody of rock music.

[Zeppelin4Life]

The first time I heard black sabbath I thought it was some kind of national lampoon parody of rock music.

ROFL

I love Tony there. I hate ozzy.

[Family Hoof]

Are we still talking about Zeppelin or am I too late? I'll just say this

I used to think that my Led Zeppelin CDs (the remastered ones, 2, and 4, and grafitti primarily) were the best recordings I owned and used them as mix references. One day, while trying to analyze the production techniques of "Heartbreaker" on headphones I realized that these recordings are all pretty mediocre - really nothing to be impressed by at all. What happened? I stopped listening to the music and I could finally hear the recordings. Ignoring Page, Bonham, and JPJ (ignoring plant is 100% necessary IMHO) was one of the hardest things I've had to do as a music listener since they're one of my favorite groups, but when I did it was a revelation. I realized that the impressive qualities were ALL THEM, and the recordings were nothing to write home about at all. I've stopped using these discs as references and mine are getting better.

Basically, what soundguy Dave said a few pages back... from a purely technical standpoint these records are sloppy rubbish and I don't really care what microphones they used. The music is what you're all excited about recreating, Zeppelin4Life (whose real name is Dave Lombardo, isn't it?) and a Beyer m160 will never help you get there.

[SKEETER]

uh huh
I gotta respectfully disagree. The bass and drums in Zepplin II were a definite advancement of the target for other bands to meet. Bass that sounded that heavy without causing woofers to bottom out was not being done. Sure, today, with all the enhancers and maximizers and whatever, that bass is no big deal, but back then, you could put Zepplin on an 8 track player in a car with two little hunk of shit speakers in the back and actually listen to some bass guitar. And hear the kick over top of the bass. That is hard to do even with all the crap we have available now. Try to get bass that thick and a kick drum in the same general frequency range and keep it from driving your mix into the red, not easy.

[bobbydj]

The first time I heard black sabbath I thought it was some kind of national lampoon parody of rock music.

And your point is??