Posted on 07/22/2024 4:49:17 PM PDT by DallasBiff
The guitar riff was inspired by Eddie Cochran's "Nervous Breakdown." Jimmy Page used a small, miked amplifier to create the "guitar in a shoebox" sound. Explaining his technique to Guitar Player magazine in 1977, Page said: "I put it in a small room, a tiny vocal booth-type thing and miked it from a distance. You see, there's a very old recording maxim which goes, 'Distance makes depth.' I've used that a hell of a lot on recording techniques with the band generally, not just me. You're always used to them close-miking amps, just putting the microphone in front, but I'd have a mic right out the back, as well, and then balance the two, to get rid of all the phasing problems; because really, you shouldn't have to use an EQ in the studio if the instruments sound right. It should all be done with the microphones. But see, everyone has gotten so carried away with EQ pots that they have forgotten the whole science of microphone placement. There aren't too many guys who know it. I'm sure Les Paul knows a lot; obviously, he must have been well into that, as were all those who produced the early rock records where there were one or two mics in the studio."
(Excerpt) Read more at songfacts.com ...
Greatest. Band. Ever!!
I’m 72 and Led Zeppelin (1) is in my top 10.
Los Angeles Forum, 1976 I think, great concert. I knew someone that had the flyer to and went to the Pasadena Civic when they rocked All Night Long a few years earlier.
Audio expert Bob Heil, who pioneered high quality concert sound for the Grateful Dead, The Who, and more, always preached the virtues of microphone phasing. No amount of EQ can make up for sound that isn’t there.
They never toured in 1976....it was either ‘75 or ‘77
That makes two of us.
They didn’t have punctuation back then.
77. MSG. Tickets were $12
As an experienced production guy, I say you're absolutely right. If the sound being captured is sh*t, no matter what's done to it via EQ, compression, verb/delay, it'll never be right.
In the studio, for instance, a clean, great sounding raw track will sound great with a minimum of effort during mixdown.
In the studio, I've pulled my hair out trying to massage badly recorded vocals, guitars, basses etc. into shape. Most of the time the solution is to record them again - correctly.
then it was 77 when I got out of High School
It’s always the same.
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