My Led Zeppelin shootout - Quarantine Edition

Not a club version, but I have this US Led Zeppelin IV “NEW AUD” version and it sounds quite good. It beat my buddy’s US 70’s Porky press in a shoot-out. Not sure how it compares to any others though.

 

Given your other likes, you may like it better than I do.

 

The Porky plates were used well after their expiration date so if it was a late 70s press I could see that. I've heard a new aud press on one Zep title and found it nice, but a bit too clean sounding if that makes sense.

 

The Porky Pecko could even be a 3rd press - don't forget about the For Mary/Pecko! Whatever the lineage, getting a hold of the Porky Pecko takes some serious patience.

 

I have that one. It was mastered by George Piros. My copy is translucent.

 

That’s the only copy I have on vinyl. To my ears it sounded better than my friend’s 70s Porky pressing (but probably a later one). Do you know how it compares to the Classic, for example?

 

The last time I compared them I preferred the "new aud" pressing to the Classic. It seemed to split the difference between the Classic and the Porky/Pecko duck 70's repress I own.

 

I'm very happy with my Zep Vinyl collection, and my digital too

 

Thanks for the info...I may check mine, but in the end for my ears what I have are good mastering's. Good enough to where I'm not overly curious as to what I don't have.
My TSRTS is NM and not a club pressing but side 2 is very noticeably mastered at a lower volume than the other 3 sides.
I tweeked it on my needle drop. I'm happier with my club pressings.

 

I did a Houses of the Holy shoot out between an original RL and my Classic Records pressing.
The RL is very clear with realistic bass as you increase the volume. Plant's voice is upfront with great clarity.
The Classic pressing puts the listener back somewhat from the soundstage. Plant's voice is still detailed, but slightly recessed. The presentation is more tube like, with a pleasing warmth overall. The bass is fabulous with a slight increase to the mid bass region. Detail is there if your system is up to the task. I believe that's why some criticize this pressing due to their system not being up to snuff. I'm able to hear the room better in which Bonham's drums were recorded. Bottom line is that I'm keeping BOTH. EACH gives you an insight into the recording. EACH one has positives. To those who say the Classic is "bad" need to look hard at their equipment.

 

I promptly got rid of the Classic Records pressing of Houses Of The Holy (180 gram) not long after it was bought. It just didn't have the excitement and energy of my early Sterling RL and later George Piros cut.

 

I believe "excitement and energy " are subjective based on a listener's equipment and room. I like aspects of both, giving the listener tube magic with the classic records pressing vs the cleaner more upfront RL. All very subjective, but I'll bet your kicking yourself for selling it shortly after you bought it since it has greatly increased in value. You'd have to pry mine out of my hands just for the silent surfaces alone.

 

Well, I believe "excitement and energy" are subjective based on mastering choices. And you would lose that bet...not kicking myself at all. I'm not much of a collector, therefore I buy music for enjoyment. I'm not losing any sleep over the Classic's I let go. I own the 2015 John Davis cut which happens to be extremely quiet...you sure wouldn't have to pry that one out of my hands.

 

The Bonus tracks from the CD set are alone worth admission price.

 

The Classic is worlds better than the 2015 release. It is true what you say about mastering choices, and it's also true that one's room and equipment can also lead to a positive or negative review. I've had both vinyl and CDs that I once thought were horrible. Years later, with upgraded equipment, I was surprised that what was once bad was now good, in my room on my equipment.

 

I like my listening room and I like my equipment...but not so much the Classic.

I find it interesting when someone gets there toes stepped on because an individual doesn't necessarily like a particular pressing...so, they attack their system, room size, ears, or the socks they're wearing. So there is something wrong with me because I don't feel its up to snuff?

 

It's a typical response.
I've had a few systems through the years but don't recall my opinion changing on what cuts I prefer. The differences seem to be there, just more pronounced as you move up the gear chain.
I like my Zep lively and the Classics seem to leave me wanting.

 

I'm not attacking you or your system. Ease up there buddy boy. I simply stated that a particular pressing or mastering may have more or less "energy" depending on the room and equipment used. For example, some people love Steve's DCC vinyl pressings and some people claimed they sounded too warm. It's a matter of taste, VTA, etc. In this situation, I hear exactly what your talking about between the two pressings. And all I'm saying is that as my analog front end improved over the years, I've come to hear details in the CLASSIC records pressing that I had missed years back. There's nothing wrong with you, your ears or your socks!

 

If you want to talk shop that's great, but you're going to do it with a level of respect...you don't refer to me as " buddy boy". Got it?

And by the way, you're the one who started the whole system conversation when referring to the Classic of Houses. Go back and read your post. "To those who say the Classic is " bad" need to look hard at their equipment." And "I believe that's the reason some criticize this pressing due to their system not being up to snuff."

Please explain because I'm confused.

 

But the same can be said for the top tier vintage pressings.

 

I have, over the years, accumulated quite a pile of Led Zeppelin albums. I bought my first copies when they were released, as I was a huge fan of the band at the time of LZ1; I liked parts of LZII, but lost the thread on III, which was more acoustic and didn't seem to have the same drive or blues-based rock as the previous albums. (I've since grown to appreciate III, but it took a long while). After that, I really didn't listen to Zep. Back in the day, Stairway was unavoidable and some of the later stuff I heard, but didn't really buy.
When I set out to get good pressings of these a while ago, I wound up doing a fair number of comparisons, some of which are now dated, in that I remember the results but don't necessarily have all the records to hand to duplicate the comparisons today.
In a previous thread on the subject (re: LZ1), I gave high marks to the second Japanese pressing, even over the forum fav Piros-Monarch CC remaster. I do have both a 33 Classic and a 45 Classic of that first album, among many others. I've heard the UK first pressing, but do not own it, though have a slightly later plum, and quite a few others.
LZII- hands down, the US RL- to me, condition is key. I have several copies, and my go-to is pretty much mint. I also have an early plum which is very bass prominent and rocks hard, not quite the same way that US RL does. Somewhere in the pile is a Canadian TG as well as an early Japanese pressing, among probably a few others.
LZIII- I do have a Classic 33 200 gram as well as the Canadian TG and the UK 5/5 with Peter Grant credit. That latter has been my go-to.
IV- I don't know. I have quite a few of these too- including a Piros, a plum, a Classic 45 and a few others. I'd have to revisit.
The rest of the catalog- I have a mixed bag of some good ones but would really need to go through them carefully to see what's what. One was a first UK as I recall.
My take-- and I'm doing this without a fresh listen to any of these-- is that with the exception of LZ II RL- which presents an easy to hear difference that is probably going to wind up close to the top of the heap in most assessments, much may come down to system and preference. I tend to find most of the Classics across the board (not limited to Zep) to sound more "audiophile"- expanded midrange detail and a little tipped up at the high frequency end of the spectrum. I could envision a situation where that kind of sound complements a system-- including very good big systems, with lots of power.
The sad thing is that this band deserved better recording than the got for the most part but I think that's also true of some of The Rolling Stones records (though I was never much of a Rolling Stones fan). The records that are out there are pretty much it. I don't envision Page authorizing any new from the tape reissues at this point if the tapes still exist.
I did buy the first three of the Page authorized reissues circa 2014 or whenever. To my ears, they were not the best representations of each album, but had a lot going for them-readily available, new and not chewed up, beer slopped and generally had bass and clarity. For the average LZ listener just into vinyl or lacking a trust fund, it was an easy way to get the catalog on vinyl with no trouble. I did not find the extras very compelling.
I really should try to do a comprehensive shoot-out. I'd love to grab the right somebody for an interview but that's difficult to arrange.

 

Absolutely. And sometimes improvements to a system can bring out negatives that you never heard before. Like some early MFSL pressings and the weird Eq they would sometimes use.

 

I used "buddy boy" because of your rant about me attacking your system. Chill out. Do you get it?!

 

Because??? There is no reason to be disrespectful...now, get back to talking music or leave the thread. Got it?

 

I believe it is you who are disrespectful with your "got it" remark. "Leave the thread"? Who do you think you are? A Gort? I've been a member of this forum long before you came along. Just let it go and have a nice evening. I'll do the same.