These SB sources are advertised as 'true stereo' but they are not. Check any of the 1971 SB tapes and left and right channel are identical musically (with the exception from some post production additions like EQ or delay). There is no separation whatsoever, except for the Hampton SB from the US tour where the left channel has Bass guitar and bass pedals.
I suppose a bona fide '68 recording would be worth something, especially if it was a good one. But the January '69 tape from the Whisky in LA is only two weeks later than Denver, and it's about as good as it gets for something so early.
Saw this info online: "Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them, but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992...." Anaheim 1981 major upgrade coming / Mike Millard Masters - Rush
Then you don't like the sound of LZ bootlegs, 'cos honestly not many sound ten times better than the Osaka '71 soundboards. All the other soundboards from that year sound worse.
You're right. I like the content of the bootlegs, but not the sound, really. The soundboard only YouTube link posted here sounds terrible like it's been processed to death. The other version I linked to has the audience recording spliced in where the soundboard recording is missing, and that one sounds totally fine to me. What happened to it? That's not the original quality.
How and why would something be "true stereo" coming from the output of a mixing desk at a live concert? I sometimes think there is confusion about what "soundboard" means.
Of course things can be in stereo (provided that you have a desk with pan pots, not sure what desks were used at the time), but what would be the point?
From an article in the 90's Proximity's Zep fanzine, I understand Led Zeppelin used a front of the house (FOH) mixing desk and a monitoring panel (on stage). The FOH soundboard tapes especially from Zep's US 73, 75 and 77 tours do feature genuine stereo effects like the panning during the bow solo (Dazed and Confused), Tympani (Moby Dick) and Theremin (Whole Lotta Love). Just like the audience would experience. The signal on those tapes is not entirely representative, since Jimmy's Marshall stacks would obviously dominate the sound balance. Compare these subtle differences on the excellent audience tapes from Seattle and L.A 1975 with their Soundboard counterparts. The available five 1971 SB tapes from the US and Japan do not ( yet) feature stereo separation (with the exception of the Hampton VA tape, where bass guitar and pedals were isolated on the left channel). For all audiophiles here on the forum who dislike these rather primitive 1/4" board recordings, never forget these Zeppelin Soundboard recordings were never intended for commercial release. Their only purpose; evaluating the setlist and improvisations from one tour to another, or serving as a souvenir (for band members and management). If they wanted recordings for a live album, Atlantic/ Superhype would rent a multi track mobile studio (Pye, Wally Heider, Ronnie Lane's or the Stones' mobile truck).
Thanks for that breakdown and yes absolutely these soundboards that have leaked over the years were of course never intended for commercial release. Re boot history anyone know which was the first Zep soundboard to make it to bootleg vinyl!
Even the Hampton soundboard is originally a mono recording, the stereo separation is fake. These mono soundboard recordings suffer from phase issues which give them a slight stereo effect. Correcting the phase with proper software or using one channel only takes care of that, as far as possible given the number of improperly aligned analog copies they already went through.
But with the digitally extracted stereo process, these mono concerts could one day become stereo !! Groovy baby, yeah...
Thanks, I kind of have some memory of reading that maybe the Mudslide/Pb boot may have sent Peter Grant (further) over the edge re bootlegs!
The optimistic view is that both Tokyo and both Osaka '71 shows were multis. I can't remember if they're 8 tracks or some strange 6 track thing, but I remember something about a solid state deck being used? Somebody help me out here. Anyway, the problem is that Jimmy never liked the way they came out - I think he's actually said they're "the worst recordings ever" or words to that effect.
In at least one interview a 'transistorized 6 track' deck is mentioned: 4 tracks, 8 Tracks, 16,....you name it, but 6 track? That must have been a typo. Obviously the band wasn't thrilled by the JAPAN 71 recordings. Being badly balanced 'just like bootleg'. Nevertheless Jimmy Page reconsidered to dust down these multi's at least two times in the new Millenium (undoubtedly since Pro Tools could have helped to solve some of the balance issues). This happened during the 2003 preparations of DVD and How the West Was Won (And its aborted counterpart 'How the EAST was Won!). When HTWWW was re issued Jimmy gave the Japan multi's a (last?) spin and decided not tho get into the burden of Royalty and Copyright issues (the medley's and impromptu references would become a nightmare. Remember Ricky Nelson's 'Hello Mary Lou', The Isley Brothers 'It's You thing' being removed from HTWWW and the Beeb sessions.
Thanks. It is a shame about the whole royalties thing as it is only a few moments of those cover songs not complete or even half the song in many cases. The medleys were fun but I can see how if 40 years later if working out who and what to pay is a big headache you just go forget it.
Say page has already had Japan 71 and maybe some other stuff mixed,do you guys think this will be another caveman production?
