You might want to search out some German titles, they are also more polite, usually have a bigger smoother bottom end and the highs are EQ'd lower. At least on the ones I have heard.
Only the RL. I do see that some forum members say the 1st press UK's are as good as the RL's....would love to find out first hand!!!
I'll take all the Classic 45 rpm releases over pretty much the whole UK/US releases. Although I have not heard the plum releases of I or IV, the 45 rpm have clarity, dimension, balls, and thump. The UK PG release is damn good as well.
I would recommend getting a hold of one someday. You don't have to look at it as one trying to "out-Godzilla" the other - they are both very enjoyable, I promise you.
Interesting because I've compared my MO Ludwig pressing to my SP Ludwig pressing, and the SP doesn't seem as fatiguing for lack of a better term. But the MO makes you want to crank it, and maybe that's why I need to take a break after listening.
The very first Italian pressing of LZ III (the early pressing with the provisional sleeve) kicks ****!
I wish I could. I used to be able to post pics from my iPhone all the time on here, but since they changed up the process, I can't do it anymore. I've posted it on my timeline on Facebook, though.
The letter you see on Atco/Atlantic/Stax etc. line is the lacquer code. A, B, and C are completely different cuttings. The Led Zep I with 'C' was cut by Piros about 1973. When you see the duplicate letters scribed next to each other (C/C) that denotes metal parts made from the lacquer for use at one of their three different pressing facilities. Forum member TLMusic decodes these and others in another thread.
Here's the discogs listing. http://www.discogs.com/Led-Zeppelin-Led-Zeppelin-III/release/2562152 "Busta provvisoria"
I will only comment on versions I own, in order of preference I- Classic records pressing, followed closely by German A2/B4. These two seem to tame the harsh top end slightly compared to my Cdn pressing from 1975. I have the 2010 pirated? Plum label replica. It’s not all that bad actually, I wish I knew the source. I own the reissued vinyl for the live stuff and haven’t even played the studio disc yet. II- Japanese MT1091, US RL. Quite honestly I can hardly tell the difference between these two. I put the MT1091 first mainly because it’s in such pristine condition. I have the german pressing RL one side as well in very nice condition. III- Classic records followed by U.S. Mastercraft, then my Cdn red and green atlantic. I have a U.K. Plum A5 B5 that I found cheap at a yard sale, but it’s in too poor condition to make a proper decision. IV- U.S. Peko Duck, German with my Cdn 1A/2G in third place, but all of these sound pretty similar. I have an as yet unopened Classic pressing. HOTH- Classic pressing followed by Cdn 1A/1B PG- U.K. A1/B5 C1/D1 followed by the Classic then German and Australian pressings that may share some U.K. plates? Presence- Classic Records pressing followed by the U.K. A1/B1 then Cdn 1st press. ITTOD- No opinion I have multiple copies simply for the covers, all but a Japanese are Strawberry pressings including a German, the rest are Cdn. I’ve never done a shootout nor do I care to. CODA- I only own the original Cdn pressing so I have nothing to compare it to. I will probably get the remastered vinyl at some point.
Tried the Japanese 1st? It's much quieter. I picked mine up for a song (sans obi). RL is totally in your face but I prefer it.
I've compared many vinyl copies of Presence, including Classic Records, UK A1 B1, UK A2 B1, and US copies made at Presswell, Monarch and Speciality. And my favorite is the Japan Swan Song vinyl pressing, P-101600N. Now, before someone chimes in with a lecture about how Japanese pressings are sterile, bright, and made from inferior sources, it's important to note that the Japan Presence vinyl features original US mastering. It's pressed from the same handwritten -F -F lacquers that I've seen on US copies. "Atlantic Studios" is handwritten in the deadwax. The ultra high quality Japan vinyl combined with the original Atlantic Studios mastering is a real winner. Along with quieter surfaces, the Japan press has greater clarity, more defined bass and less grain than anything else I've heard. It rocks.
Surely at the very least there's a huge difference in sound levels? I don't like cranking up much to bring one level to the same volume. Maybe I should. Got me thinking, but I know that the Japanese sounds very thin and there's more air in the RL. That's the only way I can describe it. The Japanese has a good following on LZ threads hereabouts, though.
That's great to know! Can you say this of any of the other Japan LZs? I'd especially like to know for Coda and ITTOD because they are slightly cheaper here.
I've not been able to investigate ITTOD or Coda on Japanese vinyl. The Japanese pressings I have heard of early albums (I through HOTH) were not my favorites. I prefer many US, UK and Canada pressings over them. Finding out that the Japan Presence was actually mastered in the US was a bit of a surprise. I was tipped off to the secret by a Japanese collector. Seeing is believing, I compared the deadwax on the Japan press and a US press, and it matches. They are definitely made from the same lacquer set.
The P 10101a which I forgot to mention I own is certainly thinner than the RL or the MT1091. I found it to be closer to my Cdn green and red atlantic, yet another one I forgot to mention lmao wow! I need another beer.
