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From: <email address not valid>
Subject: Soundboards vs. Pro recordings

 

Hello Jean and All --

 

Dec. 15, 1996
Peter writes that it would be difficult for Jimmy to put together a good live box set because sound on many boots is bad. Presumably Jimmy would not be putting it together from boots. Doesn't he have soundboard recordings of every concert? With those, and the modern ability to separate and mix sound, I don't think it would be at all impossible to put together great-sounding performances of 40-50 songs.

 

I just wanted to pass along a little recording technique information that might help various members of the list envision what's entailed in a professional live recording.

 

1) A soundboard tape has no relation to a live album, except that the same moments in time are captured on both. A professional recording is almost always done on a multitrack recorder, which means that each instrument is put on its own tape track: the guitar, the bass, each of Jones' keyboards, Plant, Bonham's snare, kick, hi-hat (etc); each of these is committed to its own track, which allows it's volume level and equalization to be altered (in a studio environment) independently of the others. Also, the actual tape used to capture these tracks is of very high quality. This is why "The Song Remains the Same" sounds so much clearer than any bootlegs.

 

2) Once in the studio, these independent tracks must be "mixed" into a final stereo recording. It is this mix that the consumer (you and me) will hear. Believe me, creating a superb mix is extremely time consuming, and terribly difficult. Should the guitar be louder here? Are the vocals loud enough, or too loud? In a regular studio recording, mixing usually takes as long or longer than it took to record a song.

 

3) In creating a live album culled from multiple live dates, each of these mixes must be further tweaked to give them a cohesive sound. Here's an example of what I mean: I'm sure some of you out there have a bootleg or two that came from multiple sources. When the sound switches from one set of "sound values" to another, you probably find it momentarily jarring. This is the last thing the maker of an album wants. So while these mixes are being made, the producer and engineer must take great care to make each song sound as though it came from the same "space," even if it didn't. These "spaces" can be further tweaked in the "mastering" stage, when final EQ and compression are placed upon the recordings. A further example of what I mean: We all know that most of Zeppelin's studio album were recorded at several different studios, but each album sure has it's own sonic signiture. I promise you that great care was taken to make each album sound as cohesive as it does.

 

4) All of these technical sound-quality considerations have nothing at all to do with picking the "best" version of a song. That's another extremely time-consuming and emotionally painful process unto itself.

 

5) Unrelated, but interesting: Most soundboard tapes come from the monitor board, not the front-of-house (FOH) board. The FOH board is the board used to mix sound for the audience; this board is designed to take in all the sounds from the stage and regurgitate one mix for the house. The monitor board provides sound for the bandmembers on stage. Monitor boards are designed to take in the stage sounds and regurgitate many different mixes, because each member of a band likes to hear different things in their monitors. For example, Bonham probably needed to hear more of Jones' bass than of Page's guitar, but Page probably needed to hear more of Bonham's drums than of Jones' bass. Because a monitor board can output many different mixes, one of these mixes is dedicated to making a tape with each band member (hopefully) mixed correctly.

 

Hope you found that interesting.

 

Bill O'Neil
Venice, CA, USA
Maker's Mark is mother's milk.

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This Month in
Led Zeppelin History

January 09, 1944 - James Patrick Page was born in Heston, Middlesex
January 03, 1946 - John Baldwin was born in Sidcup, Kent
January 02, 1946 - Led Zeppelin Tour Manager Richard Cole was born in Kensal Rise, London, England
January 05, 1967 - Jimmy Page begins recording Little Games with The Yardbirds at De Lane Lea Studios in London.
January 17, 1969 - Led Zeppelin released in the US
January xx, 1970 - Led Zeppelin now play without support acts in order to perform longer sets
January 09, 1970 - Royal Albert Hall gig filmed and recorded for documentary that is eventually scraped. (But was recalled for 2003’s DVD)
January xx, 1971 - Recording continues at Headley Grange
January xx, 1972 - Page has a studio built into his home
January 02, 1973 - Plant’s car breaks down and Bonham and he barely make the Sheffield City Hall gig
January 22, 1973 - Led Zeppelin record a live gig at Southampton University
January xx, 1974 - Recording Physical Graffiti at Headley Grange
January xx, 1974 - The band resigns with Atlantic and forms their own label
January 03, 1975 - Jimmy breaks a finger at Victoria Station just a week before the European warm up shows
January 17, 1975 - The band rehearses in Minneapolis for the upcoming US tour. Bootleg "Johnny Kidd And The Pirates" evolves out of this rehearsal
January xx, 1976 - Jimmy contemplates the release of The Song Remains The Same film but, continues work on the soundtrack
January 01, 1976 - In Paris, Robert takes his first unaided steps since his car accident
January xx, 1977 - Rehearsals for US tour take place at Manticore Studios in Fulham
January 24, 1977 - Bonham and Plant watch The Damned perform at the Roxy in London
January xx, 1978 - Media still claims Led Zeppelin have broke up
January 21, 1979 - Robert Plant is now proud father to son Logan Romero
January xx, 1980 - Zeppelin donate Candy Store Rock to a benefit album to benefit children
January 31, 1995 - Jimmy Page escaped being knifed when a fan rushed the stage at a Page and Plant gig at Auburn Hills, Michigan. The fan was stopped by two security guards, who he knifed instead. After his arrest, he told police that he wanted to kill Jimmy Page because of the Satanic music he was playing.
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