Jump to content

Page's tone on The Song Remains the Same


Soundstorm

Recommended Posts

  • Members

hey and didnt he daisy chain two Urei 1176 Universal compressors to get the sound on Black Dog?
;)



....but seriously, sounds like middle pickup les paul/marshall on most (the ocean, etc.), i think a fender (tele/strat) on a couple others (dancing days, the crunge).

 

Overdriving the Rolling Stone Mobile's Helios board as well. Triple tracked.

Link to comment
Share on other sites

  • Members

 

Actually, a lot of Page's sound came from blending the two pups together. Since his LP had '50s style wiring, he had a lot more flexibility about the relative amount of each pup's output to the amp.


Also, that tone is made of mids, so you'll want to dial back the bass treble and presence quite a bit.

 

 

This....neck pickup volume on 5-6, bridge pickup volume on 8-10.

Link to comment
Share on other sites

  • Members

No, I'm not talking off any of the albums....fyi, the sound of Black Dog was three tracks of the guitar direct in overdriving the mixing console's preamp.

 

THIS IS WHAT I'M AFTER:

_ZiN_NqT-Us

ZQgYn23Xvck

 

I think all of his recorded tones were sub par compared to this live recording.

Link to comment
Share on other sites

  • Members

We're both correct (though I was just bs'n).

 

Interview with Jimmy Page, Guitar World magazine, 1993

 

"We put my Les Paul through a direct box, and from there into a mic channel. We used the mic amp of the mixing board to get distortion. Then we ran it through two Urei 1176 Universal compressors in series. Then each line was triple-tracked. Curiously, I was listening to that track when we were reviewing the tapes and the guitars almost sound like an analog synthesizer."

 

And for the live stuff, depends on how faithful you want. Speakers on the edge of "fried" have a certain sound to them that can't be recreated (but will practically make you physically sick being pushed by a plexi).

Link to comment
Share on other sites

  • Members

 

From the live recordings Ive heard, Page's Live tone > Studio. (though I really love his studio tones on Physical Graphitti) . Teh Rover = boner inducing. My fave Page riff

 

 

My favourite thing on that track is at the start during the drum intro, you can hear a bit of phased drums from the bleed into the guitar mics.

Link to comment
Share on other sites

  • Members

Actually, a lot of Page's sound came from blending the two pups together. Since his LP had '50s style wiring, he had a lot more flexibility about the relative amount of each pup's output to the amp.


Also, that tone is made of mids, so you'll want to dial back the bass treble and presence quite a bit.

 

What was different about the '50s style wiring? :idk:

Link to comment
Share on other sites

  • Members

True, but listen to the clip and compare it to the TSRS clip-fairly close, and Howard's running the RAH into a clean Fender.

(and you do realize the Pre-amp in Pages (custom) HIWATTS are closer to Marshalls than stock DR HIWATTS?)

Think a 50 watt Marshall clone w/chineese KT88's is gonna sound closer??

Link to comment
Share on other sites

  • Members

 

One thing that's KEY (and I can't believe anybody's mentioned) is that his Superleads always were modified to accept KT88s. Would be key info if you're trying to build said amp.

 

 

They did have 88's (and one had a 4th pre-amp tube & an FX loop) , but does anyone know what point they were converted to take the 88's? I read somewhere (maybe @ Metro Amp) that it's possible the KT88's werent in there until the 80's. (?)

 

I think for page tones (Marshall anyway), KT88's & a pedal would be the best choice. A Superbass with KT88's can be a very versitile amp . Makes an awesome "pedal pushed" platform. Add a master volume, & you're golden, IMHO.

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

×
×
  • Create New...