Guitar secret Jimmy Page
Guitar secret Jimmy Page, Virtually every guitarist in this world has learned something from Jimmy Page, directly or indirectly we all have something in this riffmaster, one of the greatest figures of rock of all time. In addition to this his mastery in creating riff should not overshadow the other great talent that Page has grown, the record producer. The sound of Led Zeppelin at the time was considered very innovative, experimental and some are viewing Jimmy made a great legendary band. His ability to skillfully place every element in the great vortex of Zep has not only just caught the wild energy of the group, was simultaneously added that bit of mystery and excitement. His sense of film production has been made of the pieces simply "catchy" songs that can resist all'assalto time.
The Groove
Most of the sound giantesco (by then ...) the Zeppelin may be attributed to the care with which Page believed and worked because the rhythm section was the foundation of the whole piece. "You have to base everything on bass and drums," he said "I was turnista with other drummers," says "sounds very good in spite of their sound came out as if they were beating on a box for letters. The real reason for this is that the cab for the battery was too small and the sound it resisentiva accordingly. So from the first album because I insisted percussion were allowed to breathe and that we had the right time to find a good sound. Obviously, given the circumstances, we could not have better drummer John Bonham. He knew how to attach the battery. "Bonzo batteries typically had a beautiful sound" live "space off and were not mixed. The kick went out of the box out of the mix of the band as an uppercut, the snare was solid, the toms as cannons thundered and the dishes bite without being too annoying.
Page is not worried about a lot of "leakage" between the different channels. The guitar came in microphone of the battery and vice versa. The modern recordings, even if a guru as Massenburg now returns to the origins, use many resources to completely isolate each instrument by others, but Page had usually as if he were playing Zeppelin on stage.
The Guitars
E 'ormai sodato that Pgae study uses small amplifiers. Just like the lead in overdrive of course to get the sound you want, something impossible with the high power amplifier. But there's more, while you are using today in most of the standard positions in front of the mic amp to save time, Page spent and still spends many hours trying and try to get the microphone is best suited for its purpose, to have more punch or environment.
No wonder then that Page in all albums between'69 and 80 well-always sounds better.
E 'be noted that the guitars in those pieces are almost completely dry. He did not want too much reverb. The real magic of genius Page is that it has been so great and sounds different without using tons of effects, eq. and tricks from the study.
Stereo Placement
Although his approach to the sound was very natural the arrangements provided for those sounds really intelligent placement in panning. Usually bass and drums in the middle, sometimes simulating the sound perspective of putting the drummer on snare and hi-hat on the left, the items in the middle and senior levels enough to be clear above the band. Everything else, however, rhythmic guitar, alone, keyboards, choirs and other embellishments (like percussion) could explode in any direction. Just listen to the counterpoint between the guitar lines in "When Levee Breaks" with a fantastic battle between left and right speaker, or the duel of strings on "Kashmir".
Sometimes Page positioned all from one part to emphasize and then suddenly added another guitar opposite to generate a thrilling crescendo. Now we are in surround sound should appreciate even more this pioneering use of the media then.
"X" Factor
The real secret, and may seem a trivial if you do not know the world of music business, Page has been to focus on his band like this was to assist the attitudes, shaping the sound on individual characteristics rather than on market needs . Leaving it to each, and the synergy of the group, the opportunity to do what he knew best achieved originality, spontaneity and the effort that generated the worldwide success of this band. The market collapses modern music artists in prepackaged boxes, generistiche both content and the technical implementation, forcing everyone into the area of greatest gain at the time.
The Groove
Most of the sound giantesco (by then ...) the Zeppelin may be attributed to the care with which Page believed and worked because the rhythm section was the foundation of the whole piece. "You have to base everything on bass and drums," he said "I was turnista with other drummers," says "sounds very good in spite of their sound came out as if they were beating on a box for letters. The real reason for this is that the cab for the battery was too small and the sound it resisentiva accordingly. So from the first album because I insisted percussion were allowed to breathe and that we had the right time to find a good sound. Obviously, given the circumstances, we could not have better drummer John Bonham. He knew how to attach the battery. "Bonzo batteries typically had a beautiful sound" live "space off and were not mixed. The kick went out of the box out of the mix of the band as an uppercut, the snare was solid, the toms as cannons thundered and the dishes bite without being too annoying.
Page is not worried about a lot of "leakage" between the different channels. The guitar came in microphone of the battery and vice versa. The modern recordings, even if a guru as Massenburg now returns to the origins, use many resources to completely isolate each instrument by others, but Page had usually as if he were playing Zeppelin on stage.
The Guitars
E 'ormai sodato that Pgae study uses small amplifiers. Just like the lead in overdrive of course to get the sound you want, something impossible with the high power amplifier. But there's more, while you are using today in most of the standard positions in front of the mic amp to save time, Page spent and still spends many hours trying and try to get the microphone is best suited for its purpose, to have more punch or environment.
No wonder then that Page in all albums between'69 and 80 well-always sounds better.
E 'be noted that the guitars in those pieces are almost completely dry. He did not want too much reverb. The real magic of genius Page is that it has been so great and sounds different without using tons of effects, eq. and tricks from the study.
Stereo Placement
Although his approach to the sound was very natural the arrangements provided for those sounds really intelligent placement in panning. Usually bass and drums in the middle, sometimes simulating the sound perspective of putting the drummer on snare and hi-hat on the left, the items in the middle and senior levels enough to be clear above the band. Everything else, however, rhythmic guitar, alone, keyboards, choirs and other embellishments (like percussion) could explode in any direction. Just listen to the counterpoint between the guitar lines in "When Levee Breaks" with a fantastic battle between left and right speaker, or the duel of strings on "Kashmir".
Sometimes Page positioned all from one part to emphasize and then suddenly added another guitar opposite to generate a thrilling crescendo. Now we are in surround sound should appreciate even more this pioneering use of the media then.
"X" Factor
The real secret, and may seem a trivial if you do not know the world of music business, Page has been to focus on his band like this was to assist the attitudes, shaping the sound on individual characteristics rather than on market needs . Leaving it to each, and the synergy of the group, the opportunity to do what he knew best achieved originality, spontaneity and the effort that generated the worldwide success of this band. The market collapses modern music artists in prepackaged boxes, generistiche both content and the technical implementation, forcing everyone into the area of greatest gain at the time.
