June 3rd Led Zeppelin
- Thread starter Sillver79
- Start date
tmtomh
Active Member
These new remasters' most consistent strengths are enhanced clarity and stereo separation/imaging. Individual albums (and tracks) have other positives as well - tight, accurate bass, good high-end extension, excellent presence on Plant's vocals, and so on. Some notable examples:
- The Lemon Song (Zep II) sounds better than it ever has before, particularly the tightness of the rhythm section.
- I Can't Quit You Baby (Zep I) - Bonham's drums sound amazing, right in the room with you.
- Tangerine and Bron-Y-Aur Stomp (Zep III) - super-clear, veil has been removed.
- Hats Off to (Roy) Harper (Zep III) - less harsh than other versions, and clearer, actually makes this a song I enjoy listening to for once - if you don't love the sound of Page's guitar in the left channel, then I just don't know what to say.
- Custard Pie (Physical Graffiti - available in CD-quality lossless from Qobuz online) - first time ever that this song doesn't sound like crap (sonically, that is - it's always come through as a great performance).
- Pretty much all of Physical Graffiti and In Through the Out Door are sonically best-of-breed, including all prior vinyl versions IMHO.
On CD, a lot of folks love the original 1980s CDs for their dynamics and non-aggressive mastering. I think Barry Diament's original 1980s versions of Zep I, II, and Houses of the Holy still have a lot to recommend them. But I think the rest of his CDs have been superseded by these new remasters - as have all of the Marino remasters from the 1990s. And even with Zep I, II and Houses, the Diaments can't touch the clarity of the new versions (not Diament's fault - he had to use the tapes they gave him, and he was working with 1980s digital technology).
Also, I was fortunate to stumble into test pressings of the remasters of Zep III and Houses (main albums only, no bonus discs), and they sound very good. I haven't had a change to hear them on a truly good turntable, or to clean them properly, but from what I did hear, I think folks are really going to like these, in some cases even better than the digital versions. I should note that I wasn't super-impressed with the Houses vinyl - nor with the digital version; it might be my least favorite sonically of the new remasters, nothing wrong with it just seems to lack that certain "spark" of excitement in the sound. But the Zep III vinyl is going to be a real treat I think!
Finally, I should note that some people feel these new remasters are a bit too hot on the high end. I disagree - I find the high end extended but not fatiguing. The most controversial so far on this count has been Zep III - because of all its acoustic material and the "meh" quality of the original recording/mix. If you are concerned about this, I suggest spending $1.29 and purchasing "That's the Way" off Zep III from the iTunes Store. It's the worst-case scenario for treble-averse listeners. If the opening acoustic guitar strumming - and particularly the sound of Page's guitar pick - sounds prominent but not objectionable, then I would say you will be extremely happy with the entire remaster catalogue. If you immediately think, "Ahhhh my ears are bleeding from that guitar pick!" then you might not love the Zep III remaster (though Zep I and II have gotten almost universal acclaim). But I would say go ahead and buy the Zep III deluxe edition CD - the bonus disc is the best of the three, and IMHO it's worth the $13 to $15 all by itself.
Oh - and to answer a question above, Zep IV/Zoso and Houses of the Holy are slated for October. No other Zep reissues will be coming out until 2015. I would assume Physical Graffiti (and maybe Presence with it) would come out around Feb-Mar, but that is just speculation on my part.
- The Lemon Song (Zep II) sounds better than it ever has before, particularly the tightness of the rhythm section.
- I Can't Quit You Baby (Zep I) - Bonham's drums sound amazing, right in the room with you.
- Tangerine and Bron-Y-Aur Stomp (Zep III) - super-clear, veil has been removed.
- Hats Off to (Roy) Harper (Zep III) - less harsh than other versions, and clearer, actually makes this a song I enjoy listening to for once - if you don't love the sound of Page's guitar in the left channel, then I just don't know what to say.
- Custard Pie (Physical Graffiti - available in CD-quality lossless from Qobuz online) - first time ever that this song doesn't sound like crap (sonically, that is - it's always come through as a great performance).
- Pretty much all of Physical Graffiti and In Through the Out Door are sonically best-of-breed, including all prior vinyl versions IMHO.
On CD, a lot of folks love the original 1980s CDs for their dynamics and non-aggressive mastering. I think Barry Diament's original 1980s versions of Zep I, II, and Houses of the Holy still have a lot to recommend them. But I think the rest of his CDs have been superseded by these new remasters - as have all of the Marino remasters from the 1990s. And even with Zep I, II and Houses, the Diaments can't touch the clarity of the new versions (not Diament's fault - he had to use the tapes they gave him, and he was working with 1980s digital technology).
Also, I was fortunate to stumble into test pressings of the remasters of Zep III and Houses (main albums only, no bonus discs), and they sound very good. I haven't had a change to hear them on a truly good turntable, or to clean them properly, but from what I did hear, I think folks are really going to like these, in some cases even better than the digital versions. I should note that I wasn't super-impressed with the Houses vinyl - nor with the digital version; it might be my least favorite sonically of the new remasters, nothing wrong with it just seems to lack that certain "spark" of excitement in the sound. But the Zep III vinyl is going to be a real treat I think!
Finally, I should note that some people feel these new remasters are a bit too hot on the high end. I disagree - I find the high end extended but not fatiguing. The most controversial so far on this count has been Zep III - because of all its acoustic material and the "meh" quality of the original recording/mix. If you are concerned about this, I suggest spending $1.29 and purchasing "That's the Way" off Zep III from the iTunes Store. It's the worst-case scenario for treble-averse listeners. If the opening acoustic guitar strumming - and particularly the sound of Page's guitar pick - sounds prominent but not objectionable, then I would say you will be extremely happy with the entire remaster catalogue. If you immediately think, "Ahhhh my ears are bleeding from that guitar pick!" then you might not love the Zep III remaster (though Zep I and II have gotten almost universal acclaim). But I would say go ahead and buy the Zep III deluxe edition CD - the bonus disc is the best of the three, and IMHO it's worth the $13 to $15 all by itself.
Oh - and to answer a question above, Zep IV/Zoso and Houses of the Holy are slated for October. No other Zep reissues will be coming out until 2015. I would assume Physical Graffiti (and maybe Presence with it) would come out around Feb-Mar, but that is just speculation on my part.
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exhippy
I use to have long hair. Now I'm lucky to have any
If you remember it, you didn't do it right!
Remember, it only affects short term memory and they were confiscating all the booze people were trying to bring in. They took the time to "pat" everybody down. This was before they sold beer at concerts.
We were a few seats from the isle on the floor and before the show of course the lights are on. I'm taking a big ol' "hit" and I noticed a St. Louis police officer is looking right at me. I quickly hide the controlled substance and my buddy laughs and says what do think will happen if he tries to bust you? a riot, that's what'll happen! There was so much smoke in the air I was surprised we could see the stage, but that's the way it was back then...
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Just got II and III stocked
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tmtomh
Active Member
My test pressing is totally flat, and all the reports from folks on other web forums I frequent seem to indicate that most of these are flat, no warps.
What was supposedly wrong with the original records, that they'd benefit from remastering? I had them all and they sounded fine.
Now I know someone must have said that when they Remastered from mono to stereo. Or when they went from a steel needle on a Victrola to a magnetic cartridge on a Phonograf.
Tom the internet is ablazz with reports as to these being the best sounding presings.
Why fight it.
Now I know someone must have said that when they Remastered from mono to stereo. Or when they went from a steel needle on a Victrola to a magnetic cartridge on a Phonograf.
I fail to see what that, even if true, would have to do with the question.
Many LPs from as far back as the 1950s sound amazing, Mercurys and RCAs for example. So what did the people who made the original Zeppelin recordings do wrong that is now being done right? Or were they done correctly and as intended the first time around? Are the new recordings a different vision than originally intended? These are reasonable questions.
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kevzep
Its all about the Music
My LZ II has a miniscule warp, its so slight, that it might as well be flat.......
Its not anything I am concerned about....
Well I think you would have to ask Jimmy that one. Most likely he had a bit of time to think about it and musicians are never done or happy realy. There is always something they feel they compromised on.
Old HiFi Guy
Well-Known Member
That is true of all of us about his age. I know I don't hear the same anymore. Between ear splitting concerts, working around loud machinery and shooting with no ear protection for over 40 years, it has taken it's toll. But I still enjoy listening to whatever I can still hear.
One has to wonder who's younger ears he might be relying on. What little tricks he knows now with age and experience.
I think people nowadays expect more, look at the fit and finish of cars over the same period of time.
kevzep
Its all about the Music
There was nothing wrong with the original records as far as the technology was concerned at the time.
They have improved the distortion and "Lo Fi" approach which was on the original records as well as the signal to noise and tape hiss, much improved bass, more clarity, more air, and punchy, they've never sounded so punchy....
I have every Led Zeppelin album orignal, re pressed, original CD releases, 1990 remaster box set, 1993 box set, etc etc you get the idea....
As much as I love Led Zeppelins music, I have struggled with the quality of the recordings....
Led Zep II is a good example, VERY LoFi, even as a 13 year old with my parents average stereo system, I thought it was an average sounding album even though I loved the music.....
Did you also know that shortly after the release of Led Zep II sometime in early 1970, they remastered it because the original was mastered too hot and in an effort to try and reduce the distortion, they remastered it and reduced the level....
The ever so popular pressings with "RL" on the dead wax are the pre remastered ones, I have have an RL and a RCA music club pressing, and I think the RCA one sounds better...
However, its all moot now as the new remaster it exceptional, you will never hear Led Zeppelin any better than this.
There is nothing wrong with remastering an album in an effort to improve the sound and presentation of an album.
What annoys me is when it is done just for the sake of selling more albums.
I do not think this is what has happened here, because the project has been driven by Jimmy Page in an order to preserve Led Zeppelins music at the best possible quality.
If it was a money making venture, the record company would have done it and probably with the band even knowing about it....
If you don't understand the point to it all, go and have a listen to it and see what you think....
If you don't think its any better than the original recordings, then that's OK, you can listen to the ones you always have and you don't have to buy the new ones.....
I have certainly been getting an immense amount of enjoyment out of these remasters and I can't wait for the next three....
kevzep
Its all about the Music
Yes but remember, he doesn't actually re-master them, he enlists the help of a mastering engineer who he feels is up to the task.
He'll be taking advice and direction from the engineer he has chosen.
Interestingly enough its the same mastering engineer who I thought did an absolutely horrific job of mastering the Celebration Day release.
So it probably works both ways, Jimmy probably explains what he wants from the music, and then there's the ability for the engineer to "listen" and get an understanding of Jimmy wants, and then have the ability to apply that to the actual job of the mastering....
If Jimmy trusts the engineer, when the engineer says, "Jimmy, this is sounding good", then Jimmy will sign off on it....
Some musicians believe it or not wouldn't know good sound if they fell over it. They are songwriters, artists, creators......not audiophiles or engineers.....
So its a combination of the right people together........
My original 70s records had to deal with me as a teenager - I'm glad to get a second chance. Ahh the days of stacking many records on top of one another - or placing a stack of records on a table vs putting them away.. Anyhow - my old records are in pretty bad shape. Thanks,
Thanks - maybe I'll shoot a video - it is a bit further than miniscule - I don't usually mind - but it is pretty close.
Me too.
I remember when saw the roadshow release of the picture Cleopatra in, oh, 1963 or so, at the State Lake theater in the Loop. When the overture music was playing the sound of a sistrum was startling clear from stage right. When I listen to the blu-ray disc now I can barely hear the thing. Now, were I remastering or remixing this recording I might bring the sistrum up where I can hear it which would mean that to someone with better ears it would be much louder than in the original mix, a mix which I assume was intended by Alex North and the Fox sound department (arguably the best sound and music departments in Hollywood).
But Kevzep and 427 say this problem was addressed by Page by relying on his experience and on others, presumably younger.
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