Interesting thing about the photo with the 2 drumkits in it. The steel kit seems like it's actually not being used due to the lack of overhead mics. The green sparkle kit definitely looks like it was being recorded in the classic Bonham way, which is mainly a pair of overhead mics, and what looks to be a bottom snare mic (which is used HEAVILY on that record...too much for my taste). It makes me wonder if they tried to use the steel kit, put a bunch of mics around it, got sounds and Bonham said, "let's just try the green kit with 4 mics on it", the miked it up and used that for the whole record.
@@bonzoleum I'll have to check that one out again. I've been back on a serious Zep kick since I found you and your buddy there with the maple ludwigs....George....can't remember his YT name. Thanks for doing all this Bonham. It's been interesting to hear well thought out opinions on this stuff.
@@bonzoleum That's the one! FWIW, I come at this Zep stuff from a recording engineer's perspective. Always looking for any tidbits I can get about miking and whatnot. This photo you put up in this video is really helpful
Hey Terry The Console in The pic is a Harrison Console. There Was also one installed at Musicland Studios in 1976. www.uaudio.com/blog/bruce-swedien-harrison-32c/
Stereolarocks: Musicland Studios, Munich: Musicland’s then-brand-new 48-track Harrison-Westlake console was first installed and in use during the recording sessions for Electric Light Orchestra’s 1976 album: A New World Record, in July 1976; and also used whilst the band were recording their 1979 album: Discovery (from March-April 1979.) Bev Bevan, Electric Light Orchestra’s drummer and percussionist, was a great friend of John Bonham. Cheers!
Hi Terry, you video inspired me to dig out an old copy of The Best Of Guitar Player magazine which contained interviews with Page Jones & Plant (after Bonzo's death) called 'reflections on Bonzo' Page's interview had the usual question on insights into the Bonham sound (answer he really knew how to tune his drums and get the most tone out of them) one question was 'any techniques or anything out of the ordinary you did in the studio to get a sound?' Pages answer contains the surprise: 'Well the one thing that I would say right now for the drummers there, is that it wasn't until the last album that we actually took the skin off the bass drum. You know, the front skin. All the bass drum sounds that we know were purely from his tuning'...............wow.
In 1978, Led Zeppelin were invited by the members of ABBA ― Jimmy Page received a telephone call from a representative of Polar Music Studios asking if he and Led Zeppelin would be interested in recording their next studio album in Stockholm. ABBA was willing to offer Led Zeppelin at least one fortnight of free studio time between the middle of November and the first week of December in the autumn of 1978. (Led Zeppelin ended up staying and recording even longer). Jimmy Page, realising that ABBA’s brand-new studio was state-of-the-art for its time, decided that it would be a very wise decision indeed to accept ABBA’s offer for free studio time, and so he said: 'Yes!’ In Through The Out Door is the classiest sounding of all of Led Zeppelin’s studio albums. Led Zeppelin were the first artists outside of Sweden and Scandinavia to record at the then-new state-of-the-art Polar Music Studios, Stockholm. As Led Zeppelin were such a high-profile act, and the fact that Polar Music Studios were built to be a commercial enterprise; ABBA, and their manager, Stig Anderson, felt that Led Zeppelin would be the best way to promote their brand-new studio. And by the way, I love and adore ABBA too! ‘With a bit of rock music ― everything is fine.’ Cheers!
Very interesting story... ITTOD is far from my fave Zep recording, but you're correct in stating it sounded great as far as studio recordings go. ABBA had a great sound too, so apparently Polar was damn good studio.
I think the green sparkle kit was on standby in case Bonzo didn't like the recorded sound of the steel kit. After all he never recorded with the steel kit before. As Terry pointed out the first rack tom sound is very lo pitched, which IMO the steel kit was used for the entire album. He could've mixed the steel and wood kits together as well.
You're welcome Terry!! Glad I could help and end the rumors of this photo once and for all. That is quite ironic that it was hiding in plain sight in a LED ZEPPELIN BOOK! Cheers man!
funny thing I always thought he recorded in through the outdoors on the stainless kit especially all of my love, but the purist three ply gene in me didn't want to accept this...plus as you pointed out the available grainy pics from polar studios looked like silver sparkle even though my ears were hearung that huge cannony steel tone unlike the levee breaks hedley grange tone which was huge but more natural, warmer and organic sounding. Really this should not be that big of a surprise as Bonham was always open to new things... if he wasn't do you think he would ever tour with acrylic plastic drums in the early 70s? However this IS cause for celebration as Terry has done it again and solved another Bonham mystery! Thanks!
Regarding play-alongs. Check out the "UNMIX : DRUMS" plugin by Zynaptiq for "muffling" drums. You'll have to rip the original track's audio as a WAV or MP3 file, then apply the plugin (in Reaper, or some other audio package) to attenuate the drums.
I have the multitracks from those 4 songs from LZII that were leaked a few years ago.Terry, I could send you drumless mixes of them for you to use if you'd like.
hey Mr bonzo. Willie D here..can you please tell me what processe Bonham went through to come up with that wind sound on no Quarter live version 1976 Warner bros.. Thanks bonzo.
Try to look up the Communication Breakdown promo video. He has both bass drums that came with his thermogloss kit, but they are miming to the recording so he's technically not playing it. There's also a few photos, but that's about it. As far as I know of course.
Check. with UA-camr Beats by Jay, I think he mentioned something about using the original song thingy in one of his musing musician series...might help you find out about using the tunes! Rawk on Brother!
I need some pointers on three acdc studio songs here are the songs dog eat dog high voltage let there be rock. the problem I have with dog eat dog is that I cant do the beat that phil does on the toms and I cant keep that beat with phil's high hat on let there be rock and I need help with phill rudds triplet on high voltage. one more song is the jack cant get that triplet working with phil's triplet could do video on phill rudd please
Interesting thing about the photo with the 2 drumkits in it. The steel kit seems like it's actually not being used due to the lack of overhead mics. The green sparkle kit definitely looks like it was being recorded in the classic Bonham way, which is mainly a pair of overhead mics, and what looks to be a bottom snare mic (which is used HEAVILY on that record...too much for my taste).
It makes me wonder if they tried to use the steel kit, put a bunch of mics around it, got sounds and Bonham said, "let's just try the green kit with 4 mics on it", the miked it up and used that for the whole record.
That's certainly possible! Yes-tons of underside snare mic on ITTOD. But it sounds great on I'm Gonna Crawl!
@@bonzoleum I'll have to check that one out again. I've been back on a serious Zep kick since I found you and your buddy there with the maple ludwigs....George....can't remember his YT name. Thanks for doing all this Bonham. It's been interesting to hear well thought out opinions on this stuff.
We Zepfreeks are glad to have you back, Dave. George's channel is Bonhamology.
@@bonzoleum That's the one! FWIW, I come at this Zep stuff from a recording engineer's perspective. Always looking for any tidbits I can get about miking and whatnot. This photo you put up in this video is really helpful
I know someone who says he has the drum kit. And has posted pictures.
Hey Terry The Console in The pic is a Harrison Console. There Was also one installed at Musicland Studios in 1976. www.uaudio.com/blog/bruce-swedien-harrison-32c/
Stereolarocks: Musicland Studios, Munich: Musicland’s then-brand-new 48-track Harrison-Westlake console was first installed and in use during the recording sessions for Electric Light Orchestra’s 1976 album: A New World Record, in July 1976; and also used whilst the band were recording their 1979 album: Discovery (from March-April 1979.) Bev Bevan, Electric Light Orchestra’s drummer and percussionist, was a great friend of John Bonham. Cheers!
Hi Terry, you video inspired me to dig out an old copy of The Best Of Guitar Player magazine which contained interviews with Page Jones & Plant (after Bonzo's death) called 'reflections on Bonzo' Page's interview had the usual question on insights into the Bonham sound (answer he really knew how to tune his drums and get the most tone out of them) one question was 'any techniques or anything out of the ordinary you did in the studio to get a sound?' Pages answer contains the surprise: 'Well the one thing that I would say right now for the drummers there, is that it wasn't until the last album that we actually took the skin off the bass drum. You know, the front skin. All the bass drum sounds that we know were purely from his tuning'...............wow.
Harrison board at Polar Studio. Modded with Neve parts.
In 1978, Led Zeppelin were invited by the members of ABBA ― Jimmy Page received a telephone call from a representative of Polar Music Studios asking if he and Led Zeppelin would be interested in recording their next studio album in Stockholm. ABBA was willing to offer Led Zeppelin at least one fortnight of free studio time between the middle of November and the first week of December in the autumn of 1978. (Led Zeppelin ended up staying and recording even longer). Jimmy Page, realising that ABBA’s brand-new studio was state-of-the-art for its time, decided that it would be a very wise decision indeed to accept ABBA’s offer for free studio time, and so he said: 'Yes!’ In Through The Out Door is the classiest sounding of all of Led Zeppelin’s studio albums. Led Zeppelin were the first artists outside of Sweden and Scandinavia to record at the then-new state-of-the-art Polar Music Studios, Stockholm. As Led Zeppelin were such a high-profile act, and the fact that Polar Music Studios were built to be a commercial enterprise; ABBA, and their manager, Stig Anderson, felt that Led Zeppelin would be the best way to promote their brand-new studio. And by the way, I love and adore ABBA too! ‘With a bit of rock music ― everything is fine.’ Cheers!
Very interesting story... ITTOD is far from my fave Zep recording, but you're correct in stating it sounded great as far as studio recordings go. ABBA had a great sound too, so apparently Polar was damn good studio.
I think the green sparkle kit was on standby in case Bonzo didn't like the recorded sound of the steel kit. After all he never recorded with the steel kit before. As Terry pointed out the first rack tom sound is very lo pitched, which IMO the steel kit was used for the entire album. He could've mixed the steel and wood kits together as well.
I think fool in the rain was recorded with the stainless steel kit. The tom fill he plays after the snare groove doesn't sound like wood drums
The Yamaha GX-1 ― ‘The Dream Machine’ at 2:12. Cheers!
so does the silver sparkle kit exist at all?
You're welcome Terry!! Glad I could help and end the rumors of this photo once and for all. That is quite ironic that it was hiding in plain sight in a LED ZEPPELIN BOOK!
Cheers man!
When I was doing drum covers (hopefully I can start doing them again), that's what I did. I try and play them as close to the original as possible.
funny thing I always thought he recorded in through the outdoors on the stainless kit especially all of my love, but the purist three ply gene in me didn't want to accept this...plus as you pointed out the available grainy pics from polar studios looked like silver sparkle even though my ears were hearung that huge cannony steel tone unlike the levee breaks hedley grange tone which was huge but more natural, warmer and organic sounding. Really this should not be that big of a surprise as Bonham was always open to new things... if he wasn't do you think he would ever tour with acrylic plastic drums in the early 70s? However this IS cause for celebration as Terry has done it again and solved another Bonham mystery! Thanks!
"In The Evening" and "Carouselambra" and maybe "South Bound Saurez"
Regarding play-alongs. Check out the "UNMIX : DRUMS" plugin by Zynaptiq for "muffling" drums. You'll have to rip the original track's audio as a WAV or MP3 file, then apply the plugin (in Reaper, or some other audio package) to attenuate the drums.
Really awesome!!
I have the multitracks from those 4 songs from LZII that were leaked a few years ago.Terry, I could send you drumless mixes of them for you to use if you'd like.
+Beatles Instrumentals and More That'd be great!
+bonzoleum Alrighty. I'll email them to you.
Thank you, sir!!!
+sensibg I really just wanted to send them to Terry so I don't have a bunch of people asking me. What do you need them for?
No worries. I just found them online. Cheers!
Good info 👍
hey Mr bonzo.
Willie D here..can you please tell me what processe Bonham went through to come up with that wind sound on no Quarter live version
1976 Warner bros..
Thanks bonzo.
Is their any footage of Bonzo playing double Bass Drum's? Thank's from UK
Try to look up the Communication Breakdown promo video. He has both bass drums that came with his thermogloss kit, but they are miming to the recording so he's technically not playing it. There's also a few photos, but that's about it. As far as I know of course.
Check. with UA-camr Beats by Jay, I think he mentioned something about using the original song thingy in one of his musing musician series...might help you find out about using the tunes! Rawk on Brother!
I need some pointers on three acdc studio songs here are the songs dog eat dog high voltage let there be rock. the problem I have with dog eat dog is that I cant do the beat that phil does on the toms and I cant keep that beat with phil's high hat on let there be rock and I need help with phill rudds triplet on high voltage. one more song is the jack cant get that triplet working with phil's triplet could do video on phill rudd please
👍👌💪
Fuzzy wuzzy was a bear.
And Bonzo Wonzo Rules!
/watch?v=EZZY4mrm--g
Would these takes be on the stainless kit then?
caroulsambramamabaaa?? sounds stainless.
What the hell is this guy babbling about?!
Toft Audio Designs?
ua-cam.com/video/CXqRzVH4o3A/v-deo.htmlm41s
Dude, give me some of your drums.
Wicked annoying.
caroulsambramamabaaa?? sounds stainless.