Recording - October 2014 - 15

Listening to the raw masters, what was the most striking
difference to the previous released versions?
I am a big fan of bottom end, and when listening through to
stuff, [the recording of] John Bonham never really came through
because everyone had to filter out all the sub frequencies to get
it onto vinyl. All of the EQed production masters that people
used in the past really had nothing below 60 Hz, and the original tapes all had stuff on it down to 15 Hz! To me it makes a
real difference on these new remasters. If you listen to most other
'60s bands, like Jeff Beck or the Yardbirds, the drums are just
sort of a pitter patter in the background; on these tapes, Bonham
is like 50% of the sound. It's a
massive difference!
So on the new releases, you
didn't add bass, you just let
through what was already there
but we never got to hear...
Back then no one really got to
hear it. You couldn't fit that much
music on a side of vinyl. It's just
putting it back to how it was, like
going back in time and not having
to worry about the limitations of
vinyl.
Did you ever worry about changing it from what listeners
are historically used to?
The first thought was, "Why am I doing this, what is the point
of doing it again?", but it was just this bottom end that no one
has ever heard, and the power of John Bonham's drums... and
that sort of inspired me, really.

You did the mastering and assembly in which software?
My mastering software, which is SADiE (sadie.com).
What about EQ?
Basically, it's tube all the way... early '70s tube stuff, along with
an Avalon AD2077 mastering EQ, which is absolutely fantastic in
terms of adding a little bit of 20K sparkle. It sounds incredible.
So did you pick a chain and stick with it for the whole project?
No. Sometimes it was even a different chain in the middle
eight [of a song].
So on certain songs you would
use a different EQ setting, or
even different physical EQs on
different parts of the song?
Yeah, on some of them, especially the songs that were put together
from different takes.
Was this all hardware or did
you use any plug-ins?
I've got plug-ins, but I just realized that the way to go for Led
Zeppelin was vintage and tubes.
What about compression?
There's no compression on it or anything, it's just whatever
was there.
What about digital processes like limiting?
The limiting there is, is just there for musical reasons as
opposed to "We want it to be loud." Early on we decided we


http://www.sadie.com http://www.primacoustic.com http://www.primacoustic.com/hearthedifference

Recording - October 2014

Table of Contents for the Digital Edition of Recording - October 2014

Contents
Recording - October 2014 - Intro
Recording - October 2014 - Cover1
Recording - October 2014 - Cover2
Recording - October 2014 - 1
Recording - October 2014 - 2
Recording - October 2014 - 3
Recording - October 2014 - 4
Recording - October 2014 - 5
Recording - October 2014 - Contents
Recording - October 2014 - 7
Recording - October 2014 - 8
Recording - October 2014 - 9
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Recording - October 2014 - Cover3
Recording - October 2014 - Cover4
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