Scooped mids are fine.

Classicplayer said:

My Orange is a Dark Terror which I think is more Vox'ish sounding (with my e.q. setting) than Vox and rather distant from Marshall. Set for a bright tone, it still has the lows I like, but balancing both for the right amount of mids to cut and be articulate and vocal, is the definition of quixotic; akin to handling mercury.

Classicplayer

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I'm not usually a big fan of orange, but I hear other people get great tone from them. My problem is that whenever I set one up, it sounds muffled or harsh, no in-between. How do you go about this?

Acey said:

That was a rough night for Jimmy, but I think For Your Life was pretty good. The D standard sounded good on some songs but it didn't help others.

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When Page remembered flip the Custom's pickup selecter in For Your Life was sort of a toneful lightbulb moment in my ears. A full nasty sounding grind through that AD30. Full and articulate simultaneously.

Classicplayer

Acey said:

I'm not usually a big fan of orange, but I hear other people get great tone from them. My problem is that whenever I set one up, it sounds muffled or harsh, no in-between. How do you go about this?

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The Dark Terror is into a V30 single 12”. The amp's e.q. is a simple double-ganged pot called “shape”. Clockwise decreases mids by allowing more lows and highs to be heard. Counter clockwise subtracts lows and highs allowing mids into the tone mix. Orange is often known for its rather muddy midrangey tone, but their shape feature does a decent job of eliminating that.

I believe if Jimmy played my simple rig, he'd be comfortable with it; unlike me the mere mortal, who'd struggle to even squeak a note from his Marshall.


Classicplayer

Mids scooped or not, I’d shit my pants playing a single note through Jimmy’s Marshall. It’d hit some weird resonant frequency and get messy fast.

most people are surprised to know right after the Presence album Page added a few Vox AC30 in the studio. From what's been told he recorded around 1/3 of In through the Out Door through a Vox AC30. That might be why his tone was exceptionally chimey and bright with some punch during that era. Also in his early Yardbird days right up til the first LZ album

lily_taeko74 said:

most people are surprised to know right after the Presence album Page added a few Vox AC30 in the studio. From what's been told he recorded around 1/3 of In through the Out Door through a Vox AC30. That might be why his tone was exceptionally chimey and bright with some punch during that era. Also in his early Yardbird days right up til the first LZ album

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I never thought he did an amp change. Makes sense, as page was one to use everything he was given in studio to get the sound he heard. I always assumed it was eq but amp change makes more sense.

If you arent working with the bassist to dial in the tone for the band it doesnt really matter what you’re doing with the mids imo

Acey said:

I never thought he did an amp change. Makes sense, as page was one to use everything he was given in studio to get the sound he heard. I always assumed it was eq but amp change makes more sense.

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quite a few big names had amp changes during that era. Rory Gallagher added a 50watt Marshall JMP in 1978 on the Photofinish album that sounded killer. Richie Blackmore also used Vox AC30s before the Marshall

TBH, mid pot @ 4/10 on a typical Marshall tone stack is not what I'd call scooped mids: one would have to set the mid pot of a Fender Twin @ 10/10 to obtain a vaguely similar curve...

I've already got lost in the mix on stage because of scooped mids. But it was not with Marshall amps, precisely. ;-)

How ‘middy’ is Page’s tone on LZ1? Like in Good Times, Bad Times for example?

LPSpecial6403 said:

My favourite tone ever, hands down, is on Presence, especially Tea For One

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I'm not sure if you've seen this or not, but here is a great performance of Tea for One from Page & Plant in '96.


I think Jimmy sounds and plays great, and it looks like he is using a Vox AC30.

Sunburst Blues said:

I'm not sure if you've seen this or not, but here is a great performance of Tea for One from Page & Plant in '96.

I think Jimmy sounds and plays great, and it looks like he is using a Vox AC30.

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That is awesome! Page sounds in top shape, for sure. The drummer not so much…

Sunburst Blues said:

I'm not sure if you've seen this or not, but here is a great performance of Tea for One from Page & Plant in '96.

I think Jimmy sounds and plays great, and it looks like he is using a Vox AC30.

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One of my favorite post Zeppelin numbers and a so-called “companion piece” to SIBLY. From Jimmy's studio days, he probably could make any amp work for him.

Classicplayer

I've rewatched it. Such a great performance. Everything I love about Page's playing, and Plant's vocals. I was a bit harsh on the drummer before perhaps, he just doesn't' have the same feel as Bonzo—he's his own thing.

When Page is on, he's unbeatable I reckon. Very expressive and visceral, distinctly different to the many greats of similar era that seem too calculating and refined to my ears; seem somehow lifeless, but technically great. I'm amazed by most people's playing on a level because I'm a hopeless player, but Page is the person I wish I could play like.

Sunburst Blues said:

I'm not sure if you've seen this or not, but here is a great performance of Tea for One from Page & Plant in '96.

I think Jimmy sounds and plays great, and it looks like he is using a Vox AC30.

Click to expand...

Yes, technically the thread has been hijacked. No, I think I'll let it slide.