Led Zeppelin/Austria 1970 Complete Upgrade

Vienna on March 9th was completely overlooked during the 1970 European tour, which was blessed with high-quality audiences in Montreux, Copenhagen, two days in Hamburg, and Dusseldorf. Although items such as “LIVE IN VIENNA 1970” and “HIGH FLYIN’ ZEP” have been released in the past, they have not been treated as important sound sources by enthusiasts due to their “intense gene drop” or “intense equalization”. The problem is that the past releases were based on tapes in poor condition, and this release makes it clear that the tapes were actually much… no, surprisingly easy to listen to. In the first place, there were two types of audience recordings on this day, and “Source 1” was used for the items mentioned above. Because only items with a full gene drop feeling were released, the original ease of listening was not conveyed at all. Furthermore, on this day, there was another sound source called “Source 2”, which was released modestly with items such as “D’YA FEEL ALRIGHT, VIENNA?” and “VIENNA 1970”, but in terms of sound quality, Source 1 was the best. On top of that, it was possible to make the best version using the two sound sources, but other than the latter, it was barely attempted, and this was also overlooked. So this time, “GRAF ZEPPELIN” thoroughly restored Vienna, which was the missing link in Europe in 1970. This is a magnificent finish that can be said to be the true performance. First of all, the upper feeling of Source 1 is incomparable to past items. I was surprised at the goodness of freshness that was not felt at all from past items due to the state of 1st Gen. I was surprised that the sound quality that made me think that the past items were a bit harsh compared to Düsseldorf and Hamburg was reborn. There is Source 2, which is a compensation member, but although the sound quality is inferior to the basic Source 1, it is also very easy to hear due to the recording from the master. By carefully combining these two sound sources, Vienna was finally completed with a finish comparable to other European 70s. However, it is “GRAF ZEPPELIN” that does not stop there. The smoothness of the best edit of “Since I’ve Been Loving You” using two sources is a specialty. In addition to meticulously restoring the monophonic feeling of each source, the rotation unevenness that occurs in “Thank You”, which was the biggest drawback of source 2, was beautifully restored. The song itself was a tune that was easy to notice if there was a problem with the tape, so this difference was too large. For the first time, I was able to listen to it with peace of mind. And although the average value of the performance is naturally high in Europe 70, on this day, there was an extremely rare happening in “Dazed And Confused”. Although it entered the usual bow playing time, the tone of the echo that directs it was somehow strange. At around 6:00, an interesting scene was captured in which Jimmy finally stopped bowing and made an excuse. A similar incident occurred five months later in Tulsa, where Jimmy was warning the noisy audience, whereas this was an “excuse,” which is amusing. Unaffected by such incidents, ZEP’s dynamism, typical of Europe in 1970, exploded from the plant onwards. This is a performance that you can listen to with confidence from start to finish. At the end of the live performance, “How Many More Times” shows a sense of ease, with the Cream “Cat’s Squirrel” riff in between, and yet the performance lasts for over 20 minutes. Above all, the fact that the main source 1 is the 1st Gen, which makes it overwhelmingly easier to hear, really conveys the explosion of the performance that seems to be in the first half of 1970 on this day. Please enjoy the performance, which is no less impressive than the other days of Europe 1970, to your heart’s content with the restoration of “GRAF ZEPPELIN”. I never knew it was such a wonderful sound source! Remastering Memo Using two types of sound sources, the highest sound quality and longest recording ever! The pitch is also accurate! The main source is Source 1, which has already been released, such as “LIVE IN VIENNA 1970” (Ocean Sound Studio) and “High Flyin’ Zep” (Elemagi). The sub is Source 2, known as the sub source of “D’ya Feel Alright, Vienna?” and “VIENNA 1970” (MMachine). Both are mono Aud sources. Source 1 has better sound, and of course Source 1 is the main source this time. Source 1 has a problem of not recording We’re Gonna and Thank You in their entirety, so while pulling out Source 1 with good sound as much as possible, the missing parts are supplemented with Source 2. For details on the supplementary sound source, please refer to the track list below. Both sources use materials that are currently considered to be the best, Source 1 uses the 1st Gen, and Source 2 uses a sound source that is said to be a Dat clone from the master. By the way, the main source 1 was also released by “Chris”, who has released many good sound sources in recent years, but it was surprisingly not adopted because of the strong noise reduction processing and the digital smell like DAT noise. This time, the versions that were quietly released several years ago are used for both source 1 and source 2. The main source 1 was not satisfactory at all, as it had a strange sound that was significantly biased to the left due to phase shift, or had a strong digital smell like the Elemagi board, but this time it was recorded in a state where such problems have been solved for the first time in history! In addition, the only multiple sound source mixed board in the previously released related boards, the MMachine board, was roughly edited, with I Can’t Quit You Baby originally only having about 3 seconds of cuts in source 1, but the whole thing was recorded in source 2, so the same song can be heard in most parts without any problems with the equalizer with the good sounding source 1. The part of source 2 has a dull sound with a band down in the past, but this time the EQ has been adjusted appropriately without overdoing it, which makes the sound source switching at the time of compensation extremely smooth and exquisite. In addition, the pitch that had been extremely crazy from the middle of the thank you in all the previous releases was recorded correctly for the first time in history, and finally you can hear the thank you in a decent state. Live at Konzerthous, Vienna, Austria 9th March 1970 TRULY AMAZING/PERFECT SOUND UPGRADE Disc 1 (50:03) 1. Introduction ★From 0:24 onwards, filled in with Src2 2. We’re Gonna Groove ★All Src2 3. I Can’t Quit You Baby ★0:00-0:03 Filled in with Src2 4. Dazed And Confused 5. Heartbreaker 6:20-6:42 (between songs after performance) Filled in with Src2 6. White Summer incl. Black Mountainside Disc 2 (56:24) 1. MC ★0:00-0:28 Filled in with Src2 2. Since I’ve Been Loving You ★From 2:20 onwards, filled in with Src2 3. Organ Solo ★All Src2 4. Thank You ★All Src2 5. Moby Dick 6. How Many More Times