Led Zeppelin 1977-06-23 Los Angeles Milliard, Wizardo and Matrix 3 SOURCES

Taper 1: Jon Wizardo
Lineage: Master Cassettes > Pressed CDs > Adobe Audition cleanup > Wave Files > FLAC

Taper 2: Mike Millard
Lineage: AKG mics > Nakamichi 550 cassette deck > Mater Cassettes >
1st gen cassettes (TDK SA 90) x 3 > Nakamichi 670 pitch & azimuth-adjusted playback deck >
Nakamichi Outboard Dolby B Unit > Wavelab 96/24 > Izotope 44.1/16 > FLAC
Transfer: JEMS

Taper 3: Goldberg
Lineage: 1st gen > Dat(x) > WAV(16/44) > FLAC

Band:
Jimmy Page - guitars
John Paul Jones - bass, keyboards, organ
John Bonham - drums
Robert Plant - vocals

Setlist:
01 Intro 1:06
02 The Song Remains The Same 5:45
03 Sick Again 7:03
04 Nobody's Fault But Mine 7:14
05 Over The Hills And Far Away 7:30
06 Since I've Been Loving You 9:25
07 No Quarter 33:11
08 Ten Years Gone 10:46
09 The Battle Of Evermore 6:12
10 Going To California 6:40
11 Black Country Woman 2:13
12 Bron-Y-Aur Stomp 7:29
13 White Summer 7:03
14 Black Mountain Side 1:55
15 Kashmir 10:53
16 Trampled Underfoot 8:08
17 Moby Dick 18:27
18 Jimmy Page Solo 15:45
19 Achilles Last Stand 10:02
20 Stairway To Heaven 13:05
21 Whole Lotta Love 1:38
22 Rock And Roll 5:00
Total Time: 196:30 (3:16:30)

Remaster - Each source
1. Correct channel balance
2. Re-balance frequencies / EQ
3. Correct channel frequency separation
4. Repair audible dropouts
5. Attenuate frequent yells and loud whistles
6. Remove many claps during music
7. Repair microphone bumps, clicks and pops
8. Repair CD fade-out/in points

Remaster - Sync and Mix
1. Sync sources
2. Patch all 22 gaps/cuts
3. Mix sources using 2-source stereo technique
4. Attenuate excessive peaks
5. Dynamic adjustments
6. Verify pitch and speed
7. Re-track


2-Source ("Matrix") of Wizardo/Millard Stereo RMCH
Led Zep 1977-06-23 Los Angeles 2-Source Stereo RMCH
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Notes:
The Rover intro is used for intro to Sick Again.
Out On the Tiles intro is used for intro to Moby Dick.
Keith Moon from The Who present and contributes to the show.
Goldberg and Millard likely very close to each other because a girl's yell is easily heard in both.
Use Goldberg source to fill in missing section in Millard source.


1.（Original Wizardo source ）
LZ-For Badge Holders Only : Jon Wizardo Master Cassettes
26 files sent via WeTransfer, the simplest way to send your files around the world
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Notes:
Jon Wizardo stereo master cassettes used for the (incomplete) 4 LP "For Badge Holders Only" & "For Badge Holders Only Part 2 on Ruthless Rhymes Ltd Records.
Released in Japan on 3 CDs and instantly sold out. This is the virtually complete magnificent Jon Wizardo recording (Achilles Last Stand end is missing). Used for the classic "For Badge Holders Only" 4 LP vinyl. However the pressed CDs have some problems. There is some distortion/dropout in TSRTS, and a number of tracks have tiny microcuts. I have been through every track and hopefully have sorted them all out.
The sound on this is truly magnificent, one of the best audience recordings of all time.


2.（Original Millard source ）
1977.06.23 Inglewood Millard 1st gen JEMS
19 files sent via WeTransfer, the simplest way to send your files around the world
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Notes:
UNcirculated set of unmarked tapes for this show transferred with Dolby B on as per Mike's notes on the tape labels using an adjustable outboard Dolby B unit. This is the 1st time (May 2010) these tapes have ever been digitized. The sound is completely unaltered except for pitch correction during playback. There are many dropouts in the recording due to Millard having problems with his tape deck. He also missed the first four songs due to having the pause button pressed in while recording. As it turns out there is has been an unmarked copy of this recording circulating for many years now on the Badgeholders (Balboa) label that no one has noticed except for the astute observations of Blackmikito. To paraphrase his analysis he did the a/b comparison of Balboa with other versions and discovered outside of the common dropouts in both channels from recorder problems Balboa is the only one without single channel manipulation issues. This low gen confirms his conclusion. Also of note is the tone you hear during the first dropout's during Since I've Been Loving You is actually a test tone. Here is some more of Blackmikito's research and conclusions on this.

"One significant piece of info that I can pass on to you that most people don't know is that Millard was likely having issues with the Nak on this night. This is why there are so many cuts and drops on the recording. Originally I had always thought that the drops and beeping noise in SIBLY were marks. But, a few years ago I did a little research and found out that the Nakamichi 550 has a 400hz "test tone" switch on the back of the deck: Nakamichi 550 Cassette Deck

Pushing that switch will cut-off your recording and insert the test tone. This is used so that you can match what you recorded on the Nak against the test tone on another deck. (Hence the phrase "Tones on Tail" - a studio note to let other engineers know that the test tone is on the tail of the reel of tape). It is this test tone switch on the Nak 550 which I believe caused all of the drops on the 6/23/77 recording. Go to this site: http://www.testsounds.com/ and listen to the sample for the 400hz test-tone. Now compare that one to the test tone that you can hear during "Since I've Been Loving You". The two tones match.

This error correlates with something that I had learned from a friend of Mike's who I went back and forth with a few years ago via email. When I brought up the errors on 6/23/77 to him, he said that he didn't attend that show with Mike, but that he believed that that show must've been one of the ones that Mike had told him about, where he ruined a recording by standing his deck up in the bag that he had it hidden in, and inadvertently activated the test-tone button. This happened to him a few times, so Mike later came up with a homemade plastic cover which he attached to the back of the deck so that it wouldn't happen anymore."

With all that said is this an upgrade to the Balboa release? The answer is yes, since Balboa used a higher gen analog copy(an eq'd 2nd gen). Also the root 1st gen for that release is not this tape.

Conclusion like it or not this is a clean unaltered transfer of Mike's recording that sounds as his master(which was recorded with Dolby B on) would with the transfer work and digitization done correctly and faithfully as possible to the masters.
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