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Symbolic Sound Capybara

Symbolic Sound Capybara
General Specs
Basic Configuration: (4) processors installed on the motherboard, 96 MB sample RAM, 12 expansion slots, I/O and external sync (see below), External desktop or rackmount case (protects the DSPs and converters from the electrically noisy environment inside your personal computer, and leaves valuable slot-space free to use for other cards on your host computer)
Expansion Card: (2) processors installed on the expansion card, 48 MB sample RAM (per card), Up to 12 expansion cards (for a total of 28 processors) can be added
Inputs and Outputs: (4)-8 channels, 32-100 kHz sample rate, 24-bit, Balanced Analog and Digital (AES/EBU)
External Synchronization: Word Clock input, VITC & LTC Timecode input and output
Interfaces: FireWire for Macintosh OS X and OS 9, Windows XP, 2000, and ME desktop and laptop machines
Years in use: 1999-2005
Website: http://www.symbolicsound.com/
The Symbolic Sound Capybara is a machine that lets you graphically string together unlimited-length chains of processing and synthesis modules and run them with zero latency on a dedicated multiprocessor computer with little or no impact on your main computer's memory or processing capabilities. You can expand the processing capabilities of your hardware transparently, simply by plugging in more processing cards, because the machine was designed from the outset with scalability and multiple processors in mind. You never have to sacrifice sound quality just because you're trying to squeeze more real time processing out of your desktop or laptop computer. Features include FireWire, timecode, MIDI, 8 channels of 24-bit 100 kHz audio and a symbolic, blue LED on the front panel. It is controlled by the award-winning Kyma software with cutting-edge algorithms like granular processing, real-time analysis/resynthesis, aggregate synthesis, and spectral morphing.

Photos

Symbolic Sound Capybara
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France
Symbolic Sound Capybara
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France

Symbolic Sound Kyma

Symbolic Sound Kyma
General Specs
Years in use: 1999-2009
Website: http://www.symbolicsound.com/
Kyma is my computer system... you can basically program it to do whatever you want. - John Paul Jones, Symbolic Sound Website

Kyma is a computer-based sound design/synthesis system developed by a team of electronic music graduates and enthusiasts in California who got together under the name Symbolic Sound in 1989. Running on Mac or PC, the computer acts as the front end for the sound shaping (by means of a user-friendly and mainly graphical drag-and-drop interface), while the DSP power required to do the number-crunching involved in the sound creation is supplied in a separate piece of hardware connected to the computer, the Capybara rack unit.

The system is very flexible, allowing for real-time synthesis in the computer in a number of styles from analogue-style subtractive, through FM and right up to modern-day resynthesis and granular techniques. Real-time sampling, hard disk recording, and audio processing are also possible.

Photos

Symbolic Sound Kyma
Symbolic Sound Kyma
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France
Symbolic Sound Kyma
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France

Maestro PS-1A Phase Shifter

Maestro PS-1A Phase Shifter
General Specs
Controls: Slow Phase, Medium Phase, Fast Phase & On/Off Power Rocker Switches
Connectors: Input & Output Jacks, 6-Pin Molex Connector (for footswitch)
Years in use: 1973-1979
The Maestro Phase Shifter was not intended for floor operation; rather, it was designed as a table-top type of unit. The chassis is made from bent sheet metal. The top of the unit is slightly angled for improved visibility of the control panel. A rather thick plate is welded to the bottom of the unit and is threaded for a standard microphone stand; in this manner, the unit can be attached to a mic stand and conveniently placed near the guitarist on stage for easy access to the controls. A six-pin Molex type connector located on the rear of the unit provides connection to an optional three-button footswitch that duplicates the operation of the three buttons, providing remote foot control of the phaser.

Three colorful buttons located on the top of the unit select the phasing speed. The buttons are appropriately labeled SLOW PHASE, MEDIUM PHASE, and FAST PHASE. The SLOW PHASE button also functions as the bypass switch. Interestingly, the three colorful plastic buttons were the same as those used on Lowery organs. CMI also owned Lowery at the time and suggested the use of the colorful Lowery buttons for speed selection. One unique and very cool aspect of the Maestro Phase Shifter is the fact that the phasing speed ramps up or down when changing from one speed to another, similar to a Leslie rotating speaker cabinet. This feature is not to be overlooked or underemphasized!!! The dynamic effect produced by the ramp-up/down feature sounds absolutely superb when used by an accomplished musician - no other phaser offers this feature and that alone makes the Maestro Phase Shifter worth the price of admission!

The Maestro Phase Shifter is AC powered and uses a non-polarized AC cord. A switch on the top of the unit turns it on and off. A fuse is provided on the rear of the unit. The classic Maestro emblem with its three colored "trumpets" is proudly displayed on the top of the unit.

The PS-1 is a six-stage phase shifter. It utilizes Field Effect Transistors (FETs) as tuning elements for six cascaded all-pass filter networks with the input and output summed. An LFO modulates the FET control buss and includes a time constant so that when the LFO speed changes, it ramps up or down slowly, simulating the speed change of a Leslie speaker cabinet.

John Paul Jones began using the Maestro PS-1A Phase Shifter at the beginning of the 1973 US Tour through the second appearance at Knebworth, on August 11, 1979.

Photos

Maestro PS-1A Phase Shifter
Maestro PS-1A Phase Shifter
Led Zeppelin, Stairway To Heaven, June 02, 1973, Kezar Stadium, San Francisco, California
Maestro PS-1A Phase Shifter
John Paul Jones, Maestro PS-1A Phase Shifter on top of Bill Dunn Custom Control System, March 17, 1975, Seattle Center Coliseum, Seattle, Washington
Maestro PS-1A Phase Shifter
Robert Plant & John Paul Jones, No Quarter, July 17, 1977, The Kingdome, Seattle, Washington
Maestro PS-1A Phase Shifter
John Paul Jones, No Quarter, August 04, 1979, Knebworth House Grounds, Stevenage, England

Electro-Harmonix Bass Big Muff Pi

Electro-Harmonix Bass Big Muff Pi
General Specs
Controls: Sustain, Tone & Volume Rotary Knobs, Bass Boost/ Norm/ Dry Toggle Switch
Connectors: Input, Effects Output, Direct Out & 9 Volt Power Jack
Years in use: 2009-2010
Website: http://www.ehx.com/products/bass-big-muff-pi
The Electro-Harmonix Bass Big Muff Pi pedal was used on Dead End Friends, Scumbag Blues, Reptiles and Warsaw from Them Crooked Vultures.

Photos

Electro-Harmonix Bass Big Muff Pi
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan
Electro-Harmonix Bass Big Muff Pi
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan
Electro-Harmonix Bass Big Muff Pi
Dave Grohl, John Paul Jones, Josh Home & Alain Johannes, October 09, 2009, Sound Academy, Toronto, Ontario, Canada

Boss SD-1 Super Overdrive

Boss SD-1 Super Overdrive
General Specs
Controls: Level, Tone, Drive
Connectors: Input, Output, AC Adaptor
Current Draw: 6 mA (DC 9V)
Weight: 400 g. (14 oz)
Input Impedance: 470k Ohm
Signal/Noise Ratio: 90dB or more
Recommended Load Impedance: 10k Ohm or greater
Recommended AC Adaptor: ACA Series
Years in use: 2009-2010
Website: http://www.bossus.com/
The Boss SD-1 Super Overdrive pedal was used when John Paul Jones was in Them Crooked Vultures.

Photos

Boss SD-1 Super Overdrive
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan
Boss SD-1 Super Overdrive
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan

Bill Dunn Custom Control System

Bill Dunn Custom Control System
General Specs
Years in use: 1975-1980
John Paul Jones' pedals were a custom-built unit, made by Bill Dunn of London. Dunn's organ service (particularly Hammond organs) was well-known in England and was the service center for the top rock, jazz, and pop stars of the day. Jones had Dunn build pedals that were very similar in tone to a Hammond bass pedal tone, but more mellow. His control box for the Dunn pedals would sit on top of the Fender Rhodes piano, and he was often seen adjusting the volume of the pedals during concerts. The Dunn control box has been a very recognizable part of JPJ's onstage rig. To most musicians, it was a mystery, as it was custom built and not obviously connected to the pedals below. The Dunn system was to remain even through the final Zeppelin concerts in 1980, where it sat prominently on the piano.

Photos

Bill Dunn Custom Control System
John Paul Jones, No Quarter, June 14, 1977, Madison Square Garden, New York City, New York
Bill Dunn Custom Control System
John Paul Jones, after No Quarter, June 23, 1977, The Forum, Inglewood, California
Bill Dunn Custom Control System
John Paul Jones, No Quarter, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California
Bill Dunn Custom Control System
John Paul Jones, Since I've Been Loving You, June 20, 1980, Vorst Nationaal, Brussels, Belgium

Aphex Aural Exciter 602A

Aphex Aural Exciter 602A
General Specs
Features: Front Panel: Channel A - Input, Meter, Output, Threshhold, Return Depth, Channel A - Input, Meter, Output, Threshhold, Return Depth, Rear Panel: Channel A - Input XLR, Output XLR, Channel B - Input XLR, Output XLR
Years in use: 1975-1977
Website: http://www.aphex.com/
The Aphex Aural Exciter was used in 1975 through 1977 with the Steinway Grand Piano.

...As an E.Q. we used a thing called Aphex Aural Exciter. I'd suppose you'd say it was an emphasizer; it gave the piano sparkle. Otherwise it can sound very flat or dull through a pickup. - John Paul Jones, 1977 Keyboard Player

The first Aural Exciter units were available exclusively on the rental basis of $30 per minute of finished recorded time. The unit became so popular, especially with the Los Angeles music and recording studio scene, that Aphex had to move to Hollywood.`

Resources and Information:

http://en.wikipedia.org/wiki/Aphex_Systems

VOX T.60

VOX T.60
General Specs
Features: Rear Panel: (2) 1/4" Input Jacks, Volume, Bass, Treble, Mains Off / On, Mains LED, Fuse, Voltage Selector (115, 160, 205, 225, 245)
Output: 30-40 Watts RMS, 80 Watts Peak
Speakers: (1) Vox Alnico Celestion 12" speaker, (1) HD Vox Alnico Celestion 15" speaker
Construction: Baltic birch plywood (3/4" sides & bottom, 1" baffle & back
Years in use: ca. 1962 - 1963
John Paul Jones used the VOX EMI T.60 Amplifier and Cabinet in ca. 1962 - 1963 when he played bass guitar for The Shadows.

The power amp design for the T.60 amp head was prone to go into high frequency oscillation. In simple terms, the amplifier continuously generated an extremely high pitched squeal at full power that was above the range of human hearing. This drove the power amp section past the safe design limits for the output transistors, causing meltdown. A successful solution to this output transistor failure problem was never implemented.

Photos

VOX T.60

Unknown Cabinet

Unknown Cabinet
John Paul Jones, February 01, 1969, Fillmore East, New York City, New York
General Specs
Years in use: ca. Spring 1969
Both John Paul Jones and Jimmy Page had used this unknown speaker cabinet with a metal circular logo plate in the corner in Spring 1969.

Photos

Unknown Cabinet
John Bonham, ca. February 14-15, 1969, Thee Image Club, Miami, Florida
Unknown Cabinet
John Paul Jones, March 17, 1969, TV Byen, Gladsaxe, Denmark

Univox UX1516 Cabinet

Univox UX1516 Cabinet
Led Zeppelin, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
General Specs
Watts: 150
Speakers: (6) 12" Celestions
Inputs: 2
Years in use: June 14-28, 1972
Website: http://www.univox.org/
John Paul Jones used the Univox UX-1516 Cabinet, along with a Marshall 1959SLP Amplifier for a brief period of only 14 days in June 1972 on the US tour. This rig was used with his keyboards.

Photos

Univox UX1516 Cabinet
Led Zeppelin, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York

Univox UX1510 'Fat Albert' Bass System

Univox 1510 'Fat Albert' Bass System
General Specs
UX1510 Amplifier
Watts: 140
Features: Front Panel: (2) Guitar Input Jacks, (2) Bass Input Jacks, (2) Mixer Input Jacks, (2) Volume, Master Gain, Bass, Middle, Treble, Presence, On/Off Switch, (2) Standby Switch, Hi-Boost Switch - Rear Panel: (4) Output Jacks, Ohm Impedance Switch
Tubes: Power: 4 x 6550, Pre-amp: 2 x 12AU7, 2 x 12AX7
Years in use: June 14-28, 1972
UX1512 Cabinet
Watts: 200 Watts RMS
Speakers: (2) 15" Electro Voice SR015, Reflex Horn
Suggested Retail Price: $765.00
Years in use: June 14-28, 1972
Website: http://www.univox.org/
John Paul Jones mentioned in a July 1977 interview with Steve Rosen that Jimmy Page and he had met with a Univox guy on June 14, 1972 and he wheeled out a bass stack for Jones. Assumedly, Jimmy Page received (2) Univox UX1516 Cabinets and (1) Univox UX1501 Amplifier on the same night. He used (2) of these cabinets and the amplifier with a Marshall 1959SLP Amplifier for use with guitars. John Paul Jones also used (1) Univox UX1516 Cabinet with a Marshall 1959SLP Amplifier for use with keyboards.

Photos

Univox 1510 'Fat Albert' Bass System
Led Zeppelin, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
Univox 1510 'Fat Albert' Bass System
Led Zeppelin, Black Dog, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
Univox 1510 'Fat Albert' Bass System
 
Univox 1510 'Fat Albert' Bass System
 
Univox 1510 'Fat Albert' Bass System
Photo by Mario_1965
 

Trace Elliot AH250 GP11 SMX Amplifier

Trace Elliot AH250 GP11 SMX Amplifier
Jimmy Page, June 26, 1980, Weiner Stadthalle, Vienna, Austria
General Specs
Watts: 250 Watts
Features: Front Panel: Line In Jack, Line In XLR Jack, Line In / Preamp In Link, Gain, Gain Clip LED, 11-band Equalizer, EQ Out / In, Noise Reduction Out / In, Stage Output, DI Output XLR Jack, Pre / Post EQ, Effects Send Jack, Effects Return Jack, EQ LED, Slave Line Out Jack, Slave Line In Jack, Mains On LED - Rear Panel: Mains On / Off, Fan Slow / Fast, Fuse, Ultraviolet Off / On, Power Cord Socket, Speaker Out 1/4" Jack, Speaker Out XLR Jack, Fuse
Years in use: 1980
Website: http://www.trace-elliot.co.uk/
John Paul Jones used the Trace Elliot AH250 GP11 SMX Amplifier on the 1980 Over Europe Tour, replacing the Acoustic 360 Preamp. The Trace Elliot Amplifier powered a Cerwin Vega 4x15 Cabinet, most likely used for keyboards.

John Paul Jones was an early endorser of Trace Elliot, along with Brian Helicopter of The Shapes and Mark King of Level 42.

Photos

Trace Elliot AH250 GP11 SMX Amplifier
John Paul Jones, Trampled UnderfootJune 21, 1980, Ahoy Rotterdam, Rotterdam, The Netherlands
Trace Elliot AH250 GP11 SMX Amplifier
John Paul Jones & Jimmy Page, Stairway To Heaven, June 26, 1980, Weiner Stadthalle, Vienna, Austria
Trace Elliot AH250 GP11 SMX Amplifier
Led Zeppelin, Nobody's Fault But Mine, July 05, 1980, Munich Olympiahalle, Munich, Germany

SWR SM 900 Amplifier

SWR SM 900 Amplifier
General Specs
Watts: 900 Watts @ 4 Ohms
Features: Front Panel: Passive Input Jack, Active Input Jack, Gain, Preamp Clip, Aural Enhancer, Bass, Treble, Equalizer Footswitch Jack, Equalizer Select, (2) 3-band (90 Hz, 600 Hz, 3.6k Hz)Equalizer, Crossover Frequency, Balance, Limiter, Limiter Active LED, Effects Blend, Left Master Volume, Right Master Volume, Power Amp Clip LED, Power LED - Rear Panel: Power Switch, Main Fuse, Power Cord Socket, Stereo / Mono (Bridge) Switch, Stereo Mode Speaker Outputs (4-1/4" and 2 Speakon Jacks), Mono (Bridge) Mode Speakon Speaker Output, (2) Speaker Fuses, Effects Loop Effects Send Jack, Mono Return Jack, Stereo Return Jacks, Tuner Out Jacks, Hi Crossover Output Jack, Low Crossover Output Jack, Balanced XLR (XLR Pad, Line / Direct Switch, Ground Lift, Balance Out XLR Jack)
Dimensions: 19"W x 3-1/2"H x 13-3/4"D
Weight: 35 lbs.
Tubes: 1 x 12AX7
Years in use: ca. mid-1990s - Present
Website: http://www.swrsound.com/
John Paul Jones has used the SWR SM 900 Amplifier since becoming a solo artist in the 1990s. Jones has used up to (4) SM 900 Amplifiers to power the SWR Big Ben Cabinet, the SWR Goliath I Cabinet, SWR Goliath III Cabinet and the SWR Son Of Bertha Cabinet.

Photos

SWR SM 900 Amplifier
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
SWR SM 900 Amplifier
John Paul Jones, June 16, 2007, Bonnaroo 2007, The Other Tent, Manchester, Tennessee, Photo by Rod Snyder
SWR SM 900 Amplifier
John Paul Jones, Elephants, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada, Photo by Erik Kabik

SWR Super Redhead Combo

SWR Super Redhead Combo
John Paul Jones, July 30, 2004, House Of Blues, Anaheim, California
General Specs
Features: Front Panel: Tuner Input, Passive/Active Input Jack, Active Input, Preamp Clip LED, Gain Control, Aural Enhancer, Bass Control, Pull Turbo Function, Level Control, Frequency Control, Pull Transparency Function, Master Volume Control, Power Amp Clip LED, Unbalanced Output, Balanced XLR Output, XLR Pad, Ground/Lift Switch, Line/Direct Switch, Mute/Live Switch, Effects Blend Control, Headphone Jack, Speaker On/Off Switch, Power On/Off Switch - Rear Panel: Effects Loop, Send, Receive, Fan On/Off Switch, High Frequency Attenuator, Internal Speaker Cable, Extension Speaker Jack, Speaker Cable, Speaker and Horn Fuses, Line Fuse, AC Convenience Outlet
Speakers: (1) 10" woofer assembly
2" Hi tempature, high efficiency copper-wound Kapton voice coil
46 oz. focused magnet/175 Watts RMS
Watts: 350 Watts @ 4 Ohms
400 Watts @ 2.67 Ohms
450 Watts @ 2 Ohms
Construction: 5/8" 7 ply, maple or birch, dado and rabbet joints, glued (waterproof) and nailed with extremely heavy bracing
Dimensions: 22-1/2"H x 23"W x 16-3/4"D
Total Weight: 80 lbs.
Years in use: 2004
Website: http://www.swrsound.com/
John Paul Jones used the SWR Super Redhead Combo Amplifier in 2004 when he toured with the Mutual Admiration Society. It was used as a standalone amplifier, or paired with a SWR Son Of Bertha Cabinet.

Photos

SWR Super Redhead Combo
John Paul Jones, July 30, 2004, House Of Blues, Anaheim, California
SWR Super Redhead Combo
John Paul Jones, August 13, 2004, Bowery Ballroom, New York City, New York

SWR Son Of Bertha Cabinet

SWR Son Of Bertha Cabinet
John Paul Jones, No One Loves Me & Neither Do I, January 25, 2010, Brisbane River Stage, Brisbane, Australia
General Specs
Speakers: (1) 15" speaker enclosure, Foster Tweeter (Model 25H273)
Watts: 350 Watts RMS
Impedance: 8 Ohms
Dimensions: 20-1/4"H x 23-1/4"W x 18-1/2"D
Total Weight: 60 lbs.
Years in use: 2007 - Present
Website: http://www.swrsound.com/
John Paul Jones switched over from the SWR Big Ben Cabinet to the Son Of Bertha Cabinet in 2007.

The Son Of Bertha provides the roundness and extra fullness you expect from a 15” speaker cabinet, but the speed and clarity of response make it not just any 15”. It’s a true full-range 15” speaker system when used alone, and adds additional bottom end and tonality to any two-speaker system. Deep and round, yet punchy and fast enough for all styles – in other words, it’s the SWR sound in a 15” speaker cab. Or if you like, dial the tweeter out, plug in your P Bass®, and go deep.

Photos

SWR Son Of Bertha Cabinet
John Paul Jones, In My Time Of Dying, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
SWR Son Of Bertha Cabinet
John Paul Jones, Elephants, August 20, 2009, Pukkelpop Festival 2009, Marquee Stage, Hasselt, Belgium
SWR Son Of Bertha Cabinet
John Paul Jones, No One Loves Me & Neither Do I, January 25, 2010, Brisbane River Stage, Brisbane, Australia
SWR Son Of Bertha Cabinet

SWR Goliath III Cabinet

SWR Goliath III Cabinet
John Paul Jones, In My Time Of Dying, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
General Specs
Speakers: (4) 10" SWR Woofers, Foster Horn
Watts: 700 Watts RMS
Impedance: 8 Ohms
Dimensions: 25-1/4"H x 23"W x 18-3/8"D
Total Weight: 89 lbs.
Years in use: 2007 - Present
Website: http://www.swrsound.com/
John Paul Jones switched over from the SWR Goliath I Cabinet to the Goliath III Cabinet in 2007. The Goliath III is rated at 700 Watts RMS, compared to 400 Watts RMS of the original Goliath I.

The black & chrome version, the Goliath III, remained in production for 11 years. In addition to the chrome grille and improved construction, the Goliath III featured a shelf port.

Photos

SWR Goliath III Cabinet
John Paul Jones, In My Time Of Dying, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
SWR Goliath III Cabinet
John Paul Jones, Elephants, October 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
SWR Goliath III Cabinet
John Paul Jones, No One Loves Me & Neither Do I, January 25, 2010, Brisbane River Stage, Brisbane, Australia
SWR Goliath III Cabinet

SWR Goliath I Cabinet

SWR Goliath I Cabinet
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
General Specs
Speakers: (4) 10" SWR Woofers
Watts: 500 Watts RMS
Impedance: 8 Ohms
Outputs: Dual Speakon® and 1/4” speaker jacks
Dimensions: 23"H x 23"W x 18-1/2"D
Total Weight: 90 lbs.
Years in use: ca. mid-1990s - Present
Website: http://www.swrsound.com/
John Paul Jones has used SWR Goliath I Cabinets since his start as a solo artist in the 1990s. He paired them with SWR Big Ben Cabinets, powered by SWR SM 900 Amplifiers.

Goliath I Cabinets were the original SWR 4x10. It is the first full-range speaker enclosure for bass featuring a high end tweeter.

Photos

SWR Goliath I Cabinet
Led Zeppelin, October 05, 1999, HQ, Dublin, Ireland
SWR Goliath I Cabinet
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany, Photo by Steve A. Jones
SWR Goliath I Cabinet
Guitar World Advertisement, Photo by Jay Blakesberg

SWR Big Ben Cabinet

SWR Big Ben Cabinet
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
General Specs
Speakers: (1) 18" Custom SWR® Subwoofer
Watts: 400 Watts RMS
Impedance: 8 Ohms
Outputs: Dual Speakon® and 1/4” speaker jacks
Dimensions: 30-1/2"H x 23"W x 18-1/2"D
Total Weight: 70 lbs.
Years in use: ca. mid-1990s - Present
Website: http://www.swrsound.com/
John Paul Jones has used SWR Big Ben Cabinets for the low end spectrum since his start as a solo artist in the 1990s. He paired them with 4x10 cabinets (either SWR Goliath I or SWR Goliath III), powered by SWR SM 900 Amplifiers.

Photos

SWR Big Ben Cabinet
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
SWR Goliath I Cabinet
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany, Photo by Steve A. Jones
SWR Big Ben Cabinet
Guitar World Advertisement. Photo by Jay Blakesberg

Sunn 2000S

Sunn 2000S
Jimmy Page, May 11, 1969, Green Lake Aqua Theater, Seattle, Washington
General Specs
Amplifier
Watts: 120 Watts RMS, 280 Watts Peak
Inputs: 4
Features: Front Panel: (2) Bright Input Jacks, (2) Normal Input Jacks, Treble, Bass, Contour, Power Switch, Standby Switch, Polarity Switch - Rear Panel: AC Outlet, Extractor type fuse post, Speaker Jack, External Speaker Jack
Fuses: 1x 7025, 1x 6AN8, 2x GZ34, 4x KT88
Dimensions: 10"H x 30"W x 9-1/2"D
Cabinet
Speakers: (2) 15" JBL D140F, rear mounted with a folded horn
Dimensions: 42"H x 24"W x 15"D
Total Weight: 200 lbs.
Years in use: May 11, 1969
Website: http://www.sunnamps.com/
John Paul Jones used a Sunn 2000S Amplifier on some dates on the second US Tour when he wasn't using the Rickenbacker Transonic rigs or the Acoustic 360 - 361PP Combo. The Amplifier was mismatched with the speaker cabinet from a Sunn Spectrum II Amplifier.

Photos

Sunn 2000S
Led Zeppelin, May 11, 1969, Green Lake Aqua Theater, Seattle, Washington
Sunn 2000S
Led Zeppelin, May 18, 1969, Tyrone Guthrie Theatre, Minneapolis, Minnesota
Sunn 2000S
From 1968 Sunn Catalog

Selmer Thunderbird 50 Mk II Amplifier

Selmer Thunderbird 50 Mk II Amplifier
Selmer Thunderbird 50 Mk II Amplifier, Babe I'm Gonna Leave You, March 27, 1969, Bremen/ARD Studios, Bremen, Germany
General Specs
Watts: 50
Features: Front Panel: (2) Inputs, Bright/Normal Switch, Volume, Treble, Bass, Selectortone Pre-Sets, Presence, Reverb Depth Tremelo Depth, Tremelo Speed, Standby Switch, Mains Switch, Pilot Light - Rear Panel: Ground Terminal, 500 mA Slo-Blo Fuse, 5 A Slo-Blo Fuse, Voltage Selector Matrix (115V, 225V, 245V), Extension L/S Jack,
Speakers: (2) 10" Celestions
Years in use: March 27, 1969
Website: http://www.vintagehofner.co.uk/
gallery/gallery3/selm.html

Photos

Selmer Thunderbird 50 Mk II Amplifier
Led Zeppelin, You Shook Me, March 27, 1969, Bremen/ARD Studios, Bremen, Germany

Leslie Speaker Model 147

Leslie Speaker Model 147
General Specs
Speeds: Fast, Slow
Rotors: Bass, Treble
Speakers: 15" Bass Speaker, Treble Driver
Watts: 40 RMS
Channels: 1
Tubes: Pre-Amp: 12AU7A - Power: (3) 6550
Dimensions: 41"H x 29"W x 20-1/2"D
Weight: 149 lbs. (67.6 kg.)
Years in use: ca. 1968-1975
Website: http://www.hammondorganco.com/
The Leslie speaker is a specially constructed amplifier/loudspeaker used to create special audio effects using the Doppler effect. Named after its inventor, Donald Leslie, it is particularly associated with the Hammond organ but is used with a variety of instruments as well as vocals.

The Model 147 has the same cabinet, speaker and mechanical components as the Model 122; however, the amplifier input and motor speed control circuits are different. This is primarily because this series was designed to be "universal", which means it could be connected to other organ brands. The signal input is "single-ended", allowing a simpler connection to organs that have a built-in speaker system, as the Hammond A100 or a Wurlitzer. The Model 122 input is a differential, "double-ended" or "balanced line" design that provides for cancellation of any spurious noise that may be present. Also, the motor speed switching uses a separate 120V AC signal, rather than the DC voltage control of the Model 122. In operation, the noticeable differences between the Model 122 and the Model 147 are the Model 122's lower susceptibility to induced noise, and a delay between operation of the speed control and the actual change in speed. Just like with the 122 and 142, the Leslie Model 145 is identical to Model 147, except that it is housed in a 33" tall cabinet, and thus slightly easier to transport than the 41" tall Model 147.

Unfortunately, the Leslie Speaker was not loud enough to be heard clearly on stage. So, the Leslie was occasionally put offstage in the dressing room and microphones were placed near it to send sound to the mixer. This clever arrangement created problems on a few occasions! Jones recalls: "People used to go in to the dressing room and shout things over the microphones. It would come over the PA... (laughs)."

John Paul Jones used the Leslie Speaker in the studio with the Hammond Organ for songs such as Since I've Been Loving You from Led Zeppelin III and Night Flight from Physical Graffiti. He also used the Leslie Speaker on stage with his keyboards from 1970 through 1975.

Photos

Leslie Speaker Model 147
Leslie Speaker Model 147
Robert Plant, April 10, 1970, Miami Beach Convention Center, Miami Beach, Florida
Leslie Speaker Model 147
John Paul Jones, July 17, 1970, Grugahalle, Essen, Germany
Leslie Speaker Model 147
Led Zeppelin, August 19, 1970, Kansas City Municipal Auditorium Arena, Kansas City, Missouri
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Preshow, February 20, 1972, Kooyong Stadium, Kooyong, Melbourne, Australia
Leslie Speaker Model 147
Led Zeppelin, January 16, 1973, Kings Hall, Aberystwyth, Wales
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November 21, 1968 - Robert becomes a father to a baby girl named Carmen Jane.
November 09, 1968 - Robert marries Maureen in London. Their reception is a performance at the Roundhouse in London
November xx, 1969 - Tempers flare over Atlantic in the UK wanting to release singles
November xx, 1969 - Recording for Led Zeppelin III begins at Olympic Studios in London
November xx, 1970 - Plans are in motion for a Yardbirds reunion
November 08, 1971 - Finally after much anticipation, Untitled is released
November xx, 1972 - Houses Of The Holy is mixed and completed
November 10, 1972 - Led Zeppelin sell out 120,000 tickets in one day
November xx, 1973 - Initial recordings for Physical Graffiti commences at Headley Grange
November 04, 1973 - Led Zeppelin finalize the purchase of Headley Grange to be their new corporate headquarters
November xx, 1974 - The band makes plans and rehearses for the tenth North American tour
November xx, 1975 - Led Zeppelin records Presence in a mere 18 days
November xx, 1976 - Led Zeppelin book into Ezyhire Studios to rehearse new material for an upcoming tour
November 04, 1976 - The Song Remains The Same movie premieres in Europe
November xx, 1977 - Jimmy dispells rumors of Led Zeppelin’s break up
November 06, 1978 - Led Zeppelin purchase and ship new gear to Polar Studios to begin work on a new album
November 10, 1979 - Led Zeppelin and their entire entourage attend an ABBA concert
November 07, 1980 - The band meets with Peter Grant to announce the retirement of Led Zeppelin
November 29, 1999 - The RIAA announced that Led Zeppelin were only the third act in music history to achieve four or more Diamond albums, a Diamond album being awarded for accredited sales of more than 10 million units in the US.
November 01, 2007 - An announcement was made that Jimmy Page had fractured his finger on his left hand after a fall in his garden and the reunion show would be postponed to December 10, 2007.
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