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lead guitar from “stairway to heaven” by led zeppelin | ToneDB

stairway to heaven

led zeppelin

lead guitar

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Tone Profile

A legendary, singing lead tone with smooth sustain, warm vintage grit, and remarkable clarity. It's known for its expressive, vocal-like quality, enhanced by the subtle coloration and ambience of a tape echo.

Signal Chain

Instrument: 1959 Fender Telecaster (maple neck, bridge pickup)

Amp: Supro 1690T Coronado (or similar small Supro tube combo)

Microphone: Beyerdynamic M 160

Processing: Maestro Echoplex EP-3 (for preamp coloration and subtle slapback echo)

Other: Guitar directly into amp. Amp mic'd and recorded through a Helios mixing console. Natural room ambience from Island Studio Two and possibly an EMT plate reverb contributed to the sound.

Recording Notes

  • Recorded in late 1970 / early 1971 at Island Studios, Basing Street, London, for the album Led Zeppelin IV.
  • Engineered by Andy Johns; produced by Jimmy Page.
  • The solo was largely improvised by Page, reportedly in three takes, with the final version being chosen from these.
  • The 1959 Fender Telecaster (a gift from Jeff Beck, famously known as the "Dragon Telecaster") was plugged directly into a Supro amp.
  • The unique acoustics of Island Studio Two (a former church) and likely an EMT 140 plate reverb contributed significantly to the spatial character of the sound.

Recreation Tips

  • Use a Telecaster, primarily the bridge pickup, possibly with the tone knob rolled back slightly for warmth. A maple neck Telecaster is historically accurate.
  • A low-wattage tube amp (Supro-style, or Fender Tweed/Brownface voiced) cranked for natural overdrive is crucial. Avoid excessive preamp gain.
  • Incorporate an Echoplex EP-3 style tape echo (or a quality emulation pedal). Use it for its preamp coloration (often adding a slight boost and warmth) and a subtle slapback or short delay setting.
  • Focus on emulating Jimmy Page's picking dynamics, expressive string bends, and distinctive finger vibrato.
  • The goal is a clear, articulate tone with singing sustain, not heavy distortion.
  • If miking an amp, a ribbon microphone (like a Beyer M160) or a dynamic (like a Shure SM57) placed close to the speaker cone, possibly slightly off-axis, is a good starting point.
  • Add a high-quality plate or hall reverb emulation to recreate the spacious studio ambience.

Sources