Tone Profile

An iconic, powerful late-60s rock sound featuring a thick, fuzz-driven Les Paul through a cranked Marshall for the main riff, and a wild, wah-drenched, uniquely saturated tone for the legendary solo.

Signal Chain

Recording Notes

• Recorded primarily at Olympic Studios, London, with Eddie Kramer and George Chkiantz engineering.
• The main riff's core tone is a 1959 Gibson Les Paul into a Marshall Super Lead, significantly shaped by a Sola Sound Tone Bender MKII fuzz.
• Microphone setup for the main riff likely involved a Beyerdynamic M160 close to the speaker cabinet, possibly blended with a Neumann U67 for room ambience or as an alternative close mic.
• The iconic solo section features a distinct signal path: Les Paul DI'd, processed with a Vox wah, a custom Roger Mayer fuzz, then a Vox Conqueror amp's solid-state distortion circuit. The resulting signal was likely fed to a speaker and mic'd with a Neumann U67.
• The middle 'freak-out' section, while featuring guitar, is heavily manipulated with theremin, reverse echo, extreme panning, and Page using a violin bow; this is distinct from the primary lead guitar riff/solo tone.
• Double-tracking of the main guitar riff is probable to achieve its massive sound and width.
• Page's dynamic playing style, aggressive pick attack, and string bending are integral to both the riff and solo sounds.

Recreation Tips

• For the main riff: Use a Les Paul-style guitar (bridge pickup, controls maxed) into a Tone Bender MKII-style fuzz, then into a cranked Marshall Plexi-style amp.
• If using a real amp for the riff, try a ribbon mic (like a Beyerdynamic M160) close to the speaker cone, slightly off-axis. Blend with a condenser for room if desired.
• For the solo: Engage a vintage-style wah pedal (e.g., Vox V846) before a more aggressive, possibly silicon-based or unique fuzz (to emulate the Roger Mayer/Vox Conqueror combination).
• Experiment with DI techniques for the solo if possible, or use amp modelers that can replicate solid-state distortion characteristics followed by a cabinet IR and mic simulation.
• The solo's wah usage is very expressive, with full sweeps creating a vocal-like quality. Don't be subtle.
• Embrace a raw, slightly 'on the edge' feel for both tones; perfect clarity is not the primary goal, but rather power and attitude.
• Add a touch of vintage-style reverb (plate) or tape delay to simulate the studio environment of the era, but keep it relatively dry for the main riff.
• Pay attention to Page's picking dynamics and vibrato, which significantly shape the character of the notes.

Recommended Gear

• Gibson Custom Shop 1959 Les Paul Standard Reissue(Guitar)
• Marshall 1959SLP Reissue(Amp)
• British Pedal Company Professional MKII Tone Bender(Pedal)
• Vox V846-HW Hand-Wired Wah Wah Pedal(Pedal)
• Roger Mayer Axis Fuzz (as a nod to his custom fuzzes)(Pedal)
• Beyerdynamic M160(Mic)
• Neumann U67 Reissue(Mic)