Legendary Tone: Jimmy Page of Led Zeppelin

Legendary Tone

Jimmy Page of Led Zeppelin

Jimmy Page is another one of my all-time favorite guitar players. Like Gilmour, his tone and technique make his playing instantly recognizable. Achieving a similar tone to Jimmy's is not quite as difficult as Gilmour's.

As far as Page's guitar, he is an exclusive Gibson Les Paul player. Compared to the Fender Stratocaster, Les Pauls have a thicker and heavier tone perfect for heavier guitar riffs, solos etc. Although he plays many guitars, he is known for his Gibson Sunburst Custom Les Paul.

Jimmy Page Custom Les Paul

When it came to amplification, Jimmy Page is widely known for using a Marshall SLP-1959 live. He also used Orange, Vox and Hiwatt as well. What he used in the studio was all circumstantial, however a good vintage Marshall stack will absolutely capture his amp tones(especially when playing live). Marshall Amps are great for that classic crunchy, dirty overdrive/distortion sound. Unlike Gilmour, Page uses his amp for his overdrive/distortion tones.

Marshall SLP-1959 100-watt Head

While Page mainly used his amps to achieve overdrive/distortion, when he wanted a little more bite for a lead part or solo he would often incorporate a fuzz or fuzz-distortion pedal. Colorsound(Sola Sound at the time) made him a custom pedal exclusively at first for him alone before they became a well sought after commodity. This pedal was the Sola Sound Tone Bender, which still available to purchase even today.

Colorsound(Sola Sound) Tone Bender

 Jimmy wasn't known for using a lot of delay in his tone, however he did incorporate delay, especially in live settings. His main echo unit was the Maestro Echoplex. The TC Flashback (mentioned in my post about David Gilmour) will achieve a similar type of delay.

Maestro Echoplex

Modulation was used used sparingly but was definitely recognizable when engaged. His main modulation effect was the MXR Phase 90 (also previously mentioned in my last post). It was heard on songs such as 'Ten Years Gone'.

MXR Script Issue Phase 90

The last effects pedal I want to mention is the MXR Blue Box. Page didn't use this very often but when he did(on songs like 'Fool In The Rain') it was very recognizable. However the block model, like most new pedals, doesn't quite sound the same. The script model is closer to the original. The sound is a mix of fuzz and octave. It is a very unique effect but can sound incredible when engaged properly.

MXR Script Blue Box

Legendary Tone: David Gilmour of Pink Floyd

Legendary Tone

David Gilmour of Pink Floyd

David Gilmour's guitar tone is the product of a very extensive and very expensive rig; and while it may seem like a nearly impossible tone to achieve, there are ways of acquiring the right gear on any budget.

The first thing to consider is guitar choice. David Gilmour is known almost exclusively as a Fender Stratocaster player. There are many types of strats out there but the main things to focus on are the pickups. These give the strat its unique tone. The Fender Custom Shop '69 and '50 pickups work best for achieving Gilmour's strat sounds. As far as the authenticity of his Stratocaster, a '57 or '57 reissue model would be ideal.

David Gilmour Fender Custom Shop Signature Stratocaster

Next is the Amplifier. Gilmour uses amplifiers that work well guitar effects pedals and have plenty of clean headroom. This means the amp doesn't break up into overdrive so easily. This is important to getting that super clean tone. Gilmour uses Hiwatt Amps because of their clean tone and spacious headroom. Fender amps work as well; Gilmour himself used Fender amps in the studio sometimes. Fender Amps such as: the Fender Twin Reverb, Fender Bassman and Fender Hot Rod DeVille work very well.

Hiwatt DG-103 Custom Amplifier Head 

Delay is essential to David's tone. Preferably, one delay for analog echo and one for a digital delay. There are a few companies who make one delay pedal that cover all your delay needs such as: the TC Electronic Flashback Delay.

Overdrive and distortion are also essential for Gilmour's rhythm/lead tones. A good transparent clean boost/overdrive unit like the Throbak Overdrive Boost will do great things to your tone. For achieving that singing lead tone heard in songs like comfortably numb a Big Muff is the best option. However, the current versions sold are not the same as Gilmour's. The best bet is buying a clone of a Violet Ram's Head Big Muff. A company called North Effects makes a great clone that can be found here. If you are looking for a more versatile set up the Fulltone OCD and ProCo RAT are excellent choices.

EHX 1972 Violet Ram's Head Big Muff

Colorsound Power Boost

Modulation is key in almost all of Gilmour's sounds. A flanger is the pedal that will give your lead tone that swirl. But only one in particular will give you the right sound: The Electro Harmonix Electric Mistress. However Hartman makes a perfect clone of this because the Electric Mistress is now discontinued. A phaser is another essential Gilmour modulation effect. The vintage MXR Phase90 and EHX Small Stone are the perfect choice for Gilmour's phase tones. And finally the Uni-Vibe is a must for achieving that mellow chorus type tone heard on Dark Side of the Moon's, 'Breathe.' A good clone of this is the Fulltone Deja-Vibe

EHX Electric Mistress

EHX Small Stone Phaser

Dunlop Uni-Vibe

Finally, a compressor, used in many genres; Gilmour uses a compressor to achieve that sparkling pristine clean tone for rhythm and to add sustain to his lead sounds. A popular choice, also used by Gilmour, is the MXR DynaComp.

MXR Script Issue DynaComp