![]() Actually, the song’s solo was played on a Telecaster through a Supro amp (the same setup Page played on the first album). One of the many myths about Zeppelin’s sepic “Stairway to Heaven” (from the untitled fourth album) is that Page used his doubleneck 6-12-string on it. This guitar later had a Parsons/White string-bender installed in it and is still a regular part of Page’s stage gear/ (Another twang-tool that joined Page’s collection at some point is a 1966 white Telecaster with another Parsons/White B-bender and new individual string saddles.) ![]() Page’s third Gibson Les Paul is a goldtop Standard that was repainted a reddish-purple color. ![]() These can further put each of the PAF’s coils in parallel to create the effect of four single-coil pickups.Ĭheck Out the Led Zeppelin Collection at Also, all the pots were removed and replaced with push/pull pots for coil-taps for each pickup. Two spring-loaded buttons were added by the pickguard: one puts the pickups in either series or parallel configurations, while the other offers either normal or out-of-phase sounds. Aside from new chrome-plated Grover tuners and Seymour Duncan pickups, the electronics have been radically altered to offer vast tonal possibilities. Unlike the largely orginal ’58, the ’59 has been heavily modified and even refinished. Page’s other favorite Les Paul is a ’59 Standard given to him by Joe Walsh. Other gear on Led Zeppelin II includes a Vox electric 12-string and a Vox solid-state amp. You can tell this guitar from Page’s other flametop by the tuners: at some point, the original Klusons were replaced by gold-plated Grover machines, which contrast with the chrome or nickel hardware on the rest of the guitar. Nevertheless, this is Page’s signature guitar, used on many of his greatest tracks, including early favorites “Heartbreaker” and “Whole Lotta Love.” Later, the guitar’s bridge pickup was replaced, as was the pickup cover. One irony is that even though he was one of the guitarists who started the whole flametop Les Paul craze (the other is Mayall-era Eric Clapton), his own Pauls didn’t have particularly vivid maple tops. The ’58 is a chipped road warrior that Page has employed for years. On Led Zeppelin II, Jimmy Page dramatically shifted gears and started using his ’58 Les Paul Standard and Marshall 100-watt amps, creating his trademark nasal, out-of-phase lead tone and pumped power chords. Page also plugged into a Leslie rotating speaker cabinet for the solo on “Good Times Bad Times.” Aside from Supro amps, he also used a few Rickenbacker Transonic Series 200 solid-state amps (with matching trapezoidal cabinets) on the first Led Zeppelin U.S. (Still, vintage effects authority Michael Fuller notes that the Tone-Bender is the only fuzz that could ever make a Tele sound like a Les Paul). Page says that his tone on that album also came a lot from creative mic placement, but judging from his thick, meaty sound, it’s a fair guess that he was using the neck pickup on his Tele for many of the solos – they’ve got that “woman tone” sound. In fact, the first Zep disc from 1969 showed him using a Telecaster and Supro amp, plus a Fender 800 pedal steel, the violin box, a Vox wah-wah, and a Sola-Sound Tone-Bender fuzzbox. But Jimmy Page’s early gear in Led Zeppelin was actually a continuation of his old Yardbirds setup. Think Led Zeppelin gear, and you think of Les Pauls, doublenecks, and Marshall amps. Click to Download Walking into Clarksdale from
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