Jimmy Page Plexi Input.

Discussion in 'Marshall Amps' started by Mark Collier, Nov 12, 2020.

  1. Mark Collier

    Mark Collier Active Member

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    Really?

    I think his tones are awesome for almost all of the songs. Given they fit in the mix so well with two other soloists hammering away...Not to mention the wide range of the singer...
     
  2. Troy T. Blues

    Troy T. Blues Well-Known Member

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    See my above post. That IS tone. :) To each his own.
     
  3. Matthews Guitars

    Matthews Guitars Well-Known Member

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    Matters of personal taste. I'd never say a single bad word about Jimmy Page but both his playing and his tone have never had any appeal for me. I prefer a warmer, fatter tone, and his playing is choppy and angular, so to speak, when I prefer a more fluid and smoother approach.
     
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  4. anitoli

    anitoli Well-Known Member Gold Supporting Member

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    I think many are overlooking something, Page's tone is identical to VH's on VH1. It's thin, nasally, wimpy, trebley, and by itself sounds like ass, but when applied to the mix it jumps right out therefor i think his tone is awesome.
     
  5. DaDoc

    DaDoc Well-Known Member

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    I use a Y cable as well. I try to use a lot of Eric Johnson's tone tricks with my setup..And I really dig the current tone I get with my rig.

    Of course I can't PLAY like Eric, but I've always loved the tones he gets with his setup..:D
     
  6. 2203xman

    2203xman Well-Known Member

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    I think page is a super human player.His playing never sounded sloppy to me.He had the groove.There are a few tunes that I think have very decent recorded tone.But to me there are many songs with a thin recorded tone.Houses ofthe holy comes to mind.
     
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  7. playloud

    playloud Well-Known Member

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    Wasn't at least one of Jimmy Page's main amps a Super Bass? Jumpering wouldn't have made as much difference in that case (assuming it wasn't modded to split cathode).

    [​IMG]
     
  8. matttornado

    matttornado Well-Known Member

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    pretty much the same rig but Eddie pushed his amps harder.
     
  9. Chris-in-LA

    Chris-in-LA Well-Known Member

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    Thin and nasally? Back in the 60’s and 70’s, guitar players all stayed in their own space so to speak. Nobody was detuning or playing chugga chugga rhythm. The bass player and drummer held down the bottom end. Zep was one of the heaviest sounding bands of their time thanks to their rhythm section.
     
  10. Marcomel79

    Marcomel79 Well-Known Member

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    This^^^
     
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  11. Classicplayer

    Classicplayer Active Member

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    Page grew up in the Skiffle, early R&R days when guitars were rather twangy and thin. When he went from Tele' to the Les Paul and bigger amps, he still sounded a bit thin, ,albeit much more girth and volume. During the 1990's Plant & Page decade, he sounded much more full and that to me, may be attributed in part to better live recording and mic'd P.A. systems; even though he was not plugged into huge multi-speaker rigs.

    Classicplayer
     
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  12. scozz

    scozz Well-Known Member Gold Supporting Member

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    I agree,…
     
  13. scozz

    scozz Well-Known Member Gold Supporting Member

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    Yeah, my feelings precisely Matthews,…
     
  14. DaDoc

    DaDoc Well-Known Member

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    I've read internet pundits talking about Pagey's "sloppy playing" for years now..I say BULLSHIT.

    Jimmy led the way for a lot of players that came later on, including guys like Van Halen..He's one of my top five guitar heros.

    I can remember when a lot of people said Led Zepplin was "just too heavy for the average listener". But I've never been average! :lol:

    His playing is blues-based, rather than a lot of the speed and classical-style technique that a lot of the later shedders gravitated toward..I prefer to listen to (and play) the bluesy stuff myself.
     
  15. sgmarshall

    sgmarshall Member

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    the series/parallel switching wasn't added until around 1980, all is great TSRTS HTTWW tones were pretty much stock wiring, though he did have some pickups rewound.
     
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  16. jeffb

    jeffb Well-Known Member

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    ^ yep.

    PAFs in #1 until somewhere in Australia 72(73?) when the bridge died and he replaced it with a late Pat#/Early T top (chrome cover). Stayed that way until the 80s when he got the Duncans and rewired.

    #2 got the rewiring too, I believe. if so, I'm guessing PAFs would have been replaced with Duncans to accommodate the switching too.

    He had two #3s which confused the hell out of many of us for a long time- both Goldtops re-finished in red- one has wide binding in the cutout and small headstock (so a late 60s model) one has narrow binding (late 50s). One or possibly both of those got the Duncan rewinds in the 70s when Seymour was working in London for Fender Soundhouse.
     
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  17. Silverdome

    Silverdome Well-Known Member

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    Agree 100% with your first sentence. Never really seen his tone criticized before and have to say I appreciate this stuff is subjective but to my ears he has incredible tone. I was listening to the Live Yardbirds album with Dazed and Confused recently and just amazed how good he sounds. Same thing when the BBC recordings came out and later when the live DVD set came out with that black and white danish footage.
     
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  18. GregM

    GregM Well-Known Member

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    His tone is all in the Danelectro he used on Kashmir!
     
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  19. scozz

    scozz Well-Known Member Gold Supporting Member

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    Yeah I agree with all of this, especially the Blues style of Page part, seems most all of the 60s British bands guitarists were heavily influenced by Ole Time American Blues guitarist from the 20s, 30s, and 40s.

    Those 1970s guitarists are the guys that influenced me as I was a teenager in the early to mid 70s. All my influences were/are Blues based players, Clapton, Hendrix, Beck, Gilmour, Leslie West, Frampton, Mark Farner, Santana, Blackmore etc.

    I find these kind of guitarists much more interesting and inspiring than the guys that play a bajillion notes a second.

    It’s the feel in the playing for me, a purposefulness, emphasis, with small inflections, bends, and strategic pauses make for great solos and fills in my book.

    I know that’s not for everyone, it’s just my approach to electric guitar. :D
     
  20. Derrick111

    Derrick111 Well-Known Member

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    I read the 1st page of this thread then quit. What many people don't realize is that Page's sound is not that hard to get, and his gear is not modified significantly. The important key here is that he actually didn't like a lot of tube/speaker breakup (or gain?) and has said to, as a result, run his superleads on "7" with KT-88s (which have less breakup than the standard EL-34s. Sure, his #1 Superlead shows later additions of line out and effects loop for his exhoplex and other effects, but that can be ignored. I have a Superlead 10 numbers away from his #1 that is stock, and it is pretty easy to get Page tones with similar pickups and speakers (and playing ;) ).

    Note how heavy the Immigrant Song is, yet how super low gain the guitar sound is. This is a great clue to Page's sound. I also agree that jumpering ch 1 and ch 2 of a Superlead can be very muffled and tubby sounding. In addition, I agree that some of Page's studio tones were a bit bland (others very good), but live his tone tended to sound very, very good! I always attribute this to his preference to use small combos... While this can certainly sound good, we can tell in this context very often when he using something like a Fender instead of a Marshall. I like his Hiwatt and his Arbiter 100 sound too. I feel 100w just really works for that player/music.
     
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