Fuzz distortion is a vital element to any Hendrix tone seeker. Used to add more dirt to the front of his amp Hendrix was well known for purchasing multiple Fuzz Face pedals before settling on one that he liked.
Due to the manufacturing quality of older guitar pedals, small differences resulted in different sounding pedals and it was not uncommon for Hendrix to get rid of a Fuzz Face if he didn't like the way it performed in a certain live venue. Due to its low input impedance, the Fuzz Face was very sensitive to the guitar pickup, which served Hendrix style of riding the volume control on his guitar well, as he could go from warm break up to all-out sonic chaos without having to adjust the pedal itself.
Another feature of the Fuzz Face is that it tends not to 'play nice' with other effects, particularly the wah effect. Hendrix utilised this troubled pairing to create some wild sounds in his quest for unheard sonic soundscapes. The Uni-Vibe was manufactured to recreate the sound of a rotating Leslie speaker without having to cart around the notoriously heavy unit. Unfortunately, it didn't do a very good job of recreating the sound of a Leslie, but by happy mistake became a staple for guitar players who loved the unique sound that it made.
Hendrix famously used the effect on 'Machine Gun' and although it was genuine Leslie used in the studio recording, Hendrix would often use the Uni-Vibe for live performances of the guitar classic 'Little Wing'. Dave Gilmour and Robin Trower are both known afficionados of this pedal, but Hendrix, as was so often the case in his career, is widely considered the purveyor of the effect.
A few things to note now that we've reached the end of the Hendrix gear mainstays. The first is that it's quite widely purported that a coiled cable is essential to getting the Hendrix tone.
Due to the way they're produced, coiled cables remove a lot of the higher frequencies, resulting in a reduced brightness. When you use a straight cable it will retain more of the higher frequencies so you may find that the tones don't match when trying to recreate this iconic tone.
Of course, you can nullify this effect by adjusting the EQ settings on your amp and guitar to compensate if you don't have or aren't interested in a coiled cable. The second, and most important of all is playstyle. A lot of people say that tone is in your hands and they're not wrong. Hendrix was known to practice constantly, carrying a guitar everywhere he went, to the point that he'd even show up at other people's performances with his guitar!
So if you want to play like the man himself, be prepared to put in some hours nailing his technique and unusual phrasing. There's no questioning that Hendrix is the most influential guitarist of our time. In his era nobody had really gone past guitar-cable-amplifier and although by today's standards his pedalboard would seem miniscule, at the time he was really pushing the boat out in his sonic experimentation.
Although you don't need many pedals to get the base level Hendrix tone, you will need to put in the hours if you want to play like this legend of the guitar world. Got the Blues? Read this to get the Best Guitar and Amp Combo for you.
The opening riff of Voodoo Child is one of the most popular uses of a Wah pedal in modern music. He would combine this with a Fuzz and an octave-doubling pedal alongside a Uni-Vibe, which emulates the rotating of a Leslie-type speaker.
Hendrix was also one of the first to use stereophonic phasing effects in recordings. He would perform with a row of Marshall Super Lead Watt full-stacks and was estimated to own between Marshall amplifiers. Resulting in that classic, saturated, overdriven sound. He would commonly use his thumb to fret the 6th string root note instead of bar chords, allowing him to play lines over the top of the fretted root note.
He would also use double stops and open-string voicings to create truly unique phrases. For example, the use of the chord F 7 9 heard in Foxey Lady.
Posted: 6th October Photo: GuitarAficionado. More like this Thread starter PurpleJesus Start date Jun 11, PurpleJesus Moderation is key Staff member. Messages 8, Question is in the title.
Messages 9, I believe he bought 2 of them from Mannys when he got his money from his recording contract. He used them in Europe, before coming back to USA, and liked them so much he bought 2 of the, but was his favorite. Specifically Serial Known as the Dickison Amp. He retired it from touring in 68, but used it extensively for recording. It still uses KT66s, and the same preamp. KT66 is by far my favorite tube.
Real One's. ANOS are good theough, but you really have to trust the seller. A bit harder amp. Hendrix also had Roger Mayer change the Tone Stack. But for my money if I wanted a completed amp of this type, Germino Monterey, would be my 1st stop. Dickinson who bought the amp after Jimi's death, and it was found to contain this sole modification Changed componemnts are circled the components in black.
They should be a 56k resistor bottom circle and a pf capacitor top circle. Change these out to a 33k resistor and pf capacitor respectively. If you want to be able to switch between these two tone stacks, there are diagrams that show the different ways in which you can wire up a simple switch to change between them.
Last edited: Jun 11, Incl KT66 amps. He worked for West Coast Organ Company. When Jimi retired from touring. He liked the KT66s, but could get more power ect live with the s. There were also many other mods to his USA touring amps. I cant say if his Studio amps were modded, except wsnt. Except for the Tone Stack. Heres some info from the Metro Forum, from the guy that did the mods.
The thing. Folks have been incredulous for many years about why I would remove those beautiful sounding EL34s and KT66s, and replace them with s. But I did do that, and it wasn't because we didn't have plenty of Mullard EL34s lying around.
There were essentially three reasons, reliability, loudness and tone. Well, wasn't the tone actually better with the EL34s? This is an important point, and it touches upon what Swankmotee is saying about needing the fuzz all the way up to get certain Hendrix sustaining tones.
But we'll get to that in a minute. You've all heard about class A and class AB1 and class AB2 in the output stages of these old Marshalls, and you've probably seen a million amps that could switch to a class A output stage for that wonderful smooth bluesy distortion. What you probably don't know much about is class B operation. In the radio transmitting world, class B was used extensively to get more power out of tubes, and preserve their life. It's a mode of operation where one output tube draws no current at all during the phase that the other tube is conducting in push pull operation.
This means that the tube has extra time to get rid of its heat--a whole half cycle of time where it is not dissipating heat--and the power it is able to switch when it is on goes way up. So when I installed s in Jimi's amps, I set the idle current to just 25ma per tube. What happened then was that during periods of high signal level in the amp, the output stage was operating in class B, because the idle current was already so low that the non conducting tube would immediately switch completely off until it was its turn to conduct.
Class B allowed much higher power output levels without over dissipating the tube, especially the screen grids. Class B also has its own kind of distortion, more at very low levels, called crossover distortion, and a very gnarly barking kind of distortion at high levels, ultra-masculine sounding.
When Jimi heard that in , his ears heard something he could use, and I embarked on a series of tube changes and amp mods which went on till the end of the grand experiment. So not only do s have more durability, they have a different sound to their distortion, and that sound gets even gnarlier when they are run in class B.
No grid current on the positive cycle by the way, just cutoff at the transfer. A positive grid current amp got made eventually for even more power, but I have no idea where it ended up. I used a driver tube to generate enough power to drive the output tube grids positive at the peaks. SO, if you will go to www. Remember, the Wah circuit shorts out the feedback resistor in the Fuzz and the gain goes through the roof, and it isn't pretty either.
Now, here's a quote from Jimi about the fuzz from Roger Mayer's writings, Jimi speaking of Roger: "He's made me a fantastic fuzztone.
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