did jimmy page and other follw artists created that crunch sound with a marshall

[alpha al]

Vox amps were popular studio amps in the UK, but those were tube type. The Vox amps sold in the USA by Thomas Organ Co were solid-state.

 

[alpha al]

I've read articles about players like Jimmy Page and Ritchie Blackmore using Vox amps in the studio, especially in the early years. Vox amps would have been more available in the UK at the time. Fender amps and guitars were perceived at US oriented and Epiphone was seen as a top quality brand, even more so than Gibson. Importing from the US was still a big deal back in the day. Those were long boat rides, in both directions.

These two guitarist are known for creating mystery around their gear so who really knows. With their long storied careers, I doubt they remember all the details from that far back.

Some of Page's recordings sound like they were direct into a console, especially on LZ IV. I highly doubt RB ever recorded direct.

Vox amps were popular studio amps in the UK, but those were tube type. The Vox amps sold in the USA by Thomas Organ Co were solid-state.

 

[chocol8]

Vox amps were popular studio amps in the UK, but those were tube type. The Vox amps sold in the USA by Thomas Organ Co were solid-state.

There is a music store near me that started importing Vox tube amps into the USA in 1964.

 

[Deftone]

The British players were copying earlier American music and sounds, and then evolving it. They were a little late to the scene because of a trade embargo lasting until 1960, but they were more open to black music than white American audiences of the day.

IIRC Elvis was copying "Black" Music in the '50's. Chuck Berry was also very popular in the US in the '50's. As was Ray Charles, Fats Domino, Ella Fitzgerald, Little Richard, James Brown, Billie Holliday, Aretha Franklin, Muddy Waters, etc.....

To say British "were more open to black music than white American audiences of the day" is just not true, IMHO.

LZ and the Beatles were Elvis & Chuck Berry fans. The Beatles started the "British Invasion" and then everyone was focused on bands from England, much like Nirvana started the "Grunge" scene and everyone focused on Seattle.

Seems to me that the Brits just copied Americans that were already copying earlier Americans.

 

[Georgiatec]

IIRC Elvis was copying "Black" Music in the '50's. Chuck Berry was also very popular in the US in the '50's. As was Ray Charles, Fats Domino, Ella Fitzgerald, Little Richard, James Brown, Billie Holliday, Aretha Franklin, Muddy Waters, etc.....

To say British "were more open to black music than white American audiences of the day" is just not true, IMHO.

LZ and the Beatles were Elvis & Chuck Berry fans. The Beatles started the "British Invasion" and then everyone was focused on bands from England, much like Nirvana started the "Grunge" scene and everyone focused on Seattle.

Seems to me that the Brits just copied Americans that were already copying earlier Americans.

What happened is port cities like Liverpool would be first in line when records from the US came over on ships. Most people had no idea what colour skin the artists had, they just soaked up the music like sponges, then added their own unique input to it. Elvis, Jerry Lee Lewis, Chuck Berry, Eddie Cochran, Little Richard et al were just all American Rock & Roll stars to us.
Post WW2 Britain was a pretty grim place for a long time. We got the shit bombed out of us. The US was seen as this Utopian land where everything was cool and beautiful.
Then we saw the movies with all the girls swooning over Elvis on stage and working class guys thought....that looks like a pretty good job to me.

 

[Matthews Guitars]

Going back and listening to various Zep songs, I have realized that my memory for what some songs sounded like has little to do with reality. I imagined the rhythm guitar tone to "No Quarter" to be a big fat Marshally tone but it's really just a mild fuzz tone, after listening to it again. Memory can be deceptive.

I'm still kind of mystified that so many guitarists of the late 60s had a Superlead sitting right there next to them, which when cranked is amost the rudest and yet greatest guitar tones of all time, a real sonic monument to rebellion, anger, discontent, and rejection of the values of their parent's generation, and yet they often resorted to the use of annoying, buzzy, wimpy fuzz tone pedals instead.


To me, the real sound of rock and roll rebellion has always been much better expressed with a cranked Superlead than with any kind of fuzz pedal. Particularly those fuzz pedals available in the 60s and well into the 70s.

Despite my fairly low overall playing ability, I've had the opportunity to play with a fair number of legendary amps. (Types, not specific ones owned by specific legendary players.) Of all of them, nothing else matches the EXPERIENCE of playing with a cranked original Marshall Superlead full stack, cabinets loaded with some varieties of Celestion Greenbacks.

 

[Deftone]

Then we saw the movies with all the girls swooning over Elvis on stage and working class guys thought....that looks like a pretty good job to me.

 

[tallcoolone]

I'm still kind of mystified that so many guitarists of the late 60s had a Superlead sitting right there next to them, which when cranked is amost the rudest and yet greatest guitar tones of all time, a real sonic monument to rebellion, anger, discontent, and rejection of the values of their parent's generation, and yet they often resorted to the use of annoying, buzzy, wimpy fuzz tone pedals instead.


To me, the real sound of rock and roll rebellion has always been much better expressed with a cranked Superlead than with any kind of fuzz pedal. Particularly those fuzz pedals available in the 60s and well into the 70s.

I concur!!!

 

[paul-e-mann]

Back to the OP, I have a 5E3 tweed deluxe which is very Marshally sounding crunch all on its own, and as we all know early Marshalls were based on Fenders.

 

[Maxbrothman]

Bottom right corner.

 

[Time Traveler]

This is also from Led Zeppelin II sessions

 

[Maxbrothman]

I suppose you can call that a Page Break.

He ripped off part of the grill to his Supro Coronado and is using a telecaster from the Yardbirds for the 1st LZ album.

 

[Popper]

It was much more than just Ripped grill cloth…
check out the SunDragon Amplifier, a faithful recreation of that exact modified Supro Coronado. An unbelievable killer amplifier.

 

[p3x]

The interview with him when he was 15 YO(?) talking about liking Skiffle and playing Momma Don't Want Me to Play Skiffle No More is priceless!

 

[p3x]

What I'd like to know with 100% certainty is who played the lead on Donavan's Hurdy Gurdy Man (1968). Some including Donavan say it was Jimmy Page. As he was a well known and used sessions musician at the time it makes sense.But the following quote has shown up for the last several years "Although Donovan has declared in several interviews that it was indeed Jimmy Page who played the famous guitar solo on Hurdy Gurdy Man, John Paul Jones, Clem Cattini and Jimmy Page himself have said that it was actually Alan Parker."

Song link: https://www.google.com/search?q=Hur...yAEIuAECwAEB2gEGCAEQARgU&sclient=gws-wiz-serp

As an 11 YO in 1968, wanted to duplicate that nasty guitar sound bad. Had a '69 Les Paul Deluxe and an Ampeg Reverb Rocket so it was a no go. A friend suggested to punch holes in the speakers to "get a fuzz tone." Glad I did not do it.

 

[79 2203]

Going back and listening to various Zep songs, I have realized that my memory for what some songs sounded like has little to do with reality. I imagined the rhythm guitar tone to "No Quarter" to be a big fat Marshally tone but it's really just a mild fuzz tone, after listening to it again. Memory can be deceptive.

I'm still kind of mystified that so many guitarists of the late 60s had a Superlead sitting right there next to them, which when cranked is amost the rudest and yet greatest guitar tones of all time, a real sonic monument to rebellion, anger, discontent, and rejection of the values of their parent's generation, and yet they often resorted to the use of annoying, buzzy, wimpy fuzz tone pedals instead.


To me, the real sound of rock and roll rebellion has always been much better expressed with a cranked Superlead than with any kind of fuzz pedal. Particularly those fuzz pedals available in the 60s and well into the 70s.

Despite my fairly low overall playing ability, I've had the opportunity to play with a fair number of legendary amps. (Types, not specific ones owned by specific legendary players.) Of all of them, nothing else matches the EXPERIENCE of playing with a cranked original Marshall Superlead full stack, cabinets loaded with some varieties of Celestion Greenbacks.

Totally agree. For me, the true Marshall crunch came into being when bands started turning up their Marshalls to get natural overdrive. That’s when the overdriven power chord became the sound of rock, and for me it started in the very late 60’s when bands like Cream, Deep Purple, Free, Humble Pie etc ditched the combos and fuzz and started cranking JTM and JMP stacks.
Thats why the best Marshall crunch tones are usually found on live recordings rather than those influenced by the studio and producer. IMO the first band to nail the Marshall crunch in the studio was ACDC. From their very early recordings their guitar sound was what I hear when I play my vintage Marshall halfstacks.

 

[Beryllium-9]

IIRC Elvis was copying "Black" Music in the '50's. Chuck Berry was also very popular in the US in the '50's. As was Ray Charles, Fats Domino, Ella Fitzgerald, Little Richard, James Brown, Billie Holliday, Aretha Franklin, Muddy Waters, etc.....

To say British "were more open to black music than white American audiences of the day" is just not true, IMHO.

LZ and the Beatles were Elvis & Chuck Berry fans. The Beatles started the "British Invasion" and then everyone was focused on bands from England, much like Nirvana started the "Grunge" scene and everyone focused on Seattle.

Seems to me that the Brits just copied Americans that were already copying earlier Americans.

I totally agree here! Chuck Berry was the man and he loved his Marshalls! You can spot his small box heads on the ground at around the 10 minute mark.. Hard to make out the cab but it seems to be a 412. CB started it all. He had a raw talent that came so easy for him. Something that JP could only dream of so it's no wonder that he looked to him. Jeff Beck was also a huge fan.

 

[Graham G]

I saw him playing in the Scala Ballroom(Runcorn) in about' 63 with Mike Berry & the Outlaws, he was using an AC30 the one with a white top boost in the rear panel & a 335, he was fairly amazing, of course i didn't know it was him at the time, i read about it a couple of years later.
in the UK then American Amps weren't really available so the AC30 didn't really have much competition pretty much everyone who could afford one used them.
Just while i'm reminiscing an AC30 was about £130/140 retail the same price as a Les Paul standard & a Strat was £147 happy days.

 

[Relic61]

As an 11 YO in 1968, wanted to duplicate that nasty guitar sound bad. Had a '69 Les Paul Deluxe and an Ampeg Reverb Rocket so it was a no go. A friend suggested to punch holes in the speakers to "get a fuzz tone." Glad I did not do it.

Hey, it worked for Norman Greenbaum.

OK, that's been argued. but it does serve as a point to ponder none the less.
C'mon now, Stab that fvck'n speaker boyee! Now yer making some hotdam creative music baby! Yeeah!

 

[p3x]

Seems the same as back in the day, you had a Chevy Vega with the lame 4 Cyl. engine and punch holes in the moffler to make it sound mean!