Rorer714
Member
that's the pic I was thinking of w/the Black Beauty and Selmer amp. there was one for sale on Reverb a few months ago.
did jimmy page and other follw artists created that crunch sound with a marshall
- Thread starter rffefwewf
- Start date
This site may earn a commission from merchant affiliate links like Ebay, Amazon, and others.
Rorer714
Member
and a Tele. I saw an early show in '69 and he played the Tele thru Rickenbacker (solid state) amps. the BB only made an appearance during the encore. the next time thru Chicago (they did 4 US tours that year) he had the 'burst. and Marshalls.I'm pretty sure that whole first album was supro.
*edit found this:
Jimmy Page’s Gear During The Age Of Led Zeppelin
Visit GuitarInternational.com to read about Jimmy Page's gear with Led Zeppelin. Guitar International is your source for the best Guitar News online.guitarinternational.com
Last edited:
Relic61
Well-Known Member
Karl Brake
Well-Known Member
- Joined
- Mar 31, 2018
- Messages
- 378
- Reaction score
- 341
All those early Fenders and Voxes would create that can crunch sound in a small space...I heard an old Tweed do the sweetest rock tone I've ever heard. At 18 watts. They just went to Marshalls when the show's got huge and the Fenders were just not a big enough sound for 20,000 people. Then I think they discovered by probably accident the magic of a cranked JTM or whatever. The Suoerfuzzes and whatnot were all mixed in there in studios and venues too. Hell, they were experimenting!!
dro
Well-Known Member
In the studio, there's no telling. Could be using any number of things. Amps, pedals, what have you.
I also read that Page used a Supro early on & on LZ 1st LP. I didn't know it was modified.
BTW that studio pic of Page with the Selmer amps, my old bandmate in the 80's had a croc skin combo exactly like in the pic. with the gold wired grill cloth etc (& a Tele) That was an epic sounding amp / set up. Unfortunately it got stolen... Now worth a fortune.
I think another thing is in the UK, most bands didn't play to huge crowds in the very early 60's, before the big boom took off. So there was little or no demand for 100w amps & 412 stacks, which AFAIK didn't exist anyway.
All recordings from that era & even well into the mid 60's are restrained sounding, small amps played quietly. I know, Unthinkable!
& I've read stories from players that studios at the time were gear-wise very simple places, with strict rules & didn't like "noise". I guess in reality, at crowded live club gigs & an enthusiastic drummer, combos got turned up to compete but cleaner sounds seem to have been preferred.
Obv there are some blues recordings with gritty guitar sounds but I'm not very knowledgeable about them. The import of such music via merchant seamen etc certainly massively influenced the soon to come UK rock scene
I read that Beck also used the same Mayer fuzz box as Page, not surprising as they were mates. It's probably the fuzz heard on those mid 60's Yardbird records. I'll try & post the pic I have of Beck with a couple of big Vox cabs & amps so obv his gear increased in size as they played larger halls
As far as I know, the first ever recording of controlled overdriven feedback guitar sound is Jeff Beck on "Shapes of things" by the Yardbirds in '66. This predated & according to Billy Gibbons, impressed Hendrix. Beck followed this up with other, wild for it's time stuff such as Becks Bolero, which also has J Page & Keith Moon on it. All obv played quite loud! It's often said that the short lived JB Group with Rod Stewart were like the prototype hard rock band, using Marshalls etc, but by then the whole scene had exploded with Hendrix, big hall gigs, festivals & his Marshall gear (after he used big Vox stuff like Beck).
It can be argued that Django Reinhardt was the first ever recorded controlled feedback; there is a tune from the late 40's or 50's when he went electric (imagine the gear...) where he hits a note that feeds back & he just lets it happen.
Even on later recordings of the Stones etc you can hear hints of feedback but the guitarists always stop it / damp it, since it interfered with the songs & anyway studio bosses who had the final word, didn't like it. "Cut! Do it again boys..."
BTW that studio pic of Page with the Selmer amps, my old bandmate in the 80's had a croc skin combo exactly like in the pic. with the gold wired grill cloth etc (& a Tele) That was an epic sounding amp / set up. Unfortunately it got stolen... Now worth a fortune.
I think another thing is in the UK, most bands didn't play to huge crowds in the very early 60's, before the big boom took off. So there was little or no demand for 100w amps & 412 stacks, which AFAIK didn't exist anyway.
All recordings from that era & even well into the mid 60's are restrained sounding, small amps played quietly. I know, Unthinkable!
& I've read stories from players that studios at the time were gear-wise very simple places, with strict rules & didn't like "noise". I guess in reality, at crowded live club gigs & an enthusiastic drummer, combos got turned up to compete but cleaner sounds seem to have been preferred.Obv there are some blues recordings with gritty guitar sounds but I'm not very knowledgeable about them. The import of such music via merchant seamen etc certainly massively influenced the soon to come UK rock scene
I read that Beck also used the same Mayer fuzz box as Page, not surprising as they were mates. It's probably the fuzz heard on those mid 60's Yardbird records. I'll try & post the pic I have of Beck with a couple of big Vox cabs & amps so obv his gear increased in size as they played larger halls
As far as I know, the first ever recording of controlled overdriven feedback guitar sound is Jeff Beck on "Shapes of things" by the Yardbirds in '66. This predated & according to Billy Gibbons, impressed Hendrix. Beck followed this up with other, wild for it's time stuff such as Becks Bolero, which also has J Page & Keith Moon on it. All obv played quite loud! It's often said that the short lived JB Group with Rod Stewart were like the prototype hard rock band, using Marshalls etc, but by then the whole scene had exploded with Hendrix, big hall gigs, festivals & his Marshall gear (after he used big Vox stuff like Beck).
It can be argued that Django Reinhardt was the first ever recorded controlled feedback; there is a tune from the late 40's or 50's when he went electric (imagine the gear...) where he hits a note that feeds back & he just lets it happen.
Even on later recordings of the Stones etc you can hear hints of feedback but the guitarists always stop it / damp it, since it interfered with the songs & anyway studio bosses who had the final word, didn't like it. "Cut! Do it again boys..."
Last edited:
Maxbrothman
Well-Known Member
- Joined
- Jun 5, 2022
- Messages
- 1,075
- Reaction score
- 1,933
Don't you think it is THE WHO who really got the whole Marshall power stack thing going on?
It is a 1965 song.
It is a 1965 song.
Point 2 Point
Well-Known Member
Think that’s a Bassman or Tremolux?
I went off on a bit of a side-line re Beck & feedback, which wasn't actually the OP's question.
Re. The Who, good point. There's definitely some distorted power chords & licks going on there! Obv its a great song but had hadn't realised it was '65, a bit earlier than I would have thought. (I was pretty young when it came out! so didn't properly hear it until later) No idea what amps Townsend was using in 65, but maybe not Marshalls at that point? He certainly had his amp turned up!***
There are also stories about Dave Davies in the Kinks deliberately damaging his speakers to get a dirtier sound & some of his playing in their rockier songs has hard-hit chords & a punchy break up tone.
All of the Day & All of the Night has his really driving rhythm playing & sounds pretty crunchy, but again probably not Marshall? More likely Vox or Selmer etc? Actually sounds quite like an AC30 tone to me.
Both Townsend & D Davies were prototype rockers of that crunchy playing style & sound. I think you'd struggle to find anyone earlier? These two, added to Beck & Hendrix's feedback & sustain type sounds you have the basic form of all modern overdriven rock guitar sound & playing.
Looking back at it, it seems this development was very fast, going from the early 60's clean jingle jangle, thru Mid 60's The Kinks, The Who, Beck, Hendrix & late 60's US psychedelic scene & by '69 there is Led Zep. Seems like only about 4 or 5 years transformed the sound & style that became rock guitar playing.
Of course there is a massive history of electric players who influenced all the above. Cliff Gallup, Hubert Sumlin, Buddy Guy etc let alone Chet Atkins, Scotty Moore, Les Paul, right back to Charlie Christian & Django Reinhardt . The list could be very long but pretty clean rather than crunchy.
*** Edit. What do I know? seems Townsend knew Jim Marshall & got early amps from him. The early ones made in small numbers in a shed.
I also didn't realise the JTM45 heads & 412 cabs predated the combos.
Re. The Who, good point. There's definitely some distorted power chords & licks going on there! Obv its a great song but had hadn't realised it was '65, a bit earlier than I would have thought. (I was pretty young when it came out! so didn't properly hear it until later) No idea what amps Townsend was using in 65, but maybe not Marshalls at that point? He certainly had his amp turned up!***
There are also stories about Dave Davies in the Kinks deliberately damaging his speakers to get a dirtier sound & some of his playing in their rockier songs has hard-hit chords & a punchy break up tone.
All of the Day & All of the Night has his really driving rhythm playing & sounds pretty crunchy, but again probably not Marshall? More likely Vox or Selmer etc? Actually sounds quite like an AC30 tone to me.
Both Townsend & D Davies were prototype rockers of that crunchy playing style & sound. I think you'd struggle to find anyone earlier? These two, added to Beck & Hendrix's feedback & sustain type sounds you have the basic form of all modern overdriven rock guitar sound & playing.
Looking back at it, it seems this development was very fast, going from the early 60's clean jingle jangle, thru Mid 60's The Kinks, The Who, Beck, Hendrix & late 60's US psychedelic scene & by '69 there is Led Zep. Seems like only about 4 or 5 years transformed the sound & style that became rock guitar playing.
Of course there is a massive history of electric players who influenced all the above. Cliff Gallup, Hubert Sumlin, Buddy Guy etc let alone Chet Atkins, Scotty Moore, Les Paul, right back to Charlie Christian & Django Reinhardt . The list could be very long but pretty clean rather than crunchy.
*** Edit. What do I know?
seems Townsend knew Jim Marshall & got early amps from him. The early ones made in small numbers in a shed.I also didn't realise the JTM45 heads & 412 cabs predated the combos.
Last edited:
Similar threads
