Solo Tone
Red House
Jimi Hendrix
Guitarblues1960s
Original Gear
GuitarFender Stratocaster (likely 1965-1967, maple neck, stock single coils)
AmpMarshall Super Lead 100 (model 1959, Plexi, 100W, 4x12 cabinet, likely Celestion speakers)
PickupsFender single-coil pickups (stock 1960s Stratocaster)
Amp Settings
gain5.5
bass6
mid7
treble6
reverb2
presence5.5
Effects & Signal Chain
fuzzDallas-Arbiter Dallas-Arbiter Fuzz Face
wahVox Vox Wah (model unknown, likely Clyde McCoy or Thomas Organ)
delayUnknown Tape Delay (Echoplex or similar, model unknown)
Notes
Studio recording, 1966-1967. Most sources and audio evidence indicate a Stratocaster into a Marshall Super Lead 100 for the original 'Red House' studio solo. No evidence of live rig or alternate guitars for the studio take.
Tone Character(10)
warm and smooth neck pickupsinging sustaintouch-sensitive and dynamicfuzz-enhanced lead linesslight slapback delay for thicknessrich midrange presencevocal-like phrasingnot high-gain, but saturatedclassic blues lead sounddynamic response to picking
Difficulty
The solo requires advanced blues phrasing, expressive bends, dynamic use of fuzz and wah, and precise control of touch and volume for tone shaping.
Sources
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Original Gear
GuitarFender Stratocaster (likely 1965-1967, maple neck, stock single coils)
AmpMarshall Super Lead 100 (model 1959, Plexi, 100W, 4x12 cabinet, likely Celestion speakers)
PickupsFender single-coil pickups (stock 1960s Stratocaster)
Amp Settings
gain5.5
bass6
mid7
treble6
reverb2
presence5.5
Effects & Signal Chain
fuzzDallas-Arbiter Dallas-Arbiter Fuzz Face
wahVox Vox Wah (model unknown, likely Clyde McCoy or Thomas Organ)
delayUnknown Tape Delay (Echoplex or similar, model unknown)
Notes
Studio recording, 1966-1967. Most sources and audio evidence indicate a Stratocaster into a Marshall Super Lead 100 for the original 'Red House' studio solo. No evidence of live rig or alternate guitars for the studio take.
Tone Character(10)
warm and smooth neck pickupsinging sustaintouch-sensitive and dynamicfuzz-enhanced lead linesslight slapback delay for thicknessrich midrange presencevocal-like phrasingnot high-gain, but saturatedclassic blues lead sounddynamic response to picking
Difficulty
The solo requires advanced blues phrasing, expressive bends, dynamic use of fuzz and wah, and precise control of touch and volume for tone shaping.
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