Min App Version 1.5

In case you missed it, back in 2020, Jimmy Page went on record and described his setup for recording one of the most classic riffs of all time, “Whole Lotta Love.”¹ Page spoke of taking advantage of an abandoned Vox Super Beatle head, plugged into one of his Rickenbacker Transatlantic cabinets. He doesn’t mention the specifics of either model, but it narrows things down. There was also a recent illustrated book which corroborates this statement, where we do in fact see Page in the studio with a Vox head sitting on top of a Transatlantic cabinet.² Additionally, there is also some footage of Page describing the Tone Bender fuzz effect as having a massive influence on this recording.³

Combining the VG 302E Amplifier with the VG 4x12B 100W ’73 Cabinet, and adding the FZ101B Fuzz for just a little flavor, we were able to unlock that unmistakable zipper-like fuzz that Page achieved. We voiced the cabinet to capture more of the room, and added an alternate option for those looking to blend in some studio reverb. We think you’re really going to dig the results. Here’s a quick demo!

But things wouldn’t be complete without talking a little about how that riff was played. There’s a real groove to how Page strums, almost to the point of imperfection, all to maintain a loose feel. Here’s what the main riff looks like on paper, with the additional variation during the intro (it’s really fun to play).

There are a few things to take note of:

We’ve highlighted the strumming pattern to help inform how we think this riff was played. Page’s hand was essentially constantly strumming back and forth in rhythm, never stopping. This back and forth rhythm helps accent down strokes, as well as provides a deep, infectious groove. The track really swings.

Also note that Page bends B-notes (E-string, 7th fret) up on down-strokes. He pulls into the D-note (A-string, 5th fret), which creates a much more interesting feel than if we just play a straight B-note. It has a stronger push-pull rhythm.

Lastly, there is a harmonic that accompanies the D-note by letting your index finger connect with the D-string on the 5th fret. It’s further accentuated by playing this with an up-stroke. Since the harmonic is hit first with the pick, it’s very present in the mix.

Lotta Love

This is the core tone. A slight fuzz, more ambience, and the combination of a Vox amp with Celestion speakers. It’s unmistakable. To our ears, it’s a zipper-effect. The way the fuzz makes the guitar sound like a zipper is being pulled up, or down. So pull away!

• VG302E Amplifier
• FZ101B Fuzz
• VG 4x12B 100W ’73 Cabinet

Lotta Lead

Though potentially not accurate, we threw in an extra preset for lead that we used on the sample recording you hear. It’s a fun combination of an older fuzz with traditional Vox speakers. It certainly cuts through the mix. Enjoy!

• FZ100A Fuzz
• VG 2x12C 30W ’67 Cabinet

And there you have it. One of the heaviest riffs ever recorded, right underneath your fingertips. Add some fuzz for a zipper-effect, get your picking hand into a steady groove, and hit those bends and harmonics to help this riff swagger. This song is a testament to artists who look for new sounds both with the equipment they use, but also on the fret board as well. Despite having just twelve notes, phrasing and articulation can be infinitely variable. Along with AmpStamp, the power is yours. Go forth and rock!

¹ Astley-Brown, Michael & Bird, Chris. “Jimmy Page reveals the amp he really used to record Whole Lotta Love” Guitar World, Future plc, 6th November 2020, https://www.guitarworld.com/news/jimmy-page-reveals-the-amp-he-really-used-to-record-whole-lotta-love/.

² Page, Jimmy. Jimmy Page: The Anthology, Genesis Publications, 2020, p. 136.

³ Page, Jimmy, performer. It Might Get Loud. Sony Pictures Classics, 2008.

Recording electric guitar on this record was so complicated, producer Butch Vig has been quoted saying they needed a visual guitar map to keep track of all the different parts Corgan was dreaming up.¹ Despite the layering needed to get closest to this tone, one thing is true, a heavy fuzz is a must. And AmpStamp delivers this in spades with the FZ104A Fuzz.

Also, after doing extensive tone tests, our ears have selected the VG302E Amplifier. Although this goes against most interviews, Vig has briefly mentioned his affinity for AC30s in the past², and it seems possible that these combos could have been run into typical 4x12s that would be used with traditional Marshall heads. We’re also blending old and new cabs to bring out the best of both worlds. Check it out!

Cherub

Packed with a heavy fuzz, this tone is perfect for alternative rock à la 1991. Stack up separate left and right takes for an amazing stereo image. Ideally suited for a humbucker in the bridge position to help cut through the mud, anything will do really. And if you’re stuck with noisy single coils, engage the Squelch gate.

Cherub Lead

Changing Color for a darker tone and engaging the FL100 Flanger, new you can recreate blistering leads from this classic album. And when you reach post-production you can flip the Matrix switch and manually control the flange, just like the record. It doesn’t get much better.

• VG302E Amplifier
• FZ104A Fuzz
• VG 4x12B 260W ’82 Cabinet
• VG 4x12B 100W ’73 Cabinet

¹ Harris, Sophie. “Smashing Pumpkins’ ‘Siamese Dream’: 10 Things You Didn’t Know.” Rolling Stone, Penske Business Media, LLC, 27th July 2018, https://www.rollingstone.com/feature/smashing-pumpkins-siamese-dream-10-things-you-didnt-know-699361/.

² Robson, Paul. “Butch Vig shares the guitar recording secrets of Nirvana, The Smashing Pumpkins, Foo Fighters and more.” Guitar.com, BandLab Technologies, 20th December 2020, https://guitar.com/features/interviews/butch-vig-guitar-recording-secrets-nirvana-the-smashing-pumpkins-foo-fighters/.

The greatest American band? Possibly. Their albums from the early to mid seventies defined a new kind of rock n’ roll. Sprung from the demise of huge acts like Led Zeppelin and Cream, armed with only a few guitars and a couple of Marshalls, Aerosmith took on the rock elite.

Not to mention Joe Perry, one of the few guitarists who took the time to tame single coil pickups into a noiseless power house of bite and snarl.¹ It’s one of the key aspects of Aerosmith’s sound during this period. But don’t fret, we’ve got you covered if you’re using a humbucker, just engage the EQ100 Treble Booster and that should put you closer to single coil territory.

Ma Kin

Pure tone. Prior to the band’s introduction to other amplification, we believe Joe Perry’s core sound on the first record relied solely on the 402C Amplifier and a blend of the 4x12B 100W ’73 Cabinet and 4x12A 100W ’67 Cabinet, both available at the time of recording, providing a solid combination of old and new.

• VG402C Amplifier
• 4x12A 100W ’67 Cabinet
• 4x12B 100W ’73 Cabinet

Somebody

You’re not going to believe your ears, but check it out. Put on the record too and compare, you can’t miss this sleazy tone. We stumbled on this while dialing in the FZ101B Fuzz–a favorite of Perry’s due to his appreciation of Jeff Beck–and noticed that we were still missing some really deep EQ cuts. Despite the PH102B Phaser not coming out until 1973, the notches line up and the sound is unmistakable. Whether it was the console at Intermedia Sound Studios² or an early release of this now legendary dual phaser, you can still rock out like the boys from Boston did on their first record!

• FZ102B Fuzz
• PH102B Phaser

¹ Rosen, Steven. “The Joe Perry Interview.” Guitar Player, 1979

² Turner, Mark. Intermedia Sound Studios. Music Museum of New England, 2017, https://www.mmone.org/intermedia-sound-studios/. Accessed 1 May 2021.