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Foxey Lady — The Jimi Hendrix Experience1 / 2
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Foxey Lady Guitar Tone Settings — The Jimi Hendrix Experience

The Jimi Hendrix Experience · 1960s · rock

studio

Original Recording

Guitar
1965-66 Fender Stratocaster
Pickups
Fender single-coil pickups (stock 1960s Stratocaster)
Amp
Marshall JTM45/100 (Super 100) head with Marshall 4x12 cabinet (Celestion speakers)
Pickup Position
Bridge pickup

Studio recording, 1966-1967, Are You Experienced album. All evidence points to Hendrix using his white Stratocaster into a Marshall JTM45/100 for the main riff section. No evidence of live/tour gear or alternate guitars for this studio take.

Amp Settings

Mids
7
Bass
6.5
Gain
6.5
Reverb
0
Treble
6.5
Presence
6

Effects Chain

  • Arbiter Fuzz Face · fuzz

Fender Stratocaster → Arbiter Fuzz Face → Marshall JTM45/100 head → Marshall 4x12 cabinet

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Tone Character

  • heavily saturated fuzz
  • aggressive, biting attack
  • thick, mid-heavy sound
  • singing sustain
  • touch-sensitive dynamics
  • raw and uncompressed
  • British crunch
  • distinctive 7#9 chord voicings
  • percussive riffing
  • slightly nasal, focused upper mids

Notes & Caveats

  • ⚠️No direct numeric amp settings for Foxey Lady studio recording found; settings estimated based on typical Marshall JTM45/100 usage for Hendrix in 1966-67 and classic rock genre.
  • ⚠️No explicit mention of pickup selector in sources, but bridge pickup is strongly supported by the tone and common Hendrix practice for heavy riff sections.
  • ⚠️No evidence of reverb or time-based/modulation effects on the riff section; fuzz is clearly audible and universally cited.
  • ⚠️Pedal model inferred as Arbiter Fuzz Face based on multiple era-correct sources and Premier Guitar article.
  • ⚠️No evidence of effects loop or amp-based effects used on the Are You Experienced studio recording.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Hendrix's 'Foxey Lady' riff uses a Marshall Super Lead cranked to classic rock crunch, with strong mids and slightly boosted bass for fullness, moderate treble to avoid harshness, and no reverb (dry studio sound). These settings reflect his typical late-60s British rock tone and production.

Sources