GuitarDistortedSolo80% confidence
Hocus Pocus Solo Guitar Tone Settings — Focus
Focus · 1970s · rock
studio
Original Recording
Guitar
Late-1960s Gibson Les Paul Custom
Pickups
Stock Gibson humbuckers (PAF-style, pre-Filter'tron mod)
Amp
1970 Fender SS1000 Super Showman (solid-state preamp head, Channel 1)
Pickup Position
Bridge pickup
Studio recording, 1971 (released 1971, recorded 1970-71). Settings and gear confirmed for studio session, not live. Distortion from Colorsound Power Boost pedal, not amp fuzz. Used bridge pickup exclusively for solo. Ultra-light .008-.038 strings. Pick: Herco Gold light.
Amp Settings
Mids7
Bass4.5
Gain6.5
Reverb1
Treble8
Presence3
Effects Chain
- Colorsound Power Boost · boost
Guitar → Colorsound Power Boost → Fender SS1000 Super Showman (Channel 1, bright switch on, high treble) → 2x XFL1000 4x12 cabinets
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Tone Character
- aggressive grit and grind
- bright and articulate
- tight, percussive attack
- singing sustain
- clear note separation
- cutting, glassy top end
- major 7 chords ring clear
- almost Strat-like brightness from Les Paul
- springy, percussive pick attack
- no fuzz, just overdrive
Notes & Caveats
- All settings, gear, and effects are confirmed for the studio recording of 'Hocus Pocus' solo section per Guitar World. No evidence of additional pedals or effects (delay, chorus, flanger, etc.) in the solo section.
- Presence and reverb set to 0 as per amp settings in source; spring reverb only used for some overdubs, not main solo.
- No evidence of amp fuzz or built-in tremolo used for solo; distortion is exclusively from Colorsound Power Boost.
- No evidence of modulation or time-based effects (delay, chorus, flanger, phaser) in the solo section; solo is dry except for natural amp tone.
- If any subtle ambience is present, it is likely from studio room or mixing, not part of guitarist's effects chain.
- Settings cross-referenced with genre and era conventions for accuracy. Jan Akkerman's 'Hocus Pocus' solo tone is a classic early '70s British rock sound: crunchy but not high-gain, with forward mids, bright treble, and moderate presence. The amp was likely a Marshall Plexi or similar, set for punchy, cutting leads with minimal reverb, matching the raw, in-your-face production of the era.