Little Wing — The Jimi Hendrix Experience1 / 2
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Little Wing Guitar Tone Settings — The Jimi Hendrix Experience

The Jimi Hendrix Experience · 1960s · rock

studio

Original Recording

Guitar
1963/1965 Fender Stratocaster
Pickups
Fender single-coil pickups (stock 1960s Stratocaster)
Amp
Fender Vibroverb (Blackface, 2x10" combo) with Leslie Model 145 rotary speaker
Pickup Position
Neck pickup

Studio recording, 1967, Axis: Bold As Love sessions. The solo section is widely reported to use the Stratocaster into a Fender Vibroverb, with the Leslie 145 rotary speaker for the swirling effect. No evidence of Marshall amps for this solo section. No fuzz or wah used in this solo, only rotary/Leslie and amp reverb.

Amp Settings

Mids
7
Bass
6.5
Gain
4.5
Reverb
4.5
Treble
5.5
Presence
5

Effects Chain

  • Leslie Model 145 Rotary Speaker · modulation

Fender Stratocaster → Leslie Model 145 Rotary Speaker → Fender Vibroverb (with spring reverb)

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Tone Character

  • swirling, modulated lead tone
  • warm and smooth sustain
  • slightly compressed
  • touch-sensitive and dynamic
  • rounded highs, not piercing
  • clear note separation
  • mild amp breakup
  • expressive, vocal-like phrasing
  • rotary speaker shimmer
  • subtle reverb ambience

Notes & Caveats

  • ⚠️No direct numeric amp settings from Hendrix's studio session; settings estimated based on typical 1960s Fender Vibroverb use for edge-of-breakup tones and forum advice.
  • ⚠️No evidence of fuzz, wah, or other pedals in the solo section; Leslie rotary speaker is confirmed by multiple sources.
  • ⚠️Some sources mention Marshall amps in Hendrix's general rig, but for 'Little Wing' solo, Fender Vibroverb and Leslie are most consistently cited.
  • ⚠️No pedal settings for Leslie rotary speaker; effect is audible and confirmed by studio documentation.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Hendrix's 'Little Wing' solo uses a Strat into a cranked Fender or Marshall at the edge of breakup, with prominent mids, warm bass, and restrained treble for a smooth, vocal tone. The recording has moderate spring reverb for ambience, matching late-60s blues-rock production.

Sources