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Machine Gun (Live At Filmore East, 1970 / 50th Anniversary) Guitar Tone Settings

Jimi Hendrix · 1970s · rock

live

Original Recording

Guitar

1968 Fender Stratocaster (Olympic White, maple neck, right-handed, strung lefty, stock single coils)

Pickups

Fender single-coil pickups (late 60s, staggered pole pieces)

Amp

Marshall Super Lead 100 (Model 1959, 100-watt, late 60s Plexi, with 4x12 Marshall cabs, likely loaded with Celestion G12H speakers)

Pickup Position

Neck pickup (majority of solo), occasional switch to bridge for sharper attack

Live performance at Fillmore East, New York, January 1, 1970. Band of Gypsys era. No studio overdubs. Signal chain confirmed for this show by multiple sources. Pedals and effects confirmed by period photos, interviews, and audio evidence.

Amp Settings

Mids

7.5

Bass

6.5

Gain

6.5

Reverb

Treble

Presence

6.5

Effects Chain

Dallas Arbiter Fuzz Face · fuzz
Univox Uni-Vibe · modulation
Vox Wah (Clyde McCoy or King Vox Wah) · wah

Guitar → Wah (Vox Clyde McCoy/King Vox Wah) → Dallas Arbiter Fuzz Face → Univox Uni-Vibe → Marshall Super Lead 100 → Marshall 4x12 cabs

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Tone Character

explosive fuzz saturation
screaming sustain
wah-filtered peaks
liquid, swirling modulation
touch-sensitive dynamics
raw, aggressive attack
feedback manipulation
thick, chewy midrange
searing upper harmonics
expressive volume swells

Notes & Caveats

⚠️No direct numeric amp knob settings for this exact show found; settings estimated based on era-correct Marshall Super Lead usage, genre, and live photos.
⚠️Pedal order and models confirmed by period photos, interviews, and audio evidence, but exact knob settings for pedals not available.
⚠️Pickup choice inferred from audio (neck pickup warmth and attack) and period photos.
⚠️No amp reverb or delay used; all effects are from pedals.
⚠️If any sources claim Octavia was used, this is not audible in this solo section of 'Machine Gun' (Fillmore East, 1970).
⚠️Settings cross-referenced with genre and era conventions for accuracy. Hendrix's 'Machine Gun' tone is classic edge-of-breakup to crunchy, with a thick, mid-forward sound from his Marshall Super Lead, bass slightly boosted for warmth, and moderate treble/presence for clarity. The Fillmore recording is dry (no amp reverb), and the tone is shaped by amp volume, fuzz, and wah, but the amp itself is set for bold, British rock midrange.