GuitarDistortedRiff68% confidence
Since I've Been Loving You (Live) Guitar Tone Settings
Led Zeppelin · 1970s · blues
live
Original Recording
Guitar
Gibson Les Paul Standard (1959, sunburst, live version)
Pickups
Gibson PAF humbuckers
Amp
Marshall Super Lead 100 (Plexi, late 1960s/early 1970s, live setup)
Pickup Position
Neck pickup
Live performance, early 1970s (e.g., 1973 Madison Square Garden, The Song Remains the Same era). Jimmy Page is widely documented using his '59 Les Paul and Marshall Super Lead for live versions of 'Since I've Been Loving You.' No evidence of pedal use for distortion; amp is cranked for natural overdrive. No evidence of additional pedals or effects for the riff section in live performances.
Amp Settings
Mids7
Bass6.5
Gain6
Reverb3
Treble7
Presence6
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- British crunch
- singing sustain
- fat midrange
- warm and smooth
- touch-sensitive
- dynamic response
- open and harmonically rich
- slightly compressed
- biting upper mids
- aggressive but not harsh
Notes & Caveats
- No direct numeric amp settings for live version found; settings estimated based on typical Marshall Plexi usage for classic rock/blues in this era and forum consensus.
- No evidence of pedal use for distortion or modulation/time-based effects in the riff section of live performances; all overdrive is amp-based.
- If referencing a specific live recording, verify the year and venue as Jimmy Page occasionally used different amps/guitars for select shows, but the Les Paul + Marshall Plexi is overwhelmingly documented for this song live.
- Reverb is likely from the venue or mixing, not from a pedal or amp effect; set low to reflect typical live Marshall use.
- Settings cross-referenced with genre and era conventions for accuracy. Jimmy Page's live tone on 'Since I've Been Loving You' is classic edge-of-breakup British blues rock, using a Les Paul into a cranked Marshall with strong mids, warm bass, and moderate treble/presence for clarity. The amp is just breaking up, with some natural reverb from the room and possibly a touch of amp reverb.