TonesMatch
Somewhere — Jimi Hendrix1 / 2
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Somewhere Riff Guitar Tone Settings — Jimi Hendrix

Jimi Hendrix · 1960s · rock

studio

Original Recording

Guitar
Fender Stratocaster (likely 1968 Olympic White, maple neck, stock single coils)
Pickups
Fender single-coil pickups (late 1960s spec)
Amp
Marshall Super Lead 100 (model 1959, late 1960s, with 4x12 cabs, Celestion speakers)
Pickup Position
Neck pickup

Studio recording, 1968-1969 era. Hendrix typically used his Stratocaster into a Marshall Super Lead 100 for Band of Gypsys-era tracks. No evidence of alternate guitars or amps for this riff section. No studio trickery or unusual gear reported for the riff section.

Amp Settings

Mids
7
Bass
6
Gain
6
Reverb
1.5
Treble
7
Presence
6

Effects Chain

  • Dallas-Arbiter Fuzz Face · fuzz
  • Vox Wah (Clyde McCoy or V846) · wah

Fender Stratocaster → Dallas-Arbiter Fuzz Face → Vox Wah → Marshall Super Lead 100 (no amp reverb)

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Tone Character

  • raw and unfiltered
  • British crunch
  • touch-sensitive
  • singing sustain
  • floaty and dynamic
  • slightly fuzzy edge
  • detailed response to picking
  • warm lower mids
  • articulate highs
  • responsive to guitar volume

Notes & Caveats

  • ⚠️No direct source lists exact amp knob settings for 'Somewhere' riff; values estimated based on typical Hendrix Marshall settings and era.
  • ⚠️No explicit confirmation of pickup selector position, but neck pickup is most consistent with Hendrix's rhythm tone for this era.
  • ⚠️No evidence of amp reverb or delay used on this riff section.
  • ⚠️Pedal models inferred from era and Hendrix's known studio rig; no direct studio log for this song.
  • ⚠️If new archival info emerges, settings may need revision.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The 'Somewhere' riff has a warm, dynamic edge-of-breakup tone typical of Hendrix's late '60s Strat-through-Marshall setup, with pronounced mids and a touch of reverb from the studio. The gain is set just past clean for expressive picking, with boosted mids and bass for fullness, and moderate treble/presence to avoid harshness.

Sources