TonesMatch
The Girl I Love She Got Long Black Wavy Hair (22/6/69 Pop Sundae) — Led Zeppelin1 / 2
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The Girl I Love She Got Long Black Wavy Hair (22/6/69 Pop Sundae) Guitar Tone Settings

Led Zeppelin · 1960s · rock

studio

Original Recording

Guitar
Fender Telecaster (likely 1959, 'Dragon' Telecaster)
Pickups
Single-coil (Fender Telecaster stock pickups, late 50s spec)
Amp
Marshall Super Bass 100 (model 1959, Plexi, likely modded, or Marshall Super Lead 100; see warnings)
Pickup Position
Bridge pickup

BBC live studio session, June 22, 1969. Jimmy Page was transitioning from a Supro and Fender amps to Marshall Plexi amps in 1969. For this BBC session, evidence and era suggest a Marshall Super Bass or Super Lead Plexi head. Studio, not live concert. No evidence of Les Paul on this track; Telecaster confirmed for early Zeppelin BBC sessions.

Amp Settings

Mids
7
Bass
6.5
Gain
4.5
Reverb
0
Treble
7
Presence
6

Effects Chain

  • Sola Sound Tone Bender MkIII (or Rotosound MkIII) · fuzz

Fender Telecaster → Sola Sound Tone Bender MkIII (or Rotosound MkIII) → Marshall Super Bass 100 (Plexi, no reverb)

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Tone Character

  • midrange bark
  • British crunch
  • fuzzy but articulate
  • tight, punchy attack
  • raw, biting fuzz edge
  • dynamic pick response
  • slightly compressed sustain
  • clear note separation
  • not overly saturated
  • classic, throaty midrange

Notes & Caveats

  • ⚠️No direct amp knob settings for this exact BBC session found; settings estimated based on typical Marshall Plexi usage in 1969 and Jimmy Page's known preferences.
  • ⚠️Amp model is inferred as Marshall Super Bass or Super Lead Plexi based on era and sources; some sources mention Hiwatt use in 1969, but Marshall is most likely for this session.
  • ⚠️Fuzz pedal model is inferred as Sola Sound Tone Bender MkIII or Rotosound MkIII based on Premier Guitar's analysis of the BBC Sessions and the song's midrange fuzz character.
  • ⚠️No evidence of delay, reverb, or modulation effects in the riff section; only fuzz is clearly audible.
  • ⚠️Pickup position inferred from typical Page usage and the bright, cutting tone of the riff.
  • ⚠️No evidence of effects loop or amp-based effects used.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Jimmy Page's tone on this 1969 BBC session is classic British blues-rock: edge-of-breakup to light crunch, with prominent mids and a present but not harsh top end, likely from a cranked Supro or Marshall combo. The recording is dry, with no audible reverb, and the amp settings favor midrange punch and clarity for the riff work.

Sources