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Voodoo Child (Slight Return) — The Jimi Hendrix Experience1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Voodoo Child (Slight Return) Guitar Tone Settings

The Jimi Hendrix Experience · 1960s · rock

studio

Original Recording

Guitar
1968 Fender Stratocaster (right-handed, strung left-handed, maple neck, stock single-coil pickups)
Pickups
Fender single-coil (late 1960s, stock Strat pickups)
Amp
1966 Marshall Super Lead 100 (Model 1959, 100-watt, into Marshall 4x12 cabinets with Celestion G12M speakers)
Pickup Position
Neck pickup

Studio recording, 1968, Electric Ladyland sessions. Gear confirmed by multiple sources for the studio version. No evidence of alternate guitars or amps for the riff section. Fuzz Face and Vox wah confirmed for this song and era.

Amp Settings

Mids
7
Bass
6.5
Gain
5.5
Reverb
0
Treble
7
Presence
6

Effects Chain

  • Dallas Arbiter Fuzz Face · fuzz
  • Vox Clyde McCoy Wah · wah

Guitar → Dallas Arbiter Fuzz Face → Vox Clyde McCoy Wah → Marshall Super Lead 100 → Marshall 4x12 cabinet (no amp reverb, no effects loop)

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Tone Character

  • thick and saturated fuzz
  • dynamic wah sweeps
  • fat, mid-forward sound
  • touch-sensitive and expressive
  • vocal-like filter effects
  • raw and aggressive attack
  • singing sustain
  • percussive riffing
  • classic late-60s fuzz character
  • articulate single-coil clarity

Notes & Caveats

  • ⚠️No direct studio amp knob settings found; amp settings estimated based on typical Marshall Super Lead usage for Hendrix in 1968 and genre conventions.
  • ⚠️Pedal models confirmed by multiple sources, but exact pedal settings not documented.
  • ⚠️Pickup position inferred from tone and common Hendrix practice for riff sections.
  • ⚠️No amp reverb used; all ambience is from studio room/mic, not amp or pedal.
  • ⚠️Signal chain order inferred from era-correct Hendrix setups.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Hendrix used a Marshall Super Lead cranked to edge-of-breakup with a Strat, favoring strong mids and bass for warmth and punch, moderate treble for clarity, and little to no reverb as the original recording is dry. The tone is classic British rock/blues with a forward, vocal midrange and thick low end.

Sources