• 1959 Gibson Les Paul Standard (No. 1)

• Purchased from Joe Walsh in April 1969 for £500.
• Used on-stage since April 1969 (Fillmore shows) and in-studio from Led Zeppelin II on
• Might be a 1958 model, but the jackplate and the white PAFs point to it being a 1959 model
• Specs:
  

  Body: Single sharp cutaway Mahogany, bound carved maple top
  Finish: Cherry Sunburst
  Neck: Mahogany w/ rosewood fingerboard and pearl trapezoid inlays, shaved to an eliptical profile (prior to JP’s ownership)
  Frets: 22
  Headstock: Blackface w/ holly veneer/pearl logo inlay
  Tuners: Gold Grovers (installed on Aug. 9, 1969)
  Hardware: Nickel
  Pickups: 2 covered humbucker PAF, original bridge PAF changed, firstly to a T-top, then later to a custom wound Duncan, and has been covered/uncovered at various times
  Controls: 2 volume/2 tone, Pull-pot switching,although there is heavy debate as to whether the pull pot on #1 is really for coil split (as on the signature model) or for phase switching & 3-position switch

• 1959 Gibson Les Paul Standard (No. 2)

• Purchased/received in late 1973, however did not make it to the stage until Jan. 1975
• Serial number is 91703.
• Features a pair of spring-loaded buttons under the scratch plate offering new pickup configurations. One of the buttons puts the pickup into series or parallel and the other offers regular or out-of-phase tones. Installed in 1980.[photo]
• Specs:
  

  Body: Single sharp cutaway Mahogany, bound carved maple top
  Neck: Mahogany w/ rosewood fingerboard and pearl trapezoid inlays, shaved to replicate the profile of No. 1
  Finish: Cherry Sunburst
  Frets: 22
  Headstock: Blackface w/ holly veneer/pearl logo inlay
  Tuners: Nickel Grovers
  Hardware: Nickel
  Pickups: 2 Double-white covered PAF humbuckers, pickup covers on-again/off-again over the years, usually (but not always)in opposition to No. 1
  Controls: 2 volume/2 tone, 3-position switch

• Gibson EDS-1275 Doubleneck

• Used on-stage from March 1971 to the present.
• Serial number is 911117.
• Specs:
  

  Body: Mahogany
  Finish: Heritage cherry
  Neck: Maple
  Fingerboard: Rosewood with trapezoid inlays
  Frets: 21
  Bridge: Tune-o-matic
  Tuners: Kluson tulip-style
  Pickups: Two 490R Alnico magnet humbuckers and two 490T Alnico magnet humbuckers
  Controls: 2 Volume/2 Tone, Two three-position toggle switches (One for pickup selection for the necks, located on lower horn and one as a neck selector [upper, lower, or both], located between bridges)

• 1969 “Custom” Gibson Les Paul Deluxe

• Used on-stage from Aug. 1970 to the present.
• May have been used as a backup replacement for the stolen Gibson Les Paul Custom Black Beauty
• A Parsons/White B-Bender was added post-Zeppelin and Jimmy thought it ruined the tone because of all the wood that was removed
• Specs:
  

  Body: Single sharp cutaway solid mahogany, bound carved maple top, routed for mini humbuckers
  Finish: Cherry red(custom color)
  Neck: Mahogany
  Fingerboard: Rosewood w/ pearl trapezoid inlay
  Frets: 22
  Headstock: Blackface with pearl logo inlay
  Tuners: Grover Imperials, later Grover Rotomatics
  Hardware: Nickel
  Pickguard: Raised cream acrylic
  Pickups: 2 Seymour Duncans
  Controls: 2 volume/2 tone controls, 3-position switch

• 1953 Fender Telecaster

• It was purchased for Jimmy Page in Nov. 1975 and it is not the body from the Dragon Tele
• Used on-stage since Apr. 1977 for Ten Years Gone and Hot Dog.
• Originally had a maple neck on the 1977 tour and by Knebworth it had the rosewood neck from the Dragon Tele.

• 1964 Fender Stratocaster

• Used on-stage for Over The Hills And Far Away on some dates at Earls Court and In The Evening at Knebworth and the 1980 European Tour.
• Purchased in April 1975
• Specs:
  

  Body: Asymmetrical double-cutaway ash body, contoured back and lower bass bout
  Finish: Lake Placid Blue (metallic)
  Fretboard: Brazilian rosewood with clay dots
  Frets: 22
  Tuners: Single-line Kluson
  Pickups: 3- L-Series 3 single-coil pickups
  Controls: 1 Volume/2 tone controls, 3-position switch

• 1957 Fender Stratocaster

• Seen at Sol Studios
• Used in a jam at a Bad Company concert on May 23, 1976

• Fender Stratocaster

• Was used to record Thank You.
• Was recently returned to Jimmy Page from John Paul Jones

• 1966 Fender Telecaster

• Used on-stage on All My Love on the 1980 European Tour
• Specs:
  

  Body: Single-cutaway slab ash with Olympic White finish
  Neck: One-piece, rounded “U” shape maple neck and fingerboard
  Frets: 21
  Bridge: Three paired brass adjustable bridge saddles
  Pickguard: Blond
  Pickups: Flat pole in bridge position / chrome-covered at neck position
  Controls: Two chrome knobs (volume and “blend”) / three-position toggle switch

• 1977 Gibson RD Artist

• Used on-stage on Misty Mountain Hop at Knebworth in Aug. 1979
• Specs:
  

  Body: Single cutaway asymmetrical hourglass style maple
  Finish: Natural
  Neck: Maple
  Fingerboard: Ebony with block inlay
  Frets: 22
  Headstock: Multibound with pearl stylized f-hole/logo inlay
  Hardware: Gold
  Pickups: 2 Covered Humbuckers
  Controls: Active 2 volume/2 tone, mini switch

• 1965 Fender XII

• Used in-studio on Thank You and Stairway To Heaven
• Specs:
  

  Body: Solid, 3-piece alder
  Finish: Sunburst
  Neck: One piece maple, bolt-on
  Fingerboard: Brazilian rosewood, pearloid dot markers
  Frets: 21
  Bridge: Leo Fender bridge design with an individual saddle for each string, allowing for precise intonation
  Tuners: Chrome, enclosed Fender
  Pickups: Two Fender split-coil
  Controls: Volume/Tone, 4-way rotary selector

• Gibson ES5 Switchmaster Hollowbody

• Seen at Manticore Studios in Jan. 1977
• Used in Death Wish II soundtrack in 1982

• Gibson J-200

• Borrowed from Big Jim Sullivan
• Used in-studio on Led Zeppelin
• Used on White Summer/Black Mountain Side on the Julie Felix Show Apr. 26, 1970
• Specs:
  

  Body: Spruce top, figured maple back, sides and neck
  Finish: Vintage Sunburst
  Frets: 14/20 fret bound rosewood fingerboard with pearl crown inlay
  Bridge: Rosewood “closed” moustache with pearl block inlays, black pearl dot pins; Tune-o-matic adjustable metal bridge
  Headstock: Bound with pearl plant/logo inlay
  Pickguard: Black with engraved floral pattern
  Tuners: Three-per-side gold Grover with pearl buttons

• Harmony Sovereign H-1260

• Used in-studio on Led Zeppelin III and Untitled and on-stage from Mar. 5, 1971 to June 28, 1972

• Giannini GWSCRA12-P Craviola

• Seen on-stage from Sept. 24, 1971 to June 1972
• Used for Tangerine
• Specs:
  

  Body: Sitka Spruce top and Rosewood sides and back
  Fingerboard: Ebony with Herringbone inlay dots
  Frets: 21
  Headstock: Rosewood
  Tuners: Gold-plated

• 1971 Martin D28

• Used in-studio and on-stage from June 28, 1970 to the present.
• 2 of them were seen at the Oakland, CA shows in Jul. 1977
• Specs:
  

  Body: Sitka Spruce top and E. Indian Rosewood sides and back
  Fingerboard: Ebony with Herringbone inlay dots
  Frets: 20
  Headstock: E. Indian Rosewood / Raised Gold Foil Logo
  Tuners: Gotoh Chrome w/ Large Knobs

• Eko Ranger 12

• Seen on-stage in the 1972 Australia tour.
• Specs: Bridge: Adjustable rosewood
  Fingerboard: Pearl block inlays
  Frets: 21
  Pickguard: Florentine
  Neck: Removeable, Double T-bar reinforcement with adjustable rod

• 1962 Gibson Everly Brothers Acoustic Guitar

• Given as a gift by Ron Wood in 1974
• Was not used in-studio or on-stage
• Specs:

Body: spruce top and maple back/sides
Finish: Black
Neck: Mahogany with Pearl star inlays on a rosewood fingerboard
Pickguard: Dual extended tortoise

• 1956 Gretsch Chet Atkins Model 6120 Archtop

• Specs:

Body: Single cutaway 16″ x 2.75″ maple body with f-holes with black and white binding
Finish: Gretsch orange paint
Neck: Rosewood fretboard with “Neo-Classic” half-moon markers; “zero” fret
Nut: Bone nut
Bridge: Nickel-plated ‘V’-shaped Bigsby B-6 tailpiece with pivoting arm vibrola and compensated aluminum Bigsby bridge
Tuners: Grover StaTite
Pickguard: Gold, with Gretsch and Chet Atkins signpost in black
Pickups: Two Filter’Tron pickups
Controls: volume control for each pickup, master volume, tone and pickup-selector switch

• 1920 Gibson A2 Mandolin

• Used onstage from April 1977 to July 1977 for The Battle Of Evermore
• Specs:
  

  Body: Carved spruce top, birch sides and carved back
  Finish: Sheraton Brown
  Neck: 3-piece mahogany / walnut joins body at 10th fret
  Fingerboard: Rosewood with pearl dot inlays
  Frets: 20
  Headstock: Paddle-shaped peghead has “The Gibson” logo inlaid in pearl
  Bridge: Ebony
  Tuners: Open-gear 4-in-a-line with oval ivoroid buttons
  Pickguard: Tortoise (removed)

• Alembic Series I Bass

• Used in-studio

• Fender Precision Bass

• Used in-studio

• Vega 5-String Banjo

• Owned by John Paul Jones
• Used in-studio on Gallows Pole

• Fender 10-String 800 Pedal Steel

• Used in-studio on Your Time Is Gonna Come and Tangerine

Amplification

• Supro 1690T Coronado

• Jimmy’s in-studio “secret weapon”. Used on the first album and randomly with other studio albums
• Modified with an on/off switch for tremolo, boosting gain
• Features 1×12″ speaker, modified from the original 2×10″ configuration

• 1965 Fender Super Reverb
• Specs:
  

  Output: 40 watts
  Speakers: 2×10″ Fender
  Tubes: 6L6 and 12AX7
  Effects: Reverb, Tremolo
  Inputs: 4
  Footswitch: On/Off for effects
  Covering: Black tolex with silver grille-cloth

• 1967 Arbiter “Power One Hundred”
• Seen on-stage in May 1969
• Specs:

Output: 100 watts
Inputs: 4
Controls: Individual volume for each channel, Bass, Treble, Master Volume
Switches: Standby, Mains

• 1966 Hiwatt DR508
• Specs:
  

  Watts: 100
  Inputs: 4
  Controls: Individual volume, treble and bass for each channel
  Outputs: 2
  Switches:Power (in front), Voltage, Impedance (in back)

• Hiwatt Custom 100 “Jimmy Page”

• Used on-stage from Aug. 1969 through Dec. 1971
• Inputs: 2
  Controls: Input Volume, Balance, Bass, Treble, Middle, Presence, Master Volume
  Switches: Standby, Mains
  Special Jacks: XLR for footswitch or line out

• Vox UL-4120

• Seen on-stage from April 1968
• Seen in-studio at Olympic Studios in June 1969
• Specs:
  

  Watts: 120
  Inputs: 4
  Controls: Volume, Treble, Middle, Bass, Speed, Depth, Reverb Length
  Switches: Top Boost
  Tone: Germanium Fuzz

• Univox UX-1501

• Used on the Summer US 1972 Tour
• Specs:
  

  Watts: 140
  Inputs: 2 Guitar, 2 Bass, 2 Mixer
  Controls: 2 Volume and Gain, Bass, Middle, Treble, Presence
  Switches: Power, Standby and Hi-Boost
  Outputs: 4 Speaker

• Univox UX-1516

• 6×12 speaker cabinets, loaded with Celestion speakers

• Orange OR200

• Used on-stage from Aug. 7, 1971 through the 1973 US Tour
• Used with the theremin
• Specs:
  

  Watts: 200
  Inputs: 2
  Controls: Depth, Range, Bass, Treble, Boost, Volume (on front), Voltage, Impedance (on back)
  Switches: Power
  Outputs: 2 Speaker, Send/Return Loop for Echo
  Tubes: 4 KT88

• Marshall 1959SLP Super Lead

• Seen on-stage from Mar. 1969 to Aug. 1969 and randomly through 1972
• Specs:
  

  Watts: 100
  Inputs: 4
  Controls: 2 Volume, Bass, Middle, Treble, Presence
  Switches: Power, Standby and Polarity
  Outputs: 4

• Marshall PA Cabinets

• Seen on-stage from 1970 thru 1972
• Used by Jimmy for guitars and used by John Paul for keyboards

Effects

• Univox UD-50 Uni-Drive

• Used on-stage in some dates on the Return To The Clubs 1971 tour
• Used to drive the treble end of the Marshall amps to the original Metal crunch

• Maestro Echoplex EP-3

• Jimmy’s exclusive onstage echo machine
• Modified by Pete Cornish in 1993

• Maestro Echoplex EP-2

• Used on-stage from Jan. 1970 to Jun. 1972

• Vox CO2 “Long Tom” Echo

• Used on-stage from Apr. 1970 through Sept. 1970
• Had preset echo rates, Page turned unit on/off with footswitch

• Binson Echorec 2

• Seen on-stage in May 1971. Engineer Andy Johns said that the Echorec 2 was used in recording the drum sound on When The Levee Breaks.
• Produced in Milan, Italy, the Binsons had its peak in the 1960s. They were unique in their construction, utilizing a specially designed steel/alloy disc or drum, which carried a durable flat metal ‘tape’. The drum was driven by a powerful AC motor, in most cases, via a rubber jockey wheel, which kept the transport very stable. Record and playback heads were arranged around the drum periphery. The Echorec 2 was manufactured by Binson between 1961 and 1979.
• The Binson houses 6 12AX7 tubes. On the right side panel, there are jacks for three inputs and three outputs. On the left side panel, there’s a volt selector, input jack for the on/off footpedal switcher and a power outlet. The front panel has 6 control knobs, a 3-button channel selector and a level indicator.
• Specs:
  

  Input Control: Controls the input from the instrument to the delay path. It is possible to overdrive the input tube to achieve an overdrive effect, which then can be controlled by a volume pedal to keep it manageable to the amplifier. There are also internal trimmer controls to further adjust the sensitivity of the input.
  Length of Swell: Controls the feedback/number of repeats.
  Volume: Controls the delay volume based on the Input Control setting.
  Bass/Treble: An Equalizer colouring the delay signal. The effect is very subtle changing from darker to brighter.
  Selector: The selector has three modes.

  Echo – classic 50′s slap back delay
  Repeat – standard delay mode
  Swell – delay with overlaps, closer to a reverb

  Switch: Selects different combinations between the playback heads.
  Level Indicator: This “eye” in the middle of the unit, shows the level of the input signal.
  Channel Selector: Selects the 3 inputs for each instrument. You can have two channels active at the same time with different outputs, – one with effect and one dry, both delayed or both dry.
  Inputs: 3
  Outputs: 3
  Special Jacks: 1 for footswitch, 1 for echo output

• Binson Echorec B2

• Seen on-stage in June 1970.
  

• Vox King Wah

• Used on-stage from Sept. 1970 through Jul. 1971 and Nov. 1971 through Feb. 1972
• This pedal was designed by the Thomas Organ Company, in Sepulveda, California and was manufactured in Italy.

• Vox “Cry Baby” Wah

• Used on-stage from Aug. 1971 through Sept. 1971, 1972 US Tour warmups through the end of the 1973 US Tour and from 1975 Earls Court through the end of Led Zeppelin.
• This pedal was designed by the Thomas Organ Company, in Sepulveda, California and was manufactured in Italy for JMI.
• The pedal was completely black, with the “Cry Baby” logo screen printed on the front.

• Vox V846 Wah

• Used on-stage from Jan. 1975 through Mar. 1975
• This pedal was designed by the Thomas Organ Company, in Sepulveda, California and was manufactured in Italy.
• The pedal was completely black, with the “Cry Baby” logo screen printed on the front.

• Eventide H949 Harmonizer

• Used on-stage for Jimmy’s noise solo in 1977-79, also used in 1976 in recording Bonzo’s Montreux on high feedback setting
• 16-bit digital processing and a 400ms delay time with 15kHz bandwidth delay, pitch-shift, time-reversal, time-compression, flanging, chorus

• MXR M-101 Phase 90

• Used in-studio for The Wanton Song and Achilles Last Stand
• Used on-stage from 1977 to 1980
• Speed knob varies rate of phase sweep

• MXR Blue Box

• Used in-studio to provide the bass octaving in Fool In The Rain
• Output knob sets total output gain
• Blend knob adjusts ratio of dry (clean) with wet (effects) signal

• Sonicwave Theremin

• Used on-stage from April 26, 1969 to the present
• Used with a Maestro Echoplex and Orange amps and cabinets

• Gizmotron

• The Gizmotron was a hexaphonic mechanical string bowing device invented by Lol Creme and Kevin Godley of 10CC. It never took off and was some kind of financial disaster. It has been described by Jimmy as a ‘hurdy gurdy type of thing’. It existed in two versions: 4 or 6 strings (bass or guitar). The Gizmotron works by having a rubber wheel for each string and a key for each wheel, such that pressing down on the key engages the wheel with a rotating shaft and the guitar string. The shaft rotates the wheel which then excites the string. Jimmy may have used it on Carouselambra and In The Evening to produce the drone sound.

Other

• Strings

• Electrics: Ernie Ball Super Slinky; Acoustics: Ernie Ball Earthwoods

• Herco Flex 75 Picks

• Heavy gauge, gray, standard shape, textured surface for positive grip

• Barcus-Berry Model 1355 Transducer

• Used with Martin D28 acoustic guitar, starting in 1975

• Barcus-Berry Model 1330S Standard Preamp

• Used with Martin D28 acoustic guitar, starting in 1975
• Specs:
  

  Inputs: 1 (1/4″ female)
  Outputs: 1 (1/4″ female Hi-Z)
  Controls: Treble, Bass, Sensitivity, Volume

• Conn ST-6 StroboTUNER

• Seen on Jimmy’s amps from 1973 to 1975.

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Resources
For More Information:

• Eventide H949 Hamonizer: http://www.canopus22.demon.co.uk/music/studio/eve/index.htm
• Fender Amp Field Guide: www.ampwares.com/ffg/showman_bf.html
• Matamp Info: http://www.matamp.co.uk/
• Univox Amplifiers: http://www.univox.org/amps/uniamp.html
• Vintage Guitars Info: http://www.provide.net/~cfh/fender.html
• Gilmourish » Binson Echorecs: http://www.gilmourish.com/?page_id=74