An In-Depth Guide to Jimmy Page's Guitars and Gear | Gear4music (2024)

Jimmy Page’s Guitars

Gibson Les Paul Standard Sunburst (believed to be 1959)

Years used: 1969-1980

Suitably listed first, Page’s “Number One” Les Paul is the guitar most closely associated with him. Dressed in hallmark Les Paul appointments, like a cherry burst finish, amber knobs, and Grover tuners swapped in for the usual Klusons, Jimmy’s No.1 guitar ranks amongst the most famous Gibsons ever made.

“But again, I just thought he should have a Les Paul for godsakes!” – Joe Walsh, interview with Guitar World.

Jimmy acquired it from Joe Walsh (of Eagles fame) for the cost of Walsh’s plane ticket out to meet him in California. As Jimmy’s main weapon for many years, it underwent several modifications to suit his style.

The neck had already been reshaped by Walsh to an even more slender stance, while the original PAF pickups (holy grails of pickup lore) were exchanged for T-Tops and later Seymour Duncans, with additional push/pull controls added for extra tonal options.

It’s believed the guitar was used extensively on most of Led Zeppelin’s studio albums, in particular, Led Zeppelin II – but what’s certain is Page and the #1 were inseparable for many years, as he was seen with it at virtually every Zeppelin performance.

If you’re looking for a guitar to replicate Page’s iconic Les Paul, you have quite a few options. Without stretching to Custom Shop reissues, there’s Gibson’s current Les Paul Standard ‘50s or ’60s in Iced Tea or Faded Cherry that will get you 90% of the way there.

That’s quite a stretch for many budgets, the Epiphone Standard ’59 in Aged Cherry or the ’50s in Heritage Cherry gives you the same look, style, and sounds at a fraction of the cost.

Gibson Les Paul Custom (Black Beauty)

Years used: 1966-1971

Next up, we’re keeping with the Les Pauls with Page’s beloved “Black Beauty”, a 1960 Gibson Les Paul Custom.

While Page’s Number One LP played a large part in his career, the Custom Black Beauty was arguably even more pivotal. Covered in a velvety black finish, equipped with three gold pickups and a distinctive Bigsby tremolo tailpiece, it was a guitar that forged an instant connection with Page.

He acquired it from a small music shop in London’s West End, about the same time he landed his first gig as a session musician. This was a pivotal moment in his musicianship, as the Black Beauty fuelled his rise to becoming one of the top session guitarists in the UK.

Featuring on a huge selection of hit tracks and famous songs like Shirley Bassey’s “Goldfinger” for the James Bond film, as well as studio work with the Kinks and Rolling Stones, you’ve heard the Black Beauty on far more tracks than you might think!

Unfortunately for Page, however, his love affair with Primo Les Paul would come to a sudden halt when on tour in North America in 1970. Flying from Minneapolis to Montreal, Page was dismayed to find an empty space where his Les Paul should have been at baggage collection. Distraught, he took out adverts with a reward for its recovery in an entire year’s worth of Rolling Stone magazines, but alas, it was gone.

…until decades later that is. After spending years stolen away under the thief’s bed, it was sold and changed hands a few times until fans recognised it as the missing ‘Black Beauty’ from ages past. The sleek noir guitar found its way back to England thanks to the dedication of fans.

Their intense sleuthing confirmed the guitar was Page’s original. Ever the gentleman, Page compensated the finder with another LP Custom original – worth in the region of $70,000! Finally reunited with his faithful three-pickup workhorse, he was able to taste the magic that kickstarted his career.

If you’re after a guitar to mimic this Hall-of-Fame-worthy instrument, the Vintage V1003 gives you the look and thick tones at a manageable price point. It doesn’t have the Bigsby tailpiece, but that can always be added later if you’re feeling adventurous! If you’re after an exact replica, then be prepared to pay top dollar as these rarities don’t come cheap!

Fender Telecaster (Dragon)

Years used: 1966-1970

Another guitar steeped in Page lore, the DragonCaster is a favourite amongst Gear4music guitar fanatics. Page’s Fender Telecaster, often referred to as the “Dragon”, is another legendary instrument that contributed to massively to his unique sound – including one of the most famous solos of all time in “Stairway to Heaven”.

Originally a gift from Jeff Beck when they both played in the Yardbirds, the Tele originally had a factory white blonde finish, but was soon stripped back and redecorated in true Jimmy Page fashion.

He was captivated by dragons and their extensive mythos, so he painted his own psychedelic beast of legend onto the body of his guitar, carefully following the pickguard and contours of the wood grain.

The Dragon Telecaster became Page’s main guitar during the latter days of the Yardbirds and the early days of Led Zeppelin, helping to define the sound of ground-breaking tracks like “Dazed and Confused”.

It was also the instrument he used to record the majority of Led Zeppelin’s debut album. The guitar’s distinct bright, bitey tone is integral to the raw, powerful sound of early Zeppelin.

Sadly, this iconic instrument was ruined when a friend attempted to repaint the Dragon whilst Page was on tour. Devastated by the loss of his beloved instrument, it was retired from active service. However, its legacy lives on as it was instrumental in crafting the sound of one of the biggest rock bands in history.

If you’re seeking to replicate Page’s unique Telecaster tone, Fender’s American Vintage II ’63 captures the classic Telecaster design and sound with vintage appointments. For those on a budget, the Squier Classic Vibe ’60s Tele offers a similar vintage vibe at a more accessible price point.

If you’re after the Dragon aesthetic, Fender did produce a line of signature replicas from both their Custom Shop and mainline factory – but they could be sought after now! Check our secondhand site to see if one pops up!

Fender Telecaster (Brown B-Bender)

Years used: 1975 – 1985

The next guitar in Page’s impressive collection is another Fender Telecaster. This one was affectionately known as the “Brown B-Bender”. Its dark colour and its sonically cool modification set it apart. The guitar featured a unique button that allowed Page to bend the B string up a whole step (two frets), creating the distinctly expressive sound heard on songs like “All My Love”.

While it might lack the visual flair of the Dragon, the B-Bender compensates with its exceptional versatility.

Needless to say, this kind of mod came with an awkward adjustment period.

“The Telecaster has the StringBender mechanism [that] took me about two years to come to terms with [laughs]. No, not really, but I’d say it took a year, honestly” – Jimmy Page.

Aside from this unique touch, there wasn’t much else out of the ordinary with the B-Bender. Its “Botswana Brown” colour is notable, as there’s scant evidence of other ’53 Teles with the same coat. Page also swapped out the neck for the rosewood-equipped part from his Dragon Tele. Otherwise, it was a standard Telecaster with vintage styling and appointments you’d expect from that era.

To recreate this Tele will be difficult – B-Bender Telecasters aren’t currently in production, but you’ll be able to find mass-produced models from before 2000, including B-Bender reissue models.

The Fender American Pro II Tele offers the reliable performance and tangy Tele bite that Page would have coaxed out of his B-Bender. The Squier 40th Anniversary Tele offers a similar aesthetic and sound profile, just at a much more affordable price point. While both of these lack rosewood or the B-Bender, you can get reliable pitch shift effect pedals and alternate necks to customise your guitar, just like Page himself.

Danelectro 3021 (Shorthorn)

Years used: Mid-’60s – present

The Danelectro 3021, also known as the “Shorthorn”, is another prominent member of Page’s guitar collection. Despite being somewhat overshadowed by the Les Pauls and Telecasters, the Danelectro certainly made its mark.

Known for its distinctive alnico “lipstick” pickups and Masonite semi-hollow construction, the 3021’s warm and jangly tone became a staple for live performances, often used on titanic tracks like “Kashmir”.

Jimmy acquired the Shorthorn sometime in the mid-’60s and has kept it part of his guitar repertoire ever since.

Page was able to get such an enchanting sound from his Shorthorn by using DADGAD (or “Celtic”) tuning which also explains why he’d use it for particular live songs like “When The Levee Breaks” (even though this was rarely done live) and “In My Time of Dying”.

Manufactured in 1961, the 3021’s utter uniqueness stemmed from being a cheap ‘catalogue’ style guitar. In a sort of happy accident, its low-cost components combined to create a great-looking, superb-sounding instrument.

Its semi-hollow Masonite build (also known as hardwood) promoted a warm and resonant character, while its lipstick pickups (so-called because they were literally made from old lipstick tubes) had a unique tonal profile – completely distinct from other pickups of the time.

What really made these pickups kick – and probably the reason they caught Page’s interest – was the lipsticks running in series. With both active at the same time, the 3021 produced a thick, lush tone that suited songs like epic riffs like Kashmir.

If you’re looking to add a 3021-style guitar to your own collection then The Stock ’59 is a great place to start. Featuring the iconic Shorthorn style and lipstick pickups, this guitar exudes classic vibes with a touch of Page-esque magic. Alternatively, consider the Danelectro 59X – it rocks the same vintage aesthetic but with the powerful sonic punch of modern humbucking pickups.

Gibson EDS-1275 Double Neck

Years used: 1971 – Present

Because what’s better than one guitar? Two guitars merged into one, of course! The EDS-1275 is certainly one of the most visually striking instruments on this list. With a 12-string and 6-string neck loaded into one guitar, it promised a huge array of sonic versatility, in addition to a multi-headed Cerberus-style aesthetic.

For Page though, the EDS-1275 was an entirely practical choice. During the recording of “Stairway to Heaven”, he’d used an acoustic guitar, a Tele for the solo, and a Fender 12-string for harmony and rhythm parts. Obviously, this presented challenges when performing the song live, and the EDS-1275 provided the ideal solution!

In addition to its workability for live shows, Page found that leaving both necks “active” resulted in an enveloping tone thanks to the sympathetic resonance of the 6-string neck – a cool little trick only possible on a double neck.

At the time Gibson had recently stopped manufacturing these double-necked beasts, but a special order from the Led Zeppelin hotshot and its ensuing popularity caused them to rethink their decision – indeed, it’s still in production today!

Getting your own ED-1275 could prove prohibitively expensive for many players – they’re still made today, but the cost of manufacturing them and their prestige as instruments has them command a hefty price tag. A great introduction to double-necked guitars is the Brooklyn Double Neck, it features a similar vibe and style to Page’s monster, whilst also letting you play it without being terrified of bumping or dropping it.

Harmony Sovereign H1260

Years used: Early ’60s – Present

The unsung hero of this list, Jimmy’s Harmony Sovereign is the tool that fuelled his musical creativity. From his early days right through to Zepp IV, the Harmony Sovereign became more than a performance partner for him – it became the focal point of his writing process.

All four Zeppelin albums have songs that began life on Page’s Harmony, but most notable of all was “Stairway to Heaven”, with other songs like “Over the Hills and Far Away” and “Bron-Y-Aur Stomp” also penned on the Sovereign.

The H1260’s build quality was exceptional, consisting of a jumbo flat top body with a solid spruce top and mahogany back and sides. Joined with a rosewood fretboard with dot pearl inlays and a tear-shaped pickguard, it boasted a huge sound with enormous depth and character – probably why Page favoured it!

Today the Harmony Sovereign is no longer in production, but there are plenty of H1260s still out there in circulation. Keep an eye on our secondhand site to see if one crops up or consider a modern jumbo acoustic with solid spruce and mahogany tonewoods.

Something like the Yamaha LL16 can provide the rounded, bold character of the Harmony through its rosewood back and sides and A.R.E.-treated top – a process that pre-ages the soundboard to give you the dynamics and feel of the best vintage acoustics.

Martin D-28

Years used: 1970 – present

The final guitar in Page’s noteworthy collection is the Martin D-28, a timeless piece. Page’s fondness for this instrument is evident in the numerous live performances and studio recordings where it was featured.

The Martin D-28 is renowned for its solid Sitka spruce top and East Indian Rosewood back and sides – attributes that lend to its versatile, rich, and full-bodied sound.

Page began using this acoustic marvel around 1970, and it quickly became a staple in his extensive guitar arsenal. With its distinctive herringbone inlay and standard “X” scalloped bracing, the Martin D-28 has a voice that’s as expressive and dynamic as Page’s playing style.

Acquiring a Martin D-28 is a sizable investment, given its premium build quality and reputation. The modern D-28 boasts the same aesthetic construction and timeless Martin sound – worth every penny!

If you’re after the D-14 style without the price tag, the Sigma DME gives the dreadnought style, a solid Sitka spruce top, and added electronics without breaking the bank.

What amps does he use?

Marshall Super Lead/Super Bass 1959

Years used: 1971 – present

We’re slightly cheating here – lumping two amps into one. But that’s kind of what Page did on stage! Frequently his backline consisted of both Super Lead and Super Bass models as they were generally similar amps – just voiced slightly differently. The Super Bass was generally considered to be less “spiky” in sound, with a more open low-end that responded well to Page’s favoured Les Paul.

As most of his gear, Page (or rather, a tech) customised these amps by swapping out the EL34 tubes for KT-88s that doubled the output to a whopping 200W. This colossal reserve of power contributed to the aggressive and exhilarating tone that defined Page’s electric riffs and solos. Combined with his No. 1 Gibson, it made for a lethal pairing of heavy sonics and sustain.

Today these Plexi amps are amongst the most sought-after pieces of gear in guitardom, but you can still get modern equivalents like the 1959HW Plexi Reissue and the Marshall ST20H. It could be considered sacrilege to suggest this… but cheaper alternatives mostly lie in the digital realms, either through plugins or amp modellers like the UA Lion 68 Super Lead pedal.

Supro Thunderbolt/Coronado

Years used: 1968 – present

This odd little amp wasn’t an on-stage stunner of Jimmy’s nor a recording mainstay in general (possibly used for Led Zepp I), but when it did make appearances, it was important. “Stairway to Heaven”‘s solo is a passage most guitarists could hum in their head, and its electrifying tone was generated purely through the Supro.

This 50-watt amplifier was built with a pair of 6L6 power tubes and dual speakers, which Page swapped for a single 12- or 15-inch driver, providing a warm, rich tone with plenty of volume. The Supro’s unique sound is often described as fat and punchy, making it ideal for blues and rock.

Years before “Stairway” was in Jimmy’s mind, it’s believed the Supro was used extensively on Zeppelin I, but there’s conflicting information on whether it was the Thunderbolt of the AC30. Page isn’t alone in his appreciation for the Thunderbolt, with other guitar greats such as Jimi Hendrix also known to use it.

Jimmy was able to get such a wide ranging sound from his Supro through two means: cranked volume and brilliant mic placement. Everyone loves a tube amp pushed over the edge – and Jimmy was no exception. Still, the low wattage valve amp sounded immense thanks to spaced out mic placement that gave his tracks such an impactful feel – despite the Supro’s lack of sonic muscle.

Want something to bring that raspy and righteous roar? Our classic British-style Hartwood Interceptor gives the retro combo vibe with a quality Celestion speaker, and the rich, rounded tones of EL34 power tubes and 12AX7 preamps.

Vox AC30

Years used: Mid-’60s – present

A revered amplifier that’s even more popular today than it was back in the ’60s, the Vox AC30 boasts a warm and chimey tone that allows players to get plenty of volume and distortion.

A cranked AC30 results in fat overdriven tones that put so much character into the rock ‘n’ roll music of the time – leading it to become a favourite for British Invasion bands.

Back in the ’60s, it usually featured a combination of ECC83 and ECC82 valves and a single GZ34 depending on the year – a setup that’s changed frequently over the decades since their initial production… which is to say that virtually no two vintage AC30s are the same.

Like the Supro before, it’s thought that Page used the AC30 extensively on the first Led Zeppelin album. He was fond of the treble-boosting circuit some of the Vox models had, which gave his sound a little extra edge to cut through to the front of a mix.

If you’re after a similar amp today, you’re in luck! A modern AC30 gives you the looks, the sounds, and the feel of the iconic diamond-weave combo, just with a much healthier reliability of contemporary gear.

Finishing the setup… Page’s pedals

The Roger Mayer FZ Fuzz-Tone

Years used: 1964 – 1967

The Roger Mayer FZ Fuzz-Tone is one of the most iconic pedals used by Jimmy Page. Page started using this pedal during his session musician days after a chance encounter with Roger himself, where the sonic wizard (or top expert at the British Admiralty Board to acknowledge his day job) offered his services to create a new electronic gadget for Page.

Page requested the kind of hairy and spiky distortion heard on “The 2000 Pound Bee” by the Ventures, and Mayer obliged – creating the first FZ-1 Fuzz Tone. The result was a rugged sonic stompbox that had bags of sustain and an attention-grabbing, adrenaline shot of distortion.

Of course, Jimmy wasn’t the only artist to be blessed with Mayer’s gifts. Hendrix and Beck are amongst the other rock royalty legends for whom Roger created fuzz pedals and other similar effects.

If you’d like to join that group of artists inspired by Roger’s remarkable engineering, the Electro Harmonix’s Satisfaction Fuzz does a great job of evoking the retro ’60s distortion characters.

Vox Wah

Years used: 1970 – present

Wah is probably one of the most well-known effects in existence, loved for its vocal-like sweep and highly expressive feel. Pioneered by Vox in the ’60s, it’s no surprise to find Jimmy at the forefront of technology with a Vox Wah in his rig. Like many artists of the time, Jimmy would often leave the pedal pressed down (or ‘parked’) to create a specific tonal filter for leads and solos

Over the years, he went through various Wah pedals, but the basic idea and sound stayed consistent with the Vox original. If you’re looking to replicate that unmistakable Wah-Wah sound, look no further than the Vox V845 Wah, its accurate sound and slick action are perfect for creating vintage Wah tones.

Maestro Echoplex EP-3

Years used: 1972 – Present

Another iconic pedal in Page’s arsenal was the Maestro Echoplex EP-3, a tape delay unit that he used extensively during Led Zeppelin’s live performances. The EP-3 allowed him to create those signature, haunting echo effects on songs like “Whole Lotta Love” and “Dazed and Confused”.

Aside from its tape delay mode, Page would often use the preamp of the Echoplex to drive the front end of his amps harder, giving his tone extra bite and aggression.

The unique sound of the Echoplex is created by a combination of the original preamp circuit and the actual tape that runs through the unit. It’s not an easy sound to mimic, but if you’re looking for that classic echo tone, there are several options available – including the modern Dunlop Echoplex that’s dropped the bulky tape unit for a compact digital stompbox.

If you don’t need the delay but want the preamp, the Boss BP-1W’s preamp mode recreates the circuitry of the legendary CE-1 Chorus and RE-201 Space Echo.

Sola Sound Tone Bender

Years used: 1965 – ’70s

The Sola Sound Tone Bender is another fuzz pedal that was a staple of Page’s rig for a while. It’s believed that he adopted it during the Yardbird days, shortly after switching from bass to guitar. Custom made for him by a friend, Page remarked, “I get 75% of my sound with it. It’s very similar to a fuzzbox, but I can sustain notes for several minutes if I want to”.

Like other fuzzes of the time, the Sola Sound injected a hairy and frothy distortion character to the tone – particularly helping elongate sustain.

Unlike other fuzzes at the time, the Tone Bender would keep the midrange present without scooping it – meaning Page’s guitar signal wouldn’t get lost in a mix. Eventually, Page would drop this pedal in favour of going straight into an amp or his Echoplex. Something like the Keeley Fuzz Bender Hybrid will give you massive sustain and injection of tone without sacrificing mid-presence.

FAQs

Why did Jimmy Page use a Danelectro?

Jimmy Page chose Danelectro guitars for their distinctive, bright tone and lightweight construction. He particularly favoured the Danelectro 3021 model, known for its unique masonite and poplar body. Used in the DADGAD or ‘Celtic’ tuning, it was often used for live Kashmir performances.

What guitar did Jimmy Page use on “Over the Hills and Far Away?”

On “Over the Hills and Far Away,” Jimmy Page played a Harmony Sovereign H1260. Known for its large body and robust sound, this guitar was an integral part of Page’s distinctive style. Its solid spruce and mahogany tonewoods provided a rounded, bold character, perfect for the song’s complex arrangement.

What is the most expensive Jimmy Page guitar?

The most expensive Jimmy Page guitar is the Gibson Les Paul “Number One”. This instrument, with its sunburst finish and unique tonal quality, is Page’s favourite and most played guitar. Its high value stems not only from its association with Page but also from its rare specifications and remarkable sound.