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Symbolic Sound Capybara

Symbolic Sound Capybara
General Specs
Basic Configuration: (4) processors installed on the motherboard, 96 MB sample RAM, 12 expansion slots, I/O and external sync (see below), External desktop or rackmount case (protects the DSPs and converters from the electrically noisy environment inside your personal computer, and leaves valuable slot-space free to use for other cards on your host computer)
Expansion Card: (2) processors installed on the expansion card, 48 MB sample RAM (per card), Up to 12 expansion cards (for a total of 28 processors) can be added
Inputs and Outputs: (4)-8 channels, 32-100 kHz sample rate, 24-bit, Balanced Analog and Digital (AES/EBU)
External Synchronization: Word Clock input, VITC & LTC Timecode input and output
Interfaces: FireWire for Macintosh OS X and OS 9, Windows XP, 2000, and ME desktop and laptop machines
Years in use: 1999-2005
Website: http://www.symbolicsound.com/
The Symbolic Sound Capybara is a machine that lets you graphically string together unlimited-length chains of processing and synthesis modules and run them with zero latency on a dedicated multiprocessor computer with little or no impact on your main computer's memory or processing capabilities. You can expand the processing capabilities of your hardware transparently, simply by plugging in more processing cards, because the machine was designed from the outset with scalability and multiple processors in mind. You never have to sacrifice sound quality just because you're trying to squeeze more real time processing out of your desktop or laptop computer. Features include FireWire, timecode, MIDI, 8 channels of 24-bit 100 kHz audio and a symbolic, blue LED on the front panel. It is controlled by the award-winning Kyma software with cutting-edge algorithms like granular processing, real-time analysis/resynthesis, aggregate synthesis, and spectral morphing.

Photos

Symbolic Sound Capybara
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France
Symbolic Sound Capybara
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France

Symbolic Sound Kyma

Symbolic Sound Kyma
General Specs
Years in use: 1999-2009
Website: http://www.symbolicsound.com/
Kyma is my computer system... you can basically program it to do whatever you want. - John Paul Jones, Symbolic Sound Website

Kyma is a computer-based sound design/synthesis system developed by a team of electronic music graduates and enthusiasts in California who got together under the name Symbolic Sound in 1989. Running on Mac or PC, the computer acts as the front end for the sound shaping (by means of a user-friendly and mainly graphical drag-and-drop interface), while the DSP power required to do the number-crunching involved in the sound creation is supplied in a separate piece of hardware connected to the computer, the Capybara rack unit.

The system is very flexible, allowing for real-time synthesis in the computer in a number of styles from analogue-style subtractive, through FM and right up to modern-day resynthesis and granular techniques. Real-time sampling, hard disk recording, and audio processing are also possible.

Photos

Symbolic Sound Kyma
Symbolic Sound Kyma
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France
Symbolic Sound Kyma
John Paul Jones with Manson Triple Neck Mandolin, October 29, 2005, Festival Mandolines de Lunel, Lunel, France

Maestro PS-1A Phase Shifter

Maestro PS-1A Phase Shifter
General Specs
Controls: Slow Phase, Medium Phase, Fast Phase & On/Off Power Rocker Switches
Connectors: Input & Output Jacks, 6-Pin Molex Connector (for footswitch)
Years in use: 1973-1979
The Maestro Phase Shifter was not intended for floor operation; rather, it was designed as a table-top type of unit. The chassis is made from bent sheet metal. The top of the unit is slightly angled for improved visibility of the control panel. A rather thick plate is welded to the bottom of the unit and is threaded for a standard microphone stand; in this manner, the unit can be attached to a mic stand and conveniently placed near the guitarist on stage for easy access to the controls. A six-pin Molex type connector located on the rear of the unit provides connection to an optional three-button footswitch that duplicates the operation of the three buttons, providing remote foot control of the phaser.

Three colorful buttons located on the top of the unit select the phasing speed. The buttons are appropriately labeled SLOW PHASE, MEDIUM PHASE, and FAST PHASE. The SLOW PHASE button also functions as the bypass switch. Interestingly, the three colorful plastic buttons were the same as those used on Lowery organs. CMI also owned Lowery at the time and suggested the use of the colorful Lowery buttons for speed selection. One unique and very cool aspect of the Maestro Phase Shifter is the fact that the phasing speed ramps up or down when changing from one speed to another, similar to a Leslie rotating speaker cabinet. This feature is not to be overlooked or underemphasized!!! The dynamic effect produced by the ramp-up/down feature sounds absolutely superb when used by an accomplished musician - no other phaser offers this feature and that alone makes the Maestro Phase Shifter worth the price of admission!

The Maestro Phase Shifter is AC powered and uses a non-polarized AC cord. A switch on the top of the unit turns it on and off. A fuse is provided on the rear of the unit. The classic Maestro emblem with its three colored "trumpets" is proudly displayed on the top of the unit.

The PS-1 is a six-stage phase shifter. It utilizes Field Effect Transistors (FETs) as tuning elements for six cascaded all-pass filter networks with the input and output summed. An LFO modulates the FET control buss and includes a time constant so that when the LFO speed changes, it ramps up or down slowly, simulating the speed change of a Leslie speaker cabinet.

John Paul Jones began using the Maestro PS-1A Phase Shifter at the beginning of the 1973 US Tour through the second appearance at Knebworth, on August 11, 1979.

Photos

Maestro PS-1A Phase Shifter
Maestro PS-1A Phase Shifter
Led Zeppelin, Stairway To Heaven, June 02, 1973, Kezar Stadium, San Francisco, California
Maestro PS-1A Phase Shifter
John Paul Jones, Maestro PS-1A Phase Shifter on top of Bill Dunn Custom Control System, March 17, 1975, Seattle Center Coliseum, Seattle, Washington
Maestro PS-1A Phase Shifter
Robert Plant & John Paul Jones, No Quarter, July 17, 1977, The Kingdome, Seattle, Washington
Maestro PS-1A Phase Shifter
John Paul Jones, No Quarter, August 04, 1979, Knebworth House Grounds, Stevenage, England

Electro-Harmonix Bass Big Muff Pi

Electro-Harmonix Bass Big Muff Pi
General Specs
Controls: Sustain, Tone & Volume Rotary Knobs, Bass Boost/ Norm/ Dry Toggle Switch
Connectors: Input, Effects Output, Direct Out & 9 Volt Power Jack
Years in use: 2009-2010
Website: http://www.ehx.com/products/bass-big-muff-pi
The Electro-Harmonix Bass Big Muff Pi pedal was used on Dead End Friends, Scumbag Blues, Reptiles and Warsaw from Them Crooked Vultures.

Photos

Electro-Harmonix Bass Big Muff Pi
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan
Electro-Harmonix Bass Big Muff Pi
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan
Electro-Harmonix Bass Big Muff Pi
Dave Grohl, John Paul Jones, Josh Home & Alain Johannes, October 09, 2009, Sound Academy, Toronto, Ontario, Canada

Boss SD-1 Super Overdrive

Boss SD-1 Super Overdrive
General Specs
Controls: Level, Tone, Drive
Connectors: Input, Output, AC Adaptor
Current Draw: 6 mA (DC 9V)
Weight: 400 g. (14 oz)
Input Impedance: 470k Ohm
Signal/Noise Ratio: 90dB or more
Recommended Load Impedance: 10k Ohm or greater
Recommended AC Adaptor: ACA Series
Years in use: 2009-2010
Website: http://www.bossus.com/
The Boss SD-1 Super Overdrive pedal was used when John Paul Jones was in Them Crooked Vultures.

Photos

Boss SD-1 Super Overdrive
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan
Boss SD-1 Super Overdrive
John Paul Jones' Pedalboard, October 08, 2009, The Fillmore, Detroit, Michigan

Bill Dunn Custom Control System

Bill Dunn Custom Control System
General Specs
Years in use: 1975-1980
John Paul Jones' pedals were a custom-built unit, made by Bill Dunn of London. Dunn's organ service (particularly Hammond organs) was well-known in England and was the service center for the top rock, jazz, and pop stars of the day. Jones had Dunn build pedals that were very similar in tone to a Hammond bass pedal tone, but more mellow. His control box for the Dunn pedals would sit on top of the Fender Rhodes piano, and he was often seen adjusting the volume of the pedals during concerts. The Dunn control box has been a very recognizable part of JPJ's onstage rig. To most musicians, it was a mystery, as it was custom built and not obviously connected to the pedals below. The Dunn system was to remain even through the final Zeppelin concerts in 1980, where it sat prominently on the piano.

Photos

Bill Dunn Custom Control System
John Paul Jones, No Quarter, June 14, 1977, Madison Square Garden, New York City, New York
Bill Dunn Custom Control System
John Paul Jones, after No Quarter, June 23, 1977, The Forum, Inglewood, California
Bill Dunn Custom Control System
John Paul Jones, No Quarter, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California
Bill Dunn Custom Control System
John Paul Jones, Since I've Been Loving You, June 20, 1980, Vorst Nationaal, Brussels, Belgium

Aphex Aural Exciter 602A

Aphex Aural Exciter 602A
General Specs
Features: Front Panel: Channel A - Input, Meter, Output, Threshhold, Return Depth, Channel A - Input, Meter, Output, Threshhold, Return Depth, Rear Panel: Channel A - Input XLR, Output XLR, Channel B - Input XLR, Output XLR
Years in use: 1975-1977
Website: http://www.aphex.com/
The Aphex Aural Exciter was used in 1975 through 1977 with the Steinway Grand Piano.

...As an E.Q. we used a thing called Aphex Aural Exciter. I'd suppose you'd say it was an emphasizer; it gave the piano sparkle. Otherwise it can sound very flat or dull through a pickup. - John Paul Jones, 1977 Keyboard Player

The first Aural Exciter units were available exclusively on the rental basis of $30 per minute of finished recorded time. The unit became so popular, especially with the Los Angeles music and recording studio scene, that Aphex had to move to Hollywood.`

Resources and Information:

http://en.wikipedia.org/wiki/Aphex_Systems

VOX T.60

VOX T.60
General Specs
Features: Rear Panel: (2) 1/4" Input Jacks, Volume, Bass, Treble, Mains Off / On, Mains LED, Fuse, Voltage Selector (115, 160, 205, 225, 245)
Output: 30-40 Watts RMS, 80 Watts Peak
Speakers: (1) Vox Alnico Celestion 12" speaker, (1) HD Vox Alnico Celestion 15" speaker
Construction: Baltic birch plywood (3/4" sides & bottom, 1" baffle & back
Years in use: ca. 1962 - 1963
John Paul Jones used the VOX EMI T.60 Amplifier and Cabinet in ca. 1962 - 1963 when he played bass guitar for The Shadows.

The power amp design for the T.60 amp head was prone to go into high frequency oscillation. In simple terms, the amplifier continuously generated an extremely high pitched squeal at full power that was above the range of human hearing. This drove the power amp section past the safe design limits for the output transistors, causing meltdown. A successful solution to this output transistor failure problem was never implemented.

Photos

VOX T.60

Unknown Cabinet

Unknown Cabinet
John Paul Jones, February 01, 1969, Fillmore East, New York City, New York
General Specs
Years in use: ca. Spring 1969
Both John Paul Jones and Jimmy Page had used this unknown speaker cabinet with a metal circular logo plate in the corner in Spring 1969.

Photos

Unknown Cabinet
John Bonham, ca. February 14-15, 1969, Thee Image Club, Miami, Florida
Unknown Cabinet
John Paul Jones, March 17, 1969, TV Byen, Gladsaxe, Denmark

Univox UX1516 Cabinet

Univox UX1516 Cabinet
Led Zeppelin, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
General Specs
Watts: 150
Speakers: (6) 12" Celestions
Inputs: 2
Years in use: June 14-28, 1972
Website: http://www.univox.org/
John Paul Jones used the Univox UX-1516 Cabinet, along with a Marshall 1959SLP Amplifier for a brief period of only 14 days in June 1972 on the US tour. This rig was used with his keyboards.

Photos

Univox UX1516 Cabinet
Led Zeppelin, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York

Univox UX1510 'Fat Albert' Bass System

Univox 1510 'Fat Albert' Bass System
General Specs
UX1510 Amplifier
Watts: 140
Features: Front Panel: (2) Guitar Input Jacks, (2) Bass Input Jacks, (2) Mixer Input Jacks, (2) Volume, Master Gain, Bass, Middle, Treble, Presence, On/Off Switch, (2) Standby Switch, Hi-Boost Switch - Rear Panel: (4) Output Jacks, Ohm Impedance Switch
Tubes: Power: 4 x 6550, Pre-amp: 2 x 12AU7, 2 x 12AX7
Years in use: June 14-28, 1972
UX1512 Cabinet
Watts: 200 Watts RMS
Speakers: (2) 15" Electro Voice SR015, Reflex Horn
Suggested Retail Price: $765.00
Years in use: June 14-28, 1972
Website: http://www.univox.org/
John Paul Jones mentioned in a July 1977 interview with Steve Rosen that Jimmy Page and he had met with a Univox guy on June 14, 1972 and he wheeled out a bass stack for Jones. Assumedly, Jimmy Page received (2) Univox UX1516 Cabinets and (1) Univox UX1501 Amplifier on the same night. He used (2) of these cabinets and the amplifier with a Marshall 1959SLP Amplifier for use with guitars. John Paul Jones also used (1) Univox UX1516 Cabinet with a Marshall 1959SLP Amplifier for use with keyboards.

Photos

Univox 1510 'Fat Albert' Bass System
Led Zeppelin, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
Univox 1510 'Fat Albert' Bass System
Led Zeppelin, Black Dog, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
Univox 1510 'Fat Albert' Bass System
 
Univox 1510 'Fat Albert' Bass System
 
Univox 1510 'Fat Albert' Bass System
Photo by Mario_1965
 

Trace Elliot AH250 GP11 SMX Amplifier

Trace Elliot AH250 GP11 SMX Amplifier
Jimmy Page, June 26, 1980, Weiner Stadthalle, Vienna, Austria
General Specs
Watts: 250 Watts
Features: Front Panel: Line In Jack, Line In XLR Jack, Line In / Preamp In Link, Gain, Gain Clip LED, 11-band Equalizer, EQ Out / In, Noise Reduction Out / In, Stage Output, DI Output XLR Jack, Pre / Post EQ, Effects Send Jack, Effects Return Jack, EQ LED, Slave Line Out Jack, Slave Line In Jack, Mains On LED - Rear Panel: Mains On / Off, Fan Slow / Fast, Fuse, Ultraviolet Off / On, Power Cord Socket, Speaker Out 1/4" Jack, Speaker Out XLR Jack, Fuse
Years in use: 1980
Website: http://www.trace-elliot.co.uk/
John Paul Jones used the Trace Elliot AH250 GP11 SMX Amplifier on the 1980 Over Europe Tour, replacing the Acoustic 360 Preamp. The Trace Elliot Amplifier powered a Cerwin Vega 4x15 Cabinet, most likely used for keyboards.

John Paul Jones was an early endorser of Trace Elliot, along with Brian Helicopter of The Shapes and Mark King of Level 42.

Photos

Trace Elliot AH250 GP11 SMX Amplifier
John Paul Jones, Trampled UnderfootJune 21, 1980, Ahoy Rotterdam, Rotterdam, The Netherlands
Trace Elliot AH250 GP11 SMX Amplifier
John Paul Jones & Jimmy Page, Stairway To Heaven, June 26, 1980, Weiner Stadthalle, Vienna, Austria
Trace Elliot AH250 GP11 SMX Amplifier
Led Zeppelin, Nobody's Fault But Mine, July 05, 1980, Munich Olympiahalle, Munich, Germany

SWR SM 900 Amplifier

SWR SM 900 Amplifier
General Specs
Watts: 900 Watts @ 4 Ohms
Features: Front Panel: Passive Input Jack, Active Input Jack, Gain, Preamp Clip, Aural Enhancer, Bass, Treble, Equalizer Footswitch Jack, Equalizer Select, (2) 3-band (90 Hz, 600 Hz, 3.6k Hz)Equalizer, Crossover Frequency, Balance, Limiter, Limiter Active LED, Effects Blend, Left Master Volume, Right Master Volume, Power Amp Clip LED, Power LED - Rear Panel: Power Switch, Main Fuse, Power Cord Socket, Stereo / Mono (Bridge) Switch, Stereo Mode Speaker Outputs (4-1/4" and 2 Speakon Jacks), Mono (Bridge) Mode Speakon Speaker Output, (2) Speaker Fuses, Effects Loop Effects Send Jack, Mono Return Jack, Stereo Return Jacks, Tuner Out Jacks, Hi Crossover Output Jack, Low Crossover Output Jack, Balanced XLR (XLR Pad, Line / Direct Switch, Ground Lift, Balance Out XLR Jack)
Dimensions: 19"W x 3-1/2"H x 13-3/4"D
Weight: 35 lbs.
Tubes: 1 x 12AX7
Years in use: ca. mid-1990s - Present
Website: http://www.swrsound.com/
John Paul Jones has used the SWR SM 900 Amplifier since becoming a solo artist in the 1990s. Jones has used up to (4) SM 900 Amplifiers to power the SWR Big Ben Cabinet, the SWR Goliath I Cabinet, SWR Goliath III Cabinet and the SWR Son Of Bertha Cabinet.

Photos

SWR SM 900 Amplifier
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
SWR SM 900 Amplifier
John Paul Jones, June 16, 2007, Bonnaroo 2007, The Other Tent, Manchester, Tennessee, Photo by Rod Snyder
SWR SM 900 Amplifier
John Paul Jones, Elephants, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada, Photo by Erik Kabik

SWR Super Redhead Combo

SWR Super Redhead Combo
John Paul Jones, July 30, 2004, House Of Blues, Anaheim, California
General Specs
Features: Front Panel: Tuner Input, Passive/Active Input Jack, Active Input, Preamp Clip LED, Gain Control, Aural Enhancer, Bass Control, Pull Turbo Function, Level Control, Frequency Control, Pull Transparency Function, Master Volume Control, Power Amp Clip LED, Unbalanced Output, Balanced XLR Output, XLR Pad, Ground/Lift Switch, Line/Direct Switch, Mute/Live Switch, Effects Blend Control, Headphone Jack, Speaker On/Off Switch, Power On/Off Switch - Rear Panel: Effects Loop, Send, Receive, Fan On/Off Switch, High Frequency Attenuator, Internal Speaker Cable, Extension Speaker Jack, Speaker Cable, Speaker and Horn Fuses, Line Fuse, AC Convenience Outlet
Speakers: (1) 10" woofer assembly
2" Hi tempature, high efficiency copper-wound Kapton voice coil
46 oz. focused magnet/175 Watts RMS
Watts: 350 Watts @ 4 Ohms
400 Watts @ 2.67 Ohms
450 Watts @ 2 Ohms
Construction: 5/8" 7 ply, maple or birch, dado and rabbet joints, glued (waterproof) and nailed with extremely heavy bracing
Dimensions: 22-1/2"H x 23"W x 16-3/4"D
Total Weight: 80 lbs.
Years in use: 2004
Website: http://www.swrsound.com/
John Paul Jones used the SWR Super Redhead Combo Amplifier in 2004 when he toured with the Mutual Admiration Society. It was used as a standalone amplifier, or paired with a SWR Son Of Bertha Cabinet.

Photos

SWR Super Redhead Combo
John Paul Jones, July 30, 2004, House Of Blues, Anaheim, California
SWR Super Redhead Combo
John Paul Jones, August 13, 2004, Bowery Ballroom, New York City, New York

SWR Son Of Bertha Cabinet

SWR Son Of Bertha Cabinet
John Paul Jones, No One Loves Me & Neither Do I, January 25, 2010, Brisbane River Stage, Brisbane, Australia
General Specs
Speakers: (1) 15" speaker enclosure, Foster Tweeter (Model 25H273)
Watts: 350 Watts RMS
Impedance: 8 Ohms
Dimensions: 20-1/4"H x 23-1/4"W x 18-1/2"D
Total Weight: 60 lbs.
Years in use: 2007 - Present
Website: http://www.swrsound.com/
John Paul Jones switched over from the SWR Big Ben Cabinet to the Son Of Bertha Cabinet in 2007.

The Son Of Bertha provides the roundness and extra fullness you expect from a 15” speaker cabinet, but the speed and clarity of response make it not just any 15”. It’s a true full-range 15” speaker system when used alone, and adds additional bottom end and tonality to any two-speaker system. Deep and round, yet punchy and fast enough for all styles – in other words, it’s the SWR sound in a 15” speaker cab. Or if you like, dial the tweeter out, plug in your P Bass®, and go deep.

Photos

SWR Son Of Bertha Cabinet
John Paul Jones, In My Time Of Dying, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
SWR Son Of Bertha Cabinet
John Paul Jones, Elephants, August 20, 2009, Pukkelpop Festival 2009, Marquee Stage, Hasselt, Belgium
SWR Son Of Bertha Cabinet
John Paul Jones, No One Loves Me & Neither Do I, January 25, 2010, Brisbane River Stage, Brisbane, Australia
SWR Son Of Bertha Cabinet

SWR Goliath III Cabinet

SWR Goliath III Cabinet
John Paul Jones, In My Time Of Dying, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
General Specs
Speakers: (4) 10" SWR Woofers, Foster Horn
Watts: 700 Watts RMS
Impedance: 8 Ohms
Dimensions: 25-1/4"H x 23"W x 18-3/8"D
Total Weight: 89 lbs.
Years in use: 2007 - Present
Website: http://www.swrsound.com/
John Paul Jones switched over from the SWR Goliath I Cabinet to the Goliath III Cabinet in 2007. The Goliath III is rated at 700 Watts RMS, compared to 400 Watts RMS of the original Goliath I.

The black & chrome version, the Goliath III, remained in production for 11 years. In addition to the chrome grille and improved construction, the Goliath III featured a shelf port.

Photos

SWR Goliath III Cabinet
John Paul Jones, In My Time Of Dying, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
SWR Goliath III Cabinet
John Paul Jones, Elephants, October 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
SWR Goliath III Cabinet
John Paul Jones, No One Loves Me & Neither Do I, January 25, 2010, Brisbane River Stage, Brisbane, Australia
SWR Goliath III Cabinet

SWR Goliath I Cabinet

SWR Goliath I Cabinet
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
General Specs
Speakers: (4) 10" SWR Woofers
Watts: 500 Watts RMS
Impedance: 8 Ohms
Outputs: Dual Speakon® and 1/4” speaker jacks
Dimensions: 23"H x 23"W x 18-1/2"D
Total Weight: 90 lbs.
Years in use: ca. mid-1990s - Present
Website: http://www.swrsound.com/
John Paul Jones has used SWR Goliath I Cabinets since his start as a solo artist in the 1990s. He paired them with SWR Big Ben Cabinets, powered by SWR SM 900 Amplifiers.

Goliath I Cabinets were the original SWR 4x10. It is the first full-range speaker enclosure for bass featuring a high end tweeter.

Photos

SWR Goliath I Cabinet
Led Zeppelin, October 05, 1999, HQ, Dublin, Ireland
SWR Goliath I Cabinet
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany, Photo by Steve A. Jones
SWR Goliath I Cabinet
Guitar World Advertisement, Photo by Jay Blakesberg

SWR Big Ben Cabinet

SWR Big Ben Cabinet
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
General Specs
Speakers: (1) 18" Custom SWR® Subwoofer
Watts: 400 Watts RMS
Impedance: 8 Ohms
Outputs: Dual Speakon® and 1/4” speaker jacks
Dimensions: 30-1/2"H x 23"W x 18-1/2"D
Total Weight: 70 lbs.
Years in use: ca. mid-1990s - Present
Website: http://www.swrsound.com/
John Paul Jones has used SWR Big Ben Cabinets for the low end spectrum since his start as a solo artist in the 1990s. He paired them with 4x10 cabinets (either SWR Goliath I or SWR Goliath III), powered by SWR SM 900 Amplifiers.

Photos

SWR Big Ben Cabinet
John Paul Jones, October 05, 1999, HQ, Dublin, Ireland
SWR Goliath I Cabinet
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany, Photo by Steve A. Jones
SWR Big Ben Cabinet
Guitar World Advertisement. Photo by Jay Blakesberg

Sunn 2000S

Sunn 2000S
Jimmy Page, May 11, 1969, Green Lake Aqua Theater, Seattle, Washington
General Specs
Amplifier
Watts: 120 Watts RMS, 280 Watts Peak
Inputs: 4
Features: Front Panel: (2) Bright Input Jacks, (2) Normal Input Jacks, Treble, Bass, Contour, Power Switch, Standby Switch, Polarity Switch - Rear Panel: AC Outlet, Extractor type fuse post, Speaker Jack, External Speaker Jack
Fuses: 1x 7025, 1x 6AN8, 2x GZ34, 4x KT88
Dimensions: 10"H x 30"W x 9-1/2"D
Cabinet
Speakers: (2) 15" JBL D140F, rear mounted with a folded horn
Dimensions: 42"H x 24"W x 15"D
Total Weight: 200 lbs.
Years in use: May 11, 1969
Website: http://www.sunnamps.com/
John Paul Jones used a Sunn 2000S Amplifier on some dates on the second US Tour when he wasn't using the Rickenbacker Transonic rigs or the Acoustic 360 - 361PP Combo. The Amplifier was mismatched with the speaker cabinet from a Sunn Spectrum II Amplifier.

Photos

Sunn 2000S
Led Zeppelin, May 11, 1969, Green Lake Aqua Theater, Seattle, Washington
Sunn 2000S
Led Zeppelin, May 18, 1969, Tyrone Guthrie Theatre, Minneapolis, Minnesota
Sunn 2000S
From 1968 Sunn Catalog

Selmer Thunderbird 50 Mk II Amplifier

Selmer Thunderbird 50 Mk II Amplifier
Selmer Thunderbird 50 Mk II Amplifier, Babe I'm Gonna Leave You, March 27, 1969, Bremen/ARD Studios, Bremen, Germany
General Specs
Watts: 50
Features: Front Panel: (2) Inputs, Bright/Normal Switch, Volume, Treble, Bass, Selectortone Pre-Sets, Presence, Reverb Depth Tremelo Depth, Tremelo Speed, Standby Switch, Mains Switch, Pilot Light - Rear Panel: Ground Terminal, 500 mA Slo-Blo Fuse, 5 A Slo-Blo Fuse, Voltage Selector Matrix (115V, 225V, 245V), Extension L/S Jack,
Speakers: (2) 10" Celestions
Years in use: March 27, 1969
Website: http://www.vintagehofner.co.uk/
gallery/gallery3/selm.html

Photos

Selmer Thunderbird 50 Mk II Amplifier
Led Zeppelin, You Shook Me, March 27, 1969, Bremen/ARD Studios, Bremen, Germany

Leslie Speaker Model 147

Leslie Speaker Model 147
General Specs
Speeds: Fast, Slow
Rotors: Bass, Treble
Speakers: 15" Bass Speaker, Treble Driver
Watts: 40 RMS
Channels: 1
Tubes: Pre-Amp: 12AU7A - Power: (3) 6550
Dimensions: 41"H x 29"W x 20-1/2"D
Weight: 149 lbs. (67.6 kg.)
Years in use: ca. 1968-1975
Website: http://www.hammondorganco.com/
The Leslie speaker is a specially constructed amplifier/loudspeaker used to create special audio effects using the Doppler effect. Named after its inventor, Donald Leslie, it is particularly associated with the Hammond organ but is used with a variety of instruments as well as vocals.

The Model 147 has the same cabinet, speaker and mechanical components as the Model 122; however, the amplifier input and motor speed control circuits are different. This is primarily because this series was designed to be "universal", which means it could be connected to other organ brands. The signal input is "single-ended", allowing a simpler connection to organs that have a built-in speaker system, as the Hammond A100 or a Wurlitzer. The Model 122 input is a differential, "double-ended" or "balanced line" design that provides for cancellation of any spurious noise that may be present. Also, the motor speed switching uses a separate 120V AC signal, rather than the DC voltage control of the Model 122. In operation, the noticeable differences between the Model 122 and the Model 147 are the Model 122's lower susceptibility to induced noise, and a delay between operation of the speed control and the actual change in speed. Just like with the 122 and 142, the Leslie Model 145 is identical to Model 147, except that it is housed in a 33" tall cabinet, and thus slightly easier to transport than the 41" tall Model 147.

Unfortunately, the Leslie Speaker was not loud enough to be heard clearly on stage. So, the Leslie was occasionally put offstage in the dressing room and microphones were placed near it to send sound to the mixer. This clever arrangement created problems on a few occasions! Jones recalls: "People used to go in to the dressing room and shout things over the microphones. It would come over the PA... (laughs)."

John Paul Jones used the Leslie Speaker in the studio with the Hammond Organ for songs such as Since I've Been Loving You from Led Zeppelin III and Night Flight from Physical Graffiti. He also used the Leslie Speaker on stage with his keyboards from 1970 through 1975.

Photos

Leslie Speaker Model 147
Leslie Speaker Model 147
Robert Plant, April 10, 1970, Miami Beach Convention Center, Miami Beach, Florida
Leslie Speaker Model 147
John Paul Jones, July 17, 1970, Grugahalle, Essen, Germany
Leslie Speaker Model 147
Led Zeppelin, August 19, 1970, Kansas City Municipal Auditorium Arena, Kansas City, Missouri
Leslie Speaker Model 147
Preshow, February 20, 1972, Kooyong Stadium, Kooyong, Melbourne, Australia
Leslie Speaker Model 147
Led Zeppelin, January 16, 1973, Kings Hall, Aberystwyth, Wales

Gallien-Krueger GMT 600B Amplifier

Gallien-Krueger GMT 600B Amplifier
General Specs
Watts: 300 Watts RMS @ 2 Ohms
Features: Front Panel: Bright Input Jack, Normal Input Jack, Input Attenuation (0 / -10db), Volume, Distortion, Treble (2.5 kHz and up), Hi Middle (2.5 kHz-600 Hz), Low Middle (600-150 Hz), Bass (150-60 Hz), Contour On / Off, Current Limit (10,5,2), Bright Off / On), Power Polarity On+ / On- Rear Panel: 8A Fuse, Power Cord, Auxillary Outlet, Boost Distortion Footswitch Jack, (2) Speaker Output Jacks, Input Power Amp Jack , Outut Preamp Jack
Years in use: 1977-1979
Website: http://www.gallien-krueger.com/
John Paul Jones used the Gallien-Krueger GMT 600B Amplifier on the 1977 US Tour and the 1979 Knebworth dates as a replacement for the Acoustic 360 Preamp. He used the 600B with the Acoustic 361PP Powered Cabinet.

Photos

Gallien-Krueger GMT 600B Amplifier
Led Zeppelin, Stairway To Heaven, April 06, 1977, Chicago Stadium, Chicago, Illinois
Gallien-Krueger GMT 600B Amplifier
Led Zeppelin, Achilles Last Stand, August 04, 1979, Knebworth House Grounds, Stevenage, England
Gallien-Krueger GMT 600B Amplifier

Gallien-Krueger 400B Amplifier

Gallien-Krueger 400B Amplifier
General Specs
Watts: 250 Watts RMS
Inputs: 2
Features: Front Panel: (1) Normal Input Jack, (1) Bright Input Jack, Attenuation Norm/-10dB Switch, Contour Switch, Bright Switch, Volume, Treble, Middle Hi, Middle Low, Bass, Boost, Master Volume Knobs, Boost Footswitch Jack, Power LED - Rear Panel: (2) Speaker Output Jacks (@ 4 Ohms), Preamp Out Jack, Power Amp In Jack, 5A Fuse, On/Off Switch, Polarity Switch, Power Cord, Polarized AC Jack
Years in use: 1980
Website: http://www.gallien-krueger.com/
John Paul Jones used the Gallien-Krueger 400B Amplifier on stage for bass guitars.

Photos

Gallien-Krueger 400B Amplifier
John Paul Jones & Jimmy Page (w/ GK 400B Amp behind him), Stairway To Heaven, June 26, 1980, Wiener Stadthalle, Vienna, Austria
Gallien-Krueger 400B Amplifier

Fender Tonemaster

Fender Tonemaster
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany
General Specs
Watts: 100 watts RMS
Speakers: (4) 12-inch Celestion Vintage 30
Inputs: 1
Features: Front Panel: Fat switch, Volume, Treble, Bass, Mid-Channel A/B Switch, Fat Switch, Gain Treble, Bass, Volume
Dimensions & Weight: Amp: 9"H x 24"W x 9.5"D, Speaker Cabinet: 27.75"H x 27.25"W x 13"D, 133 lbs.
Tubes: Power: 4 x 5881/6L6WGC, Pre-Amp: 3 x 12AX7A
Serial Numbers: 0864 & 0869
Years in use: 1995-2000
Website: http://www.fender.com/
John Paul Jones used the Fender Tonemaster rig on the 1999-2000 Zooma tour for use on the bridge pickup of the Manson bass guitars that were wired in stereo. They were later replaced on The Thunderthief tour by the Marshall rig.

Since then I've discovered the Fender Tonemaster, which is unbelievable. It's so loud, but you can hear the notes clearly, even when you use a lot of overdrive. That's the amp I'm using on the album tour. - John Paul Jones, Sound On Sound, November 1999

Photos:

Fender Tonemaster
Jimmy Page, October 16, 1999, SE+CC, Hall 4, Glasgow, Scotland
Fender Tonemaster
Jimmy Page, March 20, 2000, Roseland Ballroom, New York City, New York
Fender Tonemaster
 

Fender Dual Showman Reverb

Fender Dual Showman Reverb
John Paul Jones & Jimmy Page, Trampled Underfoot, ca. May 1975, Earls Court Exhibition Centre, London, England
General Specs
Amplifier
Inputs: 4
Features: Front Panel: 2 channels: normal and vibrato, 4 instrument inputs: 2 in each channel, Separate "bright" switch in each channel, Separate volume, teble, middle and bass controls in each channel, Reverb control in vibrato channel, Vibrato speed and intensity controls, Pilot light - Rear Panel: AC accessory outlet, 3-position ground switch, Extractor type slo-blo fuse, Power on/off and standby on/off switches, Speaker output jacks, Vibrato and reverb pedal jacks, Reverb output and input jacks
Dimensions: 13"H x 30"W x 11-1/2"D
Years in use: March 2, 1973 - July 24, 1977
Cabinet
Speakers: (2) 15" JBL D-130F
Dimensions: 45"H x 30"W x 11-1/2"D
Jacks: (1) Input Jack
Total Weight: 154 lbs.
Website: http://www.fender.com/
John Paul Jones used (2) Fender Dual Showman Reverb rigs for keyboards, beginning on the 1973 Scandanavian tour.

Photos

Fender Dual Showman Reverb
Led Zeppelin, No Quarter, May 18, 1973, Dallas Memorial Auditorium, Dallas, Texas
Fender Dual Showman Reverb
John Paul Jones & Jimmy Page, Trampled Underfoot, ca. May 1975, Earls Court Exhibition Centre, London, England
Fender Dual Showman Reverb
Led Zeppelin, Nobody's Fault But Mine, ca. 1977
Fender Dual Showman Reverb
1970 Fender Catalog
Fender Dual Showman Reverb
1972 Fender Catalog
 

Cerwin Vega Cabinet

Cerwin Vega Cabinet
Jimmy Page, Stairway To Heaven, June 26, 1980, Wiener Stadthalle, Vienna, Austria
General Specs
Speakers: (4) 15-inch Cerwin Vega
Years in use: 1980
Two Cerwin Vega speaker cabinets were used on the 1980 Led Zeppelin Tour, powered by a Gallien Krueger SK 400B Amplifier and a Trace Elliot AH250 GP11 SMX Amplifier.

Photos

Cerwin Vega Cabinet
Led Zeppelin, Train Kept A-Rollin', June 21, 1980, Ahoy Rotterdam, Rotterdam, The Netherlands
Cerwin Vega Cabinet
John Paul Jones & Jimmy Page, Stairway To Heaven, June 26, 1980, Wiener Stadthalle, Vienna, Austria

Bad Cat S412 Cabinet

Bad Cat S412 Cabinet
General Specs
Watts: 120
Speakers: (4) Bad Cat-modified 30-watt Celestions, Foster Horn
Inputs: 1
Impedance: 16 Ohms
Dimensions & Weight: 29"W x 29"H x 14"D, 90 lbs.
Years in use: November-December 2007
Website: http://www.badcatamps.com/
The Bad Cat S412 Cabinet was used with the Bad Cat Hot Cat 100R Amplifier at the Led Zeppelin O2 Arena Reunion Concert on December 10, 2007.

Photos

Bad Cat S412 Cabinet
Last rehearsal, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
Bad Cat S412 Cabinet

Bad Cat S212 Cabinet

Bad Cat S212 Cabinet
John Paul Jones' Bad Cat rig, including a Bad Cat Hot Cat 100R Amplifier and Bad Cat S212 Cabinet, October 08, 2009, The Fillmore, Detroit, Michigan
General Specs
Watts: 120
Speakers: (4) Bad Cat-modified 30-watt Celestions
Inputs: 1
Impedance: 16 Ohms
Construction: 13-ply birchwood, with creme tolex covering
Dimensions & Weight: 29"W x 20"H x 14"D, 90 lbs.
Years in use: August 09, 2009 - July 30, 2010
Website: http://www.badcatamps.com/
The Bad Cat S212 Cabinet was used with the Bad Cat Hot Cat 100R Amplifier on the Them Crooked Vultures tours of 2009-2010. An additional S212 Cabinet, covered in black tolex, was used on the 1st European Tour in 2009.

Photos

Bad Cat S212 Cabinet
Them Crooked Vultures, October 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
Bad Cat S212 Cabinet
John Paul Jones' bass rig, including SWR SM 900 Amplifiers, SWR Goliath III 4x12 Cabinets, SWR Son Of Bertha 15" Cabinets, Bad Cat Hot Cat 100R Amplifier and Bad Cat S212 Cabinet, October 08, 2009, The Fillmore Detroit, Detroit, Michigan
Bad Cat S212 Cabinet
John Paul Jones, Dave Grohl & Josh Homme, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada, Photo by Chicago

Bad Cat Hot Cat 100R Amplifier

Bad Cat Hot Cat 100R Amplifier
General Specs
Amplifier
Watts: 100 Watts RMS
Inputs: 2
Features: Front Panel: (1) Normal Input Jack, (1) Overdrive Input Jacks, Volume, Tone, Gain, Edge, Level, Bass, Treble, Reverb, Brilliance, Master - Rear Panel: A/C Plug, On/Off Switch, Standby Switch, Solid State/Tube Rectifier Selection, Send Jack, Return Jack, Send Level Control, Return Level Control, Auxillary Return Jack, Reverb Footswitch Jack, Speaker Out Jack, Speaker Impedance Selection (4,8,16 Ohms)
Tubes: 4 x 6CA7
Dimensions: 24"L x 20.5"H x 11.625"D
Weight: 61 lbs.
Years in use: 2007-2010
Website: http://www.badcatamps.com/
John Paul Jones used the Bad Cat Hot Cat 100R Amplifier with his 8-, 10-, and 12-string stereo-wired Manson instruments for the bridge pickup as well as the Manson 8-String Mandolin. At the Led Zeppelin O2 Arena Reunion concert on December 10, 2007, the Hot Cat amp powered a Bad Cat S412 Cabinet and on the 2009-2010 Them Crooked Vultures tours, the Hot Cat amp powered a Bad Cat S212 Cabinet.

Photos

Bad Cat Hot Cat 100R Amplifier
Last rehearsal, December 09, 2007, O2 Arena, London, England, Photo by Ross Halfin
Bad Cat Hot Cat 100R Amplifier
John Paul with, February 08, 2010, Roseland Ballroom, New York City, New York, Photo by Ross Halfin
Bad Cat Hot Cat 100R Amplifier
Front View
Bad Cat Hot Cat 100R Amplifier
Rear View

Ampeg B-25B

Ampeg B25B Amplifier
John Paul Jones, August 16, 1969, Asbury Park Convention Hall, Asbury Park, New Jersey
General Specs
Amplifier
Watts: 55 Watts RMS, 120 Watts Peak
Inputs: 4
Features: Front Panel: (2) Bright Input Jacks, (2) Normal Input Jacks, Channel One Volume, Bass, Treble, Channel Two Volume, Bass, Treble, Standby Switch, Polarity Switch, On/Off Switch - Rear Panel: Fuse, Non-Polarized AC Outlet, External Amp Jack, (2) External Speaker Jacks, Ground Switch
Dimensions: 10"H x 23 1/2"W x 10"D
Cabinet
Speakers: (2) 15" Altec Lansing (16 Ohm)
Tubes: Power: 2 x 7027A, Preamp: 1 x 12DW7, 2 x 12AX7
Dimensions: 40"H x 29"W x 12"D
Total Weight: 132 lbs.
Years in use: August 16, 1969
Website: http://www.ampeg.com/
This amplifier and cabinet was most likely borrowed (perhaps from the bass player of the supporting act, Joe Cocker) for this date.

An Ampeg B-25 Cabinet made a one-off appearance on October 09, 1972.

Photos

Ampeg B-25B
Ampeg Amplification 1971 Catalog, Page 5
Ampeg B-25B
John Paul Jones, August 16, 1969, Asbury Park Convention Hall, Asbury Park, New Jersey
Ampeg B-25B
Led Zeppelin, October 09, 1972, Osaka Festival Hall, Osaka, Japan

Acoustic 360 - 361PP Combo

Acoustic 360 - 361PP
General Specs
Acoustic 360 Preamp
Inputs: 2
Features: Front Panel: High and Low Input Jacks, Bright Rocker Switch, Volume, Treble, Bass, 5-setting Variamp Range & Effect, Fuzz Gain, Fuzz Attack, Electronic Tuning Fork Fine, Coarse & On/Off Switch, Ground On/Off, Main On/Off - Rear Panel: Voltage Selector, (4) Output Jacks, 5-Pin DIN port for footswitch (Fuzz and ETF)
Dimensions: 6"H x 24"W x 12"D
Years in use: May 30, 1969 - May 25, 1975
Acoustic 361PP Powered Cabinet
Watts: 200 Watts RMS, 440 Watts Peak
Speakers: (1) 18" Cerwin-Vega L-187 (4 ohm) driver, rear mounted with a folded horn
Dimensions: 48"H x 24"W x 18"D
Jacks: (1) Input Jack, (1) Output Jack
Total Weight: 185 lbs.
Suggested Retail Price: $1,249.00
Years in use: May 30, 1969 - July 07, 1980
Website: http://www.acoustic
amplification.com/
After using many other bass amplifiers and cabinets, including Marshall amplifiers and the Rickenbacker Transonic series, John Paul Jones purchased (3) Acoustic 360 - 361PP Amplifier Combos in May 1969. Jones used (2) of these combos on stage as his main amplifiers, with (1) as a backup, with the brief exception of a two week span in June 1972, when he used the Univox 1510 System. He used the Acoustic 360 Preamp through the Earls Court shows in 1975 and switched to a Gallien Kruger GMT 600B Amplifier for the 1977 US Tour, however continued to use the Acoustic 361PP Powered Cabinet through some dates of the 1980 Tour Over Europe.

The (3) Acoustic 360 - 361PP combos were purchased by a member of the band The Jaguars from John Paul Jones in 1977. He was working at a guitar shop on Charing Cross Road, London at the time and was contacted by John Paul Jones' assistant who told him that Jones wished to dispose of three such set ups as he was upgrading his stage equipment. Another fellow band member of The Jaguars was given (1) set of the Acoustic 360 - 361 combos (360 Serial #L1409 - 361 Serial #M1032) and the child of that other members sold the set back to Acoustic Amplification via auction at Christie's on July 10, 2008 for $27,115.00.

John Paul Jones said in a 2010 Bass Player interview that one of the Acoustic 360 Preamps had caught on fire at the end of one show. "I suppose the power amp got overheated," he quipped.

Videos

Photos

Acoustic 360 - 361PP
John Paul Jones, May 24, 1969, Kinetic Playground, Chicago, Illinois
Acoustic 360 - 361PP
Led Zeppelin, September 29, 1971, Osaka Festival Hall, Osaka, Japan
Acoustic 360 - 361PP
Led Zeppelin, Bron-Y-Aur Stomp, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California
Acoustic 360 - 361PP
Led Zeppelin, June 21, 1980, Ahoy Rotterdam, Rotterdam, The Netherlands
Acoustic 360 - 361PP
Acoustic 360 - 361PP Combo
 

Yamaha KX88 Synth

Yamaha KX88 Synth
General Specs
Keys: 88 keys (Initial and Common after touch sensitive)
Controls: Wheel x 2 Control Slider x 4 Pushswitch TS1,2 Pushswitch MS1 ~ 5 Bankswitch A,B Program Select Switch Bank A 1~16 Bank B 1~16
Inputs: Breath controller Input Foot Controller Input 1,2 Foot switch Input 1,2 Midi Out Midi IN
Display: Program Number 7 seg. LED X 2 Pushswitch On/Off LED X 2 Keyassign Mode LED X 5 Program Bank LED X 2
Dimensions: 56-7/10"W x 5-2/10"H x 13-7/10D"
Weight: 62.8 lbs
Website: http://usa.yamaha.com/product_archive/music-production/kx88/
John Paul Jones used the Yamaha KX88 Synth at his in-home studio for the piano parts on Zooma.

Yamaha GX1 Synth

Yamaha GX1 Synth
John Paul Jones, ca. August 1979, Knebworth Festival, Stevenage, England
General Specs
Keys: 2 x 61-note velocity sensitive keyboards, 3/4 scale pressure sensitive 37-note keyboard, 25-note pedalboard
Voices: 12 Sounds (Bass Drum, Bongo, Clave, Cowbell, Cymbal I, Cymbal II, Hi-Hat, High Conga, Low Conga, MA [not operative], Rimshot, Snare Drum), 14 Rhythms (March I, March II, Waltz, Swing, Slow Rock, Jazz Rock I, Jazz Rock II, Tango, Beguine, Rhumba, Mambo, Bossanova, Samba I, Samba II)
Controls: Organ-style drawbars, ribbon controller for tweaking the tones, additional programming buttons are hidden away under drawers and panels on the front panel, Two swell pedals, spring-loaded knee controller for sustain.
Weight: The GX-1 console weighs 300 kg. The pedalboard and stand add 87 kg, and each of its tube-powered speakers, four of which can be connected to the GX-1, weighs 141 kg (Which together equals a total of 951 kg, or 2096 lb).
Original List Price: $60,000
Years Used: 1979
For the 1979 Tour Dates, John Paul Jones used a Yamaha GX1 Synth. This was a descendant of the original Helpinstill idea to use a magnetic pickup to amplify an acoustic piano. Yamaha developed this idea much further with the CP70 and it's larger mate, the CP80. The Yamaha was indeed portable, as it could be taken in two pieces! One piece would house the mechanical keys and hammers, and the other could be lifted off to contain just the strings and harp frame. This made for a true piano that was somewhat simple to transport, although it still required constant tuning. The piano used a sophisticated pickup and preamp to enable a truer piano tone, although it was still less "true" than an acoustic grand with microphones. As the Yamaha was being used next to the large white Yamaha GX-1, there was a special casing built to make the Yamaha look like a white, full-sized concert grand.

Photos

Yamaha GX1 Synth
John Paul Jones & Jimmy Page, ca. July 1979, Falkoner Theatre, Copenhagen, Denmark
Yamaha GX1 Synth
Led Zeppelin, Kashmir, August 11, 1979, Knebworth Festival, Stevenage, England
Yamaha GX1 Synth
Led Zeppelin, Kashmir, August 11, 1979, Knebworth Festival, Stevenage, England
Yamaha GX1 Synth

Resources and Information:

http://www.geocities.com/~jpjkeys (defunct)

Yamaha CP70B Electric Grand Piano

Yamaha CP70B Electric Grand Piano
John Paul Jones, No Quarter, ca. August 1979, Knebworth Festival, Stevenage, England
General Specs
Keys: 73
String: Two Yamaha Grand Piano strings per note for treble and middle notes. Specially developed single strings for bass notes that retain true grand piano character.
Pickups: Independant piezoelectric pickup system
Controls: Overall Volume control, Bass, Middle and Treble tone controls, Tremolo On/Off switch, Tremolo Speed and Depth controls, Power On/Off switch and Indicator, Sustain/Damper pedal.
Jacks: (2) 600-ohm balanced XLR output jacks, one for each phase of the Tremolo, (2) standard 1/4" jacks, unbalanced, containing the same output as the XLR jacks, In and Out jacks for plug-in effects.
Other: Housed in a white wooden casing to look like a genuine concert grand.
Original List Price: $4000
Years Used: 1979 - 1980
For the final tour in 1979/80, John Paul Jones used a Yamaha CP70B Electric Grand Piano. This was a descendant of the original Helpinstill idea to use a magnetic pickup to amplify an acoustic piano. Yamaha developed this idea much further with the CP70 and it's larger mate, the CP80. The Yamaha was indeed portable, as it could be taken in two pieces! One piece would house the mechanical keys and hammers, and the other could be lifted off to contain just the strings and harp frame. This made for a true piano that was somewhat simple to transport, although it still required constant tuning. The piano used a sophisticated pickup and preamp to enable a truer piano tone, although it was still less "true" than an acoustic grand with microphones. As the Yamaha was being used next to the large white Yamaha GX-1, there was a special casing built to make the Yamaha look like a white, full-sized concert grand.

Photos

Yamaha CP70B Electric Grand Piano
Robert Plant, No Quarter, ca. August 1979, Knebworth Festival, Stevenage, England
Yamaha CP70B Electric Grand Piano
Led Zeppelin, Hot Dog, June 20, 1980, Vorst Nationaal, Brussels, Belgium

Resources and Information:

http://www.geocities.com/~jpjkeys (defunct)

Dewtron Mr Bassman Pedals

Unknown Bass Pedals
John Paul Jones, That's The Way, August 15, 1970, Yale Bowl, New Haven, Connecticut
General Specs
Years Used: 1970 - 1974
John Paul Jones used these bass pedals in the early days of Led Zeppelin, randomly alternating with the Fender Pedal Bass. This pedal was also used by Mike Rutherford of Genesis and Chris Squire of Yes.

The pedals were mounted on a slightly wedge-shaped steel box and finished in a blue metalic hammered paint finish. Mounted on the top surface was a crude set of black and white plastic "keys" arranged like those on a piano. Above the keys were a set of rotary controls for Volume, Tuning and Sustain and two rectangular foot switches. One of these toggled the sustain feature on and off. The other toggled the pitch by an octave.

While the steel case was robust, all the fittings mounted on it appeared to be of very cheap brittle plastic. The keys were held in place with two screws pointing upwards through the casing and going into the bottom of the key mouldings. The screws were deliberately left loose to allow the key to move. A block of sponge rubber held them up in their normal, at rest, position. They were nothing more than piano-like decoration, as the tones produced by the instrument were sounded by the underside of the keys pressing on very simple non-latching push button switches mounted on the top of the casing.

The main foot switches were equally crude. They were operated by similar, but latching versions, of the push-button switches used to sound the notes and were hidden under a hollow block of coarse grained sponge rubber glued to the casing and which surrounded the switch. Glued on the top of the sponge was a simple rectangular plastic cap, the sides of which only reached part of the way down to the steel casing, so that when pressed with the foot, the underside of the plastic cap would actuate the switch. The only external connection was a 6.3mm jack socket, which took a lead straight to an amplifier.

The underside of the case had four simple rubber feet in the corners with screws within them that held the base plate in place. Removing the screws revealed the workings on the instrument and was how you gained access to the battery.

The bulk of the visible works inside the device amounted to a pair of stiff straight wires to which each note switch was connected, via a small circular control, which could be adjusted with a screwdriver. These controls adjusted the pitch of the notes enabling fine control of the tuning of each note. There was a further control which seemed to act as an overall tuner, in similar fashion to the external control on the top of the instrument.

The sound is a straight forward tone with instant attack and decay as you press and release the key. With sustain turned off and a quick stab on the pedals you might as well be listening to a drum. With sustain turned on the sounds decays like the plucked string of a bass guitar, depending a little on how much you turned up the sustain. There are no other voices or options.

Photos

Dewtron Mr Bassman Pedal
Before That's The Way, February 20, 1972, Kooyong Stadium, Kooyong, Melbourne, Australia
Dewtron Mr Bassman Pedal
The Song Remains The Same filming, ca. August 1974, Shepperton Studios, Shepperton, London, England
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
Dewtron Mr Bassman Pedal
Thanks to Anthony Hoaglin
 

Resources and Information

http://www.gregonemanband.me.uk/mrbassman.html

Steinway B-211 Drawing Room Grand Piano

Steinway B-211 Drawing Room Grand Piano
John Paul Jones & Robert Plant, Stairway To Heaven, July 17, 1977, The Forum, Inglewood, California
General Specs
Keys: 88
Pedals: 88
Finish: Ebony High Polish
Dimensions: 6'11"L x 4'10"W, 760 lbs.
Years Used: 1970 - 1977
Website: http://www.steinway.com/
For the 1975 Earls Court dates, John Paul Jones decided to add a real piano on stage. Jones' own Steinway B-211 Drawing Room Grand Piano was chosen, which is a common instrument for both pop and classical artists. Steinway, the most recognized name in classical pianos, has a long history. Known for their excellent tone and construction, the Steinway has become one of the most widely distributed piano makes, and thus a common choice for touring professionals since service and parts are available in most cities.

Having a real acoustic piano allowed for a truer sound, but also created new problems with tone, feedback, and tuning. To prevent microphonic feedback, a Helpinstall Model 175 6-channel pickup system was used. The Helpinstall system was very common in the 1970s and used a long magnetic pickup to sense string vibration, like on a guitar. However John Paul Jones felt that the Steinway was "never right" during the tour. He was constantly plagued by sound and mechanical problems. "I had such a terrible time... always looking over my shoulder and shouting 'turn it up! Turn it down!'' It's hard to play when you're shouting instructions," Jones recalls.

For the tour in 1977, Led Zeppelin hired a new keyboard technician named Ed Kolakowski, who had worked preparing live pianos for many artists (including classical pianist Artur Rubenstein and former Beatle Sir Paul McCartney). Kolakowski spent a great deal of time preparing Jones' piano setup and monitors, and Jones felt the piano was "spot on" every night. One of the unusual requirements was the making of a special leg for the piano: As the standard leg spacing would not accomodate the bass pedals underneath, Kolakowski designed a special leg machined of aluminum that would replace the wooden leg and thus allow the extra space for the bass pedals.

John Paul Jones used a Steinway piano in the studio for many of their albums. His piano work is very standard, but effective. He explains, "Piano is close to my heart, but I had some bad experiences with lessons and I wouldn't go near it for a long time." Piano appears on The Rain Song, Friends, Hot Dog, South Bound Saurez, and Darlene. (The piano on Rock and Roll and Boogie With Stu was played by Ian "Stu" Stewart.)

Photos

Steinway B-211 Drawing Room Grand Piano
Led Zeppelin, Trampled Underfoot, May 23, 1975, Earls Court Exhibition Centre, London, England
Steinway B-211 Drawing Room Grand Piano
Led Zeppelin, The Song Remains The Same, ca. 1977
Steinway B-211 Drawing Room Grand Piano
John Paul Jones' home studio, ca. 1999

Resources and Information:

http://www.geocities.com/~jpjkeys (defunct)

Roland PK-7A 20-Key Pedalboard

Roland PK-7A 20-Key Pedalboard
General Specs
Pedals: 20
Features: Expression Pedal (w/ rotary effect & rotary brake switches), Hold Pedal
Rear Panel: Power Switch, AC Adaptor Jack, PK Out Connector, MIDI Out, MIDI In, Hold Out Jack, Expression Out Jack, Foot Sw-R Out Jack, Foot Sw-L Out Jack
Years Used: 2009-2010
Website: http://www.roland.com/products/
en/PK-7A/
The PK-7A is the perfect portable foot controller for Roland organs. Along with its 20-key pedalboard, the PK-7A features an expression pedal, two footswitches (for pedal control of various Roland organ functions), and a hold pedal for sustaining notes.

John Paul Jones used the Roland PK-7A with the Korg M3 88-Key Synthesizer on stage with Them Crooked Vultures.

Photos

Roland PK-7A 20-Key Pedalboard
Them Crooked Vultures, September 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
Roland PK-7A 20-Key Pedalboard
John Paul Jones, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada. Photo by S1nisterbunny

Roland PK-5A Dynamic MIDI Pedal

Roland PK-5A Dynamic MIDI Pedal
General Specs
Pedals: 13
Mode Selectors: Mono, Poly, Drums, Sound Effects, Controller
Function Selectors: Octave/Select & Factory Set, Prg Change & User Set, Midi Channel, Pedals
Rear Panel: MIDI In, MIDI Out, MIDI Thru, DC In Socket, Power Switch
Connectors: MIDI(In, Out), DC In
Years Used: 2007
Website: http://www.rolandus.com/products/
productdetails.php?ProductId=880
The Roland PK-5 Dynamic MIDI Pedal bass note pedalboard lets you play a variety of sounds from any external MIDI device, leaving your hands free to play your favorite musical instrument. The Roland PK-5 puts the excitement and versatility to live bass performance with full MIDI control within reach of any musician. Easy one-foot operation gives you complete command over four separate Performance modes, letting you play bass lines as well as harmonies, drums and percussion sounds, or even sound effects. And the PK-5’s impressive MIDI Controller Mode enable you to control virtually any MIDI function in live performance. Add exciting new dimensions to your instrumental performances with the versatile Roland PK-5 Dynamic MIDI Pedal.

John Paul Jones used the Roland PK-5A at the Led Zeppelin reunion concert on December 10, 2007, O2 Arena, London, England for Trampled Underfoot, No Quarter, Since I've Been Loving You, Stairway To Heaven and Kashmir.

Photos

Roland PK-5A Dynamic MIDI Pedal
John Paul Jones, No Quarter, December 10, 2007, O2 Arena, London, England
Roland PK-5A Dynamic MIDI Pedal
 
 

Roland AX-7 Shoulder Synthesizer

Roland AX-7 Shoulder Synthesizer
General Specs
, 6-5/8 lbs.
Keys: 45
Display: 3 x 7 Segments
Controllers: Data Entry knob, Touch Controller, Expression Bar, Hold Button, D Beam
Patches: 128
Connectors: MIDI(In, Out), DC In
Accessories: Dry Batteries (AA Type) x 6, MIDI Cable, Shoulder strap (17 lbs.)
Dimensions: 40"W x 8"D x 4"H, 6-5/8 lbs.
Years Used: 2009-2010
Website: http://www.roland.com/products/en/AX-7/
The Roland AX-7 is a keytar that was manufactured by Roland Corporation from 2001 to 2007. This modern instrument contains many more advanced features than early keytars such as its predecessor, the Roland AX-1, and the Yamaha SHS-10. It runs on 6 AA batteries or an external power source. It has a 45 velocity sensitive keys (without aftertouch), and a 3-character LED display. Several features aimed towards stage performance are present, such as a pitch bend ribbon, touchpad-like expression bar, sustain switch, and volume control knob, all on the upper neck of the instrument. There is also a proprietary "D-Beam" interface, made up of infrared sensors that detect nearby motion.

John Paul Jones used the Roland AX-7 in Them Crooked Vultures on the song Interlude With Ludes for the backing keyboard track.

Photos

Roland AX-7 Shoulder Synthesizer
Them Crooked Vultures, January 25, 2010, Brisbane River Stage, Brisbane, Australia
Roland AX-7 Shoulder Synthesizer
John Paul Jones, February 11, 2010, The Tabernacle, Atlanta, Georgia

Moog Taurus 1 Bass Pedal

Moog Taurus I
John Paul Jones & Robert Plant, The Battle Of Evermore, April 27, 1977, Richfield Coliseum, Richfield, Ohio
General Specs
Pedals: 13
Voices: TAURUS - the classic moog taurus sound with pulsating oscillators
BASS - bass sound with fast decay filter sweep
TUBA - simple bass sound, one VCO only
VARIABLE - user-created patch
Controls: Loudness Foot Slider, Filter (tone color variation) Foot Slider, (4) On/Off Buttons for voices, On/Off Button for Glide, On/Off Button for Decay, On/Off Button for Octave, Tune Potentiometer, Beat Potentiometer, Glide Slider, Octave (Low, Med, Hi) 3-way switch, B-Mix-A Slider, Osc B Freq Slider, Attack Slider, Sustain Level Loudness Slider, Decay Loudness Slider, Decay Loudness Slider, Cut-Off Filter Slider, Emphasis Filter Slider, Countour Amount Filter Slider, Countour Attack Filter Slider, Countour Delay Filter Slider - Rear Panel: 1/4" Output Jack, Output Level Potentiometer, On/Off Switch, 115/230 VAC Selector, 6-foot 2-prong AC Power Cord
Years Used: 1977-1979
The basic functions of the Taurus 1 Synthesizer are programmable. That is, values of the various parametersthat are used to control the details of a sound are determined either by the internally fixed values (for the three fixed presets) or set by the player accessible controls (for the VARIABLE preset). In normal usage, the VARIABLE preset is set up prior to performance using the VARIABLES controls in the control box. During actual performance, the player selects one of the four presets instantly by depressing one of the four PRESETS foot-buttons. These four PRESETS are mutually exclusive, that is, only one preset may be ON at any one time.

The basic tone sources are two voltage controlled oscillators (A and B). Two basic pitch controls are used for fine tuning the instrument. First, the TUNE control is used to set the pitch of both oscillators to the desired reference, such as another instrument being used simul taneously. The BEAT control is used to make fine adjustments in the relative pitch of the two tone oscillators (by modifying the "B" tone source pitch). In addition to these basic tuning controls, the "B" tone osciliator pitch in the VARIABLE preset mode may be varied over a greater than one octave range by adjust ing the OSC B FREQ control. The relative pitches of the two tone sources are internally set for the three fixed presets.

The entire instrument may be shifted either up or down one octave by use of the OCTAVE foot-button. As the OCTAVE foot-button is successively depressed, the instrument tuning changes by one octave; an indicator light shows that the instrument tuning is in high range. For the three fixed presets, the OCTAVE button switches the instrument between the 16' and 8' ranges. When the instrument is in the VARIABLE mode, a manual OCTAVE slide switch in the VARIABLES control box may be used to select three pitch range positions (LO-MED-HI). These three positions correspond to a 16' or 8' range for the LO position, an 8' or 4' range for the MED position, and a 4' or 2' range for the Hl position. The "B" oscillator range extends to 1' with the OSC B FREQ control positioned all the way up.

The instantaneous pitch of the instrument is controlled not onty by the OCTAVE and fine tuning controls, but also by a GLIDE control and GLIDE foot-button. The glide effect is a smooth transition in pitch between successive notes. The GLIDE foot-button operates in a manner similar to the OCTAVE foot-button in that the glide effect can be alternately turned ON and OFF, the ON state indicated by the GLIDE light being ON. The amount of glide effect is determined by the GLIDE slider in the VARIABLES control box. The player may thus set up the amount of desired glide effect using the GLIDE slider and then use the GLIDE foot-button to switch the effect in or out.

The two tone sources are combined in different amounts in the mixer. In the three fixed presets the amounts are internally set, while in the VARIABLE MODE the relative amounts of the "A" and "B" tone sources appearing in the final output are determined by the B-MIX-A control in the VARIABLES control box.

The output of the mixer is applied to the voltage controlled filter which may be used to provide either dynamic or fixed timbre modification. Whenever a note is depressed, a filter contour signal is generated, successively opening and closing the filter. The amount of opening and closing the filter is determined by the CONTOUR AMOUNT slider. The rate at which the filter is opened is determined by the CONTOUR ATTACK control slider while the rate at which the filter is closed is determined by the CONTOUR DECAY slider. These contour controls determine the characteristics of the dynamic aspect of the filter function.

The effect of the filter is determined by the settings of the contour controls and by two other controls (CUT-OFF and EMPHASIS). The cutoff frequency is the filter characteristic which is "moved" by the contour signal. The initial cutoff frequency is determined by the FILTER foot-slider and by internally preset values for the three fixed presets. For the VARIABLE preset, this initial filter cutoff frequency is determined by the FILTER foot-slider and by the CUT-OFF control in the VARIABLES control box. For example, using the VARIABLE preset with the CONTOUR AMOUNT control set all the way down, the tone color may be changed but not dynamically, by either the FILTER foot-slider or the CUT-OFF slider.

The EMPHASIS control varies the amount of peaking of the filter. That is, the intensity of the frequency components of the tone generators which lay near the filter cutoff frequency is emphasized to a degree determined by the EMPHASIS control. The output signal from the voltage controlled filter is applied to the voltage controlled amplifier (VCA). The VCA serves the function of "turning on and turning off" the sound. This articulation of the signal is caused by the VCA contour generator. The rate at which the sound is "turned on" is called the attack time. This attack time is internally set for the three fixed presets and is set by the ATTACK control in the VARIABLES control box for the VARIABLE preset. The sustained loudness of a preset is called the SUSTAIN LEVEL. The SUSTAIN LEVEL is determined by an internally preset value for the three fixed presets, and by the SUSTAIN LEVEL control for the VARIABLE preset. In addition, the overall loudness is determined by the LOUDNESS foot-slider. The manner in which the sound dies out or decays is determined by two functions. If the DECAY light is ON, the sound dies out at a rate determined by the DECAY control in the VARIABLES control box for the VARIABLE preset. If the DECAY light is OFF, the sound dies out immediately when the note is released (no decay).

The output of the VCA is applied to the OUTPUT LEVEL rotary control on the inset rear panel. The OUTPUT LEVEL control is used to match the signal level of the Taurus to the amplifier. GeneralIy, the OUTPUT LEVEL control will be set so that the maximum desired loudness for any preset is achieved when both the LOUDNESS and the FILTER foot-sliders are in their uppermost positions. When using the TAURUS with a bass amplifier or similar musical instrument amplifier, plug the TAURUS into a high level amplifier input, and set the amplifier volume control one-third to one-half of the way up. Then set the OUTPUT LEVEL control on the Taurus rear panel for the desired volume range.

The Taurus may be operated using either a 115 or 230 volt line voltage.

(From 1978 Taurus Pedal Synthesizer Owners Manual)

John Paul Jones replaced the Fender Pedal Bass (used from 1971-1975) with the Moog Taurus I (Model 205A) for the 1977 US Tour and the 1979 Knebworth shows. It was used to add bass tones while Jones was playing the keyboard and also during the acoustic set.

Photos

Moog Taurus I
Led Zeppelin, The Battle Of Evermore, April 07, 1977, Chicago Stadium, Chicago, Illinois
Moog Taurus I
Led Zeppelin, The Battle Of Evermore, April 27, 1977, Richfield Coliseum, Richfield, Ohio
Moog Taurus I
Led Zeppelin, Stairway To Heaven, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California
Moog Taurus I

Mellotron Mark V

Mellotron Mark V
Jimmy Page's Mellotron Mark V
General Specs
Keys: (2) 35-key keyboards
Voices: Recorded on 3/8" tapes, most common voices were Flute, Violins and Cello
Amplification: None
Controls: Left Track Selector, Left Volume, Left Tone, Left Reverb, Left Pan, Pitch, Right Pan, Right Reverb, Right Tone, Right Volume, Right Track Selector, Stereo Headphone Jack, On/Off Power Rocker Switch
Retail Price: $3559 US
Quantity Manufactured: Approx. 28
Dimensions: 52"W x 35-1/4"H x 26"D
Weight: 300 lbs.
Years Used: 1977
Website: http://www.mellotron.com/
The Mellotron Mark V featured two completely independent 2-3/4 octave keyboards, two independent output channel for each keyboard, full stereophonic reverberation, panning facilities on both keyboards, single capstan drive for both keyboards, Type SN52 (Servo motor system) giving stable pitch over a wide range of temperatures and voltages pitch variations if desired, dual volume pedal control, stereophonic headphone jack output. From Mellotron Mark V Provisional Documentation

For the 1977 tour, John Paul Jones played Jimmy Page's Mark V Mellotron. It was wide and black, and allowed twice as many sounds inside. Having two keyboards also allowed greater performance options since two sounds could be played simultaneously. Unfortunately, the Mark V was no more reliable than the Mellotron M400, and it was replaced with Yamaha GX1 Synth on the 1979 tour.

Photos

Mellotron Mark V
Led Zeppelin, April 10, 1977, Chicago Stadium, Chicago, Illinois
Mellotron Mark V  

Mellotron Mark II

Mellotron Mark II
General Specs
Keys: (2) 35-key keyboards
Voices: Recorded on 3/8" tapes, 6 banks of 3 voices each
Amplification: (2) 12" built-in speakers, a tube preamp, two transistor power amps
Controls: On/Off Switch, Rhythm Track Selector, Rhythm & Fill Sound Bank Selector, Fill Track Selector, Rhythm Volume Control, Fill Volume Control, Pitch Control, Reverb Control, Master Volume Control, Lead Instrument Sound Bank Selector, Lead Track Selector
Retail Price: $1624 US
Quantity Manufactured: Approx. 300
Dimensions: 51"W x 39"H x 27"D
Weight: 350 lbs.
Years Used: May 1972- February 1974
Website: http://www.mellotron.com/
John Paul Jones used the Mk.II for the beautiful string arrangements in The Rain Song from Houses of the Holy. The Mellotron violins are strangely haunting, and have limited fidelity. They are also difficult to play smoothly, as the sounds begin and end instantly. To overcome this, Jones used a volume pedal to swell the entrances and exits of the string lines to make them more realistic. In an interview specifically for this article, he describes his process for recording a simulated orchestra with a keyboard: "The secret of successful keyboard string parts is to play only the parts that a real string section would play. That is, one line for the First Violins, one line for Second Violins, one for Violas, one for Cellos, one for Basses. Some divided parts [two or more notes to a line] are allowed, but keep them to a minimum. Think melodically."

Many people consider Kashmir to be Led Zeppelin's greatest song. It's heavy Arabic flavor was incredibly unique, and very well executed. The blend of hard rock and orchestral instruments was perfect, and remains a classic example of a brilliant arrangement. Jones arranged Kashmir for both real strings and Mellotron strings. It is difficult for many to hear the difference between the "real" and simulated strings, which is a tribute to Jones' clever performance and arrangement. The Mellotron strings are most easily heard on the bridge, during the Gm and A chords.

Photos

Mellotron Mark II
From Mellotron Mark II Service Manual
   

Resources and Information:

http://www.vemia.co.uk/mellotron/
http://www.geocities.com/~jpjkeys (defunct)

Mellotron M400

Mellotron M400
The Song Remains The Same filming, ca. August 1974, Shepperton Studios, Shepperton, London, England
General Specs
Keys: 35
Voices: Recorded on 3/8" tapes, most common voices were Flute, Violins and Cello
Amplification: None, unbalanced line output via 2 circuit jack
Controls: On/Off Rotary lighted switch, Volume, Tone, Pitch, 3-way Voice switch
Retail Price: $1300 US
Quantity Manufactured: Approx. 2000
Dimensions: 33-7/8"W x 33-7/8"H x 22"D
Weight: 121 lbs.
Serial Number: 216
Years Used: 1972-1975
Website: http://www.mellotron.com/
After the imposing and very heavy Mark II, the lighter but still voluminous M300, the M400 was the first Mellotron whose size and weight allowed it to be carried easily.

The M400 used 3/8" tapes and had one single 35 note keyboard (G to F). It didn't have a rhythm or an accompaniment section anymore, but only solo sounds.

The first M400s had a CMC-10 control card. This card needed a warm up period before the Mellotron could be used to its full effect. Moreover, 6 or 7 notes played at once made the motor slow down, which caused a drop in tuning. For the live concerts, Led Zeppelin used the Mellotron for the flute intro of "Stairway To Heaven," and the string of "The Rain Song" and "Kashmir." John Paul Jones explained, "To walk up to the Mellotron, not knowing if it was going to be in tune or what it was going to do, was a terrifying experience!"

M400 Mellotrons had a cabinet made of white polished wood.

The way the M400 worked was much simpler than on previous models : the banks with multiple sounds that could be found on Mark II and M300 had been given up and replaced by a removable 35 tape frame. No more rewind between each bank change - which was a delicate operation for the tapes. A frame was the equivalent of a bank with 3 sounds ; thus, to change a bank, you only had to replace the frame by another frame. Each additional frame was supplied with a flightcase.

Thanks to this removable frame system, a wider range of sounds was available. When you ordered an additional frame, you only had to choose your 3 sounds among those that were available. With the M400, new sounds appeared. The choirs, which have now acquired a mythical status, are one of those new sounds.

Jimmy Page allegedly purchased a M400 in the mid-1990s and it provides the intro to the track Shining In The Light, performed by Timothy Whelan of Transglobal Underground.

Photos

Mellotron M400
Led Zeppelin, October 09, 1972, Osaka Festival Hall, Osaka, Japan
Mellotron M400
Led Zeppelin, February 01, 1975, Pittsburgh Civic Arena, Pittsburgh, Pennsylvania
Mellotron M400
Led Zeppelin, March 17, 1975, Seattle Center COliseum, Seattle, Washington
Mellotron M400

Korg X50

Korg X50
John Paul Jones, December 10, 2007, O2 Arena, London, England
General Specs
Keys: 61-key, velocity sensitive
Polyphony: 62 voices, 62 oscillators (in single mode), 31 voices, 62 oscillators (in double mode)
Tone Generator: Pitch bend wheel, Modulation wheel, REALTIME CONTROLS knob 1~4, Audition key, Category key
Audio Outs: MAIN-L/MONO, R; INDIVIDUAL-1, 2; Headphones
Years Used: 1999-2001
Website: http://www.korg.com/gear/prod_info.asp?A_PROD_NO=X50
John Paul Jones used the Korg X50 synthesizer on stage during the Led Zeppelin 2007 reunion concert at the O2 Arena in London, England. He used it for the descending keyboard part in Kashmir.

Korg X5

Korg X5
John Paul Jones, November 09, 1999, Prime Club, Köln, Germany
General Specs
Keys: 61 velocity
Polyphony: 32-note
Memory: 6MB
Left-hand Control: Modulation Wheel, Pitch Bend Wheel
Years Used: 1999-2001
Website: http://www.korg.com/
John Paul Jones used the Korg X5 synthesizer on stage during his Zooma and The Thunderthief tours.

Photos

Korg X5
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany
Korg X5
John Paul Jones, No Quarter, June 09, 2000, House Of Blues, Orlando, Florida

Korg Oasys 88

Korg Oasys 88
John Paul Jones, December 10, 2007, O2 Arena, London, England, Photo by Jonathan Bayer
General Specs
Keys: 88
Polyphony: 172
Synthesis Type: PCM, Wave Sequencing, Vector, Physical Modelling, Sampler, Analog Modelling
Memory: 1GB, Expandable to 2GB
Effects: 12 insert, 2 master, 2 total
Left-hand Control: 2x Joystick, 2x Switch, Ribbon, KARMA
Years Used: 2007
Website: http://www.korg.com/
John Paul Jones used the Korg Oasys 88 synthesizer on stage with Led Zeppelin at their 2007 reunion concert at the O2 Arena in London, England. He used it on No Quarter, Since I've Been Loving You, Misty Mountain Hop and Kashmir, along with the Roland PK-5A Dynamic MIDI Pedal for bass notes and the Korg EXP2 Expression Pedal.

Photos

Korg Oasys 88
John Paul Jones, No Quarter, December 10, 2007, O2 Arena, London, England

Korg MiniKorg 700s

Korg MiniKorg 700s
General Specs
Keys: 37
Effects: 3 Ring modulators, Portamento, auto-bender, Vibrato, Repeat, Chorus, Noise
Filter: Breath controller Input Foot Controller Input 1,2 Foot switch Input 1,2 Midi Out Midi IN
Original Retail Price: £499
It is unknown exactly where John Paul Jones used the Korg MiniKorg 700s, however it was probably in his home studio.

Korg M3 88-Key

Korg M3 88-Key
John Paul Jones, June 08, 2010, Le Zénith de Paris, Paris, France
General Specs
Keys: 88, Hammer Action, Velocity Aftertouch
Polyphony: 120 voice - single mode, 60 voice - double mode
Oscillator: 120 oscillators - single mode, 120 oscillators - double mode
Synthesis Type: PCM Sampler, Enhanced Definition Synthesis
Memory: 64 Mb, Expandable to 320 Mb
Effects: 3-band EQ (up to 16), 5 insert effects, 2 master effects, 1 total effect
Left-hand Control: 8x Sliders, 8x Switches, Joystick
Oscillator: 120 oscillators - single mode, 120 oscillators - double mode
Years Used: 2009 - 2010
Website: http://www.korg.com/
John Paul Jones used the Korg M3 88-Key Synthesizer on stage with Them Crooked Vultures. He used an electric piano voice to extend the final passage in Spinning In Daffodils and some raucous organ riffs on Caligulove, with some fancy footwork on the Roland PK-7A 20-Key Pedalboard.

Photos

Korg M3 88-Key
John Paul Jones, September 30, 2009, Austin City Limits, KLRU Studios, Austin, Texas, Photo by Lance Armstrong
Korg M3 88-Key
Them Crooked Vultures, September 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
Korg M3 88-Key
John Paul Jones, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada

Korg Kaossilator

Korg Kaossilator
General Specs
Programs: 100 including synth basses and leads, natural instruments, chorded sounds and drum sounds
Drum Patterns: 10
Musical Patterns: 31
Connectors: Stereo line out (Dual RCA), mini headphone out
Dimensions: 4.17" W x 5.08" D x 1.14" H
Weight: 5.43 oz.
Website: http://www.korg.com/Product.aspx?pd=292
The Kaossilator's user-friendly touch-pad lets you create musical and rhythmic phrases using any of its 100 synth programs, such as leads, basses, realistic instrument sounds, playable drums and drum patterns. Each time you add a phrase, Kaossilator stacks it on top of the previous phrases you created. The results are as simple - or complex - as you desire. Choose from the 31 available scales, and play in any key. Lay down your groove with any 50 gate-arpeggiator patterns for even more Kaoss!

John Paul Jones used the Korg Kaossilator while in Them Crooked Vultures, specifically on the song Mind Eraser, No Chaser.

Photos

Korg Kaossilator
John Paul Jones, August 26, 2009, O2 Academy, Brixton, South London, England, Photo by James Sheridan
Korg Kaossilator
John Paul Jones with Korg Kaossilator on the corner of the Korg M3 88-Key, Spinning In Daffodils, September 30, 2009, Austin City Limits, KLRU Studios, Austin, Texas
Korg Kaossilator
John Paul Jones, Mind Eraser, No Chaser, October 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
Korg Kaossilator
The Korg Kaossilator on the corner of the Korg M3 88-Key, June 07, 2010, Rockhal, Luxembourg, Luxembourg

Video:

Hohner Symphonic 30 N

Hohner Symphonic 30 N
General Specs
Keys: 48
Features: Front Panel: 12 Rocker Switches (16'A, 16'B, 8'A, 8'B, 8'C, 8'D, 4'A, A'B, Vibrato-/+, Vibrato Slow/Fast, Vibrato Off/On, Brilliance Off/On), Power LED, Power On/Off Switch - Rear Panel: 2-Pin AC Power Socket, Voltage Selector, Foot Swell/Amplifier Jack, Pedal Jack
Years In use: ca. 1972 - 1973
Website: http://www.hohner.eu/
The Hohner Symphonic 30 N combo organ was seen sitting atop the Fender Rhodes Suitcase 73 on the 1972/73 UK Tour. It was used primarily for Dancing Days.

Optionally, it had four removable legs for standing on the stage independantly, a knee-operated vibrato activator and a swell pedal.

Photos

Hohner Symphonic 30 N
Robert Plant, December 11, 1972, Capitol Theatre, Cardiff, Wales
Hohner Symphonic 30 N
Jimmy Page & John Paul Jones, December 22, 1972, Alexandra Palace, Great Hall, London, England
Hohner Symphonic 30 N
Led Zeppelin, April 02, 1973, Palais des Sports de Paris, Paris, France
Hohner Symphonic 30 N

Hohner ElectraPiano

Hohner ElectraPiano
General Specs
Keys: 72
Amplification: Transistor, 20-watt output into 4 speakers
Controls: Damper Pedal (left), Sustain Pedal (right)
Years In use: ca. 1968 - 1971
Website: http://www.hohner.eu/
This Hohner electric piano was Jones' first contribution to the keyboard sounds of Led Zeppelin. Their first track with keyboards was recorded in October 1969, during the making of their first album recording at Olympic Studios near London. This ElectraPiano model is unusual because it was built in the style of a small spinet piano, with a tube amp and four speakers mounted inside. This is a late '60s product of the Hohner electric piano line (not to be confused with RMI's all-electronic ElectraPiano of the same period). Jones preferred recording with the Hohner instead of the popular Rhodes and Wurlitzer pianos, as he liked its stiff keyboard action better. Internally, the ElectraPiano is similar to both these keyboards: It has striking hammers (like the Rhodes) and a vibrating reed to create the sound (like the Wurlitzer). John Paul Jones didn't use the ElectraPiano live; only in the studio. This is because its wooden casing was more like home furniture, and was not too portable. It's sound was not clear live. "It didn't really cut through. Plus, it wasn't really built for road work. It was the sort of thing you'd have in your front room. I think that's what it was designed for," said Jones.

Stairway To Heaven is Led Zeppelin's most famous track, and the Hohner piano is played in a supporting role beginning at 2:14. Jones recalls playing directly into the console and using the Hohner for the piano chords with left hand bass. The part is very subtle, a supportive texture underneath the guitar tracks that follows the chord progression.

Following Stairway To Heaven on Zeppelin's fourth album is Misty Mountain Hop, a bouncing heavy rock song that is based around a strong syncopated ElectraPiano riff. The riff continues throughout the song and is heavier sounding than the Stairway To Heaven piano, as it was recorded through its amp and speaker, not directly to the console.

Led Zeppelin's most obvious "keyboard" song comes from the Houses of the Holy album. Beginning with a long electric piano instrumental, No Quarter was Jones' featured solo section in the live show for many years. The Hohner is processed through an EMS VCS3 synthesizer to create a "wobbly" sound. In concert, Jones used the Maestro PS-1A Phase Shifter.

Down By The Seaside is another Hohner ElectraPiano song, with Jones playing a traditional country-pop piano arrangement.

Hohner Clavinet D6

Hohner Clavinet D6
John Paul Jones, ca. May 1975, Earls Court Exhibition Centre, London England
General Specs
Keys: 60
Controls: (6) Rocker switches for pickup arrangement and polarity (Brilliant, Treble, Medium, Soft, A/B, C/D), Volume regulator with switch
Output: (1) Mono 1/4" Jack
Years In use: ca. January 1974 - September 1984
Website: http://www.hohner.eu/
John Paul Jones used the Clavinet on the Physical Graffiti album, and his use of the Clavinet became a rock standard, copied by many other Clavinet players. It first appeared on Custard Pie, where the Clavinet sounds like a very percussive guitar track.

Trampled Underfoot is Jones' classic Clavinet track, and it was one of their best songs when played live. The song begins with the Clavinet part, and its heavy, driving "stomp" rhythm pushes the song throughout. It is fairly simple, but leaves room for the fascinating guitar effects. The Clavinet solo is an energetic and busy chordal improvisation. As the solo plays, a second Clavinet track is added -- a dark, muted sound that was created by running the Clavinet through a wah-wah pedal set back to a very low range. On the studio version, John Paul Jones played electric bass; live, the steady bass part was replicated on his floor bass pedals.

In The Light (also from Physical Graffiti) uses the Clavinet as a harpsichord-like sound during the breaks at 3:54 and 6:35.

Jones recalls recording most of the Clavinet parts "direct" (that is, using a D.I. transformer box directly into the mixer). On stage, however, he used Fender Dual Showman Reverb amplifiers for the keyboards. Most of the keyboards sounded quite bad through the Fenders, and he was happy to change to a better system in 1977, but he still feels the Clavinet sounded best through those earlier guitar amps.

Photos

Hohner Clavinet D6
John Paul Jones & Jimmy Page, Trampled Underfoot, ca. May 1975, Earls Court Exhibition Centre, London, England
Hohner Clavinet D6
John Paul Jones, Trampled Underfoot, August 04, 1979, Knebworht House Grounds, Stevenage, England
Hohner Clavinet D6
John Paul Jones & Jimmy Page, Trampled Underfoot, March 20, 1980, Vorst Nationaal, Brussels, Belgium

Resources and Information:

http://www.gti.net/junebug/clavinet/d6man.html
http://www.geocities.com/~jpjkeys (defunct)

Hammond XB-2

Hammond XB-2
John Paul Jones, March 09, 2000, House Of Blues, Orlando, Florida
General Specs
Keys: 61
Synthesis Type: Digital Analog DRH B3
Drawbars: Hammond, Touch-Response Percussion, Digital Reverb, Chorus, User-adjustable Vibrato, Digital Leslie with horn & bass rotor simulation
Multi-Timbral (Number of parts): 2
Oscillators Per Voice: 9
Controllers: Bass Pedal (Optional), pitch bend wheel, mod wheel
Memory Patches: 128
Audio Outs: (2) 1/4" stereo jacks, 11-pin Leslie port
MIDI Out/In: 1/1
Suggested Price: $2195.00
Years In use: 1999 - 2001
Website: http://www.hammondsuzuki.com/
John Paul replaced his classic keyboards for his first proper solo tour in 1999. Amongst them was the Hammond XB-2, a model that was introduced by Hammond Suzuki in 1991.

Photos

Hammond XB-2
John Paul Jones, November 09, 1999, Prime Club, Köln, Germany
Hammond XB-2
John Paul Jones, March 09, 2000, House Of Blues, Orlando, Florida

Hammond M-100 Organ

Hammond M-100 Organ
General Specs
Features: 2 x 44-note springboard manuals
13-note pedalboard
Two sets of drawbars
Six presets and 'touch percussion' effects tab
Split vibrato
Vibrato chorus
Built-in spring reverb
Swell pedal
Years In use: October 1968 - June 1969
John Paul Jones used his own M-100 for the first Led Zeppelin record, on You Shook Me and Your Time Is Gonna Come. The M-100 is featured on the You Shook Me solo, beginning at 2:07. The most interesting aspect of this track is the lack of a Leslie speaker; considered standard practice for Hammond recording, the Leslie Speaker Model 122 adds a spinning effect to the organ tone. Instead of a Leslie, Jones used the M-100's built-in Vibrato setting and, throughout the solo, he changes the Vibrato/Chorus rate and depth, which effectively creates a similar sound to the Leslie. The M-100's Vibrato/Chorus tone shares the same circuitry as the larger B3 and C3, so it is slightly superior to many other spinet models (like the L-100).

Your Time Is Gonna Come begins with two different organ tracks playing simultaneously - very similar to the effect used on Thank You from Led Zeppelin II. Instead of the blues organ style used earlier on You Shook Me, Jones displays his training as a church organist. The style is very plain, as the intro sound uses a plain tone with no vibrato or percussion settings. Only in the song's choruses does he turn on the Vibrato feature, and it adds the same Leslie-style effect that is heard on You Shook Me.

John Paul Jones had his Hammond M-100 completely restored by Hammond Hire in 2003.

Resources and Information:

http://vintagehammond.com/
http://www.geocities.com/~jpjkeys (defunct)

Hammond C3 Organ

Hammond C3 Organ
Led Zeppelin, ca. August 1974, Shepperton Studios, Shepperton, Surrey, England
General Specs
Features: 2x61 note manuals
25 note radiating pedalboard
Split Vibrato, Vibrato Chorus
Touch Response Percussion
4 sets Drawbars
18 Changeable Presets
Years In use: January 07, 1970 - May 25, 1975
John Paul Jones often recorded with a Hammond C3, and it was a common instrument on many of their early tours. Led Zeppelin's most memorable organ track, Thank You, was recorded in ca. June 1969 at Morgan Studios in London. On this song, Jones' beautiful organ parts are the main support during the verses. His style here reflects his many years playing organ in church as a boy. The organ is restrained, with no vibrato or distortion, and avoids sounding like a blues or jazz instrument. A tape delay, which echoes the organ track in the opposing speaker, creates an echo effect that enhances the "church" mood. At the same studio sessions, Since I've Been Loving You was recorded, but it was not released until Led Zeppelin III a year later.

Since I've Been Loving You became one of Led Zeppelin's most outstanding songs. Its extreme dynamics and fascinating chord progression show how Led Zeppelin were able to modify the traditional 12-bar blues. They would play it at nearly every concert for ten years, and it seemed to exemplify both the subtlety and power that the band possessed. Jones' Hammond organ is the perfect choice for this track, as its expression allows for subtle, quiet support to the verses, along with strong, exciting power during the choruses. By carefully working the volume (or "swell") pedal, Jones takes the organ from clear, pure organ tones to a more distorted, heavy overdrive that matches and enhances the powerful climaxes. The Leslie speaker is recorded with two microphones, panned wide apart for stereo; the main microphone sound is bright and sharp, and clearly indicates the textural changes of the track. The other microphone channel is almost entirely without treble and is panned to the left to fill the "space" behind the guitar. This creates a wide full sound without interfering with the balance between the organ and guitar, which are on opposite sides. The "bass" track is Hammond organ, as well, that was recorded seperately for clarity.

Night Flight from Physical Graffiti is another traditional organ sound; the Hammond is fed through the Leslie, and slightly distorted. During the song, Jones plays basic chord changes and uses the Leslie speed changes to add excitement to the choruses.

On the early Led Zeppelin tours, there was often a C3 or B3, but it was likely that these heavy instruments were made available for each show, rather than the group carrying one from city to city. (At the time, Hammond organs were very common, and many halls had one available.) The Hammond was a very common sight on Jones' right side of the stage from 1970 until 1975. The Hammond was always run through a Leslie Speaker, which has become the traditional way to amplify a Hammond. The Leslie Speaker contains an amplifier and "spinning speaker" system that gives the sound animation and energy. Unfortunately, the Leslie amp was only 45 watts -- certainly not enough to be heard clearly on the loud stages of Led Zeppelin. So, the band would put the Leslie offstage in the dressing room and place microphones near it to send sound to the mixer. This clever arrangement created problems on a few occasions! Jones recalls: "People used to go in to the dressing room and shout things over the microphones. It would come over the PA... (laughs)." By the 1977 tour though, Jones was regretting not taking the Hammond with him, but admitted that there were already too many keyboard instruments covering the stage. There just was not enough room for it.

Photos

Hammond C3 Organ
John Paul Jones, January 09, 1970, Royal Albert Hall, City Of Westminster, London, England
Hammond C3 Organ
Led Zeppelin, ca. August 1974, Shepperton Studios, Shepperton, Surrey, England
 

Resources and Information:

http://vintagehammond.com/
http://www.geocities.com/~jpjkeys (defunct)

Fender Pedal Bass

Fender Pedal Bass
John Paul Jones' shoe, That's The Way, May 25, 1975, Earls Court Exhibition Centre, London, England
General Specs
Dimensions/Weight: 4"H x 21"W x 9-1/2"D, 15 lbs.
Controls: Front Panel: 13 foot pedals, 5 foot switches with individual indicator lights (bass, bass flute, flute, string bass, sustain), Pilot Light - Rear Panel Slo-blo fuse, On/Off Switch Switch, Removable AC cord, Output Jack
Years In Use: March 05, 1971 - May 25, 1975
John Paul Jones used the Fender Piano Bass to add bass tones while playing one of his keyboards or mandolin.

Photos

Fender Pedal Bass
Led Zeppelin, Stairway To Heaven, June 02, 1973, Kezar Stadium, San Francisco, California
Fender Pedal Bass
Led Zeppelin, That's The Way, May 25, 1975, Earls Court Exhibition Centre, London, England
Fender Pedal Bass
 
Fender Pedal Bass
from Fender 1970 Guitar and Bass Catalog
   

Fender Rhodes Suitcase 73

Fender Rhodes Suitcase 73
John Paul Jones, Stairway To Heaven, March 11, 1971, University of Southampton, West Refectory, Garden Court, Southampton, England
General Specs
Keyboard Section
Dimensions/Weight: 45"L x 23"W x 9-1/2"D, 130 lbs.
Controls: Volume, Bass/Treble Boost, Vibrato Speed & Density
Amp/Speaker Section
Dimensions/Weight: 45"L x 25"H x 11-1/2"D, 115 lbs.
Amp: 80-watts RMS, 190-watts Peak
Speakers: (4) 12-inch specially designed
Controls: On/Off Switch, Pilot Light, Earphone Jack, Auxiliary Amp Jacks, AC Outlet, Piano Output
Years In use: March 05, 1971 - April 02, 1973
The Fender Rhodes Suitcase Piano was the portable electric piano that was on the go everywhere. It featured touch dynamic keyboard action, tone produced by tuning fork principle, built-in volume, tone and vibrato controls, built-in sustain pedal, self-contained amp and speakers & it packed into two fully enclosed units.

The Rhodes Suitcase was used on the early Led Zeppelin tours from 1971 to 1973, often with a covering showing John Paul Jones' Triquetra Sigil over the speaker box.

Photos

Fender Rhodes Suitcase 73
Led Zeppelin, March 11, 1971, University of Southampton, West Refectory, Garden Court, Southampton, England
Fender Rhodes Suitcase 73
Led Zeppelin, December 22, 1972, Alexandra Palace, Great Hall, London, England
Fender Rhodes Suitcase 73
Led Zeppelin, January 21, 1973, Southampton Gaumont Theatre, Southampton, England
Fender Rhodes Suitcase 73
from Fender 1972 Guitar & Bass Catalog

Fender Rhodes Mark I Stage Piano 88

Fender Rhodes Mark I Stage Piano 88
John Paul Jones, Trampled Underfoot, July 17, 1977, The Kingdome, Seattle, Washington
General Specs
Keys: 88
Controls: Volume, Bass EQ
Years In use: April 01, 1977 - July 24, 1977
For the 1977 tour, a new Rhodes model was used -- the larger Stage 88. It too had chrome legs for a stand, but had a full-length keyboard with 88 notes (the same number of keys as a standard piano). Jones had the Rhodes pickup modified to make it less mellow and heavy. He preferred a sound that was sharper and "a bit harder." For this tour, the Rhodes (and other keyboards) were run to a small mixer made by the Mavis company of England. From there, they were fed to the house system and his personal monitors (Showco C4 cabinets).

Photos

Fender Rhodes Mark I Stage Piano 88
Led Zeppelin, Stairway To Heaven, April 06, 1977, Chicago Stadium, Chicago, Illinois
Fender Rhodes Mark I Stage Piano 88
Led Zeppelin, Since I've Been Loving You, May 19, 1977, LSU Assembly Center, Baton Rouge, Louisiana
Fender Rhodes Mark I Stage Piano 88
Led Zeppelin, Stairway To Heaven, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California

Fender Rhodes Mark II Stage Piano 73

Fender Rhodes Mark II Stage Piano 73
Led Zeppelin, Stairway To Heaven, June 02, 1973, Kezar Stadium, San Francisco, California
General Specs
Keys: 73
Controls: Input Jack, Bass Boost, Volume
Years In use: March 02, 1973 - May 25, 1975
In 1973, the "Suitcase" model was replaced by a Stage 73 model -- a similar piano, but with no speaker box. Instead, it had chrome legs to support it. It was fed to two 1960's Fender Dual Showman amplifiers so it could be as loud as the guitar amps. The Stage 73 is the Rhodes seen on the famous "No Quarter" portion of The Song Remains The Same film. The Rhodes Stage 73 model was used on the 1973 and 1975 tours. For the 1977 tour, a third Rhodes model was used -- the larger Stage 88. It too had chrome legs for a stand, but had a full-length keyboard with 88 notes (the same number of keys as a standard piano). Jones had the Rhodes pickup modified to make it less mellow and heavy. He preferred a sound that was sharper and "a bit harder." For this tour, the Rhodes (and other keyboards) were run to a small mixer made by the Mavis company of England. From there, they were fed to the house system and his personal monitors (Showco C4 cabinets).

The Fender Rhodes Mark II Stage Piano 73 was restored in 2003 by Hammond Hire

Photos

Fender Rhodes Mark II Stage Piano 73
Led Zeppelin, June 02, 1973, Kezar Stadium, San Francisco, California
Fender Rhodes Mark II Stage Piano 73
Led Zeppelin, ca. August 1974, Shepperton Studios, Shepperton, Surrey, England
 

Farfisa VIP-255

Farfisa VIP-255
Farfisa VIP-255, Unknown Date
General Specs
Controls: Lower Manual: Voices: Flute 8', Clarinet 8', Trombone 8', Flute 4, Piccolo 2', Flute 2' - Vibrato: On/Off - Percussion: 8', 4', 2'

Slalom: On/Off

Upper Manual: Cancels: Flutes, Orchestra, Sustain, Percuss. - Flutes: 16', 8', 5-1/3', 4', 2-2/3', Vibrato - Orchestra: Bassoon 16', Oboe 8', Trumpet 8', Strings 8', Quint 5-1/3', Clarinet 4', Nasard 2-2/3' (yes, it's spelled with an "s"), Vibrato - Sustain: Piano Forte, Honkie Tonkie, Harpsichord, Short/Long, Vibrato - Percussion: 16', 8', 5-1/3', 4', 2-2/3'

Controls on left of upper manual: Percussion Tabs: Short/Long, Lower Manual p/f, Upper Manual p/f - Knobs: Vibrato, Lower Manual Volume
Years In use: 1972-1973
Retail Price: $1385.00
John Paul Jones only used the Farfisa VIP organ on one Led Zeppelin track, but it is a very distinctive contribution. In fact, it is one of the most interesting overdubs on any Led Zeppelin album. For Dancing Days on Houses of the Holy, Jones used this animated sound to add interest to the later verses (beginning at 1:38). The chord tones sweep up and down from the correct pitch, but slightly behind the beat, creating a rhythmic effect, as well as a pitch glissando. (This glide is very similar to the unique "portamento" setting on many Yamaha analog synthesizers.)

During the late 1972/early 1973 tours, the Farfisa was sometimes used on top of the Hammond C3 organ and was featured on Dancing Days.

Photos

Farfisa VIP-255
 
   

Resources and Information:

http://www.combo-organ.com/Farfisa/VIP/index.htm
http://www.geocities.com/~jpjkeys (defunct)

Farfisa Professional Duo

Farfisa Professional Duo
John Paul Jones, Since I've Been Loving You, September 09, 1970, Boston Garden, Boston, Massachusetts
General Specs
Model: PD/252
Controls: Cancels: SUST L.M., SUST U.M., FL, CL.SH, PERC, PERC SEL. - FLUTE: 16, 8, 5-1/3, 4, 2-2/3, 2, 1-3/5, 1-1/3, VIBRATO - CLARINET SHARP: 16, 8, 5-1/3, 4, 2-2/3, 2, 1-3/5, 1-1/3, VIBRATO - LOWER MANUAL: FLUTE 16, FLUTE 8, FLUTE 4, HORN 16, CLARINET 16, STRINGS 8, PICCOLO 4, - PERCUSSION: 16, 8, 5-1/3, 4, 2-2/3, 2, 1-3/5, 1-1/3, Long/Med/Short selector - SUSTAIN: CELESTA, HARPSICHORD, KINURA, LONG, VIBRATO - VIBRATO: FAST, HEAVY, ON - Volume Sliders: L.M., SUST FL., PERC, CL.SH
Bass Pedal Switches: Bass 16', Bourdon 16, Bass 8', Sustain, Volume f/p, Slalom
Years In use: August 15, 1970 - March 23, 1971
Retail Price: $1145.00 USA List, $185.00 USA List for Bass Pedals
Introduced in 1970, the Duo is virtually identical, feature-wise, to the Professional 222, the Duo adds a lower manual, with a pretty decent selection of voices, and an impressive pedal unit, including a Slalom pedal. The Duo could also be fitted with the optional PAS 55 amplifier/speaker unit, that fit between the legs and made it look more like a spinet/console organ.

John Paul Jones used the Farfisa Professional Duo beginning in the Summer 1970 US Tour through the end of the 1971 Return To The Clubs tour.

On stage, Jones used the Farfisa Professional for Since I've Been Loving You and Thank You.

Photos

Farfisa Professional Duo
Preshow, August 15, 1970, Yale Bowl, New Haven, Connecticut
Farfisa Professional Duo
John Paul Jones, August 22, 1970, Tarrant County Arena, Fort Worth, Texas
Farfisa Professional Duo
John Paul Jones & Jimmy Page, September 19, 1970, Madison Square Garden, New York City, New York
Farfisa Professional Duo
Led Zeppelin, March 11, 1971, University of Southampton, West Refectory, Garden Court, Southampton, England

Farfisa Professional

Farfisa Professional
John Paul Jones playing Farfisa Professional (with Leslie Speaker Model 122 behind him), Since I've Been Loving You, July 17, 1970, Grugahalle, Essen, Germany
General Specs
Polyphony: 4 voices
Controls: Cancels: FL (Flute), CL.SH (Clarinet Sharp), PERC (Bass), PERC (Treble), SUST (Bass), SUST (Treble) - Volume Sliders: FL. (Flute), CL.SH (Clarinet Charp), PERC (Percussion), SUST (Sustain) - FLUTE: 16, 8, 5-1/3, 4, 2-2/3, 2, 1-3/5, 1-1/3, VIB. - CLARINET SHARP: 16, 8, 5-1/3, 4, 2-2/3, 2, 1-3/5, 1-1/3, VIB. - PERC SEL: - PERCUSSION: 16, 8, 5-1/3, 4, 2-2/3, 2, 1-3/5, 1-1/3, Long/Med/Short selector - SUSTAIN: CELESTA, HARPSICHORD, KINURA, LONG VIB. - VIBRATO: FAST, HEAVY, ON
Years In use: 1970
Retail Price: $1145.00 (includes swell pedal and carrying bag)
John Paul Jones used the Farfisa Professional in July 1970, on the German tour.

On stage, Jones used the Farfisa Professional for Since I've Been Loving You and Thank You.

Photos

Farfisa Professional
John Paul Jones playing Farfisa Professional (with Leslie Speaker Model 122 behind him), Since I've Been Loving You, July 17, 1970, Grugahalle, Essen, Germany
Farfisa Professional
1969 Magazine Advertisement
 

Fairlight CMI Series I

Fairlight CMI Series I
John Paul Jones, ca. May 1980, New Victoria Theatre, London, England
General Specs
Polyphony: 16 voices (expandable)
Sampler: 16-bit, 100kHz mono, 50kHz stereo
Memory: 28MB (several minutes at 44.1kHz; expandable)
Synthesis: Fast Fourier Transforming, Waveform Editing, Graphics Tablet Waveform Drawing
Effects: None built-in
Keyboard: 73 note with velocity sensitivity (un-weighted). Dual-keyboard feature optional.
Sequencer: Rhythm Sequencer, CAPS (Composer, Arranger, Performer Sequencer) 80-track polyphonic seq., MCL (Music Composition Language) text-based step time seq.
Control: MIDI, SMPTE
Years In use: 1980
Retail Price: £18,000
John Paul Jones used the Fairlight CMI Series I on the 1980 European Tour. It was hidden behind a black wooden shell, with the Hohner D6 Clavinet on top. Jones was the first to purchase a Fairlight CMI Series I, as a replacement for the Mellotron Mk.V.

On stage, he used the Fairlight for All My Love, In The Evening, Since I've Been Loving You and The Rain Song.

Photos

Fairlight CMI Series I
Jimmy Page & John Paul Jones, ca. May 1980, New Victoria Theatre, London, England
Fairlight CMI Series I
Fairlight Advertisement
 

Yamaha SA-70 Sunburst Bass Guitar

Yamaha SA-70 Sunburst Bass Guitar
Josh Homme, Long Slow Goodbye, July 01, 2005, Eurockéennes de Belfort Festival, Belfort, France
General Specs
Body: Hollowbody Symmetrical double cutaway, Maple top
Finish: Sunburst
Neck: , 30" scale
Fingerboard: Rosewood
Frets: 20
Bridge: Floating, with mute
Headstock: Blackface, with logo
Tuners: Black
Hardware: Chrome
Pickguard: Removed
Pickups: (2) Humbuckers
Controls: (1) Master Volume, (1) Master Tone, (1) Blend
Years in use: 2009
Website: http://www.yamaha.co.jp/
What else am I using? I use a Yamaha bass; one of Josh's many obscure Japanese guitars that he has., John Paul Jones, December 05, 2009 Ultimate Guitar Interview

Photos

Yamaha SA-70 Sunburst Bass Guitar
Josh Homme, Long Slow Goodbye, July 01, 2005, Eurockéennes de Belfort Festival, Belfort, France
   

Violin

Violin
John Paul Jones, You Can't Possibly Begin to Imagine, April 14, 2010, Club Nokia, Los Angeles, California
General Specs
Years in use: 2008-2010
Allegedly, John Paul Jones learned how to play the violin during his years in Led Zeppelin and he had also received a quick mini-lesson from My Grammy Moment 2008 winner Ann Marie Calhoun (as shown in the picture below).

He premiered a new song with Them Crooked Vultures on April 14, 2010 at Club Nokia, Los Angeles, California entitled You Can't Possibly Begin to Imagine, which featured John Paul Jones on violin. In true fashion, he switched mid-song to finish the song on keyboard.

Photos

Violin
John Paul Jones & Ann Marie Calhoun, ca. April 2008
Manson Ukulele
John Paul Jones & Josh Homme, You Can't Possibly Begin to Imagine, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada, Photo by Jessica4694
 

Unknown Mandolin

Unknown Mandolin
John Paul Jones, tuning the Unknown Mandolin backstage, November 23, 1971, Preston Public Hall, Preston, Lancashire, England
General Specs
Years in use: 1971-1972
John Paul Jones used the Unknown Mandolin, beginning on the Winter 1971 UK Tour through the 1972 US Tour Warmups. It was replaced for the 1972 US Tour by the Fender Mandolin.

Photos:

Unknown Mandolin
Jimmy Page, John Paul Jones & Robert Plant, Backstage, November 23, 1971, Preston Public Hall, Preston, Lancashire, England
Unknown Mandolin
Led Zeppelin, That's The Way, February 29, 1972, Brisbane Festival Hall, Brisbane, Australia
Unknown Mandolin
John Paul Jones, Robert Plant & Jimmy Page, That's The Way, May 27, 1972, Oude Rai, Amsterdam, The Netherlands

Selmer Futurama Bass

Selmer Futurama Bass
John Paul Jones, ca. May 1975, Earls Court Exhibition Centre, London, England
General Specs
Body: Mahogany
Fingerboard: Beech, fretless
Strings: 4
Scale: 41.5 in.
Body Support: Lower bout extension (knee support, etc.)
Built-In Electronics: Passive
Built-In Pickups: Magnetic
Tuning Machines: Fair
Years in use: 1972 - 1977
According to Robert Plant on April 27, 1977 at Richfield Coliseum, Richfield, Ohio, the Selmer Futurama Bass "...was purchased in Newcastle-upon-Tyne in England on a tour in 1969 for about eighteen dollars. John Paul Jones used the Selmer Futurama Bass on one Zeppelin track, Bron-Y-Aur Stomp, which was part of their acoustic set.

Photos

Selmer Futurama Bass
John Paul Jones, Robert Plant & Jimmy Page, December 11, 1972, Capitol Theatre, Cardiff, Wales
Selmer Futurama Bass
John Paul Jones, Robert Plant & Jimmy Page, January 25, 1973, Aberdeen Music Hall, Aberdeen, Scotland
Selmer Futurama Bass
John Paul Jones, March 02, 1973, KB Hallen, Copenhagen, Denmark
Selmer Futurama Bass
John Paul Jones & Robert Plant, May 18, 1977, Birmingham-Jefferson Civic Center Arena, Birmingham, Alabama
Selmer Futurama Bass
John Paul Jones, July 23, 1977, Oakland-Alameda County Coliseum, Oakland, California
Selmer Futurama Bass
from Melody Maker magazine ca. 1958

Rickenbacker Model 4005 Bass

Rickenbacker Model 4005 Bass
John Paul Jones, Robert Plant & Jimmy Page, January 18, 1969, The Grande Ballroom, Detroit, Michigan
General Specs
Body: Asymmetrical, double cutaway semi-hollow, Crescent cutout
Finish: Black
Neck: Attached, full scale
Fingerboard: Rosewood, triangle fret inlays
Frets: 21
Headstock: Matching, white logo plate with black logo
Tuners: Rickenbacker
Pickguard: White
Pickups: (2) Single pole
Controls: (2) Volume, (2) Tone, Mixer, 3-way Selector Switch
Years in use: ca. January 17-19, 1969
Website: http://www.rickenbacker.com/
John Paul Jones used the Rickenbacker Model 4005 Bass at The Grande Ballroom in Detroit, Michigan during their 3-day residency. It is unknown what songs it was used or other dates in which it was used. It may have been borrowed from the opening act or it may have been part of the Rickenbacker endorsement that they had in 1969.

Photos

Rickenbacker Model 4005 Bass
John Paul Jones, Robert Plant & Jimmy Page, January 18, 1969, The Grande Ballroom, Detroit, Michigan
   

Resources and Information:

http://www.rickbeat.com/

Ovation Balladeer 12 Roundback

Ovation Balladeer 12 Roundback
John Paul Jones, April 30, 1977, Pontiac Silverdome, Pontiac, Michigan
General Specs
Body: Solid Sitka Spruce top, Lyrachord body
Finish: Hand-rubbed Polyester
Neck: Five piece laminated neck, Honduran Mahogany and rock maple
Fingerboard: Ebony with dot inlays
Frets: 18
Bridge: Ebony stained Brazilian Rosewood
Headstock: Flared vaneer, finished with Brazilian Rosewood
Tuners: Kluson tuning heads
Hardware: Nickel Silver
Pickups: Built-In
Controls: (1) Volume, (1) Tone, (1) Gain
Years in use: 1977
Website: http://www.ovationguitars.com/
John Paul Jones used the Ovation Balladeer 12 Roundback Guitar on the first leg of the 1977 US Tour. It was used on the acoustic set as well as on Ten Years Gone. For the second leg of the tour, the Ovation was replaced by the Manson Triple Neck Acoustic Instrument.

Photos

Ovation Balladeer 12 Roundback
1968 Ovation Balladeer Brochure
Ovation Balladeer 12 Roundback
John Paul Jones, April 06, 1977, Chicago Stadium, Chicago, Illinois
Ovation Balladeer 12 Roundback
Led Zeppelin, April 27, 1977, Richfield Coliseum, Richfield, Ohio

Resources and Information:

Ovation Tribute - http://www.ovationtribute.com/

Martin 4-String Acoustic Bass

Martin 4-String Acoustic Bass
General Specs
Years in use: ???
Seen during a November 1994 interview with Bass Player Magazine.

Manson Ukulele

Manson Ukulele
General Specs
Body: Mahogany top, Brazilian Rosewood sides and back, cream binding
Finish: Matte
Neck: Brazilian Rosewood, Mahogany and Maple stripe
Fingerboard: Brazilian Rosewood, with micro dot inlays
Frets: 17
Headstock: Mahogany
Tuners: Ebony
Bridge: Brazilian Rosewood
Pickguard: None
Years in use: 2001
Website: http://www.andy
manson.com/
Andy Manson built this Ukulele for John Paul Jones in 1977. He used it on stage in 2001 for Freedom Song.

Photos

Manson Ukulele
 
Manson Ukulele
 
 

Manson Triple Neck Mandolin

Manson Triple Neck Mandolin
General Specs
Body: Maple
Finish: Translucent Orange Matte
Neck: Maple with Mahogany stripe
Fingerboard: Ebony with dot inlays
Frets: 21 on each neck
Bridge: Ebony
Headstock: Maple with logo on bass mandolin
Tuners: Schaller
Hardware: Brass Nut Cover
Pickups: Built-in
Controls: (1) Treble, (1) Mids, (1) Bass, Master Volume on upper horn
Years in use: 2000-2005
Website: http://www.andy
manson.com/
Andy Manson built the F-5 style Triple Neck Mandolin, which featured mandolin, mandola and bass mandolin necks, in 2000. Jones played the Triple Neck Mandolin on the track Down to the River to Pray from 2002 album The Thunderthief.

Andy Manson built that. It's all tuned in fifths, like a real mandolin. So the smallest neck is an ordinary mandolin: The middle neck is the same tuning, an octave lower, but the courses are in octaves rather than in unisons. Then there's a bass mandolin, which is an octave lower than that. - John Paul Jones, Global Bass, March 2002

Jones appeared on October 29, 2005 at the Lunel Mandolin Festival in Lunel, France, performing a half hour improvisational piece on the Manson Tripleneck Mandolin, accompanied by the Symbolic Sound Kyma. Mandolinists Mike Marshall and Josh Pinkham joined in at one point playing on the Triple Neck Mandolin while Jones was simultaneously playing it.

Photos

Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
Manson Triple Neck Mandolin
John Paul Jones playing the Manson Triple Neck Mandolin for the first time, ca. 2000, Manson Guitar Shop, Exeter, Devon, England
Manson Triple Neck Mandolin
John Paul Jones, October 29, 2005, Lunel Mandolin Festival, Lunel, France
Manson Triple Neck Mandolin
John Paul Jones, Mike Marshall & Josh Pinkham, October 29, 2005, Lunel Mandolin Festival, Lunel, France

Manson Triple Neck Acoustic Instrument

Manson Triple Neck Acoustic Instrument
General Specs
Body: Maple
Finish: Matte
Neck: Mahogany
Fingerboard: Rosewood with custom inlays
Frets: Mandolin - 21
12-String - 21
6-String - 21
Bridge: Rosewood
Headstock: Mahogany with custom inlays
Tuners: Schaller
Hardware: Brass Nut Cover
Pickups: Built-in
Controls: (1) Treble, (1) Mids, (1) Bass, Master Volume on upper horn
Years in use: 1977-2000
Website: http://www.andy
manson.com/
"I made this instrument in the mid 70s. I had done a few repairs and set ups for John Paul Jones and was kindly given a complimentary ticket to see Led Zeppelin. I saw John playing a 6 string, 12 string and mandolin all in the same song, picking up one and putting one down. I thought shame you can't hang them all round your neck at once ..... light bulb on ! I designed and made the triple neck and took it to John's house. I said, 'Hi John I thought this might interest you." He said, 'Wow, yes indeed, I can't wait to see Pagey's face when I walk on stage with this!'' It cost £400 and I skipped off down the road feeling like a millionaire. After some time, John asked me to add the fingerboard inlays. This instrument was a real turning point in my guitar making career." - Andy Manson

According to Hugh Manson, the Triple Neck Acoustic Instrument was built in late 1974/75 and was returned in early 1977 to have the fingerboard inlays installed.

John Paul Jones used the Manson Triple Neck, beginning on the second leg of the 1977 US Tour on May 18, 1977 for the acoustic set and for Ten Years Gone in 1977 and 1979. He brought it out again in 1999-2000 for his solo tours for the improvisational piece entitled Triple Neck song in which he layered individual acoustic tracks with the Symbolic Sound Kyma in real time.

Photos

Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
 
Manson Triple Neck Acoustic Instrument
Andy Manson, 1974
Manson Triple Neck Acoustic Instrument
Andy Manson, 1974
Manson Triple Neck Acoustic Instrument
John Paul Jones, 1999
Manson Triple Neck Acoustic Instrument
John Paul Jones, May 18, 1977, Birmingham-Jefferson Civic Center Arena, Birmingham, Alabama
Manson Triple Neck Acoustic Instrument
John Paul Jones, June 22, 1977, The Forum, Inglewood, California
Manson Triple Neck Acoustic Instrument
John Paul Jones, August 04, 1979, Kenbworth House Grounds, Stevenage, England
Manson Triple Neck Acoustic Instrument
John Paul Jones, October 15, 1999, Paradise Rock Club, Boston, Massachusetts
Manson Triple Neck Acoustic Instrument
John Paul Jones, March 11, 2000, Frankie's Patio, Tampa, Florida
Manson Triple Neck Acoustic Instrument
John Paul Jones, April 02, 2000, Guvernment, Toronto, Ontario, Canada

Manson Resonator

Manson Resonator
John Paul Jones & Dave Pegg, April 30, 2008, Hotel Norge Bankettsalen, Bergen, Norway
General Specs
Years in use: 2008
Website: http://www.andy
manson.com/
Andy Manson built this Resonator for John Paul Jones. He has used at Bergenfest 2008, along with Robyn Hitchcock and Dave Pegg.

Manson Octave Mandolin

Manson Octave Mandolin
General Specs
Body: Carved spruce top and sides, koa back, extended F-holes, cream binding
Finish: Gloss sunburst
Neck: Koa
Fingerboard: Ebony, with dot inlays
Frets: 29
Headstock: Ebony-stained, cream binding, triquetra sigil on truss rod cover, custom inlay
Tuners: Schaller
Pickguard: None
Years in use: 2007
Website: http://www.andy
manson.com/
Andy Manson built this Octave Mandolin for John Paul Jones in 1997, along with the Manson 8-String Mandolin.

Photos

Manson Octave Mandolin
 
Manson Octave Mandolin
 
Manson Octave Mandolin
 
Manson Octave Mandolin
John Paul Jones, Robyn Hitchcock & Ruby Wright, May 10, 2007, Barbican Hall, London, England
   

Manson Mandola

Manson Mandola
General Specs
Body: Carved spruce top and sides, koa back, extended F-holes, cream binding
Finish: Gloss sunburst
Neck: Koa
Fingerboard: Ebony, with dot inlays
Frets: 21
Headstock: Ebony-stained, cream binding, triquetra sigil on truss rod cover, custom inlay
Tuners: Schaller
Pickguard: None
Years in use: ???
Website: http://www.andy
manson.com/
Andy Manson built this H Style Mandola for John Paul Jones in 2007.

Photos

Manson Mandola
 
Manson Mandola
 
Manson Mandola
 

Manson MandoCello

Manson MandoCello
General Specs
Body: Carved spruce top and sides, koa back, extended F-holes, cream binding
Finish: Gloss sunburst
Neck: Koa
Fingerboard: Ebony, with dot inlays
Frets: 24
Headstock: Ebony-stained, cream binding, triquetra sigil on truss rod cover
Tuners: Schaller
Pickguard: None
Years in use: 2006
Website: http://www.andy
manson.com/
Andy Manson built this MandoCello for John Paul Jones in 2005.

Photos

Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
 
Manson MandoCello
John Paul Jones & Friends, April 14, 2006, Kingham Hill School, Kingham, Chipping Norton, Oxfordshire, England
   

Manson Magpie Cutaway Guitar

Manson Magpie Cutaway Guitar
General Specs
Body: Spruce top, Rosewood back and sides
Neck: Mahogany
Fingerboard: Rosewood with dot inlays
Frets: 20
Bridge: Rosewood
Headstock: Rosewood with inlay
Tuners: Ivoroid tuning machines
Years In Use: ??
Website: http://www.andy
manson.co.uk
Andy Manson built this Magpie Cutaway Guitar in 2003 for John Paul Jones.

Photos

Manson Magpie Cutaway Guitar
 
Manson Magpie Cutaway Guitar
 
Manson Magpie Cutaway Guitar
 
Manson Magpie Cutaway Guitar
 
Manson Magpie Cutaway Guitar
 
 

Manson Lapaphone

Manson Lapaphone
General Specs
Body: Maple
Finish: Magenta Sparkle
Fingerboard: Ebony, with eye-shaped inlays
Frets: 36
Headstock: Magenta Sparkle, Classical style with white logo
Tuners: Chrome
Pickups: (1) EMG Pickup, (1) Fernandes Sustainer Single Coil
Bridge: Hipshot Trilogy TMB4
Strings: 8
Controls: (1) Volume, (1) Tone, Kaoss Pad Midi Controller
Years in use: 2009-Present
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this Manson Lapaphone for John Paul Jones. He has used it for No One Loves Me & Neither Do I. It features a Kaoss Pad MIDI Controller.

Photos

Manson Lapaphone
 
Manson Lapaphone
 
Manson Lapaphone
John Paul Jones & Dave Grohl, No One Loves Me & Neither Do I, August 20, 2009, Pukkelpop Festival 2009, Marquee Stage, Hasselt, Belgium
Manson Lapaphone
John Paul Jones, No One Loves Me & Neither Do I, October 02, 2009, Austin City Limits Music Festival, Zilker Park, XBOX 360 Stage, Austin, Texas
Manson Lapaphone
John Paul Jones, No One Loves Me & Neither Do I, January 19, 2010, Challenge Stadium, Mount Claremont, Perth, Australia
Manson Lapaphone
John Paul Jones, No One Loves Me & Neither Do I, May 18, 2010, Aragon Ballroom, Chicago, Illinois

Manson Collapsible Guitar

Manson Collapsible Guitar
General Specs
Body: Spruce top, Rosewood back and sides
Neck: Mahogany
Fingerboard: Ebony-stained rosewood with arrow inlays
Frets: 20
Bridge: Ebony-stained rosewood
Headstock: Rosewood with inlay
Tuners: 3-in-a-row, with Ebony tuning machines
Years In Use: ??
Website: http://www.andy
manson.co.uk
Andy Manson built this Collapsible Guitar in 1974 for John Paul Jones.

Photos

Manson Collapsible Guitar
 
Manson Collapsible Guitar
 
Manson Collapsible Guitar
 
Manson Collapsible Guitar
 
Manson Collapsible Guitar
 
Manson Collapsible Guitar
 
Manson Collapsible Guitar
 
Manson Collapsible Guitar
ca. 1977
Manson Collapsible Guitar
ca. 1977
Manson Collapsible Guitar
ca. 1977
Manson Collapsible Guitar
ca. 1977
 

Manson Bass Pedal Steel

Manson Bass Pedal Steel
John Paul Jones, November 09, 1999, Prime Club, Köln, Germany
General Specs
Body: Solid hardwood body, aluminum frame
Finish: Gold sparkle
Bridge: 10 individual cam-action bridge sections
Fingerboard: Rosewood
Frets: 30
Strings: 10
Hardware: Chrome
Pickups: Single coil, 12 pole pieces
Controls: Master Volume and Master Tone knobs, Hipshot three-position levers for tuning
Years in use: 1999-2000
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this Dual 10 String Bass Pedal Steel for John Paul Jones. He has used it in studio and on stage for Steel Away, Nobody's Fault But Mine and Black Dog on his Zooma and The Thunderthief tours. The necks are tuned in Open A and Open E. John Paul Jones' triquetra sigil has been incorporated into the end frames.

Photos

Manson Bass Pedal Steel
John Paul Jones, October 29, 1999, House Of Blues, Los Angeles, California
Manson Bass Pedal Steel
John Paul Jones, March 20, 2000, Roxy Theatre, Atlanta, Georgia
Manson Bass Pedal Steel
John Paul Jones, March 30, 2000, Daytona's, Riveria Beach, Maryland

Manson Bass Lap Steel

Manson Bass Lap Steel
John Paul Jones, Steve Hackett & Gary O'toole, Los Endos, March 13, 2004, Shepherds Bush Empire, London, England
General Specs
Body: Violin-shaped
Finish: Silver
Neck: ???
Fingerboard: Ebony, with dot inlays
Frets: 30
Headstock: Silver
Tuners: Schaller
Pickguard: None
Years in use: 2004
Website: http://www.manson
guitars.co.uk/
Andy Manson built this Bass Lap Steel for John Paul Jones in 2004.

Photos

Manson Bass Lap Steel
John Paul Jones, Steve Hackett, Gary O'toole & bass player, Los Endos, March 13, 2004, Shepherds Bush Empire, London, England
Manson Bass Lap Steel
John Paul Jones, Steve Hackett, Gary O'toole & bass player, Los Endos, March 13, 2004, Shepherds Bush Empire, London, England
Manson Bass Lap Steel
John Paul Jones, Steve Hackett, Gary O'toole & bass player, Los Endos, March 13, 2004, Shepherds Bush Empire, London, England

 

Manson Bass Lap Steel

Manson Bass Lap Steel
General Specs
Body: Solid maple
Finish: Matte
Fingerboard: Maple, with dot inlays
Frets: 30
Headstock: Maple
Strings: (6) Guitar, (2) Bass
Tuners: Black
Years in use: ???
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this Manson Bass Lap Steel for John Paul Jones.

Manson Bass Lap Steel

Manson Bass Lap Steel
John Paul Jones, February 25, 2002, WAXQ Studios, New York City, New York
General Specs
Body: Solid maple
Finish: Matte
Fingerboard: Maple, with dot inlays
Frets: 30
Headstock: Maple
Strings: (6) Guitar, (2) Bass
Tuners: White
Years in use: 2002
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this Manson Bass Lap Steel for John Paul Jones.

Photos

Manson Bass Lap Steel
John Paul Jones, February 25, 2002, WAXQ Studios, New York City, New York
Manson Bass Lap Steel
John Paul Jones, February 25, 2002, WAXQ Studios, New York City, New York
 

Manson Bass Lap Steel

Manson Bass Lap Steel
General Specs
Body: Maple
Finish: Cream
Fingerboard: Maple, with dot inlays
Frets: 30
Headstock: Cream, with black logo
Strings: (6) Guitar, (2) Bass
Tuners: Black
Years in use: ???
Website: http://www.manson
guitars.co.uk/

Hugh Manson built this Manson Bass Lap Steel for John Paul Jones.

Photos

Manson Bass Pedal Steel
John Paul Jones, Nobody's Fault But Mine, August 29, 2003, Akasaka Blitz, Tokyo, Japan
Manson Bass Pedal Steel
John Paul Jones, recording Them Crooked Vultures, ca. 2009, Pink Duck Studios, Los Angeles, California
 

Manson Bass Lap Steel

Manson Bass Lap Steel
General Specs
Years in use: 1994
The next instrument he (Hugh Manson) built was a lap steel because I wanted to use one with Diamanda. So he built me a beautiful bass lap steel, which has extra bass strings and goes to a low E. - Vintage Guitar, August 2002

It was used in studio on Last Man Down from The Sporting Life.

Manson Baritone Ukulele

Manson Baritone Ukulele
General Specs
Body: Flamed Koa
Finish: Matte
Neck: Mahogany
Fingerboard: Brazilian Rosewood, with dot inlays
Frets: 19
Headstock: Brazilian Rosewood vaneer
Tuners: White
Bridge: Brazilian Rosewood
Pickguard: None
Years in use: ???
Website: http://www.andy
manson.com/
Andy Manson built this Baritone Ukulele for John Paul Jones in 2002.

For the next album, Andy just made me a baritone ukulele. I was looking on some website for ukulele strings and it said they carried baritone ukulele strings. I wondered what that was. I did a web search and I found a store selling baritone ukuleles, and I bought one.

It was the first instrument I ever bought on the internet – a Chinese baritone ukulele, which was terrible. It was just barely in tune up to the fourth fret, but was only about $75 and at least I could try it out to get a better idea of the instrument’s sound and range.

So I asked Andy to build a real one. He did some research and he managed to find a piece of koa, which is the traditional Hawaiian wood that is used for these instruments and made me this beautiful baritone ukulele. It’s kind of like an acoustic guitar except that the body is smaller, so it speaks very fast and it’s only got four strings.
- John Paul Jones, Vintage Guitar, August 2002
 

Photos

Manson Baritone Ukulele Manson Baritone Ukulele Manson Baritone Ukulele
Manson Baritone Ukulele    

Manson Baritone Guitar

Manson Baritone Guitar
General Specs
Body: Spruce top, Rosewood back and sides
Neck: Mahogany
Fingerboard: Rosewood with arrow inlays
Frets: 19
Bridge: Rosewood
Headstock: Rosewood with inlay
Tuners: 3-in-a-row, with ivoroid tuning machines
Years In Use: ??
Website: http://www.andy
manson.co.uk
Andy Manson built this Baritone Guitar in 1981 for John Paul Jones.

Photos

Manson Baritone Guitar
 
Manson Baritone Guitar
 
Manson Baritone Guitar
 

Manson Aeolian Harp

Manson Aeolian Harp
General Specs
Years in use: ??
Website: http://www.andy
manson.co.uk
Andy Manson built this Aeolian Harp in 1974/5.

Photos

Manson Aeolian Harp
 
   

Manson 4-String Acoustic Bass 'Quasimoto'

Manson Acoustic 4-String 'Quasimoto'
John Paul Jones, February 25, 2006, Sheraton Tacoma, Venice Ballroom, Tacoma, Washington
General Specs
Body: Solid Sitka Spruce, Mahogany back, Brazilian Rosewood sides and binding
Finish: Satin
Neck: Three piece laminated neck, Brazilian Rosewood and Maple
Fingerboard: Rosewood with dot inlays
Frets: 22
Bridge: Brazilian Rosewood
Headstock: Brazilian Rosewood with Silver Triquetra Sigil
Tuners: Hipshot tuning heads
Hardware: Chrome
Pickups: Built-In
Years in use: 2006
Website: http://www.andy
manson.co.uk/
Andy Manson built this 4-String Acoustic Bass, nicknamed "Quasimodo" for John Paul Jones in 2005. He used it for a few bluegrass festivals in 2006, including the Wintergrass Festival on February 25, 2006 and the Festival Mandolines de Lunel on October 27, 2006 and October 28, 2006.

Photos

Manson Acoustic 4-String 'Quasimoto'
Manson Acoustic 4-String 'Quasimoto'
Manson Acoustic 4-String 'Quasimoto'
Manson Acoustic 4-String 'Quasimoto'
Manson Acoustic 4-String 'Quasimoto'
Manson Acoustic 4-String 'Quasimoto'
Manson Acoustic 4-String 'Quasimoto'
John Paul Jones & The Italian Bluegrass Trio, October 27, 2006, Festival Mandolines de Lunel, Lunel, France
Manson Acoustic 4-String 'Quasimoto'
Daniel Santiago, André Vasconcellos, Gabriel Grossi John Paul Jones & Hamilton de Holanda, October 28, 2006, Festival Mandolines de Lunel, Lunel, France
Manson Acoustic 4-String 'Quasimoto'
John Paul Jones & André Vasconcellos, October 28, 2006, Festival Mandolines de Lunel, Lunel, France

Videos

Manson 12-String Bass

Manson 12-String Bass
General Specs
Body: Flamed Australian Blackwood front
Finish: Matte
Neck: 3-piece bird's eye maple
Fingerboard: Ebony
Frets: 21
Headstock: Black with white logo
Tuners: Gold Manson
Pickguard: None
Pickups: (2) EMG Pickups
Controls: (2) Volume, (2) Tone, Stereo wiring
Years in use: 1999-2000
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this 12-String Bass Guitar for John Paul Jones. Jones used this bass guitar in the studio on Zooma, The Thunderthief and Them Crooked Vultures. The bass is tuned B-C.

For "Smile Of Your Shadow" I played the 12-string bass and by taking off all the distortion made it sound quite acoustic. I just played it like a 12-string guitar. - John Paul Jones, Tight But Loose, Ed. 14

Photos

Manson 12-String Bass
 
Manson 12-String Bass
 
Manson 12-String Bass
John Paul Jones, recording Them Crooked Vultures, ca. 2009, Pink Duck Studios, Los Angeles, California

Manson 12-String Bass

Manson 12-String Bass
General Specs
Body: Quilted maple top
Finish: Blue
Neck: 3-piece bird's eye maple
Fingerboard: Ebony, blue LED dot markers triggered by sound
Frets: 21
Headstock: Quilted maple with silver logo
Tuners: Chrome Manson
Pickguard: None
Pickups: (2) EMG Pickups
Controls: (2) Volume, (2) Tone, Stereo wiring
Years in use: 1999-2002
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this 12-String Bass Guitar for John Paul Jones. Jones used this bass guitar on his Zooma, The Thunderthief solo tours and well as the 2009-2010 Them Crooked Vultures tours on Daffodils. The bass is tuned B-C and is wired in stereo with the neck pickup routing to the SWR bass rig and the bridge pickup routing to the Bad Cat guitar rig.

Photos

Manson 12-String Bass
 
Manson 12-String Bass
 
Manson 12-String Bass
 
Manson 12-String Bass
Guitar Edge website, October 08, 2009
Manson 12-String Bass
John Paul Jones, ca. 1999
Manson 12-String Bass
John Paul Jones, October 29, 1999, House Of Blues, Los Angeles, California
Manson 12-String Bass
John Paul Jones, March 20, 2000, Roxy Theatre, Atlanta, Georgia
   

Manson 10-String Bass

Manson 10-String Bass
General Specs
Body: Quilted maple
Finish: Satin amber
Neck: 3-piece bird's eye maple
Fingerboard: Ebony, yellow fingerboard LED dot markers
Frets: 21
Headstock: Quilted maple with black logo
Tuners: Gold Manson
Pickguard: None
Pickups: (2) EMG Pickups
Controls: (2) Volume, (2) Tone, Stereo wiring
Years in use: 1999-2007
Website: http://www.manson
guitars.co.uk/

Hugh Manson built this 10-String Bass Guitar for John Paul Jones. The bass is tuned E-C and is wired in stereo with the neck pickup routing to the SWR bass rig and the bridge pickup routing to the Marshall guitar rig.

Jones used this bass guitar on his Zooma and The Thunderthief solo tours as well as in the studio on the title track to Zooma & used on Gunman with Them Crooked Vultures. He also used it at the 2007 Led Zeppelin reunion concert on Nobody's Fault But Mine.

Photos

Manson 10-String Bass
 
Manson 10-String Bass
 
Manson 10-String Bass
John Paul Jones, October 02, 1999, Roisin Dubh, Galway, Ireland
Manson 10-String Bass
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany. Photo by Steve A. Jones
Manson 10-String Bass
John Paul Jones, March 09, 2000, House Of Blues, Orlando, Florida
Manson 10-String Bass
John Paul Jones, March 30, 2000, Daytona's, Riviera Beach, Maryland

Manson 8-String Mandolin

Manson 8-String Mandolin
General Specs
Body: Carved spruce, koa back, extended F-holes, cream binding
Finish: Gloss sunburst
Neck: Koa
Fingerboard: Ebony, with dot inlays
Frets: 24
Headstock: Blackface, cream binding, triquetra sigil on truss rod cover
Tuners: Schaller
Pickguard: None
Years in use: 2010-2010
Website: http://www.andy
manson.com/
Andy Manson built this F-Style 8-String Mandolin for John Paul Jones in 1997. This is his primary mandolin and travels with him. He has used it on the 2000 Leg of his Zooma tour for That's The Way/Going To California, in studio and on stage for The Thunderthief for Hoediddle, with Julie Felix in 2002, at Guitar Wars in 2003, with the Mutual Admiration Society in 2004, with Robyn Hitchcock in 2005, with Uncle Earl in 2006, at Bonnaroo & Merlefest in 2007, at Christmas Jam in 2008, with Sara Watkins in 2009 and with the Dave Rawlings Machine in 2010.

Photos

Manson 8-String Mandolin
 
Manson 8-String Mandolin
 
Manson 8-String Mandolin
John Paul Jones, March 09, 2000, House Of Blues, Orlando, Florida
Manson 8-String Mandolin
John Paul Jones & Julie Felix, April 12, 2002, Borders Bookshop, London, England
Manson 8-String Mandolin
John Paul Jones & Paul Gilbert, Going To California, August 29, 2003, Akasaka Blitz, Tokyo, Japan
Manson 8-String Mandolin
John Paul Jones, July 31, 2004, Roxy Theatre, Los Angeles, California
Manson 8-String Mandolin
John Paul Jones, September 26, 2005, Barbican Hall, London, England
Manson 8-String Mandolin
John Paul Jones, February 23, 2006, W Hotel, Great Rooms, Seattle, Washington
Manson 8-String Mandolin
John Paul Jones, April 26, 2007, Merlefest 2007, Wilkes Community College, Watson Stage, Wilkesboro, North Carolina
Manson 8-String Mandolin
John Paul Jones, December 12, 2008, Christmas Jam, Asheville Civic Center, Asheville, North Carolina
Manson 8-String Mandolin
John Paul Jones, October 02, 2009, Austin City Limits Musical Festival, Zilker Park, Austin Ventures Stage, Austin, Texas
Manson 8-String Mandolin
John Paul Jones, Dave Rawlings & Gillian Welch, September 17, 2010, Troxy, London, England

Manson 8-String Minimalist Mandolin

Manson 8-String Minimalist Mandolin
General Specs
Body: Carved maple top, Koa back, extended F-holes
Finish: Matte
Neck: Koa
Fingerboard: Ebony, with dot inlays
Frets: 24
Headstock: Brown stained with matching truss rod cover
Tuners: Schaller
Pickguard: None
Years in use: ???
Website: http://www.andy
manson.com/
Andy Manson built this 8-String Minimalist Mandolin for John Paul Jones in 2002.

Photos

Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 
Manson 8-String Minimalist Mandolin
 

Manson 8-String Electric Mandola

Manson 8-String Electric Mandola
General Specs
Body: Flamed ash top, mahogany sides and back
Finish: Gloss amber
Neck: Mahogany
Fingerboard: Rosewood, with diamond-shaped inlays
Frets: 21
Headstock: Blackface with gold logo & triquetra sigil
Tuners: Gold Manson
Pickguard: None
Pickups: (1) EMG Mini Pickup
Controls: (1) Volume, (1) Tone
Years in use: 2010
Website: http://www.andy
manson.co.uk/
Andy Manson built the 8-String Electric Mandola in 1991, originally for Jethro Tull's Ian Anderson. He has used it in the studio on the title track to Zooma and on stage with Them Crooked Vultures.

Photos

Manson 8-String Electric Mandola
John Paul Jones & Josh Homme, April 14, 2010, Club Nokia, Los Angeles, California, Photo by becca nh
Manson 8-String Electric Mandola
 
Manson 8-String Electric Mandola
 
Manson 8-String Electric Mandola
 
Manson 8-String Electric Mandola
 
Manson 8-String Electric Mandola
 

Manson 8-String Bass Mandolin

Manson 8-String Bass Mandolin
General Specs
Body: Carved flamed maple top
Finish: Matte amber
Neck: Bird's eye maple
Fingerboard: Rosewood
Frets: 24
Headstock: Flamed maple with brown logo
Tuners: Gold Manson
Pickguard: None
Pickups: (2) EMG Pickups
Controls: (2) Volume, (2) Tone, Stereo wiring
Years in use: 1999-Present
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this 8-String Bass Mandolin for John Paul Jones. He has used it for the Zooma and on Angry Angry from The Thunderthief & also on Elephants with Them Crooked Vultures. The bass mandolin is tuned G-E in fifths with octave strings and is wired in stereo with the neck pickup routing to the SWR bass rig and the bridge pickup routing to the Bad Cat guitar rig.
 

Photos

Manson 8-String Bass Mandolin
 
Manson 8-String Bass Mandolin
 
Manson 8-String Bass Mandolin
 
Manson 8-String Bass Mandolin
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany, Photo by Steve A. Jones
Manson 8-String Bass Mandolin
John Paul Jones, March 18, 2000, La Zona Rosa, Austin, Texas, Photo by David Montgomery
Manson 8-String Bass Mandolin
John Paul Jones & Josh Homme, August 09, 2009, Metro, Chicago, Illinois
Manson 8-String Bass Mandolin
John Paul Jones, April 17, 2010, Hard Rock Hotel, The Joint, Las Vegas, Nevada, Photo by Erik Kabik
   

Manson 8-String Bass

Manson 8-String Bass
General Specs
Years in use: ???
Website: http://www.manson
guitars.co.uk/

Manson 8-String Bass

Manson 8-String Bass
General Specs
Body: Sycamore core with imbuia front
Finish: Gloss
Neck: 3-piece bird's eye maple
Fingerboard: Ebony, pearl dot inlays
Frets: 21
Headstock: Imbuia with gold logo
Tuners: Gold Manson
Pickguard: None
Pickups: (2) EMG Pickups
Controls: (2) Volume, (2) Tone, Stereo wiring
Years in use: 1994-Present
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this 8-String Bass Guitar for John Paul Jones. Jones used this bass guitar on The Sporting Life with Diamanda Galas. The bass is tuned E-G, sometimes B-D.

Photos

Manson 8-String Bass
Manson 8-String Bass
John Paul Jones, Bass Player Magazine, November 1994
Manson 8-String Bass
John Paul Jones, December 07, 1994, Fillmore West, San Francisco, California

Manson 8-String Acoustic Bass

Manson 8-String Acoustic Bass
John Paul Jones, ca. 1995
General Specs
Body: Spruce top, Koa back and sides
Finish: Satin
Neck: Birds-eye maple neck
Fingerboard: Rosewood, pearl dot inlays
Frets: 22
Headstock: Double-bounc koa with logo
Tuners: Manson
Pickguard: Tortoise
Years in use: ???
Website: http://www.andymanson.com/
Andy Manson built this 8-string Acoustic Bass guitar for John Paul Jones in 1995.

Photos

Manson 8-String Acoustic Bass
Manson 8-String Acoustic Bass
Manson 8-String Acoustic Bass
Manson 8-String Acoustic Bass
Manson 8-String Acoustic Bass
Manson 8-String Acoustic Bass

Manson 5-String Bass

Manson 5-String Bass
John Paul Jones, May 20, 2012, Composer Portrait Concert, Kettle's Yard, Cambridge, Cambridgeshire, England
General Specs
Years in use: 2012
Website: http://www.mansonguitars.co.uk/
Hugh Manson built this 5-String Bass Guitar for John Paul Jones. Its only known appearance has been on May 20, 2012 at the Composer Portrait Concert, Kettle's Yard, Cambridge, Cambridgeshire, England.

It is tuned E-A-D-G-C.

Photos


Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Photo by Dave Lewis

Manson 4-String Pink J Bass

Manson 4-String Pink J Bass
General Specs
Body: Ash
Finish: Pink
Neck: Maple
Fingerboard: Rosewood, pearl dot inlays
Frets: 21
Headstock: Maple with black logo
Tuners: Chrome Manson
Pickguard: Tortoise Shell
Pickups: (1) Split Pickup, Chrome cover
Controls: (1) Master Volume, (1) Master Tone
Years in use: 2011
Website: http://www.mansonguitars.co.uk/
Hugh Manson built this 4-string Eric Bass Guitar for John Paul Jones. He used the bass in 2011 in an on-stage jazz trio, along with Peter Erskine and John Parricelli, in the opera bio, Anna Nicole, as well as in 2012 with Seasick Steve.

Photos

Manson 4-String Pink J Bass
 
Manson 4-String Pink J Bass
 
Manson 4-String Pink J Bass
John Paul Jones, Anna Nicole, February 17, 2011, Royal Opera House, London, England
Manson 4-String Pink J Bass
John Paul Jones, Anna Nicole, February 17, 2011, Royal Opera House, London, England
Manson 4-String Pink J Bass
ca. 2011
Manson 4-String Pink J Bass
ca. 2011

Manson 4-String Fretless Bass

Manson 4-String Fretless Bass
General Specs
Years in use: ???
Seen during a November 1994 interview with Bass Player Magazine

Manson 4-String Electric Mandolin

Manson 4-String Electric Mandolin
General Specs
Body: Quilted Maple
Finish: Gloss
Neck: Bird's eye maple
Fingerboard: Ebony
Frets: 24
Headstock: Quilted maple with white logo
Tuners: Gold Manson
Pickguard: None
Pickups: (1) EMG Pickupwith bridge transducer system
Controls: (1) Volume, (1) Tone
Years in use: ???
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this 4-String Electric Mandolin for John Paul Jones. He used it on the solo for Daphne from The Thunderthief.

Photos

Manson 4-String Electric Mandolin
 
   

Manson 4-String Eric Bass

Manson 4-String Eric Bass
General Specs
Body: Flamed top
Finish: Natural
Neck: Maple
Fingerboard: Ebony, pearl dot inlays
Frets: 24
Headstock: Maple with black logo
Tuners: Black Manson
Pickguard: None
Pickups: (1) EMG Pickup
Controls: (1) Master Volume, (1) Master Tone
Years in use: 1995
Website: http://www.mansonguitars.co.uk/
Hugh Manson built this 4-string Eric Bass Guitar for John Paul Jones.

Photos

Manson 4-String Eric Bass
 
Manson 4-String Eric Bass
John Paul Jones, January 12, 1995, Waldorf Astoria Hotel, Grand Ballroom, New York City, New York
Manson 4-String Eric Bass
John Paul Jones, May 4, 2013, The Ritz, Manchester, England

Manson 4-String E Bass John Paul John Signature

Manson 4-String E Bass John Paul Jones Signature
General Specs
Body: Mahogany, through-neck construction, 2-piece bookmatched quilted maple top
Finish: High Gloss Aged Cherry Burst Lacquer
Neck: Hard Maple 3-Piece Neck
Fingerboard: Ebony with dot inlays
Frets: 24
Bridge: Black Badass
Headstock: Matching Quilted Maple Headstock Veneer, Manson logo at top, JPJ signature below, Hipshot D-Tuner
Tuners: Schaller Machine Heads
Hardware: Black
Pickups: EMG 35 TW Dual Coil (Bridge), EMG 35 P4 (Neck), Active EMG circuit
Controls: Volume, Pan, Bass/Treble
Dates of Production: 2010-Present
Serial Number: 001
Retail Price: £2099.00
Case: Manson Deluxe Logo Gig Bag
Website: http://www.mansons.co.uk/
After many years of refining, researching and testing, bass legend John Paul Jones has placed his name to the Manson bass guitar that he has used regularly across his projects for the last 16 years.

The Manson John Paul Jones E-Bass model is a replica of the bass made by Hugh Manson in the early 1990s and has been his primary choice ever since.

Featuring a maple through-neck construction, figured maple top, aged cherry sunburst high-gloss lacquer, an ebony fingerboard, EMG pickups and active circuit, Hipshot D-Tuner, Schaller machineheads and Badass bridge, the specs reflect the current upgraded hardware of the bass John used on tour with Them Crooked Vultures.

Photos

Manson 4-String E Bass John Paul Jones Signature
Manson 4-String E Bass John Paul Jones Signature
Manson 4-String E Bass John Paul Jones Signature
Manson 4-String E Bass John Paul Jones Signature

Manson 4-String E 35 Bass

Manson 4-String E 35 Bass
General Specs
Body: Quilted maple top, Triquetra sigil on trussrod cover
Finish: Sunburst
Neck: Maple
Fingerboard: Ebony, pearl dot inlays
Frets: 24
Headstock: Sunburst quilted maple top with gold logo
Tuners: Gold Manson
Pickguard: None
Years in use: 2007-Present
Website: http://www.mansonguitars.co.uk/
Hugh Manson built this 4-string E 35 Bass Guitar for John Paul Jones. Jones used this bass guitar at the Led Zeppelin December 10, 2007 reunion concert at the O2 Arena, London, England.

Photos

Manson 4-String E 35 Bass
Manson 4-String E 35 Bass
Manson 4-String E 35 Bass
Led Zeppelin, December 10, 2007, O2 Arena, London, England

Manson 4-String E 35 Bass

Manson 4-String E 35 Bass
General Specs
Body: Quilted maple top
Finish: Sunburst
Neck: Maple
Fingerboard: Ebony, pearl dot inlays
Frets: 24
Headstock: Sunburst quilted maple top with gold logo
Tuners: Black Manson
Pickguard: None
Years in use: 1999-Present
Website: http://www.manson
guitars.co.uk/
Hugh Manson built this 4-string E 35 Bass Guitar for John Paul Jones. Jones used this bass guitar on his Zooma and The Thunderthief tours & other solo appearances in 2008 as well as with Them Crooked Vultures.

Photos

Manson 4-String E 35 Bass
 
Manson 4-String E 35 Bass
 
Manson 4-String E 35 Bass
 
Manson 4-String E 35 Bass
John Paul Jones, November 08, 1999, Batschkapp, Frankfurt, Germany, Photo by Steve A. Jones
Manson 4-String E 35 Bass
John Paul Jones, August 09, 2009, Metro, Chicago, Illinois
 

Manson III Guitar

Manson III Guitar
General Specs
Pickup: Roland Synth
Years in use: ???
Website: http://www.manson
guitars.co.uk/

Koto

Koto
John Paul Jones, Home Studio, West London, England, Photo by James Cumpsty
General Specs
Years in use: 2010
I bought (the Koto) in Japan in about 1972, on a Zeppelin tour. I've always had it around and had it tuned up. 'shibuya Bop' was inspired by a walk through Shibuya. Actually it was inspired by a techno track I heard coming out of some shop. I just liked the intensity of it and so that became a new song and the koto went on it. Probably the first rock 'n' roll koto solo in history." - Global Bass, March 2002

Photos

Koto
John Paul Jones, Home Studio, West London, England, Photo by James Cumpsty

Hohner XK-250 Fretless Bass

Hohner Fretless Bass
John Paul Jones, February 27, 1972, Sydney Showground, Sydney, Australia
General Specs
Body: Double cutaway semi-acoustic, Cutout "F" holes
Finish: Jet Black
Neck: Maple bolt-on, 34" scale
Fingerboard: Ebony, side dot markers
Frets: None
Headstock: Matching, painted logo
Tuners: Gotoh
Pickguard: None
Pickups: Single coil (bridge), Humbucker (neck)
Controls: (2) Volume, (2) Tone, 3-way Selector Switch
Years in use: 1972
Website: http://www.hohnerusa.com/
John Paul Jones used the Hohner XK-250 Fretless Bass on the 1972 Australian Tour and some dates on the Summer 1972 US Tour for Bron-Y-Aur Stomp.

Photos

Hohner Fretless Bass
John Paul Jones, Robert Plant & Jimmy Page, February 27, 1972, Sydney Showground, Sydney, Australia
Hohner Fretless Bass
Led Zeppelin, February 27, 1972, Sydney Showground, Sydney, Australia
 

Harmony H35 Mandolin

Harmony H35 Mandolin
John Paul Jones, May 25, 1975, Earls Court Exhibition Centre, London, England
General Specs
Body: Single-bound scooped double cutaway hollowbody, solid spruce top, maple back and sides, eccentrically shaped "F" holes
Finish: Sunburst lacquer
Neck: Maple bolt-on, 14" scale
Fingerboard: Bound Rosewood, pearloid block inlays
Frets: 20
Headstock: Headstock logo engraved thru 3-ply plastic overlay
Tuners: Kidney bean-style
Pickguard: Elevated 3-ply pickguard has engraved "Harmony" logo
Pickups: DeArmond "Golden Tone" pickup
Controls: (1) Master Volume, (1) Master Tone
Original Price: $119.00
Years in use: 1975
Website: http://www.harmony
guitars.com/
The 1968 Harmony catalog described the Harmony H35 Electric Mandolin as "Carefully designed for excellent mandolin tone, and for clean amplification of tone."

John Paul Jones used the Harmony H35 Mandolin in May 1975 at Earls Court for Led Zeppelin's return to the acoustic set.

Photos

Harmony H35 Mandolin
John Paul Jones, Robert Plant & Jimmy Page, May 23, 1975, Earls Court Exhibition Centre, London, England, Photo by Torbjörn Calvero
Harmony H35 Mandolin
John Paul Jones, Robert Plant & Jimmy Page, May 23, 1975, Earls Court Exhibition Centre, London, England, Photo by Torbjörn Calvero
Harmony H35 Mandolin
John Paul Jones, Robert Plant & Jimmy Page, May 25, 1975, Earls Court Exhibition Centre, London, England
Harmony H35 Mandolin
John Paul Jones, Robert Plant & Jimmy Page, May 25, 1975, Earls Court Exhibition Centre, London, England
Harmony H35 Mandolin
John Paul Jones, May 25, 1975, Earls Court Exhibition Centre, London, England
Harmony H35 Mandolin
Harmony H35 Mandolin

1968 Hagström H8 Bass

Hagström H8 Bass
John Paul Jones, King's Hall, Aberystwyth, Wales, January 16, 1973.
General Specs
Body: Beveled double cutaway mahogany
Finish: Sunburst
Neck: Maple, 30" scale
Fingerboard: Rosewood, ivory dot inlays
Frets: 21
Headstock: Silver plastic Logo
Tuners: (4) Gotoh bass tuners, (4) Gotoh guitar tuners
Pickguard: 3-ply black-white-black cellulose
Pickups: Dual Hagström standard bass pickups
Controls: (1) Master Volume, (1) Master On/Off switch, (1) On/Off switch for each pickup, (1) Mute Switch, (1) Tone Switch
Years in use: 1970-1976
"Since the Zeppelin days, I've always had multi-string basses. I used to use 8-string basses as early as 1970 ('Celebration Day") -- a regular bass with octave strings." - John Paul Jones, Sound On Sound, November 1999.

John has been using multi-string basses since the Zeppelin days, when he bought a Hagstrom and used it on a few riffs on the Presence album, most famously on 'Achilles Last Stand'. - Global Bass, March 2002

Photos

Hagström H8 Bass
Led Zeppelin, January 16, 1973, King's Hall, Aberystwyth, Wales
Hagström H8 Bass
Hagström H8 Bass

Gibson SG Guitar

Gibson SG Guitar
General Specs
Years in use: ???
For playing the odd backing guitar part, I have an old beaten-up SG. - Vintage Guitar, August 2002

1966 Gibson EB-2C Bass

1966 Gibson EB-2C
John Paul Jones, June 11, 2011, Isle Of Wight Festival, Seaclose Park, Main Stage, Newport, Isle Of Wight
General Specs
Body: Symmetrical double cutaway semi-hollow maple, "f" holes, cream binding
Finish: Translucent cherry red
Neck: One-piece mahogany, 30.5" scale
Fingerboard: Brazilian rosewood, pearloid dot inlays
Frets: 20, medium-thin
Bridge: Stud bridge/tailpiece combination, chrome cover
Headstock: Logo and crown peghead pearloid inlay
Tuners: Backward-tuning "no-name" Kluson gears
Hardware: Chrome
Pickguard: 5-layer black
Pickups: Humbucker w/ chrome cover (neck position)
Controls: (1) Master Volume, (1) Master Tone, Push-Push "Baritone Switch", String Mute
Years in use: 2011
Website: http://www.gibson.com/
John Paul Jones used the 1966 Gibson EB-2C in 2011 with Seasick Steve.

Thanks to Brandon K.

Videos

Photos

1966 Gibson EB-2C
John Paul Jones, June 11, 2011, Isle Of Wight Festival, Seaclose Park, Main Stage, Newport, Isle Of Wight
1966 Gibson EB-2C
John Paul Jones, June 11, 2011, Isle Of Wight Festival, Seaclose Park, Main Stage, Newport, Isle Of Wight
1966 Gibson EB-2C
John Paul Jones & Dan Magnusson, June 11, 2011, Isle Of Wight Festival, Seaclose Park, Main Stage, Newport, Isle Of Wight
1966 Gibson EB-2C
John Paul Jones, June 11, 2011, Isle Of Wight Festival, Seaclose Park, Main Stage, Newport, Isle Of Wight
   

1953 Gibson EB-1 Bass

1953 Gibson EB-1 Bass
From inner wheel of Led Zeppelin III
General Specs
Body: Violin-shaped mahogany, carved top
Finish: Brown stain, painted F-holes
Neck: Mahogany, 30-1/2" scale
Fingerboard: Rosewood, ivory dot inlays
Frets: 21
Headstock: Logo & crown peghead inlay
Tuners: Banjo-style
Pickguard: Elevated Brown
Pickups: Alnico magnet pickup with poles closest to bridge, brown plastic pickup cover
Controls: (1) Master Volume, (1) Master Tone
Years in use: 1970
"Oh, I got a hold of a very nice old Gibson violin bass pictured in the little cutout wheel on the cover of Led Zeppelin III. That was nice, too: it's not stage-worthy, but it gives a beautiful warm sound. I don't like Gibson basses generally because they feel all rubbery; I like something you can get your teeth into. But the violin bass was the only Gibson that was as heavy as a Fender to play, but still had that fine Gibson sound. I used it on Led Zeppelin III and I've used it every now and again, usually when I'm tracking a bass after I've done keyboard for the main track. The one I have went through Little Richard's band and then through James Brown's band, and it arrived in England. In fact, I saw it on an old movie clip of Little Richard, It was probably about a 48 or 50 or something like that: it was the original one." - John Paul Jones, July 1977

According to a Marc 4, 2012 interview with Dave Lewis, John Paul said, "Yes, I still have that. I didn't use it live but it is on record. I think it was used for Tangerine."

Photos

1953 Gibson EB-1 Bass
From inner wheel of Led Zeppelin III
1953 Gibson EB-1 Bass

Resources and Information:

http://home.provide.net/~cfh/gibson9.html

Framus Strato-Melodie Mandolin

Framus Strato-Melodie Mandolin
John Paul Jones, September 11, 1971, Rochester Community War Memorial, Rochester, New York
General Specs
Body: Asymmetrical double cutaway ash
Finish: Sunburst
Neck: Maple
Fingerboard: Rosewood, ivory dot inlays
Frets: 21
Headstock: Ash
Tuners: Kluson
Hardware: Chrome
Pickguard: Black
Pickups: (2) Offset black flat pole single coil pickups
Controls: (1) Master Volume, (1) Master Tone, (1) Blend
Years in use: 1971
The Framus Strato-Melodie Mandolin was used in the acoustic set on the Fall 1971 US Tour and the 1971 Japanese Tour.

Photos

Framus Strato-Melodie Mandolin
John Paul Jones, September 11, 1971, Rochester Community War Memorial, Rochester, New York

1951 Fender Precision Bass

1952 Fender Precision Bass
John Paul Jones, February 20, 1972, Kooyong Stadium, Kooyong, Melbourne, Australia
General Specs
Body: Slab asymmetrical double cutaway Ash
Finish: Purple, later stripped, later Honey Blonde
Neck: One piece maple, 34" scale
Fingerboard: Maple, clay dot inlays
Frets: 20
Bridge: Fixed, single-groove saddles, cover removed
Headstock: No logo
Tuners: Backward-tuning "no-name" Kluson gears
Hardware: Chrome
Pickguard: Removed, later black fiber (clear coated with laquer)
Pickups: Black flat pole single coil pickup, chrome cover removed, later replaced with Seymour Duncan
Controls: (1) Master Volume, (1) Master Tone
Serial Number: 0959
Years in use: 1971-1975, 2011
Website: http://www.fender.com/
Fender's solid body Precision Bass Guitar changed modern music. It's name, Precision, comes from Leo Fender's desire to create a "precise" bass in tonality. Fretted down to an accurate 100th of an inch, he got his wish. In 1951, when Fender introduced the Precision Bass at NAMM, some people didn't really cotton to a base that played like a guitar. However, Roy Johnson from Lionel Hampton's band was a big proponent of the bass, and along with William "Monk" Montgomery, signaled the beginning of a revolution in bass playing.

John Paul Jones used the 1951 Fender Precision Bass, beginning in 1971 through 1975, for songs such as Black Dog. According to a March 4, 2012 interview with Dave Lewis, John Paul said, "It was purple when I got it, someone had dipped it into a vat of purple paint!"

It was fully restored in the 1990s by Hugh Manson, who repainted the bass Honey Blonde, added a black fiber pickguard, re-chromed the hardware and swapped the pickup out with a new Seymour Duncan.

John Paul Jones used the 1951 Fender Precision Bass in 2011 with Seasick Steve.

Videos

Photos

1952 Fender Precision Bass
John Paul Jones, November 17, 1971, Kinetic Circus, Mayfair Suite, Birmingham, West Midlands, England
1952 Fender Precision Bass
John Paul Jones, March 17, 1973, Munich Olympiahalle, Munich, Germany
1952 Fender Precision Bass
John Paul Jones, ca. 1975
1951 Fender Precision Bass
John Paul Jones, July 02, 2011, iTunes Festival, The Roundhouse, Camden Town, London, England
1951 Fender Precision Bass
John Paul Jones, August 27, 2011, Reading Festival, Little John's Farm, Main Stage, Reading, Berkshire, England
1951 Fender Precision Bass
John Paul Jones, August 27, 2011, Reading Festival, Little John's Farm, Main Stage, Reading, Berkshire, England

Fender Mandolin

Fender Mandolin
John Paul Jones, ca. 1972
General Specs
Body: Solid "offset" double cutaway ash, maple top
Finish: Sunburst
Fingerboard: Rosewood
Frets: 18
Bridge: Combined "micro-adjustable" (threaded) two-saddle bridge/tailpiece
Headstock: Headstock decal with Fender "spaghetti" logo in gold with black trim, "Original Contour Body Pat. Pend." decal underneath
Tuners: Closed-back "single-line" Kluson Deluxe strip tuners with white plastic oval buttons
Hardware: Chrome
Pickguard: Tortoise grain celluloid over white-black-white 3-layer pickguard
Pickups: (1) Oblong single-coil pickup with transparent reddish-brown plastic cover, (4) concealed polepieces, output of 4.98k
Controls: (1) Master Volume, (1) Master Tone
Serial Number: 3611H35
Original Price: $169.50
Years in use: 1972-2007
Website: http://www.fender.com/
First introduced in spring 1956, the Electric Mandolin looks like a mini Stratocaster. This is were it derives its value. As an instrument, it has limited usability because it has only four strings and a solid body instead of the usual eight strings for a mandolin. Oblong pickup with reddish brown cover, no visible poles, "Fender" decal with no other markings. These Mandocasters were probably made in batches, so often the body and neck dates can be up to a year or more apart. Also features like an Ash body can be seen as late as 1959, even Fender stopped using Ash on sunburst instruments in mid-1956. The first years of Fender Electric Mandolin production (1956, 1957) used a slab body style, much like a Telecaster. This changed in 1958 to a more Stratocaster style body with contours. Sunburst was the standard finish, though Blond is also seen. Custom color Fender Mandocasters also exist. The Mandocaster also used a metal anodized gold pickguard until mid-1959, like the pre-1959 Precision Bass. Usually they are strung with .008, .012, .019w and .028w strings, and tuned like a mandolin [G D A E].

"Fender looked back to a traditional instrument for its other new model for 1956 [in addition to the Duo-Sonic and the Musicmaster]: the electric Fender Mandolin. It sold for $169.50, with a Fender-style double-cutaway solid body and four strings rather than the regular mandolin's eight (in four pairs). Perhaps surprisingly, the Mandolin lasted in the line until the mid 1970s" (Tony Bacon, 50 Years of Fender, p. 22).

John Paul Jones used the Fender Mandolin in 1972 for Going To California. It can be heard on the live album How The West Was Won.

Photos

Fender Mandolin
John Paul Jones, ca. 1972
Fender Mandolin
John Paul Jones, ca. 1972

Resources and Information:

http://www.provide.net/~cfh/mando.html
Bacon, Tony. 50 Years of Fender: Half a Century of the Greatest Electric Guitars. London: Backbeat Books, 2000.

1970 Fender Fretless Precision Bass

1970 Fender Fretless Precision Bass
John Paul Jones, December 09, 2007, O2 Arena, London, England
General Specs
Body: Solid "offset" double cutaway alder, contoured waist design
Finish: Sunburst
Neck: Bolt-on Maple, 34-inch scale, 9 side dot position markers
Fingerboard: Maple
Frets: None
Bridge: 3-way adjustable, 4 individually adjustable bridge sections
Headstock: Strat-style headstock, spaghetti-style logo
Tuners: Open-gear 4-on-1 side tuning machines
Hardware: Chrome
Pickguard: Tortoise grain celluloid 3-layer pickguard/metal
Pickups: (1) Split pickup, adjustable and grounded
Controls: (1) Master Volume, (1) Master Tone
Years in use: May 27, 1972 - December 10, 2007
Website: http://www.fender.com/
John Paul Jones used the 1970 Fender Fretless Precision Bass in 1972 for Bron-Y-Aur Stomp and 1975-1977 & 2007 for In My Time Of Dying.

Photos

1970 Fender Fretless Precision Bass
John Paul Jones, Robert Plant & Jimmy Page, Bron-Y-Aur Stomp, June 15, 1972, Nassau Veterans Memorial Coliseum, Uniondale, New York
1970 Fender Fretless Precision Bass
John Paul Jones, Robert Plant & Jimmy Page, Bron-Y-Aur Stomp, June 23, 1972, San Diego Sports Arena, San Diego, California
1970 Fender Fretless Precision Bass
John Paul Jones & Robert Plant, In My Time Of Dying, March 17, 1975, Seattle Center Coliseum, Seattle, Washington
1970 Fender Fretless Precision Bass
John Paul Jones, In My Time Of Dying, May 18, 1977, Birmingham-Jefferson Civic Center Arena, Birmingham, Alabama
1970 Fender Fretless Precision Bass
John Paul Jones, December 09, 2007, O2 Arena, London, England
1970 Fender Fretless Precision Bass
John Paul Jones, home studio, ca. ???

Video

1962 Fender Jazz Reissue Bass

1962 Fender Jazz Reissue Bass
General Specs
Body: Solid "offset" double cutaway alder, contoured waist design
Finish: Sunburst
Neck: Bolt-on Maple
Fingerboard: Rosewood, Pearl dot inlays
Frets: 20
Bridge: Fixed bridge with string mutes
Headstock: Strat-style headstock, spaghetti-style logo
Tuners: Open-gear 4-on-1 side tuning machines
Hardware: Chrome
Pickguard: Tortoise grain celluloid 3-layer pickguard/metal
Pickups: 2 Standard Alnico Magnet Jazz Bass Single Coil
Controls: (2) Concentric Knobs
Years in use: 2011
Website: http://www.fender.com/
John Paul Jones used the 1961 Fender Jazz Reissue Bass in 2011 with Seasick Steve.

Thanks to Brandon K.

Videos

Photos

1962 Fender Jazz Reissue Bass
ca. 2011
1962 Fender Jazz Reissue Bass
ca. 2011

1962 Fender Jazz Bass

1962 Fender Jazz Bass
John Paul Jones, ca. 1975
General Specs
Body: Solid "offset" double cutaway alder, contoured waist design
Finish: Sunburst
Neck: Bolt-on Maple
Fingerboard: Rosewood, Pearl dot inlays
Frets: 20
Bridge: Fixed bridge with string mutes
Headstock: Strat-style headstock, spaghetti-style logo
Tuners: Open-gear 4-on-1 side tuning machines
Hardware: Chrome
Pickguard: Tortoise grain celluloid 3-layer pickguard/metal
Pickups: 2 Standard Alnico Magnet Jazz Bass Single Coil
Controls: (2) Volume, (1) Tone
Serial Number: 74242
Years in use: 1961-1975
Website: http://www.fender.com/
John Paul Jones bought the 1962 Fender Jazz Bass brand new for $250 at Len Styles Music shop in Lewisham, London, England, and used it on most of the sessions that he was in from 1962 to 1968. It was also Jones' primary bass in Led Zeppelin. Some time in the first couple of weeks on the 1st US Tour, the F Logo bridge cover came off.

On February 01, 1969 Jones forgot his Fender Jazz Bass on the way to Led Zeppelin's Fillmore East performance, so Jimmy Page began their show by playing White Summer until Jones returned with his bass guitar and the band could began with their normal set opener of Train Kept A-Rollin'.

John Paul Jones continued to use the Fender Jazz Bass through 1975, with the recording of Presence. "...I used that bass up until the last tour, and then she had to go. She was getting unreliable and rattling a lot." - John Paul Jones, July 1977.

John Paul Jones got the Fender Jazz Bass out of retirement for use on both of his solo albums, Snake Eyes on Zooma and 'Yes, the Fender Jazz is in the middle of "Daphne" and funny enough I played it through my very old session amp that I used to use in the '60's. I played a solo right in the middle and had it distorted to Hell. I think it sounds great! But I usually use it anywhere I want a four-string bass, like at the end of "The Thunderthief". The four-string bass comes in right at the end and that was the Jazz." - Global Bass, March 2002

Photos

1962 Fender Jazz Bass
Led Zeppelin, September 07, 1968, Egegård Skole, Box 45 Teen Club, Gladsaxe, Denmark
1962 Fender Jazz Bass
John Paul Jones, Robert Plant & Jimmy Page, January 24, 1970, University of Leeds, The Refectory, Leeds, West Yorkshire, England
1962 Fender Jazz Bass
John Paul Jones, February 27, 1972, Sydney Showground, Sydney, Australia
1962 Fender Jazz Bass
John Paul Jones, February 12, 1975, Madison Square Garden, New York City, New York
1962 Fender Jazz Bass
John Paul Jones & 1962 Fender Jazz Bass, ca. 1999, Photo by James Cumpsty
1962 Fender Jazz Bass
John Paul Jones at his home studio, ca. 1999, Photo by James Cumpsty
1962 Fender Jazz Bass
Original bridge cover holes, ca. 1999, Photo by James Cumpsty
   

1967 Fender Bass V

1967 Fender Bass V
John Paul Jones, May 22, 1973, HemisFair Arena, San Antonio, Texas
General Specs
Body: Solid "offset" double cutaway alder, contoured waist design
Finish: Sunburst
Neck: Maple bolt-on
Fingerboard: Rosewood, Pearl block inlays
Frets: 15
Bridge: Fixed bridge with string mutes
Headstock: Strat-style headstock, spaghetti-style logo
Tuners: Open-gear 5-on-1 side tuning machines
Hardware: Chroms
Pickguard: Tortoise grain celluloid 3-layer pickguard/Metal
Pickups: Split Single-Coil Pickup
Controls: (1) Volume, (1) Tone
Years in use: 1st Leg of the 1973 US Tour
Website: http://www.fender.com/
The Fender Bass V was manufactured only from 1965 to 1970 and only about 200 were made. The neck is a bit chunky, but not huge, and the string spacing is comfortable. The bridge cover and control plate are similar to those on Jazz Basses of that era, and while it’s missing on this one, there was also a chrome pickup cover. Almost everything else about it is oversize. Especially considering the missing frets, the Bass V is surprisingly long - in fact, it’s three inches longer than a Precision Bass. The headstock is elongated, as is the body, and even the neck plate seems to be a custom size. Instead of the now more common tunings of 5-string bass guitars, the Fender Bass V was tuned E-A-D-G-C. Individually adjustable bridges may be set for perfect string intonation and comfortable low playing action. "Off-set" waist design contributes to playing ease and comfort of the player. It places the arm in a natural position over the strings which allows more flexible playing technique.

The Fender Bass V was only seen on the first leg of the 1973 US Tour from May 04, 1973 until June 03, 1973 for songs such as Over The Hills And Far Away, The Song Remains The Same and Heartbreaker, to name a few.

In a March 4, 2012 with Dave Lewis, John Paul Jones said that the 1967 Fender Bass V was "the ugliest bass guitar in the world!"

Photos

Fender Bass V
John Paul Jones & Jimmy Page, May 05, 1973, Tampa Stadium, Tampa, Florida
Fender Bass V
John Paul Jones, May 05, 1973, Tampa Stadium, Tampa, Florida
Fender Bass V
Led Zeppelin, May 22, 1973, HemisFair Arena, San Antonio, Texas
Fender Bass V
John Paul Jones, May 22, 1973, HemisFair Arena, San Antonio, Texas
Fender Bass V
John Paul Jones, John Paul Jones & Jimmy Page, May 31, 1973, The Forum, Inglewood, California
Fender Bass V
John Paul Jones, June 02, 1973, Kezar Stadium, San Francisco, California

Double Bass

Double Bass
John Paul Jones, ca. 1999
General Specs
Years in use: 1999-2004

They (Mike Marshall and Hamilton de Holanda) were also two extremely nice guys, in fact they persuaded me to join them on stage for one (funky, but slower!) number, that I played on a borrowed double bass. Lunel is now witness to my first ever double bass solo... - John Paul Jones, November 07, 2004

Photos

Double Bass
Hamilton de Holanda, John Paul Jones (on 1954 Kay Maestro Bass - owned by David L. Donald) & Mike Marshall, October 29, 2004, Festival Mandolines de Lunel, Lunel, France
Double Bass
Hamilton de Holanda, John Paul Jones (on 1954 Kay Maestro Bass - owned by David L. Donald) & Mike Marshall, October 29, 2004, Festival Mandolines de Lunel, Lunel, France
Double Bass
David L. Donald, Mike Marshall, John Paul Jones (on 1954 Kay Maestro Bass - owned by David L. Donald) & Hamilton de Holanda, October 29, 2004, Rehearsal for Festival Mandolines de Lunel, Lunel, France

Dallas Bass Guitar

Dallas Bass Guitar
General Specs
Body: Single cutaway
Years in use: 1960-1961
(My first bass) was a pig; it had a neck like a tree trunk. It was a solid body Dallas bass guitar with a single cutaway. It sounded all right though, and it was good for me because I developed very strong fingers. I had no idea about setting instruments up then, so I just took it home from the shop., John Paul Jones, July 1977 Guitar Player

Chinese Baritone Ukulele

Chinese Baritone Ukulele
General Specs
Years in use: ???
It was the first instrument I ever bought on the internet – a Chinese baritone ukulele, which was terrible. It was just barely in tune up to the fourth fret, but was only about $75 and at least I could try it out to get a better idea of the instrument's sound and range. - Vintage Guitar, August 2002

C.F. Martin A-Style Mandolin

C.F. Martin A-Style Mandolin
John Paul Jones, August 22, 1970, Tarrant County Arena, Fort Worth, Texas
General Specs
Body: Sitka Spruce top, mahogany sides and back, circular sound hole
Neck: Mahogany
Fingerboard: East Indian Rosewood with dot inlays
Frets: 25
Bridge: Mahogany
Headstock: Mahogany
Tuners: 4-on-a-plate Kluson Deluxe, White plastic buttons
Pickguard: Black tear-shaped
Years in use: 1970-1971
Website: http://www.martinguitar.com/
This Hollowbody A-style C.F. Martin Mandolin was the first mandolin that John Paul Jones used on stage with Led Zeppelin, beginning on June 22, 1970 through May 10, 1971. In studio, the Martin Mandolin was used on Led Zeppelin and on the BBC Sessions recording from April 01, 1971.

Photos

C.F. Martin A-Style Mandolin
John Paul Jones, June 28, 1970, Royal Bath & West Showground, Shepton Mallet, England
C.F. Martin A-Style Mandolin
John Paul, Maureen, Jacinda and Tamara Jones, ca. July 1970, The Straw Hat, Rickmansworth, Hertfordshire, England
C.F. Martin A-Style Mandolin
Led Zeppelin, August 15, 1970, Yale Bowl, New Haven, Connecticut

BecVar Series I Triple Omega Bass

Becvar Series I Triple Omega Bass
John Paul Jones, Jimmy Page & Robert Plant, June 08, 1977, Madison Square Garden, New York City, New York
General Specs
Body: Rosewood core, Purpleheart and Maple inlays, Triple-O cutouts
Finish: Clear
Neck: Maple & Purpleheart
Fingerboard: Ebony, custom Mother-Of-Pearl inlays
Frets: 24
Bridge: Solid gold-plated brass, bird tailpiece
Headstock: Mahogany, knobby peghead
Tuners: Gold Alembic-Gotoh
Hardware: Gold-plated
Pickguard: None
Pickups: SC-1 w/hx
Controls: Bass Pickup Volume, Treble Pickup volume, Pickup Selector, 3-Position Q Switch Bass Pickup, 3-Position Q Switch Treble Pickup, Q-Boost Control Bass Pickup, Q-Boost Control Treble Pickup
Years in use: 1975-1980
Website: http://www.alembic.com/
Most Led Zeppelin fans are familiar with John Paul Jones' eight-string bass guitar that was used beginning on the 1977 US tour. Nobody's Fault But Mine and Achilles Last Stand were two songs that Jones played on this bass. With a casual glance, one might say that this is an Alembic-built bass guitar, however, it is not.

John Paul Jones purchased the eight-string bass guitar from the legendary Don Weir's Music City in San Francisco, California in 1975 after only a short time playing it. What was odd was that the person who built the bass was a one-time employee of Alembic named Bruce Becvar. He used the basic Alembic bass template and added the violin-style omega-shaped cutouts on the side. Alembic later adopted the design for their own bass guitars. It has the Becvar Guitars logo on the peghead. After the purchase, Jones brought the bass to Rick Turner, at Alembic's Cotati, California facility to have Alembic's standard electronics installed.

What was the first track he used it on in the studio? "I'd gone to Alembic and there was someone working for them who had an offshoot company called Becvar. He had this eight-string bass in Californian Gothic with palm trees, a mandala and other stuff. It sounded fantastic, like a big harpsichord/piano thing. And so when Page came out with the first riff of Achilles he said, 'What are we going to do with the rest of it?'' I said '8 string bass!' It fit perfectly," John Paul Jones said to Rikki Rooksby in a September 1999 Bassist Magazine interview.

Jones eventually settled on "a sort of sub-Alembic 8-string, which was actually a Becvar. It was built by a guy who was at Alembic and then left the company to start on his own. It's just an amazing creature--sort of Gothic Revival in style. Actually, it's more California Gothic, with a mandala on the back, with little mermaids, sea shells and palm trees inlaid. A very fine instrument. Very loud. The Riff King it was called. When Page first heard it, he said, 'Oh, no. I'm not playing to that!'" John Paul Jones said in a Guitar World interview.

Does he use a pick? "Yes, when the situation demand it; on the eight-string it's awful messy with your fingers. On 'The Song Remains The Same', I use a pick to get that snap out of the instrument," John Paul Jones said in a July 1977 Steven Rosen interview.

The Becvar Series I Triple Omega eight-string bass guitar was eventually retired with a warped neck and currently resides on display in the Rock And Roll Hall of Fame in Cleveland, Ohio.

Photos

BecVar Series I Triple Omega Bass
John Paul Jones, May 18, 1977, Birmingham-Jefferson Civic Center Arena, Birmingham, Alabama
BecVar Series I Triple Omega Bass
John Paul Jones, John Bonham & Jimmy Page, June 21, 1980, Ahoy Rotterdam, Rotterdam, The Netherlands
BecVar Series I Triple Omega Bass
The Riff King
BecVar Series I Triple Omega Bass
The Riff King at the Rock And Roll Hall Of Fame, Photo by Ronnie Fritz

Banjo Mandolin

Banjo Mandolin
General Specs
Years in use: 1969
The unknown model banjo mandolin was seen at Olympic Studios, Barnes, London, England in June 1969.

Photos

Banjo Mandolin
John Paul Jones & Peter Grant, ca. June 1969, Olympic Studios, Barnes, London, England
Banjo Mandolin
Jimmy Page, ca. June 1969, Olympic Studios, Barnes, London, England
 

Balalaika

Balalaika
John Paul Jones, ca. April 1970, The Straw Hat, Rickmansworth, Hertfordshire, England
General Specs
Years in use: 1969-1970

John Paul Jones was seen playing the contrabass balalaika at his house, The Straw Hat, Rickmansworth, Hertfordshire, England, ca. April 1970.

Photos

Balalaika
Jimmy Page, John Bonham, Robert Plant and John Paul Jones, ca. summer 1969
Balalaika
John Paul Jones, ca. April 1970, The Straw Hat, Rickmansworth, Hertfordshire, England
 

Alembic Series II Omega Bass

Alembic Series II Omega Bass
John Paul Jones, August 11, 1979, Knebworth House Grounds, Stevenage, England
General Specs
Body: Series II Omega, mahogany body, burl rosewood top
Finish: High-gloss Polyester
Neck: Mahogany, Satin finish
Fingerboard: Ebony, custom Mother-Of-Pearl inlays
Frets: 24
Bridge: Solid gold-plated brass, bird tailpiece
Headstock: Matching headstock with metal logo
Tuners: Gold Alembic-Gotoh
Hardware: Gold-plated
Pickguard: None
Pickups: SC-1 w/hx
Controls: (2) Volume, (2) Low-pass filter with continuously variable Q, Pickup Selector switch, Master Volume
Years in use: 1977-1988
Website: http://www.alembic.com/
John Paul Jones received the Alembic Series II Omega Bass after the recording of Presence. Rick Turner from Alembic built this bass guitar by hand for John as a replacement for his 1961 Fender Jazz, which he said "was getting unreliable and rattled a lot," in a July 1977 interview.

Photos

Alembic Series II Omega Bass
John Paul Jones, April 19, 1977, Riverfront Coliseum, Cincinnati, Ohio
Alembic Series II Omega Bass
John Paul Jones, August 11, 1979, Knebworth House Grounds, Stevenage, England
Alembic Series II Omega Bass
John Paul Jones & John Bonham, June 18, 1980, Köln Sporthalle, Köln, Germany
Alembic Series II Omega Bass
John Paul Jones, May 14, 1988, Madison Square Garden, New York City, New York
   
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October xx, 1968 - Led Zeppelin is recorded
October 19, 1968 - Final performance as the New Yardbirds
October 31, 1969 - Led Zeppelin II is released in the US
October 17, 1969 - Bonham is thrilled to play Carnegie Hall where Buddy Rich and Gene Krupa have performed
October 23, 1970 - Led Zeppelin III is released in the US
October xx, 1970 - The press lash out at the band over the Led Zeppelin III acoustic content
October xx, 1971 - Page and Plant venture around Thailand and India after the Japan tour
October 18, 1972 - Zeppelin rehearse at the Rainbow Theater for a UK tour
October xx, 1973 - Each member performs an individual film sequence for their concept film
October 31, 1974 - Swan Song hosts a party for the launch of its UK division
October xx, 1975 - Led Zeppelin decide not to tour and concentrate on recording new material
October 20, 1976 - The Song Remains The Same premieres at New York’s Cinema One
October xx, 1977 - Jimmy starts assembling a Led Zeppelin live album from recordings as far back as 1969
October xx, 1978 - Jones and Bonham record with Paul McCartney at Abbey Road Studios
October xx, 1978 - Rehearsals for In Through The Out Door in London
October xx, 1979 - All nine Led Zeppelin albums enter the Billboards Top 200 -- no other band has ever achieved this
October 10, 1980 - A private funeral is held for John Bonham at Rushock church in Worcestershire
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