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Studio and Live Gear

Stringed Instruments

Alembic Series II Omega Bass Alembic Series II Omega Bass
Balalaika Balalaika
Chinese Baritone Ukulele Banjo Mandolin
Becvar Series I Triple Omega Bass Becvar Series I Triple Omega Bass
C.F. Martin A-Style Mandolin C.F. Martin A-Style Mandolin
Chinese Baritone Ukulele Chinese Baritone Ukulele
Dallas Bass Guitar Dallas Bass Guitar
Double Bass Double Bass
1967 Fender Bass V 1967 Fender Bass V
1962 Fender Jazz Bass 1962 Fender Jazz Bass
1962 Fender Jazz Reissue Bass 1962 Fender Jazz Reissue Bass
1970 Fender Fretless Precision Bass 1970 Fender Fretless Precision Bass
Fender Mandolin Fender Mandolin
1951 Fender Precision Bass 1951 Fender Precision Bass
Framus Strato-Melodie Mandolin Framus Strato-Melodie Mandolin
1953 Gibson EB-1 Bass 1953 Gibson EB-1 Bass
1966 Gibson EB-2C Bass 1966 Gibson EB-2C Bass
Gibson SG Guitar Gibson SG Guitar
1968 Hagstrom H8 Bass 1968 Hagstrom H8 Bass
Harmony H35 Mandolin Harmony H35 Mandolin
Hohner Fretless Bass Hohner Fretless Bass
Koto Koto
Manson III Guitar Manson III Guitar
Manson 4-String E 35 Bass Manson 4-String E 35 Bass
Manson 4-String E 35 Bass Manson 4-String E 35 Bass
Manson 4-String E Bass John Paul John Signature Manson 4-String E Bass John Paul John Signature
Manson 4-String Eric Bass Manson 4-String Eric Bass
Manson 4-String Electric Mandolin Manson 4-String Electric Mandolin
Manson 4-String Fretless Bass Manson 4-String Fretless Bass
Manson 4-String Pink P Bass Manson 4-String Pink J Bass
Manson 5-String Bass Manson 5-String Bass
Manson 8-String Acoustic Bass Manson 8-String Acoustic Bass
Manson 8-String Bass Manson 8-String Bass
Manson 8-String Bass Manson 8-String Bass
Manson 8-String Bass Mandolin Manson 8-String Bass Mandolin
Manson 8-String Mandola Manson 8-String Mandola
Manson 8-String Minimalist Mandolin Manson 8-String Minimalist Mandolin
Manson 8-String Mandolin Manson 8-String Mandolin
Manson 10-String Bass Manson 10-String Bass
Manson 12-String Bass Manson 12-String Bass
Manson 12-String Bass Manson 12-String Bass
Manson Acoustic 4-String Bass 'Quasimoto' Manson Acoustic 4-String Bass 'Quasimoto'
Manson Aeolian Harp Manson Aeolian Harp
Manson Baritone Guitar Manson Baritone Guitar
Manson Baritone Ukulele Manson Baritone Ukulele
Manson Bass Lap Steel Manson Bass Lap Steel
Manson Bass Lap Steel Manson Bass Lap Steel
Manson Bass Lap Steel Manson Bass Lap Steel
Manson Bass Lap Steel Manson Bass Lap Steel
Manson Bass Lap Steel Manson Bass Lap Steel
Manson Bass Pedal Steel Manson Bass Pedal Steel
Manson Collapsible Guitar Manson Collapsible Guitar
Manson Lapaphone Manson Lapaphone
Manson Magpie Cutaway Guitar Manson Magpie Cutaway Guitar
Manson MandoCello Manson MandoCello
Manson Mandola Manson Mandola
Manson Octave Mandolin Manson Octave Mandolin
Manson Resonator Manson Resonator
Manson Triple Neck Acoustic Instrument Manson Triple Neck Acoustic Instrument
Manson Triple Neck Mandolin Manson Triple Neck Mandolin
Manson Ukulele Manson Ukulele
Martin 4-String Acoustic Bass Martin 4-String Acoustic Bass
Ovation Balladeer 12 Roundback Ovation Balladeer 12 Roundback
Ovation Rickenbacker Model 4005 Bass Rickenbacker Model 4005 Bass
Selmer Futurama Bass Selmer Futurama Bass
Unknown Mandolin Unknown Mandolin
Violin Violin
Yamaha SA-70 Bass Guitar Yamaha SA-70 Bass Guitar

Other

Road Cases
Guitar Straps
Strings
I use Rotosound Swing Bass strings for everything. For the multi-string basses, I use the Rotosound Piano Bass strings, with the exposed center core, because they'd be too far apart if I were to use regular bass strings. I prefer Rotosound bass strings, but I was never that particular about string gauges. The gauge doesn't really matter to me. - Vintage Guitar, August 2002.

In the November 1994 edition of Bass Player Magazine, it was reported that Jones used Rotosound Superwound strings.


In the last decade, Jones has paritally changed loyalties to Elixir strings. He currently uses the 4-String Bass NANOWEB and Custom Mandolin strings. The multi-stringed instruments still use Rotosound strings.

Strings
1976 Advertisement
Picks
John Paul Jones has used picks in the studio and live on stage throughout his entire career, most notably for songs with intricate bass lines, such as Celebration Day and Black Dog, as well as when he played 8-, 10- & 12-string basses, to completely hit all of the strings.

I use a very heavy pick, if I’m using a pick for the multi-string basses. I use Jim Dunlop picks, the ones that are like 2 mm. I use them for everything because they have a softer tone than the real hard plastic ones. - Vintage Guitar, August 2002

Instruments

Alembic Series I Bass Alembic Series I Bass
Cromwell G-4 Archtop Cromwell G-4 Archtop
1958 Danelectro 3021 1958 Danelectro 3021
1961 Danelectro 3021 1961 Danelectro 3021
Danelectro DC-12 Danelectro DC-12
Dulcimer Dulcimer
Eko Ranger XII Electra Eko Ranger XII Electra
1961 Epiphone Rivoli EB232 Bass 1961 Epiphone Rivoli EB232 Bass
E-ROS Model 606 Dakota E-ROS Model 606 Dakota
Fender 800 Pedal Steel Fender 800 Pedal Steel
Fender Custom Shop Bajo Sexto Fender Custom Shop Bajo Sexto
1954 Fender Precision Bass 1954 Fender Precision Bass
Black Fender Stratocaster Black Fender Stratocaster
White Fender Stratocaster White Fender Stratocaster
1957 Fender Stratocaster 1957 Fender Stratocaster
1964 Fender Stratocaster 1964 Fender Stratocaster
1953 Fender Telecaster 1953 Fender Telecaster
1959 Fender Telecaster 1959 Fender Telecaster
1966 Fender Telecaster 1966 Fender Telecaster
1965 Fender Electric XII 1965 Fender Electric XII
Giannini GWSCRA12-P Craviola Acoustic Giannini GWSCRA12-P Craviola Acoustic
1920 Gibson A2 Mandolin 1920 Gibson A2 Mandolin
Gibson Custom Shop Jimmy Page Les Paul Custom Gibson Custom Shop Jimmy Page Les Paul Custom
Gibson ES-350 Electric Archtop Gibson ES-350 Electric Archtop
1952 Gibson ES-5 Electric Archtop 1952 Gibson ES-5 Electric Archtop
1957 Gibson ES-5 Switchmaster 1957 Gibson ES-5 Switchmaster
1962 Gibson Everly Brothers Flattop 1962 Gibson Everly Brothers Flattop
1967 Gibson B-25 1967 Gibson B-25 Flattop
1963 Gibson J-200 Flattop 1963 Gibson J-200 Flattop
Gibson U-Style Harp-guitar Gibson U-Style Harp-guitar
Goldtop Gibson Les Paul Classic Goldtop Gibson Les Paul Classic Premium Plus
Wine Red Gibson Les Paul Classic Premium Plus Wine Red Gibson Les Paul Classic Premium Plus
Gibson Les Paul Classic Premium Plus 'Errie Dess' Gibson Les Paul Classic Premium Plus 'Errie Dess'
Gibson Les Paul Classic Premium Plus 'Pepto Bismol' Gibson Les Paul Classic Premium Plus 'Pepto Bismol'
1960 Gibson Les Paul Custom Black Beauty 1960 Gibson Les Paul Custom 'Black Beauty'
1969 Gibson Les Paul DeLuxe 'No. 3' 1969 Gibson Les Paul DeLuxe 'No. 3'
Gibson Les Paul Deluxe Gibson Les Paul DeLuxe
Gibson Les Paul Recording Gibson Les Paul Recording
Wine Red Gibson Les Paul Standard Wine Red Gibson Les Paul Standard
1959 Gibson Les Paul Standard Keithburst 1959 Gibson Les Paul Standard 'Keithburst'
1959 Gibson Les Paul Standard No. 1 1959 Gibson Les Paul Standard 'No. 1'
1959 Gibson Les Paul Standard No. 2 1959 Gibson Les Paul Standard 'No. 2'
1991 Gibson Les Paul Custom Shop 1991 Gibson Les Paul Custom Shop
1977 Gibson RD Artist 1977 Gibson RD Artist
1968 Gibson EDS-1275 Double Neck 1968 Gibson EDS-1275 Double Neck
1963 Gibson SG Junior 1963 Gibson SG Junior
1956 Gretsch 6120 Chet Atkins Hollow Body 1956 Gretsch 6120 Chet Atkins Hollow Body
Gretsch White Falcon Gretsch White Falcon
Harmony Sovereign H1260 Flattop Harmony Sovereign H1260 Flattop
1958 Hofner President Acoustic Archtop 1958 Hofner President Acoustic Archtop
Ibanez AEL Acoustic Ibanez Custom AEL Acoustic
1993 Jerry Jones Double5 Longhorn 1993 Jerry Jones Double5 Longhorn
Jerry Jones Master Electric Sitar Jerry Jones Master Electric Sitar
Jerry Jones Original Shorthorn® 2PU Guitar Jerry Jones Original Shorthorn® 2PU Guitar
Jerry Jones Original Shorthorn® 3PU Guitar Jerry Jones Original Shorthorn® 3PU Guitar
Manson Triple Neck Acoustic Instrument Manson Triple Neck Acoustic Instrument
Martin D-28 Acoustic Martin D-28 Acoustic
Martin D-28 Marquis Led Zeppelin 40th Anniversary Martin D-28 Marquis Led Zeppelin 40th Anniversary
Martin D-28 Marquis 'Zoso' Martin D-28 Marquis 'Zoso'
Mosrite Melobar Mosrite Melobar
MSA Classic D-12 Pedal Steel MSA Classic D-12 Pedal Steel
Ovation D868-5 Acoustic/Electric Ovation D868-5 Acoustic/Electric
Ovation Adamas II 1581-7 Acoustic Ovation Adamas II 1581-7 Acoustic
Ovation Elite 1537-4 Acoustic/Electric Ovation Elite 1537-4 Acoustic/Electric
1988 Paul Reed Smith Custom 24 1988 Paul Reed Smith Custom 24
Paul Reed Smith McCarty Paul Reed Smith McCarty
1957 Resonet Grazioso 1957 Resonet Grazioso
Roland G-505 Guitar Synthesizer Controller Roland G-505 Guitar Synthesizer Controller
Roland G-707 Guitar Synthesizer Controller Roland G-707 Guitar Synthesizer Controller
Roland G-808 Guitar Synthesizer Controller Roland G-808 Guitar Synthesizer Controller
Synclavier Synclavier
Unknown Guitar Unknown Guitar
Unknown Spanish Guitar Unknown Spanish Guitar
Vega PS-5 Long Neck Banjo Vega PS-5 Long Neck Banjo
1967 VOX Phantom XII 1967 VOX Phantom XII
Washburn EA20-12 Acoustic/Electric Washburn EA20-12 Acoustic/Electric
Yamaha CJ32 Jumbo Acoustic Yamaha CJ32 Jumbo Acoustic

Collections

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1. Vox UL-7120 Amplifier
2. Vox UL-7120 Amplifier
3. Rickenbacker Transonic 200 Series Speaker Enclosure
4. Rickenbacker Transonic 200 Series Speaker Enclosure
5. Martin D-28 Dreadnought Acoustic
6. Harmony Sovereign H1260 Flattop
7. Marshall 1959SLP Amplifier
8. 1959 Gibson Les Paul Standard 'No. 1'
9. Hiwatt Custom 100 Amplifier 'Jimmy Page'

Gibson Jimmy Page Les Paul (1995-1999)

Gibson Jimmy Page Les Paul (1995-1999)
from Guitar World magazine
General Specs
Body: Single cutaway bound Dark Cherry mahogany body, Chevron AA-figured flame maple top
Finish: Light Honeyburst (LH), redder finish in later guitars
Neck: 3-piece mahogany neck, 1-ply creme binding, (1995 models) Special slim taper, (Later models) Standard neck)
Fingerboard: Rosewood with pearl trapezoid inlays
Nut width: 1-11/16"
Scale: 24-3/4"
Frets: 22
Bridge: ABR-1 Tune-o-matic Bridge
Headstock: Blackface with 'Gibson' logo pearl inlay
Tuners: (1995 models) Grover kidney bean
(Later models) Tulip-style
Hardware: Gold
Pickguard: Raised cream acrylic with black Jimmy Page signature
Pickups: Gibson 496R (neck) and 500T (bridge) Super Ceramic Humbucker
Controls: (2) Volume, (2) Tone (w/ pull-pot switching), 3-way selector
Case: Hardshell (Gibson USA-style), emerald green-lined, Jimmy Page signature on shroud
Strings: Les Paul Signature .009-.046
Dates of Production: 1995-1999
Weight: 9 lbs., 8 oz. (4.3 kg.)
Retail Price: $6300
Website: http://www.gibson.com/
In 1995, Gibson USA got together with Jimmy Page to produce a guitar similar to 1959 Gibson Les Paul Standard 'No. 2'. The production run was from 1995 through 1999. The guitar was a single cutaway bound mahogany body, AA-figured maple top, 22-fret bound rosewood fingerboard with trapezoid inlay, bound black peghead, gold hardware, Tune-O-Matic bridge/stop tailpiece, cream pickguard with engraved and gold painted "Jimmy Page" signature, a three-way selector toggle, volume and tone knobs, which are push/pull pots that put the pickups in and out of phase, series or parallel them and make the humbuckers single coil as well (making up to 21 different combinations), in a Light Honeyburst (LB) finish. The pickups were standard 4-conductor 496R and 500T. The guitar came with a hardshell case with emerald green lining and Jimmy Page signature shroud. The guitars have a standard 8 digit serial number.

Prices for Page Les Paul range from $4000 for 100% (mint) to $2100 for 90% (excellent) to $1495 for 60% (good). The original manufacturer's price on this guitar was $6300.

By the end of 1995, Jimmy was not happy with the guitar (and allegedly a larger percentage of sales) and sued Gibson to stop production. Gibson wanted Jimmy Page to promote the guitar more than he was. Only the first 421 guitars were made with the custom shaped neck that Jimmy wanted and that later in the year Gibson went to a standard neck and also changed the color from the Honeyburst to a redder version as is evident in later 1995s and up. Gibson denies this and says the necks are the same throughout the production run and that the color variations are due to the fact that all the instruments are hand finished and that variances are bound to occur. Also, the first 500 made in 1995 came with Grover tuners. Later, the Grover tuner buttons were switched from "kidney bean" style to "tulip" style and the fret height was lowered to .038" and a locking nut added to the bridge as per Jimmy's request. The suit was settled and Gibson continued production.

Even though these guitars are Signature models, they are not Custom Shop models but rather are standard Gibson production models.

Portions originally authored by Torren61

Photos

Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)
Gibson Jimmy Page Les Paul (1995-1999)

Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)

Gibson Jimmy Page Signature Les Paul 'Number One' (2004)
General Specs
Body: Single cutaway solid mahogany body, Carved figured maple top, 1-ply cream binding
Finish: Page Burst, Tom Murphy hand-aged
Neck: 1-piece mahogany neck, 1-ply cream binding, Jimmy Page custom profile
Fingerboard: Rosewood with trapezoid inlays (accurate shape and color)
Nut width: 1-11/16"
Scale: 24-3/4"
Frets: 22
Bridge: ABR-1 Tune-o-matic Bridge
Headstock: Blackface with 'Gibson' logo pearl inlay
Tuners: Kidney bean
Hardware: Aged Nickel and Gold
Pickguard: Raised cream acrylic
Pickups: Jimmy Page custom BurstBuckers
Controls: (2) Volume, (2) Tone (w/ pull-pot switching), 3-way selector
Strings: Vintage Reissue .010-.046
Case: Hardshell with red interior
Dates of Production: 2004-2007
Amount Produced: (Aged and signed) 26
(Aged) 150
(Unlimited run) 870
Retail Price: (Aged and signed) $23,699
(Aged) $16,566
(Unlimited run) $9,456
Website: http://www.gibson.com/
Rock and roll guitar legend Jimmy Page has personally inspected, played and signed each of the 25 guitars in the initial limited run of the Gibson Jimmy Page Signature Les Paul models, produced by Gibson's Custom, Art & Historic division. As a testament to Page's enormous influence, one of the instruments has already been sold for a reported $55,000 to an anonymous buyer - more than double its suggested list price and a record price for a new, first-run Gibson guitar.

Page, best known for his innovative guitar work and songwriting as a member of Led Zeppelin, signed and numbered each of the first 25 guitars on the back of the headstock. The signature model replicates the dings, scratches, playing wear and the unique neck shape of Page's 'Number One,'' a 1959 Gibson Les Paul Standard that he acquired in 1969 and used on virtually every Led Zeppelin album recording thereafter, including such hits as Whole Lotta Love and Rock and Roll.

Gibson Custom is offering three versions of the model: 25 signed guitars, with "aging" by renowned vintage guitar restorer Tom Murphy; 150 unsigned guitars, also aged by Murphy; followed by an open run of Page models featuring Custom Authentic aging. The first run of 25, as well as the second run of 150, were sold out as soon as they were offered to Gibson Custom dealers.

Because Page received the first guitar of this limited run, the 25 guitars released to the public are numbered 2-26. The initial run also includes a unique set of collateral items, including a black Custom Shop case with a silk-screened Page signature, a wall display box with a silk-screened Page signature (with hangers for the included violin bow) and a portfolio that contains the Page-signed Certificate of Authenticity and an exclusive color photo of Page holding the prototype guitar. The guitars will also ship with the original strings on them-played by Page himself-and set up with the super-low action that Page prefers.

The first 25 aged models were hand numbered 2-26 and signed by Jimmy Page & no other number is on this model. The limited run of 150 aged models are numbered in sequence as "PAGE xxx" and the unlimited run of Custom Authentic models are numbered in sequence as "JPP xxx".

Background
Edwin Wilson from the Gibson Custom Shop and a few others from Gibson went to England to examine Jimmy's #1. Another representative of Gibson was the primary contact with Jimmy and was the fellow who brought the 30 Jimmy Page Signature Les Paul 'Number One' to England for Jimmy to play and examine.

With respect to the wiring, Edwin actually examined the wiring of Jimmy's guitar and put a meter on it. The pickups in Jimmy's actual vintage number one are definitely out of phase in the middle position, and the switch is definitely a coil tap. So the reissues are wired and make sounds just like Jimmy's guitar as it currently resides in his possession.

Gibson sent 30 guitars to Jimmy because they didn't want to be presumptuous by sending just 25 of them and not allowing for any rejections. In fact, after playing the guitars, Jimmy was hard pressed to "reject" any of them. There were a few (like the guitar he kept) that just felt and sounded a little bit better to him, but he really was blown away by all of them. The Custom Shop had gone over each guitar with a fine tooth comb before sending them.

Jimmy had originally planned to spend just a few hours with the guitars, but actually ended up playing them and inspecting them for almost six hours.

Edwin only had 45 minutes with the guitar, in one of Jimmy's mansions, with Jimmy watching everything. Edwin didn't get to weigh the guitar, or pull pickups out of the guitar, etc. He basically was allowed to take some pictures, measure and take a mold of the neck, and look in the control cavity with a meter. With the limited time and information, plus two prototypes subsequently sent to Jimmy for early feedback, they tried in earnest to duplicate a close replica honoring Jimmy's number one. The final guitars met with Jimmy's approval.

Portions authored by MikeSlub

Photos

Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Photo by MikeSlub
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Photo by MikeSlub
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Photo by MikeSlub
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Jimmy Page custom BurstBucker, Photo by Takeaway
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Certificate of Authenticity, Photo by MikeSlub
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)
Gibson Jimmy Page Signature Les Paul 'Number One' (2004-2007)

Gibson Jimmy Page Signature Double Neck (2007)

Gibson Jimmy Page Signature Double Neck (2007)
Photo by Ross Halfin.
General Specs
Body: Period-correct, double cutaway solid mahogany
Finish: Dark Cherry
Necks: 1-piece mahogany, Page profile & fretwire, Corian nut
Fingerboard: Rosewood with split parallelogram inlays
Nut width: 1.715" (12-string), 1-11/16" (6-string)
Scale: 24-3/4"
Frets: 20
Bridge: Chrome ABR-1 Tune-o-matic Bridge with Chrome Thumbwheels
Headstock: Blackface with 'Gibson' logo pearl inlay, (Period-correct for 12-string)
Tuners: Double band nickel plate
Hardware: Chrome, Schaller Strap Locks
Pickguard: Period-correct 5-ply pickguard
Pickups: Jimmy Page custom BurstBuckers
Controls: (2) Volume and (2) Tone (for each neck) with black speed knobs with dial, "master" 3-position pickup selector switch, 3-position toggle switch for engaging the pickups on either or both necks
Dates of Production: 2007
Amount Produced: (Aged and signed) 26 (#1 went to Jimmy Page)
(VOS) 250
Retail Price: (Aged and signed) $33,500
(VOS) $10,586
Case: Specially-designed Custom Shop
Website: http://www.gibson.com/
Press Release
March 14, 2007

Gibson Guitar has partnered with legendary Led Zeppelin guitarist Jimmy Page to produce a limited-edition replica of Page’s iconic double-neck guitar. The guitar was created through a partnership with Page and the Gibson Custom Shop in Nashville, Tenn. and is based on the specifications of Page’s original ’71 Gibson EDS-1275 double-neck model used onstage for 'stairway To Heaven' that boasted a 12-string electric on top and a six-string electric on bottom.

The replica took a little over a year to create with hands-on analysis throughout the process from Page himself. The discussion between Page and Gibson Guitar started back in 2004 when Gibson introduced his signature Les Paul Standard. Gibson revisited the idea again in 2005, following the overwhelming success of his Signature Les Paul, and the project began to evolve. The Gibson Jimmy Page Signature Double Neck is a precise duplicate of Page’s original EDS-1275 guitar. Gibson has made only 25 Limited Edition Aged Double Necks that replicate every detail of Page’s iconic guitar ‘ding for ding’, featuring 20-fret rosewood fingerboards on both necks, period-correct headstock style for 12-string with a Page profile neck, master volume and tone controls for each neck, a ‘master’ three-position pickup selector switch, as well as a three-position toggle switch for engaging the pickups on either or both necks.

The replicas also feature a weathered Heritage Cherry finish that is unique to the new model and will be enhanced on the 25 Limited Edition Aged models with authentic custom aging by Gibson Custom. Each of the 25 Limited Edition Aged guitars will feature Page’s signature on the rear of the headstocks, a specially designed Custom Shop case, a Certificate of Authenticity signed by Page, the acclaimed two-DVD Led Zeppelin box set and a copy of a private interview with Page regarding the Double Neck. These 25 exact replicas will list for $33,500. Gibson has also produced 250 Vintage Original Spec Signature Double Necks that don’t feature the same aging or a signature on the headstock but will be accompanied by a standard certificate of authenticity which will retail for $10,000-$12,000.

Henry Juszkiewicz, Chairman and CEO of Gibson Guitar told us, “Working with Jimmy Page has proven, once again, to be a wonderfully rewarding experience. We are thrilled to be able to offer fans the replica of his legendary double-neck guitar which will put his unique sound and style right at his fan’s fingertips.”

Photos

Gibson Jimmy Page Signature Double Neck (2007)
Photo by Ross Halfin.
Gibson Jimmy Page Signature Double Neck (2007)
Photo by Neil Zlozower.
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)
Gibson Jimmy Page Signature Double Neck (2007)

Gibson Custom Shop Jimmy Page Les Paul Custom (2008)

Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Photo by Ross Halfin
General Specs
Body: Carved mahogany top, Solid lightweight mahogany back, Multi-ply white/black binding on top and back
Finish: Ebony
Necks: 1-piece mahogany, '60s profile, Single-ply white binding
Fingerboard: Ebony with pearl block inlays
Nut width: 1-11/16"
Scale: 24-3/4"
Frets: 22
Bridge: ABR-1 Tune-o-matic Bridge
Tailpiece: Bigsby or Stopbar
Headstock: Holly headstock veneer
Tuners: Tulip-style
Hardware: Worn Gold
Pickguard: 5-ply pickguard
Pickups: Jimmy Page custom BurstBuckers
Controls: (2) Volume and (2) Tone, Jimmy Page custom 6-way switch
  • Position 1 NECK
  • Position 2 BRIDGE + NECK
  • Position 3 BRIDGE
  • Position 4 NECK + MIDDLE
  • Position 5 NECK + MIDDLE + BRIDGE
  • Position 6 MIDDLE + BRIDGE
Case: Custom Shop Hardshell
Strings: Vintage .009
Dates of Production: 2008
Amount Produced: 500
Retail Price: $8,588.00
Website: http://www.gibson.com/
Early in Jimmy Page’s career, one of his most relied upon guitars was the three-pickup 1960 Les Paul Custom “Black Beauty” with a bigsby tailpiece. In 1970, the guitar was stolen and never recovered, but thanks to the Gibson Custom Shop, this guitar is back in the form of a new Gibson Custom Shop Jimmy Page Les Paul Custom.

No one has had a bigger impact on the style and sound of hard rock guitar than the deservedly legendary Jimmy Page. As the musical mastermind of Led Zeppelin, Page’s tone, playing, and phrasing made him one of the most influential musicians of the past 50 years.

In Zeppelin’s early days, Page relied heavily on a three-pickup 1960 Les Paul Custom “Black Beauty” with a Bigsby tailpiece. Unfortunately, the guitar was stolen in 1970 at an airport and never recovered. Page has always felt that that particular guitar was “the one that got away.”

Gibson proudly returns Page’s cherished lost guitar in the form of the new Gibson Custom Shop Jimmy Page Les Paul Custom—a painstaking recreation of that iconic instrument, with the addition of some of the most innovative electronics to ever grace a Les Paul.

The result is this stunning “Black Beauty” with a slim-profile neck, Page BurstBucker pickups, gold Bigsby vibrato and an innovative six-position toggle that lets you isolate the neck and bridge pickups, or add the middle in any combination. A stop tailpiece version is also available.

Limited to a worldwide edition of just 500 guitars (the first 25 are played and signed personally by Jimmy Page), the Gibson Custom Shop Jimmy Page Les Paul Custom is Gibson’s heartfelt tribute to a true legend and to the guitar he loved and lost.

Photos

Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)
Gibson Custom Shop Jimmy Page Les Paul Custom (2008)

Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)

Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
General Specs
Body: Single cutaway, figured maple top, Solid non-chambered mahogany body, 1-ply .090 cream binding
Finish: Page Burst 'Number Two', Sealer Nitrocellulose Lacquer, Process Aged: Tom Murphy, Aged VOS: Lightly Aged In-house
Neck: 1-piece mahogany, Page "Number Two" profile
Fingerboard: Rosewood with Aged Acrylic Trapezoid inlays, Page Fretwire, Tortoise Side Dots
Nut width: 1-11/16"
Scale: 24-3/4"
Frets: 22
Bridge: ABR-1 Tune-o-matic Polished Nickel Bridge
Tailpiece: Chrome Stopbar
Headstock: Mother of Pearl Gibson logo with 'Les Paul Model' Silkscreened in Gold
Tuners: Die-Cast Grover tuners
Hardware: Nickel, Schaller Straplocks
Pickguard: Reissue Cream
Pickups: Jimmy Page BurstBucker - Alnico III (neck), Jimmy Page "Number Two" Bucker, Uncovered with Black Bobbins - Alnico V (bridge)
Controls: (2) Volume and (2) Tone (w/ pull-pot switching), 3-way toggle, (2) Push-button DPDT Switches Mounted Underneath the Pickguard
Case: Custom Shop Black Pleather Silkscreened with Jimmy Page Signature, Maroon Crushed Velvet interior
Strings: .009-.046 Vintage
Dates of Production: 2009
Amount Produced: (Aged and Signed) 25
(Aged) 100
(VOS) 200
Retail Price: (Aged and Signed) $25,882
(Aged) $15,294
(VOS) $11,176
Website: http://www.gibson.com/
Nashville, TN (December 21, 2009) -- Gibson Custom announces the Gibson Custom Jimmy Page "Number Two" Les Paul Limited Edition guitar modified by the legendary Jimmy Page himself. Every musician knows that late '50s Sunburst Les Paul Standards are hard enough to come by as it is. Obtaining a pristine and exemplary '59 'Burst and modifying it for heightened performance and vastly expanded tonal options? Unheard of... unless, of course, you're Jimmy Page. That's exactly what the legendary Led Zeppelin guitarist, perhaps the world's most iconic Les Paul player, did with his own '59 Les Paul Standard, and now - thanks to the extreme efforts of Gibson's Custom Shop and the intimate cooperation of Jimmy Page himself - the artist's hallowed "Number Two" Les Paul is available in the form of the Custom Shop Jimmy Page "Number Two" Les Paul. Produced in strictly limited numbers, with two levels of aging, this guitar captures the look, feel, sound, and versatility of one of the greatest artist-owned Les Pauls of all time.

The 1959 Les Paul that has come to be known as "Number Two" was purchased by Page in 1973 after trying for some time to acquire an exceptional second Les Paul. This was several years after having acquired his other legendary Les Paul—"Number One", a '59 'Burst with shaved-down neck profile and no serial number—from Joe Walsh. "Number Two" was essentially all-original when he acquired it. Jimmy did have some modifications done to the neck shape so that it would more nearly match the feel of his "Number One." The neck is certainly slim but not to such extremes as the now-ultra-slim neck on "Number One". It had a strong, beautiful sunburst finish with a red element that had faded to a dusky amber-brown, along with a clear serial number dating it to 1959. Page played this Les Paul frequently through his days with Led Zeppelin, and in the early '80s decided to make it an even more versatile instrument. Page also added that he wanted to "explore the full range of what the two humbuckers have to offer." He designed a switching system for coil splitting, series/parallel, and phase-reverse options for both pickups, and employed a skilled electronics technician to devise a working schematic and make his sonic vision a reality. The result was a push/pull pot on each of the guitar's four standard controls, plus two push-button switches hidden beneath the pickguard.

This wiring scheme was recreated with detailed study of Jimmy Page's original "Number Two", and with hands-on consultation from Steve Hoyland, who originally rewired Page's '59 Les Paul to this configuration.

With both pickguard-mounted switches pushed in and all push-pull pots in the down (in) position the Custom Shop Jimmy Page "Number Two" Les Paul functions as a normal Les Paul, with the bridge, both, or neck pickup in standard humbucking mode selected by the three-way Switchcraft toggle switch. From this starting point, the functions of the push-pull pots include:


  • Bridge Pickup Volume Control - Pulling this knob out switches the bridge pickup's coils from series (standard) to parallel.

  • Neck Pickup Volume Control - Pulling this knob out switches the neck pickup's coils from series (standard) to parallel.

  • Bridge Pickup Tone Control - Pulling this knob out switches the bridge pickup from humbucking to single coil.

  • Neck Pickup Tone Control - Pulling this knob out switches the neck pickup from humbucking to single coil.


  • Due to trademark issues and per Jimmy's directive, the bobbins on the Jimmy Page "Number Two" Les Paul are black instead of cream.

    The Custom Shop Jimmy Page "Number Two" Les Paul was recreated with intense, inch-by-inch examination of Page's original guitar, inside and out. The process of getting it right involved the production of a number of hand-built prototypes, each of which was checked and critiqued in detail by Page himself. Approval of the final iteration was only offered after the legendary artist had intricately examined and extensively played this last prototype in his London home—after which it was given the thumbs-up, worthy of being the template for the Custom Shop Jimmy Page "Number Two" Les Paul. Only 325 examples will be produced in total: The first 25 instruments are to be aged by vintage-reproduction master Tom Murphy then inspected, played and hand signed and numbered by Jimmy Page personally. An additional 100 guitars will be given the extensive aging treatment and 200 will be finished to Gibson's VOS specs.

    Each Custom Shop Jimmy Page "Number Two" Les Paul comes with a leather-bound Certificate of Authenticity, owner's manual, and adjustment literature, and documentation for the guitar's limited lifetime warrantee.

    Gibson made a few JP #2 Historics in 2001. They were unofficial and only described as such on the dealers' invoices. They were R8 Custom Authentics with exposed double black bridge pickup. The upcharge was about $400. They had four Push-Pull pots, Grovers tuners, Flametop Butterscotch color and had fat necks.

    Photos

    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Photo by MikeSlub
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Photo by MikeSlub
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Photo by MikeSlub
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Photo by MikeSlub
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Photo by MikeSlub
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)
    Gibson Custom Jimmy Page 'Number Two' Les Paul Limited Edition (2009)

    Jimmy Page Custom BurstBuckers

    Jimmy Page Custom BurstBuckers
    Photo by Es Paul
    General Specs
    Magnet Material: Alnico III
    Specs: 8.19k (neck)
    8.25k (bridge)
    Website: http://www.gibson.com/

    Photos

    Jimmy Page Custom BurstBuckers
    Photo by Takeaway
    Jimmy Page Custom BurstBuckers
    Photo by Es Paul

    Seymour Duncan Jimmy Page Pickups

    Seymour Duncan Jimmy Page Pickups
    Photo by praymond1
    General Specs
    Magnet Material: Alnico V
    Specs: 8.22k (neck)
    8.78k (bridge)
    Retail Price: $300
    Website: http://www.gibson.com/
    The origin of the SD Page pickups aren't quite clear but likely came about after Page had a set wound back in the 1980s, the same set probably made it's way into his 1969 Gibson Les Paul DeLuxe 'No. 3', which in 1986 reportedly had Seymour Duncans in it.

    The woman who did the pickup work for him, named MJ, went on to work with Seymour Duncan and created the Seymour Duncan Custom Shop Jimmy Page pickup.

    Endorsements

    ARP 2500 Synthesizer

    ARP 2500 Synthesizer

    The 2500 was the first big synthesizer from newcomers ARP, back in 1970. It was designed in direct competition with the first modular Moog synths that were gathering most of the attention at the time. The 2500 is a great big modular synth that's great for both educational and studio work. The ARP 2500 uses 10 x 10 Matrix Switches to accomplish patching, as seen above and below the center row of modules. Module inputs and outputs are represented by vertical switches, and the horizontal busses represent a patch cord. This matrix system allows for a very flexible and customized signal flow without the mess of patch-cords. The 2500 allows you to create plenty of excellent sounds with its great filters and other very tweakable parameters.

    It also featured a remote 61 note keyboard and Studio Wing Expansion Cabinets as pictured above. The 2500 was also known for having very stable tuning, a precious commodity among these classic early synths. However its applications as a modular music machine (especially for electro/techno) were soon challenged by ARP's far superior 2600. Still a 2500 is a prized piece of kit for any studio, but since only about 100 were ever made, they are very rare. It has been used by Meat Beat Manifesto, Pete Townshend, Jean-Michel Jarre, Vangelis, Jimmy Edgar, Vince Clarke, filmcomposer Jerry Goldsmith on Logan's Run, and communicating with the aliens in Spielberg's Close Encounters of the Third Kind. [vintagesynth]

    Jimmy Page allegedly used the ARP 2500 Synthesizer to create 23 minutes of music for the soundtrack for Kenneth Anger's film Lucifer Rising.

    ARP 2500 ARP 2500 ARP 2500

     

     

     

    ARP Odyssey Mk1 Model 2800

    ARP Odyssey Mk1 Model 2800

    As the legendary first compact studio synthesizer, the Minimoog, proved to be a runaway success, ARP responded with a compact user-friendly studio synthesizer of their own with the Odyssey. An almost equally legendary machine itself (the Odyssey was ARP's highest selling synth), the Odyssey essentially gives you a somewhat scaled-down & hard-wired ARP 2600 in a much smaller and more affordable package. The Odyssey is a 2-oscillator analog synth (with duo-phonic capability) and it sounds really nice; the Minimoog has three oscillators and is considered fatter. The Odyssey comes well equipped with all the tweakable features you'd expect: resonant low pass filter, ADSR envelopes, sine or square wave LFO and even a sample-and-hold function. It also added a few new features such as a high pass filter in series with the low pass, oscillator-sync capability and pulse-width modulation. It is a very professional and expressive machine that can create nice analog basses, interesting leads and great effects and sweeping sounds or noises straight out of a Tangerine Dream album!

    There were many versions of the Odyssey over the years, each a little different. First came the Odyssey Mk I (Model 2800) produced between 1972-74. These original white-faced Odysseys used a thin tinny sounding 2-pole VCF filter design (Model 4023) similar to old Oberheim SEM modules. Some late models were made in a black and gold color scheme but all Mk I's can be identified by the rotary knob they use for pitch bending. [vintagesynth]

     

     

    Ernie Ball

    Ernie Ball 1993 Guitar Player Advertisement

    Unquestionably one of the most influential, soulful, and versatile guitarists, Jimmy Page has cemented his place as a legend in the history of Rock music. A profoundly gifted songwriter, Page's work with Led Zeppelin served as a blueprint for what would eventually become heavy metal. Yet Jimmy refused to be pigeonholed to any single musical style (touching upon folk, country, funk, blues, and other genres). Jimmy Page has relied on Ernie Ball strings for 45 years both live and in the studio. [ernie ball]

    Steve Rosen: What kind of picks and strings do you use?

    Jimmy Page: Herco heavy-gauge nylon picks and Ernie Ball Super Slinky strings.

    From 1977 interview

     

     

     

    Greco EG-360S

    Greco EG-360S

    Greco is a Japanese company who has manufactured electric and acoustic guitars, bass guitars and amplifiers since 1967. Their guitars could be called "knock-offs", since they were meant to look like their name brand competitors. By 1970, they were manufacturing guitars that struck an extreme similarity to the Gibson Les Paul Standard. The retail price was ¥36,000 ($422 US).

    Greco Guitars wanted the endorsement of a widely known guitar player and during a press conference on September 30, 1972 in Tokyo, Japan for Led Zeppelin's October 1972 Japanese tour, Jimmy Page was presented with a Greco EG-360S Guitar. The pictures from the press conference show that Jimmy Page and John Bonham were not happy with this presentation.

    John Bonham was so displeased with Greco Guitars that he had demanded that Greco's advertisement in Led Zeppelin's official tour program be partially blackened out, which is eventually was before they were sold at concerts.

    Greco EG-360S Greco EG-360S
    Tokyo Press Conference, September 30, 1972
    Greco EG-360S
    Tokyo Press Conference, September 30, 1972
    Greco EG-360S
    Tokyo Press Conference, September 30, 1972
       

     

    Rimowa - The Logo Case

    Rimowa - The Logo Case

    Rimowa has been making cases since 1898. According to their website, even guitar legend Jimmy Page (Led Zeppelin) has always been looking for the perfect travel companion for his valuable guitars.

    Hence why beginning in August 2010, they will be offering The Logo Case for guitars. They will come in two different materials for the outer shell: the classic aluminum, with a luxuriously appointed interior, as well a polycarbonate, which allows for different custom colors. [rimowa]

     

     

    Roland

    Roland GR-700/G-707
    1984 European Magazine
    Advertisement

    Exit 1970s Jimmy Page, with low-slung Gibson Les Paul Standard, enter 1980s Jimmy Page, Roland endorser. New Wave, Punk and Progressive Rock were in full force and Jimmy Page, ever the innovator, found a way to re-invent himself. This time, it took Peter Grant, his former manager, along with director Michael Winner. They arranged to have Jimmy Page compose the soundtrack to Death Wish II to restore Jimmy's creativity after his lapse in public eye, due to the death of Led Zeppelin drummer, John Bonham in August and September 1981.

    Jimmy Page relied heavily on Roland to finish the Death Wish II soundtrack in less than a month at Sol Studios, Cookham, Berkshire, England. He used the G-505 and G-808 Guitar Controllers with (2) GR-300 Guitar Synthesizers and the TR-808 Rhythm Composer in addition to his regular arsenal of electric guitars.

    In 1984, Jimmy Page also endorsed the Roland GR-707 Guitar Controller/G-700 Guitar Synthesizer. In 1997, he also endorsed the Roland VG-8 Guitar System. Jimmy Page said the following about the VG-8: Of course, the guitar synths are getting so much closer to being right. For starters, my new one actually tracks. The older ones...well they just faded out, didn't they? They wouldn't track the lower you got in pitch, and there was a delay that was just hopeless. The VG-8 is a great unit because you can also change the settings of the speaker cabinets. That's especially good for sitting around at home, where you don't want big stacks and things all over the place.

    It is unknown if Page ever used either the GR-707/G-700 or the VG-8 in the studio.

    Guitar Player, April 1982 Advertisement
    Guitar Player, April 1982 Advertisement
    Guitar Player, April 1982 Advertisement
    Guitar Player, April 1982 Advertisement
    Roland G-808
    1982 Japanese Advertisement
    Roland GR-700/G-707
    1984 European Magazine Advertisement
    Roland VG-8 Guitar System
    1997 Print Ad
     

     

     

    Transperformance

    TransPerformance

    Jimmy Page was delivered his first TransPerformance-equipped guitar to use in the recording of Absolution Blues and Whisper a Prayer for the Dying on the Coverdale Page album. The DTS-1 (Digital Tuning System) is a computerized automatic tuning system designed by TransPerformance, that makes it possible to automatically and instantaneously change a guitar's tuning. The system, which operates at the touch of a button can store over 200 different tuning configurations in its memory.

    A small computer mounted inside the self tuning guitar controls motors that are linked to each string. The bridge and tailpiece are replaced by the self tuning system, allowing your imagination to run wild.

    At the touch of a button or footswitch, motors are activated to adjust the tension of each string.

    In a May 1993 Guitar World Interview, Jimmy Page said that TransPerformance had trying to contact him for a while, trying to get one of their systems into one of his guitars. At first, Jimmy was hesitant, and then TransPerformance sent a video of their product to him, to which he replied, "Oh my God, I've got to get ahold of one of these things."

    Jimmy Page continued to use his Transperformance-equipped guitars on stage for Kashmir, Whole Lotta Love and Most High while teaming up with Robert Plant 1994-1998 and 1999-2000 with The Black Crowes and the O2 Arena Reunion Concert.

    All of Jimmy Page's TransPerformance-equipped guitars have one row of buttons. Newer generation models have two rows of buttons for greater control and wider range of tuning options.

    AxCent Tuning Systems, LLC acquired the assets and intellectual property of TransPerformance, LLC in August 2008. [axcenttuning]

    TransPerformance TransPerformance

     

     

    Univox UD-50 Uni-Drive

    Univox UD-50 Uni-Drive

    The Univox UD-50 Uni-Drive is one of the oldest overdrive pedals that were made. Jimi Hendrix used one in the studio on certain songs while recording at the Record Plant.

    It rocks back and forth, similar to a wah or volume pedal. It also has 6 overdrive adjustments using the Input Level Dialer. Each setting clicks into place and increases the amount of volume and overdrive. The Pedal Range knob adjusts the pedal's sweep/volume ratio.

    The Uni-Drive has a delicate mid-range tone, in the last two stages slipping into a mid-range distortion.

    This is the first endorsement of a Univox product that Jimmy Page had given. He only used the Uni-Drive pedal in March 1971, on Led Zeppelin's Return To The Clubs Tour. After he stopped using the Uni-Drive pedal, he relied on the Marshall 1959SLP Amplifiers for volume boost and distortion, while also using the Volume knobs on his guitars for fine volume tuning.

    Univox UD-50 Uni-Drive
    Melody Maker cover,
    dated March 13, 1971
    Univox UD-50 Uni-Drive
    March 6, 1971, National Boxing
    Stadium, Dublin, Ireland
    Univox UD-50 Uni-Drive
    March 11, 1971, University
    of Southampton, West
    Refectory, Garden Court,
    Southampton, England

     

     

    UX1500 Lead System

    UX1500 Lead System

    The UX1500 Univox "UX" Lead System is comprised of the UX1501 2-channel 140-watt RMS Amplifier and the UX1516 "Six Pack" 150-watt RMS Speaker Cabinet, containing (6) Celestion 12" speakers.

    Jimmy Page started using the Univox system starting at Nassau Veterans Memorial Coliseum on June 14, 1972. 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.

    The Univox amplifiers and cabinets were used until the end of the 1972 US Tour, ending at Tucson Community Center on June 28, 1972.

    UX1500 Lead System
    Soundcheck, June 14, 1972,
    Nassau Veterans Memorial
    Coliseum, Uniondale, New York
    UX1500 Lead System
    Bron-Yr-Aur Stomp,
    June 15, 1972, Nassau
    Veterans Memorial Coliseum,
    Uniondale, New York
    UX1500 Lead System
    June 15, 1972, Nassau
    Veterans Memorial Coliseum,
    Uniondale, New York
    UX1500 Lead System
    June 22, 1972, Swing
    Auditorium, San
    Bernadino, California
    UX1500 Lead System
    June 23, 1972, San Diego
    Sports Arena, San Diego,
    California
    UX1500 Lead System

    Guitar Straps

    Ace Blue Stained Glass
    Guitar Straps
    Jimmy Page, ca. 1968
    Guitar Straps
    Jimmy Page, September 7, 1968, Egegård Skole, Box 45 Teen Club, Gladsaxe, Denmark
    Guitar Straps
    Jimmy Page & Robert Plant, August 29, 1970, Winnipeg Stadium, Winnipeg, Manitoba, Canada
    Guitar Straps
    Jimmy Page & John Bonham, November 20, 1971, Wembley Empire Pool, London, England
       
    Ace White Macrame
    Guitar Straps
    Jimmy Page, ca. January 02, 1969, Whisky A Go Go, West Hollywood, California
    Guitar Straps
    Led Zeppelin, June 28, 1969, Bath Recreation Grounds, Bath, England
    Ace Wide Strap
    Guitar Straps
    Jimmy Page, ca. August 29, 1969, New York State Pavilion, Flushing Meadows, Queens, New York
    Guitar Straps
    Jimmy Page, ca. October 10, 1969, L'Olympia Music Hall, Paris, France
    Blue Stripe
    Guitar Straps
    Jimmy Page, ca. 1980
    Bobby Lee Green Flower
    Guitar Straps
    Jimmy Page & Robert Plant, May 30, 1969, Fillmore East, New York City, New York
    Guitar Straps
    Jimmy Page & Robert Plant, November 02, 1969, O'Keefe Centre, Toronto, Ontario, Canada
    Double Neck
    Guitar Straps
    Jimmy Page, Stairway To Heaven, March 18, 1971, Mayfair Ballroom, Newcastle upon Tyne, England
    Guitar Straps
    Jimmy Page, August 7, 1971, Montreux Casino Hall, Montreux, Switzerland
    Guitar Straps
    Jimmy Page, Stairway To Heaven, May 18, 1977, Birmingham-Jefferson Civic Center Arena, Birmingham, Alabama
    GSL5
    Guitar Straps
    Jimmy Page, Stairway To Heaven, July 13, 1985, John F. Kennedy Stadium, Philadelphia, Pennsylvania
    Guitar Straps
    Led Zeppelin, Heartbreaker, May 14, 1988, Madison Square Garden, New York City, New York
    Guitar Straps
    Jimmy Page, ca. December 2007
    Guitar Straps
    Jimmy Page, ca. December 2007
    Guitar Straps
    Jimmy Page, ca. December 2007
    Guitar Straps
    Jimmy Page, ca. December 2007
    Guitar Straps
    Jimmy Page, Whole Lotta Love, August 24, 2008, Beijing National Stadium, Beijing, China
       
    Medium Black Leather
    Guitar Straps
    Jimmy Page, Dazed And Confused, January 22, 1973, Ulster Hall, Dublin, Ireland
    Guitar Straps
    Jimmy Page, July 29, 1973, Madison Square Garden, New York City, New York
    Guitar Straps
    Jimmy Page & Robert Plant, Whole Lotta Love, July 13, 1985, John F. Kennedy Stadium, Philadelphia, Pennsylvania
    Medium Brown Leather
    Guitar Straps
    Jimmy Page, February 12, 1975, Madison Square Garden, New York City, New York
    Guitar Straps
    Jimmy Page & Robert Plant, April 10, 1977, Chicago Stadium, Chicago, Illinois
    Guitar Straps
    Jimmy Page, May 28, 1977, Capitol Centre, Landover, Maryland
    Guitar Straps
    Jimmy Page, July 23, 1977, Oakland-Alameda County Coliseum, Oakland, California
    Guitar Straps
    Jimmy Page, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California
     
    Rainbow
    Guitar Straps
    Jimmy Page, Stairway To Heaven, ca. 1983
    Red Gibson
    Guitar Straps
    Jimmy Page & John Miles, November 05, 1988, Rensselaer Polytechnic Institute Fieldhouse, Troy, New York
    Symbols
    Guitar Straps
    Jimmy Page & John Paul Jones, May 02, 1969, Rose Palace, Pasadena, California
    Guitar Straps
    Led Zeppelin, Dazed And Confused, August 18, 1969, The Rock Pile, Toronto, Ontario, Canada
    Guitar Straps
    Jimmy Page, Kashmir, ca. August 1979, Knebworth House Grounds, Stevenage, England
    Thin Gibson Black Leather
    Guitar Straps
    Jimmy Page & John Bonham, January 25, 1973, Aberdeen Music Hall, Aberdeen, Scotland
    Guitar Straps
    Jimmy Page, June 02, 1973, Kezar Stadium, San Francisco, California
    Guitar Straps
    Jimmy Page, February 08, 1975, The Spectrum, Philadelphia, Pennsylvania
    Thin Black Yardbirds
    Guitar Straps
    Jimmy Page & Keith Relf, August 12, 1966, Indiana Beach Ballroom, Monticello, Indiana
    White Black Lightning Bolt
    Guitar Straps
    Jimmy Page, November 09, 1986, Hammersmith Odeon, London, England
    White Black Perimeter
    Guitar Straps
    Jimmy Page, ca. 1985
    Guitar Straps
    Jimmy Page, ca. 1985
    Wide Black Strap
    Guitar Straps
    Jimmy Page, June 03, 1973, The Forum, Inglewood, California
    Guitar Straps
    Jimmy Page, July 24, 1977, Oakland-Alameda County Coliseum, Oakland, California
    Yellow
    Guitar Straps
    Jimmy Page, ca. July 23, 1979, Falkoner Theatre, Copenhagen, Denmark
    Guitar Straps
    Jimmy Page, ca. August 1979, Knebworth House Grounds, Stevenage, England
    Guitar Straps
    Jimmy Page, June 26, 1980, Weiner Stadthalle, Vienna, Austria
    Guitar Straps
    Jimmy Page, December 01, 1983, Cow Palace, Daly City, California
       
    Zebra
    Guitar Straps
    Jimmy Page, ca. 1985
    Guitar Straps
    Jimmy Page, April 16, 1985, Jacksonville Memorial Coliseum, Jacksonville, Florida
    Guitar Straps
    Jimmy Page, January 10, 1990, Hammersmith Odeon, London, England

    1963 Gibson SG Junior

    1963 Gibson SG Junior
    Jimmy Page, February 15, 1984
    General Specs
    Body: Slab double pointed cutaway scalloped mahogany body
    Finish: Heritage Cherry
    Neck: Mahogany
    Fingerboard: Rosewood with dot pearl inlays
    Frets: 22
    Bridge: ABR-1 Tune-o-matic Bridge
    Headstock: Blackface with 'Gibson' logo pearl inlay
    Tuners: Kluson
    Hardware: Nickel-plated
    Pickguard: 3-Layer black acrylic
    Pickups: (1) P90 Humbucker
    Controls: (1) Volume, (1) Tone
    Years in use: 1984
    Website: http://www.gibson.com/
    Jimmy Page was seen playing the 1963 Gibson SG Junior at a birthday party for producer Glyn Johns on February 15, 1984. It most likely was a borrowed guitar.

    Cello Bow » Julian's Auctions

    Lot #222

    A solid wood customized violin bow used by Led Zeppelin guitarist Jimmy Page during the two Knebworth Park, England concerts in August 1979. The bow was modified by mounting a quartz fiber optic cable at the bow's ends to emit lighting effects on Page's' command during his Dazed And Confused solo in the bands three and half hour set. Page bowed his Gibson Les Paul and waved it overhead, throughout the large tent and sky to emit beams of various dramatic neon-colored light and strobe-light effects from bow's end, which climaxed in a spinning cone of red light. The light traveled through the fiber optic cables from argon and krypton lasers toa small lens that produced the beam to a Lucite rod attached to bow, which has many broken and frayed hairs from usage. Also present is the fiber optic cable.

    Also on the Knebworth two day festival were Zeppelin chosen acts Todd Rundgren's Utopia, Southside Johnny and the Asbury Jukes, The New Commander Cody Band, Fairport Convention, Chas and Dave and the New Barbarians; a group which featured Keith Richards and Ron Wood. At Knebworth, Zeppelin fans witnessed the return of the group to promote the groups much anticipated eighth studio album, In Through the Out Door (Swan Song, 1978). Unknowingly, the two shows would be the band's last live concerts in England. The following year, shortly before embarking on a tour of the United States, drummer John Bonham died after an alcohol binge.

    20 inches length.
    Est. $2,000-3,000

    Resources and Information:

    http://www.juliensauctions.com/auctions/Autumn-2005-Auction/lot222.html

    DiMarzio Cream Bobbin Trademark Issues

    Goods and Services IC 015. US 036. G & S: Electronic Sound Pickup for Guitars. FIRST USE: 19740200. FIRST USE IN COMMERCE: 19740200
    Mark Drawing Code (2) DESIGN ONLY
    Design Search Code 22.01.25 - Batons, orchestra conductor's; Bows, violin; Conductor's wands, batons; Drumsticks (musical instrument); Harmonicas; Instrument cases (musical); Music stands; Picks, guitar; Wands, conductors' and magicians' 26.11.27 - Oblongs not used as carriers for words, letters or designs
    Serial Number 73150505
    Filing Date December 1, 1977
    Current Filing Basis 1A
    Original Filing Basis 1A
    Published for Opposition June 23, 1981
    Registration Number 1169205
    Registration Date September 15, 1981
    Owner (REGISTRANT) DiMarzio Musical Instrument Pickups, Inc. CORPORATION NEW YORK 643 Bay St. Staten Island NEW YORK 10304 (LAST LISTED OWNER) DIMARZIO, INC. CORPORATION BY ASSIGNMENT NEW YORK 1338 RICHMOND TERRACE PO BOX 100387 STATEN ISLAND NEW YORK 10310

    Assignment Recorded ASSIGNMENT RECORDED
    Description of Mark The mark comprises the double design representation of an electronic sound pickup for guitars, which is disclaimed apart from the mark as shown. AND IS LINED FOR THE COLOR YELLOW WHICH RESEMBLES THE DISTINCTIVE SHADE OF CREAM. Type of Mark TRADEMARK
    Register PRINCIPAL-2(F)
    Affidavit Text SECT 15. SECT 8 (6-YR). SECTION 8(10-YR) 20010928.
    Renewal 1ST RENEWAL 20010928
    Live/Dead Indicator LIVE
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    December 16, 1968 - Zep plays Bath Pavilion for a mere £75.
    December 26, 1968 - First American concert at the Coliseum in Denver, CO
    December xx, 1969 - Led Zeppelin are reported to have sold 5 million dollars worth of albums in the US
    December 11, 1969 - Led Zeppelin are presented gold and platinum discs for their first two albums
    December xx, 1970 - The band enters Island Studios to begin work on the fourth album
    December xx, 1971 - The band plays a few low-key shows back in England
    December 23, 1972 - The band break for Christmas holiday after a London gig
    December xx, 1973 - John Paul Jones works on studio productions for Madeline Bell
    December xx, 1973 - Joe Massot films Jimmy Page’s fantasy sequence at Loch Ness
    December 19, 1974 - John Paul Jones and Jimmy Page jam with Bad Company at the Rainbow Theater
    December 10, 1975 - Led Zeppelin play a 45-minute show with Norman Hale at Behan’s in Jersey
    December xx, 1976 - Led Zeppelin rehearses for the 1977 tour
    December 25, 1976 - It’s announced that Plant and Bonham will reunite with the Band of Joy for three shows in the new year
    December xx, 1977 - The band minus Robert gather to discuss Led Zeppelin’s future plans
    December xx, 1978 - The new album is completed quickly at Polar Studios and mixed at Jimmy’s Plumpton Studio
    December xx, 1979 - John Bonham considers joining Paul McCartney’s Wings
    December 29, 1979 - The band minus Jimmy Page attend the Paul McCartney And Wings Kampuchea befefit show
    December 04, 1980 - Led Zeppelin issue the following statement not to carry on as a band: "We wish it to be known, that the loss of our dear friend and the deep respect we have for his family, together with the deep sense of harmony felt by ourselves and our manager have led us to decide that we could not continue as we were."
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