You can also make your LP sound like Brian May using this trick.) However, I’m not convinced this is a 'cocked wah' tone. For something like this tone, a little lower down. If you want a really nasty trebly tone for something like the solo from Whole Lotta Love, stick it up near the top of the travel. (If you’re not familiar with this, simply switch on your Crybaby / Vox / whatever, and instead of rocking it back and forth to make the guitar quack, simply stick it in one spot and leave it there. He may have done it with a cocked wah pedal, too. The solo sounds like the same basic settings. Start with both tones right up, then roll the neck tone back until it’s got the right amount of ‘spank’. You could get that sound from the middle position of your Les Paul Standard by cranking the vol on the bridge and turning the neck pickup down to about 5-7. A Tele could get that noise, and we know he used several. You don’t normally hear this very well with a preamp style crunch. Can you spell L-O-U-D? Whatever the amp, it’s definitely power section crunch, because you can hear the ‘clean’ sound of the strings through the distortion.
The tone of the amp sounds like a garden variety Marshall plexi / JMP, non-master volume, cranked to overdrive.
I’m not at home right now so I can’t experiment, but it sounds to me like a delay in the ~50-100 ms range, with one audible repeat and a very soft one following. These two mics would then be mixed together to get his sound. He’s either got a short delay on there, or (more likely, knowing Page) he’s got an ambient mic somewhere picking up the sound of the amp in the room. Listening to the studio version (last track side two, Houses of the Holy…track 8), the first thing I notice is the room effect.
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