The reference amplifier comes from Swansong productions, the label created by Led Zeppelin, as it can be seen in this document written by their manager Peter Grant. The head is dated 1972 and its Serial Number is 4073D. It’s interesting to note that this is a 50-watt head, even if some forums and magazines say that Jimmy Page was using 100-watt amplifiers. The head came with the red 4×12 cabinet, dated 1971.

Made-In-Rock is an organization, which manages a vast collection of items related to the history of rock, including musical instruments, guitar and bass amplifiers and cabinets, effects, and clothing and stage items owned by legendary artists who made the history of rock, as well as magazines, posters, fliers, tickets, and books of that era. The purpose is to preserve those items and bring their knowledge to younger generations

Also called schematic-assisted capturing, Overloud’s Fluid Capturing is an innovative amp simulation process that combines the advantages of both the modelling and capturing techniques. An amp capture is a super-realistic but static picture of the amp sampled with a particular knob setting and operating level.

A single capture cannot replicate the amp tone of all the knob settings. Instead, a modelled amp reacts like the original, at all dynamic ranges and knob positions. However, tone may not 100% match a particular sample, due to component tolerances, tube conditions, servicing history and customizations. With Fluid Capturing, Overloud both models the amp and samples it with many settings. Putting together these data points allows them to create a digital model, which is flexible like a modeled amp and realistic like a captured amp.

The TH-U Jim P head has two input Channels. Channel 1 is brighter and more crunchy, with a lot of presence. Channel 2 is much richer on the low frequencies and a bit more fuzzy.

Inputs 1 and 2 were often connected with a jumper to have both channels mixed together. Using the two volume knobs, you can balance the top end and the amount of bottom end, and experiment with an infinite combination of tones. Overloud has even replicated the red marks on the front panel where Jimmy’s engineer used to set the knobs.

The matched cabinet is the red 4 x 12″ with Celestion T1511 speakers, which enhance the crunchy tone of the head. It has been captured with 18 microphones as high-resolution nonlinear IRs. Thanks to Overloud Fluid Convolution, you can place up to 4 microphones in the 3D space around the cab and blend them with custom IRs. The ReSPiRe option adds air and the feeling of standing near the cabinet.