Editing Jimi Hendrix (section)

=== Effects ===
[[File:1968 King Vox Wah pedal.JPG|thumb|left|upright=0.55|alt=A color image of a 1968 King Vox Wah pedal. The foot pedal is black with chrome accents and has a "King Vox Wah" label on the top.|A 1968 King Vox-Wah wah-wah pedal similar to the one owned by Hendrix{{sfn|Heatley|2009|p=105}}]]

One of Hendrix's signature [[effects unit|effects]] was the [[wah-wah pedal]], which he first heard used with an electric guitar in Cream's "[[Tales of Brave Ulysses]]", released in May 1967.<ref>{{harvnb|Heatley|2009|p=104}}: {{harvnb|Unterberger|2009|p=216}}: One of Hendrix's signature guitar effects; {{harvnb|Shapiro|Glebbeek|1995|p=687}}.</ref> That July, while performing at [[The Scene (performance venue)|the Scene]] club in New York City, Hendrix met [[Frank Zappa]], whose band [[the Mothers of Invention]] were performing at the adjacent [[Garrick Cinema|Garrick Theater]]. Hendrix was fascinated by Zappa's application of the pedal, and he experimented with one later that evening.{{sfn|Shadwick|2003|p=117}}{{refn|group=nb|The wah pedals that Hendrix owned were designed by the [[Thomas Organ Company]] and manufactured in Italy by JEN Elettronica Pescara for [[Vox (musical equipment)|Vox]].{{sfn|Heatley|2009|pp=104–105}}}} He used a wah pedal during the opening to "[[Voodoo Child (Slight Return)]]", creating one of the best-known wah-wah riffs of the classic rock era.{{sfn|Unterberger|2009|p=216}} He also uses the effect on "[[Up from the Skies]]", "Little Miss Lover", and "Still Raining, Still Dreaming".{{sfn|Heatley|2009|pp=104–105}}

Hendrix used a [[Dallas Arbiter]] [[Fuzz Face]] and a [[Vox (company)|Vox]] wah pedal during recording sessions and performances, but also experimented with other guitar effects.{{sfn|Heatley|2009|p=73: Dallas Arbiter Fuzz Face; 104–105: Vox wah-pedal; 88–89: Octavia; 120–121: other effects}} He enjoyed a fruitful long-term collaboration with electronics enthusiast [[Roger Mayer (engineer)|Roger Mayer]], whom he once called "the secret" of his sound.<ref>{{harvnb|Heatley|2009|p=88}}: "the secret" of Hendrix's sound; {{harvnb|McDermott|2009|p=28}}: Hendrix's long-term collaboration with Mayer.</ref> Mayer introduced him to the [[Octavia (effects pedal)|Octavia]], an [[Octave effect|octave-doubling]] effect pedal, in December 1966, and he first recorded with it during the guitar solo to "Purple Haze".<ref>{{harvnb|Heatley|2009|p=88}}: first Hendrix recording with an Octavia; {{harvnb|McDermott|2009|p=28}}: Mayer introduced Hendrix to the Octavia in December 1966.</ref>

Hendrix also used the [[Uni-Vibe]], designed to simulate the modulation effects of a rotating [[Leslie speaker]]. He uses the effect during his performance at Woodstock and on the Band of Gypsys track "Machine Gun", which prominently features the Uni-vibe along with an Octavia and a Fuzz Face.<ref>{{harvnb|Aledort|1998|p=40}}; {{harvnb|Heatley|2009|pp=120–121}}.</ref> For performances, he plugged his guitar into the wah-wah, which was connected to the Fuzz Face, then the Uni-Vibe, and finally a Marshall amplifier.{{sfn|Shapiro|Glebbeek|1995|p=689}}
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