Jefferson Airplane – Surrealistic Pillow

"I also bought a Standel Super Imperial because Zal [Yanovsky] was playing through one. It was a completely solid-state amp with two fifteen-inch speakers, and no guitarist would probably voluntarily choose one. That said, it's [along with the Guild T-Bird] the gear I used for the solos on "Somebody to Love" as well as "White Rabbit". It worked out OK for me. Years later at a gig in New Jersey at the Tabernacle I found myself sharing the stage with John Sebastian [a founder of the Lovin' Spoonful]. We got to talking and I told him how I got the Guild and the Standel because the Lovin' Spoonful guys had that gear. "We hated those amps," he told me. "We had to use them because we were endorsers." I couldn't stop laughing. Again, it worked out for me...Back then I knew nothing about the gear so when I heard him [Zal Yanovksy], I had to have what he was playing. As if the Super Imperial weren't brittle enough, I added an upholstered box from Kustom with two high-frequency horns. Around the time of Pillow I was transitioning from the Guild Thunderbird guitar and the Standel amp to the Gibson and two Fender Twin Reverbs, but I was still waffling between two setups. The solos on "White Rabbit" and "Somebody to Love" were done with the Thunderbird and the Standel (minus the horns). Saturating the sound with spring reverb was the deal. The other tracks were done with the Twins and the ES-345 Stereo".

https://jormakaukonen.com/cracksinthefinish/?p=9114

"I bought my first Gibson ES-345 and two fender twin reverbs from Sherman & Clay in San Francisco. That was the first time I bought something on time and started to establish my credit, such as it was. Electric guitars took a back seat to pianos, brass, woodwinds and violins at Sherman and Clay".

In this picture above Jefferson Airplane perform on stage at the Webster Hall concert venue, New York on January 8th, 1967. One can see Jorma plays through two Fender Twin Reverbs (vibrato channels). It was barely noticable in the b&w image. Still, they are the Blackface era Twins, I colorized the picture, take a closer look.

In his autobiographical book he states: "Around the time of Pillow I was transitioning from the Guild Thunderbird guitar and the Standel amp to the Gibson and two Fender Twin Reverbs, but I was still waffling between two setups. The solos on "White Rabbit" and "Somebody to Love" were done with the Thunderbird and the Standel (minus the horns [he had added an upholstered box from Kustom with two high-frequency horns]). Saturating the sound with spring reverb was the deal. The other tracks were done with the Twins and the ES-345 Stereo".

http:// https://books.google.by/books?id=TntJDwAAQBAJ&printsec=frontcover&hl=ru#v=onepage&q&f=false

https://www.foundsf.org/index.php?title=Jefferson_Airplane_and_the_Psychedelic_1960s

In this November '96 interview he was asked: At one time you were playing with an Ampeg Scrambler?

Yes, my favorite fuzztone. I still have one.

Then the journalist asked him: That was on Baxter’s?

Yeah, it started on Baxter’s, and I used that until I quit playing with the Airplane.

It's kinda weird since the Ampeg Scrambler was introduced in early 1969. Anyway, Jorma knows the thing as he used it, maybe it was something else before '69, but then that was the Ampeg fuzz pedal.

In his autobiography "Been So Long: My Life and Music" he states: "The high-singing electric guitar lines are my Gibson ES-345 Stereo with the neck pickup through an Ampeg Scrambler into two Fender Twins. The bridge pickup was run through an original Thomas Organ Cry Baby Wah, also through two Twins". Regarding tone on Jefferson Airplane subsequent albums.

He also mentions that in the aforecited interview.

The front pickup was the wah-wah channel, and the neck pickup was the fuzztone channel.