Jimi Hendrix – Electric Ladyland - 50th Anniversary Deluxe Edition

Used to mic Hendrix's guitar amp, as stated by recording engineer Eddie Kramer in this November 2005 Sound on Sound interview. Note that the first sentence of the following excerpt pertains to Electric Ladyland.

While Hendrix's amp was screened off in the studio and miked with Neumann U67s, Mitch Mitchell's kit was positioned on a riser within a roofed, open-sided booth to give it depth and miked with a combination of U67s and AKG C12s. (...) When asked about the techniques used to record Hendrix's guitar, Eddie Kramer's response is concise and to the point. "I'd stick a bloody mic in front of it and hope for the best," he jokes. "Nah, generally speaking it was either a 67 or [a Beyer] M160 or a combination of both, which I still use today. It might be slightly different, of course, but the basic principle's the same — a ribbon and a condenser, along with compression and EQ and reverb. All that stuff was always added during recording."

Vintage Guitar magazine created a "25 Most Valuable Effects" list and coming in at number 3 is the Univox Uni-Vibe pedal. "Vintage" writes in this article "If Hendrix touched it, you can bet it’s enshrined as effects legend. Created to replicate the sound of japanese radios picking up radio Moscow, the ’Vibe – manufactured for Univox by the Shin-Ei corporation of Japan – was really a four-stage phaser with four pairs of light bulbs and cells for a liquid, juicy tone that hooks plenty of players from the first moment they hear it, and which caught fire big-time in the late ’60s. To hear the original, check out Hendrix’s “Voodoo Chile,” “The Wind Cries Mary,” or his performance of the “Star Spangled Banner” at Woodstock.."