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Effects

One of Hendrix's signature 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. That July, while performing at the Scene club in New York City, Hendrix met Frank Zappa, whose band the Mothers of Invention were performing at the adjacent Garrick Theater. Hendrix was fascinated by Zappa's application of the pedal, and he experimented with one later that evening. 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. He also uses the effect on " Up from the Skies ", "Little Miss Lover", and "Still Raining, Still Dreaming".

Hendrix used a Dallas Arbiter Fuzz Face and a Vox wah pedal during recording sessions and performances, but also experimented with other guitar effects. He enjoyed a fruitful long-term collaboration with electronics enthusiast Roger Mayer, whom he once called "the secret" of his sound. Mayer introduced him to the Octavia, an octave-doubling effect pedal, in December 1966, and he first recorded with it during the guitar solo to "Purple Haze".

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. 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.