Hawkwind built one of rock's most distinctive tones — thick, swirling, and driven by power-tube saturation rather than preamp gain. Dave Brock's Roland JC-120 combined with Hiwatt stacks and a heavy reliance on modulation effects (phaser, wah, chorus) creates an ethereal yet driving presence that sits perfectly in atmospheric, synth-heavy arrangements.
Tone Snapshot
| Characteristic | Description |
|---|---|
| Overall Character | Thick, saturated, psychedelic — driven by power tubes rather than preamp gain |
| Gain Level | Medium — natural power-tube breakup at volume, not a pushed preamp |
| Low End | Full, warm, room-filling foundation |
| Mids | Present and warm, slightly scooped to make room for synths |
| Highs | Bright, cutting presence that carries lead lines through the mix |
| Best For | Psychedelic rock, space rock, atmospheric leads, vintage 70s tone |
Hawkwind Gear Reference
Guitars
- Gibson Les Paul Classic — Dave Brock's primary choice; warm, thick tone that matches the band's aesthetic
- Various guitars — Brock was not a gear purist and played whatever was available, prioritising feel over equipment
Amplifiers
- Roland JC-120 Jazz Chorus (1978) — Primary stage amp; the built-in chorus became integral to the Hawkwind sound
- Hiwatt Stacks — Defined the early Hawkwind roar; visible as a wall of stacks on the original LP artwork
- Hiwatt 4×12 Cabinets — Custom-painted by artist Barney Bubbles; delivered massive low-end foundation
Key Effects
- MXR Phase 90 — The swirling phaser modulation that became a Hawkwind trademark
- Cry Baby Wah — Dynamic expression and wah-driven lead textures throughout live performances
- Line 6 POD v2.0 — Added tonal flexibility and amp modelling in more recent touring rigs
Recommended Amp Settings
Settings reference the Roland JC-120 — a 100W solid-state amp with five EQ controls and a built-in chorus. Adjust proportionally if you're on a different platform.
| Control | Setting | What It Does Here |
|---|---|---|
| Volume | 6 | Mid-to-high — encourages power-tube saturation and stage presence without overwhelming the synth-driven mix. |
| Bass | 6 | Full, warm low end without muddiness. Supports the thick psychedelic character while keeping clarity through the cabs. |
| Treble | 5 | Balanced presence — cuts through synths without harsh bite. Slightly neutral to blend with warm mids and bass. |
| Middle | 4 | Slightly scooped to leave room for synths and the rhythm section. Prevents a congested mid-range. |
| Chorus (Built-in) | 7 | Thick, swirling modulation that is integral to the Hawkwind identity — not optional decoration. |
EQ Profile
Slight bass lift, neutral treble, scooped mids — classic psychedelic space-rock profile
Getting the Tone Without a JC-120
The Hawkwind tone is about thick warmth, natural saturation, and heavy modulation. You don't need a JC-120 to get there.
| Budget Level | Amp Option | Why It Works |
|---|---|---|
| Budget (~$200–400) | Fender Champion 20 or Marshall DSL1C | Built-in effects and accessible EQ. The Fender's reverb adds depth; the DSL1C delivers tube warmth at manageable volume. |
| Mid-range (~$500–1000) | Fender Blues Jr IV or Orange Crush 35RT | Tube amps with flexible EQ and reverb. The Blues Jr breaks up naturally; Crush 35RT is portable and includes built-in reverb. |
| Premium (~$1000+) | Fender Deluxe Reverb Reissue or Hiwatt DR40 | The Deluxe Reverb captures the warm, breaking-up character; a Hiwatt DR40 is the closest modern approximation to the original Hawkwind stage rig. |
Quick Tone Fixes
| If Your Tone Sounds… | Try This |
|---|---|
| Too thin or bright | Lower treble to 3–4 and boost bass to 7. Add chorus — it's non-negotiable for this tone. |
| Too bassy or muddy | Lower bass to 4, scoop mids further to 3, nudge treble to 6 to restore clarity. |
| Missing the psychedelic swirl | Engage chorus or add a Phase 90. Modulation is half the tone — the amp alone won't get you there. |
| Not cutting in the mix | Boost treble to 7–8 and push volume higher. This tone needs power-tube saturation, not bedroom levels. |
Common Mistakes to Avoid
- Over-boosting mids. Scooped mids are essential — they leave room for synths. Too much midrange creates a nasal congestion that buries the band's psychedelic character.
- Skipping the modulation effects. The amp alone will not get you there. The MXR Phase 90, Wah, and built-in JC-120 chorus are structural parts of the tone, not decoration.
- Playing at bedroom levels. Power-tube saturation requires volume. At low levels you'll get clean tone with no natural breakup — crank it enough to feel the amp working.
- Mismatched impedance. Hiwatt cabs are typically 8Ω. Running mismatched loads will thin out the low end and potentially damage the output stage.
Hawkwind's tone is inseparable from modulation — the Roland JC-120's built-in chorus, stacked on a slightly scooped EQ, is what gives it that cosmic, swirling presence. Prioritise the effects chain as much as the amp settings themselves.
More Tone and Amp Settings Content
Written by Bobby Kittleberger on Artists & Settings
Written by Bobby Kittleberger on Artists & Rigs
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