Query failed: connection to localhost:9312 failed (errno=111, msg=Connection refused).
It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
https://www.youtube.com/channel/UCg_imQDC4eUOjuBBRl2mBwA
https://www.youtube.com/watch?v=LyQgllCIpqY
https://rozaliftwave.bandcamp.com/
...to make sure it's on 10.
“Always leave your tone on 10” is the worst advice I ever got as a young guitarist, as it left me with a rig so trebly that I rarely actually plugged in, as I lacked the confidence / understanding of EQ to dial my horrible SS amp into the radical positions that would have been required to compensate.
I'm also fascinated why the "no treble" thing became the standard jazz guitar tone. When I listen to early recordings by people like Joe Pass or Jim Hall, their sound was noticeably brighter than their later tone. I must confess that I prefer the earlier sounds and find myself drawn to players with slightly brighter sounds like Grant Green.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Just because I don't care, doesn't mean I don't understand." - Homer Simpson
Why on earth would I want want my amp to sound like its in the cupboard under the stairs!
Neck pickups are mostly always fully on, I even bypassed the tone from neck pickup in my tele, tone only controls the bridge and middle position.
The strat had a tone control for the bridge pickup which is essential IMHO
LP has 50s wiring and I adjust both
Ric nope set knobs at max except for 5th one which is set to mid way and not moved except to where it sounds best in the room and left.
Es125 set mid way and left
Gretsch has a three way switch mostly use bright and not so bright settings.
Also worth remembering that bebop players were likely looking to emulate the kinds of lines being played on brass instruments and so flatwound strings, thunky tone etc. better for this. I suppose, also, the laminate guitars (e.g 175) that gigging musicians will have used (cheaper, less prone to feedback) are inherently darker, so too are the polytone amps that were ubiquitous back in the day
Now Jim Hall is your classic 'dark' tone but I think lots of jazzers prefer brighter tones. As you say - Grant Green but also Kenny Burrell, George Benson and others. Much brighter and usually a tube/valve amp with a bit of hair. Arguably the definitive 'modern' archtop tone is a solid carved guitar strung with round wounds. I personally prefer this as it happens but I do still like to dial back the tone and volume a little
But certainly, to get a mid-boosted sound you have to turn the bass and treble down as well as the mids up, or it remains largely scooped - the mid pot is less than a tenth of the value of the bass and treble ones (10K vs 250K) so it has much less effect. Mesa/Boogie expanded on this by using a much larger-value mid pot, the same value as the treble and bass pots, which dominates the sound once it's turned up beyond halfway.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Just because I don't care, doesn't mean I don't understand." - Homer Simpson
Really appreciate the clever and careful explanation