My thoughts on Jazz Gear

[Mick-7]

It depends on the direction in which you use it. If you plug it into the amp so the spiral runs clockwise from guitar to amp, it’s neutral. But if the electrons have to pass through it counterclockwise, they get dizzy and take longer to find the amp. This attenuates the highs, and the clog of confused atomic particles increases sag and introduces audible latency (a great effect for blues). You should label the ends for guitar and amp, so you don’t forget which way you prefer.

If you stand on a bar while playing with your amp on the floor, the electrons are flowing downhill. Gravity accelerates the heavier ones more, boosting bass. Curly cords reduce this effect, and reversing the direction of the spiral really lets you fine tune your tone.

I'm surprised that you neglected to mention the deleterious effect that the bright orange plastic cable coating has on electron flow, which can be particularly disorienting when confined with curliness, it has an effect on electrons similar to the effect the little red haired girl has on Charlie Brown, it makes them swoon.

[Cunamara]

AI detected.

Picture rejected.

It says something about how AI imagery has developed over the past two or three years. Wes might've had eight or nine fingers on one hand back then. For me the first clue was the sign behind him ("The Ardillo Club, Aostin"). Plus the Fender Princeton amp and the lack of a cord between the guitar and amp. Wes used a Standel much of his career and never went wireless. The other flag was the young woman at the bar who appears to be taking a photo with a smart phone.

All that being said, it is a pretty convincing picture compared to what you would've gotten just three years ago.

[rpjazzguitar]

It depends on the direction in which you use it. If you plug it into the amp so the spiral runs clockwise from guitar to amp, it’s neutral. But if the electrons have to pass through it counterclockwise, they get dizzy and take longer to find the amp. This attenuates the highs, and the clog of confused atomic particles increases sag annd introduces audible latency (a great effect for blues). You should label the ends for guitar and amp, so you don’t forget which way you prefer.

If you stand on a bar while playing with your amp on the floor, the electrons are flowing downhill. Gravity accelerates the heavier ones more, boosting bass. Curly cords reduce this effect, and reversing the direction of the spiral really lets you fine tune your tone.

Sure, but that's the orange cables. The black ones cause less electron confusion, but, perhaps unsurprisingly, they sound darker.

[nevershouldhavesoldit]

It says something about how AI imagery has developed over the past two or three years. Wes might've had eight or nine fingers on one hand back then. For me the first clue was the sign behind him ("The Ardillo Club, Aostin"). Plus the Fender Princeton amp and the lack of a cord between the guitar and amp. Wes used a Standel much of his career and never went wireless. The other flag was the young woman at the bar who appears to be taking a photo with a smart phone.

All that being said, it is a pretty convincing picture compared to what you would've gotten just three years ago.

I thought about asking it to add a wireless system on the guitar and amp jacks, and to put cowboy hats on the patrons. But I think the joke got as much attention as it deserved without that excess.

Wes actually could have gone wireless if he wanted to do so. Wireless mics and systems were first introduced by Shure in the early 1950s. They weren't very good, and they cost a fortune. Wes died a few years before decent wireless was available for guitar. For those who don't know the chronology, reliable wireless connectivity for guitar was developed in the mid 1970s by a New York engineer named Ken Schaffer. Angus Young (AC/DC) was the first one to use it, and it spread like wild fire to Jerry Garcia, Van Halen, Bootsy Collins and the like. The Schaffer system had serious boost in it as well. Young pushed his Marshall stacks to destructive SPLs with a cranked Schaffer-Vega Diversity System back in the day. IIRC, the Rolling Stones were early users of wireless Shure mics. But I never saw or heard of anyone using wireless systems for guitar except rock players until the '90s.

[AllanAllen]

I thought about asking it to add a wireless system on the guitar and amp jacks, and to put cowboy hats on the patrons. But I think the joke got as much attention as it deserved without that excess.

Wes actually could have gone wireless if he wanted to do so. Wireless mics and systems were first introduced by Shure in the early 1950s. They weren't very good, and they cost a fortune. Wes died a few years before decent wireless was available for guitar. For those who don't know the chronology, reliable wireless connectivity for guitar was developed in the mid 1970s by a New York engineer named Ken Schaffer. Angus Young (AC/DC) was the first one to use it, and it spread like wild fire to Jerry Garcia, Van Halen, Bootsy Collins and the like. The Schaffer system had serious boost in it as well. Young pushed his Marshall stacks to destructive SPLs with a cranked Schaffer-Vega Diversity System back in the day. IIRC, the Rolling Stones were early users of wireless Shure mics. But I never saw or heard of anyone using wireless systems for guitar except rock players until the '90s.

I think Kiss actually used them first. After seeing Keith Richards get zapped unconscious on stage they thought that was something to avoid, and they were willing to lose a little tone for safety. Of course, Angus used them to their fullest potential.

[zephyrregent]

I guess taking a guitar worth thousands, an amp worth thousands, and then connecting the two using a cheap-o amazon wireless dongle is lost on me but IMO none of the wireless units are as good as they once were thanks to government organizational and electronic interference. I borrowed a newer Shure unit that was about $700 and it couldn't reliably go much further than my 50 foot cable could. Compare that to the pro units of yore that could go many hundreds of feet without any dropout. Even my cheap used old Nady one VHF was better than most of what is sold today.

I remember Nady testing his wireless system about 1970 by having me walk up the street with my guitar. It worked. This was before he started his business.

[nevershouldhavesoldit]

I think Kiss actually used them first. After seeing Keith Richards get zapped unconscious on stage they thought that was something to avoid, and they were willing to lose a little tone for safety. Of course, Angus used them to their fullest potential.

Keith RIchards' shock episode was in 1965, which was 10+ years before Ace Frehley got a massive shock when he touched a grounded metal railing while holding his guitar. I assume Frehley's amp was not properly grounded, but I don't think I've ever seen a detailed description of what actually happened. Frehley was knocked unconcscious, but woke up and finished the show despite burns on his hands. Gene Simmons ordered a dozen systems from Schaffer soon after that happpened.

It was ironic that Simmons had been shown the prototype system only days before the shock episode and wasn't at all interested in them. I assume Schaffer was trying to get Kiss interested in either investing or placing an order to help get the business started. After Frehley's incident, he requested that Schaffer build a dozen units for Kiss. What I don't know is if they were delivered before or after Young got his, because I think they were not yet in production when Frehley had his accident. So it could have been Kiss who used them first - if I ever knew this, I forgot it. To Simmons, they were protection. But Young was a big proponent of it because he used his as an effect and got his signature tone from its massive boost. It had a lot of gain and was apparently a very powerful O/D (and, IIRC, the only "effect" Young used).

The Keith who died from a shock because of improper grounding was Keith Relf (Yardbirds). That also happened in 1976, but it happened in his basement.

[PMB]

The Keith who died from a shock because of improper grounding was Keith Relf (Yardbirds). That also happened in 1976, but it happened in his basement.

The other prominent case was Les Harvey from the Scottish blues-rock band 'Stone The Crows' who died in similar circumstances onstage at a festival in the early '70s.

[DawgBone]

I remember Nady testing his wireless system about 1970 by having me walk up the street with my guitar. It worked. This was before he started his business.

Yeah, Guitar Shorty used to walk around a city block with his. He had top of the line stuff at the time (90's, early 2000's). All that changed when the FCC changed the bands they were allowed to use and the new band was not as effective as the old ones, plus you're dealing with the expansion of wi-fi and cell phones which has created an atmosphere with more interference.

[buduranus2]

Coltrane used to walk the bar in his early years...

Yes, with Bull Moose Jackson.

[Herbie]

I thought about asking it to add a wireless system on the guitar and amp jacks, and to put cowboy hats on the patrons. But I think the joke got as much attention as it deserved without that excess.

Wes actually could have gone wireless if he wanted to do so. Wireless mics and systems were first introduced by Shure in the early 1950s. They weren't very good, and they cost a fortune. Wes died a few years before decent wireless was available for guitar. For those who don't know the chronology, reliable wireless connectivity for guitar was developed in the mid 1970s by a New York engineer named Ken Schaffer. Angus Young (AC/DC) was the first one to use it, and it spread like wild fire to Jerry Garcia, Van Halen, Bootsy Collins and the like. The Schaffer system had serious boost in it as well. Young pushed his Marshall stacks to destructive SPLs with a cranked Schaffer-Vega Diversity System back in the day. IIRC, the Rolling Stones were early users of wireless Shure mics. But I never saw or heard of anyone using wireless systems for guitar except rock players until the '90s.

An italian AC/DC fan Fil Olivieri (aka SoloDallas) wanted to solve all details of Angus’ guitar sound and finally realised that although everybody knew that ”it was straight to the amp” he had the Schaffer unit with him between guitar and the amp even in studio.

So next he traced the history and all the details of that unit and started to build again only the preamp unit to push amp louder. As the website tells it includes ”interactive compressor, expander, optical limiter, boost and "goalpost" EQ within the Schaffer-Vega Diversity System”.

Somewhere is a touching story of mr Olivieri going to Angus Young in the Canadian studio and giving a replica for him.

History of The Schaffer Replica Circuit



– SoloDallas LLC

[teeps]

Thanks for sharing your video, mr. Miller. I totally appreciate your style. Musical as well as speech

[nevershouldhavesoldit]

All that being said, it is a pretty convincing picture compared to what you would've gotten just three years ago.

Waitaminute!!! You mean that’s not really Wes???

[Herbie]

new video, featuring Toob, Xvive, Quilter and others....

Interesting video, Chris! Some things are different here in Finland but some are alike.

Hmm… if You ever have a gig here in Finland, just let me know, I can rearrange Your pedalboard a bit tidier!

[Cunamara]

Waitaminute!!! You mean that’s not really Wes???

The detail that really stood out for me was the wear on the toes of his shoes.

[Spook410]

Might have been entitled, 'Jazz Gear. A Luddite's View'.

As guitar players we are in an age of opportunity and discovery. We can replicate traditional gear. We can explore new things.

I enjoy your videos and am a subscriber to your channel. Looking forward to what happens after the 1960's.

[Christian Miller]

Might have been entitled, 'Jazz Gear. A Luddite's View'.

As guitar players we are in an age of opportunity and discovery. We can replicate traditional gear. We can explore new things.

I enjoy your videos and am a subscriber to your channel. Looking forward to what happens after the 1960's.

I suppose you can explore new gear if you have time and money. Otoh I have buttons and bits of fluff in my bank account and I need to pick the kids up at 3.

I don’t have anything against grabbing a Steinberger and a Quad Cortex or whatever and having at it. I’m really quite curious about that sort of stuff.

Mostly people use them to generate the same reverb drenched cleans, Djent rhythm sounds and (to my ears) rather fizzy lead tones that I suspect would disappear in a live mix, but I think there’s more possibilities in these devices. I enjoy the sorts of noises Chords of Orion gets for example.

Otoh messing around in the bowels of some menu dialling in the perfect preset does sound like something that would take time away from practicing the instrument.

I do have some quirky pedals… the Gamechanger Plus and the EHX Synth 9 are gathering dust. Maybe I should give them an outing… of course there’s also trends - the POG thing is becoming a bit of a cliche at this point.

I am old fashioned in the sense that I feel you should be able to do your thing, in some sense, on an acoustic instrument. All my favourite players, modern and old can do this. Ultimately, sounds are nice but maybe what marks out a progressive jazz player from post rock musicians for instance is a greater interest in the notes than in the sound design. Which IS TBF an old fashioned way of looking at music.

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[nevershouldhavesoldit]

An italian AC/DC fan Fil Olivieri (aka SoloDallas) wanted to solve all details of Angus’ guitar sound and finally realised that although everybody knew that ”it was straight to the amp” he had the Schaffer unit with him between guitar and the amp even in studio. So next he traced the history and all the details of that unit and started to build again only the preamp unit to push amp louder. As the website tells it includes ”interactive compressor, expander, optical limiter, boost and "goalpost" EQ within the Schaffer-Vega Diversity System”.

Interestingly enough, the replica tower ($1749) is not a wireless system. Olivieri hired two engineers to figure out how to make everything in the original without the FM wireless. So the tower is now truly just a preamp with effects. He also makes and sells a pedal that has everything in it except the compander. Their website says that Bonamassa (among many others) uses their devices. But I've seen several videos and read interviews in which JB discusses his rig, and I don't recall ever hearing him mention anything from them.

[Alter]

I was never a fan of wireless systems, but i saw Bobby Broom last year using one of these xvine things that cost next to nothing. He was playing his archtop through the clubs twin reverb using these. If it's good enough for him..

Just played an rcf 310 tonight, using this board and a quilter phantom block. Lovely sound, i was thinking of getting a Yamaha Dbr10, but it doesn't have a proper handle so you have to carry it with the fingers half open, so no thanks. I 'll get the Rcf 708!

[nevershouldhavesoldit]

I was never a fan of wireless systems, but i saw Bobby Broom last year using one of these xvine things that cost next to nothing. He was playing his archtop through the clubs twin reverb using these. If it's good enough for him..

I wasn't interested until a friend showed up at a gig with a Boss when they first came out about 8 years ago. He loved it, so I tried one and felt the same way. Since then, I've gotten used to the freedom it allows. No one will step on my cables, yank them out, or otherwise interfere with them. I got so used to it that I tripped over my own cable the last time I used it on a gig.

[Spook410]

..

I am old fashioned in the sense that I feel you should be able to do your thing, in some sense, on an acoustic instrument. All my favourite players, modern and old can do this. Ultimately, sounds are nice but maybe what marks out a progressive jazz player from post rock musicians for instance is a greater interest in the notes than in the sound design. Which IS TBF an old fashioned way of looking at music.

Sent from my iPhone using Tapatalk

Many classical players feel an acoustic archtop or flat top is something less. I want to give their teenage children a $80 Valeton GP5. And the era's flow on..

As for jazz guitar and of course IMHO, it isn't just the notes. Or sound design. We make a tonal statement that is cumulative. Easily spoiled with too much or too little. Too often a muddy mess. Maybe that's why so many want a simple setup. They can't muck it up. And it's nice that all the old gear and tones are still available. But I wish to add new tones and I'm curious and interested in the tech. Not because I expect my personal innovations to be featured in the annals. Merely because it's fun. For a long time I thought I just liked a Fender DeLuxe with a 12" mic'd with a Shure 57. I was quite mistaken. I am enjoying the broader palette and I see a material contribution to the boring stuff I like to play.

[Hammertone]

I want one of those AI tailpieces. And the $ in that mega-tip jar.

[Hammertone]

More importantly, does "Curly Cable" improve your sound. What are your views, as a Pro?

Absolutely necessary for proper purple tone.

[nevershouldhavesoldit]

I wish to add new tones and I'm curious and interested in the tech. Not because I expect my personal innovations to be featured in the annals. Merely because it's fun.

I agree with this. It’s been great to experience all the new stuff that’s come out in the last 65+ years. I tried the first fuzz (Maestro - 1962), the first wah-wah pedal (Vox - 1966), the first O/D (EH LPB-1 in 1968), and the first modern multi-effects device (Zoom 9002 - 1990). I bought a Kustom 150 2x10 in 1970 to experience the new thing called solid state. I bought one of the first Genz-Benz amps, an early Phil Jones, and a Crate PowerBlock. Etc etc etc.

The fuzztone went back the next week, the wah stayed with me about a year. The Zoom went back to the dealer in a few days. The LPB-1 found a new home within 6 months. The Kustom left home within 2 years. And so it went.

It was fun and it was educational. I don’t think any of this stuff made me a better player. But I developed an ear and filled a fund of knowledge that I’d never have had without these experiences. After 70 years of playing, I’m still using a simple archtop and a simple amp. If I’d stuck with the 175DN and 15” Pro I had in 1963, I’d have done as well - but the ride wouldn’t have been nearly as exciting.

[Mick-7]

It’s been great to experience all the new stuff that’s come out in the last 65+ years.

We'd think you were a lot younger if you'd stop making comments like that.....



"It's been great to experience all the new things that have come out in the last 150 years, but I wish that so damn many of them didn't have to be plugged in!"