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new video, featuring Toob, Xvive, Quilter and others....
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04-30-2026 03:18 PM
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For those US viewers Solder = sodder !!
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Good stuff, very professional video with lots of good advice.
But, I can't believe you broke a "Built like a Tank" Morley pedal.
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I am a special boy
Originally Posted by GuyBoden
Good stuff, very professional video with lots of good advice.
But, I can't believe you broke a "Built like a Tank" Morley pedal.
Sent from my iPhone using Tapatalk
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I've never seen someone finish a gig with those wireless dongles. It's rare they finish the first song with them still plugged in. Interested to see that you say.
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I’ve never had a problem with them? I use them for basically all my gigs now unless I forget to charge them up. Originally Posted by AllanAllen
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I have done many gigs with them (up to three one hour sets). Once in awhile there can be some interference and IMO, they brighten the tone ever so slightly. Overall, they work pretty well, And I always carry a cable just in case. Originally Posted by AllanAllen
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I didn't see anything about the Morley pedal. The video I saw concluded that an archtop and a Princeton were the right equipment for jazz guitar and ended shortly after.
Last edited by Tal_175; 05-01-2026 at 12:05 PM.
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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.
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I wonder if I’m seeing user error instead of faulty equipment.
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There was a reel of things he has broken. Originally Posted by Tal_175
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I'm not a big fan of the latency inherent in any of those wireless systems but if you have one that actually has reach it's pretty fun to climb on the bar and rip some solos or walk into the crowd and sit at someone's table while you cut some licks. It can equate to more $$$ in the tip bucket though I suppose in jazz that'd be sort of uncivilized. I didn't require a wireless the other night to hit it pretty good...3 $100 bills in the bucket at the end of the night plus smaller denoms too!!! Originally Posted by AllanAllen
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Coltrane used to walk the bar in his early years...
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Here to explain soldering, handyman Red Green... Originally Posted by garybaldy
For those US viewers Solder = sodder !!
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Quite right Originally Posted by Tal_175
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Wot latency?
Maybe I'm too crap to notice.
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I have the newer Xvive system that Christian mentioned and have had zero latency. What I do get sometimes is the latency of the system- if I walk 25 feet away from the amp in my house I can hear a tiny microsecond delay between the plink of the string and the note from the amp getting back to me. But the same thing occurs with a long cable- the speed of sound from the amp to my ears may be the issue there, since the guitar signal is literally traveling at the speed of light to the amp. I should note that 25 feet in my house requires going into other rooms, so that may be a factor as well as the sound does not have a straight path to me and I may be getting reflections. I did not have any trouble with this on the one gig I used it so far, however, nor at rehearsals. Originally Posted by DawgBone
I *really* like being untethered from the amp, even if I am sitting just 5 feet from it and practicing. I always take a cable in case I forgot to charge the batteries- that is the one downside of wireless. A cable has no batteries.
As for tonal changes, I use low capacitance George L's cables which lose less high-end information than higher capacitance cables (which is most of them). As a result I notice no difference with wireless and I don't have to adjust my EQ. Or maybe that's the result of an old man's hearing and a 12 year old would hear something else.
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But ‘Trane was really wired, especially in the early days. Here’s a rare shot of Wireless Wes on tour in Texas - Originally Posted by Cunamara
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AI detected.
Picture rejected.
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More importantly, does "Curly Cable" improve your sound. What are your views, as a Pro?
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No one will likely believe me....but I used to use George L's because they are a fantastic cable, preserving all the high end, just as Cunamara mentioned. Well, in the early 90's as a young guy I spent a buncha money on a coily cable, cause well, it was thick and coiled and awesome. Anyways, I did a shootout between a bunch of cables one day and damn if that old coily cable didn't maintain as much brilliant high end as those George L's. I used that cable for a couple decades+, replaced the ends when they died....kept clipping the straight end back for re-soldering when the area near the plug shorted out. Eventually it had been repaired so many times the short ends are only a few inches long so I finally retired it but I still got it in a box someplace.... Originally Posted by GuyBoden
More importantly, does "Curly Cable" improve your sound. What are your views, as a Pro?
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I don't think I have the wardrobe to pull off one of these Originally Posted by GuyBoden
More importantly, does "Curly Cable" improve your sound. What are your views, as a Pro?
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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. Originally Posted by GuyBoden
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.
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I agree - been using them for years at home and on gigs with stage space. They’re low capacitance, so they don’t dull the highs at all over 20’ or more. But I’ve been using a Boss WL20 wireless rig for several years because it’s convenient on tight stages, and it lets me walk around the room for informal sound checks. They make 2 versions, one flat and one that rolls off the highs a bit like a long cheap high capacitance cable. Originally Posted by DawgBone
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Back to Christian's video:
I owned a Princeton 65 reissue and I also owned a few vintage examples (A Brownface, a Blackface and a Silverface). I found the reissue brighter than I like and also I found the stock speaker underpowered for the low end of jazz guitar with a humbucker. I never tried a hemp cone speaker and perhaps I would still own that amp if I did (but probably not as I no longer want to carry an amp that weight more than 10 Kilos), but I can say with certainty that the vintage point to point Blackface and Silverface Princetons are warmer in tone that the reissue. And FYI, the Brownface Princeton is a different amp altogether.
Also, I am using the Quilter Mach 3 combo which has all the voices of the SBUS and more all in a 22 pound combo with a great XLR out (and with attenuation and Cab sim available). @Christian: Borrow one of these and use it for a month. It will knock your socks off. It is one lightweight amp that can do it all.
For those who want the extreme portability of the Henriksen Bud6/Blu6 but do not want to be stuck with the "Polytone" sound, one can put a pedal in from of the Henriksen and get a Fender tube amp tone (I am using a UA Dream 65 for that purpose).
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