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Know what you mean, having a guitar you bind with and feel good playing; no shame to express it.
I am right now enjoying Tally in my living room and smile at every single note getting out of her (or "him" according to my wife lol).
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10-03-2015 02:00 PM
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Joe, I dig my JP-20 very much. A truly great and underappreciated guitar. I have two gigs today and will be using mine on both...
Last edited by Stringswinger; 10-03-2015 at 02:30 PM.
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Real sweet axe Joe but D'Addario's ? JP deserves TI's. I will apologize in advance to all you D string fans.
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Vinny, look at the tailpiece on mine and you will see TI's...
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What I'm loving about this is that Joe, you've got some really nice guitars and you're an outstanding player. I'd expect for you this would all be just another day fooling around with guitars, but your pleasure overflows in a way that is genuinely and delightfully childlike. I don't mean "childish" in the sense of immature, but truly childlike in the sense that you aren't callous to pleasure, your ego doesn't stop you from feeling the full force of the experience.
At the age of 60, one of my life goals is to keep that childlike capacity for joy alive and burning, and you've given me a great example of it in action.
Enjoy that JP20 and every note you play on it. Seriously, if all I heard from your videos posted in this thread was the audio, I'd swear it was Joe Pass playing. I mean that.
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Wow! Lawson stone, that was incredible. Thanks a lot buddy.
The truth is the last 2 nights I was practicing/learning on my Johnny Smith and I was getting afraid that I was favoring that more than the Jp20. Well I played the JP for about 4 hours today and it just melts into my hands. The sound and sustain are incredible.
I am learning "I can't get started" from virtuoso 4 and I just made my wife promise me that she won't let me learn any new songs after this one for a while because too much of my old stuff is being forgotten. I think Jack Zucker said it best. When you get into the solo virtuoso stuff, you neglect the single note improvisational stuff because it overtakes you. I need to get better at improvisational stuff. I will practice that more.
This has been a great experience for me. I am living a lifelong dream by playing this stuff on unbelievable instruments. I do feel like a kid again.
Once again, I love this place. Thanks buddy. JD
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Our man JD scored ! Looks super clean for a 35 year old guitar.
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About the JP pickup distance thing.. I love to stir the shiit as much as anyone else here (heritage headstocks anyone) ? but I would like to point out that while there are rules of thumb, take each guitar on it merrits..
We dont like the pickup placement because it sounds thin.. too bright.
But we love P90 that compared to HB sound... thin.
And Tele love? Tele neck pickups sound even thinner compared to a p90.
Mr B posted a great Dano video (and it sounded great too) .. Lipstick tube pickup (the ones I tried were somewhere between strat and tele territory .. but it has been a while) that looks well south of the 24th fret.
Even the single pickup 330s sound pretty good, shockingly good actually..
I would be interested on what people think of the JP20 tone unplugged..
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Sam, the unplugged tone on my JP is incredibly good. I play it a lot unplugged because it has life. I liken it to the Guild Artist award that Patrick let me play at his house. Guys, this guitar is the real deal. I can't say it enough.
Originally Posted by SamBooka
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Seems to me the real issue isn't how many frets, but scale length. The location of the pickup relative to the scale length would be much more important than how many frets.
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Yes, your last statement is correct, but the number of frets is relevant, as a limiting factor; on a 22 fret guitar, even if the pickup is right up against the end of the f'board ( as in a 335) the sound will be a little brighter and clearer than in a typical 20-fret archtop placement. Or, less muddy. Take your pick... Originally Posted by lawson-stone
That said, I think Joe D has demonstrated that the JP is capable of some pretty fine jazz sounds. I was very surprised, in a good way; I would have thought it would have sounded tinny and thin, but it sounds very good IMO. I think this thread makes the point that pickup placement isn't simple a case of ''the further towards the neck, the better".
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can we all agree tho ?
that the relevant factor is
what virtual fret is the pickup is under ?
note I'm not saying what would be best here
its just the best measure .....
because it is
independant of scale length,
number of frets, and visual cues
hope we can all agree ...
(some hope ! worth a try tho)
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Yes. In theory.
But the problem is, how do you work that out in the absence of actual frets? For example, how do you know the pup is under the 28th fret of the JP? Or, where is the pup on a 175? that's why I think visual cues are much more useful, as a rough indicator.
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Pinched harmonic will tell where the 24th fret is on any guitar.
On my Tal the neck pickup center is dead center on the pinched harmonic 24th virtual fret.
It is about half of half the scale : 25.5 -12.75 = 12.75 / 2 = 6.37 inch from the bridge.
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Just to make things more fun, where is the centre of a HB pickup anyway??
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Probably right between both coil Originally Posted by Franz 1997
Just to make things more fun, where is the centre of a HB pickup anyway??
Last edited by vinlander; 10-12-2015 at 04:44 PM.
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P90s sound thin compared to humbuckers? I dunno- I've been listening a lot lately to Jim Hall with his ES-175 with the P90 and it is every bit as fat as one could want in a jazz guitar sound. What it isn't is as compressed as a humbucker tends to do- the P90 produces to my ears a "wider" frequency response. Originally Posted by SamBooka
I think it may depend on the specific guitar-pickup-amp-player combination. JD's tone is fatter and warmer on his JP20 than Joe's tone was, for example. And I have wanted one of those for years even though I *know* that the tone is not what I want for my playing, but they are such wonderful looking axes with fantastic necks.
But in my heart I wanna sound like Jim Hall in the 50s on his ES-175 with the P90, even though I rarely admit that out loud. I ain't gonna get there with a JP20 or most instruments- who am I kidding, I'm not going to get there with ANY instrument. You could hand me Jim's guitar and amp and I'd still sound like me, doggone it.
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we went over the pup position on page 1 of this thread...directly under the humbuckers screw polepieces would be it's "center"....vintage wisdom was to align those screw polepieces directly under the 24 fret...(or the harmonic at that point)...the jp20 has the pickup further back..the next clear harmonic would be the 29th fret..that appears to be where the pickups polepieces are on that particular guitar
the good news is that its generally best to pick a guitar over it's harmonic points to get a clear signal..(old intonation trick)..so by playing in the space between the pickup and the neck on the jp 20..will allow you to pick over the (virtual) 24th fret/harmonic...
remember pythagoras..he stretched a wire ..and subdivided it mathematically...same applies
cheers
ps thats also why replacing a humbucker with a humbucker sized p90 or cc, doesn't really work..as the polepieces are no longer directly under the harmonic...mathematically speaking
but alas...
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OK I took out my JP-20 and one of my ES-175's...
The 24 fret harmonic on the 175 is just before the pole pieces of the neck pickup (right at the edge of the neck pickup)
The 24 fret harmonic on the JP-20 is just a bit after the neck extension ends. If the pickup were placed right against the neck, the pole pieces would be right under that harmonic. As it stands, the 29th fret harmonic is right under the pole pieces on the JP-20.
The distance between the neck and the pickup is about an inch and a quarter on the 175 and an inch and three eighths on the JP-20
(I am really, really feeling like a gear geek right about now).
The 175 is a warmer and fatter sounding guitar (It has a shorter scale, a rosewood board and a 3.5 inch thick body compared to the long scale, ebony board and 2.75 inch body of the JP-20)
The JP-20 is a clearer, more defined sounding guitar.
They are different, but both are excellent jazz guitars and IMO engineered quite well. Joe Pass played both. So do I. End of story.
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I have a JP 20 too and am really satisfied. I bought it 5 years ago, here in France the JP is half the price of a good used 175 (that I can't afford buying !). I love the body shape, the width of the neck (but a bit too flat for me near the headstock), the ebony fretboard is fantastic. I use it with an Henriksen amp. The only problem I have is feedback, especially the G note on the A string, 12th fret (two years ago it was the F note, same string, there's a ghost somewhere!). Does anybody have the same problem? how do you correct it (on my amp the equalizing is at the low level everywhere, except the 3 Hz knob at 30%).
I'm very happy Joe of the big love story you have! I share! Congrats for your playing!
cheers
Michel
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Sorry
f course it's the A note 5th string that's feeds back!! not in a very good shape this morning!!
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Some notes are more prone to feedback than other notes. That is a common problem with archtops. Try to avoid these notes or don`t let´em ring too long. Turn down the bassknob on the amp. Or try to identify the frequencies and turn these down with a EQ. Heavier strings can do wonders too.
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That really should be the end of the story. But I suspect it wont be. The Bottom line they are very different guitars. I love that they are not the same. And I to love both of them for what they are. I wonder how close the JP is to the D'Aquisto that it was supposedly modeled after? Well done SS, you gear geek you.. Originally Posted by Stringswinger
Hi Michel, Nice to see another JP20 fan out there. I cant attest to the feedback issue, since I don't play out much anymore. Originally Posted by tootZ
Yes I love this guitar. It has actually changed what I like to hear out of a guitar.
I suspect that if I didn't play a lot of the solo type of stuff, I would probably prefer the 175 style guitar. But since I roll back and forth between solo and single note and chords, I find great usefulness in both guitars.
Funny thing. After playing the 165 and JP20 steadily for about a month, when I go back to the L5, I am in Guitar heaven. You really notice why the L5 is THEE benchmark jazz instrument.
Everytime I walk passed all these great Guitars on my wall, I pinch myself just to make sure I am not dreaming. My fear?? One day I'll walk passed my guitars on the wall and there will be a vintage D'Angelico hanging with them and when I pinch myself, I will wake up from the dream.. Darn it.
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sorry I don't think thats relevent ... Originally Posted by neatomic
because it only applies to the open string
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Unfortunately there's no real 'centre' for a HB pickup; it has 2 coils, both sensing the string at different places, and the resultant sound is a combination of the string picked up at two 'centres' ( which is why the HB sounds like it does). The typical softer HB sound is partly a product of 'phase cancellation' between the two sets of pole pieces ( i.e. some high harmonics get cancelled out). Originally Posted by neatomic
So, it makes the question of which harmonic is over the adjustable poles somewhat irrelevant, even with open strings.
Incidentally, the adjustable pole pieces have slightly less influence on the signal than the hidden 'slug' polepieces under the cover; they are much thicker.
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