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That guitar hosts a Lace Deluxe Plus p'up set.
Originally Posted by El Fundo
To dial-in a similar tone, just use the neck p'up, tone control to taste, most probably between 2.5 to 3.5, and a a healthy dose of compression from a pedal.
The attack/release I'm hearing reminds me of a MXR Dyna comp, altough the Boss CS-3 can behave like that too. Nothing fancy.
The actual amp can't be seen on the video, but I don't think in this specific case it could make a night-and-day difference with that setup.
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04-09-2018 08:25 AM
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Yes, I think a lot of what we think of as _the_ sound (archtop or semi/neck humbucker) is a function of familiarity and expectation. If you hear something other than that sound, you might go "wait a sec, something's not quite right here ..." . That, and I think the mid-rangey-ness of the classic set-up actually is easier to slot into a typical jazz group without much adjustment. An archtop or semi into a clean amp with the knobs set flat is pretty much plug and play. A strat needs more fiddling (and IMO will simply not sound good through some amps, e.g., Roland JC's). Originally Posted by citizenk74
John
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I could never get a jazz sound I liked with my 1995 (first generation) American Standard Strat with the stock PUPS. It sounded too bright and chimey no matter how much I fiddled. By changing to a Duncan 59, blocking the bridge and putting TI 12 flats on, the sound I was looking for appeared. There is nothing wrong with the tone in the video you posted, it just is not the tone I want when I am playing jazz on a Strat. Originally Posted by John A.
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Since the Army would not buy Sgt. Epley an L5, he offers some advice...
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Romano-Sclavis-Texier
on my 65 L-serie
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Here’s a Strat playing jazz. Steve D’Angelo from Toronto.
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I've been wanting to start auditioning for jazz gigs, but I don't have a traditional jazz guitar (i.e. archtop). My question is, how vibed would I get it I showed up to an audition or gig with a strat? I can get a good jazzy tone out of it, but idk how much I'd be mixing genres or whatever. I know teles are fairly common but I don't see a lot of guys in straight up jazz with strats. Thanks!
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I suppose it depends on the 'jazz gig'. I'm using a semi-hollow these days, but for years my main axe was a Marchione neck-thru Strat style. Sonically, I'm sure you can dial in an appropriate tone for anyone's gig , but some groups are about conjuring a vintage, retro vibe with period costumes and such, and might look at a hollow body as a necessary prop. But in Nashville, I would hope at least some folk remember Eldon Shamblin....
PK
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Seriously, what color?
Sunburst, black...I don't think anybody would care or even notice, if you could play.
Pink with flames...well...
There's a great player here in Chicago, kind of an unknown guy, Brad Hubal. His pops had a cable access show back in the 90's, it was pretty much my intro to jazz, pops Jack played sax, Brad played guitar. He plays a tele these days, but back then it was a sunburst strat or a seafoam green strat. Always sounded great.
I think the most important thing for jazz on a strat is to dial out that "springiness" if it's not a hardtail.
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get one of those relic SRV strats and then go to the gig and let off the most pure fire bebop they ever heard haha
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It might depend where you ware, but where I am (NYC), no one besides other guitarists cares what guitar you play. I have a strat, which was all I played for a long time, and never got so much as a second look. Originally Posted by halvorsenb
John
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I have played a bazillion jazz gigs over a 40 year span. For 25-30 years, I used archtops exclusively--mostly a vintage ES-175. Then, about 15 or so years ago, I started mixing things up. I showed up to gigs with either my Telecaster or my Stratocaster. I don't know what audiences thought about the look, but they were pretty complimentary about the way things sounded. Fellow musicians seemed to react _very_ positively about the Stratocaster. On the neck pickup, with big strings and a Polytone amp, the rig put out the right sound to the rest of the band, for sure.
Now, I'd say the odds are 50-50: Stratocaster vs big archtop when I gig.
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If you nail the audition, talent should prevail over equipment but if they are looking to create a specific visual vibe that doesn't speak to a Strat, hopefully they will communicate that to you after you prove your ability to hang with them.
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I'm not a fan of traditional Srat pickups. I put a SD Little '59 mini-humbucker in the neck position and was blown away by how good it sounded. So, I went ahead and put them in all 3 positions of my 2012 Squier Vintage Modified Strat . Now it's an awesome jazz and blues guitar. They sound like a blend of humbucker and P90 pickups and are noiseless. They've got very good clarity. I also put in Graph-Tech Tusq saddles which gave it a warmer mid range tone. I also locked down the tremolo bridge so it is very stable. Removing all the springs and the claw made it lighter too. Put a little kids wood block in there.
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The only thing that matters is the sound. A friend called me up all excited about the great jazz sound he got out of a HONDO strat copy he played at a local music store. He wouldn't tell me which one it was; he said I should try them all, and see if i could find the right one.
I drove down to the store with my orange Cube 60, which my friend also hipped me to, and tried them all out. I found the one he was talking about, and bought it new on the spot for $90 or so.
I wound up playing it professionally for four or five years, once on a jazz album that got reviewed in Downbeat back then. I remember heavy dudes like Steve Slagle and Richie DeRosa coming up to me on gigs I played with them, and saying, "You get some sound out of that thing!" De Rosa wanted to record me with it at a studio.
It was a freak guitar. It sounded lousy for rock, but great for jazz. I think it was the neck pickup. When that broke, I threw it in the closet, and never played it again.
Sound is everything- looks mean nothing.
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There is absolutely no problem if you sound good on the "wrong" guitar.
What you don't want to do, I think, is sound bad on super expensive gear.
I'm not even sure you really need a "jazz" sound. I'm not sure even what that means. I'd guess the exact center of "jazz sound" is Wes. And, if you're somewhere in the Pass/Kessel/Burrell area, you're close. But, a lot of the great modern players don't sound like that, e.g. Metheny/Sco/Stern etc.
Mike Stern played a Strat with Miles Davis. If it was good enough for Miles ...
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Yeah, but a) Stern only played the strat because his tele got stolen and b) his sound in those days was about as far away from a "jazz tone" as can be imagined. Not that there's anything wrong with that; I saw Stern with Miles twice, and it a was life-changing experience. Originally Posted by rpjazzguitar
John
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Chris Crocco:
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I didn't know it was possible to play a strat with the strap holding it much above your knees.
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Played archtops (cheap ones) mostly, but almost pulled it on a strat the other day. As much as I loved the fat mid/low sounds of a 175 or L5, there is something really nice about a strat or tele through a good tube amp. I played a friends Tokai tele and it sounded incredible! EVERY bit as good as any "jazz archtop." But strats, I feel, in the big spectrum of electric guitars, are really unique sounding and it's understandable they aren't used as much as others in jazz, but still a pity.
So f$#k em if they can't take a joke.
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Played a white strat in a big band for years. Nobody cares.
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Maple/burst or RW/Natural, they both work for jazz:
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Another player, from Spain, I think is playin a G&L Strat.
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He talks about it here (It's a great podcast, by a great player BTW): Originally Posted by rpjazzguitar
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The only thing that matters is how you sound.
That said, "jazz gig" isn't one thing. Small group, with vs without piano, can call for a different sound. Big band vs small group is another important distinction.
The bigger the group, the harder it is to get the guitar to sit nicely in the mix. With archtops, there is a tendency for the sound to get muddy because of the low frequency energy. Obviously, not everybody has that problem, but I hear it often enough. This is less of a problem in a piano-less quartet than in a group with piano or in a big band. And, it probably depends on a number of other factors including the setup and sound reinforcement.
In those situations, I like the way the Strat can sit in its own spot in the frequency spectrum.
Yesterday I subbed in a band with a bunch of jazz players, who, in this group, were mostly playing funk. Last time I did it, I brought a semihollow that has a pretty dark sound. This time, I brought a Stratocaster -- which worked much better.
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