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  1. #1

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    Since Gibson began to make two pickup models is there any eveidence that old school players used the bridge pickup?

    It seems like many played double pickup guitars but never really invovled the bridge one.
    I even saw ES-175 with disassempled bridge pickup.

    Why did they do that then? A habit?

    Double pickup-up guitars are heavier. less acousically resonant... what sense does it make?

    PS
    Benson always plays two-pickups guitar.. does he use a bridge one?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Tal Farlow used his bridge pickup for harmonics.

    DG

  4. #3

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    Bridge pickups are useful for solos using harmonics, and for deadening the top vibrations, thus reducing feedback.

  5. #4

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    Quote Originally Posted by sgosnell
    Bridge pickups are useful for solos using harmonics, and for deadening the top vibrations, thus reducing feedback.
    Harmonics argument is clear. Though I can't remember so many old school players using them.

    As for feedback... how in practice is it used to achieve an effect on feedback you mention?

    Thank you

  6. #5

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    A teacher of mine a long time ago always had the guitar in the middle position. Since it sounded like the neck to me I asked him about it. He said he blended a bit of the bridge in “for articulation”. Then he proceeded to switch between the neck and the middle. I couldn’t tell the difference but nodded all along and said “makes sense”. Did any of the great old school players ever use bridge pickup on archtops?

  7. #6

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    Quote Originally Posted by Jonah
    Harmonics argument is clear. Though I can't remember so many old school players using them.

    As for feedback... how in practice is it used to achieve an effect on feedback you mention?

    Thank you
    More stuff stuffed in the top makes the top less resonant, therefore reducing feedback.

    Its "using" the bridge pickup without actually...using it

    Not a super old school guy, but Philip Catherine definitely uses the middle setting on his 175 often.

  8. #7

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    There are photos and clips of Joe Pass using the bridge pickup on his ES-175 IIRC.

  9. #8

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    This is the only clip I have EVER seen of bridge position use lol. It's with an organ trio so that makes sense. The organ takes up hella space and the guitar can cut through that way. I'm sure he was using some tone (or the amp), though since it doesn't sound that bright.


  10. #9

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    That is a dull sound. Never seen that clip before, although obviously, blues in F.

    I don't think I've ever heard a Strat sound so lifeless and muted.

    Nothing against the player, really. Just not a great sounding recording. FTR, that's Quentin Warren on the guitar. Check out his playing throughout the album "Crazy Baby!" and on so many JOS albums. Solid player, and I always dug his lines and his sense of time.

    And, every instrument has his own riser: kind of an odd recording in several ways. JOS does expand a bit beyond his standard "F" bag of tricks, which is nice to hear. Kind of a lesson in showmanship, I suppose. One can see how one might come away thinking that the LH bass was done on the pedals, even for a player with a very light to sometimes nonexistent touch on foot like the Master and orginator himself.

    Quentin Warren: what do you think? Bridge pickup, maybe (true to form, he takes the first solo before Jimmy takes over)?

    It is a similar tone to the TV recording of the blues quoted above.

    I am glad to revisit these recordings again, especially the studio recordings: Quentin comps like a mad genius, just low-key, and almost on every single beat he gets his end in. A bit like Freddie Green with a heavy emphasis on the upbeats.

    Which is fitting, since the organist can't produce chords while the LH is playing the bass and the RH is soloing (aside from the occasional "chuck" effect by dropping the RH to the lower manual, which is better heard on players like Jimmy McGriff or Jack McDuff, although obviously Mr. Smith invented that style as well).

    A little bit more of the lower strings, as well, compared to some of QW's contemporaries, is what I'm hearing.

    I suppose I'll have to do some transcribing of his voicings, so that's a good thing, even if it is a bit difficult to hear every single note in each chord.

    Last edited by jack-e; 07-29-2021 at 05:31 PM.

  11. #10

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    Listen to the solos on I Remember You and Isn’t It Romantic on the Tal at Ed Fuerst disks and you can hear the snap of the switch moving from neck to bridge.

    FYI Tal’s trusty ol ‘ Prototype #2’ Had three pickups. A D’Armond mounted center that went out a stereo cable direct to a Boss Octaver (?) to play basswhile Gary Mazzaroppi soloed on the upright.
    A FarlowCaster?)

  12. #11

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    Don't always trust the pup selector on a Strat: the "bridge" position on mine is wired to the middle pickup bypassing the tone control. I find it more usable that way.

    Couldn't say with certainty which pickup that is in The Sermon. It's very muffled.

    As for using the bridge pickup on my archtop, I'll use mine whenever I see fit. Wait, it doesn't have one... (Reminds me of a certain Monty Python sketch).

  13. #12

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    Quote Originally Posted by jack-e
    Bridge pickup, maybe...
    Or maybe the switch has been rotated so that what looks like the bridge position is really the neck pickup. The tone certainly sounds more like the neck pickup than the bridge pickup and I don't think any amount of rolling off treble is going to succeed in changing that. By re-orienting the switch, looking at the way he uses his right hand- which covers an awful lot of the guitar- he won't hit it which might be a problem with the switch was pointing forwards like normal.

  14. #13

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    There are some recordings of Oscar Moore where you can hear it's definitely a bridge pickup.

    Or it might be one of those strange ES-300s with the big diagonal pickup or the smaller pickup near the bridge.