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Phantom Post
May 18, 2012, 8:48:30 PM5/18/12
to
Did anyone see the Live From Daryl's House with Keb' Mo'?
http://www.livefromdarylshouse.com/currentep.html?ep_id=65
He's playing one of these:
http://www.hamerguitars.com/?fa=detail&mid=1441
Red. Three P90s. Bixby. Man-o-man that's a nice sounding guitar!
Just listen to that first song, "The Whole Enchilada".
Sweet.
--
Pat
email: valid would be net
http://www.livefromdarylshouse.com/currentep.html?ep_id=65
He's playing one of these:
http://www.hamerguitars.com/?fa=detail&mid=1441
Red. Three P90s. Bixby. Man-o-man that's a nice sounding guitar!
Just listen to that first song, "The Whole Enchilada".
Sweet.
--
Pat
email: valid would be net
Les Cargill
May 18, 2012, 10:33:26 PM5/18/12
to
Phantom Post wrote:
> Did anyone see the Live From Daryl's House with Keb' Mo'?
>
> http://www.livefromdarylshouse.com/currentep.html?ep_id=65
>
>
> He's playing one of these:
>
> http://www.hamerguitars.com/?fa=detail&mid=1441
>
> Red. Three P90s. Bixby. Man-o-man that's a nice sounding guitar!
>
Nice looking guitar, but it just sounds like a Strat in the video.
> Did anyone see the Live From Daryl's House with Keb' Mo'?
>
> http://www.livefromdarylshouse.com/currentep.html?ep_id=65
>
>
> He's playing one of these:
>
> http://www.hamerguitars.com/?fa=detail&mid=1441
>
> Red. Three P90s. Bixby. Man-o-man that's a nice sounding guitar!
>
> Just listen to that first song, "The Whole Enchilada".
>
> Sweet.
>
one pickup alone for leads, then back to the middle for
rhythm.
--
Les Cargill
Phantom Post
May 19, 2012, 12:15:47 AM5/19/12
to
Les Cargill <lcarg...@comcast.com> wrote in news:jp70mf$2ar$1@dont-
email.me:
>
> Nice looking guitar, but it just sounds like a Strat in the video.
>
Sounds thicker with more body, to me, than a strat. Pretty clean tone all
in all.
>
> For P90s, I *really* like the neck/bridge combo. Flip it to
> one pickup alone for leads, then back to the middle for
> rhythm.
>
I have a Les Paul with P90s and mostly use both PUs, blending them to
taste/need with the volume and tone controls.
email.me:
>
> Nice looking guitar, but it just sounds like a Strat in the video.
>
in all.
>
> For P90s, I *really* like the neck/bridge combo. Flip it to
> one pickup alone for leads, then back to the middle for
> rhythm.
>
taste/need with the volume and tone controls.
Les Cargill
May 19, 2012, 12:44:39 AM5/19/12
to
Phantom Post wrote:
> Les Cargill<lcarg...@comcast.com> wrote in news:jp70mf$2ar$1@dont-
> email.me:
>
>>
>> Nice looking guitar, but it just sounds like a Strat in the video.
>>
>
> Sounds thicker with more body, to me, than a strat.
Agreed. But the basic idea there is Strat. It's like the difference
> Les Cargill<lcarg...@comcast.com> wrote in news:jp70mf$2ar$1@dont-
> email.me:
>
>>
>> Nice looking guitar, but it just sounds like a Strat in the video.
>>
>
> Sounds thicker with more body, to me, than a strat.
between Knopfler's red strat and his more severely engineered guitars.
So the clip is like a Strat that gets rid of the coldness of a
Strat. That is a good trick, but it still sounds like a Strat.
Have I mentioned that I really like P90s?
> Pretty clean tone all
> in all.
>
>>
>> For P90s, I *really* like the neck/bridge combo. Flip it to
>> one pickup alone for leads, then back to the middle for
>> rhythm.
>>
>
> I have a Les Paul with P90s and mostly use both PUs, blending them to
> taste/need with the volume and tone controls.
>
production guitar made. Two P90s, in Les Paul fashion. I've had one
heck of a lot of fun with that thing. Bawls like a calf at branding
time.
--
Les Cargill
Tony Done
May 19, 2012, 2:31:49 AM5/19/12
to
"Les Cargill" wrote in message news:jp70mf$2ar$1...@dont-email.me...
The big deal for me about P90s is the adjustable pole pieces, combined with
a thick single coil tone.
My amp tech mate Terry reckons they sound good for nasally jazz tones when
out of phase. My one and only attempt at out-of phase was with strat
pickups, and that put me off trying again
Tony D
RichL
May 19, 2012, 9:35:16 AM5/19/12
to
"Tony Done" <tony...@bigpond.com> wrote in message
news:jp7ep5$ugl$1...@dont-email.me...
The key to good out-of-phase tones is connecting the pickups in series.
That darkens the tone (and boosts the output somewhat) compared to standard
parallel connections, which I find way too thin on out-of-phase, single-coil
pickups.
Series connection also lends an element of "beef" to in-phase,
more-than-one-pickup connections on three-pickup guitars. Rather than
Strat-like "quack", you get a more humbucker-like tone with bridge + middle,
neck + middle, and bridge + neck.
Of course the best of all worlds is to allow for both series and parallel
connection. That's how I've got two of my guitars wired. The in-phase
parallel, in-phase series, and out-of-phase series all sound good to me.
The only combinations I find myself not using are out-of-phase parallel.
Then again, I've got all those switches! Some people don't like that,
granted.
It takes six switches to get all the possible combinations on a three-pickup
guitar. One on/off for each pickup, one phase switch for each of two
pickups (you don't need all three), and one to switch the circuit from
series to parallel.
news:jp7ep5$ugl$1...@dont-email.me...
That darkens the tone (and boosts the output somewhat) compared to standard
parallel connections, which I find way too thin on out-of-phase, single-coil
pickups.
Series connection also lends an element of "beef" to in-phase,
more-than-one-pickup connections on three-pickup guitars. Rather than
Strat-like "quack", you get a more humbucker-like tone with bridge + middle,
neck + middle, and bridge + neck.
Of course the best of all worlds is to allow for both series and parallel
connection. That's how I've got two of my guitars wired. The in-phase
parallel, in-phase series, and out-of-phase series all sound good to me.
The only combinations I find myself not using are out-of-phase parallel.
Then again, I've got all those switches! Some people don't like that,
granted.
It takes six switches to get all the possible combinations on a three-pickup
guitar. One on/off for each pickup, one phase switch for each of two
pickups (you don't need all three), and one to switch the circuit from
series to parallel.
Phantom Post
May 19, 2012, 11:52:25 AM5/19/12
to
Les Cargill <lcarg...@comcast.com> wrote in news:jp78cg$4es$1@dont-
email.me:
> Yep. Epiphone makes a "special" with two p90s, arguably the cheapest
> production guitar made. Two P90s, in Les Paul fashion. I've had one
> heck of a lot of fun with that thing. Bawls like a calf at branding
> time.
>
My P90 LP is from '78 and the truss rod cover says "Pro". I believe they
called it a Pro Deluxe at the time. Actually has a 3pc maple neck/ebony
fingerboard. Gets a great range of tones but weighs a ton. It'll do warm
mellow jazz to bitin' n barkin'.
--
Pat
email: valid would be net
email.me:
> Yep. Epiphone makes a "special" with two p90s, arguably the cheapest
> production guitar made. Two P90s, in Les Paul fashion. I've had one
> heck of a lot of fun with that thing. Bawls like a calf at branding
> time.
>
called it a Pro Deluxe at the time. Actually has a 3pc maple neck/ebony
fingerboard. Gets a great range of tones but weighs a ton. It'll do warm
mellow jazz to bitin' n barkin'.
--
Pat
email: valid would be net
Flasherly
May 19, 2012, 3:10:02 PM5/19/12
to
On May 19, 9:35 am, "RichL" <rpleav...@yahoo.com> wrote:
>
> The key to good out-of-phase tones is connecting the pickups in series.
> That darkens the tone (and boosts the output somewhat) compared to standard
> parallel connections, which I find way too thin on out-of-phase, single-coil
> pickups.
>
> Series connection also lends an element of "beef" to in-phase,
> more-than-one-pickup connections on three-pickup guitars. Rather than
> Strat-like "quack", you get a more humbucker-like tone with bridge + middle,
> neck + middle, and bridge + neck.
>
> Of course the best of all worlds is to allow for both series and parallel
> connection. That's how I've got two of my guitars wired. The in-phase
> parallel, in-phase series, and out-of-phase series all sound good to me.
> The only combinations I find myself not using are out-of-phase parallel.
>
> Then again, I've got all those switches! Some people don't like that,
> granted.
>
> It takes six switches to get all the possible combinations on a three-pickup
> guitar. One on/off for each pickup, one phase switch for each of two
> pickups (you don't need all three), and one to switch the circuit from
> series to parallel.
Connecting in series -if- bypassing a selector switch. I've got a 5-
>
> The key to good out-of-phase tones is connecting the pickups in series.
> That darkens the tone (and boosts the output somewhat) compared to standard
> parallel connections, which I find way too thin on out-of-phase, single-coil
> pickups.
>
> Series connection also lends an element of "beef" to in-phase,
> more-than-one-pickup connections on three-pickup guitars. Rather than
> Strat-like "quack", you get a more humbucker-like tone with bridge + middle,
> neck + middle, and bridge + neck.
>
> Of course the best of all worlds is to allow for both series and parallel
> connection. That's how I've got two of my guitars wired. The in-phase
> parallel, in-phase series, and out-of-phase series all sound good to me.
> The only combinations I find myself not using are out-of-phase parallel.
>
> Then again, I've got all those switches! Some people don't like that,
> granted.
>
> It takes six switches to get all the possible combinations on a three-pickup
> guitar. One on/off for each pickup, one phase switch for each of two
> pickups (you don't need all three), and one to switch the circuit from
> series to parallel.
way for neck/mid humbuckers, and single-coil ashtray (tele-style)
bridge. With the mid-position (Selector Switch position TWO) bridge
single-coil in conjunction to mid Hot Rail -- the latter being first
wired for an ON/ON/ON DPDT (to Selector Switch THREE), ie rigged for
Series/Parallel/SingleCoil selections -- in order to *keep* the
selector switch, it *has* to be a parallel connect. Discounting a
"Super" 5-way switch (20 or so connects and possible rerouting), which
I'm not sure if it couldn't do a series/parallel job between bridge
and mid interconnects. Aside the logic, something like working out
gear ratios on a front 3- to rear 6-sprocket bicycle for redundancy.
In keep the selector, there's another option for wiring a single mid
Hot Rail coil to the bridge single coil for a greater-distance play
off that same DPDT;- possibly duplicating the other mid, left-over
coil to a neck single-coil change-out (my current Duncan bridge is one
bad-assed, ball-buster when it comes to bass), say, a single-coil
P90;- yet further exacerbating if to consider a Hot Rail that is a do-
able fit for the bridge/ashtray enclosure.
Thankfully, it's all going to stop with **TWO** ON/ON/ON DPDT;- any
more, along with two pots and a straight Asian 5-way selector, is too
much for a standard Tele control cavity. NOT SIX, may god have mercy
on your soul.
In any event, once in series off the DPDT mid Hot Rail, the "beef" is
nice: sort of vintage on steroids with pushing the power stage rather
than the preamp. OK, and I like it better, bass withstanding and
aways and by far more work to actually implementing an esoteric side
to wiring possibilities. That "out of phase" quack - you can hear the
differences here (links below) between a studio recording, where
they're using it, and an impromptu stage performance and just a
regular amplified acoustic.
Funk and stuff similar to a range of effects I'd personally consider
in pedal/amp FX circuitry. All aside from actually knowing or
employing the stuff. Suspect I'll also pass on phasing and
concentrate on PU physical output strengths (series to parallel
combinations, so far) in an attempt to select/blend their positions
reasonably together.
http://www.youtube.com/watch?v=YYPyTdTknqo
http://www.youtube.com/watch?v=FdvdDwaerb0
RichL
May 19, 2012, 3:46:39 PM5/19/12
to
"Flasherly" <Flas...@live.com> wrote in message
news:8d063b91-58c8-4600...@t35g2000yqd.googlegroups.com...
Six is good for some folks:
http://amazingnotes.com/wp-content/uploads/2011/10/brian-may-guitar.jpg
Actually I started messing with phase switches after I first heard Brian's
guitar sound with Queen. I had (still have) a 1965 Rickenbacker 450 that
came originally with two Ric toaster pickups. I decided to remove the
bridge pickup, route out the body, and put in two single-coil pickups to
complement the remaining toaster in the neck position. At that time I put
in two phase switches (Brian's guitar has one that's redundant) and wire the
pickups in series.
Later on, I found a simple circuit online to switch from series to parallel.
Added that in a later mod, still no more switches than Brian had, but it
gives you a total of 27 combinations. And using little mini-toggle switches
allows you to do all this compactly.
So later on, when I had a guitar custom-made, I incorporated everything I
had learned into this:
http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
Six little switches, one master volume and one master tone.
http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
news:8d063b91-58c8-4600...@t35g2000yqd.googlegroups.com...
http://amazingnotes.com/wp-content/uploads/2011/10/brian-may-guitar.jpg
Actually I started messing with phase switches after I first heard Brian's
guitar sound with Queen. I had (still have) a 1965 Rickenbacker 450 that
came originally with two Ric toaster pickups. I decided to remove the
bridge pickup, route out the body, and put in two single-coil pickups to
complement the remaining toaster in the neck position. At that time I put
in two phase switches (Brian's guitar has one that's redundant) and wire the
pickups in series.
Later on, I found a simple circuit online to switch from series to parallel.
Added that in a later mod, still no more switches than Brian had, but it
gives you a total of 27 combinations. And using little mini-toggle switches
allows you to do all this compactly.
So later on, when I had a guitar custom-made, I incorporated everything I
had learned into this:
http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
Six little switches, one master volume and one master tone.
http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
Tony Done
May 19, 2012, 5:01:17 PM5/19/12
to
"RichL" wrote in message
news:zf6dnROEe8ABPCrS...@supernews.com...
Thanks, I hadn't thought of series out-of-phase. I've tried series in-phase
with strat pickups, I didn't like it enough to persist with it. - But I like
a lot of "acousticness" in my tone, which you lose with hot series wiring.
I've just bought a DiMarzio 4P3T on-on-on switch and two SD Jazz pickups for
my Westone 335 knockoff, so I'm going to have series-single-parallel on both
pickups. I'm not convinced about single, but we'll see.
Tony D
Tony D
RichL
May 19, 2012, 5:46:35 PM5/19/12
to
"Tony Done" <tony...@bigpond.com> wrote in message
news:jp91mv$u4d$1...@dont-email.me...
really artificial-sounding texture to them, and they don't shine until you
really crank up the gain.
Listen to this Brian May performance. He's got two echoplexes going so he
can "harmonize" with himself, but this piece showcases the different sounds
from his guitar. The little bit from about 5:50 to 6:40 is middle and neck
pickups out of phase, from 6:50 to the end with the same two pickups in
phase, initially with the volume turned down to clean up the sound then
gradually increasing to add a little dirt.
Pickups in series throughout.
Tony Done
May 19, 2012, 5:54:44 PM5/19/12
to
"RichL" wrote in message
news:EsmdnWotD49fiSXS...@supernews.com...
Link?
Tony D
RichL
May 19, 2012, 6:50:29 PM5/19/12
to
"Tony Done" <tony...@bigpond.com> wrote in message
news:jp94r6$gal$1...@dont-email.me...
that.
http://www.youtube.com/watch?v=-m69BrvJNfg
Tony Done
May 19, 2012, 7:10:04 PM5/19/12
to
"RichL" wrote in message
news:s4adnQ3FSowgviXS...@supernews.com...
<g> Much as I admire Queen in general and Brian in particular, there is
nothing there I would want to emulate. I'm more the Ry cooder type.
Coincidentally, I saw him briefly on TV last night at the 2012 San Remo
Music Festival, while channel surfing.
Tony D
RichL
May 19, 2012, 7:34:21 PM5/19/12
to
"Tony Done" <tony...@bigpond.com> wrote in message
news:jp998e$928$1...@dont-email.me...
out-of-phase pickup combinations are far from that.
Bruce Morgen
May 19, 2012, 8:53:23 PM5/19/12
to
("HOoP") is a very usable and
appropriately rootsy sort of
tone. It's essentially the
same as parallel out of phase
in that you reverse the
electrical polarity of one of
the pickups, the difference
is you put a 10 nFd (.01 mFd)
capacitor in series with one
lead of that pickup. It's an
easy way to get something
somewhat resembling a Strat's
"quack" effect on a two-pickup
instrument -- not sure it
would add all that much to a
three-pickup guitar, though.
I've read folks stating that
it sounds a lot like a dobro,
which should appeal to a
Cooder (one of my major
influences btw, even though I
don't play any slide) fan.
Flasherly
May 20, 2012, 1:13:14 AM5/20/12
to
On May 19, 3:46 pm, "RichL" <rpleav...@yahoo.com> wrote:
>
> Six is good for some folks:
>
> http://amazingnotes.com/wp-content/uploads/2011/10/brian-may-guitar.jpg
>
> Actually I started messing with phase switches after I first heard Brian's
> guitar sound with Queen. I had (still have) a 1965 Rickenbacker 450 that
> came originally with two Ric toaster pickups. I decided to remove the
> bridge pickup, route out the body, and put in two single-coil pickups to
> complement the remaining toaster in the neck position. At that time I put
> in two phase switches (Brian's guitar has one that's redundant) and wire the
> pickups in series.
>
> Later on, I found a simple circuit online to switch from series to parallel.
> Added that in a later mod, still no more switches than Brian had, but it
> gives you a total of 27 combinations. And using little mini-toggle switches
> allows you to do all this compactly.
>
> So later on, when I had a guitar custom-made, I incorporated everything I
> had learned into this:
>
> http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
>
> Six little switches, one master volume and one master tone.
>
> http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
...same page -- I've seen, run into the many popular wiring references
>
> Six is good for some folks:
>
> http://amazingnotes.com/wp-content/uploads/2011/10/brian-may-guitar.jpg
>
> Actually I started messing with phase switches after I first heard Brian's
> guitar sound with Queen. I had (still have) a 1965 Rickenbacker 450 that
> came originally with two Ric toaster pickups. I decided to remove the
> bridge pickup, route out the body, and put in two single-coil pickups to
> complement the remaining toaster in the neck position. At that time I put
> in two phase switches (Brian's guitar has one that's redundant) and wire the
> pickups in series.
>
> Later on, I found a simple circuit online to switch from series to parallel.
> Added that in a later mod, still no more switches than Brian had, but it
> gives you a total of 27 combinations. And using little mini-toggle switches
> allows you to do all this compactly.
>
> So later on, when I had a guitar custom-made, I incorporated everything I
> had learned into this:
>
> http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
>
> Six little switches, one master volume and one master tone.
>
> http://i170.photobucket.com/albums/u267/rpleavitt/IMG_0021.jpg
to Brian's guitar. Also the 27 combinations. I know that site. Kind
of hung up on the old 5-way throw, I guess, at this point, anyway, and
couldn't honestly give it up for mini toggles. They're fun, I don't
mind soldering, but a telecaster only goes so far for radical
approaches. The other side of the moon compared to a Ric -- tele's
have a whole mystic mojo thing about that bridge ashtray interacting
with the standard PU plate mounted behind the coil magnets. Rather
than the approach to the guitar, a specific guitar (-a- Brian or -a-
Jimmy Page guitar), I've taken (another site) the approach to the
switch itself and its combinations, for possibilities with either
existing PUs ... or --and oh, hell yes-- let's BUY SOME MORE PUs.
Don't want to get too ahead of the game plan, still, I've a cavity to
route and shape up a little, some copper RF tape shielding . . .
three, four guitars for a stainless fret freak to work on. . .oh, and
right, like I really know eVeRyThInG already, well, at least enough
hopefully to where I just might be able to tell the difference between
a screwed and non-screwed job. Honestly, so what's the difference?
If one didn't sound better, improved. . .as with any endeavor. If you
can't get cut it, then best back off and plain get out of where you
don't belong. Phasing. . .nah, reckon I won't be going there for at
least a little while.
Tony Done
May 20, 2012, 2:43:58 AM5/20/12
to
"Bruce Morgen" wrote in message
news:sccgr7h3io3r3k7ua...@4ax.com...
I've got one guitar wired with the two P90 pickups connected in phase and in
phase with a small cap and a pot. With the pot at zero resistance the cap
certainly adds some strat-like quack. I might try it out of phase to see if
it does sound dobro-like.
Ry Cooder has used all kinds of tricks to get particular tones, including
installing a Supro string-through pickup in a strat - the Coodercaster - but
I think a lot of it is in his fingers.
Tony D
Bruce Morgen
May 20, 2012, 2:35:36 PM5/20/12
to
feel that makes him a
special player more than
his tone -- it's there
when he's playing acoustic
and mando too. James
Taylor (another huge
Cooder fan) says that it
comes from Bahamian
guitarist Joseph Spence,
a sort of Carribean plus
bluesy funk feel that fits
well with everything from
Memphis jug band stuff to
SoCal neo-mariachi.
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