开云体育

I feel a bit responible for this discusion, since I asked about my Epi
pups. I agree with Rick, the sound is your goal, and you must find the
way (equipment) to get it. The point is I have already bought Seymour
Duncan SH1 59' model. Was it a good decision?

Clif,

I don't know how worthy of bandwidth my response will be, but I do
see this differently.

Tone is important to me in two main ways. One is that I care how
others hear my guitar. But, probably even more important, is that I
can't play my best unless the guitar sounds "right". If I don't get
my sound it feels like I'm playing with somebody else's hands. I
can't get comfortable, because every note irritates me. Predictably,
there are times when I can't stand the sound and the other musicians
can't figure out what I'm complaining about.

I do agree, though, that if you had to pick tone vs groove, you'd go
with groove every time. But, in reality, you don't have to pick
between them, so you might as well pay attention to both.

Also, the guitar players I like all have great tone. Wes, Jim Hall,
Santana, Knopfler, Metheny, for example, are all guys whose tone I
love.

Joe Pass is an example of the other side of things. I have an album
of his called Tudo Bem. It's the music I like (Brazilian), played by
a great rhythm section. Joe's stuff is in the pocket and melodically
terrific. But his guitar sounds thin and dry and keeps me from
enjoying the music more.

Rick




--- In jazz_guitar@..., "jazzclif" <jurupari@a...> wrote:

--- In jazz_guitar@..., "brianmayeux"

<brianmayeux@y...>

wrote:

OK... So what do you play... If gear doesn't matter I guess you

must

play the cheapest thing out there ... Like a Used squier strat ??

I do, and it doesn't affect my playing at all.

I don't play a Benedetto one dang bit better than I play my JT-136
which cost $299. Probably worse, since I don't have fb problems

with

the Jay Turser.

I do have a squier lineage guitar too, a DeArmond X-145 I paid $250
for, and it plays fine too.

The videos I've put up have all been on cheap guitars, the above
mentioned and an Epiphone Studio Dot, ($237) and the output sounds
about the same to me. The ornithology/moon fingersyle solo is on

the

DeArmond and the chick and trane stuff up now is on the jt-136.

My mentor on guitar early on, Oscar Wright, was an excellent player
and a pretty large influence on my outlook.

He told me he didn't personally care anything at all about the tone
of his instrument. What mattered to him was timing, note choice,
phrasing and being at one in a group and with himself.

He was a very busy cat, and always caught the attention of the Joe
Henderson Woody Shaw type musican because he was so well plugged

into

that idiom. He'd also gigged with every r&b artist I'd about ever
heard of, and stayed busy, so it didn't affect his employability,
either.

He cared not one little bit about tone, just dialed in something he
was comfortable with. He played a Framus with a Jim Hall neck and

two

floating single coil pickups that were very trebly straight into a
twin he'd cut down some for portability.

I've sort of hit on one jazz tone I like and just get that out of
whatever guitar, since it's pretty easy to do.

What's important to me is dimension - I want a short scale guitar
with accesible frets and a reasonably low action and straight neck,
Competent workmanship, not necessarily perfect, and strings between
14's and 11's, but if I have all that, there's not going to be any
improvement in my ability if all I'm doing is playing on something
fancier.

I do tend to favor blond guitars, but to me they usually sound a
little different acoustically in a way I like.

I dunno, maybe some people get ten times the performance, or a
hundred times the performance for the same ratio of investment, but
that doesn't happen with me at all. I'll play a cheap short scale
better than a mint New Yorker from before WWII, I'll guarantee you.

For me, if it's in there, it'll come out regardless, and if it

isn't

no price of guitar is going to make it be otherwise.

Clif Kuplen

--- In jazz_guitar@..., "brianmayeux" <brianmayeux@y...>
wrote:

OK... So what do you play... If gear doesn't matter I guess you

must

play the cheapest thing out there ... Like a Used squier strat ??

I do, and it doesn't affect my playing at all.

I don't play a Benedetto one dang bit better than I play my JT-136
which cost $299. Probably worse, since I don't have fb problems with
the Jay Turser.

I do have a squier lineage guitar too, a DeArmond X-145 I paid $250
for, and it plays fine too.

The videos I've put up have all been on cheap guitars, the above
mentioned and an Epiphone Studio Dot, ($237) and the output sounds
about the same to me. The ornithology/moon fingersyle solo is on the
DeArmond and the chick and trane stuff up now is on the jt-136.

My mentor on guitar early on, Oscar Wright, was an excellent player
and a pretty large influence on my outlook.

He told me he didn't personally care anything at all about the tone
of his instrument. What mattered to him was timing, note choice,
phrasing and being at one in a group and with himself.

He was a very busy cat, and always caught the attention of the Joe
Henderson Woody Shaw type musican because he was so well plugged into
that idiom. He'd also gigged with every r&b artist I'd about ever
heard of, and stayed busy, so it didn't affect his employability,
either.

He cared not one little bit about tone, just dialed in something he
was comfortable with. He played a Framus with a Jim Hall neck and two
floating single coil pickups that were very trebly straight into a
twin he'd cut down some for portability.

I've sort of hit on one jazz tone I like and just get that out of
whatever guitar, since it's pretty easy to do.

What's important to me is dimension - I want a short scale guitar
with accesible frets and a reasonably low action and straight neck,
Competent workmanship, not necessarily perfect, and strings between
14's and 11's, but if I have all that, there's not going to be any
improvement in my ability if all I'm doing is playing on something
fancier.

I do tend to favor blond guitars, but to me they usually sound a
little different acoustically in a way I like.

I dunno, maybe some people get ten times the performance, or a
hundred times the performance for the same ratio of investment, but
that doesn't happen with me at all. I'll play a cheap short scale
better than a mint New Yorker from before WWII, I'll guarantee you.

For me, if it's in there, it'll come out regardless, and if it isn't
no price of guitar is going to make it be otherwise.

Clif Kuplen

Hi,
somebody knows the differences between ES335 Gibson and Seymor Duncan
57 pick-ups?
thanks guys...

Daniel
www.cdbaby.com/martinacia

You're not a gear head and neither am I... Just someone who wants to
get the sound I am looking for...

It's funny... My wife and I agreed that I would only own two guitars
the rest of my life ... One solid body and one hollow... The solid
body is a no brainer: 73 Gibson Les Paul... I am just trying to find
the right hollow body (that I can afford) for me...

I have only owned one solid body and one amp my whole life...

Well the amp was replaced since my other was ready for the
graveyard...

Anyway enough with the gear talk...

--- In jazz_guitar@..., "Rick_Poll"
<richardipollack@y...> wrote:

I play a high end guitar, but the exact same one for more that 20
years, with no mods except for the pickup. I play low end amps

(even

though I have a high end amp). You can buy a JX-40 for about $50

on

ebay and a JC-55 for about $250. And I can get my sound out of
almost any amp. I rarely change my rig. I'm insensitive to string
brand, although I have my preferred gauges. I'm not especially
curious about every new great thing that comes out. Years ago I
experimented with all kinds of electronic devices and

modifications

and ended up going back to stock stuff except for a little chorus

and

reverb.

So, am I a gearhead?

Rick




--- In jazz_guitar@..., "brianmayeux"

<brianmayeux@y...>

wrote:

I was refering to the remark,

"I think I'm pretty much on the other end of the spectrum from
gearheads, but I see this differently."

Every time I talk about equipment on this site, I get people

telling

me not to focus on it... And these are most likely people with

the

$6000 Gibson L5's (or something as expensive)... To me, that is

a

contradiction...

I already know how to improve myself musically/technically... I

come

to this site to mostly get info on equipment... Good or bad that

is

what I do...

-Brian

--- In jazz_guitar@..., Jeff Shirkey <jcshirke@m...>
wrote:

On Oct 1, 2005, at 12:45 PM, brianmayeux wrote:

OK... So what do you play... If gear doesn't matter I guess

you

must

play the cheapest thing out there ... Like a Used squier

strat ??

I think you should reread what Rick said. He said the exact

opposite

of what you claim he said. He said that *every* link in the

chain,

including (but not limited to) pickups, matters.

Jeff

I play a high end guitar, but the exact same one for more that 20
years, with no mods except for the pickup. I play low end amps (even
though I have a high end amp). You can buy a JX-40 for about $50 on
ebay and a JC-55 for about $250. And I can get my sound out of
almost any amp. I rarely change my rig. I'm insensitive to string
brand, although I have my preferred gauges. I'm not especially
curious about every new great thing that comes out. Years ago I
experimented with all kinds of electronic devices and modifications
and ended up going back to stock stuff except for a little chorus and
reverb.

So, am I a gearhead?

Rick




--- In jazz_guitar@..., "brianmayeux" <brianmayeux@y...>
wrote:

I was refering to the remark,

"I think I'm pretty much on the other end of the spectrum from
gearheads, but I see this differently."

Every time I talk about equipment on this site, I get people

telling

me not to focus on it... And these are most likely people with the
$6000 Gibson L5's (or something as expensive)... To me, that is a
contradiction...

I already know how to improve myself musically/technically... I

come

to this site to mostly get info on equipment... Good or bad that is
what I do...

-Brian

--- In jazz_guitar@..., Jeff Shirkey <jcshirke@m...>
wrote:

On Oct 1, 2005, at 12:45 PM, brianmayeux wrote:

OK... So what do you play... If gear doesn't matter I guess you

must

play the cheapest thing out there ... Like a Used squier

strat ??

I think you should reread what Rick said. He said the exact

opposite

of what you claim he said. He said that *every* link in the

chain,

including (but not limited to) pickups, matters.

Jeff

You certainly weren't argumentative and now that you are saying gear
is important changes my outlook totally...


--- In jazz_guitar@..., "Rick_Poll"
<richardipollack@y...> wrote:

First of all, I want to apologize if I sounded argumentative. That
wasn't my intention.

To answer your question, I play a Gibson L5-S (paf reissue in neck
position) with and ME-50 pedal board. I use a little stereo chorus
and typically play thru two amps at once with the ME-50 generating
the stereo. The amps are a Roland JC-55 and a Yamaha JX-40. These

are

pretty cheap amps and neither one sounds that great alone, but,
together, the boominess of the JX-40 compensates for the tinniness

of

the JC-55 and I like the result. Before that, I played the L5-S

into

a Mesa Boogie Mark III.

Even with all that, I can pretty much get my clean sound out of

any

reasonable amp. But I also use some distortion based sounds at

times

which are more gear sensitive.

I also play a Godin nylon multiac thru exactly the same electronic
rig. Oddly enough, I don't find it necessary to adjust things very
much when I switch guitars. I may have to reduce the bass on the

amps

if the Godin is feeding back. Depends on the room.

If I seemed like I was contradicting myself, maybe that's because
this is a balancing act. I was responding to a post from a player

who

seemed to be concerned that his Epi pickups, which he liked, could

be

improved by going to a replacement. My thought was that he would

be

better off focusing on exactly what change he wanted to make in

his

sound and then try to figure out exactly where the problem, if

any,

was.

Overall, I think gear is very important, even though I rarely

tinker

with it any more (I used to build the Anderton projects and on

board

preamps and so forth). My post was in reaction to a commenter who
suggested just focusing on touch. I suggest a very focused

approach.

The stuff is expensive and there are so many possible combinations
that you can't try them all.

Rick




--- In jazz_guitar@..., "brianmayeux"

<brianmayeux@y...>

wrote:

OK... So what do you play... If gear doesn't matter I guess you

must

play the cheapest thing out there ... Like a Used squier strat ??

However, if you are playing a $1000+ istrument you're

contradicting

yourself...

-Brian

--- In jazz_guitar@..., "Rick_Poll"
<richardipollack@y...> wrote:

I think I'm pretty much on the other end of the spectrum from
gearheads, but I see this differently.

I agree that your touch is the most important thing. But,

being a

great electric guitar player means that you're playing an

instrument

which begins with body and ends with the dispersion of sound

to

your

audience. Every link in that chain is important. Sure, some

may

make

more difference than others, but they all count. Playing great

is

the

sum of a seemingly endless series of details. And, in the end,

you'll

have to pay attention to every one.

The fact is that some setups sound better than others and

getting

great sound is important. I wouldn't wait until some arbitrary

time

in the future to think about it. The sound of the instrument

will

change the way you play. It's a feedback loop, not a one way

system.

Having said that, I think it's important to be focused in the

effort

to improve your sound. I don't think it's enough to say, will

a

new

pickup sound better? I think it would be better to be able to
identify what characteristics you're looking for and then

figure

out

what you need to do to get them.

You'll hear all kinds of stories. Some guys (me included) have
changed pickups to advantage. Other guys talk about preamps

making

all the difference. For others is pedals. For others it's
amplification. For others it's amp placement for proper

dispersion.

And, in the cracks you'll find guys talking about pots,

capacitors,

cables, tube types etc.

All of those things can change the sound -- and there are so

many

you'd be hard pressed to try every combination. So, I like a

problem

solving approach. What is it you want to sound like? What do

you

need

to do to get it?

Rick




--- In jazz_guitar@..., "hueyhoolihan"
<hueyhoolihan@y...> wrote:

different pickup manufacturing methods and designs sound

different.

the same design and manufacturer's pickup will sound

different

on

the

same guitar too if mounted in a different orientation

relative

to

the

top, nut and bridge.

in general, i believe buying equipment to enhance ones sound

is

counterproductive. it tends to lose the focus on ones

personal

improvement that is so necessary to reaching goals. i liken

it

to

golfers who are members in good standing to the 'driver of

the

month'

club, who will insist that the lastest $500 toy is finally

the

answer

to their problem. yes, it may help for a while, but it is

only

for a

while, because the real problem lies elsewhere. eventually

they

manage

to groove their poor swing skills on the new club, and are

back

where

they started.

i think your instincts are correct regarding "the sound is

in

your

fingers, and nothing else matters" statement, but it is

perhaps

a

little too extreme to agree with completely.

regards,
huey

--- In jazz_guitar@..., "bebmen" <bebmen@y...>

wrote:

Does a good pickup really change the sound? I mean, I

have

always

thought that the sound is in your fingers, and nothing

else

matters.

Last year I bought chinesse Epi Dot with serial Epiphone

pups,

and to

my vast surprise they sound good. Will any Gibson 57 or

Seymour

make

me sound better?

I already know how to improve myself musically/technically... I come
to this site to mostly get info on equipment... Good or bad that is
what I do...

If it's equipment info you want, I'd highly recommend visiting The Gear Page (thegearpage.net) regularly. It's frequented by a lot of high end, boutique gear snobs, but, hey, I'm one of them. :)

Jeff

I was refering to the remark,

"I think I'm pretty much on the other end of the spectrum from
gearheads, but I see this differently."

Every time I talk about equipment on this site, I get people telling
me not to focus on it... And these are most likely people with the
$6000 Gibson L5's (or something as expensive)... To me, that is a
contradiction...

I already know how to improve myself musically/technically... I come
to this site to mostly get info on equipment... Good or bad that is
what I do...

-Brian

--- In jazz_guitar@..., Jeff Shirkey <jcshirke@m...>
wrote:

On Oct 1, 2005, at 12:45 PM, brianmayeux wrote:

OK... So what do you play... If gear doesn't matter I guess you

must

play the cheapest thing out there ... Like a Used squier strat ??

I think you should reread what Rick said. He said the exact

opposite

of what you claim he said. He said that *every* link in the

chain,

including (but not limited to) pickups, matters.

Jeff

First of all, I want to apologize if I sounded argumentative. That
wasn't my intention.

To answer your question, I play a Gibson L5-S (paf reissue in neck
position) with and ME-50 pedal board. I use a little stereo chorus
and typically play thru two amps at once with the ME-50 generating
the stereo. The amps are a Roland JC-55 and a Yamaha JX-40. These are
pretty cheap amps and neither one sounds that great alone, but,
together, the boominess of the JX-40 compensates for the tinniness of
the JC-55 and I like the result. Before that, I played the L5-S into
a Mesa Boogie Mark III.

Even with all that, I can pretty much get my clean sound out of any
reasonable amp. But I also use some distortion based sounds at times
which are more gear sensitive.

I also play a Godin nylon multiac thru exactly the same electronic
rig. Oddly enough, I don't find it necessary to adjust things very
much when I switch guitars. I may have to reduce the bass on the amps
if the Godin is feeding back. Depends on the room.

If I seemed like I was contradicting myself, maybe that's because
this is a balancing act. I was responding to a post from a player who
seemed to be concerned that his Epi pickups, which he liked, could be
improved by going to a replacement. My thought was that he would be
better off focusing on exactly what change he wanted to make in his
sound and then try to figure out exactly where the problem, if any,
was.

Overall, I think gear is very important, even though I rarely tinker
with it any more (I used to build the Anderton projects and on board
preamps and so forth). My post was in reaction to a commenter who
suggested just focusing on touch. I suggest a very focused approach.
The stuff is expensive and there are so many possible combinations
that you can't try them all.

Rick




--- In jazz_guitar@..., "brianmayeux" <brianmayeux@y...>
wrote:

OK... So what do you play... If gear doesn't matter I guess you

must

play the cheapest thing out there ... Like a Used squier strat ??

However, if you are playing a $1000+ istrument you're contradicting
yourself...

-Brian

--- In jazz_guitar@..., "Rick_Poll"
<richardipollack@y...> wrote:

I think I'm pretty much on the other end of the spectrum from
gearheads, but I see this differently.

I agree that your touch is the most important thing. But, being a
great electric guitar player means that you're playing an

instrument

which begins with body and ends with the dispersion of sound to

your

audience. Every link in that chain is important. Sure, some may

make

more difference than others, but they all count. Playing great is

the

sum of a seemingly endless series of details. And, in the end,

you'll

have to pay attention to every one.

The fact is that some setups sound better than others and getting
great sound is important. I wouldn't wait until some arbitrary

time

in the future to think about it. The sound of the instrument will
change the way you play. It's a feedback loop, not a one way

system.

Having said that, I think it's important to be focused in the

effort

to improve your sound. I don't think it's enough to say, will a

new

pickup sound better? I think it would be better to be able to
identify what characteristics you're looking for and then figure

out

what you need to do to get them.

You'll hear all kinds of stories. Some guys (me included) have
changed pickups to advantage. Other guys talk about preamps

making

all the difference. For others is pedals. For others it's
amplification. For others it's amp placement for proper

dispersion.

And, in the cracks you'll find guys talking about pots,

capacitors,

cables, tube types etc.

All of those things can change the sound -- and there are so many
you'd be hard pressed to try every combination. So, I like a

problem

solving approach. What is it you want to sound like? What do you

need

to do to get it?

Rick




--- In jazz_guitar@..., "hueyhoolihan"
<hueyhoolihan@y...> wrote:

different pickup manufacturing methods and designs sound

different.

the same design and manufacturer's pickup will sound different

on

the

same guitar too if mounted in a different orientation relative

to

the

top, nut and bridge.

in general, i believe buying equipment to enhance ones sound is
counterproductive. it tends to lose the focus on ones personal
improvement that is so necessary to reaching goals. i liken it

to

golfers who are members in good standing to the 'driver of the

month'

club, who will insist that the lastest $500 toy is finally the

answer

to their problem. yes, it may help for a while, but it is only

for a

while, because the real problem lies elsewhere. eventually they

manage

to groove their poor swing skills on the new club, and are

back

where

they started.

i think your instincts are correct regarding "the sound is in

your

fingers, and nothing else matters" statement, but it is perhaps

a

little too extreme to agree with completely.

regards,
huey

--- In jazz_guitar@..., "bebmen" <bebmen@y...>

wrote:

Does a good pickup really change the sound? I mean, I have

always

thought that the sound is in your fingers, and nothing else

matters.

Last year I bought chinesse Epi Dot with serial Epiphone

pups,

and to

my vast surprise they sound good. Will any Gibson 57 or

Seymour

make

me sound better?

According to what Tom Jones (TV Jones) told me... That the lower DC
resistance produces more clarity... Which is what I really love and I
think is what you want for jazz and for that matter blues also...

The higher resistance adds some bite...

--- In jazz_guitar@..., "bebmen" <bebmen@y...> wrote:

Ok, so what makes a good jazz pickup. How does D.C resistance have

to

do with it? What difference does the height of the pickup make?
Basically what do I have to know to choose a good jazz pickup? What

do

you think of Seymour Duncan's SH1 59' model?

Wow... didn't know that...

--- In jazz_guitar@..., "Rick_Poll" <richardipollack@y...>
wrote:

It stands for Patent Applied For.

It refers to a label that was placed on the earlier Gibson

humbuckers.

These pickups are considered to be particularly good sounding.

Gibson

later reissued the pickup because it was getting so much good press

in

the guitar magazines.


--- In jazz_guitar@..., "bebmen" <bebmen@y...> wrote:

What does P.A.F means?

On Oct 1, 2005, at 12:45 PM, brianmayeux wrote:

OK... So what do you play... If gear doesn't matter I guess you must
play the cheapest thing out there ... Like a Used squier strat ??

I think you should reread what Rick said. He said the exact opposite of what you claim he said. He said that *every* link in the chain, including (but not limited to) pickups, matters.

Jeff

OK... So what do you play... If gear doesn't matter I guess you must
play the cheapest thing out there ... Like a Used squier strat ??

However, if you are playing a $1000+ istrument you're contradicting
yourself...

-Brian

--- In jazz_guitar@..., "Rick_Poll"
<richardipollack@y...> wrote:

I think I'm pretty much on the other end of the spectrum from
gearheads, but I see this differently.

I agree that your touch is the most important thing. But, being a
great electric guitar player means that you're playing an

instrument

which begins with body and ends with the dispersion of sound to

your

audience. Every link in that chain is important. Sure, some may

make

more difference than others, but they all count. Playing great is

the

sum of a seemingly endless series of details. And, in the end,

you'll

have to pay attention to every one.

The fact is that some setups sound better than others and getting
great sound is important. I wouldn't wait until some arbitrary

time

in the future to think about it. The sound of the instrument will
change the way you play. It's a feedback loop, not a one way

system.

Having said that, I think it's important to be focused in the

effort

to improve your sound. I don't think it's enough to say, will a

new

pickup sound better? I think it would be better to be able to
identify what characteristics you're looking for and then figure

out

what you need to do to get them.

You'll hear all kinds of stories. Some guys (me included) have
changed pickups to advantage. Other guys talk about preamps making
all the difference. For others is pedals. For others it's
amplification. For others it's amp placement for proper

dispersion.

And, in the cracks you'll find guys talking about pots,

capacitors,

cables, tube types etc.

All of those things can change the sound -- and there are so many
you'd be hard pressed to try every combination. So, I like a

problem

solving approach. What is it you want to sound like? What do you

need

to do to get it?

Rick




--- In jazz_guitar@..., "hueyhoolihan"
<hueyhoolihan@y...> wrote:

different pickup manufacturing methods and designs sound

different.

the same design and manufacturer's pickup will sound different

on

the

same guitar too if mounted in a different orientation relative

to

the

top, nut and bridge.

in general, i believe buying equipment to enhance ones sound is
counterproductive. it tends to lose the focus on ones personal
improvement that is so necessary to reaching goals. i liken it to
golfers who are members in good standing to the 'driver of the

month'

club, who will insist that the lastest $500 toy is finally the

answer

to their problem. yes, it may help for a while, but it is only

for a

while, because the real problem lies elsewhere. eventually they

manage

to groove their poor swing skills on the new club, and are back

where

they started.

i think your instincts are correct regarding "the sound is in

your

fingers, and nothing else matters" statement, but it is perhaps a
little too extreme to agree with completely.

regards,
huey

--- In jazz_guitar@..., "bebmen" <bebmen@y...> wrote:

Does a good pickup really change the sound? I mean, I have

always

thought that the sound is in your fingers, and nothing else

matters.

Last year I bought chinesse Epi Dot with serial Epiphone pups,

and to

my vast surprise they sound good. Will any Gibson 57 or

Seymour

make

me sound better?

It stands for Patent Applied For.

It refers to a label that was placed on the earlier Gibson humbuckers.
These pickups are considered to be particularly good sounding. Gibson
later reissued the pickup because it was getting so much good press in
the guitar magazines.

Juan:

Did you use a neck mount ? If so, did it fit OK...

--- In jazz_guitar@..., JVegaTrio@a... wrote:

The Kent Armstrong is a great replacement p/u, it's available @
Stewart-Macdonald, _www.stewmac.com_ () . I

put one on my Epi

Howard Roberts, & the results were very, very cool.

Good luck,
JV

Juan Vega

--- In jazz_guitar@..., "bebmen" <bebmen@y...> wrote:

Ok, so what makes a good jazz pickup. How does D.C resistance

have to

do with it? What difference does the height of the pickup make?
Basically what do I have to know to choose a good jazz pickup?

What do

you think of Seymour Duncan's SH1 59' model?

Howdy,

I'm not sure about the DC resistance, if it is the same as the
output olm's (which is resistance?). I think it has to do with the
output "power" the pickup has inheritantly. Most humbuckers are
around 7.5K to 8.9K, however, some are higher output 15.5K , etc.
the higher the K, the louder the pickup is. Alot of the metal
players prefer a very high output so it is easier to achieve a very
distorted or overdrivin sound. I don't think anyone would want that
for jazz?

The height of the pickup is important for output as well as getting
a balance in conjunction with the other pickups on the guitar.

There are tons of pickups on the mkt. Most jazz pickups are marketed
by how the are installed. Most archtops feature a "floating pickup"
which isn't hard wired into the top of the guitar, they are mounted
on the pickguard or the around the guitar's neck , so the top will
vibrate fully.

My favorite pickup is the Gibson 490R. When I purchased a used les
pual, it had seymour duncan pearly gates in the neck and a JB in the
tail . I switched those out to the gibson 490R and 490T becuase I
didn't care for the SD's tone, I found them to be muddy. I only got
a decent sound WITH distortion with the SD's. I really think gibson
is making a good pickup currently. I also put a gibson 490R in my
epi dot deluxe in the neck position. I really think a good pickup
for less money is made by kent armstrong. try visting the bill
lawrence website on general pickup info, there is a good interview
with bill about gibson's attempt to replicate the famous old PAF
style pickups.

A good tip for jazz players is to roll off the treble about half way
to get a jazz tone from a humbucker. Also , some "boutique" or
custom pickups company's claim that hand wound pickups are always
superior to machine wound pickups; I don't think that's true all the
time. You can spend anywhere from 30 bucks to 200 dollars on a
pickup. There are alot of factors , but what is nice, you can always
change them and experiement if you want.

Also, I don't recommend doing any routing of wood for installation ,
unless you're absolutely satisfied with the choice. Also, changing
pickups can effect the value of the guitar for resale, keep the old
stock pickups , but be wary if you had to route wood. My point is:
don't change the pickups on a classic vintage instrument if you plan
to resale the guitar. Nobody is going to want a 59 les paul with
seymour duncans, unless you've got the original pickups!

sorry for the long post...

Donnie Loeffler

Ok, so what makes a good jazz pickup. How does D.C resistance have to
do with it? What difference does the height of the pickup make?
Basically what do I have to know to choose a good jazz pickup? What do
you think of Seymour Duncan's SH1 59' model?

Lovely video Dick, just how did you learn to play like that? What
methodologies get one to play like that?

I dont suppose any one book can do it, do you mind me asking how
long you have been playing, and do u have any advice for someone who
knows their scales and arps, but just cant come up with the melodies
that ur improv displays, I mean, where do those melodies come from
when ur improvising like that?

My problem is I know the scales/arps, but frustrated that I cant
come up with such "jazz"

Many thanks, and great playing,

lee

--- In jazz_guitar@..., "Dick" <d.onstenk@c...> wrote:

On the Tal Farlow. You can see the flames even through the video
compression blurr! Some pocket problems in the second chorus, but
hey ... this is no tune to play first thing in the morning when

out of

bed on a Saturday morning....:)

The Tal is a gorgeous guitar. I got mine in my favorite finish for
this model (Viceroy Sunburst). You can see it well on this vid.



Regards,

Dick

--- In jazz_guitar@..., "Dick" <d.onstenk@c...> wrote:

On the Tal Farlow. You can see the flames even through the video
compression blurr! Some pocket problems in the second chorus, but
hey ... this is no tune to play first thing in the morning when out

of

bed on a Saturday morning....:)

The Tal is a gorgeous guitar. I got mine in my favorite finish for
this model (Viceroy Sunburst). You can see it well on this vid.



Regards,

Dick