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Discussion Starter · #1 · (Edited)
This link performed by Reg Schwager (guitar), Pete Magadini (drums) and Ken Lister (bass).
Reg is apparently using a ZT Lunchbox amp for the entire recording.
Is there anything else (i.e., effects) and extremely skilled fingers being used to get this tone?

@Merlin ...You have experience with these amps? Correct?

https://soundcloud.com/https%3A%2F%2Fsoundcloud.com%2Flporretta%2Fpete-magadini-trio-waltz-for-joanna-mwestbrook

This is about Reg Schwager...
Reg Schwager Musician Biography | Canadian Jazz Archive Online

Thanks

Cheers

Dave
 

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I'm sure there is some skill involved. This reminds me of the thread about the guys using the loudbox mini for jazz. Is it the tiny speakers?
 
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I’ve seen Reg use the Lunchbox, but the last two times I saw him playing live or in studio, it was with a provide Deluxe Reverb.

He usually plays an Eastman full hollow body these days. I think he may have switched to them to spare his blonde es-175.

I’d ask him, but his wife passed recently, and I don’t want to pester him with gear questions.
 

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Discussion Starter · #4 · (Edited)
My DV Mark Little Jazz amp has an 8" neo speaker. I was actually fairly close to getting the tone in the link earlier this morning.
 

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Discussion Starter · #5 · (Edited)
I’ve seen Reg use the Lunchbox, but the last two times I saw him playing live or in studio, it was with a provide Deluxe Reverb.

He usually plays an Eastman full hollow body these days. I think he may have switched to them to spare his blonde es-175.

I’d ask him, but his wife passed recently, and I don’t want to pester him with gear questions.
Thanks. I was typing the other response when you posted.
Do you think there anything post production added in order to get that tone?
It sounds so huge to me.

So sad to hear when someone's spouse passes away. Hard to even begin to comprehend the toll that would take.

I hope he will play at the Jazz Room in Waterloo someday.

BTW Merlin...I'm lovin' this little amp. (and I'm not saying because it is new and/or to justify the expense).
 

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It's all fingers, Dave. Ed Bickert used to play a Telecaster, using the neck pickup only. Bill Frisell, Julian Lage, Jim Campilongo, and many others do too. Tele neck pickups have traditionally been deemed too thin-sounding, but if one picks delicately, in the right spot on the string, uses medium-gauge strings, and an amp with lots of headroom, relative to the volume you wish to play at, you can get a pretty fat sound. The preference so many jazz guitarists have had for bigger more powerful amps like the Twin has really been more for their ability to achieve a clean tone at modest volumes than for their ability to scream. If a musician has a decent mic-ing setup, and a modest amp that can have a suitable frequency response and clean sound, then one doesn't need much more than that.

As for compression, there aren't many jazz players I'm aware of that use it at all. Fat jazz boxes with floating bridges provide a lot of that tone on their own. The floating bridge results in a very quick decay of the top end, but the resonant top and body allows for the fundamental and low-order harmonics to sustain for a while.
 

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Yep, Bickert played a tele, but many of the recordings are with a Gibson humbucker in the neck position. He also used 10 gauge roundwounds with a plain third. His favourite amp was an old orange Roland Cube 60, which he used from their introduction until his retirement. An important component of his sound was hybrid picking - he would comp using the pick and the other fingers to grab four note voicings.
 

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I wasn't trying to over-emphasize Tele pickups as more "natural" for jazz than humbuckers. Rather, so many players would presume them to be antithetical to a "proper jazz tone". Bickert sounded like Bickert no matter what he used. Maybe some pickups or rigs made it easier to nail that tone, but it was chiefly his picking style that defined his tone. (P.S.: He's not dead, just retired, which is why I say "was" rather han "is".)
 

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I wasn't trying to over-emphasize Tele pickups as more "natural" for jazz than humbuckers. Rather, so many players would presume them to be antithetical to a "proper jazz tone". Bickert sounded like Bickert no matter what he used. Maybe some pickups or rigs made it easier to nail that tone, but it was chiefly his picking style that defined his tone. (P.S.: He's not dead, just retired, which is why I say "was" rather han "is".)
I did mean to emphasize that he’s still with us.
 

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Depends on how 'purist' you are in definition of jazz tone. For the true purist any effect is blasphemy. I am sure that trying/experimenting with a touch of reverb or other modulating effects might reveal something you may like.
 

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Discussion Starter · #14 ·
Thanks to everyone for the responses.
My new amp is giving me wonderful jazz tone...I just wonder if others are using something as an additional (to a pinch of reverb) "flavouring" agent that I might not be familiar with.

I have been doing a lot of reading in the Jazz Guitar forum. Some folks there are using one or more of: clean boost, delay, EQ and compression.

@Robert1950 ...I commented in your thread and someone posted about drop in P90s from SD for the Casino Coupe. You might want to have a look, just for interest. They look nice in black!
 

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There used to be a luthier in the Ottawa area who built telecaster type guitars with only a humbucker in the neck position..no other pickups.Does anyone here remember his name?
 

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I don't hear reverb in the sample given.
If there is, it is very subtle.
At the very end of the track as the songs fades out is the best place to hear if there's any reverb because there is room to hear any decay trails that may be present.
I don't hear anything.
That doesn't mean there isn't any at all but if there is it does point to there being very little.

It sounds very much to me like a neck humbucker into a classic Fender like a Deluxe Reverb with no f/x.
Come to think of it, it could very well be a Pro Reverb.
I suspect it could very well be a bigger amp than a DR but maybe not as big as a TR.
Hard to say though, given that it is a studio recording rather than a live, on-stage performance.
When you have bass traps in the room the identity of an amp becomes more difficult to determine.

It could be a chambered or hollow body guitar but it sounds to me more like a solid body.
I hear none of the low-mid honk typically associated with hollow bodies.

I suspect compression may possibly have been employed after the fact in mastering.
I doubt compression was used as an effect by the guitarist as that would be sinful in his eyes.
 

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Discussion Starter · #17 ·
I went to see Dave Thompson, on of my favourite local jazz guitarists, last evening. He had about 15 pedals on his board and was playing a jazz box with a floating pickup. I asked him about his pedals and he said that it is more and more common as it gives players much more access to many more textured sounds.

He was also using two amps on stage to enjoy the stereo effect. He had a huge smile when he was telling me that!
 

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I wasn't trying to over-emphasize Tele pickups as more "natural" for jazz than humbuckers. Rather, so many players would presume them to be antithetical to a "proper jazz tone". Bickert sounded like Bickert no matter what he used. Maybe some pickups or rigs made it easier to nail that tone, but it was chiefly his picking style that defined his tone. (P.S.: He's not dead, just retired, which is why I say "was" rather han "is".)
The Tele neck pickup is the sound I want to hear from a jazz guitar. I love the way they sound, especially for bluesier jazz leads.
 

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There's quite a tonal range going from a Tele SC neck pup to an ES175 DC neck pup (only pup, if not a D). And they both sound great. It's just good there's more than one great jazz sound - the more the merrier.
 
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