Great way to get to know your guitar better. If you don't know how you guitar and amp sound together first, how can you make setup choices. Every now and then I feel the need to do this, to keep it fresh and make sure I still like my tone. My tastes have changed over 45 yrs of playing. It's a nice easy check to have. Plus it's fun and leads to playing in ways I don't always do.
Same for a John 5 telecaster I used to have. Two humbuckers, two volumes, one 3-way switch set in the middle. That’s it. So easy to make wee adjustments to the tone with the two volumes while playing.
@@kennygardner5041Jimmy Page used the middle a whole lot more After April 1972 when the bridge pickup changed.. I build replicas of that set.. Last vid on my channel
@@kennygardner5041 Yes, Jimmy had a New 'Gibson T Top' pickup in the bridge position..The 1st concert with it was Amsterdam May 27 1972.. I was lucky to know Jimmys right hand man (Clive Coulson ) ..Clive (a New Zealander ) was a customer of my guitar shop in Auckland New Zealand.
I’m one of those who extensively use the controls on my guitars, but I’m also very particular about the basic pickup setup to get specific tones before I even start messing with controls. Listening to your demo, I’m hearing very little difference between your bridge pickup and middle position sounds before you even start lowering the neck pickup volume. I always begin by setting my pickup heights (with the guitar controls on full) so that the middle position sound is at its most extreme difference from either solo pickup sound. If either pickup height is off by a couple of mm, your middle position will sound very much like either the bridge pup tone or neck pup tone. I find when your pickups’ heights are optimally balanced, the middle position will have a distinctly different tone - kind of quacky, ideal for clean Motown/funk/RnB. And the added benefit is that when you start lowering either pickup volume, you have a wider range of change, and it’s easier to find those sweet spots.
Don't think I ever have knobs all open anymore - used to ignore them until I realized, on any guitar, knob control is where the tone and feel resides. It was quite a breakthrough for me. And it's quite personal, depending on your touch, ears, amps, effects, etc.
I was the same as you. Until a bought a tele. You’re basically forced to learn how to use your volume and tone on a tele. Then I started utilizing the knobs on all my guitars. Made be a better player.
Excellent demo sir ! Hat's off . Most les paul demo's seem to have someone thrash it with max distortion and end up with a bloody noise ! Between you and Chris Buck , 2 tasteful player's who actually make me want to pick up my guitar. Cheers , keep it up.
Phil Keaggy’s playing from the early to late 70s always showcased this kind of pickup mixing. It was always a Les Paul through various fender amps. I loved how he rode the edge of break up, used volume knob dynamics, and pick up switching/mixing to bring out those tones like few others. A few standout songs were on albums he did with a group called Paul Clark and friends, “he’ll do the same”, “come into his presence”, and”Unveiling”. Also, the live at Carnegie Hall album with glass harp.
Phil's Master and the Musician album from the 70's is my Desert Island album. I believe he used Princeton and vox ac30 top boost amps. Another awesome showing was the work he did live with The 2nd Chapter of Acts 'How the West was One'.
With 50s wiring ,tinker with the tone pots ,when you lower them a bit you get a different kind of taper on the volume pot, and much les gain ,whith not much loss on the high end
Somebody on That Pedal Show or maybe Andertons said this is how they set up amps - turn the knobs until you hear where there is a wide sweep and sit it right in that middle spot on all the EQ
@@passionplayer7 I think it works too - I had front row seats to see him with his trio in Edinburgh a few years ago and he was outstanding - Kenny Wayne Shepherd, however was headline act, but I left after 5 songs!
I've owned 2 dozen guitars, but I never had a true number 1 until I got my ebony LP Classic. After all these years I finally understand why so many love the Les Paul so much.
@@AlexVonCrankThe Jimmy Page "Hollow Chirp" middle tone became much accentuate d after April 1972 with the new Bridge pickup.The pickups are "In Phase" with each other but with Substantial phase cancellation we don't hear in this vid.. I replicate the unique post 72 Page set on my channel last vid if you are a Page fan
Love that color top. My first “lp” was an epiphone in that color. Back then it was called Ice Tea. I looked for years to find an actual LP in the same color. And I mean years. It had to be exactly right, and no pickguard or holes.
The S2 McCarty 594 Thinline does the same thing. Put it in the middle position and roll back the neck pickup slightly and you'll hear a world of difference. Neat!
I have my volumes set on 7 with the bridge tone at 4 and the neck tone at 6. Any changes depend on the tune and for that, I use a pedal or adjust my amp. My LP sings.
It is interesting that I was doing this just yesterday with my Plexi clone. I can go from lead to rhythm to Fender cleans with only the controls on the guitar, never touching the amp. Seems like ol' Les knew what he was doing!
Yes in the middle position the volume controls become blending pots. I have allways dialed back the neck because it's too thick and just sounds clearer backed off. When in the bridge needs warming up a tad, I do this.
Worth trying - I am a bit lazy with my Les Paul and mainly use the bridge pickup on full volume and tone - and then change the amp settings (Line 6 Helix Native mostly). Probably better if I try a few things like this!
I grew up on a lp studio. And came to this naturally. Over the years. Recently built a warmoth hsh soloist. I had to add an additional volume knob to be able to do just this. I missed the 2vol 2tone versatility. Blending neck and bridge is where the magic happens. There is also a sweet spot for the tone knobs. Love the musicality of your playing! Thank you!
Over the years, I have owned three LPC's - one of them was custom ordered and took a year to get from the factory. The Customs are all gone now. Over the years, I shifted to SG's. To fill my LP needs, and over a few years, I bought a LP Classic and a couple of LP Studios. The Studios are overlooked. Like any other guitars, play a bunch and find one that speaks to you. And you have a winner and a keeper. The Studio's have the sound, the neck, and the tone!
Yea it’s a l great position on a LP, this is why I love guitars with individual tone & volume control per pickup. You can get a similar sweet spot on the Casino too (which I also have).
Recently had 50s wiring and PAF pickups installed in my Lester. Its ridiculously versatile now. You wont realise how versatile a setup like this is until you start experimenting. Double tone and vol controls with vintage-like electronics. Nothing you cant do
Tried this a Church this morning with my PRS DGT SE and the Praise leader ask where I was hiding that awesome tone. Always rolled off the volume but not like this!
Same thing with my se DGT. Although I usually ride with tone control backed off a little but neck pickup volume around 7-8 and bridge pickup at 10 and when your in the middle switch position it’s a really nice tone and response
I said this right at the start. It's just a process of adaption and learning how to best use its voice. Coming from a strat/tele it can be a bit jarring but once you lean into it good things start happening. I say that as someone that started on a strat then played les pauls for a long time then jumped to a tele/ strat for years then finally came back to a les paul. Its always the same.
Going through the exact same thing. Play the Stratocaster for 50 years . Bought a Les Paul in a SG this year. Always consider the Les Paul as my enemy. I haven't played my Strat in a whole year
This is where you find out just how good your Les paul is. It's all about the neck and the two blended for me, the bridge always sounds great to me. The lower you turn the bass pickup( while both are on) the strattier it sounds. Try same with treble pickup that's a favorite of mine.
A lez paul player John Cordy needs to check out is early Glass Harp bands PHIL KEAGGY, any of those early 70's Songs or Videos for sure. Keaggy was really ahead of most Rock players in the early 70's, he had Jazz flavored licks, ala Peter Frampton and Steve Howe style mixed in, Phil must have had a really good guitar Teacher back when he was learning. Mainly played a early 70's Les Paul, and Fender Twin Silverface amps.
It works well. I’ve been doing it when I need to play some clean rhythms and want to get some of the bass out of the tone of the lower strings. Hit a chord, roll of the neck volume until it sounds right, and keep it there.
Awesome to see this in a video. I’ve been doing this for some years now on my LP. I have push/pull on my workhorse LP Studio and it’s even better tone when splitting the neck to single coil and blending that in with the bridge on bucker. Usually need my neck volume more in the 9 range when on SC neck, bucker bridge. But that neck only on 9 in a single coil pull’d position gets really round and smooth.
I live in the middle position on my LP. To me, it's the most chimey and usable tone for that type of guitar. It's almost single coil-sh or middle position of a tele type sound but still uniquely an LP thing because if the pick attack 'chirp.' I always wonder why nobody really uses that position in LP demos. MIDDLE! It's the tone zone!
I do a similar thing with my SG. I typically neave tbe bridge up full, go to the neck and roll back the volume with a dirty amp until I have a clean tone, then I go the middle and EQ my amp. The result is a nice and full crunch, I can go right to the neck for a saturated and bright lead tone, and necl for cleans. Then I make adjustments as needed for other tones and return the neck volume to its starting point when clean is desired again
Absolutely lovely playing, especially that intro. Some cool ideas to try out. I often forget how many colors can be had by actually using the volume and tone controls. Thanks for passing these ideas along.
Only learned this trick recently on one of Mr. Ostrander's great videos too. It's made me like Les Paul's a whole lot more than I used to, even when my LP Special was one of my three favourites. It's Strat on neck, Les Paul on middle (neck volume tuned back), Telecaster on bridge (tone rolled back a litte) ftw. And I think I like those Strat neck into some kind of tubescreamer or klon into Marshall JTM, Les Paul clean boosted into Fender Deluxe/Super/Twin, Telecaster into compressor into Vox AC30.
It’s nice when you have pickups in a Les Paul or LP-influenced guitar that are clear enough that they can be turned down without having lots of muddy sound, particularly in that neck position.
first thing I noticed when I started playing a Les Paul was I didn’t like the bridge or neck as much as the middle & a gracious older player showed me how to blend the volume & tone knobs & get all kinds of great sounds. it works a bit better with 50s style wiring & I really think every should try it in a Gibson style guitar but I judge all my Gibson/Epiphones on the middle position
Someone has been watching Justin's channel :D I was doing it for years on all my HH guitars without any particular reason other than it just sounded fuller and lost the quackiness that the bridge on its own has. I also saw the Justin's video and it helped me to understand why I was liking it.
I discovered this a few years ago. It opened up a whole New World for my Les Paul! Because of it, two volume two tone is my favorite control layout. It is similar to the bridge. Pick up with the tone around five or six, but it is different.
I can hardly believe that you only just discovered this sound variation John. 😮 Or is it just now that you decided to highlight it in a video ? Either way, well done for explaining it to the masses. It does, in fact, work in 'Split Coil' mode for single coils as well. Also for single coil guitars when you have separate volume control for them.
It's one of my main reasons for avoiding humbucker loaded guitars than don't have separate volumes. I DO have one or two without but they are the exception and I've oft considered modding them to include a second. The Gretsch control system with it's third 'Master Volume' is a further step up, allowing that set blend to remain even when needing to turn the guitar down or completely off.
It always amazes why people think their volumes and tones have a magic position that they should be welded into. Look at Jeff Beck: changing both all the time during solos (during being the key word). Also how come many people use loads of hi cut with modellers but would never consider rolling the guitar tone back?
Great blues tone on my 335 that way (mid pu selector w neck vol backed off a touch) straight into a super reverb or deluxe reverb. Modified a fender hrd (hot rod deluxe) that sounds great as well... Has some bloom and really good interaction with guitar vol variations. Goes from glassy cleans to creamy/chewy.
This is the secret to Jimmy Herring’s beautiful tone! Albeit he does it with an HH strat, but wired like a Les Paul. Middle position with Bridge on full volume, neck pickup volume rolled back a hair for a “sweeter tone with less bite.” Hell yeah 🙌
The pickup heights and obviously output, make a huge difference. I've actually found that I much prefer the opposite adjustments. I set everything wide open, in the middle switch position. Then I bring the bridge volume down until they balance out. This may require some more pickup height adjustment, but once you get them balanced in the middle position. You'll have that sweet spot as a starting point. If you then back both volumes down equally from that initial starting point of volume balance, the whole rest of the way down the range will sound killer! You can always bring the bridge back up a smidgen to get more bite. It's the only way I dial my 2 volume pot guitars now. Way more versatile.
I figured this out about 5 years after I started playing an LP in the 70's. I never, ever use one pickup. I blend my tone for whatever tune I'm playing. It gets very instinctual after a time.
I've always done this with my 70's style Tele Custom (neck humbucker). Keeps that bridge Tele single coil bite, but with some warmth and fullness blended in from the neck humbucker. It's always a killer tone clean or with gain.
I wish i could have that sound in a live situation , so different in a home environment in comparison to a bad acoustic venue (most of them are) or even worse outdoor gigs , before the gig I’m always excited with the sounds i get from my rig (two rock, H90 , vemurans and klon) but after the gig ……
I have an Epiphone LP '59 with the 50s wiring and I've been guided a bit by Joe Bonamassa (on RUclips). Neck pickup volume is 9, with the tone rolled all the way off. Bridge volume is 9.5, with the tone going as high as 8.8 or as low as 3, depending on how rocky I feel. It may not work for you, but it works for me.
Your LP must be very bright! Once tone knobs get to around 3 it gets very dark sounding. It’s amazing though how much tonal range is achievable in middle position
I prefer it the other way around - the neck pickup volume set higher than the bridge. Best place for me is 7-8 on neck and perhaps 6 or so on the bridge. I have an R8. Oh yeah a bit less gain...
I think it might have been on a Joe Bonamossa video that I saw this tip about a week ago. Good note choices can make just about any tone sound cool. If the note choices are bad, good tone is not going save it.
Try putting a 560pf treble bleed cap across neck pot. It really brightens up the neck pickup when not on 10. Very easy and reversible mod and you get a much more useful tonal range when in the middle position. If you have a treble bleed on the bridge volume remove it, throw it away and never reinstall it!
Another thing is to run you bridge tone from around 5-7 depending how you play and back off in the volume. Joe Bonamassa is the KING of this. It’s a fun sound too
Especially after April 1972 when the bridge pickup was changed..I replicate that unique pickup set on my channel (Last Vid)..Jimmy had much more "Phase cancellation " (hollow chirp) than here, yet the pickups are still in phase.. Its due to the different magnets.
Hello. NEED help. I just bought your HX Native & Kemper packs. Is there a youtube vid that explains how these should be set up. I read that IRs first need to be loaded but I dont really understand the steps nor the concept.
Page played a lot in the middle. Neck vol. On 8 or 9. Bridge on 10. Green and others had the Neck pickup lowered into the body deeper than the pickup ring to eliminate overly muddy lp neck tones Claptons les.paul had a .015 uf cap on the tone pot (vs .02) 50s style wiring is great . You can roll off vol to go from mean to clean for tele on steroids vibe Some of my go-to settings/setup. Playing through a vintage style single channel amp is a great way to discover this stuff.
I make replicas of the 'Post April 1972' Jimmy Page set on my channel ( last vid) 'A' vs B direct comparisons between Jimmys and the replicas if your a Page fan.
Um diese stechenden Höhen aus den Gibsons herauszubekommen, gibt es viele Möglichkeiten, dies wirklich befriedigend zu erreichen. Nur allein mit dem Gebrauch beider Tonabnehmer und zusätzlichem Verstellen der Klang- oder Lautstärkeregelung ist das nicht zu bewerkstelligen, sondern allenfalls eine Besserung zu erzielen. Da spielen so viel andere Faktoren noch eine Rolle, bis hin zu den verwendeten Lautsprechern, mit denen man das Ziel des optimalen Klangs erreichen kann. Zuerst einmal sollte man sich nicht gerade einen Verstärker anschaffen, der höhenreich ist - was viele aber sind. Das selbe gilt für die Lautsprecher. Ein weiterer Faktor ist die Kabellänge, die Qualität der Kabel bzw. deren Kapazität und Anzahl der Effekte - alleine dadurch kann man schon, wenn mit Glück die Anzahl der Effekte passt, dem Ton die schneidende Schärfe auf das genau richtige Maß genommen werden. Zu viel darf auch nicht gedämpft werden, denn sonst wirkt der Klang matt. Wenn man dann auch noch an den Effekten gut in die Klangregelung eingreifen kann, kann man es letztendlich optimal hinbekommen. Selbstverständlich ist da ein Equalizer auch sehr nützlich, aber je nach verwendetem Effekt nicht unbedingt erforderlich. So viel lässt sich ganz allgemein dazu sagen. Ich habe verschiedene Verstärker, Gitarren und Pedalboards. Bei den kleineren Pedalobards zum Beispiel, auf denen sich zwischen 5 und 10 Effektpedale befinden, habe ich extra Patchkabel mit einer hohen Kapazität verwendet und konnte alleine schon durch diese Anzahl und die Kabel den Klang sehr optimieren, viel wirksamer, als nur mit den Regulationsmöglichkeiten an der Gitarre. Auf meinem großen Pedalboard bekomme ich mit 20 Effekten und Kabeln mit niederer Kapazität auch in genau richtigem Maße die überbordenden Höhen heraus. Aber nur zwei Pedale mehr - und schon ist der Klang grauenhaft. Da hilft einfach nur experimentieren und alle Möglichkeiten auszuschöpfen, die den Klang mitformen. t. Da die Gitarren bzw. deren elektrisches Innenleben nicht gleich ausfällt, sondern die elektronischen Bauteile durchaus bis zu 20% plus-minus abweichen, gibt es kein Patentrezept oder haargenaue Beschreibung. Ebenso spielt es natürlich eine große Rolle, ob sich ein Puffer in den Pedalen befindet oder nicht.
Sometimes its good to sit down with an L.P plugged straight into a tube amp and realize all the Tone are there , unbeatable.
Great way to get to know your guitar better. If you don't know how you guitar and amp sound together first, how can you make setup choices. Every now and then I feel the need to do this, to keep it fresh and make sure I still like my tone. My tastes have changed over 45 yrs of playing. It's a nice easy check to have. Plus it's fun and leads to playing in ways I don't always do.
@@TheGospelGuitarist they've never made a pedal that can do that tube thing
A good Les Paul thrives on the middle position blending the volume knobs. My favorite player to do it is Warren Haynes.
Same for a John 5 telecaster I used to have. Two humbuckers, two volumes, one 3-way switch set in the middle. That’s it. So easy to make wee adjustments to the tone with the two volumes while playing.
Add Jimmy Page as well. Love Warren too!
@@kennygardner5041Jimmy Page used the middle a whole lot more After April 1972 when the bridge pickup changed.. I build replicas of that set.. Last vid on my channel
@@bryanwilliams3665 I noticed that, especially on the SRTS Soundtrack.
@@kennygardner5041 Yes, Jimmy had a New 'Gibson T Top' pickup in the bridge position..The 1st concert with it was Amsterdam May 27 1972..
I was lucky to know Jimmys right hand man (Clive Coulson ) ..Clive (a New Zealander ) was a customer of my guitar shop in Auckland New Zealand.
I’m one of those who extensively use the controls on my guitars, but I’m also very particular about the basic pickup setup to get specific tones before I even start messing with controls. Listening to your demo, I’m hearing very little difference between your bridge pickup and middle position sounds before you even start lowering the neck pickup volume. I always begin by setting my pickup heights (with the guitar controls on full) so that the middle position sound is at its most extreme difference from either solo pickup sound. If either pickup height is off by a couple of mm, your middle position will sound very much like either the bridge pup tone or neck pup tone. I find when your pickups’ heights are optimally balanced, the middle position will have a distinctly different tone - kind of quacky, ideal for clean Motown/funk/RnB. And the added benefit is that when you start lowering either pickup volume, you have a wider range of change, and it’s easier to find those sweet spots.
Don't think I ever have knobs all open anymore - used to ignore them until I realized, on any guitar, knob control is where the tone and feel resides. It was quite a breakthrough for me. And it's quite personal, depending on your touch, ears, amps, effects, etc.
I was the same as you. Until a bought a tele. You’re basically forced to learn how to use your volume and tone on a tele. Then I started utilizing the knobs on all my guitars. Made be a better player.
That’s a beautiful song you played at the beginning.
Classic LP sound, so spatial and full of character. I have 3 and my heart fills with joy everytime I play them. Outstanding playing as always.
Excellent demo sir ! Hat's off . Most les paul demo's seem to have someone thrash it with max distortion and end up with a bloody noise ! Between you and Chris Buck , 2 tasteful player's who actually make me want to pick up my guitar. Cheers , keep it up.
Phil Keaggy’s playing from the early to late 70s always showcased this kind of pickup mixing. It was always a Les Paul through various fender amps. I loved how he rode the edge of break up, used volume knob dynamics, and pick up switching/mixing to bring out those tones like few others.
A few standout songs were on albums he did with a group called Paul Clark and friends, “he’ll do the same”, “come into his presence”, and”Unveiling”.
Also, the live at Carnegie Hall album with glass harp.
He was way advanced for the early 70's. Glass Harp was a Legendary band that few knew about.
Phil's Master and the Musician album from the 70's is my Desert Island album. I believe he used Princeton and vox ac30 top boost amps. Another awesome showing was the work he did live with The 2nd Chapter of Acts 'How the West was One'.
Amazing to see a fellow Keaggy fan. Not enough people know about him
Phil Keaggy. a must musician to check out guitar hero.
I think "Full Circle" Really displays Phil's great tone.
With 50s wiring ,tinker with the tone pots ,when you lower them a bit you get a different kind of taper on the volume pot, and much les gain ,whith not much loss on the high end
Somebody on That Pedal Show or maybe Andertons said this is how they set up amps - turn the knobs until you hear where there is a wide sweep and sit it right in that middle spot on all the EQ
That is the Matt Schofield way, great way to do it 👌🏻
@@passionplayer7 That's the one!
@@passionplayer7 I think it works too - I had front row seats to see him with his trio in Edinburgh a few years ago and he was outstanding - Kenny Wayne Shepherd, however was headline act, but I left after 5 songs!
I opted to buy a 150 by Heritage. It is a beautiful instrument but only effects can make it sound like this
Gorgeous LP. When you find the right one, nothing else feels or sounds quite like it. Beautiful playing, as always. You really are an inspiration.
I've owned 2 dozen guitars, but I never had a true number 1 until I got my ebony LP Classic. After all these years I finally understand why so many love the Les Paul so much.
When you get a beautiful tone like that, even one note sounds amazing!
Been doing that for decades, lol.
The middle position and the neck pickup volume control is your friend.
Jimmy Page played that way frequently.
Listen to the album version of Moby Dick and you just know he's in that middle position.
@@AlexVonCrankThe Jimmy Page "Hollow Chirp" middle tone became much accentuate d after April 1972 with the new Bridge pickup.The pickups are "In Phase" with each other but with Substantial phase cancellation we don't hear in this vid..
I replicate the unique post 72 Page set on my channel last vid if you are a Page fan
@@bryanwilliams3665 I'm on my way...
Does it chug? Maybe some Megadeth? 😂
Love that color top. My first “lp” was an epiphone in that color. Back then it was called Ice Tea. I looked for years to find an actual LP in the same color. And I mean years. It had to be exactly right, and no pickguard or holes.
The S2 McCarty 594 Thinline does the same thing. Put it in the middle position and roll back the neck pickup slightly and you'll hear a world of difference. Neat!
“Someone started playing with his knobs”…definitely helps 😊
I have my volumes set on 7 with the bridge tone at 4 and the neck tone at 6. Any changes depend on the tune and for that, I use a pedal or adjust my amp. My LP sings.
That's where I live with my Les Paul most of the time...sounds super warm and cozy to me.
01:40 Your skills wow. You make It looks easy. Amazing tone and notes.
It is interesting that I was doing this just yesterday with my Plexi clone. I can go from lead to rhythm to Fender cleans with only the controls on the guitar, never touching the amp. Seems like ol' Les knew what he was doing!
I think it was more Gibson President Ted McCarty at that time.
Yes in the middle position the volume controls become blending pots. I have allways dialed back the neck because it's too thick and just sounds clearer backed off. When in the bridge needs warming up a tad, I do this.
I love you can do this on a DGT too in a simpler fashion. I just hang out there now lol
Worth trying - I am a bit lazy with my Les Paul and mainly use the bridge pickup on full volume and tone - and then change the amp settings (Line 6 Helix Native mostly). Probably better if I try a few things like this!
I grew up on a lp studio. And came to this naturally. Over the years. Recently built a warmoth hsh soloist. I had to add an additional volume knob to be able to do just this. I missed the 2vol 2tone versatility. Blending neck and bridge is where the magic happens. There is also a sweet spot for the tone knobs. Love the musicality of your playing! Thank you!
Over the years, I have owned three LPC's - one of them was custom ordered and took a year to get from the factory. The Customs are all gone now. Over the years, I shifted to SG's. To fill my LP needs, and over a few years, I bought a LP Classic and a couple of LP Studios. The Studios are overlooked. Like any other guitars, play a bunch and find one that speaks to you. And you have a winner and a keeper. The Studio's have the sound, the neck, and the tone!
Yes Sir. That middle position is simply MAGICAL.
Yea it’s a l great position on a LP, this is why I love guitars with individual tone & volume control per pickup. You can get a similar sweet spot on the Casino too (which I also have).
I start with the neck pick up nearly off in the middle position. And slowly roll it in when I need a bit more bottom end or thickness. So good!
Recently had 50s wiring and PAF pickups installed in my Lester. Its ridiculously versatile now. You wont realise how versatile a setup like this is until you start experimenting. Double tone and vol controls with vintage-like electronics. Nothing you cant do
Tried this a Church this morning with my PRS DGT SE and the Praise leader ask where I was hiding that awesome tone. Always rolled off the volume but not like this!
Recognized the tune from the start.. Never surrender by Corey Heary. Beautiful
Same thing with my se DGT. Although I usually ride with tone control backed off a little but neck pickup volume around 7-8 and bridge pickup at 10 and when your in the middle switch position it’s a really nice tone and response
Works in 'Coil Split' mode as well.
I said this right at the start. It's just a process of adaption and learning how to best use its voice. Coming from a strat/tele it can be a bit jarring but once you lean into it good things start happening.
I say that as someone that started on a strat then played les pauls for a long time then jumped to a tele/ strat for years then finally came back to a les paul.
Its always the same.
Going through the exact same thing. Play the Stratocaster for 50 years . Bought a Les Paul in a SG this year. Always consider the Les Paul as my enemy. I haven't played my Strat in a whole year
@@garybateman6869 Not all Les Paul's are the same.
This is where you find out just how good your Les paul is. It's all about the neck and the two blended for me, the bridge always sounds great to me. The lower you turn the bass pickup( while both are on) the strattier it sounds. Try same with treble pickup that's a favorite of mine.
Yeah treble pick up tone @ about 3 to 4 where ever it starts to clear 👌🏼
Lovely playing, makes a change from shredding. Thank you for thr video, always something new to learn.
This is where ES335s have resided forever.
It's also what made PRS's decision to stick with a Master volume on the Hollowbody series so confusing.
Cool! Sounds similar in a way to blending the Bright and Normal inputs on a Plexi in the Helix (or its real world counterpart).
Middle position is the best!! That ,plus make sure you have it wired in the vintage manner
A lez paul player John Cordy needs to check out is early Glass Harp bands PHIL KEAGGY, any of those early 70's Songs or Videos for sure. Keaggy was really ahead of most Rock players in the early 70's, he had Jazz flavored licks, ala Peter Frampton and Steve Howe style mixed in, Phil must have had a really good guitar Teacher back when he was learning. Mainly played a early 70's Les Paul, and Fender Twin Silverface amps.
When I got my first Gibson (SG) as a teenager, I discovered that setting by mistake but it always is what sounded the best to me.
It works well. I’ve been doing it when I need to play some clean rhythms and want to get some of the bass out of the tone of the lower strings. Hit a chord, roll of the neck volume until it sounds right, and keep it there.
Awesome to see this in a video. I’ve been doing this for some years now on my LP.
I have push/pull on my workhorse LP Studio and it’s even better tone when splitting the neck to single coil and blending that in with the bridge on bucker. Usually need my neck volume more in the 9 range when on SC neck, bucker bridge.
But that neck only on 9 in a single coil pull’d position gets really round and smooth.
Mate. You're an absolute MONSTER of a player!
Such a beautiful style and tone, magic. I'll remember the Fender Pro Reverb what a lovely combo.
This works on strats as well. Position 2 or 4 and roll off the tone on the middle pickup 'til it sounds right. Again, 50s wiring helps a lot.
I live in the middle position on my LP. To me, it's the most chimey and usable tone for that type of guitar. It's almost single coil-sh or middle position of a tele type sound but still uniquely an LP thing because if the pick attack 'chirp.' I always wonder why nobody really uses that position in LP demos. MIDDLE! It's the tone zone!
I do a similar thing with my SG. I typically neave tbe bridge up full, go to the neck and roll back the volume with a dirty amp until I have a clean tone, then I go the middle and EQ my amp. The result is a nice and full crunch, I can go right to the neck for a saturated and bright lead tone, and necl for cleans. Then I make adjustments as needed for other tones and return the neck volume to its starting point when clean is desired again
Your rig, it just holds on to tone. Also thanks for showing this neat trick.
Absolutely lovely playing, especially that intro. Some cool ideas to try out. I often forget how many colors can be had by actually using the volume and tone controls. Thanks for passing these ideas along.
Only learned this trick recently on one of Mr. Ostrander's great videos too. It's made me like Les Paul's a whole lot more than I used to, even when my LP Special was one of my three favourites. It's Strat on neck, Les Paul on middle (neck volume tuned back), Telecaster on bridge (tone rolled back a litte) ftw. And I think I like those Strat neck into some kind of tubescreamer or klon into Marshall JTM, Les Paul clean boosted into Fender Deluxe/Super/Twin, Telecaster into compressor into Vox AC30.
I'd love to know his signal chain, the sound is just amazing, what I've been searching for!
It’s nice when you have pickups in a Les Paul or LP-influenced guitar that are clear enough that they can be turned down without having lots of muddy sound, particularly in that neck position.
Similar effect can be achieved by dropping the Neck Pup down and raising the Bridge Pup up. My LP is still my happy place guitar.
That's what I was thinking. Just sinking the neck pickup a couple mils will get you some sweet mix of pickups.
Beautiful playing on top of the gorgeous tone
first thing I noticed when I started playing a Les Paul was I didn’t like the bridge or neck as much as the middle & a gracious older player showed me how to blend the volume & tone knobs & get all kinds of great sounds. it works a bit better with 50s style wiring & I really think every should try it in a Gibson style guitar but I judge all my Gibson/Epiphones on the middle position
Someone has been watching Justin's channel :D
I was doing it for years on all my HH guitars without any particular reason other than it just sounded fuller and lost the quackiness that the bridge on its own has. I also saw the Justin's video and it helped me to understand why I was liking it.
I discovered this a few years ago. It opened up a whole New World for my Les Paul! Because of it, two volume two tone is my favorite control layout.
It is similar to the bridge. Pick up with the tone around five or six, but it is different.
I can hardly believe that you only just discovered this sound variation John. 😮
Or is it just now that you decided to highlight it in a video ?
Either way, well done for explaining it to the masses.
It does, in fact, work in 'Split Coil' mode for single coils as well.
Also for single coil guitars when you have separate volume control for them.
It's one of my main reasons for avoiding humbucker loaded guitars than don't have separate volumes.
I DO have one or two without but they are the exception and I've oft considered modding them to include a second.
The Gretsch control system with it's third 'Master Volume' is a further step up, allowing that set blend to remain even when needing to turn the guitar down or completely off.
You know I noticed that also mixing the pups in the middle position gives great tones if you pull back some tone on the bridge it is heavenly
3:05 humbuckers that hum? Hummmm 🤔, nice hint nevertheless
It always amazes why people think their volumes and tones have a magic position that they should be welded into.
Look at Jeff Beck: changing both all the time during solos (during being the key word).
Also how come many people use loads of hi cut with modellers but would never consider rolling the guitar tone back?
I watched that video, Justin got that from Bonamassa and I think it's important to mention that this trick works well only with 50's wiring LPs...
Great blues tone on my 335 that way (mid pu selector w neck vol backed off a touch) straight into a super reverb or deluxe reverb. Modified a fender hrd (hot rod deluxe) that sounds great as well... Has some bloom and really good interaction with guitar vol variations. Goes from glassy cleans to creamy/chewy.
This is the secret to Jimmy Herring’s beautiful tone! Albeit he does it with an HH strat, but wired like a Les Paul. Middle position with Bridge on full volume, neck pickup volume rolled back a hair for a “sweeter tone with less bite.” Hell yeah 🙌
Great tip to getting a sweet tone! On a side note, your Les Paul has one of the most beautiful guitar tops that I’ve seen.
The pickup heights and obviously output, make a huge difference. I've actually found that I much prefer the opposite adjustments. I set everything wide open, in the middle switch position. Then I bring the bridge volume down until they balance out. This may require some more pickup height adjustment, but once you get them balanced in the middle position. You'll have that sweet spot as a starting point. If you then back both volumes down equally from that initial starting point of volume balance, the whole rest of the way down the range will sound killer! You can always bring the bridge back up a smidgen to get more bite. It's the only way I dial my 2 volume pot guitars now. Way more versatile.
TREMENDOUS delay and reverb sounds!
Can you PLEASE share your effects/settings you used?
Thx!
This is the new hotness on guitar youtube. Works great.
I figured this out about 5 years after I started playing an LP in the 70's. I never, ever use one pickup. I blend my tone for whatever tune I'm playing. It gets very instinctual after a time.
It’s kinda like the 2 & 4 positions on the current Revstar.
I've always done this with my 70's style Tele Custom (neck humbucker). Keeps that bridge Tele single coil bite, but with some warmth and fullness blended in from the neck humbucker. It's always a killer tone clean or with gain.
Don't forget the tone controls too,
I wish i could have that sound in a live situation , so different in a home environment in comparison to a bad acoustic venue (most of them are) or even worse outdoor gigs , before the gig I’m always excited with the sounds i get from my rig (two rock, H90 , vemurans and klon) but after the gig ……
Man…that sounds great and playing is stellar.
Lovely playing... as always ! May I ask... What drive pedal(s) are you using here ? Great tone !
This is why having volume and tone for each pickup is pretty much a requirement for me. It's super versatile.
I have an Epiphone LP '59 with the 50s wiring and I've been guided a bit by Joe Bonamassa (on RUclips). Neck pickup volume is 9, with the tone rolled all the way off. Bridge volume is 9.5, with the tone going as high as 8.8 or as low as 3, depending on how rocky I feel. It may not work for you, but it works for me.
Your LP must be very bright!
Once tone knobs get to around 3 it gets very dark sounding.
It’s amazing though how much tonal range is achievable in middle position
Your playing and tone here is just gorgeous~!
Still waiting for John to own a Black Les Paul Custom and give us some tasty solo's on it.🙂
Yes!!!
I prefer it the other way around - the neck pickup volume set higher than the bridge. Best place for me is 7-8 on neck and perhaps 6 or so on the bridge. I have an R8. Oh yeah a bit less gain...
I think it might have been on a Joe Bonamossa video that I saw this tip about a week ago.
Good note choices can make just about any tone sound cool. If the note choices are bad, good tone is not going save it.
Try putting a 560pf treble bleed cap across neck pot. It really brightens up the neck pickup when not on 10. Very easy and reversible mod and you get a much more useful tonal range when in the middle position. If you have a treble bleed on the bridge volume remove it, throw it away and never reinstall it!
I confirm! I have a kinman style treble bleed installed in both the neck and bridge. The middle position opens up many sound options
With 50s wiring treble bleed are not much use
I saw the same video lol, and tried it on my es 335, cool little trick
Lovely. What were you using pedals ect
Another thing is to run you bridge tone from around 5-7 depending how you play and back off in the volume. Joe Bonamassa is the KING of this. It’s a fun sound too
I tried this at my gig tonight and it really sounded fantastic
Page used the middle position a lot
Especially after April 1972 when the bridge pickup was changed..I replicate that unique pickup set on my channel (Last Vid)..Jimmy had much more "Phase cancellation " (hollow chirp) than here, yet the pickups are still in phase.. Its due to the different magnets.
I'm sure that LP has something to do with it! The headstock looks large as in Norlin era? Is that an 80's prehistoric? Those pickups are special.
You can't blend the pickups mine turns the whole signal off if you turn one right down in the middle position surely one should stay on?
I’ll have to give it a try, thanks for the tip 😎🎸🎶🎶
Nice backing track. Great tones, and amazing playing as always John!
Hello. NEED help. I just bought your HX Native & Kemper packs. Is there a youtube vid that explains how these should be set up. I read that IRs first need to be loaded but I dont really understand the steps nor the concept.
I miss my Les Paul. Had to sell it during the downturn around 2009, 2010.😢
Page played a lot in the middle. Neck vol. On 8 or 9. Bridge on 10.
Green and others had the
Neck pickup lowered into the body deeper than the pickup ring to eliminate overly muddy lp neck tones
Claptons les.paul had a .015 uf cap on the tone pot (vs .02)
50s style wiring is great . You can roll off vol to go from mean to clean for tele on steroids vibe
Some of my go-to settings/setup.
Playing through a vintage style single channel amp is a great way to discover this stuff.
I make replicas of the 'Post April 1972' Jimmy Page set on my channel ( last vid) 'A' vs B direct comparisons between Jimmys and the replicas if your a Page fan.
I really liked what your playing sounds mesmerizing love it!
Can I ask what OD/distortion used please? Sounds great
This is nothing new. I think Orville Gibson taught this trick to Mark Twain.
Amazing sound and playing. What pickups you have in it?
Can someone explain this without the noodeling
Um diese stechenden Höhen aus den Gibsons herauszubekommen, gibt es viele Möglichkeiten, dies wirklich befriedigend zu erreichen. Nur allein mit dem Gebrauch beider Tonabnehmer und zusätzlichem Verstellen der Klang- oder Lautstärkeregelung ist das nicht zu bewerkstelligen, sondern allenfalls eine Besserung zu erzielen. Da spielen so viel andere Faktoren noch eine Rolle, bis hin zu den verwendeten Lautsprechern, mit denen man das Ziel des optimalen Klangs erreichen kann. Zuerst einmal sollte man sich nicht gerade einen Verstärker anschaffen, der höhenreich ist - was viele aber sind. Das selbe gilt für die Lautsprecher. Ein weiterer Faktor ist die Kabellänge, die Qualität der Kabel bzw. deren Kapazität und Anzahl der Effekte - alleine dadurch kann man schon, wenn mit Glück die Anzahl der Effekte passt, dem Ton die schneidende Schärfe auf das genau richtige Maß genommen werden. Zu viel darf auch nicht gedämpft werden, denn sonst wirkt der Klang matt. Wenn man dann auch noch an den Effekten gut in die Klangregelung eingreifen kann, kann man es letztendlich optimal hinbekommen. Selbstverständlich ist da ein Equalizer auch sehr nützlich, aber je nach verwendetem Effekt nicht unbedingt erforderlich. So viel lässt sich ganz allgemein dazu sagen. Ich habe verschiedene Verstärker, Gitarren und Pedalboards. Bei den kleineren Pedalobards zum Beispiel, auf denen sich zwischen 5 und 10 Effektpedale befinden, habe ich extra Patchkabel mit einer hohen Kapazität verwendet und konnte alleine schon durch diese Anzahl und die Kabel den Klang sehr optimieren, viel wirksamer, als nur mit den Regulationsmöglichkeiten an der Gitarre. Auf meinem großen Pedalboard bekomme ich mit 20 Effekten und Kabeln mit niederer Kapazität auch in genau richtigem Maße die überbordenden Höhen heraus. Aber nur zwei Pedale mehr - und schon ist der Klang grauenhaft. Da hilft einfach nur experimentieren und alle Möglichkeiten auszuschöpfen, die den Klang mitformen. t. Da die Gitarren bzw. deren elektrisches Innenleben nicht gleich ausfällt, sondern die elektronischen Bauteile durchaus bis zu 20% plus-minus abweichen, gibt es kein Patentrezept oder haargenaue Beschreibung. Ebenso spielt es natürlich eine große Rolle, ob sich ein Puffer in den Pedalen befindet oder nicht.
I always use that rule on Paul's!
Beautiful 3 minutes to start the video.