Hi Richie, the problem with any public platform is that it is open to criticism of one sort or another which will always include unfair and biased criticism. It is the job of anybody using the internet as a source of data to be able to sort these responses in order to achieve good data. This factor is probably the worst aspect of the internet as a resource device. A way round this problem while still using the internet, is to make the site concerned private where only those readers who register with you can comment on your articles. This has several distinct advantages to you the writer as follows: 1. It keeps you in control so that your readers do not read unfair criticism. 2. It means the comments which you decide should be published are relevant and valuable to your readers. 3. It promotes excellence. 4. It means you get to decide what is good feedabck and so allows you to steadily improve what you write. In effect your readers become valuable editors. That said I find it difficult to understand how anybody could be ticked off for the Germany/Austria error but it takes all sorts. Having listened to this video in detail I have to say I thought it was really excellent. Your six points are really good and cover the subject in detail. I was so impressed that I subscribed immediately, thinking, perhaps selfishly, what might Richie remind me of next? This leads me to two points I would like to add as serious comments: Despite the ridiculous price, I bought a Blue Chip pick about three years ago. You couldn't get it off me. I wouldn't lend it to you or sell it to you for any price as it's a game changer. I languished long and hard before buying as the price seemed so unreasonable, but with the Blue Chip agent in the UK saying, "once you get one of these you will never use anything else!!", I finally took the risk. So how are they different. I chose a Blue Chip TP-1R 50, it is triangular and has three different contours at the apexes of the trangle. I tend to use the softest profile for jazz for obvious reasons. What is unique about the pick is the material, because it does not wear, or wears so slowly that it really does not matter. This means that the strident, treble edge sounds, that a worn pick generates which is an anathema to the jazz guitarist does not exist or develop. So the pick simply works and works and works and works. If I am unluckyenough to lose my Blue Chip pick I will buy another immediately. Because of the value of your channel which I clearly see from your work so far, I would like to ask you to cover sound on stage as a subject and in particular the difficulties the jazz guitarist can face with acoustic problems. I'm elderly now and recently faced unexpected serious difficulties with sound. I'm still working on these and in the process have learnt masses of stuff that I was unaware of which matters so much. In the past I would turn up, plug in and play and if the sound wasn't ideal I would just get on with it. My sensitivity to such failings has increased with age however and this is no longer good enough. Recently, my son and I went to a Pat Metheny concert in Birmingham, England. To my astonishment, Pat's amazing work was totatally lost to the audience with the appalling sound produced. The simple truth is with all that's known about this subject, it should not have happened. So an article/video on how to manage sound in small/ medium and large auditoria with clear whys and wherefores would be worth it's weight in gold for all jazz guitarists, given the nature of the instrument, in my humble opinion. Thanks for the channel. I look ford to your next send, which I will certainly watch. With kind regards, Bob Hynes.

Thanks Bob for taking the time to share this valuable insight! I put in a lot of work to produce these videos and I get very little in terms of any compensation for my effort. So your comments made my day...again thanks! I must add that I really appreciate "constructive" criticism and welcome it, however I do get my fair share of "destructive" criticism from viewers who have nothing better to do and just want to criticize for no other reason than to be nasty...but like you said...that's You Tube. 🙂 I hear what you're saying about the sound incident with Pat Metheny and I have experienced it myself as well as watching others performing. I particularly remember 2 concerts from the 70's. One was the final Mahavishnu Orchestra opening for Jeff Beck with Jan Hammer. Mahavishnu's sound was disastrous in comparison to Jeff Beck's. And this was on the same stage with a 15 min intermission in between. Same thing happened on a concert where Herbie Hancock and the Headhunters opened for Chick Corea and Return to Forever. Herbie's sound was awful and then Chick came on and everything was crystal clear. I asked about this, and I was told that each artist was touring with their own sound engineer. So it isn't the equipment, nor the venue in these cases. It's the engineers knowledge and experience that makes a difference....I won't comment further because sound engineering is honestly not my area of expertise..

Hi Mister Zellon, Sorry but I just have seen you're clip. I just started to play jazz again, I have had some lessons in my teen years. I to use Tomastik strings on my Epiphone ES339, I like them a lot. And yes there from Austria. Hihi it was just a slip of the tongue . Please keep doing these videos, so I or we can learn from you a lot. Greetz Blue

You can call them whatever you want. It's a free country.

@@RichieZellon Hi Richie. Ok, things like that are happening all the time. I am sure it was not made by intention and after all it's not that "great" mistake. I enjoy your video very much. It was vesy explanatory and to the point as I also liked the suggestions of equipment you make. They are higly appeciated. Thank you very much.

Are you trying to indirectly say "ok boomer"?

Yes in heard all those nasty ass lipsmacks

Its so unhip its all the way back into hip. It has a very heavy vaporwave aesthetic its amazing.

not gonna lie, this is pretty great for my ADHD brain... all the animations are great to keep my brain from wondering off

This guy is a blowhard. Taking ages to say submerging that could be said in three minutes.

Tim Lerch tunes down by 1/2 to 1+1/2 tones sometimes, depending upon what he's playing. He likes the tone and the feel.

Lerch is a master! Such a brilliant player!

Ed Bickert

I also like that Tim Lerch talks about using the bridge pickup on the Tele.

Thank you kindly...much appreciated!

Noodlerification - LOL! Me, too! But, I'm not paying 35 bucks and up, for one pick. That's just reefer-induced madness, when you're coming off a three-day speedball bender!

I am stoned and I feel completely understood while watching this video

Just watch at 1.25 for a more sober speed.

cool daddio, cool cat cool! (waiving my arms in the air, double finger snap)

i am lol

Jordan best money I’ve spent on guitar gear(besides my Suhr😍) was my Blue Chip pick.

What if you lose it?

voila

Isn't the point of jazz is that it's subjective & experimental, open to self-expression & free?

voila

My understanding is that Stevie Ray Vaughn primarily used a GHS 13 to 58 set with a plain (unwound) 19 for the 3rd string. He had no trouble bending notes. That's almost as heavy as I use on my dobro! Of course he tuned down to Eb also. But that is a far cry from Billy Gibbons or Jeff Beck and 8s.

Absolutely!

@@RichieZellon Newbie here - what is the "volume knob replacement"? Simply a larger knob, or is the pot (or other electronics) involved? I got an "American Performer" Tele, wanting to play some (in-tune) jazz-voiced rhythm with maybe an occasional timid foray into a few melodic notes. But i also want to have a little more timbral flexibility than a typical traditional jazz guitar (boring!) tone. Larger circumference volume knob sounds like a good idea. Any specific suggestions? Thanks!

Nvm! I see you actually said "placement" not "re-placement!" My bad.

Thanks for sharing! Your teacher is absolutely right...same thing I try to tell my new students. Sometimes I feel like their shrink though: "No don't give it up so fast...it's not just you....we all sound bad for years when first starting out in jazz...hang in there, do the work, and it'll get better gradually. Most important of all...LEARN TO ENJOY THE JOURNEY!"

Thanks, and that's the wonderful thing about music - the journey is never ending.

Thank You Master ! You are so wisdom.... really ! and I can appreciatte your words... enyoy the journey ! Only enyoing We can grow up . Sorry for my english , I love your dedication, thank you and best regards to you !

Telecasters make great guitars for jazz. A Tele player not mentioned in the video who used one was Ted Green, to add another name to the list of jazz guitarists who prefer Telecasters. I'll bet Ted loved the sustain he could get from a solid-body since he played solo guitar so often. No troublesome hollow-body feedback to deal with, either - always a plus. If you have smaller or less well-conditioned hands, beware, though - because throwing a set of medium or heavy gauged flat-wounds on your Tele is going to take some hand strength to play because of the longer-scale in comparison to many arch-top guitars. The way around that is to tune down a half-step > from low to high, open strings E-Flat, A-Flat, D-Flat, G-Flat, B-Flat and E-Flat. an added benefit of doing this is that you have all of those nice open strings in tones/key centers common in jazz compositions. I have a nice arch-top which I love to play, and won't ever sell - it sounds like a dream - but I still like playing jazz on my Telecaster once in a while, and I take it on the road with me, too, as it is a great travel guitar.

martincrowe81 I actually enjoy playing strats for jazz too!

Ed Bickert eventually did eventually replace the Tele nick pickup with a humbucker, as shown in this video; but on some jazz b-board not too long ago, someone said that he did this only because the original pickup was too noisy in a studio setting and even in some clubs.

er: this is in response to Tiege's post about Strats, but attribution got garbled somehow. Me too! I actually quite like the neck/middle blended position, with some tweaking of both tone knobs. The blend knocks off some high-end zing by its nature, and it doesn't hurt that it's noise-cancelling on most modern pickup sets. Don't tell any purists, but this can sound really good with a fuzz or a mid-heavy overdrive for a slightly dirtier early jazz guitar tone. Should work with a neon '80s shredder too, but you may need to pack some kind of cardboard archtop disguise if your jam is full of olds.

@@martincrowe81 you we

He blinks when YOU blink.

I've used Thomastik Infeld strings. Very nice strings with great harmonic content. Love their voice. Expensive, but, as you say, you get what you pay for. Any bowed instrument musician will vouch for them as a good string company. Thanks for sharing about them.

Thanks for the informative feedback! I've used the Big Stubby in the past. It's all relative and I personally find that it is partly a matter of how the player uses the pick. I've experimented for periods of time with different picks and they all have there individual characteristics. At some point several years back, I stopped worrying about the picks and decided to focus more on the music. Somehow this happened at a time I was using the Dunlap Jazz III and I just stuck with it. Lately I've been trying out different picks once again since there are now so many new choices in the market. The bottom line is that other than a very slight change in tone, my playing sounds like my playing no matter what pick I use. I believe that is the case for any player. However, I am about to fork out $30 for a Blue Chip since a couple of students swear by them...

@@RichieZellon Good luck with the $30 pick! I'm.starting jazz on a Godin 5th Avenue Kingpin. Discovered your favorite < $1000 jazz guitars shortly afterwards. My thought is to get the best phrasing and pick control up front and worry about pick material later. I suspect my hand has more effect than pick material. Again, thanks!

Louis Accardi he also tuned down which lightens force needed for bending

I had a mesa boogie subway blues. Best amp I ever had. I still hate myself for selling it, but he offered me so much money I could not say no. now I understand why 🥺

@@theotherwillie They still go for 400-500 hundred pounds here in the uk. They pop up on ebay quite often. Worth rediscovering. I've tried so many reputed "jazz amps" that I really didn't like. Interestingly when I was shopping around for this amp I tried a blues junior, a roland blues cube, a princeton reverb reissue and a henriksen. I really disliked them all, but I tried a Fender bassbreaker and the mesa and thought they both sounded exceptionally nice with a jazz tone dialed in. I bought the subway blues from a used gear shop, and the guy who owned the shop seemed as if he thought he was ripping me off, but I love the amp. It's wonderfully clean but without any of that pointless scooped-mids quality that fender amps have. I think that's why I also liked the bassbreaker because it's a clone of a Marshall frequency profile and doesn't have the mid scoop, but set to low gain its lovely and clean.

No “e” in the kind of rout you are talking about. Unless you are talking about a way to get from point A to point B (route), a hole in a guitar is spelled “rout”. Not being weird, it’s just that I couldn’t figure out what you were talking about at first.

I've got a Strat and was considering the very thing you mentioned. Thanks!!!

Man, tonewood just a myth, guitas pickup made of magnet, and magnet never pickup wood vibrations,

I’d argue the big difference between fender and squier is the electronics and pickup quality. Tonewoods are more relevant on true hollowbody guitars, but even those can literally have a plywood tone block and sound great (peerless). Tonewoods matter most for guitars without pickups involved. Solid body guitars can get some benefit, but it’s typically aesthetic or durability related over the tone they talk about. Just about everything else I agree with, but tonewoods are as expensive and effective as audiophile equipment

1.25

1.25 is perfect

As a french listener, english isn't my native language and this speed is quite perfect for me. Many thanks for speaking slowly. I love those videos...

nope, 0.25 is beautiful

Thank you

Interesting. I'm getting a pretty good sound with my Squire Strat into a Joyo American sound and then into a Peavey Bandit 112. I don't scoop but I have the bass up high and the treble and mid at medium. I keep playing around and I'd like to do better but for now it's a comfortable sound.

Paris D Black from my experience , the SD Seth Lovers SH55 neck is better than the SH-2 neck for jazz, I have both , especially for a hollow or semi-hollow. Tone is richer and rounder.

Yes the tele neck pickup gets great jazz tone similar to a jazzbox

Thanks for your feedback. You have a good point! I will give the Blue Chip picks a try...

Thanks for sharing!

I have a Korean-made Excel and I think they're just great! Good quality and tone as well.

Thanks for sharing... I've always have had trouble doing a whole step bend with 12's or heavier on a first string as far as good intonation goes. I always end up breaking the string after a few bends.

:) Thanks!

Interesting..which brings to mind... I have to research the new wave of travel guitars and see if there is anything good.

I think I'll fast for a week to save money on groceries, and then I'll be able to buy a couple of them. ha, ha..but seriously, I hear good things about them!

@@RichieZellon Trust me....they are worth it! For gigs I would probably use Dunlop Jazz's. Cheers!!

Thanks for sharing!