Peter Green was not only a superb guitarist, but also a great blues singer and composer. We all miss him very much.

RIP Greenie, you really were the best! I feel broken now.

Bless you Peter Green. 1946-2020.

This is my Peter Green story. I met Peter in 1969 at the olld Boston T Party club on Berkley Street in Boston. My brother Stanley and I went to almost every show at that club. We saw Led Zeppelin, BB King, Buddy Guy, Jeff Beck with Rod Stewart, Jethro Tull and almost every other Blues man and band that was touring back them. I was a 19 year old fledging guitarist and the inspiration that poured out of that club on any given night of the week was unbelievable and I feel so fortunate that we got to see so many of the greats playing live in a small 300 seat club but seeing Fleetwood Mac in 1969 on their first tour changed my life. I had heard almost all the great guitar players of that era and most of the white guys were not as impressive to me as the originals cats like BB King, Albert King, Freddy King etc. But then came Peter Green. It was the first time I ever heard a Sunburst Les Paul and in fact I went out the very next day and bought one just like his for $500. Today they are worth $250K, I wish I hadn’t sold mine on one broke Christmas in 1981. but that's a different story. Fleetwood Mac floored me. Their groove, their authenticity and the contrast between Jeremy Spencer’s imitation of Elmore James to Peter’s more deep meaningful songs. Well except for a few like “Rattlesnake Shake” which we all know is about wanking off. Peter did have a great sense of humor. I" I aint pretty and my legs are thin" When Fleetwood Mac finished their set, my brother and I were walking through the club right by Peter who was on his way to his dressing room. My brother, boldly said, "hey Peter my brother has a Les Paul too”. (I actually had a 52 Gold top at that time). Peter turned to us and said, “hey why don't you guys come to our hotel we’re having a party”. So, we followed Peter and ended up with a few other people in his room. We talked music and guitars and through that we had a connection. Fleetwood Mac played in Boston a bunch of times and every time they came, I would hang out with Peter. One time he and I went to see BB King play and he ended up sitting in. After the show we were back stage and BB turned to me and said, " no one plays me as authentically as Peter”. I never forgot that. Another time I was standing in the audience watching Fleetwood Mac and standing next to me was Carlos Santana. Carlos was a huge fan of Peters and that might have been the moment he heard Black Magic Woman for the first time. I like to think so anyway. After Peter quit Fleetwood Mac, I called him in London and asked him if he wanted to come over for a visit and to play music with my band, The Act. We were living in a house in the middle of the woods in South Berwick Maine. I figured it was a long shot but he said sure. I couldn’t believe he said yes. A few weeks later I picked up Peter, his suitcase, his Sunburst Les Paul and his Fender six string Bass at Boston’s Logan Airport and drove him up to Maine. My memory is vague at how long he stayed with us but it might have been a month. I do remember a few days after he came that we found out that Jimi Hendrix died, so that would put him there on September 18, 1970. I remember him looking stunned and very saddened. He told me that a few days before he was in London hanging out with Jimi. Every day we would get up and play very long one chord jams with Peter leading the way. I think I played three notes over and over and just listened to him. I can see him now twisting his mustache as he was contemplating life. I also remember one morning he was sitting on the house steps with his Les Paul jamming with the birds. Not the Byrd’s, the real birds in the trees. We did one or two gigs with him, one being at the newer Boston T Party on Lansdown st. . I actually have two tapes of Peter playing with us, one from the house in Maine and one from that Gig at the T Party. For some reason I’ve never played them for anyone. Peter had a female friend who was going to Goddard College in Vermont and he eventually left Maine and headed up there. Where he went from there I never found out.. Peter's guitar playing did not reply on tricks or fancy licks or runs. Every note he played was connected to his heart. He economical, soulful, authentic and he played with dynamics and pure fire. He would then turn on his super sweet and sensitive side as in his song Albatross. He was a very thoughtful, deep, sweet, funny and open person and his playing was exactly who he was as a person and that is a rare thing find in a musician. I am deeply saddened at his passing. I hope he went peacefully for he was a peaceful soul. I will miss him but am thankful that I got to know him just a little. Oh Well! in 1972 Peters good friend and band mate Nigel Watson came over to Boston and lived with me for a year. Peter lent him two guitars to take with him, A 56 or 57 Strat and a Dobro. I believe oe of these was the Resonater and the old Start you mention in this video. I have pictures I coul send you if you want to see the guitars in my house in 1972

One of the best blues guitarists of all tine, a true visionary and inspiration. Admired by fans and fellow musicians alike, BB King once said that Green was the one who made him sweat. He was able to play with great sensitivity and authority combinig both with astonishing ease. A natural born mystic who has left us with a great musical legacy spanning some 50 years. If music be the food of life , then play on!!!! Peter Green a true original.

Without a doubt my favorite British blues player. In terms of emotion, dynamics, etc he is unsurpassed in my humble opinion. There was absolutely no separation between Peter and his guitar, it was simply connected to his soul and psyche. Fantastic video by the way, very informative keep it up!

Favorite song was "Jumping at Shadows" from the BBC sessions. I'll never forget the lead in. Met him in the '90's. Rest in peace. You will be missed.

the world could learn quite a lot from Peter Green, kind, humble and no ego. A true Virtuoso and forever a LEGEND!

In the early sixties l saw John Mayall’s Blues Beakers with Pete playing the ‘Harmony Meteor’ many times at the Bromley Court Hotel, Bromley Kent. What a great atmosphere in the that small venue. ln later years l had the pleasure of talking to Pete when our band were supporting Fleetwood Mac in London. What a guitarist he is. l bought my first band electric organ (a Vox Continental ) from the owner of ‘Orange’ at his parents house in ‘67? Brilliant band years of the 60’s 70’s.

We used to say that if you could see silver circles in the center of the speakers through the grill cloth of Fender amplifiers then you were looking at JBL speakers . In this video when he is talking about if the speakers were JBL speakers in the cabinet @9:04 you'll notice on the top speaker the silver circle shining through the grill cloth in the photo , In the Fender amps this was the upgraded speaker if I remember correctly it usually was $100.00 difference from the base price , and I think that was per speaker in the Fender Showman & Dual Showman . They were 15" speaker cabinets . I played through the Fender Blackface Bandmaster and the later in Blackface Bassman head with 2-12 close back cabinet. Great tone

RIP. Your music will last for ages, mate. Cheers, Bless and thank you.

Excellent video !!!! 2 things ~ #1 ....The Marshall block logo half stack was a JTM45 ( 36 watts) . # 2 ~ You can get the out of phase sound by reversing the magnet ( north to south ) or clockwise / counter clockwise ....no magic wiring. By doing this to either the neck or bridge pickup....you will have the out of phase sound in the middle position with both volumes on full.

When I lived in London just over a decade ago I used to get my guitarv worked on by a guy who had a workshop in a big secure lock up in an industrial complex. A lot of the big bands would store their equiptment there when not out touring. All the gear was in these areas like jail cells so you could see into them and spot the bands names stencilled on the flight cases etc. Right next to the guitar techs workshop was a cage full of just guitars in cases, Bass's, mandolins, Banjos, and amps with no stencilled identification. I asked the tech who owned the gear and he said it belonged to Peter Green, every so often Peter would drop by and leave another guitar or other that he had just purchased.

Great video! Thx. I saw Greenie's Fleetwood Mac one nite in 1968 at Bill graham's Fillmore West in SF. It was quite by accident by 1968 I had stopped attending the Fillmore and the Avalon and those kind of venues. I was singing and playing guitar in a blues band at the time. I was into BB King who I had seen live several times in those days. My friend convinced me to go to Fill W that nite. It was Butterfield Blues band (all new lineup) and Fleetwood Mac. I only knew Greenie from Mayall's "Hasrd Road" which I had listened to several times. I thought of Green as a kinds of "Clapton" type. So I didn't know the trends had been changing and I figgered that Fleetwood Mac was a kind o Peter Green version of Cream! Ha ha. Wow! Was I surprised! Here was a young man with a chromed vintage Les Paul. I dunno how he achieved that perfect chromed body effect. Did he take it to a metallurgist? Someone mentioned something about "chrome foil?" Mebbe you can tell me. Here was a young man who came out and sang and played very much like BB King! I was a Greenie Freak from the moment. I began listening to the records when they came out and adding some of Macs tunes to our set list. I even learned slide that week and we started doin f Elmore James tunes. Btw in 1968 I had to go to a hardware store and have them cut me off and piece of conduit to get a slide! No Guitar Center walls of slides then! No brass, steel, chromed, steel, glass, beveled glass, blue tinted beveled and non-beveled glass, glass bottles...haha I went back to see the Mac the following year which was actually Jan 1970. saw the Orange amps. they had acquired Danny Kirwan and the were doing "Green Manalishi" and "Albatross" That was when I first heard Greenie use a great reverb as an effect a la Black magic woman solo. He would play a chorus with a big, wide, warm tone and then click on the reverb.

I have to say that I really admire and appreciate the amount of work that went into putting this "History of...) series together...thank you!

That Strat in the photos is a '54 or early '55. Ash body, solid shaft pots, styrene plastics, round string tree.

I was at the Tea Party show in question. They played there a few times as did most of the British Invasion bands. Historic venue, great shows.

The broken neck on Green's Les Paul was repaired by Richard Bartram of Bartram Guitars, Littleport, Cambs. He was doing work for Chandler's at the time. He has a photo of the guitar sans strings on his bench after it was fixed.

RIP Peter Green and thank you. Like many others, Peter Green was and still is my favorite of the Mayall guitarists.

I’ve always felt that Supernatural was the high water mark for electric guitar. Perfection. Good stuff here thanks!

IM FOND OF THE PETER GREEN ALBUM "IN THE SKIES" R.I.P PETER GREEN 🎸 🇸🇪

Fun story on the great Peter Green, thanks. I remember listening to 'Fleetwood Mac In Chicago' with my dad. He was enamoured with Peter Green's playing and his singing voice. I wore that record out and bought him the CD version. He said 'Peter doesn't sound as good on CD...! So I found him another vinyl copy! What was I thinking buying a vinyl diehard a CD???

Thanks so much for your hard work here this was soooo fun and informative for greenie fans!

Thanks, Ramon. Fantastic video.

Hes the man in my collection...his touch his harmonic sensibilty and what seems to be impeccable likeness to bb kings tone and vibrato.....hes my hero

"Move on at peace, Peter Green.

out of phase can be done magnetically or electrically and it's the same thing. The repair was done on a record player to rewind the coils and it was wound the opposite way making it electrically out of phase with the bridge pickup only when both pickups on and both volumes at 10. Roll one volume down a bit and it actually gets louder because they are less out of phase causing less low end cancellation.

2:01 I find this hard to believe as Peter has always been incredibly modest and polite. :)

Great video guys - concise and very interesting

I love Peter greens sound and stile real unique

A very interesting and informed piece of work. Excellent. Thanks!

I will Take this with me when I go!! Thank you Peter, RIP

What a fantastic video have a wonderful day also in my opinion peter green was a fantastic musician 😊

Great show! I like this series a lot

I think a lot of people really appreciate your work, more than thumb it. I can't believe people bother to thumb down. Love your wok Thank you.

This is great! Thank you for this

Great piece of reporting on a fabulous player. Thanks!

Love this series! Cheers

Amazing video my friend. Much appreciated by many I’m sure. More please.

I played lead for Peter Green in 1985 ,the Ghanaian in his “fugu “ robe playing blues when Peters nails were too long for him to play ! I hope he’s ok at his place in Richmond

I think you have to add Otis Rush to the list of guitarists who had a major influence on PG in terms of tone and phrasing.

In the two live vids I've seen (BBC 'Oh Well' and the Norwegian TV clip) Peter Green got excellent tones from his Fender amps. His guitar had so much bite and snarl at times (bridge pickup) and great fluid bluesy tone from the neck pickup and the amps really brought it out. Great vid here. Thanks for posting this.

This series is great! I'd love to see more of other artists.

Awesome video man!!

Brilliant. Learned a lot, enjoyed it. Huge thnx

This was fascinating! Thanks a million!!

My fave guitarist to come out of the UK (and I love a number of them). Someone once said in comparing the two, that Clapton was a rock guitarist who played blues, while Green was a blues player who played rock. I can't argue with that.

Thanks. A great tribute to a great musician.

Great video! Love Peter's tone! If you dig the Boston Tea Party stuff, Shrine '69 is a really nice recording also. Killer tones on that gig too. Thanks again, very cool info. 👍👍👍

Myself, a fan of Clapton ,Pete GREEN , GARY MORE. Blues of the sixties.

Fascinating video, subscribed.

I saw them in Austin,Tx. in 1970, and all three guitarists were playing through Fender Dual Showman amplifiers. If you look at the pictures of Peter's Les Paul he had the pickup height set extremely low on the treble side with it corresponding high on the bass side of the strings. RIP Danny Kirwan, a brilliant guitarist who complemented Mr. Green perfectly and had the best vibrato technique I have ever heard.

special human, vast legacy, Mississippi runnin through his blood, coming to rest on canvey island, essex, the thames delta. btw cool to see the upside of the youtube platform as a timeless reference point on display, and a little elbow grease from the goose. I hope you are a content content creator at the moment; mysterious,intense artists need good advocates/jouralists as their scribes.

Great video, as always!! A Dual Showman is nothing else than a Twin Reverb (head only). Love the JBLs loaded 2x15 Fender cabs! They sound great with every amp. (I currently use a JTM45 style amp with mine).

Flipping the magnet on a humbucker or reversing the winding orientation (deliberately facilitated on more modern pickups) on one or other pickup achieves the same out-of-phase tone when used in conjunction with the other, normally phased pickup. I've tried it for comparison on pickups wired for switchable phase orientation. Out-of-phase on Srat-type guitar is achievable with wiring mods to the five-position switch only, because of the 'slug' magnets. I discovered the magnet- flip effect after rebuilding and repotting a humbucker and putting the magnet back with it's poles reversed. Edit;- Looking at some old footage with good close up shots it appears that the neck pickup may have deliberately been refitted upside down at some point, as the pole screws are on the bridge side of the pickup. This may have been an attempt to effectively alter the magnet orientation, I'm obviously not sure as to just why this may have been done, unless a replacemen bridge pickup was fitted for some reason. Fitting the pickup like this whatever the reason, would require a longer lead as the original lead in either case would be too short, hence the grey wire.

Later I found out he used a black Gibson Howard Roberts Fusion into a tweed Fender Blues Deville. I played that combo for years, before I realized that Peter Green used it too.

Excellent video brother...thank you x

Thank you for this video, which obviously took considerable research. Peter Green is one of my favorite guitar players, especially blues guitar - probably my favorite blues guitar player out of the UK. Eric Clapton also said he thought "Greenie" was the best UK guitar player back in the day (Hendrix was from Seattle). Green played the notes that needed to be played, and knew what to leave out, so his music would "breathe". The Fleetwood Mac blues band are still one of my favorite jamming tracks, although playing like Green takes a Maestro's touch.

Peter's living in peaceful retirement on Canvey Island now.

Excellent, very well done

I remember that Peter Green solo on "Supernatural" on the Mayall "Hard Road" LP. At the time rock was still growing and the trends that came then came in a linear fashion at least, here in northern California At that time guitarists everywhere were experimenting with sustaining notes using feedback. "Supernatural" was the solo that killed the "feedback" trip. Like at about the time the noserider surfboards killed noseriding in surfing, after "Supernatural's" beautiful, fat, sure long tones and spectacular pan shifts discouraged any further efforts! I still think that masterful solo is unsurpassed in feedback. )

Thankyou for sharing. Though somewhat technical, I am learning so much!

I think Throbak have it right. One coil was rewound using formvar and probably reverse wound (using a record player) putting it out of phase with itself. He then got it back with a grumble from Green and flipped the start/finish leads putting it back in phase.. but left the middle position out of phase by accidentally (almost not, in fact the out of phase thing was long since established as a popular mod) reinstalling the magnet the wrong way round. Incredibly, the exact same repair was done to Kossoff's burst. Probably both done by the same person (Sam Li). Both guitars have a totally unique honk and sweet highs that made all those amazing records..

Very nice presentation. I recall that GP PG cover story from '97 or so that revisited the LP showing up at Hamer's shop. Seems like the wiring looked stock but they used a compass to discover the neck pups magnet was flipped.

By the way.i love the origanal fleetwood mac. The album "Then play on " is so damn cool!

Cool video... Thankyou!!

I seem to recall in that Jol Danzig interview, Jol stating that the neck humbucker being magnetically out of phase (flipped magnet) and he said that this sounds different than just wiring pickups electrically out of phase. I've had other people insist that there's no difference between the methods.

I think there's some parts missing to the story of the LP pickup. In the early 70's I worked at a recording studio at 19 Gerrard St, Soho, London, which was two doors away from Sam Li's workshop. I remember speaking to someone from there once (not Sam unfortunately) who said that Peter's guitar was repaired there (not the neck break) and the pickup refitted. I figured out that the sound was the same as 'out of phase' (this was before it became much of a thing) because of work I was experimenting with in the studio. Later I tried to do the same to an SG by taking out the neck pickup and rewiring it. First up, this is not a job that involves simply swapping wires over. One side is connected to the metal work so you have to desolder, seperate and resolder them, so not a job that could be done accidentally. And this method works as we all know now. Most modern pickups are wired so as to give you more choice in switching (single coil, phase etc). But the if PG's pickup had been disassembled and rewired, as it looks in the photo, then the phase trick could have happened accidentally, equally, the magnet(s) could have been reversed too (with respect to the other pickup). Funnily enough, my efforts with the SG hum bucker looked exactly like the photo with the grey wire coming out of it. I wired it back in with a push-pull pot switch to switch it in or out of phase. I remember it was a tricky bit of wiring because of the earthing situation! Interestingly, in recent years I've had the opportunity to play some genuine 59/60 Les Pauls and some of them have a very similar sound to PG's guitar, with the right volume/tone and pick up selection. Anyway, just my two bob's worth.

When I played with Peter he kept telling me ‘Listen to Robert Johnson ...’Must have been an important influence

I already liked it upon reading the title.

Before there was the Brown Sound there was the Green Sound huh? Every time I watch an old Mac performance on KZfaq I end up wondering why Danny Kirwin is not a name that is far more well known among guitarists. Pups and switching etc? I have tried most configs. The one I like best is not out of phase Green style. It's having the neck pup split and mixing with the bridge in humbucking mode. It adds a little noise, but makes the neck pup fat but still bright, which then gets blended to taste with the aggression of the bridge pup using the pots.

I flipped the magnet in my 1996 Hamer USA....it got me there

A very good video for guitar and amp junkies. A small clarification if I may -- at 8:53, the amps in the photo appear to be a Deluxe Reverb (20W, 1-12" spkr) on the left, and a Twin Reverb (100W, 2-12") on the right.Definition on this screen isn[t sufficient to determine whether either amp has the aluminum trim around the speaker baffle, which was a feature on the first iteration of the silverface amp line. I have a 1969 Twin Reverb, according to transformer and pot date codes, but it has the original, aluminum-trimmed baffle. Fender was notorious for using up any parts remaining from previous models on their replacements. At 9:02, the photo shows a late-1969 or later SF Twin Reverb atop a Dual showman cabinet, as you say. The badge in the lower right corner of the twin indicates JBLs. An easier method is to notice the aluminum dustcaps on the 12" and 15" speakers. That feature was exclusive to the D-120F, D-140F, and D-150F JBLs. The 120 was 12" (in the Twins), the 140 a 15" guitar speaker (in the Showman/Dual Showman), and the 150 a 15" bass speaker. The 'F' suffix denoted Fender exclusive use. The only difference between the Showman and Dual Showman was the output transformer, because the Showman used a single 15" at 8 ohms, while the Dual Showman used two 15" in parallel for an impedance of 4 ohms. The cabinet in the photo referenced is definitely a two-15". Single 15" cabinets were the same size, but mounted the single speaker in a different configuration, using a second baffle behind the front baffle. The front baffle had an aluminum 'tone ring' which extended about two inches behind the front baffle, leaving a gap to the baffle on which the speaker was mounted. The Tremolux amps were never equipped with reverb. The Tremolux amps were discontinued at the end of the blackface amp era. The amplifier heads which incorporated reverb did not arrive until the early 70s, and were pretty much limited to the Bandmaster (or Band-Master) Reverb and Showman/Dual Showman Reverb models. Fender had made stand-alone reverb units in brown, blonde, and black vinyl coverings from about 1962 through the late 60s/early 70s. Off-topic -- Ted Nugent has used Fender Super Twins with 2-12s, atop Dual Showman-sized 2-15 cabinets. Twin Reverbs are rated at about 85W, while Super Twins are rated by CBS Fender as being 180W. Super Twins are NOT missed.

Pete was using a Les Paul with a Marshall amp with Peter B's looners prior to joining John Mayall. And Pete would have been far too modest to claim " I can play better than that " to John Mayall. Pete was living upstairs from Mayall in West End Lane and they saw a lot of each other. It took him about a year in the Bluesbreakers before it was generally agreed that he had surpassed Clapton. A great post anyway.

Saw this before but great to see after the passing of Peter Green. Rest In Peace, Greeny.

I flipped the magnet on my L.P and it sounds great for Peter Green style solo's. Pickup manufacturers charge a fortune for their 'Peter Green modded pickups' - its fairly easy to do yourself if your handy with a screwdriver . 🎸👍

Judging by the later outfit, that acid really got to him

Great Post. Inspired me to share my experience of trial and error in search of the holy OOP. The Peter Green LP is the most book-worthy of all LP's ever made. The reason is the sound/tone contradiction and the mythology/misinformation surrounding the facts. I wish the man himself could remember more about this most wonderful mistake or maybe PG intended all the variants i.e. P/UP height bias towards the treble strings. P.UP screws facing away from neck and of course the magnet flipped to create Destructive Interference or Out Of Phase (OOP) From my research the PG OOP is only truthfully achieved magnetically (Zeemen law of physics) and NOT electronically (Stark Law of physics)+ turning the Neck p/up around contributes to the (OOP) sound because the p/up screws will be further from the neck producing a less thick/jazz tone (as a complete sidenote, one utuber occasionally removes the screws completely from humbucker to create a singlecoil!) and finally the magnet flip or is it rotation? I had to keep experimenting with the aforementioned (3x), even thinking I had flipped/rotated the bar magnet successfully, when in fact I hadn’t! Eventually I found the opposite poles, and there is no doubt when you get it right! NB Stark effect- the splitting of spectral lines observed when the radiating atoms, ions, or molecules are subjected to a strong electric field discovered by a German physicist, Johannes Stark (1913). The analogue of the Zeeman effect i.e., the magnetic splitting of spectral lines Pieter Zeeman (1865-1943) However, the 5k CustomShop Gibson LP1 Peter Green/Gary Moore Signature model was ONLY electronically wired OOP!!- reason it was cheaper on labour/materials/time in assembly rather than to honour the original MAGNETIC OOP!!! PG also had his p/up height with the screws very close to the thin/high GBE strings and far away from the thick EAD, again it's all about turning a overweight Harley into an off-roader or a one-trick pony into something that could be a counterpoint Kiwin's LP! BB King’s use of the Gibson Variatone, an electronic frequency cutting switch unit, that incrementally removes frequencies, thus electronically emulating the magnetic OOP. I believe this to be the sonic DNA lineage of the PG magnetic OOP! Then you need to "cook" to find the magic. I have the vol of the bridge p/up on 8 and the neck on 6. Its all about imbalance and dissonance. Play with the tone controls if you wish, but basically the main objective is to use the 2 vol controls to get the 2 p/ups to work against each other for dominance to achieve what I describe as the sound of the air in the hollow-chocolate-easter egg that you POP into!! However according to the Haynes guitar manual - If you want the bridge and neck pickups to be out-of-phase with each other when the switch is in the center position, and your pickup has 4 conductors (red, white, green, and black), then swap the locations of the green and black wires for ONE pickup, not both. That means that if the Green wire of the bridge pickup is soldered to Ground and the Black is connected to the tab on the volume pot, put the Black wire on the Ground connection and the Green wire on the tab of the pot. The Haynes les paul manual says the the best way to get the 'hollowness' is to flip the magnet (out of phase) reverse the pickup in it's surround (semi phase corrected) and then reverse the green and black wires to wire it out of phase again. e.g. 1 - magnet swap (out of phase) The magnetic poles of those bar magnets are the long sides, not the ends like you might guess. You flip them over so that the long edges reverse 2 - pickup reversal (back in phase, kinda) - semi phase corrected 3 - wiring the ground and hot in the opposite to normal places (out of phase again) I tried all this without any effect! Ellis from Hamer wrote, “Dantzig recalled that Gary Moore stopped by the factory in the early Eighties with Green’s Les Paul. “‘I asked if I could check out the wiring,’ remembered Dantzig, ‘and I carefully examined the pickups and their controls. Everything looked totally stock-the pickups were wired in phase-but I knew they didn’t sound stock when played together. “‘The I used a compass to measure the pickups’ magnetic polarity. I discovered that one magnet was oriented north-to-south while the other was oriented south-to-north. The pickups were Magnetically out of phase-this was the secret we’d all been searching for!’ “Dantzig agreed to incorporate magnetically out-of-phase pickups and reverse the neck pickup in the custom Hamer,” Ellis continued. “I sent a pair of Antiquity humbuckers to Seymour Duncan, requesting that he flip the magnet on one. Before I could explain why, Duncan said, ‘Ahh-you want the Peter Green mod.’” So did the wiring replicate Green’s nasal tone? The answer, Ellis said, was an unequivocal yes. “In a dual-pickup setting where each humbucker has its own volume pot, you can bleed the relative phase shift to create timbres ranging from a piercing howl to a subtle treble boost.” But as Ellis points out, the resulting tone ISN'T the same that you get from WIRING humbuckers out of phase. It seems that MAGNETICALLY out-of-phase pickups are responsive to pitch, creating an entirely different sort of sound. “Oddly, the resulting sound is sweeter and more musical than what you get from WIRING humbuckers out of phase,” Ellis writes. “MAGNETICALLY generated phase shift seems to respond to pitch changes-the higher the note, the more pronounced the effect. Chords and bass notes don’t have the thin, shrill sound of out-of-phase wiring, yet high notes played on the top strings have a pronounced hollow cry.” On a spiritual sidenote if you watched/listened to Spencer’s account of returning from the Munich house of horrors. He describes in the original doc (now edited!!) PG and DK comatosed on the back seat of the car with entities morphing in and out of them. kzfaq.info/get/bejne/rduoadOr1rGsaXk.html Both subsequently suffered and were “treated? for mental health problems, which I believe was actually demonic infestation and NOT the industry politically correct cited LSD fallout. kzfaq.info/get/bejne/aMV0dbVels6VeKc.html Listen to what DK said to a friend about the Munich/Black magick event kzfaq.info/get/bejne/q-CFdqtlrcnOmqM.html According to the Boston Tea party concerts. PG states Green Manalishi is about the devil and not greenback/money as purported by misinfo industry publicist Keith Altham! Though J Spencer appeared in the photo on the single cover sleeve, Spencer is thought not to have been present at the recording sessions, though he was present when Green was recording the eerie howling noises heard at the end of the song, according to an interview with Spencer on the barred Part 10 of the BBC Peter Green documentary DVD, "Man of the World".re- during the banshee-type whailings of Manalishi's recording in an underground carpark, Spencer recalls seeing entities coming out of the speakers! PG also went onto to say that he believed some guitars are cursed! Is this the real reason after a LORRY crashed into the car boot that contained the PG LP- resulting in Gary's facial scars and the broken PG neck/headstock that GMoore sold it on to no other than Ouji-Kirke/Metallica who interestingly asked J Page whether he should buy the PG no 1 ! GM left millions in his estate-so it wasn't about needing cash! So what did the previous 2 owners have to say about this LP. PG- "It was a fuddy old guitar with a tree trunk for a neck" PG in recent years said he would never use a LP again because they are too Parisian! GM- " Not as easy to play, more effort required" J Hendrix used this PG LP upside down at a Mac gig at the Marquee in late 60's on New Years Eve and played Auld Lang Syne! www.vintageguitar.com/22223/peter-green/ www.timesofisrael.com/the-last-blues-of-peter-green/

That was great ...well done

Peter also owned a 1952 Gibson Les Paul Gold top. The guitar was given to him by Eric Clapton. Green gave it to Duster Bennett in the late 1960's and eventually it ended up with Top Topham who I think still owns it.

Great man, great guitarist and writer. Will be sorely missed. RIP Peter.

I've seen recent photos of Peter playing a G&L ASAT Special. Greg Koch has said that one of the reasons so many Tele players switched to late '50s LPs was that they sounded like "fat Teles". The humbuckers were underwound relative to modern LPs. The ASAT Special uses higher output Tele pickups, so you could almost say that the ASAT Special was Leo Fender's approach to "hotter" tele pickups with less noise (but not noiseless.)

Saw Fleetwood Mac at one of the boat clubs in Nottingham, probably the Britannia in late 68 I think, remember snow on the ground He was playing through an Orange amp and cab. I'm sure Matamp made the Orange amps. back then.

Sad loss all years we lost when he was ill great blues player one off another one gone always sounded great made many kids pick up the guitar to play rip pete always be remembered 👍

Can’t wait for the out of phase pickup test❗️

Matamps are alive & well and still making high quality products

At one stage he used a 59 Fender Bassman combo with the 4 10 inch speakers--however one speaker was deliberately left unconnected. What that contributed to the resulting tone was evidently worth the finagling.

It is fascinating to learn how many greats have a common inspiration in Hank Marvin.

10:01 There’s a photo of Jeremy Spencer playing a Strat which had the selector switch under the neck pickup 👍

GRACIAS MAESTRO POR HABER EXISTIDO , DESCANSA EN PAZ GENIO.....

So the polarity can be flipped either magnetically or when the pickup was re wound they reversed the polarity , seeing the grey wire that is probably what happened . Flipping the polarity magnetically and electronically sounds the same .

Thanks so much, i'm a Peter Green junkie, to me him and Danny were the best to come out of England. Shed pickups are as good as they get for Reverse Wound, now I just ordered a set of Wizz Reverse wound, and waiting to put them in my Replica 59, and I think that the Thro-baks for magnet flip are the best of the Flip magnet only. I prefer the Reverse wound.

Your videos are very good

Godspeed Peter, One of the greatest guitar player's . And that silver wire could be the braided cord out of the pickup. If you think about a strat with the middle pickup rwrp.when in pos. 2 an 4 giving you that out of phase sound ,flipping one of the magnets in the pickup would give you that sound.🙏🎸🎸

The grey wire could have been soldered on to the original windings for some weird reason. The fact that there was no concrete mention of the bobbin wires being original is also suspect. Any tech worth his/her salt would have known the right type AWG 22 copper, formvar or? that would have been used originally. The turning around of the neck pickup so that the pole pieces are closer to the neck pickup would lessen the bass response but also accentuate the out-of-phase effect between the two as well as being magnetically out of phase because the magnet was flipped. It's funny how a lot of people try that setup on Lp's to try to sound like Peter, but that sound was from his soul, heart, head and fingers.

A little off topic, but the pickup selector on Jeremy Spencer's '58 Strat was a factory option at that time and he came across it when wondering around an Oakland guitar warehouse with Peter and Jerry Garcia...

The magnet In Peter’s neck pickup was reversed. I did that accidentally to a vintage Gibson of mine. Very similar tone quality to Greens. 😅

In about 1973 ,I was mucking about with my 66 sg standard and turned the pickup around ,to get more treble from the front pickup ,then when running both ,in the middle position ,I got that lower volume out of phase sound. Then I discovered you could get the same sound by just putting the bar magnet in the opposite way .You can get the same sound by doing either of these two things.

Great info!

The 60's Fender Dual Showman amp does not have reverb. Take a close look at Greens neck pickup. It looks to me as if it's upside down. The exposed poles are on the bottom which is reversed. Looks as if he or a tech flipped the pickup over.