It looks like a lot of work put into that book. I was looking at a book for sale the other day, widely available at several places, called
Trading Licks: Charlie Christian & T-Bone Walker.
In the description it mentions that they were both influenced by the Kansas Territory blues bands. I might have to look at the book you mentioned to find out what that’s about or maybe someone here knows. I’d never heard that before but it might be common knowledge to music historians and fans. What are the bands he refers to?
That’s a great find Dan. I know you’re loving it. The other day I picked up this jewel so now I can’t afford to download Tommy’s new EP. Guess I’ll get it at the beginning of the month. Congrats on that Tommy. I did hear the one cut on Reverbnation. Awesome playing and tone. Anyway, I got this from a guy in Memphis who got it from the guy in the video about 6 months ago. It has a great refret and a reproduction pickguard, and tailpiece. The pickups are original but the wiring harness isn’t. The forward knob on these is a tone control but right now it’s acting like a master volume. I did a search for a wiring diagram and haven’t found one yet. Does anyone know where I might locate one? Right now I’m using my amp controls for all tone adjustments.
More from Jonathan Stout’s blog. I’m referring to his blog because for his electric guitar needs as he plays a Gibson ES-150 with a CC pickup and even uses the same amps as CC did. His string research is commendable. He mentions in this article that CC probably used mona-steel strings which was Gibson’s name for monel so my statement in the above post that he probably used nickel strings needs correcting. I think you are right that the CC pickup and pure nickel strings may have a balance problem if you follow his research on this. The part where he mentions that almost all strings have the same steel wire doesn’t apply to Thomastik and Pyramid brands. I’m pretty sure that all of their strings are nickel wire. Maybe I’m wrong. In any case it’s always fun to read about strings as they seem to be a science unto themselves. There’s a lot learn. Good luck Grez.
Guitar String Composition and Swing Guitar
DateThursday, May 16, 2013 at 10:31AM
Because Swing Guitar straddles the worlds of both acoustic and electric instruments, the choice of string has been an open question since I began playing Swing Guitar. At times I tried to “split the difference” between, but I found it was usually better to treat an instrument as either purely electric or acoustic, since electricifing an archtop so often leads to it loosing the essential acoustic character needed for proper swing rhythm guitar.
I recently got a message from Glenn Crytzer who again inquired about what strings to use, which propeled me on a quest to figure out once and for all about the history of guitar strings as it relates to what Swing and Early Jazz guitarists would have used. Here are the results of that research.
Electric vs. Acoustic = Nickel vs. Bronze
Today, guitar strings comes in an almost endless variety, but most are one of two basic flavors: “acoustic” bronze-wound and “electric” nickel-wound. Almost all strings have the same steel core wire, and the difference is the wire wrapped around it, though there is sometimes variation in the shape or size of the core wire. The plain, unwound strings (usually the high E and B, and on very light sets, the G) on bronze and nickel sets are generally the same.
While you can technically use either string on either guitar, the use of magnetic pickups on electric guitars require a string that is ferromagnetically responsive, and nickel-wound strings and unwound plain steel strings are much more responsive than bronze strings. Besides bronze wound being very inefficient, the difference in metals causes there to be a staggering volume difference between the plain, unwound strings and the wound strings. Bronze strings, while not being as magnetically responsive, do sound much louder acoustically. They are both fuller and zing-ier sounding than nickel-wound.
Nickel and Bronze Varieties
Bronze-wound strings come in two main flavors: 80/20 bronze and Phosphor Bronze. Phosphor Bronze is much newer, having been introduced in the 1970’s as a brighter, longer lasting string. Nickel-wound strings come into two main flavors as well: so-called “pure nickel” and nickel-wound (which are nickel-plated steel wrap). Nickel-plated steel strings were introduced in the 60’s as nickel prices rose, and the brighter sound of nickel-wounds was desired. 80/20 bronze and “pure-nickel” are generally considered the more “vintage” choice by mainstream guitar culture, though really that only means 1950’s or 1960’s vintage.
Flat = Jazz?
One other variation worth mentioning at this point is “flat-wound” strings. Flats are the darkest, and mellowest-sounding strings tonally, and because they have a flattened playing surface, they make almost no finger noise. The main varieties of these are what I think of as “true-flats” or “ribbon-wound”, where a flattened strip of metal is wound around the core wire, and “ground-wound” where a round string is wrapped and then the outer surface is shaved or ground down to a flat surface. Ribbon-wound strings are the darkest, with ground-wounds being a step brighter, but still mellower than round-wounds.
Flat wounds are often thought of as “jazz” strings, though in reality that means the “jazz” of the 50’s and 60’s. As I mentioned in a previous article, legendary studio guitarist Bob Bain related to me that flat wounds were not really used until the mid-50’s. La Bella claims to have introduced flats in 1940, but I’m guessing they weren’t commonly adopted until the 1950’s. Flat wound strings have the distinctive sound of post-bop and hard-bop guitarists like Grant Green, Kenny Burrell, Wes Montgomery, etc., which is something distinctly different than swing-era electric players like Charlie Christian and early Barney Kessel. I don’t recommend flats for swing-era playing.
Strings Types and Swing Music
So the question remains, “what were they using before 1950, and more importantly what were they using during the swing-era?” That question has been difficult to answer, and I after some research and some theories.
Pre-History of Strings, part 1: “Steel”
As best as I can tell, metal musical instrument strings go back hundreds of years. They came to guitar in the middle of the 19th Century. During this time there was no particular standardization. Originally steel strings were oiled to retard oxidation, and other coatings were tried before plating came into the picture. Gauges were not specified, and you basically had the choice of brands.
For figuring out the timing of advancements and product introductions, the best resource I found was a collection of manufacturer’s catalogs at http://www.acousticmusic.org, all of which were available for download as PDFs. There were quite a few discussions in various forums asking many the same questions, but this one <http://theunofficialmartinguitarforum.yuku.com/topic/1743#.UV0JXKsjqXQ > from the Unofficial Martin Guitar Forum was especially helpful. The extensive collection of string packages provided some missing information.
In the 1903 Gibson catalog, the only steel strings were listed as “silver wound.” Just judging from the catalog, it is hard to determine whether these were actually silver-plated, or whether they were “silvered” with some other alloy or method. Many of the string packages shown on the martin guitar forum, however, do specifically say “silver-plated”, and judging from the packaging art and lettering, these could easily be from the era the teens and 1930’s. Thus, I would bet that “silver wound” meant “silver-plated steel.”
The 1930 Martin catalog only lists “wound steel” (with wound B and G), but with no further description of composition. The 1934 Epiphone catalog also offers no clue to composition beyond “steel.”
Monel: The missing link
Before being my research, I had never heard of a metal called “Monel,” let alone did I realize that it was probably the dominant guitar string alloy for a period in the 1930’s and perhaps into the 40’s. According to wikipedia (I’ll do some legit metallurgical research eventually), monel is a nickel-copper alloy is commonly used in applications with highly corrosive environments. Monel guitar strings were produced from the 1920’s up until the 1970’s, and new old stocks had mostly run out years ago. However, Martin recently announced that they are bringing back monel strings for a signature set for bluegrass guitarist Tony Rice. I just ordered a couple sets, and will report back as soon as I can.
The 1930-1931 Gibson catalog introduces “Mona-Steel” strings, which was Gibson’s name for monel. No other steel-string choices are listed.
The 1934 Gibson catalog, offers only mona-steels, but does offer the option of “hand polishing.” There is some conjecture on various bulletin boards that this is a reference to flat-wound strings, or at least an early “ground-wound” string. I do not think that is the case. Rather, I am guessing that the manufacturing standards of the day may have led the strings to be a bit “fuzzy” and perhaps a bit poorly finished. There are pictures of Mapes brand strings from the 30’s that came with a “sepam cloth” to polish the strings. Sepam cloth is something like an emery board. The 1944 Epiphone catalog mentions strings can be “hand-polished” to “reduce swish.” Reducing finger noise may also have been a concern. However, I would argue that while “hand-polishing” may have rounded off the gullys between round wrappings ever so slightly, they are not “flats” as we think of them. Also, given how much material would have to be removed to make them flat, I doubt that could really be achieved with something like an emery board or by hand.
In comes Bronze
So far, the earliest reference to “bronze wound strings” that I’ve come across is in the 1935 Martin catalog. Both Monel and bronze sets are listed, with bronze being listed as being “heavy gauge” and wound on a hexagonal core, and the monel listed as being “medium gauge” and wound on a “piano core,” which I’d assume is a round core. Gibson’s 1937 catalog also adds bronze-wound to the line up, along with the mona-steels. It isn’t until after the impact of the electric guitar that there is any text describing the qualities of monel vs. bronze.
Electric vs. Acoustic
The 1937 Gibson catalog is also very important because it introduces Gibson’s electric line of guitars, banjos, mandolins and hawaiian steel guitars. Gibson’s first electric guitar pickup, usually known as a “Charlie Christian” pickup, had an issue with the B string being significantly louder than the rest. By 1938 Gibson added a notch in the pickup under the B string to try to equalize the difference. Finally, in 1939 Gibson introduced a CC pickup with individual pole pieces on the ES-250. In 1937, the Gibson catalog simply directs electric guitar users to use a set of monel strings. But consider that, at that time, the first electric jazz guitar solo had yet to be recorded.
There was a significant amount of experimentation and innovation in those earliest years of the electric guitar. The next two catalogs in the collection show major changes. The 1942 Gibson catalog finally differentiates electric strings from acoustics. Mona-Steel and Bronze are both offered without reference to “acoustic”, but the newest addition is Mona-electric strings. The catalog only says that they are specifically selected gauges of mona-steel. Presumably monel was still used for electrics, but the gauges had been altered to deal with the “hot B string” problem.
There is a particularly telling paragraph in that 1942 catalog:
“Our Mona-Steel Strings are noted for their non-tarnishing long wearing qualities, and are better suited for electrics. The bronze strings have that clear tone of soft brilliancy, which is preferred by many especially in orchestra work. Light gauges are more responsive and ideal for light, fast picking; while heave gauges are designed for the orchestra players who need volume and solidity.”
The difference becomes codified
The 1942 Gibson catalog mentions that heavy-gauge bronze strings are standard equipment on Super 400’s and L-5’s. By the 1944 Epiphone Catalog the split between electric strings and acoustic strings appears to have solidified. It offers “special bronze wire covered” strings as well as now specifically electric “Electar” strings of “magnetic materials.”
After this my resources dried up. I can’t find any catalogs until 1950, when Gibson was offering both generically “Guitar” (presumably monel) and “Bronze Guitar Strings”, as well as specifically electric strings. Again, there is a lapse in the resources until 1959, when the Fender Catalog describes their electric guitar strings (as they only made electric instruments then) as “pure nickel-wound.”
Based the catalogs, I would feel comfortable making a couple of inferences.
I would bet that someone like Eddie Lang was using a silver-plated steel string until the introduction of monel and perhaps adopted monel until he died in 1934.
I’m guessing that Monel strings were probably used by the second generation of guys, like Carl Kress, Dick McDonough, George Van Eps, though they may have switched to bronze-wound when they were introduced.
The swing-era rhythm players probably adopted bronze-wound strings because of their greater volume, although it’s possible some stuck with monel strings.
Because I can’t find any references to specifically electric strings until 1942, I would bet that Charlie Christian probably used mona-steel strings.
I bought a couple sets of Martin’s Tony Rice Signature Monel Strings. I tried them on both my Eastman 805 and my Franken-ES150. The verdict is still out, because I haven’t had a chance to trade back and forth and to play them on very many gigs. Lately I feel like I’ve gotten burned by forgetting that how something sounds alone is not necessarily how it sounds in the context of an ensemble.
On the acoustic, they definitely had a distinct sound as compared to either bronze or nickel. They were bright and cutting without being shrill. They seemed to have increased mids and upper mids, with somewhat reduced bass as compared to bronze. On the electric, there is some difference between the wound and unwound, but I think it maybe a beneficial one. The low strings tend to be very bassy and distort my EH-185 far more readily than the unwound strings. I think the lesser magnetic response may actually serve to balance the guitar better when jumping from rhythm guitar (which I’ve already written how much I dislike electric rhythm guitar) and solos.
Lastly, the gauges for this signature set are a bit different than a normal set of 13’s, with the middle strings running slightly lighter. Some of the strings seem to flexible, and seem to “give” when hit hard rather than bouncing back. Only more time an experimentation will tell.
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This following is an excerpt from Jonathan Stout’s blog. From what he says I have to assume Charlie Christian used nickel strings with his pickup and they were roundwound. If what he’s saying is correct I would think nickel strings should work fine with no problems with a bar style pickup.
“For electric strings, it can be difficult finding strings gauged for jazz playing without using flatwound strings. I can confirm that roundwound strings were used on electric guitars until the 1950’s when flatwounds were introduced. (see below) I’ve been using D’Addario’s for a long time, generally with the standard nickel alloy, but I recently have been experiementing with a their pure nickel string, which would be more like strings used “back in the day.” I’ve gone back and forth with them yet, but many of the makes of “vintage” pure nickel strings don’t offer a 13 guage set, so D’Addario is one of your only options.
I recently spoke with legendary studio guitarist “Telecaster” Bob Bain. Beside being a one of the most recorded guitarists in history, one of Bob’s first job was playing guitar in Freddie Slack’s band in the early 40’s. He was friends with many important swing guitars, including Allan Reuss and Les Paul. We only spoke for a couple minutes on the phone, but he invited me to drop by his house to chat some more soon.
Anyway, he confirmed that early electric guitar players used roundwound nickel strings, and that flatwounds did not come on the scene until the 1950’s. He alluded to the role of one George Barnes in popularizing them – Bob called him”this guitar player from Chicago, George Barnes.” I think he was surprised to hear that I knew exactly who George Barnes was.
Here’s an article all about Bob from Vintage Guitar Magazine: http://www.vintageguitar.com/2810/bob-bain/
OOPS!Let me try this again. I posted the same link twice above
I’m glad you mentioned this Grez as I was just getting ready to try those exact strings on my CC equipped Tele. I think I’ll pass now. I’m using Thomastik flatwound 12s now and not having any balance problems with them.
There’s not a lot of 4 string guitar playing in the swing style going on these days so I thought I’d throw this out there for your entertainment.
Learning Charlie Christian. Every tool helps. The compilation of info here is invaluable.
Ebay has em. I have a ZT Lunchbox that continues to amaze people when they hear it. It has a little 4″ speaker that breaks up with decent tone at high volumes and will keep up with any drummer but I’ve been looking hard at these. Sounds like Tommyboy67 is describing almost any Vintage 47 amp.
Craner, I’ve been searching for that site for a few weeks now. Most stuff is there on the link Jason gave but they didn’t put the transcriptions up. My email; email@example.com
I have the notation for these but I’m so slow at reading that it’s almost like transcribing for me. Thanks, Mike
The listing on ebay I was referring to in the above post was posted by Gretschman in the previous post. It’s always hard to decide without playing first but not a huge investment either.
I’ve been using a Victoria 35115 at home at low volumes and it sounds great and I’d say the tone on these is very similar for a much cheaper cost.
If you decide on a Fender Pro Jr keep us posted. They can be very wooly sounding and hum alot. I’ve dinked around with them quite a bit to get the tone right. You can do alot with these with just a few resistor value changes. No need to buy mod kits.
Heads up; I just saw an Ampeg j reissue on ebay a few days ago for $300+ with reverb and trem. Don’t know if it’s still there. Good luck in your search Marc.
Does anyone know how to access the Solo Flight Charlie Christian transcription site? Is it still out there somewhere? I just get the link below when trying my old bookmark for it.
That sounds great Dan. It sounds warmer in your pinecaster than the one I have in an ash body tele. It’s tone is defiantly not as archtop-like as yours. Nice.