How to make your Strat sound like it''s running through a coily cable
Have you ever noticed, when looking at photos of ā60s guitar heroes like Eric Clapton and
Jimi Hendrix, the old-fashioned spiral cords
connecting their guitars and amps? At the
time, most guitarists used these cables not
for tonal reasons, but because they looked
cool and the choice of instrument cables
was very limited. From our modern point of
view, these cables were low quality with lousy
shielding, but back in the golden days of
electric guitar, they were it.
Wiring diagram courtesy of Seymour Duncan Pickups and used by permission. Seymour Duncan and the stylized S are registered trademarks of Seymour Duncan Pickups.
These cables had an immense influence on the tone of the day, as even short spiral cords took away a lot of top-end bite. The use of 30-foot spiral cords to connect guitars and amps result- ed in a "warmer" sound (i.e., less top end) than we are used to today. That translated into a slightly muffled clean sound, frequently leaving guitarists to crank the treble on their amps or plug in a treble booster to make up the difference. It also resulted in a monstrous overdriven sound, especially with vintage single-coil pick- ups. And isnāt that what weāre trying to achieve today when we play with distortion?
Such cables have been out of production for many years. Modern spiral cords are high-quality, low-capacitance designs that only mimic the appearance of the old cables for a retro look on stage. But it is a fact that these vintage cables are an important part of the sound we know and love from classic records. Realizing that Jimi Hendrix would sound different with a modern guitar cable, I thought it was time to figure out how to simulate these vintage cables, without unplugging our modern ones.
This seems very easy to do at first glanceā simply add some capacitance with an additional capacitor. But proper placement of the capacitor is crucial for this mod. If the mod is switched off, we want it completely out of the circuit, so we can enjoy the transparent tone our modern guitar cables provide. But when the mod is engaged, we want a full simulation of that ā60s tone, warts and all.
So letās start with some recommended cap values for simulating varying lengths of vintage coiled cable:
10-foot (3 meters): 1nF
15-foot (4.5 meters): 1.5nF
20-foot (6 meters): 2.2nF
30-foot (9 meters): 3.3nF
Ultra-long: 4.7nF
I chose standard values, so you should have no problem getting these caps from any local electronic store or online supplier. Keep in mind your cap selection can further influence the tone. Personally, I feel that the modern, cheap ceramic caps sound closest to the old guitar cables, but naturally you can also try silver mica caps, film and foil caps, or anything in between.
To perform this mod, you need one of the caps mentioned above and a SPST on/off switch (you can also use a push/pull or push/ push pot). As I mentioned earlier, itās all about placement, so take a look at the diagram. If you want to be more flexible, you can use an on/off/on switch and choose between two capsāI recommend 1.5n and 4.7n for three completely different tones. And if you want to go wild, you can also use a rotary switch with several caps for an ultra-flexible guitar. And remember, if you use a film and foil cap, con- nect the outside foil end to ground (see last monthās column for details).
From a technical point of view, the added capacitance is shifting down the resonance frequency of the Strat pickups, so they sound fatter when using overdrive. This is exactly the reason why a lot of vintage-voiced distortion and fuzz boxes use an additional cap at the input sectionāthe resulting overdrive tone is fat and warm. This mod works best with typical vintage Strat pickups or a typical vintage PAF. Modern high-output pickups donāt sound very good with this mod. If you want to make your Strat sound more Les Paulish, try a 4.7n for the additional cap. Your Strat will sound very muffled when playing clean, but ultra-fat and punchy when using overdrive! I wouldnāt recommend any values higher than 4.7n.
Keep in mind that only a small roll back of the guitarās volume pot will cut a lot of highs right from the start. Additionally, if you use a treble bleed network that works perfectly with your modern cable, it will stop working with the vintage cable mod because it is now mismatched. But thatās the nature of the beast with this simple, yet effective mod. A lot of players have told me this mod is one of the most usable out there, so make sure to give it a try. Until next month, keep on modding!
Dirk Wacker
Dirk Wacker lives in Germany and has been addicted to all kinds of guitars since the age of 5. He is fascinated by anything related to old Fender guitars and amps. He plays country, rockabilly, surf, and Nashville styles in two bands, works regularly as a studio musician for a local studio, and writes for several guitar mags. He is also a hardcore DIY-er for guitars, amps, and stompboxes, and he runs an extensive webpageāsinglecoil.comāon the subject.
6V6 and EL84 power sections deliver a one-two punch in a super-versatile, top-quality, low-wattage combo.
Extremely dynamic. Sounds fantastic in both EL84 and 6V6 settings. Excellent build quality.
Heavy for a 9-to-15-watt combo. Expensive.
3,549
Divided by 13 CCC 9/15
The announcement in January 2024 that Two-Rock had acquired Divided by 13 Amplifiers (D13) was big news in the amp world. It was also good news for anyone whoād enjoyed rocking D13ās original, hand-made creations and hoped to see the brand live on. From the start of D13ās operations in the early ā90s, founder and main-man Fred Taccone did things a little differently. He eschewed existing designs, made his amps simple and tone-centric, and kept the company itself simple and small. And if that approach didnāt necessarily make him rich, it did earn him a stellar reputation for top-flight tube amps and boatloads of star endorsements.
D13ās history is not unlike Two-Rockās. But the two companies are known for very different sounding amplifiers and very different designs. As it happens, the contrast makes the current Two-Rock companyāitself purchased by long-time team members Eli Lester and Mac Skinner in 2016āa complementary new home for D13. The revived CCC 9/15 model, tested here, is from the smaller end of the reanimated range. Although, as weāll discover, thereās little thatās truly āsmallā about any amp wearing the D13 badgeāat least sound-wise.
Double Duty
Based on Tacconeās acclaimed dual-output-stage design, the CCC 9/15 delivers around 9 watts from a pair of 6V6GT tubes in class A mode, or 15 watts from a pair of EL84s in class AB1 mode (both configurations are cathode-biased). Itās all housed in a stylishly appointed cabinet covered in two-tone burgundy and ivoryātogether in perfect harmonyāwith the traditional D13 āwidowās peakā on a top-front panel framing an illuminated āĆ·13ā logo plate. Measuring 22" x 211/4" x 10.5" and weighing 48 pounds, itās chunky for a 1x12 combo of relatively diminutive wattage. But as Taccone would say, āThereās no big tone from small cabs,ā and the bigging-up continues right through the rest of the design.
With a preamp stage thatās kin to the D13 CJ11, the front end of the CCC 9/15 is a little like a modified tweed Fender design. Driven by two 12AX7 twin triodes, itās not a mile from the hallowed 5E3 Fender Deluxe, but with an EQ stage expanded to independent bass and treble knobs. Apart from those, there are volume and master volume controls with a push-pull gain/mid boost function on the former. In addition to the power and standby switches, thereās a third toggle to select between EL84 and 6V6 output, with high and low inputs at the other end of the panel. Along with two fuse sockets and an IEC power-cord receptacle, the panel on the underside of the chassis is home to four speaker-output jacksāone each for 4 ohms and 16 ohms and two for 8 ohmsāplus a switch for the internal fan, acknowledging that all those output tubes can get a little toasty after a while.
āSet to 6V6 mode, the CCC 9/15 exudes ā50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips.ā
The combo cabinet is ruggedly built from Baltic birch ply and houses a Celestion G12H Creamback speaker. Construction inside is just as top notch, employing high-quality components hand-soldered into position and custom-made transformers designed to alternately handle the needs of two different sets of output tubes. In a conversation I had with Taccone several years ago discussing the original design, he noted that by supplying both sets of tubes with identical B+ levels of around 300 volts DC (courtesy of a 5AR4/GZ34 tube rectifier), the EL84s ran right in their wheelhouseāproducing around 15 watts, and probably more, in cathode-biased class AB1. The 6V6s operate less efficiently, however, and can be biased hot to true class A levels, yielding just 9 to 11 watts.
Transatlantic Tone Service
Tested with a Gibson ES-355 and a Fender Telecaster, the CCC 9/15 delivers many surprises in spite of its simple controls and is toothsome and dynamic throughout its range. Between the four knobs, push-pull boost function, and 6V6/EL84 switch, the CCC 9/15 range of clean-to-grind settings is impressive regardless of volume, short of truly bedroom levels, perhaps. It also has impressive headroom and a big, robust voice for a combo that maxes out at 15 watts. Leaving the boost switch off affords the most undistorted range from the amp in either output-tube mode, though the front end will still start to push things into sweet edge-of-breakup with the volume up around 1 or 2 oāclock. Pull up that knob and kick in the boost, though, and things get thick and gutsy pretty quick.
While the power disparity between the 6V6 and EL84 settings is noticeable in the ampās perceived output, which enhances its usefulness in different performance settings, you can also think of the function as an āera and originsā switch. Set to 6V6 mode, the CCC 9/15 exudes ā50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips. The EL84 setting, on the other hand, ushers in ā60s-influenced voices with familiar British chime, sparkle, and a little more punch and cutting power, too.
The Verdict
If the CCC 9/15 were split into different 6V6 and EL84 amps, Iād hate to have to choose between them. Both of the ampās tube modes offer expressive dynamics and tasty tones that make it adaptable to all kinds of venues and recording situations. From the pure, multi-dimensional tone to the surprisingly versatile and simple control set to the top-flight build quality, the CCC 9/15 is a pro-grade combo that touch-conscious players will love. Itās heavy for an amp in its power range, and certainly expensive, but the sounds and craft involved will make the cost worth it for a lot of players interested in consolidating amp collections.
The Austin-based guitarist sticks with a tried-and-true combo of American guitars and British amps.
If youāve been on the path of this springās Rhett Schull/Zach Person tour, youāve been treated to one of the coolest rock ānā roll double bills criss-crossing North America this year. Person, who is based in Austin, put out his second full-length record, Letās Get Loud, in March 2024, and it was packed with alt-, blues-, and psychedelic-rock anthems built around his take-no-prisoners playing.
This year, Person is road-dogginā it around the United States as a two-piece unit with just a drummer, and PGās Chris Kies caught up with him before he and Shull played the Eastside Bowl in Madison, Tennessee, to see what goods Person is bringing for this springās shows.
Brought to you by DāAddario
Customized Custom
This Gibson Jimi Hendrix 1967 Custom SG came from Gibsonās custom shop, and for Person, an SG with humbuckers is a hard combination to beat. He removed the Maestro trem system and had a tailpiece installed for tuning stability on the road, and he subjected the neck humbucker to a āJimmy Page mod,ā which entails removing the pole pieces to get closer to single-coil tones. This SG stays in standard tuning, with Ernie Ball or DāAddario strings (usually .010ā.046s). Person digs Dunlop Flow Grip .88 mm picks.
Brown Sound
Person brought this 1967 Gibson SG Special back to life with a list of modifications and upgrades, including new pickups and a refinish, but its wood, neck shape, and original frets all made it worth it to him. The neck shape is narrow but chunky in Personās hands, landing somewhere near the feel of Tyler Bryantās 1962 Stratocaster. The pickups now are OX4 P-90s, and like the Custom, this oneās had its Maestro system amputated.
Jeannie Comes Alive
One Thanksgiving at his in-lawsā home in Dallas, Person mentioned how badly he wanted a Gibson LG-2 acoustic. As it happened, his father-in-law suspected his mother had one, which had been relegated to storage in a shed. Person and his wifeās father ventured through rain to dig it out, and sure enough, a very beat up LG-1 was withering away in its case. No local techs in Austin thought it was worth saving, except for Elaine Filion, who was used to taking on bigger restoration projects. Filion succeeded, taking the top off and installing an X-bracing system to turn the LG-1 into an LG-2-style guitar. Now, itās got an L.R. Baggs pickup and bears the nameplate āJeannieā on its headstock to commemorate his wifeās grandma, the original owner. Jeannie usually stays home, but Person brought her out specially for the Rundown.
Marshall Muscle
This Marshall JTM45 MkII is Personās usual go-to. It runs just at breakup volume and gets pushed with some variation of a Pro Co RAT, his favorite dirt box.
Supro Signature
This Super Black Magick Reverb, Tyler Bryantās signature, is along for the ride as a backup to the Marshall.
Zach Personās Pedalboard
Person has done tours with just an overdrive pedal and nothing else, so by comparison, this two-tiered Vertex board is luxurious. Still, itās compact and carries all he needs at the moment. The JHS Pack Rat is the core sound, set fairly heavy and dirty. The rest includes a Boss TU-3, EarthQuaker Devices Double Hoof, Vox Clyde McCoy wah, Boss BF-2, DigiTech Drop, Strymon El Capistan, and an Interstellar Audio Machines Marsling Octafuzzdrive. A TC Helicon Mic Mechanic rides along as a vocal effect so Person can keep control over his voice from night to night.
Jackson's new Pro Series Signature Misha Mansoor Juggernaut guitars, including the HT6 and ET6 models, are designed for classic and progressive metal players. Featuring premium construction, innovative pickups, and advanced bridge options, these guitars deliver the modern sound and performance needed to ignite your tone. Visit jacksonguitars.com for more information.
Jackson is once again partnering with Misha Mansoor to release three new signature guitars, The Pro Series Signature Misha Mansoor Juggernaut HT6 in Red Crystaland Blue Sparkle and The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 in Riviera Blue. Developed in close partnership with Misha, these Juggernaut metal guitars are built to withstand the demands of Mishaās steadfast and fleet-fingered technique. Perfect for both classic and progressive metal players, these guitars deliver the modern sound that every shredder needs to ignite their tone.
āThis refresh came about because every few years we want to see what we can doā¦these guitars travel around the world and they need to be road ready,ā said Misha Mansoor on his new signature guitars.āItās a no-nonsense guitar that looks good, sounds good, and plays good.ā
Djent forefather, Misha Mansoor, has gained widespread acclaim as the mastermind behind the axe-centric progressive metal band Periphery. Based in Washington D.C., Periphery is renowned for pushing the limits of progressive metal, using detuned, extended-range instruments to craft a sound that is both technically complex and unapologetically heavy. Misha Mansoor, guitarist and producer, co-founded the band in 2005. With the same precision and innovation that defines Misha's playing, the Juggernautsignature gives players the power to transform their sound.
The premium Juggernaut models feature a 25.5ā scale length, poplar body, and bolt-on caramelized maple neck with graphite reinforcement, wrap-around heel, and oiled back finish for greater playing comfort. With a 20ā flat radius ebony fingerboard that features rolled edges, fans can enjoy blazing fast leads. These models feature 24 jumbo stainless steel frets and offset dot inlays. Lastly, the Luminlay side-dots will guide the guitarist's path even on the darkest of stages, while the heel-mount truss rod adjustment wheel allows for convenient neck relief tweaks.
Misha worked closely, as he did with past models, to develop the exceptional uncovered direct-mount Jackson MM1 pickups. Unwilling to sacrifice tone, these pickups can be shaped with a five-way blade switch, single volume control, and a single tone control with push/pull feature that allows for players to engage or disengage tone options. Designed for articulate heavy picking, the humbuckers deliver a well-balanced sonic range with rich dynamics, intentionally left uncovered to enhance brightness and clarity.
The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 comes equipped with an EverTune F6Model bridge, engineered to maintain perfect tuning and intonation across the entire neck, even with low tunings. Its counterpart, the Pro Series Signature Misha Mansoor Juggernaut HT6, features a string-through-body hardtail bridge that delivers enhanced sustain, rock-solid tuning stability, and simplified string changes. Both bridges are built to withstand intense playing conditions, providing the unwavering stability essential for Misha's signature heavy metal style.
āWeāre beyond thrilled to be partnering with Misha Mansoor on his latest signature guitar collection. His innovation and vision perfectly align with our passion for pushing the boundaries of tone and design, āsaid Jon Romanowski, VP of Product of Jackson Guitars. āThis collaboration reinforces Jacksonāscommitment of providing for players who demand nothing but the best.ā
For more information, please visit jacksonguitars.com.
Introducing The Pro Plus Series Misha Mansoor 6-String Juggernauts | Jackson Guitars - YouTube
This is perhaps the most rare Iwase guitar: one volume, one tone, and a quality adjustable bridge, plus a raised pickguard and some beautiful shading on the burst.
A 6-string found in the workshop of the late luthier Yukichi Iwase may be the only one of these small, nearly full-scale guitars. Our columnist tells the story.
Iāve been thinking a lot about snowflakes lately. We are getting some snowy weather up my way, but thereās a few other items rattling around in my mind. Like, I just got a car for my daughter (thanks to those who bought guitars from me recently), and itās so freakinā cool. I bought her a Mini Cooper, and this thing is so rad! I was doing research on these models, and each one is sorta different as far as colors, racing stripes, wheels, etc. Her friends say she has a āmain characterā car, but youāll probably have to ask a teenager whatthat means.
And then my mind wandered to my college days, when I was an English major. I got to read and write every day, and I thought I was getting good at it until a professor raked me over the proverbial coals for using the word āuniqueā incorrectly when describing a local bandās sound. He really tore me up, because if I describe something as unique, it should be like none otherālike a snowflake.
So, what about guitars? Is a custom-shop model unique if it has the same pickups and same scale as many others? Even if the body is shaped differently? Seriously, that professor would hand you your butt because, in his mind, you didnāt just choose words unless you understood their real meaning. Consider the super-rare Teisco T-60 ⦠the model that Glen Campbell loved and played for much of his early career. I know of only four in existence. There are some Japanese collectors who own hundreds of guitars but donāt have a T-60. Does that make the T-60 unique, or simply rare? I mean, they were all hand-made and featured that original hole-in-the-body āmonkey gripā ⦠but unique? Talk amongst yourselves for a hot minute.
āIn my waning days of collecting, I just want to have Voice stuff, because I met Iwase and connected with him immediately.ā
I recently wrote about the passing of the great Japanese luthier Yukichi Iwase, whose small company (basically just him) produced some of the finest guitars and amps and carried the āVoiceā label. A friend in Japan, along with his daughters, were in the process of clearing out his old workshop, and Iāve been trying to acquire everything from it that I can. I used to collect just Teisco stuff, and then I had a passion for the old Intermark/Pleasant guitars. Then I wanted to get all the old Yamaha stuff I could find. But now, in my waning days of collecting, I just want to have Voice stuff, because I met Iwase and connected with him immediately. He was a peach, and, yes, he was unique. Aside from being one of the earliest employees of Tesico, he was a brilliant fellow who could make just about anything from scratch, including guitars and amps. Left in his workshop were a few unfinished T-60s, some pedal steels, some amps, a really cool bass, an unfinished double-neck guitar, and a tiny guitar that is also truly worthy of the term āunique.ā
āI know these pickups well enough to understand they are loud, crisp, and offer a full range of sounds,ā our columnist says.
The latter is a small powerhouse of a guitar. It has one of his amazing pickups that looks like a big block engine stuffed into an AMC Gremlin. He somehow squeezed out a 23" scale, but the rest of the guitar is like a childās 6-string or a travel guitar. I believe he only made one of these. The body design has an ocean-wave type of flow, and the guitar is very balanced and not hard on the eyes, even with the exaggerated features. One volume, one tone, and a quality adjustable bridge plus a raised pickguardāthe only time Iāve seen this design on his guitars. His finish work was really nice, too, and he was able to get some beautiful shading on the burst. The headstock has a figured overlay and the neck profile is so sweetācurved perfectly with some fine wood.
To me, it seems to have been built around 1966, based on the tuners he used. I donāt have the heart yet to plug this into an amp, but I know these pickups well enough to understand they are loud, crisp, and offer a full range of sounds. So, what do you think? Rare? Truly unique?