I had a 335 almost identical to your late model one; mine was a late ‘70’s same brown color and coil tap but with factory stop tailpiece instead of trapeze.
An ES 330 and two ES 335's? What else are you hoarding, sir? I kid out of jealousy. They're beautiful and sound incredible in your hands. From Larry Carlton to Alex Lifeson... My dream guitar for sure.
Hi, Adam. Thanks for all you share here on TH-cam; it's enormously useful. Though I understand your reluctance to focus on gear--there's an enormous amount of gear in the world, and what seems an infinite number of TH-cam channels devoted to it; and, as we all know, what matters in the end is the music and, in service of the music, the player--at the same time, many of us will not have the opportunity to have hands-on experience with as many instruments as you have had and continue to have, nor will we have such attuned responses to those instruments. So the occasional "Adam's Take on X type guitars" is greatly useful and welcome: especially since the take is YOUR take (can I really trust what a TH-cam commentator without much of a track record as a musician says about, well, anything? But you are YOU.) Just my opinion. A thousand thanks for all you are giving us, both here and, more vitally, in your performances and recordings.
Interesting. Really enjoyed the deeper dive into the differences. I love to hear you play so any video where that happens is a win. Small suggestion it might be interesting to have future comparison videos have neck pick guitar one, neck pick up guitar two to hear them back to back. Probably a pain. If that’s the case don’t worry! Thanks for sharing!
Both are definitely your sound. Especially the bridge position is the one and only sound. I would like to know the best take you choose for "Guitar Play and Sound" in your past work. And as much as possible, I would like to hear about the guitars and amps used, the sound creation, and the reasons why.
They sound great Adam! deffo would like a video on the Jaguar and that awesome looking Telecaster too! What was the footage from of you playing with the quartet? Pedal steel and all do you have that up on your channel I'm going to have as little looks now. Hope your well mate! Cheers from the UK
There's more video on Rich Hinman's channel: th-cam.com/video/MAPsQYtM8nA/w-d-xo.html. And we've got an album available here: richhinmanvsadamlevy.bandcamp.com/album/vs
I have a '78 es335 with a coil tap as well. I'd love to know your thoughts on the coil tap. Do you ever use it it? I never did before, but have been a lot lately, and really enjoy the variety. Thanks for the videos.
Hi Adam, More videos about gear would be definitly interesting. About the sound of your speaking voice here, did you « shape » the sound of your Shure sm7b into a DAW before editing it ?
For over 40 years now I am the happy owner of a '63 ES-345 (the same guitar as the 335 except for a Varitone circuit and a bit more bling) and I'm still amazed how big the tonal differences can be from one guitar of the same model to the next ... mine sounds much rounder, has a juicy and jazzy sound on the neck pickup while the bridge has a bit less "wire" to it than your guitar (the old one I mean) . I do dig in more with my picking hand and use a smaller, thicker pick (Dunlop Jazz II, rounded tip, slightly roughed up edges) which def. plays a big part re the tones I get out of it. When I saw you recently on tour with the wonderful Lizz Wright you were playing the Collings I30 model and I wondered why you chose THAT guitar over the 335 - care to comment ?
I rarely take my 1964 ES-335 on tour anymore because I worry about it getting damaged or lost. Another reason is that my 335 has such a rich, complex sound; it sometimes feels like a bit too much for a gig where I'm mostly playing rhythm and textures, with just one or two solos (and acoustic guitar about 50% of the time). I've tried a Telecaster with Lizz, and been happy. Tried a Jaguar, also good. The Collings I-30 gives me that single-coil focus, on a platform (hollow, double cutaway) where I'm very comfortable - having played an ES-335 (semi-hollow, double cut) ever since I was a teenager. Its sound is a nice complement to Lizz's voice, and feels great with the band.
@@AdamLevyGuitarTips OK, I can relate to this - the "single coil focus" as you call it makes it a bit easier to cut through the keyboard/ organ-heavy sound of the group without having to turn up. OTOH , I would've been wary of taking a fine and delicate Collings flattop with me on an international tour ;-)
@@christianlassen3948 I am wary, believe me. It's a calculated risk. I *do* want to break these guitars in, to put some honest gigging hours on them. IMHO, they get to be better guitars that way.
@@AdamLevyGuitarTips Of course they do. I play a LOT of acoustic guitar at home and while teaching and try to get a minimum playing time on all of my active/revolving guitars. Otherwise I'd also lose the necessary bond and familiarity and when I discover this on a gig its too late ... thanks for taking the time to answer !
![Victory Amps MK Clean & OD [With Martin Kidd & Lee Anderton]](/img/n.gif)
Guitar playing begins at 5:09.
True.
Thanks for sharing! The difference are REALLY clear on this new video. It's always a pleasure to watch your videos!
Thank you, Pedro!
Beautiful guitar sounds. The "natural timbre" of each instrument is "part of the Joy" !
Always love hearing about your gear Adam!
I had a 335 almost identical to your late model one; mine was a late ‘70’s same brown color and coil tap but with factory stop tailpiece instead of trapeze.
Molly Miller has one like yours - dark brow, coil tap, trapeze. Really cool.
An ES 330 and two ES 335's? What else are you hoarding, sir? I kid out of jealousy. They're beautiful and sound incredible in your hands. From Larry Carlton to Alex Lifeson... My dream guitar for sure.
Hi, Adam. Thanks for all you share here on TH-cam; it's enormously useful. Though I understand your reluctance to focus on gear--there's an enormous amount of gear in the world, and what seems an infinite number of TH-cam channels devoted to it; and, as we all know, what matters in the end is the music and, in service of the music, the player--at the same time, many of us will not have the opportunity to have hands-on experience with as many instruments as you have had and continue to have, nor will we have such attuned responses to those instruments. So the occasional "Adam's Take on X type guitars" is greatly useful and welcome: especially since the take is YOUR take (can I really trust what a TH-cam commentator without much of a track record as a musician says about, well, anything? But you are YOU.) Just my opinion. A thousand thanks for all you are giving us, both here and, more vitally, in your performances and recordings.
Interesting. Really enjoyed the deeper dive into the differences. I love to hear you play so any video where that happens is a win. Small suggestion it might be interesting to have future comparison videos have neck pick guitar one, neck pick up guitar two to hear them back to back. Probably a pain. If that’s the case don’t worry! Thanks for sharing!
That's a reasonable request, Dylan. Thank you. I'll keep that in mind next time.
Both are definitely your sound. Especially the bridge position is the one and only sound.
I would like to know the best take you choose for "Guitar Play and Sound" in your past work.
And as much as possible, I would like to hear about the guitars and amps used, the sound creation, and the reasons why.
They sound great Adam! deffo would like a video on the Jaguar and that awesome looking Telecaster too! What was the footage from of you playing with the quartet? Pedal steel and all do you have that up on your channel I'm going to have as little looks now. Hope your well mate! Cheers from the UK
There's more video on Rich Hinman's channel: th-cam.com/video/MAPsQYtM8nA/w-d-xo.html. And we've got an album available here: richhinmanvsadamlevy.bandcamp.com/album/vs
I have a '78 es335 with a coil tap as well. I'd love to know your thoughts on the coil tap. Do you ever use it it? I never did before, but have been a lot lately, and really enjoy the variety. Thanks for the videos.
I have never found the coil-tap tone useful - but you make me want to give it another try.
Hi Adam,
More videos about gear would be definitly interesting. About the sound of your speaking voice here, did you « shape » the sound of your Shure sm7b into a DAW before editing it ?
Shure SM7B -> Cloudlifter mic activator -> Focusrite Scarlett 2i2 -> Logic Pro -> Premium Analog Tape compressor plug-in -> Channel EQ plug-in w/ Low Cut at 60 Hz.
For over 40 years now I am the happy owner of a '63 ES-345 (the same guitar as the 335 except for a Varitone circuit and a bit more bling) and I'm still amazed how big the tonal differences can be from one guitar of the same model to the next ... mine sounds much rounder, has a juicy and jazzy sound on the neck pickup while the bridge has a bit less "wire" to it than your guitar (the old one I mean) . I do dig in more with my picking hand and use a smaller, thicker pick (Dunlop Jazz II, rounded tip, slightly roughed up edges) which def. plays a big part re the tones I get out of it.
When I saw you recently on tour with the wonderful Lizz Wright you were playing the Collings I30 model and I wondered why you chose THAT guitar over the 335 - care to comment ?
I rarely take my 1964 ES-335 on tour anymore because I worry about it getting damaged or lost. Another reason is that my 335 has such a rich, complex sound; it sometimes feels like a bit too much for a gig where I'm mostly playing rhythm and textures, with just one or two solos (and acoustic guitar about 50% of the time). I've tried a Telecaster with Lizz, and been happy. Tried a Jaguar, also good. The Collings I-30 gives me that single-coil focus, on a platform (hollow, double cutaway) where I'm very comfortable - having played an ES-335 (semi-hollow, double cut) ever since I was a teenager. Its sound is a nice complement to Lizz's voice, and feels great with the band.
@@AdamLevyGuitarTips OK, I can relate to this - the "single coil focus" as you call it makes it a bit easier to cut through the keyboard/ organ-heavy sound of the group without having to turn up. OTOH , I would've been wary of taking a fine and delicate Collings flattop with me on an international tour ;-)
@@christianlassen3948 I am wary, believe me. It's a calculated risk. I *do* want to break these guitars in, to put some honest gigging hours on them. IMHO, they get to be better guitars that way.
@@AdamLevyGuitarTips Of course they do. I play a LOT of acoustic guitar at home and while teaching and try to get a minimum playing time on all of my active/revolving guitars. Otherwise I'd also lose the necessary bond and familiarity and when I discover this on a gig its too late ... thanks for taking the time to answer !
Both beautiful but man o man - that burst 64 takes it all the way... fairly certain it's not confirmation bias !!