Here is a question posed by someone considering JBE Soapbar pickups:

Hello !
I have a little question … well, it is not about asking to reveal any technological secrets, but, here it is.
For instance, you have released a new pickup which adapts to guitars designed for “soapbar” type pickups. It looks like it is basically some sort of a “modified” humbucker. Now, what will influence the changes in the sounding properties of such a pickup, in order to have it sound more like a standard single-coil or a soapbar or some other kind of already existing pickup ? Which are the parameters which have the major influence on the sounding properties ? (magnet type ? wire material or thickness ? … etc …)
Thank you so much for the great products … and for your answer.

The JBE Soapbar utilizes the design philosophy set for all JBE pickups i.e.  hum-cancellation and superior tone and performance.  In this regard one can argue our Soapbar pickup is a humbucker variant.  But, if one were to rely on that characterization of the pickup as a soapbar-sized humbucker, he/she would be wrong and would miss what players are finding to be a great Soapbar pickup tone and performance. .  Most players go even further and characterize JBE Soapbars as a superior noiseless P-90 .

  JBE did not set out to mimic a “vintage P90″.  When we surveyed players, we did not get universal agreement on what  a P90 tone might be…possibly because P-90s were made and sounded inconsistent (not to mention that the guitar into which they were installed also had a lot to do with players’ idealized notions of a P-90) .  Some P-90 soapbars were great, others were a big disappointment with muddy tone and performance.   All shared one common characteristic however…THEY WERE DAMNED NOISY. 

In contrast, JBE set out to design a pickup that had to meet several fundamental requirements.

1. It had to be quiet

2. It had to exhibit superior tone and performance. i.e. 
* It had to meet our notion of Soapbar tone (and, yes we had P-90 as a target). 

* It had to be nasty in the bridge, mellow yet articulate in the neck, and “woody” when both pickups are used together.  

 3. The JBE Soapbar pickups also had to fit standard Soapbar pickup routs without requiring modification to the instrument.  In this regard we sweated a few details because some popular after-market Soapbars do not fit all soapbar body routes. .  

Happily, The JBE design met every objective. JBE Soapbars are characterized by players as “ P-90 sounding” but with more articulation, superior tone and playing performance than other soapbars they used in the past.  Check out our Testimonial page.For those wanting to compare it against some idealized Vintage P-90 with all its noise and inconsistent performance.

Lastly, the the question of materials used….Sorry, will not give that away.  

Admittedly,  for the most ardent “Vintage Soapbar” enthusiast, JBE Soapbars may not meet their all expectations, especially if those expectations include traditional pole pieces and covers, soft (sometimes mushy) tone, and vintage soapbar/P-90 noise and hum.

Frank T
JBE Pickups

Below is a good question from someone interested in JBE Soapbar pickups.  He wanted to make sure that our Soapbar pickups were all we said they were and not just a humbucker in Soapbar clothing.    This is a fair question.   Following is my response which I hope resonates with anyone interested in our Soapbar/P90 pickups.    Frank T.  JBE Pickups

——————————————————————————————–

Question:
Hello !
I have a little question … well, it is not about asking to reveal any technological secrets, but, here it is.
For instance, you have released a new pickup which adapts to guitars designed for “soapbar” type pickups. It looks like it is basically some sort of a “modified” humbucker. Now, what will influence the changes in the sounding properties of such a pickup, in order to have it sound more like a standard single-coil or a soapbar or some other kind of already existing pickup ? Which are the parameters which have the major influence on the sounding properties ? (magnet type ? wire material or thickness ? … etc …)
Thank you so much for the great products … and for your answer.

JBE Response:
The JBE Soapbar utilizes the design philosophy set for all JBE pickups i.e.  hum cancellation.  In this regard one can argue it is a humbucker variant.  But, if one were to rely on that characterization of the pickup as a soapbar-sized humbucker, he/she would be wrong and would miss what other players are finding to be a great Soapbar pickup tone and performance. .  Many players go further and characterize JBE Soapbars as a superior noiseless P-90 .

 JBE did not set out to mimic a “vintage P90″.  When we surveyed players, we did not get universal agreement on what such a P90 might be…possibly because P-90s were made and sounded inconsistent (not to mention that the guitar in which they were auditioned also had a lot to do with the players idealized notion of a P-90) .  Some P-90 soapbars were great, others were a big disappointment with muddy tone and performance.   All shared one common characteristic however…THEY WERE DAMNED NOISY. 

In contrast, we set out to design a pickup that had to meet several fundamental requirements.

1. It had to be quiet

2. It had to exhibit superior tone and performance. i.e. it had to have a JBE signature tone while having other characteristics of a Soapbar pickup:

•  It had to meet our notion of Soapbar tone (and, yes we had P-90 as a target). 
•  It had to be nasty in the bridge, mellow yet articulate in the neck, and “woody” when both pickups are used together.  

 3. The JBE Soapbar pickups also had to fit standard Soapbar pickup routs without requiring modification to the instrument.  In this regard we sweated a few details because some popular after-market Soapbars do not fit all soapbar body routes.   

Happily, The JBE design met every objective, and are characterized by guitarists who have them  as P-90 sounding…but with more articulation, superior tone and  performance than other soapbars they have used in the past.  Check out our Testimonial page.  

Admittedly,  for the most ardent “Vintage Soapbar” enthusiast, JBE Soapbars may not meet their all expectations, especially if those expectations include traditional pole pieces and covers, soft (sometimes mushy) tone, and vintage soapbar/P-90 noise and hum.

So, the short answers to your questions are:

• JBE Soapbars are hum-cancelling pickups.  (We prefer to use the term humbucker to refer to  PAF variants that have a different size and tonal character all their own)
• They sound like articulate P-90s
• They were designed to fit P90 equipped guitar without modification to the body.
• the materials we use are similar to those used in our other pickup models. 

Hope this helps.   

Frank T
JBE Pickups  

The JBE Soapbar utilizes the design philosophy set for all JBE pickups i.e.  humcancellation.  In this regard one can argue it is a humbucker variant.  But, if one were to rely on that characterization of the pickup as a soapbar-sized humbucker, he/she would be wrong and would miss what other players are finding to be a great Soapbar pickup tone and performance. .  Many players go further and characterize JBE Soapbars as a superior noiseless P-90 .

 JBE did not set out to mimic a “vintage P90″.  When we surveyed players, we did not get universal agreement on what such a P90 might be…possibly because P-90s were made and sounded inconsistent (not to mention that the guitar in which they were auditioned also had a lot to do with the players idealized notion of a P-90) .  Some P-90 soapbars were great, others were a big disappointment with muddy tone and performance.   All shared one common characteristic however…THEY WERE DAMNED NOISY. 

In contrast, we set out to design a pickup that had to meet several fundamental requirements.

1. It had to be quiet

2. It had to exhibit superior tone and performance. i.e. it had to have a JBE signature tone while having other characteristics of a Soapbar pickup:

•  It had to meet our notion of Soapbar tone (and, yes we had P-90 as a target). 
•  It had to be nasty in the bridge, mellow yet articulate in the neck, and “woody” when both pickups are used together.  

 3. The JBE Soapbar pickups also had to fit standard Soapbar pickup routs without requiring modification to the instrument.  In this regard we sweated a few details because some popular after-market Soapbars do not fit all soapbar body routes. .  

Happily, The JBE design met every objective. JBE Soapbars are characterized by player as P-90 sounding but with more articulation, superior tone and playing performance than other soapbars they used in the past.  Check out our Testimonial page.For those wanting to compare it against some idealized Vintage P-90 with all its noise and inconsistent performance

Admittedly,  for the most ardent “Vintage Soapbar” enthusiast, JBE Soapbars may not meet their all expectations, especially if those expectations include traditional pole pieces and covers, soft (sometimes mushy) tone, and vintage soapbar/P-90 noise and hum.

So, the short answers to your questions are this:

• They are humcancelling pickups.  (We prefer to think of humbuckers as PAF variants that have a different size and tonal character all their own)
• They sound like articulate P-90s
• They were designed to fit the guitar without modification to the body.
• the materials we use are similar to those used in our other pickup models. 

Hope this helps.   

Frank T
JBE Pickups 

Here is a great user review of our Soapbar (P90) pickup set.  Check it out! 

Frank T
JBE Pickups
Joe Barden Engineering

Jan. 2012

Pete here….I recently installed a set of JBE Soapbars in a Les Paul and wanted to tell you about my very positive experience with them. I’ll try to keep it brief!

I have been playing my white Strat with the (JBE) S-Deluxe set in it for years as my main stage guitar. I also have a very nice 1997 Les Paul sunburst, but could never get it to compete on stage with the JBE-equipped Strat. No matter what humbucking pups I tried I that guitar, it just could not sound in the same ballpark as the Barden Strat. Always somewhat muddy, never could rival the authoritative, tight yet fat midrange and highs of the JBEpups in the Strat. I tried many different sets of boutique pickups in that guitar, from high to low output and everything in between.

My search for the perfect Paul continued recently when I tried a P90-equipped Gibson Goldtop Les Paul at Guitar Center. I ran it through a nice crunchy tube amp, and compared it with my humbucking Burst. Well, the P90 guitar sounded a lot better, and I felt there was good potential for that guitar to cut through and sound great on stage. However, the Gibson single-coil P90′s were sooo darn noisy, I knew they were not going to be acceptable for live use. Then I remembered the JBE Soapbars! I immediately ordered a set in Cream, installed them on the day of my next show, and played the guitar on stage that night.

Well, all I can say is that I was completely BLOWN AWAY! This new Goldtop with the JBE Soapbars was exactly what I have been looking for. It has the fat….growl that I needed in a Paul, but with the amazing clarity and high-end that only JBE pickups seem to be able to provide, in my experience. AND NO NOISE! Talk about a perfect solution to my problem! That Goldtop is now my main stage guitar, although I still love my trusty Strat and use it on several tunes each night.

I now have a matched set of JBE-equipped guitars, and get great tones every night. And this is after many years of buying and selling numerous guitars and amps. In case you might be interested, I am attaching a couple of photos of the Goldtop with the JBE Soapbars installed. Please feel free to use quotes or photos on your website, I am a totally satisfied customer!

Cheers,

Pete 
Virginia

JBE on Series and Parallel Pickup Wiring

Series and parallel pickup wiring is sometimes a bit confusing.  This is because we often use the terms “series and parallel” to refer to how pickups are wired together, as well as an optional wiring scheme for an individual pickup. However, the technical concepts of series and parallel wiring are the consistent across applications.    This blog will describe what series/parallel wiring is and how we can use it when wiring pickups in our guitars and basses, or when seeking other tones from our pickups.

Parallel wiring is the usual way of connecting pickups in a guitar or bass.  It applies to both single coil as well as dual-coil pickups. (Although the term humbucker is often used, the term is perhaps more aptly used to refer to a PAF-sized pickups, like our HB and HB ^Two/_Tone ^{™ and} Gibson’s and others, full-sized pickups.  ‘Hum-canceling’ will be used to refer to other noiseless pickups such as our single-coil-sounding Gatton T-Style, S-Deluxes, J-Style Bass, and Soapbar (P-90) pickups for example).

With parallel wiring, each pickup’s signal goes to output independently from one another.   Even when all pickups are ‘on’ they are essentially independent of the other pickups in the guitar or bass.   Therefore, parallel wiring is conceptually:

Pickup #1    –>    Output

Pickup #2   –>     Output

In this example, 1+1 =2 (pickups) and each pickup can be turned on/off independently or combined by the switch.  How is this logically wired?

Using the JBE color-coding, the black hot wire (+) of each pickup is wired to the pickup selector switch and the green cold wires (-) are wired to a good ground.  (Please note that wire color–coding my differ among manufacturers, so you need to know each wire’s job.)

In contrast, Series wiring means that each pickup’s signal is first combined before it goes to output.

Pickup #1 –>  Pickup#2 –>  Output

To extend the bad math example, 1+1=1 (pickup), What!!!!  The process of tying the pickups together logically combines them into one ‘larger’ pickup that has a darker tone and is somewhat louder.  How is this physically wired?

A switch really does the work here.  Electrically, the cold wire (-) of one pickup is connected to the hot wire (+) of the next pickup in a daisy chain fashion.   Telecaster players may recognize that this as a Tele with a 4-way pickup selector switch or a Fender S1 switch in the volume pot.   (P.S. For you Strat players, the Fender wiring and the application of the S1 switch is completely different from how it is used in a Tele).

It is also possible to apply the series/parallel concept not to a set of pickups but to an individual pickup – notably, a dual-coil (hum-canceling or humbucking) pickup. The two coils of a hum-canceling pickup are like two single coil pickups side by side, and wired so that there is a link or bridge between the coils where the (-) of one coil connects to the + of the second coil.

Here again, as in the generalized series example above, 1+1 (coils) = 1 Pickup. (Please note that since a single coil pickup has only one coil, there is no way to wire it in series to itself, but it can be wired in series to an adjacent pickup).

How can we use Series/Parallel Wiring?

All this series/parallel stuff got some folks to thinking about how to take advantage of it to create new tones.  They argued that if they broke the series connection between a humbucker’s coils, they would be left with two independent pickups (coils), each with a set of + and – leads.  By simply ignoring one coil you are theoretically left with a single coil (albeit noisy) pickup. Connect the coils back together and you return your pickup back to a noise-canceling humbucker pickup.

This is not new.  Many of you will immediately recognize this as coil splitting, a common application which turns a humbucker into a single coil pickup.  When connected to a switch, the switch makes and breaks the series and parallel connections.  In this way we can achieve both a darker full-bodied as well as single coil tone from a humbucker pickup.

The trouble with coil splitting is that a humbucker coil on its own was not designed to produce a good single coil tone.  The pickup was designed to have a fat sound and no noise.   So, turning one coil off is not really a good idea.  You get a faux single coil tone plus your humbucker is now noisy as a single coil pickup.  JBE addresses this application in a better way with our HB ^Two/_Tone ^™. The ^Two/_Tone employs coil tapping vs. coil splitting to get true single coil tone with no noise.   Moreover, you have the ability to switch noiselessly on-the-fly back to a full-bodied humbucker tone.   See our website for a more detailed explanation.  It’s really cool.

The main point relative to our discussion is that a dual coil pickup, by design, is a series connection between the two coils, and can be implemented in several ways:

1. Internal jumpers within the pickup itself,
2. Via a 4 wire cable that extends the internal jumper outside the pickup using separate wires so the musician can break and make a connection via a switch (series/parallel switching arrangement) to switch between humbucker and coil split tones

The majority of JBE pickups use a 4 wire cabling arrangement.  Other manufacturers make the series connection internal to the pickup, making it impossible to split the coil as discussed above.

An alternative approach to coil splitting is to wire the dual coil pickup in a parallel fashion.  Both coils remain operational and you can still wire the pickups to a switch to allow you to switch between the resultant tones.  The parallel connection will be relatively noiseless and provide a more useful single-coil approximation than is achieved with coil splitting.   But again, the best alternative is an HB ^Two/_Tone ^™ pickup.

OK, great!  Here is where it gets even more interesting.   All JBE pickups are dual-coil hum-canceling designs. With a JBE pickup you can wire the coils in parallel to derive an open and somewhat stringy sound aside from the already great single coil tones these pickups produce.

A good application of this is with an S-Deluxe Neck/Middle pickup in a Strat (or Nashville Tele).   By running the pickup’s coils in parallel and using a switch or push/pull pot to switch from its native series to parallel mode, you can get even more authentic in-between tones in the 2nd or 4th switch position of a 5 way switch.  I tend to like this for quaky rhythms and to slightly thin the tone or get a more open/stringy sounds.   Plus if you use a push/pull pot in place of an existing volume or tone control, you do not alter the guitar or bass to add a switch.

Summary.

Series/Parallel wiring as it relates to guitar and bass pickups, refers to

1. How two (or more) pickups are wired to produce a thicker and darker tone by acting as one big pickup,
2. How one dual coil pickup can be wired to produce a more stringy, open tone, and improve the in-between sounds (aka out of phase) tones of your Stratocaster or Nashville Tele.

We discussed how breaking the series connection in a humbucker pickup allows you to coil-split the pickup.

Please note that JBE does not recommend splitting the coils (i.e. turning off one coil) of a T-Style, S-Deluxe, J-Bass or other JBE single coil sounding pickup model).  These pickup models were designed specifically to deliver authentic single coil tone without noise.  While it is certainly technically feasible split them using the 4 wire cable used for the pickups, the result is a low-fidelity sound that has minimum utility, other than as an effect, but which a player may find useful from time to time.   Consider parallel wiring first.

We also discussed an application of parallel wiring for the middle position of your Strat or Nashville Tele that will enhance the in-between sounds of a three-pickup set.

Now, armed with this info, it is up to you to figure out how all the possible ways you can use these wirings to suit your playing and tonal tastes.  If you’d like to share your custom wiring diagrams with us, please send a schematic.

Series/Parallel using a Push/Pull pot, 4-Way switch and Fender S1 wiring diagrams are available on the JBE website for your reference.

Have fun.

Frank T
JBE Pickups

Not surprisingly, we often get questions about the specs of our pickups.   Most of the time the questions  are about the resistance [R] of the pickup because musicians want to understand how the pickup ‘sounds’ or to determine if a JBE pickup will mate with another brand pickup in their guitar.  It is also a question that has been answered many times in other forums.   But, for the sake of sharing our view allow me to respond as well.

Resistance [R] in the absence of other metrics such as inductance [L] is meaningless as a comparative indicator among pickup brands and similar models.   Yes, in manufacturing we use [R] as one indicator of pickup viability.   But, it tells us nothing about the sound and quality of the pickup.  We must go a bit further and use another measure, Inductance [L] measured in Henries [H].   We use these measures for pass/fail against our design criteria.  These specs were solidified and approved for use in manufacturing only after having gone thru iterative aural assessments of the pickup in the design phase.

Still, what do these two specs mean in terms of a pickup’s tone and why the reliance on [R] as the determining metric?    I suspect that since most musicians (and even many repair shops) do not have a way to measure other specs such as Inductance [L].  As such, musicians are left trying to describe/compare pickups by [R] alone, a measurement easily attainable on ubiquitous and low cost DMMs (Digital Multi Meters).  And so, armed with the only metric readily measurable, the question and reliance about [R] persists.  Unfortunately,  [R] is simply not an appropriate metric to use this way.

There are articles on the Internet written by Engineers (who may also be musicians) that try to offer insight into pickup performance using a variety of specs such as magnet strength (Gauss), resonant peak frequency, coil quality (Q) , micro-voltage (mV) and more.  Written primarily from engineering perspectives, these papers are loaded with formulas for the engineer.  Engineers are trained (thankfully) to deal in the quantitative world.   They must be in order to design the highly reliable electronic and mechanical products we enjoy today.  What is missing however in any assessment using specs, is a characterization of how the pickups actually sound given those specs.   Therefore, a subjective assessment must now be made to describe what we have just measured.  We musicians use terms like, hot, warm, expressive, articulate, presence, tone, power, snotty, growl, nasty…and the list goes on.  

When trying to relate specs to subjective aural assessments it is best done by those who are familiar with guitar /bass tone (perhaps the engineer/musician).  In trying to do this, the gamut of pickup brands must be assessed not just by one person but by others as well in the attempt to establish a definitive/authoritative resource.    Now, we have come full circle and are back to describing tone not by specs but by what we hear.   Herein lies the problem about using specs alone and even more dangerously, using a single spec [R] to compare pickup brands.  I can say with certainty that many players are surprised when they hear and play a JBE pickup that has a lower [R] value.  It shatters beliefs based on what they thought they understood about pickup specs.

To be candid, the reliance on [R] as a sole criterion may beg the question about JBE’s sound.  Therefore, we feel compelled to respond repetitively to the many well-meaning musicians who in the quest for tone go onto forums and raise doubt about the tone of a JBE pickup.  After all, they argue, the sound thin has to be thin and uninteresting with such a low [R] value.   We know it is not.   Sadly, those who have never heard or played a JBE pickup make many of these claims.   Perhaps they are merely defending their favorite brand or (for the marketers among us) satisfying the “cognitive dissonance” of an earlier purchase decision. (How’s that for slinging the marketing bull?) 

After being confronted with the aural proof that JBE pickups sound great (and arguably better) even at lower [R] measurements, their entire tonal reference is shattered.   Now what?  And how can they continue to use [R] as a way to describe pickups?   Yet, the debate goes on anew with each successive generation of musician.   And perhaps, so it should be.  To question is to learn.  We are happy to speak with anyone genuinely interested in learning about our pickups.   Having said this, please don’t ask to see detailed specs on our pickups on our website.  While we have often share some specs in conversation and will continue to do so, we do not publish them for proprietary reasons.  If someone wants to reverse-engineer a JBE pickup, they can do that, but we prefer not to assist.

In summary, Hearing and Feeling the difference a JBE pickup can make by auditioning them (from the root word meaning “to hear”) in a friend’s guitar or bass, or at a local JBE dealer,  is the best way to make a decision on pickups.  A number of JBE dealers have outfitted demo guitars with select JBE pickup models that you can try.   Listen critically and make your judgments not on specs alone, but on what your ears tell you too.  If you like what you hear…. great!   Buy a JBE pickup.   If you don’t, there are other pickup brands that may suit your tastes better.   Whatever you decide, every musician must use the tools that fit their needs and preferences.   One size simply does not fit all…. although we like to believe we come very close 

Frank T
JBE Pickups

Check out Carolyn Wonderland
Article: Guitar World Magazine
Sept 2011

Good article about JBE user Carolyn Wonderland. If you have not heard Carolyn you owe it to yourself to get her records and/or check her out on various video sites like YouTube.

Here is a link to the article http://www.guitarworld.com/guitar-girld-interview-carolyn-wonderland-who-releases-her-new-album-peace-meal

So why is she not using JBE Soapbars in the video? Clue: see the sponsor’s name above her head?

Despite that, you have to admit that the girl can sing and play! Yeah, there is a bit of a Janice vibe, but a lot of Carolyn stands out even more.

Frank T
JBE Pickups

Thought you might be interested in two different approaches to 3-pickup Soapbar guitars being made by two enterprising luthiers.  

The first one was made by Gary Brinkly of GNB Custom Guitars gbrinkle@myway.com.  Gary is also Jimmy Thackery’s  luthier and made this three-pickup Firebird, Jimmy calls the Golden Bird.   The guitar also incorporates a patented Trem system innovation (sans cover in the picture)  that stays in tune even after Jimmy’s notorious dive bombs.     Of course, the guitar must be equipped with JBE Soapbars for maximum sonic benefit.  (Shameless plugs abound in this blog, so be forewarned

The second guitar is from Clint Dougherty at Black Mesa Guitars clint@blackmesaguitars.com, or www.blackmesaguitars.com   It is another take on a 3 Soapbar pickup design, again with JBE Soapbar pickups as part of the sonic engine.

Clint’s customer was elated and had this to say about this guitar (so far):

One of the coolest things about being associated with a great company like JBE Pickups (OK, I know.  I own it now so I’d better think it is cool , is something that Joe Barden told me a while ago.   It was regarding how many good players there are out there that we get to meet either in person or by the miracle of modern internet technology.   These players really get what we’re about, and meeting them and hearing them play is a distinct pleasure. 

It goes without saying that Danny Gatton was one of those who inspired Joe Barden,  as are the great musicians whose names scroll across the marquis of our website.  

But there are less heralded others out there too, like Dan Davidson, who unsolicited, and very kindly sent me a video of himself demo’ing our T-Style pickups.    Dan really gets it, and describes what we are trying to achieve as well (if not better) than some of us do at JBE.   I told him that I thought he was channeling my pitch :), even though we have never met personally. 

To my knowledge Dan is not professional presenter, but he does a great job articulating, from a musician’s perspective, what the T-Styles, and I would add all JBE guitar and bass pickups, can do. 

Please take a listen to Dan at http://youtu.be/SMsYR7-wI2I.  And check out his other vids on YouTube as well.   I was impressed and I suspect you will be too.  

What is it about these guys named Dan?  

Frank T
JBE Pickups

Remembering Paul

This blog is not about guitar pickups, or music or any of the ‘goings-on’ at JBE Pickups.  It is about remembrance.  So, on this the 10 anniversary of Sept 11 , 2001,  I am taking advantage of my blog to honor and pay respect to my nephew, Paul Acquaviva.  

I will not eulogize Paul today, but rather simply and quietly honor his memory.  But most importantly, I want to give my nephew’s own nephew, a platform of his own to honor the memory of his uncle. 

This is especially important because Jack, now age 13 was given the privileged of attending this year’s Ground Zero Memorial and reading some of the names of those lost there.  He would also get to read aloud one particularly important name, that of his uncle Paul.    Jack will not have the opportunity that he looked forward due to the credible threat of more assaults.   So instead, I want to give Jack the opportunity he is missing, to pay homage to his uncle even if in some small way in this blog.

Jack Hadfield, age 13, in his own words.

On the 10^th anniversary of September 11^th, 2001, I remember my Uncle Paul as loving son, father, brother and uncle.  He loved and cared for everyone who was a part of his life and I believe he is still with us today.  Even though I was very young I remember Uncle Paul playing with me and being the loving person that he was.  His memory will always live on.  As I move forward in my life I look to the memory of Uncle Paul as the kind of man I hope to become.  Uncle Paul we love you and will never forget.

Jack Hadfield

To all those who lost someone dear on Sept 11, 2001 in NYC, Washington DC, and Shanksville, PA, my family’s thoughts, prayers, and tears are with you too on this day. 

Lastly, all of us at JBE also want say thank you to our servicemen and woman who in the aftermath of 9/11 dedicated themselves for the rest of us by their service.  Many of them paid the ultimate price and no words of gratitude are enough.  

So, to all artists out there, please use your talents of song, lyrics, art, dance or whatever your gift, to help us honor our loved ones in a way befitting their memory. 

Frank T
JBE Pickups