Since learning the resistor / capacitor colour coding system in early 1960's I've used it to great advantage in my domestic life as well as ( obviously ) in Electronic aspects , you know the one I mean , ie , Black - 0 , Brown - 1 , Red - 2 and so on . In the Electronics Industry when " wiring in " or " Looming up " cables or wires , one uses the colour coded system type identifying Sleeves or Markers , but when you're dealing cables or wires that are pre-wired / fixed or have connectors already attached , then the use of coloured insulating tape can come into play . But this is where we hit a stumbling block . I've yet to find Orange ( 3 ) and Mauve / Purple (7 ) insulating tape available commercially , ironically the colours have been available in Mic cables and such like , but Not in " Insulting " tape ( insulating tape for the non-cynics out there ) . In my own workings what I do is , for 3 ( orange ) I use 1/2 width tapes of red ( 2 ) and yellow ( 4 ) therefore the happy medium being 3 , and blue ( 6 ) and grey ( 8 ) giving a happy medium of 7 . I find this works perfectly because for the normal colours used one uses the full width of tape and the " made up colours " in 1/2 width .
So Please " SELLOTAPE" , " 3M" and other tape manufacturers out there , give us this day our daily Orange and Mauve / Purple insulating tapes , and in anticipation of Mr Clever Dick out there I've not been able to find them yet even if you have . !!!
The system of colour coding can sometimes outwit ordinary numbers , when say used in potentially "dirty" situations , such as in a multi-cylinder engine for spark plug recognition , where if a numeric system was used grime/grease could make a dirty 8 look like a 3 or a dirty 4 look like an upside down 7 and so on . With the colours used for a V8 engine it would be Brown -1 , Red - 2 , "Orange" -3 , Yellow - 4 , Green - 5 , Blue - 6 , "Mauve" - 7 and Grey - 8 , and Bobs your uncle and no misfiring of engine , I've used this appraoch myself and it's ok . For Microphones in a Recording studio such as that AKG C414 that would be Yel / Brwn / Yel , that Shure SM 58 would be Green / Grey and so on . All the dark cabled leads to and from Mixers / Recorders / Outboard Equipment where only a silver or white marker would do ( you try and find a good one that doe'snt immediately shed its colour when disturbed ) can benefit from the tape system , Of course if you have white cables then you can use coloured Magic markers to do the job , but bear in mind that over time the ink does fade .
Back in the day when I was working in my first job ( an apprenticeship ) with a company called "Lustraphone " ( we pioneered Europes first Radio-Mic systems ) amongst all manner of jobs I was working on , I sometimes had to work on M.O.D. stuff , this was all right angles in wiring , neatness personified , daily checks by the man in a black suit , white shirt and dark tie there was a protocol of colour coding for Valve stuff where only Red was used for high-tension , Black was Chassis/Negative , Green was Valve i/p grids , Blue was Valve Cathodes , Twisted Green for Valve heaters and a few other codings which I 've forgotten . But alas todays modern approach seems to have ignored all the sensibilities of yesteryear , so in some circumstances any colour could be high-tension , point here is never assume , you know , it makes an ass out of Blah Blah Blah , See you soon .
If you were a teenager in the 60's as I was , doubtless you probably watched the "Monkies" TV shows which were the rage for a while , featuring songs , antics et all . One song which heralded quality was " Last train to Clarkesville" which had (has) a beautiful lead solo which proved to be an enigma to the majority of us guitarists ( Yeah there's gonna be the clever dicks out there who sussed it out in 5 minutes ) but I personally did'nt know anyone who had it off pat . We thought along the lines 2 or more guitarists doing a ascending G modal movement , but try as I did , could'nt figure it out , till last week , through having to work it out for a new band project I'm doing and the other guitarist checking out You Tube ( I've never done this before always worked things out from just listening , god knows what rock I've been hiding under ) and telling me yes the guy that did the original solo has done a video on it . Wonderful !!! I checked it out and yes it was a chap called Louie Shelton , it was his entrance to the world of session-work apparantly . Within minutes of seeing this video it all became patently clear and the solo has been nailed . Previously in a London based pub-rock band in 1977 we tried to do this very number but were totally confused ( 3 guitarists in the band ) ironically that is the amount of guitarists it took to do this wonderful sounding solo . One playing alternating Gmaj7 to Fmaj7 chords and back again , the second guitarist playing a very simple motif at the 10th fret at the top E and B strings and the main man himself ( Louie) playing arppegiated inversions of G and F ascending and descending and finally ascending again to what was considered by everyone I knew to be a cracking good solo . We had thought this was done by a pedal steel player in conjuction with a standard guitarist because it is a very confusing solo to listen to , all sorts of guitar sounds emanating so one would'nt be absolutely clear about what's actually going on . It's an absolute breath of fresh air to finally know how it was done , just imagine that they went into the studio probably not knowing what's expected of them and coming up with this class of a solo , give me this sort of playing any day to the boring crap done by todays modern "Tappers" not forgetting the "Wammy bar" merchants all trying to do a million notes a second bumble bees and wasps stuck in a jar come to mind . Now where's that 14 gauge top string I was about to fit to my 335 .