The Jazz Guitar Chord Dictionary
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  1. #226

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    Quote Originally Posted by BigDaddyLoveHandles
    Great: I have a question about jazz and blackface twins. I understand the appeal of the twin's big iron for a deep, clean sound, but the blackface tone stack is also known for its scooped mids. And I always think of the classic jazz guitar sound as being mid-rangy, more of a tweed sound. How do you square the circle there? Does your jazz guitar sound good with scooped mids, or are you EQing it to tweek that?
    I have to be honest; I don't know anything about amps, electronics, or even what you mean by some of those terms All I know is what sounds good to my ear, and I can get a wide variety of clean sounds through it....from a bluesy twang to a deeper "modern" jazz tone.

    I guess what I'm saying is, though my knowledge is incredibly limited in this regard, you get a clean tone from the Twin Reverb and you can get a great deal of different clean tones from the amp...it's versatile in that respect.


    As for being able to pick the amp up....you guys are right; it's near impossible! But I have a solid case that I bought for 50 bucks that allows me to role it and transport it pretty effortlessly, and I keep all my gear in the back of the cab

    Really though, it's a great amp and I've never been high on anything "Fender." And I like the warmth of tubes...plus I think the amp is pretty affordable used so I'd recommend checking it out if you're at all interested.

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  3. #227

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    I have a 64' Fender Bassman head and a 1994(-96?) Marshall JTM 45 head. The Marshall is basically a British made version of the Fender(EL34 tubes instead of fender's 6L6s). My amps don't have master volume/gain knobs. I get variation of tone through speaker selection instead of amp selection. I have 4 single 12" cabinets with different speakers in each. One Celestion Greenback, one Eminence, one ElectroVoice and one Jensen. I don't even try out amps anymore. I have played jazz, punk, fusion, blues, country, reggae and metal without a problem in achieving a great tone or breaking down.

  4. #228

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    I don't know about EL34s but years ago I went to steel-cased 6L6s instead of the glass tubes and they worked great in my Jazzman.
    Dick C.

  5. #229

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    Quote Originally Posted by BigDaddyLoveHandles
    Great: I have a question about jazz and blackface twins. I understand the appeal of the twin's big iron for a deep, clean sound, but the blackface tone stack is also known for its scooped mids. And I always think of the classic jazz guitar sound as being mid-rangy, more of a tweed sound. How do you square the circle there? Does your jazz guitar sound good with scooped mids, or are you EQing it to tweek that?
    i have just bought a tweed deluxe reissue (not the hot rod version). it has loads of mids and a vast bass responce and makes my eastman 803 sound fantastic it ways 45llbs. Wonderfull perfect for jazz and very very load.Black face amps are scooped sounding and if that suits you they are very good but if you like wes and django you might prefer the bdri

  6. #230

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    mr beaumont have you had any problems with your blues junior rattling at higher volume when you play certain notes i have heard that this can be cured by fitting valves with thicker glass ihad hoped to use this for drummerles gigs in the future but worry that the noise might spoil things any thoughts on this would be appreciated thanks

  7. #231

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    Quote Originally Posted by gingerjazz
    mr beaumont have you had any problems with your blues junior rattling at higher volume when you play certain notes i have heard that this can be cured by fitting valves with thicker glass ihad hoped to use this for drummerles gigs in the future but worry that the noise might spoil things any thoughts on this would be appreciated thanks
    sounds like a microphonic tube. you might want to replace the EL84s with a matched pair and the amp should be fine.

  8. #232

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    thanks theo but what the heck is a microphonic tube bearing in mind i used to push a wheelbarrow for a living

  9. #233

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    Hi there, I was wondering if any of you had any experience of Orange amps in jazz styles? In particular concerning clean headroom ect....

    Thanks

  10. #234

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    Quote Originally Posted by gingerjazz
    thanks theo but what the heck is a microphonic tube bearing in mind i used to push a wheelbarrow for a living
    Microphonics - Wikipedia, the free encyclopedia

    This puts it clearer than I can!!

  11. #235

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    Quote Originally Posted by woyvel
    Marshall (God forbid for jazzers)
    I think that German guitar player Frank Möbus (Der Rote Bereich, Carlos Bica's Azul Trio...) is a fan of Marshall TSL amps.

  12. #236

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    Since we are talking about amps, I am quite curious about the Phil Jones Super Cub AG-300 that could potentially be a great, light and powerful do-it-all amp for both acoustic and electric needs.

    Any of you guys could comment on the tone of the "electric" amp? How does it compare with a Jazzamp, Jazzkat, Polytone or Roland, for example?

  13. #237

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    Since I switch guitars a lot (just like to play all of my collection, :-)) i needed more tonal flexibility than my Polytone would offer. The minibrute gives a great sound, but doesn't "work" for all guitars. I then added a Line6 Pod that sounds great and the different amps in it let you bring out the best in every of your guitars. It's responsive too. Just plugged it in my rugged Polytone and it was tone heaven.
    But recently i've bought an Evans RE-150. It has all kinds of controls and dials. It allows you to sound bad with the best guitar around, but also to find the sweet spot in every guitar. I became annoyed with my Bartolini pickups, sounding harsh at times... but with the Evans I can dial in the right warmth and just the right treble to avoid harshness, but give you a ringing tone.
    It's difficult to master, but to my ears, the Evans is "it". You can -after some dialing- always find the nice tone i'm after.

  14. #238

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    Been falling more in love my Polytone MBV. I just sold my Blues Cube, JC120, have my VOX on Craigslist, and have owned in the past a Bandmaster, Super Reverb and a Musicman. None can compare with the sound I'm getting from this Polytone and my Strat with SM Hotrails. I run a 500 watt powered JBL PRX512 from the Preamp Out and the sound is truly remarkable, from Jazz to Rock to Country. Wish I had had this setup 30 years ago.

  15. #239

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    Quote Originally Posted by lkmuller
    Been falling more in love my Polytone MBV. I just sold my Blues Cube, JC120, have my VOX on Craigslist, and have owned in the past a Bandmaster, Super Reverb and a Musicman. None can compare with the sound I'm getting from this Polytone and my Strat with SM Hotrails. I run a 500 watt powered JBL PRX512 from the Preamp Out and the sound is truly remarkable, from Jazz to Rock to Country. Wish I had had this setup 30 years ago.
    How are you driving your polytone for rock pedals and which ones?

  16. #240

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    I picked up a used Polytone 1x15 180w bass amp and have a Vox AD30VT. I either run stereo to the two or the Vox as a preamp into the Polytone. Loud enough to play any gig I could ever think of in any genre. A lot of tone versatility and even the tube amp feel from the Vox If still not loud enough, I'll thrown in a 2x12 120W Crate. Ouch! My ears are bleeding just thinking about it.

    For effects I use a Line 6 M13 and don't use the built in Vox effects.

  17. #241

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    Quote Originally Posted by Tom K
    Yesterday I had my new TomKat amp in the mail. It's impressive - seems to be just what I have always been looking for. Both my jazz box and my Yamaha SA 2200 sound sweet, and the Strat-type Blade is not half bad either. - Of course it takes a lot of trying out now.

    Highly recommended!
    I've been using a TomKat for under 12 months. The first one was replaced due to a problem with the reverb and now I've got another problem a very loud feedback type of noise when I switch on.

    Nice amps when they work.

    I'm about to get my old Roland Cube out of the cupboard.

  18. #242

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    I picked up a used roland jazz chorus 100 about eight years ago, carried the s.o.b. up 3 flights of stairs, plopped it in my bedroom, and it's never moved an inch since then. Never had a single problem with it. Reverb is spring, and sounds great with plenty of flexibility, but for my jazz guitars, the amps tone is the best sound I have ever heard. The only way it gets better is when you record and start using expensive preamps. (neve or Avalon) My friends play jazz guitar through their fender twins, etc. or try to turn me on to their mini amps that are easy to lug, but the first thing you hear from the small amps is the sound of a small speaker. ANd the fender sounds hard and harsh. Wrong. What you hear from the Roland Acoustic Chorus 100 is the sound of a guitar. And I don't mean...hey it's just like an unplugged jazz box but louder...it's a fully realized jazz guitar sound. The amp does add richness and tone.
    Why Roland doesn't make these any more....I don't know. I heard a Roland Jazz CHorus 100 in a club a couple of months ago, and it too sound excellent. May have a bit more punch than mine, but hard to tell without playing both in the same room. By the way, I'm having a Kendrick K15 amp made for me. I seriously recommend you go to Kendrick amps on line and check this thing out. Possibly the best reverb ever in any amp, and the sound is liquid. The owner is a gas. (made in texas)
    Last edited by thedre; 05-19-2010 at 02:41 PM.

  19. #243

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    For me, my Henriksen JazzAmp 112 is dead solid perfect.

  20. #244

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    Hi guys, new to the forum, but been a serial lurker for a while. Just love reading all the comments and the very knowledgeable opinions.

    For me the perfect ultimate guitar amp 'could be'' the Evans RE200. Its small and lightweight, (great for the more, ahem, mature people like myself), the 10" speaker gives a fast response, plenty loud enough for most gigs, has an extension out for adding another speaker(s), XLR out for going direct to a mixing board or for recording and has almost infinite tone control.

    The reason I say it could be is, whilst the tone controls provide a huge range of sounds, it can be very hard to dial in a good sound (as Jazztrio.be has said above). I have almost given up at times using my Gibson Howard Roberts for jazz & a Telecaster for a more bluesy sound. However I bought it when the Australian dollar was very low (don't ask how much in US dollars I paid, you would be shocked), so I could not get anywhere near a decent price for it here in Australia. Besides they are almost unheard of for jazz here.

    My apologies if this is hijacking the thread, but if anyone has some suggested settings for the Evans for different guitars/sounds I would appreciate any advice. If you can, it may be best to email any settings to me direct.

  21. #245

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    I have an Evans Amp. It is very unique in that it has two small speakers. I believe a 6" and 8". It also has an anvil case on wheels. Would you be interested in checking it out?

    Brad

  22. #246

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    i am looking for a used amp, with an xlr out. doesn't have to have distortion, i'll use a pedal if i need that, i want it just for jazz, nice clean channel. solid state ok if there is amp modeling. any suggestions??? i'm buying a benedetto bambino. thanks

  23. #247

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    Quote Originally Posted by outatune13
    i am looking for a used amp, with an xlr out. doesn't have to have distortion, i'll use a pedal if i need that, i want it just for jazz, nice clean channel. solid state ok if there is amp modeling. any suggestions??? i'm buying a benedetto bambino. thanks
    Size? Price range? Since you're buying a Bambino I think your price range is higher than mine . The limiting factor may be the XLR balanced line out. If you're going to a PA a lot of folks say, since your speakers are a big part of the sound, miking the amp gives better results.

    I know Phil Jones guitar and bass amps have XLR balanced line out, but they don't do modeling.

  24. #248

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    thanks for writing. price range is NOT higher than yours, i'm selling all my old equipment to afford the bambino, and i'm STILL hoping to find one used. i guess i would like the option of miking speakers or xlr out. i'll check out phil jones, thanks for that. i have 1/4" out that can go to the p a but i have to turn the volume up on the amp for the sound guy to get signal. i'm doing live theatre on occassion, and i can't turn the amp up too loud on stage because it screws up the actors. so i need an output from the preamp signal. cheers, jay

  25. #249

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    Quote Originally Posted by outatune13
    i have 1/4" out that can go to the p a but i have to turn the volume up on the amp for the sound guy to get signal. i'm doing live theatre on occassion, and i can't turn the amp up too loud on stage because it screws up the actors. so i need an output from the preamp signal. cheers, jay
    Hm, not to ruin the excitement of a buying a new amp but have you ever considered using a speaker attenuator? These are typically used on tube amps to allow for a defined tube saturation at lower volume levels.

    So if you like your current amp you can tame the speaker volume by a few db while you are cranking it high enough to produce sufficient juice for the line out. Some models even come with a balanced line out. There are not cheap but you will have a permanent solution to your problem as you can use it with any amp that you'd ever own. Make sure to match the power rating to your amps output.

    Good Luck.

  26. #250

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    The Evans has an XLR line out which I have used successfully in recording studios. I have also used it in the same way in a live show situation. Seems to work well with a good quality overdrive. I can't comment on amps like the Jones & Henriksen as I haven't tried them (but i imagine they sound very, very good).