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I really like my Henriksen ... my solid carved archtops sound great in it .. even the ones with floating pickups
Haven't played an Evans ... would love to give one a spin
Best solution is to buy both ...
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09-23-2014 07:18 PM
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You could insert all kinds of amps into the discussion. The world abounds with amp choices. This is a Henriksen and Evans thread.
Henriksen and Evans are both archtop amps, par excellence. You can play other guitars through each, no doubt. I am, by the way, imagining that we are talking about the Jazzamp 110 and the RE200. These are the "standard" models in each company's lineup for jazz guitar. Some guys go after the 12" model in the Henriksen, but I think the 10" is the way to go--better dynamics, speaking immediacy, and the sound of the guitar fundamentals through the ten, IMO.
It's really apples and oranges, I think. The Henriksen is probably the premier "throw and go" $900 jazz combo for an archtop. There is some credence to the opinion voiced above that the Henriksen is really a laminate-magic amp. Go up several hundred and you have the Evans combo. It is a more powerful amp, really. It has the look, feel, and sound of a much more serious machine. With a high-end carved guitar (particularly with a DeArmond floater) it will sound like the angels are singing, IMO. I don't really worry about amp reliability, partly because I haven't had supposedly flaky amps fail on me, partly because I build and repair amps. If you go up a hundred more (I hate to insert another amp) you have the AI Corus. It is a great throw and go jazz amp.
I like the Roland Cube, but the three amps above are seriously _more_ amp as a jazz proposition.
Then, again, if you work out a lot there's always the Twin Reverb...
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In those price points the Quilter would be a good bet too. I have an Aviator 2x10 and I love it. It sounds like a good Fender to my ears, but the EQ section allows for lots of flexibilty... ie.. having a totally flat sound if desired, or even getting a Tweed like sound. It works with my archtops and solid bodys equally well. I would like to get a 1x8" Quilter at some stage too for smaller gigs.
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I have an Evans AH200 Hybrid that I really like. I miss the days of having music stores that had a variety of amps that you could actually compare. I think you really have to do that to answer this question. One thing that amazes me with jazz guitarists, though, is how we will spend thousands on an archtop, but then actively lobby against spending $500 more on an amp. Is there some type of oath that I missed that you are obligated to skimp as much as possible on your amplifier?
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Interesting post. There have been comments throughtout the years about jazz players paying up for quality guitars and then tightening up when it comes to their amps. I think that players who buy their amps on the cheap are looking for a sound that is produced by such amps. IMO the Polytone sound defined the electric jazz guitar tone in the 80s and beyond. Such sound depended on eschewing treble and bass in favor a creamy mid tone. Such a tone was best exemplified by Polytones, which were essentially low cost amps that can be had for a couple of hundred dollars on the used market.
Originally Posted by Encinitastubes
Another player whose tone dominated the era was Pat Metheny. His tone had the same characteristics as those mentioned above and was produced by another low priced solid state amp of the era, the Acoustic 134.
Lately, I've noticed players striving for more defined and cutting tones not found in older Polytone style amps. If the trend away from the muffled mid range sound persists, I believe that the average money spent by jazz guitarists on their amps will increase.
Personally, I favor more vivid tones that are available with current generation solid state amps and high quality tube offereings, but would be open to having an old Polytone as part of my tonal arsenal.
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Amen! There is no doubt that we are living in a "golden age" of sorts--we can now easily determine where all of the shoreline gold metallic Stratocasters are that are for sale, and can make that market. NEVER before have we had this kind of power. The downside, however, is that this Internet magic effectively killed the "showroom-based" MI store, with its inventory of things like amps of different lines. Originally Posted by Encinitastubes
When I was at university, there existed several MI stores in my city, one of which was a jazz-only guitar shop. Those were the days.
Encinitastubes is spot-on about the point that for many people Jazz Tone = 0.95(Archtop) + 0.05(Amp). This is a weird equation that doesn't yield great results. IMO, if you are spending less than approximately the price of a second-hand Twin Reverb, you are probably under-imputing value to the amp end of the equation. In fact, a second-hand Twin Reverb probably should always be the starting point. From there, you can shed weight, move to solid state, go to a baxandall tone stack, alter the speaker cabinet to a closed back or ducted port, etc. If you try to skimp and go with less than a TR, however, you are probably "tone light." Just sayin'.
Basic jazz tone to begin with: L-5CES + Twin Reverb. This sounds outrageously great. It has the drawback of being heavy and expensive. You can play with the recipe very, very successfully. You can economize very successfully, too. I would argue though that this pairing is a good starting point.
A perfectly good modern update on this theme would be a Sadowsky Jim Hall plus an AI/Raezer's Edge NY8. Small amp, laminated guitar for durability (yet it sounds wonderful), etc.
Entry level jazz rig that still sounds very credible: Epi archtop plus Roland Cube; or, Eastman/Peerless archtop plus Roland Cube. These rigs do a great job of communicating the essence of jazz.
Still, if I were pairing something in the Sadowsky and up range with an amp, it would be in the Henriksen and up territory.
(exit soapbox)
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That's a great post, Greentone. I'd like to add that playing an amp in a quiet store isn't necessarily the best way to evaluate an amp. I've found that it often happens that an amp that sounds great on its own in a controlled store setting doesn't quite cut it when put in the mix of a band. There are certain high and low frequencies that add to the character of a guitar when played in an isolated environment but that get lost in the mix or feed back when paired with other instruments that cover such frequencies.
A lot of solid state amps work very well in the jazz context because they are so mid range focused. Whereas many can't approximate the Fender high end chime, said chime is often unworkable in a traditional jazz band mix. Established solid state jazz amps have proven capable of amplifying a clean signal beyond the usual requirements while providing response that fits well with other jazz instruments while helping to limit feedback. As a matter of fact, both Henriksen and Acoustic Image have EQ options that allow the user to eliminate unwanted low end frequencies that tend to feed back while retaining girth in the upper registers.
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I have and love both an L5 and a twin. It's true that I'm always going for that tone in a smaller package, usually a 40 watt something tube head or combo and/ or open backed cab.
But, I could not get a tone that I liked out of the AI Corus, though I didn't try it with another cab, because of the Speakon jacks. I should probably revisit that sometime under better conditions, but I don't think there is any way an AI can sound like a Twin. I could be wrong
I have a Cube 80x and have found it muddy and underpowered, though passable. What I like much more is a Lunchbox Club with a Boss EQ in the effects loop. More headroom than the Cube, maybe lighter and not as ugly, though it still looks like a space heater. But, I almost never play either one at home.
Would like to to try an Evans again, loved the brief experience I had with one several years ago.
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I have the SE200 and RE200. You can get these amps from Reverb and GC for well under $1000. I bought the SE200 for 450 plus shipping/taxes.
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I have both and Fender DeVille. Evans sounds just as good as the Fender if not better!
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Note that these less expensive models on Reverb and GC are also older, use outdated technology, and are likely less reliable than more recent models.
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Originally Posted by NSJ
I was reading the list of players that use Evans amps and noticed that John Abercrombie was listed. Didn't he pass away August 22, 2017? Maybe he don't play Evans amps no more???
Last edited by Doug B; 01-09-2025 at 09:31 AM.
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Jasguitar, just played my White Falcon through the RE200. However, my question is do you have one that's outdated and unreliable? Do you think just because Evans came out with 300 series that older models became obsolete junk? Btw, the SE200 I have is practically a new or hardly used amp that came with the cover. Any amp is likely to need repair if used extensively. These are great amps my friend-despite my bias for tube amps. Not just for archtops, but for any guitar. I was skeptical of Evans. That is until I tried one out. Lol
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Good question because Evans apparently is out of business. I tell you what's another great amp but now considered obsolete: Johnson JM150 Millenium. Channel 7, the Fender Twin emulation sounds better than the real thing. But I use it only for tracking because the obsolete electronics cannot be repaired. Indeed, Im going to play my new acquired Elferink through it after playing through the RE200.
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Evans amps are made by a small family owned business in North Carolina, USA. Scot Buffington the owner is a really knowledgeable and helpful guy. Originally Posted by Doug B
Think I read somewhere that Evans amps are made in England? Also, I was reading the list of players that use Evans amps and noticed that John Abercrombie was listed. Didn't he pass away August 22, 2017? Maybe he don't play Evans amps no more???
When I first got my JE200 he spent a long time on the phone helping me dial it in. I know he has done this for many owners, even if they purchased the amp used. That is the definition of customer care.
My JE200 is a faithful companion that sounds the way I want it to. It's a bit on the heavy side at 38 lbs. One of the reasons I'm using a Quilter Aviator Cub for smaller gigs now. As I said in another thread, Evans amps are somewhat like a Mesa Boogie-it takes some tweeking to get your sound. But unlike another poster here, once I got that with Scot's help, I didn't have to change it much on the gig.
I don't think they are "overpriced" if you consider basically hand made to order in the USA, customer service and above all-TONE!
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I am definitely not suggesting that older Evans amps are obsolete junk -- anything but! They are built to last a lifetime, but newer ones have had improvements made, new materials used, and design decisions informed by Scot and Julia's decades of experience in working closely with working musicians to create some of the best music equipment ever made. If anything, I would encourage buying new from them to get customization and to further support a small, family-owned business as opposed to a major corporation.
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Where did your information come from? I spoke to Scot a few weeks ago. Originally Posted by joman50
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I have a 1998 Evans ... I've been playing it for about eight years and it's still going strong. Replaced the Reverb tank once for about $25. Scot just talked me through it on the phone and I did it myself. Only issue I've had with it, and it was right after I bought it. Originally Posted by jasguitar
So it's just anecdotal and just my amp, but that thing is pushing thirty years old and kicks a**
(knock on wood)
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I've owned both. They're both high quality amps, no question. I wound up solidly on team Henriksen, I can get the sound and response I like without having to fuss with them too much. I have owned a couple Evans amps and just couldn't seem to dial them in. I know plenty of players that love them.
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