The Jazz Guitar Chord Dictionary
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  1. #51
    For the other people here with Barnyard pedals, how do you use the 'wooly/bright' switch and the 'bass/guitar' switch?

    I've found I'm using it mostly in bright mode with the other switch in bass mode. That gives a really big and warm sound. The treble isn't any brighter than the amp would be anyway. Sometimes, especially on the Quilter I like to put the wooly switch on. That amp is pretty bright even with the treble backed right off (a bit like a Deluxe Reverb I guess) so it helps to tame the top end.

    I noticed the bass/guitar switch totally changes the sound of the 'boost' side.

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  3. #52

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    the junior barnyard grew out of tavo's working on a bass pedal to bolster the acoustic bass sound in his band (might a been his sons bass playing!)...when he heard it with guitar, he realized he was onto something... and continued fine tuning (as he always does!...kudos t)

    many times a bass designed pedal or amp will actually work better for a clean jazz guitar tone than a guitar device..which is aimed more towards the smooth brite modern toned market

    experiment with various pedal settings dependent on guitar (& pickups!!) being used and the amp tone wanted


    cheers

  4. #53

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    Quote Originally Posted by entresz
    For the other people here with Barnyard pedals, how do you use the 'wooly/bright' switch and the 'bass/guitar' switch?

    I've found I'm using it mostly in bright mode with the other switch in bass mode. That gives a really big and warm sound. The treble isn't any brighter than the amp would be anyway. Sometimes, especially on the Quilter I like to put the wooly switch on. That amp is pretty bright even with the treble backed right off (a bit like a Deluxe Reverb I guess) so it helps to tame the top end.

    I noticed the bass/guitar switch totally changes the sound of the 'boost' side.

    Tavo gave them functional names rather than just describing what they are. The right side is a high pass filter, it cuts out bass frequencies. The left side is a low pass filter, it cuts out treble frequencies. Basically, when you increase the gain to the point that the signal distorts it creates a lot of noise in the treble range that sounds kind of like a fuzz pedal. This is what a cranked EH-150 would probably sound like into a high fidelity speaker, like a PA or something. That's not a good sound. So if you're plugged into a clean amp with a relatively hi-fi sound and you have the barnyard set to the point that it's clipping, you want to hit the low pass filter, i.e. the wooly switch. The reason this "changes the character of the distortion" is because the filter cuts out the terrible buzzsaw, swarm of killer bees fuzz but leaves the the glorious lower-order harmonics that thicken your signal and go crunch. Similarly, as you increase the gain, the bass starts to get flubby, but you won't usually reach that level of gain when playing jazz. So in short:

    1) When playing clean: I leave both switches down.
    2) When playing with some grit into a clean, hi-fi amp like a princeton or a solid state*: I flick the wooly switch up.
    3) When playing super dirty (which I don't): I flick both switches up.


    *Sometimes I plug the barnyard into my 5F1. Because the circuit of the 5f1 already rounds out the treble nicely, I never have to flick the wooly switch, even with mild distortion.

  5. #54

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    If you've ever played through one of these, you know how useful high and low pass filters are for regulating distortion.

    Nocturne The Jr. Barnyard Preamp-paul-cochrane-white-timmy__04399-1419627042-1280-1280-jpg

  6. #55

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    Quote Originally Posted by omphalopsychos
    Tavo gave them functional names rather than just describing what they are. The right side is a high pass filter, it cuts out bass frequencies. The left side is a low pass filter, it cuts out treble frequencies. Basically, when you increase the gain to the point that the signal distorts it creates a lot of noise in the treble range that sounds kind of like a fuzz pedal. This is what a cranked EH-150 would probably sound like into a high fidelity speaker, like a PA or something. That's not a good sound. So if you're plugged into a clean amp with a relatively hi-fi sound and you have the barnyard set to the point that it's clipping, you want to hit the low pass filter, i.e. the wooly switch. The reason this "changes the character of the distortion" is because the filter cuts out the terrible buzzsaw, swarm of killer bees fuzz but leaves the the glorious lower-order harmonics that thicken your signal and go crunch. Similarly, as you increase the gain, the bass starts to get flubby, but you won't usually reach that level of gain when playing jazz. So in short:

    1) When playing clean: I leave both switches down.
    2) When playing with some grit into a clean, hi-fi amp like a princeton or a solid state*: I flick the wooly switch up.
    3) When playing super dirty (which I don't): I flick both switches up.


    *Sometimes I plug the barnyard into my 5F1. Because the circuit of the 5f1 already rounds out the treble nicely, I never have to flick the wooly switch, even with mild distortion.

    excellent breakdown!!...but so much depends on pickup output...a franz pup will behave far differently than a paf or a cc or a strat single coil...every guitar has to be dialed in individually...but the jr. barnyard will always add some of that vintage octal toned grit

    cheers

  7. #56

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    Quote Originally Posted by Hep To The Jive
    There was a video, someone posted a while ago, 3 pedals demoed, Barnyard, Mojomojo and something else, for the same purpose of making a sterile amp sound like an old tube ala CC. It was a Henriksen amp IIRC... . Mojomojo was very impressive, I bought it based on that and now use sometimes with my AER. Now I think maybe should've get a Barnyard...

    Anyone remember what I'm talking about?

    That was me. I still have the MojoMojo and the Jr. Barnyard. I still have mixed feelings about the Barnyard.

    I bought a fender Pro Jr and built a 12 inch cab for it, and put a 12at7 in the phase inverter spot, and I feel like it gets me the tone I want with no pedals.

    When I use the Henricksen--which is a nice quiet (no humming or buzzing) and effective amp, I will sometimes put the barnyard in front of it and it does give "instant octal" tone. It adds compression, which I don't always want, and it' not the most touch sensitive drive in the world. It's hard to use dynamics to get a tone that goes from clean t driven. In that sense it doesn't feel as much like an amp as some pedals. But if you want to stomp a pedal and have instant Charlie Christian it's da bomb.

    I find myself using a Moog MF drive a lot. It has very versatile tone options and is much more touch sensitive, so you can get it to add harmonics without adding compressed drive.

    There's always a bit of a "veil" over the tone with the Barnyard, if that makes sense. And so in some ways it's less fun to play, because you have less dynamic range to mess with. I've never played an octal amp from that era, so I can't really say how authentic it is to the amp, but to the recorded sound? wow, like I said, instant Charlie Christian. I'm not selling it!

  8. #57

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    Just to get an idea here is a short clip of the A part of the head to "A Smooth One" recorded through the Henricksen, first dry, then with the Jr. Barnyard engaged. You can hear the switch click


    A Rough One

    This is guitar (a homemade hollowbody with a lollar Charlie Christian for tele pickup) on full volume, right side preamp on 9 am, to switch set to "guitar" and the other switch, where the jack plates are, set to the opposite of "wooly," I forget what he calls it. The "grits" switch is off. This is what I'd consider the "lightest' or cleanest setting

  9. #58

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    Quote Originally Posted by PB+J
    Just to get an idea here is a short clip of the A part of the head to "A Smooth One" recorded through the Henricksen, first dry, then with the Jr. Barnyard engaged. You can hear the switch click


    A Rough One

    This is guitar (a homemade hollowbody with a lollar Charlie Christian for tele pickup) on full volume, right side preamp on 9 am, to switch set to "guitar" and the other switch, where the jack plates are, set to the opposite of "wooly," I forget what he calls it. The "grits" switch is off. This is what I'd consider the "lightest' or cleanest setting

    I was reading and hearing your post from 2016 with mojomojo, Jr. and bigtone, that was great.
    I was thinking about buying a Jr. Barnyard, but I enjoyed the sound of mojomojo and it's 1/4 of the price.

    How the mojomojo works with dynamics? I can let it turned on and control it with the hand or guitar volume to play swing rhythm without drive?

  10. #59

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    Quote Originally Posted by PB+J
    This is guitar (a homemade hollowbody with a lollar Charlie Christian for tele pickup) on full volume, right side preamp on 9 am, to switch set to "guitar" and the other switch, where the jack plates are, set to the opposite of "wooly," I forget what he calls it. The "grits" switch is off. This is what I'd consider the "lightest' or cleanest setting

    cool..and rolling back your guitars knobs can get it even cleaner!!..even more nuance


    cheers

  11. #60

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    These days I also almost never play without a preamp pedal before the amp. It clicked with me when I bought a Xotic RC booster about 10 years ago. That's a very clean preamp, but the controls there (plus probably the impedance conversion) makes all the difference to me (it has Gain, Treble, Bass, Volume).
    I like it especially with tube amps, with a high quality modeler I could probably do without it.

  12. #61

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    you guys seen the new-ish mooer tube 20 watt guitar power amp...all tube 2-el84's power section...can plug in right from pedal..and from that into a speaker cab...

    barnyard thru 2 el84's into a single 12" or 15"! speaker cab be mighty tasty/nice


    cheers

  13. #62
    I had a gig last night where I used my Quilter Aviator Twin Ten with the Barnyard - had the 'normal' side set to about 10 o'clock, the 'grits' set to about 9 o'clock - this time using my Gretsch G-400 Synchromatic which has a floating CC pickup wound by Pete Biltoft.

    That guitar does a great 40's kind of sound on its own but the Barnyard really added to it nicely. We did a couple of Goodman/Christian numbers and it sounded great.

    What I do find lately is that the Quilter has a bit of a mid-range honk that is starting to grate on me, can't really seem to dial it out. I guess I could hook up a graphic EQ, but then that means I'm using two pedals.... (I like to use as little gear as possible). It's also a really bright sounding amp - maybe I'm just getting a bit sick of it? I have an old Peavey Bandit 65 that I haven't powered up in about two years, but I'm tempted to drag it out to try. I remember it being a decent sounding amp, still not too big to lug about etc....

    Strangely I find the DV Mark Little Jazz sounds better a lot of the time, especially with the Barnyard.

  14. #63

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    could try changin out the speakers of the quilter..even tho they use celestions....some vintage style alnicos be nice..pricey tho!!..but vintage authentic and cool toned!!!..(i'd probably switch amps first tho...)

    the speakers are the final curtain of your tone...if speakers have no high end your bright guitar & amp are gonna sound bassy...if they break up fast at lower volumes your tone will be brash..etc etc...speaker science!!!


    cheers

  15. #64

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    Just don't ask neatomic which speaker he recommends or you'll be out another $300.

  16. #65

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    Quote Originally Posted by omphalopsychos
    Just don't ask neatomic which speaker he recommends or you'll be out another $300.
    haha..good tone is priceless..but once you have it dialed in, it's worth a fortune!!!

    simple but good!!!

    if you're using a barnyard...you know what you are dealing with...it's not a 25$ joyo pedal...(not that theres anything wrong with them) hah


    cheers

  17. #66

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    I've had the same problem with Quilter amps. I tried both the 101 models, and I couldn't live with the annoying nasal tone which I couldn't get rid of with any settings. I cranked all the knobs from one end to another, but I couldn't get a tone I could live with. On the Little Jazz, I just put everything flat and I'm usually happy, although some settings require changing the tone knobs slightly, but never more than one or two markings. I've given up on Quilter entirely. I'd like to try the JR Barnyard through my amps, but the cost is more than I'm willing to invest.

  18. #67

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    Wow! I finally had that Eureka moment with the Jr. Barnyard. I'm playing in Budapest right now with a de rigeur backline Fender Hot Rod Deluxe. I brought my Jr. Barnyard with me, and before I plugged it in front of the amp, I decided to see how it would do as the sole preamp, and just plug it into the effects return.

    NAILED IT.

    I got the fat Charlie-type tone without too much gain or farting out. I was amazed. I started blowing through some CC solos, and even the bass player was amazed how it pretty much nailed that tone. Oh, and it was friggin' loud - which, with the sound in this particular room was definitely better than not having enough power.

    I'll throw up a picture of my settings, but it's on my instagram if you want to check it out before I get around to posting it here.

    I'm stoked to play my EH-185 and my Vintage '47 amps at home (and the EH-150's and Vintage 47's I'm lucky enough to borrow around the country), but now I know that when I get a backline amp situation, Jr. Barnyard and Hot Rod Deluxe will totally nail the tone I need.

    I wish I'd bought one years ago.

  19. #68

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    very cool to know, thank you. I don't have an amp with an effect loop, but i always thought there might be some kind of impedance mismatch with an effects loop that would make the pedal less effective. Good to know that's not the case

  20. #69

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    That's is really good to know. I'm getting an AER compact 60 and it's not a tube amp, I know, but there is an effect loop on it and I'll try it out.

  21. #70

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    Congratulations Jonathan! I can’t imagine what a gig in Hungary must be like, but I bet you’re being treated like the rock star you are!

    I’m not surprised to hear the JB works well in that configuration, as I mentioned I use it straight into my Fishman tower (aka the Fish stick) and it sounds great. I’m embarrassed to say I didn’t think of trying it through the effects return of my Quilter combo but of course that’s a great way to use the pedal. Now I have to try it out, maybe later today.

    Tavo deserves props for creating such an incredible pedal. There’s some magical circuitry in that little white box! Rock on my friend.

  22. #71

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    Quote Originally Posted by campusfive
    Wow! I finally had that Eureka moment with the Jr. Barnyard. I'm playing in Budapest right now with a de rigeur backline Fender Hot Rod Deluxe. I brought my Jr. Barnyard with me, and before I plugged it in front of the amp, I decided to see how it would do as the sole preamp, and just plug it into the effects return.

    NAILED IT.

    I got the fat Charlie-type tone without too much gain or farting out. I was amazed. I started blowing through some CC solos, and even the bass player was amazed how it pretty much nailed that tone. Oh, and it was friggin' loud - which, with the sound in this particular room was definitely better than not having enough power.

    I'll throw up a picture of my settings, but it's on my instagram if you want to check it out before I get around to posting it here.

    I'm stoked to play my EH-185 and my Vintage '47 amps at home (and the EH-150's and Vintage 47's I'm lucky enough to borrow around the country), but now I know that when I get a backline amp situation, Jr. Barnyard and Hot Rod Deluxe will totally nail the tone I need.

    I wish I'd bought one years ago.
    Lindyshock?

    Anyway I’m sorely tempted to get one of these as it passes your seal of approval.

  23. #72

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    Quote Originally Posted by christianm77
    Lindyshock?

    Anyway I’m sorely tempted to get one of these as it passes your seal of approval.
    Yup, Lindy Shock. It's insane here - amazing!

    Here was the end of the night jam. Guitar solo starts about 50 second in.


    I had to turn it up even higher than I'd had it most of the night and it was starting to get a little fuzzy.
    Oh, I forgot to mention how nice it was to have a very dynamic response from the pedal/amp - guitar volume knob changes really had an effect on the tone. Sadly, I tend to "run out of rope" at the end of the night, and so I turn the guitar volume knob all the way up and play really hard, all of which start to bring out the twang and fuzz. Maybe tonight I'll remember to just turn the amp up even more and try to play less hard. But, it's still cool that it's a very dynamic feeling response.

    I've only ever used the pedal with a Quilter 101, and I have to say, I think there's something about the solid state power amp response that was not what I'm used to, which is why I dug the pedal before, but I hadn't had it perfectly work like last night. But, I still have some experimenting to do.

  24. #73

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    Really good tone there Jonathan, that double stops sounds incredible.

  25. #74

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    Quote Originally Posted by campusfive
    Yup, Lindy Shock. It's insane here - amazing!

    Here was the end of the night jam. Guitar solo starts about 50 second in.


    I had to turn it up even higher than I'd had it most of the night and it was starting to get a little fuzzy.
    Oh, I forgot to mention how nice it was to have a very dynamic response from the pedal/amp - guitar volume knob changes really had an effect on the tone. Sadly, I tend to "run out of rope" at the end of the night, and so I turn the guitar volume knob all the way up and play really hard, all of which start to bring out the twang and fuzz. Maybe tonight I'll remember to just turn the amp up even more and try to play less hard. But, it's still cool that it's a very dynamic feeling response.

    I've only ever used the pedal with a Quilter 101, and I have to say, I think there's something about the solid state power amp response that was not what I'm used to, which is why I dug the pedal before, but I hadn't had it perfectly work like last night. But, I still have some experimenting to do.
    Yeah that sounds legit. Which axe were you using? The es 150?

  26. #75

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    Quote Originally Posted by campusfive
    Yup, Lindy Shock. It's insane here - amazing!

    Here was the end of the night jam. Guitar solo starts about 50 second in.


    I had to turn it up even higher than I'd had it most of the night and it was starting to get a little fuzzy.
    Oh, I forgot to mention how nice it was to have a very dynamic response from the pedal/amp - guitar volume knob changes really had an effect on the tone. Sadly, I tend to "run out of rope" at the end of the night, and so I turn the guitar volume knob all the way up and play really hard, all of which start to bring out the twang and fuzz. Maybe tonight I'll remember to just turn the amp up even more and try to play less hard. But, it's still cool that it's a very dynamic feeling response.

    I've only ever used the pedal with a Quilter 101, and I have to say, I think there's something about the solid state power amp response that was not what I'm used to, which is why I dug the pedal before, but I hadn't had it perfectly work like last night. But, I still have some experimenting to do.
    Yea man, that sound really great! Fantastic solo too!

    I wish you come to NYC sometime so we can jam. Honestly, no one sounds here like that, I'm impressed.