The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by tomvwash
    Yes, but it helps to have the right guitar in one's hands, for starters. I don't think a Strat would cut it.
    I am pretty sure that KB would sound more like KB on my Strat than I do on my Super 400.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by gitman
    That simple fact gets overlooked ALL OF THE TIME !!!!! People fuss over pickups, strings, the exact model guitar + amp but never about which mic was in front of the amp, where it was positioned, what type of mic-pre / board/eq/compressor was used and who the recording engineer was ... makes a world of difference.
    I'll go you one better: all these guys trying to get Charlie Christian's tone (me included occasionally)... talk about not hearing what his guitar ACTUALLY sounded like OUT OF THE AMP.... on alot of those recordings, only the room was mic'ed! And recorded direct to acetate I think??

  4. #28

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    Quote Originally Posted by Stringswinger
    I am pretty sure that KB would sound more like KB on my Strat than I do on my Super 400.

    Try your SG after the Strat test and let us know how it goes. Nonsense.

  5. #29

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    Quote Originally Posted by tomvwash
    Try your SG after the Strat test and let us know how it goes. Nonsense.
    I have not owned an SG in years. Will my Les Paul do? getting KB to participate might be a challenge.

  6. #30

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    I've got KB sounds on my semi335, it had 13 chromes... Just stay mostly around the middle of the neck and up, keep the mids down esp if it's not a fender or similar circuit.

  7. #31

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    Quote Originally Posted by Herbie
    Here is some info:

    He would later favour the Fender Twin Reverb. The scooped mids of the blackface Fenders contrast with the Tweed amps, and Burrell states his tone preferences in this quote: “I like a fat warm sound, so I set the treble lower, the bass medium, and I pump up the middle.”

    Kenny Burrell (1931-)
    For some reason, when playing with an archtop, I often have feedback issues when I put the bass at half, so I have it usually lower. Depends of course from an amp, but often that is the case.

  8. #32

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    I was holding back from saying,"just bump up the Mids" But it's what works for me. I can get close to KB tone that way.
    No I don't have his hands or guitars or amps. But when I need THAT sound from my hollow bodied guitars, it works, and very well. Turn down the treble and bass on the amp to suit.

    It also seems to me that Mids on various amps are not the same. On my 3 Twin Reverbs, I never encouraged the Mid dial, it just added a cardboard tonality. On my Princeton Reverb, the added Mid control just makes this amp beautiful and variable, without any cardboard.

    It is a "search" for the gear that will ultimately please.

  9. #33

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    Quote Originally Posted by ronjazz
    Kenny Burrell sound = Kenny.
    this story has been attributed to both Chet Atkins and Ray Brown a fan comes up after a concert and they go on and on about how INCREDIBLE!!! that particular instrument SOUNDS on and on so SICK of the praise put in the WRONG PLACE to a point they sit their instruments down on their stands SILENT! and go HOWS IT SOUND NOW?

  10. #34

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    Quote Originally Posted by Jimmy Mack
    I was holding back from saying,"just bump up the Mids" But it's what works for me. I can get close to KB tone that way.
    No I don't have his hands or guitars or amps. But when I need THAT sound from my hollow bodied guitars, it works, and very well. Turn down the treble and bass on the amp to suit.

    It also seems to me that Mids on various amps are not the same. On my 3 Twin Reverbs, I never encouraged the Mid dial, it just added a cardboard tonality. On my Princeton Reverb, the added Mid control just makes this amp beautiful and variable, without any cardboard.

    It is a "search" for the gear that will ultimately please.
    Of course. That's what I always do. 75% or so is about mids. 25% or so about the rest.