The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by Roots13
    Ok, so I've woke this 'sleeper' up. I've messed about with the parametric eq but not really sure what it's supposed to do. I'm only using the clean (A) chanel. Am I missing out if I don't use it? Thanx in advance.
    PS sorry if I'm starting to clog up this thread but, to me, it's Christmas (at least it will be if I can get hold of a AM 200!)
    No problem at all if you woke anything up—if it's a relevant topic, then it's still a relevant topic. IMO.

    After the standard Treble, Middle and Bass controls, the Parametric section on your amp is simply a supplemental, multi-faceted tone control that you can dial in for much more specific target frequences. Set the Frequency first—which "tonal range" do you you want to adjust? (Notice that your Yamaha has a very wide "sweep" of frequencies available—100-to-5K—so you could pretty much target any tonal range.) Next, use the "Q" control to determine the "width" of that selected tonal adjustment—either a broad effect -or- a very narrow "knife-like" range for, say, "slicing out" a specific feedback-inducing frequency. (See the small 'curve' icons for wide-to-narrow at the base of the Q control.) Lastly, with the Level control, you can either add your now-determined Frequency+Q adjustment into the *basic* sound (as set on the Bass, Middle and Treble controls) or subtract it (for example, to choke off feedback on certain notes, etc). NOTE: If you set the Level control straight up to 'noon', it's therefore being set at *zero* level, and the other two controls in the Parametric section won't have any audible effect at all. Of course, there are probably going to be times when that might be exactly what you want, and one might choose to never use it at all, I suppose, too.

    Hey, if you can find one at a good price, I'd buy that AM-200. I have it's cousin, the AM-205, and it's a superb guitar.

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Hi, how can I tell what model 50-112 I own, I, II, or III? On the front it says 'FIFTY-112', w/serial number 14237. I've owned it forever, and can't remember when or where I picked it up.

    Thanks

  4. #53

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    Quote Originally Posted by skykomishone
    Hi, how can I tell what model 50-112 I own, I, II, or III? On the front it says 'FIFTY-112', w/serial number 14237. I've owned it forever, and can't remember when or where I picked it up.

    Thanks
    IMO, That was the first series (I)

  5. #54

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    Quote Originally Posted by skykomishone
    Hi, how can I tell what model 50-112 I own, I, II, or III? On the front it says 'FIFTY-112', w/serial number 14237. I've owned it forever, and can't remember when or where I picked it up. Thanks.
    Generally, as far as I know (and whether they're 50 or 100 watts, etc. I don't believe it matters)...

    The v.I models will have fewer (and silver) controls running across the panel (some panel space being left 'blank');
    Yamaha G100 and Yamaha G50 amps-yamaha-g100-112-v-i-jpg

    The v.II have controls running all the way across the entire panel (these still being silver); Parametric EQ is now added;
    Yamaha G100 and Yamaha G50 amps-yamaha-g100-112-v-ii-jpg

    The v.III also has knobs going all the way across the control panel (and now there are separate EQ sections per channel, still including Parametric), but now they're in colors.
    Yamaha G100 and Yamaha G50 amps-yamaha-g50-112-v-iii_1-jpg

    There are possibly some other differences between the models depending on the specific speaker configuration. I'm talking about the 1x12 models here. (I have the v.II 100 watt version in a 1x12.)
    Last edited by ooglybong; 05-22-2014 at 03:09 AM. Reason: Removed extraneous, doubled photos attached at end of post.

  6. #55

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    Ooglybong et-al.
    It's been about a month since I purchased this gem. I have played two gigs, one on a barge in Bristol docks about 50 capacity. The other in a venue in Cheltenham, 200 capacity. At both gigs the amp was absolutely amazing, crystal cleans even when turned up. Had a play with the 'p/equaliser but apart from maybe a little tweak here or there, found the perfect sound for me. Easily the best that I have ever sounded. I am Definately on the look out for another as I will be lost without it.
    Ooglybong many thanx for your help/time. So much appreciated.
    Thank you x

  7. #56

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    My nieghbor just brought me one out of tge blue. Its in pretty bad shape. I am not a tec guy yet so i am going to throw terms tha might not be right. The 15 has been replace with a Peavy black widow. That said, the thing us not running due to what i think i can call a rectifier is hanging by a couple of wires a what looks to be a ground wire is severed. Does any one have the schematic? Im about to look it up but was excited to see there is a recent forum on this amp. I really want to get it running. It seems that it should have not only power but cool tone. For years I've played with a fender bassman, one 15, with many different guitars. I am anxious to fix this thing

  8. #57

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    I love hearing about these amps. I'd been searching for one of these 15" Yamahas for quite a while, and finally one came up for sale on my local CL for $150. Sadly, it was far from original condition, but it functioned. The previous owner didn't like 15" speakers, so he trashed the original 15", created an adapter so he could mount a damaged/repaired Yamaha 12" speaker in it. He should have just bought a G100-112 and left this one alone. Then he painted a piece of plywood black and totally covered the rear of the amp. Then to add further insult to this amp, he removed the Yamaha emblem from the front (trashed that too, apparently), removed the stock grille cloth and put black grille cloth on her. Talk about butchering a nice amp!
    Anyway, I bought this amp.....Removed the plywood panel from the rear, pulled out the speaker and adapter and gave the amp a good clean-up. Then I went on the search for a stock Yamaha replacement speaker, but couldn't find one, so I opted for what I felt was a suitable replacement....I found a really nice Peavey Scorpion 15" Plus. It's a great speaker and really suits this amp well. Aside from the black grille cloth, it's a really nice amp now and have gigged with it twice. I knew my band mates would give me an honest appraisal of what they heard and it was unanimous that they really liked the tone this Yamaha was pushing out with my Tele in front of her. I've had different variations of this amp with single and dual 12" speakers, but this is the first one with a 15" speaker. I really like the amp..it's definitely a keeper!
    Last edited by Teleblaste; 11-24-2014 at 08:43 AM.

  9. #58

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    Robben Ford used those for a while with the Yellowjackets. Sounded great. I've noticed over the years that they pop up second hand on eBay quite often:

  10. #59

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    ooglybong et-al. I have a chance of a 'G100B-212'.
    Does anyone have any experience or info on them. Think I can get for about£80
    Thanks

  11. #60

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    Quote Originally Posted by Roots13
    ooglybong et-al. I have a chance of a 'G100B-212'.
    Does anyone have any experience or info on them. Think I can get for about£80.
    That's probably a great price for a G100B-212 (but I'd figure in a set of casters, too, with two 12s! lol).
    Were you able to get your sick G100 in to the shop yet? What did they say?

  12. #61

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    Hi ooglybong. No, not yet. Going to try and have a look myself this weekend. So are the G100B-212 good amps?
    Thanks

  13. #62

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    I haven't even seen a G100B-212 before, but if they're in the same line, I would have to think that the quality is the same. (There's one "As Is" specimen on eBay right now; looks like it's a v.1 model.) My own amp is the G100-112 (v.2—just like in the photo in #67) and I really like it a lot.
    FYI, I've posted a bunch in this thread but I'm no expert. For instance, what does the 'B' indicate in the amp you're looking at? Anyway, I would think the G100B-212 is like your sick G100 but with two speakers instead of one.

  14. #63

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    Before doing anything, I would check out the amp again at home and then for a short time (considering the neighbours) at some volume. Power supply at gigs is usually pretty good in the UK as it has to be checked regularly for safety under PAT regulations. But safety isn't the same as consistency amd you may have been at a venue where the voltage or current was being compromised. Since most bands and venue organisers seem happy for everything to run off one socket and / or extension cables, it's hardly surprising we get problems occasionally. Check that it was not a venue problem before spending good money and having the shop say they can't find any problems. If you still get the switchingg problems then you needto go to a tech to fix it professionally. Don't lash it up, you'll regret it when it fails at a gig later.

    Personally I had a year long clonking sound with a Deluxe which turned out to be no more than the fuse needed changing with a new one - problem fixed for £1. But deducing that was the problem was why it took a year of my occasional frustrated twiddling with valves, connections, sockets, and at last changing the fuses (and blowing the lesser one when I put the new one in the wrong place - duh!) but on the back of my mind I know I should take it in for an overhaul - its first in 30+ years! That old Fender stuff is mighty reliable!

  15. #64

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    Roots 13,

    Your G100 jumping channels might be a problem as simple as an oxidized switch-jack, so a good cleaning of that might already solve the problem.

    Otherwise I would look inside on the circuit-board if you can see any cracked or suspicious looking solder joints (you might need a magnifying glass for that). After 30 years they are bound to develop cracks with very unpredictable behavior when things heat up. Look for circle-shaped cracks inside a solder joint.

    Yamaha G100 and Yamaha G50 amps-sebdlmcrack-jpg

    If you see any, just reflow the solder with a quick touch of a hot soldering iron.

    Lots of info on the gear page as well, for example here: Yamaha G50-112 Schematic Needed - Page 2

  16. #65

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    I got a G100 410 in a buy with a lot of other stuff. I've wanted a Super Reverb forever but they're way too expensive. I plugged this in and was immediately smitten. It has an outstanding blues tone. I'm thinking about getting a jazz box to see what that marriage brings. As it is I have an Epiphone "Lucille" and with all it's tonal variants it really sings. It must have sat for a very long time because most of the pots are noisy as all get out. Fortunately, I found a video of a guy, cleaning his up from top to bottom, step by step. It also did not come with a foot switch so I bought one from Switch King for a hundred bucks making the total I paid for the whole thing........a hundred bucks. Not bad for a long time wish fulfillment.

  17. #66

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    Very old thread, but I just scored a G100 212ii in TOP condition for $150. What a score!

    I hope some of you cats can answer a question....

    Is this one of those solid State amps that's, as they say "actually two 50w amps" (one for each channel)? If both inputs are used am I running "high gain" into each?

    That would mean that if I split my signal and run into each input that I've got twice as much headroom and even more EQ/tone variety in a parallel channel situation.

    I mean... It's not that it isn't powerful enough. Just wondering. Gigging in some midsize venues and the further I can stay away from the *awful* sound that happens once it breaks up the better. Also I'm not a fan of the "Fat" option (push/pull on each gain knob). It adds level but seems to muddy up the tone IMO.

    Thanks!!!!

  18. #67

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    The G100iii has one power amp channel, so you get no additional power by splitting the signal between two input channels. You might get a little more gain from doing that, but more gain doesn't increase maximum power (or headroom). You'll get the full 100 watts if the speaker load is 4 ohms (two 8-ohm drivers in parallel).
    Last edited by KirkP; 12-16-2015 at 02:54 AM.

  19. #68

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    Anyone from Yamaha HQ like to chip in with reason why Yamaha always seem to be low profile in the guitar and guitar amp market? The products are great but the marketing and hence popularity of the products with pros and good amateurs seems patchy at best. The DG series of amps and pedals were very good, and yet after a couple of years discontinued - the DG60s were almost exactly the same as the Tech 21 Powered speakers which arestill in production at a much higher price than Yamaha ever managed. And the DG60 and 80 FXs with the effects built in had almost nothing else to compete with except the Johnsons and Fenders Cyber Twin (both way more expensive).

    Perhaps its in the name. Perhaps players will always by a Telecaster and modify it rather than buying a Mike Stern Yamaha off the shelf. The power of Brand?!

  20. #69

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    Quote Originally Posted by KIRKP
    The G100iii has one power amp channel, so you get no additional power by splitting the signal between two input channels. You might get a little more gain from doing that, but more gain doesn't increase maximum power (or headroom). You'll get the full 100 watts if the speaker load is 4 ohms (two 8-ohm drivers in parallel).

    Thanks, KirkP.

    With a little bit of dangerous testing I figured that out last night. It runs full power through one in.

    The "iii" model is a different amp than what I've got which is the G100 212 ii. Very similar to the first G100, while the iii model had changed a good amount and is widely considered a lesser amp than the earlier ones... annnnyhowww...

    This thing is a clean tone BEAST. Absolute beast. Very responsive tone controls, with a couple of push/pull options (treble boost and a "Fat"), plus the parametric eq you can do a lot. The cleans are huge and crystal clear. If I push the bass up it rattles the windows in the house easily. Gobs of headroom.

    I am completely psyched about this amp. For those seeking the bargain of the century in a clean tone amp look no further. :-D

  21. #70

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    Quote Originally Posted by Dollarsmith
    This thing is a clean tone BEAST. Absolute beast. Very responsive tone controls, with a couple of push/pull options (treble boost and a "Fat"), plus the parametric eq you can do a lot. The cleans are huge and crystal clear. If I push the bass up it rattles the windows in the house easily. Gobs of headroom.
    That's why they called them the "Jazz Chorus Killers".

  22. #71

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    Yes!, and not only that but I cannot believe how quiet it is. Zero static or ambient noise. Even turned up pretty darn loud it's almost entirely silent.

  23. #72

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    For a 212 it's not that heavy. If you don't need all of that power there are a bunch of renditions of the same amp. 50w 1x12 etc. etc. etc. There are a handful of the different ones on reverb.com that I noticed. I can't imagine that they sound all that different from each other.

  24. #73

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    Quote Originally Posted by ChrisDowning
    Anyone from Yamaha HQ like to chip in with reason why Yamaha always seem to be low profile in the guitar and guitar amp market? The products are great but the marketing and hence popularity of the products with pros and good amateurs seems patchy at best. The DG series of amps and pedals were very good, and yet after a couple of years discontinued - the DG60s were almost exactly the same as the Tech 21 Powered speakers which arestill in production at a much higher price than Yamaha ever managed. And the DG60 and 80 FXs with the effects built in had almost nothing else to compete with except the Johnsons and Fenders Cyber Twin (both way more expensive).

    Perhaps its in the name. Perhaps players will always by a Telecaster and modify it rather than buying a Mike Stern Yamaha off the shelf. The power of Brand?!
    ...and Chris; I'm not familiar with all of the models that you've gone over above, but I've been shopping to replace my main amp that I've played since about 1990 for the last month or two. (Fender Deluxe 85 - Two channel solid state. Nice little amp especially for cleans.) The mood out there is that if it's not a tube amp its awful, a waste of time, and anyone who wants any decent tone should stay away from solid state anything. Additionally, all of the amps that aren't tube and vintage style tube, are digital modeling amps now. There is zero love for solid state anything because nothing of good quality is been made for quite a while, and almost everything is digital modeling, programmable effects, and a bunch of digital that most real players won't go near.

    There are a lot of great tube amps out there, but personally I think the whole thing is blown way out of proportion. I've played quite a few lately, and several pretty darn nice ones, and I can't say that I've been too impressed especially given the price and reliability situation.

    The lack of recognition and low value of Yamaha amps I think is largely due to those factors. "Solid state" is a bad word, even when it comes to great older amps such as these.

  25. #74

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    I have a G50-112ii in fair shape and a G100-112ii in what I would call excellent shape. Both weigh just a hair under 50 lbs. I believe but they sound great.
    Last edited by wzpgsr; 12-16-2015 at 05:05 PM.

  26. #75

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    I think there are quite a lot of amps out there that never nailed the Marshall /Mesa overdriven thing and thus got trashed in the pop/blues press. however these non overdriven, solid state amps can be perfect for a clean jazz tone (exactly what a rocker doesn't want!). I used to have a Fender Frontline 25R with a 10" that had lots of clean headroom for example - wish I had never sold if for £50 - however you can still find them on eBay for that. (Saw the top off and make it a head and match it up with a nice 15" cab - jazz amp on a budget!)

    I agree the Yamaha kit is good stuff and under rated because it doesn't overdrive like a rock amp. (Maybe Yamaha were aiming for the little catered for Cruise Ship Band market!? Ha)