The Jazz Guitar Chord Dictionary
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  1. #76

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    Quote Originally Posted by andreshum
    I don't know is it just me, I found the sound of tilted small amps a bit too bright to my taste. Tighter low end on the floor
    Maybe it’s too bright for the audience instead tho?

    i find these things really tough to judge. My sound is consistently brighter than I think to judge from live recordings

    certainly too much detailed top end can be disconcerting while playing ….

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  3. #77

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    I just ordered one from Sweetwater for $10. I use my Blu 6 and Little Jazz as a stereo pair with my synthesizer and keyboards. So I can play with them both next time I'm on keys at a larger venue, which will be July 8 at World Cafe Live with the Dukes of Destiny. And we'll see if it's the exact same one (or at least as good) as the $30 Henriksen. I don't know whether to hope that it is, in which case I'll have 2 good ones but could have saved $20, or that it's not. Of course, if it's a flimsy wannabe, I'll have wasted $10.

    Oy - the pressure!!!

    The Henriksen Wedge-headpress-gif
    Last edited by nevershouldhavesoldit; 06-18-2022 at 03:40 PM.

  4. #78

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    Quote Originally Posted by Christian Miller
    Maybe it’s too bright for the audience instead tho?

    i find these things really tough to judge. My sound is consistently brighter than I think to judge from live recordings

    certainly too much detailed top end can be disconcerting while playing ….
    I think we rarely situate ourselves "on beam" to our speakers. Standing slightly to the side or higher takes away a bit of that high end. So it can be hard to know what the audience is experiencing,

    Oddly, usually when I record a guitar amp it sounds a bit darker.

  5. #79

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    To my ears, there is less bass when the amp is tilted, and the more tilt, the less bass. But that isn't necessarily a bad thing. The Little Jazz has more then enough bass for me, and I tend to roll the bass of just a little. Some players seem to like to roll the bass completely off, and might benefit from an aggressive tilt. For me, the tilt works well. YMMV.

  6. #80

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    Quote Originally Posted by sgosnell
    To my ears, there is less bass when the amp is tilted, and the more tilt, the less bass. But that isn't necessarily a bad thing. The Little Jazz has more then enough bass for me, and I tend to roll the bass of just a little. Some players seem to like to roll the bass completely off, and might benefit from an aggressive tilt. For me, the tilt works well. YMMV.
    depends on the room and how frightened I am of the bass player

  7. #81

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    Quote Originally Posted by Christian Miller
    Maybe it’s too bright for the audience instead tho?

    i find these things really tough to judge. My sound is consistently brighter than I think to judge from live recordings

    certainly too much detailed top end can be disconcerting while playing ….
    Yeah, when playing standing I find it so much easier to monitor my tone when the speaker projects towards my ears instead of my calves. When playing on an elevated stage the audience is likely to find the tone much too bright, unless the amp is tilted back.

  8. #82

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    Quote Originally Posted by andreshum
    I don't know is it just me, I found the sound of tilted small amps a bit too bright to my taste. Tighter low end on the floor
    Well, err, that is exactly the point of tilting, to hear what Your amp really sounds.

    In my amp there is a adjustable treble knob which I can lower if my tilted amp is too bright. If I don’t tilt, I turn it too bright and the audience holds their ears.

    The lows are a crucial to control when You play live with a band but so are the highs too. More highs are necessary to be heard from the mix but too much highs make You sound thin. That is why I want to hear what my amp really sounds.

    But we are different, Joe Pass didn’t like to hear the amp, he liked to hear his playing mixed from the pa system echoing from the venue.

  9. #83

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    Quote Originally Posted by Herbie
    Well, err, that is exactly the point of tilting, to hear what Your amp really sounds.

    In my amp there is a adjustable treble knob which I can lower if my tilted amp is too bright. If I don’t tilt, I turn it too bright and the audience holds their ears.

    The lows are a crucial to control when You play live with a band but so are the highs too. More highs are necessary to be heard from the mix but too much highs make You sound thin. That is why I want to hear what my amp really sounds.

    But we are different, Joe Pass didn’t like to hear the amp, he liked to hear his playing mixed from the pa system echoing from the venue.
    My understanding (after talking to some of Joe's close friends) is that later in life, Joe simply did not want to carry an amp if he did not have to.

  10. #84

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    Quote Originally Posted by nevershouldhavesoldit
    I just ordered one from Sweetwater for $10. I use my Blu 6 and Little Jazz as a stereo pair with my synthesizer and keyboards. So I can play with them both next time I'm on keys at a larger venue, which will be July 8 at World Cafe Live with the Dukes of Destiny. And we'll see if it's the exact same one (or at least as good) as the $30 Henriksen. I don't know whether to hope that it is, in which case I'll have 2 good ones but could have saved $20, or that it's not. Of course, if it's a flimsy wannabe, I'll have wasted $10.

    Oy - the pressure!!!

    The Henriksen Wedge-headpress-gif
    So with cost averaging, you got two wedges at $20 each. It is all pretty cheap if it works for you. Let us know if there is a difference in quality.

  11. #85

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    Quote Originally Posted by Stringswinger
    My understanding (after talking to some of Joe's close friends) is that later in life, Joe simply did not want to carry an amp if he did not have to.
    Poor Joe, he didn't know about Henriksen Blu or TOOB or DV Little Jazz!

  12. #86

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    Quote Originally Posted by nevershouldhavesoldit
    I agree - thus the "I’d say I was ripped off, but it’s my own fault" disclaimer. I wasn't ripped off - I just spent an extra and unnecessary $18 because I didn't take the time to look further. I unhesitatingly bought it from Henriksen because Pete was amazingly responsive and helpful through the long process of getting a Blu during the covid difficulties. Dealing with Henriksen was a true pleasure from day 1 (which was many months ago) and I can't recommend them highly enough.
    I agree, I don't mind paying more for something from someone from whom I have had great service. Considerate a tip. I recently paid a repair person more than he charged, because it was an outstanding experience.

  13. #87

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    Quote Originally Posted by Woody Sound
    I agree, I don't mind paying more for something from someone from whom I have had great service.
    Last time I said this, it started an unintended, tangential and tedious exchange over the importance and replaceability of our teeth. But the principle I was trying to express remains valid (and consistent with your philosophy). The willfully edentulous need not read further.

    Good dealers are like our teeth. You only have to take care of the ones you want to keep around.

  14. #88

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    The Sweetwater wedge has arrived. It's almost certainly from the same factory as the Henriksen wedge - same design, same materials (with one exception), same feel and function. The oly significant difference I can find is that the Velcro strip on the Henriksen is about 1/8" wider than the one on the Sweetwater. The $10 Sweetwater will do the job just as well for anyone who needs one of these.

    The Henriksen Wedge-wedge-jpg

  15. #89

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    Quote Originally Posted by nevershouldhavesoldit
    The Sweetwater wedge has arrived. It's almost certainly from the same factory as the Henriksen wedge - same design, same materials (with one exception), same feel and function. The oly significant difference I can find is that the Velcro strip on the Henriksen is about 1/8" wider than the one on the Sweetwater. The $10 Sweetwater will do the job just as well for anyone who needs one of these.

    The Henriksen Wedge-wedge-jpg
    I assume that the wedge costs Henriksen and Sweetwater $15 and that Henriksen's $30 price is a normal Retail markup. Clearly, Sweetwater has decided to discontinue these and they are selling them at a loss (a fairly normal practice among retailers. The expense happened in a past quarter and whatever they get for them adds to the bottom line of this quarter). I paid $12 (plus tax with free shipping), now they can be had for $10 (plus tax with free shipping). Get one of these while they clear them out. It actually works pretty well. They won't be available at this price for long.

  16. #90
    Looks very nice. I think I'm gonna get one for my Bud. Thanks so much!

  17. #91

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    I regret that I have but one amp to tilt for my music. I don't think I can justify another even at $10. The one I have works very well, though.

  18. #92

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    Quote Originally Posted by sgosnell
    I regret that I have but one amp to tilt for my music. I don't think I can justify another even at $10. The one I have works very well, though.
    For guitar, I agree - one amp at a time is plenty. But I use my LJ and Blu as a stereo pair for my keyboards and guitar synth. The B3 / Leslie sound is much much more convincing in true stereo because it’s based on phase shifting / Doppler effect.

  19. #93

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    Quote Originally Posted by nevershouldhavesoldit
    For guitar, I agree - one amp at a time is plenty. But I use my LJ and Blu as a stereo pair for my keyboards and guitar synth. The B3 / Leslie sound is much much more convincing in true stereo because it’s based on phase shifting / Doppler effect.
    For many years, I used an amp designed by the late Aspen Pittman, the Spacestation v3, for my keyboards. It works remarkably well, giving a stereo effect throughout the entire room (and even around corners), not just in the stereo sweetspot. It gives an amazingly lifelike B3 Leslie sound, with added depth. It isn't inexpensive, but it's quite a powerful thing, and I even used it outdoors as a single PA with my guitar trio.


    The Henriksen Wedge-4-png

  20. #94

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    Quote Originally Posted by Ukena
    For many years, I used an amp designed by the late Aspen Pittman, the Spacestation v3, for my keyboards. It works remarkably well, giving a stereo effect throughout the entire room (and even around corners), not just in the stereo sweetspot. It gives an amazingly lifelike B3 Leslie sound, with added depth. It isn't inexpensive, but it's quite a powerful thing, and I even used it outdoors as a single PA with my guitar trio.
    That’s always intrigued me, especially since it’s only about 35 pounds and about the size of a RE 10 but half again as tall. I think they’re still available new for about the price of a Blu 6.

    Aspen Pitman’s tube amp handbook was one of my most used references when I was actively building, using, and able to drag them around. So I’m sure the Spacestation sounds great (despite being SS). But my preferences ran toward the small portable Leslies - I liked the Mesa a lot. I also once bought a used Motion Sound to try, but everyone who saw it told me horror stories about frequent failures - so I returned it.

  21. #95

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    Nevershould, I gave it to a friend who plays in the only band I play keys for, so that I know it will be available when I need it. He's much younger than I, and more capable of lugging even a 35-pound box than I. He plays in other bands as well, and has always admired the amp, so I know it will get put to good use.

    I now have the Bud, a Toob Metro, and a Lunchbox Jr. They're perfect for my guitar playing, and I only need to bring one of them, with a guitar, to a gig – it's much easier on my back, and I no longer need even a small hand truck.

    But everyone (especially musicians) who heard the SpaceStation was amazed at the performance of it, and the kind of 3D imaging it achieves. What's amazing is how far it projects (when in stereo mode), without a high SPL. People can talk at normal levels, even close to the band, but still hear the music perfectly well farther away. I talked to Aspen at length (we lost a real audio visionary in that crash), and he was very friendly and generous with his time. I ordered one over the phone, and he mentioned that he had one that he had lent to a friend for a demo that he could let me have at a discount. It turned out to be a very generous discount, and the amp looked brand new (he threw in a cover for free) and performed flawlessly. I am glad for the performing world that his company has continued, and that they still make the SpaceStation. I keep trying to get someone to buy an XL so I can hear it...
    Last edited by Ukena; 06-26-2022 at 02:15 AM.

  22. #96

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    Quote Originally Posted by nevershouldhavesoldit
    Amps with a port or driver on the bottom are designed to be used flat on the floor. The feet are part of the engineering, since their height defines the true "port" formed by the space between the bottom of the amp and the surface under it. If you wedge up the front with a doorstop etc, you change the angulation and distance to the floor, which affects the response and sonic character of the port and therefore the amp. A full size wedge under it (like the Sweetwater unit and the overpriced "designer" version I bought from Henriksen) provides the same spacing and angulation as the floor, so it should maintain the same basic character. I'll play with mine a bit to see if and how it affects "boundary reinforcement" of the low end (which is the technical term for what most call coupling). I suspect that a few inches of elevation of the front won't make as much of a difference in the bass response with a full size platform under the amp as it does with an object that only lifts the front edge and opens the space between amp and floor.
    On that note, how do we think a downfiring port sounds on carpet as compared to hard flooring?

  23. #97

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    Quote Originally Posted by Woody Sound
    On that note, how do we think a downfiring port sounds on carpet as compared to hard flooring?
    I played with this when I got my Blu. Changing or moving the surface under a bottom port or radiator seems (at least to me) to be a bass EQ filter. Hard flooring reflects the output more completely, while progressively more absorbent and/or irregular surfaces reflect less and less of the output.

    So deep carpet is a low cut filter that reduces bass output. Because output below 80 Hz or so is not directional, this does not seem to change the overall radiation pattern or otherwise affect the sonic character at all.

    The other thing that changes the bass is how far the bottom is from the surface under it. Serious designers and engineers consider even the height of the feet they put on. I used to experiment with small amps on frames and stands that held them face down. This changed the sound in many ways, and the resulting better dispersion made it easier to hear by the band while cutting beaming and audience irritation. This worked great with 8” amps like my SWR.

  24. #98

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    Quote Originally Posted by Woody Sound
    On that note, how do we think a downfiring port sounds on carpet as compared to hard flooring?
    That may be why the wedge has a more solid plastic piece sewn on the top, which might reflect the sounds from the down firing port better than the softer material from which most of the wedge is made. Also, the feet rest on that more solid material, rather than sinking into the softer stuff.

    Nevershould, very interesting info about your experiments with amps on stands facing them face down...

  25. #99

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    Quote Originally Posted by Ukena
    That may be why the wedge has a more solid plastic piece sewn on the top, which might reflect the sounds from the down firing port better than the softer material from which most of the wedge is made. Also, the feet rest on that more solid material, rather than sinking into the softer stuff.

    Nevershould, very interesting info about your experiments with amps on stands facing them face down...
    We used to get complaints from guests at every wedding, Bar Mitzvah etc about being too loud - and I started asking where those people were seated. They were all in the beams from speakers (mine, the PAs, etc). So I started experimenting and finally found downward or backwards to solve the problem.

    The complaints got worse when I went to a Kustom 150 with a closed back in 1970 or so. Further experimentation showed that we all played louder with closed cabs because we couldn’t hear ourselves as well as we did from open backed cabs. And when SS amps came along with more extended high ends, beaming was even more of a problem at these social gigs.

    One of the other benefits of these experiments was discovering that smaller drivers in well designed cabs made tighter bass that could be “boosted” with amp positions and adjacent reflective surfaces, without flabbing it up like the EQ knobs did.