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Ive just recently listened to Jim Hall on Bill Evans tune "Interplay". I very much like his sound, extremely ethereal and present at the same time. My question is how does he get that sound??? What mix of equiptment, controls, pedals? Any help much apreciated.
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07-21-2010 05:57 AM
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on the 1962 "Interplay" album on Riverside (is this the one?) I would guess a period 175 through a period tube amp. I would argue that Jim's sound is generally more about note choice/placement and technique than sonic texture though - although I know he has used some pedals in more recent years.
Famous Jazz Guitarists and Their Guitar GearLast edited by Bill C; 07-21-2010 at 07:18 AM.
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jim was definitely one of the first cats to really start rolling off tone on his box, too, and by interplay, he was at least looking into that idea (although the tube amp still gave him a little more presence than his 70's and 80's tones)
Part of what makes jim's chords so "ethereal" is the close voicings inside them. couple that with his tone, and it's a thing of beauty.
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I am new and both replys refer to the sound of the tube as one of the predominate factors, with regards to equiptment. I unfortunately have the limited experience that taken me only so far as the tranistor, so I hope to be able to explore even that aspect at the proper time.
There is so much to do and so little time for it all!
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I don't think the amp tube or transistor/solid state is a significant factor. It's the choice of notes and the way they are played that's the magic.
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Jim used an old Gibson Tube amp for much of his career at that time and while it could be that same amp he also certainly used other solid state amps as well. Also he was using a Gibson 175 up till the 80s.
Last time I saw him play he was using a Polytone and reports of him using a Henriksen are also out there.
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Last time I saw him (3-4 years ago?) he was touring with just pianist, I think Geoffery Keezer. In addition to his trademark vest, he was playing his Sadowsky, and had a Henriksen sitting on a bar stool.
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Jim Hall used for several decades a Gibson GA 50 amp, which has a 12' and 10 speaker. More important to his sound is that he uses the power of the amp to allow him to play the guitar with a very light touch. The other component of his tone is that the overall volume is still (even with the amp) low enough that the acoustic sound of the guitar is heard along with the amp, maybe mixed in through a mic. You can really hear this on the older recordings.
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Thank you all! The responsiveness in this forum is great, really warming!
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Jim played alongside Barney and a few others in a guitar expo in London around 1967.
His original es175 was fed into a Gibson GA15/30(?) - very small; single speaker.
In view of the following post, maybe it was a GA50 after all. I was way back in a large theatre and that's my excuse.
He had trouble with the amp throughout the set but when it was working, it was his usual sound i.e. similar to the sound on the Bill Evans duos.
After the London gig the Guitar Workshop in Berlin was recorded so presumably he played through the same amp there?
DGLast edited by daveg; 07-26-2010 at 07:55 AM.
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Originally Posted by derek
Yeah when I saw him with Keezer he was using a Polytone. Around the same time, but a lot of his gear didn't make it off the airplane.
I'm using the same Henriksen he's using now (a coincidence) and it's completely awesome OMG IT'S IS AWESOME.
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in april, i´ve seen him perform in amsterdam with his sadowsky and an old 15" polytone.
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No mentions of the P90 pickup yet?
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the p90s were not the norm.
Although I do love me some p90
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Not the norm... on the ES-175 that Jim Hall was playing at the time? I am not sure I understand what you mean.
Last edited by ES125er; 08-08-2010 at 12:54 PM.
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The humbuckers weren't even developed Til about '57 or so (hence, the name today, '57 classics) so given that was the year of the changeover to the "P.A.F"s, the older models had P90s.
Jim's 175 looks just like mine, right down to the single P90 (great pickup, I love it!). Actually, Jim got that guitar in a trade with Howard Roberts.
Also, he's not exactly a "digger"--uses 11-50 strings. And often when he was comping, I think he would turn the amp off.
the Henriksen is a great amp choice! By far may favorite amp, too.
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Jim Hall & ES-175(Replaced Fingerboards and Inlays) 1967 Berlin Festival
Amp : Gibson GA-50 (his fevorite)
With Barney Kessel
Album Amazon.com: It's Nice to Be with You: Jim Hall in Berlin: Jim Hall: Music
Jim Hall & ES-175 Germany TV Show 1973
(placed strap button as like to the LP position and replaced pickup)
with Attila ZollerLast edited by kawa; 08-08-2010 at 07:04 PM.
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I saw him with sonny past week, He is magic, he played wuth a JC120 a Chorus boss pedal, and his sadowsky
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Has anyone found EQ settings that get you close to a Jim Hall (wish) tone? I can't put my finger on how he gets it, particularly his more modern post ES-175 tone. I understand that he plays (played) (was playing) a carved top through a Polytone, but it seems there is something more to it that just gear, and fingers. Or maybe not. Your thoughts? Thanks-
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All of Jim's famous guitars (ES-175, D'Aquisto, Sadowsky) were constructed of laminated maple, not carved wood. And not spruce tops either. So they have a smooth, clear tone that lacks the high end "chirp" of a carved spruce top.
Hall's modern tone is very warm with minimal pick attack, which to me implies a reasonably heavy pick made of a soft material, played rather delicately. His tone on the guitar is probably at 4-5 at the most.
Others here probably know more about his technique and can add to the discussion. I'm just winging it with this analysis.
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This Summer I had the exceptional opportunity to try the guitar that he used to record 'Circles'. An amazing guitar, very recognizable as Jim Hall's tone, so besides the hands (and the mind) the gear plays a role too.
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I would say a laminate archtop, a humbucker, tone on the guitar rolled off, fairly light flatwound strings and a "jazz amp" (henriksen, old polytone, mambo) should cover you in terms of gear. The rest was in his fingers, I guess transcribing could help.
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From the interview in 2004. He talks about picks and basically he uses the thin for rhythms and the medium for thick tone leads, but he also uses the medium for strong rhythms and the thin for soft tone leads. He doesn't use the heavy as much at the time.
Hi picks. From the left: Heavy, Medium, Thin.
Cool shot,
and Smile.
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Jim could actually pick quite hard, when he wanted to.
He truly understood dynamics and how to control sound with his hands.
One thing also to consider, especially in his later years, Jim used amplification just enough to be heard...
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Sound is in the hands. When Martin Taylor played my guitar in Concert many years ago he sounded exactly like Martin Taylor. The Hollenbeck was set up completely for myself, since of course it is my guitar. He did not adjust the action or do a thing other than make sure the guitar was in tune.
Jim Hall certainly got his tone from the set up of his guitar that is a point, the majority of the sound comes from the hands and the technique. It is not like your hands and technique are the complete sound but along with the set up "define" the sound. Then of course there is thing called the " unknown greatness" as I like to call it...………..Jim Hall got those genes.
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