开云体育

Thanks Donnie,

The guitar is a Godin multiac nylon with the hex piezo pickup, run
thru a Boss ME-50 set for a little reverb and stereo chorus.

I did fiddle with the EQ (3 band on each amp, and 3 band on the
guitar (which I always end up with zero treble and mid, 60% bass)). I
didn't accomplish much with the fiddling, frankly. But, it was hard
to even reach the amps -- I had to put the guitar down someplace,
turn around, climb halfway onto the piano, adjust, climb back down,
etc.

Also, I forgot to mention, I was having feedback problems too. I
think the liveness of the room makes that worse as well. That limits
how much bass I can add - even when the higher frequencies sound like
crap. The Godin, like many hollow bodies, is a terrific sounding
guitar, not counting except when it's feeding back, which is often.

Rick



Rick

That`s what I had heard - rectifier was underated.

Will

--- In jazz_guitar@..., "Grahame Peter" <grahame1@c...>
wrote:

The power supply on my Mini-Brute II (1970s) blew. The tech said it

was a

common problem with Polytones. Rectifier, I think.

Peter

Hi,

It sounds to me like you have the top string over the edge of the coil.
The coil center is sometimes 1/4" in from the edge of the housing. As
an experiment move the pickup sideways and let me know if that makes a
difference.

I have a 1968 Selmer catalogue which lists the Rhythm chief at 22gns
and the 1100 model at 23gns. A gns was old currency in the UK 1 gn =
?1.05 - all that finished in 1971 when we went decimal.

Best wishes,

Will

Hi Rick,

wow! that sounds like a tight fit...been there, done that too. I
think it would be difficult to control acoustics in a room. EQ
might be of use, if you've got certain frequencies that are not
repsonding with acceptable dynamics. I have to ask, what kind
of "pickup" are you using for the nylon string? Is it piezo or
something else? I've noticed depending on the acoustics , the piezo
pickup can sound decent at times , and other times it can sound
really brittle and stale.

I've been interested in the schertler systems or pickups for this
reason. I sometimes use a LR Baggs para-acoustic Direct Box to
combat some of the issues inherit with piezo systems. I still think
these systems are beneficial for guitarists rather than trying to
live mic the instrument.

Also, sometimes putting the amp on the floor is OK for some acoustic
problems, and other times it needs to elevated; it really depends on
the acoustics in the room. However, it sounds like a tough call ,
without seeing and hearing the place you're referring too.

good luck!

Donnie Loeffler






--- In jazz_guitar@..., "Rick_Poll"
<richardipollack@y...> wrote:

Some of the discussions here have got me thinking about a sound
problem I had recently (and not the first time).

I got a call for a restaurant gig. Guitar, bass, drums and a

singer.

When I arrived, I found that the place was basically a single
storefront. As a rough guess, no more than 20 feet wide. The door

was

on the left of the front wall and the rest of that wall was the

usual

glass window.

There was a table just to the right of the door and, to the right

of

that, was the space for the band. It was next to the front window,
along the right hand wall. It ended atthe edge of a bar which ran

the

rest of the length of the place on the right.

I don't know how clear that explanation was, but the space for the
band was like 8 x 10 or so (I'm guessing). That sounds like plenty

of

room, but the problem was there was a grand piano in it -- which

we

had no use for. We pushed it to one side as best we could, but

there

wasn't much room left.

The drummer, who had the smallest drums I've seen, like toys

almost,

wedged himself in between the piano and the bar (one cymbal so

close

to my head I had to use an ear plug). The singer put the PA
electronics under the piano and set up two speaker stands. She
basically sung from inside the crowd. The bass player showed up

quite

late and plugged into the PA. Fortunately, he was playing bass

guitar

and liked to stand. There wasn't room for another chair.

I had my usual rig, two little amps and my nylon string. I put the
amps on top of the piano (I usually try to get them off the floor)

on

some placemats and plugged in like usual. This was before the

bassist

showed up.

The sound of the guitar was awful. Very harsh. I don't know how

else

to describe it. I'd assume the hardwood of the piano, the glass,

the

bar and not too many people at the beginning made it a live,

echoey

room.

After a few tunes, I switched to a solid body steel string

electric

(for reasons unrelated to the sound problem), the bass player

finally

showed up, a crowd formed and the sound was fine. The rest of the

gig

went well.

In the past I've found that my stuff sounds much better in a dead
room, i.e. one with lots of upholstery, carpet and people.

But I'm wondering. What can you do in that situation? Does EQ

help?

Are there any tricks to improve things in a "live" room like that?

Thanks in advance,

Rick

Hey Jazon, I have the same 'issue'...

--- dangelico603 <jpcombs@...> wrote:

Hey Will,

You said that you've repaired DeArmonds before.
Well I've got a
Rhythm Chief on my D'Angelico that I'm having a
slight balance issue
with. The high E is quite a bit quieter than the B
(which is quite
a bit louder than the other strings.) I play with
Daddario chrome
12's but I swap the 12 for a 13 on the high E. I've
compensated by
tweaking my technique. I now unconsciously hit the
E harder and the
B lighter but I was wondering if this is common or
if you had any
suggestions. Thanks in advance.
Jason

P.S. I thought the Rhythm Chief was made earlier
than the
sixties.




--- In jazz_guitar@..., Will <will@p...>
wrote:

With all this talk about pickups I would like to

dispel some myths.

The Rhythm Chief is a DeArmond pickup from the

60s, which goes for
300+

nowadays on Ebay. I have one of these and also

have repaired
several

others. DeArmond pickups are simply two coils in a

housing; the
smaller

coil is underneath the top 2 strings and the

larger under the
bottom 4. The

reason it sounds good is that it is balanced for

heavy gauge
strings with a

wound third -simple, no magic magnets, no magic

wire.

The reason a Charlie Christian pickup sounds good

is that it has a
huge

chunk removed from the magnet so that it is

balanced for heavy
strings.

Now, here we have the crux of the matter - other

pickups made in
1959 were

not rocket science and the ones now marketed as

`59 models are no

different. They are two coils mounted on a flat

magnet wired
inantiphase to

cancel hum that's all.

What IS different is that people in 1959 used

substantially
heavier

strings, which had a thicker fuller tone - that is

all there is to
it.

If you want a better tone from your guitar fit 11

or 12 gauge
strings with

a wound third and with 10 out of the 200 you

have saved on
pickups buy a

copy of Mickey Baker's jazz guitar course and

become a better
player. You

can use the other 190 to buy flowers for your

wife and toys for
the kids.

Will

__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

The power supply on my Mini-Brute II (1970s) blew. The tech said it was a
common problem with Polytones. Rectifier, I think.

Peter

I read that Polytones have had issues with the power supplies on some
models - does anybody have any experience with this.

Will

If you're still young and strong, and don't mind buying tubes... it's pretty tough to beat a nice
Twin. The 65' Twin reissuse is a lot of amp for the money. Otherwise, many love lighter solid
state amps such as Polytone and Acoustic Image .

Does anyone have an opinion of the 60's Gibson Es-125 thin bodied
archtop? I've played a couple of different ones and I was blown away by
it's 1. Lightness 2. Responsiveness 3. Complex and full tone.

Jon

Dude, CAH-LASSIC!

Jon

Hey Will,

You said that you've repaired DeArmonds before. Well I've got a
Rhythm Chief on my D'Angelico that I'm having a slight balance issue
with. The high E is quite a bit quieter than the B (which is quite
a bit louder than the other strings.) I play with Daddario chrome
12's but I swap the 12 for a 13 on the high E. I've compensated by
tweaking my technique. I now unconsciously hit the E harder and the
B lighter but I was wondering if this is common or if you had any
suggestions. Thanks in advance.
Jason

P.S. I thought the Rhythm Chief was made earlier than the
sixties.




--- In jazz_guitar@..., Will <will@p...> wrote:

With all this talk about pickups I would like to dispel some myths.

The Rhythm Chief is a DeArmond pickup from the 60s, which goes for

?300+

nowadays on Ebay. I have one of these and also have repaired

several

others. DeArmond pickups are simply two coils in a housing; the

smaller

coil is underneath the top 2 strings and the larger under the

bottom 4. The

reason it sounds good is that it is balanced for heavy gauge

strings with a

wound third -simple, no magic magnets, no magic wire.

The reason a Charlie Christian pickup sounds good is that it has a

huge

chunk removed from the magnet so that it is balanced for heavy

strings.

Now, here we have the crux of the matter - other pickups made in

1959 were

not rocket science and the ones now marketed as `59 models are no
different. They are two coils mounted on a flat magnet wired

inantiphase to

cancel hum that's all.

What IS different is that people in 1959 used substantially

heavier

strings, which had a thicker fuller tone - that is all there is to

it.

If you want a better tone from your guitar fit 11 or 12 gauge

strings with

a wound third and with ?10 out of the ?200 you have saved on

pickups buy a

copy of Mickey Baker's jazz guitar course and become a better

player. You

can use the other ?190 to buy flowers for your wife and toys for

the kids.

Will

Hi Will,

Thanks for the advice...I am sure my wife will like it as well! However, I already use 14's and my guitar simply has no pick up whatsoever so, what might you suggest?

DR

ps Went through Mickey Baker's book in the 70's...kind of helpful with turn arounds and beginners stuff...some nice voicings, but it sorta was like "do this and you'll sound like a jazz cat". BTW, after going through all the standard "jazzers" I'm into playing Bob Dylan stuff...go figure!

[Non-text portions of this message have been removed]

Yeah that's what I thought. This is what I have for the first six
chords.


x-----x-----x-----x-----x-----x
10----8-----5-----3-----5-----5
12----9-----5-----4-----5-----4
14----10----7-----5-----7-----6
15----12----10----7-----8-----8
x-----x-----x-----x-----x-----x

I just wanted to see that version so I could check my work ;)
Jason

dude buy a polytone
mostly used are mini brute III
try it!
ramon

Hi Brad,

I'm betting you can find someone in NYC to restore your amp, but if not, I do restorations, but I'm in Philly.

Those amps are not too common, have you had it a long time?

Good luck and all the best,
Ed

[Non-text portions of this message have been removed]

I was saving up money to buy another guitar, but wound up buying an amp instead. I paid $1,500.00 for a RIVERA Suprema 55 that Rivera makes especially for Lou Del Rosso of Guitars N' Jazz. Rivera modifies them especially for Lou to work with archtop hollow body guitars. It's a tube amp, crystal clear, has miles of head room, puts how your carved top hollowbody actually sounds out there, and only weighs 40 lbs. I'm very happy with it........................come to think of it, I'd better be.

Dave Woods www.musictolight.org

I couldn't agree more.. My Artist Award and ES 175 sound great through my
Minibrute.

Greg



_____

From: jazz_guitar@... [mailto:jazz_guitar@...] On
Behalf Of John Amato
Sent: Tuesday, October 04, 2005 7:20 AM
To: jazz_guitar@...
Subject: Re: [jazz_guitar] Amps for jazz sound

--stuck..

..s.top your looking ... I've been through a myriad of
maps ever since 1969 ... and the best amp not only for
the money but for the "Jazz" sound IMHO is a Polytone
Minibrute ..

I have the Polytone Minibrute IV and is simply a
luscious and gorgeous sounding amp ... my D'Angelico
sounds so sweet through this amp...

Hi,

What is your set-up?

Cheers,

Will

PS Nothing wrong with Mr Zimmerman!

-- In jazz_guitar@..., "DAVID RUDICK" <sribeme@m...> wrote:

Hi Will,

Thanks for the advice...I am sure my wife will like it as well!

However, I already use 14's and my guitar simply has no pick up
whatsoever so, what might you suggest?

DR

Smith does it in C

On 10/4/05, DAVID RUDICK <sribeme@...> wrote:

Just wanted to ask some advice about what to put on my 50's L4-C. I love its natural tone.

That suggests a Schertler Dyn-G to me.