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--- In jazz_guitar@..., Juan Carlos Fiallos
<juancarlosfiallos@y...> wrote:

I wonder which is the best amp for an archtop, the
polytone minibrute II(12 inch speaker), minibrute
IV(15 inch speaker), or the acoustic image clarus 1R?.

thanks for all input,

JC

HI YJJG,

remember , the AC clarus 1R is only the amp head, you'll need to
outfit the unit with a speaker. Both of these amps , have a decent
transistor tone....the clarus is probably a little more versitle,
and of course, it's lighter than the polytone, and maybe better
quality manufactuered....

I'm a fan of the 10 inch speaker for jazz guitar, nice tight and
punchy repsonse with a good amount of balance...that's the reason I
really like the roland cube 30...I really recommend the tube preamp
for transistor amps especially if you prefer a "classic" jazz sound

Donnie Loeffler

--- George Hoffmann <ghoffmann@n...>
别蝉肠谤颈产颈ó:

It will be interesting to see what the opinions and
reviews of the
new Fender Jazz King amp will be like. It's supposed
to be voiced for
archtop guitars. It has a 15" speaker.



--- In jazz_guitar@..., Andy-J
<joel65203@g...> wrote:

Save yourself a ton of trouble.....the tone will

be in your
playing. A good

amp can enhance that, but it wont' create it. I

have found that my

preference for amps is the richness of certain

tones, and how
effective the

amp's EQ is. Polytone's, Roland Cubes,

whatever....even a POD or a
V-Amp

will get you in the ballpark. If it ain't in your

technique, you
won't find

it in the amp.

On 10/3/05, stuckinthesky777

<stuckinthesky777@y...> wrote:

I have been playing guitar for about 7 years now

and am currently

teaching lessons for the past 2. Im recently

getting into jazz
guitar

and looking to start a quartet but was wondering

the best
sounding amp

for a deep jazz tone?

--
Joel Anderson
Columbia, MO
573/442-4516
cell 573/268-8624
www.jazz.joelanderson.org

<>

[Non-text portions of this message have been

removed]

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Apart from my old AC30 I have a JC 120 and a JC90 both have a chorus
sound to die for. The vibrato/tremolo on the Vox is unreliable. All
these weigh a ton!

I was thinking of getting a cube 60 simply for the size and light
weight of it. However, these are not stereo.

BTW if anybody has never heard the classic Roland Jazz Chorus series of
amps several models were actually stereo amps and the chorus is split
between the two speakers. Both the JC120 and JC90 I have are stereo.
The distortion on these amps is a waste of time but I never use that
anyway - clarity and reliability are superb.

Will

Hi
I use the Evans AE 100 8 inch with an extension cabinet 12"
Beautiful tone!
I just hate making two trips to the car!
Ciao
Tony Hughes

I wonder which is the best amp for an archtop, the
polytone minibrute II(12 inch speaker), minibrute
IV(15 inch speaker), or the acoustic image clarus 1R?.

thanks for all input,

JC

--- George Hoffmann <ghoffmann@...>
escribi:

It will be interesting to see what the opinions and
reviews of the
new Fender Jazz King amp will be like. It's supposed
to be voiced for
archtop guitars. It has a 15" speaker.



--- In jazz_guitar@..., Andy-J
<joel65203@g...> wrote:

Save yourself a ton of trouble.....the tone will

be in your
playing. A good

amp can enhance that, but it wont' create it. I

have found that my

preference for amps is the richness of certain

tones, and how
effective the

amp's EQ is. Polytone's, Roland Cubes,

whatever....even a POD or a
V-Amp

will get you in the ballpark. If it ain't in your

technique, you
won't find

it in the amp.

On 10/3/05, stuckinthesky777

<stuckinthesky777@y...> wrote:

I have been playing guitar for about 7 years now

and am currently

teaching lessons for the past 2. Im recently

getting into jazz
guitar

and looking to start a quartet but was wondering

the best
sounding amp

for a deep jazz tone?

--
Joel Anderson
Columbia, MO
573/442-4516
cell 573/268-8624
www.jazz.joelanderson.org

<>

[Non-text portions of this message have been

removed]

__________________________________________________
Correo Yahoo!
Espacio para todos tus mensajes, antivirus y antispam gratis!
Regstrate ya -

Petri Krzywacki wrote:

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

you'll remember it better if you figure out how to play it
by ear, not by reading the chart. Also, if you can play it in
different keys.

Those two things come together, actually -when you really play the
melody following your ear, you don't need a familiar key since it
sounds the same in every key!

And as Chevy Chase would have said, if the movie "Caddyshack" was about music instead of golf:

"Be the melody Danny, be the melody!" ;)

Vocalize, visualize, internalize. If the tune has words, learn them!

Ray

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

you'll remember it better if you figure out how to play it
by ear, not by reading the chart. Also, if you can play it in
different keys.

Those two things come together, actually -when you really play the
melody following your ear, you don't need a familiar key since it
sounds the same in every key!

I think there's usually a lot of work to be done there for anyone just
to catch up with oneself -try to play all the melodies that you know,
be it a nursery rhyme or a pop song that's driving you crazy at the
moment. That might help in developing a bridge between the ear and the
instrument, bringing one that much closer to true improvisation.

Respectfully,
Pete
www.petrikrzywacki.com

on 10/6/05 1:30 PM, Rick_Poll at richardipollack@... wrote:

I think that singing along with a recording and then singing without
the recording are the way to go. Do it as many times as it takes. I
also think you'll remember it better if you figure out how to play it
by ear, not by reading the chart. Also, if you can play it in
different keys.

Rick

If it has words, learn the words, an absolute best way to maintain your
place in the song when yu're improvising or accompanying another soloist.

Ron Murray

Here are my current amps which i guess equals to my favorites.



Roland JC 120 - new - will have its first live preformance test later this month - so far in rehersals it has been great!



Tech 21 Trademark 60 - very good - but proably will be back up to the JC120,



Roland Cube 30 - great practice/rehersal amp, easy to carry - the 60 is proably my next purchase.



Greg



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Rick....

To sum it all up ... i guess,
I'm no expert ... but, we study scales in any way that
we can best learn them to internalize them best in
order than one day our ears can say to our brain,
"...enough with the numbers and the dots, already, we
get the point, we get the point! ... we hear what you
want to say, already ... now, place your fingers here,
not there, and over here, and over there...and oh
yeah, right there, and no, not there yet ...wait a
moment, o yeah, o yeah -- that's good, that' not ..
throw that out ... and O yeah, save that one ... now
slam 'dat there, and dunk this here...and, O yeah, o
Yeah!....." and happily we roll-a-long.....

--- Rick_Poll <richardipollack@...> wrote:

John,

I agree with your approach. I also use the major
scale as the basis
for most of my thinking, at least sort of.

For example, For G lyd dominant, I might think G
major, but alter the
4th and seventh. That produces Dmelmin and I might
think that way
too -- D major, but lower the 3rd. I'm working on
it, but it still
depends on the key. For most keys the notes are
automatic, but if
there's, say Db7, I still have to think for a moment
if I try to
think Db major and raise the 4th and lower the
seventh. However, I
can get there by thinking Abmelmin.

I also agree that the whole point is to internalize
the sounds and
not think about theory while you're playing. Like
most people, I
guess, I can do that with some sounds and not
others. So, I still
rely on scales when I'm practicing.

I like what Eddie Pasternak, the great Bay Area bop
guitarist said,
paraphrasing, "I may not always be making up great
melodies, but at
least I'll play the right scale".

Rick




--- In jazz_guitar@..., John Amato
<jamato316@y...> wrote:

Rick ...

I like your method as well (thinking a half step
below the chordal is a good method also) ... any
pneumonic that can help with the enormous

confusion

that has historically surrounded this awsesome

subject

of improv. on the fretboard is welcomed...

...the point being that everything comes from the
MAJOR scale ... so, because it is so well

memorized by

very early entry level learning on the instrument,

it

should be utilized to the max in its super-duper

role

as foundational cutting board for alterational
functionality with the minors, modes, altered

doms,

and dims ...


--- Rick_Poll <richardipollack@y...> wrote:

I also dislike fingering patterns.

I had trouble memorizing the notes in all the

dim

and b9 scales.
Eventually, I had some success with the

following

approach.

John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

I think that singing along with a recording and then singing without
the recording are the way to go. Do it as many times as it takes. I
also think you'll remember it better if you figure out how to play it
by ear, not by reading the chart. Also, if you can play it in
different keys.

Rick


--- In jazz_guitar@..., rayray <rayray@a...> wrote:

Gibson Elle wrote:

I want to get some opinions on remembering/learning
melodies and was wondering how you guys go about it.

Two approaches I've tried.

1/ David Baker's learn the melody using numbers for
the key the song is written in.

Melody in F: A G F D C
Numbers: 3 2 1 6 5

2/ Learn the melody in terms of the chords and the
chord tones of the moment

Melody in F: A G F D C
Chord Gm7 : 9 1 b7 5 4

The above approaches, although helpful, are a little too

analytical.

David Baker has also written that one should sing the melody both
vocally and silently when away from your instrument, while

visualizing

how you would physically play it. Doing this along with some ear
training exercises will be more useful in the long run.

Sing! Sing! Sing!

Ray

John,

I agree with your approach. I also use the major scale as the basis
for most of my thinking, at least sort of.

For example, For G lyd dominant, I might think G major, but alter the
4th and seventh. That produces Dmelmin and I might think that way
too -- D major, but lower the 3rd. I'm working on it, but it still
depends on the key. For most keys the notes are automatic, but if
there's, say Db7, I still have to think for a moment if I try to
think Db major and raise the 4th and lower the seventh. However, I
can get there by thinking Abmelmin.

I also agree that the whole point is to internalize the sounds and
not think about theory while you're playing. Like most people, I
guess, I can do that with some sounds and not others. So, I still
rely on scales when I'm practicing.

I like what Eddie Pasternak, the great Bay Area bop guitarist said,
paraphrasing, "I may not always be making up great melodies, but at
least I'll play the right scale".

Rick

--- In jazz_guitar@..., "jim_9791" <dimitris@d...> wrote:

--- In jazz_guitar@..., "jeff29_b" <jeff28_b@h...> wrote:

For some reason he has the Rhythm Changes progression going from

Bbmaj6 to Gb7 to F11 back to Gb7. I wasn't familiar with the Gb7
there. Shouldn't that be G7 or can someone explain that sub to me.

Can you write out the whole progression?

I don't have the book in front of me. I will have to check when I get
home, but the first 2 bars were

Bbmaj6 Gb7 | F11 Gb7 |

Typically, I think rhythm changes start out or some variation of

Bbmaj6 G7 | Cmi7 F7 |

I just wasn't sure if the baker version was a typo or if that was a
reharmonization.

--- Rick_Poll <richardipollack@...> wrote:

I also dislike fingering patterns.

I had trouble memorizing the notes in all the dim
and b9 scales.
Eventually, I had some success with the following
approach.

Rick...

Here's the super-duper reward that comes with this as
it gets practiced over an dover again and again ...
and is played and re-learned over and over again
through the years ...

...after all is said and done ... you begin to hear
those patterns right under your fingers ... so much so
that you do not have to revert to these types of
pneumonic memory systems we musicians (especaily
guitarists) are famous for ...

...the more I play, I realize tthat these patterns are
there, I jsut need to relie less on the patterns and
pneumonics and more on my ear ... but it
comes...little by little ... (that's waht all the
memorization and systems are all about -- that one day
it all gets dropped because the ear finally tells the
fingers where to g0...)

I think Miles once said something about this very
subject ....

John Amato
Music blows the dust off your soul...
Isa.55:11




______________________________________________________
Yahoo! for Good
Donate to the Hurricane Katrina relief effort.

--- In jazz_guitar@..., "jeff29_b" <jeff28_b@h...> wrote:

For some reason he has the Rhythm Changes progression going from

Bbmaj6 to Gb7 to F11 back to Gb7. I wasn't familiar with the Gb7
there. Shouldn't that be G7 or can someone explain that sub to me.

Can you write out the whole progression?

Rick ...

I like your method as well (thinking a half step
below the chordal is a good method also) ... any
pneumonic that can help with the enormous confusion
that has historically surrounded this awsesome subject
of improv. on the fretboard is welcomed...

...the point being that everything comes from the
MAJOR scale ... so, because it is so well memorized by
very early entry level learning on the instrument, it
should be utilized to the max in its super-duper role
as foundational cutting board for alterational
functionality with the minors, modes, altered doms,
and dims ...


--- Rick_Poll <richardipollack@...> wrote:

I also dislike fingering patterns.

I had trouble memorizing the notes in all the dim
and b9 scales.
Eventually, I had some success with the following
approach.

John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

Gibson Elle wrote:

I want to get some opinions on remembering/learning
melodies and was wondering how you guys go about it.

Two approaches I've tried.

1/ David Baker's learn the melody using numbers for
the key the song is written in.

Melody in F: A G F D C
Numbers: 3 2 1 6 5

2/ Learn the melody in terms of the chords and the
chord tones of the moment

Melody in F: A G F D C
Chord Gm7 : 9 1 b7 5 4

The above approaches, although helpful, are a little too analytical. David Baker has also written that one should sing the melody both vocally and silently when away from your instrument, while visualizing how you would physically play it. Doing this along with some ear training exercises will be more useful in the long run.

Sing! Sing! Sing!

Ray

I want to get some opinions on remembering/learning
melodies and was wondering how you guys go about it.

Two approaches I've tried.

1/ David Baker's learn the melody using numbers for
the key the song is written in.

Melody in F: A G F D C
Numbers: 3 2 1 6 5

2/ Learn the melody in terms of the chords and the
chord tones of the moment

Melody in F: A G F D C
Chord Gm7 : 9 1 b7 5 4

The first seems the easiest, but I find that if I do
a rough chord melody with chord tones I kinda remember
it better. What ways have you guys found works best ?

tia

adam









__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

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---------------------------------
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Click here to donate to the Hurricane Katrina relief effort.

Hi YJJG,

my amp experience has been vast over my career...

started with a polytone back in the mid-80's , lasted about 6 years
until a constant clicking sound emerged probably from the on board
effects...not to mention the fuse blew 2x

back in 2001 I purchased another polytone w/ 12" speaker , fuse blew
again, this time the internal fuse in which the amp back had to be
removed...from then on...I had intermitten static around the A flat
frequency...I usually only use this amp for bass gigs currently

NEVER HAD FUSE BLOWN ON ANY OTHER AMP BUT POLYTONE'S

Lately, I've been using the roland cube 30's...sometimes I dual amp
with 2 cube 30's...I really like these amps, great tone , very
dependable, decent price used or new, these are the only amps I've
used where every type of guitar I plug in whether it's a solid body
for rock or a archtop for jazz sounds good and accurate!

If you want to "kick it up a notch" for tone, try using a tube
preamp to warm up the transistor sound...be careful however, not to
get a unit soley for overdrive...you might want to use a 12AU7
instead of the 12AX7 that most unit's provide....Caveat Emptor: make
sure the unit you purchase offers the flexibility of switching the
tube!

Other amps I use, 2 Fender FM 212R's (that had to pro serviced, I
don't recommend this amp at all) Fender 65 twin reverb re-issue, and
the beloved re-stored 1976 Fender twin reverb....

Has anyone tried the Crate powerblock digital amp? 4 1/2 lbs.
that's 75 watts a channel stereo , or 150 watts bridged? This unit
sells for 200.00 dollars NEW! No reverb! that's almost 1000.00
dollars difference from the acoustic image clarus units w/o reverb ,
of course.

Donnie Loeffler



--- In jazz_guitar@..., Scott McLoughlin <scott@a...>
wrote:

I picked up an old Polytone MB a few years back. I think it's
from the early 80's or so, but I'm not sure. Plug in my ~2001
Gibson L4, and it just does it's thing. Lovely sound - no fuss,
no muss.

Scott

Dallas Selman wrote:

Old roland cube 60, no modeling - just got mine on ebay last

week for

105.00!!

It will be interesting to see what the opinions and reviews of the
new Fender Jazz King amp will be like. It's supposed to be voiced for
archtop guitars. It has a 15" speaker.



--- In jazz_guitar@..., Andy-J <joel65203@g...> wrote:

Save yourself a ton of trouble.....the tone will be in your

playing. A good

amp can enhance that, but it wont' create it. I have found that my
preference for amps is the richness of certain tones, and how

effective the

amp's EQ is. Polytone's, Roland Cubes, whatever....even a POD or a

V-Amp

will get you in the ballpark. If it ain't in your technique, you

won't find

it in the amp.

On 10/3/05, stuckinthesky777 <stuckinthesky777@y...> wrote:

I have been playing guitar for about 7 years now and am currently
teaching lessons for the past 2. Im recently getting into jazz

guitar

and looking to start a quartet but was wondering the best

sounding amp

for a deep jazz tone?

--
Joel Anderson
Columbia, MO
573/442-4516
cell 573/268-8624
www.jazz.joelanderson.org <>