Jazz guitar help

Discussion in 'Jazz, Acoustic, Classical & Fingerstyle' started by Francis978, Aug 5, 2012.

  1. Trespass

    Trespass AEADGBEA

    Messages:
    2,783
    Likes Received:
    628
    Joined:
    Nov 3, 2007
    Location:
    Toronto, ON, Canada
    I gave him the specs that professional jazz players use in my first reply. It's not a bad thing to invest in the gear guys, especially consider Berklee is what, $17-$20k anyways?

    First post, I gave him would cost him $200 for the absolute top of the line jazz pickup, and $10 for a pack of strings.

    --or--

    JUST KEEP TWISTING THE KNOBS ON THE FENDER PRINCETON MAN, YOU'LL GET A GREAT METAL TONE
     
  2. Trespass

    Trespass AEADGBEA

    Messages:
    2,783
    Likes Received:
    628
    Joined:
    Nov 3, 2007
    Location:
    Toronto, ON, Canada
    The argument is simple. If you can't cut or sit well, the tone knob isn't going to help you. If you are too trebly, the tone knob isn't going to help you.

    For the record, most jazz guys keep the tone knob all the way up to not lose good frequencies and body, and let the richer characteristics of a dark amp-speaker combo (like a Polytone or Henrikson) supply the rich, dark low end.

    Oh, now you're deliberately trolling.
     
  3. Francis978

    Francis978 SS.org Regular

    Messages:
    345
    Likes Received:
    30
    Joined:
    Feb 28, 2012
    Location:
    Salem, MA
    ^these comments :D
     
  4. phaeded0ut

    phaeded0ut droooooneeeeeeeee!

    Messages:
    1,301
    Likes Received:
    125
    Joined:
    Jan 5, 2009
    Location:
    Virginia
    As I was not being explicit in my previous post, a route that I've been particularly happy to take has been to use Seymour Duncan SH-2 Jazz for the neck, and a SH-4 for the bridge pickup in generally maple or "rock maple" necks and mahogany bodied guitars. Though the Spirit GT Pro Deluxe with stainless steel frets, a SH-2, SCR-1 mid, and SH-11 works really well, too.

    If you can get a set, I'd really recommend going with Bartolini V92C-B neck, and a 1D-01 for the bridge. I've the seven string versions in a hollowbody with woodblock that is just stellar (and then I discovered the 8-string, and now, 9-string guitars).

    Hope that this helps out.

    As to the suggestion of being more familiar with Opeth, I'll give it a go in time, these days I'm listening a bit more to Azam Ali, Kong Nay, and Neset Ertaz.

    Peas.


     
  5. Trespass

    Trespass AEADGBEA

    Messages:
    2,783
    Likes Received:
    628
    Joined:
    Nov 3, 2007
    Location:
    Toronto, ON, Canada
    Relevant to thread:

    I think I know a thing or two about getting a decent jazz tone.
    This was a very quick setup recorded yesterday with single Audio-Technica 3000 series condenser.

    Tone knob is at 80%, settings on the amp are neutral (5, 5, 5). ZERO post work done.





    Excuse the poor playing. These were for a client and I had to get them done quick.
     
  6. Patriclese

    Patriclese SS.org Regular

    Messages:
    146
    Likes Received:
    180
    Joined:
    Aug 22, 2007
    Location:
    Halifax, Nova Scotia
    I reject the idea of using a specific brand or anyone's sole piece of advice to develop a tone.

    Listen often, and let your ear do the work in multiple settings. Playing with a group is a big one, as yes, many guitar players have no idea how to sit in with a band properly.

    The Squier/Princeton example is fairly extreme and slightly falls out of the context of the idea of getting jazz tone with a PRS.

    If you want to be "serious about your art," then listen and respect - don't copy, be influenced by music - not knobs and strings. Most importantly, don't become part of the assembly line.
     

Share This Page

  1. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
    By continuing to use this site, you are consenting to our use of cookies.