Jazz is typically a smooth and soothing aural art form especially for the guitar player if there is one in the band. It is a matter of what is played not the volume or the number of modulated sounds that can be wrung out of a plethora of effects units. The guitarist needs a jazz guitar amp that will convey the player's dexterity and feel directly and honestly to the audience.
Players choose the gear they use to best match the style they are playing and the sound they want to produce. Volume is often the most important element that needs consideration in the purchase of an amplifier. The typical rock player often has to be heard over a manic drummer, a thumping bass player and any number of other instruments flailing away in the background.
The rock player will also typically dial up a huge array of different modulated sounds often used in combination to create different moods from song to song therefore the raw sound of the amplifier is of lesser importance. Where as the jazz player will typically only use the raw tone of the amp and tone controls of the instrument for the whole performance.
Unlike their rock and country compatriots who will often play in larger spaces form halls to stadiums, with off stage controlled public address systems, jazz is often played in small intimate clubs. I refer here more to trios or quartets where the guitar is often the melody instrument and not so much to the big band form where space may be not such an issue. In the small clubs gear size becomes an issue because audience space for seating not to mention drinking and eating is already small enough.
The guitarist in this situation then has no need for a complex amp and huge speaker enclosures like his rock counterpart. The amp has to be good enough to cut through sufficiently and clearly when it is time for a solo. The unit is then typically small and has minimal controls.
Again a quality amp should be able to project in the correct sound range with out deafening a table of patrons who may be seated within arms reach from the band. Unlike his fellow double bass player it is often possible for the guitarist to get to the gig by bus, instrument in one hand and the amp in another.
When buying an amplifier cost is obviously a consideration. The amateur player might purchase a more standard practice type, mass produced amp when starting out. Unfortunately the sound they get from it may become increasingly disappointing as they progress in their playing technique and start to define the type of sound that they want.
A good jazz guitar amp is not cheap. They tend not to be mass produced as there are less jazz players than rock and country guitar players so the demand is less. The components in these units are often more superior to that of other amplifiers in order to get the required sound quality. The good ones tend to be virtually hand made for better quality control and are often produced in consultation with the prospective owner so that they can customize the sound that they want. It must not be forgotten that these are played in intimate situations so every sound coming from that amp is heard directly by the audience.
Players choose the gear they use to best match the style they are playing and the sound they want to produce. Volume is often the most important element that needs consideration in the purchase of an amplifier. The typical rock player often has to be heard over a manic drummer, a thumping bass player and any number of other instruments flailing away in the background.
The rock player will also typically dial up a huge array of different modulated sounds often used in combination to create different moods from song to song therefore the raw sound of the amplifier is of lesser importance. Where as the jazz player will typically only use the raw tone of the amp and tone controls of the instrument for the whole performance.
Unlike their rock and country compatriots who will often play in larger spaces form halls to stadiums, with off stage controlled public address systems, jazz is often played in small intimate clubs. I refer here more to trios or quartets where the guitar is often the melody instrument and not so much to the big band form where space may be not such an issue. In the small clubs gear size becomes an issue because audience space for seating not to mention drinking and eating is already small enough.
The guitarist in this situation then has no need for a complex amp and huge speaker enclosures like his rock counterpart. The amp has to be good enough to cut through sufficiently and clearly when it is time for a solo. The unit is then typically small and has minimal controls.
Again a quality amp should be able to project in the correct sound range with out deafening a table of patrons who may be seated within arms reach from the band. Unlike his fellow double bass player it is often possible for the guitarist to get to the gig by bus, instrument in one hand and the amp in another.
When buying an amplifier cost is obviously a consideration. The amateur player might purchase a more standard practice type, mass produced amp when starting out. Unfortunately the sound they get from it may become increasingly disappointing as they progress in their playing technique and start to define the type of sound that they want.
A good jazz guitar amp is not cheap. They tend not to be mass produced as there are less jazz players than rock and country guitar players so the demand is less. The components in these units are often more superior to that of other amplifiers in order to get the required sound quality. The good ones tend to be virtually hand made for better quality control and are often produced in consultation with the prospective owner so that they can customize the sound that they want. It must not be forgotten that these are played in intimate situations so every sound coming from that amp is heard directly by the audience.
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