Putting a date on a polytone | Telecaster Guitar Forum
how many of my favorite jazz guitar archetypes seemed to date back to the days “But it's not the PolyTone,” jazz guitar virtuoso Jack Wilkins explains. Montgomery used his thumb for a plectrum, and he made extensive use of Above three, the amp's overload characteristic became more suited to my. Join Date: Jul Location: Miami, FL I believe most Polytone amps use a 2ohm or 4ohm single driver. I'm not so sure that the older speakers used by Polytone are any better than the new ones being used. Others here. I don't know if you can date them by serial number, but the two 's polytones I' ve owned had a date sticker attached to the power amp.
The tonal palette for jazz expanded during the early Seventies with the emergence of jazz-rock fusion with guitar tones that would not be out of place on hard rock records of the day, and during the late Seventies and Eighties many players took tonal cues from funk and pop productions.
However, over the last few decades most jazz guitarists have returned to more traditional tones as a base. Flatwound strings are also preferred. Archtop hollowbodies with top-mounted pickups and controls are also popular, as are semi-hollow models.
While many jazz guitarists like Bill Frisell, Wayne Krantz, Mike Stern and others prefer solidbody electrics, the number of players who prefer solidbodies is a smaller group. Good traditional jazz guitar tone should be clear, warm, rich and dynamic with emphasized midrange and bass and just enough treble to keep the tone from being muddy and flat.
Other effects are generally used sparingly, although crisp, shimmering chorus is often used for rhythm tones. BLUES Back in the early days of the electric guitar, jazz and country players demanded only the cleanest tones from their amplifiers, and anything beyond the slightest hint of overdrive was considered vulgar and undesirable.
Whether it was intentional preference or just a tendency toward playing as loud as possible, blues guitarists were the first to adopt the sound of a distorted amp during the early Fifties. The raunchy tones of a primitive amp circuit pushed well into overdrive inspired British blues and rock players during the Sixties, who developed their own signature blues tones using British amps.Expiration Date
Even cheap pawnshop guitars and shred axes are acceptable, although an eight-string baritone may be pushing things too far.
While Stevie Ray Vaughan was known for using exceptionally heavy strings in his quest for the fattest tone, most blues guitarists prefer lighter-gauge strings that make it easier to bend notes. When it comes to amps, Fender is the standard for American blues and Marshall reigns supreme for Sixties-style British blues.
Darkness on the Edge of Tone or Do Jazz Guitarists Know How Bad They Really Sound?
Fender tweed amps are particularly ideal for their harmonically rich overdrive and horn-like midrange, but more powerful later Fender models like the Deluxe Reverb and Super Reverb also are beloved. Montgomery used his thumb for a plectrum, and he made extensive use of octaves, which tended to confer a mellow glow to his sound.
Not a dark sound, but a musical one with a touch of reverb. And while his thumb rounds off the leading edge of transients, his attack is so powerful, and the sound of his Fender Twin Reverb so open, that his phrases blossom with a sweetly singing tone-not some steaming pile of compressed mush, in which individual notes lack dynamic distinction and chords collapse into some primeval murk.
So consider this column my opening shot across the bow of hidebound jazzbos, the first in a continuing series with one goal in mind: Because we like you. And because a t-o-n-e is just a terrible thing to waste. But cosmetics notwithstanding, this is fundamentally a new design, a single inch combo sporting a pair of matched 6L6 Groove Tubes and putting out a sturdy 50 watts. At a volume of around two to three, I had more than enough gain from my Gibson L-4 to cut through bass and drums, while maintaining a nice warm tone and a smooth, percussive attack.
Still, the Super Jet is only 35 pounds, with a vintage jazz tube tone that is warmly detailed, engaging and not overly bright. Did I say thick and creamy?
Some Polytone help please - The Acoustic Guitar Forum
From the folks who brought you that parfait of multiple gain stages, the little amp that could-the Mesa Boogie-comes the more straightforward, classically-voiced Mesa Blue Angel. Classic as in loads of vintage tone with a lush, elegantly articulated midrange.
This purely class A, dual-rectifier design is a veritable soda fountain of sweet, creamy aural confections. Designer Randall Smith takes two sets of output tubes, a full-bodied pair of 6V6 as featured in lower-powered Fender designs such as the Princeton and Deluxe and a quartet of sparkly EL84 that idiomatic Vox AC30 sound and allows you to run them separately or together, through a common output transformer-a patented mode of operation he refers to as Progressive Linkage.
In this circuit, the 6V6 put out 15 watts of warm power, but when pushed really hard they kind of growl and get indistinct; with their clear open mid-range and crystalline presence, the EL84 put out close to 30 watts, but they can grow thin and start snarling when driven to their limits.
Progressive Linkage allows you to achieve a nice jazz balance, with a tight low end, bubbly highs and a creamy mid-range emphasis.
Darkness on the Edge of Tone or Do Jazz Guitarists Know How Bad They Really Sound? - JazzTimes
If you want to bring the tone in one inch, two inch or four inch combos or as a separate head and speaker cabinet, you should give the Mesa Blue Angel a listen.
Employing tried and true technology from the world of high-end audio, these tweaks can confer a level of enhanced resolution, timbral accuracy, inner detail, harmonic complexity and dynamic that is shocking. These new Monster Cable guitar cords are first-rate musical instruments. They restore the sparkle, complex overtones and true harmonic series of your instrument, commensurate with its actual acoustic character.