VA - In Ya Mellow Tone 5 2010.zip !FREE!
Marylee Guffy
Sunday marks the centennial of Artie Shaw's birth. The late clarinetist displayed an impossibly round, mellow tone from the top to the bottom of the clarinet. He employed loop-de-loop breaks that were hard to finger, and equally hard to figure out.
I did put on Martins Marquees Silk and Steal and i like those definitly darker tone but after two weeks i had to take them off, i play about 2-3 hours a night. Also i thought the bass was muddy, i was hoping for a little more defined bottom.
Flatwounds? I know that phosphour makes them brighter so I would stay away from phosphour bronze. If you can't find a string you like, if you replace the bridge saddle with something like buffalo horn, it darkens up the tone a bit.
I like to use 80/20's for a mellower sounds. 80/20's that are well broken in will do this. Also, Elixir Polywebs are pretty perfect for this. I have them on my Martin all mahogany 000-15, and I really like how mellow this guitar is. It's a nice break from my dread that's strung up with PBs.
I've had very good experience cutting back an overly bright guitar using GHS Vintage Bronze. Recently tried a set of D'Addario PB Flat Tops and they were fairly warm once worn in, but not like the GHS strings. Martin Clapton's choice is another PB string with a fairly warm tone.
Experiment a little, until you find what you want. I am constantly trying different strings on different guitars. I have settled on favorites for a few, but even those get a different set once in a while. Cheapest way to get a different tone.
Yah Diaddario's come definitely more brighter then Martins to me. The first few hours i put the Martins Silk and Steel i love that tone if it could just stay that way for few days And if bass strings would be a little more defined that would do it for me.
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Playing the Banjo
Playing Advice: Clawhammer and Old-Time Styles
ARCHIVED TOPIC: Warm, mellow, 'dark' banjo recommendations please
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I have an '08 L4 CES that has a mahogany top, sides and back. Really nice guitar but to get the sound I wanted I swapped the pickups to Benedetto A6's. I find that the quality of pickups in archtops can be variable. The worst examples are where you have to turn the tone done to 2 or 3 to get a half decent sound. I like to be able to use the full range of the tone controls.
a 40 tooth rear sprocket might be a bit much. the bike would pull really slowly but would prob go 100 mph LOL. you would only want that sprocket for dual sporting it. you might try a 46 tooth or something like that. adding a 10 oz fly wheel weight would really mellow it out some. how is the jetting? rich jetting can take away the edge a bit.
There a few things you can do to tone it down like flywheel weight, retard the timing, and putting a smaller rear sprocket on like others have mentioned. You could also replace the pipe. From what I understand the Pro Circuit pipe has a mellow bottom and so does the SST.
One big help is low end jetting. Specifically the pilot jet and a number 8 slide. It lets the bike start running clean much earlier than stock. This feels like it mellows the low end hit, but it really does not.
Seat time will help. A lighter flywheel weight like a 9oz would probably suit you. I am currently running an fmf sst pipe with vforce3 reed block and the g2 throttle cam system. The huge benefit of the g2 is that you can change setups so quickly. In 2 or 3 minutes you can go from very mellow, to less mellow, or back to stock. It's just really nice to have a bike that is that tunable.
The LoudMouth II system is just a bit more mellow and smoother than its predecessor (the original LoudMouth system), but lets loose an aggressive growl under hard acceleration. Polished 4-inch tips polish off the look.
Enter the 2010 Triumph Bonneville T100. This Bonneville is nothing new, and that's precisely where its appeal lies. It's a direct descendant of the original Bonnie, introduced by the storied British manufacturer 50 years ago. (An anniversary edition of 650 bikes, featuring a blue and orange paint scheme and extra detailing, sold out immediately.) Powered by an air-cooled, 865cc parallel twin, the T100 is a straightforward bike wrapped in a stylish retro package, with plenty of chrome, two-tone paint and traditional spoke wheels.
On the road, the 2010 Bonneville feels solid and well-mannered. Its comfortable, upright riding position and smooth acceleration are great for newbies, but the bike has plenty of kick to keep things interesting for more seasoned riders. The dual peashooter-style exhausts produce a mellow purr-a sound too civilized, in fact, for some hardcore Triumph fans who swap out the factory pipes for aftermarket systems that give the bike a growl more reminiscent of the original's.
Not surprisingly, Fender amps made up the bulk of the responses, with perennial favorites Roland, Vox and Peavey coming in third through fifth place in the survey. Not all amps chosen in the poll were big name brands, as you can see Polytone, Henricksen, Acoustic Image and other smaller, boutique brands on the list as well.
Because of its warm tone, and not being too heavy to carry to gigs as some of the larger Fender amps can be,
the Blues Junior has made the crossover from rock and blues to the jazz world as it has become the amp of choice for countless traditional and modern jazz guitarists over the years.
Featuring a built-in solid-state rectifier, the Fender Twin Reverb is a common option for players who like the power from a Fender Twin, but with the warm, clean tone that jazz guitar players enjoy, rather than the sharp, distorted sound that rock players prefer in their playing.
By far the most popular and commonly used Roland guitar amp, the Cube has long been found in rehearsal rooms and on stage sitting next to jazz guitarists of all backgrounds and genres. The small size, as well as its ability to maintain a strong, clean tone at higher volume levels, has made the Cube popular among jazz guitarists.
Founded in the UK in 1958, and since 1992 owned by Korg, this British born amplifier is more known as a rock and blues amp, but it has crossed over into the jazz world and made inroads with jazzers over the years for its consistent clean tone and performance.
Though they are not as big of a name as Fender or Roland, Polytone amps have recently become a popular choice among jazz guitarists as their reputation has grown by word of mouth and through the endorsements of legendary players such as George Benson, Joe Pass, Jim Hall and Howard Alden (among others).
Dirk,Thanks for the input from you and and the players around the world.I actually have a Blues Jr but have rarely used it for jazz playing due to a lack of head room.My main Jazz amps,a Crema Wheat and an XITS X10,give me the tonal variety and head room needed.I also use a SWR Blonde which allows me to put an upright bass and my guitar in when playing a small club.I also always try to match guitars to different amps to get the tone desired.Reading the comment today gives me chance to rethink my approach to what other players have tried and had success with.
Keep Jazz Alive.
For my jazz duo, I have done something no one will believe, but the tone is gorgeous! I have been using a Godin Freeway Classic (looks like a super strat), into a Marshall 30 FX. I am getting a very rich, warm undistorted tone that sounds like the tone Herb Ellis, Barney Kessel, and Howard Roberts were getting from fat hollow body jazz guitars.
I love my older style Polytone. I used to use a Roland JC 120 when I was a lot younger but it was and is a back breaker for me now. My Polytone which I got from guitar legend Adrian Ingram in exchange for my smaller Polytone, gives me just the great sound that I want to go with my archtop. Thanks so much Dirk for putting this survey together, Vernon Twitter @FretJazz
Some interesting remarks and points made here. For 25+ years I have been using a Laney Linebacker 50 Reverb Combo which I have appreciated for its extremely clean tone and full middle and bass response (but a bit muddy in the upper register)- no surprise for a solid state amp. About 4 years ago a bought a Fender Princeton Recording Model and appreciate three aspects on which it outperforms the Laney.
I do have a hand wired Super Reverb copy (Tube Amp Doctor), but because I only play at home, I built a small 5 watt single ended tube amp, with Fender style tone stack. Only 3 tubes and it is super silent. A very nice tone with a 112 cab.
I love my 25w Rivera Clubster. Nice old school tones with my Eastman AR580. I also use the same amp for blues, rock and country gigs with a Tele. Seems perfect for my use. For smaller lighter, recently experimenting with Quilter 101.
Ive had a quilter 101 mini head for a couple of months. I use a 112 cab wigh an eminence speaker. The sound is amazing ill probably never buy another tube amp when i can get ghe same tone from a 2lv pavkage.
Ive had a quilter 101 mini head for a couple of months. I use a 112 cab wigh an eminence speaker. The sound is amazing ill probably never buy another tube amp when i can get ghe same tone from a 2lb package.
Hi Alastair,
Thanks for your reply, i must say I would dearly love to have a George Benson
HRDL , you are perfectly right in that they are hard to beat in terms of value
for money and superb tone quality plus volume a plenty. If only Fender could
produce it 20lbs lighter !
Guys, man up! these amp are not that heavy. I have a number of the Fender HRDL and sometime I use two for a stereo effect. I have carried other amp that were much heavier than this. I like the tone of the Gibson super goldtone amps and Mesa boogie which are way heavier that any of the Fender hotrod series.
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