anyone try the DV Mark jazz or little jazz?

[clevelandjazz]

Just wondering if the 45watts gives you enough headroom for a loud gig...

I would think not but i'd like to hear your thoughts.

[Bill Godwin]

On Wednesday, May 27, 2015 at 12:32:13 PM UTC-4, clevelandjazz wrote:
> Just wondering if the 45watts gives you enough headroom for a loud gig...
>
> I would think not but i'd like to hear your thoughts.

I bought the little jazz. I love the sound.

if I had a loud job without a PA I'd use my Mesa Boogie Mark 3

[Mr. Maj6th]

I bought one recently, GC had it on sale for $299.99. I use it in
what we lovingly call our "big band;" it is actually an octet. It
cuts through, has a great sound with needed headroom. It is quite
light-weight, and has only five knobs: treble, mid, bass, reverb, and
volume. What else could one want?

I might also say that (in my case at least) is works better with a
single coil than a humbucker. I modified the guitar with a toggle
switch to switch a Benadetto pick-up from single coil to a dual coil.

Maj6th

[clevelandjazz]

Thanks for the input! What makes it work better with single coil? headroom?

Could it handle a loud gig with sax and electric keys?

[Mr. Maj6th]

The octet has two woodwinds, two brass, and keyboard, and gets quite
loud. I don't know to quantify headroon, I only know the volume knob
never has been past 50%, and it has been fine. I have no idea why the
single coil seems better, the guitar, the room, the pickup, my
imagination, you can choose the one as well as I. The single coil
just has a fuller and rounder warm sound without becoming muddy and
bassy.

Maj6th

[rpjazzguitar]

I play in an octet with the same instrumentation.

I prefer a single coil sound for comping in that group. It may sound thin when I'm playing alone warming up, but with the full group, the single coil sound sits better in the mix. It's less muddy, somehow sounds more "precise" if that makes any sense and you still get the feel of the chord.

The problem I have with using a single coil instrument is that neither of the two I have produces a full enough sound for soloing on the high E string above the 10th fret or so. That's a 2011 Fender Amer. Std Strat and a Yamaha Pacifa 012.

My solution is to use a Boss ME80 with one of the patches being a single coil sound. It won't fool an expert, but it works.

BTW, my humbucker guitars are solid bodies or semihollow. They can all sound muddy if I'm not careful -- in a way that a single coil won't.

Oddly enough, my two favorite jazz guitar tones are Wes' humbucker and Jim Hall's single coil. Go figure.

[clevelandjazz]

another data point, a jazz guitarist in another forum I frequent reports that his AER 60w combo is *NOT* loud enough to play with a loud drummer so I suspect the DV mark will have the same issue. Never understood why they didn't make this amp 150w since it's about $10 additional materials...

[ott...@hotmail.com]

On Saturday, May 30, 2015 at 8:53:33 AM UTC-4, clevelandjazz wrote:
> another data point, a jazz guitarist in another forum I frequent reports that his AER 60w combo is *NOT* loud enough to play with a loud drummer so I suspect the DV mark will have the same issue. Never understood why they didn't make this amp 150w since it's about $10 additional materials...

It seems both the little and the 12: spkr model have the same power.
One could use an external spkr cab for a few more watts.(45 to 60 w)

Bg

[mcle...@comcast.net]

Anyone try this with a carved-top guitar and floating PU? How does the sound
stack up in that situation as I assume most of you are playing build in
electrics or non solid spruce guitars.

Deacon Mark Cleary

"clevelandjazz" wrote in message
news:f10f70aa-46b6-4a34...@googlegroups.com...

[Tom Pandel]

> I prefer a single coil sound for comping in that group. It may sound thin when I'm playing alone warming up, but with the full group, the single coil sound sits better in the mix. It's less muddy, somehow sounds more "precise" if that makes any sense and you still get the feel of the chord.
>

I agree on the muddiness issue in a big band. I use humbuckers and for comping I use both pickups to thin the sound and on the rare solo (compared to the horn players) I switch to the neck PU. Sometimes I forget to switch and get stuck with that 2 PU sound (a little like the Beachboys sound :|) but for rhythm comping in a BB setting and under the band it works for me.

Regarding power, my Henriksen w/120 watts has always been enough even with a loud combo. Lately I have been using a Tomkat at 200 watts. Plenty of power, 2 channels, 16lbs. Now I leave the folding handtruck in the trunk, I just walk the amp in.

Tom

[Mr. Maj6th]

This is exactly the same thing I experienced with a single coil in the
octet.

Nearly all newer humbuckers can be wired to switch to become a single
coil; it just takes a mini toggle to switch back and forth. It can
also be mounted inconspicuously under the pick guard.

I also believe the magnet needs to be an Alnico V to give the better
sound as a single coil.

Maj6th

[Mr. Maj6th]

I played a Gibson JS for about fifteen years, it was the perfect
guitar in size, feel, and neck specs for me, but, it only worked in
about twenty percent of the jobs I played. Those situations were
usually accompanying a vocalist in a duo. The moment I worked in a
trio or more it never could quite make the grade. I tried about
everything possible to remedy the situation, amps, pickups (I tried
every floating pickup made as well as several custom wound ones,) etc.
I never fooled with pedals, I'm just not a pedal guy, they all change
the sound too much, and are just extra baggage and inconvenience, not
to mention extra knobs, for my tastes.

The amp that worked best with the JS was an Evans, even though the
reverb was virtually nonexistent. The JS would have never stood up to
be played in an octet with the the exception of being played
exclusively as a rhythm instrument, i.e. Freddy Green.

Maj6th

[rpjazzguitar]

My attempts to play hollow body electrics with full bands ended with feedback.

I like the way they sound, but I can't stand dealing with feedback. When I hear other guitarists play them, even some great players, I may hear the leading edge of the feedback, like the low notes sustaining too much, making the overall sound muddy.

Now, I know perfectly well that other players make them work and sound great. So, I'm not knocking the concept, just reporting my experience. I imagine that I could figure it out, but full body archtops usually feel too big to me, I don't like the angle of my arm, I like a little more sustain, and, by the time the sound waves get to the audience, they have lost some of that hollow body magic.

All that said, I would cheerfully try out a George Gobel version of the L5. I haven't tried any of the smaller body fully hollow archtops. Like Benson's?

[mcle...@comcast.net]

When I was gigging with a 16 piece big band I used the Hollenbeck with my RE
twin 8 and my Claris Amp. I was able to handle most everything with no real
problems. The big thing was that when I did a single line solo everyone had
to hold the sound level down. I could get above everyone if need but then
that ended the freedom if that makes sense. I suppose in reality I am really
one who finds small groups and the Jim Hall setting much
better..................Oh if we could only have a choice. Frankly if the
sound and energy get too much then most of the time jazz guitar is lost
except in certain situations. Benson manage to make this happen but of
course he could control all the sound with set up and sound engineers.

As far as his Benson Ibanez guitars they are dead as a door nail, thick
tops, and have no response for anything in the "living room" setting. Johnny
Smith too was very really in the setting that we are talking about at least
as far as I can tell.

Deacon Mark Cleary

"Mr. Maj6th" wrote in message
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