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.
Volume is required but it is not the prerequisite of the amplifier, more it is the quality of the sound produced. Volume is a requirement of the rock player where it is needed in buckets to rise above the accompaniment of the band and the roar of the audience.
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.
Cost is often a huge consideration when buying any musical gear. There is always a temptation to buy the biggest bang for the cheapest price. That might be the case for the rock player whose first priority is to be heard over the rest of the band. Because cost is often an issue the beginner jazz musician might initially chose to purchase a mass produced practice amp which could fit the bill while learning.
It is ironical then that to buy a jazz guitar amp that will faithfully reproduce the sound of the instrument without the added on bells and whistles can cost quite a sum of money. This is because these units are often hand made, to the customer's specific requirements, and utilize the finest of components.
Volume is required but it is not the prerequisite of the amplifier, more it is the quality of the sound produced. Volume is a requirement of the rock player where it is needed in buckets to rise above the accompaniment of the band and the roar of the audience.
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.
Cost is often a huge consideration when buying any musical gear. There is always a temptation to buy the biggest bang for the cheapest price. That might be the case for the rock player whose first priority is to be heard over the rest of the band. Because cost is often an issue the beginner jazz musician might initially chose to purchase a mass produced practice amp which could fit the bill while learning.
It is ironical then that to buy a jazz guitar amp that will faithfully reproduce the sound of the instrument without the added on bells and whistles can cost quite a sum of money. This is because these units are often hand made, to the customer's specific requirements, and utilize the finest of components.
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