The jazz guitar amp needs to be of sufficient quality to able to project the instrument player's unique sound to the audience with minimal interference. The amp is more usually required to enhance the instruments warmth of tone and sense of intimacy to match the atmosphere of where it is being played.
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 often employs a plethora of additional modulated sounds to create large washes of sound to either penetrate this background or create moods to accompany it. Country players will similarly employ devises or use volume to slice through the background sound especially with their typical penetrating shrill solos.
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.
Most amplifiers these days are mass produced in Asian countries and as such can be offered for sale at relatively cheap prices historically. For the learner or cash strapped amateur these are often the best and only alternative. They do what they are designed to do and that is to give the guitarist volume. There are often all sorts of add on knobs and switches to make the guitar not sound like the guitar and this probably fine if this is the desired outcome.
This would not be the case for the professional or aspiring professional though. A good jazz guitar amp would be considered expensive if you consider bang, as in volume and features, for your buck. What you pay for is quality of build and sound. They often incorporate the best components that can be sourced in order to build them. These units are often hand made and some are built specifically to customers requirements.
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 often employs a plethora of additional modulated sounds to create large washes of sound to either penetrate this background or create moods to accompany it. Country players will similarly employ devises or use volume to slice through the background sound especially with their typical penetrating shrill solos.
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.
Most amplifiers these days are mass produced in Asian countries and as such can be offered for sale at relatively cheap prices historically. For the learner or cash strapped amateur these are often the best and only alternative. They do what they are designed to do and that is to give the guitarist volume. There are often all sorts of add on knobs and switches to make the guitar not sound like the guitar and this probably fine if this is the desired outcome.
This would not be the case for the professional or aspiring professional though. A good jazz guitar amp would be considered expensive if you consider bang, as in volume and features, for your buck. What you pay for is quality of build and sound. They often incorporate the best components that can be sourced in order to build them. These units are often hand made and some are built specifically to customers requirements.
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When you want information about a quality jazz guitar amp, visit the web pages at www.soundislandmusic.com today. You can click on the links at http://www.soundislandmusic.com now.
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