thanks for all the tips about amps, I'll try them asap.
your playing is beautiful, and yes I got that it's the typical choice for 'telecaster' jazzers, with a Fender tube, but you honestly said that you dont go for traditional jazz guitar sound, so that's the answer to different choices
Precisely, that is the very definition of "tyranny of the majority". It is an inherent weakness in democracy (and capitalism) which was coined by Alexis de Tocqueville. I was simply pointing out that this problem is not new. It is the reason left-handedness was seen as a real disadvantage when I was boy and, therefore, my parents choose to force right-handness on me.I believe the reason they have a ton of Marshalls and Boogies and no Polytone is that there's a big demand for the former and virtually no demand for the latter. People want to play models of their dream amps, even if there's something already in there that can do the same sound. Capitalism is a cruel mistress indeed.
Why was there 20 buxom blondes to every skinny shorthaired brunette on Baywatch back in the day? Well there you go...
' What happens with jazz amps? What's the issue to model a simple, popular and vastly used amp as a Polytone or an Henriksen (that would be enough, btw)?'
I understand the post was long, but you didn't read it. peace.
fabio
Huh? You appear to have crossed the beams somewhere.thanks for all the tips about amps, I'll try them asap.
your playing is beautiful, and yes I got that it's the typical choice for 'telecaster' jazzers, with a Fender tube, but you honestly said that you dont go for traditional jazz guitar sound, so that's the answer to different choices
One man's "tyranny of the majority" is another man's "supply and demand". For better or worse, depending on your point of view, Fractal is a business that must make decisions based on improving overall sales of their devices and spending their efforts against improvements that are going to positively impact the most people. It seems to me it would take a perfect world where Fractal could handle everyone's demands to avoid this as the opposite situation ("tyranny of the minority") would leave more people unhappy and lacking what they ask for. If we applied the same logic to something like medicine then would it be preferable for doctors and researchers to focus on cures for widespread diseases that impact the most people, or rare diseases that only affect a small number of people at the expense of the majority? The unfortunate thing in life is that someone always gets let down or left out. It is an unfortunate truth in life. The best we can do is focus our efforts on helping the most people people we possibly can at any given time. Sorry for the philosophical tangent. Carry on!Precisely, that is the very definition of "tyranny of the majority". It is an inherent weakness in democracy (and capitalism) which was coined by Alexis de Tocqueville. I was simply pointing out that this problem is not new. It is the reason left-handedness was seen as a real disadvantage when I was boy and, therefore, my parents choose to force right-handness on me.
JT! DUDE! Haven't seen ya for a while!!!Rule 17:
You're not the boss of me.
I'm mainly a jazz guitarist and use the Fm3. There's lots of amp in the Fractal that can be used as jazz amps, you just have to find the right settings for you and the right IRs. I don't prefer the typical old school jazz sound, but like many jazz guitarists i like the fender sound.
So princetons, Twin reverbs and deluxe reverbs are all great jazz amps with the right settings in my opinion.
Actually many jazz recordings from the 50s used the tweed deluxe. The well known jazz record producer Rudy Van Gelder had a tweed deluxe in his studio that many guitarists like Grant Green and other used. The trick is to find the right settings.
Barney Kessel used a Gibson Scout if i'm not mistaken. That amp is also in the Fm3.
My prefered amp in the Fm3 for the moment is the Princeton AA964. Here's an video i recorded with that amp model:
Good morning to all users,
I just got my FM3 and I'm ready to work on it to get a jazz guitar sound.
How do you guys get a good jazz sound out of it?
George Benson, and many other users of the Fender Twin Reverb would beg to disagree.
No, it is not.I thought the Roland Jazz Chorus was the king of jazz amps.
...5 months ago I have had a wonderful daughter and, despite being enthusiastic about her, in the little free time that this situation gives me, I have to choose whether to study Wes Montgomery's chord solo on "Gone with the wind" or navigate through the parameters of the FM3 to try and get close to THAT sound.
I think the real problem here is that "REAL jazz" tone that the OP is looking for is a fictional subset of jazz tones. Although he's not mentioned any players who have that sound he's looking for, he has mentioned a lot who aren't. The truth is Polytones and Henricksons didn't exist back in the early days of jazz. Players just played through whatever was available, which was a lot of Fenders at the time. Even today, someone like Peter Bernstein, Gilad Heckselman, Lage Lund, or Julian Lage (when he's playing an archtop) all play through Fenders. None of them are doing the Polytone thing. Even players like Benson or Kriesberg are doing a solid state paired with Fender approach and never a solid state alone. The truth is that there isn't this one, monolithic "REAL jazz" tone and there never was. It has always been a variety of clean amps, more often than not various Fender combos. Case in point, here's that early pre-mustache video of Joe Pass playing a Fender Jaguar of all things through a blonde Fender Bassman stack and he still sounds like he always did on archtops through Polytones later in his career (the "Virtuoso" albums don't count because those were often no amp at all - just a mic on the guitar and that's it):
The "real jazz" discussion is stupid gatekeeping and nothing else. If anything I thought jazz would be about accepting ideas that are outside the box rather than pigeonholing what is "real" jazz.
Sounds to me OP is getting hung up on the idea of having his exact preferred amp models represented in the FM3. Honestly a lot of owners do that based on all the "please add this amp model" threads. But just because something is not in the box, does not mean those sounds aren't achievable with a bit of listening and effort.
Listening to the clips OP posted here and here, they are looking for a mid-forward, smooth, almost DI sound. To me that could be achieved by focusing on the Fender-based amps, maybe the Princeton or Twin depending on what kind of dynamic range they are seeking, set up to never distort by e.g reducing Input trim knob. Add a compressor up front to smooth things out. Or even leave out the amp block altogether and run more like a DI signal through it, using EQ blocks for sound shaping. Finally choose an appropriate cab sim - cabs miced with a darker sound might be preferable here.
For what they are looking for, the FM3 might be the wrong device and they would be just as happy with some a Jazz-focused preamp box.
I think you got the point.Please understand first of all that what I am about to say is translated with Google translate, so if any statement I make offends anyone it could be because of the translation.
I fear that in this Thread we are focusing more on the meaning of "REAL" Jazz than on the problem posed by the OP, which in my opinion is (yes) real.
I've always been a "tube" guy since the days when back in 1984, with my student savings, I bought a Fender 75 amp (ops..It doesn't appear among the 303 amp models of the FM3).
Having said that, I believe that yes, even a silverface oriented tube with ultralinear transformers like the Fender 75, will struggle to reproduce the tone and dynamics that the OP described, not impossible, but tiring.
And very heavy!
In Kg and unfortunately also in the sound "paste".
The FM3 would be the best solution, a light device, to be combined with one or two good FRFRs (I have two RCF NX 10-SMAs), it should contain all the knowledge regarding the guitar.
It will certainly be my limit, I won't deny it, but among so many exciting tones (I adore Jazz but not only), I haven't yet managed to "nail" that sound so well described by the OP.
Having said that, 5 months ago I have had a wonderful daughter and, despite being enthusiastic about her, in the little free time that this situation gives me, I have to choose whether to study Wes Montgomery's chord solo on "Gone with the wind" or navigate through the parameters of the FM3 to try and get close to THAT sound.
This is why I believe that even just a model of an SS amp (not the overrated Roland JC120 please) would be an infinite help to me.
Being a Junior member I can't post links but to give an idea of the sound I mean listen to anything by Royce Campbell (even if he's an L5 man, I prefer the ES175 though because it's more "electric", I have both).
Good music to all.
Alessio
Try it out.
Another amp i use on the Fm3 sometimes with my 335 is the ODS-clean. On that amp though i have found i like the treble a little higher, and i also turn down the master volume knob to avoid poweramp distortion.
Here's a sample of that ODS-100 clean sound. It's from a video lesson i made on phrasing exercises.
I do like that the amp compresses a bit, so i have the gain a bit higher on this video. But if you want it cleaner just lower the gain.
Hey Thank you!
Your playing and lessons are amazing, such as your tone
I think this is a good example: even tho I definitively appreciate your tone, if you have time try to listen to the clips I posted, you will notice thatthe attack and sustain of the notes are mostly different, compared to yours: I can feel that 'valvish' attack in your sound that I was trying to avoid, in favor of a more defined, clear yet warm and beefy attack you get from the SS amps I posted, and where the 'prominence' of low-mids gives also that 'sustain' to the note (but without compression).
Didi you, with your experience on this device, ever tried to get also that tone? I bet, but I should try to tell, that starting from your preset I could accomplish the tonal balance I desire, still I'm not sure I can fix the note attack thing, since it seems 'connaturated' to the device.
I had the same issue with my former HX Stomp, and that's the reason I finally got rid of him, after years of tries.
cheers and again thank you!!
Fabio