#1
Hi, I'm the guitarist in my high school jazz ensemble. I'm playing an arrangement of hot house arranged by Eric Richards. I'm playing a les paul with .13 strings(once you thicken up, you'll never want to go back). My amp is a fender stage 1500. Anyways, all my jazz recording have clean guitar and in the recording has the guitar is inaudible. That or the tone imitates a sax to the nth degree. Anyways the music itself calls for both overdrive and chorus. The jazz ensemble director is a man who likes his guitar clean though, and I'm a guy who enjoys having the sustain and comfort overdrive would bring to my soloing style, so I would really like to get a good kind of tone so he won't say it's a bad idea while I'm fooling with it. Any suggestions? I'd prefrebly like to use the amp setting so both are built in. But I can't tell how much saturation the chorus should have, which type of distortion and how much because I don't know what the right sound is yet. Help?
#2
Try a compressor if you have one, you can get that confident sound without too much distortion. Can't recommend settings sorry
#3
Save the distortion for a rock or funk chart. Hot House is straight up be bop and everyone expects some nice be bop licks on a clean guitar. Really just boast the mids up and cut back on the treble and use your neck pickup and you should get a pretty good jazz tone considering you are using thick strings.
12 fret fury
#4
im not to sure how distortion would sound in jazz but my best bet would be something kinda like Santana's tone, something reall smooth and creamy but not overpowering.
#5
Quote by dreamnacho
Hi, I'm the guitarist in my high school jazz ensemble. I'm playing an arrangement of hot house arranged by Eric Richards. I'm playing a les paul with .13 strings(once you thicken up, you'll never want to go back). My amp is a fender stage 1500. Anyways, all my jazz recording have clean guitar and in the recording has the guitar is inaudible. That or the tone imitates a sax to the nth degree. Anyways the music itself calls for both overdrive and chorus. The jazz ensemble director is a man who likes his guitar clean though, and I'm a guy who enjoys having the sustain and comfort overdrive would bring to my soloing style, so I would really like to get a good kind of tone so he won't say it's a bad idea while I'm fooling with it. Any suggestions? I'd prefrebly like to use the amp setting so both are built in. But I can't tell how much saturation the chorus should have, which type of distortion and how much because I don't know what the right sound is yet. Help?



Not much of a jazz player, but try a tube screamer. It's a pretty light distortion and at higher settings sounds just like overdrive. I got a BBE green screamer that sounded really good for Jazz and Blues. Oh and you're gonna be paying $99+.
Stuffing corpses full of shit and faith
They bloviate about a future beyond the moon
To bring about another planets doom
To discover peaceful life
And beat a war-drum to it's tune
Unless my prayers are answered
And our end is coming soon.
#6
actually this arrangement is a funk feel piece, and it calls for overdrive and chorus in the sheet music itself
#7
If your director or co-ordinator wants it played differently to the sheet music, you play it differently to the sheet music.

My co-ordinator doesn't like jazz guitarists playing on all fours, so I only ever play on 2 and 4 even when the sheet music says all fours.

Funk or not, don't play distortion if he doesn't want distortion. Funk would usually call for a wah and a chorus though, which would be fine.
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#8
Quote by mbsnowdog
Not much of a jazz player, but try a tube screamer. It's a pretty light distortion and at higher settings sounds just like overdrive. I got a BBE green screamer that sounded really good for Jazz and Blues. Oh and you're gonna be paying $99+.


Those are overdrive pedals, not distortion pedals.

But, I'd say just go with a compressor and chorus on the neck pickup and dial in more mids to cut through the mix.

If your amp has enough headroom, you could use a tubescreamer with the overdrive very low and the level high so you get more of a clean boost for your mids without going into distortion.
Gear

Gibson '57 Les Paul Reissue
Marshall TSL 601
EHX: Big Muff, Metal Muff, Small Stone, POG, 2880
Ibanez TS808
Voodoo Labs Microvibe
Analogman Chorus
Morley Bad Horsie II
Keeley Compressor (C4)
Nova Delay
MXR 10-band EQ