Tagged: archtop guitar
9 articles we've published with this tag.
Comping technique: why your left hand shapes your tone more than gearYour comping hand controls voicing clarity, dynamics and tone more than any pedal or amp setting. Here's how I actually practise it.By Marc
Fuzz as a volume-swell effect: using your guitar knob, not the pedalMost fuzz control happens on your guitar, not the pedal face. Here's how rolling the volume knob shapes gain, gate and voicing in real time.By Marc- Fuzz voicings for jazz chords: which circuits stay articulateMost fuzz turns jazz voicings to mud. Here's which circuits, settings and chord shapes keep extended chords intelligible under gain.By Marc
- Fuzz with a hollowbody: taming gate and gain for archtop playersFuzz and archtops seem an odd pairing, but with the right circuit and touch, a hollowbody can push fuzz into genuinely musical territory.By Marc
- Recording a hollowbody direct: getting a real jazz tone without a micA conservatory-trained session player's approach to DI'd archtop tone: gain staging, amp-sim choices and EQ moves that keep a clean jazz sound honest.By Marc
- Why archtop and semi-hollow necks feel different, and what to buy firstNeck shape and scale length change how a hollow or semi-hollow guitar responds to a light touch. Here's what actually matters before you buy one.By Marc
- Fuzz and chord voicings: why extended jazz chords fall apart under fuzzWhy a Maj9 or a rootless voicing turns to mud under fuzz, and which chord shapes actually survive the circuit.By Marc
- Fuzz for players who don't play fuzz: an archtop guy's honest takeA jazz player's case for keeping one fuzz on the board, even if you never use it live — and which styles actually behave with a clean-toned rig.By Marc
- Low-gain overdrive for jazz and clean tones: how much grit is too muchA jazz player's guide to using overdrive pedals for subtle warmth and touch sensitivity, not distortion, on archtops and clean-toned electrics.By Marc