By: Vince Lewis
Jazz Guitarists are generally concerned with finding the ultimate instrument for plying their craft. The next critical issue is the accurate reproduction of the tone created by their builder.
Finding the proper balance between power and portability is also a major consideration. I have used many small amps that are easy to carry, but small in sound as well.
There are several top flight speaker companies that offer truly amazing products in light packages today. If the player doesn’t mind a carrying a separate head to the gig, then their options are fairly wide open.
As far as a complete combo amp with adequate power and an easily transportable size, the choices are quickly narrowed. Weight is also a factor for those musicians who travel on the road, or simply play casuals and one night stands. There is oftentimes an issue with parking close to the venue, tough load in situations, and many other unforeseen situations.
As soon as I unboxed the Henriksen JazzAmp 110, I was struck by the quality of the construction. The gig bag for the unit is padded and lined amazingly well. It is not only solidly put together, but very attractive also. The cabinet itself is manufactured in California using the finest of imported Baltic Birch, and their speakers are made in Eminence, KY. The final assembly is done in their shop in Colorado. Each amplifier is play tested by a musician with an instrument before it is packaged and shipped.
The founder of the company, Bud Henriksen, is a Jazz Guitar Player who was dissatisfied with the production guitar amps that were available to him. He developed this line of amps based on his personal preferences and requirements. After showing them to guitar teachers and performers, the designs were quickly accepted and recommended by many top players in the Jazz Guitar world.
I tested the JazzAmp 110 with three of my carved top hollow body guitars. These were my Signature Vince Lewis Ralston 16, Heritage Golden Eagle, and Benedetto Bravo. Each of their wonderful and distinctly different voices was amplified just as I wanted them to be. There was absolutely no dictation to the instrument as to the tonal capabilities of the amp. This is so often the case in inexpensive small package units. Henriksen definitely has achieved their goal of simply reproducing the sound of my instruments at a necessary volume level for any live performance.
For the more technical evaluation, I brought in my good friend and Jazz Guitar Player Dr. Harry Powell. Dr. Powell teaches Electrical Engineering at the University of Virginia. He also has built and designed guitar and bass amps. His comments are as follows.
“I was very impressed with the overall build quality of the Henriksen Jazz Amp. In spite of the light weight it had a very solid feel and the hardware had an impeccable fit and finish. The volume and equalizer adjustment knobs were very smooth with the slight mechanical resistance indicative of high quality potentiometers designed for a long service life. A portion of the circuit board was visible through the bass reflex port on the front panel and I was pleased to note that the heavier components were stabilized with silicone adhesive. This goes a long way in reducing the susceptibility of the amplifier to vibration induced circuit failures ; it was clearly designed with the working musician in mind.
The equalizer controls were especially impressive. Most amplifiers use a 3 knob “tone stack” that inherently has non-uniform frequency response which results in a final tone that is always a compromise. This is not the case with the Henriksen – each knob functions exactly like the equalizer controls found in a high quality mixing deck. The center frequencies for each knob are well thought out. For example the 100 Hz knob gives excellent control of the volume from the lower strings and makes it very easy to set up for a single pickup archtop guitar to deliver a balanced tone when performing as an accompanist for a solo singer. The bass notes are powerful, but not muddy. Likewise when using the bridge pickup on a multi-pickup instrument the 3KHz and 10KHz knobs are very effective at controlling the “twang” in the upper registers without affecting the mid-range and bass. Interestingly, the amplifier comes with a frequency chart that shows which notes on the guitar are most affected by each knob.
The amplifier is also very quiet, both electrically and mechanically. There is a substantial anodized aluminum heat sink on the back of the amplifier, which obviates the need for a cooling fan and its associated noise. Electrically, the amplifier is dead quit with no hint of hum or hiss. This indicates that the internal circuitry is correctly grounded and that critical low-level circuitry is constructed of quality components.
Overall, from an engineering standpoint this is a very solidly designed and executed piece of electronics. (I wish I had designed it myself!)”
Bud Henriksen definitely has done a fine job in addressing the needs of the Jazz Guitar community. These amps are definitely attractive in terms of cabinet design, power and portability. The main consideration is always how the amplifier complements the fine instruments that the player uses as his main voice and musical tool. The JazzAmp 110 deserves a serious look from Jazz players, and actually from guitarists of all musical styles and genres.
