Polytone or Henriksen jazz amp?

[HP]

I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.

The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

[hw]

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

i tried several models, combos and cabinet with seperate head, and was not
impressed at all. the cabinet/head was the best of them but they all
couldn't hold up against a minibrute a fellow pro brought for reference.
very sterile sounding amps imo. otoh (sounding like a broken record here)
the old orange cube 60 that i recently scored for about 180 USD wipes the
floor with both the hendriksen and the polytone.

[van]

Post by hw

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

i tried several models, combos and cabinet with seperate head, and was not
impressed at all. the cabinet/head was the best of them but they all
couldn't hold up against a minibrute a fellow pro brought for reference.
very sterile sounding amps imo. otoh (sounding like a broken record here)
the old orange cube 60 that i recently scored for about 180 USD wipes the
floor with both the hendriksen and the polytone.- Hide quoted text -
- Show quoted text -

Verily, verily my Brother-in Roland, but let the fools spend their
sheckles on the botique varieties, while we lead the great orange
jihad!

[Joe Finn]

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

I've always thought that there was more acoustic variation from one room to
the next than there is from one amp to the next. I do agree that every amp
sounds a little different but when you are playing in different rooms all
the time the amp is not the primary concern.

I've had good luck with polytones over the years. I'm not as familiar with
Henriksen. .......joe

[charles robinson]

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

--------------------------------------------------------------------------------------------------------------------

On last night's hit I ran a line out of my JazzKat into a Henriksen 10-R and
got one of the most unusual sounds that I've ever gotten. Chords were
crystal clear while single note lines had just a hint of distortion giving
it a kind of tube amp sound. As I was miked and coming through a PA it was
hard to tell what it did in terms of headroom. I'd like to try it again at a
smaller club sometime as that combination of clarity and distortion was
nice. The only downside was figuring out how to set the controls on both
amps.
Charlie

[t***@hotmail.com]

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

--------------------------------------------------------------------------- -----------------------------------------
On last night's hit I ran a line out of my JazzKat into a Henriksen 10-R and
got one of the most unusual sounds that I've ever gotten. Chords were
crystal clear while single note lines had just a hint of distortion giving
it a kind of tube amp sound. As I was miked and coming through a PA it was
hard to tell what it did in terms of headroom. I'd like to try it again at a
smaller club sometime as that combination of clarity and distortion was
nice. The only downside was figuring out how to set the controls on both
amps.
Charlie

charlie ,if you have time , and as a matter of interest, also try to
split the gtr into two different amps with a device called an A/B type
box, where you use one input( guitar) to two independent sources Amp 1
and amp 2 . that way you can retain each amps basic character by using
"air" to blend the tone . You might find it easier to set the tone
controls on both amps as they are now independent of each other.
Recently I've been fooling around with a recently acquired Fender
Blues Deville Reissue 4 x10" spks, (which in itself sounds sweeter, at
least to me, than our Super reverb, twins and regular Deville amps)
coupled with a Henriksen or Clarus amp and an RE- speaker with tweeter
split with a Whirlwind A/B box. the end result is this great big fat
tone that is clean with a lot of punch.it has that blend of a tube amp
with the quick response and top end that I get with a solid state. I
find I can play softer yet retain a fat tone due to the amount of
physical air all the units are moving.
Skip

[Tim McNamara]

In article

Post by t***@hotmail.com
charlie ,if you have time , and as a matter of interest, also try to
split the gtr into two different amps with a device called an A/B
type box, where you use one input( guitar) to two independent sources
Amp 1 and amp 2 . that way you can retain each amps basic character
by using "air" to blend the tone . You might find it easier to set
the tone controls on both amps as they are now independent of each
other. Recently I've been fooling around with a recently acquired
Fender Blues Deville Reissue 4 x10" spks, (which in itself sounds
sweeter, at least to me, than our Super reverb, twins and regular
Deville amps) coupled with a Henriksen or Clarus amp and an RE-
speaker with tweeter split with a Whirlwind A/B box. the end result
is this great big fat tone that is clean with a lot of punch.it has
that blend of a tube amp with the quick response and top end that I
get with a solid state. I find I can play softer yet retain a fat
tone due to the amount of physical air all the units are moving.

Can this be used to split the signal and send one line to my amp and
another line to the PA head (maybe with an H&K "Red Box" to add a cab
simulation)? If I "line out" from my Polytone MB II, it cuts out the
amp's speaker. I'd like to have the amp working behind me and a signal
through the PA.

[t***@hotmail.com]

Post by Tim McNamara
In article

Post by t***@hotmail.com
charlie ,if you have time , and as a matter of interest, also try to
split the gtr into two different amps with a device called an A/B
type box, where you use one input( guitar) to two independent sources
Amp 1 and amp 2 . that way you can retain each amps basic character
by using "air" to blend the tone . You might find it easier to set
the tone controls on both amps as they are now independent of each
other. Recently I've been fooling around with a recently acquired
Fender Blues Deville Reissue 4 x10" spks, (which in itself sounds
sweeter, at least to me,  than our Super reverb, twins and regular
Deville amps) coupled with a Henriksen or Clarus amp and an RE-
speaker with tweeter split with a Whirlwind A/B box. the end result

y, > is this great big fat tone that is clean with a lot of punch.it has

Post by t***@hotmail.com
that blend of a tube amp with the quick response and top end that I
get with a solid state. I find I can play softer yet retain a fat
tone due to the amount of physical air all the units are moving.

Can this be used to split the signal and send one line to my amp and
another line to the PA head (maybe with an H&K "Red Box" to add a cab
simulation)?  If I "line out" from my Polytone MB II, it cuts out the
amp's speaker.  I'd like to have the amp working behind me and a signal
through the PA.

An A/B box can send two signals out simultaneously, BTW does the H& K
red box take a line signal from the speakers output , or is it a
speaker simulator signal. If your PT has a efx send with a volume
control then you use that to send to the PA, eliminating the need for
an A/B box.
Skip

[Tim McNamara]

In article

Post by t***@hotmail.com

Post by Tim McNamara
In article

Post by t***@hotmail.com
charlie ,if you have time , and as a matter of interest, also try
to split the gtr into two different amps with a device called an
A/B type box, where you use one input( guitar) to two independent
sources Amp 1 and amp 2 . that way you can retain each amps basic
character by using "air" to blend the tone . You might find it
easier to set the tone controls on both amps as they are now
independent of each other. Recently I've been fooling around with
a recently acquired Fender Blues Deville Reissue 4 x10" spks,
(which in itself sounds sweeter, at least to me,  than our Super
reverb, twins and regular Deville amps) coupled with a Henriksen
or Clarus amp and an RE- speaker with tweeter split with a
Whirlwind A/B box. the end result

y, > is this great big fat tone that is clean with a lot of
punch.it has

Post by t***@hotmail.com
that blend of a tube amp with the quick response and top end that
I get with a solid state. I find I can play softer yet retain a
fat tone due to the amount of physical air all the units are
moving.

Can this be used to split the signal and send one line to my amp
and another line to the PA head (maybe with an H&K "Red Box" to add
a cab simulation)?  If I "line out" from my Polytone MB II, it cuts
out the amp's speaker.  I'd like to have the amp working behind me
and a signal through the PA.

An A/B box can send two signals out simultaneously, BTW does the H& K
red box take a line signal from the speakers output , or is it a
speaker simulator signal. If your PT has a efx send with a volume
control then you use that to send to the PA, eliminating the need for
an A/B box.

Way too old for that, my Polytone is from the first or second year of
production from what I've been able to find out on the Web. Sounds
great with my archtop, cuts the "floater twang" down quite a bit. I get
lots of compliments on the combination (too bad my playing doesn't match
my sound... on second thought, maybe it's better if the audience
doesn't hear me over the PA...).

As far as I can tell, the H&K Red Box can take a signal from the guitar
or from the amp. There are several iterations, some with cab modeling
for a 2x12 or a 4x10 cabinet.

[t***@hotmail.com]

Post by Tim McNamara
In article

Post by t***@hotmail.com

Post by Tim McNamara
In article

Post by t***@hotmail.com
charlie ,if you have time , and as a matter of interest, also try
to split the gtr into two different amps with a device called an
A/B type box, where you use one input( guitar) to two independent
sources Amp 1 and amp 2 . that way you can retain each amps basic
character by using "air" to blend the tone . You might find it
easier to set the tone controls on both amps as they are now
independent of each other. Recently I've been fooling around with
a recently acquired Fender Blues Deville Reissue 4 x10" spks,
(which in itself sounds sweeter, at least to me,  than our Super
reverb, twins and regular Deville amps) coupled with a Henriksen
or Clarus amp and an RE- speaker with tweeter split with a
Whirlwind A/B box. the end result

y, > is this great big fat tone that is clean with a lot of punch.it has

Post by t***@hotmail.com
that blend of a tube amp with the quick response and top end that
I get with a solid state. I find I can play softer yet retain a
fat tone due to the amount of physical air all the units are
moving.

Can this be used to split the signal and send one line to my amp
and another line to the PA head (maybe with an H&K "Red Box" to add
a cab simulation)?  If I "line out" from my Polytone MB II, it cuts
out the amp's speaker.  I'd like to have the amp working behind me
and a signal through the PA.

An A/B box can send two signals out simultaneously, BTW does the H& K
red box take a line signal from the speakers output , or is it a
speaker simulator signal. If your PT has a efx send with a volume
control then you use that to send to the PA, eliminating the need for
an A/B box.

Way too old for that, my Polytone is from the first or second year of
production from what I've been able to find out on the Web.  Sounds
great with my archtop, cuts the "floater twang" down quite a bit.  I get
lots of compliments on the combination (too bad my playing doesn't match
my sound...  on second thought, maybe it's better if the audience
doesn't hear me over the PA...).
As far as I can tell, the H&K Red Box can take a signal from the guitar
or from the amp.  There are several iterations, some with cab modeling
for a 2x12 or a 4x10 cabinet.

The A/B box ( one in two out) will work, several manuf make these
things. one side will go into the PT, to go into a PA, most of the
time a Direct box of sorts is used after your signal split ,but try
the Red box and see how it sounds.
Skip

[Tim McNamara]

In article

Post by t***@hotmail.com

Post by Tim McNamara
In article

Post by t***@hotmail.com

Post by Tim McNamara
In article
om>,

Post by t***@hotmail.com
charlie ,if you have time , and as a matter of interest, also
try to split the gtr into two different amps with a device
called an A/B type box, where you use one input( guitar) to
two independent sources Amp 1 and amp 2 . that way you can
retain each amps basic character by using "air" to blend the
tone . You might find it easier to set the tone controls on
both amps as they are now independent of each other. Recently
I've been fooling around with a recently acquired Fender
Blues Deville Reissue 4 x10" spks, (which in itself sounds
sweeter, at least to me,  than our Super reverb, twins and
regular Deville amps) coupled with a Henriksen or Clarus amp
and an RE- speaker with tweeter split with a Whirlwind A/B
box. the end result

y, > is this great big fat tone that is clean with a lot of punch.it has

Post by t***@hotmail.com
that blend of a tube amp with the quick response and top end
that I get with a solid state. I find I can play softer yet
retain a fat tone due to the amount of physical air all the
units are moving.

Can this be used to split the signal and send one line to my
amp and another line to the PA head (maybe with an H&K "Red
Box" to add a cab simulation)?  If I "line out" from my
Polytone MB II, it cuts out the amp's speaker.  I'd like to
have the amp working behind me and a signal through the PA.

An A/B box can send two signals out simultaneously, BTW does the
H& K red box take a line signal from the speakers output , or is
it a speaker simulator signal. If your PT has a efx send with a
volume control then you use that to send to the PA, eliminating
the need for an A/B box.

Way too old for that, my Polytone is from the first or second year
of production from what I've been able to find out on the Web.
 Sounds great with my archtop, cuts the "floater twang" down quite
a bit.  I get lots of compliments on the combination (too bad my
playing doesn't match my sound...  on second thought, maybe it's
better if the audience doesn't hear me over the PA...).
As far as I can tell, the H&K Red Box can take a signal from the
guitar or from the amp.  There are several iterations, some with
cab modeling for a 2x12 or a 4x10 cabinet.

The A/B box ( one in two out) will work, several manuf make these
things. one side will go into the PT, to go into a PA, most of the
time a Direct box of sorts is used after your signal split ,but try
the Red box and see how it sounds.

Thanks for the info. I got more questions, stuff I've never bothered to
ask and know nothing about. What does a DI box actually do?

[t***@hotmail.com]

Post by Tim McNamara
In article

Post by Tim McNamara
In article

Post by t***@hotmail.com

Post by Tim McNamara
In article
om>,

Post by t***@hotmail.com
charlie ,if you have time , and as a matter of interest, also
try to split the gtr into two different amps with a device
called an A/B type box, where you use one input( guitar) to
two independent sources Amp 1 and amp 2 . that way you can
retain each amps basic character by using "air" to blend the
tone . You might find it easier to set the tone controls on
both amps as they are now independent of each other. Recently
I've been fooling around with a recently acquired Fender
Blues Deville Reissue 4 x10" spks, (which in itself sounds
sweeter, at least to me,  than our Super reverb, twins and
regular Deville amps) coupled with a Henriksen or Clarus amp
and an RE- speaker with tweeter split with a Whirlwind A/B
box. the end result

y, > is this great big fat tone that is clean with a lot of punch.it has

Post by t***@hotmail.com
that blend of a tube amp with the quick response and top end
that I get with a solid state. I find I can play softer yet
retain a fat tone due to the amount of physical air all the
units are moving.

Can this be used to split the signal and send one line to my
amp and another line to the PA head (maybe with an H&K "Red
Box" to add a cab simulation)?  If I "line out" from my
Polytone MB II, it cuts out the amp's speaker.  I'd like to
have the amp working behind me and a signal through the PA.

An A/B box can send two signals out simultaneously, BTW does the

Thanks for the info.  I got more questions, stuff I've never bothered to
ask and know nothing about.  What does a DI box actually do?

basically helps to interface the signal from a source such as an elec
gtr into a PA system without loading down the pickups ( which alters
the tone a bit ) the better units are active boxes,ie they need
batteries or phantom power from the mixer ( countrymen, BSS, Whirlwind
and others) , although the passive ones will work too. ( whirlwind,
and others)
skip

[charles robinson]

Post by charles robinson

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

---------------------------------------------------------------------------
-----------------------------------------
On last night's hit I ran a line out of my JazzKat into a Henriksen 10-R and
got one of the most unusual sounds that I've ever gotten. Chords were
crystal clear while single note lines had just a hint of distortion giving
it a kind of tube amp sound. As I was miked and coming through a PA it was
hard to tell what it did in terms of headroom. I'd like to try it again at a
smaller club sometime as that combination of clarity and distortion was
nice. The only downside was figuring out how to set the controls on both
amps.
Charlie

charlie ,if you have time , and as a matter of interest, also try to
split the gtr into two different amps with a device called an A/B type
box, where you use one input( guitar) to two independent sources Amp 1
and amp 2 . that way you can retain each amps basic character by using
"air" to blend the tone . You might find it easier to set the tone
controls on both amps as they are now independent of each other.
Recently I've been fooling around with a recently acquired Fender
Blues Deville Reissue 4 x10" spks, (which in itself sounds sweeter, at
least to me, than our Super reverb, twins and regular Deville amps)
coupled with a Henriksen or Clarus amp and an RE- speaker with tweeter
split with a Whirlwind A/B box. the end result is this great big fat
tone that is clean with a lot of punch.it has that blend of a tube amp
with the quick response and top end that I get with a solid state. I
find I can play softer yet retain a fat tone due to the amount of
physical air all the units are moving.
Skip
---------------------------------------------------------------------------------------------------------------------------
Thanks, I'll give it a try,
Charlie

[DaveB]

I had both and prefer the Henriksen. But, I have the Henriksen now and sold
the Polytone a while back and never had them side by side. But, I also have
a Clarus/RE Sealth 12 rig that I had at the same time I had the Polytone and
preferred the Clarus/RE. And I also prefer the Henriksen to the Clarus/RE.
So, by the transitive principle, I prefer the Henriksen overall. :-)

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

[Nice Dan from UK]

Well I've used a Polytone for years, hundreds of gigs...... and I
stock the Henriksen combos at work and from playing through them for a
while I can honestly say I prefer the Henriksen. Solidly built, I mean
proper hand built with bulletproof components. It's fat, loud and
solid.
The only choice is either a Henriksen or a Jazzkat Phatkat........

Anyone want to buy a Polytone?

:-D

[stringswinger]

I did a shootout last week in my living room with my Polytone Minibrute 2,
my RE Stealth 12/Clarus rig and a friend's Henriksen combo (12" speaker).

The Henriksen came in last. I found it cold and sterile. YMMV

Cheers,

Marc

www.hotclubpacific.com

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

[Rick Stone]

I've had two Polytones over the last 26 years.

The first was a Mini-Brute II that I bought at Manny's in 1982. Aside from
the reverb breaking constantly (they use the small Atlas reverb unit and are
all very prone to that) I NEVER had a problem. I kept that amp as a backup
for awhile after I bought the new one and finally sold it to one of my
students who was looking for one back in the 90s.

In 1988 I bought another Mini-Brute II from Manny's and again, the only
problem I've ever had was the reverb breaking (and once somebody broke the
fuse cover when it was parked in the closet of a restaurant where I played
regularly). It's been to THOUSANDS of gigs and I STILL use this amp a lot
(although I also like a tube sound and use a Comins 2-10 amp by Allesandro
for that).

The only issue I've ever had with Polytones is that they do have a fair
amount of hiss compared to other amps I've used. But they do have a very
warm tone compared with most other solid state amps and that keeps me using
them.

I've been using an Alesis Microverb II with it lately and it sounds amazing
(much better than the Poly's spring reverb). I also got the Microverb in
the 80s when John Hart (and just about everyone else) was using them with
Polyones or Fender amps. It really fattens up the sound nicely. Alesis
replaced the Microverb with the Nanoverb sometime in the 90s and I've heard
that they don't sound as good, but have never really tried one. I've also
been using a little Korg Pandora lately for reverb and a hint of compression
as well as the built-in tuner. It's not as full sounding as the Microverb,
but a LOT smaller and lighter and also has eq, amp sims, chorus, and a pile
of effects (99.9% of which I don't touch).

I've tried the Henricksen at a few guitar shows and just couldn't get an
acceptable tone out of them. I REALLY didn't like the 5-band eq and felt
like the bands were in the wrong places to get the tone I like. Maybe with
an effect unit that allows me to set my own eq going in it would work (and
these amps are pretty powerful and light which has me considering this) but
off the shelf I REALLY disliked the sound. They're going for a "hi-fi" very
"even-response" concept and for me it just didn't work. I actually PREFER
an amp that colors the sound of the guitar somewhat.

But there are folks out there who love the Henriksen, and of course
EVERYTHING about instruments and amps is about trade-offs and what YOUR
priorities are when it comes to your sound. I would never make a descision
about either based on anything (myself included) says on a newsgroup
(although it might lead me to buy one and try it). Ultimately, you're going
to just have to play and compare them, and also take them to a few gigs, to
see what gets the job done in a way that's acceptable to YOU.

Musically Yours,
Rick Stone
email: ***@rickstone.com
website: http://www.rickstone.com
Visit me on MySpace at: http://www.myspace.com/rickstonemusic
Check out my Electronic Press-Kit online at:
http://www.sonicbids.com/rickstone
Check out my recordings at http://www.cdbaby.com/all/jazzand
Watch my videos on YouTube at: http://www.youtube.com/user/jazzand

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

[Keith Freeman]

I tried out the Henricksen at the local archtop store and was less than
impressed, as I couldn't get near enough to the valve tone I was used to.
Shortly afterwards, though, I heard a guy playing one in a band (sax, bass
& drums) and it sounded fine. Amps can sound very different in gig
situations from the way they sound completely exposed. What I really liked
about it was the light weight: I could easily have transported it on my
bike.

I eventually went for the TomKat, which does have that valve vibe, and am
very happy with it. No way I'm going to try carrying it on the back of my
bike, though!

-Keith

Clips, Portable Changes, tips etc.: www.keithfreemantrio.nl
e-mail: info AT keithfreemantrio DOT nl

[mikeo]

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

ive played polytones for many years, several models. it is the one
brand of amp that i have tried hard to find a sound i really like but
only ever come up with something just passable. many times, i plug in
and spend 15minutes tweaking knobs to try to make the thing sound
good.
i did buy a Henriksen JazzAmp10 and 12 a couple years back to AB
against my Clarus/Redstone rig and Fender tube combo everything else,
and i ended up keeping the Jazzamp12 as my #1 gigging amp. the thing
sounds beautiful to me for the dark "polytone"-like tones. And
strangely, i dont ever tweak knobs on the thing, i pretty much set all
the controls flat (straight up) and im ready to go. I may tweak the
lowest frq a little depending on the room, but really, it is easy to
get a great sound from the Henriksen.
you mentioned less sparkle. neither amp has much sparkle, however,
Henriksen sells an accessory called "Tweety" which is an external
tweeter in a small box that plugs right in to engage the high
frequency controls of the amp. you get all the sparkle on top which
is a nice add on. if i am playing solo fingerstyle guitar, i take the
Tweety along and use it. otherwise, for combo playing, i justuse the
JazzAmp12 as is.
I think it is a winner.

if you are a reverb fanatic, you may be disappointed with the sound of
the onboard reverb of the Henriksen. I don't use reverb myself at
home because my practice room is like a cavern with lots of natural
reverb and then at a gig, i typically dont find it is necessary. but
if you need a little to sweeten things up, the Henriksen is fine, but
for anything more than a touch, i recommend you go with the JazzAmp
sans reverb and use an outboard device. YMMV.

i know ive said this before on here, but those guys at Henriksen are
some of the nicest people you'll meet. call them and let them help
you find your amp.

[Jon G]

Post by HP
I have read comments about the Polytones being unreliable.
I have had about five of them in the last 25 years
and never experienced any problems. The reason
I bought and sold them was I found out
they all sound different in a way. It's the Polytone
sound alright, but I never found two of them sounding alike.
I am talking about more or less bassy, too dry or more or
less mids and so on. The newer Polytones didn't do it for me.
What I am trying to say is you have to find one that suits you.
The idea that the Henriksen is in fact a souped up Polytone
appeals to me . It would indicate it could be indeed better.
What I like in a jazz amplifier is a velvet darkness that the
50's Gibsons had. The Polytone comes close I think. But then again it
has less sparkle in the top end.
I wonder if the Henriksen can combine both. Then it would be
an ideal amp for me.
And more portable too.

well, with a due respect all posters.
the henriksen does color the sound. quite a bit actually. it gives is
some beef, and makes the hight strings thick, if that makes sense.
i have two polytones, a couple of fenders, an amazing amp from the
early 90s called a GK backline 100, and a Henriksen 10R.
The Henriksen is the best jazz amp. if you want to play traditional,
it's the amp, and you can dial it into the room very nicely. i play
solid, hollowbody, and acoustic guitars through it. if you want
shimmer though, use a tube amp, you need the top strings to sound
thinner. but for big body, and single note beef get the henriksen.
it's lighter than all the other too.
no amp does it all, but this is my favorite for the past two years.
originally bought it before they had reverb, then had it added.

the backline 100 is prbably the best, but they stopped making them
years ago, and it's heavier and way more volume than you need.

~j

[Tone]

Post by Jon G
the backline 100 is prbably the best, but they stopped making them
years ago, and it's heavier and way more volume than you need.
~j

I wonder if anybody ever used the GK 250ML for jazz. Pretty small so
I doubt it weighed much and they got a lot of volume. GK still sells
good bass amps.