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39-1251: Most models have controls based on the JC-120's standard setup. There are two channels, one clean, the other with effects. The built-in effects include stereo chorus , vibrato , reverb , and distortion . The amplifier features high and low inputs, a bright switch as well as a three band equalizer and volume for each channel. Since its inception in 1975, the Roland Jazz Chorus amplifier has undergone several design iterations. 1975 JC-120, 120 watts, 2x12" speakers; JC-60, 60 watts, 1x12" speaker 1976 JC-160, 120 watts, 4x10" speakers; JC-80 60 watts, 1x15" speaker 1978 JC-200, 200W (head); JC-200S, 2x12" speakers (cabinet); 1979 JC-50, 50 watts, 1x12" speaker 1984 JC-120H, 120W head (“Bright” switch changed to “HI-TREBLE”); JC-77, 80 watts, 2x10" speakers 1986 JC-55, 50 watts, 2x8" speakers 1992 JC-20, 20 watts, 2x5" speakers 1996 JC-85, 80 watts, 2x10" speakers 1997 JC-90, 80 watts, 2x10" speakers (Eminence speakers) 2015 JC-40, 40 watts, 2x10’’, (introduced stereo input); JC-22, 30 watts, 2x6.5" speakers 2016 JC-22, 30 watts, 2x6.5" speakers The Jazz Chorus

78-424: A borrowed Cantus firmus melody. Until the late 16th-century introduction of the contratenor singers, the tenor was usually the lowest voice, assuming the role of providing a foundation. It was also in the 18th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type; indeed, even as late as

117-470: A bright, steely timbre. Dramatic tenor roles in operas: The heldentenor (English: heroic tenor ) has a rich, dark, powerful and dramatic voice. As its name implies, the heldentenor vocal Fach features in the German romantic operatic repertoire. The heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of

156-511: A chorus effect by themselves, some instruments (particularly, chordophones with multiple courses of strings) can produce it as part of their own design. The effect can make these acoustic instruments sound fuller and louder than by using a single tone generator (b.e.: a single vibrating string or a reed). Some examples: However, while the open strings of a standard-tuned guitar (or any single-stringed instrument like ukuleles, banjos, etc.) can't produce any chorus effect, it can also be obtained by

195-412: A few notes below the C 3 . There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors, and abilities of the voice. Gilbert Duprez (1806–1896) was a historically significant lyric tenor. He was the first tenor to sing on stage the operatic high C from the chest ( ut de poitrine ) as opposed to using falsettone . He is also known for originating

234-425: A range from approximately the C one octave below middle C (C 3 ) to the C one octave above middle C (C 5 ). Spinto tenor roles in operas: Also "tenore robusto", the dramatic tenor has an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor's approximate range is from the B one octave below middle C (B 2 ) to the B one octave above middle C (B 4 ) with some able to sing up to

273-652: A singer specialize in these roles for an entire career. In French opéra comique , supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737–1795), examples being in the operas of Ravel and in The Tales of Hoffmann . Tenor buffo or spieltenor roles in operas: All of Gilbert and Sullivan 's Savoy operas have at least one lead lyric tenor character. Notable operetta roles are: There are four parts in barbershop harmony : bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to

312-452: Is an audio effect that occurs when individual sounds with approximately the same time, and very similar pitches , converge. While similar sounds coming from multiple sources can occur naturally, as in the case of a choir or string orchestra , it can also be simulated using an electronic effects unit or signal processing device. When the effect is produced successfully, none of the constituent sounds are perceived as being out of tune. It

351-567: Is characteristic of sounds with a rich, shimmering quality that would be absent if the sound came from a single source. The shimmer occurs because of beating . The effect is more apparent when listening to sounds that sustain for longer periods of time. The chorus effect is especially easy to hear when listening to a choir or string ensemble. A choir has multiple people singing each part ( alto , tenor , etc.). A string ensemble has multiple violinists and possibly multiples of other stringed instruments. Although most acoustic instruments cannot produce

390-566: Is defined as a tenor but requires an A ♭ 2 . Within more frequently performed repertoire, Mime and Herod both call for an A 2 . A few tenor roles in the standard repertoire call for a "tenor C" (C 5 , one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional—such as in " Che gelida manina " in Puccini's La bohème —or interpolated (added) by tradition, such as in " Di quella pira " from Verdi's Il trovatore ); however,

429-500: Is one of the most famous and successful combo amplifiers from its period and its earliest users included Albert King , Andy Summers ( The Police ), Chuck Hammer ( Lou Reed ), Larry Coryell , Robert Smith (of The Cure , although he used the rarer 160 Watt JC-160 with 4 x 10" speakers), Billy Duffy (The Cult, Theatre of Hate), Roger Hodgson of Supertramp , Joe Strummer , John Sebastian of The Lovin' Spoonful , Art Saiz, Chuck Willis, Prince, John McGeoch (Magazine, Siouxsie and

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468-539: Is the shortage of tenor voices. Most men 18 and older tend to have baritone chest voices, and because of this, many men in choirs tend to prefer singing in the bass section (though true basses are even rarer than tenors). Many baritones sing tenor even if they are not able to cover the full range in only their chest voice, and sometimes contraltos sing the tenor part. In men's choruses that consist of four male vocal parts (TTBB; tenor 1, tenor 2, bass 1, bass 2), tenors will often sing both in chest voice and falsetto, extending

507-598: Is varied between the left and right channels by offsetting the delay or phase of the LFO. The effect is thereby enhanced because sounds are produced from multiple locations in the stereo field. Used on instruments like "clean" (undistorted) electric guitar and keyboards, it can yield very dreamy or ambient sounds. Commercial chorus effect devices often include controls that enable them to be used to also produce delay, reverberation, or other related effects that use similar hardware, rather than exclusively as chorus effects. In spite of

546-524: Is yet another distinct tenor type. In Mozart singing, the most important element is the instrumental approach of the vocal sound which implies: flawless and slender emission of sound, perfect intonation, legato, diction and phrasing, capability to cope with the dynamic requirements of the score, beauty of timbre, secure line of singing through perfect support and absolute breath control, musical intelligence, body discipline, elegance, nobility, agility and, most importantly, ability for dramatic expressiveness within

585-484: The tenore di grazia , the leggero tenor is essentially the male equivalent of a lyric coloratura . This voice is light, agile, and capable of executing difficult passages of fioritura . The typical leggero tenor possesses a range spanning from approximately C 3 to E 5 , with a few being able to sing up to F 5 or higher in full voice . In some cases, the chest register of the leggero tenor may extend below C 3 . Voices of this type are utilized frequently in

624-497: The Latin word tenere , which means "to hold". As noted in the "Tenor" article at Grove Music Online : In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried

663-403: The "effect pedal" form. Some examples of the use of "obviously chorused guitar tracks" include Red Hot Chili Peppers ' " Soul to Squeeze " (0:00), Fripp & Eno 's " Evensong " (0:37), Guns N’ Roses “ Paradise City ” (0:00), Nirvana 's " Come As You Are " (0:00, clearest at 0:48), Mike Stern 's "Swunk" (0:00), and Satellite Party 's "Mr. Sunshine" (0:19, right channel). The chorus effect

702-446: The 7th fret on the 3rd string). Ensembles of instruments and voices can produce a natural chorus effect, such as with a string orchestra or choir . The chorus effect can be simulated by a range of electronic and digital effects units and signal processing equipment, including software effects. The signal processor may be software running on a computer, software running in a digital effect processor, or an analog effect processor. If

741-580: The Banshees, PIL, the Armoury Show ), Steve Hackett , Robert Fripp , Adrian Belew , Steve Rothery , Mdou Moctar , Neil Halstead (Slowdive) and Wayne Hussey (the Sisters of Mercy, The Mission) among others. Summers' use of the amp in turn inspired, for instance, Jeff Buckley , whose first amplifier was a Jazz Chorus. Another notable user of the JC-120 was Johnny Marr of The Smiths who used

780-415: The C one octave above middle C (C 5 ). Many successful dramatic tenors though have historically avoided the coveted high C in performance. Their lower range tends to extend into the baritone tessitura or, a few notes below the C 3 , even down to A♭ 2 . Some dramatic tenors have a rich and dark tonal colour to their voice (such as the mature Enrico Caruso ) while others (like Francesco Tamagno ) possess

819-469: The Roland JC-120 along with his Rickenbacker 330 and Telecaster to create the sounds present on The Smiths’ debut album. Other users include Steve Levine , producer of bands such as Culture Club , The Beach Boys and The Clash . He often combined it with effects pedals from Boss Corporation , a Roland subsidiary. Chorus effect Chorus (or chorusing , choruser or chorused effect)

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858-630: The Spinto Fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Stolzing. The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and a Jugendlicher Heldentenor tends to be either a young heldentenor or true lyric spinto. Spinto tenors have

897-496: The ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C 3 ) to the C one octave above middle C (C 5 ). The tessitura of these parts ranges from lower than other tenor roles to very high and broad. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will

936-418: The added voices is typically modulated by an LFO , which is implemented similarly to a flanger , except with longer delays and without feedback. In the case of the synthesizer, the effect can be achieved by using multiple, slightly detuned oscillators for each note, or by passing all the notes played through a separate electronic chorus circuit. Stereo chorus effect processors produce the same effect, but it

975-456: The eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types. The vocal range of the tenor is the highest of the male voice types . Within opera , the lowest note in the standard tenor repertoire is widely defined to be B ♭ 2 . However, the role of Rodrigo di Dhu (written for Andrea Nozzari ) in Rossini's rarely performed La donna del lago

1014-501: The heldentenor's repertoire is arguably Wagner's Siegfried , an extremely demanding role requiring a wide vocal range and great power, plus tremendous stamina and acting ability. Often the heldentenor is a baritone who has transitioned to this Fach or tenors who have been misidentified as baritones. Therefore, the heldentenor voice might or might not have facility up to high B or C. The repertoire, however, rarely calls for such high notes. Heldentenor roles in operas: A Mozart tenor

1053-452: The highest demanded note in the standard tenor operatic repertoire is D 5 , found in " Mes amis, écoutez l'histoire " from Adolphe Adam 's Le postillon de Lonjumeau and " Loin de son amie " from Fromental Halévy's La Juive ). In the leggero repertoire, the highest note is F 5 (Arturo in "Credeasi, misera" from Bellini 's I puritani ), therefore, very few tenors have this role in their repertoire without transposition (given

1092-402: The highest part. The tenor generally sings in falsetto voice, corresponding roughly to the countertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is Middle C to A one octave above Middle C, though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range. In bluegrass music , the melody line

1131-501: The majority of choral music places the tenors in the range from approximately B 2 up to A 4 . The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir. Orchestral choruses typically call for tenors with fully resonant voices, but chamber or a cappella choral music (choral music sung with no instrumental accompaniment) can rely on baritones singing in falsetto . Even so, one nearly ubiquitous facet of choral singing

1170-439: The name, most electronic chorus effects do not accurately emulate the acoustic ensemble effect. Instead, they create a constantly moving electronic shimmer. Some pitch shift pedals create a slightly detuned unison effect which is more similar to the acoustic chorus sound. Although the electronic chorus effect can be obtained by the multiple ways mentioned above, some devices have acquired a high status among musicians, especially in

1209-399: The narrow borders imposed by the strict Mozartian style. The German Mozart tenor tradition goes back to the end of the 1920s, when Mozart tenors started making use of Caruso's technique (a tenor who rarely sang Mozart) to achieve and improve the required dynamics and dramatic expressiveness. Mozart tenor roles in operas: A Tenor buffo or spieltenor is a tenor with good acting ability, and

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1248-494: The operas of Rossini , Donizetti , Bellini and in music dating from the Baroque period. Leggero tenor roles in operas: The lyric tenor is a warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C 3 ) to the D one octave above middle C (D 5 ). Similarly, their lower range may extend

1287-450: The processor is hardware-based, it may be packaged as a pedal , a rack-mount module, a table-top device, built into an instrument amplifier (often an acoustic guitar amplifier or an electric guitar amplifier ), or even built into some electronic instruments, such as synthesizers, electronic pianos and Hammond organs . The effect is achieved by taking an audio signal and mixing it with one or more delayed copies of itself. The pitch of

1326-406: The raising of concert pitch since its composition), or resorting to falsetto . In SATB four-part mixed chorus, the tenor is the second lowest vocal range, above the bass and below the alto and soprano . Men's chorus usually denotes an ensemble of TTBB in which the first tenor is the highest voice. Whilst certain choral music does require the first tenors to ascend the full tenor range,

1365-437: The range from the second B below middle C to the G above middle C (i.e. B 2 to G 4 ) in choral music, and from the second B flat below middle C to the C above middle C (B ♭ 2 to C 5 ) in operatic music, but the range can extend at either end. Subtypes of tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or spieltenor . The name "tenor" derives from

1404-491: The role of Edgardo in Lucia di Lammermoor . Lyric tenor roles in operas: The spinto tenor has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. The German equivalent of

1443-420: The use of alternative tunings (such as the unisons-and-octaves-only " ostrich tuning " by Lou Reed ); by playing chords or fingerings with "redundant" notes (like playing the open high E string and the same "E" note on the 5th fret of the B string); and/or by using extended techniques like bending while playing a note (like playing the 5th fret on the 2nd string and, simultaneously, playing a full-tone bending in

1482-454: The vocal range of the choir. Within the tenor voice type category are seven generally recognized subcategories: leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is considerable overlap between the various categories of role and of voice-type; some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. Also known as

1521-399: Was also a prominent hallmark of guitarist Andy Summers ("The Police"; Tracks: "Don't Stand so Close to Me", "Walking on The Moon", "Every Breath You Take"). Tenor A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types . It is the highest male chest voice type. Composers typically write music for this voice in

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