By Michael James Adams
It’s no secret that we here at Mike & Mike’s Guitar Bar are BIG fans of Fender’s oft-maligned Jazzmaster and Jaguar guitars. Top of the line in their day, these guitars are perhaps the most misunderstood instruments that Leo Fender ever created, a sad truth that to this day follows these wonderful guitars like a scarlet letter.
Why are these guitars so misjudged? For starters, Fender’s line of “Offset” guitars – so called because of the adjusted waistline body design – shared little in common with their more straightforward brethren, the Telecaster and Stratocaster. Those guitars were plain-as-day in terms of fit and functionality; when one looks at a Tele or a Strat, there’s little question as to the purpose of their respective three- and five-way switches, where the strings anchor, or what kind of music one can play on them.
When first released in 1958, the Jazzmaster was a bit more nebulous than its forebears, intended for Jazz players who largely dismissed the guitar. The first Fender guitar with a rosewood fretboard, the Jazzmaster also included Leo’s latest innovations including the floating bridge/vibrato unit and wide, flat pickups designed to pick up more of the string’s vibrational length, resulting in less sustain and a warmer overall tone than the Telecaster or Stratocaster. Luckily, instrumental rock and surf players (and even a few country players!) soon embraced the guitar, giving the Jazzmaster a new direction.
By the time the Jaguar was released in 1962, the surf craze was in full swing and it would appear that Leo tailor-made the guitar to appeal to instrumental rockers. Chrome for days, a slightly modified, faster body, a shorter 24″ scale and a newly-designed Fender Mute all contributed to the wild looks and distinctively percussive sound of the model.
Hard to pin down as they may have been, these two models were wildly popular in the early to mid sixties, with sales numbers overtaking those of the Strat and Tele, which were at that time experiencing stagnated sales and a general view in the guitar world as being old-fashioned. The new, sleeker Offset Fender guitars certainly sold well, but soon enough public opinion began to sour. What went wrong?
As I mentioned before, these guitars shared little of the design elements of their predecessors, which is something many of us appreciate today. Unique controls and string length behind the bridge appeal to those of us looking for something different, from shoegazers to alt. country troubadours. With that recent spate of popularity have come numerous upgraded parts that promise to improve the feel and playability of Offset guitars, including the mind-blowing Mastery Bridge and the Staytrem. Sadly, this lack of familiarity may have proved to be these models’ undoing in the long run, with players frequently complaining that the guitars were confusing, poorly made or impossible to keep in tune.
In this series, I’ll attempt to address a few of these complaints, and explain why the very designs that confound so many are, in reality, brilliant.
“IT HAS TOO MANY SWITCHES!”
It’s not uncommon to hear the above phrase uttered ad nauseum at guitar stores and internet forums alike. It’s frequently followed by, “What the hell do they do?!” and “My brain hurts.” In reality, the switches aren’t all that hard to figure out, and with just a few minutes of patient open-mindedness most players can easily adapt to the layout.
Jazzmasters have the decidedly more familiar control layout, with a Gibsonesque three-way toggle switch on the treble-side bout. Obviously, this one changes the active pickup selection from Bridge, to Bridge and Neck, and Neck alone. The thing that tends to get murky for folks is the switch located on the upper bass-side bout: the Rhythm Circuit.
The Rhythm Circuit was designed with the intention of giving the player a darker preset sound for rhythm play. A different array of pots (50K tone, 1M volume) lends to the darker sound, contrasting nicely with the Lead Circuit’s brighter personality. (1m for both) Roller knobs poke through slots on the guard that allow the player to easily change settings without much chance of settings being changed by vigorous play. Flip that switch to its ‘up’ position and you’ve got a rounder, bassier tone at the ready, one which I frequently utilize for a clean, somber tone or to mimic synth craziness with a big fuzz and an octave pedal. Even so, most players will choose to ignore this optional circuit as a nuisance or a design flaw, but do yourself a favor and play around with it! It’s great!
The Jaguar, however, seems to be the guitar with the most problematic layout for some players, and while I can understand why it’s so intimidating, again I implore those stymied masses to have patience. Don’t let those little chrome plates get the best of you!
Thankfully for most, the upper bout switching is exactly the same as the Jazzmaster Rhythm Circuit. The three switches on the treble-side bout of the guitar control on/off for both pickups and what’s known as a “strangle switch”, a capacitor that can be engaged to bleed away bass frequencies, resulting in a thinned-out tone that’s perfect for biting leads or cutting rhythm work. Thanks to this, the Jaguar can easily be the most versatile guitar in a player’s arsenal.
If you’re still feeling vexed, check out the Interactive Jaguar instruction manual over at The Higher Evolution of Offset-Waist Guitars.
We’ll continue shedding light on these amazing guitars in part 2, where we discuss the floating Bridge, from its intended design to tips on keeping it functioning properly even with heavy trem use. Stay tuned!
We also believe that we perform the best Offset setups in the Pacific Northwest. If your Jazzmaster, Jaguar, Electric XII, Mustang or Bass VI needs some help to sound and play its best, stop by Mike & Mike’s Guitar Bar for a free consultation!