Monthly Archives: March 2017

American Whoa: The American Pro Jazzmaster’s Peculiar Pickups

An American Pro Jazzmaster came into my life recently and I’m enjoying it quite a bit. I’m loving the light weight and solid feel of the guitar, and for a guy that’s not such a huge fan of maple fretboards I’m delighted to have one close at hand. Those same concerns I had in my December review are still present, mainly the selector switch placement and the proximity of the E strings to the edges of the fretboard. I’ll be posting more of my long-term impressions down the road, but do go back and read that review if you’d like the full scoop.

After the last week of ownership, I have to admit that I’m not entirely thrilled with the sound of the guitar. The pickups leave me a bit cold, lacking some of depth of sound and dynamic range of other Jazzmaster pickups. They exhibit an almost Strat-like quality which I initially attributed to the new design, or perhaps the use of 500K pots and a treble bleed network, both of which can have an effect on the sound.

It wasn’t until I popped off the covers that I discovered the shocking reason for my dissatisfaction: these are not Jazzmaster pickups at all – they’re Strat-like coils in oversized bobbins.

As we’ve described previously, traditional Jazzmaster pickups have wide, flat, relatively hot coils wound right to the edges of the bobbin, which is why they possess such a wide range of bright highs, present low-mids, and round bass. Because of their size, Jazzmaster pickups sense a wider aperture of the string’s vibrational length than most, producing the dynamic, three-dimensional sound that makes Jazzmasters so damn sonically spectacular as well as unusually versatile.

Fender sells the sound of the newly-designed V-Mod pickups as “hot, vintage-inspired tone with plenty of punch and definition.” Vintage-inspired or not, the pickups found in the AM-PRO are a far cry from the sound and construction of traditional Jazzmaster pickups, which is kind of the reason folks buy a Jazzmaster in the first place. Wound tall and dense, the V-Mod pickups have much more in common with overwound Strat pickups or even P90s, minus the bar magnets and adjustable poles.

While I won’t go so far as to say they’re bad-sounding pickups I do feel vindicated in suspecting that I wasn’t getting the full experience. The sound is, to my ears, more narrow in scope and toward the sterile side comparatively; lows are there but rigid, and while highs aren’t biting, they also aren’t as sparkly. Again, they’re not bad, just not Jazzmasters.

Puzzlingly, this new pickup design isn’t new at all; these pickups are eerily similar if not virtually identical to those found on Japanese Jazzmasters since the mid-1980s. This Strat-in-a-Jazzmaster-cover construction is a hallmark of MIJ/CIJ guitars, generally considered the weak link of those models. In fact, swapping out for better pickups is always my first suggestion to players looking for more out of their import Jazzmaster. Check out this comparison shot of a Japanese pickup (left) next to a Lollar: (right)

I took this photo years ago, and the brand-new V-Mod pickups look just like the MIJ

It’s perplexing, then, that Fender would double down on such a design for their new, more modern take on the guitar. Along with the omission of the Rhythm Circuit, I suspect that this was an attempt to broaden the appeal of the instrument, to homogenize the new line so that none of the models stray far from each other. From that corporate perspective it almost makes sense to stuff a Strat pickup into a Jazzmaster, but in doing so they’ve undermined one of the most fundamental and desirable aspects of the guitar: the sound.

Look, I’m a reasonable if not opinionated guy, and I’m sure there are plenty of folks who like these pickups. Who am I to dissuade them! One of my Instagram followers was just telling me how much he loves his MIJ pickups, and I wouldn’t dream of shaming him for enjoying his guitar. I may personally find them lacking and if asked I’ll quickly suggest a replacement of superior quality. Otherwise, my motto is “Chase your bliss.”

But for those looking to spend their hard-earned money chasing Jazzmaster tones in an affordable and updated package, I’m afraid you won’t find it here. Bluntly, this guitar won’t sound like a proper Jazzmaster without modification, and at $1500, having to spend more for the ‘correct’ tone may be a mark against the American Pro series to some. To others like myself, for whom changing pickups is as routine as brushing teeth, same as it ever was.

At the end of the day, it’s up to the individual player to decide whether or not this is a dealbreaker. And really, I’m not so sure it should be, the guitar’s great fun all around. However, I also won’t pretend I’m not disappointed; perhaps it wouldn’t be so if the specs were a little more forthcoming, letting potential buyers know what they’re getting. Fender’s been vague on this issue in the past – just look at the “special design hot single coil Jazzmaster pickups” of the Classic Player line which are actually P90s through and through.

To simply call them “Jazzmaster pickups” is misleading, when in reality they are not. Beneath those big, white covers isn’t just a combination, it’s a compromise; the guitar sounds good enough, yet lacks the signature tone and feel you’d expect from such an instrument. And while there’s nothing wrong with a good Stratocaster pickup, like many other “crossovers” that aim to straddle two very different traditions, I can’t help but feel the end result is only half as effective as either.

As for me, I’ll be swapping pickups on this one sooner than later.

MIJ on top, V-MOD on bottom.

REVIEW: Toothsome Tones from Yellowcake’s Furry Burrito

I’m a big fan of cake, let it be known far and wide. All kinds of cake, really: carrot cake, coffee cake, Devil’s Food, German Chocolate, the band Cake, ice cream cake, and especially Red Velvet, which seems to get a lot of hate and is often erroneously thought of as “just chocolate cake that is red.” This is a guitar blog, but I’m tempted to spend the rest of this article explaining exactly why that’s so, so wrong. It’s offensive, really.

For whatever reason, I’ve been in a yellow cake phase for well over a year. I mean, with so many flavors out there, why settle for boring old yellow? There’s just something about that buttery-sweet taste that’s arrested my tastebuds, I really can’t explain it. Except now that I think of it, this craving coincides with the arrival of one of the coolest pedals I’ve ever owned, one which has cemented its place in every incarnation of my guitar and bass rigs since: The Yellowcake Furry Burrito.

Maybe there’s a connection.

img_1827

All-Purpose Fuzz

The Yellowcake Furry Burrito is a fuzz pedal, but not just––the fuzz circuit cascades into an on-board overdrive, reminiscent of the old practice of “stacking” gain stages for maximum saturation, only here it’s in a single unit. In this way the Furry Burrito offers uniquely full-bodied sounds, mating a buttercream Muff-like fuzz and the midrange and clarity of a good overdrive. Even at its most boisterous settings, this pedal never loses definition and potency.

Four knobs adorn the pedal’s pastel enclosure: Gain, Drive, Filter, and Level. Gain and Drive control the amount of fuzz and drive, respectively. Taking turns with each knob shows off the pedal’s unique versatility: favoring the Drive knob gives way to the sweeter side of the Burrito, but Gain is where the decadent fuzz circuit resides. Mixing the two offers a near-endless variety of tones that blur the lines between the two famous effects.

The control labeled “Filter” is your basic variable low-pass which governs the amount of treble frequencies present. However, even at its most extreme settings the pedal retains its personality, never sounding too crystalline or mushy. If you prefer your amps dark like me, you’ll find that the Filter knob can act as a sort of fixer where other fuzz pedals may become too gummy. 

The FAT switch, as you might have guessed, is a two-position selector that offers a boost to the bottom. The ‘down’ position is the pedal’s vanilla setting, and while it’s certainly thinned out compared with the alternative choice, it is by no means washed out or icy. Engaging the switch caramelizes the low end into monstrous bass sounds and warm leads. This pedal loves low frequencies.

The real surprise here is the LED indicator, which doubles as a voltage trim pot. This lets you starve the circuit, introducing all of the sputtery, ripping goodness we all so enjoy in a good fuzz. This, combined with the two flavors of grit, makes the pedal singularly versatile.

Suggested Recipes

At its most polite settings this pedal won’t get you to clean boost territory. What you’re far more likely to find here is a robust drive with some RAT-like edge. What it lacks in subtlety, it more than makes up for in bold sounds as rendered here in my very first encounter with the pedal some sixty-six weeks prior to this post:

These Pinkerton-esque sounds were produced with Drive and Gain both set right around the mid-point into my Fender Excelsior Pro. With my old Jazzmaster, I was surprised by the nearly authentic “The Good Life” sounds that were coming out of it. You know me, all of my gear-tasting begins and ends with Weezer tunes.

The Furry Burrito positively blooms where more chaotic sounds are concerned. Rolling up the Gain and Drive knobs, the pedal becomes a sumptuous wall of thick fuzz, especially with the FAT switch in the ‘up’ position. The ample, peanut butter thick low end fluffs the signal without over overstepping the bounds of good taste (unless you wanted it to). Think Smashing Pumpkins and Dinosaur Jr.

It was this side of the Furry Burrito’s flavor profile that inspired my cover of “Silent Night,” which I recorded early in December of 2016. I ran the Yellowcake into a Strymon Bluesky set for a large hall verb, then ran the stereo signal to my ’65 Fender Bassman piggyback on one side and my ’79 Marshall JMP and mock 8×10” (4×12”) cabinet on the other. When the dirt kicks in at 57 seconds, what you’re hearing is the Yellowcake pedal, those amps, and my old Jazzmaster. I’m really proud of that sound. Have a listen:


Perfect Pairing

It’s also worth mentioning that the Furry Burrito pairs beautifully with other pedals.  When introduced in front of my old standard, the Smallsound/Bigsound FUCK Overdrive, the cascading effect of the creamy fuzz slamming into the FUCK, which added some sweetness and depth while the Furry Burrito happily drenched it in a gooey  ganache of fuzz. When used after my Z.Vex Fuzz Factory, I ended up with an even bigger, wider array of squishier tones. The pairing of the Factory and the Burrito also proved useful for added chaos at the very end of “Silent Night.” You can hear them together at the 1:46 mark, when I go behind the bridge for for the big finish.

This pedal is one of the rare few that’s as at-home on bass as with a guitar, especially with the voltage trimmer rolled back a bit. It also totally nails some of my favorite bass fuzz tones, including Beastie Boys‘ “Sabotage.”

Cooling Rack

img_5394

The Furry Burrito fits in perfectly with Kali’s color-coordinated rig

Having owned this pedal for so long, I should be able to tell you all about its strengths and its weaknesses, but it’s shockingly difficult to come up with criticism.

Yesterday, I showed the pedal off to my good friend Kali Kazoo, one of LA’s most unique and colorful songwriters. Touring the pedal’s various features and settings with Kali, I realized that the LED trimmer, while novel, is easily overlooked. There’s no visual “TURN ME” cue as you’d might expect, no overt declaration of its function. Being a clear, back-lit knob, I also wish for a contrasting indicator so settings are easier to recall. As it stands, my favorite setting for the trimmer is “turned to one side and then back a little bit.

Surely it’s not an exact measurement, but I often adjust according to taste anyway. As far as complaints go, that’s Angel’s Food. Cake jokes.

Have Your Yellowcake and Eat It Too

At $165 street, this pedal is a steal. If you’re on the market for a good, versatile fuzz that can do a lot more than just big, meaty sounds and keeps its composure, definitely keep this pedal in mind. If you find other popular fuzzes too capricious, the Furry Burrito would be an excellent option for you as well. Me, I can’t even think of leaving this pedal off of my board.  You know, I’m glad I don’t have to.

My board from the most recent LeoLeo tour.

My board from the most recent LeoLeo tour.

Tagged , , , , , , , , , , , , , , , , , ,
%d bloggers like this: