Author Archives: Michael James Adams

Demystifying Part 5: The Fender Mute

After a years-long hiatus, the Demystifying series is back!

First, I need to say thanks to all of you that have checked out the blog, and in particular the many that have shared and reposted these articles. Because of their popularity, Premier Guitar recently asked me to write an offset guitar setup guide for publication, which you can find in the May 2017 issue. AVAILABLE NOW IN STORES AND ONLINE!

So thanks to all of our readers, customers, and friends––without your support, this never would have happened.
The one bit of hardware I’ve not discussed previously is often thought of as a vestigial, an hold-over from a different time fit for the bin. Ultimately, it’s up to you if you’re ever going to use the thing, and to be honest, it seems like many don’t. However, if you’ve ever been curious about it, or if you use it but find it problematic, then friend, I come bearing glad tidings. I am of course talking about the Fender Mute.

A feature shared by both the Jaguar and Bass VI – though not across all models or years of production – this curious metal plate was originally intended to be a surrogate for palm muting. Couldn’t be a simpler mechanism, really: the mute is secured to the body by two screws, and the long bolt in the middle pivots on a spring-loaded plunger sunk into the guitar body. The mute can be engaged by pressing on the plate, shifting it back and forth in place, causing the foam pad to make contact with the underside of the strings.

The Fender Mute leaves the player’s picking hand totally free for strumming or sustain-less leads. This gives the device a sound distinct from traditional palm muting techniques, one widely used on instrumental surf recordings of the 1960s. What’s it sound like? I just happen to have an example for you here:

Like the Fender offset bridge, the mute requires some extra thought to set up correctly. Really, the whole procedure comes down to balance; the mute has to be set to engage smoothly while allowing the bridge to be lowered enough for playable action. If the mute sits too high, the bridge will rest on its mounting screws. Too low, and the mute won’t engage at all.

It’s best to begin with the mute installed on its own––leave the bridge for later. Remember those two mounting screws I mentioned earlier? You’ll need to find the lowest possible setting for them where the mute still pivots. Try screwing them in all the way, then backing off until the foam side of the mute pops up and stays put. Then, install the bridge and make sure it doesn’t sit on top of the mute mounting screws.

It may take a few tries, but you’ll soon find that balance. When pressing on the plate, the foam side should rise up to meet the strings but not push them up, then stay firmly in place. Pushing down on that side should disengage the mute, again with a firm action. If the mute doesn’t stay in place, or is difficult to move, take the bridge off and keep adjusting those mounting screws.

Top: disengaged. Bottom: engaged

It’s worth noting that, In order to get the mute set up correctly, your guitar will need to be shimmed as described in part two of the Demystifying series. A sufficient amount of neck angle is crucial, otherwise there may not be enough room under the bridge for the mute to be functional.

One problem that can crop up with the mute is that it pulls the strings sharp when it’s engaged. Often, this can be due to the mute sitting too high, which effectively shortens the scale length of the instrument. If that’s the case, cranking down the mounting screws should solve this issue for most players. Too-hard foam can also be the culprit, pushing up on the strings and raising pitch. Substituting a softer piece of foam here can work wonders (more on that later). Alternatively, one can easily shave off the bit of foam that touches the strings.

If you have a vintage Jaguar or Bass VI, you’re likely familiar with a problem that arises when the original foam on vintage instruments, due to age or contact with sweat: deterioration. This happens to pickup foam as well, where it hardens and compresses, rendering pickup height adjustment difficult or even impossible.

Hardened, sticky mute foam on a refinished ’63 Jaguar. You can see the gooey residue on the low E side of the mute.

If this happens to your mute foam, I have to tell you there’s no point in trying to salvage it. Touching or removing the stuff, you’ll notice that what was once foam is now a slightly gooey, sticky mess. Even on a totally original ‘60s guitar, leaving foam in this state is at the very least off-putting and potentially problematic, what with the black residue left behind on contact with skin or strings. Seriously, that stuff is disgusting.

Do yourself a favor and replace that foam. I’ll admit, it’s often the only part we’d even thing of replacing on a perfect vintage Jaguar. Replacement Fender foam can be found on eBay, but it seems that every parts supplier is out of stock right now. In a pinch, we use this. The link will take you to some weather stripping foam that’s just slightly taller than the 3/8” by 1/4” Jaguars have from the factory, but it should work like a charm. If the extra height concerns you, the same brand has a version with a height of 3/16″ as well.

Interestingly, this Mute wasn’t Fender’s first shot at string-dampening technology. Earlier, there was foam stuffed under the bridge covers of ‘50s Precision basses. The first Jazz Basses featured stiff pads for each individual string, while the later Mustang Bass  bridge had similar devices. Muting may make a bit more sense on bass than guitar, but give this mute system a shot and see if you can’t make it work for your brand of music. To the author, it’s a fun sound that makes some rhythm parts more interesting, and with effects added, it can bloom into something totally unique. And weird. Definitely weird.

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The Taming of the Shrill: How to Rein in the Extra Brightness of an Offset Guitar

Whether it’s fawning over custom colored Jags or addressing some playability problem on a Jazzmaster, it’s safe to say we talk a lot about offset Fender guitars. It’s been an honor to help guitarists understand the quirks associated with them, yet one such quirk we’ve not addressed previously is the tonal range of these guitars.

While it’s true that both the Jaguar and Jazzmaster are capable of some truly bright trebles, they’re also capable of some deep, complex low end. Newcomers to the sound often home in on that brightness and fear that they’ve bought a guitar they can’t use. If that’s you then I’m here to help.

In no particular order, here’s a short list of ideas to help you tame the shrill from your offset Fender guitar. But before we dig in, I’d like to note that guitars being the sum of their parts, the suggestions I’m about to make likely won’t offer a night-and-day change in the sound of your guitar. To put a numerical value to it, you may find that they only amount to a 5% difference, but that could be the 5% you need.

This list may be offset-centric, but these suggestions can apply to just about any guitar.


Examine Your Amp Settings

We guitar players can be rather superstitious. Once we find that sound in our heads, once we settle on those ‘magic’ numbers, it seems like sacrilege to deviate. If this is you, take a deep breath and get centered because the very first suggestion I have for those afflicted by harsh treble frequencies is to simply dial them out.

For symptoms of excessive brightness my prescription is to start with the Presence, assuming your amp has this control. Presence knobs govern the very top of the top end (around 3-7khz-7khz) and as such turning down this knob can have a dramatic effect on undesirable ice-pick frequencies.

Treble controls most often govern the more tuneful highs in of a guitar signal (typically 1.5khz-4khz) so you may find that pruning too much here kills some pleasantness. Still, with the ample treble produced by Jazzmasters and Jaguars, you may find that you won’t need as much to keep things defined.

Now, your instinct may be to roll up the Bass knob and that may certainly help a thinned-out guitar, but be careful not to use this as a catch-all solution. Guitars generally live in the upper EQ bands of a mix, and while punishing low end sounds (and feels) great on its own, you also run the risk of muddying up a full band sound by boosting bass too much. Remember to leave space for other instruments.

You can also try utilizing the tone controls of drive pedals in the same way, cutting highs before you hit the amp. Using a darker pedal or settings before a bright amp can yield some lovely tones, or if you’re the kind that likes bright cleans and dense overdrive, this may be the way to go.


Roll Off that Tone

 Knob

I think a lot of folks have been emotionally scarred by the cheap electronics of affordable instruments, but there’s really no reason to fear the humble variable low-pass filter. Sure, a bad tone control can do sickening things to the sound of a beloved instrument; a good one can be an effective secret weapon.

I’ve long maintained that the stock Jazzmaster tone control is one of the most usable ones around. The combination of the 1meg linear potentiometer and a 333 capacitor just seems to dial out the exact high end frequencies that my ears find so unpalatable without sacrificing clarity.

It may help if you think of your tone control as a taste control instead; depending on your musical situation, you can really change the flavor of your guitar’s response to fit the moment. On my personal Jazzmasters, I leave the Tone knob at 6 or 7 as my basic sound and if I need a thicker sound, backing off to 4 or 5 does the trick. If I need twang, rolling up to 10 is almost like picking up a really good Telecaster. I’ve even gone so far as to install Gibson-style pointers on my Thin Skin Jazzmaster so that I can take note of exact settings.

When used in tandem with some smart amp-based EQ whittling, these first two suggestions may be all the only bits of the list you’ll ever need.

Try New Strings

Most people can throw down $5-$7 on a set of strings once in a while, and if you’re feeling blue about your tone, changing up your string brand or gauge is one of the most effective tweaks you can make.

Every brand has their own feel and sound, so it’s worth experimenting a bit. Say you’re a devotee of nickel plated strings but you’re getting a little too much zing. Try a set of pure nickel strings next time around, which tend to be warmer. If 10s lack some low end thump, try stepping up a gauge. Flats, ground-round, coated and uncoated, different metals… There’s a whole world of options out there. Go nuts.

Swap Pots

A common mod you’ll hear about from Jazzmaster owners in particular is tossing the stock 1meg volume and tone pots out for a lower value. Doing so warms up your guitar’s sound by shaving off a bit of the volume and high end response.

When I’m explaining the basics of how pots work to a customer, I liken them to the flood gate of a dam. If the gate’s wide open, it lets all of the water through, while closing the gate permits only a trickle. The value of potentiometers does something similar.

A pickup wired straight to the output jack is what I’d call ‘wide open’ – the full signal coming from your pickup is going to the amp without restriction. When you introduce a volume pot you’re limiting how ‘open’ that gate can be. A 1meg pot is pretty close to wide open, letting a lot more signal pass than 500k, and 500k passes more than 250k. It’s because of this that we often pair certain pot values with different types of pickups (i.e. 250k for singles and 500k for humbuckers).

The stock value for your Jazzmaster or Jaguar is 1meg, which has much to do with the bright tone of these guitars. When you swap out for a lower pot value, you’re shifting the resonant peak frequency lower, invoking a warmer sound. Stepping down to 500K is enough of a change for many players, but going all the way to 250 shaves off an even greater amount of high end.

For an example of what lower pot values can do for you, Nels Cline’s famous “Watt” Jazzmaster has 250k pots, which works perfectly for a man known for hating treble.

My signature Redbeard cable from our pals at Sinasoid, available through Mike & Mike’s!

Ditch the Lossless Cables

While the arguments surrounding the effect of cables on tone are never-ending, it makes perfect sense that anything between your guitar and amp could alter your tone. And while many cable companies boast ultra-low capacitance, conductors made from rare materials, or instrument-specific lines, many of the most influential musicians of the last 50 years used whatever they could find to make that all-important connection.

Hendrix’ use of long, coiled cables is one of the examples many point to when citing how a cable can have a huge impact on the sound of a guitar. Coiled cables by nature are actually much, much longer than similar standard cables––there’s almost three times the material between the plugs! As a result, the signal from the guitar has to travel a much longer distance to reach its destination, and thus, increased capacitance. The greater the capacitance, the less high end that is transmitted through the cable.

Capacitance is no joke and is something worth considering when you buy a cable. That said, ultra-low capacitance may not be the best choice for everyone. When our pals at Sinasoid offered to design signature cables for the shop, I specifically asked for a longer, higher capacitance cable than what I was used to, and I couldn’t be happier. So ditch the buffer and short leads and see what happens.


Swap Pickups

A lot of players ask me for recommendations on darker Jazzmaster pickups, and usually the first four names out of my mouth are Lollar, Novak, Antiquity, and At-The-Creamery. Each of these manufacturers offer superior sound to most stock units and have tons of options even for Jaguars.

For those looking for vintage-correct tones, Duncan’s Antiquity Is beautifully capture the sound of a 60-year-old black-bobbin pickup, louder and darker than the IIs which emulate the brighter grey-bobbin pickups of the late 1960s. Comparing the Antiquity Is to the pickups in my ’61 Jazzmaster, they’re damn close. Of course, Duncan has many different Jazzmaster pickups.

Lollar’s standard Jazzmaster set is a lot like a 60-year-old pickup when it was brand new: healthy output with a bit more top end, as well as the signature Lollar midrange bump. I have these installed in my 2007 Thin Skin Jazzmaster and couldn’t be happier. Lollar also offer one hell of a Jazzmaster-sized P90.

If you need something weird, my friend Curtis Novak is my first choice. Curtis has a knack for stuffing non-standard pickup designs under a stock Jazzmaster cover, from Mosrite and Gold Foils to dummy-pole humbuckers. He’s a miracle worker.

Jaime from At-The-Creamery in the UK is a fantastic option for those who like to get into the nitty gritty details of pickup making, allowing the player to choose things like magnet type and output. He does brilliant work to boot.

Of course, each of these makers offer a wide range of pickups for all guitars.

Have you tried plugging into the Bass channel?

Try Darker Amps

With the popularity of the boutique amp market and its affinity for “jangle” it’s bit more difficult to find amps with a focus on low end and low-mids rather than trebles. I realize that not everyone can just get a different amp at the drop of a hat – I’m no spendthrift either – but if you find yourself in a position to consider a new or additional amp, then I have a few suggestions for you.

For smaller tube amps, the Fender Blues Jr. Lacquered Tweed is equipped with a 50 watt Jensen speaker, which offers less speaker breakup and a lot more low end than you might expect from such a small cabinet. I also highly recommend the Excelsior Pro, made in the tradition of 1950s low-wattage combo amps and reviled by some for its tonal inflexibility. Still, that 15” speaker sounds huge even at modest volumes and the amp loves pedals. They go for next to nothing on the used market.

For a mid-size amp, the Peavey Classic series tends to be overlooked but you’ll find warmth characteristic of Tweed-era Fenders at a fraction of the cost. For UK tones, the Normal channel of an AC30 works beautifully, but if you’re looking for something with more gain the Orange Rockerverb range should do nicely.

For heads, I have to say that the new Marshall Silver Jubilee reissue surprised me with the amount of lows it has on tap. The Mesa Tremoverb is another hugely underrated and darker-sounding amp, one higher-gain head that I wish I owned.

Come to the Dark Side

I’d like to echo the sentiments of our Sith Lord Vader, welcoming you to the more sinister side of tone. To be clear: there’s absolutely nothing wrong with brighter sounds! If chime is your thing, chase your bliss! Me, I’ll be over on the other side of the stage in my warm, woolen cocoon.

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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.

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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

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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.

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Shelton Electric: A Very Special Valentine’s Review

img_1870Valentines Day came and went this week, a day filled with heart emoji, chocolates and stomach-turning cuteness from couples telling the stories of how they met. Love at first sight gets a lot of play in tales of romance, but it is most definitely a thing with musicians as well. It can even lead to trouble sometimes.

You’ve heard the stories of chance encounters and missed connections, I’m sure:

“I walked into the store, and there it was, just hanging on that wall. I had to make it mine.”

“Begged my friend to sell it to me for three years, and then one day he asked me if I still wanted it. I went to the bank right then and there!”

“I came back later that day with the money and it was gone! Wish I would have put it on layaway.”

For this piece, I want to tell you how Shelton Electric Instruments turned the longing gaze of this furtive lover into a two-week whirlwind romance with the GalaxyFlite model. Like the flickering light of a candle, our passion danced and then suffocated quickly, leaving behind only wisps of smoke and memories that won’t soon fade.

I Swiped Right on the Flite

img_1886The first time I saw Shelton Breeden’s work, I was intrigued. Shelton Electric Instruments offers up instruments based on familiar shapes but with a few modern twists that set them apart from a room filled with suitors. Such twists range from back-painted pickguards and racing stripe finishes, to electronic tweaks and non-standard pickup configurations. From the photos posted on Instagram, Shelton’s manifest commitment to quality shined in a frankly oversaturated social media landscape. I was hooked.

I skulked about on the app for some time, liking and commenting away but careful never to draw too much attention to myself. Just an admirer, this fellow. To my surprise, a direct message from Shelton soon appeared in my inbox, asking if I’d like to give some of his guitars a thorough once-over and offer some suggestions. I accepted without hesitation; any builder that wants to send me gear so I can blab about it on the internet knows how to push all of my buttons.

Red Dress and a Pearl Neck…lace

This case really gets the imagination going.

This case really gets the imagination going.

Quick to arrive at my door was this GalaxyFlite Super III model, which uses the classic offset shape as a basis for customization. Opening the very classy-looking case, that familiar candy smell of new finish rose from it and greeted me like a handshake. Immediately apparent is Shelton’s eye for detail, the nitro finish being flawless in both hue and sheen. Fiesta Red is one of those colors that just exudes cool, and Shelton certainly nailed the shade, rich and alluring as it should be. A bound-and-blocked rosewood fretboard was perfectly accessorized to the ensemble.

Speaking of visuals, let’s talk about that two-tone headstock. Some folks don’t seem to be on board with it, and I understand that it’s a deviation from the norm. Beauty is, as they say, in the eye of the beholder, yet this beholder loves it. It would seem that many builders prefer to stay in the well-tread peghead wheelhouse and only slightly tweak the shape so it’s not legally actionable. Instead, Shelton went for a design that’s half plank and half aircraft nose, evoking the image of a scimitar slicing through the air. Is it a success as unique and identifiable designs go? I’d say so. For those with less adventurous tastes, a new, sleeker version is already on its way.

img_1936Though the neck shares the 1 11/16” nut width of Fender reissues, Shelton’s shape is slightly more substantial than what you’d find on AVRI 62 models. The more modern 9.5” radius felt as comfortable as it did familiar, so players used to flatter or rounder necks should find something to love here.

The fretwork on this Galaxy Flite is perhaps the best I’ve seen on any custom instrument, and I’m not just being kind here – this work is superior to my own. Notes ring out clear in all positions, fret ends are meticulously sculpted, and the crowns are so perfectly rounded that you barely register them whilst sliding your hand up the neck. All of this is thanks to Rachel Quinn, who handles final setup duties for the company.

I Used “Pickup Lines” in a Previous Article So I Can’t Here

img_2023Equipped as standard are a few of my favorite brands, namely Mastery Bridge hardware, Porter pickups, and Emerson Custom electronics. Using such high-quality components means these instruments are guaranteed be fully functional and dependable right out of the box. Aside from matters of taste, there won’t be any need for round after round of upgrades here, setting Shelton apart from the few high-end builders that use cheap hardware and electronics.

Three Porter Jazzmaster-style pickups occupy a swimming pool body rout, a modern-wound J-90 for the neck, a standard Jazzmaster in the middle, and a WRJM in the bridge. I really love what Porter’s doing in the pickup world, but the selection here may be the only aspect of the guitar that may need some re-thinking. On their own, each pickup sounded great and well-suited to its position, but there was a disparity in volume between them that couldn’t readily be corrected with height adjustments. Really, it came down to the J-90 being louder than the other two, so perhaps a vintage wind on that one would settle in a bit better.

Something Cliché Involving the Word ‘Curves’

The control scheme on this one could be somewhat confusing if you’re expecting the normal layout of a Jazzmaster. Instead of the lead/rhythm circuits commonly found on the guitars, Shelton opts to use the on/off switch on the upper bass side horn to split the bridge pickup and add in the middle pickup via the rollers repurposed as volumes for the neck and middle pickups. Somewhat cumbersome the first time you use it, the array becomes second nature with a little persistence – and useful as well!

Even with the learning curve, there are some potent sounds on display here. Rather than shoehorn the same old descriptors for tones, why not just listen to the thing? Click the videos below for sound samples, including one that runs through all of the available pickup selections.

I rarely ever play totally clean, so you're in for a treat. Here's a quick run-through of all of the available pickup selections on the amazing @sheltonelectricinstruments GalaxyFlite III. The middle pickup and Wide Range in split mode are controlled via the typical Rhythm Circuit switch and roller pots, with the neck volume being the front roller and middle being the back one. RC switch UP: -> Middle -> Neck & Middle -> All -> WRJM Split! RC switch DOWN: -> Bridge (normal) -> Bridge & Neck -> Neck Sorry I rushed at the end there, I realized I was running out of time. Also, that ringing out you're hearing? That's coming from my acoustic, which I absent-minded li left on the chair right beside the camera. That's a good acoustic, though! So sympathetic. #guitar #demo #clean #cleantone #sheltonguitars #sheltonelectricinstruments #galaxyflite #jazzmaster #custom #customguitar #porterpickups #widerange #wrhb #p90 #offsetguitars #fiestared #music #musician #guitarist

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Hands-On Experience

From the moment I unboxed the guitar, it played magnificently. Shipped with 10 gauge strings, the action was low and comfortable and intonation was spot-on. Clean or distorted, the guitar had much to offer in harmonic complexity, never sounding dull or flat. Again, Rachel’s expert fret and nut work played a huge part in this.

img_2017With Mastery Bridge involved, it’s no wonder that the guitar felt solid and took all that my heavy right hand could give it. I’ve oft praised the Mastery Vibrato for finding a perfect balance of tension and smoothness, and here is no exception. With every wild stab of the arm, the guitar always returned to pitch and reacted tit-for-tat with any change in attack.

At home or a loud rehearsal, this instrument covered all of my tonal needs without sacrificing the integral, forward-facing characteristics of the guitar it’s based upon. Jazzmaster fans looking for more options should find their home in the Shelton. And, if wacky features aren’t your thing, Shelton does indeed offer more simplified and classic interpretations of the offset guitar.

Love Connection

I am in no way employing hyperbole when I tell you that this may be one of the most exciting and well-built guitars I’ve ever played out of the boutique market. The quality of this instrument is just superb, and you can tell that at the end of the day Shelton Electric care about making great instruments over statements. He lets the instruments do the talking rather than making bold claims about how his work will change your life.

Modesty aside, it just very well may.

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#NAMM2017 Day 2-3

Welcome back, dear readers, to our coverage of NAMM 2017. I spent my second and third days at NAMM attempting to see and play as many things as I could, and although there’s a rather large list of booths I didn’t get to see, I definitely got the full NAMM experience (and I’m not even sick, thank the maker).

And on a personal note, if you were one of the many, many new friends that stopped to tell me how much you love the shop and my Instagram posts, thank you. You made me so happy. I felt like a celebrity!

Ernie Ball | Music Man (Booth 5440)

At NAMM 2016, EB was one of those must-see exhibits for me. The newly-announced St. Vincent model had my attention from the first rumors of its release, and it blew me away with its angular design, light weight, and fantastic neck. This was one of the first new guitars to really wow me in years. I still really, really want one! img_4702

Now that there are four new color options, I’m even more into this guitar model. There’s an all-white model that Annie Clark calls “The Thin White Duke” (an homage to the late David Bowie); an “Angus Young” wine red with gold hardware; a very Firebird vintage sunburst; and my favorite, the “Stealth” model, fully blacked-out, looking tough as nails. I absolutely must own this guitar.

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Just like last year’s standard blue and black, these guitars boast three mini-humbucker pickups, the smooth and stable Ernie Ball Music Man tremolo, 5-way switching and Schaller locking tuners. Yes, please.

Thanks to Robert Ochoa, internet friend and Ernie Ball guitar tech, I also spent some time with their Cutlass model in a very attractive Charcoal Frost finish. I may not be much for Strats, but this fresh take on the shape felt comfortable and played like a dream. Thanks, Robert!

Ernie Ball also announced their new line of strings, intriguingly dubbed, “PARADIGM.” The advertising claims these strings won’t break––like, ever––and if they do Ernie Ball will replace them. Seems like quite a tall order to me, but hey, only time will tell. I’m hoping to pick up a pack of these strings to give them a go based on the claim alone. With so many variables that affect string longevity, I’m curious to see how they’ve fortified their strings.

CURTIS NOVAK

I caught up with Curtis Novak while passing by the EarthQuaker Devices booth, and it’s always good to hang out with him. It’s no secret that I adore Curtis’ work; from authentic and tuneful Jazzmaster pickups to recreations of my favorite off-brand pickups of the 1960s, Curtis knows what a good pickup should sound like. And while his standard designs are wonderful, his work really shines when he gets to shove something weird under a non-traditional cover.

For some time, Curtis Novak has been the only maker to offer a version of my favorite Gold Foil pickup, the DeArmond/Rowe-made units found most commonly on Silvertone and Harmony guitars. My favorites have always been wound extremely hot, sometimes in the 10-12K range, and Curtis not only nails the look but the output as well. In addition to new Diamond and Mustache covers, Curtis also has some new options for foil inserts as well. Those sparkles are right up my alley.

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This NAMM also served as the official unveiling of his new Guyatone-style gold foil (pictured above) which comes complete with the right materials and covers made to his exacting specs. I had the good fortune to play this pickup at the last Fretboard Journal Summit, and I have to say that it captures the twangy beauty of the low-output originals to a staggering degree. Simply amazing work, Curtis!

And since I happened by the EarthQuaker booth at just the right time, I stuck around for a demo set by Fabi and Laurence from She Shreds magazine, one of my favorite guitar mags out there. I’m a huge fan of their work and focus on the music industry from the perspective of female players. It’s important, necessary work they’re doing.

HOTONE (Booth 5995)

Before leaving the EQD booth, I ran into O, a fixture in the music industry. He’s a guitarist, band manager for Dinosaur Jr., photographer, pedal connoisseur, and the reason that the Squier Super-Sonic was on my radar back in the late 1990s. The man is filled with stories, and his Instagram series “One Photo and One Photo Only” is one of the few ongoing series that I look forward to these days.

img_4720After chatting for a while, we decide to walk the floor for a bit. We were mere booths away when O told me, “Oh, you gotta check out this tuner pedal. It’s the best tuner pedal in the world.” When O says something like that, I take it at face value. We followed him to the HOTONE booth, where he pointed out a comically small pedal and declared, “There it is, my favorite tuner pedal ever.”

I know what you’re thinking: “It’s a tuner. How good could it be?” First things first, this Skyline Series tuner pedal tracks fantastically, and is true-bypass so it’s out of your signal chain when disengaged. And again, it’s small, so it won’t take up valuable space on your pedal board. It’s also inexpensive, with most new prices floating somewhere between $59.99 and $69.99. All of these are good things.

But what’s that there, at the top of the pedal? It’s what makes this pedal so great: a knob that controls the pedal’s volume when engaged, from silent to 12 db of boost! This is a fantastic boost pedal, and I’m so glad I got clued into this thing. How’s it sound? In the words of O: “Gnar.”

SAUL KOLL (Booth 1589)

Saul Koll may have had the coolest booth of the whole show, and you know this before you ever see a guitar. It’s better to just show you rather than try to explain:

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Dude drove his booth to NAMM. And it’s a VW single-cab pickup, no less. I’m not sure if this has ever been done before, but if it has, there’s no way it could have had the style of this year’s Koll Guitars booth. How freaking cool is this!

img_4731With messages of equality on the dash, the #kolltruck served as both display and stage, making the perfect backdrop for his guitars. Whenever there was a demo session, the performer would sit atop the truck bed and plug into a Benson amp. It’s also a total conversation starter, and I’m sure a number of convention goers stopped by simply because who even parks a truck on the show floor! What a brilliant move.

It’s a good thing Saul’s guitars are works of art unto themselves, or the truck would be the only thing to speak of here. Saul brought with him a number of guitars, each beautifully finished and in a number of configurations. This semi-hollow red devil pictured to the right came loaded with humbuckers and a Bigsby vibrato, sporting a guard with a Guilloché (engine-turned) look. There was also a yellow offset Jr-style hard-tail and a bass equipped with a Novak Bisonic/Dark Star pickup that caught my attention. There was even one model loaded with two TK Smith Summertone pickups that just demanded to be played. I’d take them all home in a heartbeat. img_4733Saul Koll is one of those builders that seems incapable of producing something you don’t immediately want to own. Look, feel, playability, it’s all there.

SATELLITE AMPS (Booth 1595)

Satellite has long been one of my favorite amp companies, but now that they offer both guitars and effects pedals, they may end up being my favorite one-stop shop for all of my instrumental needs. It’s not often that a brand, well-known for one thing, can easily  make the transition into other areas, often sacrificing quality in their bread-and-butter area of expertise to build up the new side of the business, or doing one thing great and everything else averagely.

There is nothing average about Satellite.

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I may not need to tell you how great these amps are, but the guitars, I’m gonna have to beg your pardon because I’m about to preach. Adam and co. have done something that seems impossible, making a single-pickup guitar of the Jr. family that stands out from the rest. It’s a simple machine, right? Just a pickup and a stop bar, how hard can it be?

But there’s so much more to the Satellite Coronet. Satellite Founder Adam Grimm has a deep love of the 1960s Epiphone Coronet, as well as the entire Gibson family of student models. The first time I met the guy back at the LA Amp Show in 2015, he handed me guitar after guitar in the vein, praising them for their understated genius. Inarguably, Adam knows what makes a cool guitar, so combine this with his enthusiasm and tenacity, and Satellite is the clear choice for the perfect company to pull this off.

img_4744When I saw Adam months ago at the Fretboard Journal Summit, he brought along the red prototype, as seen in the photo above. I fell in love with the thing immediately, and even though I couldn’t plug in, the neck begged to be played and the thing rang out like a peal of thunder on a quiet night.

If you can imagine, somehow Satellite have made the production models even better. The instrument is perfectly light-weight, beautifully finished in a range of tastefully-aged colors. It’s trite to call out a finish for looking “just like the real deal” these days, but I’m going to say it anyway: it looks like the real deal. The authenticity of the shape, the range of delicious colors, the suitably snarly pickup, the chunky-yet-not-baseball-bat neck shape, all of these features had me asking the price before I’d even figured out what I could sell to afford one.

I really can’t say enough about the guitars, except that plugged-in, they’re jaw-droppingly good. If you’re looking for an exceptional student-style guitar, even if you’re in the market for vintage, you may want to consider this one. There’s even a two-pickup model which I neglected to photograph that’s still haunting me these few days later. img_4779

Didn’t I mention pedals? I think I did! Satellite also saw fit to grace us with a new line of five pedals, and once again, they knocked it right out of the park. The Golden Harem is a delightful octave-fuzz that’s both sputtery and harmonically rich, while the Fog Cutter’s selectable transistors offer an entirely different fuzz experience ranging from brash to wooly. The White-branded pedal (blue, far left) is essentially one of their White reissue amplifiers in a box, but with the tubes swapped out for transistors. If you’ve ever played a White but couldn’t own one for yourself, this pedal nails the sound and the feel of these nearly-mythical Fender-made amps. It’s a total set-and-forget kind of pedal, too; this unit could easily become your main sound.

The Eradicator pedals, both in guitar and bass versions, were the ones that spoke to me most. I don’t recall ever playing a tube-driven pedal and walking away impressed before; something about the response of such units and their muddy tones has always left me cold and unwilling to add one to my stable. The Eradicator may have completely flipped the script on me with its nasty, big-bodied drive. These pedals were loud and in charge, if that makes any sense, and maybe the most fun I’ve had with a pedal during the entire show.

I definitely didn’t want to stop playing once I’d started, especially once I turned on the Bass version (black, upper left). Meant for bass instruments and with a separate DI out, this one really slayed me with its mean, dark tones and bigger, rounder low end. I’m in love!

KAUER/TITAN GUITARS (Booth 1294)

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Vanessa loved this one loaded with Lollar Model One pickups

My buddies at Kauer Guitars always have a really great booth. With wooden crate decor and a lot of floor space with plenty of benches and stools, I was hard pressed to find another booth as comfortable, like your favorite guitar shop.

img_4765Kauer brought with them a number of stunning pieces, including an Argonaut dressed in a metallic blue finish and Mastery hardware Kauer had gold plated specially for the model. I spent some time with it and found it to be one of those rare magical guitars, the kind you come across once in a while that give you that achy feeling deep down. An impressive guitar to be sure, it’s sadly not for sale.

Kauer also came fully loaded with their more affordable line of Titan Guitars. Made in California, the Titan KR-1 has a more-or-less modular design so that the basic guitar is ready to go until a buyer decides what specs the final product will have. Choose a satin body color and a pickguard, pickups, bridge, and switching and you’re all set. A huge variety of the model’s possible configurations were on display, each of them exciting in their own way. My favorite: this single-pickup bruiser as played by Josh Scogin of the band ’68. Just a Duncan humbucker wired directly to the output jack. Yes, please.

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PRISMA GUITARS (Booth 1399)

I’ve been following Prisma’s progress for quite a while now, I really couldn’t be more excited by their work. Nick Pourfard and Co. recycle old skateboards by gluing them together and then shaping them into guitars. Like, really. It’s amazing. Take a moment and stare at this, even if you don’t get it at first:

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I’m so, so into this. The playful visual cue of the multi-colored boards coming together at different angles is a treat for the eyes, but then again, I’m a sucker for lots of bright colors. Believe it or not, they sound just as good as they look!

img_4769Loaded with McNelly pickups and Mastery Bridge hardware, these guitars are set up for greatness immediately. The necks are fast but not too thin, frets are expertly crowned, and the guitars feel so familiar that if you weren’t looking, you’d forget you were playing something made from skateboards.

I’ve been looking forward to playing these guitars for a long, long time, and I’m happy to report that Prisma totally met my expectations. I’d like to note that if the look of skateboard guitars aren’t your thing, Prisma also offers standard finishes, as well as guitars made from traditional body woods as well. Check out the orange Sunset model pictured here, Prisma’s long-scale take on the Squier Super Sonic model!

TEMPLE BOARDS/MATTHEWS EFFECTS (Booth 1791)

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I caught up with my friend Rick Matthews of Matthews Effects, who was on-hand at the Temple Audio Design booth to tell me all about his new partnership with the company. Rick designed a new line of modular end panels, fully interchangeable and easily installed and swapped by the user. These new panels come in an array of different designs, from the SUMMOD which allows musicians who run stereo to never think about connections again, to the built-in BUFRMOD which can run as six different kinds of buffer setups including stereo, dual-amp, and fully mono. Pedal junkies should take note; while I lament the overuse of the phrase “game changer,” it’s fully applicable here.

Non-Temple owners will be pleased to find that some of these modules will be available as standalone units.

MARSHALL AMPLIFICATION (Booth 5740)

img_4793Even if you’re a newcomer to the NAMM convention, there’s no way you’d be able to miss the Marshall exhibit. With literal walls of amps on the corner of the main drag, it’s hard not to be impressed by stack after stack of iconic amps.

I headed over to Marshall on my third day at NAMM not simply to browse, but because I’d been invited there by Chris Robinson, social media manager for the company and punk rock enthusiast. After reposting a few of my photos on Instagram, as well as kindly sharing the music video for my rendition of Silent Night on Christmas, he reached out to me asking if I’d be interested in meeting up and having a look at some of Marshall’s products. Of course I would, don’t be ridiculous.

Marshall may not have any spanking new amps for this year, but last year’s models were still new to me. Of all the things I saw and played at last year’s NAMM, I just didn’t get around to checking out any of what Marshall had to offer. In chatting with Chris, we briefly went over the newly-redesigned CODE 100 modelling head, and talked a bit about how the Astoria series has been recieved, being Marshall’s answer to the hipper boutique amps of the day. I pointed out that I hadn’t seen the 2525 Mini Jubilee head before, and Chris excitedly told me that they’d “…kept all of the tone, just made it smaller.”

img_4808I balked at the idea initially; I’m a huge fan of the original release as well as the recent Silver Jubilee reissues, I just couldn’t imagine this being true. The sheer number of mini-amps on the market that all make the same claim yet ultimately fail to measure up may have soured me on the idea, but Chris persisted. “Look,” he said, picking up the head and turning it around, “big bottles!”

The mini-amp craze seems fully reliant upon the EL84 tube, which is a great valve but not the one that I associate with some of my favorite higher-wattage heads like the Marshall. Seeing the glimmer of full-size 34s through the metal panel, well, that gave me all kinds of hope.

Chris ushered me into Marshall’s personal ISO booth to prove it to me, which is perhaps my favorite location in all of NAMM. Before he hooked up the amp I begged him to pause for a moment, just letting the silence overtake us. NAMM is loud, like Guitar Center times 30 loud. Anyway, after a gloriously brief moment, Chris plugged in an Arcane humbucker-equipped Strat and turned me loose on the 2525, instantly greeted with––you guessed it––the very tone I scarcely believed would come from a tiny head and cab.

img_4853After performing my usual tone tweaks (Presence and Treble at zero thank-you-very-much) and cranking up the preamp, I was in my own personal Alterna-Rock heaven. Suitably crunchy and brimming with that strident midrange Marshall are famous for, this amp delivered every bit of the good stuff I craved. All of this at 20 Watts, too (switchable to 5).

Also, that vertical 2×12 cab has nearly the same dimensions as my favorite vintage Marshall 8×10 cabs, so it’s safe to assume that I am very much into the look of this little stack. I need one. Thanks a lot, Chris! 

***

Like I said before, there was a LOT to do and see at NAMM 2017, and in the space of three days, I probably got to mess with more gear than I will in as many months this year. I can’t wait for the next.

Special thanks to my pals at Sinasoid cables for the pass! You’re the best. Everybody, go buy some cables from them––may I humbly suggest my signature Redbeard for starters?

 

 

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#NAMM2017 DAY 1!

Hail and well-met, favored readers. As you may already know, Thursday marked the first official day of the NAMM (National Association of Music Merchants) Show. Hall after hall, exhibit after exhibit, there’s so much gear packed into each square foot that it’s difficult at first to take it all in. I spent my first day milling around, getting my bearings on the densely-populated show floor, and in the company of good friends and new real-life acquaintances which were formerly of the internet-only variety.

Though I did my best to see and experience as much as possible, there was just too much to pack into a single day, so I’ll be returning to NAMM 2017 for two more days of coverage. In the mean time, I’ve hit some of the bigger booths to give you a taste of what’s in store for this year’s show.

EARTHQUAKER DEVICES (BOOTH 4296)

Running behind as I was, I rushed to get to the EarthQuaker Devices booth before the Vanessa Wheeler demo set was over. Alas, it turned out that she had fifteen less minutes than I believed, so I missed it. Still, I’m proud of my good friend for landing such a cool gig! And from the videos I watched on Instagram, her singer-songwriter vibe and chordal wizardry paired beautifully with the subtler side of EQD.

In turn, this afforded me the chance to fully experience EQD’s range of pedals with a BilT Relevator through their headphone rig. Among my faves from this year’s setup were the Acapulco Gold (a single-knob distortion) and the Rainbow Machine, which is pure joy in pink pedal form. The new Space Spiral seemed to be all the rage, and sure enough, this modulated and ethereal delay gave me literal chills, boasting sounds I never imagined coming from a delay pedal. It is 100% worth your time.

img_4637We stayed to see a demo set by Sarah Lipstate, who weaves spooky and cinematic tapestries of sound under the moniker Noveller. Armed with a ’65 Jaguar and a host of clever boxes, Sarah showered us in washy, moody tunes that were orchestrated movements rather than songs. Moaning and wailing, her guitar sounded less and less traditionally “guitar-like” as her set waned on. This is what I love about EarthQuaker’s NAMM presence: they choose such a wide range of musicians that the versatility of their pedals is absolutely clear.

Before we left the EQD area, we met up with a few cherished souls, among them Chandler Eggleston (guitarist for Carter Winter) and Andrew Sinclair from Madlab Coffee. We banded together, feeling much safer in numbers as we traversed the busy show floor.

FENDER (300E)

img_4640From EarthQuaker, we headed straight upstairs to check in on what Fender was up to at NAMM 2017. Fender’s exhibit is even more exciting than last year, boasting a ton of Custom Shop instruments and the new American Pro line as well. The full AMPRO line was well-represented: Strats, Teles, Jazzmasters, Jaguars, Precision and Jazz basses too. Decked out in new, bright colors, your first look at 2017 Fender is a pretty sight for sure.

Walking toward the rear of the exhibit, you’ll start seeing Journeyman and Masterbuilt guitars for the year. Among my favorites were a Journeyman Relic Bass VI in Shell Pink, a host of sparkle-finished Custom Shop guitars, and a special collaboration with my pal Paul Frank. Yes, that Paul Frank. This Telecaster features a custom-printed foil paper under a lovely metallic burst, a Curtis Novak gold foil in the neck, and one of Fender’s new RD bridges. I always love to see Paul’s cartoons put to good use on a musical instrument.

The Paul Frank Telecaster is so wacky. I love it.

The Paul Frank Telecaster is so wacky. I love it.

We also ran into our pal Matthew Farrar from Fender’s Artist Relations department and had a lovely chat about staying healthy during NAMM. If you’ve never been, you may not have heard about the yearly bug that goes around, not-so-affectionally known as NAMMthrax. Having suffered from this last year––like a mix of the flu, pneumonia, and the less savory bodily functions––I can tell you, it’s earned a fearful reverence from attendees and exhibitors alike. Matt recommended getting sick before NAMM, but for those less inclined to get sick at all, carrying some hand sanitizer and overloading on multi-vitamins seems to be the usual preparation.

GIBSON

Before heading back downstairs to the main floor, we stopped by Gibson’s hall. As I walked between the ropes leading inward, a Gibson-branded girl in tiny shorts stopped me by placing her hand on my stomach. She then grabbed my badge and scanned it without saying a word. This was weird and uncomfortable.

Andrew is a total boss

Andrew is a total boss

It seems that scanning the QR code on our badges (and the personal info that goes with it) is the price of entry here. Andrew smartly asked if they were taking his info and when the girls answered in the affirmative, he held his badge against his chest and exclaimed “CAN WE NOT” as he passed them. I admired him for that.

Realistically, this probably leads to an innocuous email list, one that I’ll likely unsubscribe from as soon as the first blast hits my inbox. No harm, right? Thing is, this just didn’t feel good to me, and that’s the real damage here: Making consumers and retailers feel uncomfortable and possibly less welcome while trying to build buzz for new models seems like a total misfire.

Simply asking if I’d like to sign up for more info would have sufficed, or perhaps incentivizing the move somehow would have smoothed over the whole transaction; just taking it didn’t sit well with me. Gibson doing so with neither explanation nor respect for personal space made me want to leave before I’d even crossed the threshold. It should also be noted that Gibson are the only exhibitor doing this.

This out-of-touch practice did little to ingratiate Gibson to myself or my friends, and in fact, we left mere seconds later without really caring about the guitars or other products found there. And that’s to say nothing of how outdated the whole “booth babe” concept remains in 2017. So, no, I won’t be covering Gibson.

BENSON & RONIN (Booth 2294)

img_4675It’s always good to see friends, and Chris Benson has always been a good one to the shop. We’re huge fans of his amps, from the 30W Chimera and 15W Monarch to the 1W Vinny head & cab. At the time a demo was going on, so I didn’t get to spend any time with Chris’ bass amp, which I’ve been dying to try. Another mission for Friday, I suppose.

At the same booth we also found Ronin guitars on display. I don’t know about you, but those deep carves and uniquely crafted lines just slay me. Such artistry begs to be played, but like I said before, a demo was going on. We were SO in the way. I did, however, manage to snag a few photos. Just look at that!

This is beautiful.

This is beautiful.

SINASOID MEETUP!

Our friends and makers of our very favorite cables on the planet (including my own signature Redbeard cable) held a small get-together for artists in their Hilton Hotel room toward the end of the day, a lovely time for all. We got to hear about plans for 2017 including some very exciting, very hush-hush developments for the company. With as much traction and support as they had in 2016, I think this year’s going to be huge for them. I’m so proud to be a part of their lineup.

REVERB.COM (Booth 4368)

img_4687It’s always good to run into the fine folks at Reverb.com. Although Reverb is a retailer, they still brought plenty of eye candy for the show, including a Sheltone Electric GalaxyFlite, a custom Jazzmaster that exceeds all expectations from price to playability. I’ve had the great honor of keeping and inspecting two of Shelton’s guitars over the last year, so do expect an in-depth review of his wares soon. Spoiler: I love them.

Reverb also had another of my favorite builders on display, namely Paul Rhoney. The last Oceana available for some time is available there, its striking red-and-black finish catching the eye the moment it’s in view. Paul’s put his company on hold for the moment, but he’s not gone for good! He just moved to Portland, OR and you can catch him at NAMM with Veritas Guitars (Booth 2290). I’ll be checking in with them over the next few days.

Vanessa was suitably infatuated with this one

Vanessa was suitably infatuated with this one

I also had the absolute pleasure of handling a hardtail Jazzmaster-style guitar from Electrical Guitar Company, a first for me. I’ve always wanted to spend some time with their aluminum instruments, and even though I didn’t get to plug this one in, I came away from it completely impressed. I’ve never owned a Travis Bean instrument––the company handles the reissues of these legendary beasts––but I’ve long admired their quality and unique feel and tone, so being able to experience these guitars in-person was a huge treat for me. THANKS, NICK!

The Electrical Guitar Company Ken Andrews (Failure) model.

The Electrical Guitar Company Ken Andrews (Failure) model.

END OF DAY 1

I’ll be back tomorrow with more photos, info, and scoops on what’s new at NAMM.

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Fender American Pro Jazzmaster & Jaguar: First Impressions and In-Depth Review

Earlier this year, message boards and forums lit up with rumors of Fender’s 2017 American Pro series guitars, especially the Jazzmaster and Jaguar models in the range. Appearing to be a more affordable and streamlined alternative to the AVRI line, speculation ran wild as to what the series might offer. Me, I couldn’t wait.

img_4324Fender began sending them out to musicians and social media stars late in the year (where’s the love?!) but kept quiet about specs. Much of what was known about the models was deduced by blowing up blurry Instagram photos and leaked catalogue pages. Excitement soared, and soon I was buried under requests for The Jazzmaster Guy’s take on the new models.

I’m happy to say I finally had the chance to take both guitars for a spin yesterday while Hollywood Guitar Center with my best friend Vanessa Wheeler of Leo Leo. With her help, I’d like to walk you through some of our thoughts and impressions of these new guitars. Are they any good? Worth the money? Fun to play? Read on and find out.

 

Mystic Seafoam is a win for both of us

Mystic Seafoam is a win for both of us

Visuals

Fit and finish on these guitars is superb. In typical Fender Corona fashion, there wasn’t a cosmetic flaw to be found.

Let it be known far and wide that Mystic Seafoam may be the best color Fender have produced in years. No photo––not even mine––will do it justice. It demands attention, which is how we spotted it from across the room the moment we walked on the sales floor. So visually arresting is this color that we paid zero attention to any other instrument on the wall. I think I heard Vanessa mutter “Oh, wow!” under her breath.

I wish I could say the same for Sonic Grey. I was excited to see it in person ever since Jimmy Vivino posted his own grey Jazzmaster on Instagram, but it just didn’t do it for me. Vanessa pointed out that my reaction to the color might come down to the plastics: Mystic Seafoam is paired with parchment while Sonic Grey is clad in stark white, which lends a sort of harshness to the guitar’s visual palette. Of course, this is just me.

Also new for this series: glossy maple fretboards! While this isn’t a first for Fender, this uncommon feature hasn’t previously been offered as standard on offsets. The necks seemed pale in photos, but the wood has a much warmer hue in reality.

Feel

Sonic Grey. Eh, I keep going back and forth on this one.

Sonic Grey. See, I’m looking at it now and I sort of like it??? Argh.

These guitars felt super solid from the first moment we took them off the wall. Vanessa found them a bit heavy, but that seems to be the norm with new guitars. Strummed acoustically, all models exhibited loud and pleasant tonalities, which usually translates to a good plugged-in sound.

Fender introduced the new “Deep C” neck profile with this series, which you’ll notice immediately when you pick one up. Vanessa, whose chord vocabulary is from another planet altogether, didn’t seem as encumbered by the extra girth as I was at first, but I got used to it quickly. It’s substantial but never crosses over into “boat neck” territory, starting out slightly chunky at the first fret and gradually fattening toward the 12th. Compared with AVRI62 necks of either model, this profile will definitely give you something more to hold on to.

While I firmly believed they would not be my thing, the extra height of the 22 “narrow-tall” frets made for easy bends and meant I rarely felt the fretboard under my fingertips. This is good, because I always seem to get stuck on gloss maple. While rosewood is an option for the range, currently Seafoam and Grey are only available with maple fretboards. In contrast, the lone white Jaguar on the wall was equipped with a rosewood fretboard.

The addition of the Micro-Tilt adjustment to the neck pocket is absolutely genius. Having an adjustable mechanical shim on an offset guitar will make setups a breeze. I never would have considered this!

Playability

No matter the brand, factory setups are often anything but; action high enough to mitigate buzz yet low enough to be playable. I have to say, the setups on these guitars were pretty decent! The Mystic Seafoam model wowed both of us with its easy action and tunefulness, while the Sonic Grey guitar left something to be desired but was passable. Fretwork seemed clean across all models.

Now for the heavy criticism: both E strings are unthinkably close to the fretboard edges on all three of the guitars we demoed, so close that it was nearly impossible to fret the high E string without slipping off the fretboard. This seems like something that should have been corrected during the R&D phase. Quite literally the first comment Vanessa made when she sat down with the guitar was how hard it was to play the Es, a sentiment I echoed.

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The extra width also means strings don’t line up with bridge pickup pole pieces.

Mustang-style bridges typically have wider string spacing, but this is extreme. Even with nylon bushings that improve bridge stability, I honestly think that changing the bridge is going to be an incredibly common if not required mod on these guitars. (NOTE: I wasn’t able to pull the bridge, so I’m not sure which thimble set they’ve installed on these guitars, which could be an added bridge-swapping headache like the Classic ’60s models.)

My only other major complaint is that the Jazzmaster’s pickup selector switch has been moved to an exceptionally inconvenient place, a place where many players already complain about a switch being there. How often do you see players tape off the rhythm circuit so it’s not accidentally engaged, after all. This move is truly perplexing.

Depending on play style, this could be a huge issue for certain players. If you do a lot of tapping, slapping, popping, and plucking like Vanessa, this switch is totally in the way.

Compare the toggle switch positions. L: Fender AM-PRO R: Squier VM

Compare the toggle switch positions. L: 2017 Fender AM-PRO R: 2011 Squier VM

After adjusting her right hand technique, it still seemed uncomfortable. She opined, “If I owned this, I’d have to move the switch.”

Switch clearance may not be as crucial for power chord junkies like myself, but if I’m even a little more animated it becomes an issue for me too. Vigorous strummers, be forewarned.

This seems like a bit of a misstep when even the older Squier Vintage Modified hard tail models had the selector switch higher on the upper horn. Should you wish to move the switch back to the traditional placement, you’ll need to do some extra routing.

Sound

Describing the sound of the new V-Mod Jazzmaster pickups, Vanessa coined the term “magnety.” I can’t say I can come up with a better word for it. They’re hotter, fuller, and snappier than Fender’s more recent designs, and they have a special sort of attack to them that’s really nice.

They are also very bright. Brighter than I expected, and this from a Jazzmaster fanatic. Vanessa favors chimey tones yet found herself rolling off the tone control drastically before she was comfortable. In fact, when she finally handed it off to me I thought, “Oh wow, these are pretty dark pickups!” No, I just hadn’t noticed the tone knob was at 5.

We ran these guitars through a Fender Bassbreaker combo. While Vanessa compensated for the brightness by cranking up the bass on the first channel, I switched over to the second and turned the tone knob to 0. Once I did that, I’d have to say I rather liked them, but bright guitars into dark amps is kind of my thing.

What about the Jaguar? Honestly, neither of us cared for these pickups. They lacked any of the wiry treble or round bass of good Jag pickups, sounding quite honky and almost notched in the midrange. Granted there was only one at GC; I wish there were another to contrast and compare.

The factory-installed treble bleed was subtle yet functional on both models. As for the noise floor, these are single coils so some noise is expected. While the 60 cycle hum was definitely there, I wouldn’t say it was necessarily worse than any other Jazzmaster or Jaguar pickup on the market.

The American Pro Jaguar in Olympic White

The American Pro Jaguar in Olympic White

The stripped-down simplicity of the control schemes ensure these Pro-series guitars will be immediately useful to players unfamiliar with the various rollers and switches. Both guitars have volume, tone, and pickup selector controls, which couldn’t be more straightforward. I was especially happy to see the 4-way Johnny Marr switching included on the Jaguar, which adds the versatility of a series position.

I definitely miss the “Strangle” switch on the Jaguar. Fender replaced the vintage-correct low-cut filter with an out-of-phase setting for the selector’s 2 and 4 positions. Not that I have anything against out-of-phase sounds, I just find a switch that works on all positions more useful than one that works on two. Both may only be situationally useful for most players (it got a shrug from Vanessa) so let’s call this a minor quibble.

Of course, as an avid Rhythm Circuit user, I’m sad at its omission but I’m also enough of a realist to know that not everybody uses the thing. The American Pro series isn’t meant to be a vintage reissue, so some play with the design is to be expected.

Assorted Minutiae For Which I Could Not Devise a Snappy Subheading

Both Jazzmasters had their knobs situated with 6 where 10 should have been, making sorting out preferred settings a bit of a hassle. Strangely, this also matches the Fender promotional photos. In my best Seinfeld I cry out, “What’s the deal?”

None of the three guitars we sampled had their vibrato arms installed, which is a shame because I wanted to find out how the new screw-in collet compared with the push-in variety. I’ve read that there’s play in the arm unless it’s screwed in all the way so that it doesn’t pivot at all, but I wasn’t able to confirm or deny such things here. As far as I could tell, the rest of the trem is the same as those found on AVRI reissues, so it should be stable and smooth enough.

I did strum a chord and pushed down on the vibrato with my index finger, and it seemed to hold tune just fine on both Jazzmasters. The Jag had tuning problems due to a poorly-cut nut, popping and pinging with every turn of the machines.

The Verdict

When I first heard rumblings of these fresh takes on my Fender favorites, I was really looking forward to trying them out. I like that Fender have something in their catalog that bridges the gap between the affordable import lines and the more expensive US vintage reissues, trading some traditional features to hit the $1499 price point. Simplifying the control scheme also helps these guitars appeal to the no-nonsense crowd.

Vanessa and I both agree that the Fender American Pro Jazzmaster and Jaguar are fundamentally good guitars, especially for the price. They felt and sounded great once dialed in, and most importantly, we had fun trying them out. We had some very minor complaints overall, but very little that would stop us from recommending them. The only possible deal breaker is the string spacing issue, but that could be easily corrected by swapping the bridge for a Mastery or Staytrem, which so many of us do already. Just like the impending new year, everything’s different but nothing is different at all.

Overall, these guitars are worth your time to check out, so grab one and see what you think. My critique notwithstanding, I still want to bag one for myself!

A big thank-you to Vanessa for offering some impressions on these new instruments. Follow her on Instagram, buy her music, see her live. She’s so good. Guitar shopping with friends, is there anything better?

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Mike Landis’ Very Special 1966 Jaguar: A Holiday Tale Spanning Two Decades

Happy Holidays from all of us at Mike & Mike’s Guitar Bar. We truly would be nothing if not for the love, support, and business of our many friends and customers. Cheers to you! In celebration of this joyous time, I’d like to tell you about something extraordinary that happened to me recently, something I couldn’t talk about because it would have spoiled a surprise.

fullsizerender

This 1966 Jaguar belongs to the father of my good friend Mike Landis, and it happens to be the very first offset guitar I ever encountered. I haven’t seen it in 20 years.

I vividly remember Mike pulling it out of the case on some otherwise average day in 1996. I’d never seen anything like it before—like something out of a Sci-Fi dream. The cold gleam of the Jaguar’s many control plates ignited within my young mind what felt like a fumbling musical adolescence; I didn’t know what I’d do with it if I had one, I just knew I needed it.

Sunglasses case, no less!

Sunglasses case, no less!

Holding that guitar for a brief moment two decades ago felt like some guilty, illicit pleasure. Everything inside me knew I shouldn’t have been messing with it, but the rush of getting caught made it all the more thrilling. I strummed a few chords, ignorant to the function of the switches, yet marveling at its beauty and quality of the sound I was hearing. It was clear to me then that I wasn’t worthy of such a guitar.

When Mike heard that I was coming back to my hometown of York, PA for a quick visit, he asked if I’d be able to get it back into playing shape as a Christmas gift for his dad. Of course I said yes!

That night as I stood over the guitar—the guitar—I paused for a moment before I dared touch it. I thought back to that first trespass, handling his dad’s Jaguar as if it were a priceless artifact, caught up in wonder and amazement. Surely, at that time, it had been the nicest instrument I had ever seen, let alone played. I wondered, was I worthy of it yet? I breathed, spoke aloud a quick thank you to any deity that may have been listening, and got to work. For two hours, I attended to it with the same thoughtful, careful attitude I try to lend to every instrument.

fullsizerender_1Before I arrived, Mike gave me a run-down of what the guitar might need. For starters, he wasn’t getting any sound out of the thing, and my first thought was that the Rhythm Circuit switch may have a bad solder joint. When I finally got my hands on it, the solder joints didn’t look obviously inoperable, but I thought it a safe bet to simply reflow a few key joints. This certainly helped, and suddenly I was getting sound from the Lead Circuit, with intermittent functionality of the RC.

It took a few minutes of turning the Rhythm volume and tone controls, but it turned out that those pots were just so dirty from disuse that they wouldn’t pass signal. Ideally, I’d have sprayed them out with contact cleaner, but alas, this was one thing I forgot to mention when I sent Mike my laundry list of tools I’d need to do the work. They cleaned up beautifully just by being turned over and over, and I told Mike to get some cleaner before too long.

Back in 1996, I remember asking why Mike’s dad never seemed to play the thing. The complaint then was that it just didn’t play all that great, and that was still a problem today. I don’t think the guitar had ever been set up, at least, not by someone that understands the intricacies of Fender Offset Guitars. Strung with too-light strings and with the bridge too high and saddles set at the wrong radius, it was clear that this guitar hadn’t been comfortable to play for ages.

fullsizerender_2I took the strings off, removed the bridge, and gave the guitar a thorough cleaning, from finish to frets. It wasn’t filthy by any means, but the frets showed signs of disuse and the finish had a dull shine. It’s Christmas, after all; this should feel like an entirely new guitar. After a good polish of the finish and frets, and some lemon oil for the rosewood fretboard, this guitar came right back to life.

I had Mike pick up a set of 11 gauge strings, which is usually the lightest I’ll recommend for Jaguars. I lowered and pre-radiused the saddles by eye and re-installed the bridge, intending to fine-tune it later on. To my surprise, the guitar actually played pretty well with just that done, but I decided to give the truss rod another quarter-turn to really dial in the relief. With 11s and the correct amount of neck angle, those strings weren’t going anywhere.

Because the guitar just wasn’t staying in tune before I started my work, I paid special attention to every point of contact on the strings, lubricating the nut and making sure it was properly cut for the gauge being used. Ideally, I’d like to replace the nut on this one at some point, but there just wasn’t time for that on this quick trip home. Another day, then! The trem was also wildly out of adjustment, so I zeroed in on the sweet spot for both the Trem Lock to work as intended and for optimum string tension, and the whole guitar snapped right back in to perfect functionality. Bam!

fullsizerender_3When I was finished, I hovered above the thing, not quite sure how to feel. This was the guitar from my youth that elicited such passion, though my ignorance kept me from fully embracing the model. I couldn’t believe that I was able to give back, as it were, to that first Jaguar. I dreamed about this shimmering blue guitar for years, and here I was, ready to play it as it should always have been. And play, I did; the sound, the feel, the response… it was magical.

Life has come full-circle, in a way. What an honor it was to care for this instrument! Thanks, Mike!

 

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The Squier Vintage Modified Bass VI: a 100% Pun-Free Upgrade Guide

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My Squier VI lounging with Paul Frank’s amazing Custom Shop model, strung with Gabriel Tenorio strings

While Fender’s Jazzmaster and Jaguar seem more popular than ever, the Bass VI still seems mysterious, or at the very least, under-appreciated. Players seem confused by its mere presence in the catalog: Is it a bass? Is it a guitar? Is it a baritone?

Let’s clear up the confusion right now: The Bass VI is a bass guitar in the strictest sense. Tuned E to E a full octave lower than a standard guitar, the VI is an incredibly versatile instrument that’s as well-suited for familiar chord shapes as it is for punchy bass lines.

Right now, the easiest way to get into a VI is the Squier Vintage Modified model. Fundamentally a great instrument, the Squier VI ticks all of the right boxes for me: it has Jaguar-style pickups and the all-important fourth Bass Cut switch, it’s affordable, and it’s damn fun to play. We’re still talking about an import model, so if you pick one up and find it lacking, I’m here to provide a handy upgrade guide to the “ba-VI” of “VI-sessfully” upping your Squier’s “VI appeal” into a machine for making “mu-VI.” (My deepest apologies for how poorly those puns worked.)

The first mod I’m going to suggest can hardly be called a mod at all, but believe you me, it’s crucial.

STRINGS

Far and away, the most common complaint with current Bass VI models is that the low E string lacks tension. You’ll hear it described as “floppy” or “sloppy,” and those adjectives sum it up nicely. It feels unbalanced and just can’t stand up to aggressive picking.

The problem with your Bass VI’s low E is thanks to a too-light gauge of string. When Fender released the Bass VI in 1961, the standard set was made up of strings gauged .026”-.095”, and that .095” is key here. At some point in the recent past, the low E string changed to .084” which is woefully under-built for the task. A .095” E is going to feel taut, stable, and will gleefully accept heavy attack, whereas the lighter string ends up feeling, well, just as described in the paragraph above.

In my view, the most essential mod you can perform on your VI is installing a heavier, more balanced string set. Even without upgrading the bridge or swapping pickups, this very simple and easily overlooked tweak can tighten up the whole instrument and bring back the low end that’s so sorely missing with the stock strings.

Because this information doesn’t seem to be collected anywhere, here’s a handy shortlist of string makers that offer a good set of VI strings with adequately heavy E string, which I’ll update as I stumble upon them. The only set Fender currently offers is gauged .024″-.084″, sadly.

La Bella (Flats and Rounds)
Kalium (Rounds, tons of options)
Gabriel Tenorio String Company (Rounds and Gabriel’s new Ground Wounds)

Or, if you want a genuine set from the 1960s

BRIDGE

A '62 Bass VI that I recently fell in love with at the Fretboard Journal Summit, courtesy of Gryphon Stringed Instruments

An original ’62 Bass VI that I recently fell in love with at the Fretboard Journal Summit, courtesy of Gryphon Stringed Instruments

If you ever have a chance to inspect a vintage Bass VI, you’ll notice that the original bridge is much wider than the one found on most reissues, which is just a standard offset bridge slapped on likely due to the costs of tooling-up for such a niche item. That original 1” width is a big part of the Bass VI functionality puzzle, which translates to more flexibility when it comes to intonation. Original examples have nearly twice the saddle travel as the current part, and with the Bass VI’s 30” scale, every little bit is precious.

The stock Squier VI bridge

The stock Squier VI bridge

The bridge found on the Squier Bass VI is essentially the same as the other VM offsets, save for the adjustable Mustang-style saddles, which have deep grooves and the ability to set the radius of the strings to match the fretboard. It does, however, have a propensity to rattle around so much that even correct offset setup techniques may not quell it. (See my Demystifying series for more info)

What to do? Track down an original bridge from the 1960s or 1970s? Nah, Staytrem’s got you covered with their fantastic and appropriately wide Bass VI bridge. If you’re looking for a stable bridge that’ll intonate for sure, this is the way to go. I have a Mastery on my personal Squier, and while it does intonate perfectly for me, your mileage may vary depending on string gauge and type as well as setup.

TREM

img_8743As I mentioned in my recent article on the J.Mascis model, if you’re planning on using the vibrato you really should upgrade this part. Import vibratos are made of inferior metals and often have manufacturing flaws that render them less stable than their US-made counterparts.

A great solution here is obtaining a Fender AVRI/AV65 vibrato, especially if you’re on a budget. I’ve chosen the Mastery Vibrato for my own specifically because of the heavy-duty spring Mastery uses, which replicates the sturdier feel of early 1960s units and really stands up to the extra tension of those thick strings.

 

NUT

As you might expect, the nut work on these instruments is passable, but not great. The soft plastic used wears easily, and the slots are often too tight even for the string gauge used at the factory. I’ve also seen a number of them with poor string spacing, but hey, I don’t expect perfection on a sub-$500 instrument.

I highly recommend having the nut replaced by a competent tech in the material of your choice; my preference is bone. And for those of you that use the vibrato, a properly-cut nut is your best defense against tuning issues.

ELECTRONICS

The electronics in the Squier Vintage Modified series are, understandably, on the cheap side of things. I’ve seen and heard of a number of VMs that had wiring issues or faulty parts right out of the box, so if you’re going to be using this instrument heavily I would insist that you have the instrument rewired with higher quality pots, switches, capacitors, and even replace the jack while you’re at it. Not only will you end up with an instrument you can really trust, you’ll also have better sound as a result.

Look to CTS, Bourns, or my good friends at Emerson Custom for pots, Switchcraft for the jack and switches, and any number of options exist for capacitors. Most of these parts can be found via AllParts or Angela.

Note: US parts will require enlarged holes on the volume-tone control plate.


PICKUPS

While I confess that you can get by with the Squier in its stock configuration, let’s be honest: there are better pickups out there. They’re a little trebly, a bit noisy, and too weak on output to keep up with other basses. It’s well worth your time to explore the myriad pickup options that exist in today’s market, but where to start?

Star Trek stickers optional, of course

Star Trek stickers optional, of course

In my mind, Curtis Novak has his finger firmly on the pulse of offset guitars’ unique capabilities, and he’s the first person I bring up when a customer has a specific sound in their head. From traditional sounds to obscure designs stuffed into familiar covers, Curtis excels at wringing every last drop of tone from your instrument.

For Bass VI, he offers both the early ’61-’62 Jack Bruce-style pickups and the Jaguar-style pickups that came as standard on the model from 1962 onward. However, if you’re looking for something different, I’m sure Curtis could wind up a trio of his Jaguar-sized Lipsticks, some unique Gold Foils, or even something humbucking if you’re that kind.

Another good option would be the fantastic pickups made by our friend Jaime of At The Creamery. He offers a VI set with much higher output than the stock pickups, and with custom options if desired. Jaime does exceptional work!

On my personal VI, I started out by building a set out of three Fender AV65 Jaguar pickups, which I really like. They’re affordable and great-sounding pickups for the price, but ultimately, a little too bright for my tastes. If you need a good Tic-Tac sound, this would be a great way to go. If you create a set out of three separate pickups, do pay attention to output in each position as well as polarity to make sure they all play well together.

Currently, my VI is loaded with a set wound by our good friends a Lollar Pickups, which have a bump in midrange and output, and they really keep up with my other instruments no matter the setting. Plenty of bass on tap and clarity through any amp. I’m a huge fan of Lollar Pickups.

TUNERS

Prepare to be amazed: there’s no good reason to toss these. The Kluson-style tuners you find stock on the Squier VI are great. On the many examples I’ve had across my bench, I have never found them to be problematic. Keep them.

LINE VI

When Squier introduced their take on the VI, I was immediately excited. At the time, the VI wasn’t an instrument I was keen to spend a lot of money on, simply because I didn’t think I’d be using it heavily. Squier made that sound accessible and did so with a lot of bang for the buck. When you mod this instrument, it isn’t so much a lipstick-on-a-pig scenario, you’re genuinely taking a good instrument and making it better.

My VI and '73 Precision, just after we got back from tour.

My VI and ’73 Precision, just after we got back from tour.

To that point, I recently joined my good friends Vanessa and Sarah, a duo better known as Leo Leo. The LA-based contemplative rock-pop outfit plays complex, beautiful music that’s as energetic as it is challenging; they are one of my favorite bands. When they asked me to tour with them on bass, I have to admit that I was overjoyed and overwhelmed, especially with just a week to learn ten songs. It was a lot of work, but I’m so proud of the noise we made together at those shows.

At the center of my bass sound: my trusty Squier VI. I plugged into a borrowed Salvage Custom board (thank you, Gabriel!) populated with pedal necessities run through a mini SVT. Night after night, that thing performed beautifully and never let me down. Even as we rehearsed, it became clear that the VI was the sound. It proved to be such a bruiser that next time, I may leave my ’73 Precision Bass at home.

Each time I took it out of its case, I was immediately greeted with questions from perplexed onlookers that wondered about my weird bass. I showed it off proudly and handed it over to person after person, none of whom could believe what they were playing was a lowly Squier. There was only one occasion before a show where a churlish bassist chided me for playing––and I quote––a “piece of shit.”

I’m happy to say that I proved him wrong that night. I’m proud to play my Squier.

Here's how that Squier looked the day I recieved it. (Thanks, Nate!)

Here’s how that Squier looked the day I recieved it. (Thanks, Nate!) See below for a post-mod comparison.

This one's getting a TON of use in the @leoleoband set for the tour that starts—holy shit—tomorrow. Now, the weight of this Squier Bass VI never bothered me until we started this hours-long rehearsal process, but at the end of the night my back is screaming at me for relief. I think it may be time to look into a real '60s VI refin or something, that is of course assuming that the band wants to keep me! 😁 I also wish it were brightly-colored, but eh, such is life. Upgrades: -Lollar pickups -Fenderparts mint guard -Mastery Bridge + Vibrato (thanks Woody!) -upgraded wiring -La Bella Deep Talkin' Flats -Matching headstock #guitar #bass #bassvi #leoleo #tour #masatour #makeamericashakeagain #squier #fender #offsetguitars #lollarpickups #masterybridge #fenderparts

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