Tag Archives: gold foil

#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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Skye’s Jaguar Thinline Gets a Serious Upgrade

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As you well know already, Skye Skjelset (Fleet Foxes, Japanese Guy, Tiger Beat Magazine) often hires us to customize instruments to his exceedingly quirky tastes – he’s like the Zooey Deschanel of guitars. And it’s great.

Mr. Skjelset (Pronounced: shell-set) seems to vacation in Japan frequently, and during his last round of fun under the Rising Sun he picked up this lovely black Thinline Jaguar with the intention of making it ‘his own’.

It’s a huge honor to so often be the M. Ward to his guitar-customizing She, and as such I have a lot of fun letting my mind run wild when we’re talking about specs or ideas for upcoming mods. Although Skye’s only had this Japanese Jaguar Thinline for a few months, we’ve been talking about this job for a quote some time.

Skye had already taken it upon himself to swap the original neck with a mid-sixties Mustang neck, and since the scale length is the same this ensured that worn-in feel without any negative side effects. Our plan was to swap the stock IMG_2098-impJapanese single coils – something I’d almost always recommend anyway – with a Lollar Jaguar neck pickup and a vintage DeArmond/Rowe Siver Foil in the bridge. Nothing too fancy, really.

It’s a good thing Skye wanted a new single-ply guard for this one, because mounting the Silver Foil to the original guard might have required some extra work, given the bridge pickup rout in both guard and body. We ordered the new guard sans-bridge pickup hole from Chandler Pickguards (Pickguard Heaven) and had it in no time. Even without sending a template, Chandler’s work was excellent and the guard mounted without issue.

Honestly, this thing came out so, so good; that Silver Foil is loud, clear, and has this vocal midrange you just don’t hear on most single coils. It blends beautifully with the neck unit, making for an intense, complex middle position that begs for delay and reverb.

So, to recap:

-Installed a Mastery Bridge (yes)
-Swapped in a Lollar Jaguar neck pickup
-Installed the custom-cut pickguard we picked up from Chandler, specially made with no bridge pickup
-Installed the vintage DeArmond/Rowe Silver Foil in the bridge (AMAZING)
-Full set up, and some secret sauce on top

And I know we get these questions all the time, but the Mastery Bridge is the greatest thing ever. Skye’s going to source a vintage vibrato for this one eventually, but for now it’s good as-is!

Here’s some more eye candy for you:

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Whoa… Busy Month and a Blacktop Jazzmaster

It’s been quite a while since our last post, but for good reason: we have been the busiest we’ve ever been. Not only are our wares selling like hotcakes (Fortune 500 here we come?) but there has been a marked increase in patrons to our humble store. Some come in for work on their prized amp or guitar, some come to browse, and a few come in just to have a drink and hang out – exactly the kinds of things we’re about!

When you own a shop in a street-level garage that’s around 500 square feet, two or more customers can make it feel very, very busy. Add to this the army of gear we’ve acquired and a veritable mountain of repairs, and I think you could begin to infer just how busy we’ve been.

Even so, I thought I’d take this opportunity to update both the website and our faithful readers on just what the heck we’ve been doing this holiday season. I mean, it’s not all eggnog and carols and flasks of whichever alcohol we’re drinking these days!

The Modified Fender Blacktop Jazzmaster

IMG_1897-impDecember marked the end of a months-long project, one that took far longer to complete than I had expected. Why? Well, it’s because of that dad-blasted Gold Foil.

Our friend John (the owner of this fine machine) saw what we did ages ago with the Skyemaster and wanted something similar but tweaked to his personality. Two additional pickups were to be installed – a total of four on the guitar – to augment the already wide range of tones available to him. He provided a cool old Framus/Guyatone pickup for the middle position, and installing that required routing out the body and pickguard. Pretty straightforward.

However, John was really into the ethereal, otherworldly sounds that came from the Skyemaster’s behind-the-bridge unit, so finding a thin, small pickup that would fit under the adjusted string length of this model was a bit of a problem. We eventually decided that an old Dearmond/Rowe Gold Foil would do the trick, but that would present its own challenge: finding one for a good price.

John and I agreed that, with the recent spate of popularity surrounding these pickups, it would be a game of waiting to pounce on an under priced pickup to keep his already high costs down. I was more than happy to save my customer some money, but between searching and all of the other jobs I’ve had, it started to feel hopeless there for a bit. Luckily, after some time I was able to track one down that was in need of a rewind.

From then on it was smooth sailing. Here’s a brief rundown of what we have going on with this one:

-Stock neck and bridge pickups
-Added Guyatone/Framus pickup in the middle position
-Gold Foil (no base) mounted directly to the wood, no routing required!
-Three way toggle functions normally (N, NB, B)
-Two additional pickups are selectable via two push-pull pots on the Volume (middle) and Tone (behind-the-bridge) pots

So, how does it sound? It’s amazing. The middle pickup lends a quacky sort of darkness to the overall characteristics of the stock pickups, and the BTB unit enables all of the weird, Waterphone-like tones you’d expect. This is certainly one of my favorite mods, and it’s surprisingly useful. I’ll get around to doing this to my own guitar soon enough, I’m sure. Wanna hear how it sounds? Check it out:

There are three more videos detailing some of the quirky sounds available via the modified electronics. Feel free to watch!

I’m going to do a couple more quick updates in the next few days or so. Keep your eyes peeled! Lots more cool stuff on the way!

UPDATE: Special thanks to our pals over at Ampersand Amplification for this custom meme! We think it’s appropriate!

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Demystifying the Fender Jazzmaster and Jaguar Pt. 4: Pickup Lines

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Of all of the things that cause confusion about these guitars, perhaps the most common misconceptions about Jazzmasters (and to a lesser extent, the Jaguar) surround the pickups. Because they’re so odd-looking and unfamiliar, people have all kinds of crazy ideas about what exactly is going on under the cover. I mean, it’s not often that most players have occasion to dismantle a vintage Jazzmaster guitar for the sake of exploration, so the befuddlement is understandable.

You know what’s not helping, though? Fender. God bless ‘em for introducing more and more models these days with non-standard pickup complements – a qualified win for modders and players seeking variety. Their current offerings are rife with sounds not normally associated with offset guitars, and for all of the faults a few of them have, Fender’s really woken up to the notion that offset guitars are cool. This is good.

Because Fender’s introducing so many new models with different pickups, the result is that there’s more confusion than ever about what you’re actually getting when you buy a Jazzmaster. Single-coils? P-90s? Wide Range Humbuckers? High-output ‘buckers? Yeah, they’re all there now, and some are hidden under Jazzmaster pickup covers. Go to Fender.com and type ‘Jazzmaster’ into the search bar, and you’ll get an army of models that have little in common with one another save for the body shape. Holy hell! How’s a girl or guy to keep all of that straight?!

In this article, we’ll try to do away with some of the misinformation and show you exactly what’s under the hood in both the Jazzmaster and Jaguar as well as some of the variations you’ll find out there in the marketplace. We’ll also dive in to some definitions and specifics so that you can make an informed choice when you go to buy your next offset guitar.

A shot of Mojotone's Jazzmaster bobbin

Compare this shot of Mojotone’s Jazzmaster pickup with that of the Strat pickup below.

Open Coils

The Jazzmaster pickup is a true single-coil pickup. From start to finish, these units are made of one coil of wire turned around the pole pieces, and in principle works just like those found on Fender’s more popular models, the Stratocaster and Telecaster. The construction of Jazzmaster pickups does have some notable differences when compared to other more common single-coil pickups: whereas a Stratocaster pickup is about 7/16” tall and wound tightly to the rod magnets, true Jazzmaster pickups are 1/8” tall and the windings extend nearly to the edge of the 1 1/2” bobbin.mojotone-classic-stratocaster-electric-guitar-pickup-single-strat-

This wider surface area translates to a wider frequency response (since the coil itself covers a far greater area of the string’s vibrational length) and, because the wire travels father with each turn, a hotter pickup. (Jason Lollar does a brilliant job of explaining this on his website) The Jazzmaster unit also uses rod magnets just like a Strat or Tele, differentiating it from a P-90, which it most certainly is not.

Don’t Drop the Soap[bar]

DV019_Jpg_Regular_306915.715_cremeOften, you’ll hear people refer to Jazzmaster pickups as ‘soapbar’ pickups, and they should be forgiven for doing so; that big, white cover certainly has a soapy quality, especially on older models where the covers have a more satin finish than shiny new parts. This really is erroneous as pickup nomenclature goes, as the term began its existence as a way to help distinguish between two varieties of Gibson’s P-90 pickup design of the mid-1940s, the other being the “dog ear” mounting style which is commonly found on Les Paul Jr. and 330/Casino guitar models.

The P-90 “Soapbar” is a P-90 pickup which has a rectangular shape with rounded edges and with both the pickup and mounting screws contained within the coil bobbin. Wikipedia mentions that the nickname probably came about with the introduction of the Les Paul model in ’52, on which the pickup covers were white. These, of course, looked like bars of soap to consumers, and thus the name stuck. (Funnily enough, the Jazzmaster pickup looks more like a bar of soap to me than P-90s, but I digress.)

If we’re just talking about the covers, the Jazzmaster pickup’s very mounting scheme differs from the definition of the term ‘soapbar’, but again, that’s such a slight difference that there’s no shame in having used it. I mean, what matters is what’s inside, not where the screws mount, right?

To be clear, standard Jazzmaster pickups are NOT P-90s in both design and intention: the P-90 uses bar magnets beneath the coil, which magnetizes the pole piece screws and imparts a louder, midrange-focused personality. P-90s are also wound tightly around the bobbin and usually have hotter output, with most vintage examples in the 8-9.3Kohms output range. Jazzmaster pickups use rod magnets, generally live in the 7.4-8.4 range. Not a big difference, but notable.

The louder, dirtier sound of a good P-90 contrasts with the Jazzmaster persona, which has ample yet softened top end and a fatter overall signal with a more thumpy bass response, remaining clear and separated with even the most outrageous fuzz pedal. If adjusted closer to the strings, the Jazzmaster pickup has no problem pushing an amp into overdrive. When it comes to the tone of JM pickups, think more twang than bite, more boom than woof, more punch than kick.

Here’s a  visual reminder to help you tell the difference between these pickups:

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Offset Obfuscation

Adding to the din of confusing specifications are Fender themselves, with more varied offset models than ever. For instance, the Fender Classic Player Jazzmaster might look stock, but it actually does have P-90 pickups hidden beneath Jazzmaster covers. Same goes for the Squier J. Mascis Jazzmaster, a fantastic guitar in its own right. Oh! I almost forgot to mention another offender, the Fender Pawn Shop Bass VI, which looks as though it has a Jazzmaster pickup in the bridge position but it’s actually a humbucker!

As for obvious pickup changes, the Blacktop line of Jazzmasters has a Jazzmaster pickup in the neck paired with a humbucker in the bridge position. Then there’s the Kurt Cobain Jaguar, the Modern Player HH and the Jaguar HH with – you guessed it – dual humbuckers. Additionally, Fender’s Lee Ranaldo signature model comes equipped with re-voiced Wide Range humbuckers. Did I forget anything?

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Oh yeah.

Builders other than Fender are also muddying up the definitions, some offering classic designs with fully-custom options and different pickup layouts that bring more familiar sounds to the offset table. For instance, Fano’s JM-6 model has a stoptail and a TOM style bridge with P90 pickups, much like what you’d expect from a Les Paul. Now, that’s a GREAT guitar, let there be no mistake. I bring this particular guitar up because it’s been handed to me with the attached claim that it’s ‘just like the real thing!’ which isn’t Fano’s intention at all! Man, they make nice stuff…

And, while we highly recommend Japanese-made Fender Jazzmasters as a more cost-effective alternative to their AVRI counterparts, we always recommend swapping out the pickups. Why? Because they’re essentially Strat pickups in an oversized bobbin – just a thin, tall coil the same height as a Strat pickup masquerading as something much, much cooler. These don’t even SOUND like Jazzmaster pickups, and they usually feedback like crazy! Bum deal.

The Creamery shows us the difference!

The Creamery shows us the difference! (the reissue is Japanese)

Sound Decisions

By now it’s become clear to you that there are plenty of “stock” variations between the various models offered from the factory. Luckily, we live in a time where there are more choices than ever when it comes to aftermarket pickups, and more than just brand name. For instance, Jason Lollar offers some of my favorite pickups for the Jazzmaster, and almost every guitar I own has his lovely upgrades installed. Did you know he also has a model of P-90 that’s housed in a Jazzmaster bobbin? It’s loud, authoritative like a good P-90, and has plenty of bite and growl, just like you’d expect from a Les Paul or SG Jr.

Then there’s offset hero Curtis Novak, a man that’s my first stop when I’m on the hunt for something that’s way off the beaten path while retaining a more stock appearance. Sure, he does the tried-and-true Jazzmaster pickup (also a great pickup), but he also creates stranger hybrids that absolutely beg to be played, like the JM-180.

Say you love that hallowed P.A.F. tone? Using dark magick, Novak has stuffed one into that familiar cover, and the result sounds exactly the way you want a vintage Gibson pickup to sound, and the only way you’d know it is that the pole pieces are shifted toward the neck. Maybe you love P-90s, maybe you’re a big fan of Telecaster bridge pickup? Guess what, he does that too! Or, perhaps you’ve been bitten by the DeArmond/Rowe Industries Gold Foil bug, in which case the only prescription is Novak’s Gold Foil-in-JM-housing design. It not only sounds like the best, loudest Gold Foil ever made, but having the gold color poking out of the holes in the pickup cover is like the best little secret you just can’t wait to tell.

If you’re like Other Mike and myself, you have a huge soft spot in your heart for the look and sound of vintage Mosrite guitars, especially the Ventures model. From the way they hang on a strap to that full-yet-springy sound they have when plugged in, to play one is to know the pinnacle of surf-rock coolness. Well, Novak does that, too!

Still confused? If you’ve read this far and are still wondering what the hell a Jazzmaster’s supposed to sound like, check out some sound clips of Lollar, Novak and Seymour Duncan’s amazing Antiquity I and II pickups, as well as those of actual vintage guitars.

For more great options, here are some other manufacturers you should look into: The Creamery, Lindy Fralin, Porter Pickups, and Mojotone.

Jaguar: a Kitteh of a Whole Different Breed

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A rather quick note about Jaguar pickups: they’re far less confusing. Jaguar pickups are a lot like Stratocaster pickups in terms of construction and sound. The main difference is that Jaguar pickups utilize a notched metal surround known as the ‘claw’, which helps eliminate some of the hum associated with single coil pickups. Jaguar pickups are mounted directly to the body, whereas Strat pickups screw to the pickguard.

Jaguars can be much brighter overall than Jazzmasters, which is due in part to the reduced scale length; the Jaguar’s 24” makes for a springier, more twangy sound than the 25.5” standard scale. As aftermarket pickups go, there aren’t as many options for Jaguar users, with most manufacturers making a standard unit and not much else. Novak is one of the few exceptions, offering top-notch Jag replacements, Danelectro-style Lipsticks that drop right in, and even a top-mount version of a Jazzmaster pickup for those looking for a bit more oomph for their chromed-out shortscale.

“Is that a single coil in your pocket, or are you just happy to see me?”

Honestly, I wasn’t sure it was even worth getting into all of this; people have been calling JM pickups ‘soapbars’ for ages, and although it’s not really so it may be part of the guitar players’ lexicon, so who am I to try to change it! Still, I believe precise language is important especially when discussing guitar electronics and sounds, and if we’re all on the same page communication will be much easier and we’ll all get a lot more done!

-Michael James Adams

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