Tag Archives: hardware

The Buzz Stop Stops Here: A Rant

Hate is a strong word, and one I normally don’t like to use unless the subject is foods called “salad” which do not contain lettuce (the only exception being Fruit Salad, but why call it that when ‘Cup of Fruit’ would suffice). While I can’t call my feelings for the Buzz Stop ‘pure hatred,’ I have to admit that removing them from guitars is one of my favorite jobs.

For the uninitiated, the Buzz Stop is an aftermarket bracket for Fender Jazzmasters and Jaguars which acts as a tension bar, much like the roller bar on a Bigsby B7 vibrato. Affixed to the guitar via the forward-facing vibrato mounting screws, the Buzz Stop forces the strings against the bridge, keeping the them in place while also stopping the saddles from buzzing. Hence the name; it stops the buzz.

In theory it’s a fine idea that attempts to solve the problems so many have with the original Fender design, but it’s ultimately completely unnecessary and in many ways a detriment to your guitar’s sound and functionality. Below, you’ll find the reasons I elect to do away with the Buzz Stop, and why I find guitars without them to be better instruments for it.

1) The Buzz Stop Introduces New Points of Contact

The whole point of the Buzz Stop is to force the strings down, and in doing so invariably creates additional points of friction. The Buzz Stop’s roller bar is one of those points, and while it is intended to rotate as the vibrato arm is depressed, I’ve never encountered one that actually does so in a smooth manner. Most seem to require a bit of force to turn, more than the strings can dish out. As a result, many of the Stops I’ve removed have had grooves worn in them, which means the strings are just grinding against an immobile roller.

The second point of contact is the back of the bridge itself, a problem that Jazzmasters and Jaguars shouldn’t have to begin with. Under normal circumstances the strings flow from vibrato to bridge uninhibited; the sharp angle of the Buzz Stop causes them to dig into the back edge of the bridge, leading to tuning or even breakage issues. The less metal in the string’s path, the better.

2) Buzz Stops Decrease the Stability of the Vibrato

With its nearly unparalleled stability and smooth feel, the offset vibrato really is one of the biggest selling points of the Jazzmaster and Jaguar. But with the increased friction of a Buzz Stop, it’s a miracle when the thing returns to pitch. Anything that messes with the functionality of the vibrato is a liability, not an asset.

3) It Forces the E Strings onto the Dreaded Pivot Plate Screws

The vibrato pivot plate mounting screws which sit directly beneath the two E strings have long been a problem on reissue guitars, causing string breaks and tuning issues which can normally be cured with a proper setup and increased bridge height, or by simply turning them upside down as shown in one of the early Demystifying articles.

With a Buzz Stop installed, there simply is no hope for the strings (See above). Pulled down toward the vibrato plate, the Es are forced against those pesky domed screws. As they’re bent, tuned, or warbled with the vibrato, the screws eventually saw through the string’s finish wrap leading to sharp detuning, and eventually, breakage.

4) The Buzz Stop Alters the Guitar’s Unique Vibe

Part of the unique sound of Jaguars and Jazzmasters is the length of string behind the bridge. Like an archtop acoustic, every bit of vibration counts. There’s a fullness and a pluckiness to the tone that comes from the added string length, and the slight decrease in sustain and tension makes these guitars feel and respond unlike other solidbody electrics. It should be no surprise that I also wholly endorse vigorous picking behind the bridge for atonal, noisy fun.

With a Buzz Stop installed, you may as well have a stop tail. It effectively cancels out the length of string behind the bridge, sterilizing some of the three-dimensional resonance that make these guitars sing. And honestly, if you’re looking for more sustain or ‘better tone’ there are far better options available to you in the form of Mastery and Staytrem hardware.

5) It’s a Half Measure Response

The Buzz Stop is a product of a time when these guitars were thought of as toys rather than fully-playable instruments. Without the readily-available, conversational sources for setup and modification that we have today (including this blog and my recent Premier Guitar article) the Buzz Stop was perhaps a once-legitimate option for taming this misunderstood, often neglected offset design. Though its premise was flawed, it served its purpose.

The Buzz Stop, by its very nature, doesn’t really “fix” anything; it’s a stopgap which fails to address core issues, applying force instead of correcting an inadequate setup. All of the common complaints, from bridge buzz and string jumping, tuning stability, and unwanted string resonance are easily solved with an attentive eye, a couple of screwdrivers, and a few hex keys. Neck angle, bridge height, string gauge––all of these things are integral to the design of the guitar, some of which the Buzz Stop website actively recommends against.

With advent of the internet, players now know how to care for the Jazzmaster and Jaguar better than they ever have. Communities like Offset Guitar Forum and Shortscale.org popped up and thrived, surrounding the Jazzmaster and Jaguar with that perfect, geeky love that reminiscent of my fellow Star Trek fans, excitedly swapping tips and parts, digging into manuals and other documents to discover the proper way to work on them.

6) It’s Ugly

It is. Don’t @ me.

The Long Walk into the Sunset

Call me a pedant, call me a purist, even call me ol’ Henry’s favorite, “luddite”––I just think we have so many better options for modifying or ‘fixing’ these instruments, all of which leave the original sound and intent largely intact. And honestly, in every instance where I’ve removed a Buzz Stop and then properly set up the guitar, it just sounds better to me.

We used to joke at the old shop about a cardboard box tucked away in the back that was filled with forty discarded Buzz Stops. We’d always say “forty” for some reason––We have forty of them in a box!––but thinking back that number has to be low. Literally every time we took in a new Jaguar or Jazzmaster bearing one, off it would come, fate sealed, tossed with prejudice into said box never to be seen or thought of again. And that’s just the way we like it.

It's always a good day when I get to do this. #guitar #fender #jazzmaster #offsetguitars #guitartech

A post shared by Michael James Adams (@puisheen) on

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“I’m Feeling Supersonic”, a Squier Super-Sonic Upgrade/Mod Guide

IMG_6309By Michael James Adams
Recently, a long-held dream of mine came true: finally owning a Vista Series Squier Super-Sonic.

When Squier released the Super-Sonic in the late 1990s, I was immediately smitten with its reverse-offset body and headstock, fast looks and the sparkly blue finished model in particular. I had to have one. Unfortunately, it took until May of 2013 – 17 years after it was released – to make that dream a reality. Why wait so long?

For one, I had never seen one in person as none of the guitar shops in my area were willing to take a gamble on a flashy Squier guitar. I think the look of the thing scared them off, and soon I became caught up in other instruments. I consider myself lucky to have owned quite a few cool pieces in my day, but once a month or so my mind would return to the Super-Sonic, which has become a bit of a collector’s item due to its rarity, and players are seeking them out for their short scale and more familiar control layout as compared to the model’s close relative, the Fender Jaguar.

I finally found one for sale via Craigslist, and this one happened to be in Ohio. The guy was open to shipping and payment via PayPal, and was totally up-front about the broken pickup selector switch, a few scratches and lack of a case. I’ve never been scared off by a guitar having been ‘played in’, as they say, and because I was able to negotiate a better price I had no hesitation in pulling the trigger.

Once the guitar arrived, it was clearly in great shape. Because of the sparkly finish it was really difficult to detect the scars the seller had mentioned, but once I found them they turned out to be mere surface abrasions that easily polished out. Win for me! There was an added strap button and the switch tip had unfortunately snapped-off and was hopelessly lost years ago.

Without hesitation, I set about bringing this treasure up to spec in the hopes I’d be able to play it loud and proud at a forthcoming gig. As Ten would say, “Allons-y!”

Electronics

Even though I’d been pining for a Super-Sonic for years, I was also well aware of their apparent shortcomings. Probably the biggest detractors from these amazing Japanese-made guitars are the pickups: Duncan-designed and produced in South Korea, these pickups are known for flabby, muddy sound and insane amounts of squeal. Once I finally had one in my hands, I knew instantly why so many disliked them. They’d have to go.

IMG_7380-impLucky for me, our good friends at Fastback Custom Guitars here in Seattle had just released their vintage-inspired ’59 Zebras, a set of pickups that aim to replicate that vintage Gibson sound with a slight modern twist. Not only do they sound great, but they also look the part, making them a beautiful addition to the already flashy nature of this guitar. A definite upgrade, and you can read my review of these impressive pickups here.

Next on the docket was replacing that broken pickup selector switch. Truth be told, I would have replaced it anyway, as I have little confidence in plastic-backed Asian market devices, having broken plenty of them in my day. Yes, my heart truly belongs to Switchcraft, and their short model was just the thing I needed for this project. Solidly built and just the right size, the switch also has a satisfying amount of resistance when flipping from pickup to pickup. AllParts also chooses randomly which color of tip to send, so I definitely lucked out with the correct black.

Since we’re being honest, I should admit that I just don’t trust the electronics found in most Japanese-made guitars. I’m not saying that the stock parts are unusable, but knowing how hard I am on guitars it’s always a good idea for me to fully upgrade the wiring harness. Pots, switches, wiring – all of it goes. I used cloth wire, CTS 500K pots and a .022 Orange Drop cap.

If you’re at all familiar with this model, you’ll note that the two controls found on its chrome plate aren’t what you’d expect; instead of the usual vol/tone combo, what we have here is two controls acting as individual volumes for each pickup. A nice thought, but I’m the kind of guy that likes having a tone control and a good capacitor on hand. I set about wiring the guitar in the more familiar 1950s Gibson tradition, for which I always use a 1950’s wiring diagram, which allows the pickups and tone cap to work together more transparently.

Hardware

I didn’t go quite this far because a) I’m quite content with the bridge as-as and b) I’m only willing to indulge my obsessive-compulsive upgrades to a certain extent. Even so, the original bridge and hardware aren’t bad at all. In fact, they’re quite good.

The original tuners work brilliantly, but if I were in the market for replacements I’d be looking to my favorite brand Tone Pros. Their Kluson-style machines are made with higher quality materials than the originals, and are super authentic in look but precision-machined for modern reliability. Wonderful stuff, there.

As for the bridge, it’s a great unit that stays in tune nicely. I could see myself going for a Callaham bridge at some point, but I’m not necessarily looking for true vintage Strat tones, you know? Man, what I’d really like to do is pull the trem, fill the cavity and route the body for a Jazzmaster/Jaguar vibrato and a Mastery. I won’t, but that would be amazing.

Cosmetics

Flashy as she was, there were a few visual detractors that I couldn’t simply gloss over; I’m a picky guy, I guess.

For one, the original knobs were a good bit smaller than standard Jaguar knobs, and of course won’t fit on the US pots I dropped in the guitar, so they had to go. I ordered some genuine Fender replacement knobs, which looked very, very new when they arrived. Given that my guitar had been played hard and had tarnished hardware, it didn’t make aesthetic sense to have bright, shiny knobs on the control plate. So, I set about the task of lightly aging them to match, using Other Mike’s ’63 Jazz Bass as my template.

IMG_6652IMG_6650

Using my coarse-grit polishing pads I was able to de-gloss the knobs sufficiently, and after that I sprayed some lightly tinted clear coat on them to soften the look of the indicator. After dirtying them up a bit, I was left with knobs that had the perfect well-worn attire that belied their age.

The other eyesore about the guitar was that the previous owner had added a strap button on the upper bout, a common mod for these guitars. If you didn’t know, the Super-Sonic has its upper strap button on the neck plate, utilizing a longer anchor screw to accommodate the button itself. Some people really don’t like this – I didn’t at first! – but having gotten used to the way attaching the strap to the neck plate button shifts the guitar forward I couldn’t see myself using the other ever again. So, I set about filling in the hole and making it as invisible as possible.

IMG_6795I doweled the hole with some scrap wood we had laying around the shop, and after the glue was dry my aim was to create a perfectly-shaped surface for whatever new finish I would lay on top. Because the addition of the new strap button had chewed out some extra wood, I had to use wood putty to fill in the missing bits. Simple enough!

After allowing the putty to cure for a few days, I was stuck wondering exactly how I was going to recreate the look of blue sparkle finish in such a small area. If it were a solid color or even a burst, that would be a far easier task; laying down sparkles in a convincing way would be tricky, especially when it comes to the way the original finish reflected light…

Then an idea struck me: “What about glitter glue?”, I wondered to myself. Soon enough, I found myself on the hunt for the right shade of glitter at Michael’s, which was appropriate. I stumbled upon the Recollections brand and found exactly what I was looking for: Peacock Blue.

That’s a nice match, innit? It’s even better out of the bottle. Michael’s only carried the two smallest flake sizes in their stores, so the next one up would have been perfect. But hey, I nailed the color, so why complain?

It took a few days to get this right, honestly; laying down layer after layer of glue and waiting for it to reduce as it dried, never quite being able to predict how the flakes would lay. Very tedious. After I achieved the right about of sparkle density, I covered it up with super glue, which polished to a high gloss after it dried. I think it came out pretty well, considering. I mean, it’s not an exact match, but it’s pretty damn close. And now I don’t have an extra strap button hanging out, nor do I have to deal with an open wound on my beloved instrument.

I forgot to upload this shot in my initial post, but better late than never. Like I said, I'm super proud of this!

I forgot to upload this shot in my initial post, but better late than never.

Like I said, I’m really proud of how this turned out. Up close, you can definitely see the scar, but from a few paces away, the mind simply glosses over the offending spot, with the sparkly finish blending together in a pleasing way. Success!

The Final Product

Totally stoked.

Actually, I just noticed that the added strap button is still installed in this picture. I’ll replace it later. Grr/argh.

IMG_6642-imp

– MJA

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