Happy Halloween from all of us at Mike & Mike’s Guitar Bar. This is the scariest costume I could come up with. Very specific audience, mind.
Happy Halloween from all of us at Mike & Mike’s Guitar Bar. This is the scariest costume I could come up with. Very specific audience, mind.
They say money can’t buy happiness, but scoring a deal on a roughed-up 1963 Jaguar is pretty damn close. The guitar in question retained all of its original hardware and even the case, but because it had been poorly refinished in a horribly thick, yellowed-out white, it could be had at a deep discount. I had been looking for a project Jaguar to utterly ruin for some time, so I jumped on it.
As soon as it arrived, I set about the task of stripping the finish, which had the texture of a Pringle’s chip. I sent the body off to be refinished by the incomparable Joe Riggio, whose spot-on work truly deserves its own blog post. When it came back, the Charcoal Frost Metallic finish was perfect and the aging was tasteful as well as thoughtful. Joe is one of the few relickers out there that seems to understand that old guitars started out glossy, which is one reason his finishes look so authentic.
Once the guitar came back from Joe’s, I knew that such an attractive guitar would need an equally alluring pickguard as the original wasn’t fit for my purposes. For this, I turned to Mark of Spitfire Tortoiseshell Pickguards.
For the uninitiated, Spitfire Tortoiseshell Pickguards is the most respected purveyor of vintage-style shell. Whereas many of the available shell guards on the market lack the depth and character of the original Fender celluloid guards, Mark has approached the task of recreating that swirly handsomeness as a true craftsman.
Each bespoke piece is handcrafted using a number of made-to-order options to narrow down color and degree of aging suitable to match the customer’s instrument. And even better, Mark is a pleasant sort of fellow who puts up with endless questions with an ironclad resolve. Believe you me, I tested this extensively. When you speak with him, you get the sense that he really wants you to love his work because he loves his work.
It’s Good to Have Options
When you order, the form will run you through all of the possible selections, from color to style, to the various types of relicking available. There are four basic colors––Faded Orange, Bright Red, Vintage Burgundy, and Vintage Dark––as well as a range of different pattern types; “Subtle” is a very gentle gradation from orange to red, appearing almost solid from a distance; “Speckled” is what you’d expect from most early tort guards, with more distinct patterns; “Crazy” has very pronounced, sometimes jagged bursts of color; “Solar Flare” is for the more adventurous, making a bold, brash visual statement that’s worthy of the churning, molten nature of our solar system’s bright center.
“Condition” allows you to choose the degree to which the guard is artificially aged, from new to Extra Heavy. New guards will, obviously, look brand new while the relic process becomes more drastic from there. Extra Light guards will have the patina of a closet-kept example, while Heavy will resemble a guard that’s seen thousands of nicotine-soaked bar gigs and relinquished its glossy shine long ago. If you want the premier vintage experience, you can even have them pre-warped!
In addition to those options, you’ll also see the price breakdown for pickguards, ranging from a modest $50 for white, $75 for mint, and all the way up to $230 for relic tort guards. Let’s be real: It’s true that $200 for a pickguard will seem steep to many of you reading this, and I fully understand. Like many of the toys we guitarists employ, a Spitfire pickguard is a luxury item, so if you’re unconcerned by vintage-correct looks and a 30-degree bevel, then there are plenty of other options out there.
However, I think the price point justifies itself relatively easily. For the sake of perspective, actual vintage Fender pickguards routinely sell for $300 and higher, so choosing a Spitfire guard––made to your specs and without the threat of shrinkage––makes good sense when you’re in the market. Surely, there are other options for custom guards, but none of them offer the level of detail or control over the look of the thing, only how it’s cut. The attractive nature of Spitfire’s work and the number of available colors makes it well worth the asking price.
I Went With A Burgundy
Clicking submit sends your order off to Mark, who will follow up to let you know he’s received it. Ask him some pressing questions if need be, lay down the $50 deposit, and you’re set! If it all seems a bit overwhelming, bear in mind that you’re not just picking something off of the shelf, you’re ordering unique kit custom-tailored specifically for your guitar, and this will help Mark match it perfectly.
Over the years I’ve had the pleasure of installing a few Spitfire guards, so I knew the fiery nature of Mark’s work well. Fit and finish is normally excellent, and once installed the Spitfire guard lends a certain allure to the instrument. When compared with modern tort, especially that found on new production instruments, the difference is staggering.
I ordered a Vintage Burgundy guard in the Speckled ‘60s variety, lightly aged. The time between ordering my guard and receiving it was about two weeks, which isn’t bad at all. When it finally arrived, I was floored by how vivid and bold the pattern looked in person. Deep reds and browns as well as orange-yellows were present, and the swirl was particularly lovely. I especially like how the colors seem to dance like flame in direct sunlight.
I took an immediate liking to the guard as well as the new “Thin Line” material, with white-black-white layering which more accurately replicates the sandwiched materials of vintage 1960s pickguards. The aging was also tasteful and not at all overblown like one might expect in this era of torched and mutilated custom guitars. The shine was dulled a bit, but not completely eradicated, and the edges were given a touch of a brownish-yellow hue to tone down the bright white of freshly-cut plastic.
The general fit of the guard to my 1963 Jaguar body was snug as far as the outer perimeter is concerned, better than most other aftermarket guards, too. The lines of the pickguard mated cleanly with those of the Jaguar’s various control plates, a characteristic fault of aftermarket Jaguar guards. It may be true that they’re a tougher guitar to get right––what, with all of the control plates––but Mark’s made short work of it. A couple of the screw locations didn’t line up perfectly, particularly in the treble-side cutaway. This didn’t totally surprise me, given that it’s a vintage guitar and I believe Mark uses an AV65 template. In any case, they aren’t so off that I won’t be able to mount it, but concerned parties should know that sending a tracing isn’t out of the question.
In the interest of being Fair and Balanced (remember that?) I suppose my one critique would be with the images presented on the Spitfire website. There’s a lack of consistency in lighting and quality throughout the Gallery section, where the mix of sunlit and indoor photos can lead to some confusion between the four basic tort varieties, particularly with the very different Bright Red and Burgundy where many shots imply some overlap. (see below)
Of course, these are mainly comprised of images from happy customers, which is surely a fine thing––and so many of them, too! I think even a single well-lit professional studio shot of the four styles placed together would do the trick, something that gives potential customers a better idea of what they should expect when ordering.
Twas a Very Good Year
So, how does Spitfire hold up when compared with original 1960s tort? Beautifully! It’s definitely in the same arena as vintage tort, although it does have its own distinctive look. That’s not to say it’s inferior by any stretch, but it’s difficult to quantify until you’ve seen them both side-by-side. Here’s a shot of the Spitfire next to the original guard on on Pancake, my 1961 Jazzmaster.
For lack of a better descriptor, I’d say the Spitfire is more ‘in focus’ if that makes any sense; the Fender piece has a sort of burred smoothness to its pattern whereas the Spitfire has cleaner, more defined edges to its colors. There’s also a tightness to the grouping of colors here, with yellows most prevalent in the middle of the guard, with browns and dark reds surrounding. The ’61 material more or less stays uniform throughout.
This, however, is the strength of the Spitfire: It’s a one-of-a-kind work of art, like a thumbprint for your guitar. With Spitfire, you’re guaranteed to receive something that no one else will have, something meant to enhance the visual essence of your instrument. Instead of simply rehashing the techniques of old, Spitfire’s taken them a step further. The results? Gorgeous.
Check out Spitfire and start your order HERE. Now to find time to finish this Jaguar.
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.
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.
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.
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.
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.
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.
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.
We 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.
From 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.
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.
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.
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)
It’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!
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)
It’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.
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!
END OF DAY 1
I’ll be back tomorrow with more photos, info, and scoops on what’s new at NAMM.
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.
Fender 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.
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.
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!
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.
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.
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.
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 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.
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?
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.
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.
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.
Before 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.
I 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!
When 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!
Whether or not you’re a fan of the look of so-called “Relic” instruments, the appeal is certainly there and well-represented in the guitar market. Day after day, there’s a new “old” guitar on my favorite gear site, touting authenticity and that same feel as well-used vintage instruments at a price that’s usually many thousands less.
Relicking–and etymology will back me up on that spelling–is a divisive topic in the world of guitars and guitar ephemera. Some argue that it’s disingenuous, that scars should be earned and not faked; others admit that it’s a feel-thing, and many unabashedly love a good relic and to heck with what anyone else thinks.
Me, I’m right there in the middle. Good fake wear can look great, but bad fake wear looks, well, terrible. I mean, there are some truly awful relic jobs out there, and while I won’t call any out in particular, I would point to my next statement as the only thing I’m prepared to say about the visual aspects of artificial aging techniques:
When ageing a guitar, a bit of mindfulness goes a long way.
And that goes double for functionality. I’m not here to argue over looks. What I care about first and foremost is making sure that making guitars look old and used doesn’t impede the viability of a given instrument. Have you ever tried to remove a fake-aged screw from a pickguard only to have the head snap off on the first try? A bridge saddle you couldn’t raise because the saddle screws refused to budge? A set of relic tuners were tough to turn even with extra lubricant applied? I’ve had to deal with all of the above on more than one occasion.
I recently recently worked on a Jaguar, one that was exceptionally well-made and superbly playable, yet it had one fatal flaw: because of the over-the-top nature of the rusty parts, the tension adjustment screw on the vibrato was frozen to the spring retainer, rendering proper adjustment of the vibrato impossible. Frustrating, to say the least.
No matter what I tried, from DIY suggestions of white vinegar or Coca-Cola, soaking it in WD-40 overnight, even a number of other high-concept solutions, I just could not free the screw from the set nut. Eventually, the tension screw broke in half from all of my hopeful twisting, but we planned on replacing the entire spring assembly anyway. There was no way I was going to call a job finished when the thing couldn’t be adjusted.
The true irony of this situation is that these parts don’t rust like that on vintage guitars. Even the most beat-up, weathered vintage Jazzmasters and Jaguars we’ve had through the shop never exhibited this problem. That’s not to say it’s impossible, but for a shop like ours to specialize in these instruments and yet never encounter an example of such drastic corrosion is telling.
If you’re going to age a guitar artificially, it’s important to remember that, while a rusty screw might look cool, ultimately the part has a job to do. Functionality should always be priority number one.
There’s also the matter of relicking parts that are not meant to rust, like the Mastery Bridge. A feat of engineering by our good friend Woody, we’ve praised this bridge on numerous occasions. While we also adore and respect the original bridge design, the Mastery is nonetheless our favorite option for upgrading if one is so inclined.
Woody designed the bridge specifically so that it wouldn’t corrode. The Mastery website even has this to say: “Every part of our bridge is precision machined out of the highest quality, non-corrosive materials to protect against any rust.” So, when I see these bridges being artificially aged, I just don’t get it. I mean, sure, I understand that a new part on an old-looking guitar might seem out of place, but going so far combats the fundamental design of such a bridge. And while Mastery Bridges will certainly collect their fair share of dirt and grime from heavy use, I have yet to see one rust out so drastically.
In many cases that have come across my repair bench, such a process renders this amazing bridge less functional, and sometimes, unusable. At this very moment, I have a lone Mastery saddle tossed aside in my parts drawer that can’t be adjusted thanks to overzealous ageing techniques.
So I ask intrepid fakers everywhere to please consider the consequences of extreme relic processes on the instruments we choose to make “old” lest we become like the lamentable genetic engineers of Jurassic Park. Heed the grave words of Ian Malcolm:
“Your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”
As you can imagine, I get asked about mods all the time. Recently, my new friend Brent brought his Squier J. Mascis model to me to hear my impressions of it and the many potential upgrades he was looking to have done. As-is, the JMJM is such a good guitar that many players don’t see the need for new pickups or hardware, but given the cheap price he paid and his needs, it totally made sense to do the work.
As I said before, the JMJM is a pretty cool guitar for the money. The neck feels great in your hand, the stock pickups are alright, and it has all of the right electronic appointments a Jazzmaster should have. Still, there’s room for improvement. Let’s jump in, shall we?
Tuners: Actually, these are good enough that I don’t see the need for a swap. As long as know how to string a slotted post correctly (string goes in the hole, 3-5 wraps) they work just fine. Great, actually. Even on my Squier VI!
Pickups: The stock units are pretty decent, but they are indeed P90s instead of Jazzmaster pickups, with big bar magnets and adjustable poles, with a tall coil that’s wound hot. If you want a real Jazzmaster sound, you’re not going to get it from those. Plus, as far as P90s go, I just feel there are better ones out there. I recommend a swap.
Electronics: On this particular instrument, I didn’t totally rewire the guitar. Generally, the one area where the current Squier builds fall short is the dependability of the electronics, which often develop shorts due to sloppy wiring or inferior parts. Instead, I went through and checked every wire and re-flowed some particularly bad connections. I do, however, recommend gutting the electronics and starting fresh with better components.
AOM/TOM Bridge: If you’re familiar with us, you’ll know that the AOM/TOM is the bridge we least recommend for offset guitars, both for sound and setup. Adjust-O-Matic/Tune-O-Matic bridges generally aren’t the correct radius for the most common Fender necks (7.25” and 9.5”) and even with heavy re-slotting of the saddles, it’s not always possible to totally correct that. As a result, the E strings will always feel more stiff than the others.
Additionally, even these bridges don’t always address the most common complaints with the original style bridges: buzzing and stability. This bridge already had some pretty nasty buzzing going on, which was mostly cured by re-seating the saddles. A shallow slot on the low E saddle meant that string impulsively jumped out with heavy picking as well. I recommend a change here, but obviously, your mileage will vary.
A Mastery bridge is almost always my first pick here, which does indeed require pulling the old AOM/TOM inserts, filling the holes, then re-drilling. Staytrem also makes a drop-in thimble replacement for these, so do keep that in mind if you’re looking for something less, well, surgical. They also used to make a drop-in replacement, but I can’t seem to find it on their site. I may be interneting improperly.
The Vibrato: I won’t totally rehash my arguments from our prior blog post on the quality issues of import vibrato units, but suffice it to say, if you’re a heavy trem user––hell, even a pedestrian––you should consider an upgrade here. Tuning stability is key, and the sloppy fit of the internals on these can be a nightmare.
In this case, we went with an American Vintage Reissue trem from eBay user trickedoutguitar, which came with the correct AVRI arm with the ever-so-lovely, gentle bend. Mastery also makes a delightful trem of their own, which I recommend highly for truly intense users.
So, when we finished our assessment meeting, I made my list of recommendations known. With Duncan Antiquity Is, a Mastery M1 kit, and an AVRI trem, I felt we’d pretty much covered everything. Obviously, the Mastery and pickups can be a significant investment for such an affordable guitar, but Brent wanted a guitar that would meet his needs without having to think about it ever again. Good call, says I.
After doing all of that and a proper setup by Yours Truly, I really believe we made a good instrument great. The difference in tone, unplugged and amplified, was immediately apparent. Whereas the guitar sounded pretty good plugged-in but was rather dead acoustically, the superior fit of the Mastery bridge and thimbles really made the thing come alive. And the trem? Smooth and immediate, and of course, stable as hell.
When I’m asked about my favorite Jazzmaster pickups, I always recommend Lollar, Novak, and Duncan Antiquity Is, the latter of which I feel does an excellent job of approximating the sound and response a 60+ year old black-bobbin pickup. In the case of this JMJM, we ended up with a brand new guitar, the sound of which belied its youth. Really a stunning pickup set. It has so much of the warmth and midrange complexity that’s associated with the best old pickups, woody and natural as can be.
We came so close to that sound that I decided to do a comparison video of the J.Mascis Squier up against my 1961 Jazzmaster “Pancake”, which is the greatest guitar I’ve ever played. This was all rather last minute and I didn’t yet have a proper microphone, but the iPhone did a good job showing some of the more overt differences between them. I even threw in “Artoo”, my 2007 Thin Skin with Lollars for fun. Check the video below!
In the end, Brent was absolutely blown away by his guitar, and so was I.