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#NAMM2017 DAY 1!

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

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

EARTHQUAKER DEVICES (BOOTH 4296)

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

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

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

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

FENDER (300E)

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

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

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

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

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

GIBSON

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

Andrew is a total boss

Andrew is a total boss

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

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

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

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

BENSON & RONIN (Booth 2294)

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

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

This is beautiful.

This is beautiful.

SINASOID MEETUP!

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

REVERB.COM (Booth 4368)

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

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

Vanessa was suitably infatuated with this one

Vanessa was suitably infatuated with this one

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

The Electrical Guitar Company Ken Andrews (Failure) model.

The Electrical Guitar Company Ken Andrews (Failure) model.

END OF DAY 1

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

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

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

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

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

 

Mystic Seafoam is a win for both of us

Mystic Seafoam is a win for both of us

Visuals

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

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

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

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

Feel

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

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

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

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

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

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

Playability

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

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

img_4357

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

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

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

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

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

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

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

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

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

Sound

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

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

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

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

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

The American Pro Jaguar in Olympic White

The American Pro Jaguar in Olympic White

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

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

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

Assorted Minutiae For Which I Could Not Devise a Snappy Subheading

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

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

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

The Verdict

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

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

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

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

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

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

fullsizerender

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

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

Sunglasses case, no less!

Sunglasses case, no less!

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

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

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

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

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

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

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

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

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

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

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

 

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When Relics Go Wrong: A Cautionary Tale

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.

IMG_0458Relicking–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.

FullSizeRender(8)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.

Plus, the Mastery Bridge didn’t exist until 2008, so simulating 60 years of wear is anachronistic, and Federation temporal agents will be very cross with you indeed.IMG_7619

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.”

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Upgrading a Squier J. Mascis Jazzmaster

FullSizeRender_1As 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.

IMG_8439So, 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.

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Brent’s finished Squier J. Mascis pictured with Artoo and Pancake

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.

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Happy Birthday, Leo

I have always been bad with birthdays. Well, birthdays, numbers, names, locations… honestly, unless you want to know about guitar specs, 1980’s cartoons, Star Trek, and obsolete breakfast cereals, please don’t ask me questions. I will not know that answer, I’m telling you.

It’s not that I don’t know when they are generally, but also being a bad test-taker, the emotional stress of having to recall dates of supreme importance like birthdays––even my own!––forces me to make loud thinking noises until someone else answers for me. I remember not too long ago when I needed to pick up a prescription for my wife, and God bless her, she forgot to tell me there would be a pop quiz administered by the pharmacist. I ended up calling her from Rite-Aid to tell her that whatever ailment she had, well she was just going to have to wait it out, and thank the maker she wasn’t a crudely-named character in Oregon Trail.

You can imagine my near-shock when I awoke rather late this morning to discover it was August 10th. (I mean, yesterday was the 9th, so it wasn’t the sequential nature of the date.) Specifically, August 10th is the birthday of Leo Fender, a man that dreamed up the first mass-produced solid body electric guitar. What a guy!

Az-KD0QCEAAEmxn.png-largeDear Reader, do you truly understand the weight of that statement? Imagine a world without the Telecaster, imagine the evolution of popular music without the Precision Bass, the Twin amp, and the powerful, wiry sounds of the Stratocaster. This man couldn’t play a lick of guitar, yet he absolutely changed how music is made and played, as well as the world around him in profound ways. He didn’t invent rock ‘n roll, but his work certainly helped.

In honor of Leo’s 106th birthday, there are a lot of articles being published and a lot of celebratory forum threads you can check out with more info on the man and his career, so I’ll keep this one brief. Personally, there are a bunch of things I would love to thank him for, including blackface amps (the Twin Reverb and Bassman in particular) and the Esquire,  the Precision Bass, his wild and wonderful offset guitars with their vibratos, and by extension, my career.

I have seen a lot of guitars over the years, but when asked about my work, I always mention that I specialize in offset guitars. They are, without a doubt, my most favorite guitars ever made, and I cherish the ones I own more than any other instruments that have been in my possession. The sound, feel, and near limitless possibilities of these guitars gives me new ideas on a daily basis, causing me to wonder if even Leo himself understood just how cool his guitars are. Never before have I been so enthralled by a guitar as I have been with the Jazzmaster and Jaguar, and because of that, people keep following me on Instagram, reading these blogs, and bringing them to me for setups, repairs, and restorations.

I realize that Mike & Mike’s Guitar Bar exists thanks in no small part to Leo Fender and his instruments. The first time Mike Ball and I met, he was cleaning the fretboard of a red Mustang. When we got together at his practice space, we geeked out about Nels Cline and his black Jazzmaster. Later, I bought my first Jazzmaster from Mike. And when we decided to create our own guitar shop, we specifically targeted Jazzmasters and Jaguars as focal points. When we both ended up with ’61 Jazzmasters, it was serendipitous but not without a sort of cosmic intentionality, as if nothing could have been more right for us.

These guitars are why we have a following, why we’re dealers for Lollar and Novak pickups and Mastery Bridge products, and why we use and install all of them frequently. I mean, hell, we use a silhouette of a Jazzmaster in our damn logo. And woe to those that stumble into the shop to inquire about offset guitars, unprepared for the avalanche of ramblings with which we are likely to answer.

So thank you, Leo. Thank you for your enduring designs. Thank you for continually creating and innovating. Thank you for conjuring these fantastic and inspiring musical instruments from the wellspring of your mind. Thank you for making your amps loud, too; we like that part.

Without Leo Fender, I don’t know that I would be doing any of this. Without Leo, this world and its music would be a lot less interesting.

Thanks, Leo.

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Boutique Builders and the Offset Vibrato: A Trem of Great Import

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I spend the bulk of my professional life thinking about offset guitars, from the next way in which I’ll be able to explain solutions to the myriad perceived bridge issues, to my idea of the perfect Jaguar, to mods and possible set up techniques I’d like to explore on one of my own. These guitars have been a huge part of my career, and I’m happy to say that recently I’ve discovered that I have a nickname among some enthusiasts: “The Jazzmaster Guy”.

Yes, dear reader, you likely know already how obsessed I am with these models, and in the same way that some proudly identify with a political party or religion, I wear my love of these quirky guitars as a badge of honor. If elections were held to determine the supreme guitar ruler of the world, I would firmly be in the Offset Party. I would totally rock a “Jazzmaster 2016” or “Jaguar 2016” bumper sticker. In fact, that might be worth putting some effort into.

Recently Summer NAMM took over the Music City Center in Nashville as well as our Facebook, Twitter, and Instagram feeds. Gear lovers had a lot to look forward to, with new offerings from boutique and indie guitar, pedal, and amp makers as well as updated models from the big boys, and even if you weren’t able to attend in person (like me) there were plenty of goodies showing up online to satisfy even the most stodgy of enthusiasts. Among said goodies were plenty of models in the offset tradition, which is something that should have elicited more excitement in me than I actually felt.

It’s true: everyone makes an offset guitar these days, and how could we begrudge them that? These guitars have never been more popular, what with the spate of indie bands, aftermarket parts like the Mastery Bridge, and Nels Cline’s mind-altering musicianship, new Jazzmaster and Jaguar models (as well as variations on the theme!) are flooding the market at rates never before seen or anticipated. What was once a bargain-barrel, “crappy” guitar is now every bit as coveted and hallowed as some of the other most successful and idolized guitar models out there.

But with all of the complaints levied against these models (all of which we disputed and dispelled in our Demystifying series) one would expect that new offerings would perhaps understand not only the setup techniques involved in making these guitars play as Leo Fender intended, but also the very real affect of sub-par parts on the tone and functionality of these amazing, misunderstood instruments.

And that’s what concerns me about these upmarket models and fresh takes on famous designs, that there appears to be a disturbing trend in the “boutique” guitar market far more pervasive than relic finishes, self-tuning guitars, and ultra-hot gimmicky pickups:

$2000 guitars with cheap import hardware.

Offset Apart

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My favorite iteration of the offset vibrato: the Pat Pend unit found on my ’61 Jazzmaster.

Many builders these days have homed in on the hot, hot, hot market share the offset body design has carved out for itself. Never more popular or readily available, the Jazzmaster and Jaguar-like body designs invading stores and internet forums alike are often as enticing as they are expensive. Offsets are being turned out in huge numbers these days, and so even small builders are looking to remain competitive in this not-so-niche market, and in order to stay that way, some builders are quietly installing inexpensive hardware on their guitars. And because we’re seeing this practice so often, these expensive custom guitars don’t perform nearly as well American reissues offered by the big company with the F-logo. I find that to be inexcusable, and too often, guitar makers are ignoring what I would argue is the most important piece of hardware on the guitar in terms of tuning stability: the offset vibrato tailpiece.

If you’ve read our Demystifying series, then you know that, when properly set up, Leo Fender’s offset vibrato design works flawlessly. Seriously, take a moment to read those articles, then come back to this one with your mind blown, and thus, more open. The offset vibrato is so popular right now for a reason, and that reason is, it’s stable as hell. When well-maintained, I can do more and get more out of the offset vibrato than I can with just about any other unit on the market, and although it may not ‘dive bomb’ the way a Floyd Rose does, how many non-locking trems do you know of where you can depress the bar the whole way, strings flopping about, then release and have it come straight back into tune? 

(For the record, I also love Gibson’s equally maligned Lyre Vibrola, Bigsbys, Rickenbacker’s Accent, and the tailpieces found on old Silvertone guitars. Sorry for answering my own question.)

But hold on a sec, the above statements come with a disclaimer: I’m only referring to vintage and US reissue tremolo units. There is no import part on the market that works as intended.

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From Allparts.com

I’m quite honestly shocked at the number of high end offset guitars at SNAMM  equipped with the unbranded offset vibrato, a unit that can be easily obtained from many parts suppliers yet is never worth even its modest cost. The reasons I’m so down on the ubiquitous, no-name import trem unit is that the parts are made from pot metal, poorly machined, and are generally bulkier in design. They also happen to have arms with the least graceful bend imaginable, something that I’d contend is as much a part of the feel of the trem as the spring.

See, not only are there issues with arms spinning freely, collets breaking and never quite locking-in properly on those units, they also just don’t stay in tune as well as those made in the America. Parts that don’t fit properly together mean that the unit won’t return to pitch or “zero out” perfectly. They feel cheap, and comparing one of these import trems with the real thing, one can plainly see the stark difference in quality between them.

Recently, my pal Jessica Dobson of Deep Sea Diver brought in a new guitar for a setup and to install new pickups, and as part of a setup, I always ensure that the trem unit functions smoothly and accurately. In the case of this instrument and many like it, the vibrato wouldn’t return to pitch even when properly set up. I removed and dismantled the unit, and saw something that I’d seen many times before.

IMG_2590In viewing this photo from my Instagram feed, you should be able to see that the pivot plate on this Asian-import trem is sloppily manufactured, and it’s not just this particular one! Every single one of these I’ve ever worked on is malformed in some way, leaving the hope of tuning stability a pipe dream at best. Now, this can be corrected to some extent by doing as I did here, grinding away the excess material until the plate was left with sharp edges and equally smooth contact points. And while this does ensure that the trem works much, much better than it did, weak springs and inferior materials will continue to cause issues much farther down the road.

Another mark against the import unit: bad metal sounds bad.

A Call to Trem Arms

If you’re a guitar maker offering a Jazzmaster-type model (or any model with that particular bridge and tailpiece combo) then I completely understand that you can’t just put a Fender-branded part on your guitar. In that regard, the no-name, unbranded import vibrato seems like a good alternative, and one that’s easy to relic to hell and back, if that’s your bag. The thing is, because they’re so poorly-made, you may be offering a guitar with a flaw right out of the gate. But there is hope!

One option would be purchasing the U.S.-made ‘real thing’ and replacing the face plate. Companies like Faction Electric Guitars offer stainless steel plates (designed by our pal Paul Rhoney) that would suit this purpose well. Sure, that’s an added expense, but if you’re already charging $1800-$2500 for a guitar, well, it’s a worth while one.

An even better option? Investing in the Mastery Vibrato, a unit that’s free of ties to the California manufacturer with the familiar name that works perfectly and is perhaps the closest in feel and tonality to the units found on vintage offset guitars, and as many of us offset aficionado will tell you, they’re the cream of the crop. Woody designed this piece as an upgrade to the original, with the a new carbon steel spring meant to feel and perform as the originals, low-profile screws that won’t chew through your strings, and a pivot plate that runs the entire length of the string anchor plate. Sturdy, solidly-built, and tonally brilliant, this all adds up to the perfect vibrato for your equally well-made and attractive instruments.

If you’re building your own guitar from parts and you don’t have the coin to drop on upgraded or vintage units, you can find Fender AVRI trems in the $50-60 range, and you can even find ‘aged’ ones on eBay. The no-name unit goes for $35 over at Allparts but don’t say I didn’t warn you. Unfortunately, at this time the  import unit is the only option for those in need of gold hardware.

Now, the purpose of this article isn’t to call out any specific builders out there, so I’m not going to include the names of guitar makers that use the dreaded “no-name” vibrato. Instead, here’s a list of some of my favorite builders that, instead of attaching subpar parts to their instruments, go the extra mile and dollar to install the precision-machined Mastery Vibrato. These are builders that care about quality that you can buy from and know that your instrument will perform as promised every single time.

In alphabetical order:

Ayers
BilT
Collings
Creston
Deimel
Echo Park
Kauer
Rhoney

That’s all I could think of right now, but I’ll be sure to update this post once my other guitar-building friends read this and yell at me for forgetting them. I’ll deserve that much at least, I’m sure.

Anyway, this one’s the only unbranded trem I’ve ever liked, found on Freddie Tavares’ prototype ’58 Jazzmaster in Desert Sand with a huge maple Stratocaster neck and a sweet black anodized guard. Special thanks to Mark Agnesi of Norman’s Rare Guitars for letting me have an unforgettable hour with this thing. What. A. Guitar. Expect a short article about that hour in the future!

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If I only had $100K.

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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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EXTRA: eBay Seller fenderparts/portlandmusic Does the Impossible, Pleases Most Fastidious Man on Earth

CIMG5232(1)-impIf you’re anything like me – and God help you if you are – the more you get into vintage guitars, the more you start noticing all the little differences between the originals and their reissues. Some of these are slight and easily overlooked, like the narrow string spacing on a Japanese Jazzmaster vibrato or the “e” on a new Fender amp logo missing its little point. Other changes can be more glaring; for example, on the new Coronado reissue Fender’s replaced the original DeArmond-made pickups with Gretsch-style FilterTrons, likely because retooling the old ones is more hassle – and expense – than it’s worth. Plus, ‘Trons sound great, so who can complain?

IMG_7628-impFor some, these changes don’t make any difference; after all, a good guitar is a good guitar, so if an instrument sounds and plays great, all of that cosmetic stuff just doesn’t matter. Still, as the old internet axiom states, “What has been seen cannot be unseen,” and for many of us, once a design change or inconsistency is noted it’s hard to put it out of mind.

If you’re anything like me, then you might understand my dismay when I finally realized that the mint guard on my precious ’07 Fender Thin Skin Jazzmaster had a 45 degree bevel instead of the vintage-correct 60°. And if you’re anything like me, I probably just ruined your day.

Bevel, Biv, Devoe-tion

You may be wondering why this matters so much, and to be honest, it really doesn’t. I’m surprised it took me so long to notice, but out of all the changes made to guitar models over the years, this one ranks among the very least important. It bears no effect on the playability, comfort or performance of the instrument, and for most of you out there, if I didn’t write this freaking blog post about it you’d be none the wiser. It’s really a non-issue.

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But indulge me for a moment and take a look at these two sunburst Jazzmasters, a 1961 on the left and an 2011 on the right. Born 50 years apart, they’re both beautiful instruments, and each plays fantastically thank you very much. But did you notice how much more bold and eye-catching the guitar on the left is? Sure, it’s obviously vintage, the shell pattern is prettier, and that burst is perfectly worn. However, if the older guitar were completely clean, I’m willing to bet you’d notice a difference even if you couldn’t quite put your finger on what it was. I’m telling you, it’s the bevel!

Just like whitewall tires on a '50s Chevrolet, a wider pickguard bevel really sets off the look of a guitar.

Just like whitewall tires on a ’50s Chevrolet, a wider pickguard bevel really sets off the look of a guitar.

From an aesthetic perspective (read: to my eye) the deeper bevel can have a surprising impact on the looks of a given instrument; a steeper angle exposes more of the white part of the layers beneath, creating a sort of visual buffer between the burst and tort. This goes double for guitars that have genuine 1960s mint green guards, which have a much thicker middle black layer. That thicker ring around the guard makes vintage guitars ‘pop’ a little more than reissues.

Yes, this minuscule difference only bothers the most detail-obsessed folks on the planet, and I’m proud to be one of them. But if you’re the kind that gets stuck on minute details and you’re finding yourself with an itch you can’t scratch, what then? You could buy a real-deal vintage guard, but that privilege comes at a steep, steep price – may times in the $300 range! You could scour the net for repro guards, but as we all know, reissues are rarely reissues. What then?

Junkies, get your fix: eBay’s fenderparts has you covered. UPDATE: Jimi also runs eBay store portlandmusic, which has a huge selection of his Nitrate Tort guards. They’re beautiful. (Photo at the bottom of the page)

If you’re looking for a vintage-correct guard for your guitar, you can thank your lucky stars for Portland’s fabulous fenderparts. (Also portlandmusic) Owned and operated by Jimi Haskett, fenderparts is my first-call supplier of the coolest aftermarket guards on the planet, at least in my opinion. 

Not only does Jimi have his angle on the bevel (ha!) he’s also meticulous in choosing just the right materials for his guards. I’m talking spot-on mint green material, and he sources his beautifully-colored tort from Italy! Unfortunately, we don’t have any shots of them, so when we get one of his tortoise shell guards, we’ll be sure to follow up!

50 Shades of Green

CIMG5233When I first discovered Haskett’s amazing guards at the Spring Seattle/Tacoma Guitar Show, I knew I had to have one. From the few guitars I saw that had his work installed, I could tell that this admittedly nonessential upgrade was going to be the thing that took my guitar from a really great-looking reissue to a doppelganger for the real thing – not that I’m trying to fool anyone. A few weeks later, I took the plunge and waited anxiously for my guard.

Jimi shipped my order quickly, especially since my guard was made-to-order. When it arrived, I couldn’t wait to open the package even though my guitar was at home rather than at the shop. On first seeing the guard, my hopes couldn’t have been more adequately met: lightly aged, de-glossed and unbelievably close to a real early ‘60s mint guard, Jimi really impressed me with his attention to detail and deft execution. And the aging? Tastefully done and not too overblown.

CIMG5225Honestly, simply holding my Jazzmaster’s new garments made my eyes grow wide with an almost lustful anticipation, my mind racing as I imagined the ecstasy of stripping down my instrument to its most bare state. Oh, I marveled in the act of turning screw into wood, my hands on Blue’s waist, reveling in the unparalleled joy of playing dress-up with my favorite muse. Oh, the sweet music we’ll make together, my muse and I! Oh, how I can hardly wait to caress –

Whoa. I… I’m sorry. I guess I got carried away there. Do you mind if I – you don’t? Whew, okay. I’ll be right back.

*takes cold shower* Where was I? Ah, yes: the guard.

Installation was a breeze, save for some very minimal filing I had to do around the bridge thimbles holes. I don’t believe this is a shortcoming on Jimi’s part; having worked on nearly every conceivable year and model of the Fender Jazzmaster over the years, I can testify that the thimbles can indeed be in slightly different places, especially on some of the reissues. My guitar is an ’07 Thin-Skin, and even before ordering my guard from fenderparts I was aware that my thimbles were closer to the neck than usual but it intones perfectly, so I never gave it much thought. When I held Jimi’s guard up to my old reissue guard, sure enough his holes were a touch closer to the vibrato plate which perfectly echoed the vintage guard we had around the shop.

The Tease and the Reveal

IMG_7637-impWhen I finally had my guitar put back together, the visual difference was immediately apparent. Suddenly, I found myself in a heretofore unknown state of reissued bliss, my eyes affixed to my guitar as if it were brand new all over again. I really can’t describe how impressed I was with this guard, from the dead-on coloring and believable aging to the fit. Just look at it!

I now find myself recommending these guards to anyone that asks, and for a handmade product you’re not paying outrageous sums above what a normal one would cost. Most of his guards are in the range of $79 – $89, which could be off-putting for some. Still, with replacements already costing up to $70, an extra ten or twenty isn’t that out of the question. Like I always say, “Support the little guy!”

In short, Jimi Haskett really gets it. You see, there’s more to making a genuine replacement part than simply following the lines; there’s a character to old things, especially when they’ve come into such constant contact with human beings as guitars have, and this piece of plastic paraphernalia beautifully captures the look and feel of a truly old pickguard. I mean, we’ve all seen really tacky, completely obvious aging, right? Jimi’s work is nothing of the sort.

If you’re even considering a new guard for your old – or new – guitar, do yourself a favor and check out fenderparts on eBay.

And again, portlandmusic is his other eBay handle for tort guards and guitars!

 

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Before and after

That's damn good tort. Taken from an auction from portlandmusic on eBay.

That’s damn good tort. Taken from an auction from portlandmusic on eBay.

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