Tag Archives: mosrite

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

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

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

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

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

A shot of Mojotone's Jazzmaster bobbin

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

Open Coils

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

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

Don’t Drop the Soap[bar]

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

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

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

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

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

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

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Offset Obfuscation

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

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

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Oh yeah.

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

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

The Creamery shows us the difference!

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

Sound Decisions

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

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

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

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

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

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

Jaguar: a Kitteh of a Whole Different Breed

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

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

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

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

-Michael James Adams

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The Most Patriotic Guitars Ever, Ever. Happy July 4th!

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Here at Mike & Mike’s Guitar Bar, we couldn’t be more excited about July 4th. It’s three days after our shop’s anniversary (1 year, y’all!), my anniversary with my wife (3 years, y’all!) and the anniversary of our Nation’s independence (237 years, y’all!) so we’ve much to celebrate! And we LOVE to celebrate. I can’t speak for Other Mike, but I can tell you that in exercising my freedom on the freest day of the year I’ll be hanging with friends and family while eating grilled meats and drinking frosty brews, probably some Mike’s Hard Blackberry Lemonade because I like repetition. And also because I like adult fruit punch. I swear to God, if anyone tries to hand me a Silver Bullet I’m going to glare at them until they leave me alone.

When it comes to the best ways to share American pride, among them are belt buckles, bikinis, gaudy tattoos and, of course, the guitar. Yes, the guitar; is there anything more American?* Given the amount of red, white and blue guitars out there, that answer seems to be a flag-wavin’ HELL NO. In this day and age, everyone’s got a guitar – hell, even Obama plays a Jaguar.

Let’s take a look at some of the most patriotic guitars ever created, and we’ll rate just how proud they make Uncle Sam based on their individual patriotic flair. We’ll also try to give approximate prices, proving that freedom truly isn’t free.

1) Buck Owens Signature Fender Telecaster

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Now that’s what I call patriotic: stately, refined pride. That’s a classy guitar, not some chaotic melange of blue stars and red stripes as if Uncle Sam got sick like so many other instruments. Gold hardware, three-tone sparkle finish and Buck’s signature on the headstock all makes this guitar as attractive as it is reverential, much like Buck’s deep love of his country.

Out of all the guitars we’ll look at in this post, this is one of the ones I’d really love to own. It’s a guitar even a dirty lib’ral could love! The caveat here is that this limited-edition run of guitars was actually made in Japan, for which we’ll have to reflect  in the guitar’s rating.

Buck Owens Telecaster
Price: $1200-1500
Country of origin: Japan
Patriotism Rating: 888 (exactly 1/2 of 1776)

2) 1985 Gibson MAP

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In 1985 Gibson did a limited run of guitars shaped like the 48 contiguous states of America, only nine of which are in this stars-and-stripes finish. Featuring a familiar electronics array, much like that of a Les Paul or an Explorer, these guitars have both style and substance while being a symbol of American craftsmanship. I mean, can you imagine trying to install binding on that thing? I would quit once I got to Michigan.

Because there are so few of these guitars, who’s to say exactly what the going rate would be. That finish is plenty cool, though, so if I came across one in the wild I’d snatch it up no matter what the going rate would be. There are a few of the natural-finish examples on eBay, with the sellers asking $3000, so I’m certain there’s a premium price attached to such a rare finish.

Being that this Gibson has such a rare, cool finish and is made in America, I’ll be awarding this one full points on the scale of patriotism.

1985 Gibson Map in Stars-and-Stripes finish
Price: $????
Country of Origin: USA!
Patriotism Rating: 1776

3) 1965 Mosrite Ventures “Salesman”

1965-Mozorite-Salesman-FramedIn the 1960s, California-based guitar company Mosrite produced about 50 of these guitars know as “Salesman” guitars. The thought was that a Mosrite rep could walk into a guitar shop and say, “Here’s the Mosrite guitar, and these are your color choices: Red, White or Blue.” Easy, right?

Trouble is, I don’t want any of those individual colors, I want THIS ONE. I mean, just look at that! So dreamy.

Aside from the Ventures, many of our guitar heroes played Mosrite guitars including Kurt Cobain, Joe Maphis, Fred Smith of MC5 and Johnny Ramone.

1965 Mosrite Ventures model “Salesman”
Country of origin: ‘Merika
Price: ~$5000
Patriotism Rating: JFK riding a robot unicorn on the moon

4) Blueberry Guitars USA Eagle Thing

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Holy shit. Evidently this was a custom order for a country artist that wanted everyone to know that his pride is bigger than yours. I can’t knock the kind of skill it takes to produce such an instrument, but subtlety is lost on this one. I mean, this thing is… well, I can’t describe this one to you as well as photos can…

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And yes, the headstock shot from the beginning of the article is from this guitar. Can you imagine what this thing must be like in person? It must sound like the tears of an a bald eagle falling onto the Liberty Bell. And guess what: it’s not even made in America! This one’s from Canada, and the thought of someone in another country having to do this is hilarious. I do love Canada, though, and being that they’re our neighbors to the north I want to take this opportunity to say that we should hang sometime soon.

Blueberry Guitars USA Eagle Thing
Price: many thousands, I’m sure
Country of origin: Canada
Patriotism Rating:

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Blueberry actually does really beautiful work. I’m picking on this instrument heavily but I do have deep respect for their craftsmanship and instruments. Check them out here.

5) Fender Wayne Kramer Signature (MC5)

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I’m a huge MC5 fan, and I would totally Kick Out the Jams on this guitar. With US hardware, a Seymour Duncan ’59 humbucker in the middle position and an engraved “This Tool Kills Hate” neckplate, I would have no qualms about taking the stage with such a flashy Strat. It’s also worth mentioning that I’m not even a Strat guy!

This model has been relic’d to match the original, and is made in Mexico. “Mexico?!!”, you ask incredulously, mouth agape in shock. Yes. And it’s great. At least it’s an American brand, which is more than I can say for our next entry.

Fender Wayne Kramer Stratocaster
Country of origin: Mexico
Price: $999 new
Patriotism Rating: WELCOME TO EARF

6) Toby Keith’s Stars-and-Stripes Takamine

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I’m sorry, but no. I mean, the other offshore-made guitars we liked were at the very least made by an American brand, but come on! Takamine?! Sure, they make good guitars, but TK’s not even trying here. Yeesh. How’s about you sing us another song about putting boots in terrorist’s asses or bringing American jobs back home. Let’s slap Old Glory on the front of a Takamine! Brilliant!

Irony? He’s swimming in it.

TK’s Takamine
Country of origin: Japan
Price: Custom
Patriotism Rating: McCarthyism

7) 1976 Gibson “Bicentennial” Firebird

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Gold hardware and an understated tweak to commemorate 200 years of American history. It’s no Map, but it’s a nice nod.

1976 Gibson “Bicentennial” Firebird
Country of origin: USA
Price: $4,000-6500
Patriotism Rating: 177.6

8) Woody Guthrie’s “This Machine Kills Fascists” Gibson J-45

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Woody Guthrie is an American legend, and the songs he wrote are just as poignant and effective today as they were when he penned them. Utilizing familiar folk melodies and the breadth of his experience gained while rambling around the country in train cars, Guthrie deeply loved his country and believed it was inseparable from its people, and aimed to protect her from fascists, singing his songs anywhere people were.

There’s much to be said about Guthrie’s legacy and music, but the song that’s probably the most well-known of his is also one of his most misunderstood: “This Land is Your Land”. Guthrie wrote that song in 1940 as a reaction to Irving Berlin’s “God Bless America”, which Guthrie thought was trite and complacent. The song, originally titled “God Blessed America”, is a beautiful example of his feelings of patriotism, far removed from today’s brand-name, fearful allegiance.

Above all, Guthrie believed in the capacity of people to care for one another, but he also believed that the country he cared for was going in the wrong direction, filled with greed and injustice. A socialist, Woody saw the wealthy profit from the labor of the poor, going from migrant camps to union halls, feeling what was happening around him.

I say that “This Land” is misunderstood because until I was in This Land, a play/musical I was in last year detailing Woody’s travels and songs by use of his personal journals and letters, I had never heard the whole song. Sure, everyone sings “This land is your land, this land is my land”, but I don’t know that I’ve heard anyone sing the other more damning verses before. I remember when my family was invited to see president George W. Bush at the York Fairgrounds in York PA, there was a group there singing patriotic tunes, and among them was “This Land”, and looking back those later verses were conspicuously absent. Here are those verses:

This land is your land, this land is my land
From the California to the New York Island,
From the Redwood Forest, to the Gulf stream waters,
God blessed America for me.
This land was made for you and me.
As I went walking that ribbon of highway
And saw above me that endless skyway,
And saw below me the golden valley, I said:
This land was made for you and me.
I roamed and rambled and followed my footsteps
To the sparkling sands of her diamond deserts,
And all around me, a voice was sounding:
This land was made for you and me.
Was a high wall there that tried to stop me
A sign was painted said: Private Property,
But on the back side it didn’t say nothing —
This land was made for you and me.
When the sun come shining, then I was strolling
In wheat fields waving and dust clouds rolling;
The voice was chanting as the fog was lifting:
This land was made for you and me.
One bright sunny morning in the shadow of the steeple
By the Relief Office I saw my people —
As they stood hungry, I stood there wondering if
This land was made for you and me.

As Greg Carter, the director of This Land said, “Woody will tear your flag down and give you a reason to pick it back up again.” And, having spent three months working in that play, singing his songs and playing his notes, I can honestly say that being so enveloped in Guthrie’s words and songs has taught me more about patriotism and heroism than the 30 years of fireworks, cookouts, pledges and elections ever could have. No one ever fights for a piece of cloth; they fight for the idea.

Woody Guthrie’s “This Machine Kills Fascists” Gibson J-45
Country of origin: United States of America
Price: Priceless
Patriotism Rating: Eleventy Billion

*Yes. The modern guitar has its roots in Spain, and further back, Rome. But of course, we’re a big ol’ melting pot, aren’t we?

-Michael James Adams

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