Tag Archives: Seattle

Squier-O-Practor: A Misaligned Neck Could be Painful

When you think of a decent guitar setup, what comes to mind? Lowering action, correcting intonation, maybe giving the truss rod a good turn? They’re all components of a good setup for sure, but is that really the long and short of it? No, there’s more to it than that!

I’ve always believed that a thorough setup has to go beyond just the basics. You’ve got to take into account the whole instrument, from dressing the nut slots for the player’s preferred string gauge to even giving the tuners a quick twist just to make sure they aren’t sticking. De-gunking a fretboard, polishing frets, spraying out dirty pots, and even removing some problematic rust are often essential to making a guitar fully playable as well as functional.

Case in point, something I’ve often seen slip past the sensors is neck alignment, where the neck is tilted on the body in favor of one E string or the other. With a misaligned neck, the strings closest to the edge of the board are prone to slipping off and intonation can suffer greatly. Almost every bolt-on guitar on the market exhibits this issue in some form or another, which is commonly caused by the extra bit of play in the neck pocket that comes with mass-production. It’s an issue found on high-dollar guitars too, not just imports and affordable models like the guitar I’ll use below as an example.

Have a look at this Squier J.Mascis:

Misalignment on the left, corrected on the right

When I got my hands on this one, the high E had a tendency to slip off the fret ends, and intonation on the plain strings was nearly impossible, especially with the reduced saddle travel of the TOM bridge installed on the model. This kind of thing can even muck with string bending, as the string can be choked off as it crosses the fretboard at an angle. Also note that the strings do not line up with the pole pieces of the neck pickup!

Luckily, this is an easy thing to correct. The most basic solution is to simply pull the neck back into place. In this case, all that was needed was holding the guitar with the upper bout against my body and giving the neck a quick pull towards me, then tightening the neck bolts to ensure it stays put.

Fig. 1

In more extreme cases, shimming around the perimeter of the neck pocket may be necessary for a tight fit. Where there’s only a little extra space, I’ll insert a shim where the neck touches the pocket when tilted. Using this J.Mascis as an example, this could mean shimming the treble side of the heel and along the bass side of the pocket to keep it in place. [See Fig. 1]

As for materials, wood veneer, cut-up baseball cards, or even discarded picks made to fit will work just fine if you’re more of a DIY fan. In the case of an oversized neck pocket, like those often found on some CBS Fender guitars, a qualified tech or luthier should be able to add material if necessary, even going so far as to add a shaped, painted shim along the bass side of the neck. Really, whatever keeps things stable is good enough in most cases.

Next time you’re cleaning or restringing your guitar, have a look at the neck and check to make sure it is properly aligned. If not, you could be missing out on a better setup and truer intonation as a result. All it takes is a little attention and experimentation to correct an issue like this one.

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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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To Mod or Not To Mod…

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…that is the question
Whether ‘tis nobler in the mind to suffer
The slings and arrows of outrageous guitar tone
Or to take arms against percieved troubles
And by opposing end them.

In the opening phrase of Act III of Shakespeare’s Hamlet, the titular character weighs in on death and suicide, the unfairness of life, and whether one is any better than the other. Likely the most quoted phrase in existence, The Bard’s universally famous question has been repeated, adapted, chopped up, parodied, and revered in innumerable ways since the great tragedy was written in or around the year 1600.

And so, in a flash of utter predictability, I’ve tweaked those first six lines to fit today’s musings, and to be honest, I think it works. The despondent prince was, in essence, comparing life and death, wondering if one had merit over the other. And when we’re modding guitars, it sometimes feels so dire, does it not?

The Heart-ache, and the thousand Natural shocks That Flesh is heir to

When customers write, call, or visit me to ask what I think of their proposed modifications, it’s an exciting prospect no matter what we end up deciding. Instruments are an intensely personal thing for musicians, so the idea that we can easily take a guitar you like and turn it into one you’ll love is why this world is so fun. Like all things, mods have their place, and can be just the thing to rejuvenate your creativity.

True, guitarists are fickle, and what works on Tuesday may be the complete wrong thing come Friday. You may have a friend that tried out a new pickup over the weekend, and blazed through the honeymoon phase and went straight on into divorce. Or take my friend, who bought that expensive boutique speaker for his Princeton and later told me, “I tried to convince myself that I liked that thing.”

I actually really like the mods done to this '70s Les Paul Recording. Many players hated the low-impedance pickups, and those brass plates look particularly good, says I.

I actually really like the mods done to this ’70s Les Paul Recording. Many players hated the low-impedance pickups, and those brass plates look particularly good, says I.

Another good friend toured with a big-time act as tech and tells the story of a night when the guitarist decided that his fuzz pedal didn’t sound right, so he asked for the spare to be put in its place. He played it for sound check, decided he didn’t like it, and had the tech replace it with the third spare, only there was never a third, so the tech put the original back in line. Immediately the response was, “Oh yeah, YEAH, that’s the one!”

And that’s how we are, including myself. From my extensive and incredibly scientific studies, I know that it takes me exactly 0.00359 seconds after performing a mod to start researching other options, even if I love what I’ve come up with. Is this due to the quest for tone we often talk about, or perhaps an inner dissatisfaction that lurks within my being? Perhaps it boils down to musicians being such staunch individualists. No matter the cause, it’s not so surprising that we’re looking for the next new thing as soon as the old new thing is, well, old.

So, when it comes to mods, whether the concept is a passing phase or a long-held belief, it’s good to have a measure of sobriety when considering chopping up your main squeeze. Here are a few things I like to consider before modding:

To sleep, perchance to Dream; aye, there’s the rub

So you have a killer idea to finally achieve that sound in your head. Great! Sleep on it, do some research, seek out demos or schematics, should they apply. Consult a friend, a tech, or the internet. Gather as much information as you possibly can so you’re making an informed decision.

Like all projects worth undertaking, it’s a good idea to slum around forums and the like to get a feel for the kind of work you’re in for. Has someone done this mod before? With billions of people on planet Earth, chances are, yes, someone has. And though it may fly in the face of individuality, checking up on the errant post to glean insight into your desired modification is encouraged if for no other reason than learning what NOT to do!

There have been a few times when I’ve taken on a project that I’ve never done before where checking out one of my favorite forums lead me to a thread simply entitled “HELP!” that gave me all of the information I needed to ensure a fool-proof installation. From wiring a four-conductor humbucker to routing a new cavity for that fancy tremolo you bought at the guitar show, there’s a lot to learn from folks that learned the hard way.

Thus Conscience does make Cowards of us all

Just like your favorite poncho, it’s good to ask, “Is this reversible?” While it’s not a make-or-break kind of question in most cases, this is a great thing to mull over before you pick up your screwdriver or Dremel. There’s no sense in utterly ruining your favorite guitar just because you wanted something different, especially with the glut of aftermarket parts out there these days.

In most cases, things like pickups are totally reversible and really only mean resoldering some connections. No big deal. Swapping necks, similar parts, bridges, all of that is totally fine and you should do it. There are a few cases where I’d caution against such things, and usually that’s when we get into the pristine vintage guitar realm.

Or take this old Gibson SG-1 that I modified for a neck pickup for a customer. Neither desirable nor rare, these guitars are ripe for mods.

Or take this old Gibson SG-1 that I modified for a neck pickup for a customer. Neither desirable nor rare, these guitars are ripe for mods.

If you’re modding, say, a Squier Vintage Modified Jazzmaster, go for it! There are so many of those guitars out there that routing for Wide Range pickups or adding one behind the bridge isn’t going to matter or affect the value in any appreciable way. For a $200 guitar, they’re perfect for this application, and I can tell you that they’re solid testbeds, having worked on more than a few. I also have very little problem doing the above to Fender AVRI guitars, again, because they’re plentiful. Unless you’re thinking of selling your black ’62 Jaguar reissue, don’t feel too bad about omitting the rhythm circuit or slamming some lipstick pickups in there.

If, however, you have a 100% original 1958 Jazzmaster but you really think it needs humbuckers and a Floyd Rose, I’ll probably champion the cause of the unspoiled instrument in front of me rather than simply agreeing and getting out my router.

I’m reminded of a customer we had last year that owned an absolutely mint ’65 Fender Mustang in Sonic Blue. I mean, this was an absolutely untouched, beautiful instrument in every respect. The customer, however, didn’t like blue, and asked if I would refinish it in red. That was one of the few jobs I flat-out declined, and instead suggested we should sell the instrument and acquire either a red one in like condition (for about the same price, too) or buy a guitar that had been mucked with, and refinish that one to the desired color. Eventually, we did the latter, and as far as I know, he ended up being really happy with the new guitar.

In my view, there’s no reason to carve up an immaculate instrument when there are literally thousands of already modded and refinished vintage guitars out there. Sure, things like sound, feel, and playability come into play here, but those things can usually be addressed rather easily. When it comes to devaluing an aged instrument, I try to think a few decades ahead and wonder what I’d think of myself for doing so. That solves more than a few problems.

Of course, if your old friend has been refinished, routed for humbuckers, missing its original guard and decal… then it’s either a good candidate for restoration, or you should do all of those mods you’ve been thinking of! Me, I’m always on the lookout for a cheap, routed-out, refinished ’63 Jaguar that I can do my own thing with.

Also worth mentioning: sometimes you don’t have to do anything drastic to your guitar, what with pickup makers like Curtis Novak putting Mosrite pickups, PAFs, Wide Range humbuckers and Gold Foils in more familiar bobbins.

How about this poor '60s Mustang we adopted last year?

How about this poor ’60s Mustang we adopted last year?

The insolence of Office

When I hear someone say, “It works for ____ so it’s good enough for me,” I tend to worry just a little bit. Not because the proposed mod is a bad idea, but that statement has a lot more going on than the speaker may realize.

Big-name guitarists can get what they want, generally speaking. When you have connections at your favorite guitar company, a dedicated tech or two, and the money to back up your whims, a lot of mods inevitably start to happen. Sure, there’s nothing wrong with swapping pickups in favor of something that suits your needs, but I’ve seen enough modified instruments to know that not every idea is a good one.

A modded '70s Telecaster bass used by studio musician Buell Neidlinger.

A modded ’70s Telecaster bass used by studio musician Buell Neidlinger.

One of the things that often separates the average musician and the touring pro is that they have an army of techs at their disposal, paid well (I hope) to swap those pickups, change out bridges, and glue splintered wood back together on the quick so the show can go on. Some things work, and some things don’t, while others require a lot of attention to keep in check.

I know of one such touring pro that had his tech quickly install a brass nut on his instrument, searching for that brighter sound he craved. When I worked on the guitar some time later, I discovered that the nut slots weren’t cut properly, so the strings were binding up, causing tuning problems. Obviously, this wasn’t ideal. 

The thing is, the player never noticed it, because he never played solos or bent strings, only big chords. He didn’t know about the problem his guitar had because he had a tech to tune it between songs!

The Undiscovered [Flavor] Country

That kind of sounds like a Shakespearean cigarette ad, doesn’t it?

Though this article may sound cautious, please don’t take it as a strict warning against figuring out that sound in your head. At most, I’m just offering a few thoughts to help the potential guitar modder some guidance. What matters most is that you’re happy with the instrument you’re using, and if a cool mod gets you there, then it’s a good one. Some mods might be more effective and less intrusive than others, but there is merit in tweaking a design to work for you.

The old adage “You won’t know until you try” certainly applies. So I say, go for it! But maybe have a good think about it first.

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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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1969 Gibson SG Restoration

IMG_8037 - Version 2-impOver the summer, I picked up this 1969 Gibson SG Standard husk, totally stripped and poorly refinished in natural. The neck was cracked, some wood at the bridge area was replaced and filled, the contours were sanded away and altered, and before the finish was applied it seems like the body was sanded with nothing greater than 120 grit. Super rough, really disappointing!
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I paid about $400 for the wood, and decided that this would be a worthy candidate for total restoration. With all I’ve learned over the years (beginning in my dad’s woodshop as a kid – I was listening!) I felt as though I was finally able to tackle this kind of thing. I’ve been working on guitars for years now, and in the past few I’ve really focused on finishing techniques, but on a much smaller scale; fill-ins and color matching are more my specialty, but I thought, ‘Hey, why not dive in? What’s the worst that could happen?’ At the very least, I might end up with a vintage guitar that I’d enjoy playing.

Although I discussed this project openly, I didn’t advertise it for sale or anything because, to be perfectly frank, I wasn’t entirely sure what I’d end up with. I trusted in my abilities and my aptitude for learning quickly and adjusting my process on the fly, but this was my first total refinish, so I wanted to make sure it was good before I went spouting off about how we offer full restorations as one of our many services.IMG_6017-impWith all of the work that needed to be done, I absolutely had to strip the body again. I mean, I’d have to rework the carves on the body anyway, and the finish was really thick and the wood didn’t have the proper SG look. You see, one of the things that sets 1960s SGs apart from those made in the 1970s and beyond is those deep, gorgeous body bevels that make them look so much meaner and tougher than the others.

Given my obsessive-compulsive wiring, I set to work with sandpaper and a block with the mission of restoring the depth, sharpness and allure of the carves.

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Soon, I had the body stripped and sanded from 120-320 while I reshaped absolutely everything, from the horns to the backside bevels, to the neck joint and even the slightly sharper late ’60s bottom carves behind the tailpiece. The hardest part was the interior curves of the neck, for which I studied some hi-res photos as Mike Ball’s original 1968 SG for reference.

After sanding to 400 grit, the next step was grain filler, which is really important to getting the right look to that old Gibson Cherry. See, I searched the internet like crazy for examples of good refinished SGs to pattern my work after, and I couldn’t find anything. I saw a ton of refins, but few that looked quite right. I took it as a challenge to really dig into what makes these guitars look the way they do, and ebony grain filler is a big, big part of that late ’60s look. (everyone else seemed to either skip this step entirely or use a neutral color of filler that didn’t show off the grain of the mahogany.)
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Always up for a challenge, I decided that instead of purchasing proper spray equipment or building a spray booth, I was going to do this in true D.I.Y. fashion: I would only use only amateur finishing supplies to really get the feel for the pros and cons of what’s available to the first-time restorer. This meant rattle can finishes (I used Stew-Mac products entirely) and power tool buffing pads.

IMG_7075I was a little concerned when I sprayed the first coat of cherry. I expected it to be bright as the first run was a tack coat, laying down some color so the next coat sticks. But it was RED, not cherry. When spraying, I usually spray a coat, then wait 30 minutes and spray another. Two hours later, I’ll do another and let it go overnight. After two bright red coats, I started to get really worried, but I put it out of my mind on a Saturday night and came back on Tuesday to discover that the color had darkened considerably. That made me happy.

After the red, I sprayed some amber laquer to gently age the finish. As you know, nitro finishes ‘fade’ over timeIMG_7323, so the clear coat takes on a yellowish hue, which contributes to the softened look of older colors. This step really made all of the difference! The color just got more rich from then on, and after that, clear coats!

With some elbow grease and 1000-1500 grit wet sanding, as well as buffing on my wheel with various grades of compound, I ended up with a shiny finish far beyond what I expected.

Seriously, I still can’t believe that I did this with rattle cans and elbow grease! IMG_8036-imp

I sourced vintage parts all around (save for the tuners, electronics, Lollar imperial pickups and pickguard) and I couldn’t be happier with the results. It looks right, plays beautifully, and sounds freaking amazing.

Oh! And a note on the spot of wear on the horn: that’s fully intentional. I lightly aged this guitar, but the one rally cry against relic guitars that I hear more than any other is that the wear doesn’t have a story. Well, this one does: when I had all of the parts collected, I took a long, hard look at the guitar and thought about what fictional character may have used it before I came along. So, the story with that wear is, the previous owner stashed his picks right between the guard and the body, and when you’re in the heat of a hot solo, you don’t have time to be careful. IMG_8035-imp

If you’re on Tumblr you may recognize this same guitar from the many, many happy photographs of DeeBeeUs, one of the kindest souls on the web. He owns this one now, and from what I can tell, he’s very, very happy with it. -MJA

 

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#WEEZERQUEST: A RIVERS RUNS THROUGH IT

Rivers, if you ever read this, I have to apologize. It seems like every article where you’re interviewed or discussed has an eye roll-inducing pun in the title and I just… I couldn’t resist. I promise I’m at least 30% more clever than this. [citation needed]

IMG_5783 - Version 2-impOur ragtag Weezer tribute band My Name Is Jonas Brothers played an absolutely kick-ass gig back on Black Friday, and the crowd was one of the best I’ve ever encountered. People were screaming lyrics, having a blast, and after the show I was told more than once that we sounded just like Weezer in the ‘90s, even that a few concertgoers had been “trying to see us” for some time. That felt special. Then I realized I’ve been slacking, and I know that perhaps tens of you are foaming at the mouth for more insight into our little labor of love.

It’s Dangerous to Go Alone

WHEN WE BEGAN talking about the idea that would later be #weezerquest (so coined by Instagram follower and frequent commenter Dan Murphy) the only stipulation we made was as follows: Unless we were willing to put in the effort to nail those tones, we may as well not even do it. Look, there are plenty of Weezer tribute acts out there, many of which are really good bands. (At the time of this publication, there are at least three other active tribute acts in Seattle alone) However, we weren’t interested in simply being good; our goal was authenticity.

This meant A LOT of research.

I’ve Got Electric Guitar

Ric's CAR Jaguar (used mainly for cleans, most notably on "Say it Ain't So") and the Les Paul Special DC. Photo source: Weezerpedia

Ric’s CAR Jaguar (used mainly for cleans, most notably on “Say it Ain’t So”) and the Les Paul Special DC. Photo source: Weezerpedia

If there’s one thing Weezer is known for, it’s their towering, nigh-impenetrable wall of guitar, but you might be surprised to learn that the band’s first record (affectionately known as “Blue” by fans) did not rely on humbuckers to get that sound. P90s, actually.

Blue’s heavy sound is almost entirely made up of Rick Ocasek’s ’59 Les Paul Special DC run through Rivers’ distorted Mesa Mark I, as well as a Marshall SL-X for some other tracks. As much as I wanted to remain authentic, I chose early on to strike a balance between Weezer’s thick studio sound and their raw live and Pinkerton-era tones. So, instead of dropping ~$5k on a vintage guitar, I focused instead on the guitar I most associated with Weezer: Rivers’ iconic “Strat with the lightning strap.

Wearing mismatched pickups and a hardtail bridge, Rivers’ famous Blue Strat from the ’94-’01 era was the thing I idolized, so the chance to recreate it was what truly excited me in the first place. The Blue Strat isn’t a stock model, but rather an instrument purpose-built from using parts from Warmoth. It can be seen on the inside gatefold of the Blue album, and in just about every performance and promo shot of the band for 6 or so years. Having thought about that guitar for 20 years, I began collecting any images or notes I could find; there were brief excerpts from mid-‘90s interviews, disposable camera scans, and about 70 blurry screenshots from the “Say It Ain’t So” and “Undone (The Sweater Song)” videos to help me nail down the parts I needed to find.

I may have gone completely overboard.

The Hundred Acre Woodshed

Over a very short period of time, I had amassed over 200 reference images. Sadly, other than the pickups, there really isn’t a lot of concrete info to go on, and working off of decades-old blurry photos isn’t an ideal way to view obscure parts. Full disclosure: I’m not bold enough to call up Weezer themselves and ask them if they would weezer BS EDITplease answer my particularly nerdy questions.

In a very short time, it became obvious that Rivers’ guitar isn’t just any Sonic Blue double fat Strat. What I had previously assumed to be a cobbling together of available parts seemed more to me like a completely intentional build, specific to Rivers’ Hair Metal-influenced technique and the perceived shortcomings of his previous instruments. Whether or not this is true is pure speculation, but in following the breadcrumb trail of his prior employs to this guitar, a methodology certainly emerged.

Thanks to the efforts of other Weezer-obsessed fans, and mainly to Weezer Historian and Tech Karl Koch, we are blessed with Weezerpedia, which has, among bios and background info on rare songs, a rather comprehensive equipment timeline for each member. Because of this, I was able to get a basic sketch of the guitar I was replicating.

X-Ray Specs

From photos, we know that The Blue Strat is a hardtail model with 22 frets, rosewood fingerboard, with a tortoise shell pickguard mounted to its blue body. Thanks to Weezerpedia, we also know that Rivers’ chosen pickup combo is a black Seymour Duncan TB59 in the bridge and a creme DiMarzio Super II in the neck, both F-spaced. Watching Rivers switch pickups during televised performances confirmed my suspicions that his electronics were as simple as they could get: a three way switch and a master volume and tone. (Actually, it’s not a tone knob, but we’ll get to that in a bit)

Other parts were more difficult to discern. For one, I could only find one really good shot of the tuners, which only shows me the shape of the buttons, which I combined with a side shot from the “Say it Ain’t So” video to determine that they are Sperzels. A lack of reflections led me to believe they were finished in satin chrome.

Another brief mystery surrounded the control knobs, which I assumed were the usual black V/T combo, but to my surprise, they’re both marked VOLUME. Although I had two volumes on my guitar for a while, I ended up with a “MASTER” knob, which turned out to be from a late ‘70s Fender Starcaster. I thought that was more badass, so I deviated from authenticity there. Booooooooo.

However, one question held up my work longer than any other: “What the hell is that bridge?”

***
Like I said, we know the guitar has a hard tail bridge, and photos of the back of the body clearly show string ferrules. Easy, right? Not at all, really. Compare this everyday hard tail bridge to a screen shot of Rivers playing The Blue Strat:

Bridge Comparison
Seriously, what the hell is that? That fat sustain block tells me it’s some kind of ‘70s/‘80s thing, but without ultra-clear shots, I really didn’t know where to start. In the end, this question stole over ten hours of my life.

I searched high and low for information about the particulars of this bridge, but found nothing. After hours leafing through photo after photo, I turned to Rivers’ metal roots for inspiration. While paging through old Charvel catalogs, I stumbled upon the Jake E. Lee model, which originally had a bridge eerily similar to the one on the Blue Strat, its visual negative twin. That led me to interviews with JEL, and finally, Charvel brass bridges.

Behold ST111: BrassParts
That’s the one there in the bottom right corner. In this shot, it’s unplated, but it has that unmistakable machined sustain block and elongated saddle design not found on any other aftermarket bridge.

Now that I knew what I was looking for, actually finding it was a fool’s errand. I searched over 10,000 eBay listings for multiple search terms like “brass Strat bridge”, “Charvel Jake E Lee” (to which it is similar) and even “hard tail guitar bridge”. Nada. Zip. Big fat goose egg.

IMG_4697I never actually found an exact duplicate of Rivers’ bridge, but thanks to Aaron Pinto from Tumblr, I was able to order a Japanese Allparts replica that was more than adequate for my needs. Though the string spacing is slimmer than on the original Charvel, not to mention that the black plating has already worn off, but it’s close enough in look and sounds unbelievably good.

Don’t worry, though, I’m still looking for that exact bridge.

Building a Mystery

When it came to things like nut width or fret size, I used my best judgment, making educated guessed and allowing personal bias to dictate spec choices.

IMG_4844-impNECK
-Stratocaster
-Maple
-Satin nitro finish
-Rosewood fingerboard
-1 11/16″ nut width
-10”-16” compound radius
-22 frets
-Pearl dot inlays
-Black Corian nut
-Sperzel locking tuners

BODY
-Stratocaster
-2 HB routing
-Sonic Blue finish
-Hardtail bridge option
-WD tort pickguard
-reissue Charvel Jake E. Lee style bridge

ELECTRONICS
-Seymour Duncan Trembucker ’59 F-Spaced (8.3kohms)
-DiMarzio Super II F-Spaced (8.7kohms)
-500k CTS Volume
-250k (275K, actually) tone
-On board distortion from two 1n34a ‘cat whisker’ diodes wired in reverse parallel and in place of a tone cap

Warmoth could not have done a better job with these parts. The body is the exact color I wanted (Sonic Blue can be hard to accurately reproduce in photos, and paint batches can vary in color as well) and the neck was beautifully finished in satin nitro. Surprisingly, they made it out of beautiful flamed maple, which was a nice surprise. The fit between body and neck was tight in the best way possible, and unlike some other companies I’ve worked with in the past, there was no need to modify the pickup routs or control cavities for the parts to be installed. I’ll say that the guard may be a bit too red, so maybe I’ll try for a darker, more brownish one in the future. All things considered, it’s otherwise dead-on!

Impressions:

Before I had even plugged in, I knew it was going to be an especially fun guitar to play. That bridge, though –– THAT was the real secret to nailing the classic Weezer sound.

That massive, heavy brass hard tail bridge makes the guitar sustain and ring out like no other Stratocaster I’ve ever played. Booming low end, snarly mids and loud, rich highs abound, while pinch harmonics just jump out of the thing. Strumming full chords feels totally metal, even when played acoustically. I’ve always preferred hard tail Strats to the trem-equipped variety, but I’ve never heard one quite like this. In Eb tuning, this guitar is beastly.

Plugged into the Fender Excelsior Pro at the shop, more elements of Rivers’ sound started to make more sense, too. Both pickups are a bit more polite than you might expect given Rivers’ wildly overdriven tone, the DiMarzio Super II measuring at 8.7k and the Duncan TB-59 at 8.3k. I was initially worried about the neck pickup being slightly hotter than the bridge, but they balance out surprisingly well in their positions.

With many modern players gravitating toward hot pickups, there is a tendency to default to louder models for thickened tones. I’d argue that there is sound logic in the choice of lower-output pickups when you’re looking to get heavy: muddying up a muddy, loud pickup results in – you guessed it – a muddier sound, but over-overdriving a really clear, not too hot pickup results in this crunchy, thick sound that takes me right back to the golden days of Weezer every time I plug in. Allowing the amp to do most of the heavy lifting really brings out the punchy nature of the guitar.

I’m already a fan of the Duncan ’59 pickup, but I was shocked by the usefulness of such a bright neck pickup. I mean, the Super II is a LOT brighter than I expected, but suddenly those big chords with the low 5th sounded bigger, and some of the solos I loved from Blue sounded more “right” than ever. When I finally plugged into my Marshall rig, this guitar positively shakes the Earth.

On Thin Ice

As mentioned on Weezerpedia, Rivers had a Black Ice module installed in his guitar, a passive overdrive that takes the place of a tone cap and creates a tweed-like drive. It was difficult for me to guess at just how important this feature was to the overall character of his sound.

The Black Ice module as it used to be is a pretty neat little device, but they’ve recently overhauled the design so that more gain is available in different wiring configurations. Originally, I had planned on buying the real thing, but because the old unit had only the one sound, I got lost in all of the wiring options. Then I found this Instructable and ordered some 1n34a “cat whisker” diodes and wired them as described. How does it sound? Unbelievably good! Listen for yourself:

That sounds great, right? I was really surprised at how much I liked it, and I’ve made good use of my secret weapon in subsequent non-Weezer gigs. When covering Weezer songs, I’m using the diode distortion in conjunction with an overdriven amp, thickening the guitar’s voice while slightly dampening the high end. If you’re curious about how it stacks with other gain sources, here’s a video of how the circuit performs when matched with my Crowther Hot Cake. And here’s how it sounds in a live setting!

Letterman Jacket

IMG_5741After our first show just a week after the Blue Album’s 20th anniversary, I decided to have some fun with the many electrical tape designs the guitar wore during Weezer’s touring cycles, thanks to Karl. I picked my favorite design –– specifically, the one seen in the “Say It Ain’t So” video and Weezer’s performance of that song on Late Night With David Letterman in 1995 –– and set about copying it as closely as possible.

I already had plenty of photos, but because of Rivers’ right arm positioning, I couldn’t quite make out what was going on with the black tape at the arm contour, so I traced the lines and their most probable paths. Thankfully, the Letterman performance had a few much-needed camera angles, allowing me to see what happens to the tape as it rounds the Stratocaster’s two horns. I couldn’t be more proud of the end result.IMG_5940

 

AMP RIG

Putting together the perfect amp rig for this was a bit easier than the guitar since not as many ambiguities exist on that side of the project. You can read about the many amp rigs of the band, but as I see it, there are two main amps of note:

As we know from Karl Koch recounting the early days, Blue and the shows and tours surrounding it relied on a Mesa Mark I amp head, one of the earlier ones with the rear-mounted presence knob. This amp is, sadly, long-lost at this point. Some months ago, we happened to take in a Mesa “Son of Boogie” amp that sounded really great, but I’ve just never been able to get on with Mesa amps personally, so I didn’t spring for it. It did sound incredibly close to that early Weezer sound, but I have a bias (amp joke) toward British amps.
imageDuring the ’95 tour and Pinkerton recording sessions, Rivers used a Marshall 30th Anniversary 6100LM head, an amp with three channels, pentode/triode switching, an effects loop and a host of other features that make it extremely versatile. Karl tells that Rivers “borrowed” one from the Cranberries for their Lettermen performance when his SL-X picked up a “horrible sounding hum” and purchased his own shortly thereafter. He gravitated toward channel two, which has three separate modes to cover the sounds of the JTM45, Superlead Plexi, and JCM800/900 era of Marshall sounds. This was his main amp both live and in-studio until 2001, when it was relegated to road use. If you look closely, you can tell that Rivers’ 6100LM is in fact the less-liked 5881/6L6 version.

Up to this point, my amp of choice is actually one that I already owned, my 1979 Marshall 2204 50 watt JMP. While not something Rivers seems to have used live, it has appeared both in-studio and in Brian’s amp rig so it’s definitely in the right wheelhouse. I’ll use it until I can track down the right 6100, but honestly, it sounds perfect for the application.

MOCK! YEAH!

If we’re talking about the Weezer sound, I might argue that Rivers’ towering “mock 8×10” Marshall cab is the real secret weapon. Rivers used a 1968 Marshall model 1990 8×10 sized cabinet that had an offset 4×12 baffle configuration, loaded with two black- and two green-back Celestion speakers. Slimmer side-to-side than the usual Marshall head, this distinctively large cab pushes a lot of air.

I installed a medium Marshall logo to match my head, but it's otherwise an exact replica. Oh, except for the stains.

I installed a medium Marshall logo to match my head, but it’s otherwise an exact replica. Minus the stains, I mean.

Unable to track down a real ’68 8×10/4×12 of my own, I ordered one custom from Florida’s Sourmash Guitar Cabs, a company that makes amazing Marshall-style cabs at insanely affordable prices. They were all too eager to do another 1990 cab, and once it arrived, I was in love. It’s hilariously tall, and with that size comes a LOT of sonic power. Wired up with the same speakers as Rivers’ cab and my 50-watt head, it’s loud and thunderous; a massive cab both in size and sound. It’s my favorite cab, ever.

It’s an intimidating setup, both for myself and the sound techs unlucky enough to catch a glimpse of me loading in before showtime. I’ve actually surprised a few sound engineers with this one, one of whom told me, “When I saw you come in here, I thought ‘Oh no, look at this asshole. He’s gonna blow me out of the room,’ but you actually sounded great!”

I guess we both got lucky that night.

PEDALS

For this project, I’m not relying on pedals the way I normally do, what with my gigantic board and all. For lead boosts, I’m currently using a modified BOSS DS-1 with one of the diodes pulled for more volume. Aside from a TU-2, the only other pedal I’m using in My Name Is Jonas Brothers is my trusty Z.Vex Fuzz Factory to nail the fuzzy, octave-up sounds from certain Pinkerton tracks, such as the breakdown in “Pink Triangle” or the slower post-solo section of “The Good Life”.

That’s it for me. Soon, I’ll take you on a tour through the rigs of Mike Ball (as Matt Sharp) and our guitar player CJ Stout, MNIJB’s Brian Bell!

Like My Name Is Jonas Brothers on Facebook for show updates and pictures of Mike’s dog. And do yourself a favor and check out Weezer’s new record, Everything Will Be Alright In The End. It’s damn good.

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It’s been a minute, but there’s lots to talk about!

Hey friends, sorry for the lack of updates. When we get busy –– and we have been busy –– it’s difficult to map out time to finish writing projects. *Jeff Goldblum impression* Business, as they say, ah ah, is, ah – Booming.

The good news is, there are four nearly finished articles awaiting some light editing and photos, and we’ve had plenty of great musicians through the shop recently, even played a few great shows in the mean time. Oh yeah, and there was that time when we met Rivers Cuomo…

Just as we snapped this picture, he said of the guitar, "It feels like like it!" referring to the original blue Strat, which is no longer in service. That was all I needed to hear!

Just as we snapped this picture, he said of the guitar, “It feels like like it!” referring to the original blue Strat, which is no longer in service. That was all I needed to hear!

More in a bit!

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A Note on Gibson’s Recent Price Increase and Spec Changes

Gibson-Brands_white
Earlier this week, Gibson released (or was it leaked?) statements concerning a price increase and changes to most of their models that left most of the guitar community feeling underwhelmed. Now, bear in mind that the source for this announcement was from Gibson’s Amazon.com page, the URL for which is no longer active. Could be a mistake, but our friends at Reverb.com, while unable to reveal their sources, have confirmed that the announcement is indeed genuine. (See comments)

Before we get into it, I want to say that I’m concerned by this announcement but only because I love Gibson’s instruments so much. Sure, we’re way into Jazzmasters and the like here, but I cut my teeth on Gibson guitars. Some of my earliest musical memories are deeply connected to the image and sound of Angus Young’s fleet of SGs, Jimmy Page’s EDS-1275 doubleneck, Johnny Marr’s ES-355, and I’ve always idolized the classiness of a white Les Paul Custom. My first “real” guitar was an early graduation gift from my parents, a black Gibson Les Paul Standard that they picked up for well under street price. And I got that one because high school Michael saw an old photo of Joe Perry playing almost the exact thing. Some of the best guitars I’ve owned were Gibsons, from my ’77 Walnut ES-355 to the ’68 SG Standard I sold to Other Mike for what would become my trusty Jazzmaster. I’ve owned various Les Paul Jrs, a stunning ’59 ES-330, and Gibson J-series acoustics that have blown my mind. My current acoustic is a ’64 J-50 that’s played-in and beat up, but sounds huge; the guitar I sold to fund that purchase was an ’03 J-45, which was the best acoustic I’d ever played until the ’64 came into my life.

My hope in responding to this announcement isn’t simply to complain, but to come from a place of deep respect for a company that’s meant so much to me over the years; a company that, as it seems to this casual observer, has been in decline for some time. This week’s announcement feels like an even steeper descent to me, and though I have little voice on the issue, it felt right to call out what appears to be another major misstep.

Let’s take a look at the text:

“Gibson USA continues to raise the bar of Quality, Prestige and Innovation with the new line up of 2015 guitars. All Gibson USA guitars except for the Les Paul Supreme, Firebird and Derek Trucks SG will ship with the G-Force tuning system. Among many of the added features is the new Zero Fret Nut which is a patented applied for nut that has adjustable action capabilities. The new Tune-O-Matic Bridge features a hex wrench adjustment on thumbscrews for easy action adjustments. All guitars receive a professional set up with accurate intonation, and a new PLEK program with 27% lower fret wire. All models now have Pearloid Inlays and the fingerboard is a thicker one piece rosewood which is sanded and buffed with a new oil treatment for smoother and easier playability. To take it a step further Gibson USA has increased playing comfort by widened the neck and fingerboard by .050 per side. Sparing no expense, Gibson USA even changed the internal wires from 28 awg to 26 awg, along with a new and improved jack design and together they give you an improved uninterrupted signal. For 2015 Gibson will be producing gloss lacquer finishes and no more Satin or Vintage Gloss finishes. On top of all the upgrades Gibson USA did not stop there. They are now introducing a removable Les Paul pick guard with NO SCREWS NEEDED. In honor of Les Paul’s 100th birthday all LP and SG guitars will carry the 100 logo on the headstock and a Les Paul Hologram on the back of the headstock for authenticity and tribute to the man himself. To wrap everything up, each 2015 Gibson USA guitar ships in a Gibson Hard Shell case.”

That’s a lot to take in, so let’s go through it piece by piece.

“All Gibson USA guitars except for the Les Paul Supreme, Firebird and Derek Trucks SG will ship with the G-Force tuning system.”

That’s a pretty huge statement. Note that it says “All Gibson USA guitars…” with three exceptions listed. The above leads me to the conclusion that the Les Paul Custom, SG, Flying V History, Trini Lopez, Les Paul Traditional, Grace Potter V, RD Artist, etc. will all include the G-Force tuning system. Does this also include acoustic models? I ask because the language used is “All Gibson USA” and not “All Gibson Memphis” or “All Gibson Nashville”, without mention of Gibson Montana.

aa430cc388df770d58f3c7bf2eb194a99248353cThe G-Force system (not pictured above) if you didn’t know, is just Gibson’s Min-ETune but rebranded. Part of the evolution of the Robot system, the Min-ETune promised quicker and more accurate tuning with a smaller overall footprint, taking the tuning facilities out of the signal path of the pickups completely. Never a fan of self-tuning guitars personally, I certainly can’t fault Gibson for developing a product, but to force that product onto every model –– a product that most musicians don’t seem to want –– doesn’t seem like a wise move.

As a tech, I’ve worked on plenty of the Robot and Min-ETune guitars, but would you guess that one of the most frequent requests I’ve gotten with the lower-model Robot guitars is to remove the Robot tuners and convert them to a normal guitar? At first, it was because the battery life wasn’t feasible for most touring acts. (I mean, who has time to charge their guitar between sets?) Later, either the owner felt the tuners weren’t dependable or didn’t look good, which I’ve heard quite a few times. The Robot models were fundamentally great guitars, so it wasn’t much of a problem to put them back to, um, regular guitar specs.

LP-Std-HeroOf course, some people find the Robot/Min-ETune guitars to be useful, and that’s great! I knew a guy that used his blueburst first-edition Robot Les Paul and loves it because he can go from Standard to any number of slide tunings he uses on a regular basis. It works for him, and that’s great. However, it seems to be a smaller subset of players that actually want guitars to tune themselves, and offering the Min-ETune as standard across the board doesn’t make me want to purchase a new Gibson any time soon.

“Among many of the added features is the new Zero Fret Nut which is a patented applied for nut that has adjustable action capabilities.”

One of the most common complaints players have about factory-fresh Gibson guitars is that the nut isn’t up to snuff. Either the owner isn’t happy with Corian or Tektoid™ as a nut material, or it’s improperly cut at the factory with the strings too high off the fretboard or pinging wildly with string bending. One of the most frequent jobs I take for Gibson guitars is replacing the nut with a hand-cut piece of bone.

61y2CirnMkL__SL1500__zps9c453266_uofv8cThe new Gibson “Zero Fret Nut” is a nut that has an adjustable brass insert that allows the user to fine-tune action without having to use files. (This idea isn’t exactly new; for years Warwick has offered an adjustable nut on some of their models.) The brass insert also mimics the zero fret found on old Gretsch and Teisco guitars, which governed string height at the first fret by being taller than the other frets while doing away with the need for exacting nut shaping techniques. Traditional zero frets also have the added effect of making open notes sound as if they’re being fretted, resulting in brighter tones from open strings. This was also the goal with the brass nut craze of the ’70s and ’80s, a modification that’s largely reversed on most instruments today.

I can see how this new Zero Fret Nut makes sense from a manufacturing standpoint; workers don’t have to spend more time trying to properly slot nut after nut all day long, which takes up time and money. Instead, they can simply use a small tool to raise the strings until they’re at a satisfactory height, then send it out the door. However, we know from Gibson’s adjustable acoustic bridge of the ’60s that having movable parts at such critical points in the string path isn’t necessarily a recipe for great tone. And although there are some players who prefer brass nuts on their guitars, with the market so obsessed with vintage originality and “tone” most brass nuts are tossed with preference for era-correct materials.

As a tech, I can see myself replacing a lot of these next year.

“The new Tune-O-Matic Bridge features a hex wrench adjustment on thumbscrews for easy action adjustments.”

I’m not going to poo-poo this out of hand, as we’ve all been stuck with too-low or too-high action on a guitar with a TOM bridge and have had to struggle with gripping thumbwheels as hard as we can before the next song starts. The proper way would always be to loosen the strings before adjusting action, but I won’t pretend that not everyone wants to go to that trouble. Of course, thumbwheels aren’t always hard to turn, but anything that makes adjustment easier is potentially a good thing.

The only objection I have to this change is that Allen keys aren’t usually my favorite way to make bridge adjustments, whether it be action or intonation. The Mastery Bridge is an exception to this, being designed with ease of use in mind, but adjusting intonation with hex keys on most other bridges is not fun at all. I’m also curious to how exactly this thumbscrew adjustment works, whether the key inserts at the top or from the side. Without more info, I really don’t know how this might play out.

“All guitars receive a professional set up with accurate intonation, and a new PLEK program with 27% lower fret wire.”

As a tech, I’m somewhat glad to hear this. If these factory setups are actually setups, then I’m excited to walk into a shop and play an on-the-rack Gibson and know it’s going to feel great. Factory “setups” are often disappointing, with action left high to hide bad fret jobs, lessening buzz and rattle that shouldn’t be there in the first place. I mean, sure, a percentage of my business comes from fixing factory mistakes, but if this means that a customer can buy a guitar knowing that it feels good, then that can’t be a bad thing. I’ll try to hold off judgement on this until I play one, because the track record for factory adjustments isn’t good.

blog_P1040558-300x221Although I’ve never been too happy with factory PLEK fret jobs, I’m looking forward to seeing what this new program holds for consumers. Again, taking a guitar off the guitar shop wall and knowing it’s going to have perfectly leveled frets is a boon; just this week, one of my tasks is to level and crown the frets of a brand new Gibson, which is disappointing to the owner. I’m also interested by the idea of lower fretwire, because I’m one of those guys that can’t stand jumbo frets, personally.

“All models now have Pearloid Inlays and the fingerboard is a thicker one piece rosewood which is sanded and buffed with a new oil treatment for smoother and easier playability.”

Nothing too crazy there. The new oil treatment could be cool, especially when most rosewood necks coming from Gibson right now are incredibly dried-out. I wonder just how much thicker these fretboards will be, but I wonder if they mention it only because of the minor controversy surrounding Gibson using laminated fretboards on models back in 2012. Many players were less than happy about the change (to put it mildly) but in response to questions about the laminates Juszkiewicz said “It actually doesn’t change the sound at all,” and “…actually improves the sound.” He also claimed it will “last longer,” but I guess we’ll see. Don’t be surprised if I politely disagree.

UPDATE: Holy shit, I didn’t even think about this until I scrolled through the conversation going on over at Offset Guitar Forum tonight. Again, the phrase “all models” is used here, which causes alarm when we remember that all models don’t have rosewood fretboards… Does this mean that even Les Paul Customs (which had ebony boards until the Government seizure/Henry and Fox and Friends jamboree of 2012 when Gibson switched to the option of baked maple or Richlite, a synthetic material) will now have rosewood instead? Because I hate to tell you Gibson, but we used to buy LPCs because they have ebony fretboards. Oh man, say it ain’t so.

“To take it a step further Gibson USA has increased playing comfort by widened the neck and fingerboard by .050 per side.”

Again, not necessarily a bad thing. I don’t know that many people are complaining that Gibson’s necks are too thin these days, but I’ll reserve judgement until I have one in my hand –– it’s really not a huge difference. This seems to be a reaction to player feedback on Gibson’s use of binding nibs on the fret ends of most bound models, which never bothered me personally but I’ve heard more than a few players complain that their strings are getting caught between the fret and binding as of late.

“Sparing no expense, Gibson USA even changed the internal wires from 28 awg to 26 awg, along with a new and improved jack design and together they give you an improved uninterrupted signal.”

Whoa. Slow down there, Gibson. Don’t go spending all of that precious money on such thick wire! Also, I wasn’t aware that my signal was being interrupted, but there you go. #newjack2015

“For 2015 Gibson will be producing gloss lacquer finishes and no more Satin or Vintage Gloss finishes. On top of all the upgrades Gibson USA did not stop there. They are now introducing a removable Les Paul pick guard with NO SCREWS NEEDED.”

This is possibly the most distressing passage from the now-removed Amazon page. With the doing-away of satin finishes, this could mean the end of sub-$1000 Gibson guitars, which I thought were best sellers for the company. Having quality, affordable guitars in the line should be important to both Gibson and consumers, so I’m hoping they’ll be introducing some models that retain the low price tag and quality of the Faded series.

Additionally, the language isn’t specific as to what type of finish the “gloss lacquer” might be, just that it’s lacquer. Hopefully this is just Gibson saying the company will still use nitrocellulose instead of switching to something else like acrylic.

Gibson have been shipping guitars for ages without installed pickguards, so this could be cool or not. How does it work? I don’t know, but we’ll all be keeping our eyes peeled on that one.

“In honor of Les Paul’s 100th birthday all LP and SG guitars will carry the 100 logo on the headstock and a Les Paul Hologram on the back of the headstock for authenticity and tribute to the man himself.”

It’s a well-known fact that Les Paul LOVED holograms, so I think we can all safely assume that this is what he wanted. I remember reading an interview where he voiced his distaste for the SG when it came out in ’61, which had a lot to do with the body shape and how they moved the neck pickup away from the neck, but Les also revealed that the main reason he wanted his name off of the guitar was due to the lack of holograms.

“Back in the ’50s I said to Ted [McCarty, Gibson CEO 1948-66] ‘Hey, I like what you got going here. It sounds good, plays alright. But the thing is there aren’t enough goddamned holograms on the thing.’ And Ted scratched his head, because we really didn’t have the technology back then, and we didn’t come back to the idea until they made the laser back in, was it ’60? When they slapped my name on the SG without asking, and I said, ‘Hey, whaddabout them holograms!’ but it was too late. So I had them take my name off.” (Gibson Les Paul Book, Bacon, pg 148*)

I’m sure that, were Les alive today, he would be overjoyed. I’m joking, of course. LES PAUL HATED HOLOGRAMS. He called them “3D-for-Devil pictures.”**

Les+Paul+Dies+At+94+o8Y8pex-Z3Fm
Aside from the new logo looking a bit strange (see the Zero Fret Nut pic above) it is Les Paul’s handwriting and that’s a nice thing to have. This could also be one of the only truly collectable aspects of the guitar, so perhaps this change will work in its favor. Not mentioned in the above copy is that the Gibson Logo is swirly.

“To wrap everything up, each 2015 Gibson USA guitar ships in a Gibson Hard Shell case.”

Okay, this is great. No longer will customers have to argue with store staff about how their guitar actually, definitely does come with a case when they want to charge an extra $100 or give them a gig bag.

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All in all, this list of changes is pretty hard to stomach, especially when the one thing left out is just how much the price of guitars will increase. Now, prices do go up over time when manufacturing costs rise, but our friends at Reverb.com note that while a 2014 Les Paul Standard with flame top “…comes in at $2999, the 2015 equivalent will start at $3879, marking a roughly 29% increase.” That’s a HUGE MAP increase. How will it play out? We won’t know until they’re available.

Let me be clear: I love Gibson guitars, but this is crazy. Perhaps consumer feedback on this list of changes could do some good, but I believe they’ll end up doing far more harm than good. It’s never good to add features your customers don’t want when they’ve been asking for simple, well-built instruments for some time.

Like I said before, I guess we’ll have to wait and see…

…or this could all be a ploy to cause us to rush out and snatch up 2014 models. And then I think that perhaps this could all be just a 2015 model year only affair, meaning that things go back to the way they were in ’14. Who knows? Hopefully we’ll get that info soon.

*Not a real quote. I made that up.
**Also, totally not real.

UPDATE 9/24/14: I visited Guitar Center Seattle with a friend of mine tonight, and the store had just received the first shipment of 2015 Gibson guitars. Suffice it to say, all of the above is absolutely true, including the G-Force tuners on every guitar, the Zero Fret nut, and wider necks. I’ll be posting an in-hand review shortly. Until then, look on Gibson’s works, ye mighty, and despair!

 

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#WEEZERQUEST: The World Has Turned… In Our Favor!

Here’s “The World Has Turned and Left Me Here” from our very first show at Seattle Sunset Tavern! Although we were a bit nervous, we had an absolute blast. And because Matt was there and filming, the rest of you get a taste of our gear before we give you the low-down.

My Name Is Jonas Brothers’ next show is June 22nd at High Dive. See you there!

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#Weezerquest: The Story of ‘My Name Is Jonas Brothers’

IMG_5567-impIf you happen to follow us on our various social media platforms (Tumblr, Instagram, Twitter, and Facebook) then you’re probably already keyed into the fact that we LOVE Weezer. And it’s also true that we have a bit of an obsession with the band, from their sound and gear, to the lore and mystery surrounding the parts guitars, various amp heads and studio setups that make the records we love.

We’re particularly enamored with Weezer’s first two records, 1994’s self-titled debut –– affectionately known as ‘Blue’ to fans –– and 1996’s Pinkerton. Brilliantly crafted power-pop abounded within, with lyrics that require thought and inspection to decode further than the oft-used “geek rock” label, as well as some of the most massive guitar tones I’ve ever heard. And, much like finding newly-unearthed deleted scenes from Star Wars, Weezer’s unreleased B-sides were just as exciting.

As you can imagine, our daily conversations at the shop would often turn to deep, Weezer-related questions; we’d discuss the effect Matt Sharp’s raw, distorted tone on Pinkerton affected the feel of that record; how our minds were blown when we first realized Blue was recorded with an old Les Paul Special DC with P90s, rather than the Strat with humbuckers we see in concerts; how Weezer sounded different from most bands simply because they used low 5ths in their barre chords. Invariably, the question “Just how in the hell did they get that tone?” would turn into an hours-long debate, riddled with speculation and adult beverages.

An in-process shot of my Rivers Cuomo tribute Strat and mock 8×10 cab!

An in-process shot of my Rivers Cuomo tribute Strat and mock 8×10 cab!

Over the years, we joked often about starting a Weezer cover band, of which there are many in Seattle. Once Mike & Mike’s Guitar Bar started taking on a life of its own, it didn’t take long for us to start talking about that old idea in a serious tone. Finally in late 2013, we decided to really go for it, but with one major caveat: we didn’t want to just be another cover band. We wanted to go full-Weezer, replicating the gear responsible for some of our favorite rock tones.

Given the amount of guitars and amps that come through the shop, we decided to get absolutely manic, using our gear hunting skills and detail-oriented minds to deeply research all of the equipment the band used during those years, getting as close as possible to the look, sound and experience that made Weezer so formidable. We poured over the albums themselves, sought out live and studio photos from 1994-1998 (many of which were scans of developed film) and accumulated massive databases of screenshots and the like in order to nail down every last spec we could reasonably determine. We combed through interviews, Weezerpedia articles, forums… you name it.

It’s been a months-long process, but let me tell you: it’s been well-worth it. We’ve beautifully replicated the guitars, amp rigs and modifications that made Weezer sound like Weezer, and we’ve done so with fervor and conviction. We’ve even been lucky enough to gain the attention of the band themselves through the process! Former bassist Matt Sharp has even taken an interest in our attempts at recreating his iconic Jazz Bass, taunting us via social media to let us know when we missed something!

That’s my close-as-I-can-get-from-photos Matt Sharp Jazz Bass replica, worn by our good friend Leah, who used her attentive eye to recreate the ’96’ sticker found on the pickguard of the original bass. Matt Sharp posted the above photo on his Instagram account along with some extremely kind words, our contact info and a challenge to his followers:

…help me salute and celebrate these two lovely lunatics, go to Mike And Mike’s Guitar Bar and take a pic with this crazy, monstrosity of a bajo-doppelgänger and I’ll regram whomever posts the best pic.

The best part? I caught his message about us right after playing a killer first show with our Weezer tribute act, My Name Is Jonas Brothers. Great night or greatest night? What an incredible honor!

In the few weeks since our very first show, the response we’ve gotten from Weezer fans and aficionados has been, well, overwhelming. Even before we played a note, our Tumblr and Instagram followers and friends were cheering us on, and our equally-obsessive bandmates have spurred us on to a level of detail we never thought possible. And frequent Instagram commenter Dan Murphy even coined a hashtag just for us: #weezerquest. (Use it to follow along!)

So now, we’d like to take you on a tour through our journey to put together what we believe might just be the most badass Weezer cover band on the planet. Also, we feel it necessary to document not only our processes and instruments, but also whatever illness we might have that compels us to get so exacting with this band.

And if you didn’t notice, the photo at the beginning of the article isn’t the gatefold photo from 1994’s Blue album. THAT’S OUR GEAR!

#weezerquest is live!

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