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Originally Posted by stevedenver
I was with you until this point. Did the whole overshielding thing on my JM.
Middle position puts both pickups together as a humbucker so that is true too.
Shielding the the pickup casings didnt reduce the amount of hum but did kill some of the high end. I was using copper foil. I had put seymour duncans in and though they were junk until I removed the sheilding. Much better pickups than the japan stock pickups btw.
Single coils hum. No matter how well you shield them this will be true. That is why we have humbuckers in the first place, isnt it?
The test I use on a guitar is this: With a guitar plugged in, in the playing position, amp on, touch the strings (only touch with one hand). Do you hear a little click and the hum level go down? Take your hands off the strings. Does the hum come back? If so then you could stand to shield your guitar better. You wont get much better than your hands-on-the-strings noise level tho. This is for your normal hum levels in a home/studio. I am not talking about noise when you are playing in a club that has a radio station on the roof or an air conditioner under the stage.
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08-10-2011 10:08 AM
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i would like to drive a jag...
I had a student who recently graduated played on a Jazzmaster after playing some generic hollowbody for years. It sounded pretty good I thought, it was sort of surprising if I'm honest, I didn't think it was going to be as warm as it ended up being, never judge a book they say.
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McLaughlin used a Fender Mustang on those Miles Davis sessions
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Two words: Nels Cline
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Hi all,
I'm an old fellow who has been playing guitar for more than 50 years, and I should be a heck of a lot better than I am. Nevertheless, I love playing music now that I'm retired from my day job. I've been playing with a swing band for the past seven years, and I've experimented a lot with electric guitars and amps. I've tried my Ibanez GB-10 (modified with a blendable piezo bridge by Dave Wendler), but if the drums get loud, the guitar sound goes to mush. Also have used a Tele, a G&L ASAT Special, a Samick Royale semi-hollow, all with varying results. I had a Fender Jazzmaster AVRI, but sold it a few years ago. I tried the CP JM twice last year, but didn't like it. Then I listened to a live recording made 7 years of me playing in this band with the AVRI JM. Wow! So I ordered another AVRI JM a month ago, and I've played it with the band 4 times. I'm keeping this one! For soloing, I keep it on the neck PU with the tone at 6 or 7. To my ear, it produces a soft, mellow-but-bright tone that can get as loud as it needs to float out over the drums and sometimes-too-loud piano. For comping, I might put the PU selector in the middle position, or leave it on the neck PU. If I'm playing rhythm chords, I don't go to the "rhythm circuit", but instead, put the selector in the middle position, and strum with the edge--not the point--of my triangular pick. This gives a good rhythm guitar sound, almost like an acoustic--at least to my ear. I'm not talking about living room playing but out with the band, playing at dance hall volumes. This the fourth (yes, fourth) JM I've had, and this one is staying. I always knew that the JM was a guitar that could still sound beautiful at high volumes, and I don't know why I let those others go (well, one of them was stolen!). Actually, I think I do know: I always made the mistake of judging the JM based on living room volumes, rather than on how it sounds at full band levels.
At my age, I'm not much interested in hauling heavy equipment, and the amp I mostly use is a Fishman Loudbox 100--and I don't use any effects, of course. I know it's an acoustic guitar amp, but it sounds best to my ear. I also have an AER Compact 60, and a Roland Cube 60, but I like the Fishman. When I plug the JM into the Fishman, and set the levels for playing with drums and piano, the combination gives me a sound that is about as good as I can expect. BTW, I turn the bass and mids on the amp to "0", and the treble to 12 o'clock. Sounds weird, I know, but the actual sound is great.
I know there are Tele lovers who say "Leo got it right the first time", but I think his attempt to create a new jazz guitar (in 1958) was a great success. And I know that hard-core hollow-body enthusiasts will never agree. But for my money, if you're playing in a loud jazz band at dance-hall volumes, The JM is hard to beat. Your mileage may vary, as they say, but for now, I'm happy with my Jazzmaster.
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I remember reading (maybe on Wikipedia?) that the Jazzmaster became popular with surfers because, when jazz guys refused to switch from archtops to solid bodies, the prices dropped dramatically. Surfers who wanted a "real" guitar could easily afford a Jazzmaster, so they became a common part of the California surf music scene. It's the same reason that alt rock guys later attached to them- they were cheap and quirky.
Of course, now Jazzmasters are made with the alternative rock crowd in mind. If you want a jazz-appropriate model, it's either the Squier VM or the AVRI, which is expensive by solid body standards. I'd love a Jazzmaster, and the Squier model is actually nice by the standards of guitars at that price point, but I think Teles are more flexible.
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I love my mim jazzmaster. except for in home set up, which is not easy, it suits my ear for tones from jazzy to surf. BTW I think that Pass actually played a Jaguar, way back..
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I bought a jazz master in the late sixties for about a hundred bucks. I did not like it, at all, but I can not remember what happened to that thing.
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The old B&W footage of Joe Pass from the early 60's (search Youtube) certainly do show him playing a Jaguar. Originally Posted by amhabz
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I made my own. I couldn't afford the $2500 fender wanted at the time so I picked out the parts I wanted etc and built it myself. I am a huge Wilco fan, and I am a huge fan of Nels Cline as well. So I got in touch with Nels' guitar tech and wired mine to match. I don't however have a vintage set of 59's on mine like Nels' does one his "watt". He also prefers vintage trems. Nels uses in most cases when he upgrades pickups SD antiquity I the late 50's models. I also installed a mastery bridge on mine. All the nay-sayers would probably change thier minds if they tried a Jazzmaster if they had a mastery bridge. More sustain, no buzzing, tuning stability its perfect. Jazzmasters for Jazz? not ideal but it is pretty attainable. Jazzmasters have a really great clear tone, better than most. This help to make it a good guitar for jazz. Sure not perfect but still, it's useable. Sonically very similar to a Telecaster. The neck p\u tends to have more depth and the bridge less twang. But still, surprisingly not that far off. And for feedback, I'm not sure who's playing what through what, but my jazzmaster isn't prone to feedback at all. It's an all around great guitar, lots of depth, clarity, good for jazz, rock, blues, ok for country, and I have no idea about metal haha
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Jaguar. I've seen him with a Jaguar but never a Jazzmaster. It seems easy to confuse those two models. Originally Posted by NSJ
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Yes it was a Jaguar and I find it amazing that Joe was able to navigate that short 24" scale. Then again it's Joe and he could make music on this: Originally Posted by va3ux
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I dunno, in my opinion they are pretty easy to tell apart. No chrome switch plates on a jazz. Fender used the offset body on quite a few guitars. Originally Posted by va3ux
The Jag is a MIJ and the Jazzmaster is the one I made. very proud of it.
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I think it was hard sell to a community of guitar players steeped in the tradition of archtops. It was such a drastic change in concept that it was doomed from the start. And solid body guitars were still fairly new then; 'hollow' guitars had been around forever. Driving the wedge further was when surf and rock guitarist adopted the guitar, which further cemented the image (ie. 'see...that's not a jazz guitar'). Originally Posted by bluemood
Although the Jazzmaster pickups look like clones of the Gibson P90 and thereby imply a similar tone, I don't think that they do sound the same. I only had a few minutes once to try a Jazzmaster plugged in and that was my impression. All that aside, the Jaguar and Jazz Master are really comfortable guitars.
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Someone here posted a pic of Joe playing a Jazzmaster which he was apparently known to play on a regular basis, until a company gave him an archtop. He played both Jazzmasters and Jags. He is of course know for playing the Jag more, but there you have it. I am pretty sure he could dominate on that Mickey Mouse guitar as well. haha
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You can tell by the larger neck pickup, and the longer neck, heres the site where I found this:
Joe Pass Photo
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The joe pass pic above is a jazzmaster.. the videos on youtube are a jag.
I wouldnt go so far to say as jags and jm's are identical except for the electronics. Even in the pic it is clear which one has the shorter scale length and that makes quite a difference in tone (and to me at least, feel)
EDIT: btw it is the first time i have seen Joe with a JM as well.
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I've owned both. All else equal there's a Big difference in feel between the 24 and 25.5 inch scales. Originally Posted by SamBooka
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Excuse the title; may be a Jaguar:
Last edited by paynow; 02-15-2012 at 11:47 PM.
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both Jags, I've yet to see a jazzmaster joe vid yet. BUT having said this, nice tone. I think that a lot of people over look what a guitar sounds like in the hands of players. I get a lot of the same tones out of completely different guitars. A good Jazz guitarist (not me haha) can get "his" tones out of almost any guitar I'm sure. Great example of this is U2's The Edge. Dude plays all kinds of different guitars but yet he always sounds like himself. The tonal variations when they are in the mix are pretty similar. I'm sure a great deal of that is because the band is playing and his effects layer his sound but at the same time, its his hands that are doing it too.
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Here's a clip of Roy Lanham playing a JM:
(gotta love Slim's Epiphone Emperor too :-) )
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I continue to use my '62 reissue AVRI JM through the Fishman Loudbox 100 with my jazz band, and I'm still loving it. The tone I get is fairly close to how this fellow sounds: . I repeat, the "tone", I don't have his chops (yet).
Oren
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A little Joe Pass trivia: Originally Posted by NSJ
Joe was at Synanon around 1960 to kick his drug habit, and the Fender guitar(s) his has been seen playing was owned by Synanon for use by the clients. Reportedly they were donated to Synanon by Leo Fender. His first ES175, which he played until it almost fell apart, was given to him by a benefactor. It was a 1961 model with the very slim neck (slim from front to back that is - it was 1 11/16" wide at nut). He liked that slim neck so much that he later ran into a disagreement with Jimmy D'Aquisto who refused to shave down further the neck on the guitar he made for Joe.
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I got a '62 AVRI Jazzie for my 50th Birthday (which isn't til November, but hey! - how many more geetars can I afford before then right? ;-). Cool guitar changes colour from blue to turquoise with the light!
I've only had this guitar for a month, and I found the feel of the neck and strings quite unusual at first and it takes a bit of getting used to, but I'm starting to get really comfortable with it now. The sounds are amazing through my BFPR clone.
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I ordered the Roy Lanham CD--it's very interesting. Not all of it is what we would think of as "jazz", but the man could really PLAY! I think he was doing some kind of early multi-tracking like Les Paul, although Lanham's is not as gimicky-sounding, and the JM has a better tone than the LP. One of my favorites is Lanham's version of "Tuxedo Junction".
Oren
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