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Fender Toronado GT HH Review

(As posted by Fran in the forums. Nicely written Fran!)

I thought i would write a review up on this, video clips would’ve been nice but nothing much seems to be working on my pc at the moment. I purchased this guitar off ebay for 217.00 quid after playing a model in a shop a month before that impressed me.

Toronado Body

Construction
When i first purchased this guitar off ebay my only concern was the guitar may look a little too ‘bright’ for my tastes. The bright red finish and racing stripe made me think ‘starsky and hutch’ and F1 racing immediately. But upon collecting the guitar it does not look as garish as the pictures suggest. Although different lighting does affect how it looks, something common with a few Fender colours.
All this aside the finish is very good.

This model is Korean built. You might not think this at a glance especially with the high spec hardware, but the ‘feel’ of the neck gives it away.. something i will talk about later.

The set up is similar to a Les Paul (TOM bridge, 4 controls and toggle selector), the pickups are seymour duncans (supposedly a ‘Pearly Gates’ in the bridge position and a 59′ in the neck position), the frets are medium jumbo and the abalone inlays are a nice touch.

The neck carries a matching red headstock and is bolted to a solid mahogany body with 4 new type large black screws.

Playability/Feel
This is where i suspected the Korean construction would become apparent… and it does.

The neck feels more like my Les Paul Junior than my other Fenders, the med/jumbo frets are comfortable and well finished making string bending effortless.

I would say it is a fairly fast neck and it has a very new non glossy feel to it. I’ve noticed MIM and Korean made necks feel much more modern than Jap and US necks. Even when i have played brand new Jap Fenders the necks have an old feel to them. Strapped on it is comfy with a rib contour and well balanced, not too heavy – not too light.

Sound
The construction and hardware suggests what this guitar is going to sound like and it is pretty much right.

Playing straight into a Marshall JCM 2000 the mahogany body creates a warm tone. On clean settings the Pearly Gates is bold and defined but nothing much more. The 59′ has a reasonably good neck tone but by far the best on a clean setting has to be the inbetween position. Sonically this is as close to a traditional Fender sound this guitar is going to get.

On a crunch setting the Pearly Gates is already struggling to behave itself, it starts to dirt up with the guitar volume set at 2! The other two positions stay similar to the clean setting buy with more bite and sustain. I got some nice Bob Mould style ringing chords on the inbetween position.

On the full distortion channel the nitros injection kicks in (Lolz). The Pearly Gates screams “Zak Wylde” with every note.. harmonics galore and thick punchy chords. But i soon select another setting as i become aware i am pulling faces with each string bend..yeah anyway … The 59′ as you would imagine isn’t quite as aggressive but is still lively, the inbetween position becomes a diluted version of the two.

Conclusion
After owning several Fender models with humbuckers and also modifying a few single coil models with humbuckers i can honestly say the Toronado puts them all to shame in that particular tonal ball park.

I assume the mahogany body and bridge have something partly to do with this.
The neck will not suit some people but is not poor quality by any standard.
Personally i like the retro type looks, especially the Jaguar-ish top horn and matching headstock. I also like its weight.

On the downside the Toronado does not shine on clean settings like say a Jaguar or Telecaster….. but i never thought it would. This is a different animal.

Unfortunately in the UK Toronados are quite expensive and you would be able to buy a Jap Tele, Strat or Jaguar for around the same price.

All in all i am happy with the purchase. I love Fender looks but miss Gibson tones at the same time… this guitar has both.

Toronado Full

RAWK ON!

-Fran

Detailed Fender Jaguar and Jazzmaster review

Every once in a while a review gets submitted to jag-stang.com that just needs to be shared with a wider audience. This is one of those great detailed reviews by a user who goes by “the jazzman”.

If you’re interested in more user reviews check out jag-stang.com’s review section for some other good ones. Jazzman’s detailed Jaguar/Jazzmaster review follows.

After owning Jaguars and Jazzmasters for over 10 years and using them reguarly to play Jazz and after reading about all the problems with the guitars bridge, pickups/switches/short-scale neck etc, I thought I should clear up some widespread misinformation about the Jaguar/Jazzmaster.

1) The Jazzmaster and Jaguar were purposely designed to be used by Jazz and surf rock guitarists; they were never designed for rock/pop/grunge/shoegaze/alternative rock; Fender had already designed the Telecaster and Stratocaster that had captured the imagination of rock/pop guitarists. Hence, they made the Jazzmaster and Jaguar to target a different section of the guitar market.

2) With this in mind, the bridge and floating tremelo on the Jazzmaster and Jaguar were designed to be used with Flatwound strings only, as are used in Jazz/surf rock; 11 gauge minimum and the heavier the gauge the better. This fact alone eliminates bridge rattles and unwanted movement immediately. They were NEVER designed for standard nickle/steel wound strings etc as are commonly used today, which creates all the buzzing and movement on the bridge/neck.

3) Flatwound strings produce a very warm and thick tone, hence the reason why the Jaguar and Jazzmaster are equipped with 1MEG pots and produce a sharper sound, this is to purposely balance out the excessive ‘deadness’ of Flatwounds. Of course if you do not use flatwound strings, then the Jazzmaster and particuarly the Jaguar sound excessively sharpe in tone; wrong string choice is again the problem.

4) The low E,A,D strings on Flatwounds are extremely thick and bassey, hence the reason why the Jaguar is purposely built with a Bass-cut slide switch, which when in use thins out the tone for the purpose of playing lead. If you use Flatwound strings the bass-cut slide switch is a perfectly sensible and welcome switch that does not make the tone unuseable and too thin, only if you use very light or standard strings does the switch not make sense when in use.

5) The Jaguar’s so called ‘short-scale’ neck was designed with the aim of making playing heavy gauge flatwound strings easier, particuarly for bending at standard/concert pitch as is commonly used in Jazz. Also, the Jaguars shorter scale’s reduction in string tension, was not considered a problem because the heavy gauge of Flatwounds was still strong/heavy enough to make the bridge rattle/movement free.

6)The rythmn section on the Jazzmaster and Jaguar is so warm in tone because it was designed for Jazz/big band style music and played in this style sounds perfect for rythmn playing.

7) The mute assembly on a Fender Jaguar is purpose built for muting over long periods, as in Surf Rock and sometimes Jazz, it is not designed for short periods of muting that require quick changes, hence it is very easy to use for the purpose for which it was designed. Also, the mute is only meant to deaden the strings by tounching them lightly, and needs to be set correctly to avoid pushing the guitar out of tune as many people complain about; if your mute pushes the guitar out of tune it is set too high on it’s upward movement, or your string gauge is too light, or you are not using Flatwound strings as are a must on Jazzmasters/Jaguars.

8 ) Vintage Jazzmasters and Jaguars had saddles that had deep and wide grooves in them that were excellent for the heavier gauge of Flatwounds. It is only modern-day Japanese reissues (and to a lesser extent USA vintage models) on which the bridge saddle grooves are to shallow and narrow, which leads to the problem with strings/saddles popping out during bends. This problem is once again further compounded by the use of light roundwound strings, that are not suitable for Jazzmasters and Jaguars because they are not heavy enough and do not sit in the saddles properly because they are roundwound. Flatwound strings do reduce to a significant degree problems with saddles, because they sit in them much deeper and are much smoother when using the tremelo. If the reissue Jazzmasters and Jaguars saddles were made as the originals then there would be no problem in this area.

Although I understand that many modern players do not use Flatwound strings because they are looking for a brighter more resonant tone, unfortunately the Jazzmaster and Jaguar were built with such a limited guitar style in mind, that if you want to fully appreciate them and eliminate all the so called ‘problems’ with their bridges, then Flatwounds are a must.

I say these things through personal experience of using Jaguars and Jazzmaster to play Jazz on a daily basis and by simply using Flatwounds I never have any problems with bridge rattles, movement, sharpe sounding pickups, feedback, neck buzzing etc.

The people who complain about these things all the time on Jaguars and Jazzmasters simply do not understand their design and purpose; they are excellent/incredible Jazz guitars. If you use them for the purpose they were designed they are brilliant and ALWAYS use FLATWOUND strings; nobody would put crossply tires on a Ferrari and then complain that it does not handle very well would they?

The same goes for the Fender Jazzmaster and Jaguar; play Jazz and use Flatwounds and they make perfect sense. Do hope this clears up a perenial source of confusion and frustration for many Jaguar/jazzmaster owners.

– Jazzman

URL to this review in the reviews section.

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