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About hoddyman

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  • Birthday 02/01/1950

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    Berkeley, California

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  1. First of all, the truss rod should be reasonably well adjusted with the factory setup, so you won't need to adjust it yourself, but a removal or two of the neck shouldn't be particularly harmful, if that's what you need to do to adjust your truss rod as needed. My old jaguar doesn't require removal of the neck to adjust, as the truss rod nut is accessable with a right-angle phillips screwdriver. I don't know if the "Clasic Player" uses a phillips-head, or a socket, but it should be accessable. There's also the matter of neck angle on the instrument. A Jaguar sometimes requires more neck angle
  2. If you plan to use your vibrato, I wouldn't recommend a tune-o-matic, because of the friction (unless you want a roller bridge, but that has rattle problems, sometimes). The usual options are "Mustang" bridges, or a "Mastery" bridge. The Mastery is expensive, doesn't move, has two angled saddles, and a hard, smooth, curved surface for the strings to rub on during vibrato use. It probably gives the solidest feel and the best sustain of possible Jaguar/Jazzmaster/Mustang replacements. Mustang bridges come in two or three "flavors". The Allparts-brand one works, but isn't machined to a fine-enoug
  3. The rhythm circuit gives a separate volume and tone setting for the neck pickup, and an overall darker sound, even with the volume and tone controls at maximum. It was designed at a time when "standard" playing technique (at least for the musicians influencing Leo Fender at the time) involved a "softer" and darker tone for rhythm chomping, and a nice, bright, cutting tone for solos. Standard classic country music often works that way, but hardly anybody plays like that anymore, even in country music, though it's actually a useful setup, if you want to follow the classic style, sort-of. I do li
  4. I think your wiring scheme is probably very do-able. The nice thing about Jaguars is that they give you lots of switches and knobs to custom-wire. I had a pre-amp in mine for years, and I used the stock switches and knobs to control the pre-amp's gain range, and have two seperate and different-sounding output channels. I've recently had my guitar re-wired without the pre-amp, and I have the rhythm circuit able to "hear" whatever pickup(s) I select, and I've also got both pickups on in series (great tone!), when both pickup switches are in the "down" (formerly "off") position.
  5. I use my rhythm circuit all the time- as a rhythm circuit! I also had my Jaguar custom wired so that the upper circuit "hears" whatever pickup(s) I select in the main circuit, and not just the neck pickup. The pots in the rhythm circuit have different values than the main circuit pots, and give it a darker (less bright) tone-even at full volume. I usually use this tone at a somewhat lesser volume, and then I switch to the brighter and louder "main" circuit for solos. One could also do this in reverse, of course, depending on how you want to sound. I also have the ability to have both pickups o
  6. Aha! It's called a StayTrem, they make 'em in England out of stainless steel, and they sell them for about 100 bucks. They also make vibrato arm that doesn't droop, or rattle, and it stays where you put it.
  7. Warmoth, I think, makes a quasi- "Mustang" bridge with some adjustable saddles, so you can adjust the radius some, but I think that adding those wobbly "feet" to the Mustang saddles negates their purpose, by reducing the amount of contact that the saddles have with the bridge, and the amount of direct coupling between the strings and the body- the reason for the tone and feel "improvement" that the Mustang bridge supposedly gives. Still, it should work OK, if you install those rocker thimbles where the tune-o-matic posts go now.
  8. Woof Woof! That's a beaut! You don't see those very often. It's really a Musicmaster with a cool cut-down body, you know. Love that red finish!
  9. I think I'd start with all the guitars that have passed through my fingers that I've regretted ever selling or trading- which is pretty much all of them. An old Martin mahogany OO-17, a 1968 sunburst Stratocaster, a 1963 double-cutaway, two-pickup Gibson Melody Maker, a Rickembacker 1996 (like a John Lennon model with a fireglow sunburst and an f-hole), a Lake Placid Blue 1965 Jazzmaster, an Ibanez Iceman with the original triple-coil pickup and the long tailpiece, and a Baldwin Burns Baby Bison.
  10. The bridge rocks back and forth to make the vibrato action smoothe and to minimize friction between the strings and bridge. It actually works well to keep the guitar in tune while using lots of vibrato. You may notice that a Stratocaster bridge rocks, too, but of course it's a completely different mechanism. The crackling with your pickguard sounds like a grounding problem. there's a metal shield under the pickguard on older Fender guitars, the same shape as the pickguard. I don't know if that's what they use anymore, but it sounds like a likely culprit. I think that, other than the specs of t
  11. The Jazzmaster and the jaguar have that "floating tremolo" wherein the bridge rocks back and forth with the vibrato arm's motion. You can intonate the guitar with the bridge in the center position, as was assumed when they designed the thing, but I dare you to be able to keep the bridge assembly upright and centered while applying pressure with your screwdriver when you adjust the saddles (more powre to ya, if you can pull it off). My solution is to rock the bridge all the way back for intonation. Since I usually use the vibrato for bending down from, or up into, notes, the bridge's ability to
  12. There's nothing about the wiring in your guitar that would give you any problem installing any kind of pickups you like. Having your guitar's body routed for a Jaguar/Jazzmaster vibrato system seems rather extreme, but I suppose it's do-able. You might consider just getting a finished Jaguar body from Warmoth, or someone like that, that's already routed for a standard Jaguar vibrato system, and even, for that matter, routed precisely for filtertrons, and whatever switching/control system you need. It might not end up costing much more than having someone competently rout your existing guitar b
  13. Is there anybody here who plays a Fender Electric XII? I've had mine for many years, and I love it, but I've never met anyone else who has one and plays one. I guess I'd like to compare the state of my guitar regarding action, wiring, pickups and other features, with others, and get someone elses' opinions about it all. <a href="http://s129.photobucket.com/albums/p231/hoddyman/?action=view&current=80627Familyportrait2.jpg" target="_blank"><img src="http://i129.photobucket.com/albums/p231/hoddyman/80627Familyportrait2.jpg" border="0" alt="Photobucket Pictures, Images and Photos
  14. You can " hard-tail" a Jazzmaster, or a Jaguar, just by tightening up the vibrato spring all the way, and removing the arm. If you want the strings to angle over the bridge more like a Gibson, or something, you could get a buzzstop. If the mounting posts for the tune-o-matic bridge co-incide with the "thimbles" for the Fender bridge, then mounting the tune-o-matic can be accomplished, probably, by putting tight-fitting dowels in the thimbles, and drilling them for the tune-o-matic's posts. I would recommend a Mustang bridge, however. You can simply rock it back all the way in it's thimb
  15. I think I've mentioned this somewhere before, but the buzzstop has more effect on the feel of a guitar than the sound. It puts the strings under a little more tension, and changes the string angle over the bridge, keeping them from slipping out of their saddle grooves so easily. The Mustang bridge, however has, in my opinion, a very noticible effect on tone, increasing sustain and adding a little more midrange harmonic content. This is probably because the saddles have more mass, and there are fewer "moving parts" to loose vibrational energy between. Also, because Mustang saddles lack those wo
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