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Mad-Mike

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Mad-Mike last won the day on September 18 2017

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About Mad-Mike

  • Rank
    Rock Lovin, Offset Shreddin', Psychopath
  • Birthday 02/09/1983

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    Insaneviking83
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    mad-miker2012@outlook.com
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    http://www.youtube.com/creepingnet
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    creepingnet2001@yahoo.com

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    Male
  • Location
    Reno, NV
  • Interests
    mechanical stuff, electronics, computers, and of course, guitars. Truck/suv modification/repair

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  1. Hi Mad Mike,

    I just bought a Vintage Modified Mustang and I was reading your post about setting up the trem. I'm a bit confused on a few points and I was wondering if you could help me out.

    First, you mention lubing the pivots and the screws. I assume this means to lube 1) the area on the post which pivots, 2) the knife's edge on the plate which the post pivots on, and 3) the screws....where? which screws?

    Second, you mention wrapping the bridge screws with 3M tape to stick them in place a bit. Could Loctite achieve the same result? I'll be using Loctite to hold the saddle intonation screws in place.

    And lastly, you mention that the stem of the whammy bar should be at a specific angle. Are you referring to the angle at which the whammy protrudes from the cigar bar when at rest, relative to the surface of the guitar?

    Thank you,

    Sasha

  2. They should fit, you may need to drill a hole between the two original ones on the bass side for the other side. Pretty easy change. Those 3 screw pickups only offer one benefit and that's using the screws on the bass side to adjust the tilt of the pickup to put it parellel to the strings.
  3. Potentiometet values are a big part of it. It's that 50k Linear for the tone knob that is a big part of the dark sound the lower the number value on the pot, the more highs are rounded off and the darker and mellower the guitar sounds. Probably a 100k linear or even 250k would brighten it up.
  4. It's a tad more complex than that though. When the Jag-Stang came out it was a rather maligned mid-priced instrument, particularly the bridge and the pickups. So the majority out there were probably already modified, esp the 1995-2001 "first run" guitars. People usually copied Cobain/Bailey and put a TOM and at least a SD JB in the bridge to copy their idol. I've seen a few even put EMGs in theirs like mine surprisingly (which were in it when I got it). And unlike a strat, aside from necks, there's not a lot of easily accessable, high profile, choice for aftermarket bodies. There's just Warmoth that I'm aware of and theirs is a contoured swimming pool route very unlike the original, if unfinished, slab body the Fender OEM guitars had. It's not like a Stratocaster where everyone and their sister has some version of it. And "underground" makers require some social networking to find. Building your own body...especially the Jag-Stang, can be quite challenging, especially if you're new to wood working. For starters, you'd need either to buy the blueprints or get someone with a Jag-Stang to trace their body for you. Then after cutting out the shape, there's finding the centerline so the neck, pickups, bridge....all the hardware, line up correctly, which the asymmetry can really throw you off, it even did to Fender Japan (my 95 and the Fiesta Red one from the 1996 sweepstakes had the same problem of the neck being slightly angled to the right bringing the strings out of line, I shimmed my 95 to fix that). Then there's tools...at the lowest you'll need a pull saw to rough it out and a scroll saw and a lot of patience to cut the body out...plus a drill and a router to cut the cavities out for the electronics and possibly the bridge. Not every one has the time/skill/budget/workspace to do that. Some people find it easier just to start with a barebones "chassis" and work up from there. That's also why I wish Fender would just release the Jag-Stang as a lower-mid-priced Squier and be done with it. Then there would be a good source of quality Jag-Stangs out there to modify without ruining original stock. They had that Hollywood prototype in 2016, that's what I was hoping for.
  5. Why I changed was because the Revolutions were truly my dream tuning machine head. Even as sturdy as the tone pros are, I'm VERY hard on my guitars - think Steve Vai/Stevie Ray Vaughn/Eddie Van-Halen hard on them, and my Jag-Stang starting as of 2014, was doing sometimes up to 3-4 1.5 hour rock shows a week live, and was getting quickly thrown into gig bags with minimal padding sometimes to go into my car late at night when I was in a hurry to get home and sleep for work. I broke 2 of the Tone Pro high E string tuners on the Jag-Stang due to a few accidents between shows with Zombie Jihad and the Sweaty Vedders, so in 2015 when the Revolutions were fairly new, I bought a set for my Jag-Stang and a custom Mosrite style guitar I built - both of those guitars still have those tuners and they both get used VERY hard - my Jaguar got upgraded about a month after those two. What really drew me to the revolutions was that they were sealed gear tuners like the Schaller style tuners Kurt Cobain used, and my old Kramer guitars had which never break and some of those got slammed on the ground headstock first by accident and still work like new, one set of those is almost 35 years old now. But the thing I HATED about the schallers was that installing them on anything that had "F" tuners or Klusons looked awful with the extra holes, and I absolutley LOVE slot shaft tuners because I don't have sharp ends of string to work with, plus I find restringing faster with them. Also, the Revolutions can come with standard bushings (My Jaguar and a Memphis/Behringer strat I have have those), my Jag-Stang and Mosrite have bolt tuners. ALL are split shaft. I still have TonePros on my Telecaster and my Jazzmaster as of current, though I plan to upgrade those if they break. So I can vouch for both, I don't gig the Tele or Jazzmaster as much.
  6. Kluson tone pros with press fit bushings. They look stock but are stronger. I had them on my Jag-Stang until 2014 when I upgraded to Kluson Revolutions......which are the best I've had thus far. The durability and toughness of a sealed gear with the split shafts and vintage fender look.
  7. Third 2-way switch. StewMac FreeWay in place of the tone pot. Eight way 3 pole rotary in place of the tone pot. Three push-on push buttons ala Fender Elite Strat.
  8. Yes, it's doable. The Jaguar and Jag-Stang are both 24" scale 22 fret necks with the same heel width (or similar depending on vintage of the Jaguar). Honestly that's a favorite combination of mine, if only I had a duplicarver.
  9. 1.) The Jag-Stang is likely a little thicker because of the humbucker but I think the jarring effect of the change to out-of-phase makes it a bit hard to do a comparison. The best I ever got was comparing an EMG equipped Jag-Stang (mine) to a 1966 Fender Mustang (also mine). The Mustang was a twangier guitar all around due to that bridge pickup, and drastically lower on output. Also, Mustangs vary from period to period. The vintage ones were wound less as hot (my Mustang had a 5.9K and a 5.3K pair of pickups in it - bridge and neck respectively), but the modern Mustangs Fender makes are typically around 6.4K and a lot of them have Ceramic magnets behind the poles rather than Alnico 2 - they tend to sound a bit fuller with a little less "airiness" to them, and less of the sponginess vintage Mustangs are known for. 2.) I think the balance between the pickups would change, altering the tone, just slightly. Bridge pickups are typically wound hotter than pickups progressively closer to the neck in matched sets on modern electric guitars. When Fender designed the Jag-Stang originally, they probably wanted something to match the DIMARZIO prototype pickup in the bridge, which was likely around 12-16K since that's what Cobain's preferred pickups were wired around (DiMarzio Super Distortions are around 12K, and Seymour Duncan JB are around 16.4K in the bridge). So they probably used a BRIDGE pickup to compensate for the hot humbucker in the bridge position. Plus they did not need a reverse polarity/reverse wound setup to make them cancel hum with both pickups on in phase since the humbucker took care of that except in the neck which would be no different than a regular Mustang (save for increased output). The neck pickup was probably in the 6-7K range. With a lower output neck pickup, you'll notice it's less distorted, less as gainy, cleaner, and a bit more sparkly. I quite like the mismatch I have in mine - I have a big mean EMG 81 in the bridge and a EMG SA which is basically an active vintage strat type pickup in the neck, the neck is jangly and has a lot of that Mustang sponginess somehow, but the bridge is extremely hot and very distorted, even clean I have a little bit of overdrive, and it's very warm on that guitar - giving me a wide gamut of sounds from just the Jag-Stang alone since I also put a Pi2 Phase inverter in it - and that goes back to question 1 - with a Pi2 phase inverter, I don't lose volume, but it does get that honkey midrangey clonky sound the Mustang is known for, but it's a bit on the thick side due to the hot bridge and the fact the Pi2 has a preamp in it to go with the preamp in the neck pickup. It kind of sounds like James Young's (JY's) Stratocaster he used in STYX in the 1970's with the Yoshinerator preamp in it, just a big growlier and thicker.
  10. I find some things odd with this guitar....don't want to be a buzzkill but.... The Serial# V069200 would be a MIJ Serial# from circa 1996 - some of us here on the board have Jag-Stang's with earlier serials - mine is U023314 for example (MIJ), the registry puts mine as a 1995 - which was the first year these were made from what I understand (the first reviews and writings about them started to appear around mid 1995, I remember Guitar Player's September 1995 issue had a full page review of the "Brand new" Fender Jag-Stang). Kurt Cobain's red prototype from the custom shop I'd think would have had a serial# of KC000002 (not sure on the # of zeroes) based on the fact his original Jag-Stang used on the In Utero tour and given to Peter Buck was KC000001. So I don't think this is the Jag-Stang they are trying to imply it as being - esp seeing as they are providing the cardboard cutouts for the final body design and Cobain's Fax with it. Unless of course this was a Japanese pre-production body and neck with the Custom Shop pickups in it, which then is even more weird because that does not explain the 1996 serial#. We all know the RED guitar was about to be shipped sometime around April 4th 1994 as they were about to ship it as it was announced that Kurt had passed on - but this implies 1996 because V + 6 digits =1996-1997, just seems very odd to me after reading of the original KC000001 Serial#. I got the figures from Fender's site below. https://support.fender.com/hc/en-us/articles/214343783-How-can-I-find-out-when-my-Japanese-made-instrument-was-manufactured- That said, I have theories on why this could be. A = Fender Custom Shop chose to use a different serial# B = something happened with the neck or neck and body of the original, it does kind of look like there are hex-poles in the bridge humbucker, which IS a DiMarzio thing and IIRC the original production Jag-Stang H3 did not have that configuration. C = Fender could have exchanged the original with a Japanese doppleganger from Japanese production for the museum, maybe the other is elsewhere....like the Vaults or Paul Allen's sealed away vault where a lot of Kurt's other guitars are supposed to be. I did see photos of the display at the Fender Museum and it appears the Jag-Stang was far less protected than some of the other guitars there, like the Maurauder which was behind glass, and the early Tele's, it appears Kurt's guitar was hanging on the wall. Possible Fender put a doppleganger out there in case of liability to keep the original safe. I know the R&R Hall of Fame in Cleveland had problems with people stealing the knobs off of Kurt Cobain's In Utero mustang and had to put it behind glass as a result (after a brief time of a note telling people to NOT steal parts of the display). That way if someone stole the knobs or ran off with the Jag-Stang, the original would still be safe. D = They exchanged it for purpose above, and then forgot the original is in a vault somewhere. Of course, I still can't say any of this 100% for sure because we would need to see the serial#. Having a "Made in Japan" above it would really show that this is not that legitimate. If it were truly custom shop, it either would be unmarked (I think the original KC000001 guitar was unmarked as custom shop), or it would be that serial without the Japan marking on it. That serial really begs a lot of questions - especially to me who memorized my serial - how would Kurt Cobain be getting a Jag-Stang with a 1996 Japanese serial in 1994? Does Emmet L. Brown work for the custom shop?
  11. You might be able to raise the mute on the offending side by loosening the screw that holds it down on the corresponding side. Sounds to me someone setup this Jaguar and did not take into consideration that the neck shim they used was either A.) Too high for the mute, or B.) the mute needs adjusted to push upward more. The Jaguar mute is a finicky device, I installed one on my CIJ back in 2007 and used it for awhile but found it a bit annoying because you actually HAVE To shim the neck to make it usable as the bridge has to be raised to clear the screws that hold the mechanism on. I'm toying with building a second Jaguar in the future with a RECESSED vibramute to test out the idea of improving the design because I really do like what the vibramute offers, but I like how Jaguars play (really low, slinky, and fast) without a shim.
  12. You might be able to raise the mute on the offending side by loosening the screw that holds it down on the corresponding side. Sounds to me someone setup this Jaguar and did not take into consideration that the neck shim they used was either A.) Too high for the mute, or B.) the mute needs adjusted to push upward more. The Jaguar mute is a finicky device, I installed one on my CIJ back in 2007 and used it for awhile but found it a bit annoying because you actually HAVE To shim the neck to make it usable as the bridge has to be raised to clear the screws that hold the mechanism on. I'm toying with building a second Jaguar in the future with a RECESSED vibramute to test out the idea of improving the design because I really do like what the vibramute offers, but I like how Jaguars play (really low, slinky, and fast) without a shim.
  13. The reason I think the Tune-O-Matic might not work with the Mustang vibrato is the breakover behind the bridge is tighter than on a Jaguar/Jazzmaster. That said, I have played the CP Jaguar before and yes they stay in tune very well. Typically the harder the breakover, the more friction, and friction is enemy when it comes to vibrato units. That's why I suggested the Graph-Tech saddles. I'm a bit skeptical about vibratos on the Cobain guitars, especially the Mustangs, because Kurt Cobain was well known to never touch the vibrato on his guitars. Fender provided the bar just to keep it complete expecting most of the people buying these things to keep the bar in the case. I've used the bar on a Cobain Jaguar, it works fine. typically on vibratos the main friction points are the bridge saddles, and the nut (I use #1 pencil lead in mine, and I ABUSE the vibrato on my Jag-Stang like a Floyd Rose, the funny part is I find the Jag-Stang more solid and reliable than a Floyd XD), and in some cases, the string around the tuner itself since some people wrap them all messy and then the string lands in a different spot every time the bar loosens the string causing the tuning to drift. Also stretching them out is a big part of it too - people say to stretch the strings out compleley, but on vibratos there's sort of a middle-ground you want to be on to keep them in tune where they are not so stretched out they go sharp after using the bar, but not so un-stretched they go flat.
  14. They are not a particularly common tool. But they work a lot better than traditional drill bits do for drilling metal. I know of them because recently I Started building pedals and that's the exact same bit I use to drill metal enclosures for pots.
  15. Yes, came up with that myself. I have something similar in a custom guitar I built for a horror rock band's guitarist (no concentric pots). The basic idea is the coil selected in split mode is based on which coil is the starting coil on the phase switch (as the bottom coil becomes the start when out of phase and the top coil when in phase). Then the bridge pickup selector when slid back grounds the "Series Link" between the two coils, killing off the coil that is the "Secondary" - this is how most coil splits work - and the coil selected is also determined by the phase switch - thusly allowing each coil to function as an isolated unit. Up is basic humbucker mode and works in and out of phase like if you wired the pickup in as a 2 conductor into a stock Fender Mustang. The neck pickup is just wired like a regular Mustang pickup (In Phase/Off/Out of Phase). I've also seen people state the Jag-Stang had a coil split at one point on this site and had a similar diagram minus the phase switch. As for concentric pots, those are usually just stacked pots with one pot controlled by the shaft and the second by the ring going around the shaft. Typically the volume is the shaft while the ring is the tone, I did it the other way here possibly - which has it's own advantage of volume swells being easier without accidentally rubbing the tone pot with it (I do a lot of that 80's trickery so that's what I tend to lean toward myself). As for figuring out which is which, I think the shaft goes to the bottom pot and the ring around goes to the top pot - but It could vary - best way is to test using a multimeter.
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