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Mad-Mike

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Everything posted by Mad-Mike

  1. Some pictures of me with mine and Zombie Jihdad
  2. TBH, the JAguar Special HH is not the "chunk machine" people claim it is... I owned one years ago, a 2008 in black. It sounded more like a vintage Jaguar than my 1998 CIJ Jaguar does (granted the CIJ has Cool rails, but it sounds just like a 1963 I played years ago), without the Benefit of a Tremolo. The pickups are weak (only 7.16K in the bridge position - my Jazzmaster is hotter wound! and it has the old Jazzmaster pickups in it). It also had an odd squeakiness to it's attack sound that I did not like due to the TUne-O-Matic bridge and stoptail. I've never heard a Jaguar that anemic before or since that one. My recommendation for a HH Jaguar is the Jaguar CP HH if you want to go the TOM route, it does not have the squeaky tone and the Humbuckers are as advertised (high output).
  3. Same unit on both guitars, the difference is mostly due to scale length. The longer the scale length, the more tension it takes to bring the same set of strings up to pitch, which pulls harder on the vibrato causing the spring to have to work harder and this in turn also takes away some of the responsiveness. Sting gauge also has an effect.. Bigger strings have higher tension and this takes away some of the responsiveness of the vibrato, making it feel like there is not that much movement.
  4. I just want to post my dose of reality in what it takes to build a guitar, and what it costs....you can get the price, at cheapest, in the ballpark of a JAg-Stang on e-bay. Building one using Warmoth parts would be the most expensive route if you were to build a Jag-Stang. Warmoth parts, while excellent quality, do tend to be on the higher priced end of things. You could easily be past $400 with just the neck and body. If I were to build a Jag-Stang, this is the route I'd go, of course, you need some experience and skill at Luthiery in some spots (especially the neck) to save money NECK: I would probably go to E-bay and find a 24" Scale 22 Fret neck that's parted off of another guitar most likely, or a Chinese rip-off neck I could easily modify to taste or tweak to perfection with a little TLC, fret leveling, and nut adjustment. I would not want to go any further than $100 on a neck, so this would be the most difficult part of building the guitar. Then I'd have to get the neck in, and wait till I finished building the body. BODY: The body I would build myself with a tracing of my Jag-Stang (or if I did not have one for the sake of this, one I got from someone else). Then I would get my hands on some inexpensive scrap wood, like PIne, or buy some Basswood, and make a body blank (which would be at least 3 pieces of wood in the available sizes). The wood would have to be planed flat, glued together with Titebond II wood glue overnight at the very least, then I would need to take a template, rout the neck pocket, then use a bandsaw to cut out the guitar body shape. After the body is cut out, rout it for electronics, round over the corners with a roundover bit and a router, then sand progressively up to about 400 grit until smooth, and rout for the tremolo. This can be VERY tricky as the Jag-Stang is not a symettrical shape by ANY means of the imagination. It'd be very easy to get the bridge off-center, or the neck off-centered, and the like. After all that is done, then It's time to paint the body - this runs about $25-50 depending on how professional you want the paint to look 1.) FIll in any dents, holes, knots, or other imperfections with wood filler 2.) Sand body up to roughly 800 grit, preferably using an electric sander or it will take quite some time and elbow grease 4.) Spray on a coat of primer, don't completely cover, do this slowly 5.) Wait 15-30 minutes, apply more primer 6.) wait 15-30 minutes, apply more primer 7.) Let dry for a day or two 8.) Get your color coat, I use Krylon paint from Fred Meyer, they actually have one that is VERY close to the Sonic Blue used on Jag-Stangs, might have to go somewhere like Lowes or Michaels for something that matches Fiesta red - apply the first coat, do not completely cover the primer, just spray it on lightly, the more and lighter the coats, the better the finish 9.) Wait about 15-30 minutes, spray on a 2nd coat 10) wait about 15-30 minutes, spray on a 3rd coat 11) let dry for a few days or more 12) wet sand up to 800-1000 grit, using decent lighting to bounce off the finish and find imperfections that need sanded out 13) add some more coats 14) wet sand again, this time 1000-2000 girt, getting rid of any imperfections if any left (go back to 12 if they are bad) 15) sand up to 1000 grit again, spray with clearcoat, not a full coat 16) wait 15-30 minutes, spray another coat 17) same as above again (duh) 18) let body dry for several days, maybe even a week 19) wet sand up to about 2000 grit 20) use gradually finer buffing compounds and an automotive buffing pad to polish the body up to showroom shine, be very careful not to buff too much and through the paint Okay, now you have a Jag-Stang body and neck for roughly $150.00 and a heaping TON of hard work Now it's time to buy the parts to populate said body Mustang Tremolo & Bridge = $60.00 Tuning Machines = $25-70 Pickguard = about $30 Pickups = Probably about $180 total for a Fender Texas Special and Seymour Duncan J.B. Jr. to have what Kurt had Switches = $10.00 Pots = $5.00 Jack = $1.95 from Radio Shack Control Plate = $15.00 Knobs = $15.00 for a set of Jazz Bass knobs at the local guitar shop String Trees = $1.95 Wire = $7.00 a roll String Guide = $1.50 Total spent now roughly $445.00, not including Shipping & Handling for parts ordered over the internet, not including gasoline, not including compensation for lack of sleep from working on the guitar between working hours, nor the time spent waiting on all the finishing steps to cure/dry/be ready to be sanded/polished. Then there's the hours of debugging your wiring to find out some tiny sliver of copper found it's way from the hot lead to the ground causing a short, or debating who's wiring diagram is "correct" (the one with the coil tap on the humbucker, or the one with the phase reversal on the humbucker?), setting up the neck to be optimal, which includes putting strings on, checking settings, taking strings off, turning screws and nuts, taking a sanding block to the neck to level and recrown the frets if they need it, then putting strings back on, setting action, setting intonation, then finding you need to set the vibrato further back to make the whammy bar stay in tune if you want that, so there's adjusting the 2 adjustment springs as well. Once all is done, you can be proud, you just built a Jag-Stang for almost $500......about the price of an E-bay purchase....only to come to find that Fender has just released a pretty accurate to the Japanese original Squier version for $300 someday in the future I know this is long, but it let's you know what is involved. Finishing is the least favorite part of mine, especially since I had to do it by hand so many times....just sitting there, rubbing that body with overpriced beach flooring pasted to construction paper until your arms hurt..
  5. With Jaguars, it's usually one of two things - the coils are not wax potted. What this means is the hair-thin wire the pickup is wound with that makes it work is not packed with paraffin wax, allowing the coil wire to move around with influence from the environment, turning it into more of a microphone than an electromagnetic pickup. I'm not sure if Fender potted the CP Jaguar pickups, I do know they didn't do that so some of the lower cost guitars though. - The claws - I got around this by packing the inside of my pickup covers with that foam egg-crate stuff they ship computer expansion cards in the box with, that and using a pair of pliars to carefully squeeze the teeth "inward" to the coil to make it harder for the claws to vibrate. You could try taking the claws off to see if they are a part of the cause.
  6. If they are anything like back in my days of getting the Stew-Mac catalogs on a regular basis, it's very most likely the "mini" sized schallers. The Full Size IIRC were for Gibson 3X3 tuning machines. What you will want to swap your Jaguar to Schallers will be the following... - a six on a side right handed (non-reverse headstock) set of Schaller Tuning Keys, such as the M6 Mini - In most cases (except maybe the KC Jaguars) you will need to re-drill the holes for the pegs wider for them to fit as most Scahllers I've seen use that screw-down post nut.
  7. My setup is this COMPUTER Home Built Pentium-D 3.40GHz PC with 4GB of RAM, 1TB HDD, DVD-RW Burner, and Rocketfish (Cheapo Closeout SoundBlaster Audigy) PCI Sound CArd with HARDWARE LOOPBACK Hardware LOOPBACK is important, and you will have to look for older PCI Sound Cards in order to use it, unless you want to invest in a Firewire or USB Recording Interface. The RIAA and MPAA Forced the sound card manufacturers and the O/S makers to remove "HArdware Loopback" and Hardware Input Monitoring to force people to stop "Pirating".....total B.S. I know. THe only other option is to spend some more dough on something like an mAudio card designed for recording. SOFTWARE Reaper 64-bit, I use it because it has a great software metronome that does not mean recording some kind of crazy click track first. Chain of SOund GUITAR->Behringer V-AMP Pro w/ Behringer Virtualizer Pro 204P in the Stereo Effects Loop->Line-In on Roland Juno Di Synth->Headphone out on Roland to SOund Card Line-In->PC->Pair of old Radio Shack "Aviator" Headphones.
  8. If this is for the special HH (CIJ/MIJ model), it's identical to a regular Jaguar, just with Humbucker pickups in it (2 conductor at that which are no different than single coils). What you need to Wire a Jaguar, if you want to assemble them yourself.... - 3X SPST 2-way Slide Switches (Pickup On/Off, and Strangle) - 1X DPDT 2-way Slide Switches (Rhythm/Lead Switch, you can also just use 4 of these instead of the above to do the STrangle & Pickup On/Off Switches for the lead circuit, Fender did that with the CIJ Jaguars like mine) - 1Meg Ohm Audio Taper POts (Lead Circuit Volume and Tone) - 1Meg Ohm LInear Taper Pot (Rhythm Circuit Volume) - 50K Ohm Linear Taper Pot (Rhythm Circuit Tone Pot) - 1/4" Phono Jack, Mono (output Jack) - .01 Microfarad (mfd) Capacitors (Tone caps for Rhythm and Lead Tone pots) - .003 PicoFarad (pfd) Capacitor (Strangle Switch) - Approximately 6-8 Feet of either pull-back cloth shielded cable (for a early-60's wiring job) or PVC covered wire (for a 65' and later wiring job). You can go color coded or do what I do and use one color. Color Coded is factory correct though.
  9. Most recently was modifying the Japanese tremolo pivot plate and pivot arms for more bar travel. I found out that at the very least the newest Japanese Mustang tremolo units have flat edges where the pivot posts sit rather than knife edges. I took a drill bit at a 45 degree angle and built new "knife edges" for my new tremolo plate after finding my Jag-Stang being a couple cents off dead-0 when pushing or pulling the bar like a crazy monster like I Do. Another modification I made was I sawed the pivot posts down, I had a new set of 3-slot posts and found the extra length for the 3rd slot affected string tension as well. Another new discovery, but not a mod, was that with the knife edges, I can loosen the pivot posts and get even MORE bar travel. Odd counter-intuitive beast the Dynamic Vibrato is, but now I can get the strings almost fully limp like a Floyd Rose and the tuning is 100% stable now with the Knife Edge mod to the pivot plate.
  10. Hello, Issue1# - Sounds like you have a bad output jack or a short somewhere. Output jacks do wear out after a long time of hard use. Another thing to check for is maybe a wire was frayed on the I/O wires or one of the lugs on the output jack are touching the ground paint inside the cavity when a jack is plugged in, and running the cable through the strap cable acts as a "tensioner" for the cable, causing the jack to pull away from whatever it's shorting out on. Might help to bend some solder lugs and/or reposition the jack. It could also just be a solder joint that has gone bad as well. Sometimes I also find the individual strands of wire inside the wire used to wire guitars can get "stray" and cause shorts. Not sure why this happens, but sometimes it does. Helps to have a magnifying glass to find these issues. #2 - Definitely sounds like a bad switch, a common problem with Jag-Stang and Mustangs, especially with the original switches used in them. Those too can wear out. The faint sound sounds like either one of the sliding contacts inside the switch is no longer "jumpering" the 2 contacts it touches (or frozen in one spot), or you have a short that has developed on a part of the switch assembly either from a failing switch or maybe a lug came loose (they sometimes do) and is touching the shielding paint.
  11. Just a little picture of what me and the ol' Numero Uno have been up to lately - Zombie Jihad!
  12. No need to wire ground-to-ground on the control plate as the plate acts as the common ground for the pots and output jack itself. Saves wire, saves time, makes things easier.
  13. Here's my personal take on this one... I don't think Kurt truly hated the Jag-Stang so much as Fender did not produce it to the specifications he wanted because of a mixture of OEM parts sources Fender had an agreement with at the time, and certain things involving hardware that have since been resolved. Those and Fender had more concern in making a "mainstream palatable" guitar (ie. balancing the body through the odd reshaping for example). While Kurt may have intended the Jag-Stang as a one off (maybe not), maybe Fender was already thinking of a production model well before Kurt died. If it had been to Kurt's specs, it would have likely been contoured, had a Seymour Duncan J.B. in the bridge and hot-rail in the neck, a Tune-O-Matic bridge with Jaguar tailpiece, and simplified switching, and his 3X3 headstock idea. Here's why those maybe would not have happened at the time.... - No Contouring and oddly skinny waist due to "body balance" issues for the cork-sniffin vintage/boutique guitar snobs so they don't turn their noses up at it when it gets magazine reviews - No S.D. pickups because at the time, Fender had a deal with DiMarzio. The HM Strats, Ritchie Sambora, Yngwie Malmsteen, and a lot of other guitars Fender made at the time were using DiMarzio or DiMarzio designed pickups, whom are a major competitor of Seymour Duncan. - No Tune-O-Matic because, at the time, Fender was still trying to keep to their original image and original hardware, plus I think Gibson had some kind of odd trademark at the time on the Tune-O-Matic design that would have prevented "copycats" like the Adjust-O-Matic bridge at the time. - No Jaguar tailpiece because someone @ Fender thought it would make the guitar look "funny" at the time. - No 3X3 headstock because, Fender would want their guitar to be easily identifiable as a FENDER with that FenderHeadstock on it When Kurt Got the guitar, Ernie Bailey would switch the stock bridge out for a Tune-O-Matic, flip the tailpiece, and put in a SD J.B. Humbucker where the H3 would go. Then it would get sent back to Fender either that way, or possibly, maybe to keep from losing the deal or confusing the designers, they switched it back when the prototype went back to Fender for adjustments to the design. One thing that always threw me for a loop was the Frontline interview. Sounds almost like someone did a write in for Kurt in the final paragraph...especially the "It's perfect for me to attach my name to the Jag-Stang, in that I'm the anti-guitar hero - I can barely play the things myself". I remembered reading somewhere else Kurt did not want to put his name on the guitar anywhere, or did not want it as a signature model/have his name for preconceived notions attached to it.
  14. The Death Metal is a hilarious pedal. Way way way way back, when I was lead guitarist for a band called Lithium based in Montgomery, I had a buddy who was our rhythm guitarist who used a Fender Am. STD Strat through one into a Crate GX-15......it sounded like someone was playing music with a Hot Tub motor attached to a filled hot tub. Still all these years later and is one of my most hilariously memorable Anecdotes from that band. Should have been called the DOD Appliance Metal......or put in a chrome case and named "the Brave Little Toaster"....LOL.
  15. DOD Grunge it is, I think I have watched Aneurysum from that concert, and I OWN a DOD Flanger (FX-75B Stereo Flanger), Kurt's sound sounds more like an EHX than a DOD Flanger pedal to my ears. A lot of the alt-rock acts used to buy and joke about with those pedals because of the commercial idea of putting the "sound of the youth" into a little box you can hit with your foot, like it's going to magically make your Squier Strat and Crate 10 Watt Practice amp sound like a Fender Mustang with a JB humbucker, a DS-2, run through 2 crown power amps and a marshall cab. There was a video I saw on Youtubet, possibly from the year punk broke, where Sonic Youth is putzing about with one in one of the member's back yards and making fun of it, I'll post it if I can find it.
  16. Well, there's the thread I wrote years ago on the subject of getting the Fender Dynamic Vibrato to stay in tune under intense vibrato unit use. That's a good 2 or more pages worth of setup tips there. I set all my 'Stang relatives up this way and have done so since 1999 without any problems. http://www.jag-stang.com/forum/topic/922-a-bit-on-how-i-set-my-trem-up-for-whammy-use Useful Mustang Information - Older Mustangs (64' and 65') Tend to have higher output and warmer sounding pickups than the later ones from my general concensus - Mustangs from late 65' onward tend to have lower output/less winding, My 66' has a 5.6K Neck pickup and a 5.1K Bridge pickup - Later Gray Bobbin pickups are excellent for feedback assisted sustain, Fender was using some blue-coated magnet wire at the time that I think was FormVar or some other epoxy coated wire where the epoxy will bond together and create a wax-pot situation with the pickups, allowing one to stand with their mustang rather near a fully cranked stack and be able to have very controllable feedback. - There are several varitions of Japanese FDV, and American ones can vary as well, some of the differences include Vintage American units typically had an all-steel construction, Japanese units have a brass pivot plate, brass tail-bar, and brass bridge saddles, because of the lighter metal density, Japanese units tend to be a bit less brighter than their American vintage-era counterparts Vintage American Units have the tail-bar closer to the bridge, and longer routs for the "legs" from the tail bar and springs, giving a bit more bar travel for dive-bombing than a modern Japanese unit. Some Japanese units also have 3 notches instead of 2 and are longer inside the guitar, causing them to bottom out on the back of the cavity. They can be cut shorter and that will give a little more travel. For a player like me, who is REALLY hard on this vibrato unit, you may eventually need to replace your plate, particularly on Japanese instruments where the plate is brass. In my case, it took about 12 years of hard playing on that guitar to wear it out. They are by far MORE economical than a licenced Floyd Rose in that regard - $30-40 every 10-12 years vs. $60-120 every 5-6. MIJ units from the 90's have 2 notches, CIJ units from the later 2000's and some no-name repro units have 3 notches To gain more travel out of a 3 notch, one can cut the bottom notch off with a Dremel or a Hacksaw. That notch was added to use a factory stock setup point for .009 gauge string sets on the Mustang while keeping the trem setup on stock tolerances, it'll give you travel in line with, maybe a tad better than, an MIJ 90's unit, the only way to get a CIJ/MIJ guitar to have a "till the strings are limp" range is by lengthening the routs near the pivot posts. I will add some more later when I have the time to make some diagrams. I could go on a whole speil on using active pickups in Mustang/Duo/Jagstang style guitars and the various tricks required to have similar tonal options without making any permanent modifications to the instrument. Plus some other stuff.
  17. That looks to be a Guyatone built late 60's/early 70's at newest Japanese guitar of some sort. They were sold under a TON of different names like Goya, HyLo, Guyatone, Sears Roebuck & Co. Teisco Del Ray,Ibanez, Harmony, Silvertone, Zenta, Dana, and a sea of other badge names. Typically, Japanese guitars are designed by the corporate brand name and then contracted out to places like Fujigen Gakki, Ikkebe Gakki, Matsomoku, or back in the day, Guyatone for manufacture. As for the correct bridge, might want to check some of those badge made brands, or a Harmony H-801/802/804/2182/2183/2184 (those were the longest run Guyatone design, going over 40 years ending production sometime in 2007-2008ish, I think Guyatone's gear was moved to China, Korea, Indonesia, or India at some point). Those bridges would work, it's basically just a metal bar with 1-3 notches cut into it and curved to match the fretboard radius of the guitar. Typically, I just swap those out with a TOM, Mustang, or Roller Tune-O-Matic style bridge depending on weather it has a trem and what bridge it originally had (and/or what's most economical). Looks like it has a trem unit of some kind on it, so might be a good idea to see if you could find the bridge assembly from one of those GUyatone made Telecaster copys from that time peried, just a threaded metal bar with bearings screwed on it for bridge saddles, a bit like a poor man's version of the old Gretsch roller bridges.
  18. Finally put this thing together after 5 years of waiting and working on other things. Also a youtube up of it now... And here's the Youtube........it's got some of my old....and some of my new! As for the Specs 1971 Fender Music Master NECK: B Width 1971 24" Scale neck with really worn down vintage frets, Schaller tuners, string guides from a Squier Strat, and a nut from a Kay BODY: Duo-Sonic II/Musicmaster Body PICKUPS: Washburn MG-45 with the pole-pieces lowered (neck), Harmony Strat Copy single coil with Neodymium magnets out of a computer hard drive. CONTROLS: 1 Volume, 3-way switch, clean and simple PICKGUARD: TAP Plastics Orange Acrylic, hand cut by me using HAND tools (took about 6 hours to do) PAINT: Krylon sonic-blue-ish color with clearcoat BRIDGE: Fender Japan Musicmaster II Bridge (moved a tad forward, so it would fit the string through body holes left by a Brass 70's Badass bridge someone else used. My wife talked me into completing it, really happy with how it came out. It's also super resonant and very light, and very loud. Not a whole lot of buzz either, surprising considering it has 2 single coils. I just need to put strap locks on it and wax pot my nasty neodymium creation to stop the squeal and it's ready to hit the stage.
  19. Bridge - I use my Jazzmaster for drop tuned shred with the stock tuning...with 009's. The real trick with the stock bridge is to get those bridge saddles stable. Usually what I do is raise up the individual saddles high, put stronger springs on the low and high E string saddles to box in the inner 4 saddles for stability, and then 3M Tape the action screws if they have a looser tolerance and fall (which I don't see much with the newer guitars). If you get the CP, you will have a Tune-O-Matic style bridge, which is a whole different beast. On the CP, they have worked great on every one I tried. Pickups - On my home-built Jazzmaster I'm running a Pickup Wzards 8.8K ohm in the bridge, and an AVRI 8.3K Ohm in the neck, both Jazzmaster form factor pickups. They can be pretty beefy. The trick with the Jazzmaster for me is to drop to 7 for rhythm work and warmer leads, and crank the volume UP for more twang (as the Jazzmaster has 1 meg ohm pots, I'm using the capacitance on lower volume settings to drain some of the highs off to ground for a thicker sound). With the hot bridge pickup, I get more of a P-90/low-output-humbucker-ish sound at 7 and below, and more of a Telecaster bridge pickup twang when on 8+, however, turning down does drain off some of the gain. Those are my experiences with the Jazzmaster.
  20. On the CP Jaguar, it's really dependant. I've played 4 or 5 of those, some have the screw-in arm, some have the press-fit. I'm thinking the press-fit won't fit in the hole if you have a threaded bar setup as the threads flange out and might block the non-threaded arm from installing. Not to go too far off topic, but one awesome thing I did with my CIJ Jag when I first got it was used a screw-in bar from a Washburn Wonderbar (as a screw in bar) with the regular Jaguar collet setup, worked great until I got lucky in the Guitar Center bargain bin a week later and got the bar that's on it now (true blue CIJ Jag/Jazz bar).
  21. I'm a fan of the Planet Waves self-clipping tuners myself for locking tuner applications. Most locking tuners are going to require widening the post holes though as Jaguars use Kluson style machines with press-fit bushings stock. I use my CIJ with the stock tuners and have no issues, but when the tuners on my CIJ Jaguar wear out I plan to just swap em' with Kluson Tone Pros as I really like those, they are non-locking though, and come in press-fit bushing and Schaller style bushing variants.
  22. I don't want to throw stones at the modification guy, but it sounds to me like someone made a few rookie mistakes in wiring and decided to sell the guitar because certain things were not up to par or they just feel "unachieved" with it. It was the same case with my EMG'd Jag-Stang when I bought it - Electrical Tape in lieu of soldering anyone? It should not be too hard to reverse the wiring, and that Push-Pull offers a whole lot of other possibilities with the guitar.....even a possibility of in/out of phase on the selector and coil-tap on the push/pull. Just need to reverse/change the connections on the push/pull, and re-wire the selector to be a phase switch.
  23. Nope on the paint, in 68' I believe the Mustang only came in the usual 3 Student model colors (red, white, and blue), The pearloid guard on the other hand was a period correct feature and only came on the Competition colors and the Blue and Red Mustangs. Tortishell was used on the White. Fender did not start offering black until around 74' 75'ish. And by then, all models were coming with B/W/B pickguards and only came in black, white, sunburst, or wine red transparent, though sunburst started being offered around 71'-72ish.
  24. I mucho love the Jaguar bone stock, that's why I consider it my #1 "off-the-rack" guitar. It's oddly the only guitar I can honestly say I have not seen a bad example of, and can pretty much grab off a rack and get "my" sound out of without any modifications. This includes the CP and the VM Squiers (non HB vintage style ones). I even like the Vibramute. If I had to pick ONE model to stick with for the rest of my life, this would be it, the old, 2 single coil, fancy switching, rocker bridged, floating tremmed, 24" Scale 60's style Jaguar. Plus they always sound amazing through a very saturated overdriven amp and are pretty quiet considering the pickups. The Jazzmaster on the other hand, I tend to prefer a hotter bridge pickup than most of those have, something around the 8K+ resistance area with Alnico 2 magnets like the one I built as I, oddly, have grown to really like the versatility of the Jazzmaster's bridge pickup as it goes from a twangy "pissed off Telecaster" vibe to a smoother, rounder more P-90 vibe when you roll back the lead volume.
  25. I'm not sure if Fender ever will produce the Jag-Stang again in the near future.... I read somewhere a long, long, long, long time ago that the body design was actually licensed to Fender by Cobain/Nirvana/whoever owns the rights to it and that approval was required before a new release, but then I can't be sure. Some things they could do with that model... - Create a Squier version and make that their token Squier Cobain associated guitar - Do a more accurate to Ernie Bailey's mods version with a J.B. and a TOM instead of the Mustang bridge for the anniversary of xxx album. - Bring back the MIJ/CIJ models once again As for other Fender Models, I'd love to see the Bronco guitar be reissued, plus the Fender Lead I, II, and III.
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