A couple of weeks ago I accidentally bought two Fender Jazzmasters. How does that happen? I don’t know, use your imagination. I have no sense when it comes to Stuff I Love and The Internet. The Jazzmaster that I’ll be keeping is a Japanese-made sparkly-blue guitar from around 1999. It came with a pair of Lollar Jazzmaster pickups already installed, replacing the stock pickups that many people seem to hate on these CIJ (“Crafted in Japan”) Jazzmasters. After spending a couple of weeks playing it, I’ve decided to go one step further and put a P-90 in the bridge position, hopefully giving it quite a bit more oomph there, as I find that I never ever play it with just the bridge pickup. The Lollar neck pickup on the other hand is just great. Oh, did I mention it was sparkly blue?
I bought this guitar knowing that it was going to be kind of a modification playground for me to try stuff out, unlike the G&L ASAT which I haven’t touched and don’t plan to. To that end, other “improvements” I have planned are replacing the stock bridge with a Mastery Bridge (already ordered — I didn’t expect to do this but I really understand now why people hate these stock Jazzmaster bridges), replacing the white pick-guard with a black one (already received), and as long as I have the guitar pulled apart, putting in 500k pots to roll of a little of the harsh trebly business it has when up on 10, and soldering a nice Jensen capacitor to the tone pot. A lot of Jazzmaster players do stuff to the rhythm circuit as well, but I’ve not decided anything about that yet. On one hand, I don’t use it much yet. On the other hand, I might find something that would encourage me to use it more one day. So when that happens, I’ll open it back up again.
I was concerned at first that the guitar was too close in performance and tone to the ASAT, but as I’ve played it the last three weeks I’ve noticed that this isn’t the case. The ASAT has a much glossier (?) tone and a plucky attack. It chimes nicely, while the Jazzmaster is more mellow and subtle. They’re both single coil Fender designs, so there is obviously overlap. I’m curious how it all plays out once I install the P90 in the bridge. (By the way, I’m planning on putting in a Novak JM-90, which is a little less expensive than the Lollar P90 for Jazzmaster, and Curtis Novak tells me that he can make a custom one to pair with the Lollar JM pickup that I’m leaving in the neck.
Like a new car, since obtaining this Jazzmaster (these Jazzmasters), I’ve noticed how many are out there played by some of my favorite guitar experimenters and bands. Some I knew of, some I didn’t.
I’ll be posting about this work in progress as it commences…
The studio is hooked up, everything seems to work, and as proof I was able to take part in this week’s Disquiet Junto project. It’s the 24th assignment that Marc has sent out, and it’s been since about number nine the last time I was able to participate.
This week’s Junto went like this:
This week’s project is about “functional music.” You will make four individual sounds that serve as alerts for digital communications. They will be in these categories:
1. email arrival
2. incoming phone call
3. new IM received
4. calendar event alert
The goal is that the four alerts will work together as a suite — that is, that they will complement each other, yet be distinct and recognizable from each other.
The term “functional music” threw me, but I went with my first intuition and made evil robot voices. The process began with recording my eleven-year-old daughter read the four alerts into a Zoom digital recorder. I then sampled those phrases into my Teenage Engineering OP-1 and pitched down a few steps. The OP-1 is such a nice little sampler. This was then plugged into the mixer and run through a Korg Kaoss Pad recording a variety of effects into Wave Editor on the Mac. I was perfectly thrilled with anything really, but when I added Sonic Charge’s Bitspeek plug-in to the vocals, it became what I heard in my head.
The alert beeps were made with Ableton’s Operator. I tried it first with a VCO on my modular synth, but the result sounded way to analog-ish. Operator is cold and digital.
I’m aware that no one in their right mind would ever use these in their actual phone. These alerts sound pretty great but for daily use would be annoying as hell. I might install them on my iPhone for a day (anyone know how to do this?). If you’re interested in doing the same, here are the four individual 16-bit WAV files in a zip archive.
I’m writing a long post about the studio hook-up. Stay tuned.
A really nice video of Bill Frisell playing with a collection of stompboxes. The simplicity of the EHX Freeze really shines at the beginning. I’ve seen that thing around and wondered, creatively, what’s really possible with it. This makes it desirable, though I suppose I can cover it with a bit more work with a loop pedal or a delay. Though it won’t sound like Bill Frisell.
Another proponent of the stompbox is Nels Cline. He’s slightly more frantic about it than Bill Frisell.
As for me, I’ve finally got the music room and studio put back together. I’ve installed a patch bay, hooked up a nice mixer, obtained a Fender Jazzmaster (actually two, but only keeping one), and now it’s a breeze to stick a guitar into the modular, and run all that through, say, a looping pedal and into a Kaoss Pad, then record it all on the Mac. So, I hope this leads to me posting more of my own stuff along with these tv shows I’ve been watching. One of the first things I intend to do is write about my own collection of pedals. Let’s cross our fingers, right?