I seem to have spent most of this year working on drum restos and consequently, I’ve got more than a few guitar builds which haven’t made much progress. My candy apple red Jazzmaster is one of them. Of course – putting projects away for a while can be a good thing. Seeing things through fresh eyes can sometimes help get around certain self-perceived “blocks” and it can often be the catalyst for more sweeping changes.
It was when I came to look at soldering up the circuit – that I began to realise that the Jazzmaster had probably been conceived with too many “deviations” from standard. Another case of me trying to do too much with one build. Just as when I’d put together my first Stratocaster, (where I jumped straight in, and immediately tried to work-in a seven-way switching setup), I’d looked to follow an upgrade path – without even pausing to understand and appreciate the classic, “standard” Jazzmaster form and function. In this particular case, things also weren’t helped because I’d been mostly concentrating on the finish of the guitar – (although I also realised that doing things like using the AOM bridge thimbles to work with a drop-in bridge was simply working at cross purposes, from the very beginning).
It occurred to me that it would probably help to have a more “classic” Jazzmaster build on the go, at the same time. The benefits of “bouncing” lessons learned, from one build to another, cannot be overstated and having a more personalised “vanilla” example of any guitar is probably a much better platform to get to know the basics of any new type of instrument. I obtained a two-piece swamp ash body from guitarbuild during a promotional sale – and will shortly begin a “natural ash” build – similar in concept, in many ways, to my natural ash Stratocaster. A natural, hand-oiled finish has the simple advantage of being much easier and quicker to complete. Having a “blank canvas” on which to build, helps shift the focus onto more practical matters – such as the guitar “geometry” and the basic functions of the tone circuit.
And it’s an approach which is in complete contrast to the way I’d initially approached this build. By re-finishing a J.Mascis Fender/Squier body – I hadn’t quite realised just how different my starting point would be, when it came to fitting it out. Not only was the originally intended bridge an entirely different matter, (an almost heretical TOM unit on a Fender!!), I also hadn’t appreciated other little details – such as how the tremolo unit is placed slightly closer to the bridge. When I finally got the guitar out of it’s case for it’s recent, long-overdue review – I immediately realised that it was always going to work better as a J.Mascis Jazzmaster. I just didn’t see the point in fighting against the obvious any longer.
It’s also strange how coincidence steps in sometimes. Whilst researching – I came across a photograph of Kim Gordon wielding one of Fender’s early J.Mascis Signature Jazzers. Although my resprayed body didn’t have the metallic flake of those models – my finish here – with it’s deep wine red colour, and golden glow showing through the semi-translucent paint – still had something of that same character. Around the same time – Fender coincidentally announced a brand new J.Mascis signature Jazzmaster for 2022 – and alongside – a brand new set of signature pickups.
It became obvious… strip out the Creamery “wide range” pickups, (they’ll be much better in my new “classic” setup)… take the tortie pickguard and alu shield with them, (brown tortoiseshell on oiled ash is a favourite combination of mine)… track down a gold anodized aluminium pickguard, and fit a pair of the new J.Mascis custom pickups instead… I’ll need a second neck too… (Circuit-wise – my new “classic” ash JM will have the standard schematic – but the new J.Mascis pickups are designed for a more modern setup, so I may experiment with a hybrid Dual Volume and G&L tonestack option).
Within half an hour of revisiting the project – for the first time in nine months – I’d completely re-designed it, and had a second build mapped out, to boot…
Tracking down a genuine Fender gold anodized pickguard proved a little difficult – but I eventually found a virtually perfect used one, although the shipping from France took ages due to the current postal backlogs. Alternative, (sometimes cheaper), reproduction pickguards are available – but their idea of “gold” can vary wildly, and I wanted to be absolutely certain that the screwholes matched the pattern on the Fender / Squier body. I’d managed not to have to re-drill for the tortie pickguard, and was determined, if at all possible, to keep the original holes intact. The Fender pickguards have a certain “antique” gold colour which looks much better than some of the cheaper, yellower, “brassy” alternatives. I think they used the same plate (Fender parts number 008-0364-000), on both the early J.Mascis, and more recent Squier 40th Anniversary Jazzmasters.
Replacing the plate was simplicity itself. Since the pickups are mounted to the body, (I’ll leave the Creamery pups in-situ for now) – it’s just a matter of removing the tortoiseshell plate, together with the vintage style aluminium shield. The anodized plate will now provide the top of the shielding “cage”, and the old-style aluminium shield will keep for use with the tortie. I used a fresh set of stainless steel screws to secure the new pickguard. Reassuringly – all of the screwholes aligned perfectly. The neck cutout fitted like a glove, and the pickup openings too, required no adjustment. However – the bridge post holes are just slightly out of line, (although the posts still thread without rubbing, and it’s all hidden once the bridge drops into place anyway).
The bridge unit – I’ve had set aside since my bridge shootout comparisons for my various Jaguars. It’s a Fender TOM, (they sometimes call it an “Adjustomatic”, or “AOM”) – Fender parts number 007-6230-049. These are commonly used on all Fender Classic Player Series Jaguars and Jazzmasters. Since I’ve retained the original threaded thimbles on the re-finished J.Mascis body – it’s a simple matter to install the screw-in posts and then slot the bridge assembly over the top. Although I adapted the bridge earthing to work with a “drop-in” type bridge, the essential ground wire is still in contact with one of the thimbles – so the bridge is grounded through it. Continuity with the rest of the circuit ground side – including the new scratchplate – is confirmed with a multimeter.
Since the new “classic”, natural ash Jazzmaster will require a suitable neck – I’ll take the, currently assigned, Fender 2020 “Classic Player” neck from here, and replace it with a Fender 2021 “Player” (75th Anniversary) example. The newer “Player” necks seem to be gradually replacing the “Classic Players”, and the latter are getting increasingly hard to get hold of. The specs, however, are virtually identical and the Made in Mexico necks are probably the only realistic way to get a new, original, Fender neck at a decent price. Since they’re pretty much interchangeable spec-wise – either would work just as well here – but the slightly more amber colouration, and slightly more vintage-looking headstock logo on the “Classic Player” neck, would be better matched with my “classic” build. Again – the “Player” necks are supplied with Pau Ferro fingerboards. I’ll have to tone this one with some dark wax, if I want to achieve a look which approximates rosewood.
One major difference in the specifications – is the way the headstocks are drilled for tuners. The new “Players” have a 10mm peghole, and the rear of the headstock is pre-drilled to accept contemporary “two-pin” machine heads. If you prefer “vintage-style” machine heads, (as I do) – then you’ll have to track down a set of vintage-styled Fender “ClassicGear” tuners. (Fender parts number 099-0802-100). These look, to all intents and purposes, much like vintage Klusons – but they have the necessary two-pin fitting on the back, and the bushings simply screw in from the front of the headstock. When fitted – the casings on the back of the headstock look like the real thing, (if you’re really fussy – then they probably look a little bit too sharp) – and the washers which sit under the screw collars on the headstock face, provide a wider surround to each post.
Fitting them is embarrasingly easy. Fender really are intent on taking all of the hassle, (and for me, some of the joy), out of kit-building guitars. I get the set of six fitted in less than five minutes, and I don’t even have to check that they’re in line.
The headstock is pre-drilled for a single string tree. I’ll eventually use it to mount one of my favoured “disc” types. The nut is also pre-cut – but I usually prefer to swap out the Fender “synthetic bone” nuts for real bone ones anyway. I’ll keep the old one in for now though, and swap it out at set-up.
Finally – the original neck is swapped out for the new. While I’m at it – I also switch the neck plate for a generic, Fender “F” plate (Fender parts number 099-1448-100). However – I retain the original upgraded stainless steel bolts, and also keep the black HOSCO plate gasket in place. The originally assigned neck plate, (an original Fender US Jazzmaster serial plate), will be transferred to my “classic” build.
Garageland 