Jazzmaster build

[Cagey]

He's hooked.  :icon_thumright:

Hehe! Yeah. Won't be long now. "I'm thinking maybe I need a [insert model here] for when I wanna [insert technique/sound here] so I'm wondering... what kinda bridge would you guys recommend?"

 

[bagman67]

You're overthinking it, Cagey.


"I don't have a blue guitar yet. What shape should I get?"

 

[Glimmer]

Thank you guys for the nice comments. I'm also really happy with how it came out.

@TVs Ross: I hemmed and hawed quite a bit before settling on the Novaks, but I'm glad I did given the sound. FWIW I spent a lot of time with this thread on offsetguitars.com, and found it helpful. In the end I felt they would help me achieve the tone I was after. I don’t know to what extent the shaft wood also contributes, whether the chambers in the body have any effect, etc., etc. – there are so many variables. What I can say is I’m certainly not disappointed. And when you select the rhythm circuit, man, it’s like dark, thick chocolate.

@BigSteve22: if you mean my experience setting up the Mastery, I can't comment since the tech set it up. If you mean how I like it now that it's set up: so far so good. Intonation's perfect and it feels as solid and well-made as everyone always says. I want to spend some time with it, though, and see how it fares. Also, I've since read that the folks at Mastery recommend leaving the bridge as low as possible and achieving proper height with the saddles; supposedly improves sustain. I may try this at some future point since I've got a little room to do so. And one funny thing: the instructions that came with the bridge and vibrato recommend leaving the v. arm on at all times, noting that when it's pressed down by the lid of the case it lowers tension. Ok, but when I take the guitar out of the case I always have to retune as all strings are always a bit sharp. Not entirely sure why. Could it be that the strings don't have sufficient pull from a (relatively) slack position? To be explored...

He's hooked.  :icon_thumright:

Hehe! Yeah. Won't be long now. "I'm thinking maybe I need a [insert model here] for when I wanna [insert technique/sound here] so I'm wondering... what kinda bridge would you guys recommend?"

I’m already there, problem is, there’s more than one I’d like to do. :glasses10: Am tempted by the Mooncaster, and wouldn’t mind another Tele... :icon_jokercolor:

 

[Glimmer]

"I don't have a blue guitar yet. What shape should I get?"

:icon_jokercolor:

Another quick note: last weekend for the hell of it I went to a local shop and played a couple of current Fender Jazzmasters: an American Vintage ’65 and a Road Worn model. Both felt really insubstantial: very light weight, flimsy trem, heaping dose of fret buzz... Granted, these were hanging on the wall and in need of a set up, but still. Was happy to come home to mine.

 

[rgand]

He's hooked.  :icon_thumright:

Hehe! Yeah. Won't be long now. "I'm thinking maybe I need a [insert model here] for when I wanna [insert technique/sound here] so I'm wondering... what kinda bridge would you guys recommend?"

I’m already there, problem is, there’s more than one I’d like to do. :glasses10: Am tempted by the Mooncaster, and wouldn’t mind another Tele... :icon_jokercolor:

Yep. He's one of us, now.
:toothy12: :toothy12: :toothy12:

 

[Cagey]

Yep. One of us. Unique, like everybody else. Wait...​

 

[bagman67]

 

[rgand]

:toothy12: :toothy12: :toothy12:

 

[BigSteve22]

Thanks for the feed back guys.

TVs Ross:I am slightly concerned about intonation on the three treble strings. The intonation on my Strat needed the B string to be slightly longer than the E. Can't do that with a Mastery. Could be a consequence of the Hybrid gauge strings on a short scale neck, my Hagstrom intonates the same way, same strings and an even shorter scale. The Staytrem is the other bridge I've been looking at, both have their high points.

Cagey: Machined stainless is a definite plus! If I do go that way I'll be looking for a lot of insight into which way to go with the rout, inserts and thimbles. As for the "cheeseball vibrato mechanism", I was thinking of maybe talking to Doug about making a hard tail conversion plate with some kind of engraving.

Glimmer: Yeah, I've following your progress and process. What I meant was your impressions of the system as time goes bye. I'd be interested in hearing how it meets with your expectations in a month or two. Thanks for the info on the recommended set up, too.

 

[Cagey]

Cagey: Machined stainless is a definite plus! If I do go that way I'll be looking for a lot of insight into which way to go with the rout, inserts and thimbles. As for the "cheeseball vibrato mechanism", I was thinking of maybe talking to Doug about making a hard tail conversion plate with some kind of engraving. 

Warmoth's rout has worked for my customers for the Mastery bridge a couple/few times now, so I wouldn't worry too much about that. They use CNC machines for that sort of drilling/routing, and they're pretty accurate and repeatable. But, as I alluded to before, I wouldn't try to do it myself. Those things are close tolerance. Way too easy to screw up. It's one of their finer points.

I'm sure Doug could make you a great tailpiece if you don't need the junk vibrato. He's done a lotta work for me, and the results are always exemplary.

 

[ChristopherG]

^^What he said. Everybody who has seen my Sarah has asked, "Dude, who made that bridge!?"

 

[TVs Ross]

TVs Ross:I am slightly concerned about intonation on the three treble strings. The intonation on my Strat needed the B string to be slightly longer than the E. Can't do that with a Mastery. Could be a consequence of the Hybrid gauge strings on a short scale neck, my Hagstrom intonates the same way, same strings and an even shorter scale. The Staytrem is the other bridge I've been looking at, both have their high points.

For whatever reason I've never run into that, but the Staytrem is equally well made, so you can't go wrong with either! I found my old one used for a steal. It's good that there are multiple options for upgraded JM style bridges!  I use wound 3rd strings, so the 1st string is longer than the 2nd, which is longer than the 3rd and it works out fine.


Also regarding the hard tail conversions, I made my stock tailpiece into one with some extra washers, nuts, and tightening up the spring and haven't had any issues. I was trying to keep it as stock looking as possible, though.

 

[Glimmer]

Glimmer: Yeah, I've following your progress and process. What I meant was your impressions of the system as time goes bye. I'd be interested in hearing how it meets with your expectations in a month or two. Thanks for the info on the recommended set up, too.

Got it. I will report back and let you know how it goes.

FWIW, here are links to the post / page I found discuss bridge and saddle height:

http://www.offsetguitars.com/forums/viewtopic.php?f=7&t=61296#p885567

http://www.webrocker.de/jaguar/2012/02/17/exploring-the-mastery-bridge/

The second link’s worth reading in its entirety, but the note in question is in the section titled "Update 3 – March 11th, 2012, The Refinement.”

Also FWIW, I appear to be in the minority that actually likes the JM vibrato. :icon_tongue:

 

[Logrinn]

Yep. One of us. Unique, like everybody else. Wait...[/center]

[youtube]QereR0CViMY[/youtube]

:icon_biggrin: :icon_biggrin: :icon_biggrin:

 

[Verne Bunsen]

Well done, that's one fine Jazzmaster!

but when I take the guitar out of the case I always have to retune as all strings are always a bit sharp. Not entirely sure why. Could it be that the strings don't have sufficient pull from a (relatively) slack position? To be explored...

I've typically found this to be due to one of two things:

1) Excessive string wraps on the tuning machines - when the vibrato is lowered and string tension reduced, the wraps loosen a bit and then do not settle back in exactly as they were. Especially on the wound strings as the windings can hang up on each other.

2) Nut binding - This is not a medieval body shaping practice, but rather a function of a nut that is not quite perfect. When the tremolo is lowered the strings slide through the nut toward the tuning machines, and the potential exists that they hang up a bit on the way back leading to a bit more tension on the fretboard side of the nut. Again, most pronounced on the wound strings.

Since you've got locking tuners on there, #1 is pretty well eliminated. For #2, assuming the nut is properly cut for your string gauge I recommend a good lube. I like Big Bends Nut Sauce, but there are others and even chapstick and pencil lead shavings can help you out there.

 

[Cagey]

I've seen on more than one occasion where players didn't use locking tuners properly. Load the string and lock it, but still leave as much slack as you would for an ancient, obsolete, kukka tuner. Wind it up three or four turns around the peg, and wonder what all the fuss is about using lockers.

Wasn't too long ago I sold a Strat to a guy who'd never seen lockers before, or even heard of them. Surprised the hell out of me. Had to show him how they worked. Hard to believe in this day and age. But, it just goes to show that you can't discount old-fashioned problems out of hand.

All that said, I'd wager you're right. Too many string wraps on the pegs or a sticky nut. Actually, I'm surprised. I'd expect it to come up flat, due to that fever dream vibrato tailpiece. I don't know what Leo was high on when he designed that thing, but I'll bet he was giggling the whole time.

 

[Glimmer]

I've typically found this to be due to one of two things:

1) Excessive string wraps on the tuning machines - when the vibrato is lowered and string tension reduced, the wraps loosen a bit and then do not settle back in exactly as they were. Especially on the wound strings as the windings can hang up on each other.

2) Nut binding - This is not a medieval body shaping practice, but rather a function of a nut that is not quite perfect. When the tremolo is lowered the strings slide through the nut toward the tuning machines, and the potential exists that they hang up a bit on the way back leading to a bit more tension on the fretboard side of the nut. Again, most pronounced on the wound strings.

Since you've got locking tuners on there, #1 is pretty well eliminated. For #2, assuming the nut is properly cut for your string gauge I recommend a good lube. I like Big Bends Nut Sauce, but there are others and even chapstick and pencil lead shavings can help you out there.

Interesting, Verne. The 6th string tends to be sharpest out of the case, which confirms your idea. I'll keep an eye on it and get some lube in the meanwhile.

Wasn't too long ago I sold a Strat to a guy who'd never seen lockers before, or even heard of them. Surprised the hell out of me. Had to show him how they worked. Hard to believe in this day and age. But, it just goes to show that you can't discount old-fashioned problems out of hand.

Ahem, that would be me. :laughing7: In my defense, my two electric guitars date from the early ’60s and electric bass from the early ’80s. Haven't really played electric anything since the late ’90s. I've been acoustic pretty much exclusively for the last 10+ years. So when I change strings on this thing, it'll be the first time I use a locking tuner to do so. :blush!:

All that said, I'd wager you're right. Too many string wraps on the pegs or a sticky nut. Actually, I'm surprised. I'd expect it to come up flat, due to that fever dream vibrato tailpiece...

Yeah, logically, I would assume the same. Maybe Verne can explain.

And BTW Verne: what's up with your JM project?

 

[BigSteve22]

Glimmer:
Thanks for the links, very informative reading. I look forward to your future posts.

Cagey:
I checked Warmouth's site, and I don't see a dedicated "Mastery" rout, are you referring to the standard JM set up? As far as Doug's work goes, I agree 100%, I am absolutely delighted with the neck plate he did for my Strat.

TVs Ross:
+1 on the wound G string. I use Ernie Ball Hybrids, and replace the 16p with an 18w. (Preference probably comes from all my years playing acoustic.) I'm thinking that the intonation problem has more to do with scale length. I've only come across this intonation anomaly on short scale guitars with very light strings. At .011", my B is smaller than some players use for a high E. My Strat has a 24.75" conversion scale neck, and the difference in string length between the B & E strings is VERY slight, with the B being the shorter. I just rechecked my '64 Hagstrom, with a scale length of appx 24.5625", and the difference in string length is much more pronounced. With a standard 21 fret, 25.5" scale JM neck, I'm thinking the problem would probably disappear entirely. So my choice of a bridge may depend on which scale I finally decide on.

Again thanks to all for the information and insight.

 

[Glimmer]

...I'm thinking that the intonation problem has more to do with scale length. I've only come across this intonation anomaly on short scale guitars with very light strings...

IIRC, tuning / intonation can be a problem with short scale guitars, esp. when strung with light gauge strings. Isn't the recipe: short scale + heavier (12s, 13s) gauge strings?

One last thing re the Mastery bridge: if you decide to go with it, send Warmoth the thimbles and have them install them, unless you have a drill press and can do so yourself that is. Had I known I definitely would have. It's one of the 2–3 things I would do differently next time.

 

[TVs Ross]

That makes sense, I always had issues with my Gibbo scale guitars (so I don't really miss them, especially since I tune pretty low usually), but all of mine now are 25.5" or above.