Fender Jaguar Replacement Pickups

I wanted to archive this information. Taken from OffsetGuitars.com forum

Fender AVRI
Official reissue of a ’62-ish jaguar pickup. Good quality, faithful recreation of the vintage sound. Cloth covered hookup wire.
Fender Japan
Decent recreation of the vintage sound. Are known to produce a lot of unwanted feedback when distorted.
Semour Duncan SJAG-1 Vintage for Jaguar
Good quality, faithful recreation of the vintage sound. Uses Alnico V rod magnets. Cloth covered hookup wire.
Semour Duncan SJAG-2 Hot for Jaguar
Overwound SJAG-1, resulting in a lot more output and a bit more emphasis on the lows. Uses Alnico V rod magnets. PVC covered hookup wire.
Semour Duncan SJAG-3 Quarter Pounder for Jaguar
Overwound pickup using long, 1/4″ thick Alnico V rod magnets. High output and a lot more emphasis on the mids. PVC covered hookup wire.
Semour Duncan Antiquity I for Jaguar
High quality detailed replica of an early black bottom jaguar pickup. These pickups have been slightly demagnitized to accurately simulate the sound of an aged original. Alnico II magnets. Cloth covered hookup wire.
Semour Duncan Antiquity II for Jaguar
High quality detailed replica of a mid 60s grey bottom jaguar pickup. These pickups have been slightly demagnitized to accurately simulate the sound of an aged original. Alnico V magnets. Cloth covered hookup wire.
Curtis Novak Jaguar pickups
High quality custom made vintage replicas. Although based on an original ’64 pickup, since they are custom, you can have them wound to suit your specific requirements. Options include Alnico II / III / V magnets, and enamel / formvar wire.

Note: Seymour Duncan pickups are in some cases wound differently than stock pickups, so for instance a SD neck pup and Fender bridge pup might not provide hum cancelling in the middle position, and may have phase issues. Apparently this isn’t always the case, but it’s something to look out for.

Jazzmaster Replacement Pickups

I wanted to archive this information. Taken from OffsetGuitars.com forum

Fender AVRI
Official reissue of a ’62-ish jazzmaster pickup. Good quality, faithful recreation of the vintage sound, although some feel they are a bit on the bright side. Cloth covered hookup wire.
Fender Japan
Decent quality pickups. However, these have a taller narrower central bobbin so the wind is shaped more like a Stratocaster pickup than ‘true’ Jazzmaster pickups, and this gives them a more Strat-like character with lower output and a thinner, brighter sound.
Semour Duncan SJM-1 Vintage for Jazzmaster
Good quality, faithful recreation of the vintage sound. Not quite as bright as the AVRIs. Supposedly based on the sound of a ’58 pickup. Uses Alnico V rod magnets. Cloth covered hookup wire.
Semour Duncan SJM-2 Hot for Jazzmaster
Overwound SJM-1, resulting in a lot more output and a bit more emphasis on the lows. Uses Alnico V rod magnets. PVC covered hookup wire.
Semour Duncan SJM-3 Quarter Pounder for Jazzmaster
Overwound pickup using long, 1/4″ thick Alnico V rod magnets, and a narrower and taller coil than a standard jazzmaster pickup. High output and a lot more emphasis on the mids. PVC covered hookup wire.
Semour Duncan Antiquity I for Jazzmaster
High quality detailed replica of an early black bottom jazzmaster pickup. These pickups have been slightly demagnitized to accurately simulate the sound of an aged original. Fairly dark tone. Alnico II magnets. Cloth covered hookup wire.
Semour Duncan Antiquity II for Jazzmaster
High quality detailed replica of a mid 60s grey bottom jazzmaster pickup. These pickups have been slightly demagnitized to accurately simulate the sound of an aged original. Brighter tone than Antiquity I. Alnico V magnets.Cloth covered hookup wire.
Curtis Novak Jazzmaster pickups
High quality custom made vintage replicas. Although based on an original ’63 pickup, since they are custom, you can have them wound to suit your specific requirements. He aslo offers P-90, PAF, Charlie Christian and standard humbucker pickups that will fit inside a jazzmaster pickup cover, with no modification required.
Jason Lollar Jazzmaster pickups
High quality custom made vintage replicas. Can also be wound to suit your requirements.

Grease gun

When the function-fx fund raiser started I was broke as a joke but Brian included a etch-able layout of the GreaseGun so I decided to build it while I wait for some funds to donate. This is a great all around pedal and gets nice overdrive sounds to fuzz sounds with no issues. Seems pretty bulletproof. Just as I boxed this one up my pack from function-fx came in the mail. haha

I stuck with my simple labeling for this one and I fell in love with the color.

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From the swamps comes…

The Swamprat – Wampler Plexi-Drive

Madbean just threw together another unverified layout and I figured I would give it a go. Here is here I am at.

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Time to populate it.

Done and it sounds great. Really happy how this came out. The enclosure etch was really fun to do. I think I am going to do a few more of them.

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Enclosure Etching

I started etching enclosures some again and I feel like I am finally getting a handle on this. I will make a tutorial this week on how I am accomplishing it. Here is one I did last night.

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Time to populate it with the Madbean Swamprat layout.

Vocal Effects

I am working on a project to have a “all-in-one” vocal effects unit. This unit will be used to achieve a 60’s /Lofi sound I have been after. Here are the parts I am looking at.

Enclosure: 1590BB or 4S6500/1790NS if I have to
In/Out Jacks:Neutrik XLR Connectors 3P XLR/1/4″ MONO (568-NCJ5FI-S)
Circuits:

  • Input
  • EP Booster (Madbean Fatpants)
  • Tape Delay (1776Effects Multiplex Jr.) Maybe?
  • Reverb (Grind Customs Fx Tenebrion with a short brick)
  • Overdrive (MXR Distortion +) Maybe?
  • Output

Punch in… now!

My father wanted a punch In pedal for his Presonus DAW controller. With a little research and testing, we found it needed just a momentary normally open switch to a 1/4″ cable. This is a basic design that my father and I came up with.

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I did the enclosure in an etching of the fist and painted the enclosure in a satin black with a satin clear.

NPD: Xotic SP compressor

This came in the mail today by way of Amazon. It was a gift from my aunt in San Diego area. She bought one a month ago and she was really surprised by it. I am a huge fan of Xotic’s EP Booster and you can’t beat the size of it. I expressed interest in the SP since it had a blend knob and had tons of options VIA DIP switch. Long story cut kinda short, she bought one for me. Just got it today and deciding what settings to leave it on.

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GrindCustomsFX Tenebrion

Finally got this boxed up and I love how “big” it sounds. I am extremely happy with it. I built it to spec with the BOM and it really delivers a great sound. The tone control is very responsive and the feedback almost goes into a full oscillation, and that’s a good thing.

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Jacob’s post on Mojo

I am following a thread over at Madbean and Jacob (JMK) has some great comments.

I don’t ‘believe’ in mojo in the sense that some parts are better because they are older, rarer, extinct, or somehow have inherent ‘majick’ to them. However, I do believe in another sort of Mojo.

Have you ever held a guitar and it just blew you away, not because of it’s name, or it’s reputation, or even of it’s cost, but because it was a special instrument? It just screamed ‘play me,’ and you felt like you could be a better, more creative, more inspired musician if you owned/played through it? There’s the mojo I believe in. I believe that there are special elements to certain pieces of gear. Sometimes they’re historical, sometimes they’re personal, and sometime’s they’re just something you can’t define.

I like my mojo infused, axial caps and carbon comp companion fuzz. Why do I like it? I think it looks cool inside, and it looks cool outside. It sounds cool, and yes I ‘believe’ it sounds better than the cheapest parts used standard build NOT because they are ‘better or mojo’ parts, but because I want it to be a better pedal. Why do I believe that? Because I play better and like what that pedal does for me when I make MUSIC.

Sure, there’s BS marketing out there. But there’s a reason why Bonomassa plays his 59s, and there’s a reason we’re seeing a resurgence in old, mass produced, russian tall font Big Muffs, and there’s a reason why Mayer chooses a Dumble and a standard Fender to simultaneously play through. It isn’t the cost, or the ‘value,’ or the rarity – it’s the mystique, the special ‘je ne sai quoi’ that makes using them feel special.

I rest my case. Jon, you’re right, but you’re wrong. You’re right – mojo is ‘sometimes’ about old/rare/certain types of parts that sound better. But you’re wrong because that’s not what most people mean about mojo, and that’s real man.