No matter how many instruments I own or play, there's always a need and a feel for a Strat. The sound is unmistakable. The feel is just right. The overall experience playing a nice Stratocaster is really an eye, feel, sound thing (and sometimes, a smell thing).
Strats have changed over the years, from the simpleness of the 50s to the big-hair rock of the eighties to the current array of models. We have so many from which to choose... Made in Mexico, made in Japan, and made in the United States of America. Maple, SSS, HSS, HH, rosewood, alder, ash, mahogany, big frets, skinny frets, vintage headstock, "Jimi" headstock (would that be a Woodheadstock?), gypsy bridge, AlNiCo, ceramic, samarium cobalt, noiseless, noisy, Greasebucket, S1, roadworn... There are so many different Strats and so many different things about those Strats.
I was looking for a USA Stratocaster. I didn't quite have the change available for an American Standard or an American Deluxe - so I looked at and fell in love with the Highway One. I've had Highway One Fenders before, and have always been pleased.
This particular Stratocaster is a complete joy and has absolutely no disappointments. The sound is unmistakable, remarkable, and pure Strat. It plays and looks like a dream.
Quick Opinion: The 2007 and later Highway One Strats are great (previous ones were fine, but for this conversation...). They play well, are affordable, and they sound just like I wanted to hear. They really are well made, and are very comfortable to play for one recording or a whole set of gigs. If you'd like a nice big-fret USA-made Stratocaster, you owe it to yourself to try one of these.
Features: Where do I start? They're genius simple and complex-wonderful all at the same time. They sound and play in a rich experience that leaves the player (and the listener) grinning.
My particular Highway One is, if I am correct, a short-run guitar. I purchased this one when all that was available was rosewood-fretboard Highway Ones. Now, Fender makes a version of these as a standard offering. I'm really glad they did. I like the old HSS Highway Ones just fine, but this was my alternative to an SSS American Standard - and I LOVE maple fretboards on Fenders. (To be honest, I'm reviewing a Gibson SG Raw Power with a maple body, neck, and fretboard - and I love it there too... stay tuned.)
A short list of what the Highway One has:
Excellent post-vintage AlNiCo III magnet pickups with staggered poles and excellent output balance - not too hot, not too thin
A thin-skinned nitrocellulose finish - the more you play it, the smoother and shinier it gets, the more it feels and looks like an old friend...
An excellent mid-size maple neck and fretboard with that 70s "Jimi" headstock and lettering
A comfortable lightweight body
The excellent USA vintage-style tremolo
The always cool Fender Greasebucket tone circuit
Standard tuners and buttons
Decent mass to the trem block
Great-feeling jumbo-style frets
Quality: This particular Highway 1 is an extremely well-made instrument. The craftsmanship is careful and is an extremely good example of what American guitar builders can do.
The fit and finish are flawless. The pickups are wound wonderfully well. The feel, finish, and wood chosen for the neck are just right for the satin variety necks.
Screw holes are lined up right, the action was just perfect for .009 Fender Bullets right out of the box. Easy and buttery to play, without any issues or not-normal buzzes. The frets are level and are nicely polished from the factory (see my wants and desires section of this review...)
I was extremely impressed with the consistency of the matte nitro finish. Nitro is not easy to apply in any stretch of the imagination - and matte finishes show every little flaw or inconsistency. This Strat was loved by the person who made it. Period. The lacquer finish feel is great and is a pleasure to have against your skin. I do like gloss finishes as a personal preference. However, the finish on these doesn't grab when you get sweaty...
I also felt the new Fender gig bag is a major improvement. Highway Ones come with the new super-thick, super-strong-fabric gig bag. Very nice. As gig bags go, these are definitely among the very best.
Playability: Here's where I start getting warm fuzzies about the Highway One I have: the physical experience of playing the guitar is fantastic. Everything about it from the way the trem works to the feel of the frets to the balance of the body and neck is just a pleasure. That's the operative term for these: a pleasure. Not every Strat is a pleasure to play, even when they're correctly and professionally set up.
The balance on my shoulder (with a nice 2.5" faux-suede, thick black strap)is superb. I don't know if this is something factual, but here's something nicely subjective: the big headstock makes the balance unique. I felt that the way this guitar is assembled and planned and sourced is ideal for someone looking for their guitar to feel almost transparent to their playing.
Simply put, it becomes an extension of my mind and heart - without getting in the way and demanding my attention. I've made some nice progressive rock instrumentals with this instrument, and I couldn't be more happy with the way the guitar felt standing or sitting.
Action is subjective, and is really a personal thing. My son Kennon (of theN.C. band Out of State) likes his strings low but off the frets a good bit - he likes to dig under the string a little when he bends. Me? I like it low enough that the strings buzz a little when they're struck or plucked with vigor. This Strat has been set both ways, and in both instances, it STILL played like buttery joy. Smooth, effortless, and just awesome. This thing plays .010s just fine, but it really feels effortless with .009s. (Incidentally, I tried this guitar with Carlos Santana Big Core 10.5 pure , nickel strings and was very happy with the result.)
Sound: OK... this is a place where you'll either think I'm a genius or a charlatan - Strat players are funny about their sound. Malmsteen, Beck, Hendrix, Clapton, Guy (and the list goes on in a BIG way)... all these folks get (or got) different sounds out of their Strats, and contemporary amateur and pro Strat players are no different. That's my disclaimer... and I'm stickin' with it.
I REALLY like the Jimmie Vaughan, SRV, and Tex-Mex based Roadworn Strat sounds. They make me giddy with distortion, clean, blues, chorus, wah, phaser, crunchy, reverby, vibe-y, and more. BUT these AlNiCo III USA pickups are a great way to have vintage sounds without the truly vintage thin-ness.
Bell tones. Bell tones. Bell tones. Bell tones. (Did I tell you Bell Tones?) The 2 and 4 position sounds on this guitar are just fantastic.
The neck position sound is a little too bright for me. I really wanted something warmer out of this guitar. Even with unique wiring, this guitar didn't quite give me the smooth rich neck pickup experience I was expecting.
The bridge sounds great in overdrive, as does the middle (3rd position). I use an http://www.buyanalogman.com (opens new window) SD1 Silver when playing some of my more adventurous Strat stuff - and the two are MADE FOR EACH OTHER. Wow. Just, WOW.
Value: These days, guitars have gone up in price to reflect the US Dollar, and the cost of everything... but when you look at the Highway One's street price compared to the US Standard street price and the MIM Strat street price, this guitar is really priced just right. It's not a bargain. But at the same time, I don't see it as overpriced, either. The Highway One Stratocaster is an extreme bargain when compared to MIJ Strats.
You get A LOT of guitar for your money. The craftsmanship, features, and ocmponents are well worth every cent these cost. Both in the new market and the used/secondary market they are worth the money.
They hold their value more than the MIM Strats, and in some selling environments, better than the depreciation of the USA Standard Stratocasters.
When times get better, I will buy another to replace this one once it is sold.
Wishes: I'm not really too hung up about anything on this particular Strat. But I do have some wishes:
Do a better job with the fret-ends.
Really, the rest of the craftsmanship is worthy of rolled-edge fretboards. The lack of rolled edges feels strange on a guitar this nice.
Tuners: they need to hold tune better. They're nice and they're smooth, but could do a better job on this particular instrument. The vintage string-in-post tuners on the Jimmie Vaughan and Roadworn Strats hold much better.
I'm going to deviate a bit from my standard review format for this particular write-up. The Jimmie Vaughan Fender Strat is an extraordinary instrument, and has been an extraordinarily good influence on me and my music. I have used my Jimmie Vaughan on three albums now (soon to be a fourth). It is indispensable and an absolute joy to play. Imagine an instrument with an old warm soul – warm and complete – even though it is only a couple of years old. That old soul is harnessed in the Jimmie Vaughn signature Fender Strat.
What follows is my (humble) opinion about this fine instrument – based on real-time experience and hundreds of hours of play. I've made sounds from six different genres with my JV Strat...
Playability: When one picks up a JV Strat, something sparkles in one's imagination and in one's consciousness. It is light-weight, extremely well-balanced, and has a great mixture of features and parts. I want to be very clear that I am not gushing praise on this instrument due to a relationship with a vendor, manufacturer, or for any other reason – I've played this instrument a great deal, and I look forward to each opportunity to play my JV Strat.
The neck is still one of the best features of the instrument. It is a nicely-graduated V profile, with great wood, a great carve, and great finishing. The neck has a nice tint, and its finish is a wonderful balance between satin and gloss. When my hands sweat from playing in a hot room, the finish on the neck does not feel grabby or overly slippery. I wish all my Strats had this same neck and neck finish. The fretboard width at the nut and at the saddles is just right – I can finger-pick, hybrid pick, chicken-pick, strum, and more – all in complete comfort for both my hands.
The body contour, weight, and balance is about as comfortable and playable as any guitar I've ever had the pleasure to play. Even the consistent, smooth, and beautiful finish of the paint on the body makes the guitar more playable - it's like holding a brand new guitar, even after a couple of years of wear.
Features: One of the strengths of the JV Strat is its diversity of features. It has a great, upscale neck. It has awesome wiring. It has great-sounding pickups. It has wonderful vintage-style tuners (with old-style string-in-post machine heads).
All these features, plus a vintage-looking pick guard and an awesome vintage-style tremolo/whammy make for a Stratocaster package you'll enjoy for years to come. Other than some funky knobs, I've left my JV Strat completely stock – and it will stay that way: it's just right, just like it is.
Sound: Playability and sound are the JV Strat's strongest suits. By far, the wiring and Tex-Mex special pickups in the JV Strat sound distinctive, strong and vintage at the same time, with dynamic sound diversity to spare.
The JV Strat can play along with country, rock (any), jazzy warm music, smooth music, and even hard rock music. A flip of the pickup selector and a change of gain/eq cause the JV Strat to seem like tons of different guitars. The Jimmie Vaughan Stratocaster is versatile enough to even please my son (he prefers hard-rockin' nads-to-the-wall double-humbuckin' guitars). I asked him one day which Fender he'd like to get his hands on (if I were to ever let any of them out of my cold, stiff hands ;-)). Without hesitation, he said, "I have always wanted to keep Jimmie.” 'Nuff said!
Value: The Jimmie Vaughan signature Fender Stratocaster is not the least-expensive Strat in Fender's stable. It is, however, very high in value as compared to other non-USA Stratocasters. With a JV Strat, you get good build quality, great electronics, a superior neck, and good finish in one nice package. I still think it is very much worth its street price. Looking back over the past couple of years, I would definitely say that I would buy it all over again, only to find joy in guitar playing again.
Wishes: I have come to love the simple, vintage-look pick guard. I have no wishes to change this guitar. I wouldn't change a thing – except that I wish I had a second Jimmie Vaughan Strat to play – I don't want these to go off the market before I get my hands on another. It means too much to me to be without it.
Fender Standard HSS Stratocaster (“Fat Strat") Review
Electric guitar: Effervescent, visceral, emotional, and motivating…
Whether or not you start out as a Fender fan, the HSS Stratocaster is an extremely flexible instrument that is sonically diverse and very playable!
I was looking for an instrument that was comfortable and had a sonic range of sounds, was comfortable and affordable, and would compliment my Epiphones, Parker, and Fenders.
I love the feel of a Stratocaster – the light weight, the wonderful ribcage cutaway, the warm rounded shoulder for the picking arm, and a simple, clean neck design.
The Fender Standard HSS Strat is all the things a Stratocaster is - but adds the crunchy, punchy sound (to the bell-tone Strat sounds of the neck and mid pickups) with its bridge humbucker.
At first, I wasn't really interested in the idea of a humbucker-enabled Stratocaster – Strats have always been “three singles" to me. However, after I played them many times over, I discovered just how sweet they are and how versatile they are.
Quick Opinion: The Standard HSS Strat is a dream to play. It has sounds that crunch like a Gibson and sounds that sing like an old Stratocaster. The 2006 (and later) Standard Strats (including the HSS) are deeply improved over previous years, and it shows. The new tremolo block, pickups, frets, and finishes are outstanding.
Playability: The HSS Standard Stratocaster plays with great ease. It has wonderful string-bending capability, has a body shape that lets you forget that your pick arm is on a guitar body, and has a neck that is medium-broad for pretty good finger-picking capability. (In fact, if you're a finger-picking or hybrid-picking player, the Fender Strat neck and fretboard are among the most comfortable and easy-to-play on the market.)
As with most any Strat, the pickup selector switch is easy to use and is well within the pick hand's reach. Since the tonal variety of an HSS Strat is often more interesting and varied than a Standard three-single pickup Stratocaster, you may find yourself hitting the 5-way pickup selector switch quite often – varying your sound has never been so easy.
The subtle, non-gloss neck finish is great for when your hands are damp with sweat – your hands can still slide around the neck pretty well, but you can also get a good grip for those hard-to-finger chord shapes.
Features: The Fender Standard Fat Strat has all the features you'd expect from Fender's latest Stratocaster offerings. It has the famous Fender 5-way pickup switch, skunk-striped hard maple neck, a fantastic light-weight body, and extremely well-made electronics.
The pickguard is three-ply on most models (for example, White-Black-White). The back cavity cover is pretty standard for this type of Strat, generally a one-ply white cover. All the plastic parts are color-matched to the pickguard.
Sound: Sound, sound, sound. That's the main reason for buying an HSS Fat Strat over a three-single Strat.
With the neck and mid single-coil pickups, you get the strong, bell-like tones you'd expect from a Stratocaster. In this respect, especially with the 2006 and later Strats, the HSS will not disappoint. These newer pickups seem stronger and clearer – and have somewhat less noise when playing through a strong tube amp.
With the Fender humbucker on the bridge, a whole new set of sounds come out of your Strat. This humbucker is actually pretty hot in output, and is really crunchy. It does blues, country, and hard rock very well (but can be dialed back for super-smooth sounds of jazz, contemporary gospel).
The pickup switch configuration is as follows:
Position 1: (switch all the way towards the bridge) is full humbucker, no tone control in the sound. This is crunchy, can be dialed up loud, and is super-clean (good midranges, too).
Position 2: You get the front coil (split) of the bridge humbucker and the middle pickup in combination – the lead (closest to the input jack) tone control effects this combination. This position is very bright, and is louder than the standard Stratocaster bell-tone. This position is good for cut-through-the-band lead tones, but without all the crunch of the humbucker.
Position 3: This position opens up the middle pickup only, with the lead tone control affecting the sound. This sound is the traditional Stratocaster mid pickup sound – somewhat warmer than the bridge, but not as mellow as the neck.
Position 4: This position sets up the middle and neck single-coil pickups together, with the lead and rhythm (middle) tone controls shaping the sound. Warm, but still lots of belltone.
Position 5: This is for the neck pickup only, and uses the rhythm tone control for sound shaping. This pickup position is the warmest of the single-coil sounds. By far, this pickup selection is the mellowest.
Value:This is an extremely high-value Stratocaster. It is worth more than its street price, probably in the $425 to $450 range in actual value. You get lots of really nice options (humbucker, coil-split combination) to add to the versatility of your favorite Strat sound and feel.
Folks with a one-guitar budget who need/want to play lots of different styles of music should seriously consider this instrument as a front-runner for purchase consideration.
On my HSS Strat, the fret ends are cleanly set, the height of the frets is very good, and the intonation was pretty close (as set up by the factory). It didn't take very long for me to set the Strat's intonation to a very serviceable and easy-to-play tuning setup. The body finish is just right, no flaws. The neck is straight and is well-set. The standard Super 250 Fender Bullet Strings are wonderful.
Wishes: There isn't a lot to wish for with these Strats. I do wish it was offered with a V-shaped neck as an option, perhaps also with a tinted and V-shaped neck as an additional option – similar to the treatment on the 2006-> "50's Strat" issues coming from the MIM factories. I think all Strats should be offered with optional locking tuners (for those who don't know how to replace their own tuners).
There are many good and extremely good manufacturers of bass guitars in the world today. We have the luxury to access a huge variety of basses in all price ranges, lots of different styles and sounds, and a mind-boggling set of choices to make when shopping for a bass guitar.
When I set out to purchase a definitive bass for the majority of my bass playing (and recording), I wanted to have a great sound, a sound that fits many styles of music, and in a guitar that doesn’t require a second mortgage to own. I took several months to play lots of different basses from different manufacturers, and in lots of different price ranges. Although a musician like me wants to have lots of tonal/playing options for his guitars, I need a solid cornerstone instrument for my bass sounds: The Fender American Jazz fits the bill in a huge way. Our Fender American Jazz (“Count Bassy”), will be a member of the family – and a treasured heirloom for many years to come.
Quick Opinion: The Fender American Jazz bass is well-rounded, sonically rich, ultimately playable, and a joy in terms of playing comfort. If you need a long-term bass guitar – one that can fit almost any musical style – The American Jazz is just the prescription the doctor ordered.
Playability: I played about a dozen bass manufacturer brands before settling on an American Jazz. After long days of playing many basses, the American Jazz felt at once comfortable and effortlessly playable. The particular Jazz I purchased felt like playing an old favorite guitar of many years (just shiny, clean, and new).
The neck is the signature for a Jazz bass – a great taper, an effortless profile, and a satin finish that always feels effortless (even when your hands get hot and sweaty). The neck and body profile make for easy access to the entire fretboard range. As a bass player who loves to use the entire fretboard, the Jazz feels right at home. It is obvious that the person who finished my particular Jazz neck paid attention to even the tiniest of details. (However, see my note at the end concerning the fret wire ends.)
The balance of the body and neck is outstanding for a full-scale (34”) bass. Even though my American Jazz is a tiny bit biased weight to the neck, it never becomes an issue for playing long hours in my home studio. The comfortable body contours for your ribcage and pick/thump/pluck hand arm make the guitar fit to the player like a glove.
Playing our Fender American Jazz bass is a comfortable and enjoyable experience. It’s easy to look forward to recording and playing sessions when one has one of these basses to play.
Features: Another place the American Jazz Bass shines is in its feature set. The vast majority of passive basses in this price range give you tone, volume, and some nice cosmetics. The Fender gives you nice cosmetics, and gives you the wonderful S1 switch. The S1 switch gives you additional sound choices, and can add lots of real-world punch to your sound to cut through even a big, loud band.
My only concern with most passive basses is that it is very difficult to get lots of bass frequency (without sending your equipment/recording gear way into the clip-red-range). The balance between signal volume and punch is a difficult thing to achieve, especially for recording. The S1 switch and the wonderful advanced-magnet pickups in the American Jazz make the search for sound MUCH easier to play, hear, and EQ.
The pickguard is a classy three-layer guard. The neck is a fabulous piece of maple (I chose the maple fretboard for its playability, sound, and looks). The tuners are accurate, easy to use, and simple to maintain. The included Fender hardshell case is wonderful for protecting your Jazz baby.
Sound: I could write a short novel about the sound of the Fender American Jazz bass. (Hey Fender, do you want me to write one?) There are lots of styles of music in the world, and there are lots of wonderful-sounding basses out there from a variety of manufacturers (even several different sounds from Fender). By far, the sound of the American Jazz bass fits more styles and sound qualities than any other bass I’ve had the pleasure of playing (followed closely by the Jazz’s cousin the Fender American Precision bass).
The sound is warm when you need it, it's very vibrant and broad when you tweak it, and there’s not much out there that can growl, sizzle, spank, bite, or punch better than the American Jazz. The Jazz is loud (for a passive bass) without being intrusive, but can take a lead tone in an R&B or rock tune very easily.
The sound of my American Jazz has inspired me to compose and record duets for bass, and has led me to intuitively play melody and counter-melody with the bass.
Value: The Fender American Jazz bass is well worth its cost, if not even a little more. The combination of quality, playability, and signature sound make the purchase of a Fender American Jazz a purchase you will long enjoy.
Wishes: My particular American Jazz plays like a dream – however, the ends of the frets have not been nicely dressed. I’m accustomed to American Fenders having all the little details done without compromise. If you run your hand down the edge of the fretboard against the edge of the fret wires, you can feel sharp, jagged edges. I used some fret polish paper to take a little of the bite off the edges of the wires – but they’re still not as clean as my American Telecaster.
Every guitar player should try playing bass. It's a blast, and can really teach you something about fret stretches, silencing adjacent strings, and serious hand-strengthening. In another note, every bass player has to have a place to start. Sometimes getting a low-cost bass doesn’t mean having to get a cheap bass!
Playability: The neck is solid, and is nicely tapered. It is physically similar to Fenders costing much more… The maple neck and rosewood fretboard feel excellent and are easy to play. The bass is comparatively light and is fairly well balanced. The excellent Fender-designed double-cutaway body allows easy, full access to the entire fretboard. As a long-scale (34”) bass, the Squier Jazz Bass is extremely playable and is a joy to use. The bolt-on maple neck/rosewood fretboard comes surprisingly well finished. Only two or three of our guitar’s fret ends were a little sharp. The fret height is very consistent throughout the neck.
For folks with small hands or less-than-average arm lengths, a full-scale bass like this might be a little tough to play (especially during quick, challenging passes). If you’re not comfortable with a long, 34” guitar, I recommend trying out the Squier Bronco bass, or, if your budget can accommodate, a Fender Mustang bass. Features The appointments and features of the Squier Jazz Bass are excellent for this guitar’s price. The pickguard is a well-made three-ply plastic guard (white-black-white on our Red Metallic bass). The pickups are two “vintage-style” pickups (bridge and mid). The guitar features two larger volume knobs and one smaller tone knob. The two volume knobs allow you to choose the tonal variety by selecting the volume for a specific pickup. The tone applies to the entire sound output (the Squier Jazz Bass guitars are passive, in that they have no equalization or boost electronics on board). As with all Jazz Bass guitars, the neck is bolt-on. In the case of the Squier Jazz Bass, the neck truss rods are adjustable via an allen wrench in the headstock (no need to unbolt the neck and unscrew the pickguard). The chrome tuners are the enclosed variety, and are fairly accurate. The Squier Jazz uses a round string tree in the headstock for the two highest strings.
The Squier Jazz Bass has top-loaded strings (means that the strings are not fed through the body, but are fed through the end of the chrome bridge).
Sound: The Squier Jazz Bass guitar has a consistent, (sort of) vintage sound. The pickups are pretty noisy, and the output isn’t very strong. The quality of the sound that does come out is all Fender, though. With the right amplification and EQ-tweaking, you can get the Squier to growl, rumble, and thumb-slap-“splank” without too much trouble. If I was to make this guitar my full-time bass – I might take the time to upgrade the pickups to Fender SCNs, or some type of high-output noiseless.
Value: This is a $299 guitar in value (not 'retail', 'street'). The sound, quality of make, and appointments are very good. Many other low-end guitars have badly twisted/warped necks, poor sound, and extremely cheap parts – the Squier Jazz Bass is very much a cut above the average low-end bass (no pun intended!). You would have to buy a much more expensive Fender bass to get better sound. If you took the labels off the Squier, you would have trouble telling it from its more expensive brethren (or sistren, if you wish). Wishes: I really wish these were offered with maple fretboards (a matter of personal preference, yes, but still something that would be good to offer). It would be nice if the pickups had more output.
This week, I am dipping into my Peck O’ Picks to review three of my most used flat-pick plectrums. In this case, the picks are Fender™ 351-shape that fall into the “thin” or “light” category.
Picks (for those that use them) are probably the least expensive and least considered, but most important parts of guitar playing. Certain types and shapes of picks are best suited to playing a given type of guitar or even a given type of playing style. The thins covered in this review are generally used for soft strumming (particularly with acoustics), and for certain types of fast picking.
However, one of the least-considered and least-understood parts of picks is their affect on clarity and brightness of attack. Most folks seem to focus on comfort (important, yes) and whether or not the pick lasts through hours of playing (also important, yes). In this review, I’ll consider these factors, but will focus more on how picks make attacks sound.
Of the zillions of styles, picks and materials I have for picks, I go through the thins the most. Part of the reason is that thins/lights cause a very clean, precise (if not bright) attack on a given note. If the pick is held with only a little tip exposed to the string, the guitar’s sound becomes very clear and concise. If the pick is held far back away from the tip, the sound is a little softer, but gives an interesting “clicking” sound when recording a mic-ed acoustic. It is the brightness of attack that brings me to use a thin or light pick in certain of my tunes. At times, when I’m recording one of my acoustics (particularly when I double-mic from the front of the guitar) I like to use thins to give a nice “live” effect when I’m doing strummed chords.
The main disadvantage of most thin picks is that they shred, crack, tear, or outright break fairly often. Most (not all) common pick materials (celluloid and clear plastic included) will tear or break, particularly with fast or hard playing. My son cannot use a celluloid or clear plastic thin pick when he’s shredding – he’ll tear the pick within about an hour of playing something loud and hard. However, there are thin picks made of materials that will last significantly longer. In particular, the Delrin™ Fender picks (and other brands, too, like the Dunlop™ Tortex™ and Ultex™ picks – covering those in another review sometime) last a very long time and are very hard to tear or break.
In short, if you want a bright note attack, use a thin or light pick. If you need durability, use one of the other materials, such as Delrin. Note that the Delrin picks have a slightly more warm-bright attack than do celluloid or clear plastic picks.
The Fender Celluloid Thin (medium pictured here): These picks come in neat "moto" colors and even some faux shell/pearl/abalone colorings. They’re generally low-cost, and can be purchased at almost any music store/catalog (an advantage). The lifetime of the celluloid picks is medium, and the attack sound is medium-bright. I like these picks for strumming 12-string guitars and my warmer-sounding guitars (Sycamore and Cedar). These particular picks are a very old standard, and are reliable enough to play through a jam set (most of the time) or a few weeks of light casual playing. I have only broken a few of these picks in the past couple of years – remembering that I have hundreds of picks and rotate through them frequently based on sound, style, and mood.
The Fender California Clear™ Light clear plastic pick (medium pictured here): These picks have a delightful, bell-clear attack that is better than any other brand or type I’ve tried (when it comes to a bright attack). They come in lots of neat clear colors, and have a cool palm tree motif on the front. These picks are bright, but are extremely fragile. If you want brightness, and 1) have lots on hand or 2) are a very light picker, these are the picks for you. I regularly break (or more appropriately, tear) one of these picks in any given recording session or Jammin’ Rug jamming session. These picks receive awful reviews, mostly based on their short life spans. However, I always keep a dozen or so of them around specifically for their sound. I just assume that they are throw-away picks – they’re indispensable in my arsenal of sounds.
The Fender Delrin Light pick (medium pictured here): This pick generally comes in plain, bright colors, and has a delightful non-gloss, very grippy texture. When these picks are new, they are great for sweaty paws – they don’t slip around much. As they age, they shine up a bit, but don’t lose their edge. I have yet to break one of these, in any type of playing situation. My son has never broken one of these, either, even in two solid hours of hard rock playing and shredding. The Delrins have a bright attack, although not as clear as the Clears. These are more expensive (by a few cents) than the plastic and celluloid picks. They are also very hard to find in even mega-stores. I tend to buy these online by the dozen.
We'll dive back into the Peck O' Picks again soon to look at Nylons, and some other great brands of picks.
Some time back, I was in search for a low-action, fast-neck guitar that could both twang and growl. On top of the need for such a beast, I had a very small amount of cash with which to work. Since I was lucky enough to have a double-humbucking guitar at the time, I really just needed… a Telecaster™. Before I was seriously blessed by my brother’s gift of a Blonde American Deluxe Telecaster™ (thanks, Bro!!!), I needed the use of a Tele™ for more than a year.
Enter the Squier™ Affinity Telecaster!
I went to my usual haunts, the Guitar Center and Sam Ash (my wife wishes I hadn’t found those places :-) - but she’s so wonderfully tolerant!). I played 6 examples of Squier Affinity Telecasters. I tried several different individuals – all of which had been whacked around pretty good as floor models. I was blown away at how this particular variety of guitar felt and sounded. The key here is that the two largest concerns I have when purchasing guitars are: 1) The sound the guitar can make through average amplifiers (I’m on a budget – no $2500 Buddhas here); and 2) The way the guitar as a whole feels when I’m playing it.
I found one particular Squier Tele that I enjoyed a great deal, but it was not the color I wanted, and it had too many sales-floor-bang-ups. If I’m going to buy a bargain guitar, I really want the color I want and I don’t want one that has been whacked up by anyone but me or my son. I ended up settling on taking a chance with an online purchase from Musician’s Friend Free Shipping and lots of information about the Squier by Fender Affinity Telecaster here at GuitarCenter.com - I’m glad I did.
Quick Opinion: I generally like Fenders, but my budget was really tight this time around. Even the very modestly-priced $399 Mexican-made Fender Tele was way out of reach this time around.
That said, I was REALLY blown away by the quality, finish, playability and sound of this $169 Tele! If I closed my eyes and picked up the Fender and the Squier in succession, I would be hard pressed to tell the difference. The sound is better in the Fender, but not in terms of leaps and bounds. The neck and the pickups of the Fender are better (realistically), but the playability of the Squier is fantastic!
Playability: The neck is a delightful satin-finish flat-ish "c"-ish shape hard maple two-piecer.
The frets are finished surprisingly well, with only a few end-burrs, and no inconsistency in fretwire height or finish. The frets could have been polished a little nicer – but you can do that yourself pretty easily with the right polishing paper/cloth. The scale is just right – medium. There are no buzzy frets on the example I purchased. The string height is very low, but only exhibits a little buzz – the buzz does not carry out into the sound through the pickups (only acoustically). I decided to leave the string height as-is – and replaced the factory strings (.09 Supers) with Stainless 3350s. The neck is really quick and the strings play out like hot butter! The only drawback is that the neck is a little thin for me (others may find it to be great, but I like to get a grip on my guitar necks).
The weight and balance of the guitar as a whole is excellent. It’s not overly neck-light (as are some Squier instruments), and the feel of the instrument’s construction is solid. The instrument is not as light as an Ash Tele, but won’t cramp your style in hours of spankin’ the fretboard plank. The hardware was finished flawlessly, and the electronics are clean enough.
Sound: Despite the slightly buzzy (normal for $169 guitars) pickups, the output of the pickups is surprisingly strong. If you were to put some Tex Mex Custom shops or some GFS Alnico pups (I’m gonna get some fairly soon myself! They’re a bargain!) in this guitar, it would absolutely scream - for not a lot of bucks. I found that running this guitar through some interesting Line6 guitar models made this guitar really sing!
Value: This is a $249 guitar in value (not 'retail', 'street'). The sound, quality of make, and appointments are top-notch for a bargain electric guitar, excellent. To get a better instrument, you’d have to spend $399. This guitar is made in China, but you would have difficulty telling its origin from the excellent build quality. I have since seen the Butterscotch Blonde version of this Tele – looks great!
Features: This is an excellently-designed instrument. It has the bits needed for daily use and for recording alike. The finish on the body is even and consistent. The neck finish is without remark, and the tuners are remarkably good for this price range… Overall, Telecasters are simple and genius at the same time.
A Small Issue at Delivery: When I received my Squier Tele, the nut had been cut incorrectly at the factory. The slots were not spaced very well, and the overall height of the nut was much too low. The 1st and 2nd strings had a bind-buzz from pinching at the nut, and the strings were way too close to the first and second fretwires. I called Musician’s Friend that day, and (as is very much usual), their customer assistance was excellent – they shipped out a GraphTec replacement nut (an upgrade – I don’t have the tools to slot an OEM Fender nut) immediately at no charge. I replaced the nut on its arrival and have since become a big fan of GraphTec’s guitar nuts. The bending is easier and the intonation stays put longer when I’m using one of their nuts. The nut was a little bit wide for the Tele’s neck, but not enough to get sideways about it – I don’t have a problem with the fact that it is not flush left-to-right.
Wishes: I'm glad to have the GraphTec nut, but I wish I hadn't had to deal with the problem. A tinted neck would really look nice!
The Jimmie/Jimmy Vaughan Tex-Mex Fender Stratocaster Review
I've been looking for just the right Fender(tm) Stratocaster(tm). My heart wants a nice , Custom Shop American Strat(tm), my wallet wants a Squier(tm) Strat.
Let me begin by saying that the American-made Strats and Telecasters are superb, and that there is no substitute for a Custom Shop or high-end Strat/Tele if you're looking for a high-end instrument. With that said, I've been playing an extremely wide variety of Stratocasters for quite some time now. My big question has been, how can I get just the right playability, feel, price, and sound for less than $1000US??? This review answers lots of those questions for me, and I hope will help you, too.
My Previous Strat; I had the basic Squier Strat with the maple fretboard for quite a while. It was extremely well-made, very reliable, OK tuning, and OK intonation (it could not be adjusted to the point where the tempered tuning I use would stick...). The neck was a very soft "C" shape, and the body was the lightest Strat I've ever played (it was even neck-heavy when you played it with a relaxed strap position). I made several great pop tunes with that guitar. I sincerely think that the little black Squier strat is absolutely phenominal for a beginner, or for someone who wants a Strat to take to the beach on vacation (don't get beer or sand on your Custom Shop Strat!). The maple fretboard variety is a favorite of mine. I like the feel, the hardness of the wood, and I like the fine grain it offers for pitch-bending. I sold the Squier to a beginning guitarist, and she's havin' a blast with it (I think it's great when guitars live multiple lives! Do they have Karma??? If they do, that particular Strat should be great to go - it's been wonderful.)
OK... now to the part about my next Strat... enter Deus Ex Machina
I had been playing a nice Olympic White (maple fretboard) Jimmie Vaughan Stratocaster at my local guitar store – on and off for an entire year – it was like I was magnetized to it – it drew me every time I came into the store.
Quick Opinion: I've played the Jimmie Vaughan many times over the past several months - verdict: An Absolute Steal!!!!!! It plays like an un-tinted-maple-neck American Strat, handles and feels like any Standard American strat I've played, and has a great, growly, low-noise sound only found on guitars with Tex-Mex pickups.
The picture of the Oly white Strat above is similar to the Jimmy Bear Strat (although the real thing is acually a more pleasant off-white and less of a beige like the picture indicates). I liked it so much that I borrowed some cash and bought the floor-model example. It is the nicest and best-playing Fender I have ever owned.
Playability: The neck is a light "u" or "v" type of shape, is easy to grasp for large or small hands, and has the quick feel of sealed satin hard maple. Near the headstock, the back profile of the neck is a deeper “v”, and as you go towards the body, the neck softens to a “u.” The neck is a delight, similar to the un-tinted-neck $1200 Strat variety, and is not found on any currently-available non-US Strat that I have been able to find. The body is medium in weight - not too heavy, and not as light as some of the lightweight ash Strats. The JV Strat is much more comfortable than the '70s Strats I played as a kid. Tuning-wise, Fairly aggressive string bending did not pull it out of tune.
Sound: Rox your sox!!! Nice midrange, not too noisy, clean when clean, aggressive when played distorted, and sings the blues (especially through the Fender Hot Rod at the guitar shop) like an old pro! Far surpasses Standard and Highway 1 Strats in the sound department... The Jimmie Vaughan Strat is set up with .one volume knob and two tone knobs (neck to bridge if viewed from the player’s side of the guitar).
Features: Nearly every feature makes this a 'working musician's Strat'. The pickups: great; the vintage tuners: just fine; the neck: good for hours at a time;, the trem, bridge, and weight: just fine; the paint finish: flawless. The gig bag is a nice touch (although I have a Freedom hard shell case for this wonderful instrument). The Schaller-strap-lock-compatible strap buttons are a really nice feature. I’ve got a nice strap that is set up for Schallers, and I can use it on this Strat without installing new buttons. The neck plate is the four-screw variety and does not have micro-tilt.
More about the tuners: I removed the guitar-store-played Fender 250Ls (stock strings) and cleaned everything up for carnauba waxing and re-stringing. I bought some 3350L strings (Fender stainless-steel light .09-> bullets) and restrung the guitar. The tuners are the delightful vintage tuners, with the scooped-bean-shape and the old-style rear covers. The strings are mounted in the machine head stalk much like those on Fender basses – you place an end of the string down into a hole in the stalk, bend it down in the flat slot, and turn the machine key until the string winds along the stalk. These are fine tuners and are easy to get threaded for the start. I did not wind the entire string on the stalk, but cut a few inches from the end. The strings tended to run sharp as I “broke them in” with gentle pulling and string bending. After about five or six tunings and pulling, the tuning became rock-solid and the guitar has not detuned at all in a day or so.
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