ilovefuzz.com

getting back to the whole cycle of rop of the line becoming cheap, i like the little niche price range old univoxes float in.

more likely to see a pedal for more than $1,000 and aside from cosmetics, most ones for $300 or less are in perfect condition.

smile_man wrote:

OSG guy wrote:no no i didn't mean to sound snobby or so.

it's just that... oh man how do i put this...

i mean, "our generation", you had to "work up" to a jazzy, so to speak. this SO cool looking guitar was SO far away. we started out on cheap strats and stuff and then FINALLY we could get an offset. it was like "graduation" - i deserve it.

it's cool that the kids nowadays can get it from the start... but somehow they're spoonfed all these things, all too easily.

yes there'll still be the "someday i'll get a real/old one like this guy's...", they'll still have to work.
but there'll be SO many emo/crappola bands with jazzmasters now.

oh forget it.

spoonfed?

Wow, what's everyone's problem with what "OSG Guy" said? He's just saying that a learning curve can go hand in hand with attaining a better piece of gear.

If he gets to a level of guitar playing ability where he thinks he deserves an expensive guitar that serves his needs, and that he sees that vintage/reissue (or even CP) Jazzmasters are that kind of expensive guitar to "aim for" then what's the beef?

You guys are being just as bad as you think he's being, with your hipster schtick of saying you "do it for the music" because you're using a cheap/midprice guitar. I don't get it. Is it the fact that you think if you use cheaper instruments and stick with them you're somehow worthy of respect, or that it makes you a more talented or dedicated player?

He's not saying more expensive guitars equate automatically to being a great player, he's just saying if you were really dedicated you'd have something to aim for. He thinks a well crafted instrument is better than something more mass produced and that he wants to aim for that. That it's a reward for learning with regards to the craft that he has dedicated himself to. His reasoning is fine. He once saw JM's as a more prestigious line of guitars that has now been cheapened a little by mass production is all. Yes it's great that they are available, but he's just making an observation that some of you are scoffing it like...sorry to say this, but spoilt kids.

Rant over.

I understand the concept of a rant, sometimes things are said in a heated manner that aren't really meant as much when reflected upon.

But, the thing is, JMs used to be the cheap guitar that kids would buy because they couldn't afford strats, hence why all the people that made the Jazzy famous played them. Now it's inverse of that situation, and they offer a cheap version, and someone got mad, without having a perspective of history.

AND THEN, he cleared it up, and s were doled out. So, no bad blood anyhow. again,

Also,

Snufkino wrote:You guys are being just as bad as you think he's being, with your hipster schtick of saying you "do it for the music" because you're using a cheap/midprice guitar. I don't get it. Is it the fact that you think if you use cheaper instruments and stick with them you're somehow worthy of respect, or that it makes you a more talented or dedicated player?

yadda yadda...

Yes it's great that they are available, but he's just making an observation that some of you are scoffing it like...sorry to say this, but spoilt kids.

No, we're not "doing it for the music" because we're using a cheap/midprice guitar. That's insulting. We're using the guitars we want to use. Some people just enjoy a good deal. Pacafeliz with spent $500 on his JM, if I recall correctly, and that's not far off of this Squier (if anything, closer than any non-blacktop Fender model, and WAAAAAAY closer than any vintage model). I own two basses currently that I spent $700 on each of them. Sure, that's midpriced to some, but to me that's a substantial amount of money. Shit, this Squier is gonna take a bit of saving to acquire anyway. I'm looking forward to this JM because I just want a JM, and it's an easy way to dip my toes in that pool without getting in fiscal trouble. Some could be interested in this for the same reason as me, or because this Jazzmaster is in a pretty cool color scheme that's hard to find elsewhere (not for an arm and a leg). OR, it's a good platform for mods, or a good backup guitar. Not because they're a purer, much cooler musician that is all about the music, not the status symbol that is a fancy guitar. If that was the case with me, I'd be making all of my instruments myself, considering if I was REALLY all about the music, I wouldn't want to play into corporate culture at all.

ALSO, if you knew what a hipster was, then you would know how retarded it is to say that it's "hipster schtick" to use a cheap guitar. Hipsters tend to spend outrageous money on things that could have been bought for much less, simply because it's cooler to buy pricey things. When's the last time you priced a fixie?

I'm no spoiled kid. I haven't had help buying a piece of gear since I was 15. And I don't like people dickin' in my thread.

I think it's a cool guitar,but I'd probably go with the Jagmaster II in sunburst,and put Seymour Duncan Phatcats in it. Come out cheaper too. I really like sunbursts. And tbh,I would probably only replace the neck pup any way. You know,the one that matters

Achtane wrote:

THAT GUY IS TROLLING AT OUR HANGOUT SPOT

Snufkino wrote:Wow, what's everyone's problem with what "OSG Guy" said? He's just saying that a learning curve can go hand in hand with attaining a better piece of gear.

If he gets to a level of guitar playing ability where he thinks he deserves an expensive guitar that serves his needs, and that he sees that vintage/reissue (or even CP) Jazzmasters are that kind of expensive guitar to "aim for" then what's the beef?

that's not the way i read it...to me it seemed he was saying that you don't deserve a "really good guitar" until you've suffered and strived and shit, which i think is a bogus materialist viewpoint. maybe if you're talking about a vintage archtop from the 30s/40s which is a real hand-crafted irreproducible artifact, but a mass-produced slab guitar with a bolt-on neck? why shouldn't some high-school kid be able to have a Jazzmaster if that's his/her voice, just because they only have an after-school job/sell nickle bags?

Is that why my CP Jaguar sounds so unhappy most of the time?

I wonder if I could move the trem even closer, maybe Bigsby-type rollers so it could be in front of the headstock, to facilitate proper slave tone.

maz91379 wrote:Oh also guys it's made with slave labor btw. It's why the trem is moved closer to the bridge.

rfurtkamp wrote:I wonder if I could move the trem even closer, maybe Bigsby-type rollers so it could be in front of the headstock, to facilitate proper slave tone.

Nah, you need worker's blood in the finish for that.

if you're using slave labor, couldn't you have the trem anywhere the fuck you wanted it? like, at the top of the Great Pyramid, or in a well in Tikal, or something?

another shop has it now listed - a bit cheaper: 389,- EUR
http://www.hebasound.de/shop/product_in ... aster.html

here the specs copied:
Body: Basswood
Body Shape: Jazzmaster®
Series: Artist Models
Neck: Maple, "C" Shape
Fingerboard: Rosewood
Fingerboard Radius: 9.5" (24.1 cm)
Frets: 21, Jumbo Frets
Scale Length: 25.5" (64.8 cm)
Nut Width: 1.675" (42.5 mm)
Hardware: Chrome
Tuning Keys: Vintage Style
Bridge: Adjusto-Matic™ Bridge with Vintage Style "Floating" Tremolo
Tailpiece
Pickguard: Gold Anodized Aluminum
Pickups: Jazzmaster® Single-Coil Pickup (Bridge)
Jazzmaster® Single-Coil Pickup (Neck)
Pickup Switching: 3-Position Toggle: Position 1. Bridge Pickup, Position 2. Bridge and Neck Pickups, (Lead Circuit), 2-Position Slide: Up: Lead
Tone Circuit, Down: Rhythm Tone Circuit
Controls: "Lead" Circuit: Volume, Tone. "Rhythm" Circuit: Volume, Tone
Strings: NPS, .010-.046 Gauges

Unique Features: J Mascis Signature on Back of Headstock, Large '60s-Style
Jazzmaster Headstock, Gold and Black Squier Logo, Squier
Engraved Neckplate, Aged White Plastic Parts and White Dot
Position Inlays

edit: the japanese fender version has a 7,25" radius. that is beside the other tremolo position the only difference i see. yes, i will buy it good price for these specs...

a must-have

not thrilled about the basswood body.

univalve wrote:Pickup Switching: 3-Position Toggle: Position 1. Bridge Pickup, Position 2. Bridge and Neck Pickups, (Lead Circuit)
2-Position Slide: Up: Lead Tone Circuit, Down: Rhythm Tone Circuit
Controls: "Lead" Circuit: Volume, Tone. "Rhythm" Circuit: Volume, Tone

Say huh? I have an insignificant amount of experience with Jazzmasters, but I'm not quite getting the switching, here. It says 3-Position Toggle, but then only lists 1 and 2. I'm assuming the third is the neck pickup? Then you gotcher 2-position slide switch thing, then the little rolly things by that, including the volume knobs. I get that, I guess, just not the first part. Jazzmasters go bridge, bridge/neck, and neck, don't they?


C

EDIT: Here's the main JMJM Signature one for comparison. I guess the Squier listing is a misprint?

Series: Artist
Body: Basswood
Neck: 1-piece C-shaped maple (thin satin polyurethane finish)
Fingerboard: Rosewood, 7.25" radius (184 mm)
Frets: 21 jumbo
Scale Length: 25.5" (648 mm)
Width at Nut: 1.650" (42 mm)
Hardware: Chrome
Machine Heads: Fender vintage style
Bridge: Adjusto-Matic™
Pickguard: Gold anodized
Pickups: Vintage reissue pickups
Pickup Switching: 3-position toggle
Position 1: bridge pickup
Position 2: bridge and neck pickups
Position 3: neck pickup
2-position slide: lead tone circuit (up) rhythm tone circuit (down)
Controls: "Lead" circuit: volume, tone; "Rhythm" circuit: volume, tone
Strings: Fender Super 250L, Nickel Plated Steel (.009 to .042, P/N 073-0250-003)
Unique Features: Custom paint, bridge, jumbo frets, satin neck, anodized pickguard

p.s. I don't own a Dinosaur Jr. record.