Review: Squier Sonic Mustang SS

From the late 1970s on, Fender’s student-oriented models began to find their way into the hands of musicians from the Punk, New Wave, Grunge and Alternative Rock genres.

The reasons for this can be found both in the musicians’ budgets, as well as in the guitars’ image. The average guitarist wanted to play with ”familiar and safe” models, and in Fender’s case, these were the Telecaster and Stratocaster.

At the end of the 1970s, Fender’s so-called student instruments, that were very popular in the 1950s and 60s, could be found very inexpensively second-hand. With the Mustang, Duo-Sonic or Musicmaster, the young New Wave musician got genuine Fender quality at a very affordable price, and since these instruments were not – at least at the time – collector’s items, modifying the guitars to suit the needs of the ”new music” was no problem.

Many guitarists of the new genres – e.g. the Talking Heads’ David Byrne, Sonic Youth’s Thurston Moore and Nirvana’s Kurt Cobain – added more powerful pickups to their Duo-Sonic or Mustang to better suit their sound. This resulted in distinctive guitars that certainly weren’t ”your dad’s Country guitar”.

Last year, Fender’s subsidiary Squier Guitars changed the name of its most affordable line from Affinity to Sonic, and at the same time expanded the range of instruments in the series.

There are now two different Mustang guitars in the Sonic series, of which the Mustang HH offers two humbucker pickups, while the Mustang SS, like the original Fender, comes equipped with two single coils. Both models are offered in two different colour options as standard, which in the case of the Mustang SS model are sunburst and Torino Red. The Mustang HH comes in light blue and pink. The Sonic Bronco bass is now available in three different colors – white, red and black.

A vintage enthusiast would be the first to point out that, according to Fender’s original terminology, the Squier Sonic Mustang SS (street price approx. 180-200 €) is not a Mustang, but a Duo-Sonic, as the model has a fixed bridge and a three-position pickup selector. I would bet that Fender and Squier have decided that the name Mustang is simply cooler and better known than Duo-Sonic, which is why all their short-scale models with the same body shape are currently called Mustangs, despite the streamlined electronics and bridge.

However, the familiar basic recipe still applies:

The Squier Mustang SS is an electric guitar with a 24-inch scale. The bolt-on maple neck has a maple fingerboard and well-installed 22 vintage-style frets.

The offset body of the Mustang SS is a slab number with rounded edges, but without any chamfers.

The thick single-layer plastic pickguard is typical for Sonic series instruments. Mustang’s two single-coil pickups – with closed black plastic covers – and a three-position mic selector are installed onto the pickguard.

The Squier guitar’s volume and tone controls, as well as the output jack, are placed on a chrome-plated metal plate.

The Mustang’s modern sealed tuners work well, as does the Sonic model’s fixed bridge with six separate saddles.

Straight out of the shipping carton, the test guitar is almost ready to play – only the action and intonation had to be fine-tuned. The guitar doesn’t suffer from sharp fret ends sticking, or other ”cheap guitar” problems. The workmanship seems fine.

The new Squier Sonic Mustang SS weighs a bit more than the original edition from the 1960s, but in light of the Mustang’s very affordable price, this is to be expected and perfectly okay.

The Squier Sonic Mustang SS model has a decent 009 set of strings installed at the factory, which is probably a good choice for the guitar’s target group (children and young people). The playing feel is very effortless and light, and the Mustang chimes very nicely. I played all the guitar tracks in the demo video with Squier’s factory-installed strings.

However, the feel of the 009 string set on a guitar with a 61 cm scale is too loose for me, which is why I changed over to the same 010-052 strings that I use in all my electric guitars. With these strings, the Sonic Mustang SS immediately has a firmer playing feel, which is not very different from, for example, a Gibson SG.

Although the scale of the Sonic Mustang is much shorter than that of Telecasters or Strats, there is a definite dose of ”Fender-ism” in the sound of the guitar, thanks to the single-coil pickups. Because the Mustang’s pickups are placed in somewhat different places relative to the scale than, for example, in the Telecaster, the model always displays its own recognisable sound. The Mustang’s tone rings like a bell, but is never as biting as, for example, the output of a Stratocaster.

Review: Four LP Standard Style Guitars

Alkuperäinen, laajempi suomenkielinen juttu on luettavissa TÄÄLTÄ.

Thanks to technological progress and cheap Asian labour, you can already get a very decent Les Paul Standard copy these days for somewhere between 500 and 700 euros.

Here are four of those guitars presented in alphabetical order. I tried to obtain one of the new Epiphone-models from their Finnish distributor for this round-up, but to no avail.

****

GrassRoots G-LP-60S Honey Sunburst

• Current price in Finland: 559, – (incl. gig bag)

• Distributor: Musamaailma

GrassRoots is a brand in the ESP Guitars family, and concentrates on traditional electric guitars and basses. Even though the LP-60S is the least expensive guitar in this round-up, it comes in its own, high-quality gig bag. The finish on our review sample is called Honey Sunburst.

The G-LP-60S’ body is made from four side-by-side pieces of mahogany, with a top crafted from maple. The flame maple veneer on the curved top looks gorgeous.

The set mahogany neck is one piece of mahogany (!), except for the top half of the headstock. The bound fretboard has been made from beautiful pau ferro, while the LP-60S’ top nut is genuine bovine bone. The fretwork looks very decent.

The machine heads are nice copies of vintage Kluson tuners. The GrassRoots’ bridge is a modernised version of a Tune-o-matic, sporting six separate small metal clips to keep the bridge saddles in place.

The LP-60S’ pickups are GrassRoots’ own GH-1G humbuckers with metal covers. Looking beneath the electronics cavity covers, we found a closed three-way toggle switch, as well as four small pots and very clean soldering.

The first thing I noticed when I picked up the GrassRoots guitar is how light it is. I don’t know if GrassRoots uses any type of weight relief on the LP-60S, but the review sample’s weight clocks in at only 3.3 kgs.

The neck profile is a very ”fast” version of Gibson’s famous 60s neck, meaning a nicely rounded, but relatively slim C-shape. Musamaailma’s in-house guitar technician has expertly set up the review guitar, resulting in a buzz-free action of only 1.6 mm (bass-E) and 1.5 mm (treble-e).

I’d describe the GrassRoots humbuckers as vintage-powered, meaning they give a lot of scope for dynamics and a nice, rounded top end response. The neck ’bucker is flutey, while the bridge pickup offers ample kick and mid-range push. The GrassRoots G-LP-60S is a versatile LP Standard style guitar, which sounds great, offers a comfortably slender neck profile, and which doesn’t weigh a tonne.

****

Green LP STD Lemon Drop

• Current price in Finland: 498, –

• Distributor: Nordsound

Green Guitars is a Swedish brand with Far Eastern production to keep the prices musician-friendly. Green’s LP STD model comes in a fetching Lemon Drop finish, as well as sporting a few features that differ from standard vintage-fare.

The Green’s body uses three pieces of very lively mahogany. The arched maple top has been spruced up with a tiger striped flame maple veneer. Green’s LP STD sports a deeper cutaway than its famous forebear, resulting in a more pointed horn.

The set-in neck is carved out of three side-by-side strips of mahogany, which – in all probability – should add a little stiffness to the neck. The neck wrist is protected from headstock breaks by a volute.

The Green features a set of modern tuning machines, as well as an up-to-date version of the Tune-o-matic bridge.

The bound rosewood fretboard comes with 22 well-installed medium-size frets. The nut is made from a cream coloured plastic.

Green’s LP STAD model sports a pair of open, zebra-coloured humbuckers. The electronics comprise a closed three-way toggle, as well as four small diameter pots. The soldering looks nice and clean.

Green’s neck profile is a smidgen bigger than that of the GrassRoots – I’d say the profile is somewhere halfway between a ’59 and a ’60 Gibson. The set-up on our test sample was very good, with the action clocking in at 1.7 mm (bass-E) and 1.5 mm (treble-e), without any fret buzz.

I’d describe the Green’s humbuckers as ”hot vintage”. This guitar has a big sound with a nice, fresh dose of treble. If you’re into Slash, this is the guitar I’d try out first.

****

Tokai Guitars ALS-62 Honey Burst

• Current price in Finland: 659, –

• Distributor: Tokai Guitars Nordic/Musamaailma

Tokai Guitars must be the most famous ”copy brand” in the world, whose instruments caused Fender and Gibson to do something about their sagging quality control back in the 1980s.

In addition to their top-of-the-line Japanese LS-models, Tokai also offers more affordable Chinese versions under the ALS-banner. The flame maple veneer – finished in a fetching Honey Burst – looks stunning, deep and chatoyant.

The Tokai ALS-62’s body uses four pieces of mahogany and a veneered arched maple top. In this series Tokai uses hard rock maple for their guitar necks – in this case we’re talking about a three-piece affair of neck, headstock, and neck heel.

Tokai uses jatoba as the material for its bound fretboard. We find 22 expertly-finished, medium-sized frets, as well as a genuine bone nut. The bridge is a fine version of the vintage Tune-o-matic, with a single metal bracket keeping the saddles in place. The bridge and stopbar ferrules have been sunk into the top wood for a very clean look.

The Tokai ALS-62 sports a pair of covered LSC-F-humbuckers. The electronics comprise a closed three-way toggle switch, plus four small pots. The soldering is very clean.

Tokai’s neck profile is my personal favourite, I must confess. It’s a rounded, not-too-fat 1959-style neck profile, offering your fretting had a good amount of ”meat” without too much bulk. The action is buzz-free, while being comfortably low at 1.6 mm (bass-E) and 1.4 mm (treble-e).

The Tokai ALS-62 sounds like ”the real thing”, leaving nothing to be desired. The neck pickup is creamy and flutey, while the bridge unit adds the right amount of grit to proceedings. The Tommi’s output is vintage-to-medium. This is a gorgeous guitar with a versatile sound to boot.

****

Vintage V100PGM Lemon Drop

• Current price in Finland: 576, –

• Distributor: Nordsound

Vintage Brand’s V100PGM Lemon Drop is an ”unofficial” signature guitar, offering you an affordable shot at the legendary LP played by three legends in a row – Peter Green, Gary Moore, and Kirk Hammett. The original guitar’s burst has long faded into an ”unburst” lemon drop shade, which is why the Vintage V100PGM Lemon Drop was first only available in that shade. Our test sample, on the other had, is Vintage’s view of what the guitar must have looked like brand new. So, here we have a beautiful cherry sunburst-coloured guitar, that is called ”Lemon Burst”, go figure.

Trev Wilkinson, who has designed this guitar for Vintage Brand, has added a few nifty updates to prevent the V100PGM from being a straight copy instrument:

The V100PGM’s mahogany body (three pieces) has a rounder bass-side shoulder and a much deeper cutaway that Gibson’s original. The top’s flame maple veneer sports extremely pretty and deep figuring.

The guitar’s neck – crafted from three side-by-side pieces of mahogany – is glued into the body by means of an asymmetrical neck joint, making excursions to the dusty end more comfortable.

The Vintage’s fingerboard is made from a trademarked material, called ”Lignum Rosa”, which translates from Latin as ”wood of the rose”. I can’t tell you what it actually is, but it looks and feels great, and it is home to 22 medium-sized, well-dressed frets. The top nut is Graph Tech’s NuBone material, which is a man-made alternative to ivory.

Surprisingly, the V100PGM comes with a set of Grover Deluxe vintage-type machine heads, instead of the Wilkinsons I’d have expected. The bridge on this Vintage is a Wilkinson-version of a modern Tune-o-matic.

The V100PGM comes with a pair of Wilkinson WVC-humbuckers. Like on the original, the neck unit has been installed ”upside down”, meaning with the adjustable pole screws facing the bridge, and with the wires hooked up in reverse, too. Gary Moore swapped the bridge pickup’s controls from the original bell-type to the early-Sixties ”reflectors”, because he wanted to be able to find the correct control without having to look at the guitar. This has been copied on the Vintage as well.

The V100PGM uses a closed three-way toggle switch and four small diameter pots. The soldering looks very decent.

The Vintage V100PGM comes with a slightly flatter version of a Gibson 60s C-neck, so we’re talking about a very ”fast” neck feel. The review guitars comfortable set-up gives you plenty of acoustic dynamic range at 1.9 mm (bass-E) and 1.7 mm (treble-e).

Thanks to their moderate output the Wilkinson-humbuckers offer plenty of dynamics and openness, with a nice, bell-like treble response. The neck pickup is warm, while the bridge unit sounds brighter.

On the Vintage V100PGM the three-way switch’s middle position opens the door to a wide spectrum of different tones, which differ from the usual LP middle-position sounds. With both volume controls turned up fully, you get a very wiry and bright sound, due to the out-of-phase pickups. Turning one of the volume controls down by a little, gradually adds bottom end and mid-range width. Depending on which volume knob is turned down, the resulting sounds will differ somewhat. Experimentation is allowed and will be rewarded with many different shadings. I think it’s fantastic that Vintage Brand offers somethign a bit out of the ordinary at this affordable price point.

Tulossa Rockway-blogiin: Squier Sonic Mustang SS

Here’s a short cover version of the Fine Young Cannibals classic ”She Drives Me Crazy” featuring a Squier Sonic Mustang SS.
• Guitar used – Squier Sonic Mustang SS
• Amps used – Bluetone Black Prince Reverb (all guitar parts, except the distorted chords in the chorus), Vox Pathfinder 10 (distorted chords in the chorus)
• Mic used – Shure SM7B

Auta löytämään Paul McCartneyn alkuperäinen Höfner-basso!

Paul McCartneyn alkuperäistä Höfner-bassoa – vuosimalli 1961 – etsitään nyt maailmanlaajuisesti nettisivuston THE LOST BASS:n kautta.

Höfner-ekspertti Nick Wass, sekä toimittajat Naomi ja Scott Jones yrittävät löytää Paul McCartneyn legendaarisen basson, joka nähtiin viimeksi tammikuussa vuonna 1969, the Beatlesien Get Back/Let It Be -projektin äänityksissä.

Etsinnän päämäärä on palauttaa tämä basso alkuperäiselle omistajalle.

Alun perin Hampurista ostettu Höfner 500/1 oli vasenkätinen, mutta muilta osin tavallinen lajinsa edustaja. Nykyään saman mallin uusintapainokset myydään nimellä ”Cavern”.

Vuonna 1964 McCartneyn basso korjattiin ja myös viimeisteltiin uudelleen, jonka seurauksena soitin sai tumman kolmivärisen liukuvärityksen, sekä epätavallisen – ja yhtenäisen – mikrofonikehyksen. McCartney käytti tätä bassoa myös mm. Revolution-biisin videossa.

Tulossa Rockway-blogiin: Neljä LP Standard -tyylistä kitaraa

Here’s a demo song of four LP Standard style guitars based on ZZ Top’s classic track ”Stages”.
****
The demoed guitars are:
GrassRoots G-LP-60S
Green Guitars LP Standard Lemon Drop
Tokai Guitars ALS-62
Vintage ReIssued Series V100PGM
****
• Effects used: Dunlop CryBaby Mini, Ibanez Fuzz 850 Mini, Mad Professor Simble OD, Joyo Analog Chorus, EHX Memory Toy, EHX Germanium 4 Big Muff Pi
• Amp used: Bluetone Black Prince Reverb
• Mic used: Shure SM7B
• Preamp used: Cranborne Audio Camden EC2

****

Squier Bullet Strat HT – tulossa Rockway-blogiin

Here’s a short demo song in the style of Jimi Hendrix’ classic track ”Foxy Lady”.
• All guitar tracks recorded with the Squier Bullet Strat Hardtail
• Effects used: UralKit Rouhi Ge and FF Si fuzz boxes
• Amp used: Bluetone Shadows Jr
• Mic used: Shure SM57
• Preamp used: Cranborne Audio Camden EC2
Here’s a short demo song in the style of the classic Dire Straits track ”Sultans of Swing”.
• All guitar tracks recorded with the Squier Bullet Strat Hardtail
• Amp used: Bluetone Black Prince Reverb
• Mic used: Shure SM57
• Preamp used: Cranborne Audio Camden EC2

Review: Tokai TJB-55 + TJB-55 FL

The electric bass guitar – and especially a sunburst 1970 Fender Jazz Bass – was my first musical love. My father Jaroslav was the drummer of a professional show band in Germany, and as a child I was lucky to make the occasional trip to rehearsals, recording studios and some afternoon gigs with him. I loved the music, the instruments and the microphones, but most of all I loved to look at the bass player’s (Pavel) Fender Jazz with its huge chrome covers.

I took the roundabout way to becoming a bassist myself, first playing the violin, then the guitar, then the double bass and the piano. In 1985 I bought my first bass guitar – a Japanese Jazz Bass-copy, and I never looked back. That bass is still my go-to instrument.

Over time Tokai Japan instruments have become legendary in their own right. Tokai managed to offer the type of vintage-inspired instruments that guitarists and bassists in the 1970s were craving for, but couldn’t find from US manufacturers. To this day Tokai stands for top quality at a musician-friendly price.

****

You could call the fretless Tokai TJB-55 FL (1.238,– €) Tokai’s unofficial Jaco Pastorius ”signature model” judging by its looks.

The fretted Tokai TJB-55 (999,– €) we received for this review is finished in a gorgeous metallic finish, called ocean turquoise metallic, which sits somewhere between green and silver.

The basic ingredients in both TJB-55 versions are high quality, traditional choices. True to their 1960s designation, both instruments feature alder bodies paired with maple necks.

The ribcage chamfer is very deep and soft.

In contrast to vintage basses both necks here sport a thin satin finish. This is a welcome nod to most modern bass players, who prefer matte finishes to the glossy necks from way back, which are often described as a bit sticky.

The machine heads on the TJB-55s are Gotohs which manage to retain a vintage look, while being smaller and lighter than original Klusons, Fenders or Schallers on vintage basses.

The regular Tokai TJB-55 sports 20 medium-sized frets in its beautiful rosewood fingerboard. The fretwork is top notch. 

The fretless TJB-55 FL features fret lines made from maple; a welcome addition, especially for the occasional fretless player.

On forums – where else – you repeatedly find claims that rosewood might be too soft a wood for a fretless bass and roundwound bass strings. I own a well-loved and much-played 1976 Fender Precision Fretless, which – despite some light grooves in the ‘board – still plays fine.

Gotoh’s well-made version of an early-Seventies Fender bridge fits the bill on both the TJB-55 and the TJB-55 FL.

The legendary status of Jazz Basses is founded on two things – their great ergonomic properties, and their juicy yet transparent single-coil pickups.

Both Tokais come with a pair of the company’s own, excellent JB-Vintage Mark III pickups that promise vintage-style tones. The bridge pickup is reverse wound/reverse polarity to the neck unit, so the combination of both pickups is humbucking.

The quality of the electronic parts and the neatness of the wiring is a sight for sore eyes. Tokai even goes as far as equipping the pickups with period-correct (early-Sixties) wires with waxed cloth insulation. 

A high-quality gig bag comes supplied with both models. Inside the side pocket of the TJB-55 FL’s bag you will find a three-ply white pickguard, should you prefer that look.

****

I don’t know how Tokai does it, but it has managed – once again – to imbue both basses with heaps of that proverbial “vintage mojo”, even though we’re looking at brand-new instruments here. The combination of top notch parts, along with the company’s proven track record, seems to make for a fantastic mix in both TJB-55s.

These two Tokais offer the best of all the great features of an early-Sixties Jazz Bass. The workmanship on both TJB-55s is second to none, the playability is very comfortable, and the sounds deliver big time. If you’re looking for some top-drawer “Jazz action”, you should definitely try one of these basses out.

****

Pidä blogia WordPress.comissa.

Ylös ↑