Furthermore, if you like the darker toned, sustain-challenged woody thunk that typifies many Jazzmasters, you might not appreciate this guitar. It could be argued that it’s some distance from the vintage and reissue Jazzmaster tone that many of us carry in our heads. We also hear longer sustain and far more harmonic overtones. Compared to an alder-bodied Jazzmaster of much the same vintage, this blondie sounds louder, brighter and a lot clearer. The acoustic tone is even better than expected and further discredits the theory that immaculate vintage guitars are always the least impressive. You can still see the sanding lines on the clay dots and rosewood from when the ’board was radiused. This means the dark Brazilian rosewood fingerboard is as fresh looking as the back of the neck and the original frets are almost completely unworn. The amber switch tip contrasts, but also tones with the overall look.Ĭlearly, this guitar has been played – but not that much when you consider its age. There is some verdigris in the knob lettering, but we feel that enhances rather than detracts from the look. With this guitar, you’ll have no difficulties setting the pickups exactly as you want them.Ĭommensurate with the rest of the guitar, the plastics are clean, shiny and unworn. It’s quite common for celluloid pickguards to shrink so much that they clamp the pickup covers and prevent you from adjusting the pickup height. One of the advantages of anodised pickguards is that they don’t shrink.
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