Alder body in HM Fiesta red 1 pc Maple neck with skunk stripe at the back (我的改3 ply) Black dot markers Kluson tuners 25.5" bolt on neck with 21 vintage frets, soft v shape 3 Kinman single coil pickups (改裝) 3 ply 11-screw pick guard 1 master volume and 2 tones Fender vintage tremolo bridge 5 way pickup selector Gold hardware Tweed hard case
我是向投機者樂隊創始人兼團長 Don Wilson 的兒子Tim 買的, 他這個年青人很夠意思, 送我一張 Don 和 Bob在去年重新錄和整理的私人CD, 在市面上沒有賣, 只送私人朋友的, 而且他請他老爸 Don在吉他盒子上也簽名, 他還幫我把吉他在他老爸的"Rock N Roll" Hall of Fame的獎牌前照了張相, 洗出後會寄給我.
昨天收到琴, 試彈了和過去的那把一樣, 把她放入牆上的陳列盒, Tim 告訴我 Don 昨天出發去日本開始他們50週年日本冬季巡迴音樂會(去年一共40場全爆滿), 我實在佩服Don, 一個75歲的老頭還可以在臺上蹦蹦跳跳, 不停的演奏2個小時(中間休息半小時).
投機者50週年音樂會一定會出DVD的, 大家拭目以待吧!
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今天收到一個筒子裡面有照片和 Poster 是 Tim 寄來的. 幾張照片是Don Wilson Seattle 家中歷年金唱片和其他獎包括 Rock n Roll Hall of Fame 獎座的陳列. 照片是Don Wilson 兒子 Tim 把賣給我的吉他和Don Wilson 家中歷年金唱片和其他獎座放一起照相寄給我的﹐
Poster 是1997 日本音樂會用此紀念琴表演 Poster 廣告, Don Wilson & Bob Bogle 親筆簽名。 是我送Don Wilson一些公司的產品禮物 Don 回禮的, 外國人也講禮尚往來。
吉他照片﹕
Don Wilson, Gerry McGee 簽名
Bob Bogle 簽名 Nokie Edwards 簽名 Leon Taylor 簽名
Don Wilson 簽名
Don Wilson 親筆簽名
Don Wilson 家中歷年金唱片和其他獎陳列包括 Rock n Roll Hall of Fame 獎座
1997 日本音樂會用此紀念琴表演 Poster 廣告, Don Wilson & Bob Bogle 親筆簽名
BODY SPREAD BASS ALDER 2 PC C/S 22" CHOOSE COLOR BLACK SORT FOR LIGHT WEIGHT NO SORT STANDARD OR CUSTOM NECK CUSTOM NECK BACK SHAPE 62 JAGUAR FINGERBOARD RADIUS 9.50" RADIUS NECK THICKNESS AT 1ST FRET .820" NECK THICKNESS AT 12TH FRET .900" NECK BLANK GUITAR BIRDSEYE AA SIDE DOT MICATAR WHITE 3/32" FACE DOT IVORY VINT FRET WIRE DUNLOP 6100 JMB NUT BONE NECK FINISH LIGHT TINT NECK FINISH NITROCELLULOSE LACQUER FINGERBOARD EBONY BIND HEAD CAP NO NECK TEXT (30 CHAR) 62 JAGUAR SHAPE BIND FINGERBOARD NO NECK TEXT (30 CHAR) BONE NT-9.5"R-6100 FRET NECK TEXT (30 CHAR) AA BIRDSEYE TINTED MN FINISH PACKAGE CLOSET CLASSIC PLATING CHROME PICKUP MID POSITION NONE PICKUP BRIDGE POSRIGHT HAND/LEFT HAND RIGHT HAND PICKUP NECK POSITION JAZZMASTER NECK BRIDGE ASSEMBLY ADJUSTABLE JAG/JAZ TUNER KEY VNT NCKL STRING SETS FOR GUITAR 010-013-017-226-236-246 CASE BRN TLX GLD JAG GEN TEXT FOR GUITAR (30 CHAR) 62 JAZZMASTER EBONY BLK GEN TEXT FOR GUITAR (30 CHAR) 62 JAGUAR SHAPE GEN TEXT FOR GUITAR (30 CHAR) BONE NT-9.5"R-6100 FRET GEN TEXT FOR GUITAR (30 CHAR) AA BIRDSEYE TINTED MN GEN TEXT FOR GUITAR (30 CHAR) EBONY FRETBOARD LIKE STANDARD NECK ASSEMBLY 62 JAZZMASTER NECK TEXT (30 CHAR) EBONY FRETBOARDITION JAZZMAS
All original, in excellent condition for its age. Come with the rare 1964/65 white case.
History
The Jaguar was based on the Jazzmaster, with the same, "offset waist" body and "floating tremolo" system. Unlike the Jazzmaster, the Jaguar was fitted with a shorter 24-inch scale, 22-fret neck (the first Fender guitar to have 22 frets) and featured smaller single-coil pickups with notched side plates that improved RF shielding, making the Jaguar less prone to interference than the more popular Stratocaster and Telecaster.
Although the Jaguar and the Jazzmaster shared the same dual-circuit scheme, the Jaguar had a more complex second (lead) circuit consisting of three switches on the lower bout: the first two were on/off switches for the neck and bridge pickups, respectively, the third switch engaged a capacitor that served as a high-pass filter. This switch was often called the "strangle" switch among players, due to the fact that when it is switched on, the Jaguar attains a treble-accented tone quality that easily cuts through a full band sound[1]. The rhythm circuit, set into operation when the upper bout switch is flicked upwards, gives the guitar a bassier, neck pickup only sound, with individual volume and tone rollers to preset. Another of the Jaguar's features was a spring-loaded rubber string mute, which was flipped upwards from under the strings by a lever. The mute was designed for guitarists who had to palm mute for extended periods, which was difficult or impossible on the Jaguar's floating bridge without knocking the bridge out of position. This feature proved unpopular as it sent the guitar out of tune when it was used improperly. When properly adjusted, the mute will apply light pressure to heavy-gauge, flatwound strings without sending the guitar out of tune.
Like the Jazzmaster and Bass VI, the Jaguar has an unusual floating tremolo arm mechanism that was a complete departure from the "synchronized tremolo" system found on the Fender Stratocaster. Leo Fender believed that this new design was superior to previous designs since the bridge actually moved backwards and forwards along with the strings during tremolo use, thereby maintaining proper intonation even under duress, and preventing strings from binding. This floating bridge concept was also later used on the Fender Mustang. The floating tremolo mechanism also features a built-in tremolo lock, which helped the player preserve the guitar's tuning in the event of a string breakage and easing removal of the tremolo arm. While these ideas worked well in theory on a well set up guitar, many guitarists and luthiers were ignorant of the correct setup, making it one of the more problematic aspects of the Jaguar and Jazzmaster and perhaps part of the reason players stuck with the Stratocaster and Telecaster.
Intended as Fender's top of the line guitar upon its release in 1962, the Jaguar never enjoyed the popularity that the Stratocaster and Telecaster did. After several upgrades (custom finishes, a bound neck and pearloid block inlays), the entire Jaguar range has given a maple fingerboard with black binding and block inlays before being discontinued in 1975 after a thirteen year production run.
Design
Many guitar players find fault with the design of the bridge, which features saddles that have many grooves cut into them (similar to screw threads). The idea behind this design was that you could space your strings to best suit your needs but the strings may jump out of the grooves when playing with force. The problem is worse on Japanese-made (reissue) Jaguars. The saddles on the Japanese Jags have more shallow grooves than their American-made counterparts (vintage or reissue). The cheap and easy solution to this problem is to deepen the string grooves with a file. A lighter gauge pick will also help to absorb some of the force from hard playing.
Rattling saddles can also be an issue with stock Jaguar bridges. However the saddles can be locked in place by setting the bridge baseplate relatively close to the body while adjusting the individual saddles upward, and using the posts to adjust action. Many Jaguar players as a solution replace the Jag bridge with a Fender Mustang-style bridge which is more solid in construction, however with some setups the strings can rattle against or contact the back of the Mustang bridge, meaning that buzz will not be reduced. Another means of stopping the saddles from rattling is to dip the entire bridge assembly in melted wax. The wax, when hardened, holds the saddles in place. A similar technique is used on guitar pickups.
The rocking action of the bridge is often misunderstood; the unit is mounted on pointed screws resting in metal cups, which are inserted into holes in the body. When the tremolo is used, the bridge pivots on the pointed tips of the screws, causing the saddles to move with the strings instead of the strings sliding over them. When the bridge is adjusted too high up or during heavy palm muting, it occasionally can be knocked in one direction or another causing intonation and tuning problems. Some players fixed the bridge posts in place with tape or rubber tubing, which sacrificed some tuning stability under trem use. Other players replace the bridge entirely with a Gibson-style Tune-O-Matic bridge, although the spacing and radius of this bridge is mismatched to the Fender neck. Replacing the bridge sacrifices some of the characteristic sound of the guitar, as the original bridge functions as a resonating body but the TOM bridge is much denser and acoustically inert by comparison. The original bridge works well when properly set up and played in a careful manner.
Another Jaguar modification is the addition of a "Buzz Stop", a bar that mounts above the tremolo system and increases the angle of the strings behind the bridge which supposedly decreases string buzz. Some players claim that such implements are not necessary, and will force the bridge forward on some examples, as well as cause string binding. Some players however enjoy the increase in string tension on a guitar equipped with this device.
When the Jaguar was designed, in the early sixties, heavy-gauge flatwounds were most common, and the G string was wound instead of plain. The Jaguar performs best with such strings[2] These in general increase string tension and help keep the setup tight. The increased mass of the strings also serves to decrease buzzing on the bridge saddles. In the 80s and 90s the heavy strings chosen by Jaguar (and Jazzmaster) players also contributed to the characteristic sound that became associated with the guitar.
Numerous pickup replacements have become available in the last decade, including those made by Seymour Duncan (three variations are available; vintage, hot and quarter-pound)and Jason Lollar who makes a vintage style reproduction. These single-coil pickups give Jaguar players more tonal options without having to route their instrument to accept full-size humbuckers, or to buy a new Jaguar with humbuckers installed as standard. Much of the Jag's surfy twang comes from 1 meg pots in the rhythm and lead circuits, which brighten the guitar's tonality. A 50k pot in the rhythm circuit however yields a darker tone.
Resurgence
In the 1990s the popularity of the Jaguar & Jazzmaster exploded when they saw heavy use by various alternative rock and grunge bands such as Sonic Youth, Bevis Frond, Spacemen 3 and Nirvana.
One of the reasons the Jaguar became so immensely popular among indie rock artists is because they are one of the few solid body tailed bridge guitars produced by a major manufacturer. The Jaguar and the Jazzmaster both have an accidentally created, primitive tailed bridge mechanism in their floating bridge with limited timbre when used in an extended technique. When the strings are strummed behind the bridge, a unique chiming sound is created that is has come to be associated with Sonic Youth. Even when strumming in front of the bridge, the long string length behind the bridge coupled with the low break angle over the bridge functions as a "sink" for vibrational energy, producing sympathetic resonance which can function as a counterpoint when power chords are played on different string pairs.
It has also been suggested that Jaguars and Jazzmasters were popular with late 80's indie artists precisely because of their unpopularity with more traditional guitar players at the time. This meant that Jaguars and Jazzmasters were far cheaper than vintage Stratocasters or Telecasters and therefore struggling musicians could afford to own a high quality vintage Fender guitar where they could not before. In the 80s, "pre-CBS" models from the early 1960s often sold for under $100 at a time when their more popular contemporaries went for ten times that amount.
• Kurt Cobain used a modified 1965 sunburst finish Jaguar with a Gibson Tune-O-Matic type, black chrome Schaller bridge, modified circuitry, and humbuckers. It was his main guitar during the Nevermind era and featured a red-swirl mother-of-bowling-ball pickguard, two volume knobs, one tone knob, and a bound neck. There was tape covering the on/off and phase switches, which were disconnected and replaced with a Gibson-style toggle switch. Full-sized humbuckers reside in both the bridge and neck positions, the neck being a DiMarzio PAF and the bridge a DiMarzio Super Distortion, until the In Utero tour when it was replaced with a black Duncan JB.
• John Frusciante of the Red Hot Chili Peppers utilized a fiesta red 1962 Jaguar at the Woodstock 1999 festival for the part of the band's time on center stage. John also played an ocean turquoise Jag in the immensely popular video for their song "Under the Bridge".
• Shoegaze bands such as My Bloody Valentine, lovesliescrushing and Chapterhouse often use the Jaguar, both for its unusual tones and tremolo system. As both the Jaguar and the Jazzmaster have longer tremolo arms, players are able to strum chords whilst simultaneously manipulating the tremolo arm by pushing it towards the body, causing the chord to dip in and out of tune, often rhythmically. In the shoegaze style, this technique is often combined with heavy amounts of delay and reverberation effects to create what is known as a 'shimmer'.
• Maurice Deebank of Felt used a Jaguar to craft the intricate, classically-influenced passages on that band's early releases. The Jaguar and Jazzmaster's resurgence almost exactly mirrors the "discovery" of the Gibson Les Paul in the '60s by rock guitarists looking for a 'heavy' sound unobtainable with the then-predominant Stratocaster. The Les Paul was an unfashionable model during its initial production because of the recent introduction of the "space age" Strat and could be obtained in the '60s for relatively low prices.
Jaguars have also found favor among players with small hands. The Jaguar and Mustang are two guitars in the Fender lineup with a short (24 inch) scale length and slim neck. Players with small hands find these necks easier to play when attempting difficult chords and long stretches.
