John Page Classic AJ
At the start of the year, my gig diary was looking a little thin, but by midApril I seemed to be switching from acoustic function gigs, through electric pub gigs, plus the ‘reformation’ of an old band, albeit in a lower-volume trio format. All good, except each gig requires a raft of different songs/styles and a variety of guitars: electro, electric, electric slide and something with a vibrato. Gawd. Oh, and did someone mention a live recording session?
The John Page Classic AJ has been in constant action. It’s first live outing more than proved its worth with that retro-fitted Lollar Staple. For that gig, I’d set it up Derek Trucks-style with just enough string height (and 0.011s) for clear slide, but not so high as I couldn’t play non-slide. For day-to-day duties, however, as a key reference guitar for reviews, it’s a bit tough so I switched back to a standard setup and 0.010s.
But these increasing gigs were beginning to concern me; I really needed something a little more humbucking and a vibrato – a mod or three too far. But in conversation with the John Page team, a curveball was thrown. ‘Why don’t we send you a Classic Ashburn HH?’
It arrived on the day of a long evening live rehearsal. I loaded up and headed off. The Ashburn’s neck and setup match the AJ perfectly, and it’s gig-ready straight from its bag. Some hours later I was listening to the recordings and the HH fits really nicely, a bluesier, thicker voice – a contrast to the AJ but with a definite family character in terms of its strong delivery, not to mention feel and playability. With no tweaks, it held its tuning. I was a little surprised not to find any coil-splits – on a couple of numbers I felt I needed a little ‘single coil’ and, with no treble bleed, pulling the volume back does round out the highs a little from the pretty clear and clear vintage-y, lightly potted ’buckers.
“I’ve always approached switching and controls from a ‘keep it simple’ attitude,” says John Page on the HH. “Just because you can add all kinds of options/combinations, it doesn’t mean you should. The options should be ‘ideal’, not ‘just because’. I personally don’t like splitting humbuckers – I feel you get a compromised tone – but I’m also very aware that some people like the tone. That’s why I specified them with four conductor leads, to allow guys that wanted to split them the ability to add that to their guitar. It also allows us the ability to add that in the future.”
‘Just because you can doesn’t mean you should’ ought to be the mantra for any of us modders… but I didn’t take heed. The HH has a three-way lever pickup switch, so the quickest way to get what I needed was to install a pull/push pot (500k) to replace the tone control so I can split both humbuckers simultaneously – an easily reversible mod. I used the PRS partial tap circuit that just adds a couple of resistors to the new switch, and with a bit of soldering I’d expanded the HH’s sounds in an hour or so, bridging the sonic ground between the single-coil AJ and the full-’buckered HH
Now, of course, I’m spoiled for choice. Both guitars have such a similar feel with a strong fundamental power that really kicks in a live band situation. The AJ, especially, reminds me more of my old ’69 Tele rather than the brighter, lighter voicing of, say, Fender’s latest American Pros. All bolt-ons, but as ever, with different flavours. At a push, I’d go for the HH for everyday work. When I need more roots character, the sheer power and vibe of the AJ (not least with its Lollar Staple) scores heavily.
And just as I’d made my decision on which one to keep, a new Classic Ashburn Special and an Ashburn HSS turned up for review. What to do? Read all about it next time!