Q&A
This issue: Pickup power, old-school tone and a pain in the neck…
MiND ThE GaP
I just took delivery of a 70s Fender Stratocaster that I won via an online auction. The guitar looked the absolute business in the listing and, now that I have the thing at home, I’m generally happy with the way it plays and sounds. There is something that’s bugging me about it however. The neck socket is too wide for its neck. There’s a noticeable gap between the neck and the body on the bass side, plus there’s a pronounced ‘lip’ where you can see a few millimetres of the neck socket on the treble side.
I bought this guitar because I wanted a vintage Fender but couldn’t stretch to a 60s example. So, did I get a piece of junk? Could it be that the neck has been switched at some point? The seller says that’s not the case, but how can I be sure? I’m also concerned that the neck won’t be stable. My guitar has a three-bolt neck plate. I Menzies, via email Welcome to the world of 1970s Fender. Quality control was not high on the list of priorities at Fender in the 70s – or at Gibson HQ either for that matter. It was all about saving money. Out went the nitrocellulose lacquers of the 50s and 60s in favour of thick polyester finishes. The guitars got heavier too. While in the 60s a Strat would tip the scales at around seven pounds, the 70s saw the emergence of whopping great ten pounders... That’s Les Paul weightage.
But, by far the most disappointing aspect of the late period of CBS Fenderownership was how shoddy the neck/body joint was. Some players would stick their picks in the gap on the bass side. So no, your neck is unlikely to have been swapped, that’s just how they came, brand new, straight from the factory.
You’ll see a disparity between the neck and body slot width in early 50s Broadcasters, Telecasters and Esquires. In fact, buy a Custom Shop ’51 Nocaster these days and there’s a notable lip on the treble side of the neck socket, for authenticity. We excuse that because in the early days of Fender, Leo and the boys were essentially making guitars by hand. So what if the string ferrules were a little wonky, the guitars had mojo!
By the mid to late 50s and throughout the 60s, Fender quality control was great. So, the slip in build and finish quality in the 70s is inexcusable. The good news is that not all 70s Fenders suck. There are some great examples and if you’re chuffed with the tone and feel of your new acquisition, well, happy days. You didn’t buy a piece of junk. Just keep an eye on your trio of neck bolts. Make sure they’re good and tight. If the neck is shifting in its socket you’ll know by the alignment of the high and low E strings in relation to the edges of the fingerboard. Aside from that just get on with it and enjoy your guitar.
ThE fuTurE’s BriGhT...
I recently bought an electric semi-acoustic guitar with a centre block. It’s a nice guitar but it’s almost too resonant. Do you have any tips on how to dull this down a bit? Steve Smith, via email
Back in the 60s, guitar players would stuff their hollow-body electrics with foam, cotton wool or newspaper to tone down the resonance and reduce feedback. The problem with your scenario is, your guitar was designed to pump out a big fat resonant tone. You can pin the blame on that centre block. We’re assuming you have a Gibson ES-335 or a guitar with similar genetic makeup, say an Epiphone Dot or a Gretsch Centre-Block model. If your semi is equipped with a trapeze tailpiece then it’s likely adding to the resonance. That expanse of string running between the bridge and tailpiece can vibrate and there’s little else you can do. That said, stay tuned for a stringing suggestion...
If, on the other hand, your guitar has a stop tailpiece, try raising it via its slotted studs. This will reduce the angle of the strings across the bridge, which may tone down the sustain. Be careful not to damage the head of the studs. Detune the strings first, then use something that fits snugly into the slots. A coin should do. You could also drop the height of the pickups. That could take the edge off through your amp at least.
If either of these tips work at all, the effect will be slight at best. The greatest hope of getting the deficit of resonance you need is with a string change. We’re not just talking about a different gauge here. You should consider installing a set of tapewound strings as used by jazzers and just about everyone in the 50s and 60s.
Bass players have been using tape or flatwound strings to cut their instruments’ resonance for decades. Listen to any 60s soul record, and Sir Macca’s tone on The Beatles classics. Philly Soul and Disco bassist Ronnie Baker of Disco Inferno fame used to rub butter on his strings to make them sound as dead as possible. But we don’t recommend you do that… Instead, look for a set of tapewound strings from the likes of US-brand LaBella and British firm Rotosound. You’ll find most string manufacturers offer them.
ProBlEM PuPs
I recently bought a PRS SE Custom 24, initially being delighted with the playability, build quality and what, at first, came across as a wide and versatile range of sounds to the pickups (PRSs 85/15s). As time goes by, I’m finding these same pickup characteristics revealing themselves to be brash, far too sensitive and tinny. Knocking back the tone control takes the edge off but also filters out a percentage of detail. I can’t believe this is how PRS intends the guitar to sound, having such a renowned reputation for quality. I’m baffled as I’m a longterm Les Paul and American Standard Strat user and feel confident I know what good tone is. Are PRS operating in a different frequency dimension? Geoff Tate, via email This is a difficult question to answer, Geoff, having not heard your guitar, but it isn’t the first time we’ve heard of this issue with the 85/15s. Some PRS owners regard these pickups as all about the bass and treble, with very little midrange. That’s possibly what’s giving your ears a hard time, especially when you’ve raised them on Les Pauls and Strats. The 85/15s are based on the original Treble and Bass pickups launched by Paul Reed Smith in the mid 80s. They have many admirers in the metal community despite the fact they’re not particularly high output – the fans love the bright and clear tone, which your ears are interpreting as brash and tinny. So, the 85/15s are not bad pickups. They’re just not to everyone’s taste.
Surf the PRS forums and you’ll see some owners switch out the 85/15s for something a bit more traditional – you know, pups based around a classic warm 50s Gibson PAF. The vintage-voiced PRS 58/15 is a good option for you. If you enjoy all other aspects of your SE Custom 24, then a pickup swap could get the guitar back in your good books.