www.premierguitar.com PREMIER GUITAR NOVEMBER 2009 193
I beg to differ. A lot of this probably has to do
with the fact that it features an Adjusto-Matic
bridge, which has an advantage over a traditional Jazzmaster bridge due to the added
coupling to the body. Some Jazzmaster enthusiasts might scoff at this change, but I think it’s
an improvement, as it also helps tuning stability, which I’m sure was a concern on account of
Thurston’s often very aggressive style.
I ran the instrument through its paces with a
1965 Fender Bandmaster and a 1973 Marshall
Super Bass half-stack with a Bogner 4x12
cabinet. The Thurston Moore model features
Seymour Duncan Antiquity II Jazzmaster pickups, which have a great, powerful punch and
glassy highs. With the Bandmaster set to a
chimey clean, the Moore Jazzblaster roared
with complete authority. I didn’t expect it to
sound so aggressive, so it was quite a surprise.
Every note through every chord rang out clear
and full, almost too clear at times. I found
myself taming it by keeping the Volume knob
on the guitar down to about 7, as the pick-
ups were very sensitive to whatever type of
attack that I employed. With a light overdrive,
the instrument delivered a somewhat pierc-
ing high end. Even after adjusting the amp to
compensate, the inherent stinging highs of the
Moore Jazzmaster were still rather evident.
The effect was nullified through the Super Bass
very well, and I decided that I really liked the
tone through darker amps of similar nature. The
Moore model is also outfitted with the same
vintage Jazzmaster vibrato system that’s present on all of the American standard models,
and it stayed in tune quite well even after some
heavy use with reverb-soaked volume swells.
Lee Ranaldo Jazzmaster
The Moore model’s more guttural (but still
clear) sounding twin, the Ranaldo Jazzmaster,
comes equipped with Fender Wide Range
humbucking pickups which Seth Lover developed in the early 1970s as Fender’s answer
to the Gibson humbucker (which was also
designed by Lover). These pickups actually
have quite a following among certain players
who covet their unique tone and response.
Ranaldo’s model comes with re-voiced versions of these famed pickups, featuring an
Alnico magnet instead of the original CuNiFe
or Ceramic magnets (which at one time were
installed in some Japanese Fenders). It also
features an American Vintage Jazzmaster
vibrato setup, but with a Mustang bridge
instead of an Adjusto-matic one. I plugged
the Ranaldo Jazzblaster into a Vox Night Train
head (into a Bogner 4x12 cab) and into the
aforementioned 1965 Fender Bandmaster.
Immediately, the differences between it and
the Moore model were noticeable. Beyond
the obvious differences between Jazzmaster
and humbucking pickups, the re-voiced
Fenders are distinctly hot. They drove both
amps almost as easily as my 2006 Gibson
Flying V, but with much more midrange and
clarity. What was fascinating was their ability to keep a solid, overdriven tone without
becoming mushy or flat. It was almost as
if I were playing with a pair of hot P-90s,
but with more muscle in the low mids (and
no hum, of course). Like the Moore, the
response was even all across the fretboard
with no dead notes, but with even more sustain and power. To put it simply, I really liked
the Thurston Moore Jazzblaster for its great
clean tone and excellent tuning stability, but I
really, really liked the Lee Ranaldo Jazzmaster
for having all of that, and more. We get some
very exceptional guitars at PG, and this one
has been harder to put down than most.
Another aspect of the Sonic Youth Signature
Jazzmasters I feel obliged to mention is
their necks. I’ve always loved Jazzmasters
for their distinctive tones and versatility, but
I’ve always been a Les Paul type of guy—I
like fat, beefy necks with a little bit more
weight on my shoulder. That being said, I was
almost sold on both of these instruments for
their necks alone. They feel flat-out fantastic.
They’re nothing like what I’m used to, but as
the saying goes, I could definitely get used
to this. Their balance is very good, especially considering how long they are, and the
smoothness of their feel is, for lack of a better way to describe it, to die for.
The Final Mojo
One of the best things about my job is that
not only do I get to help inform fellow guitarists about gear, but I get to learn about
it as well. In the case of the Sonic Youth
Jazzmasters, it seems that constant experimentation and devotion can lead to the discovery that the simplest approach is often
the best. The necks are great, the pickup
combinations are highly distinct and the
playability of both is enormous. Each model
comes with a hardshell case and some great
case candy: a cable, strap, a magazine with
tales from their guitar techs over the years,
and a nifty sticker sheet with designs from
the guitarists. For those searching for a great,
stripped-down Jazzmaster (or just a solid
Fender in general), the Sonic Youth Signature
Jazzmasters are a refreshing alternative.
Fender
MSRP $1880
fender.com/sonicyouth
you’re looking for a Jazzmaster-on-steroids tone, complete with an outstanding neck and simple controls.
Buy If...
Skip If...
you’re sensitive to highs and would
prefer a tone control to tame it.
Rating... 4.0
ONTHEWeb
Click here to hear sound clips
of the guitars in action at
premierguitar.com
Fender
MSRP $1880
fender.com/sonicyouth
you’re looking for a Jazzmaster with
a fantastic neck, and humbucking
tones with great cut and balance.
Buy If...
Skip If...
you just absolutely have to have a
tone control.
Rating... 4. 5
ONTHEWeb
Click here to hear sound clips
of the guitars in action at
premierguitar.com
Lee Ranaldo Thurston Moore
