To explore the JM6’s voice I plugged it
into a Fender Vibroverb 2x10 reissue (they
make a very handsome pair, I might add), as
well as a silverface Twin Reverb. Predictably,
the JM6’s P-90s conspired with the 40-watt
Vibroverb and the 10" speakers to kick out
a snarling and dirty range of sounds. Before
long, I found myself on the bridge pickup
working some skanky, suspended Chris
Robinson-style riffs in open-G tuning. The
Fralin P-90s thrived in the open tuning,
communicating overtone detail that many
pickups would lose amid the grit.
But the alder body also seemed to add
a top-end explosiveness and brilliance. (A
mahogany Gibson SG with stock P-90s—
not exactly a ticket to Wes Montgomery
mellow-tone territory—sounded dark by
comparison.) The JM6 delivered a killer
tone for leads and single-note riffing, and
with the addition of a vintage Colorsound
Tone Bender, it hacked through a mid-range-heavy mix of electric guitar, electric
piano, and drums like a machete in the
hands of a savage, young, paisley-rockin’
Jimmy Page. The neck pickup was not considerably cleaner, but rounded off the grit
to summon a greasier, Chicago-blues tone.
Running the JM6 into a Twin Reverb
allowed me to explore the more crystalline
end of the Fano’s hot-and-bright character.
Even with the Twin singing at high volume,
the JM6 still imparted a trace of nasti-
ness. But backing off the Volume and the
Stellartone ToneStyler knob just a notch
brought out the guitar’s more civilized per-
sona. Here the Fano evoked Jerry Garcia’s
circa ’ 69 Live/Dead tone—hot, defined,
sharp, and clean. With just a little reverb,
the JM6 sounded beautifully huge and
primed for surf and space-rock explorations.
And a switch over to the neck pickup and a
dose of fuzz was the perfect recipe for a bit
of “Strange Brew” Cream-tone.
the Verdict
The Fano JM6 is a fantastic rock ’n’ roll
machine. It’s light and comfortable, with
