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Solpak
Published on 06/11/07 at 04:09
I speak here of the 62 edition of USA manufacturing. The maple neck / rosewood 22 fret radius of 7.5''and the body are finished in nitrocellulose (with matt polyurethane underlay for the body, alder. Everything is from U.S..
America cotton smell ...
Here's a quick comparison between the model Japanese alder (last series), the U.S. vintage reissue, and the original U.S.:
The Japanese jag: fully finished in polyurethane, more durable, but do not skate, handle the relatively similar to the U.S. edition is made with less care, and less wood chosen. The pickups have an output level much lower than the U.S., and more screaming. No significant difference between the circuit rhythm and solo the neck pickup. The bridges of the bridge are of poor quality, and disrupt vibrate easily. The stem of vibrato has no restraint in its housing. The factory settings are random facts "wholesale" in speed.
The U.S. reissue: attention to the nitro finish that does not support contact with certain plastics and foams (dark traces separations), and which requires great care so as not to grow old. Quality wood and finish. The pickups have an output level much higher than the Japanese, a little less shrill, but always extremely metallic clicks and over strats and Telecasters, the solo circuit. Its very smooth rhythm of the circuit, bluesy to jazzy. The bridges behave well enough to not really need to change, and the stem of vibrato, differently shaped, is clipped into place and not fall. Instrument very stable and well adjusted at the factory. Playability of the neck which does nothing.
The original 60's: the pickups sound much more mellow and do not have too much acid side of the moderns. The rosewood fingerboard is impressive finesse compared to modern models.
A test of the U.S. reissue:
The guitar sometimes lacks sustain in the bass and the microphone is so acute that the acid distos preamps and have trouble digesting: the tone knob halfway, it was even more acute that a stratum. The neck is a rare comfort, and all the hardware inspires a notch more confidence than what was on the Japanese. Sounds clear arpeggios in the style vibrato / tremolo and reverb plate are beautiful and incomparable style surf / rockabilly. The sound can turn an excess interest to punk and psychobilly, and industrial.
No heavy trash riffs without a preamp modeling compress the sound, attacked by a serious préégalisation to calm acute overflowing.
You can force the volume to appear without the risk of acoustic feedback microphone (not before being overwhelmed by the feedback already ropes to control with beautiful vibrato and fingers).
Purchased at a price highly interesting, this guitar has allowed me to finally compare with my old Japanese: no need to turn the microphones or the bridge, or tinkering with the rod of the vibrato bar so that it does not every turn. The guitar is really usable right now, and it's seriously built. Japanese is a good guitar with some errors easy to correct. The U.S. version has a different smell, a different weight (heavier!), Another sacred feeling and inspires a respect from the start. I would not change it, and do not see the point. For a more versatile and ordinary while keeping the look, the Japanese hotrails equipped Seymour, a buzz-stop and bridges mustang is a more logical choice.
Beautiful guitar.
America cotton smell ...
Here's a quick comparison between the model Japanese alder (last series), the U.S. vintage reissue, and the original U.S.:
The Japanese jag: fully finished in polyurethane, more durable, but do not skate, handle the relatively similar to the U.S. edition is made with less care, and less wood chosen. The pickups have an output level much lower than the U.S., and more screaming. No significant difference between the circuit rhythm and solo the neck pickup. The bridges of the bridge are of poor quality, and disrupt vibrate easily. The stem of vibrato has no restraint in its housing. The factory settings are random facts "wholesale" in speed.
The U.S. reissue: attention to the nitro finish that does not support contact with certain plastics and foams (dark traces separations), and which requires great care so as not to grow old. Quality wood and finish. The pickups have an output level much higher than the Japanese, a little less shrill, but always extremely metallic clicks and over strats and Telecasters, the solo circuit. Its very smooth rhythm of the circuit, bluesy to jazzy. The bridges behave well enough to not really need to change, and the stem of vibrato, differently shaped, is clipped into place and not fall. Instrument very stable and well adjusted at the factory. Playability of the neck which does nothing.
The original 60's: the pickups sound much more mellow and do not have too much acid side of the moderns. The rosewood fingerboard is impressive finesse compared to modern models.
A test of the U.S. reissue:
The guitar sometimes lacks sustain in the bass and the microphone is so acute that the acid distos preamps and have trouble digesting: the tone knob halfway, it was even more acute that a stratum. The neck is a rare comfort, and all the hardware inspires a notch more confidence than what was on the Japanese. Sounds clear arpeggios in the style vibrato / tremolo and reverb plate are beautiful and incomparable style surf / rockabilly. The sound can turn an excess interest to punk and psychobilly, and industrial.
No heavy trash riffs without a preamp modeling compress the sound, attacked by a serious préégalisation to calm acute overflowing.
You can force the volume to appear without the risk of acoustic feedback microphone (not before being overwhelmed by the feedback already ropes to control with beautiful vibrato and fingers).
Purchased at a price highly interesting, this guitar has allowed me to finally compare with my old Japanese: no need to turn the microphones or the bridge, or tinkering with the rod of the vibrato bar so that it does not every turn. The guitar is really usable right now, and it's seriously built. Japanese is a good guitar with some errors easy to correct. The U.S. version has a different smell, a different weight (heavier!), Another sacred feeling and inspires a respect from the start. I would not change it, and do not see the point. For a more versatile and ordinary while keeping the look, the Japanese hotrails equipped Seymour, a buzz-stop and bridges mustang is a more logical choice.
Beautiful guitar.