Here’s a fun way to update your loyal 6-string’s look.
You know the feeling: Your favorite Strat isn’t getting as much attention as it once did—that old spark just isn’t there. Perhaps you’ve even been thumbing through gear catalogs or surfing the web to ogle new guitars. They look sharp, don’t they?
Wait! Before you take another step toward replacing your trusty axe with a new one, consider something less drastic. Perhaps it’s time to update your loyal 6-string’s look with a snazzy new pickguard—it’s a quick, inexpensive, and fun way to rekindle the flame.
Strat pickguards come in a mind-bending variety of colors and styles, from classic tortoise, mint green, or mother-of-toilet-seat to goth skulls, vintage pin-up artwork, Celtic knots, and even reflective acrylic. Why not shake things up a bit? It’s easy to revert to the original guard if you decide you don’t dig the new look. This project only requires a small investment of cash and time, so give it a shot. The hardest part might be selecting a new guard from the plethora of choices.
Replacing your pickguard is a relatively simple undertaking, but as with any guitar mod, it’s important to plan ahead by having the right tools and understanding each step of the operation. By the way, the process is similar for Telecasters, and there are as many replacement options as with a Strat, so you can easily adapt this project to Leo’s first 6-string creation.
Project overview. To walk you through the steps, I’ll replace a worn, scratched, and cracked pickguard on a client’s Fender Stratocaster (Photo 1) with a new, 11-hole antique white replacement from Allparts.
Tip: Before you tear into your guitar, take a moment to visually confirm that the holes in your replacement pickguard match up with the old one. Not all aftermarket pickguards will retrofit perfectly, and checking this now will spare some frustration.
Photo 2
Here’s what you’ll need for this project: a 6" machinist rule, a 1/2", 7/16", or 10 mm nut driver, a medium Phillips head screwdriver, and a string winder. And, of course, your new replacement pickguard.
Getting started. First, remove the strings. Next, gently pull off the knobs and the tip of the pickup selector switch. If the volume and tone knobs don’t pull off easily, slide a thin machinist rule under each knob and gently pry it off (Photo 2). It helps to turn the knob while prying and pulling.
Photo 3
With your nut driver, unscrew the nuts that secure the volume and tone controls to the pickguard (Photo 3). Most volume and tone pots require a 1/2" socket, but in some cases you may need a 7/16" or even a 10 mm driver. Let the pots drop into the body.
Use a medium Phillips screwdriver to remove the screws holding the pickups and switch to the old pickguard. (Note: While most pickup selector switches have Phillips head screws, some have slot head screws. If so, you know what to do.) Turn these screws counter-clockwise to back them out. As with the pots, it’s okay to let the pickups and switch fall into the body—it’s a great way to keep everything organized and protected. Make sure all the height-adjustment springs stay with the pickups.
Photo 4
Out with the old. Now we’re ready to remove the pickguard. Like many Strat pickguards, the one on our project guitar attaches to the body with 11 mounting screws, but be aware that some pickguards only have eight mounting screws. (Telecaster pickguards typically have either five or eight mounting screws.) Grab that Phillips screwdriver, back out all the mounting screws, and gently lift the pickguard off the body (Photo 4).
Tip: Always place the knobs, washers, nuts, and screws in a container to avoid misplacing them (Photo 5).
Photo 5
Got an extension? Before you mount the pickups and electronics on the new pickguard, check it one more time to make sure the mounting holes match the holes in the guitar body.
Also—this is important—look at where the fretboard meets the body. On some guitar necks (for example, the 22-fret necks found on American Standard Strats), the fretboard extends slightly over the pickguard. If your guitar has an extended fretboard, take a moment to confirm that the new pickguard has enough room to slip under the extension without pressing up against it. If the fit is too tight, you’ll run the risk of warping the fretboard extension over time. The pickguard should slide into the gap without you having to force it in.
On a guitar with an extended fretboard, it can be tricky to slide a loaded pickguard under the extension—the pickups and electronics may get in the way. No worries: The fix is to temporarily remove the neck before installing the loaded pickguard on the body. It’s not a big deal, but you’ll want to anticipate this.
Install the pickups. A new pickguard is typically covered with a thin piece of static film that protects it from scratches. Peel this off before installing the pickups onto the guard.
Photo 6
I like to begin with the neck pickup. Slide one of the pickup mounting screws into the pickguard, place the pickup spring over the screw, and press the pickup towards the screw. Grab your Philips screwdriver and tighten the screw to mount one side of the pickup to the guard (Photo 6). I find it easiest to hold the pickup and guard with my left hand while turning the screw clockwise with my right. Once you have one side of the pickup mounted, follow the same procedure for the other side. Repeat this process for each pickup.
Install the electronics. Next, push the switch into the pickguard and install its mounting screws. Once the two mounting screws are snug, you’re ready to move on to the pots.
Slip the pots into the pickguard and place the washer and nut over the shaft. Turn the nut clockwise while holding the back of the pot to prevent it from spinning and breaking the connecting wires. To keep each pot stable, I recommend putting a lock washer between it and the underside of the pickguard. Tighten the nuts until they are snug enough to keep the pot from spinning, but don’t get carried away—you don’t want to strip the threads.
Time to put the volume and tone knobs back on. After positioning each knob so its numbers line up the way you want them to, press it down onto its respective shaft. Don’t force the knobs—you can damage the pot. Now put the switch tip on.
Mount the pickguard. Hey, we’re almost done. Nestle the pickguard down onto the body—make sure to tuck all the wires into their cavities—and then attach it with the mounting screws. Once again, just tighten the screws until they’re snug. Don’t strip out the screw holes with excessive torque.
Photo 7
Restring the guitar and then adjust the pickups’ height. There’s an art to this, and it’s key to getting a great Strat tone. You’ll find the details in my Guitar Shop 101 column “How to Balance Pickups on Strats and Teles.”
All righty, we’re done (Photo 7). Now that your guitar has a fresh look, why not celebrate by learning some new licks?Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.