pinter instruments

Gear of the Year 2017

Another year, another dazzling parade of pedals, guitars, amps, modelers, and accessories that made our noggins spin.

Fractal Audio Systems AX8

Fractal Audio System’s rackmount Axe-Fx units awakened many players to the possibilities of digitally modeled amps, cabinets, and effects. The AX8 puts Fractal’s realistic modeling technology into the pedalboard format and provides plenty of juice for most applications. The ruggedly built unit sounds stellar, and if you invest the effort to get acquainted with this open-ended device, you’re likely to be inspired.

$1,299 street
fractalaudio.com

Click here to read the full review

This year’s Premier Gear Award winners are, as usual, an eclectic set—full of old-school vintage homage, leading-edge digital developments, and imaginative meetings of those worlds. Dig in and dig it as we revisit the gear that fired the enthusiasm and wonder of our editors and contributors in 2017.

Pinter SB1-J Jazz Jr. Review

Though specifically designed for flatwound bebopping, this stellar instrument handles a variety of genres—including aggro ones—with aplomb.

Even for the most jaded of guitar writers, there are still times when you open a case and mutter, “What the … ?”

That was pretty much my reaction when I unboxed the SP1-1 Jazz Jr. from Los Angeles luthier Michael Pinter. Where to start? The unusual body shape suggests a long-lost cousin of the Coral Electric Sitar. There’s wood-grain veneer on top of the pickups. The logo appears not on the headstock, but inlaid into the body on the bass side of the neck pocket.

And perhaps oddest of all, this slim, bolt-on-neck solidbody is pitched as a jazz guitar. “The SB1-J Jazz Jr. is our take on what a jazz guitar can be,” reads Pinter’s website. “What it is not is just an electric solidbody fitted with flatwounds. Rather, it was designed from the ground up with the jazz artist playing flatwound strings in mind. It is called the Jazz Jr. because it is not your traditional jazz box.” Ya think?

Flats for Cats
The designed-for-flatwounds claim sent my BS detector into the red zone. Strats, Teles, Pauls, and 335s were all created with flatwounds in mind, as were almost all electric guitar designs that originated before the mid-1960s. And how can it be built from the ground up for jazz when Pinter’s three non-jazz SP1 models feature the same neck and body?

Separately and together, the two pickups sound stunning. Their impact and tones are exceedingly piano-like, with definitive attack and phenomenal midrange complexity.

Oh, me of little faith. This is a fabulous guitar, and yes, it sounds sublime with flatwound strings.

A Righteous Sound
The biggest difference between the Jazz Jr. and Pinter’s other models are the guitar’s pickups. Joshua Spataro of Righteous Sound Pickups designed these especially for the SB1-J. Spataro is uncommonly secretive about his pickup recipes. He won’t even disclose the DC resistance of his creations. But beneath those decorative faux-wood caps lie a bridge humbucker of modest output and maximum definition and Spataro’s take on a traditional Tele neck pickup.

Separately and together, the two pickups sound stunning. Their impact and tones are exceedingly piano-like, with definitive attack and great midrange complexity. The pair is perfectly matched. The humbucker never outweighs the single-coil. Their colors run the gamut from “articulate warmth” to “slighter, brighter articulate warmth.” Tones maintain remarkable string-to-string definition despite their sheer mass. They’re perfect for solo jazz players who embrace counterpoint and chord-melody playing, though they’re equally lovely for single-note soloing.

Built for Comfort
The Jazz Jr.’s playability is as extraordinary as its pickups. The alder body, with its understated belly and forearm bevels, balances nicely. It’s light and zingy, with excellent acoustic sustain. The crafty cutaway makes the 22^nd fret as accessible as the first. The asymmetrical 4-screw neck plate is another eye-catching detail.