Danley wrote: ↑Wed Jan 22, 2020 1:22 pm
Especially if the Strat trem is ‘floating,’ the springs contribute to tone - and potentially impart a ‘flutter’ after your attack, if only two springs are used. A Floyd does that too, but a Mustang Vibrato set to float will make that involuntary ‘attack flutter’ near unavoidable.
I think the impact of Jaguar/Jazzmaster ‘overtones’ on the amp’d tone of the instrument are a bit over-stated IMO but they definitely exist. They do have the brightness to the attack that really makes surfy trem-picked passages shine.
I agree re: floating strat trems and Mustangs.
When it comes to Jag and JM overtones, I find significant differences from one instrument to the next. Bridge type, action, break angle, string gauge, scale length, etc can vary from one guitar to the next. I have one jag that absolutely cannot be used for any kind of staccato or palm mute at high gain without overwhelmingly noticeable BTB notes coming through the amp.
Now, it's the only one that really does that, and I have plenty of jags and a JM that have far, far subtler BTB notes/overtones that probably just add a little "air", but I had to mention my one jag to say that I now understand why some people think they're a really big deal. If that was my only offset, I'd definitely think they'd be of limited use for certain genres of music. I mean, the muted notes of funk rhythms come through like a sonic youth caucophany and distorted palm mutes are somewhat comical if you're not playing a song that tolerates some dissonance.
The artist formerly known as mbene085.