Kurt Cobain Electric Guitar For Sale (2024 Update)

Sound: Today's guitars are all made on cnc's unless you get something like a US made G&L, those are cut out with bandsaws and routers, like fenders in the 50s up to the 70s. The neck pocket in mine is very clean and neat, the body routing is very clean, the frets were nice out of the box, no misaligned screws or parts, no blemishes in the finish or anything. Features: The least useful feature for a majority of people will be the rhythm circuit, it has its own volume and tone pots and is neck pickup only, with a much darker tone than the neck pickup on the lead circuit, leave the switch in the down position, and you never have to worry about it unless you want an old school jazz guitar tone. Then push that switch up. (It does old jazz guitar really well) Ease of Use: The jazzmaster has quite a bright bridge pickup, makes it well suited for surf, or spaghetti western guitar, but it also means distortion on the bridge pickup will cut through rather well. the neck pickup is strat like, but bigger and thicker. Like a strat neck pickup on steroids. Both pickups together results in a sweet soft sort of quack tone, due to the pickups being so far apart, it's not the same as a strat quack tone, but its very nice sounding. Then of course there's the neck only rhythm circuit which is very much like an old jazz tone (hence the name Jazzmaster)The pickups are generally higher output than most other fender pickups, and work well with distortion. A lot of people still think jazzmaster pickups are p90s. Nope, real jazzmaster pickups are roughly the same size, but thats where the similarities end. They don't even sound similar. This confusion is furthered by the old mexican player jazzmasters, the j mascius, and others that have P90's. Quality: Fender mexico didn't skimp on the electronic parts, the pickups are very much like a mid 60s jazzmaster in sound, even down to the gray bobbins and enamel coated coil wire. Pots are CTS, both switches and the jack are switchcraft, just like they are supposed to be. They should last forever. The trem is built well, but not exactly the same as the old ones, the trem arm is screw in, it really should be a push in arm, like all the old ones. Also, I think the hole of the trem arm in the top plate is way way too big, it only needs to be slightly bigger than the trem arm collet.The tuners are kluson like split shaft, loke fender used from the very earliest days until 68, they're not made by kluson but it doesn't matter the design is too simple to screw up. The frets are vintage, they're always described as tall and thin. They're not tall, but they are thin, it is a 60s styled guitar after all. But I think a lot of people used to 9.5 and flatter radiuses will have problems, it's a 7.25" radius fretboard, requires a bit higher action but a half hour or so of playing, you get used to it. It also has a truss rod nut at the heel of the neck, its a correct feature for all fender's prior to 1971, but man was that a bad design choice on leo fender's part. You either have to loosen the neck a lot or take it completely off to adjust neck relief, and hope you got it right.Now when I got my guitar I took it completely apart (I always do). What I found on the inside could be improved. First was an excessive amount of wire. There is a lot of wire in a jazzmaster, but they didn't even bother cutting the pickup leads to length. Both pickups had about a foot of unnecessary lead wire, so I fixed that.The other issue was a bad conductive paint job in the cavities. The jazzmaster is an electrically noisy guitar, they need all the shielding they can get. The conductive paint was one thin coat, and didn't even go up the sides of the cavities, it wasn't doing anything. From 1958 to the end of the original run around 1980 each jazzmaster had brass tubs in all the cavities, all soldered together and grounded. I don't expect that in a new jazzmaster, but they knew then that it needed shielding. The pickguard in 58 was also gold anodized aluminum, which was excellent for shielding. But the anodizing wasn't good, and the gold wore off after a few months so and looked awful. In 59 fender switched to plastic tort pickguards, with a thin pickguard sized aluminum shield underneath. Anyway I properly shielded the cavities. Also the pickguard only had aluminum tape for the toggle switch to the jack, and another piece for piece for rhythm circuit switch and pots. That ain't going to do it. I added more shielding, put it all back together and it was a major improvement. Recently I decided to see what a proper gold anodized aluminum pickguard would look like on ice blue metallic, and its VERY cool, looks like a 1960s california speed shop modded my guitar, might put some tele knobs on it sometime.I also made another modification, I had a 65 reissue trem and bridge laying around, so I put them on it. In the old days, the lock button, trem

Overall: The fit and finish on this Mexican-made guitar is terrible! The cheaper Indonesian-made version I have is much much better. Fender should be ashamed of themselves for turning out product like this. The frets are not finished on either edge. They'll cut you if you're not careful. The binding on the lower bout is much wider than on the upper bout. The toggle switch is noisy, doesn't engage well, and is cheap feeling. The intonation setup on arrival was not only severely off on the lower strings, but required moving to the alternate saddle screw location on the Floyd bridge. I have other Mexican-made instruments as well. They are all substandard, but this one is the worst. Cannot recommend any Mexican-made Fender instruments.

Overall: This is my second review. I’ve owned three Clapton Stratocasters. I’ve been gigging quite a bit with them. I play classic rock, country, some heavier stuff GNR and stuff like that. I tried to use this guitar for these extensive cover bands. I’ve done maybe 50 shows with the Clapton Stratocaster. I’ve learned a few important things. Here’s some pros and cons: The mid boost really pushes an amp. I mean it pushes. This guitar comes in hotter than my Gibson Les Paul classic and my 2016 standard. You need almost no gain to get break up with this guitar. This is very important to know if you are considering this guitar. The mid boost is always active even when turned down, so the guitar is really hot. That being said, the mid boost compliments certain drives and distortions amazingly well. I’d have to say that’s my favorite thing about the guitar. The mid boost makes most gain channels sound really amazing. I was so hooked on this guitars overdriven sound that I initially bought 3 of these guitars and dropped all my old gear. You could almost use it for Van Halen type sounds. Just be careful because it will push it until it gets muddy depending on your rig. Here’s some real important cons:The mid boost is 25 decibels. That’s a lot. I find that if I have it all the way up the rhythm sounds awesome , but then I cant go any higher in volume for leads without a boost and then you’re getting way too much break up. Of course you call roll off the mid boost for your rhythm but that causes so many inconsistencies in your volume during a show that it gets cumbersome. I mean you cant tell if your knob is at 3, 5 or 7 when on stage in the lights and All that. On top of that, if you don’t roll that mid boost down before you go back to your clean channel, you better watch out because you’ll blast everyone with so much volume it ain’t funny. You can’t get a good clean sound without turning the mid boost down. Basically you have to think that Clapton does not use pedals or clean/ dirty channels. He is using a dimed amp and just this mid boost knob. For most of us pedal users and channel switchers this doesn’t really fit our needs. Be aware ! Here’s my biggest complaint:The volume pot on two of my three Strats went to complete crap within the first 6 months. I mean the volume pot is junk. Do not overturn it or even try to use use it. It will start popping and cracking and no amount of cleaning will fix it. Trust me this is a serious issue that has seriously made me not want to play this guitar anymore. Again if you watch Clapton you’ll see that he doesn’t really use the volume knob so he probably doesn’t notice. The high strings above the 12th fret area can’t be bent very much without fretting out. Especially the first string. If you watch current Clapton live enough just look when he bends really high, you’ll see that it won’t sustain. This is probably due to vintage small fret wire combined with the radius. Similarly the high E string is likely to break if bent to a full bend. On top of that, the high E string is so close to the edge it slips off the neck a lot , and you’ll find your self pushing the saddle in as far as you can. Seriously the high E string is almost useless on this guitar.