DIY: How to Adjust Your Guitar Neck Relief and Truss Rod - Plus Your Work Fix |  how helmers

DIY: How to Adjust Your Guitar Neck Relief and Truss Rod – Plus Your Work Fix | how helmers

Although the ’72 Thinline reissue has been a staple of the Fender and Squier lines for years, the pickups on those guitars were just a visual approximation of the wide-ranging pickups that made the originals so distinct. But thanks to the introduction of Fender’s new CuNiFe magnet-based wide range pickups, the new American Vintage II ’72 Telecaster Thinline is now in the healthiest look since the original – right down to Lover’s wide range units, 1 megabyte difference, and half Diameter 7.25″ fretboard. It’s a lively, exciting, rich-sounding instrument that spans Fender and Gibson compositions while inhabiting a world of tunes of its own.

Fender ’72 American Vintage II Telecaster Thinline Demo | The first sight

Mixing, magnet and roller applications

Avoiding patent infringement is a strong motivation for invention. When Seth Lover came to Fender from Gibson in the late 1960s, he inherited a directive to create a humbucker that hits Gibson. To do this, he’ll need to avoid copying the PAF he built for Gibson. But Lover also had a specific, self-imposed goal: to build a more sonic pickup that retained the fast, transient response of the Fender’s single coils. A lover’s job was like sewing a needle. For a long time, there was a common consensus that the large-scale experiment had failed. But in the intervening years, open minds and ears have proven just how versatile, beautiful and powerful the sound can be in the wide range. It’s also a case study of how a series of small design pivots can yield all the unexpected.

Structurally, the differences between the broadband control instrument and the Gibson PAF are minor but significant. In PAF, steel shaft pieces concentrate a charge from an Alnico rod magnet at the pickup base. However, the wide range uses adjustable pole pieces as magnets – a design enabled with CuNiFe, a malleable magnetic alloy of copper, nickel, and iron that can be formed into magnetic bolts. When Lover designed the wide range, CuNiFe was widely used to manufacture tachometers, speedometers, and other gauges. It was relatively cheap and plentiful. But as metrics become increasingly digital, CuNiFe has become increasingly unpopular. Cheap supplies dwindled. It wasn’t long before the wide range pickup was gone, too.

In the decades since, many of the great pickup builders have debated what makes classic wide-range pickup trucks so special — and the role CuNiFe magnets play. What is certain is that CuNiFe has led Seth Lover to a very exciting series of engineering modifications. Consider this chain of events: The low iron content of the CuNiFe alloy makes it difficult to extract the low warmth in capture applications. This requires larger spools and more coils of wire. The resulting wider spacing between spools also means wider pickup, which in turn reads vibrations along a longer stretch of thread. Needless to say, there is a lot that can explain the unique sound of a wide range.

Fender engineer Tim Shaw, who developed the new wide-band pickups and who delves into the nitty-gritty of these matters, asserts that CuNiFe is an indispensable component of the acoustic signature of a broadband, a material with individual properties that are highly audible and recognizable. “As a designer, we almost can’t work with an entirely different magnetic family,” Shaw says. “It’s like having a new scale or a set of strings to play with. Even when the CuNiFe is outdone, it (retains) definition and a very cool and musical finish. This has been a huge inspiration for me.”

Although Shaw takes broadly sticking to the original formula, he expressed them to accommodate the extreme ranges of what he had heard in many ancient samples. His team made another important decision regarding authenticity that pays audio dividends here using the 1-megapotentiometers used by Fender in the early 1970s. While people like Shaw care less about the taper of the 1 mega-pots (it’s noticeably less smooth), they’re noticeably brighter than the 500,000 pots when the guitar tone and volume are open wide. Some players love the PAF-like output you get from 500,000 bets. Others find 1 megabyte pots to be the key to making wide range sound distinctive and vibrant. After a few days of using the American Vintage II version of the ’72 Thinline Telecaster, I tend to agree with the latter camp.

alive and kicked

Playing the American Vintage II Telecaster Thinline straight into a clean loud subwoofer, it’s easy to hear how inspiring Lover’s vision was. Picking up the Thinline bridge feels like a single coil remote transmitter that assembles without adding an ounce of fat. The upper limb is clear, stinging, and toothed. And although the low strings have an enhanced sense of mass when compared to a single-coil broadcast station, they still ring like Bakersfield in a bottle. This harmonic profile means the 72’s thin line doesn’t really elevate the low and mid-low in a mix, but it can still drive a subwoofer deliciously and create a sense of added heft and explosive excitement. The pickup at the neck also balances mass and detail with grace. Both trucks make noises that I looked for in Les Pauls and never found them. I suspect Seth Lover will be tickled.

Don’t be afraid to break up

Pickups weren’t the only deviations from design standards that marked the Thin Line 72. The first Thinline Telecaster, which appeared in 1969, was brainwashed by Roger Rossmaisl, best known for designing Rickenbacker 300 series guitars, among others, before Moving on to Fender and envisioning Coronado, Montego, and the company’s sound line in the mid-1960s. . To create a thinner, lighter, semi-hollow line, Rossmaisl adopted a construction technique he had developed for Rickenbacker: routing the acoustic chambers from a solid section of ash, then covering the back of the guitar with a thinner section of wood. On the new American Vintage II version, the ash body is made of two solid ash sections glued together at the guitar’s centerline. Because boring beetles endanger ash trees, visually perfect specimens of wood are unavailable these days. As a result, the grain in the two sections that make up our review guitar is less than perfectly matched. However, the natural blond brown is beautiful and represents a beautiful visual link between the first Blackguard Telecaster and this more disjointed variation of the model.

The Thinline’s semi-hollow construction results in audible differences as well. Compared to solid ash broadcast inverters, the fine line sounds smarter, resonant, and vibrant – especially in the mid-range. This difference is also evident when the guitar is connected, and the more resonant body characteristics are a great match for active people of determination with a broad range. Together, they make The Fine Line feel exceptionally responsive and alert.

Fender chose to reconsider the company’s 7.25-inch fretboard radius across the entire American Vintage II line. And for this reviewer at least, the development is welcome. I know flat radius attract happy players. But when combined with the beautifully draped edges on the one-piece maple neck of this thin line and its seemingly very late ’60s C-side profile, the slender radius feels fast and luscious under the fingers. And while the movement felt very low, the deep bend never produced choked notes or rattling. Is 7.25″ too curvy to bend? I don’t know. Maybe you should talk to Jimi Hendrix and David Gilmore about that. I think it feels great.

The Thinline is fun in other respects. The semi-hollow construction makes it relatively light (although attackers probably make up for this feature with a single touch). And while the volume and tone knobs are located a lot further than those on a traditional Telecaster or Stratocaster, the three-way pickup switch, which is tilted at an angle similar to the Stratocaster pickup switch, is an inspiring move that makes switching smoother. .


In terms of function, sound, and style, time proves to be nice on the 72 Telecaster Thinline. And in this second classic American incarnation, improvements to the wide-ranging pickup truck make the Thinline a true, attractive, unique alternative to Gibsons and more recognizable bulkhead sounds as well. The peculiarities of trucks with a wide range and configuration of the 1meg potentiometer will not be available to everyone. The guitar can sound very bright. And I suspect that players who only want PAF sounds from their phone operator will have the same complaints they’ve always had. But for any player who loves the feel of the old Fender but is interested in a more unique individual soundboard, the ’72 Telecaster Thinline is a nice playful fun.

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