knirirr

Interesting - I had not noticed that. Amusingly, the tech mentioned that though he is a Gibson man he has often coveted Jaguars when they've come in, and whilst dealing with this he finally succumbed to the GAS and ordered a Fender custom shop model. Apparently, according to what I have read, they were originally meant to be a luxury model to poach Gibson's customers.

Returned today, with a partial refret, new plate, and setup with flatwound 12s.

I realise that I forgot to list the amp I have at https://www.basschat.co.uk/topic/520908-vox-vx50-gtv-guitar-amp/ here as well. A review of this amp can be seen here, and Vox's product page is worth a look. As the reviewer mentions, this amp is both small and light (< 5kg) and also loud; I've used it for several jams and also a gig (all with a drummer and various saxes etc.) and it has been fine. I never much liked the tone (a bit too rock) or used the effects, so I've replaced it with the recently-discontinued jazz version whilst I still can. I've not included postage in the price as I don't know how much it will be, but in the event of anyone being interested we can discuss options. The box is still present and I'll put in the unused new power supply from the replacement amp (it's identical). There are a couple of small marks on the bottom of the grill surround (pictured) but otherwise it's in good condition and all working.

That is indeed my plan. In addition to some fret and electronics work a new plate on the front should be involved.

In the end I was able to bag a nice Japanese Fender, which is now having some work done on it.

Does anyone know of any shops which aren't too far (perhaps an hour's drive) from North or West Oxfordshire? A persistent case of GAS for a Jaguar or Jazzmaster continues to be a nuisance, and I would rather try before buying. Had this been a year ago I'd have gone to PMT, or made use of the ability to order from them and return any unsuitable items to their Oxford shop. Anderton's looks like the ideal place but a trip there would take up most of a rare free weekend, and I know that the traffic around that area is quite busy at weekends. Going into the centre of Birmingham doesn't look like much fun either.

@Kiwi I only saw your comment just now, apologies. In the end I got a Vox MVX150C1; this is great, other than being a bit heavier than I'd like.

I wonder how much Fender's digital modelling versions of their valve amps will catch on. Those were quite tempting but more expensive and I'm also not sure about the repair situation. On the amateur jazz scene all I'd need would be a simple amp (ideally 12" speaker(s)) with volume, tone and reverb controls. There's no need for effects and I'm very unlikely to encounter a PA in the rural pubs where I get to play.

A good point indeed; there is certainly a risk. Since then I have used it at some jams and it had plenty of volume on the clean channel even with the attenuator on 1/2 power.

For jazz purposes I've had quite a lot of mileage out of a finger across the top four strings in standard tuning. This produces rootless (the bassist is in charge of roots) voicings of Min7, Maj6 and Maj9 chords depending where it's placed. With the addition of another finger one can get a dominant 7 or a 4-note "So What chord".

Thinking that I ought to have a hollow bodied guitar for jazz I bought a Streamliner and have indeed given that Bigsby a wobble from time to time despite it being considered inappropriate within the genre.

In order of discovery: 1. Hank Marvin. 2. Albert King. 3. Wes Montgomery. This was part of a progression from 60s pop; The Shadows were great but led me on a hunt for something more satisfying, eventually reaching 60s jazz. One thing I "learned" from Wes Montgomery was that if playing like him was what was expected from a jazz guitarist then I should stick to bass. This was back in the days where getting any information or tuition was very difficult. Only recently have I started to try guitar again, sounding nothing like him and accepting this.

A late-arriving gift; a set of .012" TI jazz flatwound strings. These will go on an Epiphone LP special once I've had someone who knows what they're doing dress the frets properly.

This year: A book on jazz guitar comping concepts.

If no one mins a jazz mention, here are Wes Montgomery's Gibson L5s: https://jazzguitartoday.com/2020/05/the-many-l5s-of-wes-montgomery/

Is there somewhere nearby you could try one? I had a go at a branch of PMT and didn't buy one in the end; a nice clean tone but not enough clean volume. I didn't investigate the distorted tones. If ordering online from them it can be returned to the nearest branch if not suitable. In the end I got a Vox MVX150C1, but they are now discontinued.

From what I've read, Vox think that it is indeed a sort-of direct equivalent. I'm not sure if it's catching on, though. Recently, I purchased an MVX150C1 (Nutubes in preamp and power amp) but I think they're discontinued; the one I got was the last in stock at PMT and at a discounted price. I've not had chance to try it at a jam, gig or rehearsal yet but the tone seems good to me and I'd guess that it would be loud enough (150W class D 1x12"). Whilst they were generally available they didn't appear to be very popular, as far as I can tell. I've also got a VX50 GTV (Nutube in the preamp) and this has proven to be loud for its size and very portable.

Well, I have obtained an RMA. Now I just need a box, unfortunately having thrown mine out before this guitar broke.

My reasons for having them are that I like the tone (I mostly play jazz) and find them comfortable to play - as you say, I'd not have expected them to cause any issues on a guitar based on a design from that era.

These are the strings: https://www.stringsdirect.co.uk/products/pyramid-gold-13-56-pure-nickel-flatwound-guitar-strings-true-vintage-gauge They shouldn't cause any issues on any decent guitar, I think.

I think I'd prefer to have a refund and buy something else better made and able to handle heavy strings. A shame, as other than this (and the truss rod which slid out when I was adjusting it) this guitar sounds and feels very good.

Hmmm... Thomann suggested that I try "...gluing 3-4 thin veneer strips to the bushing of the bridge stud using superglue..." or sending it back to them, I hope to not merely try the same.

If it really is bad then perhaps a warranty claim might be in order. But, I'd rather fix it if I can.

This looks like a bit of a nuisance - the tailpiece is coming out on the low-E side. Perhaps my choice of rather heavy string is responsible, or could the angle across the bridge be too steep? Anyway, as far as I can tell the solution is to do the following: 1. Take off the strings and tailpiece. 2. Remove the offending bolt. 3. Put wood glue around the inside of the hole. 4. Hammer the bolt back in (perhaps with a toothpick as a shim) and make sure it's lined up properly. 5. Reverse step 1. I've not tried anything like this before but it's a cheap guitar so I ought to try myself. Is there anything I ought to watch out for?

Following on from this, I have found that Vox do a very similar amp called the Clubman 60. This has a line out. It also lacks or simplifies some of the effects and doesn't have the various emulation (inc. distortion) settings, being designed for a clean tone with (semi-)hollow guitars. It sounds ideal, if I can sell the VX50...