If you’ve been around the shop at all in the last year, chances are you’ve met the third ‘Mike’ AKA Matt. Matt’s a good friend of ours and Mike Ball’s band mate in The Verb, Goldie Wilson and Elephant Runner. I always thought our little shop was pretty cool, but I can honestly say that having Matt around is a huge boon for us; never has our shipping department run so smoothly, nor have our books looked so pulpy.
Matt’s a fantastic bass player in The Verb and Goldie Wilson, anchoring the low end on his Fender Jazz Bass with an equally thick and loud tone. He’s also a great guitarist, but Matt has had a hell of a time getting everything he wants out of his trusty Telecaster.
His Tele, we think, is a bit of a hodge-podge, and so it’s not entirely clear which parts are original Fender and which are from non-Fender sources. It’s a fundamentally good instrument. It’s equipped with an ultra-wide ’50s style maple neck, what we assume to be an alder body (that paint is seriously thick) and standard electronics, save for the pickups: in the bridge is a microphonic ’59 Esquire model from Illusion Pickups, but there was a big surprise in the neck: a gold Gibson Firebird pickup we later discovered was a vintage patent number pickup from the 1960s! Score!
Even with what should be a great pickup combo, the guitar didn’t have quite the tonal options Matt was looking for, so he decided a third pickup was in order. After discussing all of the available options a few months ago, Matt became enamored with the look and sound of the Charlie Christian pickups wound by Jason Lollar. And who could blame him; with a louder, darker personality, we believe the CC would end up being the perfect panacea for the otherwise bright tone of this particular instrument.
“I’m working here! I’m working here!”
Installation of the Lollar CC pickup requires the addition of an oversized, rectangular pickup route in order to fit the vaguely triangular bottom bobbin of the pickup. By a stroke of pure coincidence, our good friend Phil had shown up at the shop some time ago with a set of router templates for–you guessed it–the Lollar CC pickup. Armed with those beautiful plexiglass templates, the hard part of my job was already done!
Aside from the additional pickup, Matt also asked for one of our vinyl record pickguards, this one cut from the Midnight Cowboy soundtrack. (We’ve taken to calling the guitar that, too.) We also replaced the non-Fender ashtray bridge with a Joe Barden unit with compensated brass saddles and a handy cutout on the treble side, which is something I wish other companies would add as an option.
Controlling all three pickups is a rather ingenious scheme, and I wish I could say I thought of it all by myself. Matt wanted to be able to retain the familiar Telecaster controls of standard models with the added ability to blend in the middle as needed. Sure, we went through a number of custom wiring ideas including putting the CC on a push-pull pot, using a five-way Strat switch, maybe even a blend knob, but nothing really struck Matt’s fancy. Then Matt had the brilliant idea of using concentric pots just like the ones found on the earliest Fender ‘stack knob’ Jazz Basses. Incidentally, those happen to be my favorite Jazz Basses.
It just so happened that AllParts stocks the proper concentric pots and knobs for that exact Jazz Bass model, with an inner 500K and a 250K on the outside. These are meant to be wired as a combination volume and tone control for each pickup, but we devised something a little more fun: the 250K pots of each control wired together as a standard Telecaster control scheme, and the 500Ks utilized as volume and tone for the Charlie Christian!
“I ain’t a f’real cowboy. But I am one helluva stud!”
All wired up, this thing is impressive; the bridge pickup gives you that classic Tele twang and bite, but the Firebird pickup in the neck adds a whole other dimension of paradoxically warm yet bright tone. But that Lollar CC… that’s the star of the show! When soloed, it has a P90 sort of feel but much smoother and darker, and it doesn’t bark as much as it rolls over for tummy rubs. When blended with either of the other two pickups, it’s as if you’re hearing more of the guitar, almost as if the tone is being de-electrified; It’s really something to behold.
After reassembly, we finally decided the bridge pickup was far too microphonic to be useful, so we gave it a thorough wax bath. Armed with our Goodwill crock pot (which set us back a hefty $4) and a pound of wax, we bathed the pickup for about 15 minutes. I’m happy to report that not only did the pickup perform beautifully when reintroduced to the guitar (quieter than ever!) but we now have enough wax to pot every pickup ever made since the 1950s. I had never considered what a pound of wax looks like, but I can now tell you we have approximately a door of wax.
I also went ahead and cut a new, unbleached bone nut for Matt as the string spacing on the original was just too damn wide. The wide neck is a plus for Matt, accustomed as he is to bass necks, but when both E strings just want to fall off the side of the neck, adjusting the spacing can only be a good thing. And unbleached bone just looks soooooo good.
The end result:
Check that out! Pretty sweet, right? I really enjoy doing these one-off custom jobs, and Matt’s Telecaster has never looked, sounded or felt better! Get in touch with us if an off-the-beaten-path custom job is in your future!