TEST: Fender AV II 66 Jazzmaster

 There are model descriptions in which the underlying intention and the ultimate area of application could not be more diametrically opposed. This is what happened with the Fender Jazzmaster, which was launched in 1958 in order to be able to play “softer” tones in the style of the Gibson models in conjunction with the Tele and Stratocaster models, which had already been very successful to date. The idea was a colossal failure; neither the form nor the final sound output convinced ambitious jazz players of the time. But this did not change the fact that the new Fender flagship had once again developed an iconic body shape with the asymmetrical body and found its main area of application first in surf style, and later in the emerging indie and alternative rock community of the nineties, which Although the instrument was partially renovated with other pickups and bridge constructions, they found the desired departure from the mainstream in this instrument. The fact that the commercial high-flyer band Nirvana with singer/guitarist Kurt Cobain had a Fender Jaguar player, which was not very far from the Jazzmaster in terms of model type, caused an enormous boost in popularity, combined with corresponding sales figures for the instrument. In reminiscence of the golden sixties, we have a Fender AV II 66 JAZZMASTER RW DKR for testing today.

The concept of the Fender AV II 66 JAZZMASTER RW DKR

What makes a Jazzmaster so special? Well, in order to understand the full scope of the concept, you have to keep in mind the battle between the electric guitar protagonists Fender and Gibson in the 50s and 60s. Although the Explorer and Flying V models introduced in 1958 flopped like no other model in Gibson history, the semi-acoustic ES series was able to achieve great success, especially since some of them were also equipped with hum-free humbucker pickups. In the Jazzmaster, Fender is now trying to preserve its own trademarks, but still open up to some points of the Gibson competition, especially when it comes to optical details. One should never forget that Leo Fender's maxim “produce everything as cheaply as possible” always hung over every employee like a sword of Damocles and every visual or acoustic change had to be fought for hard.

When it came to wood, there was no mistaking, as before, what was growing in front of the front door had to be used, i.e. initially a body made of ash, later alder, combined with a 4-fold screw (anyone can screw, you have to learn how to glue...) Maple neck. However, you can already notice the subtle squint towards Gibson in the neck binding, the block inlays and also the rosewood fingerboard, so that the Kalamazoo / Nashville customers also risked a look towards Fullerton.

In order to keep the association with the original from the sixties as strong as possible, several stops have been pulled out for the Fender AV II 66 JAZZMASTER RW DKR, which are intended to send a brand new instrument into a time machine and transport it almost 6 decades into the past. On the one hand, Fender emphasizes that many parts of the instrument, such as the tuners, are manufactured on the same machines as was the case sixty years ago. Furthermore, finishes are used that are mentioned in the same breath as Fender, such as in this case the legendary Dakota Red, whereby not only the body but also the headstock of the Fender AV II 66 JAZZMASTER RW DKR was painted to match. The instrument was sealed with nitro varnish and should take on the popular patina of a vintage instrument within a relatively short time.

The pickups of the Fender AV II 66 JAZZMASTER RW DKR

Although the term “Soapbar” is actually firmly associated with Gibson’s P-90 pickup, some contemporaries tend to also give the Jazzmaster pickups this nickname. In fact, the two protagonists are not that far apart in terms of sound, although there are of course some differences in the details. However, especially in relation to the Fender product line, the two “Pure Vintage '66 Jazzmaster Single Coils” differ significantly from the two predecessor “Caster” models. Although both Jazzmaster pickups are single coils, they have a significantly softer and warmer basic sound, especially in A/B comparison to Strat and Tele. However, the interference remains when the coils are operated individually, but at least in parallel operation there is a humbucker effect due to the reverse polarity, which significantly reduces the background noise. Both pickups are switched with a traditional three-way switch along with a master volume and master tone control.

Of course, all of this wasn't nearly enough to drive the convinced Super 400 or L-5 player out of Gibson hands and into Fender arms. The appearance and, above all, the latent “musty” basic sound of the “big Bertas” were firmly anchored in the band/orchestra setup and could not be replaced so quickly. Aware of this, Fender wanted to offer an alternative, at least in terms of sound, and offers a second circuit that is clearly geared towards “jazz”. As in the first circuit, a treble-friendly 1 mega ohm potentiometer regulated the volume, but a resistor of 50 kOhm was selected for the tone control, which ensures strong attenuation of the treble and only affects the neck pickup. In addition to an on/off slider, volume and treble attenuation can be adjusted using two roller potentiometers. With a simple slide you can switch from a dull rhythm sound to a cutting lead sound in a fraction of a second.

The vibrato system

Another special feature is the vibrato system of the Fender AV II 66 JAZZMASTER RW DKR. The system, which is subtly reminiscent of a Bigsby system in terms of how it works, is adopted 1:1 from its original, including the advantages and disadvantages of the same. According to the way it works, the free floating system can be used to create wonderfully “shimmering” detunings, although the way it works is much more subtle than the Strat vibrato system, which works much more directly.

However, Fender has also taken on the big problem in the form of the very moderate contact pressure of the strings on the bridge. Due to the very flat angle at which the strings run over the grooved saddles to the pick-up point of the vibrato system, the contact pressure is so low that you can easily lift the strings out of their anchorages with one finger. This means that the individual strings can jump out of their anchorage when played hard, at least with the factory-wound 010 set. If you equip the instrument with a “real” jazz set of 012-054 or more, many of the details within the instrument make much more sense.

The fact that Leo Fender once again listened to the musicians' wishes with the Jazzmaster can be seen, for example, in the vibrato lock in the form of a metallic button, which locks the vibrato unit upwards in the "blockade position". With a free floating system, in an emergency you can still play the song with a broken string without the tuning getting completely out of control.

The Fender AV II 66 JAZZMASTER RW DKR in practice

When you pick up the Fender AV II 66 JAZZMASTER RW DKR for the first time, you immediately feel how comfortable the instrument is to play while sitting. Logically, most jazz players perform their craft at least in an orchestra while sitting, which was taken into account in the design. The instrument lies very comfortably on your thighs, no matter what sitting position you adopt. The workmanship is impeccable, the feel is classic, the feel is traditional and very pleasant.

In terms of sound, the Fender AV II 66 JAZZMASTER RW DKR actually offers the entire Fender universe in a subtly toned down version compared to the Caster line, although the basic sound captures the Californian sound aesthetic to the point. With a slapback echo or a spring reverb in clean mode, with subtle crunch in the realm of rock'n'roll or with loud alternative attitudes with a fuzz pedal in the first position, the Fender AV II 66 JAZZMASTER RW DKR is indeed a outstanding piece of guitar history, which Fender brings very tastefully into the present. Oh yes, you can actually generate jazz with the instrument, but please name me a player who uses a Jazzmaster for its originally intended area of use.

Practice

With the Fender AV II 66 JAZZMASTER RW DKR, the capital “F” offers another classic from the company’s history in a traditional vintage guise. The materials used and the construction are as close as possible to the originals, which had their heyday almost 6 decades ago, without falling into the Relic craze, which sometimes delivers more than just crude results.

The user has to do the “playing” of the instrument himself, although the construction and the varnishes used support the endeavor in every respect. The bottom line is that this is a very good instrument that has gone down in guitar history as a classic for a reason.

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Additional Informations:

The Fender Jazzmaster stands as a testament to the innovative spirit of its creators and the ever-evolving landscape of electric guitars. Introduced in 1958 by the legendary instrument maker Leo Fender, the Jazzmaster was initially intended to cater to the needs of jazz musicians. However, its unique design, versatile sound, and distinct aesthetic soon made it a favorite among musicians across genres. To truly appreciate the Jazzmaster's journey, one must delve into its rich history, tracing its evolution from conception to its enduring legacy in the world of music.

Genesis of the Jazzmaster:
In the late 1950s, Fender had already made a name for itself with its iconic Telecaster and Stratocaster models. Seeking to expand its lineup and appeal to a broader audience, Fender set out to create a guitar that would offer a more refined and sophisticated sound suitable for jazz music. The result of this endeavor was the Fender Jazzmaster, introduced to the public in 1958 at the NAMM Show in Anaheim, California. With its offset waist, distinctive pickups, and smooth tremolo system, the Jazzmaster represented a departure from Fender's previous designs and marked a new chapter in the company's history.

Innovative Features and Design:
The Fender Jazzmaster was packed with innovative features that set it apart from its predecessors. One of its most notable features was its unique set of pickups, known as Jazzmaster pickups, which were designed to produce a warmer, smoother tone ideal for jazz music. Additionally, the Jazzmaster featured a floating tremolo system, allowing players to create subtle pitch variations and dive-bombing effects with ease. The guitar's offset waist and sleek contours also contributed to its comfortable playability, making it a favorite among musicians who spent long hours on stage.

Reception and Evolution:
While initially marketed towards jazz musicians, the Fender Jazzmaster quickly found favor with players across a variety of genres. Its rich, mellow tone and versatile sound made it a popular choice among surf rock guitarists in the 1960s, with iconic bands like The Beach Boys and The Ventures incorporating the Jazzmaster into their signature sound. As the decades passed, the Jazzmaster continued to evolve, with Fender introducing various modifications and updates to keep pace with changing musical trends. In the 1990s and early 2000s, the Jazzmaster experienced a resurgence in popularity, thanks in part to its adoption by alternative rock and indie artists seeking its distinctive sound and retro aesthetic.

Cultural Impact and Legacy:
Beyond its technical innovations, the Fender Jazzmaster left an indelible mark on the cultural landscape of the 20th century. Its sleek design and versatile sound made it a symbol of artistic expression and rebellion, embodying the spirit of musical innovation and experimentation. The Jazzmaster's influence extended beyond the realm of music, permeating fashion, art, and popular culture, and cementing its status as an enduring icon of cool.

Conclusion:
The Fender Jazzmaster stands as a testament to the enduring legacy of Leo Fender and the pioneering spirit of innovation that defined the golden age of electric guitars. From its humble beginnings as a niche instrument for jazz musicians to its status as a beloved icon of popular music, the Jazzmaster has left an indelible mark on the world of music and continues to inspire generations of musicians and enthusiasts alike. As we look to the future, one thing remains certain: the Fender Jazzmaster will always hold a special place in the hearts of musicians and collectors as a symbol of creativity, individuality, and the transformative power of music.