The Hagstom II: Swede or Super Swede

Yeah, I know, cool looking Guitar right? That's what I said when I saw this red royale. Is it a Teisco? Or, maybe an Eko? Awe, yes, Hagstrom.

I'm a sucker for weird looking Guitars, especially ones from this time period, which is about 1965. Hagstrom, along with other European manufacturers were starting to pickup on the phenomenon that was rock-n-roll, and revamping their music manufacturing facilities to switch from producing accordions, the biggest market at the time, to producing Electric Guitars. In the changeover and retooling of production, the manufacturers combined some of the "aesthetics" of the accordion, sparkly covering, lots of switches on the control plate, polka-dots and blended them into their own unique designs. These funky European designs were a unique contrast from the U.S. style of the time, Fenders utilitarian Telecaster, the more advanced Stratocaster (which was by all means non-traditional), or Gibson's "old world" style arch top/solid body designs. At first glance the Hagstrom II looks like a mix between Fenders Jaguar Guitar body style, along with the Fender style headstock shape, but with a double cut away horn and body contours of a Gibson SG. Aside from other subtle design features, lets take a look at what really differentiates Hagstrom Guitars from the others and that is the neck.



One of the first things that you notice when picking up this Guitar to play, is that the neck is really, really thin. Hagstroms were marketed to have really fast playing/feeling necks compared to other instruments and they were able to achieve this through their design of the truss rod. The truss rod is a steel threaded rod that runs through the center of the neck and is used to make adjustments in neck relief, or how much bow occurs when string tension is applied. A Guitar tuned to pitch averages about 120lbs. of pressure to the neck, making the truss rod a key component in counteracting this pressure, not having the neck resemble something like a ski-jump and more like a flat playing surface.

While most manufacturers were content with using a single truss rod, Hagstrom had to come with a new design in order to keep their thinner necks more stable. What they came up with is the "H" bar design. This design takes the existing truss rod, wrap it in steel and shaped to resemble the letter "H" (check out the photo). Not only does the "H" bar take care of potential Neck bow, it inhibits the Neck from wanting to twist as well ( a potential problem, if the wood wants to revert back to it's pre-Guitar form). Necks with this style of truss-rod are very stable and what I think is a clever design solution. So, how does it sound?


This Guitar came in with the electronics not working properly. Once I got the minor bugs worked out and proper components replaced, I plugged it into my Blackface Fender Bassman amp on a clean setting. The Swede sounds very Fender Mustang/Teisco Del ray like. The pickups visually resemble a p-90 but sound very Fender style single coil, with very low output. The neck pickup I particularly enjoyed as it had a scooped mid range with a more rounded top end and in adding the bridge pickup brought on more defined sparkly highs. The bridge pickup by itself sounded more along the lines of an am radio, which is par for the course with this style of pickup. The controls consist of an overall on/off switch, neck pickup on/off , bridge pickup on/off, tone on/off (instead of the usual tone control knob), a mute switch (which acts more like a rhythm/lead switch) and a single Volume knob. I was able to get sounds ranging from low-fi garage rock to a grittier blues sounds and everything in between.

The Hagstrom II is just a fun Guitar to play, backed by some serious design consideration. I would recommend anyone to pick one up, if they get the chance.

Ibanez Tube Screamer and the Maxon OD-9

I have never really cared for the Ibanez TS-9. I've just never understood what people liked about them. But be fair, my first encounter with the little green box of voodoo was quite a few year after its historical debut. Let us start our discussion with a excerpt from a great book that we have at the shop on vintage effects pedals, titled The Stompbox.

The Ibanez story dates back to 1908, when Matsujiro Hoshino opened a book and stationery store in Nagoya, Japan. By 1932 Hoshino was producing guitars under the Ibanez name, and 30 years later the Honshino Guitar Company purchased half interest in a small American guitar firm called Elger that had been importing guitars from Hoshino and other Japanese companies.

Marketing manager Roy Miahara describes Ibanez's early pedal efforts: "When Ibanez CEO Tom Tanaka saw MXR stuff. We began making copies of it. In those days the Yen was 260 or 270 to the dollar. You didn't have to worry about marketing anything, You could just bring it over here and make tons of money on it. Nisshin made all of Ibanez's pedals, and they also owned the name Maxon.

One of Ibanez's most famous effects was the TS-9 Tube Screamer, medium-gain overdrive unit designed to emulate the sound of a tube amp. Designed by Nisshin in the early '80's and made legendary by Stevie Ray Vaughan and Eric Johnson, the TS-9 was essentially a repacked version of an earlier Ibanez/Nisshin hit, the TS-808. The only difference between the them are the values of the two resistor in their output; a TS-808 has a 10kΩ resistor and a 100kΩ resitor, while the TS-9 uses 100kΩ and 470kΩ resistors. "I don't think I used the TS-9 the way they made it to be used," Stevie Ray told Guitar Player in 1983. "I have it set so it makes everything sound turned up."

Back to present day, we can find the Tube Scream of legend and myth in the Maxon OD-9 Made in Japan by Nisshin to the original spec complete with the JRC4558 IC chip. We ordered a few in at the shop to check them out. They are very well made and sound like the best examples of the vintage Tube Screamer that I have heard. But I still do not like the compressed high end and lack of clarity. The circuit itself is not a bad design, that I like. What I do not like is the JRC4558. Yes, I know that chip has more voodoo rubbed on it than a team of Haitian witch doctors could supply. But Nisshin didn't select that IC for any other reason than that it was inexpensive, stable and readily available. There were other ICs used in the TS-9 but the JRC4558 was the best IC chip that Nisshin used and is very appropriate for a reissue.

My taste is to upgrade this pedal to something a little more refined. We tried a modern IC chip by Burr Brown with a few other tweaks. The results were very pleasing. Opened up the high end, clearer mids, fatter lows, plus a touch more gain.

Our research has convinced me that the Maxon OD-9 deserves a home at Full Custom Music Repair both modded and stock. We also have a few other effects pedals in stock as well, some used and some new. We will be expanding our inventory of vintage, new and modded effects as per customer demand.

A Word About Biasing

I'm asked about biasing tube amps quite frequently. And often my dilemma is how much information do I give and just how to package it? I have always like how Aspen Pittman, founder of Groove Tubes explains biasing. Here are a few excerpts from Groove Tubes Reference Guide, published circa 1983.

The bias control on an amp is much like the idle control on an engine. That is to say, there is an optimum point of bias for an amplifier that allows for good sound and maximum tube life. This optimum bias point will be different with a new set of tubes no matter which tubes you buy so the bias should always be checked when changing power tubes. (pre-amp tubes are self-biasing)

"Under Biased Amp"

Amp is "idling to high" so tubes are running too very hot causing them to burn out fast and possibly to short-out. The tubes plates (large gray metal housing) will glow red from heat and amp will lack punch and might hum. The orange GROOVE TUBES paint will turn brown rapidly if amp is under biased.

"Over Biased Amp"

Amp is "idling too low" so tubes are running cool. Amp will sound dirty at any level and will sound low on power. This type of distortion is called "cross-over" distortion. Cross-over distortion is a non-musical type of distortion and isn't as pleasing to hear as "harmonic distortion".

"Correctly Biased Amp"

Amp will sound clean and tight at low to medium levels. When pushed to to maximum , amp will produce an even harmonic distortion---musical distortion if you will.

Biasing an Amp W/Variable Bias Control

The proper method of biasing a tube amplifier requires a signal generator, an oscilloscope, a volt meter and preferably a dummy load resistor. First, remove power tubes and measure the bias voltage at the grid (usually pin 5). Adjust the voltage to the largest negative voltage and install power tubes, the tubes are now at the over-biased position and are running cool with lots of cross-over distortion. Now apply a 2000 cycle signal to the input of the amp and connect the proper impedance load to the output. Turn volume of the amp up to 70% output and get a picture of the signal on the scope, notice the notch indicating crossover distortion in the signal. Adjust the bias control gradually until this notch just disappears. The amp is now properly biased.

The method described above is called "Cross-over Notch biasing". It is my main method for biasing both vacuum tube and solid state amplifiers. Yes, that is correct your solid state amp has a bias too. The great thing about the cross-over notch method is, it works every time with anything. The drawl back is, you need knowledge and experience of what class amp you are working on (A, AB or B) and just how that amp should run.

Amongst the inexperienced the "Current Drawl" method, made popular by Gerald Weber of Kendrick amplifiers has become widely popular. There is nothing wrong with this method if you are using the same model amplifier and same exact tubes. Even different brand 6L6GC tubes will bias a bit, well different. The problem with the current drawl method is that it employs the use of an "arbitrary specification". Amplifier and tube designs very widely. I do some times use this method, but only because I have the knowledge and experience to devise my own arbitrary specifications for common amplifiers that are often seen in for repair.

I hope this answers some questions. With tone there is no Voodoo, only science.

For more on Gerald Weber, Groove tubes and some good reference material, check out A Desktop Reference of Hip Vintage Guitar Amps, by Gerald Weber.

*disclaimer*
DO NOT attempt to bias your amplifier unless you are qualified to work on electronic equipment. There are LETHAL voltages inside of your amp that can kill you, kill you dead!

National Reso-Phonic, I'm hooked on it.

This piece of awesome came in a few days ago for a little tweaking and a general all around maintenance. It is a National Reso-Phonic but instead of the usual Dobro acoustic full-body style, it is more styled after a LP Jr. and the body is completely covered in "mother of toilet seat" style Cream pearloid. The Guitar has a short scale 22" neck, making use of heavy gauge strings a snap when playing in your favorite delta open tuning and still utilizes the National single-cone system.

The body is about the same thickness as a LP Jr, dialing in at just under 2 inches, making tight quarters for the cone system to fit into the body cavity and work properly. The lack of a proper pickup system, of which I will install at a later date, only enhances the challenge of getting the cone moving for good volume output. You gotta dig into it with all your soul, but you will be equally rewarded for your efforts.

FC-30P

After building three Fender style amps last year. I have been a bit hungry for a project that is both higher gain and more British in tone. The last thing I would want is for someone to think that I am, just a Fender guy. I do like Fender amps. The Blonde era Fender amp are by far my favorite. But every good amp out there has something that it is good for. Some times you just can't beat a good Vox or Marshall.

This next project, the FC-30P will be based on a few of my personal all time favorites of the classic British sound. The, early '60's Vox AC-30, Marshall JMP, Matchless Clubman 35 and the Dr Z Prescription. It will take influence from these great titans of the boutique world but no direct circuits. More updates shall follow as the build continues.

Full Custom 5E3-P

I Started building amps when I was seventeen years old. Still in high school and quite fearless. Where were no amplifier kits back then and parts were much more limited than the selection that we have today. With the help of a next door neighbor who happened to have a sheet metal break of all things. We made the chassis and the speaker cabinet.

Somewhere I got a hold of a schematic for a Fender Tweed Champ. I decided it wouldn't be loud enough and it just looked too simple. So I did a little redesign. I ended up building a Push-pull EL84 amplifier with the Champ's preamplifier and a solid state rectifier. Its topography was somewhat like a Fender Tweed Deluxe but its tone a bit more British.

This amp pays tribute to that very first amp that I built. Yet it also begins a series of much higher end builds.

From Project 5E3

Features:

Lacquered Tweed
Mojotone cabinet and chassis
Jensen P-12-N
Mercury Magnetics Transformers
AC Line Filtering
All Cloth Wire with PVC under jacket
Solan Coupling Capacitors (Silver mica and Mallory 150 for tone control)
Sprague Atom Filter Capacitors
Wax Potted Tag Board
CTS Potentiometers
Switchcraft Jacks

Tube Kit:

V1) EH-12AY7
V2) JJ-ECC803
V3/V4) JJ-6V6GTS
V5) Fender 5Y3

New Labor Rates

In 1979, the first year of business for Downtown Sound. The hourly labor rate was $45 per/hour. That rate was unchanged until around 2000. At that time I began billing at and unofficial rate of $55 per/hour. On April 1 2007, the first day of business for Full Custom Music Repair. The rates were set at $45 per/hour for Guitars and $55 per/hour Amplifiers. Mid 2008 we moved to $65 per/hour for all billed labor. Which may seem like a large increase, right at a time when money is tight for many people. But 65 2009 dollars does not spend as 45 dollars did in 1979. In a effort to keep pace with monetary inflation. Starting with 2009 Full Custom Music Repair will raise the hourly labor rate 5% per year. Bringing the 2009 rate to $68.50, effective January the Fifth 2009.

I'd like to personally thank all my customers over the past ten years for allowing me to earn a living solely though the repair of Guitars and Musical Instrument Electronics. Thank you to all our customers since 1979, you are one of the biggest reasons we are here.

Timothy Eisenacher
General Partner
Full Custom Music Repair