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p130: Se puuttuu sarjasta, ja elämä ei ole kokonainen.
 
Vaikken tarvii, saa vinkata jos Torille tulee myyntiin Starcaster reissue; Fenkku tai Skuju.
 
E. Ei meinaan oo yhtäkään tullu vastaan.

fox: Japseista kannattaa kumminkin tsekkailla ajanjakson 76-83 välille osuvat, tuota ajanjaksoa pidetään "piireissä" semmosena oivallis-moisena. Totta hitossa tuonkin jälkeen siellä hyviä soittimia duunailtiin. ;)
 
Sellaisia tuohon on sopivasti 5-6 kipaletta eksynyt. Grecoa, Tokaita ja Ibanezia. Mutta ehkä joskus vielä tuollainen F:n Tele Deluxekin...

McNulty: Sellaisia tuohon on sopivasti 5-6 kipaletta eksynyt. Grecoa, Tokaita ja Ibanezia. Mutta ehkä joskus vielä tuollainen F:n Tele Deluxekin...
 
Jos vanhaa japsia tulee taloon Wide Rangella, niin älä suoralta kädeltä vaihda mikkejä perinteisempiin olisi mun suositus. Itse tykkään siitä keraamisesta Wide Rangesta paljon. Ei ole tietenkään se alkuperäinen homma, mutta hyvä oma juttunsa.

p130: Jos vanhaa japsia tulee taloon Wide Rangella, niin älä suoralta kädeltä vaihda mikkejä perinteisempiin olisi mun suositus. Itse tykkään siitä keraamisesta Wide Rangesta paljon. Ei ole tietenkään se alkuperäinen homma, mutta hyvä oma juttunsa.
 
Mulla oli kiikarissa tuollainen Grecon WR-palikoilla oleva "Tele Deluxe", mutta se ehti mennä Reverbistä ennenkö mie sain oman pinkan kuntoon. Mutta juu, olen pyrkinyt pitämään mahdollisimman orkkiksena nämä, tai ainakin siten että saa palautettua alkuperäiseen kuntoon, pl. tuo Ibanez Blazer johon tosiaan Aurora Guitars laittoi Lollarin WR:t kiinni.
 
Onko tietoa ovatko nuo japaniinialaiset WR:t kenties Maxonin tai Goto'n tekemiä? Tuo muuten hämää kun osa vanhoista Grecon humbuckereista on esim. "Gotohin" tekemiä, mutta ilmeisesti kyseessä eri Gotoh kuin nykyään soittimien hardwaresta ja virittimistä tunnettu Gotoh. Siksi näkee tuota "Goto"-kirjoitusasua.
 
Tietääkö Kettusetä?
 
https://proxy.imagearchive.com/b95/ … 9516e6bca9f70cc8797c738c755fdb2.jpg

Tietoa Wide Range CuNiFeista:
 
https://mrglynspickups.com/2021/02/28/fender-wide-range-humbucker/
 
https://reverb.com/news/dont-fence- … -fender-wide-range-humbucker-family
 
Fender Japan was the first to introduce a reissue in 1983, followed by the Made in Mexico version around 1998. Fender Japan began making guitars with Wide Range lookalikes, but these are Gibson-style ceramic magnet humbuckers with Wide Range covers on top - Squier guitars and some other Fenders also use this type of design, notably the Mustang Special and Pawn Shop 70s Strat Deluxe, which use Enforcer "Wide Range" humbuckers, which are Enforcers with a normal humbucker-sized Wide Range-style cover.
 
The Wide Range Pickup found on American-made Fender guitars is the Mexican-made model introduced in 1998. All reissues differed from the original Seth Lover design in construction and sound until 2020, when Fender began manufacturing the pickup with the original materials again. The company also produced a variation of the pickup for bass guitar from 1971 to 1979.
 
There are three reissues of the wide range pickup using two designs: one manufactured in Japan using ceramic magnets and one in Mexico using alnico. Despite an almost identical appearance to the original 1970s unit, both are regular Humbuckers in large cases, surrounded by wax to take up space and prevent resonant feedback.
 
The current Mexican reissues, much like a Gibson humbucker, feature a bar magnet underneath the bobbins that abuts six screw-type pole-pieces in each coil; they are conventional humbuckers placed in the larger "wide range" humbucker casing, and the gap is filled with wax. Although neither pickup precisely replicates the sound of the original, they are tonally similar. The Japanese reissue does, however, sound hotter, and the Mexican reissue sounds more like a standard Gibson humbucker. A more recent reissue, currently exclusive to the Lee Ranaldo signature Jazzmaster, has been "re-voiced" to Ranaldo's specifications but appears to be constructed similarly to the Mexican reissue.
 
In the 1970s, the Fender Wide Range was wired using a 1M audio volume and tone pots. Using 1M pots resulted in an open and bright sound. Modern reissues are commonly wired using 250K volume and tone pots, resulting in a more choked and muddy sound, cutting high frequencies to ground.
 
In 2020, Fender began producing Wide Range pickups with Cunife magnets for the first time since the 1970s.

McNulty:
Onko tietoa ovatko nuo japaniinialaiset WR:t kenties Maxonin tai Goto'n tekemiä? Tuo muuten hämää kun osa vanhoista Grecon humbuckereista on esim. "Gotohin" tekemiä, mutta ilmeisesti kyseessä eri Gotoh kuin nykyään soittimien hardwaresta ja virittimistä tunnettu Gotoh. Siksi näkee tuota "Goto"-kirjoitusasua.
 
Tietääkö Kettusetä?
 
https://proxy.imagearchive.com/b95/ … 9516e6bca9f70cc8797c738c755fdb2.jpg
 
Ei tiedä, kun pitäs osata japaniankirjoitusta (josko sittenkään onnistuis selvitystyö..) Eipä nuo tuohon(kaan) aikaan paljoa julkistaneet noita osien väsääjiä, mutta valistunut arvaus on että noita teki Nisshin Onpa Seisakusho (eli kaverien kesken Maxon eli Maxxon). Gotoh Gut oli paremmin noista metallihommista tunnettu. Epätodennäköistä olis myös MatsuMoku Kogyo (MMK) joka teki "Uncle Mat'ille" vallankin Vantage-brändin mikkejä. Mutta nuo veitikat Japanilassa saattoivat myös käyttää noita "Gaichuu"-termillä tunnettuja pikkupajoja. Ota noista sitte länsimaisena selvää. ;) Ja nettihän on pullollaan asiantuntijoita ja "asiantuntijoita" joilta saattaa saada monen suuntaista infoa. Monta vuotta on vellonut tuolla japsi-vintagepuolella välillä kovakin väittely esimerkiks siitä, ovatko Hoshinon Super 58 humpparit samoja kuin myös hyvin tunnetut Grecon Dry-Z humpparit..
Varmaankaan ei tuolla japaniassa kovin monia "mikkipajoja" loppujenlopuksi ollut.

McNulty: ... eri Gotoh kuin nykyään soittimien hardwaresta ja virittimistä tunnettu Gotoh. Siksi näkee tuota "Goto"-kirjoitusasua...
 
Vai onko myöhemmässä vaiheessa Goto:on lisätty h, ettei länsimaiset lausu "gotu" vaan "goto" tai "gotoh"?

.. tuo englanninkieli kun kirjoitetaan päin vittua ja lausutaan päin persettä...

Puavali: Vai onko myöhemmässä vaiheessa Goto:on lisätty h, ettei länsimaiset lausu "gotu" vaan "goto" tai "gotoh"?
 
Ei siihen mitään oo lisätty, Gotoh Gut co, Ltd on tuolla nimellä ollut vuodesta 1960.. Toimii osoitteessa 3040, Miyakomachi Isesaki, 372-0801 Japan (pääkonttuuri)
Vähän sotkee hakuja kun jossain animessa on joku Gotoh-niminen hahmo...

fox: Ei tiedä, kun pitäs osata japaniankirjoitusta (josko sittenkään onnistuis selvitystyö..) Eipä nuo tuohon(kaan) aikaan paljoa julkistaneet noita osien väsääjiä, mutta valistunut arvaus on että noita teki Nisshin Onpa Seisakusho (eli kaverien kesken Maxon eli Maxxon). Gotoh Gut oli paremmin noista metallihommista tunnettu. Epätodennäköistä olis myös MatsuMoku Kogyo (MMK) joka teki "Uncle Mat'ille" vallankin Vantage-brändin mikkejä. Mutta nuo veitikat Japanilassa saattoivat myös käyttää noita "Gaichuu"-termillä tunnettuja pikkupajoja. Ota noista sitte länsimaisena selvää. ;) Ja nettihän on pullollaan asiantuntijoita ja "asiantuntijoita" joilta saattaa saada monen suuntaista infoa. Monta vuotta on vellonut tuolla japsi-vintagepuolella välillä kovakin väittely esimerkiks siitä, ovatko Hoshinon Super 58 humpparit samoja kuin myös hyvin tunnetut Grecon Dry-Z humpparit..
Varmaankaan ei tuolla japaniassa kovin monia "mikkipajoja" loppujenlopuksi ollut.
 
Kukahan mahtoi Japanissa tuohon aikaan valmistaa keraamisia mikkejä? Sillä sellaiset ne japanilaiset "WR":t ovat.
 
E. Siis 80-luvun alussa.

rheinone: Kukahan mahtoi Japanissa tuohon aikaan valmistaa keraamisia mikkejä? Sillä sellaiset ne japanilaiset "WR":t ovat.
 
E. Siis 80-luvun alussa.
 
Hmm, olihan noilla kaikilla myös keraamisilla magneeteilla, ettei siinä mitään. Keraamisillahan noi "varhaisemmatkin" kopio-skebojen" mikit oli, vasta joskus myöhemmin niihin joihinkin malleihin tuli noita alnicoita.

Tällainen tieto löytyi Gotohin mikeistä Hoscon sivuilta. Siis vuodesta 1968 lähtien valmistanut mikkilöitä.
 
https://www.hosco.co.jp/en/news/gotoh-pickups-made-in-japan

Niinkuin tuossa taaempana laitoin:
 
Fender Japan was the first to introduce a reissue in 1983, followed by the Made in Mexico version around 1998. Fender Japan began making guitars with Wide Range lookalikes, but these are Gibson-style ceramic magnet humbuckers with Wide Range covers on top - Squier guitars and some other Fenders also use this type of design, notably the Mustang Special and Pawn Shop 70s Strat Deluxe, which use Enforcer "Wide Range" humbuckers, which are Enforcers with a normal humbucker-sized Wide Range-style cover.

McNulty: Tällainen tieto löytyi Gotohin mikeistä Hoscon sivuilta. Siis vuodesta 1968 lähtien valmistanut mikkilöitä.
 
https://www.hosco.co.jp/en/news/gotoh-pickups-made-in-japan
 
Mutta onko ne Gotohin valmistamia, herää kysymys.. ;)
"Made in Japan" toki, mutta mikä on se valmistaja, olkoonkin että ovat Gotohin brändäämiä. Jos kurkkaat vaikka tuota Gotohin katalookia, ei siellä ole muita kuin virikoneita..
https://g-gotoh.com/catalog-download-2021/?lang=en
Eipä silti, olihan vaikka Double Eagle-brändilläkin listoilla mikkejä ennen muinoin.
Ja koskapa ilmoittavat että vuodesta 1968 alkaen, voihan olla että se onkin Maxon se varsinainen valmistaja. "Mysteeri syvenee".. 8)

No Maxon teki joka tapauksessa "Wide Range" mikrofoneja.
 
https://tymguitars.com.au/blogs/blog/maxon-wrhb-rewind

McNulty: Fenderin ja Squierin osalta kyllä. Mutta esim. Grecoissa oli Wide Range mikkilöitä jo 70-luvulla. Malli tottelee nimeä TD500... oli niitä toki muitakin, Tele Thinlinessa ainakin.
 
https://reverb.com/en-fi/item/81566 … e-vintage-made-in-japan-w-hard-case
 
https://www.youtube.com/watch?v=JvVIsLPbox0
 
Oikein sievät palikat, joissa Grecon logo ihan samalla tyylillä kuin Fendereissä... viistosti kromikuoressa.
 
Tuossahan oli sitten vähän enemmänkin tuossa edellä:
 
https://tymguitars.com.au/blogs/blog/maxon-wrhb-rewind
 
These middle period Maxon WRHBs are, like the early ones (being standard HB size with staggered pole pieces in the cover) not really "proper" WRHBs, but unlike the earlier ones these are actually the right size and mounting as a real Fender one making the guitars they went into closer aesthetically to the original Fenders they were copying.
 
The tone from these Maxon Wide Rangers is great. I actually really like these, and the early (Fujigen made) Fender Japan WRHBs a lot and while they're not really vintage Fender tone, they have a great tone all their own which due to the R&D Maxon obviously put into them, makes them a really strong contender for a replacement or alternative to an original.
 
I've worked on (and own) plenty of original vintage Fender WRHBs and do love them but I honestly think the prices they are commanding now puts them out of the range of being accessible to the average player. The "magic" in the original is of course (not really) the unique pole pieces used by Fender under Seth Lovers direction but also the inductance they have using plain #42 poly wire. The bigger bobbins need bigger covers so the WRHB was a physically bigger pickup than the Gibson alternative. The other, and probably more important difference to a Gibson HB is that they used magnetic poles instead of a bar magnet which is why these Maxons (and many other copies) are never "exactly" right tone wise, but that doesn't mean they're not great pickups.
 
With the original CuNiFe (copper/nickel/iron) alloy magnets being the sticking point to making copies, Maxon went about designing a more accessible version while trying to get the tone as close as possible. To me, they achieved this much more closely than the US/Mex re-issues years later. As I've said, I like these Maxon WRHBs.
 
These 2nd version Maxon WRHB appeared in late '75 and replaced the standard size "WRHB" in all the Matsumoku and Fujigen made Fender copies that carried them. On first inspection these look pretty close to an original from both top and bottom except of course, no Fender logo stamped into the cover. Greco would quickly start stamping "Greco" into the covers and then of course Fujigen would stamp "Fender" into them when they started producing for Fender Japan.
 
With the threaded pole pieces protruding through the base plate like an original it's not hard to think these could actually be threaded magnets of some sort but, once you open the covers, there's the alnico bar magnet between the two rows of poles, just like a Gibson HB.
 
But here's where Maxon went the extra bit to try and make these closer to an original than a std HB. The parts are all custom made for this pickup with bigger, different shaped bobbins and base plate. These use #44 wire with each coil measuring at over 6.5K. These bobbins combined with the A3 (I believe?) magnet and the wider spread of the pole pieces produces a more articulate, sharper sounding humbucker much like the originals. Despite using an A3 bar magnet and higher output, these Maxons have a nice clear top end and sound great clean but they also have a big round mid which makes them sound great with distortion or gain, again, much like the originals. They tend to be less "muddy" than a standard HB which fits in well with the original Wide Range.
 
Anyway, I don't think there's any real details that need to be gone over as far as the rewind itself so I'll just put in a bunch of pics to look at. It's a pretty straight forward job, much like an original vintage unit.
 
You can see by the serial number this was early '76 which is confirmed by all the electronics and other pickup in the Greco Thinline. These Maxons also have the metal braided wire and 4 height adjusting screws just like an original.
 
With the bobbin out and pole pieces removed I took the tape off and checked for a broken or lose end (common on old Maxons) but it needed to be stripped of wire and rewound. I cut the original wire off and marked the direction of the coil on the bobbin.
 
On the winder and wound with just under 6000 turns of #44 plain enamel wire which gave me 6.8K almost perfectly matching the other coil it was to be mated up with. I reattached the original small lead wires and put new tape on the coil and reinstalled it back onto the base plate and re-soldered the cover back on. From the outside it's impossible to tell it's been rewound and in fact apart from the wire, the 20 cm of tape is the only non original part in there.
 
Everything measured good and I tested that it was rewired properly and assembled it all back into the scratchplate and put the guitar back together.
 
I actually forgot to take pics of the guitar back together but it was much like this one which came in after it, but it went to the shop and sold quickly so it's out there being used which is nice. For me, it's always nicer to repair a part of any vintage guitar rather than replace it. It's irrelevant to me what sort of guitar it is or how much it's worth. If it's 50 years old and all original, it's nicer to keep it original (I don't consider a rewind to really be taking away from originality although I always mention it when selling the guitar) even when standard parts will fit straight in. In the case of WRHBs there are some re-issues around that are the right size and "look" that don't cost a packet, but, it's still nicer to have that Maxon back in there.

BigPapa: Tuossahan oli sitten vähän enemmänkin tuossa edellä:
 
https://tymguitars.com.au/blogs/blog/maxon-wrhb-rewind
 
These 2nd version Maxon WRHB appeared in late '75 and replaced the standard size "WRHB" in all the Matsumoku and Fujigen made Fender copies that carried them. On first inspection these look pretty close to an original from both top and bottom except of course, no Fender logo stamped into the cover. Greco would quickly start stamping "Greco" into the covers and then of course Fujigen would stamp "Fender" into them when they started producing for Fender Japan.
 
Juu, hyvää dataa.

BigPapa: Tuossahan oli sitten vähän enemmänkin tuossa edellä:
 
https://tymguitars.com.au/blogs/blog/maxon-wrhb-rewind
 
These middle period Maxon WRHBs are, like the early ones (being standard HB size with staggered pole pieces in the cover) not really "proper" WRHBs, but unlike the earlier ones these are actually the right size and mounting as a real Fender one making the guitars they went into closer aesthetically to the original Fenders they were copying.
 
The tone from these Maxon Wide Rangers is great. I actually really like these, and the early (Fujigen made) Fender Japan WRHBs a lot and while they're not really vintage Fender tone, they have a great tone all their own which due to the R&D Maxon obviously put into them, makes them a really strong contender for a replacement or alternative to an original.
 
I've worked on (and own) plenty of original vintage Fender WRHBs and do love them but I honestly think the prices they are commanding now puts them out of the range of being accessible to the average player. The "magic" in the original is of course (not really) the unique pole pieces used by Fender under Seth Lovers direction but also the inductance they have using plain #42 poly wire. The bigger bobbins need bigger covers so the WRHB was a physically bigger pickup than the Gibson alternative. The other, and probably more important difference to a Gibson HB is that they used magnetic poles instead of a bar magnet which is why these Maxons (and many other copies) are never "exactly" right tone wise, but that doesn't mean they're not great pickups.
 
With the original CuNiFe (copper/nickel/iron) alloy magnets being the sticking point to making copies, Maxon went about designing a more accessible version while trying to get the tone as close as possible. To me, they achieved this much more closely than the US/Mex re-issues years later. As I've said, I like these Maxon WRHBs.
 
These 2nd version Maxon WRHB appeared in late '75 and replaced the standard size "WRHB" in all the Matsumoku and Fujigen made Fender copies that carried them. On first inspection these look pretty close to an original from both top and bottom except of course, no Fender logo stamped into the cover. Greco would quickly start stamping "Greco" into the covers and then of course Fujigen would stamp "Fender" into them when they started producing for Fender Japan.
 
With the threaded pole pieces protruding through the base plate like an original it's not hard to think these could actually be threaded magnets of some sort but, once you open the covers, there's the alnico bar magnet between the two rows of poles, just like a Gibson HB.
 
But here's where Maxon went the extra bit to try and make these closer to an original than a std HB. The parts are all custom made for this pickup with bigger, different shaped bobbins and base plate. These use #44 wire with each coil measuring at over 6.5K. These bobbins combined with the A3 (I believe?) magnet and the wider spread of the pole pieces produces a more articulate, sharper sounding humbucker much like the originals. Despite using an A3 bar magnet and higher output, these Maxons have a nice clear top end and sound great clean but they also have a big round mid which makes them sound great with distortion or gain, again, much like the originals. They tend to be less "muddy" than a standard HB which fits in well with the original Wide Range.
 
Anyway, I don't think there's any real details that need to be gone over as far as the rewind itself so I'll just put in a bunch of pics to look at. It's a pretty straight forward job, much like an original vintage unit.
 
You can see by the serial number this was early '76 which is confirmed by all the electronics and other pickup in the Greco Thinline. These Maxons also have the metal braided wire and 4 height adjusting screws just like an original.
 
Tänks! Taas oppi jotain.

Vitsi ku tarttis alkaa siivoomaan. Oon jo päättänyt mistä päästä aloitan. Eiks se oo jo melkein puoli voittoa?
 
Jäsen Vienokettu polttais hihat tällaisesta off-topiikista totaalisesti, jos vielä olisi tällä foorumilla. Höhö.
 
E. https://muusikoiden.net/jasenet/19937