P/UPs, trem block - where's the problem?

[rmfrance]

A few months back I decided that it might be tempting fate, etc., to gig my (original) '62 Strat, so bought a Simon Neil Artist Series Squier Strat - in Fiesta Red, no less. Anyway, it's essentially a CV 60s model with 'upgraded' pickups, which combine Alnico II and III magnets in each unit. I played a couple of examples before purchase and, although the setup was non-existent, I could tell that there was a playable instrument in there somewhere. An hour or so carefully setting up everything and replacing the light strings proved the point.
Having been playing it happily solo for some time, I have to say that in a band situation I'm much less happy; it just doesn't have the body to get solos across. The top three strings in particular just seem to get lost. As a result of this it's back to the oldie again, and deep, deep pre-CBS joy for now.
I'd still like to get the Squier sound sorted, though, and just wonder where to start. Acoustically it's at least as loud as the '62 and the sustain is even better, so I don't suspect a timber problem (Alder body/Maple neck w/Rosewood fretboard). The trem block is a spindly cast job which I plan to replace with a proper rolled steel job.
So, does problem this have a familiar ring to anyone? Are the pickups really at fault? I'll try lowering them; no doubt I'll lose more body, but it's worth a try. I can't believe that Fender would develop this pickup outside the standard model range without feeling it had something to offer. I'd welcome any suggestions and insight. Thanks!

[ecca]

What's the pick up height for starters ?

[RUSSET]

Hi RMF,
I too bought the Squier 'Simon Neil' Biffy Strat a few months back, & have not stopped playing it since, even though I also have a Jap HBM Strat & aUS 'California series Strat' both loaded with CS '54s. I have replaced the Trem block with a full-size steel one, but that is mainly so that the trem arm doesn't work loose. I have put a set of '10s on it. The pickups are Alnico 3s on the treble side & Alnico 5s on the bass side, so that means it's a bit more defined & trebly on the bass side & a bit less trebly on the treble side, hence slightly enhancing the mids all round. I believe mine sounds virtually as good as my more expensive guitars. Try using a compressor pedal, first in line after the guitar. I find my Marshall 'Edward the Compressor' gives a great boost to the fullness of the signal & evens up the volume between each string. I would guess that it isn't the guitar that's at fault, but more the processing afterwards. I have set my pickups pretty low in the scratchplate to avoid too much magnetic pull on the strings from the pole pieces. There are several websites where you can get advice on setting pickup height for various types & strengths of pickups.

Tony.

[Stranded Albatross]

I find a graphic eq coupled with a compressor helps boost the tones where needed in a gigging or recording situation. I agree with Russet it isn't a pickup problem.

[rmfrance]

Thanks for the input.
I have the direct comparison with the '62 by way of reference - I've used compression for years when playing country with a Telecaster, but would prefer not to for the Shads material we play. The '62 doesn't need fattening up! Sounds glorious with just EFTP patches into the amp (Fender Hotrod Deville 2 x 12). Obviously I'd like to even get close with the Squier to what I achieve with the old Fender. The Squier came with 9s, of course, which I whipped off immediately and replaced with 10s, so the gauges are the same on both guitars.
As regards the trem block, personally, I'm not a fan of the narrower string spacing on non-US models - I'm currently deciding whether to replace the entire bridge/trem unit with a wider 'classic/vintage' unit, aware that I'll have to drill new screw holes to do so. Neck widths seem the same, so it should be a workable upgrade. But I suspect that the weedy sound can't be solely down to the trem unit.

The quest continues...

Roger

[rmfrance]

Well, I have to say that I now suspect that the real factor with which I'm dissatisfied is that of the P/Us on this model, mainly since the bottom three strings sound quite beefy. The top three, on the other hand, seem quite thin and weedy - not quite what I'd expected. I have exactly the same strings and gauges on both Strats, so I can make direct comparisons. If I had the funds I'd have no hesitation in going to Spencer at Shed Pickups for a set of his classic 60s-style units, but reckon I'll have to look around for some S/H alternatives.

At least I know what I'm dealing with now (but I'll still change the bridge unit soon, and maybe fit S-1 switching).

Guitars, eh?

RM

[JimN]

rmfrance:

Those Biffy Clyro Strats are quite low-priced - corners have to be cut somewhere. I have handled one and so I know that the bridge is cheap (not "economical" or "good value" - just cheap as in poor quality). The owner is waiting to get a high-quality replacement part, if I recall correctly. If you can't get the arm to stay tight in one place with a rattle-free action, that's a pretty good indicator of lack of quality. Your 1962 Strat won't be anything like that. Change the bridge (or at the very least, the block) for a better one. Steel, not an aluminium-based alloy like Mazak - that's my advice.

The other thing is the pickups. As far as these ears are concerned, and knowing the comparison you have available, this is suggesting ceramic bar magnets (with steel slugs as polepieces). They are characterised by harshness in the treble.

What is the construction of the pickups? The set you have on your American Stratocaster would cost nearly as much to buy (the modern version) as the Biffy Clyro Squier Strat's street price.

HTH,

JN

[RUSSET]

Jim,
The pickups are Alnico magnet slugs on the 'Biffy', & in my humble opinion are not too bad at all. Remember this is a £250 guitar, not a USA made vintage reissue. The worst bit is the soft alloy trem block which should be discarded & replaced with a steel one, & that goes for all Squier Strats of modern manufacture. As for the bridge unit itself, I am no expert on metal quality, but it looks fine to me & as a bridge, it works. It is the slightly narrower size than the usual USA versions, primarily made for smaller oriental hands, I believe, but so are the Mex versions. It still a reasonable guitar for the money & good on Squier for making it. If only I'd had one of these in the early sixties !

Tony.

[JimN]

Hi, Russet,

I'm not knocking that guitar at all; as you say (and as I think I implied), it is excellent value for the money they ask for it.

But of course, this thread comes up in the context of a player who knows what a great Strat sounds like and feels like, and want to somehow bridge that gap in the instrument's two main areas of weakness. I think that can be largely achieved - but, as we agree, it definitely requires a change of the bridge - a high-quality replacement like a genuine Fender* or a Callaham is going to be the nearest he can get to what's on his other guitar. It also, IMHO, needs better - much better - pickups.

The locally-made pickups on oriental-made Squiers have always been iffy. The original 1982 batch of Fender Japan (I still have one, bought new) and "Squier by Fender Japan" guitars all had USA-made pickups - one of the reasons, IMHO, why they are so legendary and sought-after.

There is an article about the guitarist from Biffy Clyro in the current issue of the UK magazine "Guitar Buyer". Needless to say - he doesn't use his own signature Squier Strat - he uses a custom shop USA Fender!

JN

[* BTW, I see that Phil Kelly is selling a genuine USA item vintage-type bridge system s/h for £45.]

[rmfrance]

Hi Jim - fancy seeing you here...

Yep; the bridge is (and was, even at first glance) a weak point which I'm replacing as a priority. P/Us are another issue - a combination of Alnico III and Vs which are the main selling-point for this model. Oh, and the colour, of course I guess I expected too much here - or at least an improvement over non-combination Alnicos. I never deluded myself that I'd get anything like what I have with the '62, but rather saw the Squier as a lot less nickable (hence giggable) and a good basis for upgrading. I just didn't expect this to involve the P/Us! But in its defence, it sustains and plays very well so I've no real complaints for the money I paid (£259 from Nevada Music in Portsmouth).
Bottom Line: a decent pre-CBS Strat really does spoil you for anything else! So I did gig it again the other night...