mosriteforum.com

I know what vintage Mosrites sound like, in my mind, but it's hard to explain in words. Clear warm bell-like tone, thicker than a Tele or Strat, smoother than a P-90, clearer than a PAF humbucker. Can anybody add to that?

What do you think it is about these guitars that creates that tone? How much is the pickups, the wood, the wiring, etc?

The Vintage Mosrite sound is all things combined. The Vibramute and Overwound Pickups are a major contributor to the Mosrite sound. The body wood, neck/fingerboard wood, speed frets, metal string guide{on the open strings/chords} originality of the electronics, bolt neck or set-neck all come together for the real 1960's Mosrite Tone. I state this from the fact that I own an all original 1965 and compare it to a 1983 Jonas Ridge and 1991 Booneville Ar. Guitars. All Ventures Models, the '83 being a set-neck it has a liitle more sustain and bass responce. I put all three through the ringer on Live Shows, Radio and TV appearances and Studio Work. Don't forget the crucial element of the Amplifier, the same Guitar will be Amplified differently through various makes and design. Just my 2cents

+1 on what Billy says....I usually will take 3 Six Bangers with me. My Main Guitar (S.O. '88 made by Semie, pickups wound by Dana ), my restored '65 P.W. (by Semie as well), and then the third will fluctuate depending on what kind of gig, or what kind of mood I'm in . My 3rd gunslinger will be anything from a Celbrity I, Combo, my "Two-Headed Dragon" (J.M. Doubleneck), Strat or even my '69-'70 Dan Armstrong Ampeg......and the crucial element of the amplifier will either make it....or break it .....

Hey, I don't have any Mosrite guitars in the flesh to compare so the only reference I have of "that Mosrite Sound" is from the recordings of the Ventures during their Mosrite years

What I can tell is that my Hallmark 60 Custom is a powerful reminder of that desirable tone. I love the sound of my Fender USA '57 RI Stratocaster but I get a kick out of "my Mo' " every time I take it out of it's Crockodile hardcase to play on it (or even just to look!) and you know something guys?...it even sounds 'rite' without being plugged into any one of my two Fender amps!

I'm not a techie but I would think that the pickups the overall design and material of the guitar are the major factors. I have a 1966 Celebrity III and play through a Fender Blues Deluxe. The sound is amazing to my ears. I have other very nice guitars, but this one is my first choice. The neck is awesome and I find it similar to our lead guitarists Gretsch White Falcon in playability. My second go to guitar is a Gretsch 6118 Annie with TV Jones pickups. It is also an awesome guitar but not as easy on my hands and fingers as my Mosrite. They do get equal time though. I am making a guitar that I hope equals or surpasses either of these.

Sarah93003 wrote:I'm not a techie but I would think that the pickups the overall design and material of the guitar are the major factors.

You're right Sarah and as far as materials on a guitar goes, I can compare my two Fender Stratocasters with each other. The better quality materials on my USA '57 Reissue Strat (+Alder body) makes all the difference to my "Made in Mexico" (low budget) Classic '50s Reissue Strat. The Mexican is just fine but the USA '57 RI produces a far superior sound.

OK, so that wasn't about 'that Mosrite sound' ...but just to illustrate what you said

The overall bridge design can be just as crucial as the pickups or body wood. That is a key element of a Mosrite with a Vibramute or another good example is the Fender Jazzmaster. A lot of JM user's including my self tried a device called a Buzzstop. It changes the breaking point over the bridge changing string tension changing the resonant overtones behind the bridge. I took mine off my JM to get the classic tone back. Another example is the hardtail Strat vs. a Strat with a Trem, or a Bigsby Tele vs. Traditional. Just my observation.

Thunderhead, I know that you own both original Mosrites as well as a Hallmark 60 Custom clone and I was wondering if you could elaborate on the differences in sound between them. I know that the 60 Custom's vibrato unit is less massive than on the original Mosrites and I'm curious to know how that impacts the overall tone. I'd be interested to hear from anyone else who owns or has had a chance to play both an original Mosrite and a 60 Custom.

The Hallmark is not as Bright as the '65 Mosrite. It is totally in the Ballpark and is closer in tone to my '83 Set-Neck RI., more bottom end. I really like Bob Shades version of the actual Bridge. My Mosrites ocassionally develop Buzzes in the bridge and I'll have to tighten the "acorn nuts"to get it to stop, not an issue with the Hallmark. The brightness issue is easily fixed by the Amp EQ. There is a little of a difference in picking behind the bridge ala Nokie on songs like "BullDog" and "Penetration". You have to have an actual Mosrite to nail that.

Sarah, The bridge is a big part of the overall sound. I put a Stetsbar on my Squier Tele Thinline last month and the tone improved a lot over the ashtray one I previously had.