thomann Valentine JV60C Guitar Instructions

thomann Valentine JV60C Guitar

When we heard about Sterling’s new chambered models we had to get our mitts on the white ash-bodied Bigsby model. Although a non-Bigsby version is available, this is surely the cooler option. The design traits it shares with other Music Man family guitars include four-over-two locking tuners, a fi ve-bolt neck plate with dressed-back heel, body-end truss rod adjustment, and matt-fi nished neck. A quick-release battery compartment is tidily located on the guitar’s rear.

With knurled chrome master volume and tone knobs, a three-way lever switch, black pickguard, and an f-hole tidily cut from the ash front it’s a functional but funky looking guitar, and we can’t fault the Indonesian factory’s attention to detail.
While the guitar’s slender nut may not appeal to all players, Van Halen was a fan so you know it’s not the big inhibitor to technique that some maintain. The C-profi le neck is a comfy palmful and the 22 frets, although quite narrow, are tall enough that string bends and vibrato are a breeze.

The Bigsby means dive-bombs are off the agenda, but a gentle wobble of the arm adds a pleasant shimmer to chords, or lends expression at the top of string bends, à la David Gilmour. There’s a helluva lot to commend the guitar, but some may mourn the absence of a Strat-style forearm contour and belly cut.

Plugging into a 20w Laney Lionheart combo we hear a bright-toned instrument whose neck-humbucker chords and licks leap out with the kind of clarity you’d probably associate with a Strat. Switch over to the bridge single coil and things become spanky but not at all harsh.

Mixing neck and bridge tones produces the bright chime you might expect from a Rickenbacker. Rhythm parts, clean riff s, or jangly solos are all well served, but pile on some drive and the guitar retains all its innate musicality. Clean or dirty, pushing in the volume knob engages the active boost to add creaminess and just the right amount of kick for solos.

When confronting the ‘diet’ version of a guitar that one has enjoyed in full- fat form, it’s often met with a dose of trepidation. But with Sterling By Music Man’s latest twist on its excellent US-made predecessor, that doesn’t apply. This looks, feels and sounds like a proper, grown-up musical instrument, no mere cheapo version. Clearly with help from Ernie Ball in the States and James Valentine’s own musical input, Sterling has devised a guitar that stands entirely on its own merits. What hasn’t changed is a great feeling neck and a stunning set of tones that would make one of these a welcome addition to anyone’s guitar rack.

Neville Marten

Instructions

1. BODY
   The body’s semi-solid white ash construction features a carved top and sides with the large f-hole cut from the front.
   The back is glued on.

2. PICKUPS
   The Valentine’s neck pickup is a Sterling By Music Man chrome plated humbucker, while at the bridge sits a humbucking-sized single coil with diagonal pole pieces.

3. BRIDGE/TAILPIECE
   The Bigsby vibrato tail piece is great for subtle shimmers and the occasional rockabilly-style scoops and wobbles. Plus, it brings a definite extra layer of cool!

AT A GLANCE

• BODY : Semi-hollow white ash
• NECK : Solid Roasted Maple
• SCALELENGTH : 638mm (25.5”)
• FINGERBOARD : Rosewood
• RADIUS : 305mm / 12” FRETS: 22 / Narrow Tall
• FRETMARKERS : Dots NUT: Synthetic Bone
• NUTWIDTH : 42mm (1.65”)
• TRUSSROD : Body End / Easy Adjust
• BRIDGE : Tune-O-Matic / Bigsby Machineheads: Locking
• PICKUPS : SBMM humbucker/single coil
• CONTROLS : Three-Way Lever Pickup Selector / Single Volume (12dB Push-Push Boost) / Master Tone
• FINISH : Gloss Butterscotch
• CONTACT : Sterling
  By Music Man, sterlingbymusicman.com

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