Really the only thing you can't spec is the fretboard radius, the neck joint, the headstock, and the basic body shape. The other two are "modern versions" or Super Strats for lack of a better term.
Two sound exactly like a real 62 Fender Strat that I was able to compare them with. There are just so many wood options, scale lengths, components and PUPS. There are so many options you can choose in spec'ing his guitars, that you can get them to sound as modern or vintage as you want.
You will read some subsequent posts that claim that Andersons are "too modern." That is not accurate. They are super high quality and in the realm of Suhr, Grosh, Tyler, Melancon, etc. He builds three or so guitars a day, and sells PUPS to other manufacturers and to the aftermarket in general. In spades.Anderson is a high end builder from California. Those just crunchy tones sound superb and kicking in effects and boosts, well, the Raven sounds really at home.Īn Anderson with attitude? Not what you expect perhaps from a 'posh' brand, but it's what we hear. As we play the Raven more we lean towards a more alt-rock place. The VA boost sounds more polite here than on the Classic, in fact it's less of a boost more of a single coil/humbucker-like mode switch. But as we turn up the wick there's definitely the essence of the P-90's voice: tougher than a classic single coil but not as sophisticated as a full-size humbucker. You have the sense that the P-90 has been cleaned-up a little, the razor-like highs of the bridge especially are tamed, less ear-wearing, and the guitar's construction yields less weight in the mids and low-end compared to our all-mahogany original Junior.
Anderson's single coil-sized humbuckers already blur the boundaries between traditional single coils and humbuckers and this, of course, is the area in which the P-90 excels. We hear a more rounded high-end compared with either our old Gibson Les Paul Junior or more modern Yamaha and PRS soapbar-equipped instruments. "You have the sense that the P-90 has been cleaned-up a little, the razor-like highs of the bridge especially are tamed, less ear-wearing" It's yet another detail that adds to the superb intonation and musicality of this guitar. Sure, if you can't play anything else but a vintage Fender-like 184mm (7.25-inch) radius you're going to find this too flat, but most of us won't be thinking about the radius because our fingers will be skipping over the finely fettled medium gauge stainless steel frets at such a speed that the only thing you'll be considering is how can you afford to buy one.Īnderson has been one of the most vocal supporters of Buzz Feiten and his 'sweetened' tuning system, which is featured on all Anderson guitars, including this one. The 'board has a pretty subtle compound radius that starts, Gibson-like, at 305mm (12 inches) at the nut and flattens out slightly to 356mm (14 inches) by the top, 22nd fret.
#TOM ANDERSON GUITARS REVIEWS FULL#
Previously known as the 'standard' neck profile, the now- called 'even taper' neck is beautifully shaped, a good full C-section that doesn't taper a great deal from its 1st fret depth of 21mm to its 22.6mm depth at the 12th. While you can order the Raven with the shorter, more traditional 629mm (24.75-inch) scale, our example comes with a 648mm (25.5") scale length.
It's also very lightweight, weighing in at just 3.13kg (6.89lb). Here the body outline is downsized and while it retains the large scratchplate, it's actually very un-Jazz-like. Tom Anderson certainly isn't the first maker to use the Fender Jazzmaster as inspiration. "Here the classic body outline is downsized and while it retains the large scratchplate, it's actually very un-Jazz-like.
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