James Tyler Studio Elite Jimburst

First available in 1987, the Studio Elite embodied the essence of the L.A. studio scene. It has the contoured and cutaway neck heel/body area with a deeper cutaway on the treble side for easier access to the upper frets. With the SSH pickup configuration, Lead/Rhythm circuit and midboost preamp, it was one of the first "Boutique Superstrats."

This is totally and completely a James Tyler Tyler - Jimburst is his totally original color - one that made his mark among builders and guitar aficionados.

What makes the Jimburst really work wonderfully here is the beautiful quilted maple top.  It’s kind of bubbly and 3D--all offset nicely by the translucency of the finish. So you know, as one of Jim’s top of the top line instruments, that’s genuine binding. It’s not a facsimile that’s painted on. The combination of the colors and quilt and real binding is just gorgeous.

I made very deliberate choices (both the wood combinations and the electronics) on each of these Tyler maple tops. In this case, the Jimburst has a swamp ash back. Naturally, I aim to get as much resonance as possible - but beyond that, I find that this combination means you’ll experience a little more transparent, crystally sound when plugged in. It also provides you with a little more bite. In short, the combination simply works wonderfully.

In another Tyler tradition, the headstock is painted to pick up a color from the Jimburst body. In this case, it matches the fuschia in the center of the burst. (I don’t think I’ve ever used the word fuschia and guitar in the same sentence before).

I love the bird’s eye maple neck. Jim has a great knack for not just selecting beautifully figured wood, but as a working professional, I’ve also found that his neck wood selection is exceptionally stable.

From an electronics perspective, I chose the pickups that really made Tyler famous in the L.A. studio scene. They’re JTOs (Jim Tyler Originals).  Like all his pickups, they’re wound by Jim himself. They’re connected to the the most versatile electronics setup around. There’s a Lead/Rhythm circuit. A fantastic mid-range boost switch. You can split the pickup into single coil, or run them in series or parallel. Just a wonderful set of options to help you find your own voice.

And there’s even a separate switch dedicated to throwing everything onto the bridge pickup - which has great subtlety (if that’s what you want), or just a spectacular ripping tone.

They’re great great pickups and, (at least to my ears) work best on the combination of swamp ash and maple top.

Overall, the tone (if I can characterize it in a few adjectives) is very expressive, wide range, and filled-to-the-brim with character. The neck is pure Tyler. A sensual 59 shape, with Tyler’s inimitable rolled edges. I get chills playing anything on it. It’s just that great.

This Jimburst is Tyler putting all of his tremendous craft and artistry into one absolutely fabulous instrument. It’s as Tyler as you can get.

If you'd like to find out more about this item, just call or e-mail me. It would be my pleasure to talk to you about it.

ABOUT TYLER GUITARS
James Tyler has had a guitar in his hand almost every day since he first picked one up the summer after seventh grade, in 1964. In college, Jim studied Architecture, Design, Music, Photography and for a couple years, Theology. He paid his way through these years of collage doing guitar repair work at local guitar stores, and as a factory trained auto mechanic for Alfa Romeo, Lancia, BMW and Fiat. Later into the 1970’s, he got connected with the guys at Norman’s Rare Guitars in the San Fernando Valley, and became their main repair and restoration guy. Jim’s abilities continued to expand and soon he had enough experience and reputation that he opened his first repair shop in Reseda, CA in 1980. Since then its been a whirlwind of successes, including being chosen to be displayed among the great California guitar companies such as Fender, Rickenbacker, Mosrite and Charvel in the Museum of California's exhibit The Ultimate Guitar Show and building for artists such as Michael Landau, David Williams, Steve Lukather, Michael Anthony, and Dan Huff. James' design shapes and various ground breaking guitar finishes and most recently his line of pickups have virtually transformed the guitar building industry.