25.5           Scale Length

42mm       Nut

Bone          Nut Material

S.S.S.         Pick Configuration    (N- 5.3 ohms,  M- 5.5 ohms,  B- 5.9 ohms)

21               Frets

12               Fretboard Radius

5.0 lbs.       Weight

Black         Color  

Right Hand Playing

1.50 mm    Action at the 12th Fret

X    Deep cleaning

X    Electronics cleaned / tested

X    Tuners Serviced

X    Fretboard cleaned / hydrated

X    Neck adjusted

X    Intonation adjusted

X    Setup complete

X    Body buffed / polished

Upgrades and Modifications

The original ceramic pickups measured approximately 5.1 kΩ at the neck, 5.2 kΩ in the middle, and 5.2 kΩ at the bridge. I replaced them with a reconditioned set of ceramic pickups taken from a 2000s-era Eleca guitar. The replacement set measures approximately 5.3 kΩ at the neck, 5.5 kΩ in the middle, and 5.9 kΩ at the bridge. This provides a more balanced increase in output across the three positions, with the strongest pickup placed at the bridge where additional output is most useful.

The factory vinyl-covered wiring was removed and replaced with cloth push-back wire. The original dime-size A500K potentiometers were also replaced with Musiclily Pro full-size, brass-shaft A250K audio-taper pots. The lower 250K resistance is better suited to the ceramic single-coil pickups and helps smooth their upper-frequency response.

Each tone control received its own .022 µF capacitor, while a treble-bleed circuit was installed on the volume control to help preserve clarity as the volume is reduced. The controls were rewired so the bridge pickup has a dedicated tone control, while the neck and middle pickups share the second tone control.

The original circuit-board five-way selector was replaced with a higher-quality CRL-style mechanical switch. A Gilmour switch was then installed in the pickguard and integrated into the five-way circuit. This allows the neck pickup to be added to the standard bridge and bridge-and-middle positions, providing two additional combinations: neck and bridge together, or all three pickups at once.

The factory output jack was replaced with a Switchcraft jack for improved durability and a more dependable cable connection. Copper foil shielding was added to the body cavities and the underside of the pickguard to help reduce radio-frequency and other electrical interference. As with any traditional single-coil guitar, shielding cannot completely eliminate inherent 60-cycle hum.

The original plastic nut was replaced with a hand-fitted bone nut. After the string slots were cut to the proper depth and spacing, the nut was shaped and polished through 2500 grit. This provides a harder and more consistent string-contact surface while helping reduce binding that can interfere with tuning stability.

The frets were also recrowned and polished through 2500 grit, restoring a smooth playing surface and improving the feel of bends and vibrato.

Added Upgrades

• Reconditioned Eleca ceramic pickups

  • Neck: 5.3 kΩ

  • Middle: 5.5 kΩ

  • Bridge: 5.9 kΩ

• Hand-fitted bone nut

• Musiclily Pro full-size brass-shaft A250K potentiometers

• CRL-style mechanical five-way switch

• Gilmour pickup-selection switch

• Switchcraft output jack

• Treble-bleed circuit

• Dual .022 µF tone capacitors

• Cloth push-back wiring

• Copper foil cavity and pickguard shielding

• Rewired bridge-dedicated tone control

• Recrowned and polished frets

A Fictional History — The Guitar That Went to College

When this black Jay Turser JT-300 arrived at my shop in Michigan in January 2024, it was easy to imagine that it had already done exactly what an inexpensive Strat-style guitar was meant to do.

It had been played.

Not abused, not neglected, and certainly not forgotten. It simply carried the kind of honest wear that comes from being used for what it was made for. The finish showed signs of handling, the hardware had survived well, and the guitar remained fundamentally sound. Other than a worn plastic nut that was ready for replacement, it did not seem like an instrument that needed to be reinvented.

Looking at it, I began to imagine where those years of use might have taken place.

Perhaps sometime in the mid-2000s, somewhere in the Greater New Haven area of Connecticut, a college student was preparing to leave home for school. He already owned a guitar, and probably a pretty good one. It may not have been valuable by collector standards, but it was valuable to him. It was the guitar he knew, the one he had learned on or saved for, and the thought of taking it into a dormitory filled with crowded rooms, narrow hallways, parties and people constantly coming and going probably made him uncomfortable.

College is not always kind to possessions.

So the good guitar stayed home.

At first that probably seemed like the sensible decision. But after a few weeks on campus, he began to miss having a guitar nearby. Maybe he missed playing at night after studying, or absentmindedly picking through chords while talking with friends. Whatever the reason, he eventually decided that he wanted another guitar at school—just not one he had to worry about every time somebody asked, "Hey, can I try that?"

One afternoon he may have wandered into a local Salvation Army. Among the used furniture, old stereo equipment, dishes and household donations sat a black Strat-style guitar.

A Jay Turser JT-300.

There was nothing exotic about it and nothing especially valuable. That was part of its appeal. It was inexpensive, familiar and completely usable.

It was exactly what he needed.

Maybe the strings were old. Maybe the setup was not particularly good. Perhaps it did not even come with a case. None of that mattered very much. He had a guitar at school again, and unlike the one waiting safely at home, this one did not need to be protected from every bump and scrape of ordinary life.

Before long, the little black Jay Turser became part of college.

It sat beside the desk while homework was being finished and was picked up during breaks between classes. Friends stopped by, and someone always seemed to know a chord or a song that somebody else did not. It probably endured more than a few terrible attempts at familiar songs, along with those occasional late-night moments when several people suddenly managed to sound much better together than anyone expected.

That was the beauty of having a guitar nobody was afraid to touch.

It could be passed around.

Someone might have learned their first chord on it. Someone else may have figured out the opening to a favorite song and played it twenty times in a row. On warm evenings it may have come outside when everyone should have been studying. It may even have found its way into photographs that seemed ordinary at the time and became meaningful only years later.

Somewhere along the way, the guitar stopped being merely the inexpensive substitute purchased so the better guitar could remain safely at home.

It became the college guitar.

And although it was being used, its owner apparently took reasonable care of it. Not obsessively, perhaps, but respectfully. Strings were changed when necessary. The guitar was wiped down. Small adjustments were probably made when something began to feel wrong. It accumulated the sort of marks that come from being handled and carried, but not the damage one would expect from an instrument treated as disposable.

Then graduation approached.

Rooms had to be emptied, boxes packed, and several years of accumulated belongings divided into the familiar categories of what would go home, what would be sold, and what simply was not worth moving again.

The Jay Turser presented a different problem.

The guitar at home was still there. That was the one he had always intended to keep. Bringing the Jay Turser home meant owning two guitars that now served much the same purpose. Selling it for a small amount of money probably did not feel quite right, and throwing away something that had been part of so many ordinary college moments would have seemed even worse.

Then came an end-of-the-year charity drive.

Perhaps that made the decision easy.

Someone else could have it.

Someone else might be heading off to school without a guitar, or wanting to learn without having much money to spend. The same inexpensive instrument that had solved his problem years earlier could solve the same problem for somebody new.

So before leaving campus for the final time, he carried the black Jay Turser to the donation collection and let it go.

Maybe he stopped for a moment before handing it over. Maybe he didn't.

By then, the memories belonged to him.

The guitar did not have to.

He graduated, went home and eventually reunited with the instrument he had left behind years earlier. The Jay Turser began another journey.

Somewhere along the way it reached Goodwill Southern New England and eventually entered their online auction system. From there, its history becomes less imagined and more certain.

In January 2024, I found it.

I placed a bid, and when the auction ended, Back From the Dead Guitars was the highest bidder. The black JT-300 left Southern New England and made the trip to Michigan.

When I finally had it on the bench, there was no dramatic resurrection waiting for it because there didn't need to be. This was not a guitar that had been destroyed by its first life. It had survived it remarkably well.

The original plastic nut had worn enough to justify replacement, so I fitted a bone nut in its place. The rest of the guitar was inspected, cleaned, serviced, adjusted and set up so it could continue doing what it had apparently been doing for years.

Playing music.

That is where the imagined portion of its history ends.

The college student is fictional. So is the Salvation Army purchase, the dorm room, the late-night playing and the graduation-day donation.

But the guitar is real.

Its honest wear is real.

Its journey from Southern New England to Michigan in January 2024 is real.

And perhaps that is what makes this particular story feel believable. There is nothing extraordinary about it. No famous musician, legendary concert or priceless instrument is required.

It is simply the kind of life an inexpensive guitar might actually have lived.

Someone needed a guitar they could afford to use without fear. They played it, made memories with it and, when that chapter of their life ended, passed it along so someone else could do the same.

Now the black Jay Turser is ready for another player.

It does not need to become something different to have value. In the story I imagine, it already succeeded at being exactly what it was meant to be:

a simple guitar someone could pick up, play often, carry anywhere and remember years later.

Initial Inspection and Evaluation

The guitar arrived at the shop in late January 2024. After unboxing it and placing it on the evaluation table, the first thing I noticed was the mottled tarnish covering nearly all of the exposed metal hardware. Its appearance suggested that the guitar had experienced some degree of moisture exposure, along with a period when a substantial amount of dust had accumulated on it.

A preliminary wipe-down removed much of the surface discoloration. I then connected the guitar to an amplifier and confirmed that all three pickups and the five-way selector were functioning. After tuning it to pitch, I checked the neck for fret buzz and found noticeable buzzing around the 16th and 19th frets. Those areas were marked for further inspection.

The tremolo system was tested and operated normally. However, the combination of old strings and the worn plastic nut did not maintain stable tuning after several minutes of string bending and tremolo use. I did not hear any popping, binding, or sharp twanging from the nut slots, suggesting that the strings were not severely sticking. Although the tuners were tarnished, they turned smoothly and appeared suitable for continued use.

A closer examination of the body revealed extensive signs of honest play. The front showed numerous scratches consistent with years of chord and rhythm playing, while the back carried a substantial amount of belt-buckle wear. The condition suggested a guitar that had been used regularly rather than left untouched.

Once the guitar was disassembled, I found a full-size shim in the neck pocket. Removing the pickguard revealed a clean, painted electronics cavity. The guitar was equipped with ceramic pickups, dime-size A500K potentiometers, and a single tone capacitor shared between the two tone controls. The five-way selector was a circuit-board-style switch. It operated correctly and appeared suitable for reuse.

The potentiometers initially showed some contamination from age and storage, but they turned smoothly after being treated with electronic contact cleaner. Since they remained functional, they were retained for possible reuse.

After cleaning the neck and finished maple fretboard, I discovered a localized impact mark near the treble-side end of the second fret. A corresponding gouge was also present in the adjacent fretboard finish. The shape and location of the damage suggest that the area was struck by the sharp corner of a hard object, or possibly damaged by a tool during an earlier repair attempt.

The tuners were removed for further cleaning. Beneath the accumulated dirt was a heavier layer of tarnish that could not be completely removed with silver polish or chrome cleaner. Once cleaned and polished, however, the remaining discoloration gave the tuners an aged patina that suited the overall condition of the instrument. Because they continued to operate properly, they were retained.

The original plastic nut showed clear wear and was no longer providing consistent tuning stability, so replacement was necessary.

The bridge displayed the same heavy tarnishing found on the tuners. Polishing improved its appearance but did not completely remove the discoloration. Since the bridge remained functional and its aged finish matched the tuners well, it was also kept with the guitar.

Overall, the instrument showed the marks of a guitar that had been played frequently and actively for many years. At the same time, its underlying condition suggested that it had generally been cared for. The widespread tarnish and accumulated dust appear more consistent with a relatively brief period in an uncontrolled storage environment before the guitar was donated and entered the auction system, rather than a lifetime of neglect.

Condition and Honest Disclosure

This guitar is in clearly used condition and retains visible evidence of its previous life. The most notable damage is a localized nick near the treble-side end of the second fret, accompanied by a corresponding mark in the adjacent finished maple fretboard. The area was carefully inspected, and the fret was recrowned and polished to smooth the damaged surface. It does not catch the strings, create a sharp edge, or interfere with normal playing and bending.

Because the fret remains secure and functional, I chose not to replace it. Removing and replacing a single fret on a poly-finished maple fretboard can damage or chip the surrounding finish, and a complete refret was not justified by the condition or playability of the remaining frets. The original fretwork was therefore preserved rather than exposing the neck to unnecessary repair risk.

The original tuners, string trees, bridge, and output-jack plate retain a mottled tarnished patina. These components were cleaned and polished, but some discoloration remains permanent. All retained hardware was inspected and found to be functional. The aged appearance complements the numerous scratches and handling marks that remain throughout the instrument.

The body was carefully cleaned and polished with a dual-action polisher and mild polishing compound. This improved the finish but did not remove all of the scratches, particularly the heavier play and belt-buckle wear on the back. No attempt was made to aggressively sand, refinish, or conceal these marks.

New saddle-height screws were installed where needed so that the screws do not protrude excessively above the saddles and scratch the player's picking hand. This small functional improvement is not included as a major modification but was completed as part of the setup.

Overall, the guitar should be considered a well-used instrument with visible cosmetic wear, including the localized fret and fretboard damage, aged hardware patina, surface scratches, and heavier wear on the back. These conditions are cosmetic and do not prevent the guitar from playing properly. The instrument has been serviced, upgraded, and set up for continued use, but it has intentionally not been refinished or cosmetically altered to appear newer than it is.