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What Dave W. said...obviously, the MIA Jags and JMs use better
materials, etc., then the Japanese knock-offs. The folks at Fender USA
went to a lot of trouble to recreate the classic originals. I think we
all recognize that they are much closer to the original specs than the
MIJs. For some, the cost is obviously justified for these specific
guitars.
What gets me is the knee-jerk reaction of many buyers (most, casual
players not as discerning as Dave Wronski, who I consider to be a
guitar demi-god) who favor American-made versus MIA/MIJ/MIK. I think
the quality of Fender's Mexican and Japanese guitars is very good,
especially considering price.
If my history is accurate, when CBS sold Fender most of the vintage
reissue production went to Japan because their luthiership was
superior at that time. Only through hard effort, research and
retooling has Fender America stepped up to the design standards that
made the company famous under Leo Fender.
I think the important thing is to give credit where it is due...the
CIJ and MIM guitars are quite good, if not on-par with the best of the
MIA guitars.
And as to paint, I am sure the nitrocellose laquer is a desireable
finish ? extremely thin, hard, quick drying, beautiful in its luster
and depth, and perhaps with sonic properties that make it superior to
the poly-wrapping that is used in other finishes. Props to Fender
America for bringing it back.
Gavin
--- In , dave wronski <stickmandw@y...>
wrote:
> A few thoughts: MIJ vs. CIJ may involve may more wiggle room with
regards to taking advantage of the International Division of Labor.
Any lawers out there?
>
> The US Jags & Jazzmasters have superior metal parts. The collit that
holds the trem bar is brass on the imports, and hardened steel on the
US models. The materials and engineering involved with the US Fender
Jag and Jazzmaster are more costly. The magnets are a "High HC"
material that was used by Fender for only a couple of years in the
early 60s. For Bill Turner {Fender pickup designer} to be able to
figure out the reason why he heard a difference in sound in those old
pickups would require Fender to spend some ca$h.
>
> The paint used on the imports is polyester {plastic} The US guitars
are eurathane, or Nitro laquer, depending on the model. Shooting
lacquer in California required Fender to build a 5.5 million dollar
paint facility.
>
> Old guitars can sound better because of superior woods like
Brazilian Rosewood fret boards that are not legally available now.
Neck shapes in the old days, in my opinion, had to satisfy a
professional player, not so much the less critical, casual owners of
today. That might be the reason why trying to copy those old shapes
for a small minority, is such a passion.
> My white MIJ Jag with it's polyester paint, and basswood body has a
great neck, which is why I like all the Japan Fenders so much. The
basswood on the Japan guitars is a different variety than we get in
the states, as I was told by the head of Fender R&D. US guitars are a
little too wide for my thumb-over big stretches. Too bad for me
because everything else is so right. Of course there is always the
Custom Shop, which has been making some great Jag and JMaster
one-offs, which, a few I've tried.
> I guess that's enough rambling!
> -dave
>
>
> Gavin Ehringer <gavinehringer@e...> wrote:This is not an attack on
Richard, just my own musings!
>
> ------
>
> I am always amused about the US versus Japanese versus Mexican versus
> vintage controversies and opinions regarding Fenders. I think there is
> a certain amount of nationalistic pride and xenophobia when people
> assert that the standard-production U.S. guitars are better and the
> vintage guitars are best. And a certain amount of nostalgia too.
>
> Isn't it a bit simplistic to think that Americans made better guitars
> in the 1950s & 60s than they do today, and also believe they make
> better guitars now than do the workers in Mexico, Japan and Korea?
>
> I've owned a Mexican '50s Strat, a '96 Jap Jag, and an American Fat
> Strat. I loved the tone and feel of the imports much better (granted,
> the Fat Strat didn't really suit surf/rockabilly roots music). But as
> far as set-up, finish, hardware, and overall quality, it would be
> impossible to say that one was better than another.
>
> Most of the cost differences among imports versus US made are simply
> labor ? and I don't think US workers are any more conscientious than
> the Japanese. That's why I drive a Honda.
>
> Certainly, these low-budget Jags and Jazzmasters won't be of the same
> quality as the American '62 Reissues (nor were they intended to be),
> but I am confident they aren't much worse than or different from the
> original Fender Jags and Jazzes, which were made at a time when quality
> control and manufacturing technology weren't at the high standards of
> today. I know Leo ran a tight ship, but I also know he and his floor
> workers cut corners when need-be ? and it shows up in a lot of vintage
> guitars. (Ever seen a sunburst pattern bleeding through under a custom
> color? That's 'cause rather than strip a botched sunburst paint job,
> they'd just shoot a custom color over it and add $5 to the price!
> Which, to me, made perfect sense).
>
> The only mods I made to my Jap Jaguar to get "that sound" were some SD
> pickups that were more to my liking, plus new bridge saddle barrels and
> heavier gage strings to solve a mild buzzing. Total cost for guitar +
> $425 used, plus $50 for pups, $25 for saddles = $500). To me, it seems
> these inexpensive Jags and Jazzmasters might just be worth it. Besides,
> they'll always hold a resale close to these bargain-basement prices.
>
> Too much time on my hands,
>
> Gavin
>
>
> > At $399.99 the Japanese JM seems like a killer deal,
> > hands-down, but whenever you a buy a cheaper guitar
> > there is always going to be a question of value...
>
>
>
>
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