If the stratocaster had been an unpopular design that got discontinued back in the early 60's would it look "rad" today?
The eternal question,
I have a beaten up and abused standard Fender strat that does things no other guitar will really do tone-wise. Plus it more or less nails the widest range of tones with simple selection and tweaking. provided I don't use the tremolo arm it keeps in tune very very well under heavy use.
However for rocking out I really have a problem with the placement of the volume knob. If your banging out chords in a certain "garagy" and 'punk" styles its too easy to knock the volume pot down to zero. Has anyone else had this problem?
So I basically never use it for heavy hard jamming or performance. Great to record with though. Its hard to beat a good strat. that's why I leave it alone and don't try and move or disconnect the volume pot. I am superstitiously worried I will take the mojo out of it.
Its good to remember that many people played wacky retro guitars because that was all they could afford or find and where able to get the unique sound they wanted out of it. At the time nobody had any idea these guitars would become trendy and collectable due to the fact many could barely could stay in tune for five minutes.
Sadly the days of $25 mojo garage sale scores seems over.
For most of the early cheapo guitars I find that the necks are an inferior mahogany that is too finicky to weather and temperature changes. You can spend a week fine tuning one to work amazingly and keep in tune but it will simply not last past a 3 degree change in temperature or humidity. Plus usually the body is made of inferior tone woods......like Masonite and plywood.
Ultimately if your not looking vintage but want something unique (not yet hip) anyone can find a bargain. Some pretty rad "crap" guitars flood in from Asia and quickly go second hand that you can modify as you wish knowing its never going to be collectable. So you can go nuts.
Plus the hardware and tuning is more stable.
Personally I prefer guitars that are already damaged when I get them. Less precious, don't worry too much about theft
Even buying new I always would get a 'B" or blemished stock.
my favorite "new" cheapo's?
http://www.ampeg.com/products/daplexi/amg100/index.html
discontinued, but I got the swamp ash blonde for $260 ......amazing guitar and unbelievably the body is one-piece swamp ash ! unreal
and the 1997 version of the Fernandes Vertigo or in Japan the Burny H65.
(here is one that went for a whole 76 dollars on ebay recently. )
http://cgi.ebay.com/FERNANDES-ELECTRIC-GUITAR-CHECK-OU-PICS-/170662...
It was Too "ahead" of its time and failed miserably so sadly Fernandes took the design in a more "metal" direction.
as you can see from the price the original "retro" design is still not appreciated. (good for anyone who does appreciate it though!)
bought mine new (Blemished stock or factory B stock) in the 90's for $250 directly from Fernandes in California and it is still my main squeeze with no upgrades. Tuning is very stable with a chunky neck which I prefer. I have had 7 different guitars but have always come home to this one since.
I think it would look pretty great with a Bigsby on it. Too bad the company never tried it.
anyway, that's my two cents. If the strat works for you why forsake it for a cheap hussy.
@ John Spokus, great post....
I hear you loud in clear. This is a subject I've discussed often. Do you want to stay "In the box" where it's safe? Or do you wish to create something new and unique. To me, music, art, photography, any of the creative arts are a medium one uses to express what is inside of themselves. Trying to re-create a sound, a performance, a place in time, what ever, is counter productive. I had this same argument back in 1986 with Rudi, when I was in the Fuzztones. Now here' it's 25 years later & he's catering to these people, who like your Jungle Rot fans, want to hear him re-do his first LP over & over.
For me, any amount of lo-fi is back pedaling. My first recordings, done with The Speedies, were done in Skyline Studios & Electric Lady studios in NYC. So I was introduced very early on to the benefits of recording in a room with superior acoustics. (It's more than the electronic gear that makes a recording sound good). I also think that every member of the band has something to contribute, and they should be heard. There have been posts above saying that I sound like a cranky old guy who doesn't like what the kids are doing nowdays... this could not be farther from the truth. I'm, in a band with a 21 year old singer. I've always encouraged younger musician's & I've learned a lot from the younger perspective. The best thing for me about young musician's is their fresh approach & enthusism. I've had many years of experience & some people are open to suggestion, others are not. To each his own.