My prediction, this thread changes no minds, and those who like to spell Fender with a 7 will continue to do so.
Agreed. I already regret making a comment that was meant to be a neutral/"devils advocate" position.
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My prediction, this thread changes no minds, and those who like to spell Fender with a 7 will continue to do so.
So you can't answer what all these developments and advancements are?
So, nothing them. Got it.
If you were able to explain it, let alone concisely, you would.
Yes, the people who already have a bug up their butt about Fender saw the OP and lapped it up. Anyone familiar with the mega thread we had on the G&L closure or capable of a lick of critical thinking, would find that story highly suspect if not a complete fabrication. Unfortunately, this kind of stuff will become part of the narrative for the Fender haters.My prediction, this thread changes no minds, and those who like to spell Fender with a 7 will continue to do so.
Because Leo Fender invented Fender. For what its worth we agree on the main factors. I said the overreliance on legacy was in my opinion part of their problem, not why they failed.Not being ridiculous, EBMM has been riding the Leo Legacy just as well. Every video they put out for a new "heritage product" (which is kind of a lot…) Sterling brings up his history with Leo.
G&L failed because of mismanagement of the business and poor marketing, not because of the use of the Leo legacy. If that were the case, then why did Fender want the rights to the Leo Legacy that badly?
In my opinion, they were hitting out of the park lately, and were on bright-assed horizons with some of the concepts they were working on, like the Wide Body Funkay (L1505 style, 19mm bridge, M-Series eq) and Steve was working on a .750 Jazz Bass 5 with long-cover pickups.
This stuff would have been HUGE.
hey my bass playing brother, it's just kind of silly for you to glom on to the idea that Fender made NO changes to its designs or tech in 70 years ... that's patently not even sort of correct.So you can't answer what all these developments and advancements are?
So, nothing them. Got it.
If you were able to explain it, let alone concisely, you would.
I'm always interested when the "souless corporate" term is thrown around here. FMIC is for sure a corporation, and so is every other major/serious manufacturer of amps and instruments. They all do it for money ... all the way down to the smaller boutique builders. In the case of G&L, they ultimately just did it very badly and now they no longer exist as a (soulless?) corporation. Another example; I am lucky to own and play a Lull M4V, but Lull was, and is, a corporation ... not as big as FMIC, but a corporation none the less. They build instruments for sale ... just like Fender. Would you consider Mike Lull Custom Guitar's souless ? and if not, why not ? They build instruments for money (and pretty big money too).If there is a lack of regard toward Leo and the legacy of G&L, it's not surprising coming from a soulless corporate behemoth like Fender. I don't have any issue with them for that because it's to be expected. Any negative opinion I have of Fender is far more colored by my experiences with their poor quality control, horrible customer service and blatantly profit-oriented product offerings.. though I realize none of those are the subject of this thread.
Not a history or museum fan, huh?I'm confused.
Are you blaming Fender for G&L's management? G&L was shambolic long before Fender swooped in and acquired the bones of the company.
Why do people care so much about Leo Fender's desk? Everything he designed was patented. You can look it up yourself without rummaging through a smelly old desk full of Gestetnered plans and mimeograph copies.
I think if G&L had enough people interested in paying to tour his office, they would have made it a museum. They desperately needed money.Not a history or museum fan, huh?
This thread turned into classic social media commentary. We grabbed a dance partner and started yelling at each other's clouds. Let's all just move on