it would be much simpler when buying gear if it did. i lean towards US and japanese made, but there seems to be a lot of positive reviews for recent korean, indonesian, and even some chinese made guitars and basses.
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While I reflexively wish that everything I buy was made domestically, it is no longer the way the world works in this age of 'Globalisation'. The entire world of digitally driven production equipment, is as noted by others, not geographically limited. All the proof you need is to look at the range of $500 and under basses, and though you can still find some flea-collar candidates, there are a LOT of really nice basses in there, far more than ever before.
I do appreciate that all of the American iconic brands, who may sell ranges of basses built in many locations in Pacific rim STILL have American production, and the jobs that they provide.
And good and/or different ideas do originate in other places. In the 80's I was (and still am) hugely impressed by what I call 'The Japanese Bass Explosion', which yielded the Ibanez Musicians (and other models), the BB Yamahas (actually designed in Cali, with big influence from John Carruthers), the Aria SB's, and TUNE's Bass Maniac, plus others. These were all landmark axes that broadened the playing field. And today, I really wonder how the domestic 'Super Jazz' basses from Sadowsky and others would fare IF choices like Bacchus, Moon, and Atelier Z were available as handily here as they are in Japan. How many Fender Custom Shop vintage axes would sell if you could buy the scary-good ESP Navigator modern vintage pieces?
I do appreciate that all of the American iconic brands, who may sell ranges of basses built in many locations in Pacific rim STILL have American production, and the jobs that they provide.
And good and/or different ideas do originate in other places. In the 80's I was (and still am) hugely impressed by what I call 'The Japanese Bass Explosion', which yielded the Ibanez Musicians (and other models), the BB Yamahas (actually designed in Cali, with big influence from John Carruthers), the Aria SB's, and TUNE's Bass Maniac, plus others. These were all landmark axes that broadened the playing field. And today, I really wonder how the domestic 'Super Jazz' basses from Sadowsky and others would fare IF choices like Bacchus, Moon, and Atelier Z were available as handily here as they are in Japan. How many Fender Custom Shop vintage axes would sell if you could buy the scary-good ESP Navigator modern vintage pieces?
Four of my basses are MIJ. One is MIM. And my latest buy is the Squier VM P5 MIC.
So my answer is no.
But there is some prestige involved in owning a Fender MIA or a German Warwick.
So my answer is no.
But there is some prestige involved in owning a Fender MIA or a German Warwick.
As I mentioned earlier. When I picked up my first Ibanez Roadstar in 1981 I was hooked. Dual humbuckers, cherry sunburst pseudo 'ric shape' body, what's not to love? The bass was already light years ahead of the J and P basses. And since then Ibanez has continued to evolve into one of the best values for the dollar out there.
Embarrassed to say after playing 40 years I find the Ibanez basses made in Indonesia to be the best quality for me. My Sr300EL is incredible for $400....
Over the years I've owned instruments from USA (EBMM & Fender), UK (Wal), Germany (Warwick), Italy (Eko), Japan (Squier) and Indonesia (SBMM). They've all been good in lots of ways and none have really jumped out as being a quantum leap over any of the others and they have all done everything I've asked of them.
Ultimately I find it comes down to the minutiae of the individual item.
For consistency the 80's Wal Custom or EBMM Stingray would win out insofar as every example I've every played feels like an extension of my hands, but that's personal preference for the types rather than a reflection on the countries of origin. The Eko I own is a fantastic instrument but I've played one other that was a real dog. Likewise with Squiers - my long gone JV '57 P was excellent as was an old friend's fretless J, but more recently I've come across some pretty awful examples.
Ultimately I find it comes down to the minutiae of the individual item.
For consistency the 80's Wal Custom or EBMM Stingray would win out insofar as every example I've every played feels like an extension of my hands, but that's personal preference for the types rather than a reflection on the countries of origin. The Eko I own is a fantastic instrument but I've played one other that was a real dog. Likewise with Squiers - my long gone JV '57 P was excellent as was an old friend's fretless J, but more recently I've come across some pretty awful examples.
As of now I tend to stay away from basses made in China.
U.S.,Korea,Indonesia.No problem.
China seems to be the lowest common denominator in price.But unfortunately in quality also.
I once had a Washburn Taurus made in Vietnam.
I was great in quality and sound.
Years later I buy another Washburn T-25 Taurus.The same model.
But now made in China.
World of difference.
The body shape is now a slab.No contour.
It was not real Mahogany,but stained wood.
The sound is different.
The bridge was BADLY made!
On not just mine.Many others!
U.S.,Korea,Indonesia.No problem.
China seems to be the lowest common denominator in price.But unfortunately in quality also.
I once had a Washburn Taurus made in Vietnam.
I was great in quality and sound.
Years later I buy another Washburn T-25 Taurus.The same model.
But now made in China.
World of difference.
The body shape is now a slab.No contour.
It was not real Mahogany,but stained wood.
The sound is different.
The bridge was BADLY made!
On not just mine.Many others!
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Squier CV series and the Squier VM P5 that I bought last month all made in China... so not all MIC are of sketchy build. Maybe quality is dependent on the QC of the company having their guitars built there.
What my instruments are made of and how they are made matters more to me than where they are made. The era in which they are made also plays a role.
I have German, Italian, Japanese, Taiwanese and Korean made instruments.
And also played American, Czech and Chinese instruments.
When they were made in the sixties or seventies, they tend to have a bit more 'character' and flaws. The materials what they are made of and the craftsmanship put in to them matters more to me that the country where they are put together.
I have German, Italian, Japanese, Taiwanese and Korean made instruments.
And also played American, Czech and Chinese instruments.
When they were made in the sixties or seventies, they tend to have a bit more 'character' and flaws. The materials what they are made of and the craftsmanship put in to them matters more to me that the country where they are put together.
it is not the question WHERE they are producted. Its the question HOW they are produced.
If you have a high mass production in China, the production level nowerdays is very high everywhere.
The finished product at the end is of an acceptable quality level and a very competitive price level.
But within mass production you have quality variations, especially when it comes to tonal aspects.
Here you simply cannot select the wood for a bass like a luthier with a small production output would do.
In High mass production they just grab the wood out of the shelf, no matter if it is good or not.
So with an expensive boutique bass (no matter where it is build!), you have a higher chance of an excelent product.
But I would also say, that with a cheap mass production bass, you can get the jackpot as well.
Just go to your local store and find out, if there is a hidden champion waiting for you on the wall.
It is worth the time you spend there and its fun too...
I have an american build Music Man Stingray BFR, which is mindblowing highend,
but I also have a cheap Epiphone Thunderbird Classic from Indonesia, which sounds as good as a Gibson, so I am very lucky...
If you have a high mass production in China, the production level nowerdays is very high everywhere.
The finished product at the end is of an acceptable quality level and a very competitive price level.
But within mass production you have quality variations, especially when it comes to tonal aspects.
Here you simply cannot select the wood for a bass like a luthier with a small production output would do.
In High mass production they just grab the wood out of the shelf, no matter if it is good or not.
So with an expensive boutique bass (no matter where it is build!), you have a higher chance of an excelent product.
But I would also say, that with a cheap mass production bass, you can get the jackpot as well.
Just go to your local store and find out, if there is a hidden champion waiting for you on the wall.
It is worth the time you spend there and its fun too...
I have an american build Music Man Stingray BFR, which is mindblowing highend,
but I also have a cheap Epiphone Thunderbird Classic from Indonesia, which sounds as good as a Gibson, so I am very lucky...
I have experience with guitars built in Korea, Indonesia, and China. The quality of the Korean and Indonesian guitars has been consistently high. The quality of the Chinese guitars has been more hit or miss. Some of them are good and some of them are horrendous. I would never buy a Chinese built guitar mail order. Before I would buy a Chinese guitar I would have to inspect it personally and play it. That's the only way to know what I'm actually getting.
If I were a bass builder I'd rather build in my basement than in the garage.
To me its bass by bass. Ive played basses made overseas that were incredible for the price, Ive played US made basses that were absolute dogs. And vice versa, I look at every bass as its own thing. If you look at each bass as its own entity regardless of country of origin you do yourself a big favor.
I voted 'Yes. alot.' ... But, should underline that the parts, mostly the woods used, matter more. ... A cheap bass/instrument will use cheap woods. ... You can add expensive pickups to a cheap bass and get better results but, it won't feel better to the touch. ... I find the overseas necks the most bothersome and often feel they'll break in two with very little effort. ... I've heard it relates to how the wood is cut (quartersawn), and I'll bet two bits I don't have any idea about quartersawn woods. But, I do know what I like in a bass neck.
Not at all! I've seen Chinese and Japanese knockoffs that played better and stood the test of time better than their American forbearers. I've also seen
American/Canadian axes that were of exceptional quality (some expensive, some not).
These days, I think a lot come down to how well the CNC and paint machines are programmed. EVERY COUNTRY can build the best... Or they can put lipstick on a pig...
American/Canadian axes that were of exceptional quality (some expensive, some not).
These days, I think a lot come down to how well the CNC and paint machines are programmed. EVERY COUNTRY can build the best... Or they can put lipstick on a pig...
I was made in the USA. Proud of it.
I have a friend who was made in Japan and he's proud of it, too.
Make the most out of what you are.
That's what really matters.
I have a friend who was made in Japan and he's proud of it, too.
Make the most out of what you are.
That's what really matters.
I do wish there was a "sometimes" or "somewhat" choice. I checked "Alot" but there is more than simply national origin that goes into my choice of instruments.
I do like the cache of buying "American", but it's by no means my guiding light. Much more importnt to me is that when possible I prefer to purchase an instrument where I can communicate directly with the builder. Sometimes this is simply peace of mind and often also this is to allow for customization to my specific prefferences. This set of goals usually most easily achieved with the purchase of an instrument from the USA.
Over the years my collection has slowly become more and more domestic production and now -including my homebuilts- almost all my instruments are such. Not counting a few used guitars I bought for my kids and visiting players, a MIM P (my first bass), and a Hadean Uke bass are the only instruments of "mine" that aren't from the USA.
I do like the cache of buying "American", but it's by no means my guiding light. Much more importnt to me is that when possible I prefer to purchase an instrument where I can communicate directly with the builder. Sometimes this is simply peace of mind and often also this is to allow for customization to my specific prefferences. This set of goals usually most easily achieved with the purchase of an instrument from the USA.
Over the years my collection has slowly become more and more domestic production and now -including my homebuilts- almost all my instruments are such. Not counting a few used guitars I bought for my kids and visiting players, a MIM P (my first bass), and a Hadean Uke bass are the only instruments of "mine" that aren't from the USA.
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