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specific question about MIM vs MIA fenders

#21
In general, the USA versions will have slightly better components and somewhat less variability than their Mexican counterparts. That being said, a lot of our perceptions around quality are based on our expectations and sometimes what we see.

If you took 5 USA basses and 5 Mexican basses that were more or less the same, had them professionally set up with new strings, and had people play them blindfolded through a clean amp (meaning they could only perceive how they played and sounded), I think that it would be difficult for people to always think that the USA versions were better. This might be an interesting experiment to try.
 
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#23
TrustRod said:
For some years both the MIA and MIM factories took carved bodies and necks from the same exact piles.
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My 2001 MIM J burst has a one piece body and I think it’s alder. It’s definitely not ash. It has some birds eyes in it, but they don’t show up well in the photos.
4D015CAA-3698-4C78-B67A-25C6F28F4E76.jpeg

C535B45B-DB95-40E8-98F9-D10505E05A86.jpeg
 
#25
Ostie said:
My 2001 MIM J burst has a one piece body and I think it’s alder. It’s definitely not ash. It has some birds eyes in it, but they don’t show up well in the photos.
View attachment 4050769
View attachment 4050770
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Definitely not a 1 piece. They used a thin veneer to hide the 5+ pieces. The way the burst hides the contour cutout is a dead giveaway.
 
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#26
there is no real way to measure "quality" wood.

every luthier i know - whether they make guitars, bass guitars, or violins, holds up the lumber and knocks on it to hear it "ring like a bell" as they say. not an exact science, but a logical thing.

i would have no specific concern with MIM wood. it's just quicker production that drives the cost down.
 
#27
If you look closely at my avatar, you'll get a good look at my MIM P-Bass Special. This is one of the best basses I've ever owned - I especially love the neck, one of the best I've ever experienced - the maple with block inlays. My problem is that I've always loved both the Jazz and P, this gives me the best of both worlds. Now there's no way I'm going to say, "oh, this stacks up or maybe even better than a MIA." I will say, that I've tried several MIA models, and this one just felt the best, for my budget and needs.
 
#29
mattj1stc said:
In general, the USA versions will have slightly better components and somewhat less variability than their Mexican counterparts. That being said, a lot of our perceptions around quality are based on our expectations and sometimes what we see.

If you took 5 USA basses and 5 Mexican basses that were more or less the same, had them professionally set up with new strings, and had people play them blindfolded through a clean amp (meaning they could only perceive how they played and sounded), I think that it would be difficult for people to always think that the USA versions were better. This might be an interesting experiment to try.
Click to expand...

So true. A guess at best.
 
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#30
I'd like to clarify that I don't mind the bass being made in Mexico at all. It sounds fantastic and really does "feel" good. I was just concerned about the bass eventually having problems with the neck (I'm in Canada, dry cold winters!) or stuff like that, stuff having to do with the longevity and durability of the instrument. But you all sorta answered my question, thanks a bunch!!
 
#33
groooooove said:
every luthier i know - whether they make guitars, bass guitars, or violins, holds up the lumber and knocks on it to hear it "ring like a bell" as they say. not an exact science, but a logical thing.
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The tapping tradition we have now in the guitar world comes from tapping a violin or viol family instrument's top as you carve the top. It was never done to find good wood, it was done to notice the changes in the woods tone as it was carved to decide when to stop.

You can find many tones in a single piece of wood depending on where you tap it. An extreme example of this would be....

gsobild_3.jpg
 
#35
The differences were more stark in the past. I worked at an MI dealer that carried Fender basses in the early 2000s. Back then 6 or 7 out if 10 USA Fender basses we got in were great instruments. 4 or 4 out of 10 were scrap wood. At the same time it was about half and half Mexi great to scrap wood ratio.

These days, both are in the 6 or 7 out of 10 category, depending on tue model/series.

Either will likely be fine. You will come across duds from both countries from time to time. And, in my experience, a dud will simply mean other a huge dead spot in the neck or simply poor resonance of the whole bass.

I just got a Mexi P bass neck for a parts bass and it plays great. I have no issues whatsoever with it.
 
#38
TrustRod said:
The tapping tradition we have now in the guitar world comes from tapping a violin or viol family instrument's top as you carve the top. It was never done to find good wood, it was done to notice the changes in the woods tone as it was carved to decide when to stop.

You can find many tones in a single piece of wood depending on where you tap it. An extreme example of this would be....

View attachment 4050942
Click to expand...

absolutely true that the arching and thickness tapping is much more of a clear science.

but, I have definitely seen both bass guitar makers as well as well-known violin makers do this with the untrimmed block of lumber that would later be carved into an instrument. you really can hear it!
 
#39
groooooove said:
absolutely true that the arching and thickness tapping is much more of a clear science.

but, I have definitely seen both bass guitar makers as well as well-known violin makers do this with the untrimmed block of lumber that would later be carved into an instrument. you really can hear it!
Click to expand...
Give me their rejected pieces and I can make a good sounding bass out of them.
 

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