Tim, the build quality of my Suzuki is very comparable to the new 6131T Firebird Jet that I just bought.
![teisco guitar model ep-9t teisco guitar model ep-9t](https://images.reverb.com/image/upload/s---uU3jUy6--/a_exif,c_limit,e_unsharp_mask:80,f_auto,fl_progressive,g_south,h_620,q_90,w_620/v1425427664/rcufgfuy2sxozcvjmpei.jpg)
which means they're probably good enough for the proletariat. Ibanez was making original designs in the 70s that were good enough for John McLaughlin, Steve Miller, Bob Weir, and (briefly) Jerry Garcia. That 2007 Epi Elitist Byrdland was one of the best things I ever had. Now hi-end Japanese may even be better than US. started coming out with their own designs, and got even better. 70s- they were making ok copies of US stuff. Yep my first electric in 1965 was a no name Japanese 2 pickup thing. I know, right? it would make me feel like Ziggy Stardust. 27Īnd who wouldn't want to be a super-sounding brazen picker? 28 There are just no national or racial boundaries for skill and craftsmanship. I can't find the first fault (other than budget hardware) with either of my Indonesian Streamliners. The US and Germany early on, some leakage to other parts of Europe, then Japan - Korea - Mexico - China - Indonesia - Vietnam.
![teisco guitar model ep-9t teisco guitar model ep-9t](https://assets.catawiki.nl/assets/2017/5/18/9/a/a/9aa3d676-06aa-40ec-aee9-3756b9063833.jpg)
Of course prejudice and hostility against the guitars continued - and we still run across it from time to time.įunny how first American, then eventually global, demand - and the competitive drive to find (or to be) the low-cost producer - has driven electric guitar-building expertise right around the globe. Then, sometime around 1977-78, most of us probably remember picking up a Japanese-built guitar and saying whoa man! This is pretty nice! The factories learned fast, and guitars continued to improve through the early 70s (though still pretty funky).
![teisco guitar model ep-9t teisco guitar model ep-9t](https://images.reverb.com/image/upload/s--Uh_st4s0--/a_exif,c_thumb,f_auto,fl_progressive,g_south,h_296,q_auto:eco,w_296/v1471108249/p13mhjqbrgrhdjz2fgn5.jpg)
What happened between those two decades was, of course, the 70s.and in fact you can trace the progression from the funk of the 60s to the mastery of the 80s right down through the years, with the tipping point probably coming late in the decade. The best of the 80s, as you know, can simply be great. A classic 60s Japanese axe can be cool, and funky, sonically unique, fun, and even much better than it should have been.īut the average 80s Japanese product is easily comparable to anything made in America at the time (and, fightin' words though they are, probably as good as "vintage" American product in fit/finish/workmanship). In terms of workmanship, stability, fit and finish, refinement, right down the line of attributes and virtues, a guitar from Japan circa 1966 and one from 1986 are vastly different critters. It's a very interesting subject, because many of the same factories - or business lineages anyway - were active through both decades, and many of the same owners, managers, and workers were involved.īut, in my experience, a flat-out great guitar - without qualification of terms - from Japan in the 60s.is very unusual. Several factories there at the time were building as good guitars as anyone ever has.īut, to be clear, Japanese electric guitars of the 80s could be from a different planet than Japanese electrics from the 60s. Wade, I share completely in your regard for 80s Japanese guitar production.