Fender ST57-xx

Maple neck soft-V.
I was in search of this type of handle is a real treat, the rhythmic cotcotter well crossed the bar, and everything goes solo. V is the vote until the 3rd box after he goes on a profile more 'classical' I think it is very close to the profiles 'C' chunky.
The frets are fine and some high 1mm thick and less than 1mm in height. (Vintage anything).

The key is maple with a setting of 'truss-rod' which is made by the heel, not super ^ ractice but it is not something you hack every day
The cover insert (truss-rod) is in the form of gout, dark wood walnut maybe.

The body of the beast is a 'sunburst' 2 tone that is ... vintage on a wood that is not ash, but a little lighter, it seems to be alder. The body is up to three pieces of wood glued together.

Form stratabound ...... ...

Tremolo Vintage too, with six screws, three springs housed in the cavity on the back of the body of the classic.

If the jumpers are not vintage top I have graf-tech, less aggressive for strings.

Be good to mention on the plate ... The pickguard is also vintage ... but that they could make an effort. The 8 fixing screws still happening (it can easily slide a pick). But 1-ply plate with the cut perpendicular (not even a 45 ° to soften the trick). The plastic - fake, I do not like it seems good that ca is part of the 'charm 57) see more I find it does not age well not uniformly between micro caches, buttons and the rod tip vibrato ...

Regarding the configuration of microphones, there Fender Japan made a little arrangement with 'True' series in 1957 because it was supplied with a 3-position selector. So there is really no configuration 'official' but it remains one of the classic volume, two tones, one for the microphone and one for the serious micro mildle for the bridge pickup ... nothing.

UTILIZATION

I have been looking for some strat I can not too expensive secondhand, Japanese models I liked, so naturally I turned to this type.
At first I was not looking for a model 'reissues'.

But the profile of the handle made me crack.

Lately she is my possession, I would work this post within 1 to 2 months.

SOUNDS

Regarding his SON is vintage, it's stratocaster. I need to measure the resistance of the coils of my mics to have an opinion that is not merely subjective and within the scope of the heart of the acquisition.
So I come back it's too early.

The pickups are 'single-coil' staged ....

OVERALL OPINION

I play primarily on a Marshall JCM 900 combo, I love this amp, and it makes perfectly the sounds of the guitar.
Crystal clear, distortion and good.
This strat is I have other guitars (Gibson SG) and I am very happy to have access to his sounds.
The light and sound are funnky I preferred neck pickup alone with midle one or two sets.
I hang at least the neck pickup sound is not quite 'tough' for me but good ca sound like a Gibson ever and it is not what you asked especially reissue.

His favorite is undoubtedly the blues, funk, rock ... you can always go into saturation using pedals but there is a risk of losing its definition.

But the pace is very surprising Fender for Gibson aficionados like me, allows cotcots and rhythmic figure easier.

See you soon

JV series covers the years 82-83. This is an exceptional series whose parts were machined and assembled in the United States to Japan. The design is exactly that of the '57 model, namely:
Channel 21 boxes (do not worry, it does not matter).
The radius (radius of curvature of the key) is 7.25 inches longer than the rounded Fender latest.
3-way switch to change with great blows of a soldering iron to 5p if you do not want three hours searching the intermediate positions as the good old days ... (the vintage, it's nice but there's limits!)
The truss rod does not come top of handle, but the heel! Well ... that's a real crap design and must remove the handle to adjust the tension ... I dismantled, I loose, I go back, I give ... ah ... too ... I dug Redemont ... I tighten, etc ... until 'at the right bend and then keeps pulling the same all his life! Must choose at the beginning, that's all ...
The shield is a monoply with straight edges, no groove, no frills.
The pickups are made in United States! (Youpiiiiiiie!)
The handle is a REAL maple neck, no button but reported a single piece of maple with the frets suddenly planted in it.
The logo on the headstock: It's "SQUIER" and wholesale "by Fender" p'tit at all.
The varnish of the handle: The class, although yellow, thick, short, not all white sleeve that looks sick.
Keys: Kluxon oval as in time!
The bridges of vibrato: Pieces of sheet metal bent! it also works well ...
Here we can see the '57 design, hin?
Ok, enough is enough ... more ...

UTILIZATION

A Start, so that it sounds, it takes a bit of nerves. It's harder to play a Gibson, a different approach ... different philosophy ... How to say? It should be a bit violent, though, with a Fender! You have to let go, just like we all wanted to pull strings with a plectrum stroke (yes, we believe in!).
It's tiring, a Fender ... takes energy, but when it works it really flat.

SOUNDS

So there ... with that, you can go almost anywhere. But the place where one goes above all is a tube amp (like twin or deluxe 65), clean channel, volume 3 to 10 to explore the clean to dirty. Pouahhhh ... the slap ...
Go to:
Micro Bridge: It's rough, tight, dry, boring and it keeps enough heat to the agreements in headstock. It is purely in the style of the intro to Highway Star on Made in Japan! This is great for riffs on a Rope (Black Night, Deep Purple still ...)
Micro mid:?? It is used alone, in this one? Continue ...
Micro neck: This velvety, charged with intensity, it bore when pushed hard, it's air ...
Intermediate positions: Both are incredibly effective, wide, wide, dug, one feels even in his belly and the view opens up enough to give this slight feeling of pleasant vertigo. It is a very attractive grain, healthy, sober and elegant that makes you want to work on Stevie Ray and found this incredible energy rock'n'roll when you push the amp into the towers (see the sound of "You'll be mine" version of Stevie Ray).
We can forget the Texas Special and others.

OVERALL OPINION

At 96, I bought a Start and US sandard I offered the Texas Special pickups. Super.
Then one day I wanted a second layer, cheap, just to work a little slide or maybe it was just for luxury.
The owner of the store (a friend) told me:
- Well ... do not look at the headstock, plays, and open your ears ...
A week later, I sold that Start US I have never regretted.
JV in the series, there are also Telecaster, Precision Bass and Jazz Bass can be (but I've never seen). The series that followed the JV was the SQ ('83-'84), also excellent (Large Head Start, '70 design).
In summary: The Grail may not be there or it is believed, and it might not be that expensive.
I have a real Start.

Japan, the rdition amricain MODEL 1957.
21 frets, three crappy microphones originally appropriately be replaced by Texas Special, a classic strat easel with strings through the body
stick vintage mapple filled out the palm of your hand.
mcaniques types are the vintage, not easy to agree to maintain the agreement or the use of vibrato APRS

UTILIZATION

The handle is both perfect and inappropriate most musicians, the V-shaped filled the palm of your hand, the frets are fine, the handle provides a brilliant sound, the chord playing up the neck is very s enjoyable.
Overall ergonomics does nothing Difference strata

SOUNDS

I am playing blues, rock, pop.
rdition of the 1957 is perfect for sound hendrixiennes, the Stevie Ray Vaughan and Buddy Guy, with Texas Special pickups she turned to the twang sound of surf music, country and blues-rock, rock the 50's. it is certainly far less versatile than the more standard MODELS asceptiss but his personality is no concession for the styles above deficits.

OVERALL OPINION

I have 7 years, she holds up for playing comfort and sound. I got used to its default tuning, a vintage feeling is priceless, I would easily have the trs dfigurer mcaniques with modern oil bath and why not put an easel Wilkinson, but it seems that in this case it is better to opt for a standard strat US. on the other hand I would not venture to do everything with one alone, not reliable enough, but to record and play so it is perfect.
There are lots of things she will not do as well as a MODEL rcent, or the saturation, or the vibrato shots galore, but what it does, others can do as well, so yes if I had the choice again today, I Do not hesitate, but may not be at today's prices, she told me the era cot f 2500 f + 700 microphones

Strato japan release in 1990 RI 57
22 + 3 frets pickups fender vintage
vintage vibrato bridge + Start
5-way switch + 1 volume and 2 tone (bass / treble)
Mapple V neck line

UTILIZATION

The neck is V line. (V-shape) of a comfort. The kind of stick with which it seems to play better ...
ACCS Acute: ok
lgre ergonomic guitar
the whole of his game of the strata: a beginners sounds good even with a

SOUNDS

The stratosphere is generally all kinds of music ....
I play on Marshall
my sounds are the sounds prfrs crunch (type Jimmie Vaughan) in the clear I think it's too crystalline (Knopfler sound ...) and get tired quickly.
I think its clear that the sound lacks a bit of "body" (I think the handle is a mapple): The crunch can give consistency

OVERALL OPINION

I have since 1990. It is black. This is probably what I regret most about this guitar: it looks pretty ordinary. In the era I loved the dark (j'tait young ...) and now I regret not having taken into blue or coral ...
I also regret the handle mapple: I should have taken into rosewood.
I jou on tons of strato before buying one in the group together with a dozen friends to buy a dozen copies for ngocier the best price with the dealer. I paid about 2500 FF of the era (380 €). Obviously I do not regret the relationship quality price. It's a good guitar for every day: it is not magic but calmly reliable: I never take care of in 15 years ...