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In terms of differences between the workforces, I'd guess it's less to do with skill levels and more to do with those different processes, work instructions, and wage structures. Whichever plant they work at, they're constrained by costs and profit margins.
I've searched for a union jack on it to no avail, but it is in fact made in Northern Ireland.
I'm always afraid my gas boiler is going to pack up, it might be worth investing in one of these things.
- wood quality is the same
- specifications are the same
- time spent on each element is the same
- QA processes applied
those are (in principle) defined by the top management
if they allocate different wood, hardware specs etc etc. to different lines and different lines to different countries, then it would be reasonable to deduce that the higher spec’d lines are the “best” in principle,
Parking to one side builders/designers with umpteen years of experience and skill. People can be trained, and given the correct guidance and tools can make whatever wherever.
Would the acid test be to take...let's say an American Original Telecaster - and have it built to (supposedly) the same level of craft with the same materials, however in the Mexican factory. Does that devalue the product ?
Not in my book (unless the corporate idea is to actually produce shoddier goods).
So wouldn't this therefore be more about whether the non USA product lines provide the desired level of specification ?? Apologies regarding non-Fender product, as I do not know enough about recent standards and lines to comment constructively.
Overpriced and paying for the name.
On a still relevant but lighter note,I have to smile when I pass a local Aldi with a large Union Jack sticker on it's window promoting 'British' goods. I'd trust them more if it had a German flag instead.
But I think for a good period of time probably since the 80's really you could and still can get a better guitar not made in America. I have no big love for Fender and less for Gibson and all my F style guitars are parts or bits I have built myself and for Les Pauls been a sucker for Japanese since the early Tokai I owned.
As said if you look at the 80's Japan was eating the lunch of US guitar makers and the average top of the pops or THe Tube bands would being playing Aria, Yamaha etc.
I think a bit after this American companies probably all visited the same marketing guru who told them all you have is your heritage. As if you look back around that time none of those companies had the ability to build the guitars they were famous for.
Fender had just started its MBO and all that lot were drawing round whatever F~ender they could find to even get the basic shape and those 80's Strat shapes were all over the place.
Gibson has systematically year on year been trying to build an accurate representation of their golden era guitars what has taken Gibson decades Bartlet Yaron and others achieved in a few months
Martin was again in no better shape it had few people who could build decent stuff and over the years the templates were worn out never replaced and the guitars were built like tanks to keep warranty costs down. Its was Christ Martin who brought back the history.
So yes the US companies since then have spent a lot of dough to convince us that they make 'em like they used and it's a whole myth we have bought into over the year me included. These days I just judge guitars on the object in front of me and I am too old to get gaga about it being made using this that or the other magic spell they used in xxxx.
I do like PRS guitars as I think for all their detractors they are pretty straight shooters in terms of aiming to build better guitars which on most levels they succeed.