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Post subject: Bonnie Raitt Artist Model ??
Posted: Wed Aug 04, 2010 8:21 am
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Here is one musician, great lady, which I feel has long been overlooked as far as having a signature Strat model from the custom shop.
Her musical contributions far outclass many of her more famous less talented peers, has this been discussed before at Fender??

Any one have any input on this topic??


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Posted: Wed Aug 04, 2010 9:19 am
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There was this 10 years ago:

http://support.fender.com/diagrams/stra ... 00APg1.pdf

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Posted: Wed Aug 04, 2010 9:34 am
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Her sig guitar is a great underrated guitar because she is a female player.
I saw her in Paris first part of EC show and I wish I could play 10% of what she was delivering.
Hard to find those blue guitars... :cry:

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Posted: Wed Aug 04, 2010 2:41 pm
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Therefore they are still available ? or not ?


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Posted: Wed Aug 04, 2010 2:51 pm
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bluesky636 wrote:


Ok I see page ! but is there pages 2 to 4 for specs?


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Posted: Wed Aug 04, 2010 4:05 pm
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53magnatone wrote:
bluesky636 wrote:


Ok I see page ! but is there pages 2 to 4 for specs?


Find "Bonnie Rait Stratocaster" here:

http://www.fender.com/support/wiring_di ... _lists.php

It is not a current Fender model. Look in the used market.

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Posted: Wed Aug 04, 2010 11:56 pm
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53magnatone wrote:
Therefore they are still available ? or not ?


Discontinued.

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Posted: Thu Aug 05, 2010 9:36 am
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alainlafrance wrote:
Her sig guitar is a great underrated guitar because she is a female player.
I saw her in Paris first part of EC show and I wish I could play 10% of what she was delivering.
Hard to find those blue guitars... :cry:

I played that guitar back when it was in production. Seen her use it once on a TV special. The neck was designed for smaller hands....ostensibly to create an interest among female players. That would explain why they didn't do the brown one. An interesting story about that guitar of hers. With the interest in non-finishes these days it ought to be an item.
Comes from a great musical heritage. Some family!! Quite a departure from her parent's roots. Much to our benefit. 8) Favorite song of mine is "Down In The Dark". I think Dave Grissom is on that session.

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Posted: Thu Aug 05, 2010 3:44 pm
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Am I the only one who thinks that a "Signature Model" should be a replica of the main guitar an artist is known for? I have no problem with a new guitar built to an artist's custom specifications but they should think of a different name like the Bonnie Raitt Custom Stratocaster.


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Posted: Thu Aug 05, 2010 4:17 pm
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[quote="audiodrome"]Am I the only one who thinks that a "Signature Model" should be a replica of the main guitar an artist is known for? [quote]

No! In fact, that was the intent with the Clapton...for all intents and purposes, exactly what the artist used on stage. Van Halen's first guitars of that fashion were as well. When the EB's were marketed, EVH stated publicly that he could walk into any store any where, and take that guitar off the wall, and it would be exactly the same as the one he used on stage.
Presently, if you want Eric's guitar as close to the nines as possible, it has to be Masterbuilt, because the tone circuit is different, and there is no signature on the headstock, anywhere. :?

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Posted: Thu Aug 19, 2010 4:42 am
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audiodrome wrote:
Am I the only one who thinks that a "Signature Model" should be a replica of the main guitar an artist is known for? ... I have no problem with a new guitar built to an artist's custom specifications but they should think of a different name like the Bonnie Raitt Custom Stratocaster.


Don't agree. If it concerns a replica of the main guitar of an artist, it should be part of the tribute series, where Fender can pay attention to the minute details of a very specific instrument.

The signature series allows for more deviation IHMO. A good example was the very first signature strat Fender ever did, the Clapton model. That signature guitar was different in many aspects from EC's main guitar (Blackie, which was bound to be retired at that stage); different neck profile, pickups, active electronics, finish, etc. This is not bad homework from Fender, on the contrary, they collaborated with EC to make him a guitar that would meet his exact requirements, which is an altogether different endeavour than the act of making a clone of a certain guitar.

Once the specifications of a signature guitar have been set, it should be as close as possible to the new signature guitar the artist will play onstage. I believe this is pretty much the case, since as far as I know the signature guitars played by Clapton, Mayer, etc are very close to what you buy at your local retailer.

Bonnie Rait also played her signature model onstage while it was in production.


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Posted: Thu Aug 19, 2010 5:04 am
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Quote:
The signature series allows for more deviation IHMO. A good example was the very first signature strat Fender ever did, the Clapton model. That signature guitar was different in many aspects from EC's main guitar (Blackie, which was bound to be retired at that stage); different neck profile, pickups, active electronics, finish, etc. This is not bad homework from Fender, on the contrary, they collaborated with EC to make him a guitar that would meet his exact requirements, which is an altogether different endeavour than the act of making a clone of a certain guitar.

You've touched on a rather complex issue in that the early guitars were likely closest to the prototypes which Eric principally used on stage. As the concept evolved, the Artist Series evolved which, as ME has described, are intended to be 'snapshot' versions of the stage guitars. Even though the currnet LE's are part of the Custom Shop Signature Series, they are not detali specific to the Masterbuilt. They are still 'signed' and carry a TBX tone circuit. None of Erics ensuing instruments were ever production line built. BR's workhorse is a '65 Stratocaster which she's had for ages, and you are correct that a detail specific replica would have to be considered Tribute unless produced in fashion like the Gilmour where the run essentially was not limited. A close inspection will reveal that there are not necessarily general rules which are followed in these matters, but will differ from project to project. TBO 'mess' is the best example of that thus far.

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Posted: Thu Aug 19, 2010 10:06 am
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Bonnie Raitt Strat, a great sought after Strat :roll:

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Posted: Thu Aug 19, 2010 12:04 pm
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ZZDoc wrote:
Quote:
The signature series allows for more deviation IHMO. A good example was the very first signature strat Fender ever did, the Clapton model. That signature guitar was different in many aspects from EC's main guitar (Blackie, which was bound to be retired at that stage); different neck profile, pickups, active electronics, finish, etc. This is not bad homework from Fender, on the contrary, they collaborated with EC to make him a guitar that would meet his exact requirements, which is an altogether different endeavour than the act of making a clone of a certain guitar.

You've touched on a rather complex issue in that the early guitars were likely closest to the prototypes which Eric principally used on stage. As the concept evolved, the Artist Series evolved which, as ME has described, are intended to be 'snapshot' versions of the stage guitars. Even though the currnet LE's are part of the Custom Shop Signature Series, they are not detali specific to the Masterbuilt. They are still 'signed' and carry a TBX tone circuit. None of Erics ensuing instruments were ever production line built. BR's workhorse is a '65 Stratocaster which she's had for ages, and you are correct that a detail specific replica would have to be considered Tribute unless produced in fashion like the Gilmour where the run essentially was not limited. A close inspection will reveal that there are not necessarily general rules which are followed in these matters, but will differ from project to project. TBO 'mess' is the best example of that thus far.


The prototypes were different from the end result in many ways; 21 fret neck, no signature, 50's truss rod adjustment, neck profiles differed on different protoypes... But, hey, that's why they were prototypes. The definite grey EC finally got in 1988 was very close to the guitar that was available to the public. Of course EC's very own came from CS and had this top-notch flame neck. However, if you want a CS Clapton you can just order it. I think this whole goal with the signature series is to get as close as possible to what the artist is using, while maintaining a reasonable price level.

IHMO the Gilmour is a good example of a signature series that was particularly well executed, but by no means it can be seen as a model that can rival a Tribute series guitar. Tribute series guitars are about the gory details. The Gilmour is good, but not gory detail good.

To call the TBO project a mess goes rather far IMHO. First of all we don't even know in what line (signature, Tribute?) it's going to be. Furthermore nobody has ever seen one of the 83 thus no reasonable opinion can be formed about it. Yes, it has been hyped, but we must conclude that it has only been hyped by John's guitar playing fanbase. As far as I know, Fender has hardly done anything to promote this guitar. Nor do they have to, since the TBO thread makes it quite clear that 83 is not nearly going to be enough to satisfy demand. Then again, isn't it difficult to assess what would be a fair number? The Blackie tribute sold well, but I understand there were major problems in selling the Lenny guitar.


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Post subject:
Posted: Thu Aug 19, 2010 12:13 pm
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"...TBO 'mess' is the best example of that thus far..."

Sorry...what"mess"?

ME


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