But true, I guess my recollection going back to being a 15 year old boy when the album came out is a little “clouded”. Needless to say though, I can’t wait for this album/project. I wish more artists would try to cross that line between simple music as expression, and realising the music can be used as just a part of an overall creative output.

But hey- coverage is coverage. Thanks for posting this

1. Labor to create the illusion of age. However, relic instruments do not look authentic when closely inspected. The really expensive ones are more convincing, but anyone knowledgeable will not be fooled.

2. Better sound and feel. People willing to spend the ridiculous bucks Fender is asking will always say these instruments play better or feel better. Why? Because they have to rationalize their idiotic purchase.

3. Then, there is the rap on thin nitro lacquer. The finish on a solid body electric guitar has very little effect on the tone, period. It is mostly the wood, pickups, bridge, etc.. that make the difference.

4. The guitar was assembled by a master. Masterbuilt by some fucker you have never heard of. I suppose the master does some amazing special mojo when he/she screws the neck on or installs the tuners. Something different and very expensive… Maybe majic dust!

5. Something special! Who are you kidding? Do you think Fender uses a special CNC machine for the custom shop necks and bodies? If so, you are in idiot.

What you are paying for is simply a standard instrument with a fucked up finish, and the master builder doesn’t have to worry a bit about scratches or dings while assembling. Enjoy sucker!

Anyone who can’t see the “relic” look for the gimmick it is, DESERVES to be parted with his money. If I’m plunking down some serious cash, I want the benefit of the shiny and new. You are right about the character that goes into aging an instrument over time. LET ME DO IT! Paying extra just to have somebody in the factory beat it up makes no sense.

I’m so dis-enchanted with the zillion plus versions out there. This just proves that fender has run out of ideas. And speaking of all the versions out there, it just makes sense anymore to find a decent MIM, slap a loaded pickguard into it and enjoy your SRV special and use the money you save to buy more toys.

As far as the relic craze dying, don’t hold your breath – pre-faded jeans haven’t gone away yet.

Fastelder

http://www.iheartguitarblog.com/2009/06/interview-joe-satriani.html

Satriani: …Then for the solo we used the prototype Ibanez JS24, which is a 24-fret model I’ve got coming out, which has a very thick, heavy sound. As soon as that solo comes on it’s like, “Whoa.” It has its own identity. I still like doing that, and Andy [Johns, producer] is a big fan of that, of trying to balance the stereo field with different things. So sometimes we’d do it with guitars, sometimes I’d play piano, or organ, or Wurlitzer electric piano, and double my guitar part with a piano part. There are songs where, I kid you not, there’s three synths, an organ, a piano, six 12-strings and an acoustic, all on one side. You can barely hear them but they’re there, kinda gurgling about.

I Heart Guitar: What more can you tell us about the JS24?

Satriani: It’s a really cool thing. I’ve always liked the idea of having those frets up there but I never wanted to move the humbucking pickup. That’s always been the problem because the humbucking neck pickup really only works where Gibson stuck it on the Les Paul. To me, that’s the spot, and once you start moving it back towards the bridge it starts to become horrible-sounding. Other guitars that have had the 24 frets and they move that pickup, it’s like, you may as well get rid of it, you know? So I was determined to solve this. And what saved us was the DiMarzio Pro Track. Ibanez got this thing right up against the last fret. It’s amazing how they were able to do it. It’s got a little bit more generous cutaway to the body so you can get up there and play up there. We’re still experimenting with the bridge pickup. I’m thinking it might be a Norton, one of the pickups I designed along with the FRED and the Mo’Jo with DiMarzio. Steve Blucher at DiMarzio is a wizard, so when I say I designed the pickups, that’s a euphemism for me requesting something (laughs). I say “Steve, can you just give me something that goes, like, ‘KKRRR-RURRRR’?” and he goes “Okay. Gimmie a couple of days.”