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Petruz
Username: Petruz

Registered: 5-2004
Posted on Monday, March 26, 2007 - 11:15 am:   

from wich factory comes the current MIJ ibanez semiacustic production (GBs, JSMs, PMs)?
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Tristan
Username: Tristan

Registered: 3-2005
Posted on Monday, March 26, 2007 - 11:53 am:   

In 1987 the production was moved to Terada. If the serial number starts with H (Terada's mark for Hoshino).
In '96, a year of a headstock change, I saw many guitars with prefix F which means Fujigen.
I believe that the manufacturing has returned to Fujigen in '96 up until now.
I only assume though, judging from what I've seen in the past.
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Petruz
Username: Petruz

Registered: 5-2004
Posted on Monday, March 26, 2007 - 1:33 pm:   

thanks tristan. my PM100 serial is F97143 (one digit less than normal). i guess it's a 97.
do you think newer models (GB15, JSM) are fugigen creations?
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Tristan
Username: Tristan

Registered: 3-2005
Posted on Monday, March 26, 2007 - 7:19 pm:   

I assume so yeah but not sure.. I bet they are though. There's no other choice, as far as I know and after watching lots of 'newer' serial numbers.
PM100, I think it's just a lovely creation.
I can't afford one though now I'm very satisfied by a bigger body. I played an ES-175, many copies and owned two ES-175 copies for a short while.
BUT I also played a PM120 (I think a one pickup version is much more elegant) and I think that along with a GB10 they make the two sexiest archtops in the jazz guitar universe.
It had amazing build quality and I loved the cutway, and the sound is very different from an ES-175 and for me it's better. The pickup is also close to the fretboard and I think that's important in a jazz guitar, what's the point of putting it in an almost "middle" position? jazz players are strangling with picking as close as they can to the neck. So what's the point in that obstacle in the ES-175, I'm not dissin' the guitar but after playing so many versions of it and buying and selling.. I can't understand. but it makes you realize more and more when you hear Joe Pass, that it's (almost) all in the fingers. right?
heh, I just had to get it all out.. totally irrelevant to the thread.. sorry 'bout that.
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Petruz
Username: Petruz

Registered: 5-2004
Posted on Tuesday, March 27, 2007 - 7:59 am:   

tristan, i'm very satisfied with my PM100, it has a very sweet acoustic jazz tone. i played a PM120 too, they're very similar.
to me the perfect one would be a hybrid, i.e. a PM120 with a single pickup. i prefer shallow hollowbodies 'cause they're much easier to play standing.

but let's get back to the thread: johns, where are ya???
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Johns
Username: Johns

Registered: 2-2001
Posted on Tuesday, March 27, 2007 - 11:31 am:   

Petruz:

Huh? Hey, I'm enjoying hearing somebody talk about the very much overlooked PM models. Considering what a giant player Pat is and what I've seen and heard him do with these guitars, I'm stumped why they aren't moving tons of them.

As far as I know, they are made in the Fujigen factory. If they say Team JCraft on the headstock, then it was made by the "elite" craftsmen in that factory.
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Petruz
Username: Petruz

Registered: 5-2004
Posted on Tuesday, March 27, 2007 - 1:04 pm:   

thanks johns. mine has no jcraft anywhere, sob. anyway. it's good to know i have a fugigen.
why does people not use PMs? my opinion is that the current ibanez boutique production costs more than most of the guitarists are willing to pay - at least for a "non-gibson". a PM120 costs over 2500 usd, maybe a bit salty for youngsters (who get an artcore custom or another korean/cinese deal) or professionals who lean (at this price tag) for a good ol' second hand gibby.
in other words, sometimes ibanez's hardest competitor can be ibanez itself.
i did a lot of search but cannot find top professional players using PM models. a couple of obscure players and that's all. another reason could be: it's pat's name (and style) too "strong"? maybe jazzers don't want to be associated with such a mediatic figure like him. but if it was so, no one would use the very popular GB10s.

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