Dig it! Fender American Performer Series

Danhedonia said:
The "terrible bridge" configuration has inherent harmonics that are beautiful.
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Danhedonia said:
If Stay Trem can exist, why can't Fender create some version of the Mastery?
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But doesn't the rigidness of the Mastery bridge cancel out much of the string resonance issues with the JM? That seems to be one of the big reasons people that make the switch to Mastery. I think most people still consider those resonance issues detrimental.

I have no horse in this race, I'm a Strat guy (who greatly prefers 7.25" radii necks).
 
GilmourD said:
Sadly, the Mastery bridge is a small niche product that we as guitar freaks love. 99% of guitardom is freaking out over a Strat bridge being on that JM instead of a proper JM bridge with all of its problems. A Mastery bridge would confuse them.

We are a special breed, my friend. Let's just make sure we don't die off.
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Some people have made the mistake of seeing Shunt's work as a load of rubbish about railway timetables, but clever people like me, who talk loudly in restaurants, see this as a deliberate ambiguity, a plea for understanding in a mechanized world. The points are frozen, the beast is dead. What is the difference? What indeed is the point? The point is frozen, the beast is late out of Paddington. The point is taken. If La Fontaine's elk would spurn Tom Jones the engine must be our head, the dining car our esophagus, the guard's van our left lung, the cattle truck our shins, the first-class compartment the piece of skin at the nape of the neck and the level crossing an electric elk called Simon. The clarity is devastating. But where is the ambiguity? It's over there in a box. Shunt is saying the 8:15 from Gillingham when in reality he means the 8:13 from Gillingham. The train is the same only the time is altered. Ecce homo, ergo elk. La Fontaine knew his sister and knew her bloody well. The point is taken, the beast is moulting, the fluff gets up your nose. The illusion is complete; it is reality, the reality is illusion and the ambiguity is the only truth. But is the truth, as Hitchcock observes, in the box? No there isn't room, the ambiguity has put on weight. The point is taken, the elk is dead, the beast stops at Swindon, Chabrol stops at nothing, I'm having treatment and La Fontaine can get knotted.

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Wyatt said:
But doesn't the rigidness of the Mastery bridge cancel out much of the string resonance issues with the JM? That seems to be one of the big reasons people that make the switch to Mastery. I think most people still consider those resonance issues detrimental.

I have no horse in this race, I'm a Strat guy (who greatly prefers 7.25" radii necks).
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I've never had the opportunity to figure that out. I've played a lot of Jazzmasters - with traditional bridges. I've played TWO guitars with Mastery bridges in my life: one was a Tele and the other was being put through huge amounts of pedals.

I'm not a traditionalist about JMs, I just know of no other way to obtain those glorious piano-like sounds without having a wide, shallow single-coil pup and all that sympathetic string length. When it shines, it shines like nothing else.
 
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