In the complex story of the brands that have marked the history of the electric guitar, there have been episodes that immediately acquired the flavor of magic. What concerns the birth and evolution of the Squier JV is certainly one of them.
The story began on March XNUMX 1982, when the Fender CBS entered into a collaboration agreement with "Fuji Gen-Gakki Mfg Co." for the creation of a line of electric guitars to be produced in Japan based on the specifications and designs of the parent company (for the first time even the hardware components were the same). For this the newborn Fender Japan it did not produce cheap instruments (as opposed to the current Squier division), but project-based guitars USA which in many cases also shared the hardware of the then brand new series American vintage (Fullerton was). They were so incredible that Dan Smith himself, then CEO of Fender, was amazed by the products the new production line produced (Fig.1).
The very first stock of Squier JV models was stamped with the Fender logo in large, and the Squier decal on the tip of the headstock; this detail, combined with the high quality of the instruments proposed, generated some problems when exporting these instruments outside of Japan, as buyers could have easily confused the new Fender Japan instruments with their American sisters (some traders also tried to make money, making Japan first pay the US price to unsuspecting buyers).
It was therefore decided to remedy the problem by modifying the decals to be applied on the headstock for models destined for the foreign market. The specimens intended for export were thus equipped with a more recognizable and large Squier logo (Fig.2), a cubital font like the one present on some "Smith era" and the words "By Fender" in small, as if to claim the paternity of forms and design.
The first series was boasted two versions of the same model for Precision e Stratocaster, or '57 (maple neck) e '62 (rosewood neck), while only the '52 model was initially available for the Telecaster (basically a "Blackguard" with almond-shaped eyes). Soft cases were also available for the domestic and English markets. or leather, of the "molded" type with the Squier logo on the front pocket, when they arrived in Italy, however, they were marketed without a case (many then found shelter in the very popular Polverini "For Fender" cases, made in Italy.)
For the domestic and English markets, soft cases were also made available, in fabric or leather, of the “molded” type with the Squier logo on the front pocket; when they arrived in Italy, however, they were marketed without a case (many found shelter in the widespread Polverini “For Fender” cases, made in Italy.)
The sale in Europe began just behind strong requests from European dealers, as initially that JV was a production not intended for export (and Fender Japan, after all, still produces models intended for the domestic market only). The British market was the first to receive a stock of Squier JVs destined for sale, followed shortly thereafter by other European markets.
The first so-called “Export” Squier JVs maintain the same quality as the first imports, with the right measurements, correct placement of the screws for the period and realistic colors. Only in the second half of 1983 did production begin to suffer a perceptible decline in quality (less chosen woods, ash became increasingly rare, birth of economic series with “domestic” pickups made in Japan). To reiterate the choice to modify the logo making the Squier brand more visible, the only visible difference that distinguishes the first exports (1982) from the domestic ones of the period (Fig.4).
Another important clarification on the JV production concerns the different series: in fact, starting from the distinction "Export" and "Domestic", it is also necessary to specify that each production line will include different models over the years, recognizable by the different acronyms assigned to each .
Let's analyze the most important:
Fender JV (Fender logo, domestic):
ST – 115 e TL 95: they are models built for the internal market; feature US hardware, US staggered pickups and nitro paint, models stratocaster '57 e '62 e tele '52. Very rare instruments, they can be recognized by an A printed in red in the neck pocket.
ST 57-85 e ST 62-85: USA pick up, Japan electronics, nitro finish, Japan three-position selector, stratocaster models only. B printed in the handle pocket. They too are very rare.
ST 57-65, ST 62 -65 e TL 52 -65: the first with “thin” polyurethane paint, zinc tremolo block (stratocaster), Japan electronics and USA pickup. C printed in the handle pocket.
Squier JV (Export, Squier logo):
'62 Vintage Stratocaster, '57 Vintage Stratocaster, '52 Vintage Telecaster: the most sought after in Europe and the USA, same quality and characteristics of the “65” series destined for the Japanese domestic market, very collectible.
SST50 e STL 50: the cheapest, with pick ups built in Japan (some strat with DM selector five-way). D printed in the handle pocket. It is the most common series, less interesting from a collector's point of view but equally well sounding like the others.
SST45 e STL45: practically identical to the “50” series, it features the SQ series pickups, in alnico. In 1983, with this series, many new colors were added to the Squier catalog to complement the sunburst, a unique choice for previous series (except for rare “custom colors”).
SST30: produced from 1983 to 1984, have ceramic pick ups, DM switch five-way and are decidedly inferior from the constructive and sound point of view to the other Squier J ;, some are also produced with characteristics of the CBS period (palettone, Custom Telecaster) which are CST70.
Curiosity:
* The Squier JVs were immediately embraced by internationally renowned artists, and even today they are seen popping up on important stages, a sign that these instruments are well made and really made to last, not like some today's productions.
* Some "custom color" models were also produced, to make up for the initial poverty of colors that the catalog offered (in practice the choice was obligatory: Two color Sunburst for the Strato and P. Bass '57 models, Three color Sunburt for the '62 and Blonde models for the Telecasters), and the models with different colors are quite interesting on a collector's level (Fig.5).
I hope I have provided enough information to consciously enter the world of Squier Japan Vintage; if you are passionate about reading, I suggest you do not miss the next article, with a “road test” of three authentic JVs down to the last screw. So you can judge with your eyes and ears if the JV myth has a foundation or if it is just one of the many legends that fuel our boundless passion for the six strings.
Pierluigi Maisto.
In the complete situation of the brands that have distinguished the history of the electric guitar, episodes occurred that immediately conveyed the taste of magic. Squier JV is undoubtedly one of the born brands and evolves thanks to these events.
The story began on March 11, 1982, when Fender CBS signed a collaboration agreement with “Fuji-Gen Gakki Mfg Co” for the creation of a line of electric guitars; which items should be produced in Japan following the indications and projects of the company. (At the beginning the hardware components were also the same). Therefore, the “new generation” Fender Japan does not produce economical instruments, unlike the current Squier division; However, the guitars based on the designs of the United States that in many cases belong to the hardware of the new American Vintage series (Fullerton era), were also incredible, to the point that Dan Smith, CEO of Fender, was surprised by the products that the new line of production (Fig.1).
On the first balance of the Squier JV models the Fender logo is imprinted enlarged on the tip of the clavijera and the Squier decal is placed. This detail, combined with the high quality of the proposed instruments, generated some problems when exporting the instruments from Japan; Because buyers can easily confuse the new Fender Japan instruments with the older "hermans". (some traders tried to make money through the price of the first Japan ones, at the price of the USA, to unwary buyers).
So it was decided to remedy the problem by modifying the calcomanias (decals) applied on the collar of the models intended for the outdoor market.
The examples intended for export were therefore identified by a larger and more recognizable Squier logo. (fig.2), A cubital font (cubital font) such as which is present in some “Smith era” and the writing “By Fender” in small cases to claim the paternity of the shape and the project.
The first series highlighted two versions of the same model for Precision and Stratocaster, either the '57 (bow post) and '62 (pink pole mango), while for the Telecaster only the '52 model was initially available (essentially a “Blackguard” with almendra-shaped eyes).
For the English market, soft cases were also available to accompany them, in cloth and leather, as “Moded” with the Squier logo on the back pocket. When delivered in Italy, instead, they were sold without custody. (many of them found refuge in the known “For Fender” powder cases, made in Italy).
The venture into Europe began exactly after the strong demands of European distributors, since the mixed company was originally a product not intended for export. Fender Japan, on the other hand, currently produces models destined for the national market.
The English market was the first to receive a stock of Squier JV destined for the sale, shortly followed by other European markets.
The first Squier JV products labeled “Export” maintain the same quality as the first import (Import) with appropriate measures, correct placement of the turning wheels for this period and realistic colours. Only in the second half of 1983 did production begin to suffer a serious decline in quality. (less expensive products, each dish is rarer, the birth of economical series with “domestic” pick ups made in Japan). This is why the decision was made to change the logo of the brand, making Squier more visible, given that it was the only visible difference to distinguish the first export in 1982 from the domestic ones of this period. (fig.4)
