Fender mim, mij and mia differences?

[chilievans]

I never thought I would but I find myself really taking a fancy to the fender jazz bass. It's a good looking thing. The thing I'm wondering is what exactly is the difference is spec and build quality between the 3 different places of manufacture and does the price increase really justify itself?
I like the look of the "highway 3" any views on this bass or the mim deluxe jazz ?
thanks in advance

[Lozz196]

I`ve currently got both MIM & MIA Precisions, and did have an MIJ 51 reissue.

Starting with the MIJ, it was fantastic quality, and the neck played amazingly. They are priced between the MIM & MIA, and have to say that it would be difficult to tell the quality apart from the MIA.

The differences between the MIM Standard and the MIA Standard - well its the attention to detail that I probably couldn`t pinpoint, but if I were in a darkened room, and handed one after the other, I could tell you which was which purely by the "feel" and playability of the bass. The MIA also comes with through-body stringing. In terms of sounds, to me the MIA seems more balanced throughout the whole tonal spectrum, whereas the MIM just, and it is only just, lacks that complete authoratative bottom end of the MIA.

However, is the MIA twice as good as the MIM? In my opinion, no although it is better. If MIMs are £400, imv MIAs should be £600/£650. I suppose thats why they`ve introdcued the Highway Series, to nestle between the two, and justify the MIA price.

All that said however, I got all 3 of my MIA Precisions 2nd hand, for £500-ish. That would be the way to go, imv, get a 2nd hand MIA, for less than the price of a new Highway (not had any experience of the Highways).

[The Burpster]

There will some serious big F fans along presently but in essence the main differences are QC

MIJ source some parts from the far east ( no bad thing) and have Very Good QC.

MIA keep all the best parts for themselves (naturally) but their QC is shonky at best all the way from cheapest to CS. This means try before you buy because it could be an absolute soul mate or shonky crap.

MIM as above, most parts (lesser cuts of body blanks) are shipped from the US and assembled in Mex. QC not as good as Jap and parts not as good as Jap or US but sometimes there is an absolute peach amongst them.

Highway series are normally very good MIA using good std US sourced parts. Finishes vary but designed to wear quickly so they get 'road worn' quicker. Hence the 'highway' name tag. I like the Highway series, proper US made but without the silly price tag. In fact they are cheap enough to get one and upgrade it -

Try first tho.....

[Ou7shined]

[quote name='The Burpster' post='1001995' date='Oct 27 2010, 07:57 AM']There will some serious big F fans along presently but in essence the main differences are QC.....[/quote]
Don't they use different pups too?

[cocco]

MIJ/CIJ for me is the way to go. I have 2 jap fenders which are a million times better than any American or Mex ones I've ever played.

[OliverBlackman]

save yourself and get the fender MIM classic 70's reissue. Its the best bass fender do for under 1K that iv played, and iv played most of the newer models. An early 80's MIJ reissue would be great but are harder to come by and are very pricey

[Lozz196]

Agree with the last post. I had one of the MIM 70s Jazzes.

Ultimately, it weren`t for me as the sound of a Jazz isn`t right for me, but it was a great bass.

Edited October 27, 2010 by Lozz196

[jjojjas]

I think its important to remember that you can play two same versions (such as two MIM) of any bass back to back and get two different feels, sounds and impressions. However...My MIJ Jazz is leagues ahead of my briefly owned MIM P just on attention to detail in the finish....but if you didn't check them both out back to back you wouldn't know unless you were a serious fender buff. I know a guy with a 96 Jazz the same as mine, and its sounds quite different and mine is noticably heavier....such is the nature of wood!

Having picked up most variations for brief periods of time, I'd say get the one that sounds and plays the best too you.........unless your after the MIA cudos....but the MIJ are starting to get a bit of a following now. ..... and I wouldn't shun a nice MIM.

There you go. No help at all am I.
Jas

[machinehead]

I own a MIA 75 reissue jazz, a MIM classic 70s jazz and a MIJ 51 reissue P.

It's honestly hard to tell the difference. I think they are all good quality basses and I think the price difference is down to the marketing dept creating an impression of a difference so that they can charge you more.

That's my honest opinion.

Frank.

[Cat Burrito]

Just to add to the above, the MIM Classic / Deluxe series are really good. I was really impressed with the last MIM standard Jazz I tried, & when I say impressed I also mean surprised. I think the QC can be a little variable but not a massive problem. Often a good set up sorts issues. And the MIJ / CIJ stuff usually is stunningly good. All that said a decent USA Fender tends to nip any future GAS in the bud

[Bassassin]

I've never owned MIA or MIM so can't speak from experience - but over the years I've read a lot of posts on here from people dissatisfied with their MIM and MIA Fenders, but can't remember a single one complaining about a Japanese-made J or P. Interesting, that.

Jon.

[Ou7shined]

[quote name='machinehead' post='1002765' date='Oct 27 2010, 05:36 PM']I own a MIA 75 reissue jazz, a MIM classic 70s jazz and a MIJ 51 reissue P.

It's honestly hard to tell the difference. I think they are all good quality basses and I think the price difference is down to the marketing dept creating an impression of a difference so that they can charge you more.

That's my honest opinion.

Frank.[/quote]
This post saddens me slightly. I have owned a CIJ 51 RI and a MIM 70s RI. Both of which were ok but had to be tweaked (realigned bridge, freed up the tuners etc) in order to meet my expectations. I have no plans to get either a CIJ or MIM again but coincidentally I'd hoped maybe one day to have a look at a MIA 75 RI. There's probably no point now though if they're much and such.

[nick]

[quote name='cocco' post='1002081' date='Oct 27 2010, 09:45 AM']MIJ/CIJ for me is the way to go. I have 2 jap fenders which are a million times better than any American or Mex ones I've ever played.[/quote]

+1. Me too, don't think I'd ever go back to any MIA, unless I found a really good one. Regarding Mex Fender; would rather have a good MIJ or VM Squier TBH.

[machinehead]

[quote name='Ou7shined' post='1002984' date='Oct 27 2010, 08:45 PM']This post saddens me slightly. I have owned a CIJ 51 RI and a MIM 70s RI. Both of which were ok but had to be tweaked (realigned bridge, freed up the tuners etc) in order to meet my expectations. I have no plans to get either a CIJ or MIM again but coincidentally I'd hoped maybe one day to have a look at a MIA 75 RI. There's probably no point now though if they're much and such. [/quote]

Hahaha. But remember, it's only fair to point out that I own your old classic 70s jazz so it has benefitted from your TLC.

I'll try to go into a little more detail.

If you compare the 75 reissue (USA) to the classic 70s (MIM) then the necks are similar. Binding and block markers equal quality. 75 neck feels a little slimmer and faster while the 70 is deeper front to back but still feels good. Both high quality so it's down to your preference on feel.

The 75 body is a lovely piece of ash with beautiful grain and the 70s 3T sunburst with a decent grain showing. Different, but both good in their own ways

Perhaps the hardware is better on the USA but if it is, and the sticky tuners on the 70s is a minus point on my particular bass, but the difference is hard enough to detect. Misaligned bridges are bad but also occur on USA basses so points off all round.

The pots may well be better on the USA but I never notice the difference in sound. If they break, they will be replaced. (Obviously)

Pick ups are good on both so again, it's mostly down to perception and taste. Both basses weigh about the same with the 75 being slightly lighter. Only by a few ounces.

All in all, the 75 is in no way 3 times better than the 70s but is about 3 times the price. That's where I'm coming from so I hope that makes some sense?

The 51P is excellent. The neck is lovely and very playable. In no way fat to my feel. Interestingly, the neck pocket on this bass has a bigger gap than either of the two jazzes. It's still fine though.
It has a badass III. I'm no great lover of Fender bridges. All three have badasses in fact.

Anyway, I'm a sceptical person when it comes to this kind of thing and don't trust marketing hype. However, if you spend money and you're happy with what you bought, then it's good. It doesn't matter if you spend more on a US bass just as long as you feel good about it. I've done it.

After all, musical instruments are an emotional thing aren't they. So it's not all about cold facts.

Frank.

[Jerry_B]

[quote name='nick' post='1003014' date='Oct 27 2010, 09:06 PM']+1. Me too, don't think I'd ever go back to any MIA, unless I found a really good one. Regarding Mex Fender; would rather have a good MIJ or VM Squier TBH.[/quote]

++1. My 1989 MIJ fretless is pretty much perfect, and has survived alot of abuse from the previous owner. I'd love an unlined MIJ fretless Precision, but I've never seen one.

[Donnyboy]

Interesting post - I've got a MIM Jazz - which sounds great but build quality is not super - tried a MIA at the weekend & whilst you could tell straightaway that it was a quality piece of kitI'm not sure the price diff is justifiable to me anyway - I think I'd need to be 100% sold on it.

[Raslee]

I've recently bought one of the new MIM 2010 range, its just a standard that i got second hand....spent most of the day trying out several Jazz's including MIA's....came away with this mex (maple neck), plays and sounds great to me

[Ou7shined]

[quote name='machinehead' post='1003033' date='Oct 27 2010, 09:19 PM']Hahaha. But remember, it's only fair to point out that I own your old classic 70s jazz so it has benefitted from your TLC.[/quote]
Doh. That means you've probably got one of the best ones out there.

[quote name='machinehead' post='1003033' date='Oct 27 2010, 09:19 PM']I'll try to go into a little more detail.

If you compare the 75 reissue (USA) to the classic 70s (MIM) then the necks are similar. Binding and block markers equal quality. 75 neck feels a little slimmer and faster while the 70 is deeper front to back but still feels good. Both high quality so it's down to your preference on feel.

The 75 body is a lovely piece of ash with beautiful grain and the 70s 3T sunburst with a decent grain showing. Different, but both good in their own ways.[/quote]
I think the grain and the matching of wood on yours is honestly one of the best I've seen. I get turned off when the woods contrast too much, which yours don't.

[quote name='machinehead' post='1003033' date='Oct 27 2010, 09:19 PM']Perhaps the hardware is better on the USA but if it is, and the sticky tuners on the 70s is a minus point on my particular bass, but the difference is hard enough to detect. Misaligned bridges are bad but also occur on USA basses so points off all round.

The pots may well be better on the USA but I never notice the difference in sound. If they break, they will be replaced. (Obviously)

Pick ups are good on both so again, it's mostly down to perception and taste. Both basses weigh about the same with the 75 being slightly lighter. Only by a few ounces.

All in all, the 75 is in no way 3 times better than the 70s but is about 3 times the price. That's where I'm coming from so I hope that makes some sense?....[/quote]
Yes much. .... maybe it's just as well that I'm currently building my own 70s J.

P.S. if the tuners still get sticky from time to time, slightly slacken off the rear screws on the offending tuner while it is still strung and then nip them up again.

[Circle_of_Fifths]

I live very close to the USA Fender facility where they machine the necks and body blanks. Many of them are shipped to Mexico where they are hand finished and then painted and assembled there.

The same assembly procedure is in the MiA plant, but the people there are more supposed to be full-fledged luthiers, not just artisans.

Ultimately the final shaping and sanding of the bodies and necks is done at each facility - but there can be some differences in personality in each and every bass or guitar too. I think fear is a great motivator in the Corona USA plant and the fact that the high-end market is pretty flat with sales still in the long drop, that there may be a little more emphasis on QC in the States with people clamoring for [u]any[/u] job and a lot of great luthiers are out of work, waiting to take the place of a malfeasant employee.

Enter the MiJ and CiJ units and you have something that may appeal to many people - but you know that all the Japanese cars have little or no personality as they feel like they are cookie-cuttered and each and every one of them is the same as the last one and the next one. That may or may not be a good thing too.

As an example - don't you miss the Morgan or the Austin when they were really Brit cars? There was absolutely NO consistency in them fer sure!

I like consistency, but clones are something else again. 'Uninspiring' is a word that comes to mind and 'pride of ownership' is another.

Back to the MiMs.

The necks are all machined in the Corona plant and shipped to Mexico: this I KNOW as a fact!. (Neighbor's son works there)

The electronics are all off-shore procured for all the Fenders anyway - and there can be Quality of Design differences, however I think it's more differences in assembly as most of the electronics and electrical parts are pretty much modular now anyway. The active ones, for sure and maybe less so, the passives.

Painting and assembly is quite another story.

The MiMs are all hand assembled, and although the MiAs are too, follow-through and QC can run a large gauntlet South O' de Border from 'Before Cervesa' to 'After Cervesa' attempts to build a guitar.

American labor is totally aware of their personal replace-[i]ability[/i] factor, while Juan and Juanita don't seem to give a rat's rectum. There's the 'mañana' attitude too to consider.

But - I digressed there for a few lines.

I own a really superb MiM Deluxe Jazz that outshines every MiA that I've played and felt except for one - and that was an RW (but I hate to say it since I cringe at the RW concept - [u]totally, dude![/u]).

No - I think it's an individual thing in the appreciation of anything that helps someone create artistic things: music, sculptures, finger paints, etc. I just like having so many choices and lots of differences.

MY boat needs to float the way I want it to. I think blindly saying that all MiJs or CiJs are perfect in every way isn't the whole truth either - not that I'm making that accusation at all.

If I can afford it and it sings for me - then I buy it. Simple. I don't look at the logos.
[b]
That said:[/b] I don't really look at anything that doesn't have a Fender head shape or says Ibanez on it though.









.

[Ou7shined]

[quote name='Circle_of_Fifths' post='1003257' date='Oct 28 2010, 01:26 AM']I live very close to the USA Fender facility where they machine the necks and body blanks. Many of them are shipped to Mexico where they are hand finished and then painted and assembled there.

The same assembly procedure is in the MiA plant, but the people there are more supposed to be full-fledged luthiers, not just artisans.

Ultimately the final shaping and sanding of the bodies and necks is done at each facility - but there can be some differences in personality in each and every bass or guitar too. I think fear is a great motivator in the Corona USA plant and the fact that the high-end market is pretty flat with sales still in the long drop, that there may be a little more emphasis on QC in the States with people clamoring for [u]any[/u] job and a lot of great luthiers are out of work, waiting to take the place of a malfeasant employee.

Enter the MiJ and CiJ units and you have something that may appeal to many people - but you know that all the Japanese cars have little or no personality as they feel like they are cookie-cuttered and each and every one of them is the same as the last one and the next one. That may or may not be a good thing too.

As an example - don't you miss the Morgan or the Austin when they were really Brit cars? There was absolutely NO consistency in them fer sure!

I like consistency, but clones are something else again. 'Uninspiring' is a word that comes to mind and 'pride of ownership' is another.

Back to the MiMs.

The necks are all machined in the Corona plant and shipped to Mexico: this I KNOW as a fact!. (Neighbor's son works there)

The electronics are all off-shore procured for all the Fenders anyway - and there can be Quality of Design differences, however I think it's more differences in assembly as most of the electronics and electrical parts are pretty much modular now anyway. The active ones, for sure and maybe less so, the passives.

Painting and assembly is quite another story.

The MiMs are all hand assembled, and although the MiAs are too, follow-through and QC can run a large gauntlet South O' de Border from 'Before Cervesa' to 'After Cervesa' attempts to build a guitar.

American labor is totally aware of their personal replace-[i]ability[/i] factor, while Juan and Juanita don't seem to give a rat's rectum. There's the 'mañana' attitude too to consider.

But - I digressed there for a few lines.

I own a really superb MiM Deluxe Jazz that outshines every MiA that I've played and felt except for one - and that was an RW (but I hate to say it since I cringe at the RW concept - [u]totally, dude![/u]).

No - I think it's an individual thing in the appreciation of anything that helps someone create artistic things: music, sculptures, finger paints, etc. I just like having so many choices and lots of differences.

MY boat needs to float the way I want it to. I think blindly saying that all MiJs or CiJs are perfect in every way isn't the whole truth either - not that I'm making that accusation at all.

If I can afford it and it sings for me - then I buy it. Simple. I don't look at the logos.
[b]
That said:[/b] I don't really look at anything that doesn't have a Fender head shape or says Ibanez on it though.[/quote]
Great post Joe.
It's always nice to read some substantiated facts on here... for a change.

[Lozz196]

Agree, a great post, especially for Fender-lovers.

Know what Joe means abt the Road Worns though. I too don`t like the fake-ageing, but I played a Road Worn Precision and it was amazing. Felt just like yr favourite armchair/jogging bottoms - was so instantly comfortable, and so easy to play.

[machinehead]

[quote name='Circle_of_Fifths' post='1003257' date='Oct 28 2010, 01:26 AM']I live very close to the USA Fender facility where they machine the necks and body blanks. Many of them are shipped to Mexico where they are hand finished and then painted and assembled there.

The same assembly procedure is in the MiA plant, but the people there are more supposed to be full-fledged luthiers, not just artisans.

Ultimately the final shaping and sanding of the bodies and necks is done at each facility - but there can be some differences in personality in each and every bass or guitar too. I think fear is a great motivator in the Corona USA plant and the fact that the high-end market is pretty flat with sales still in the long drop, that there may be a little more emphasis on QC in the States with people clamoring for [u]any[/u] job and a lot of great luthiers are out of work, waiting to take the place of a malfeasant employee.

Enter the MiJ and CiJ units and you have something that may appeal to many people - but you know that all the Japanese cars have little or no personality as they feel like they are cookie-cuttered and each and every one of them is the same as the last one and the next one. That may or may not be a good thing too.

As an example - don't you miss the Morgan or the Austin when they were really Brit cars? There was absolutely NO consistency in them fer sure!

I like consistency, but clones are something else again. 'Uninspiring' is a word that comes to mind and 'pride of ownership' is another.

Back to the MiMs.

The necks are all machined in the Corona plant and shipped to Mexico: this I KNOW as a fact!. (Neighbor's son works there)

The electronics are all off-shore procured for all the Fenders anyway - and there can be Quality of Design differences, however I think it's more differences in assembly as most of the electronics and electrical parts are pretty much modular now anyway. The active ones, for sure and maybe less so, the passives.

Painting and assembly is quite another story.

The MiMs are all hand assembled, and although the MiAs are too, follow-through and QC can run a large gauntlet South O' de Border from 'Before Cervesa' to 'After Cervesa' attempts to build a guitar.

American labor is totally aware of their personal replace-[i]ability[/i] factor, while Juan and Juanita don't seem to give a rat's rectum. There's the 'mañana' attitude too to consider.

But - I digressed there for a few lines.

I own a really superb MiM Deluxe Jazz that outshines every MiA that I've played and felt except for one - and that was an RW (but I hate to say it since I cringe at the RW concept - [u]totally, dude![/u]).

No - I think it's an individual thing in the appreciation of anything that helps someone create artistic things: music, sculptures, finger paints, etc. I just like having so many choices and lots of differences.

MY boat needs to float the way I want it to. I think blindly saying that all MiJs or CiJs are perfect in every way isn't the whole truth either - not that I'm making that accusation at all.

If I can afford it and it sings for me - then I buy it. Simple. I don't look at the logos.
[b]
That said:[/b] I don't really look at anything that doesn't have a Fender head shape or says Ibanez on it though.

Great post Joe. Very interesting insights - especially where the necks and bodies are concerned.

From my own experience, I worked in San Diego (National City but had an apartment in La Jolla) and most of the workers, about 90%, were Mexican. The product was still considered to be a USA product though.

Makes you think.

Frank.









.[/quote]

[LawrenceH]

Don't the standard/deluxe USA necks use a different construction with graphite rods in? Probably good for stability, no idea if it affects the tone (although I'm beginning to realise that necks do play a big role in shaping the sound of a bass). Plus the HMV bridges/through stringing is probably pretty good for those who like that sort of thing. Obviously those features don't apply to the reissues.

Regarding pickups, I have a Jap 75RI and the original (supposedly US) pickups are decidedly lacklustre, not like 'real' US pickups. On the other hand, the ones in the MIM Classic 70s are great. Note that these are 'Standard Vintage Alnico' (same as HWY1) and don't seem to be the same as in the MIM standard. I now have some US Vintage 75 pickups waiting to be fitted to see if there's a noticeable difference, I would also like to compare to US Standards/Custom 60s all in the same bass.

Build quality of my Jap bass is good, though the poly(ester I think) finish is THICK. The MIM was let down by poor finishing around the nut but was otherwise fine, and a lovely neck to play, though again it's a thick polyester on the body. The US ones I believe have a thinner polyurethane. The neck on the MIM is significantly lighter than on the Jap, though both are similar profiles. I wonder how that affects tone? The tuners are brass on the Jap, look like steel on the MIM, though I prefer the latter since they're lighter and the Jap ones combine with the heavy neck to give a bit of dive. Am considering changing them over. Finally, I don't think you can get ash bodies with MIM basses, only jap and US.

[Musicman20]

The new upgrades on the American Standards are quite nice. I've owned a MIJ bass, and for the price they are fantastic. Tone and feel aren't quite as up there as an American Standards, so I feel for the price I paid, I got what I paid for. Recent MIJ/CIJ prices are too high I believe, I think a lot of it is down to a little bit of hype. Don't gets wrong, the old prices reflected a VERY good bass for the price, but £700 or so for a new MIJ/CIJ without a case is just plain silly.

Having said all this, I don't really like the idea of a thinner finish. My ideal finish is the ultra slick poly EBMM finish.

Ive recently got bored of Fenders so I'm down to just one now.

Edited October 28, 2010 by Musicman20

[Circle_of_Fifths]

[quote name='LawrenceH' post='1004199' date='Oct 28 2010, 10:48 AM']Don't the standard/deluxe USA necks use a different construction with graphite rods in? Probably good for stability, no idea if it affects the tone (although I'm beginning to realise that necks do play a big role in shaping the sound of a bass). Plus the HMV bridges/through stringing is probably pretty good for those who like that sort of thing. Obviously those features don't apply to the reissues.[/quote]

I cannot say for certain, as the subject hasn't been broached by me with my neighbor's son yet - but I know the rods are in a lot of the MiA gear, but I don't know the whole story.

The actual machine work on the neck blanks is all CNC and I imagine it's no biggie to swap a program to allow for or not the carbon fiber rods anyway, let alone the position of the truss nut.

I personally would only replace the bridge with a HM or whatever for a particular reason if I felt that I need more or less glassiness or brilliance from the voice of the instruments, and I eschew the idea of just putting one on for bragging rights. I firmly believe that the bridge is the sonic portal to the ablative qualities of whatever tone wood characteristic the bass possesses.

[quote]Regarding pickups, I have a Jap 75RI and the original (supposedly US) pickups are decidedly lacklustre, not like 'real' US pickups. On the other hand, the ones in the MIM Classic 70s are great. Note that these are 'Standard Vintage Alnico' (same as HWY1) and don't seem to be the same as in the MIM standard. I now have some US Vintage 75 pickups waiting to be fitted to see if there's a noticeable difference, I would also like to compare to US Standards/Custom 60s all in the same bass.[/quote]

I feel there are many ways to wind the bobbins or wire size or ever potting material - and so there is a wide spectrum of possible voicing and timber from the p'ups. Also the type of magnet material/composition is something to be thought of too. Alnico verses IP or bar-magnets are all going to have interactions that vary greatly from the string cutting their fields, generating voltages.

Also on the assembly line, it's not unlikely that with low-percentile product testing method criteria, (batch sampling) that a few going toward low- or high-end tolerances may skate through when the ones tested are within normal limits.

[quote]Build quality of my Jap bass is good, though the poly(ester I think) finish is THICK. The MIM was let down by poor finishing around the nut but was otherwise fine, and a lovely neck to play, though again it's a thick polyester on the body. The US ones I believe have a thinner polyurethane.[/quote]

Somehow I feel this is purely a Japanese deigned requirement by their local buyers that like heavy finishes. It just carries over to the exports and that's just the normal variable that should be kept in mind if one doesn't like that situation. This heavy applied coating is a little over-the-top for me too and just feels too 'plastic-y' for my taste, although I like a glossy neck - but not THAT glossy!

[quote]The neck on the MIM is significantly lighter than on the Jap, though both are similar profiles. I wonder how that affects tone?[/quote]

May be the thickness of the coating? I dunnow. I am still out to lunch on the opinion for the neck making much tonal shifts via it's finish - but I am coming around to the harmonics and interacting with- or being- the fomenting reason for the mysterious dead 'G-string at the 4th-6th position' quandary.

[quote]The tuners are brass on the Jap, look like steel on the MIM, though I prefer the latter since they're lighter and the Jap ones combine with the heavy neck to give a bit of dive. Am considering changing them over.[/quote]

One oddball thing I noticed is that my MiM gears are 0.050" smaller in diameter than my MiI VMs and even my MiC Affinity Squier Precision. Go figger!

[quote]Finally, I don't think you can get ash bodies with MIM basses, only jap and US.[/quote]

I don't think there's any smoking gun there though.

It's just braggin' rights I feel for someone to be able to say their bass is 'better' or 'superior' to others for the wood they paid a lot extra for - since I don't really think of wood as adding [u]to[/u], but only selectively taking [u]from[/u] the tones.

Think about the actual cost variable from one wood type to another on a piece-by-piece assessment. How much difference in jobber price can a square foot of wood make the final cost so different in ONE bass body to raise the retail price so much?

They both have to be cut, sanded and finished, so I cannot pencil-out any gross amount of differences there.

This voice or timber quality of a variety of woods may or may not fill the needs for a particular player - but I have some serious doubts that any one wood is superior for it's broad spectrum qualities, tone-wise, that is.

One wood may TEND to be one way or another, but as a blanket statement for overal effect, no.

There are seriously too many package variables to consider, I feel.

What I DO seriously believe is that the wood in a solid body - not being active (no batteries or amplification energy other than the input from the vibrating strings - provides a one-way trip to it's black hole for vibrations).

Other than being a nice place to mount the head and strings, I see it as rather an arcane aesthetic and the only categorical/musical value is as an ablative, never an additive device.

The nitro paint on the RWs is SUPPOSED to be the 'secret' formula to it's tone. I don't think so, as the worn through spots would let all the magic sounds escape anyway. lol

Overly thick coatings may ultimately soften attack somewhat - or harmonics or whatever - but thinner coatings, even when they are worn through {eg: RWs} are just bubble gum logic I feel if one actually thinks they make a better voice from the instrument.

I am still awaiting a 2AM epiphany to make this all clearer in my head, if only once so enlightened I can remember it the next morning.