Don't get me wrong, there are many well-made Chinese/Korean guitars out there, but out of 10, maybe 5 or 6 will be made correctly, in my experience.
The Japanese models are nearly perfect 9out of 10 times.
Fernandes/Burny first startedcloning Fender and Gibson guitars in the 1970s and continued thorugh the mid-1980’s, up until Fender and Gibsonthreatened to sue them for copyright/trademark infringement.At that point, Burny/Fernandes changed their truss rodcover shape and other small details to appease both Fender and Gibson.In any case, and in my opinion, there is really no comparison between the Japanese and Chinese or Korean models - the Japanese just have higher standards of work and materials while the same standards are not always upheld elsewhere, even under Japanese direction.That's why Burnys are still made in Japan and in China...all Burny/Fernandes guitars have model numbers, but sellersoften intentionally or unknowingly misrepresent the model numbers to get higher prices. Chinese-made & Korean-made and will update my site as soon as more accurate information is located.
: If you're not familiar with my site, it's simple, and you'll love it or hate it: (1) This page has gear that has recently arrived; (2) Links at the bottom of this page take you to most of our gear, logically arranged by manufacturer or type, e.g. (3) Lastly, my contains a lot of gear that hasn't made it back to the proper pages yet and is sort of in limbo until I move it.
The guitars were called the “Revival” series, as they were essentially reviving the oldclassic Fenders and Gibsons. stamp (Fernandes Sound and Research Group) insteadof the FENDER stamp.
The headstock logos were dead ringers from 15 feet away. Other details were uncanny, too, in their replication of the Fender Strat. As for the Burny’s, the Les Paul models were given the name “Super Grade” instead of “Les Paul.” These models beganwith RLG and then a number, designating the price at which it was to list at, similar to other Japanese brands from thesame era .
Features include simple dovetail neck joint, 14-fret body, single ring rosette, A-frame top bracing of 5/15" Sitka spruce, Tortoise brown binding, modified low oval neck shape, solid morado fretboard, Diamond and Square fretboard inlays, satin finish sides and back, Style 17 shaded gloss top, satin neck, Bone nut, solid/square taper headstock with East Indian rosewood face and raised foil logo, belly bridge, nickel open geared Grover tuners with Butterbean knobs, Delmar tortoise pickguard, and black ebony bridge pins. Big brother to the popular Phase 90, the Phase 100 offers tone shaping the 90 doesn't have with a 4-position rotary knob to change the wave shape plus an intensity control to vary the speed.
This is truly a superior sounding instrument to anything in recent memory under a grand, plus the set up is very low. The 17M has been discontinued but carried a 99 list which would have sold at discount for around 99. When you dial it in correctly you can get a good EVH tone, plus many other classic rock sounds.
For their Fender copies, they were forcedto change their headstock shape completely.