ENKI announces the launch of its newest model, the ENKI X case.
In 2018, ENKI introduced its AMG Series cases. The new X Case is designed to be stronger, more durable, and completely streamlined for maximum instrument protection and touring convenience. It also boasts a burley, 2-latch design, providing a tight weather seal and strong failsafe mechanism for instruments during transport.
An upgraded composite core wheel system offers a smoother, more stable ride with a larger case opening for faster guitar changes on stage. This workhorse case is great for musicians who are on the road extensively and can serve as a permanent fixture in any touring set up. For those who want the very best, The ENKI X Case will take your touring arsenal to a whole new level.
Features
- Lightweight Roto-molded Polyethylene Shell
- Elegant Streamlined Design
- Modular Soft Case Insert System
- Heavy Duty Removable Lid Hinges
- 2x Zinc Alloy Cam Latches
- Weather Sealed
- Composite Core Wheels
- Pad Lock Plate
- Easily replaceable components
More info: enkiusa.com.
It’s not a bait and switch. This year is a throwback to the post WWII-era of instrument manufacturing, for better or worse.
As we all remember, Covid hit the music industry hard in early 2020: music stores and concert venues were closed, guitar manufacturers shut down, and in-person instruction essentially disappeared almost overnight. Fortunately, lockdowns and the resulting surge of interest in playing music at home proved that even a pandemic couldn’t kill our love for the guitar. And thanks to YouTube tutorials and Zoom lessons, the number of hours that people actually played their instruments went from hardly-ever (for some) to all-the-time. Maybe you couldn’t find that new guitar model you’d been saving for, but at least you could play the guitar(s) you already had.
For many players looking for a new instrument, 2021 began filled with hope but proved to be a year of waiting as Covid variants kept most North American guitar makers off balance. But with each new year, there’s new hope. Despite Omicron, 2022 has seen a breakthrough in guitar production, with more new instruments arriving in stores and online sources having actual instruments to ship. However, some of those new instruments aren’t exactly like the models depicted on the manufacturers’ websites: The tuners or the pickguard may be slightly different, for instance, and the case you saw with a favorite model last year is not the same as the case included today. Are guitar makers resorting to the old bait-and-switch? What gives?
Here's another look at that post-WWII D-28 headstock.
Welcome to Covid Wars, V2. We’ve more or less learned how to live with the virus, luthiers are back at their benches, and the machinery is humming. But now there’s a different problem: Getting the wood parts of a guitar machined, glued together, and finished isn’t much of an issue, but when rounding up the other parts—all the made-elsewhere stuff needed to make that beautiful wood sculpture into a functional and shippable musical instrument—there’s often something missing. Maybe the delivery of that subtle, vintage-look pickguard material is back-ordered, and where are those cases? Weren’t they supposed to have arrived weeks ago?
Perhaps we’re learning how to live with Covid rather than run and hide from it, and maybe both the manufacturing facilities that build guitars and the myriad of factories and small machine shops that make parts for guitar companies are working full time or even overtime, but that doesn’t mean we’re back to normal. Whether it’s household appliances, new cars, or new guitars, the stumbling block—and one we’re sick of hearing about—is a seemingly confused and disorganized supply chain. Skyrocketing demand is thwarted by shipping delays and off-the-charts price increases, while some parts have been discontinued simply because the manufacturer switched to making something more profitable. And then there are the parts that go into making parts, such as handles and latches for cases and even the all-important components needed in the recipe for that lustrous finish.
We’ve more or less learned how to live with the virus, luthiers are back at their benches, and the machinery is humming. But now there’s a different problem.
It might seem like the right thing for guitar manufacturers to do would be to wait out these supply-chain delays and not ship those nearly completed instruments until all of the right components have arrived. But remember that at such a late stage in production, a lot of money has been invested in those beautiful unstrung hulks hogging climate-controlled storage space that’s in short supply. For small independent builders, waiting to deliver an instrument for more than a couple of weeks simply isn’t an option. Bills and salaries must be paid.
For those who relish the historical angle, these latest parts swaps caused by supply-chain issues are a repeat of what guitar manufacturers faced 80 years ago, during WWII restrictions on the use of brass and steel, not to mention parts made overseas. Remember those 1940s Martins and Gibsons with cheesy lightweight tuners and necks with no steel reinforcement? The end of the war didn’t result in the immediate return to pre-war specs, and so it is with the war against Covid, which is still far from being over.
There’s not much you can do if your long-awaited dream guitar shows up with a few parts that are different from what you were expecting, and it’s probably best not to complain too loudly to non-guitar-playing friends. If you’re healthy and still playing music, you are a fortunate survivor of the Covid Wars and chances are good those different tuners work just fine. Keep playing and enjoy all those tunes and licks you learned while in lockdown!
The most successful electric guitar of all time evolves subtly, but substantially.
RatingsPros:Comfortable neck. Super-sweet neck pickup tones. Combination neck/bridge setting. High-quality build. Sensitive tremolo. Cons: Combination neck/bridge tones can sound muddy in chord settings. Street: $1,599 street (with pine body, $1,499 with alder body) Fender American Professional II Stratocaster fender.com | Tones: Playability: Build/Design: Value: |
Fender designers tasked with a Stratocaster re-design probably veer between ecstasy and terror on some days. Such are the thrills and pitfalls that go with the responsibility of rethinking an icon.
But as most modification enthusiasts know, the Stratocaster’s elegant simplicity leaves plenty of room for refinement and adaptation to personal taste. Indeed, that’s one of the most beautiful facets of its solidbody, bolt-on-neck design—you can drill, rout, shim, sand, and shave to your heart’s content and retain much of the guitar’s essence.
On the surface, the new American Professional II Stratocaster doesn’t look like a radical overhaul. Instead, Fender added incremental but sometimes quite substantial refinements that subtract little in the way of classic Stratocaster-ness. Fender originalists may balk at changes like a carved heel and flatter fretboard radius, but the American Pro II Stratocaster’s component parts add up to an instrument that still feels, looks, and sounds very much like a Stratocaster should.
In the Pines
One of the most interesting deviations from tradition in the American Pro II series is the use of what Fender calls roasted pine for the body—a move we’re likely to see more often as Fender pivots away from swamp ash, which is now threatened by boring beetles and flooding associated with climate change. Roasted pine is available in only two of the finishes in the American Pro II Stratocaster line—sienna sunburst and the natural roasted pine of our review model, both of which will set you back an extra hundred bucks. Superficially, the natural roasted pine and maple-neck version is reminiscent of the walnut-finished, black-pickguard-and-maple-neck Strats from the early-to mid-’70s. But if you, ahem, pine for a more ’50s or ’60s-style Strat, you can opt for the alder-bodied version—which is used for seven of the nine finishes. Several finishes can also be offered with rosewood necks.
The neck itself is a delight. A Stratocaster is the essence of balance. But it always seems to me that a Strat feels extra-well-balanced when the neck is a little bit on the thicker side. The deep C profile featured on this iteration does a very nice job of straddling the divide between the chunkier profiles of ’50s and early-’60s Strats, and thinner contemporary necks. But the comfort is really compounded by the rolled edges, which create the tactile illusion of making the bend-facilitating 9.5"radius feel like a more curvaceous and vintage-styled 7.25" radius.
The extra sense of comfort is compounded by the carved heel, which is beveled on the treble side in line with the 17th fret. Play a full-step bend at the 18th fret and you’ll definitely notice the absence of the hard edges on a blocky old-style heel. It makes it much easier to put extra muscle and nuance into string bends and vibrato at these higher reaches of the neck. Players with smaller hands will almost certainly appreciate the extra reach and room to move
Toasty Tones
While it’s hard to determine with certainty what specific effects the pine body might have on the overall tone, you perceive extra warmth and detail in many settings. The bridge pickup feels extra quick, responsive, and spanky, even by Strat standards, but exhibits excellent string-to-string balance. The real star is the neck pickup, which, to my ears, delivers a little extra size and low-mid glow, particularly from the bottom end. Drop tunings sound fantastic on this pickup—especially that thumping 6th string. And while I didn’t change the .009–.042 set the guitar ships with, it was hard not to be tantalized by the thought of using heavier strings on the bottom to add mass to the already tantalizingly rich low end.
Fender’s treble bleed circuit (which preserves high end as you roll back the volume) becomes a real asset in these settings. The push/push switch on the second tone knob is another cool addition to the Strat’s usual bag of tricks—enabling selection of the lovely neck pickup from both the bridge and bridge/middle positions. The sound is fat, complex, and can feel harmonically cluttered in some chord-centric situations. But leads, especially slow, chord-melody passages, sound balanced and pretty in these positions and make great use of the extra low-end ballast from the neck pickup. This is certainly a Stratocaster soul and jazz players can love.
The Verdict
The American Professional II Stratocaster is a positive evolution of a guitar that was pretty close to perfect in its original incarnation. Refinements like the fluid, bouncy, and precise vibrato, carved heel, and 9.5" radius fretboard with rolled edges manage to represent true improvements without sacrificing what you might call vintage integrity. The wide grain of the pine body on our review specimen may deviate a touch too much from the figuring in natural ash finishes to please hardcore vintage purists. But this particular guitar aligns nicely with Fender’s underappreciated ’70s instruments in stylistic terms, and there are many more vintage-style finishes available in its alder incarnation—along with some very modern ones, if that’s your fancy. In short, the American Professional II bridges the gap between vintage familiarity and a more expansive, modern tone vocabulary with grace. And the effort Fender put into these enhancements clearly has paid real dividends.
Watch our Fender American Professional II Stratocaster First Look demo: