Conright © 1908 by Andte Ouchossoi oltre Corn Sects. Aight Reserea ato his pubiaton may be reproduced nay form oF by ay'mans wie ine pror wien permission ofthe Publisher, Published by Hal Leona Corporation 7777 Wes Bluemeuna Rea, .O, Box 13619, Miwaoe, WI S2219 USA REVISED EDITIONA FEW WORDS FROM ERIC CLAPTON ABOUT THE STRATOCASTER... Eveypne hab a differant vessou Poy picking wp aud playing MRE guitay — Fov Som Us aM absolute compucion to exprersand display they God given Qift 4™ ties i Simply a Dekwe to emulate thew heroes. Fov wysel4. Ur Was, INO STM US, a como mtion of both. In the PUWsHt of His sanc- oF ee Bt poP ree di j ery Wen made, ob witout PaiA | atursns eae tO the Statavestey, its We) 2 g home agjain . I+is mean te yor Sontovraie Mide and Yor PWe. Its about as close to ba Perfect a auy Aeetyic gui can be — Take my adniz, Pick one up, Plug ur in, dud plsy, | tiwk you WH saz uat | Mean — Yous Wily — SFACKNOWLEDGEMENTS The author wishes to extend his thanks to the following people for their contribution to this book. Patrice BASTIEN, Bill BLACKBURN, Gorge BLANDA, Klaus BLASQUIZ, Bruce BOLEN, Mike CAROFF, Bill CARSON, Eric CLAPTON, Ken COLLINS, Jim CRUICKSHANK, Vic Da PRA, Lee DICKSON, Didier DODEMAN, Ralph ESPOSITO, Steve EVANS, Yves FARGE, the FENDER CUSTOM SHOP, Gérard FERAUD, Brian FISCHER, George FULLERTON, Uncle Lou GATANAS, Dany GIORGETTI, Scott GRANT, Jeff GRAY, George GRUHN, John GRUNDER, Larry HENRICKSON, John. HILL, Susan LANDAU, Philip LANG, Perry MARGOULEFF, Jacques MAZZOLENI, Jean Claude MEINIAN, John PAGE, John PEDEN, Ricardo RODRIGUEZ, Alan ROGAN, Bill SCHULTZ, Dan SMITH, Richard SMITH, Steve SOEST, John SPRUNG, Michael STEVENS, Freddie TAVARES, Malcolm TUTE, Clay WADE & James WERNER.THE STRATOCASTER CONTENTS PART ONE - THE INVENTION OF THE STRATOCASTER The birth of a legend .. The concepts behind the Stratocaster From prototype to production. PART TWO - 40 YEARS OF STRATOCASTERS. AN OVERVIEW 1954-1959: original issue with a Maple Neck 1959-1965: pre-CBS with rosewood fretboard 1965-1971: CBS early years... 1971-1981: CBS with a Tilt Neck... 1981-1985: CBS swansong. 1985-1993: the post-CBS era (COLOUR SECTION, PART THREE - THE STRATOCASTER IN DETAIL The neck... Shape of headstock, headstoc! markers, truss rod, profile The body Wood material, contours, routings, p: Pickups and wiring Standard pickup assembly, other pickup assemblies, pickup specifications Hardware Tuning machines, string guide, tremolo bridge assembly, pickguard, other parts retboard material, neck radius, position ts and finishes PART FOUR - HOW TO DATE A STRATOCASTER Dates and markings... Neck dates, body dates, other markings Serial number:THE INVENTION OF THE STRATOCASTER PARTI THE INVENTION OF THE STRATOCASTER There have been many books and anticles published about the Stratocaster including the authors previous edition ofthis book but the true origins ofthis guitare extraordinaire” are sil open to some ‘controversy. More is known today about early FENDER history, yet the "tecolections ofthe key individuals involved in ts development do not always perfectly maich. This is hardly surprising since it mvolvesrecall- ing events which took place some 40 years ago, often without the help of Supportive documentation. Tracking dawn the actual beginnings ofthe Satocaster is rather like an investigation. afer heaing witnesses, ‘rosschecking stores, finding out facts and reasessing past statements, fone eventually comes up witha personal belie intended ose the record Bs suaight as possible, THE BIRTH OF A LEGEND Te Stratocaster was born inthe early 19505 in Southern California, and ‘more precisely n Fullerton, near Los Angeles, hometown ofthe FINDER MUSICAL INSTRUMENT Co, Byallaccounts atleast 3indviduals were instrumental to diferent degrees in the advent af the guitar : LEO FENDER, ‘of course. FREDDIE TAVARES and BILL CARSON. Other people, suchas, DONALD RANDALL, GEORGE FULLERTON and REX CALLEON may have also shared some input before the Stratocaster made t tothe production line in 1954 (One ofthe major discrepancies identified to this dayin the origins of the Stratocaster concerns the actual years of ts development. According to Leo Fender, the project goes back tothe very ealy 1950's We started to ‘work on the Stratocaster around 1951 and the reason was we needed a ‘new guitar with a vibrato onitin response to Bigsby's competition (1). In another statement, Leo Fender went on to specty lt was mostly belore Freddie[Tavares} came to work I'd be around 51. We had the neckand body designed, and the pickups. remember because, it was done belore ‘we moved from Pomona street over to Valencia. thad most of the materials tooled and the parsin stock” 2), should be noted that the move to 122 Pomona tet nly took place in 1953 and twas actualy ‘made pubic in une 1953 withthe anaguncement ofthe formation of, FENDERSALES Ine. Anyway, although the Stratocaster made is oficial {debut in Spring 1954, Leo Fender predates is inital development back to 1951, probably in the later part ofthe year ater the intotactionof the Precision Bass, Mr. Fender ako mentioned on vaious occasions that he started the whole project shony before he met fill Carson, who later bbecame his favounte guinea pig to fieltest the Stratocaster prototype Such statements are not fully corroborated by Fredlie Tavares, who was hited by Leo Fender in erly 1953 to assist hm nthe lab where new Fender products were then devised :-1met Leo Fender about March of 1953.1 as playing ste! guitar]in a club and he wasintroduced to me by a musician whose name was Noe! Boggs. Noel old me Leo was looking, for someone to work or him... The ist real project that had was o put the Stratocaster on drawing board. I was about Apri or May 1953 and eo said we need a new guitar and said how far apart are the stings at the nut, how far the bridge. igo those parameters and sad whats the scale and then Ihnew where the strings are and we started from there.” (0), According to Freddie, the Stratocaster did not bepn to take shep tnt he joined the Company in eatly 1953, Therefore. te@uld hardly have ‘exited then na pre-production stage, as implied by Leo Fender. il Carson was a country and westerm guitar player inthe Edy kik Band, ‘when he fst met Leo Fender in late 1951, He does not quite agree either with Mir Fender's agenda when he says :“In 1952, Leo and started talking aboutit{the Stratocaster), but we didnt really get anything dane unt carly 1953 asl remember t” (4.50, who has the better memory? Another impor discrepancy clates to what prompted the advent of the Stratocaster There sno doubt that Leo Fender wated 3 “new guitar be tt simply add a mode ois led range of letic Spanish tas oF 0 come up wth a nstument lal suet t the ‘Tecan ited ny a vin tiple to ashy the musta ends othe period Both options were ceriny supported by Bon Randal ‘who was general manager the RADIO & TELEVISION EQUIPMENT Co, then excsive ribtr of al Fender Instruments NB : FENDER SALES Ine: took ove distribution a of Jne I, 1953), According to Bil Carson, Fowever, the Sratocaser was intaly meant tobe hs “own custo made guia”, bul by Leo Fender o Sts prokestonal equrements ‘woul sa hat 95% of the odes nthe orignal Stat were yeas but could putt together. | did't Rave any enginering baclground or eiprenc andl ld contre ae he ga wasn’t really intended, in my judgement, to ever be a Smet produced pth heer e eo Fer aed ‘with me an then probably confmed my ica with afew other players round hats when he made the decision that could be a prodacion tar” (5) Based on that assompsio, Bill Cason was ltr bled by EESSFENDER s the man fr wham the Svatocater ax degre when the Anaivesary Sratoraster was inroduced in 1979, Beyond he Centtovery, one fc does sem to emg: Leo Fen nays ‘welcomed the suggestion of he working muscans and he was keen to Tainan a close relaonsip with them nore o mprove is products As outlined by Fred Tavares "One ofthe reason for Leo's succes was that al the musicians knew that they were welcome in our lab They ould come ot there anak tou recy Everybody knew they ould {e410 Leo” (6) Bl Carson acknowledges te fact and ds "Leo ha a Fealy uncanny ability to take what you wer sling hn and interpret the reeds of that as a player. He did pay uta, heed think or ear in teams ofa player, 50 he reled heavily on payee who had god Felatve per) Inthe light of faity contradictory statements, it may appear kind of rash to give preference to one version and one course of events But, 3 basi questions need tobe answered : wha did invent the Stratocaster ? How didithappen “When did it take place ? Way back n 1951 or 1952, Leo Fender was perhaps thinking of adding a ‘companion to the straightforward Telecaster and Esquire gultars He may. well have given some thought to itor even roughly sketched some ofthe etal likely to produce a “superioristrument. His requent meetings swith working musicians suchas Bil Carson probably confirmed then the ‘need for an mproved guitar. Eventually, the project of a "new" Fender {utr probably merged with the Carson request at some point in time, andi evolved ito one instrument, later known as the Stratocaster, I appears sensible to consider that Bill Carson certainly provided some ideas roma player's point of view, while Freddie Tavares defintely ‘contributed to the desig from a more technical pont of view. Now, at the end ofthe day there sno doubt thatthe new model was actually masterminded by (eo Fender himself, Freddie Tavares freely admits it “Leo wanted a better guitar, more improved, more versatile which he did get !Tput the lines on, but everything was under his thumb. so ‘eventually it was all done to his stistaction™ (6) With regard time frame, tis the authors opinion that Mr Fender's memory may not be the most dependable one, when i comes to recaling his moments of gens in the 1950. Fone takes into account what happened at Fender over 41951 and 1952 ~ e. the introduction ofthe Precsion Bass and the Siringmaster steel guitars, not to mention a growing atv inthe field of amplifiers ~t would seem unlikely tha the actual design of the new ‘model indeed began as early as Leo Fender is prone to remember, Inspite ‘of what he mentioned in various interviews, the development ofthe Stratocaster probably took place in 1983, as confirmed by Freddie gpl suse 6THE INVENTION OF THE STRATOCASTER Tavares “The design [ofthe Stratocaster started in Aprilor May of 1953 andittookless than a year (9) Infact, could have hsppened guicker if itiwere not forthe uibratotalpiece which required aroundsn months to bbe perfected. This is certainly why Leo Fender sad materals were tooled and the part instock’ with relerence to the move from Pomona Steet 10 ast Valencia Street in mid-1953, ‘At any rate, even though he did not design the Stratocaster allby himself, Leo Fender, a man of plain appearance who could not pla the Butar, made t become a realty. And tothis day very few people have Benerated such lasting impact on the music industry! THE CONCEPTS BEHIND THE STRATOCASTER In Spring 1954, when he Seaton was reveled oa beidered sme wes us about oer te rock’ alle, i was oflting several innovative, fat evolutionary, fete, Ns moa acl apponees at ‘hetime were he novel “Symchronsed Tela” stem Fender ‘te the word tremolo sts syronyn vrata the "Comfort {Contour Body, The new model could so boas a ew ther “Fender fing such aa fly ajosable dg wih ndvidal sade, pickups ‘wth stggered peepee ands optmeuried pug eceace spe of $rrentersopnitieston in dexgn an the Telecast te Soatocose ually boc tesimony tothe Leo Fender pilsopy, whereby inarumet te meant for he working musicians Hele Tavares skeen torte th concept “Leo Fenders atte wax make praca as octal spo, nd spe leo ws vas ht ay, simpler and ease fo serie. Make eas) to fh" (0) nthe eps, te hat eae sn soins dg may year expen ‘sth work on adlon and electronics gear, and my main interest was the Uy aspects of an Hem, Tat was main ing, appearance cae next” {iitthe Sratcawer thos reine ne bse sce te press Fender slid bodies, namely an ssh body with» detachable one-piece ‘maple neck (no separate fretboard), featrng on ssrmetc pages and a “Tait sing pln the tne: The pce seer mas aed 09 Single plate mounted on topo a ote body, so that every component auld be ealy removed an serced if neces. Le Fender ays ‘made sre is prosucte wre pati aod farcion He neve eed on Sheer heey oF any kindof esky” technology ust ial and errand ‘prince to make beter nstuments With ear tothe Soca, ied neal thre nonstate {hat design. M was st itor mira and errr he thing wss tat, ioral pking cou have ben another espn he ay we it practical di isl out of wy. Everything we di you might say we id copay alls and err (2) The “Synchronized Tremolo” ‘As suggested bythe fist advertising campaign ron in April 1954 by FENDER SALES Ine, the Synchronized Tremola emerged asthe mest potent innovation on the Stratocaster. inthe ealy 1950, the Bigsby Vibrato unt was enjoyinga growing popularty,especaly among those playing country & western music syle, The wham ofthe Nemphis man br the Hendrsblazing attacks were not yet te name ofthe game, but in those days the vibrato effets laste! guitar were widely appreciated, Bill Carson explains t "The value ofa vibrato in those days was tha steel ‘guitar played a large partin countey and wester swing bands, When | was doing studio sessions with afoot control that Leo made me, Icould use a vibrato and do steel guitar things and would sometimes get paid double forthe session. That was the reason why I wanted a vbnato (23), The Fender sales force certainly did outine the destablity of sucha device, and Freel Tavares remembers quite bluntly "We didnt invent the tvemolo thing, Ithad been used on many other instruments, but we wanted it becauseit seemed to be very saleable ” (14) The needs of players like Bl Carson, combined with the requirements of the sales force, logically brought the vibrato tailpiece to the drawing board, The main problem in those days was that the vibrato avallable onthe market PARTI would not always come back to pitch, hus creating tuning difcuties. ‘Therefore, the challenge facing Leo Fender was to devise a vibrato which would stayin tune “The fist vibrato designed by Leo Fender was, byall accounts, fay similar tothe unit ater installed on the Jazzmaster guitar released in June 4956. allowed some sting length between the bridge andthe tailpiece, where the stings were anchored, This early version was ited with Indwvidual roller bearings, meant to facilitate return to pitch, butin fact they were damping the sng sustain because oftoo much ateral bration. woudalso appear atthe steel odusedasatapice did ‘not anchor the strings firmly enough and their energy was dissipating to the detriment of tone and sustain, Leo Fender viidly cemembers this troublesome design :“We had problems with our fist vibrato. t woulde't sustain atone... so we had to junk the whole thing and completely retool. ‘ost usabout § 5 000in labour and machinery (15) Bll Carson, who was then fildtesting the prototype, suggested at fist that the lack of ‘sustain originate inthe pickups, but ths option was promptly discarded bby Leo Fender “Bil thoughtit waste pickups, butt wasn. They had no problems, but we had to completely retool the vibrato action. We had these itl rollers on the bridge and they allowed lateral vibration. With a string, you can't have vibration in any direction atthe bridge ifs got tobe as solid asthe Rock of Gibraltar” (1). Return to pitch was apparently OX, So the problem with tone and sustain was not deemed then tobe that critical. Thisis probably the reason why Leo Fender started ta tool up at the factory in order to produce his fst vibrato, When the problem crystallized, he tried to sor itout, no daubt convinced he could succeed Indoing so. Freddie Tavares recals with admiration :sLeo Fender seemed tobe able to solve any problem just by siting there and thinking his head of he was marvellous” (17). Leo Fender spent several months on his fi wbrate, but hetnaly sve une later pao 195350 thatthe release of the new guitar would notbe postponed any further, Freddie ‘Tavares sums up the whole story when he says "When we made that vibrato device, everything was ine except the strings woulda’ susal, There wasn't any inertia bar, just not enough weight. so, we finally ‘realized tha the stings could not do their best job if they were loosely ‘mounted, Imean not firmly mounted That was the final thing, took Us almost 6 months wel, we had other things to do in the Company ~to Solve that problem (i, (On the second version ofthe vtat, Leo Fee took advantage ofthe principle of pam scale, which use a infeed, a fulcrum, in other thors, the vibrato mechanism was bul INTO the bridge section snd not Setar Hi ational was hat the sings should no longer move across the ride, bu that the brie self shou pot on a keeedgeulrum point The bilge baseplate was thos beveled to frm a flcram ridge and cured to the boy with 6 long hardened srews,oneinront ofeach Saddle. The “neta bar refered to by Fede Tavares wa secured the Outer side ofthe bridge baseplate and each sing was fly anchored through the veal bores fled ito the bar. Retum fo pic war Ssccomplshed by connecting tension springs f the lower extremity of ihe inertia bar and hooking them ota the bck ofthe body in recess ued she eck isch 9 ap he sping $equstely mounted in paral othe ring ta provide pr ourterension to her pul. The coutertesion coud i neces, be Sajusted herby moving the ? crews civen othe body to os the Spang plate, rb spy temoving oo the pings, Ts clever Sy tem would lows good eu pc, witha kilng san The (second issue) Synchronized Tremolo was inalzed inthe latter part (01953 and within a year, on August30, 1954, Leo Fender filed a patent fora “Tremolo device for tinged instruments” The patent was granted ‘on April 10,1956 and registered under the N= 2,741, 146, Itwassafer"to patent sucha novel feature, because as Ceorge fullerton, then factory production Foreman at FENDER, declares; "Patents prevent people from ‘copying too quickly and thissa big thing in the music business Practically everythings copied overnight by somebody. its not at!" (19). The wording clearly sums up the purpose ofthe invention of Clarence Leo Fender “The objects of my invention are. FIRST, to provide a tremolo device whichis particularly adapted fr use ‘on guitas...played in such a manner that one handis the region of the bridge, there being a tremolo contra arm so arranged a to it within the palm of the players hand. SECOND, to providea tremolo device which s incorporated ina novel Gd mcsTHE INVENTION OF THE STRATOCASTER ck revcee ams Apal 1, 1986 Fonte bridge structure so arranged a to have limited pivotal movernent, in ‘order thatthe tension applied tothe stings ofthe instrument may be readily varied to produce a tremolo effect. THIRD, to provide in a tremolo device a navel sectional bridge so arranged thatthe effectiveoperating length ofeach sting and its height may be indvidualy adjusted to acitate proper tuning of each sting ‘without interfering with simultaneous tension variation ofthe several Strings required to produce atemolo effect” ‘The 3rd paragraph cefers tothe fully adjustable bride (describedin a later section), which was then construed as an integra part ofthe vibrato device so thatit could be protected by the same patent. Backin 1954, the Fender Synchronized Tremolo was far superior to anything available on the market, butt have it players were then compelled to purchase the ‘ew Stratocaster guitar By all means, twas not meant to bea mere add ‘on accessory, ike the Bigsby unit, buta key structural feature ofa raccally Thanks to the patent drawings and abundant wording (3 pages), the 2ndissue ofthe Synchronized Tremolo is well documented. Besides, one justhas to examine a pre-1972 Stratocaster to grasp the orginal design. Unfortunately, no picture nor any drawing ofthe ist vibrato devised by Leo Fender, ever surfaced to grace the encyclopaedia of FENDER ‘memorabilia (and this book The “Comfort Contour Body” ‘Along with the Tremolo unit, the "Comfort Contour Body” was the ‘ther striking feature ofthe Stratocaster in 1954. Eventhough the concept ‘was quite radical forts time, its origins are fairly straightforward and, PARTI again, rooted practicality. Despite the moderate thickness (he, 1.750") Of the Telecaster, some players complained about its squared off body, \which was hurting them inthe ribcage. Bill Carson says that he spectically talked to Me Fender about ths problem andine clams that he pretty much hammered the idea ofa "contoured bod)" out of Leo :*The thing didn't like about the Telecaster was the discomfort oft, because | was doing a lot of studio work atthe time on the West Coast and siting down ts square edges really dug into my rib. Itthe Telecaster] didn ft well and ‘one ofthe things Leo go tired of hearing was that a guitar ought tof you Fike a good shirt does (20), Bills claim somenshat contimed by rede Tavares, who declares "Tm not sue, but think Leo got the idea ofthe contoured shape from Bll Carson” (21) Lea Fender howewer, gives credit to alocal entertainer, by the name of Rex Galleon, forthe relief made on the back of the instrument as well as the chamfer under the armrest :"We'd shown thisintrument to Rex Galleon before Bll came ‘out and it was Rex who was kind of responsible for the cutaway inthe backand on the comer ofthe front face too, that was his suggestion” (22), Inthe face of contradictory statements, the following ationae could be a ‘possibilty Bill Carson admits that at rst Lea Fender responded kind of ‘negatively to his intial request to dress away the guitar body, because he felt it wastoo far-fetched. Bll aso remembers that during the development othe Stratocaster, head to leave Calioma fora while to ‘g0and workin Canada. While Bill was away, Rex Galleon could have. Fenewed or confiimed his wish tohave a chamfered body shape and Leo would only recall his "second" request {3 Now, talso could be said that whoever asked fist, MrFender may not have considered the request as 2 \worthwaile proposition unt he had received the same request from other players. Freddie Tavares remember that -*Leo had a knack of thinking Slowly and consecutively... no Mashes of genius, but a merciless, Unstoppable slow degree of thinking” (23) ‘A any te, when Leo Fender became convinced of the iy aspect of the contoured body, he simpy began experimenting witht to deine the "ght elements of cml, Bil Carson tess “I went one moring, his ‘nas early 53 as remember and Leo had sawed out or 3 bole or the ‘eto see which one of hose bodies di the job for me” 2s Soon elized hat there wuld impact upon the Overl shape of he insrument Bil Carson eal the roress then made n is cso” or “The thing dd’ hlance ft looked somewhat ike 2 Telecaster Body in the begining and so we started to lengthen that horn on top unt it would balance think it was Freddie's suggestion that we extended the Bottom hor to give ta le symmetry there and balance” 23) Inthe proces te shape othe eadboad model gradually gant look ke 1 Gowrsized Precsion Bass (NB: noduced in 951) Was texclsvely chewed out of enpical research? Oud Leo land Fede) mare oes hhve in mind the idea to give a guitar mate to the P. Bass? Whatever the answer, there fro doubt that the nal shape othe Sats ws ‘ormed et of tity, yet has ey become one ofthe mos popula ever in ems of shee asta ppenl--Many players indeed have picked Up the Srtocaster onthe face offs mademitc and ashy sclpred shape beiore resizing how kncinal and enduring itl The “Comion ont Bayt deised forthe Statocaster, ater became a tandard Sppcinment onal the op range Fender inaturents ard was hus ied tothe P Bas by 1984, Odly enough Leo Fender cid net immediately pate hs novel stctura este. twas done with the avert of the Jazzmaste nd he pte forthe “Contour Sodan he beveled “Of Waist” design ofthe). aster wae Hed on Jancary 13,1958 and evesually granted on November 22,1960, ‘The other Fender “Firsts” Leo Fender’ prime objective was to design a vibrato, which would ‘turn fo pitch and stay n tune. was therefore logical for him to also spare some though on aight itoration problems, Back in 1953, Fender soli bodies were equipped with fay rudimentary (and cheap) bridges, featuring only one sadale ro compensate fortwo sings at 3 time: Now, as Freddie Tavares pus it: “Some musicians have musical ears that you just cat believe and others dont. o, it was inevitable that somebody would complain about the fact that we used one bridge for ‘wo strings, because a string cannot be in tune with itself on a guitar without a special allowance beyond the string length (26). Bill Carson is Keen to recall “Another thing about the Telecaster that | didnt like was ‘the fact that there were compromises over three bridges and you couldn't Jntonate it" (27). The Fender Salesforce probably mentioned that a rather Gilt semenTHE INVENTION OF THE STRATOCASTER primitive intonation capacity was not on par with the lofty goals pursued by the Company to help working musicians. At some stage, Don Randall might have asked Leo to correct this “minus selling proposition”, js ike he had asked him in 1950 to pu a truss od inthe neck ofthe Esquire! Broadcaster! “Anyway, Leo Fender devised a new bridge featuring 6 indwidval saddles 50 that each stings intonation could be dealt with separately. In accordance with previous Fender bridges, saddles were adjustable in height and length, but they were given anew shape in ordet to increase Stability with the vibyato action. Height adjustment was performed with 2 smal Allen scews, whilst the adequate string length was achieved by 8 Philips screw. inserted in the rear flange ofthe bridge base plate, This ‘novel bridge design wasincorporated inthe ‘Synchronized Tremolo patent filed ia August 1954, hence the words "FENDER and "PAT PEND, amped on each saddle of the production models, ‘Was he stratocaster the rst commercially produced guitar fitted with, sucha lly adjustable bridge “Probably yes, height and length aaiysimentioneachstingtakeninto acount ace the Safocsie bbrdge was then the only unit enabling the player to custom adjust the Strings radius over the tetboard, For the sake ofthe record should be ‘oted that on the ealiest version o he bridge, the intonation screws came from the pickup sie and not from the fea end of the bridge, The breadboard model was fist fitted with this "reverse" adjustment. until Bil Carson complained toLeo Fender that it was net practical in ob. situation. The adjusting screws were therefore placed, before the new fultarmadeit tothe production line. ‘On the contrary, the reason why the Stratocaster was equipped with 3 pickups seems to have iti to do with sheer “musical requirement, Soundhwise. the wants and needs of mid-1950's players weresilather Conservative and the 3 pickup assembly isthe result ofa combination of elements ‘The simplest explanation offered by eo Fender himself isthat he used 3 pickups, Becausehe had in stock S-postion selector switches On the ‘ther hand, tan be reckoned that Me Fender may have wanted ta foster the unique and superior image of his new guitar jst ike a car ‘manufacturer adds chrome and other flashy attributes to its top models Fregie Tavares remembers “Leo sai its quite a thing to have 2 pickups ‘now, so let's have 3 (2). Historically speaking though, ths wasnot feallya first” sincein 1949 CIBSON had alteady introduced the ES hollow body electic with 3 pickups. uch an appointment probably did ‘ot go unnoticed by the Fender sales force and Don Randal might have suggested that 3 pickups could be a plus" in terms of marketing tactics. At that ime, CIBSON was catching onto the solid body concept. witht Les Paul model and Electric Bas, and FENDER was certainly keen to retain isleadecship inthis field. The 3-postion selector switch available in 1953 only allowed the choice cf one pickup ata time and no one anticipated the pickup combinations so much favoured by today’s layers. Freddie Tavares concedes :"We were not omnipotent enough ia our minds to realize that the switch could be more versatile (29) while Leo ender ance said inan interview “There weren't too many convenient styles of switches back then, It wasn'ta matter of what we would like so much as twas a matter of what wwe could get to work with "(30) Although t remained fairy straightforward, the wiring circuit ofthe new guitar reflected the use of 3 pickups in dsplaying 3 distinct controlsnext. {othe selector switch, ea master volume contol and two tone controls for the neck and the middie pickups only twas considered that the lead pickup near the bncge dit not requite any kind of tone corection it was tedelivera very bright sound, In those days, amplifiers were rather eficient atthe top end andthe Stratocaster lead pickup was thus meant to give ‘clear ingng highs” This is why twas actually placed in a slanted position, so that could produce a better tone. Freddie Tavares explains “The reat pickup is slanted ora very important reason. That was because when you pluck the instrument way back near the bridge, everything is ‘more biliant, but you Tose the depth. So, the reason forthe slant was to {eta lite more vitality or*virity” nto the bas strings and stil maintain Al the biliance that we wanted” (21), PARTI ‘The specifications ofthe pickups were determined through tal and error and Leo Fender made several unt for Bill Carson to tryout at las andin studio sessions. Again, Freddie Tavares remembers:"Whenit ‘came to choosing the size of wire and how many turns, that was totally ‘empirical. wind more, wind less and then tr it We di alot of empirical ‘expetr tenting, ou know, and ofcourse the fina arbiter with everything, wwaslro" (32). MrFender thus tested a wide vanety of pickup Configurations, with diferent coils and polepieces,untilhe found one ‘which he liked better. Such experiments expain vty the Stratocaster pickups were nally wound witha fractionally thinner wite than the ‘Telecaster. Besides, unlike the ealer Telecaster pickups, they were bul with staggered polepieces of differen heights, 20 ato accomodate the ‘varying output of each string gauge. In other words, the stronger the ‘output, the shorter he Alrio polepiece in order to optimize the overall balance of the pickup. Bearingin mind the usual (heavy) string gauges of the time, Leo Fender intaly ranked the size ofthe polepieces as follows {shortest to tallest) :B~Etreble)~ G~E (bass) ~ Aand D strings, The Staggered polepieces were not meant, by andlarge, to bea "unique Seling proposition" in 1954, a a number of guitars were alteady sporting adjustable polepieces. Actually, it should rather be viewed asa design intended to mitigate some othe shortcomings ofthe earlier Telecaster Pickups, such asa particulary loud Bring Shielding, howewer, was not Seemed then asa eitical sue and twas not attempted to use metal, pickup covers, ‘The surface-mounted jack receptacle was conceived both asa convenient anda pretty appointment. The basic idea was to put the plug ina safer place, so thatapluggedin guitar could corweniently stand up against a wal ora chair during a short break. Atop mounted plug was also considered to be more conspicuous and players would no longer hhave to grope for iton the edge of the body. Like the other controls on the Stratocaster, twas meant o be within each ofthe playershands, acknowledged by leo Fender :*Another veryimportant consideration 'was the poston of the controls. On the Stratocaster we positioned them alot nearer the guitarist’ playing hand and that seemed very popular” (3). Last but not last, beyond all technical innovations, the Stratocaster also Introduced another very significant fst: the alltime classic Fender headstock 'Leo Fender has recalled on many occasions how he came up with the idea ofan asymetsc peghead, featuring G inline tuners on one side. Technically speaking, he wanted to putthe stings na sraght ine to the tuning machines and not fan them out ike ona teular guitar. ‘Aesthetically speaking, he made it clear that he drew inspiration from Croatian instruments of astern Europe orgine. The Telecaster headstock \¥as primitive expression ofthis concept, with ust enough wood to atx the tuners and stick brand label Freddhe Tavaresremembers-"The Telecaster had a minimum head. ust enough to hold the thing, with a litle curve up there. just enough to keep it from looking, too dog-gone square !Now, it was ime to make the head alittle nicer (2) Both Leo and Freie went on to design the Stratocaster headstock, characterized by its sharper lower extension and rounder upper bout This newer syle peghead soon became a wotd famous hallmark for the Company, ast was later adopted allel with sight varianees, on neatly allthe Fender guitars and basses, except the Telecaster. An interesting Brgument about this popular design i that it looks like a smoothed-out version ofthe peghead sed by P-A. Bigsby on his own guitars inthe [te 1940's, Paul Bigsby a Southern California vesider living in Downey, came to fame after inverting the vibvato tailpiece which bears his name, On Several accasions, [renowned county picker and singer] Mere Tavis, Cleary expressed the view that "he designed the Fender guitar, because in his eyes the Broadcaster was obviously influenced by the {ular Paul Bigsby had custom-built for him upon his specications, Understandably, Leo Fender always agreed with such a Dion, Statement and an enduring controversy broke out between the wo iertlemen for decades. The author wil not ater to sate the case and ‘decide whois ight in this matter, bu the fat i that the Stratocaster Deghead bears a close resemblance tothe design used by Paul Bigsby as teary as 1947. Having Said tha, it became popular world wide on Fender uias STRATOCASTER 10A wodlamous headstock shape ! b, 9 ary production model wth its orm ese ‘gol The eatlest Stratocaster a, fst published inthe Api 1954 ksve ofthe “ntemational Musician magazine in the new “Comfort Contoured" Stratecaste ANOTHER “FIRST” FOR Fender/ 1934 standardTHE INVENTION OF THE STRATOCASTER FROM PROTOTYPE TO PRODUCTION ‘According to Freddie Tavares and Bill Carson ~ and contrary to Leo Fenders recollections on the subject ~ the Stratocaster gradually took shape inthe course of 1953. The overall development ol the new guitar, from the drawing board up tothe ealy production models required less thana year and abig portion ofthat ime was devoted to fixing the st tremolo unit. No-one seems able, however, to remember how many prototypes were bul during that period. Owing tothe typical Fender assembly mode, would appear that no more than two “breadboard” ‘models were actually used before the specications were finalize, Bill Cason recalls that he stared to feldestthe rote around the Suraner of 1953 in cubs and recording sestone the tne tas nicknamed the “Cason guar, as no oficial designation had yet been {signed othe new insrumers: This ery prtonpe had ro fish onthe Body and twos sporting a black tbvetoard plckgard to old he pckops andthe metal Krab" a Telecatr. bill Corson species “Asa as ‘emember, the breadboard mod! had berboard pickguard was ot {ofthe same material asthe pickup col forms were made, The, ate hat, there was an anodized alminum pelguard, bt it tured your hands Hach, So we went toa single ply white pickguard"), Untortunatly, no pictur ofthis “breadboard modes parry avalabie ody an make things rough nobody hs sen a genine prototype of he Siatocaster guitar since the 1950's Back then, Leo Fender may have dicumerted in writing Some ofthe evolatonay stapes of hs ew uty, but there today no Holy Relist show tote chien’ chiles of he fBonees of eck weaponry! Anyway, bythe end of 1953, what ay temporary have been the “Ctson Gitar” defintely became the now Fender elec Spanish utr. has then Smet ae for te appearance ofthe model Unlike the Company's previous electrics, the standard finish retained for the guitar was no the light coloured "Blonde", but adeep sunburst shading, Two major reasons may have accounted forthe choice of what ‘was then an unusual finish at FENDER. First, the sales forces was no doubt een to ciferentiate the Statocaster irom the Telecaster by giving tan ‘exclusive fins. Fair enough, but why then sunburst otherise quite ‘common on several guitas at the time ?From a marketing point of view, a sunburst shading was pethaps viewed as a concession towards a more tuaditional approach, likely ro appeal to new categories of players. The Second reason fs rooted in manufacturing constants, Fender instruments ‘were then made outof20r3 pieces of ash and one piece bodies were Prey much the exception, as the factory could not abtain wide enough planks of wood. Grain was showing through the semi transparent Blonde finsh and some bookmatching was necessary to disguise the seal between the pieces. Bodies were also caeluly sprayed on te edges, 50 that wood lamination would not appeat too conspicuous. Bearing in mind those parameters, a dark sunburst nish was certainly move convenient andit allowed slight inconsistencies between production putas Leo Fender was keen onan aluminium pickguard because he liked the ‘material and he felt it was both pretty and purposelul Despite the plating problem mentioned by Bil Carson (rands turing black 9) a handful of teatly models were nevertheless released with gold anodized piekpuerds, buta singe ply white pickguard was retained asthe basi tim on production guitars. This brought about a change in he (metal) knobs and matching white knobs were selected in a supplies catalogue. In 1983, Leo Fender also produced a very few Stratocaster featuring a clear Lucite pickguard with gold paint undemeath, The new guitar was ready to makeits official debut, butt stil needed a designation. Latest investigations have it that theStratocaster name was ‘not coined by Leo Fender, but by Donald Randall then president of FENDER SALES inc. twas meant to blend a modern space age stratospheric" appeal, quite trendy in the 1950's, with the catchy “caster” suffix, Now, the nex big question deals with the exact date of introduction ofthe Stratocaster. According tothe Leo Fender :*We had the new action developed beginning in 1953 and we started supplying Strats about the Summer of 53" (36) In anather interview, he went onto PART I say :*We stated supplying Stratocasters around the end of 1953” (37) Freddie Tavares does not share the same recollection and declares :“We ‘saw the frst tratocastersinealy 1954, don't think we sold an Stratocasters untilafter the end ofthe year [1953 (38) Mr Fenders probably off by a year oro, because who has ever seen a genuine 1953, Stratocaster He was perhaps referring to some pre-production putas, Intended foradetionalfeldtesting around the end of 1953, ‘Actual production began during the 1st quarter of 1954 and the very fist advertisement about the Stratocaster only appeared in the Apr sue of the INTERNATIONAL MUSICIAN" magazine. reproduction of the ad \wasimmediately sent to FENDER dealers wth a note of information, specifying that “shipments are expected to begin May 15" Ints early ads, FENDER was announcing the new Stratocaster with these words “Another frst for FENDER! ist again in the field of amplified music. the thrilling new “Stratocaster” by FENDER Years ahead in design. tunequaled in performance ! You've anew tla store for you when you play this evolutionary new instrument”. The guitar was also brought tothe attention ofthe music industry in an ticle poblshed in the May issue ofthe "MUSIC TRADES" magazine, ‘which ndiated “The most revolutionary feature ofthis new instrumentisits‘comfort contoured’ body design, which actually seems to make the guitara part of the player and affords more playing comfort than ever before". The wording theft catalogue ey fhe Stratocaster asin the same vn nthe 19805 the deseplon oan sat was ae stent modem standards alas al eel the oer far mmanulacrers FENDER was hen nine esi sts he Innovate etre prosussand outta hat ey wre meanttsut thence of acting ptesiona payers th 085 Os axe promptedafew gen ncaaigae erecta a epi ee orion asta roteniona tn sols ser by ce payers ne Stoel an iets par at cnbings le re feats ofthe rial Pee sold boty gts se many mee Sevopments with make the met atanced stam oa oer ‘Now, the major difference with other similar assertions found ina lot of ‘catalogue descriptions, is that ime has shown allthese statements tobe perfectly true Its safe to say thatthe Fender sale people who wrote them in 1954 certainly didnot anticipate the procigious impact ofthe Stiatocaster over the next # decades, A the time of its introduction, the Stratocaster with “Synchronized “Tremolo” listed for $249.50 (without case). By comparison, the GIBSON, Les Paul Custom and Les Paul Model spectively listed for $325 and $225 (without casein September 1954, while the sister Telecaster was going for $189.50. The early Sratocaters were sold in a hardshell case, ‘vith a simulated brown leather covering and ved plush lining, costing an addtional $39.95, Although the new vibrato was one ofits strongest marketing assets, the Stratocaster was also introduced without a "Synchronized Tremolo’ in 1954, The non- Tremolo Stratocaster was slightly less expensive and Isted {or $ 229.50 without case). It was uit with the same stringthvough-body system asthe Telecaster, bu itretained the 6way bridge for proper “intonation. Throughout the years, the-non-trem’ variant was Obviously produced in lesser quantities than the reguar guitar with vibrato, butt 'was continuously listed by FENDER until 1984, This being said, only a handful of Statocasters without Tremolo were actually produced in 1954, ‘The Stratocaster has undoubtedly stood the test of time. But, although t allegedly retained the same basic specications over the years players ‘and collectors are quick to point out the numerous detaie which distinguish the many variants of the model since 1954. This modern cult following has helped create and sustain the legend and has also given bith toa searching “Statanthology’, adequately enhanced by its own iconsand semantics. ‘STRATOCASTER 2ANNOUNCING THE NEW ewer STRATOCASTER “COMFORT CONTOURED” [LECTIC SPANSH GUITAR WITH OR WITHOUT AUT IN TREMOLO Tue enclosed gavertisasent se reproduction of tie inside front cover of the Apri Lateef the Taeroatinallustcist, rales racvee spronusecly 220-009 ‘Salcdons, This is Just another of the many ays in hich ey at Fender aiterpt folSetld Sates for our dealers, You no douse have already experienced tose I est on the part of your Locil guitar players as a Fesult of ths 8, igi ihe lene achat nae eb Pleaps which re, ho stratocaster Cuter alse festurersa surface counted plug recepta Missashty onds the old nassle duo to card and plug anterfertgces hl Bone, ill be weleaned by all electric guttar players. Gacy sieiag te te Auvidisily adjestable foe aetion or neigit fron’ the feet bosed ond for lenge leu fosuress true fretting or pltety Ths sectiosal bridge La'a patested ‘estare vileh so otier guitar oe the market tossy can dplisate, rests” Tae Fe Well tone enange, Sore and below plas the fact that tbe guitar will remain in’ tane eves afser long playing nith the tremolo; s fenture nich none of th other tewolo accessories, 20 fot, have been able to dupilest pelt tnteeneat fy exeredty las and friable wlute nue i feature wited every quslisied guitar player alll secoguize ds 1 SbiLity Yo sustain s note, Suny inectaneste are vory dead in thls fespests ‘Mulch ses the player to nave to work exceptionally hard to get the ype Dr response he Se seeklage Tue price of tho gultar wlth tremolo $e $249.50, It is available without reso at 6289.00,” The ease, silek ie of sardsbell evnatractlen, crashed TiS Dea spl dg!and aver fn vaio ake eal soulted Feather covering ts srasfaude St 999°93 You ll ndosiedly experience « entrust, ‘sifpents are expected ta 30 Ab. hen placing Jour evders for this gular, eo sot forget tat Foner fpuleaTae te edu by uth afer te uted 308 sue to at deal of interest concerning xcerpt rom the May 1958 sve ofthe Musie Trades magazine. Facsinile ofthe leter sent by Fender Sales Inc 0 its dealers The lst paragraph stpulats that shipments sre expected to begin May 13" (courtesy Rebad Sth) ee rr 1954 SPECIFICATIONS NECK * one-piece detachable Hard Rock maple neck + asymetrc peghead with 6 inline nickel plated Kluson tuners «Straight string pullto the tuners * round string retainer forthe top Eand 8 strings * reinforcement meta truss od, adjstableat thebody endoftheneck ‘bolt mounting onto the body witha tempered steel anchor pate #25 12" scale length * fretboard radius = 7 * standard nut width = 1,625" 2i nickel siver frets * black dotpostion markersatthe 34 5th, 7th 9th, ath(double), 1th, 17th, 19thand 213 frets, Bopy figured light ash body * deep double cutaway shape + exclusive "comfort contour” design, witha eliefintheback and under the armrest to fit the player's body + neck-tobody junction nea the Toth fret * dimensions = 18" length) x 12,750" (width) x 1,750” (depth) ICKUPS & CONTROLS ‘single col pickups featuring ~ 6 staggered polepieces for an improved string response = 6 cylindrical Alnico 5 magnets (Oia, =-192) ~ ca. 8350 tums of S2AWC heavy formvar wire = a nominal DC resistance of ea 6K Ohms * pickup elevating serews located a either end of pickups slanted lead pickup for improved output near the bridge + master volume control (250K Ohvm pot) * tone controls (250K Ohm potswith.IMfd capacitor) fortheneckand middle pickups + 3 postion pickup selector switch, HARDWARE + Dovay adjustable bridge section, wit 6 individual string Saddles for proper intonation + bulvin’Synchronized Tremolo" withswing awayarm andadjustable tension springs * single ply white pickguard with 8 mounting screws * white control knobs with a0 to 10 graduation * surface mounted jack receptacle ‘nickel plated strap holders * allmetal parts with heavy chrome platingunless otherwise specified NSH ‘ neck: sealed with clear nitrocellulose lacquer * Body nitrocellulose 2-tone dark sunburst shading. ACCESSORIES * brown formft hard case with red plush ining + adjustable leather strap and shielded cord 1B40 YEARS OF STRATOCASTERS. AN OVERVIEW PART I 40 YEARS OF STRATOCASTERS. AN OVERVIEW ‘The Stratocaster success story canbe divided into 6 distinct periods spanning from the 1950's tothe 1990's. Such a bias appears justied inthe light of some ofthe fundamental features of the medel during each of ‘these 6 periods. But, it does also refer to the 3 major eras thus far inthe FENDEE history: the Leo Fender yeas upto 1968, the CBS, afilation from 1965 until early 1985, andthe more recent epost-C..S. era under the guidance of Bll Schultz and Dan Smith. 1954 - 1959 ‘The ist period, dealing wth he early years ofthe model, could be subsite etther« ORIGINAL ISSUE WITH A MAPLE NECK » or « PRECES. WITH A MAPLE NECK ». For those not yet familiar with the lexicon of ‘elementary Fenderology, the second ttle refers to the in) famous CBS takeover is early 1965, Both captons acknowledge the fact that uring its first 5 years the Stratocaster was exclusively ited with the fretted one piece maple neck (« Maple Neck » for short) pioneered by LEO FENDER. Fronts oficial debut in Api 1954 until about june 1959, the basic appointments of the Stratocaster can be summarized a follows ‘Tone piece Maple Neck with 21 frets, 2s small» headstock 3 ld style Fender logo (aka. « spaghetti logo») 4 nickel plated Kluson tuning keys. 5 bolt neck mounting, 6 truss od adjustment at the body end ofthe neck 7 2piece vibrato tapiece with sepatae inertia block, Bickel plated steel bridge sadles witha Fender stamp, 9 single ly white pickguard with B mounting screws, 1053 single col pickups with staggered polepieces, 11 deeply comfortcontoured ash body (alder standard after 1956). 12 nito- cellulose lacquer finish Based on erosschecked information available today, production ofthe Stratocaster ata factory level probably began in March 1954, Asked about ‘a date, GEORCE FULLERTON femembers that: twas no later than ‘March 1954 » (39. Shipments rom the factory, however, did not take place until about two months ater, as suggested by the circular then sent ‘by FENDER SALES INC. tots dealers stipulating that « SHIPMENTS ARE EXPECTED TO BEGIN MAY 15 ». As it was often the case at FENDER in those days, production started ata rather maderate pace both because of ‘marketing and manufacturing considerations At the time, the music industry heavily relied onthe Summer NAM convention a ts focal point in the year to introduce new products. Athough the Stratocaster \nasfist advertised in Apri 1854, the FENDER sales force was probably keen to testits dealers reaction fad take orders) atthe forthcoming NAMM show before commiting itself to any production schedule, On the ‘other hand, it certainly took some ime as wel forthe factory to tool up and standardize manufactuting operations forthe new Buta. Some Statocasters were made inthe ist haf of 1954, but they were basically intended for promotion, artist endorsement and also FENDER most dating dealers. According to FORREST WHITE who was hired by leo Fender in ‘May 1954s plan manager, fullscale production didnot begin unt October, when batch o 100 guitars was fist put on asingle order by FENDER SALES INC. Yet, in uly 1954, 200 unfinished bodies and 150 unfinished necks were alteady Held in stock to met nial orders The earliest Stratocasters released in Spring of 1954 shared afew specific features which were later discontinued nthe course of Summer For instance, FENDER dropped the orginal control knobs after afew months. and opted for sigh taller uns with diferent skit. Atthesametime, ihe ogal peal wht baklte matena italy used for theknobsand the picup covers, mas dacarded because t often cracked. was replaced bya mattsh » and more durable wiyte mater, which remainedin use ut about 1956 betore FENDER again charged favour hte ABs plies pronto weg on the aes The ares pickup coversae characterizedby their founded edges and osser {ppearance The sei number was moved from the vibrato backplate onto the neck plateby the end of fe, after the Company eenaiiy fealaed tat backplates were not always kept screwed-on by players Wwshingtodo a quick estinging twas not unl eal 195, however, thatthe roundholes onthe backplate were changed for oblongholes. Finally a couple of early’ Statocasters were released witha gold, snodized metal pickguard The orignal Yorm fi case was also dropped during Summer 1954 and replaced by the fist ofthe tweed case series, The centre pouch oF ‘centre packet tweed case was kept untl early 1955 and then seplaced, probably on cost grounds, by the standard shape FENDER case with a ppocketn the lower let hand comer. 1955 salso the year when a snap-on bridge cover was rst made available onthe guitar and when non.tremolo ‘models began to be produced in quantity. According to FORREST WHITES personal files, they accounted for about 20 % ofthe overall production of Statocasters during that year Some Stratocaster from the 1950 may have nicely figured Maple "Necks ut itis rather coincidental in the factory wood supply andin no ‘way custom appointment. Actually, LEO FENDER was not keen on such «extras» as indtated by FREDDIE TAVARES :« Lea always discouraged the beautiful wood inthe neck because isso rare. we were a custom instruments maker fine, we could get enough oft but not to make Plenty of guitars So, Leo was very much against it because itis nota good thing to do to have the ordinary run of the mill products to look like ‘superlative instruments now and then fr the same pice» 20). This attitude may also explain why bodies were made out of alder instead of ashafterlate 1956, Ashis a beautiful hardwood, often heavily figured albeit fairy inconsistent and LEO FENDER probably experienced problems in maintaining standard supply of the ame quality. Ader is less expensive and ease to obtain in quantity and twas no doubt reckoned tobe more convenient for production purposes, because iis ‘easier to seal andits ack of figured grain does not require any specic bbookmatching Ash was not totally ciscarded though and t was retained onthe custom- (4), Likewise, ELDON SHAMBLIN (veteran of Bob Willand his Texas Playboys and Leon Mc Aulfe’s band) asked fora gold-painted Stratocaster and BLL CARSON chose to have his production guitar finshed in ed. il remembers: « twas called Cimarron Red, the reason being that LEON MC AULIFE, a steekguitar player who had a working arrangement with Leo Fender for many yeats, liked that particular finish, The name actually ‘ame from the Cimarron Ballroomin Tulsa, OKahoma. That'sabig, ballroom that Leon owned and that's where his band was. He picked out the paint, sentit to Leo and calledit matron Red. So, we had that particular finish there and had one Stratocaster painted fr mein that ‘colour » (42). Custom colaurs-ie. nonstandard specific finishes - were thus used at factor level as early as 1954 to satsly the requests of handful of playing igi” sranrocasten “Although it bears the seral| \ number 0001, belonging to David mou was not J the very fst one ‘made by Fender (courtesy Pil Tylon? A December 1956 a, featuring Buddy Merril with bis Stratocaster ‘Howard Reed playing his customordered 55 black Stratocaster during his stint ith the Blue Caps cure ames Were A pair of 4 models with origina hardeases. The guitar om the left neck date 754) ying Ina lori cane, wie the one on the ight feck date 054) rts in conte pouch eat. carey "Urea tees) A promotions shot of Gene Vincent and his band, the Blue Caps, ‘sith Blonde Shatocisters(One ofthe 2ds om the very sucesll late $0 campaign (oem the Hp of te aca 9 ot ly nde the at heron top of very Stratocaster Blonde 1961 guitar with rosewood “lb” board40 YEARS OF STRATOCASTERS. AN OVERVIEW ass, By 1956, a« custom colour» aption first appeared in print a the bbottom page ofthe Fender catalogue, stipulating that « STRATOCASTER (GUITARS ARE AVAILABLE IN DU-PONT DUCCO COLORS OF THE PLAYER'S CHOICE AT AN ADDITIONAL 5 % COST ». Infact, this option ‘was not exercised by many playersas most of them were then eather Carservative in thei? approach to gitar finishes, In February 1957, FENDER offically announced a‘deluxe version ofthe Stratocaster, irished inBlondle) with 14 Carat gold-plated parts ata $ 350 listprice plus case. Although it was not advertised previously, Blondie) Statocasters were actualy produced since the introduction of the model in 1954 asthe wellknown creamy off white finish was the standard trim ‘on other Fender electrics, In the 1958-59 catalogue the colour option was rephrased to mention that « THE STRATOCASTER 's AVAILABLEIIN CUSTOM COLORS OR BLOND NSH AT ANADDITIONAL 5 % COST » In other words, optional colours were no longer of the player's choi as before because FENDER was beginning to put together is own palette of «standardized custom » finishes, GEORGE FULLERTON vividly recalls “ One day, I went down toa local pant store and! started to explain to ‘the man what had in mind, had him mix some paint there on the spot and finally we came up with a red colour. That was what got the colour ‘thing started and that particular red became Fiesta Red. In England, that ‘was the only colour they bought fra long time. They werea't ordering anything else, but that Festa Red!» (43) Asked abouta date, George ‘goes onto specify: « Lwould say probably late 1957leary 1958. The custom colours came out about the ime the Jazmaster just came out. ‘The reason know that's because had the colour red put over one of the carly manufactured Jazzmasters. fil have the instrument asa mater of fact» (4). “The Festa Red finish was then prominent dsplyed on te Fst cover of he 1958-59 catalogue, but spayed ona Staocaste ae aa Gd not make on the cover alo tas eed aide te fatale hens top mot Thy eas ago, was mo dott ms osy the leat o pat a goed or neds bts GEORGE FULLERTON is een o 20 eNovone ws making colored instruments back the, st was am pportany for todo someting dierent and turned out prety nce 5, Beads acon FREDDIE TAVARES Pubic demand made Leo cone) At ary tte, the adver of solid com coors was cara seed ine 1550's bythe emergence ovo and lls well oa tang car cltrein the USA. n fc the shes eer by FENDER were moe han cen $Mtomesve pints ad 2 Srtocsster nesta Red waa ond ach °58 Corvete lished in Cardinal Red. Overal, hough, caso shes id not become rel pope tl he eat 1960's arin rms of mabe {nlf Satorases were sprayed with sod colors in the te 12308 thence thei val srstonperc pice toy on the vitage markt. Jatging rom oie! Seaocsts alae any, Peso Red ond Shoreline Cold Nai were ceiniy he mest popu cst coors inihelte 1950 Meanwhile, the regular 2tone sunburst shading was altered to include ‘some red blended between black and yellow. Ths change probably ‘occurred atthe request ofthe FENDER sales force, which may have Spotted the need fr a brighter finish, The 2-tone sunburst shading was abandoned by FENDER in arly 1958, but fai number of late 50's and ‘ery early 60s Strat look today aif they were painted witha tone Sunburst'So what Infact, the « 2tone » Strats of thelate 50's were actually ished in a 3ome sunburst atthe factory, but due to some chemical interaction the ‘ed stan dd not as after the guitar was exposed to daylight for some time. GIBSON was confronted by the same problem in those days, oticeably on its 1958 and 1959 Les Paul Standard, andthe Kalamazoo ‘company had to change its red colour pigment to achieve a lasing Stone Sunburst shading such asthe one found on most 1960 Standards. Without immediately noticing, FENDER probably suffered a change ints supplies of colour pigments and'tatfected the stability of the red inthe 3xtone sunburst finish, BILL CARSON remembers :« We had to search and. 50 we sprayed many blocks of alder and put them on the top ofthe building to'see which ones would fade and which ones wouldnt !the red justsimply got gobbled up in this chemical interaction (47), The Stratocaster basically underwent few other modifications unt ‘mid-1959, except that the neck profile changed in accordance with players requirements. The round clubby neck ofthe earliest guitars was PART IL replaced by a« V'» profile (« boat neck » after 1955, whichin turn was Superseded by a much slimmer protlein mid-1958, Finally, should also bbementioned thata very few statocasters were again fitted with an anodized metal pickguaed in 1958, as FENDER was using then the same ‘material to ornate other models sich as the jazzmaster, Musicmastr, ‘DuoSonic and Precision Bass. During the 1954-1959 period, the Stratocaster was at fist mainly considered asa country and wester instrument both because of ts natural twangy sound and also because ofthe regular FENDER clientele atthe time. Nevertheless forthe nation-wide promotion ofthe Stratocaster, FENDER SALES INC. intially eelied on BUDDY MERRILL then featured guitarist with the Lawrence Welk Dance Band, in an effort to give broader and less specic exposure tothe madel. Beginning in 1957, FENDER opted fora less personalized type of ads and the guar was prominently featured ina highly himoristic campaign under the headline You won'tpart with yours ether » Iti fa to say that tue recognition bf the Stratocaster uniqueness was triggered by rock and rll and some of its aspiring talents in the mictolate 1950 In this respect BUDDY HOLLY, whose renown helped to set the guitar on its fabulous course, has to be acknowledged as the fist Strat Reva 1959 - 1965 “The obvious ttle fr the 1959-1955 period is « PRE-CBS WITH A ROSEWOOD FRETBOARD », because 1959 8 the year when the orignal ‘one-piece Maple Neck was (temporary) suspended on the Stratocaster and eplaced by a more conventional piece neck with a separate ‘rosewood cap, Although such a significant change affected the Stratocasterin 1959 its seeds actually go back tothe previous year when the azzmaster guitar 18 as officially introduced at the jly 1996 NAMM convention in Chicago The Jazzmaster was indeed the fst ever Fender production instrument fitted witha glued-on rosewood fretboard in iew ofthe usual one-pece ‘Maple Neck. Two majr reasons accounted for such a change, which in any case was triggered by DON RANDAL and FENDER SALESINC. a8 ‘recalled by GEORGE FULLERTON :« Ithinkt was a request from the sales office, probably from Don Randall» (33) by FREDDIE TAVARES: « AST remember, out distibutors which were a different entity [FENDER SALES INC] would come up from time to time with suggestions because they had theirideas and thoughts on marketing, They wanted a rosewood fingerboard. They sad : everybody else has one, why cant we have fone F» (39). The Jazzmaster nas then meant ta become the new top ‘model at FENDER and the sales force may have decided thatt would be appropriate to give ita more conventional fretboard to conquer new breed of customers. nother reason i also put forward by BILL CARSON ‘Another thing that influenced the decision o opt for rosewood was, that, in those days, we didn't have the polyesters for material on the neck and the lacquer wore through very rapidly ona maple neck. Then it bbecame discoloured andit also started to wear nto the wood » (50), 8 1959 the decision had been made at FENDER to switch the whole range of electis toa rosewood fretboard, As pe standard practice then in the industry, the modification was carted out to become effective by the Summer of 1959. Therefore, from July1959 until November 1955, the basic appointments ofthe Statocaster can be summarized as follows (NB: * shows a change compared to previous period), 1 * twoppiece neck witha 21 fet rosewood board glued over maple, 2c small» headstock 3 "old style Fender logo (discontinued ater Fall 1964), then newer ‘transition »logo (ist introduced in jly 1968), nicke-platedKluson tuning keys ‘#boltmeck mounting. truss rod adjustment at the body end ofthe neck piece vibrato talpiece with separate inertia block ‘ickel pated steel bridge saddles with a Fender tarp. triple ply larsinated white pickguard with 11 mounting screws, 10 _ 3 single col pickups with staggered polepieces, 11 * deeply comfort contoured body witha gradualyshorterback rei 12. ritro-cellulose lacquer finish, 4 5 6 7 8 Gh semen v740 YEARS OF STRATOCASTERS. AN OVERVIEW During the first few years following the withdrawal ofthe one-piece ‘Maple Neck, FENDER successively ted diferent rosewood caps, The caliest version, which was actually devsed in 1958 forthe lazemaster. is riled lt on the neck, hence its curentrickname of slab board = because of ts greater amount of wood, eremained in use until July 1962 andthen FENDER opted fora thinner rosewood fretboard, pre- contoured or curved underneath to adapt sel ona convex neck base, This second version lasted for about a year andit stil showed a reasonable amount of rosewood despite the change inthe neck constuction. Finally tas resolved to sveamline the rosewood capand ‘by md-1963 the fretboard began to look almost lke a veneer overthe. ‘neck base. This final version remained the standard fretboard trim on the ‘regular Stratocaster (and the other Fender gutas) uni 198. Such modtications were carted aut at the factory in order to strike the ‘best compromise between rosewood and maple, 30 that both woods, ‘would nat over-react against each other after bem glued. Rosewood has heavier density and thisis why its thickness was ultmately reduced Besides, a thicker rosewood cap made t more dificult to adjust the built in tuss rod, should the neck begin to warp, Itis interesting to note thet, the st catalogue pictures ofthe rosewood board tats show a walt ‘drop above the nut ike the standard Maple Neck models. This would indicate that onthe earliest prototypes with a rosewood €ap the rus tod ‘was installed from the rear ofthe neck, Ofcourse, production models were fited witha tus od installed trom the front. belore the rosewood capis glued = hence the absence of walnut stip (or «skunk Stripe ») on the back ofthe neck, The change in neck constuction somewhat altered the overall sound of the Statocaster, which thenost some of ts crystal clear and ultra bailant Sound trademark. The eatly 1960's Strats are known indeed for their :mellower sound, comparedto thei 1950 counterparts, should be ‘mentioned, however, that slight variations inthe pups produced alter “1960 tend to magni the sonic nuances between 1950sand 1960s ‘models For instance, the hand gudded winding machines were gradually replaced by automatic winders at the factory and it soon affected the ‘number ofturnsin the cos comparedto 19508 units, Thisis probably ‘why FENDER first referred to «the improved pickups ofthe Stratocaster » nts 1961-1962 catalogue, Cosmetcally speaking the advent of the rosewood tretboard coincided with a change in the pickguard. The very frst rosewood board Sats ‘released in July/August 1959 stil sprted the orginal white single ply unt, certainly to get rid of exstinginventones. Ths was promptly changed in favour ofa ply pickguard made out of anew plastic materal which pave distin greenish’ tnt to the white top layer. This peculiar appointment ofthe 1959-1964 pickguardsis often attibuted toageing but actually ‘originated inthe plastic material used by FENDER, Ava matter of fact, these 3.ply pickguards do not look real white even onthe brand new Stratocastrs featured in the early 1960's catalogues. n 1965, the greenish nitrate material was discontinued on safety rounds, because it was highly inilammable and therefore dangerous to store in quantity In addition the regular ply white pickguards, some Stratocaster were also fitted thoughout the 1960's wth tortoise shell op plate, usualy found on {ult inshed in sunburst, blak or white 8y a twist of fate, the suspension ofthe Maple Neck aso marked the end ofthe « tweed » cases forthe Stratocaster, FENDER kept the same oblong shape, bt changed fora brown « Tole» covering based on vinyl brie and made by the General Tire & Rubber Company. By 1963, the brown Covering was replaced by a white Tolex covering (ith green leather em) ‘and in 1965 black became the standard aut for the Stratocaster ease Alter 1960, FENDER finaly managed to obtain a lasting tone sunburst shading, which showed a much clearer separation between the 3 colours than the oxginal 1958 nish. The ist « custom colour chart» was ‘leased around 1961 by FENORR, featuring compressed chips ofthe 114 optional finshes (besides Blond) availabe trom FENDER ata additional cost, Solid-coloured instruments were produced in larger {quantities during the early 19605, but due to pubic request, the partion between the various custom fishes was uneven, Some colours di not ‘prove that popular back then and thus were not applied to lot of guitars This probably why FENDER egulaly moxdled its palette of customs finishes to maintain an attractive selection inspite the « marketing PART IL plus» brought about bythe astm colours itshould be noted that DON RANDALL and FENDERSALESINC sway put the standard sunburst sumojat mio neal aa uve cee mx appeaing version othe average buyer Aer emained the staple wood {ertnebody wh he notable exception ofthe Bond adel ss wel occasional soli colured instruments Towares the midr¥60s snunber ofStatocasters were produced witha Nanogany boay probaly onan txneimental bass, ac assuchthey are que are today. Ate 20, he body contours besan to show marginal reductions bth ithe buck sod unde the ames Since the shaping! the contours wasthens ar ‘operated process tea be assumed that sreased produc schedule gradually took is ol among employees in charge th job. NO Eig dea buta'57Svatunaly hes markedly decpr contours than sy ‘model (Otherwise, the origina Fender « spaghetti» logo was dropped from the headstock deca inthe course of 1964 and replaced by what sknown ‘among collectors the gold « transition» logo, The new logo fist appeared on the Jazz Bassin 1960, butt was not appliedto the Stratocaster unt 1964. Ths change probably occurred in an effort to ‘modernize and standardize the corporate mage of FENDER, which was ‘nolonger smal business but a major corporation in the music Industry. Dring the early 19605, the Stratocaster was gradually overshadowed by both the jazzmaster and then the Jaguar (ettoduced in 1961). The two ‘uitars with the ofset body design andthe floating tremolo unit were prominently featured asthe new top electri and the Stratocaster was ‘soon relegated in third spot in marketing brochures and catalogues Besides the need to promote in priority ts atest top models- which were then substantially more expensive and thus more profitable than the Stratocaster: FENDER also acknowledged the fact that musical tends were heading in new directions. For various well known reasons, rock and. roll could not sustains intial popularity inthe US.A, where twas then Superseded by su music, folk music and athersoer genres like'talo- Tock 1Be because of its shape is sound ors date of creation, the Stat was not deemed to be the right outitfor what were then the commercial forms of music. Ofcourse, twas not totally put on the way-side anda few artists such as DICK DALE, the BEACH BOYS or CURTIS MAYFIELD and the IMPRESSIONS made good use oft sound, Likewise, ayoung man by the name of BOB DYLAN also resorted oa Stratocasterin 1968 when he Feltthe need toadd some rock shades to his folk music, In turope, the SHADOWS, Clif Richards backing group, who had released ther fist instrumental hit’ Apache'in July 1960, were about to pave the way fran intense tat culture. Inthe early 1960's Fender instruments were hard to comeby in many European countries fo lack of proper distributing agreements and ts safe to say that the red Stats of HANK MARVINand BRUCE WELCH certainly broke new ground forthe California-based Company. Thanks tothe SHADOWS, England started to order tons of Fiesta Red Stratocasters. Ofcourse, the Fender mania ater fathered more momentum through a host of other British groups, bt as {ras ropes concermed the « Shads » really started ital forthe Stratocaster, Back nthe mid-1960's though, Europe was nota big enough market to ‘make up forthe lagging sales ofthe Statocasterin the US.A. In August 1965 ts istorice was even lowered by afew dollars and, at some stage, FENDER allegedly envisaged dropping the model rom its catalogue ast ‘ould not match the sales of newcomers ike the Mustang, The Stratocaster was NOT discontinued and by a twist of fate this could well be the result of a more important event which tok place in ate 1964 1965 - 1971 ‘The acquisition of FENDER INSTRUMENTS and FENDER SALES by COLUMBIA BROADCASTING SYSTEMS Inc (CBS for short) was legally completed to become effective on January 5,1965 but the deal actualy took shape inthe course of 1964. The motivations which prompted LEO FENDER sole owner of FENDER INSTRUMENTS and then 0 % owner of FENDER SALES- and DON RANDALL- then 50 % owner of FENDER SALES ‘oselltheirbusiness are ally straightforward. The tremendous success of the Fender products as a whole had been such over the past decade that both Leo and Don had somewhat reached ‘STRATOCASTER 18an impasse, whereby more cash was no doubt needed toe! futher txparsion. On the other hand, LEO FENDER’ health was worsening and he was getting increasingly tired because of a step infection he had «aught during a vacation inthe mid-1950'. At some pointin time, he decided to quitas he could not work as hard as he wshed to and ae required by the continuous development of his business, Therefore, Leo asked his accountant, named Wade Tapper, to look fora prospective buyer. the offer which ensued appeared too low inthe eves of DON. RANDALL who was allowed by Leo to investigate the market. Don met vith eepresentatives from [wel-known Wall treet fin] Merill neh, \who introduced him to CB. At that time CBS was willing to Gvest rom ts ore activities (2 decades laterit became the opposite and looking Or sound investment to save on stax bil. Negotiations began inthe letter pat of Summer 1964 and eventualy the FENDER operation wes sold for Stam, lin the eyes of guitar bus, the CBS take-over soften considered as THE ‘major turning point inthe history of FENDER. Over the years, thas engendered a wealth of stories abouta decline in quality, which persisted during the two decades of CBS ownership. Italo gave birth tothe PRE (CBS » label which came out to designate the instruments produced before Leo Fender sold out. Now, the main sue under fires the exact border between pre-CBS and CBS guitats Several options can actualy ft the ill The fist one simply takes into account the date of completion of the deal-., January 5,1965 -and inthis case 1964 the last ofthe pres ‘CBS years However, changes at production level didnot take place-on January 6th, Most ofthe 1965 instruments were manufactured with parts aiteady’in tock or built as per the exsting production methods, Another deadline often cited s based on the fact that inthe course of 1963, neckplates began tobe stamped with a backward" for Fender, On the ‘whole thisassertion gves a clearer indication, asthe big'T” stamped on the neckplateisan adequate symbol ofthe CBs invasion Inthe veo the Stratocaster, however, the tue stigma ofthe CBS take-over certainty the advent of the enlarged headstock, which ist appeated in December 41968, Although this date cannot be used as the border to earmark all of ‘the “CBS" instruments, its considered bythe author a the most appropriate forthe Statocastr. The third period inthe Stratocaster story ‘ould be dubbed « CBS EARLY YEARS » an fom December 1965 ual about Summer 1971, the basie appointments o the gitar an be summarized as follows (NB: * shows a change compared to previous period) 1 wopiece neck with 21et rosewood board glued over maple. ‘Mapleboard optional attermid-1967,thenone-piece Maple Neck ‘optional after mid 1970, 2 large » headstock, 3 * gold ransiion »logo (discontinued after ic 1968), then newer Back logo first introduced ca ne 1968). 44" kel plate Kluson tuning keys iscontinuedin 1967). thenFender chrome plated tuning keys with « F » stamped on back cover “bolt neck mounting ttuss rod adjustment atthe body end ofthe neck, 2plece vibrato tailpiece with separate inertia block, ‘nickel pated steel bridge saddles with a Fender sam. {ple ply white pickguard with 11 mounting screws 10 _ 3 single col pickups with staggered polepieces 11 | medium comfort-contoured body, with a shorter back rele 12> nro cellos lacquer (discontinued a. 1960), then polyester ish United States Patent OfC presns uefa PRINCIPAL REGISTER Trademark By the mid-1960's other electrics were supassing the Suatocaster in terms of numbers and the enlarged peghead was probably a cosmetic attempt to update the looks of the guitar inorder to boosts saies The thin rosewood fretboard remained a basic appointment ofthe model but bby mid-1965 « bound necks » frst became available on the Sra after the (CBS take-over. The same treatment was inflicted to other electrics suc ss the Jaguar or the Jazzmaster, albeit with peariid block inlays instead of dot position markers. The 1966-67 condensed catalogue states thatc THE BOUND NECK [of the Stratocaster] HAS THE FAMOUS FENDER TRUSS ROD » whist the full-colour edition refers to = THE ADVANCED NECK DESIGN WITH BINDING » and shows the pictures of bound-neck Statocastersin sunburst and Festa Red. Athough twas depicted asa standard appointment in the above eatalogues, neck binding aky care ‘on stratocasters made between 1965 and 1967, By 1968, the mention was withdrawn ftom the catalogues, ‘A more sensible option ist appeared in the May 1967 price, whereby a maple fretboard became avallable at an additonal s% cost ‘Actually, a few maple-capped necks were produced before 1967 (and even before CBS took ove), butit was truly a custom option which nes never heavily publicized. Stratocasters with a maple etboard were rat ‘manufactured in ery large quantities between 1967 and 1870, but ‘nevertheless they were used then by prominent Strat players such a MI HENDRIKand DAVID GILMOUR. Olies turning into golcies, the exiginal ‘one-piece Maple Neck was naly reintroduced by popular deman on the threshold ofthe 1970's In Api 1970, the Stratocaster could be ‘ordered either with a rosewood fretboard for $ 367 or witha Maple Neck for $385. incidentally letchanded models were also fist shown otha aitferent price tagin the Apel 1970 prcesheet Despite the return ofthe Maple Neck the years rom 1965 to 1970 are toalarge extent a transition period during which the stratocaster sureeptitiousy drifted away rom is pre-C8S configuration, while retaining the same basic spectications. The neck was modified to feature a lager ‘eghead, diferent position markers (pearloid dos) new Fender unio, Bears... the body las part ots deeply contoured design as well as ts Ptr cellulose lacquer finish, the pickup assembly wa altered and the ‘colisno longer dipped in wan... the greenish tile ply pickguard wes dropped and replaced by a tuly white plastic item. shel peas lsappeared..optional gold plated parts were discontinued. Allo the abovemay have been considered then s minor details, but thet accumulation progressively gave way to the « PRE-CBS » label, otherwise ‘enforced by anallegely inferior quality ofthe product By all means, CBS never intended 1 canscousy lower the quality ofthe Fear products and to sore extent tempted he Comtary by trying to increase thet standardization and consistency To this end, & new 120,000 square fot building with modern equipment was erected in 1965 next tothe exising FENDER premises to pronde 9 beter ‘manufacturing environmere Problem is that id ct te tu out ght. 50, what went wrong? Fist ofall, CBS corporate bureaueracy and forall "management style suddenly hit FENDER tke 2 mourtain storm an pa to severely afet the Company's ormer procedures. The change in ‘management syle was resented by many employee, all the mre os FREDDIE TAVARES recall that: «Actually there was no rior mention to 1s down on the production ne about the sale to CBSe(31), wasn eng before disputes broke cut between CBS and sore ofthe former senior manages of FENDER, For example, FORREST WHITE, who became ‘STRATOCASTER 20Jel Beck andthe Statocsser, ‘perfect combi Blonde 1969 Ry Cooder on sage with abound neck mid-6Os Stratocaster (courtesy Warmer Bos) a40 YEARS OF STRATOCASTERS. AN OVERVIEW director of manufacturing in 1965, lftin December 1967 after abitter argument over production methods. Both LEO FENDER and DON RANDALL hada 5-year contract with CBS and were intially committed to stay t ensure the smooth continuity ofthe Company. DON RANDALL had been appointed general manager of FENDER MUSICAL INSTRUMENTS, buthe did not last ive years and he finally etn Api 11969, LEO FENDER soldiered on, but according to FREDDIE TAVARES «Leo was hired by CBS as. consultant fr years and.at the end ofthe 5 years he didnt want anything to do with them anymore. In ac, atthe end ofthe first year, he didnt want anything to do with them anymore !» 2). Outside any emotional ssve lets not forget that al this i actually 2 ‘business! quality problems mainly occurred because of CBS major ‘objective to boost output and productivity. Again, FREDDIE TAVARES vividly temembers: We had tumed into a big fancy corporation al of sudden, whereallthe diferent departments had go their sayin ‘everything and then that was budgets, quotas and so on. They would try to put out the stuf as fast as they could (53), According to DON, RANDALL production was indeed increased by 45% during the fist year ‘of operation ofthe new plant. It should be noted that tthe time of the take-over FENDER had huge backorders on several models like the new ‘Mustang and obviously CBS didnt want such a situation to continue when there was so much money atstake. FREDDIE TAVARES, who stayed at FENDER unt he retired in 1986, puts quite bluntly « When they [CBS] ‘bough the Fender Company, they found out how profitable this ‘operation was and they wanted the profits held ight there, like so many ‘other American companies it was to make sure the stockholders got plenty of dividends. $0, what could the people around the plant do?» 64). ‘Meansile, BS proceeded to patent some wellknown FENDER trademarks such as the word « STRATOCASTER » orthe ubiquitous backward Fender « F», now stamped on the neckplate and the tuning keys. Requests were led on April 28,1967 and both trademarks were registered with the US. Patent Office on December 51967. Abouta decade later, the word « STRAT » was also filed by CBS on june 26,1976 and registered on February 8 1977, ‘The Stratocaster was not that popularin the mid-1960's a evidenced by its poston inthe Fender catalogues. At that time, it was not considered as a suitable instrument by many players under the influence ofthe Britsh blues boom and power groups like CREAM, which usually relied upon & fatter Gibson type of sound. Production ofthe guar reached glow ebb in 1967 which, nthe author’ experience, is probably the least abundant vintage in the 1960's. Ittook a young man by the name of JAMES [MARSHALL HENDRD\ to give the Stratocaster its second wind. The IMI HENDRIX XPERIENCE was formed in England inate 1966 and in eatly 1967 the group was achieving rock stardom, thanks to the blazing single << Hey Joe » mi made a uiumphant return tothe USA in Jane 1967 ‘when he stole the show at the Monterey Fop Festival playing 3 Steatocasterin ways unheard of soar Because of his profound influence over many layers including some respected guitar heroes |~ JM HENDRIX was essential in (elestablishing the Statocaster credentials His preference for the Strat produced an immediate effect and helped the madel to resume ts letdershp inthe field of electric guitars, Besides | HENDRIX, other guitarists also contabuted tothe resurgence of the Stratocaster. Among them GEORCE HARRISON, who first used a Staton the BEATLES single ‘Nowhere Man’ released neatly 1966 but gave it visible exposure during the Magical Mystery Tour in| 1967 or at the Concert for Bangla Desh in August 1971, In 1069, DAVID GIUMOUR of PINK FLOYD was setting the controls forthe heart of the sun with a Stratocaster and by 1970 famed virtuosos ike ERIC CLAPTON or RITCHIEBLACKMORE from DEEP PURPLE had surrendered thei Gibsons and optedor the Svatocaster, 1971 - 1981 ‘The fourth petiod in the Stratocaster story could be subtitled « CBS WITH A TIET NECK » wath reference to the neck adjusting system fitted to the model in 1971. During hs year tenure asa consultant with CCBSIFLNDER, LEO FENDER- wha incidentally was cured of his steep PART infection in 1967 dd some R§D. In 1970 he came up with anew device ‘which he called « ttable guitar neck incorporating thrust absorbing pivot and locking element ». Unt then, rss rod adjustment on Fender instruments was erred out at the heel ofthe neck and correct neck pitch ‘was achieved by inserting litle shims in the neck pocket. The purpose of Leo's invention was to make life easier or players and to ths end, truss fod adjustment was henceforth achieved by a «bullet » above the nut while pitch was set-up withthe help of smal Allen serew located inthe neck plate ‘The patent of what became known asthe « TiltNeck » (or shor) was registered on December 9,1970 and the new device was fist ited to the Stratocaster after mic-1971, became a major feature, yet often slisparaged, on the guitar and as such tembodies a distinct period inthe Stratocaster story Between mid-1971 and mid-198%, the basic ‘appointments ofthe standard Stratocaster can be summarized as follows (NB: shows achange compared tothe previous period), 1. twopieceneckwitha2 retrosewoodfretboard luedovermaple ‘OR one-piece Maple Neck “large "headstock black Fender logo, chrome-plated Fender tuning keys with « stamped on back 5 + bolt neck mounting with builtin Tit Neck adjustment 6 * truss rod adjustment with a bullet » above the nut 7 * one-piece cle ) canbe summarized.as follows (NB:* shows a change compared to previous petiod) Gedh somes 2540 YEARS OF STRATOCASTERS. AN OVERVIEW 1. two-pieceneckwitha214ret rosewood tetboard duedovermaple ‘OR one-piece Maple Neck 2+ < small headstock 3. black Fenderlogo, 4 chrome-plated Fender tuning keys with « F» stamped on back 5 + bolt neck mounting 66 * truss rod adjustment atthe body end of the neck 7 onepiece diecast vibrato tipiece 8 chrome-plated diecast bridge saddles 9 triple ply white pickguard wth 11 mounting screws. 10 _ 3 single coil pickups with lush poles ine. X71 lead pu) 11 * deeply comiorecontoured alder body, 1¥2 * polyurethane finish with polyester undercoat. First ised in December 1981, the revised Standard Stratocaster was available in 6 standard and 7 new custom fishes, but owing to the Fullerton reshuflet was not manufactured in very large quantities. Besides the vintage and standard models, the S-year business plan developed by DANSMITH also featured thee other significant sues for Fender guitars in general and the Statocastr in particular, Only two of them materialized, but the third one, codenamed the ULTRA’ series, never sav the ight of day, The ULTRA STRATOCASTER was meant to feature neck through-body construction, ebony fretboard, acive «electronics and rear‘mounted components and a such it was posed to become the top ofthe Stratocaster line, The other two projets which did ‘materalze were the ELITE sere andthe establishment of ENDER JAPAN, THE ELITE STRATOCASTER ‘Work onthe ELIE series commenced by Fall 1981 and involved a team ‘of people consising of DAN SMITH, CHIP TODD, JOHN PAGE, CHARLIE GGRESSETT and... FREDDIE TAVARES (tl going tong). k was then an mbitosatenp to blend aon with mode technologies nds, such is prime objectives were to upgrade the electronics, te vibrato system andthe neck adjustment. EMG was initaly supposed to develop ew circuits for FENDER, but could not be finalized. I order to avoid fuer delay inthe release ofthe mode, the active electronics ofthe ELITE guitars were eventually designed ina cooperative efor between ROGER COX, PAUL GUEGAN and BOB EGLER, JOHN PACE devised the refined Freefvetemolafbcige section with dropin sting loading CCHARLIE GRESSETT came up withthe Biles tus od, which makes it possible io adjust the neck curvature in two directions, convex and ‘concave. After morths of research and hard work, the ELITE STRATOCASTER was rally announced in May 1983 and compared tothe ‘exiting variants ofthe Stratocaster i was built with no less than 16 novel features 1 the Biles truss rod adjustment 2 aneck angle adjuster located in the neck plate 3 a slightly wider mut width (7.7007 4 alfaterretboard ads (12°) 5 Ezy-Giyder point contact string retainers G high-ato, ash fee, special lubricated tuning gears 7 secunty lock sap buttons 8 aheavy duty cast bridge assembly with ‘opin’ string loading 9 Freefiyte tremolo system with tension adjustable from the top 10 snap-on Torg Master tremolo arm 11 Ancol single cil pickups without protruding poles 12 noise canceling pickup system witha dummy col between theleadand the middle pickups 13 actveelectronicswithaspecil preamp circuitry including MOX( midrange) ‘and TBX (highrange) controls, 14 three separate pickup push-pushion off switches 15 anedgemounted ack output 46 control knobs witha serated uber insert ‘Whereas some ofthese features could be viewed as refinements of fexsting concepts, the majar departure fram the usual FENDER ethics was ‘undoubtedly the advent of active electronics, Ther purpose was o offer a wider range of tones and the quietness of humbucking pickups, while Fetainng the brillant single col attack Fender guitars are assocated with Inmany respects, the ELITE SERIES certainly outined the renewed innovating capacities of ENDER, but in an thernisefaiy conservative ‘uitar worldit dd not prove a milestone as anticipated. PART 'y mid-1983, the new model was released in 3 configurations + the LITESTRATOCASTER, with heavy chrome-platedhardware, available With rosewoodfretboardoraone-plece MapleNeckingstandardfinishes and 3 custom finishes * the GOLD ELITESTRATOCASTER, sameasabove except gold electroplated hhardware and pearloid buttons on tuners + the WAINUTELITESTRATOCASTER, with body andneckcrafted from solid ‘American Black Walnut, ebony fretboard, god-electroplatedhardware and pearloid buttons on tuners \Whatever the choice of fretboard (rosewood, maple or ebony), it should be noted that the neck was sporting a contrasting « skunk stripe » ‘nits bac, indicating that the Biflex uss rod was installed from the rer, ‘The Elite body was also characterized by the absence of back reces (and ‘back plate or the tremolo springs and the small backplate near the edge coveted the Svolt battery required by the active circu. \With the introduction of the Lite series, THE STRAT, THE WALNUT STRAT and the GOLD STRATOCASTER were al dropped from the Fender pice istof fly 11983, Some of the imoatve features the Ete found ther way ont the ‘ela Stratocaster, which was again revamped in mig-1903, Between June 1983 and December 1964, thebascappontnent ale STANDARD STRATOCASTER -whoselet pce had been lcd by some 5295 over mone -canbesummaina es fellows (NB: hows changes compared presous pera), 1 twopiece neck with a 21 fet rosewood fetboad glued over maple OR one piece Maple Neck. 2 samalls eadock 3 + sver «moderne Fender logo. 44 * chrome plated die-cast tuning keys with 2 Fender stamp on the back 5 _ bolt neck mounting. 6 + uss rod adjustment above the nut (iflex) 7 * one-piece die-cast vibrato talpiece with drop-in sting loading and reetye tremolo ster, 8 + elongated chrome-plated diecast bridge sales 9 + single ply white pickguard with 12 mounting screws 10 3 sng ol picks with sh popes 111 * comion-contoured alder body (without vibrato back cavity. 112 polyurethane fnsh with polyester undercoat, ‘The new Standard model also incorporated the neck pitch adjuster, the flatter neck rads, the wider nut, saerylock strap buttons and snap-on ‘tremolo arm. Cosmetialy speaking, however, is most discriminating features visi the previous standard versions were a top-mounted jack ‘output anda single tone contol. At fis, the gutar was exclusively ‘available with a one-piece Maple Neck, but by popular request the rosewood fretboard version was again sted January 1984, The choice ‘of standard finishes was restricted to only four colours Black Sienna St Brown SB and ivory without any custom option. Inlte 1984 though FENDER came up with ts limited edition «marble inshes (ale, «bowing bal» finishes) and ca.225 Standard Statocasters were deliveredin « marblized » ed, blue and gold colours (with assorted ‘matching tee shir ), Actually, this was bound tobe the models colouttul swansong since the STANDARD STRATOCASTER (made in USA) was removed from the Fender catalogue in January 1985, FENDER JAPAN CO. LTD Although this book does nat intend to deal withthe numerous Fender ‘guitars made in Japan (or in Korea) since the early 1960" it would not present a fair view of the FENDER strategy without afew words about FENDER JAPAN Co Ltd, During the late 1970's, the Compagny sais business increasingly affected by the countless copies and clones ofits ‘models manufactured in Japan and elsewhere. When DANSMITH put ether hs business pla, he stressed the need for budget models aimed at fencing off imitators as wel a at recapturing part of the ower end of them kas scones howeve hatte peal ‘environment in the US.A. wasnt appropriate for such a project. ‘Therefor, the obvious solution wasthen to opt for «offshore productin » in Japan ‘STRATOCASTER 26FENDER VINTAGE '57 STRATOCASTER (IN 100800) The Bite stratocaster announced in sy 1903 1 Albert “Telecaster King” Lee aso owns 2 (1958) jimmie Vaughan Fabulous Thunderbirds) Socatter, which he esto play occasional ng the Blues ona Satocater ey Yee Fe) ” pres 740 YEARS OF STRATOCASTERS. AN OVERVIEW "Negotiations between CBSIFENDER and Japanese companies KANDA, SHOKAI Corp, and YAMANO MUSIC Co Ltd (Fender distributors in Japan) began in December 1961, Less than tvee months ater, the partis, involved came toan agreement and FENDER JAPAN Co. Lid was officially established on March 11,1962 as an American japanese joint venture with equal partners from each county. The agreement provided that Fender guts made in apan would be manufactured by FU CEN-GAKR ‘Mg.Co,, Ltd with designs and parts supplied by CBSIFENDER, while their distribution on the Japanese domestic market wauldbe assumed by both KANDA SHOKAl and YAMANO MUSIC. Itwas also agreed that CCBSIFENOER would have the final sayin selecting the export terttories for the Japanese Fender products. The fist product announcement took place on May 7,1982at the Hotel Grand Palace in Tokyo where FENDER JAPAN displayed its own renditions ‘ofthe 6 Vintage Reissues, albeit in more abundant vanants to eater for the speci price segmentation ofthe Japanese market. These models- witha regular Fender logo and a tiny label made in Japan undemeath- were Parl soldin Japan (2.000 unt per month) but also exported to Europe (1300 units per monthat the nitive of CBSIFENDER, This soon created ‘some confusion anda conflicting situation arose with the same, but more ‘expensive madels from the US.A, DAN SMITH remembers Some lstibutors felt that it could hur the sale of American guitars,20 we decided to use the Squier’ brandname, a brandname that Fender owned » (57), On October 13,1962 the SQUIER brandnarye, which belonged to FENDER MUSICAL INSTRUMENTS was offcally introduced on ‘Buitars atthe fist FENDER JAPAN sales conference hed in Yokyo, On the Same day, BILL SCHULTZ also reamed « We are now prepared to take Positive measures to eliminate the dead copies. We wil ake legal ‘measures against them... CBS will not allow the copy instruments » (56) was then decided that Japanese made Fender guitars should be confined to Japan and oniy Squier guitars shouldbe sold overseas. However one ‘ofthe FENDER JAPAN products was then meant to be soidin the USA. as Indicated by DAN SMITH : « In late 1961, when we fist started with the Japanese it was not meant for salen the US, twas meant tobe able to Continue to have a share in the export markets. Finally, in 1983, we elt that we had to bring these guitars into the USA to be able to compete with other people that were taking our business, We tied everything we ould to se if we could produce guitarsin the US for below S 500 and this \was{ust not possible!» (59). The stranger value of the Dollar prompted CCBSIFENOER to realize that it needed agressively priced temsto compete against foreign manufacturers on its home market, By Fall 1983, SQUIER ass made in lapan started to be importedin Amerie, where they came an instant succes, ‘The fist SQUIER STRATOCASTER available in the US.A, was basicaly a 72 model, with large headstock, bolt neck and Micro Tit Neck adjustment and in DAN SMITH own words «It id have any features likely to interfere with the sale of American models» (50) The putt fst, appeared in the Januar 1,1964 pice is, butt was alteady on the US. ‘market afew months before. The reason behind this change o policy a. {ystal clear: the Japanese madel sted for 369 less case) when the US, Standard Stratocaster went for S 699 (with case), From this moment on, the Japanese Fenders would be sold around the world, including the USA ‘The CBSFENDER « offshore» strategy may be open to citiism inthe {eyes of those who believe that a genuine Fender instrument hes o be ‘made in California, or at least inthe US.A, Nevertheless, beyond any argument it probably saved FENDER in 1985 once CBS proceeded te « pull the plug ». Despite a spate of improvements since 1981, FENDER ‘was having trouble to effectively show a turnaround in pros and CBS {ited red ink in its MUSICAL INSTRUMENTS DIVISION as pat ofthe, ‘Company’ poor interim resultsin 1984, Ata meeting in New Yorkin July 1984, BILL SCHULTZ was informed by CBS that FENDER was going tobe put up forsale on the open market, ‘A few serious corporate buyers, such as aman Corp. or MLC. were the ist bid, but in November 1984 CBS also accepted the principle ofa ‘Management Buy-Out Finally after weeks of rumours and speculations, 3 Statement released onthe apening day (Fe 1st) of the 1968 NAMM, Winter Convention marked the end ofan era « CBS Ine. announced it has agreed in principle to sell Fender Musical Instruments 2 unit of CBS Ine, to aninvestor group led by Willam Schultz, President of Fender ‘Musical Instruments foran undisclosed price. A definite agreements ‘currently being finalized anda signing is expected shortly», Both partes PART 0 entered into a contract on February 8,1985 and the sale was completed ‘on Mach 12,1985, The investor group’ actually consisted of ea 10 Fender employees (rom the upper managemend,alocal bank Foot Savings § Loans Chicago-based investment firm (Mesvow)ande prominent ‘musician (NB rumour hast that t would be Tommy Tedesco), ‘After 20 yeas of PRECBS'semantics the’POST-C8S nomenclature was ‘open! 1985 - 1993 ‘When the agreement with CBS was announced, Bll SCHULTZ made it clear that « Contrary to some rumours, Fender products will continue to bbe made inthe US, as wellasin other countries » The question then wes ‘avherein the US 7 because the huge Fullerton fality was not included in the agreement as explained by DAN SMITH: « Because ofthe nature of ‘the business at that time and the amount of money tht we could ase, ‘we didn buy the land and the buildings that CBS also owned. The Fullerton bulding we were in was approximately 250,000 to 300,000 ‘suft..it was avery large plant andit was beyond the size of what we Aesdeflorhow we pinned to do busines (6) fuckin aly 168, the Dollar was stronger than ever and ithad reached unprecedented peak Points, against most curtencies. This simply meant that US-made products ‘were (on the whole) hardly competitive n terms of pricing, Fullerton closedin 1885 and production of Fender guitars was then temporal) suspended in theUS,A. By une, the independentl jvwned FENDER MUSICALINSTRUMENTS Corp, (« Mi») moved ts, ‘corporate headquarters to Brea and over Summer the Company found the premises it needed forts new manufacturing facility in the ty of Corona ofl the Riverside fy). DAN SMITH remembers «if took us about to 10 months tobe able to set up the new factory. In October of 1985, we were finally able to open the doors forthe guitar factory again » (62). NO Fender guitars were made in the US.A, between February ang ‘October 1985 and duting that period, FMI. relied upon FENDER JAPAN, products, such as the CONTEMPORARY STRATOCASTER as wells, Inventories purchased from CBS. These Japanese guitars pretty much allowed the Compagny to survive unt twas in a positon fo putts own {act together as indicated by DAN SMITH :« When we decided we were ‘Boing to make an attempt to buy the Company, took trip to Japan and ‘worked very closely with Fu Gen-Cakk to develop a new ine of electric Buitars for Fender. Tha allowed us to go to the trade shown early 1985 With 21 new models. those models got us going... hose Japanese Stats bought us ime 1» (63) By the end of 1985, EMI was again able to supply Usmade guitars, Production in Corona began in October 1985 with only 10 people on the floor and the intial output ofthe new plant was thus limited 0, 5 guitars a day. By comparison, Fullerton was employing around 135. ‘people and putting out some 200 guitars a day nly 1964 [With such a testricted setup, FL could not carry too many US models nts catalogue and twas resolved to retain only the Vintage Ressues,The'S7 and"62 STRATOCASTERS were the fist gitason the line in Coronas. they had constantly been the best seling tems in the Vintage Series, The first two guitars actually produced in Corana were a pair of 37 models, finished in Festa Red. The fist one (SIN VO00001) snow treasured by BLL SCHULTZ, while the second one (IN 000002) was presented to British |uitarst HANK MARVINat a special banquet in London on February 12,1986, A the January 1986 NAMM Convention, 3 new model called the VINTAGE PLUS was first shown and listed. was basically a Vinge Reissue ited with updated Elite electronics (new circuitry with 12 68. boos) and a System Il temolo unit. Only wo prototypes were made for the Convention and the model never made i tothe production line ‘Although it was sil listed in une 19860), Fender changed its mind and the VINTAGE PLUS was put on the backbuenes, Market conditions were changing and the Dollar was now showing 2 downward trend, 50 FM decided to embark ona bigger project, which could firmly enchor he roduction of guitars in the USA, This project was the AMERICAN STANDARD, STRATOCASTER 28The apanese-made Souler Stratocaster list imported to the USA in tte 1903 AMERICAN STANDARD STRATOCASTER * (6m 10-740 or 10-7802) Robert Cray, tthe foreront aranew generation oF bis players 198216 Standard Stratocaster Note ck receptacle relocated (on fop of pickguard 2940 YEARS OF STRATOCASTERS. AN OVERVIEW THE AMERICAN STANDARD “Thanks to.a more favourable currency environment, the tne was pe for ‘eleasng a new US-made standard Sratocaser. DAN SMITH sums op the "atonale behind the new model: “What we tried todo was to take a classic vintage-style guitar. Make very few changes but changes that We fot wld ep he rumen, sch aa ter working eno tie ‘steel saddles wit 2 pivot posts and pickups with fat polepieces. Bas wae an upraed vintage utr) The develo fhe ‘AMERICAN STANDARD™the designation was meat to rele clearly the purty of oign!—took place in md 1986, The east samples were shipped in November 1986, bu the model was officially ume athe January 1987 NAMM Convention with ERIC JONSON ass main endorse. The basic appoiniments ofthe new Standard can be summarized Bs ollows (NB: shows a change compared to the previous Sandard model 1 * tworpiece neck with a22-ret rosewood fretboard glued over maple OR one-piece Maple Neck 2 “small headstock” 3 siver “modem logo, 4 chrome-plated, die-cast tuning keys with a Fender stamp on the back cover. 5 4tbolt neck mounting {6 trusted adjusiment above the nut (Bilex" 7 two-piece vibrato tllpiece with angled inertia block 8 + compressed stainless steel bridge saddles, 9. * tiple ply white pickguard with 11 mounting screws. 10 3 sngle-coi pickups with Mush polepieces 11 comior-contoured alder body 12 polyurethane fish, ‘The AMERICAN STANDARD has a truly out-of-phase middle pickup so that dual pickup combinations ate in 3 noise-canceling mode, or the frst time, a US Stratocaster was fited with 22 fers instead of 21 (NBs an ¥upgraded version ofthe ELITE with 22 ets was scheduled in 1985). ‘Otherwise, the model has an intermediate nut width (1.6815) and neck radius (9.58, and it borrows afew features fom the ELITE series like the Biflex wuss-od, the TBX tone contol or Ey-Glider string retainers, ‘Available in 6 finishes upon its introduction, the American Standard ‘quickly became a world-wide success thanks tots extremely good value for money, and tothe fact that it embodied a clever evolution of he classic Stratocaster design, The model also served asa stepping-stone financially, 4nd otherwise, to develop a modern range of Sratocastr guitars Indeed ‘he ensuing years saw the inception ofan impressive nurber of new. detal, especialy wth an eas-t0ake-apat ce, e45y-to forge) Fendt instrument. However, provided a Stratocaster has not been tampered With its dating canbe quite successfully dealt with To dosorequiresto \watch for and compound the following elements (in order of pot ficiency): * the actual markings found at times on the neck the body or the pickups see below), + the structural features and the discriminating details described in the previous sections of thisbook, * the serial number, which can be of assistance despite the lack of sheet ‘chronology inthe Fender serazaton schemes. In case of doubt about the originality of the guitar, a sideby-sde comparison with a contemporary model can be of help. Of course, any expertise onthe manufacturing “signatures” of Fender throughout the, _yearsis definitely useful to crsscheck the above elements. DATES AND MARKINGS Everyone and his brother know that Fende instruments ae almost built “ike ak wih components that ean be easly fakenapar tobe replaced ‘oF serviced, nthe eat day, about ate 1950, certain pats ike the neck {and the body sated 10 be actualy dated a the factory by the employees wo had shaped them. When the Stratocaster ws fst introduced in 1954, dating pants was a standard procedure at FENDER Neck dates With the notable exception of afew months after Spring 1959 and the 1973-198! perio, Sratocaster necks were quie onsen dated a he heel rom 1954 onwards. This date is vealed when the neck s removed ‘or at east loosened fom the body, so that is boom end can be ‘examined. Various dating maths Rave actually been wsed atthe factory ‘over the past decades 18 From 1954 up until March 1962, the date was imply penciled andit shows the month and the year of production in figures, Forexample :#11.57" means November 1957, 62" means March 1962 On the very fist tatocastrs, mainly 1954 through eary 1955, the intial ofthe craftsman who shaped the neck were also mentioned ahead ofthe cate, For example :"TG3-54" means Taddeo Gomez, March 1954 ‘Alte April 1959, the dating procedure was temporally suspended fr Several months and then resumed in early 1960, Rumour has that FENDER stopped marking any date because someone complained about an obscene message pencilled on the neck of his new puta! THs explains why the latest lap Neck Stratocastes rom tne 1507s and he satis! models with a slab" rosewood fetboard donot feature a neck date, though they usualy cary 3 body date! For example: Stratocaster with S/N 37083 (Maple Neck) no neck date, but "4-59 in vibrato springs cavity Stratocaster with S/N 39367 (Rosewood fretboard) ‘no neck date, but “7-59” in vibrato springs cavity I From March 1962 up unt about March 1973, the date was no longer pencilled, but rubberstamped at the bady end ofthe neck, This second {ype of marking indicates the fist 3 Tetters ofthe month andthe last cigs ofthe year, as well asa specific code forthe model it belongs to, plus therneck with, For example 2 JUN 62.8" belongs toa Stratocaster neck (29) madein june 1962 witha standard mut width (89 Sut, it does not mean in any way that this neck was actully made on june 2nd, 1962! ‘At the ime FENDER changed toa rubber stamped marking, each model in the ine was given a specie neck code, probably inorder to improve inventory duties, For instance "1 forthe jaguar," forthe Sutocaster, 3" forthe Telecaster and the Esquie, "for he Jazmaster,°5" forthe Bass, ete Now, some ofthe codes were changed over the years and the Stratocaster went through 3 diferent codes between March 1962 and March 1973 1/2" between March 1962 and November 1965 small peghead) * “15° between December 1965 ndca late 1967 enlarged peghead + Kluson tuners) * "22" alter 1967 (enlarged peihead + Fender tuners) ‘The last eter in the ubberstamped marking indicates the nut width, as per the following code used onal the Fender instruments PAT 112" (1,500") =O" = 1 5/8"(16257) C= 1344°(1750) sD" = 1718"(1,8759) Backin the ealy 1960, "B" was the standard size on the Stratocaster, neck, while“, "Cand “D" were optional tan adeltional cost Optional ‘nut widths fist appeared inthe July 1960 pricelist," and "C> necks ae ‘ail rare on Statocasters and “D's, to say the leas, extremely unusual ‘oturtherilustrate the neck codes used between 1962 and 1973, the full markings f 12 referenced Stratocasters are shown hereunder =SIN 86381 2NOV6?B =SIN 97328 2 FEB 63 B =SIN126531 2JANGAB = SIN 120621 2JUL6SB SIN 173477 130CT 668 197538, 13 AUG 67 B = 5IN 251629 22 APR 608 SIN 254083 22)UN698 = iN 303280 22 DEC 708 = SIN 31058 22MAY 718 = SIN 354521 22SEP 728 SIN 400058 22 MAR 738 Setwween March 1962 ad ca. March 1973, approximately 9 out of 410 Stratocasters necks were thus consistently datedat the acon andthe ony exceptions were. sheet omissions or some ofthe let handed toes Aso, thelate 1960s aa number a fender nstumens were make witha smaler“gren stamp" which apprenty doesnot cleaty indicate the neck date, ® parently For example Stratocaster with 267917 Stampedin green with22 51999 B° Although thas not been cosschecked on a large enough sample of guitars, the las group of figures would allegedly indicate the month and the year, whilst the fist group and the lst eter respectively show (as before) the model code and the nut with. H ths reasoning kaccurate, "99" would mean September 1969, Aiterca. March 1973, CBSIFENDER discontinued decipherable ‘markings on the neck, thats markings likey to instantly show the date of ‘manufacture. Then, necks were sometimes left“blank” without any marking, bt most of them were stamped with anew factory code, relating to the product number and type, For example: Stratocaster with SN 430592 with “0901 2823” rubberstamped onthe neck The ist group of fgutes “0901” indicates thatthe necks meant for rosewood fretboard Stratocaster, ished with a custom colour, The second group of figures may (7) reveal the date of manufacture, But IS actual meaningis not known tothe author. dO? srantocasten 66,Above: 1954 body date brat spring cay. Below: 1957 body date n mi pickup routing. Bight 1965 body date In vibrato Springs ait ‘Neck markings throughout the year i. penciled Top penciled date on 1965 ps bottom plate, Above neck dates up und! March 162, inkstamped neck inkstamped maring on 1971 pa. ‘dates between 1962 and March 1973, post 1972 heck code and 19604 neck date Inspection tag on 1982 neck (ite 09 82) fa)HOW TO DATE A STRATOCASTER. 1H After CBS called ina new management team inthe course of 1981, clearer marking. were finally resumed onthe Stratocasters produced a the end ofthat year. Actually inorder to evidence a more stringent {uality control, the fist guitars produced after Fall 1981 often show: 2 dates.on theneck For example : Stratocaster with SIN £207783, rubberstamped with 9282" under the truss rod adjusting nut and "09 82" on the inspection tag glued under the heel In 1963, FENDER adopted a clearer date marking on the necks of the Elite and Standard Stratocaster, For example : ite Stratocaster with SN £329385 rubberstamped with“DEC9 1983" Asto the Vintage Reissues FENDER logically decided to use a penciled date marking showing the exact day of production of the neo For example :'57 Stratocaster Reissue with SIN VO02011, ‘pencilled with "1/18/03" january 14th, 1983 ‘No guitars were produced in the US.A, between February and October 1985, but the same basic dating procedures were reinstated atthe Corona plant by the end of 1985. Body dates Date marking onthe body has not been used by FENDER as consistently ason the neck. Actually, itfemained a standard procedure only between 1954 and late 1963 and t was discontinued when custom-colouted instruments began to account for amore substantial share ofthe production. Like the early neck markings, the body date was penciled to show the month and the yearin igures. Depending upon the yeas (and «also upon the employees who di the job) the body date i located ether in the vibrato springs cavity o inthe middle pickup routing, Asaasie ule ‘of thumb, the body date was at fist pencilled inthe vibrato springs cavity, then in 1956 twas moved to the miépickup routing and finaly it was relocated under the vibrato springs in 1959. t should also be mentioned that the neck and body dates of one guitar usualy donot match ~ although t can happen ~ and in most cases they show a difference of up {03 months. The fellowing sample of referenced Svatocasters further ilystrates these points ‘Serial Number Neck Date Body Date 246 458 5-5alsprings) 12181 656 e6(mid pu) 22739 ws? 1057(midp.u) 026958, 658 556lmid pu) 48779 660 360(springs) a5913 WN62 9-62isprings) Litost SEP 63 10-63(prigs) ‘The post-1963 Statocasters no longer feature a regular body date, although afew exceptions are known to exist inthe mid toate 1970's or in late 1981/early 1982. in such cases the date pencilled or stamped in the neck pocket doesnot indicate the day (or month the body was shaped. bot the day it was inspected ater being sprayed and butted. For example non tremolo stratocaster with SNS991370 and “11-16-81” marked onthe body. (Owing tots greater availability throughout the yeas, the neck date is {generally considered asthe "bihday” ofa Fender instrument. and thus players and collectors usually eter ta ito log the origin ofa Stratocaster. Itshould be noted, however, thatthe neck dat actually precedes the final assembly ofthe guitar (and its shipment from the factory) by afew ‘weeksimonths. Atany ate, iis the most commonly accepted way to date asuatocaster, Other markings Besides the neck and body dates a Stratocaster can feature at times ‘other markings, lcely to help with ts dating 1 For instance, the east models producedin 1954 and 1955 usually hayeadate and arame penciled ons piece of mashing ape, which afnedin the contri cavity orsomerimes onthe underside othe ckuar Forexample Statoaster wih SN O15 has“Cloia5.2654° Stratocaster wth SN 0698 has-Vigna 1020 58° Stratocaster wth SN 6083 has "Mary 1335" PART IV Such markings show the fist name ofthe employee (lvaysa gi) who installed the pickup assemby andthe very Gay ane dd epost the factory NB waster elepone numer. Ths procedarewan discontnued ater 1955 but dates sometimes mentioned under the pickguard ate 1970s and early 1980s puts Otherwise, the only markings to date a Stratocaster worthy of interest canbe found on the bottom plate ofthe pickups, but they dd not appear ‘nti 1964, 1 In early 1964 FENDER began to put date, ubberstamped with yellow nk, on the bottom plate of ts pickups, For example : Stratocaster SINL26531 (neck date ‘with JAN 11, 64” on pickups. in about January 1965, the black bottom plate was replaced by alight {rey one and the date was then hand-written on it with sometimes the intial of an employee. For example: Stratocaster SINL54382 (neck date :“DEC 64") with 1-15-65" on pickups. I The above markings did no ast more than afew years, and by 1969) FENDER started to rubber-stamp a4 to 6 digit number n black nk onthe bottom plate. Although this number sometimes loks like a complete date fe. monthidayiyear), some numbers are “of and tendtotwvalidate sucha scheme, Nevertheless, after crsschecking several markings it appears that the lat digit) indicate the yea of production, For example: Stratocaster SIN 254083 (neck date :"JUN 697) with'128 5" on pickups (= 1969) ‘Stratocaster SIN 528763 (no neck date) with 1405 74” on pickupe (= 1974), Stratocaster SIN S957665 (no neck date) ‘with "1724 78” on pickups (= 1978) ‘Such markings may contribute to dating 1970'sinstruments, which are deprived of any neck date. Mention should be made, however that one {ultar may not have the same code number on is 3 pickups although they generally share the same indication of year For example: Stratocaster SIN 957663 has"172478" on2 pickupsand 202678" on the 3rd pickup. in 1960, FENDER began to use one-piece moulded bobbins made of black plastic, which do not feature any markings, except the part referencenumber "016730 JAN64) Finally a Stratocaster may also feature other markings such sina, ‘numbers or factory codes onthe neck, the body and the pickguard, but they are not of help to determine the age ofthe guitar. SERIAL NUMBERS Although the above markings ae the most accurate elements to date a Stratocaster, it snot always posibieto reach outforthem, Therefore it may be of interest to make some sense out the serial number, inspite of the lack of sheer chronology in the various sevalization schemes used by FENDER. Of course this rationale s valid in as much a the serial number. ‘onthe guitars original and that the neck plate, for instance, as not been swapped, The original series : 1954-1963 When the Stratocaster was introducedin 1954, twas at ist assigned serialization scheme ofits own, Featuring abasic 4-digt number Based ‘onthe oldest neck dates which have surfaced to this day (NB March 1954)it appears that #1 the Stratocaster series didnot actually begin with “0001 # 2:the ealest numbers were stamped onthe vibrato back plate and ‘ton the neck plate. For example :SIN 0159 (vibrato plate) with a“3-54" neck date ‘SIN 0193 vibrato plate with a“3-34" neck date Indeed, lower numbers stamped on the neck plate show later neck dates For example : SN 0001 (neck plat) with a“6-54" neck date ‘SIN 0000 (neck plate} with “6-54” neck date. yidd? sranrocaster 68HOW TO DATE A STRATOCASTER PART IV upon close examination, the numbers stamped on the vibrato cover usualy reveal a particular feature :the lat digt snot perfectly mine with the fist three digits and sometimes, tis even slightly set apart. tis ‘dubious to envisage thatthe Stratocaster was meant to inialy sport a ‘Jeigit number, and consequent the only sound explanation ether a faulty stamping machine ora 2step stamping process. Anyway, numbers inthe 0100s and 02005, stamped on the vibrato backplate, were ‘Undoubtedly the earliest but not the lowest applied toa Stratocaster, Mn June 1954 FENDER wisely decided to stamp the serial number on theneck plate, whichis more ofa structural part onthe guar. Then, straight 4-igitrumbers were used up tothe early 12005, albeit without fany sit eorelation in time. For example SIN 0694 witha"10.54" neck date SIN0971 with “854° neck date 1M by the end of 1954, FENDER putan end tothe 3 parallel numbering schemes ofits electric solid bodies (Telecaster, Esquire, P.Bassand Stratocaster) and merged them one series, based on the higher Telecaster rankings. Thus, the Stratocaster suddenly jumped some 5000 numbers ahead, For example :SIN 6579 with a“12.54" neck date 'N6800 with a"7-55" neck date From then on, numbers progressed within abasic 4and 5c format, growing trough 6000's upto 300005, as they were applied tothe whole fine of electric guitars and basses. Number 99999 has not been tracked down, but inal logicit was probably used in early 1963. 1 Abunch of 1950's numbers deserve special attention because ofthe way they were stamped, +i 1955 and early 1956 some 5-git numbers beginning with "O° were used instead of straight 4-digit numbers. Forexample ‘SIN 06823 with a"5-55" neck date SIN 09088 with a"3:56" neck date +1957 and very early 1958 some 5-igit numbers were stamped with adashinfront. ~ For example :SIN ~17140 with a°3.57" neck date SIN =22770 with a°10.57" neck date + between late 1957 and mid-1958 some 6cigit rumbets beginning vith" 0" were used instead of straight Sigie numbers For example iN 024077 with a"12-57° neck date SIN 026958 with “658° neck date * between late 1957 ad late 1958 some neck plates were double stamped and they have a different number on each side For example SIN 025937 and ~25700 with a"10-57° neck date ‘IN 025178 and -26302 with a"3-5B" neck date. The vs) 6-git number is stamped on the outside, while the “minus ‘number (concealed) is stamped on the underside ofthe neck pate -Asarrul, serial numbers are stamped on the upper end of the plate, but some numbers were actually stamped onthe lower endin the late 1950 and early 19608. SERIAL NUMBERS/NECK DATES : 1954 - 1973 ren ee ie i Pre oe ee al ei Be oe ue ef pseey Senet Seats: 3-62 5863 bis2 Bae ee MRD ares: Asa 85 :JULe2 uae sere ote: AUC Stes UNS? 977 Jule? fssie: Octo ee: 983 orcs? i: "S00 our Nove in 1 Bain: oct a: 380 Ses SOE a S54: aNeS She: 70 S280 Ark Sit: 100 So TANG Sas: ‘Se Site Maes Sins: 66 Sis bees Sis: 980 S00: ANG 554s oun: sere Ssh wages Bes cree Sear Aras He Sete? 045: N83 ot SeP68 Shoot tebe ai fea59 (out E863 ny Auge (aay aPRe ‘suet OcTes (oie Oct) owe) Nate (oes MABE) one bees? as ArRGa ais fates Eis Mates Blew artes Be JUNE ‘ome bers ie J0Ls8 iar snes Fo sao iar SEP ‘Beas NOVO Bebo Nov" Savaes JAN? sis [Oli Sous bee7D “baw APETS is: APRA ‘osee MATT (tess Sere Set JUNTT Gis: tart Bos hart Bos nate Sigent Avr ris: abcet Bian acy (Bac: ALE Soto Serr ties Stre Sane TANT (ss RoLt su) S872 Us: Octet eur ar? Eis octet Spor are? ets: $eP6t Sean AUC? HD NOL Seen MATTE Uae JUNE SN tis: A Sot beer? tra Sees srs} JOU Bien: wae spe ocr tess: Bees Sap anes eae ‘Bones ovr Igri sees Seas ANT} {sto Orc Sana #0073 tere: APke3 ir OFC72 teher tedes 5300 Auer? tease: NOV ‘Boose MARS tes 106s 057 MAR “SAV mam on vat baciglate_# dowblestampad nck pte gdm 69HOW TO DATE A STRATOCASTER, The “L” Series: 1963-1965 “The °L” series isin ll probably the result ofa stamping mistake, even though the “Leo's theory is emping When rumbers in the 90,0005 tthe ‘sembly ln, rsh neck plates were stamped bu for same reason they dc ott out wth numbers inthe 00,000: but with numbers reading LODOOIS. In ather word, thei fist cig i not “1” bu“, hence the L-eres designation. “The earliest numbers - bt not neces the lowest - appered on Bu tars made in late 1962 and they overlapped wth the latest numbers fiom the ‘figinal series. The bulk ofthe Users, however, found on instsents dat ing fom early 1963 upto mic1965. A few L-numbers may surface on ler tars wih, for instance, an early 1965 neck date, but these ae rather excepe tions. Otherwise, the sere an rom LOO00! upto 199999 on a rove ‘urulative bass, albeit without sri sequent order. ‘The “F” Series: 1965-1976 |When L-numbes inthe 900005 came in sight by Spring 1965, CBSFENDER ‘moved up o 6g nue in the 10,0005 ba without an“ rei However, the newer plates came up with the pial Fender backward ‘conspicuculy amped below the ser umber, hence the “Fes moniker. ‘The eatliestF-numbers appeared in mid-5, bt ul the end of the year they overlapped wih Lrumbers. Owing to a drastically increased proton ater the m0, F-numbers rapidly moved in thousands ae van fom 100,000s up to 700,00 in but 11 years. For the rtruments made upto catly 1973 Ge. with numbers upto the lve 400,000, possible to work ‘outa tentative dating char thanks tothe avaiable neck dats Te guitars released thereaier ie with numbers fom 400,000 upto 700,000) are more ‘ofa problem, The following guidelines, lating to actual shipping dates were supplied by CBFender several yeas 2g 400,000 numbers: Api 1973 through September 1976 + 500,000s numbers: September 1973 tough September 1976 + 600,0006 numbers: August 1974 trough August 1976 + 700,000s numer: September 1976 tough December 1976 Headstock Numbers In late 1976 Fence ceased to stamp the serial number on the neck late and began to incorporate it into the headsiock decal while 9 new seria ion scheme, meant to indicate the year ofthe ise, was devised, Newsy 7cigt numbers were invoduced, witha basic 2d preix showing the year plus § digs fr the idenuication ofthe gut, “The fist prefix briely used was *76" and the numbers read 76x00 with "76" in bolder numerals. But ina matter of month the “76" prefix was discarded and replaced by °S6" This definitely implemented the syste sin use today, whereby the fist leter shows the decade Sesevertis) {and the fllowing numeral the year inthe decade (96 » 1976) Subsequently the 1840s brought inthe Erefix andthe 1990s the N-pref ‘This scheme is clear and simple, bu it's not always reliable to date US-made Fender guitars forthe following reasons. "At the end of each year, new decals reflecting the change in pre- fix were ordered but the old anes were na instantly discarded particu: lary if there were plenty of unused leftovers. Asa result the previous year's decals often continued tobe used into the new year. Far instance, any guitars acwally made in 1980 and 1981 may feature a $9 number. "When CBS decided to sell Fender in mid-1984, no “ES® decals ete ordered, and uni the closedawn of the Fullerton plant guitars were shipped with “4” and even “E3" prelies. When production was resumed in Corona atthe end of 1985, the company had a sizeable inventory of “£4” decals and it ok until 1986 to use them up! Thus, €5, 6 and E7 prefixes were never applied to US-made instruments (but they ‘can be found on offshore models). During this period, a few post CBS instruments meant for export markets were also briefly seraleed with an EE" pre, * In mid-1990 Fendes was sll using €9 decals when the decision was reached to order nineties decal, The problem is that they did not "rn up with "NO" but with *N3" (= 19991), These wrong decals were sed fora time before correct NO numbers were finally ordered PART IV ‘These inconsistencies canbe easily spotted thanks to the date applied ‘onthe neck of the post-1981 instruments Other Serial Numbers [Not ll the Stratocasters made since the late 70s ate fited with the above-mentioned serial number "THE 25TH ANNIVERSARY STRATOCASTER This model was released with a .cigit number stamped on the neck plate and beginning with 2. The dat of issue is usally determined by the accompanying “cemicate of mer, “THE COLLECTOR'S SERIES Specific prefixes were assigned tothe Gold Stratocaster *CA") and the Walnut Stat ("CC") made between mid-1981 and ently 1983, The eal {5 God Sats also came out with a “CA” prefix before a specific *GO" prefix was adopted, “THE VINTAGE SERIES ‘The’57 and ‘62 US reisues produced since 1982 are ited with a 7-ight number stamped on the neck plate and beginning with the lter*V". These models feature a neck date but a dating char would be quite confusing, because the series went ack 0 VOOOOR when F.MLL resumed their production inthe Corona pat in late 1985, ‘THE SIGNATURE SERIES ‘The ull production Signature models are normaly ited with an Bit eastock number, meant a5 an extension ofthe standard 7-git numbering Scheme. Their serial numbers simply prefixed withthe ltr °S, thereby ving a ul pref rading SN2 for a Signature model made in 1992 “THE CUSTOM sHOP MODELS Unless otherwise specified by the customer, the true Custom Shop instruments (the one-off) cary normally a 4-igit number asigned (ona cumulative basis since late 1987. In other words, the lower the ‘number the older the instrument. This number is applied with a decal on the back ofthe headstock, but tis often stamped as well on the neck plate. However, aot all the Stratocasters made by the Custom Shop are ‘one-off, The models fom the Set-Neck and the American Clas series thus features an ligt number prefixed with CN (N=90) “THE LIMITED EDITIONS ‘Models such asthe HLE or the 35th Anniversary Stratocaster have a speci ‘ic serialization showing the rank ofeach insturent inthe batch, For Instance: “035 of 500". The more recent Diamond Eon models share the same system, albeit prefixed with DET (Horley Davidson Anniversay), DE2 (Playboy Sat) ec: Summary Fora quick reference, the main serialization schemes used by Fender on production Stratocaster guitars since 1954 ae recapped yearby year ina ‘slobal chan. The number itemized in this chart apply only to ular made inthe USA and do not encompass ofshoreinstuments. Besides, a rounding, ‘exercise means tat the various sequences may ot ft all ofthe Stratocaster, ‘even if they should reflect the average year of issue for most of them, For 3 ‘more precise dating, the neck date may be used, whenever available, to reinforce the vintage suggested by the serial number. sad” sranrocasten 70