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Page 8
EVOLUTION OF THE STRATOCASTER
HEADSTOCK
The headstock design was first used in the Stratocaster, and then in later
models. The impression from the head-stock shape, which borrowed the one-sided
six-rowed pegs and round-pointed end from the Telecaster, was absolutely unique.
The idea for the 'headstock design was obtained from a violin, by taking a silhouette
of it and arranging it to the size of a guitar. While the body design was
completely radical, the headstock had a more classical air about it.
The finish 0£ the Fender, like the Sunburst, was also radical. While on the one
hand, it was revolutionary high-quality product, it still was easy to use. These
were the initial concepts developed by the Fender company. In the early years
from the period of 1954 until 1965, the so-called "small headstock"
was used. Basically, there was no change in its external form, but the
circumference of the edges (rounded corners), was slightly altered. Because a
large percentage of the '54 models were manufactured by hand, the circumference
of the edges (front and back)
were made large. Around 1955, the edges were diminished and left a squarish
impression. almost square, hardly round at all, and by 1957 the edges were
completely square and firm. The "small headstock" remained for 10
years ('54 to'65), when it was then changed to a larger model. This is when the
so called "large head" appeared on the scene. This type of headstock
had already been used in 1958 by the "Jazz Master" and in 1961 by
Jaguar. Although there were some differences, the concept was the same and
provided the Stratocaster with a deluxe image.
Although not entirely accurate, it's easier to see the difference between the
pre-CBS and CBS models by looking at the heads, as opposed to the F-neck plate.
Production of the large head continued and was later inherited in the '70's
"spec's".
DECAL
The Fender logo that was used in the early stages from 1954-65 was thin and
winding, and appropriately called the "spaghetti logo"
."FENDER" and "STRATOCASTER" were seen on
the guitar with the small lettering of "with synchronized tremolo"
underneath, and used as one set until 1960. Of course guitars that were
"tremolo less" did not have "with
synchronized tremolo" engraved on them. From 1961, the patent number was
added to the Fender logo
in the following order:
1961: 2573254- The patent for the bridge plate of the
Telecaster.
1961: 2741146- Synchronized tremolo
1962: 2960900- Contour Body (added to the above two sets to make a. total of 3
types of numbers)
From the latter half of 1964, a larger, more bolder logo was used in place of
the "spaghetti logo". This was called the "transition logo"
because it was used to bridge the gap between the early "spaghetti
logo" and the main logo that was used in the later years. 'the design of
this logo consisted of gold lettering with black trim. At this time, another
patent, 3143928 (Truss Rod) was added, bringing the total number of patents to
four.
In later 1965, the patent number 2817261 was added for a "Hum Canceling Pick Up'. This brought the total number of patents to five. But around 1966, three of the five patent numbers were eliminated, with only 2741146 and 3143028 remaining. Number 169062 (the precision bass design pattern that came from the nucleus of the "Strato" body design) was added. The brought the total number of patents back to three. Later 1968 saw the Fender logo design changed (opposite from the transition logo) to a black lettering with gold trim. "The words "STRATOCASTER" and "WITH SYNCHRONIZED TREMOLO", were three times larger with only the patent numbers 2741116, and 3143028 remaining. The blade type, an R was attached next to the Fender logo, "With Synchronized 'tremolo"' was dropped, and only one patent number, 3143028, remained. In the last half of the '70's, "MADE IN THE USA" and a serial number were added.
Page 9
STRING GUIDE
The first string guide was a round type that was planed from dowel with a slit (
string grooves) being machine processed, and then sanded by hand so that the
corners were finished smoothly. This type of string guide was used from 1954
until 1956. In the middle of 1956, the string guides were formed to a winged
style from the original rounded version. They were pre-pressed so that the slit
would round-off. This was done because it increased production, and stabilized
the quality of the string guide. In late 1959, a spacer was used underneath the
string guide. This resulted in the first and second string tension becoming
weaker. In 1971, a string guide was also added to the third and fourth strings,
which resulted in a total of two string guides for one guitar.
Page 12
TUNING KEY
This was also a specification that was inherited from the Stratocaster. The
ideas of putting a hole in the center of the string post and slit, were derived
by Leo Fender at the Chicago Kluson Manufacturing Company. The keys were lined
six in a row, but each one could be replaced independently of the others. The
idea of holding a six-piece unit with seven screws was also extremely unique.
There were not many overall changes in the structure, but the outside appearance
of the tuning keys changed subtlety through each passing era. Up until 1956, the
gear covering had no lettering inscribed on it. But after 1957, the engraving
"KLUSON DELUXE" appeared in the middle of it as one line. Then in
1964, the engraving was changed so that it appeared on both sides of the cover.
In 1968 (some say 1967), though pegs wore changed to what is called the
"Fender Key", which was made by "Shala" (not the same thing
as the current Loadmatic type). This peg when compared to the ones made by
Kluson, had a hexagonal type key head. The parallelogram-styled gear cover had a
"F" engraved in the center of it, and was made of chrome (Kluson's was
nickel). This peg was used through the 1970's.
FINGERBOARD
From
1954 to the end of 1959, the Stratocaster used only a maple neck. At this time
the neck and fingerboard were one piece, which was clearly inherited from the
Telecaster. This one-piece neck had major characteristic that had not appeared
in any other neck until this time, which was fitting the truss rod from the back
side of the neck. After fitting it from the back side, the truss rod was covered
with walnut wood, which appeared like the back of a skunk, thus it was nicknamed
the "skunkstripe" , Next to the nut, a truss rod anchor was placed and
covered with walnut inlay. It was called a head
plug or "brown egg". The rosewood fingerboard was first used by the
"Jazzmaster" in 1958, which influenced the quality of appearance and
sounds for the guitar. Brazilian rosewood was used for the
high quality of the "Strato" .Because of the success of the
"Jazzmaster", all guitars started to use the rosewood fingerboard. By
1959, using rosewood had become the norm. At the same time the rosewood was
being used, the shape of the head was changed slightly. The face of the maple
neck, and the lowest part of the rosewood finger board became flatter and
smoother.
From 1959-62, the rosewood fingerboard was made to fit even with the maple wood, which resulted in this portion of the guitar having one; smooth flat surface. This was called the "flat board" or "slab board", but was actually changed to a "round paste board" in the middle of 1962. The face, which fastened together like the side of the fingerboard, was made round also. This process was created by Leo to minimize the warp of the two boards when they were laminated. The 1962 model was thicker than the ones produced after 1963, and was used to bridge the gap to later models. By the end of the 1960's, Fender, like all makers, started to use Indian rosewood for its fingerboards. This was due to the export ban that was implemented by the Brazilian government. After the 159 rosewood "'as introduced, the laminated maple was discontinued. But ,in 167, the fingerboard called the "Mapleboard" was reintroduced. By reading the title, you can tell that laminated maple was used instead of rosewood. Even though only a limited amount were produced, this maple wood was very famous, because it was used by Jimi Hendrix. They both made their debut together. The same process used on the rosewood, placing the truss rod of the front, was also used on the maplewood. But, neither the "skunk stripe" nor the "headplug" could be seen.
In 1970, the one-piece maple neck was introduced with a large head. In late 1971, the adjustment nut of the truss rod was placed on the head side and called the "bullet". Also a new structure to adjust the slope of the neck (the "tilt neck") was added. At the same time, the new rosewood neck with a "skunk stripe" was placed from the back side.
Page 13
POSITION MARK
In the '50's one-piece maple neck era, the position mark was a 1/4 inch (6.35mm)
diameter black dot. In '59, when the rosewood was used, the position mark was a 1/4
inch diameter white dot, called the "clay dot". This name was used, because the color was soft,
not shiny, and looked like clay. Although the material used did not change, the two sets of dots and side markers were placed closer
together. From '65, the material was changed to a pearl pattern celluloid called "pearloid".
In the late '60's when the Mapleboard made its big comeback, the black dot also returned on the scene, but
with its spacing between the dots different than its '50's predecessor. In '71 while using tile tilt-neck,
bullet truss rod, only the side-markers were black, and placed on the side of the neck.
Page 16
NECK SHAPE
The characteristics of the '54-'56 grips were a round triangular shape, and much thicker than the later models.
While not changing the actual width, the grip differences were only manifested in the thickness, and shape. In fact,
the grip was 2-3 millimeters thicker than later models (1 fret was about 23 millimeters}.
In '57, the grip looked skinnier, because the triangular shape became more pronounced, the side became thinner.
Only this year's model can truly be called the "triangle neck " . in '58, the neck was thinner, with the grip also
becoming flatter. At the same time, the Telecaster also became flat. Around the same period of time, Gibson also
used the flat grip (from '59}. Because Fender introduced their new model, the "Jazz Master" made with a rosewood
fingerboard, this same year, it was evident that these two companies were competing against each other. The 3-tone
Sunburst could also be included in this premise (Gibson introduced the "Les Paul" in late' 58) .The flat grip used in '58 was transferred and used in
the '59 rosewood fingerboard. This rosewood fingerboard with a flat grip style was a characteristic of the early
'60's Fender neck. Although not as pronounced as in '57, models with a triangular neck were starting to be introduced
in '63. In the late '60's, the neck became thicker, thus more popular. The grip was more like the round type, and this
style continued through the '70's.
NECK PLATE
One of the most unique characteristics of the Fender guitar are the wood screws that fasten the neck to the
body. The neck plate acts as a washer to protect the body from the screws eating into it. A variety of neckplates
which are 50.8x38.1 metal squares, have been used through the years. In '54, the earliest neckplate was a plain 4-cornered metal
plate. The serial numbers were engraved on the spring plate. however, late ' 54
saw the serial numbers engraved on the neck plate. Although the amount of numbers varied,
the neckplate with serial numbers continued until the mid-60.'s. In early '65, after CBS bought the Fender Company,
changes in the neckplate and "specs" occurred. A big "F" was engraved in the middle of the neckplate. This change
in the neckplate is one way to distinguish between the pre-
CBS and CBS eras. This type of "F" plate continued from the '60's until the end of '71. But because they started using the "tilt-neck",
the neckplate changed to a 3 screw style. The tilt-neck made it easier to adjust the corners at
the final stages of assembly. At the same time, the truss rod nut was moved to the head side to make the adjustment
easier. A 3-bolt system was used for the adjustment for processing the neck-corner. That is why the neckplate was
a triangular shape. The "F" was still engraved in the center of it , with the addition of
"FENDER MICRO ADJUST PAT 3350496", and a hexagonal-styled hole for adjusting.
After 1976 the serial number was moved to the decal, which resulted in the number on the plate disappearing.
Page 17
BODY SHAPE
The Stratocasters body shape was based upon the same
concept used to make the body of the precision base, which was also used to develop the Telecaster. Although the body
shape did not actually change much in the 1950's and 1960's, there was an impression that the guitar varied from year to
year. This was probably due to a change in production methods. A 3-D view of the body will accentuate the
changes that occurred. Let1s take a look at these changes as they happened. The first change occurred in the neck stock shape.
Even though the corner of the edges were finished, they still remained. This was a characteristic of the '54 model
only. In '55, this portion became more rounded. An overall view of the changes in the body shape will
allow us to lump the years from '54 to '56 into one group.
In this era, Fender was not entirely enthused with machine production. Thus, most guitars were hand-produced, which
resulted in a rounder shape. The same could be implied about the neck. In this era, white ash was used to make the body
(inherited from the Telecaster). This type of white ash was easier to press, and weighed lighter that the ash used
in the '70's. From the middle of '56, the material was changed from white ash to alder. White
ash was still used for the Telecaster, the Stratocaster used alder, because it was a better material for the pressing system.
From '54-'56, the body had a handmade style, that changed with the material to a simpler form (neck and
corners also saw these changes). This characteristic became more prominent later on. '57 is the year that the
Production system became permanent, with the product line firmly established. In the '60's, the body shape changed gradually. From
an overview, '63-'64 was a bridge between the earlier changes, and the major one in '65. This year saw the
contour for the guitarist's elbow become smaller, and the connection to the edges became sharper and firmer. This
probably occurred because CBS bought Fender.
In the '70's Stratocaster used a natural finish for the first time, and Fender used ash as a body material instead of alder. This, when compared to the material used in the '50's, was much heavier and firmer, making it harder to process. This was probably the main reason why Fender decided to curtail production, even though they were starting to rise from a late 1960's sales slump. This phenomenon continued through the later half of the '70's, and influenced further manufacturing.
Page 20
ROUTING
The shape of the body cavity has been altered from era to era. Let's take a look at the cord grooves.
Through the '50's and 1960's, a groove one level lower was carved at the base in the lead
pickup cavity. This was done to control the lead lines of the front, middle, and
back pickup leads. But in '54, the earliest model did not have these grooves, and was a flat base. This model probably
existed because they were used in a limited quantity before lot production. The characteristics
of the early model displayed grooves that were done by free hand with the use of a
router, and had the base facing the control part at a inclination. The pre-CBS era saw the grooves curved, with
the grooves becoming wider and flat at the bottom after the move was made to CBS.
On the other hand, because in '59, they started using a 3-ply vinyl 11 hole pickguard (that was introduced at the
same time as the rosewood fingerboard). The control cavity was bumpy.
Accompanying the change to ash, the pickup cavity was made a level deeper with the cord grooves
disappearing. This was done to reduce the manufacturing process.
.
PICKGUARD
The first type was 1.9 mm thick, made of rigid vinyl, and held by 8 screws. A triangular shield plate was placed
in the control cavity and held the assemblies. There were no changes, nor problems in this '50's type, but in '59 a
change was made to 3-ply along with the introduction of the rosewood fingerboard.
The 3-ply pickguard used celluloid. This pickguard, was made with 2 ply's of
white on the outside, and a black one in between that can be seen when the edges are cut.
The technique of placing the color into the celluloid made
the black a dark navy blue, and the white somewhat yellow which in turn made the navy blue appear somewhat green.
The shield plate was the type that only covered the controls part to the back side.
The 3-ply pickguard that was held by 11 screws was the classic style. However, in '63 the screws between the front
and middle pickup were moved closer to the bridge. In '65 the material of the pickguard was changed from
celluloid to rigid vinyl chloride again. But the 3-ply structure and shield plate were not changed.
However, in the '70's, the shield plate was replaced with thick aluminum around the control area. In addition
to this, the 3-ply was changed to a black-white-black
pattern, instead of the white-black-white pattern. Moreover as a rare specification, the '54, '57,
1958 models saw a limited production of gold anodized aluminum pickguards.
PICK UP
The beginning model from '54-164 used a black fiber paper on the upper and lower part of the bobbin, with the
colors of the coil being very bright. The pole piece was a unique staggered type in each string, and used an
Al-ni-co V magnet. In the '50's almost all guitars had a shape that was close to hand manufacturing, and coils that were wound
(a machine wound the bobbin, but the string was guided by
hand). This made the coils look like a rose shape. With this reason in mind, the number of revolutions was fixed at
8000. The next type was a version from '65 where only the bottom side of the bobbin was changed to a
bright grey paper fiber. Also, from this time on, a handwritten dating system that was placed on the bottom of the
pickup bobbin was established. Then in the '70's the fiber on the bottom side became
a dull grey, and the early cross wire was changed to a resin potting. Also the coil wire was changed to a dull,
rusty color enameled wire. 7600 became the standard number if revolutions. After '75, the flat pole piece that had a
same height as the magnet was introduced.
Page 21
CAPACITOR
The Stratocaster capacitor used through the '60's and '70's had a 0.1 MFD (sometimes recorded as uF) value.
Until the '60's, a square white cloth oil condenser was used. But from '61 it was changed to an orange colored
ceramic oil condenser. In the' 70' s the green condenser changed to a brown ceramic
condenser. It had a 0.5 MFD value, which resulted in the reduction of the high sound range when the tone was
restricted.
SWITCH
The CRL 3 way switch, which was made by the Centralab Company, was inherited from the Telecaster. In the '60's
era, the projection of -the click part that connected to the lever was long, but in the '70's became short.
From '77 the 5 way switch (which came from the 3 way
switch) that included a half-tone position, and was becoming fashionable in the early
1970's, became standard equipment.
Page 24
CONTROLS
The 1954 model pot was a round shaft straight type that had no grooves or slits, and was probably diverted from the
Telecaster. The normal pot had a 250k value also seen at this time were ones with
100k. From '54-'56, the flat type base was consistently used, but in '57 a
circular- groove was added and mixed in with the flat type base. However, by the
end of the 1950's the flat type became the main model. In the 1960's the circular groove type was used as the
main model, but in '63, a particular type type that had a cone shaped groove in
the center of the base was mixed in with the existing type. By the end of the
'60's, the circular type once again could be seen.
In the '70's the cavity of the center of the base became flat, and in comparison to the other periods continued
for a long time. Various models with no big changes and a 250k value appeared on the scene, and were used in no apparent order,
which made it difficult to distinguish the different eras.
KNOBS AND PICKUP COVERS
The one thing that cannot be forgotten about the '54-'55 Stratocaster specifications is that it was made of Bakelite
parts. The knobs and pickup covers made from Bakelite materials (also including V.T. Switch and arm knobs) were a white
that didn't alter much, but had a quality that was easily polished. .Although not really know, there was an earlier '54
model made without Bakelite parts. The difference was a transparent resin adulterated in
the center with a white cosmetic .that although could be called white, was a thin,
almost transparent, color when seen on the pickup covers. In case of the knobs, and other parts, it
had a sheen or lustrous characteristic. This version of which only 10 were made
were quite unique. From '56, with the purpose of improving the flaws of the Bakelite parts, these parts
were changed to nylon. These nylon parts that appeared to be yellowish were also
used in the '70's. In the late' 70' s, the black-white pickguard became the norm and changed from the outdated 3-ply black-white-
black version. In other words, the black pickguard with white parts gradually changed to the black pickguard with
all black parts.
Page 25
BRIDGE
It was through the 1950's and the 60's that the early type of the synchronized tremolo unit had been used. This
unit was made of cold rolled iron material in its part of inertia block which carried both functions of tail piece and
spring hook improving its sustaining ability. The part of bridge saddle and the block were separated and were
constructed with 3 vises. Also, the bridge saddle was made of iron bar which was skillfully pressed. This pressed
saddle held a great importance as a decisive element of the quality of the Strato-sound in those days.
Also, notice the part of arm. It was a consistent characteristic in the 1950's that the arm was given a great
angle around the arm knob and was used most widely. However, in the 60's, the current was changed to the
straight-type with almost no angle for the arm.
Also, the holes which were opened on the spring-cover to put the strings were round shape only in 1954. Even the
serial numbers were hallmarked in the very early part in that year. However, a change was made in
1955, Since even the slightest shift of the position of the block disturbed the strings to be pierced when the halls were round in their
shape, the shape was changed for the better from the round
one to the ellipse shape creating more room in vertical direction. Following this change, the
70's was the time when the separated type of iron block was replaced by the unit of
zinc die cast. This new type was made by unifying both the part of the bridge plate and the block
part. The bridge saddle was also replaced by the make of the die cast. This change of the material and the
production method brought a
great change of the sound-character of the Strato after then. This type of tremolo unit had been used all through
the 70's.
Page 26
DATING
I have repeatedly pointed out the bolt-on structure as a great characteristic of the Fender's
guitar. According to
this method, each part is to be processed separately first. Then they are to be assembled toward
the final completion. Strictly speaking, the date of manufacturing should be identical with the date of that final
assemble. But in the case of the Fender's guitar dating was usually done on the point of time when each part of the neck, body and
pickup was completed (more precisely it was done immediately before then
completion).
That dating was practiced only for a purpose of quality-control within the company: It was not done with an
intention such as, for example, the dating for violins which are expected to be recognized by the public eye. Also,
there exits certain time lag between the time of the
completion of manufacturing, the necessary time for shipping, and the time when users finally receive them.
The case is totally different from the case of order-made musical instruments which is immediately given to their
users when they are manufactured completely. Therefore, those different datings distributed to each part of the
instrument are so much important information that the time
lag is proved and that they also become clues to conjecture the Fender company's process of guitar-manufacturing.
NECK DATE
As I have mentioned in other sections, there are several patterns in neck dating. For example, the neck
dating accompanied with the craftsman's initial letters in early 50's manifest that they tended to be hand-made.
Following the 50's, stamps appear in early 60's, adding
some code numbers besides the date of make. The first number "2" indicates that the neck is the product of the
Strato. The code number had changed in the following years to "13" in 1966, then to "22" in 1968 and after. The
following part of the code number indicates abbreviated name of the month, and the last two numbers of the year. The
last part of the code, i.e. the right end, is given for a
certain alphabetical letter which indicates the width of the nut. B indicates standard (1
5/ inches = 41.275 mm) while others indicate optional A (1 1/2 inches' = 38.1 mm) as
narrow-neck, C (1 3/4 inches = 44.45 mm) as wide-neck, and D (17/8 inches = 47.625 mm) as extra-wide.
That neck-end stamps were changed to a code composed with 8 digital numbers which did not indicate the date any
more. But the former system has revived since the 80's with minor adoptions.
BODY DATE
We also can observe variety of marking on bodies, though they do not have such consistency as those of necks.
They are such numbers written by pencil on the spring-cavity or pickup-Cavity. For instance, 5/54 indicate~ that the wood-
processing were completed on May, 1954.
Also, though it is a quite rare case limited only in early time, the craftsman's first name and the completed
date are hand written on a masking tape attached on the Control-Cavity. By the hints that the tape is attached on
the final painting and that they are mostly female names, we may assume that those datings were most probably made at the
time when final painting was finished or during the process
of wiring and assembling of the body after completion of painting and buff polishing.
Page 27
PICKUP DATE
We are not able to find the dating on the bobbin pickup which is made of only black fiber-paper in the 50's through
early 60's (except early 64). But pencil-written dating appears with the use of gray paper. In the 60's after the
last number of the year was used as stamped code.
Page 29
SERIAL NUMBER
Fender company's serial numbers are quite regularly paralleled with the development of years that, we may say,
enables you to avoid serious misunderstandings on the serial numbers. However, you may not completely free from
difficulties in your attempt to pin-point the absolutely perfect date of the production since those
serial numbers had more emphatic roles as information inside the company rather than as that for users.
It was the usual way that scores of guitars were manufactured as one group by the assembly line operation in
the factory. Therefore it was natural that the bodies and the necks were processed upon the different flows of the
lots which also required a quite different process for painting. As the result, the certainly numbered bodies and
the necks rarely reached the assembly process on the same time. Besides, not only both bodies and necks were
processed on more than one lots for each part, but also the assembling lines were more than one. Therefore, the flow of
certain serial numbers on different parts also quite probably did not always arrived at the assembly process on
the same time. Besides the above situation, the advancement of figures of the serial numbers and/or changes of the
numbering system did not necessarily corresponding with the turning over the year (e.g. one serial
system is not terminated on December 31, 1954): This additional element made the matter more complicated.
Therefore, you need to consider that there may be automatically an error of 1 year in your chronological
judgment of your instrument on the basis of the serial numbers even using my attached chart though I applied cross-
checks in various ways to the supporting materials for the chart. You may also consider the
probable fact that some parts temporarily had been out of the processing line while
some reversed the process by unknown reasons. In that case those serial numbers and the dates of manufacture possibly
are completely different. Therefore we may say that it will be intelligent for us to regard the serial numbers as one of
many indicators in our chronological judgment.
* The early days of 1954 Four figures of numbers from 0100 to 0200 were hallmarked on the spring cover on back of the bodies.
* The latter half of 1954 The numbers were hallmarked on the neck plate due to the inability in use of the above system. Also
the numbers starting with 0001 were included in spite of later usage than those greater numbers though they had
common 4 figures.
* 1955 Follows the 4 figures, 5 figures number starting with 0, also the same 5
figures starting with 1 in the latter half of the year.
* 1957 A dash 1-- was topped to the 5 figures starting 1 and 2. Some did not have
the dash. Also 6 figures started headed with 0.
* 1958 Six figures topped by 0. In the latter half, 5 figures particularly topped with 3 started to be used.
* 1959 Five figures beginning with 3. In the
latter half, 5 figures topped with 4 began to be mixed.
*1960 Five figures beginning with 4. In the middle of the
year 5 figures headed with 5 started.
* 1961 Five figures headed with 5 and 6. Also 7 topped later. * 1962 Five figures headed with 7 and B, later with 9.
* 1963 Five figures topped with 9. Also the commonly called "L Series " topped with the letter "L " started
from relatively early time in the year. In this year, "L" is followed by 5 figures starting with 0, 1, and 2.
* 1964 Five figures starting with 2, 3, 4, and 5 .following the
topping "L".
* 1965 Five figures starting with 6, 7, 8, and 9 following the heading "L". Also, in the latter half,
a figure serial number headed with 1 started paralleling with the "L" series. L-series was terminated in this year.
* 1966 Six figures headed by 1. It was in this year that a large "F" mark was put on the neck-plate.
* 1967 Consecutive numbers following the 6 figures headed by 1 and early numbers in 6 figures headed by 2.
* 1968 Six figures beginning with 2.
* 1969 Six figures beginning with 2 mostly paralleling with 1968.
* 1970 From older numbers of 6 figures beginning with 2 to younger ones of 6 figures headed with 3.
* 1971 The first half of 6 figures starting with 3.
* 1972 The latter half of 6 figures starting with 3.
* 1973 From 6 figures headed with 38 to 6 figures topped with 4 and 5.
* 1974 Six figures headed by 4, 5, and 6. Partially paralleling with the serial numbers of 1973.
* 1975 Six figures lead with 4, 5, and 6. Parallel with 1974.
* 1976 Six figures headed by 7. From the latter half of this year, the serial number shifted onto the
head, becoming 5 figure number beginning with 76.
* 1977 In the first half of the year, 1976 form of serial numbers remained. In the middle of the year, it was changed
to S6 plus 5 figures. Paralleling S7 plus 5 figures started.
* 1978 The same, S6, S7 plus 5 figures remained in the first
half of the year, shifting to S8 plus 5 figures. At the end of the year S9 plus 5 figures also started.
* 1979 Completely shifted to S9 plus 5 figures. Also E0 plus 5 figures started in
parallel.
* 1980 S9 and E0 plus 5 digits were dominant. At the end of the year E1 plus 5 figures
started.
Page 30
PATENT
A great innovator, Leo Fender was also a great inventor. Among numerous number of patents that he invented
and were approved, total six kinds of patent-numbers appear on the Head Decal of the
Stratocaster. Here we can find an interesting fact that those patent numbers include ones that are not directly related with the
Stratocaster. For example, Pat. 2573254 is the patent regarding the unit of united type of Bridge
for the Telecaster: It is true that this patent is a unique invention of Fender, but the patent has no relation with the
Stratocaster. In exactly the same way, Pat. 2817261 has never been used for the Stratocaster
is a patent regarding the humbucking pickup. On the contrary, the critical design patent for the
body shape (originally one of precision-base) finally appears in 1966. Also the
application of the trademark "Stratocaster" for registration was finally made in 1967,
after 16 years of its birth, by CBS and approved in December of the same year.
Such tendency to secure their rights of ideas and trademarks was not so much strong as present in the years of
Leo Fender. But it becomes stronger since the takeover by CBS. We may assume that the change reflects their
containing intention to the rising copy-products that was backed-up by the
guitar boom in the 60' s. Another interesting fact is found regarding the patent
of the tilt-neck which was applied on July, 1969 and approved in December, 1970. Leo Fender never sold that
right to CBS. Though he gave them the permission of use, he kept on holding the right in his hands. In
later years, Leo uses that tilt-neck in both products that are those of the
Musicman, his own work, and those of G & L, his present company. For your reference, I have organized all patents
appeared on the head decal (and the neck-plate) in a chart on your right chart.
Page 33
FINISH SUNBURST
Sunburst, the Stratocasters standard finish, had been a traditional one. But
Fender adopted it to the Stratocaster for the first item among their products. It is
presumably true that they selected rather traditional finish for the Stratocaster to neutralize the incongruity since the
shape of Strato was quite radical In its time. From 1954 to 1957 . A two-tone sunburst with black,
yellow base was used. However, in the very early time in 1954, immediately after
Strato's birth, they used paints with slightly harder impression and different tone of colors
with eliminated gloss than so called old-sunburst. It reflects, we may assume, that they were still in the early
trial-and-error stage. Since the middle of 1956 the body material had been changed from ash-wood to
Alder, even though the two-tone paints and the ways of painting were unchanged. As the
result, the visible impression has also been changed to slightly brighter. Since
1958 three-tone sunburst has appeared with additional red color to tile original yellow and black. That
three-tone sunburst has been consistently employed since
then. But the quality of paints has been changed since the time around the adoption of rose-wood finger board.
Products around that time tend to fade red. Among those of 60-61 models, some appear~ as if
they are two-tone due to the discolor of red. Therefore, they reversed in 1962 the
red finish to the former one which is more resistant to the discoloring. Also, around the same
time with the above
change, they changed their processing ways to the spraying after fixing the handle to the
neck-pocket. It resulted that the half side of the neck-pocket was not painted. In 1964, the base color yellow
was changed. They shifted it from thinner one through which you could see the grain
of wood to that of thicker paint and according way of painting. Then in 1968, they employed
polyester- finish for most
guitars of Fender. The polyester is used as the sanding- sealer. It is the base painting to
polish the surface for better coloring, sandpaper is applied when i t dries. The
material impression and the color nuance were fairly changed even though the lacquer was
continuously applied for both the color layer and the top-coat. In the latter half of
1970's, the lacquer application was ceased for both the color layer and the top-coat.
In 1979 and the 80's, more variety of coloring entered as additions to the original 3 tone such as sunbursts of
tobacco, cherry, sienna, and brown as the new standard colors. It was also in that era when the number of custom-
colors suddenly increased presumably reflecting the Fender's intentional roll-back policy competing the newly rising
forces.
FINISH --CUSTOM COLOR
Since there was a trial and error period of time until the sunburst was finalized as the standard finish, the
blonde finish was also optionally used for the Strato as well as for the Telecaster. After the body material was
switched to alder, the ash had been continuously used for
the blonde-finish. In the meantime the custom colors in the 50's had a distinguished characteristics as the literal "custom made"
for special orders for the promotional use of artist's. Even though the notice of color options appeared on the 1956
catalog for the first time (additional 5% of the price was charged), only common colors such as blonde and black were
primary colors with a few variations.
From the late 50's and to the early 60's, the current was changed as the
Stratocaster gained more popularity. The coloring became much bolder while the finish suddenly
revealed its broad variations. We may observe that the wave of the color variations of the top ranking brands such as
Jaguar and Jazzmaster, which won a high appraisal and popularity in the rising tide of
surfing boom since the early 60's, reached with influence to the Strato. However, the trend radically
changed when the management was transferred to CBS and the organization was
reformed in 1965. The year 1965 made the border line before and after that year: The drastic
change took place even for the custom colors which gradually declined in their variations all through the late 60 's and
the early 70's. The popularity was monopolized by the Les Paul and Hollow Body due to the domination of the
market by the British power, which attacked the Strato to the corner of almost suspending manufacturing. But it
was not the only reason why the custom color declined in their variety. We may not
overlook the decisive influence of the shift of finish to the polyester-finish in 1969 as the major cause of the
decline. They also might be overwhelmed by the new management direction of CBS and the
change of the production process as well as the above reason for continuous response
to small lot's custom colors. On the contrary, such relatively orthodox and popular colors as blonde, black,
natural, and Olympic white began to flow on the regular production line as the standard around 1975.
In the 80's, suddenly the color variations increase. Some appeared only in 1987, while some others survived for
only three years from 1981 to 1983. The situation tended to
go chaotic. Incidentally it is believed that the Fender originally