TELECASTER

THE DETAILED STORY

OF AMERICA’S
SENIOR SOLID BODY
ELECTRIC GUITAR

BY A.R. DUCHOSSOIR
 TELECASTER
THE DETAILED STORY
OF AMERICA’S
SENIOR SOLID BODY
ELECTRIC GUITAR

BY A.R. DUCHOSSOIR

SPECIAL FOREWORD BY
JAMES BURTON
& ALBERT LEE

CORPORATION
 The Fender Telecaster. Copyright © 1991 by HAL LEONARD PUBLISHING CORPORA
TION
International Copyright Secured _All Rights Reserved
Printed and bound in the United States of America.
No part of this publication may be reproduced in any form or by any means
without the prior written permission of the Publisher.

ISBN 0-7935-0860-6
First U.S. Printing October, 1991
 CONTENTS
Special foreword byJAMES BURTON and ALBERT LEE ...................... 4

PART 1: THE ORIGINS OF THE TELECASTER ........ccccccccccsccccccssscccssssees 7

PART 2: 40 YEARS OF TELECASTERS

The Leo Fenter Years? 1951-19640 Ss cc irae. ee 16
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PART 4: HOW TO DATE A TELECASTER

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FOREWORD
Over the last few years, the idea of a Telecaster book has been frequently put
forward to me, by collectors like Jeff Gray, Alan Rogan or Jim Werner as well as by
my publisher. I guess it was probably a logical step to consider a companion to the
Stratocaster book.
I took the plunge and now I hope this newest offering will live up to the
expectations of the many people who assisted me one way or the other in its
making. The list of acknowledgements is quite long indeed! But I specially wish to
thank a few key individuals for their continuous support throughout this project,
namely Jim COLCLASURE, John PAGE, Dan SMITH, John SPRUNG and my lady Sue.
I am also most appreciative of the written forewords which James BURTON and
Albert LEE agreed to provide. I am both honoured and flattered to reproduce their
own words and signature in a Telly book.
Lastly, at the time of closing 8 months of hard work, I want to dedicate this new
publication to three important persons who recently passed away: my father,
Freddie Tavares and Leo Fender.

A.R. DUCHOSSOIR
July 1991

THE
TELECASTER
 JAMES BURTON
AND THE
TELECASTER
[courtesy Fender]

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WAL so MAN ,

ALBERT LEE
AND THE
TELECASTER

[courtesy Dan Reeder]

 ACKNOWLEDGEMENTS
The author wishes to extend his thanks to the following people for their contribution to this book.

Pete ALENOV (Pete’s Guitar) Conrad KISH (Hal Leonard Publishing Corp.)
Scott ARCH Susan LANDAU
Margie BAKER (Midwestern Music) Albert & Karen LEE
Patrice BASTIEN (Magnetic France) Ron LIRA (Honest Ron’s Guitars)
Bob BENTON (Fender) Bill LLOYD (Guitar Preservation)
Jay BLACK (Fender) Seth LOVER
Bill BLACKBURN Christophe MADRONNA
George BLANDA (Fender) John MAHER (Fender)
Gary BOHANNON Keith MARDAK (Hal Leonard Publishing Corp.)
Bruce BOLEN (Fender) Jacques & Debbie MAZZOLENI
Steve BOULANGER (Fender) Doug MILLS (Fender)
Larry BROOKS (Fender) Albert MOLINARO (Guitars R Us)
Jimmy & Cindy BRYANT Tom MURPHY (Guitar Preservation)
James BURTON John & Dana PAGE (Fender)
Mike CAROFF (Fender) John PEDEN
Bill CARSON (Fender) Eugene ROBERTSON (Eugene’s Guitars)
Jonathan CHERRY (Fender) Ricardo RODRIGUEZ (Fender)
CHRIS’ GUITARS Alan ROGAN
Jim COLCLASURE (Guitarcheologist) Bill SCHULTZ (Fender)
Didier COLOMBI Patrick SELMER
Dave CROCKER (Fly by Nite Music) Dan SMITH (Fender)
Jim CRUICKSHANK (Fender) Richard SMITH
Vince CUNETTO Steve SOEST (Soest’s Repair Shop)
Gordon DOW Gilbert & Barbara SOUTHWORTH (Southworth Guitars)
John ENGLISH (Fender) John SPRUNG (American Guitar Center)
Alfredo ESQUIVEL (Fender) Mike & Alice STEVENS
Steve EVANS (Jacksonville Guitar Center) Fred STUART (Fender)
Yves FARGE Buck & Bucky SULCER (Guitar Network)
George FULLERTON Freddie TAVARES
Uncle Lou GATANAS Dave THOMASON (Dave's Guitars)
Jeff GRAY David WEINSTEIN
Ted GREENE Jim WERNER
George GRUHN (Gruhn Guitars) Jim WILLHITE (Guitar Preservation)
George HARRISON Cliff WILLIAMS
Yasuhiko IWANADE (Fender) Robert WINGATE
THE ORIGINS OF THE TELECASTER PART 1

THE ORIGINS OF
THE TELECASTER
For a long time the official story has been that the TELECASTER guitar was Shortly after he had met Doc Kauffman, Leo Fender had built what was actually his
originally released in 1948 as the BROADCASTER and then renamed in 1950. Over first Spanish guitar,then meant as a test bench for his novel “pickup unit for
the years that statement was often quoted in the Fender company’s literature and stringed instruments” with strings through the coil. Because of its odd shape this
more recently a 40th anniversary commemorative model was introduced in 1988 as guitar is often mistaken for a strict lap steel, but it had a round neck and could be
a limited edition. Although the TELECASTER is indeed the world’s first solid body used as a Spanish guitar. Both pickup and guitar are featured in the patent jointly
electric produced on a substantial scale (and still a strong contender in today’s filed by Leo and Doc on September 26,1944 (and granted on December 7, 1948
market), the true origins of the model call for a more accurate account. with number 2,455,575).
Prior to being hired by Leo, George Fullerton remembers he borrowed that guitar:
FROM LAP STEEL “I kept it a couple of days and I tried it. It sounded pretty good but it was
TO SPANISH GUITARS something you couldn’t hold...it was hard to hold. So when I took it back, I told
him it sounds pretty neat but it’s hard to hold on your lap. He said: well, that’s
The FENDER ELECTRIC INSTRUMENT COMPANY was founded in only the beginning!” (1). The 1944 solid body was primarily intended to test the
Fullerton,California by Clarence Leo Fender in early 1946 after he amicably “direct string pickup” which would later be fitted to the early lap steels made by the
separated from Clayton Orr “Doc” Kauffman, his former partner in the short-lived Fender Electric Instrument Co. By 1948 Leo Fender began putting together fresh
K&F company. The previous year the young K&F Manufacturing Corp. had just built ideas for his first “real” electric Spanish guitar, as recounted by George: “After ’'d
its first Hawaiian guitars and amplifiers a few months before the end of WWII. Leo been there for a while, we got stranded to come up with this idea of one solid
was keen then to expand the manufacturing activities of K&F, but Doc Kauffman body guitar” (2).
apparently had qualms about the viability of a bigger business in the aftermath of Looking back some 40 years later, the first Spanish guitar to carry the Fender
the war and he preferred to pull out from the venture. So Leo Fender set up his own name was basically rooted in five key concepts.
company, continuing the production of lap steels and amps at a time when
¢ It would be EASY TO BUILD, OPERATE AND SERVICE.
musicians were deprived of new musical instruments because established
manufacturers (like GIBSON) had been diverted into war production work. In Leo Fender’s own words: “The design of everything we did was intended to
be easy to build and easy to repair. When I was in the repair business,
Fender lap steels and amps soon gained recognition among professionals and new dealing with other men’s problems, I could see the shortcomings in the
models were gradually added to expand the line. Although a few were sold through design completely disregarding the need for service. Ifa thing is easy to
the radio repair shop Leo had set up in 1939, their distribution was handled by a service, it is easy to build” (3). Freddie Tavares, who later joined Leo in
company called RADIO & TELEVISION EQUIPMENT Co. (RTEC). Besides the Spring 1953 and helped with the design of the Stratocaster, confirmed the point:
activities implied by its name, the Santa Ana-based company, owned by Francis Hall, “Leo Fender’s general philosophy, general attitude was make it practical, as
was also marginally involved then in the distribution of musical instruments. In practical as possible and as simple as possible” (4). This pragmatic striving
1946 RTEC became the exclusive distributor of the “Fender Fine Line Electric for functionality would illuminate all the products engineered by Leo Fender,
Instruments.” The pattern which would prevail until the CBS take-over in the mid- without impairing his creative genius.
60s was thus set early on. The Fender company would design and build musical
Besides, in the late 40s, the young Fender company was not in a position to
instruments whilst the business side would be handled as a separate operation by its
invest in sophisticated tooling equipment simply because it did not have the
exclusive distributor.
financial resources to do so. Therefore, necessity being the mother of invention,
In the late 40s Leo Fender was busy developing new products in Fullerton and the new guitar had to be built basically with the equipment already in use for the
RTEC was striving to build up a dealer network. In the beginning its salesmen were production of lap steels and amps.
confined to Southern California, but Donald Randall, who was RTEC’s general
¢ It would be a SOLID BODY GUITAR.
manager, soon began to establish dealerships in other states such as Texas. In fact,
although his role has often been overshadowed by the stature of Leo Fender in the Spanish electrics had appeared well before WWII but they were all “electrified”
eye of the public, Donald Randall eventually played a critical part in the worldwide acoustic guitars, prone to feedback, with a rather muddy tone. They could not
success of Fender instruments through his sales organization. In 1948 RTEC first be played too loud and more often than not restricted guitarists to a modest spot
brought Fender instruments to the annual trade show organized by the NATIONAL in the band (save for Charlie Christian and Oscar Moore of the late 30s).
ASSOCIATION OF MUSIC MERCHANTS (NAMM). Adverts inviting dealer inquiries Feedback was the bane of the early electrics. In Leo’s own words: “We wanted
were also placed in national trade magazines with a catchy claim reading “Fender to get rid of the feedback that you get with the acoustic guitar [...] We
for faster turnover - for profit building.” weren't trying to harm the acoustic guitar or anything like that-just come
with something that would do a better job for the player”(5).
Also in 1948, Leo Fender asked a young man he had met earlier on to work for
him and help him out with repairs on amps and lap steels. His name was George So, the new guitar would be built with no acoustic cavity to eliminate feedback
Fullerton and, beside participating in the creation of the first Fender electric Spanish which back then was not yet a deliberate aesthetic effect. Additionally, owing to
guitar, he would become along with Dale Hyatt one of Leo’s closest associates
and its experience in the production of lap steels, the Fender company was not alien
friends in his lifetime. In those days the term “electric Spanish” was used by to the wood working involved in the making of solid bodies.
in
manufacturers (e.g. Gibson’s “ES” prefix) to indicate that the instrument was held ¢ It would have a DETACHABLE ONE-PIECE NECK.
the conventional manner, like a classical Spanish guitar, as opposed to the lap-style
A detachable neck was not per se a new concept. It had already been used on
of the Hawaiian guitar.
banjos or by other manufacturers such as Rickenbacher, but not on regular
 a
THE ORIGINS OF THE TELECASTER PART 1

Spanish guitars. Leo Fender opted for a bolted neck mostly for functional steel keys. Otherwise, it displays a one-piece maple neck with 21 frets, but a rather
reasons: “I decided that it'd be best for the customer ifI built the body and large nut width (2"), and position markers were materialized by tiny painted-on
neck separate. See, a lot of times, even ifthe neck doesn’t have to be black dots.
replaced- it may just need an adjustment- it’s better for the owner just to The body was made of pinewood (not ash) and painted in an opaque white,
remove itfor shipping. It’s much easier than shipping the whole simply enhanced by a wing-shaped black pickguard covering the lower half of the
instrument” (6). instrument. The neck was fastened with four bolts via a tempered steel anchor plate,
A solid body guitar with a detachable neck was also easier and more slightly larger (2 5/8" x 1 7/8") than the later production mount. The guitar already
economical to produce. This mode of construction would do away with a neck displayed the unmistakable bridge pickup assembly, with a slanted pickup, a 3-
heel and a slight backward angle to the neck, aligned flat with a thinner body. piece bridge section and string-through-body loading. As later pointed out by the
The neck would also be built without a separate glued-on fingerboard and late Freddie Tavares: “The rear pickup is slanted for a very important reason.
fretted directly. It would entail the use of a good quality hardwood to resist That was because when you pluck the instrument way back near the bridge,
finger-wear, but overall it would be less costly to build or replace. everything is more brilliant, but you lose the depth. So, the reason for the slant
was to get a little more vitality or virility into the bass strings and still
e It would have a PICKUP WITH INDIVIDUAL POLES.
maintain all the brilliance” (10).
Sound-wise Leo Fender was keen to retain the tonal characteristics of a lap steel
for his Spanish guitar. At that time he was striving to improve his own pickup The whole assembly was protected by a sliding cover made of a bent metal sheet
design, noticeably to obtain a more even string response, and he began to provide adequate shielding for the pickup. The jack cup was located on the side
experimenting with individual magnet poles. As later recounted in an interview: of the body, but the volume and tone controls were mounted on a slanted metal
“] think that perhaps I was the first person to use separate magnets, one for plate, almost in the same alignment as the lead pickup. Leo reckoned at first that it
each string. That way, Ifound that the notes didn’t seem to run together - would be more practical to have the controls near the guitarist’s playing hand, but
you could get more of an individual performance off of each string” (7). aesthetics probably lead him to reconsider the argument at a later stage. But both
knobs were initially in the same position as the two tone controls of a...Stratocaster!
Leo was primarily an electronics man and so he would try out different pickup Incidentally, this first prototype (tracked down by well-known dealer and collector,
designs until he found one that sounded right to him. Always in search of Dave Crocker) still exists today and its (strictly) original pots are dated from the
functional features, he also made sure that the unit would be adjustable in 31st week of 1949, which would indicate that it was completed sometime in Fall of
height to freely modify the balance between treble and bass. that year. The guitar belongs to its original owner, John Hanley, who received it as a
e It would have a FULLY ADJUSTABLE BRIDGE. gift from Leo and George once they moved on to the next prototype phase.
Late 40s Spanish guitars were fitted with a pre-set floating bridge made of wood The lap steel snakehead was abandoned by late 1949 and replaced by the now
and adjustable in height [Link] those days, adjusting string length for intonation classic peghead with all the keys on one side. Leo Fender purportedly drew
implied gently moving the whole bridge unit across the guitar top. Leo Fender inspiration from the instruments used by some Croatian musicians he had seen
was convinced that a “better” Spanish guitar should feature a bridge adjustable playing in California. Later, he recounted that a string-straight pull to the keys was a
both in length and height in order to meet players’ needs and requirements. prime consideration rather than sheer aesthetic appeal: “My main reason, though,
Back in the late 40s, Leo Fender's intention was to add a solid body electric was that it put all the strings in a straight line to the tuners-right straight
guitar to his product range. But, from a practical point of view, it basically was through the nut to the peg. | didn’t want to fan out the strings like you have to
conceived as a Spanish version of a lap steel guitar. The rationale was to draw do with pegs on both sides” (11). It can also be argued that Leo was perhaps
on the sound and type of construction of a lap steel to bring a better guitar to influenced to some extent by the headstock of the guitar built in 1947 by Paul
players, in particular to country & western music players. As he would later Bigsby for Merle Travis in nearby Downey, California. At any rate, the Travis guitar
admit: “It was from the steel that I got the idea of building a solid version probably confirmed to Leo that it was both a practical and appealing feature. This
of the Spanish guitar style. Guitarists were always asking about methods involved some additional work because the keys then procured from Kluson were
ofgetting more volume and I decided I ought to build something for not meant to be affixed with only one screw between two shells and the winglets at
them!” (8). either end had to be punched with a press.
Development was actively pursued over Winter 1949/1950 and gradually brought
AN ENTIRELY NEW in refined appointments such as a slightly narrower neck at the nut, a tone selector
switch, a new layout for the controls and a reshaped pickguard. Contrary to what
SPANISH GUITAR has often been said, the bridge-pickup assembly was patented shortly after it was
In the course of 1949, these ingredients were gradually embodied into a prototype perfected because Leo Fender was keen to quickly protect his innovative design as
instrument with the assistance of George Fullerton who worked out the body shape: he had done with the direct-string pickup unit in 1944. A patent for a “combination
‘Tve always been basically into drawing, so I started working to lay out the and bridge assembly” was thus filed on January 13, 1950 before any Fender electric
design for a guitar body, many times until 2 o'clock at night!”(9). The earliest Spanish guitar was officially introduced. The patent was not fully granted until much
one-pickup prototype saw the light of day with what would become the classic Telly later on October 30,1951 (number 2,573,254), but the earliest guitars sold would
lines, a simple yet elegant body shape with a deep cutaway that a famous anyway carry a “[Link].” stamp on the bridge plate. In fact, production models
contemporary designer like Charles Eames would not have disavowed. Beyond an would retain this stamp well after the patent had been effectively granted!
almost definitive body design, it incorporated all of the above mentioned key Extracts from the wording of the patent application attest of the functional credo
concepts, but it also sported a few transitional features showing that it was only a of Leo Fender:
first draft.
“..the objects of my invention are:
By and large, the most striking feature of the first prototype made in 1949 was
First, to provide a device of this class which [...] incorporates a novel
without a doubt its lap steel snakehead design with three keys on each side, Back
sectional bridge permitting individual adjustment of the strings.
then, Leo had not yet decided upon the asymetric peghead with six in-line tuners on
the same side which would later become a trademark for Fender guitars. For Second, to provide a device of this class wherein the pickup unit may be
practical purposes, the first prototype was thus fitted with two banks of Kluson lap accurately adjusted relative to the strings of the instrument.

Gittim
 Oct. 30, 1951 Cc. lL. FENDER 2,573,254
Leo Fender COMBINATION BRIDGF. AND PICKUP ASSEMELY
FOR STRING INSTRUMENTS
in the late Filed Jan. 13, 1950
50s. [courtesy
Richard Smith]

Don
Randall
in the
mid-50s.

CLARENCE L. FENDER.
INVENTOR.

De EN
ATTORNE FS

Front sheet of the patent filed by Leo Fender in January 1950.

maple neck
Details of the first prototype built in 1 '949. The one-piece
l “snakeh ead” headsto ck and is fastene d to the body with a
has a lap-stee
n of the controls and the wing-
2 5/8" anchor plate. Also note the positio
pickgua rd. Otherwi se, the unmista kable body shape and
shaped black
hoto by Dave Crocker]
bridge assembly are already there. [courtesy John Hanley/p
 Excerpt from the June 1950
issue of Musical Merchandise.

«ngs,
strings:
&
ails, YOU

Fender's electric guitar, with solid body.

USIC DEALER — CONVENTION SUPPLEMENT 1950

Above: the single pickup black

aa Esquire introduced at the
@* July 1950 NAMM show.
e* Right: the May 1950 advert
@* we :) featuring Jimmy Wyble with an
Mt = ; Esquire. [courtesy Jim Colclasure]

8
. .. « THE SPANISH GUITAR

“Oo nates

j use" guitar ustively onw in She siecttie

wt The 8 tw tour in
$9 ene : soi i nha 4 r
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enceae
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electricf instru™ . - COVERS
Hrerenne
cad * GUITARS
Sepepenes
AMPLIFIERS Distributed Exchests
P
The Spanish guitar as shown in the 1950 Fender catalogue. RAD 10 &TELEVISIO: iN EQ UIPMENT co MP
207 Oak Street Santa Ana, Cali
Dealer Inquiries Invited

This picture of a dual pickup Esquire was taken by Leo Fender himself. {courtesy Richard Smith]

1950 dual pickup Esquire in blonde

[photo by Kerry Wetzel]

10
 THE ORIGINS OF THE TELECASTER PART 1

Third, to provide on the whole, a compact assembly which although Its practical advantages were also explicitly described:
economical of manufacture and installation is particularly dependable and “The neck is replaceable and can be changed by the owner in approximately
effective in operation.”
ten minutes time...”
To compound the various stages of development, Leo Fender was keen to field-test “The guitar can be played at extreme volume without the danger offeedback...”
guitars with working musicians to receive their comments. Many times, Leo and
George would go down to clubs at night with a guitar to show it to the featured band “The player can adjust each string for height from the fret board and for
over a break between sets. George remembers how they first met Jimmy Bryant in a length, obtaining perfect intonation...”
club called the Riverside Rancho: “In walks this young fellow, good looking A couple of weeks later, the Esquire was displayed at the 49th annual NAMM
young guy, and he came right over where we were, interested in what we had convention held in July 1950 at the Palmer House in Chicago. According to trade
sitting there. So he picks it up and starts playing it, right back upon the edge of magazines from that period (such as Music Dealer or Musical Merchandise) the
the stage. By then, the band was taking a break from their playing. So this single pickup version was the only model officially shown and it listed for $139.95
young fellow starts playing on this guitar and finally someone brought an amp plus $39.95 for the case.
over and plugged it in. He was doing some real neat things with it and pretty In retrospect, the most peculiar appointment of the 1950 Esquire is its black-
soon there were a lot ofpeople collected around watching what he was doing. lacquered body trimmed with a white pickguard. In an advert from May 1950
He must have played that guitar two hours by himself...the band finally quit featuring Spade Cooley, Jimmy Wyble holds what appears to be a black Esquire, but
playing and everybody crowded around! It was Jimmy Bryant...our first meeting the photograph may have been touched-up to match the model described in the
with Jimmy Bryant. No-one at that time, that I know of at least, could play like catalogue. In the back pages of that same catalogue, a picture of Spade Cooley's
Jimmy Bryant” (12). Orchestra portrays Jimmy Wyble playing a light-coloured guitar. Other photos of
George also recounts how Dale Hyatt once took a trip to Northern California with players from the same period as well as the 1950 instruments which have survived
guitars to see if he could get some people interested in the new solid body. He to this day tend to confirm that early Fender Spanish guitars were mostly finished in
talked some local musicians into trying one of them on stage, but the instrument “blonde.” Why then a black Esquire in the 1950 catalogue?
would not work. So Dale picked up another guitar and it did not play either. George By all accounts, Leo Fender certainly preferred the semi-transparent light blonde
recalls: “Even the third one wouldn’t play and by then they were about ready to colour as he probably wanted to capitalize upon the popularity of the limed or
throw him [Dale] [Link] happened under the pickups, the way we put them pickled finish found on late 40s “modern” furniture. Actually, some lap steels were
together not knowing it, is when the plate was screwed down it was pinching already produced in Fullerton with a blonde finish before 1950. Besides, although a
against a wire and eventually cut it and the insulation shorted out!”(13). few early samples were made in pinewood, it was a material too soft and too easily
Beyond anecdotes such as this, valuable comments and advice were steadily dented for a professional guitar. Therefore, Leo soon switched over to what later
obtained from professional musicians or teachers and helped Leo to fine-tune the catalogues would term a “clear blond hardwood,” i.e. ash. Therefore, the black
specs and appointments of his instruments. colour might only have come as a suggestion from RTEC, perhaps keen to
Early in 1950 the basic design was almost completed, but Leo wanted his Spanish differentiate the newly introduced Spanish guitar from existing products? Another
guitar to feature two pickups for added versatility. The original single pickup interesting possibility, though, is that the 1950 Esquire was in fact still built with a
version was at first equipped with a special tone switch to yield a deep rhythm tone pinewood body, hence an opaque black lacquer (and a more appealing
in addition to its brilliant natural sound. Ultimately, the idea of a pre-set bassy combination than a straight white finish).
sound would indeed find its way on both single and dual pickup models. Meanwhile Upon closer examination, the picture found in the 1950 catalogue and trade
- Leo Fender, who was primarily an electronics man, tried various types of coils to magazines reveals two peculiar features of the early black Esquire. First, there is no
come up with a different pickup from the unit so far developed for the lead guide on the headstock to hold down the E and B strings. Second, the guitar does not
position. The neck pickup with its characteristic smaller coil was eventually appear to have a 3-position lever switch but rather a push-button, vaguely
finalized around Spring 1950. For shielding purposes, it was fitted with an reminiscent of the “organ button” fitted to Fender lap steels until 1948. At any rate,
encapsulating metal cover held by four pins bent under the bottom plate of the the 1950 black Esquire is today without contest the rarest specimen in the Telecaster
bobbin. After additional dies and tooling were delivered to the factory during the family! This leads to the conclusion that it was certainly never produced in any
second quarter of 1950, the FENDER ELECTRIC INSTRUMENT Co. was ready to sizeable quantity and at best two or three samples were made for promotionaly
produce a dual pickup electric Spanish guitar. But by April RTEC had decided to purposes only. By giving exposure to the single pickup black Esquire, Donald
introduce a single pickup model for national distribution. Randall simply intended to put bread on the water...

THE ESQUIRE Meanwhile, although it was not officially announced at the July trade show, a dual
pickup version of the Esquire was produced before Summer in Fullerton. If one
sample was taken by RTEC to Chicago, it remained behind the scenes. Apparently,
The single pickup model appeared as the “ESQUIRE” in catalogue No. 2 of Fender Don Randall was of the opinion that the simpler one pickup guitar would — at least
Fine Line Instruments published by RTEC in Spring 1950. It was the only Spanish initially — prove more attractive and saleable in a market where the amplified music
guitar featured in the new catalogue and there was no mention of a possible dual business was still largely in its infancy. On the contrary, Leo Fender preferred the
pickup version. Next to a picture of the guitar resting on its case, an abundant more advanced dual pickup version, of which a few samples were made in limited
literature stressed the novel features of the instrument with phrases such as: quantity for direct sale to local musicians. As he later recounted: “Randall wanted us
“Something entirely new in the electric Spanish guitar field...” to come out with the single pickup design and wanted to call it the Esquire. That
“Features far in advance of all competition...” may be why it showed up in that catalogue and price list and the Broadcaster or
the Telecaster didn’t. But the Broadcaster was the first one we built” (14).
“A new style ofconstruction which vastly improves the usability ofthis type
ofinstrument...” For the record, Leo should have stipulated “built in quantity” to validate his
or
statement, because on a purely historical basis the Esquire (whether the single
“A new type one-piece neck that is more slender and durable...” the dual pickup version) actually came first in 1950. However, neither version was
although
“The new adjustable Fender bridge [...] is one of the most important made in any sizeable numbers and both guitars are exceedingly rare today,
to later productio n
modern guitar developments...” some two-pickup Esquires have been documented. Compared
 ean

|
THEORIGINS OFTHETELECASTER PART 1

models, they can be primarily identified by: $169.95 list price (plus $39.95 for the Bulwin form-fit case). Since the July trade
show, the Esquire designation was mostly associated with the single pickup model
© a one-piece maple neck without a reinforcing truss rod, i.e. without an and it was therefore decided to give a new name to the “new” two-pickup guitar. As
adjusting bolt at the heel
later recalled by Don Randall: “For Leo Fender's first smash guitar, thought and
¢ a body without a small channel between the neck pocket and the rhythm pickup cavity. thought about what to call it. Ifinally decided to use something that had to do
They are also characterized by a headstock decal with a silver Fender “spaghetti” with broadcasting. |named it Broadcaster” (16). It was a smart name to convey
logo, no string guide on the peghead (although original owners often had it added the modernity of the new instrument at a time when music was so dependant on
later), steel bridge sections, a tin bottom plate on the lead pickup and of course “broadcasts” (radio or television) to thrive and reach the public.
slot-head screws everywhere. As a rule, there are no date markings to be found on To accompany the release of the Broadcaster, a fact-packed 8.5"x 11" colour
the neck or the body and the only element likely to help with their vintage is the pot
insert was placed in trade magazines and served as an additional catalogue sheet.
code (e.g. 137006 = February 1950 on the pictured Esquire #0013). Judging from
Headlined “NEW FENDER ELECTRIC STANDARD” with Broadcaster in the upper
the very few samples available today, most of them were made with an ash body and
right-hand corner, it showed the instrument in perspective along with four additional
finished in blonde with a contrasting black pickguard. Lastly, they come in a
shots for close-ups and details. The many novel features of the guitar were duly
symmetrical form-fit case, usually branded inside the pocket with a small label
described and itemized in boxed captions. Both FENDER and RTEC were convinced
reading “Bulwin [Link]. Costa Mesa Calif.” The earliest Bulwin cases feature a
they had a radically innovative product and it was time to move ahead fast to turn it
diagonal-stripe linen or a leather-style dark brown covering with a red lining.
into a commercial success. The single pickup Esquire was temporarily put aside to
At any rate, the argument between Leo Fender and Don Randall about the pickup allow for the Fender company to concentrate on the production of the Broadcaster.
outfit of the new electric Spanish guitar was quickly overshadowed by a more
Unlike the previous non truss-rod Esquire, the Broadcaster was made in larger
nagging question raised during the July 1950 trade show.
quantities, hence its claim to be truly the world’s first solid body electric produced

THE BROADCASTER on a substantial scale. Having said that, numbers should be put in perspective. In
1950 a total of a quarter million guitars was sold in the United States, including a
large number of ukuleles. Electric Spanish guitars were not yet produced in great
It is fair to say that the Fender Spanish guitar displayed at the 1950 Chicago
numbers and a more senior company like Gibson barely made 1400 electrics
convention did not cause an overnight sensation. Don Randall and Charles Hayes,
during that year. The actual number of Broadcasters made remains subject to
who were in attendance at the RTEC booth, perhaps did not expect to take huge
orders but at least they could hope to test the reaction of dealers and competitors. controversy, with quoted estimates ranging from 50 to 500 or more. Bearing in
The latter were quite prone to make joking comments about the new instrument, mind the tooling equipment and the workforce of the Fullerton factory in late 1950,
calling it a “plank,” a “toilet seat with strings” or a “canoe paddle!” it seems doubtful that more than 200 Broadcasters were actually made during the
six months or so that the model lasted. Besides, the United States had just entered
On a more serious note, it was soon pointed out that the neck of the new guitar into the Korean war (on June 30, 1950) and restrictions on materials like
did not have a reinforcing truss rod. This device, first perfected by Gibson-employee steel,copper and aluminium were gradually enforced for the production of most
Thaddeus McHugh in the early 20s, was then found (whether adjustable or not) on consumer durable goods. This may explain why, for instance, FENDER was having
most professional guitars. Don Randall promptly realized that it would be difficulties early on in procuring tuners from Kluson.
unrealistic to try to sell a professional guitar, even of a radically novel design,
without a reinforcing truss rod. Upon his return to California after the show, he Compared to the previous 2-pickup Esquire, the Broadcaster is characterized by a
proceeded to raise the issue with Leo Fender. one-piece maple neck with an adjustable truss-rod. Owing to the method of
installing the reinforcing rod (i.e. from the rear), the neck has a visible wood fill on
Until Summer 1950 the Spanish guitars built by Leo Fender were all fitted with a the back spine (a.k.a. “skunk stripe”) and above the nut. On some of the earliest
rather chunky one-piece maple neck with a pronounced V-shape. Leo was
Broadcasters, however, Fender used maple -for cosmetic purposes- to fill in the
convinced that a hard rock maple neck was strong enough to counterbalance string
truss-rod routings. At a distance, these guitars may look as if they were not fitted
pressure without a reinforcing truss rod. To prove his point, legend has it that he
with a truss rod, like the earlier Esquire models.
had one neck tested at the factory by having someone stand on it while it was placed
between two chairs. So Leo Fender initially disagreed with Randall when the latter Otherwise, the ash-bodied Broadcaster has a small channel routed between the
told him it would be a good idea to install a truss-rod into the neck. neck pocket and the rhythm pickup cavity to permit truss-rod adjustment. A round
string-guide is screwed on the headstock next to the Fender silver “spaghetti” logo
A few weeks of indecision ensued and rumour has it that this bone of contention
and the bridge saddles are made of brass. All the screws, including the truss-rod
threw a temporary wedge into the relationship between Leo and his distributor.
bolt” have a slotted cap. Lastly, although a few early Broadcasters may not feature
During that period, the electric Spanish guitar was momentarily put on the
any date markings on the neck or the body,most of them do. With a regular
backburner and the emphasis swung back to lap steels and amps, then in growing
production now underway, Fender employees began in October 1950 to pencil
demand. A very few 2-pickup models without a truss rod (and possibly any
dates on both neck and body.
headstock decal) were sold directly from the factory to help with the cash-flow of
the company, but their number was insignificant by any standards. Whilst both FENDER and RTEC were gearing up to make a success of the new
solid body electric, they suddenly had to discontinue the use of the Broadcaster
As the late Freddie Tavares once recalled: “Leo had a knack of thinking slowly
designation.
and consecutively — no flashes ofgenius — a merciless unstoppable slow degree of
thinking” (15). This may be why Leo Fender ultimately changed his mind and decided
to go ahead with a built-in truss rod. Taking into account Leo’s general attitude vis-a- THE TELECASTER
vis the suggestions of musicians, it may well be that a few professional players In early 1951 the “Broadcaster” name was dropped following a request from the
acquainted with the Fullerton factory did in fact persuade him of the merits of [Link] Mfg. Co. The New-York-based company was marketing a series of
Randall’s point of view. Or perhaps one of his early necks failed and warped. Anyway, drums under a similar designation, albeit with a slightly different spelling
Leo did change his mind but he also managed to convince Donald Randall that the 2- (“Broadkaster”). GRETSCH wrote to RTEC in February 1951 to stress that they
pickup model was a more appropriate product to break new ground in the market. already owned the trademark for the Broadcaster name. In those days, GRETSCH
By Fall 1950, the Fender dual pickup electric Spanish guitar was officially was a well established name in the music industry and a much bigger business than
introduced for national distribution under the “Broadcaster” designation at a FENDER. Besides, RTEC was keen to maintain good relationships with other

(firme
12
 In the early days,
country & western bands
were Fender’s strongest
advocates. The Silver Spur
Boys portrayed here display
an impressive array of
Fender Fine Electric
Instruments, including one
Pe: 5p
single and two dual pickup
electric Spanish guitars. poe
Bocgre
#

[courtesy John Peden]

WGA
i

} Remeuth anajco caver, Theme hong.

j wedimal seme kee ccjonting swing

Soitod taper I TAA ES Hinds al seonseced srvod

at pack % lave fam | | Bowides cera vigil ea
sh" Unique exes-cod antes sf
SE) mains wiuement ssl
| dum secomery.

5 see orcas. Promises suciighs seall

The Broadcaster insert printed to complement the 1950 catalogue in the

Jim Colclasure]
latter part of the year. [courtesy

Broadcaster
headstock. Note
the maple plug
near the nut.
[photos by
Jobn Sprung]
 1951
Telecaster
[pboto by
Steve Evans]

The 1950 insert

updated with
a Telecaster
designation. Note
the blanked-out
Broadcaster name.
[courtesy
Jim
Colclasure]

The “No-Caster™
qInip
beadstock with
clipped-off
Broadcaster
name. [courtesy
Jeffrey Gray]

The patent filed by Leo Aug. 14, 1951 CL FENDER Des. 164227
Fender in April 1951 to ae Ross ss
protect the innovative :
design of his solid body
Spanish electric guitar.

1951 TELECASTER SPECIFICATIONS

NECK e lead pickup (42GA wire) with DC resistance of ca.
© one-piece detachable hard rock maple neck 7.5kOhms
e fully adjustable reinforcement metal truss rod * conveniently slanted for improved output
¢ +-bolt mounting on to the body with tempered steel ¢ rhythm pickup (43GA wire) with DC resistance of ca.
anchor plate 7.7kOhms
© asymetric peghead with straight string pull to the tuners * 3-position selector switch for different tone settings
e round string guide on peghead to press down E and B ® master volume control
* pan control to combine both pickups for added
versatility
* side-mounted jack receptacle

© 1.625" nut width HARDWARE

e black dot position markers * 6 Kluson Deluxe tuning keys with slotted headpost
e 2-way adjustable bridge section (height and length)
BODY with three individual brass saddles
e thin solid-body construction * snap-on bridge cover
e figured ash body * single-ply black pickguard with 5 mounting screws
¢ orginal
deep cutaway for convenient
access toall21 frets * chrome-plated brass knobs with heavy knurl for
neck-to-body junction near 16th fret better grip
¢ string-through-body loading for improved sustain ¢ nickel-plated strap buttons
e dimensions= 15.75" (length) x 12" (width) x
1.75" (depth) FINISH
e neck: sealed with clear nitro-cellulose lacquer
PICKUPS & CONTROLS ¢ body: semi-transparent blonde lacquer
CLMeENCE L. HEN DER,
e 2 original single-coil pickups with distinct
INVENTOR
specifications for the bridge and neck positions ACCESSORIES

rcs
e each pickup with 6 individual Alnico magnets and ° brown form-fit hard case with golden brown plush lining
polepieces ¢ adjustable leather strap plus shielded cord and
e each pickup fully adjustable in height polishing cloth

14
 eS— =_— @27~—
a

P
THB TELECASTER RT
ORIGINS OFTHEA
:mamsacturers and 2 dispute over the Proadcaster trademark would not have done then listed for $189.50 whilst the Esquire was going for $149.50. Both guitars were
| aayips 0 thereputation oAFender instruments, ThisiswhyDonRandall opted for available with a $39.95 form-fit case, featuring after mid-51 a light brown alligator
| heimmediase discontinuation ofthebroadcaster wame onthe Fender Spanish covering with golden brown lining.
guitar, wad wobefound.
bnew desigpasion A $40 gap hardly rflected the actual differenceincost price ofthe two instruments,
in the very carly Ws, Werision was quickly becoming the new craze inthe United especially ifone bears in mind that the Telecaster rhythm pickup was soon listedasa
Pahes, Wi NI ax million receivers were already in use and more than 5 million units replacement part for $21! In other words, Fender (or RTEC) was not applyingthe
be mamsacured during the same year, despite the restrictions entailed bythe same mark-up toboth guitars. Whatever the pricing formula, the rationale developed
wat, Mditionally, many people ict thas the devdopment oftelevision greatly by KTEC then was to widen the price range between the two models in order to skim
the music industry a52 whole, as emphasized by William Gard, then more ffliciently the budding market for dectric Spanish guitars. Initially,
itworked
werdary A the NAMI: “The mid century's wonder medium, television, fine, even though the Esquire would be produced over the years insmaller numbers
had a most beneficial
effect on the sale ofmusical instruments” (17). than the Telecaster.
—hptl y enone, itdidnottakelong forDon Randall to blend television
into Compared to the version tentatively offeredin1950, the new Esquire was fitted
and coin the “Tdecaster’ name, However, in order to avoid another with a wiring circuit meanttoemulate the tonal possibilities of the more expensive
with the new designation, KTYC took care wohave a trademark search dual pickup guitar. A similar 3-position was used to provide the following settings:
prior toputting the new name inprint onthe Fender Spanish
guitar. In * forward position: pre-set bassy sound
fl 195 | the Tdecaster
same was Geared and shortly thereafter first appeared in
* middle position: normal pickup sound
with areal tone control
| ender adverts placed by KIEL intrade magazines, The8.5" x 11” colour insert
| previously used todescribe the dual pickup guitar was modified and the Telecaster * rear position: lead sound and no tone control with the pickup directly wired to
| mame printed above a blanked -out Broadcaster designation. the output jack.
The hiccup with the Broadcaster wame did not stop production ofdectric Spanish Combined with the specifications ofthe early 50s Fender pickups, this wiring has
| piltars a thePullerton factory, Upon receipt ofthe GRETSCH request, Leo Fender turned some of the early Esquires into the best screamers ever made in Fullerton!
| siaply dipped thedisputed name offthe headstock decal. For a period oftime, In July 1951 both the Telecaster and the Esquire were displayed atthe annual
| dual pickup models were thus produced with only theFender brandname onthe NAMM trade show organized in Chicago. Accordingly, the 1950 Broadcaster insert
| petead. This transitional feasure should theoretically havelasted untilthenew was updated for a third time with the two models name and featured inthe main
| “Adecaser’ wabemark had been cleared forpublic use, butLeo Fender was not a trade magazines released for the convention. Despite the pinch in consumer goods
| man towaste anrping, The Fender factory kept onusing clipped Broadcaster decals because of the Korean war, Leo Fender and Don Randall were confident that their
| until a ran out Afthem around August 1951. solid body electric Spanish guitars had a bright future. However, they certainly did
The 51 guitars with only the Fender name onthe headstock have since earned a not envisage that forty years later the Telecaster would still be one of the most
| nuniber A vicnasmes among which themost cossmonly accepted today isthe“No- revered solid body electrics! In 1951, the wheels were definitively setinmotion for
Cater” Vecwically, this nickrame isin noway a Segitimate Pender designation butit radical changes not only inthe guitar field, but also inthe music industry as a whole.
| has gained 2 quasi-Slicial status assong, collectors and Fender afficionados asa
| whole, Asa wansition mudd, thecater No-Casters areactually sisnilar to
| Proakcasters inmont respects whils thelater ones share thesame features asthefirst
(properly labled) Tdecasters (i.e. toprout between thetwopickups orshorter
conte, bats), Parting ahev minor comedic details, the Broadcaster, the No-Caster
| and theearly Sdecaster made in 1951 are essentially thesame electric guitar. They
| feaure thesame yypical wiring Grouit without a “real”tone control andtheir 3-
| position pickup sdecor switch works asfollows:
__-s Sorward position: eck pickup alone with a pre-set bassysound andnotone
geome (ie, “deep sohtrhythm”)
© middle position: neck pickup alone with a normal sound, butnotone control
(Le“araiggs rhythm work’)
+ rearposition: bothpickups together withtheneckpickup gradually “blended”
intotheleadpidasp according wothesettingoftheso-called tonecontrol (i.e.
ead work’).
This specific wiring would be modified only in1952.
Reside the Tdecaster name, the other aftermath ofthe Broadcaster hiccup with
GRETSON was toinduce Leo Fender toproperly register the innovative design ofhis
dectric Spasioh guitar. Thepatent fora “new, original and ornamental design fora
gitar’ wasfiled onApril23, 1951 and granted onAugust 14,1951 under number
Pes, 164,227. Itwas not mentioned inthe application wording that thesaid design
was for2 solid body guitar, butthe accompanying drawings were explicit enough in
this resped.
to
| Barly intheyear, FENDER and RIEL also resurrected thesingle pickup Esquire
complement the Spanish guitar offering. Technically, thetwoversions were only
Miherestiased bytheir pickup outhtandrelevant wiring circuit (albeit witha similar-
looking 3-position tone switch on both guitars). Otherwise, the1951 Esquire was
with exactly thesame body and neck asthedual pickup model, including
a routed cavity forthe“missing” neck pickup. Pricewise, thedualpickup model
 PART
40 YEARS OF TELECASTERS

40 YEARS OF TELECASTERS
AN OVERVIEW
Since 1951 Telecaster guitars have been produced in many variants, which buildings. Besides, the success of Fender instruments as a whole was such that it
sometimes differ by more than simple cosmetic appointments or specific had outgrown the services of RTEC, still involved in radio and electronic devices.:
manufacturing idiosyncrasies. Some of them only have in common the name and A new company called FENDER SALES, Inc. was therefore set-up by the associatec
the overall body shape. Over the last 40 years, there is not just one model to be parties and took over the distribution of Fender products as of June 1, 1953.
accounted for but several. To recap their whereabouts, this overview has been
Headquartered in Santa Ana like RTEC, it simply incorporated the existing
divided acording to the three major periods in the Fender history: the Leo Fender marketing staff in a fully dedicated organisation and kept the same sales reps in
years, the CBS years and the more recent “post-CBS” era. all territories. At first FENDER SALES was equally owned by Don Randall,
president, Leo Fender, Francis Hall (owner of RTEC) and Charlie Hayes (sales

THE LEO FENDER YEARS supervisor of the Fender division of RTEC). However, after the latter was killed in
a car accident in June 1955, Francis Hall was bought out by Don and Leo who
1951-1964 then remained sole equal partners in FENDER SALES.

THE EARLY BLACK GUARD TELLIES With an enlarged factory and a fully dedicated marketing organisation, sales
were expected to rise by almost 100% within the next six months. Spurred by
Both the Telecaster and the Esquire kept their basic 1951 appointments until catchy slogans such as “Give yourself that extra playing advantage — Buy a Fender
the mid-50s. In retrospect, their most striking features — at least cosmetically instrument now!” or “Don’t cheat yourself by not trying the remarkably
speaking — are a typical yellowed blonde finish (a.k.a. “butterscotch” finish) and outstanding instruments produced by Fender” sales were indeed growing rapidly.
a black pickguard, hence the often-cited notion of early “black guard” Tellies. Amplified music as a whole was making big strides in the nifty 50s and the solid
The combination of the two actually gives a distinct look to the early 50s models, body concept was more and more readily accepted, with manufacturers like
which are otherwise considered by many as the ultimate classic Telecaster guitar GIBSON or VALCO (“National”) joining the bandwagon.
because of their tone. This also explains why the “vintage” Telecaster introduced
by FENDER in the early 80s is a 52 reissue. In the mid-fifties, Country & Western players were still the main, but not the
sole, advocates of Fender electrics. The transition from traditional Southern blues
Besides its peculiar hue, the original blonde finish nicely showcases the ash body
to an electrified modern idiom in cities like Chicago er Detroit created new
heavy grain pattern that later whiter finishes would subdue. More often than not,
opportunities for Fender instruments. Often dubbed “the father of Chicago blues,
the early 50s bodies are thought of as being one piece but this is not the case. They
manish boy McKinley Morganfield alias MUDDY WATERS soon adopted the
are usually made of two-pieces — sometimes three — and rarely one, painstakingly
Telecaster as his perennial companion for slide guitar playing. Other blues artists
bookmatched and adequately painted at the factory to look like one board.
like BB KING or Clarence “Gatemouth” BROWN also fell then for the blonde solid
Prior to mid-54, the only major evolution dealt with the Telecaster wiring circuit bodies from Fullerton. However, the first a long series of “Telecaster heroes” was
which was modified by Leo Fender in 1952. The second control, originally undoubtedly the amazing Jimmy BRYANT, who soon became one of FENDER’s
construed as a “blender” or a “pan control,” was turned into a real tone control featured Telly endorsers along with Alvino REY, Arthur SMITH and Jimmy DOYLE.
as on the Esquire. Conversely, this modification prohibited any two-pickup
A SPATE OF NEW APPOINTMENTS
combination since Leo retained the pre-set boomy tone selected in the switch
forward position. The 2nd generation of black guard Telecaster thus has a tone 1954 is generally acknowledged as the year of the Stratocaster, but it also mark
control, but it is functional only in the middle (neck p.u.) and rear (bridge p.u.) the beginning of a number of changes in the appointments of Telecaster guitars.
switch positions. This circuit provides what catalogue then termed “short By Fall, the bakelite black guard was replaced by a single ply white trim and a fev
duration rhythm tone,” “full concert tone” and “lead or take-off tone.” months later steel superseded brass for the bridge saddles. FENDER also change¢
the finishing process of the blonde finish, as implied by the distinctive looks of th
On a more utilitarian note, it was also in 1952 that the symmetrical form-fit case
post-54 Telecasters and Esquires available today. The typical “butterscotch”
with a bulb at the top end was replaced by a flat-sided brown case (a.k.a. “poodle
case”), probably on practical grounds. colour gave way to a creamier shade which would soon evolve into a lighter off-
white finish. Finally, 1954 is also the year when the serial number was removed
The 1951 NAMM show had definitely put the solid body electric on the map and from the bridge plate to be stamped on the neck anchor plate.
demonstrated FENDER’s leading edge in this field, but life was not that easy then
At the same time, a stronger (and prettier) protection was made available for
for US musical instruments manufacturers. The nagging ulcer of the time was
Korea. By October 1st, the Controlled Materials Plan had imposed further Fender guitars with the inception of new oblong “tweed” hard cases (i.e. covered
with “airplane luggage linen”). The early tweed case with a centre pocket and a
restrictions on the non-defense use of critical metals such as steel, copper or
neck support was used for about a year. After mid-55 the inner fittings were
aluminium. The editorial of the September 1951 issue of Musical Merchandise
modified and the pocket was moved in the lower left-hand corner. A plastileather
reflected pessimistic comments like “Most everyone agrees that there will be
padded bag also became available in 1954 as a more economical alternative.
scarcities in the future — and this includes musical instruments which contain
critical materials.” Simultaneously, inflation and raised taxes were hurting Beyond these cosmetic features, a more dramatic evolution took place in 1955.
consumers’ pockets and their disposable income. The bridge pickup was modified to incorporate staggered pole pieces in place of
The impact of the Korean war did not prevent FENDER from shortly outrunning the flush level-poles of the original design. The research carried out to perfect th
Stratocaster pickups probably triggered this modification to remedy what Leo
production capacity. With an armistice in sight by mid-53, fretted instruments
Fender considered then as a major shortcoming in his early pickup: an
manufacturers found themselves, according to Music Trades Magazine, “unable
to cope with unforeseen increase in demand this Spring.” In early 1953, FENDER
imbalanced string response. After Summer 1955 the bridge pickup was built with
staggered pole pieces and contrary to popular belief, flush poles pickup were
acquired a 3 1/2 acre tract in East Fullerton to erect three new manufacturing
retained for about a year after the discontinuation of black guards.

16
 The first Telecaster hero: IT'S NEWS
virtuoso guitarist Jimmy
Bryant. As recalled by
George Fullerton: “No-one
at that time could play
«*, like Jimmy Bryant!” |
~ [courtesy Albert Lee]
STANDARD GUITAR

1. Fine fast action.

2. True intonation.
Wide renge tone effects.
Steel re-enforced adjustable neck.
5, Strings adjustable for length and
height from fret board.
Pickups adjustable for tone
response.
7. No feedback.
$. Last fret position accessable.
9. Modern design.
10. Single and double pickup
models available.
sen, $3

~ ; ‘hesaster

Qual Pick-Up Model

FS $¢

SGU

Single Pick-lip Model

VISIT OUR EXHIBIT

in
ROOM

795
AT THE
PALMER HOUSE, CHICAGO
All models come equipped with a
beautiful top grain leather strap.

Distributed Exclusively By

RADIO & TELEVISION EQUIPMENT co.

207 OAK STREET SANTA ANA, CALIF.
The advert used by Radio-Tel in 1951-52 [courtesy Jim Colclasure]

1953 Telecaster with matching

“poodle case” [courtesy Robert Wingate]

Clarence “Gatemouth” Brown

posing with a black guard
Telly in the early 50s.
7El de t TELECASTER
fine electric
iasteuments

One of the
Telecaster pages
featured in the
1956 dealer’s A young Blues Boy King with an early 50s Esquire.
[photo courtesy of Michael Ochs Archives]
service manual.

17
 You won't part with yours either *

Late 50s Telecaster adverts from the “You won’t part with yours either” campaign
run by Fender Sales for about a decade.

The Johnny Burnette Rock ’n’ Roll Trio featuring Paul Burlison with a
white guard Esquire. [photo courtesy of Michael Ochs Archives]

~ x

oa
Roy Nichols, hya2
long time e585
member of a
Merle Haggard’s
Strangers, on
stage in the 80s. :
[photo by Yves Farge] Ps

Torengeter goed
Ssquive guitars
Se seaitatle oe
eee 9N CROL ACEO
ak oe nines:
S% cot, Gait
Maed mmocely
we evalianin
at 2% avmtionst
eet

1957 Esquire in 2-tone sunburst. [courtesy Pete Alenov]

2

perbarenpchen sympa Pent

AREUSTADLE NETR TRORE ROR deororte @2rDHE and aaHErED

Pregite, EDccoag® setcdaeh if are ascastary.

MIEROARAISTARE PRIELE wien on Ihe Trlecacter,

‘SeHON, Geo Sure wed Mamcaeater getters. Towed
WegtOARSS SOPRWD MEAT Seng KromRsK LH rom ateiag
Wnhonetior wad Hwttony, Mis RbteRting sores ediust
APNE Beighite for fest pieying atone.

The 1958 catalogue featured black guard Tellies because Fen

Sales reckoned they would show up better in black and white
18
 40 YEARS OF TELECASTERS PART 2

Finally, the round clubby neck of the post-1950 guitars evolved into a pronounced well in black and white pictures (e.g. 1955 catalogue). Therefore a few black
“Vv” feel by 1955 and until early 1958 “boat necks” were the rule on most Fender guards were unearthed and fixed on late 50s guitars to provide more attractive
instruments. The heavy dome knobs were replaced by much lighter flat top knobs catalogue shots even though the accompanying description specifies that “the
during 1956 and the small barrel switch tip also gave way to a bigger top-hat instrument is trimmed with a white pickguard!”
design. At the end of 1956, Telecaster guitars no longer looked or even sounded By 1959, four additional buildings were completed to expand the Fullerton
exactly the same as the 1951 models.
operation whose total production area now extended over approximately 54,000
Meanwhile, business was extremely buoyant for FENDER at the leading edge of [Link]. The Fender company had snowballed during the 50s and employed well
the amplified music boom. More dealerships were being won by Don Randall’s far- over a hundred people at the close of the decade. In Spring, Leo Fender
sighted prophesy: “The amplified music business is still in its infancy, its surface appointed Forrest White as vice-president and general manager, whilst George
has only been scratched, its possibilities practically unlimited. Retailers taking Fullerton became vice-president in charge of production.
full advantage of the current and ever-increasing interest in electric instruments
THE ADVENT OF ROSEWOOD FRETBOARD
not only build present volume sales, but firmly establish themselves in a market
which promises great future profit potential” (18). FENDER SALES soon developed 1959 is a turning point in the early history of Telecaster guitars. It is the year
a heavy merchandising including store banners, window streamers, photos of artist when the original one-piece maple neck was (temporarily) discontinued and
endorsers, display stands, advertising mats and curtains not to forget glossier replaced by a more conventional 2-piece neck with a separate rosewood
catalogues and foiders. fretboard. The Jazzmaster, introduced at the July 1958 NAMM show, was the first
Fender electric offered with a rosewood fretboard. This new trim originated in a
At the July 1955 NAMM show, Don Randall was quoted in Down Beat Magazine commercial request from FENDER SALES, as recounted by Freddie Tavares: “Our
as saying that “Fender is having a hard time keeping up with demand for electric distributors, which were a different entity, would come up from time to time
guitars.” With new products added to the range every year, the manufacturing with suggestions because they had their ideas and thoughts on marketing.
side had somewhat lagged behind the creative spirit of Leo Fender and the They wanted a rosewood fingerboard. They said: everybody else has one, why
marketing skills of Don Randall. As early as 1954, an industrial engineer named can’t we have one?” (20).
Forrest White was hired by Leo to address this critical issue. Officially appointed
plant manager in 1955, Forrest White set out to completely reorganize the They did get one but in 1959, however, it was decided to shift all guitars to
rosewood-capped necks. Such a radical evolution was probably brought about by
manufacturing activities of Fullerton.
problems of wear on the clear-lacquered maple necks as well as the positive
Amore efficient plant operation was necessary because the market turned into a reaction of dealers vis-a-vis the new Jazzmaster neck. At any rate, by Summer
different ball game with the birth of Rock and Roll. A whole new generation of 1959, Telecaster guitars were produced with rosewood-capped necks.
players burst onto the scene and, whether amateur or professional, they more
Fender successively tried different types of rosewood cap. The earliest variant,
often than not chose Fender electric instruments to rock along. Among them, a
found until mid-1962, is milled flat on the neck, hence its usual “slab board”
young man called James BURTON, who had just recorded Suzie Q with Dale
nickname because of a thicker layer of rosewood. The factory then opted for a
Hawkins at the age of 16, would soon become a cult figure in the Telecaster
thinner pre-contoured board which by mid-63 finally looked more like a veneer.
realm and more simply as a musician.
The rationale behind these successive combinations was to strike the best
Rock and roll also propped up the advent of “custom-coloured” guitars, which compromise between rosewood and maple, so that both timbers would not over-
so far only a handful of country players had been keen to request directly from react when glued together. Rosewood is denser and this is why the thickness of
Leo Fender at the factory. In a rather conservative environment mesmerized by the fretboard was ultimately reduced.
_ the Cold War, playing a red guitar was not exactly fashionable! By 1956, though,
The move towards a rosewood cap entailed a change in the installation of the
special paint jobs in colours of the player’s choice became available at an
truss rod, no longer inserted from the rear but from the front prior to glueing the
additional 5% charge. Later, FENDER would propose its own selection of custom
fretboard to the neck base. It also brought about a modification in the headstock
colours derived from automotive paints. As recalled by George Fullerton: “No-one
radius behind the nut. Having said that, the earliest rosewood neck prototypes
was making coloured instruments back then, so it was an opportunity for us
were built with a rear truss rod installation, hence the presence of a walnut plug
to do something different and it turned out pretty nice” (19). above the nut as seen in ’59 catalogues. Finally, in line with comtemporary
This option, however, was not exercised then by many players and 50s industry trends, the rosewood fingerboard signalled the inception of Fender
Telecaster guitars with a custom finish are exceedingly rare, but a few are known necks with a much flatter cross-section.
to exist and have been documented. In 1957-58, a few samples were also Coincidentally, the abandoning of the one-piece maple neck also marked the
produced with the same 2-tone sunburst as the Stratocaster or the Precision Bass. withdrawal of “tweed” cases. The luggage linen covering was replaced by Tolex, a
Although sunburst was not a special finish per se at factory level, it was then a more durable vinyl fabric made by the General Tyre & Rubber Co. In 1959, cases
true custom colour for Telecasters and Esquires, otherwise finished in blonde as first came out fitted with a brown Tolex covering, later changed to white (1963)
standard production models. and finally black (1965).
Both models underwent few significant modifications until mid-59, with the Beside the advent of rosewood fretboard, the June 1959 NAMM convention held
y
notable exception of string loading. By Fall 1958, the original string-through-bod in New York saw the debut of the TELECASTER and ESQUIRE CUSTOM. Intended
pattern was discontin ued in favour of a “top loading” bridge. This probably saved
back as a deluxe version of the regular models, they were characterized by what Fender
_ the factory time (and money) by not having to drill the body nor to install called “the custom treatment of the body,” i.e. a sunburst finish with a contrasting
ferrules. The new outfit — already applied to the [Link] in mid-57 — did not,
to the white binding and a triple-ply white pickguard.
however, prove too successful on Telecaster guitars and FENDER reverted
Otherwise, with the exception of an alder body, their basic appointments were
original stringing pattern in late 1959.
whilst identical to the mid-59 “standard” Telecaster and Esquire models. It would
In the course of 1958, necks gradually changed for a flatter cross section appear, however, that the rosewood board neck was initially conceived as an
cleaner tooling marks, reflectin g newer
late 50s Fender instruments usually show integral part of the “custom treatment” before the decision was taken to extend
the 1957 and
jigs and fixtures compared to previous years. Despite the pictures in this new trim to the entire range of electrics. In aletter to its dealers before
the
trim was not reinstate d in the late 50s. FENDER
1958 catalogues, a black guard show, FENDER SALES stressed that “these two models fill the requests of many
blonde Tellies with a white guard did not come out too
SALES simply realized that

ee eee ene ccc

 ie ee
AONEARS OFTELECASTERS
dealers,” which may partly explain the switch to classier rosewood necks for all exponents. A myriad of American guitarists avidly watched on TV the Adventures
Fender guitars. Additionally, it could be said that the Custom variants were also an of Ozzie and Harriet between 1958 and 1965 to steal the licks of James BURTON
attempt to revisit the 10-year old Telecaster concept with a touch of Gibson looks! backing Rickie Nelson. At the same time, Buck OWENS and Don RICH were acting |
naturally with Tellies and both Merle HAGGARD and Roy NICHOLS were no
The sunburst finish with a contrasting binding caused Fender a few headaches
strangers to the model. In Memphis, the STAX recording sessions were branded
in the beginning. Although they look today as if they were finished with a 2-tone with the unmistakable choked rhythm patterns of Steve CROPPER, featured
sunburst, the early Customs were actually sprayed with a 3-tone shading. But, guitarist with Booker T. and the MG’s and prominent figure in a long list of R&B
owing to chemical reaction, the red stain usually faded away after being exposed
Telly players.
to daylight. Something was probably wrong in the colour pigments FENDER used
then on sunburst finishes and the factory did experiments to trace the problem. Meanwhile, Europe was getting to grips with the Stratocaster legend via the
As recalled by Bill Carson: “We bad to search and so we sprayed many blocks of Shadows and preparing itself for Beatlemania, but Telecasters were not yet in
alder and put them on the top of the building to see which ones would fade great demand across the Atlantic, except in the heart of a young English virtuoso
and which ones wouldn't! The red just simply got gobbled up in this chemical named Albert LEE.
interaction” (21). By 1961, though, FENDER finally managed to obtain a lasting By 1964, the success of Fender products as a whole was such that the FENDER
3-tone sunburst. The factory also experienced teething troubles to keep the white ELECTRIC INSTRUMENT Co. had grown into one of the major corporations in the
binding properly glued to the body edge and it had to seek advice from MARTIN music industry, if not the biggest in terms of volume. The Fullerton factory then
to learn the right procedure. spread over some 27 buildings and numbered more than 500 employees.
Initially, the triple ply pickguard of the new Custom guitars was fastened with Leo Fender may have felt he had reached an impasse whereby more cash was
five screws, but production models quickly received eight screws for a tighter needed to fuel further expansion and invest in a bigger manufacturing site.
mount. Compared to single ply units, the early triple deckers have a distinct Besides, his health was worsening and he was getting increasingly tired because
greenish tint, often attributed to ageing. In fact, this peculiar feature originates in of a strep infection he first caught during a vacation in the mid-50s. He could no
the nitrate material used then by the factory, and even when brand new these 3- longer work as hard as he wished to or as required by the continuous
ply guards never looked pure white. From 1959 they were also fitted on custom- development of his company. Also, his guitars and basses were tremendous hits,
coloured Telecaster guitars, whilst the standard models kept a single ply unit, but he might have perceived the inception of solid state amps as a threat for his
albeit mounted with eight screws. own tube design. Anyway, at some point in time, Leo Fender decided to quit and
During the early 60s, custom colours came to the fore and truly became an sell the devastatingly successful business he had built in less than two decades.
integral part of the Fender style. The new 1960 catalogue displayed a Telecaster in After a few local contacts established through the company’s accountant, Don
“DuPont Red finish,” but the following year FENDER would release its own Randall — 50% owner of FENDER SALES — was allowed by Leo Fender to properly
selection of custom colours. The first chart appeared in 1961 with 14 optional investigate the financial market in order to find a suitable buyer. Don then met
finishes available at a 5% additional cost. Besides, Blond (the final “e” fell out
with representatives from well-known Wall Street firm Merryll Lynch, who
after 1959) was still a standard finish on regular Telecasters but a custom option
introduced him to COLUMBIA BROADCASTING SYSTEM Inc. (CBS for short) at
on other models, whilst Sunburst came standard on the newer Custom models,
that time in search of lucrative investments. Negotiations began in the latter part
but was a chargeable option on regular Telecaster guitars.
of Summer 1964 and the deal was legally closed on January 5, 1965 for a
The ensuing catalogues abounded with gorgeous automotive finishes, frequently whopping $13.5m. Both FENDER ELECTRIC INSTRUMENT and FENDER SALES
displayed on guitars other than Telecasters. Apart from one sample in Fiesta Red, were acquired by CBS MUSICAL INSTRUMENTS, a division of CBS, Inc. and Fender
Telecaster models were mostly featured in the more classic Blond and Sunburst, products would then be sold as FENDER MUSICAL INSTRUMENTS.
probably because FENDER SALES was keen to retain an all-around appeal to the
instrument. In the early 60s, the company’s senior solid body was still a strong
marketing asset, but it was otherwise considered a rather plain guitar compared to
THE CBS YEARS
the fancier Jaguar or Jazzmaster. Cases too were fancier and an optional rust- 1965-1984
coloured molded case, made of high impact vacuum-formed styrene and fitted with
gold anodized stripping, was first listed (for $75) in the No. 2 issue of Fender CBS VERSUS PRE-CBS
Facts, the company’s gazette. In the eyes of most guitar buffs, the CBS take-over is considered as THE
In 1963, though, FENDER enlarged its Telly offering and introduced an optional milestone in Fender’s history. Numerous stories about a decline in product
red mahogany body on the regular models. Although it was prominently featured quality soon engendered a “pre-CBS” label meant to designate the instruments
in mid-60s catalogues, the MAHOGANY TELECASTER — perhaps conceived as an produced before Leo Fender sold out. But, what is exactly the border between a
answer to Gibson’s red SG guitars — was not produced in great numbers and was CBS and a pre-CBS instrument?
ultimately discontinued after 1965. By the end of 1963, a triple-ply pickguard was In the heart of hard-core purists, 1964 is obviously the last of the pre-CBS years.
also fitted to the regular Blond models to enhance their looks. Telecasters and For others, the “F” stamped neck-plates which appeared in the course of 1965
Esquires kept a nitrate “green guard” until about early 1965, when the highly are the true stigma of a CBS instrument. Conversely, L-series numbers are viewed
inflammable material was finally replaced by straight white plastic. as being pre-CBS, even though some of them were released in 1965 and
New music styles had burst onto the scene and contributed to expanding sometimes early 1966. The CBS syndrome may also be analysed on a case-by-case
FENDER’s clientele. This was the surf era, with the BEACH BOYS and their like basis, according to the modifications brought to specific models (e.g. the
celebrating the pleasures of suntanned beach parties and hot-rod racing in Stratocaster’s larger peghead). Finally, it may be stated in the light of new
Southern California. The advert claim was then “Fender makes music to surf by” production methods and/or the discontinuation of typical components from the
and also bright-coloured fancy guitars to go by. The rather plain Telecaster and Leo Fender years (e.g. Kluson tuning keys, nitro-cellulose finishes, old-style logos,
Esquire were not that popular with surfers, who usually preferred the off-waist “cloth wires” etc...).
contoured lines of other Fender guitars. Whichever one chooses, one fact remains for sure: on the threshold of the 70s,
Although they were probably produced in fewer numbers than other Fender Fender instruments no longer exactly looked, felt or sometimes sounded the same
models during the early 60s, Telecaster guitars nevertheless enjoyed strong as their older counterparts. Whether they were better or worse may be a matter of
personal opinion, but many players agreed then they were probably not as good.

20
Glee le
 Buck Owens (right)
and Don Rich (left)
on stage playing
silver-flake
Telecaster Custom
at the height of
Buckaroo fever
in the 60s.

The 1959
1963 mabogany-bodied Telecaster and Custom model. leaflet
{courtesy Fender] announcing
the Custom
models.
[courtesy Fender]
FINE ELECTRIC INSTRUMENTS

An enduring blues combination: Muddy Waters

and his perennial Telecaster.

1961 Esquire [courtesy Fender]

photo courtesy of Michael Ochs Archives]

 FINE ELECTRIC AND ACOUSTIC INSTRUMENTS
GUITARS.
-ANDERS - AZCESSORIES
-FRET ces Ee Baws

SANT AMA CALE, TUASA, OFLA Ros Mew ee

3

neck comes equipped wath speciat ght ¢

weight strings for ofl oisying action. Swengen ‘ol
% waxy with a Nature tome Fenster

One of the Kenwood tractors with 40 foot long trailer used by Fender Sale
the mid-60s to move equipment between Santa Ana and Tulsa. [courtesy Fen

James Bur
with Rick
Nelson in
promo she
Sor Fender
late 60s
“Galaxy
of Stars”.

FHEE L9G9 CATALOG /Write Fender Muxicel instraments, Departmert O8 8, 1402 East aut. Saata Asa, Caiflaraia 92753
Sen teem otthe Fender Gaping, Ort. 1619, Andrew tackase Men.. etme boctoon Motet, Mankwe, Tass.

The September 1968 “Groovy Naturals” advert introducing the lightweight Thinline
model. [courtesy Fender]

PICK A WINNER
Pick a winner in the
om
ater
Telecaster family. | Rick Nelson \
1968 advert featuring and
4 Telly with stock ) James Burton
Bigsby tailpiece and
the new Telecaster
Bass. [courtesy Fender]

RITAIN'S ONLY COUNTR

MUSIC IBONTHLY
:

—s ) _
lee TAL | 2
<¥

SS

RANCHERS JI
Fender Telecasters ($229.00),
available with popular Bigsby
Tremolo ($55.00). Adjustable
pickup is featured on new maple
neck Telecaster Bass ($249.50).
:MUSSER, NSTRUMENTS
Ae :
C85 Musa! instruments
Seiumbia Broadcasting Systent. isc

& »

Singer and composer Willie Nelson on stage An out-take from a mid-60s photo session for a “You won't pari
in the late 60s. [courtesy Albert Lee] with yours either” advert. [courtesy Fender]
22
 Ee

40 YEARS OF TELECASTERS PART 2

By a twist of fate, a similar syndrome struck Gibson, after Ted McCarty’s By Spring 1969, the “optional maple fingerboard” ceased to be a maple cap and
departure in 1966, and Gretsch, after Baldwin’s take-over in 1967. The rhetoric FENDER reverted to one-piece maple necks for Telecaster guitars. In fact, it
of “they don’t make them like they used to” would soon begin to fuel a thriving would appear that the Maple Neck (with capital letters) first reappeared on the
“vintage market” in the 70s. Telecaster Bass in 1968 prior to being offered on Telecaster guitars in early 1969
By all accounts, CBS never intended consciously to lower the quality of Fender and then other Fender electrics. Incidentally, the return of the one-piece neck
instruments and to some extent it even attempted the opposite. After the take-over, prompted the factory to go back to a truss-rod installation from the rear and this
anew 120,000 [Link]. building with modern equipment was erected next to the method was also applied — on standardisation grounds — to rosewood-capped
existing Fullerton premises to provide a better production environment. Besides, necks. This explains why, beginning in 1969, the latter first showed a “skunk
all the key individuals who had contributed to the success of Fender products were stripe” and a plug above the nut.
maintained in prominent positions within the new company to ensure continuity. After 1965, Fender produced a few Custom models with a black (instead of a
Leo Fender had a 5-year contract to stay as a special consultant whilst Donald white) binding, mostly on guitars finished in light colour finishes such as white or
Randall became president and general manager of CBS Musical Instruments. So, yellow. In the July 1967 issue (number 14) of Fender Facts, a Bigsby tremolo
what went wrong? tailpiece was first shown as an option on Telecaster guitars. The Bigsby tailpiece
In the wake of the take-over, CBS brought new people into the company but was made available either as a factory appointment — in which case the body was
mostly imported a corporate bureaucracy and formal management style, probably not drilled for back loading — or as a replacement kit. In both cases, the original
ill-suited to the original Fender ethics. The emphasis was also firmly laid upon 3-piece bridge was superseded by a Jaguar style 6-piece unit.
profits and increased productivity as later recounted by Freddie Tavares: “We had 1967 is also the year when FENDER began experimenting in order to produce a
turned into a big fancy corporation all of a sudden, where all the different lighter weight Telecaster. The impetus for such a lighter guitar no doubt came
departments had got their say in everything and then that was budgets, from commercial reasons, given both the inconsistency of the ash timber the
quotas and so on. They [CBS] would try to put out the stuff as fast as they company was procuring and the appeal of contemporary models like the Gibson
could!” (22). Production was indeed boosted by 45% during the first year of SG. Anyway, the factory initially tried routing additional cavities under the
operation of the new Fullerton facility, but a decline in quality as well as new pickguard, just for the sake of removing chunks of wood from the body without
_ specs gradually substantiated rumours, and musicians sensed the difference affecting the look of the guitar. A very small number of these “Smuggler’s Tellies”
between a CBS and a pre-CBS guitar. Under those circumstances, Forrest White were made over Summer 1967, but the attempt was not very convincing. Then
was the first senior executive to resign, followed by Don Randall who finally left came a more ambitious project called the “hollow body Telecaster” and
CBS in April 1969. Leo Fender terminated his 5-year contract and then quit, as eventually released as the TELECASTER THINLINE in mid-1968.
did George Fullerton. By all accounts, the Thinline resulted from the input of Roger Rossmeisl
As far as Telecaster guitars are concerned, 1967 may be considered in various (R&D) and Virgilio Simoni, then head of the Blank, Body and Sanding
respects as a turning point in the CBS versus pre-CBS rhetoric. It is the year when department. It was basically a Telecaster body with pockets hollowed-out from
the old 50s style circuit was deleted and replaced by a more classic wiring the rear, including a bigger one opening into the top via an “f” hole. With the
allowing a two-pickup combination. This point is often overlooked because many exception of the pickguard shape modified to accomodate the new semi-acoustic
players simply clipped (in the 60s or later) the .1 MFD capacitor originally design, the Thinline was otherwise identical to a regular ’68 Telecaster in terms
inserted by Leo between the switch and the volume pot. Also, Kluson tuners were of neck, electronics and hardware. But its body was about half the weight of a
replaced by Schaller-made Fender keys and a bigger TV-conspicuous black logo regular Telecaster.
was ushered in by Fall 1967. Experiments with polyester finishes, more The new variant was first listed in July 1968 for $319.50, but oddly enough it is
appropriate for mass production, would quickly lead to the discontinuation of the not displayed in the 1969 catalogue, shot earlier in the previous year as was then
original, yet more unstable and polluting, nitro-cellulose lacquers. normal practice at FENDER. To convey the idea of a lighter, almost acoustic
Having said that not everything turned wrong the minute CBS took control of guitar, the Thinline was at first released in only natural ash and mahogany finishes
FENDER and the late 60s actually witnessed the introduction of several interesting with a 2-piece maple neck, as depicted in the “groovy naturals” advert or in the
Telecaster variants as well as the resurrection of “white necks.” At that time, November ’68 issue of Fender Facts. By 1969, it also became available with a 3-
Fender’s senior solid body was certainly considered as a stronger asset than the tone sunburst finish and an optional rosewood-capped neck.
Stratocaster to complement more recent models like the Jaguar or the Jazzmaster. 1968 also witnessed the introduction of two additional versions of the
CBS took the view to downstream the Telecaster concept by producing additional Telecaster: the PAISLEY RED and BLUE FLOWER models. Based on regular maple
variants meant to rejuvenate the company’s original solid body electric. Incidentally, board Tellies, the two guitars were fitted with finishes meant to capitalize upon
it should be noted for the record that the Telecaster trademark was filed by CBS on the emergence of Flower Power in San Francisco. The accompanying captions on
December 11, 1968 and registered on June 24, 1969 under No. 871,794. The the Fender leaflet were indeed worded in a contemporary spirit: “Paisley Red
registration’s wording referred to an alleged introduction in the late 40s by stating pulsates with every beat and swirls in a blinding carousel of color forms and
“first use in or about 1949; in commerce in or about 1949.” tones...” and “Blue Flower bursts forth in a dazzling array of subtle purple and
THE CREATIVE YEARS green patterns...” Both finishes were achieved with stickum wallpaper applied on
the top and back of the body and then sprayed with polyester.
The shift to rosewood-capped necks in 1959 did not eradicate the wants and
The success of the two models was not, however, as spectacular as their Paisley
_ needs of some players for a clear maple fingerboard. Contrary to popular belief,
and Floral graphics which at the time were also available on the Telecaster Bass.
maple-capped necks were thus produced — mostly on Telecasters — well before
Both versions were discontinued in late 1969 when the San Francisco sound gave
the option officially appeared in print in late 60s Fender brochures. The earliest
way to the early flurries of metal rock a la Led Zeppelin. Rather than a perfect
example known to this author dates from 1963, but pre-63 samples may well
match for the late 60s Haight-Ashbury scene, the Paisley Red Telecaster would
exist. Up to 1967, though, Telecasters with a two-piece maple neck resulted from
later go down in history as a trademark guitar for James BURTON. The last
truly custom orders and were not made in great numbers. Eventually, by popular
an samples (like the one used by James) were produced with a one-piece maple
request, optional maple fingerboards were officially listed in January 1967 at
this option was theoretical ly available on most neck instead of a separate maple fretboard.
additional 5% cost. Even though
Fender electrics, it was primarily exercised by owners of Telecaster guitars
between 1967 and 1970.

| sti ll ee eS
 James Burton with
his 1969 Paisley
Telecaster backing
Emmyiou Harris in
the mid-70s.
[courtesy Warner Bros]

One-off Telecaster in zebrawood

with one-piece rosewood neck.
[photo byJobn Sprung]

1968 maple board

Telecaster with floral
(left) and paisley
(above) stickum
graphics.
[courtesy Fender]

Yous whet part wii youry cithes

? Sea Tienes
.

1966-67 “You won't part with yours

either” advert.

Early 1969 Thinline with

sunburst finish.
[courtesy Pete Alenov]
: George Harrison with his Rosewood Telecaster during the Beatles’
2 “Let It Be” sessions. [courtesy Apple Corps Ltd]
40 YEARS OF TELECASTERS PART 2

The third innovative design to come out in the CBS early years was the The earliest changes were actually deletions, such as the discontinuation of the
ROSEWOOD TELECASTER, initially designed as a special guitar for George single pickup ESQUIRE in late 1969. What FENDER termed an “economically
HARRISON. Back in the 60s, there is no denying that the sales of Gretsch and priced modern instrument” in the 50s gradually appeared redundant during the
Rickenbacker guitars (and to a lesser extent Gibson and Epiphone) were 60s as the model sold indeed in fewer and fewer numbers. Besides, the initial
substantially boosted during the peak period of Beatlemania. However, Fender rationale to skim the market could no longer apply with guitars like the Mustang
instruments were not featured with the BEATLES until George gave some exposure retailing for less than a regular Esquire.
to the Stratocaster in the Magical Mystery Tour TV film released in December
The next models to be dropped from the catalogue in 1972 were the
1967. Probably in a gesture of appreciation, FENDER presented George
ROSEWOOD TELECASTER and the CUSTOM model with a bound body. Again,
HARRISON with a custom-made solid Rosewood Telecaster in 1968. The straight economics played their part in the decision as the Rosewood Telly was
instrument can be heard on the Let It Be sessions (Get Back!) and George also too expensive to produce whilst the Custom was not such a good seller. At that
used it for the Apple “roof concert” in January 1969 before giving it later to time, FENDER was keen to promote the original Telecaster model with a Blond
Delaney Bramlett.
finish as illustrated by the (in)famous advert: “The 1948 Telecaster — The 1972
In early 1969 the Rosewood model was added to the Fender line and became at Telecaster: You’re looking at identical twins.” Incidentally, in 1976, another
$375 the most expensive Telecaster then ever listed. The electronics were advert entitled “the high-flying mellow-throated Telecaster” — depicting the
identical to a regular Telly and, apart from an all-rosewood construction, the only instrument in the guise of an eagle — even mentioned that it was “first sighted
modification was a triple ply black guard. The very first samples were built with a soaring to unheard-of altitudes in 1946” (!). Anyway, the last Customs with white
(heavy!) solid rosewood body, but FENDER quickly changed for two lighter binding were made in Spring 1972, just before Fender retrieved the name to
hollowed-out body halves sandwiching a thin maple strip. Unlike George’s two- introduce a totally different instrument under the same designation.
piece neck, production guitars were fitted with a one-piece rosewood neck, The early 70s equally saw a drastic reduction in the palette of custom colours
similar in construction to the original Maple Neck. Owing to both the cost of and ultimately the disappearance of the very notion of “custom finish.” By 1975
rosewood and its peculiar mode of construction, the model was not produced in only Black, White, Natural and Walnut were listed as “standard” finishes in
quantity. As a matter of fact, the Rosewood Telecaster was not permanently listed addition to Blond and Sunburst. Gone were the automotive paints borrowed from
between 1969 and 1972 and, for instance, its production was temporarily G.M. or Ford, but this was not just CBS’s fault. Natural-looking finishes were the
- suspended after mid-1970. At any rate, the model would be definitely new craze, not solid colours, and many players were even sanding off the body of
discontinued after mid-1972. their guitar to remove all colour paint. Both Natural and Walnut finishes were
In 1969, the Telecaster range counted no less than six basic variants, not to thus introduced by FENDER in 1972 to capitalize upon this new popular trend,
mention the Paisley/Floral patterns, the optional custom finishes and Bigsby whilst classic colours like Lake Placid Blue or Candy Apple Red were deleted.
tailpiece or the choice of a rosewood/maple cap for the neck. In short, it was Beyond aesthetics — which are after all a matter of personal taste — Fender also
then the most prolific guitar in the Fender line while being its most enduring developed (and trademarked) its “thick-skin high-gloss finish.” Polyester is
design. Late 60s catalogues stressed “This is the guitar that starts it all. Rhythm probably better suited to industrial mass-production and more stable than nitro-
and Blues and Country too are played better on the Telecaster than on any other cellulose, but heavier coats of polyester contributed to the rather “plasticky”
guitar in the world” or “...a lead tone that can’t be equalled.” looks of 70s Fender instruments. Lacquer finishes and their gently weathered
Since the mid-60s, the Telecaster had gained new exponents in all sorts of music looks with ageing belonged to the past.
styles. In the early days of the Who, Pete TOWNSHEND bruised a couple of Tellies However, the final straw, i.e. the most disparaged feature to appear on Fender
playing maximum R&B whilst Ray DAVIES really got it with the Kinks. Mike electrics during the CBS years, was for many the “Tilt Neck.” While he stayed as a
_ BLOOMFIELD not only became a respected bluesman but he also set trends by consultant for CBS Musical Instruments, Leo Fender came up with what he called a
putting a humbucker in the neck position of his Telecaster. During his 1965-66 “tiltable guitar neck incorporating thrust-absorbing pivot and locking element.” The
world tour Bob DYLAN fronted the HAWKS with a Telly whilst singers like Willie purpose of this device was to facilitate neck pitch adjustment via a small Allen screw
NELSON or Waylon JENNINGS were also playing one on their path to fame. With the located in the anchor plate, instead of inserting little shims in the neck pocket.
Yardbirds, Jeff BECK and Jimmy PAGE were planting the seeds of heavy rock Simultaneously, the truss-rod adjusting bolt was removed from the neck heel and
respectively using an Esquire and a Telecaster. Whether for lead or rhythm playing, housed in a bullet above the nut. The concept was attractive for players but its
the Telecaster was still a clear favourite 20 years after it had been designed. materialization entailed a 3-bolt neck mounting in lieu of the classic 4-bolt. This
On the threshold of the 70s, FENDER too was bigger than ever with a personnel feature engendered suspicion of a less efficient neck joint and contributed to
close to 950 employees and combined facilities exceeding 300,000 [Link]. in the fuelling unfavourable comments about CBS instruments. The patent for the Tilt Neck
was granted to Leo Fender on December 29, 1970 and by 1971 the first Fender
Fullerton area. After the take-over CBS invested some $2.7m in a modern building
electrics were equipped with the new device. Contrary to what the patent drawing
adjacent to the former Fender premises to enlarge substantially the production
might suggest, the regular Telecaster was not among the chosen few, but the other
capacity. At first the sales department of FENDER MUSICAL INSTRUMENTS
variants available during the rest of the 70s were all fitted with a Tilt Neck.
remained headquartered in Santa Ana, where it had all started with RTEC and
FENDER SALES. Once Don Randall left the company in Spring 1969, the huge The 60s blues boom and the ensuing transition towards heavy rock gave
175,000 [Link]. building erected on Valencia Avenue became FENDER’s sole exposure to Gibson-type double coil humbuckers because of their sustain and
headquarters to the detriment of the old East Chestnut address in Santa Ana. weeping tone. As FENDER later claimed in a 1972 leaflet: “Humbucking pickups
Times were a-changin’... eliminate feedback and add a gutty mid-range and bass sound.” In the late 60s,
A WIND OF CHANGE however, the Fender sound was mostly associated with bright sounding single coil
units and CBS MUSICAL INSTRUMENTS felt the commercial need to enlarge its
The 70s are often considered as the darker period in the CBS era, i.e. one pickup offering. Meanwhile, Seth LOVER, the man who had designed Gibson’s
which
during which Fender instruments lost some of the the quality and features famous humbucker in the mid-50s, resigned from his job in Kalamazoo in 1967.
Many changes effectivel y took place
had so far contributed to their reputatio n. When Dick Evans, a former Gibson employee then working in Fullerton, heard of
the
during the 70s and not always for the better, as later acknowledged by Seth’s resignation he invited him to California. Guess what happened: Seth Lover
- company itself! was hired by FENDER and he subsequently designed the company’s first double
coil pickup (available in a guitar and bass version).

SS ee
a
rE

AOVEARS OFTRIRCASTERS PART |

Compared to aclassic late 60s humbucker, the new Fender unit was primarily investment in the manufacturing facility. For instance, the decision was made to
characterized by twelve adjustable cunife magnets and a mega output (DC only use one type of wood (ash) for solid bodies, but the purchasing department
resistance > 10k Ohms). Seth Lover's new humbucking pickup was finalized in omitted to stipulate weight as a prime consideration. As a result, the guitars from:
the course of 1970 and first appeared on Fender instruments after mid-1971. this period are on the whole the heaviest ever produced. The installation of
Telecaster guitars were initially the sole recipient of the newly designed pickup, modern equipment for added productivity also impacted the actual design of
also fitted later to the short-lived Starcaster. By the end of 1971, the THINLINE some models, Regarding Telecaster guitars, the inception of numerically-
was thus revamped with two humbuckers and a Tilt Neck. The second variant of controlled routers brought about subtle, yet graceless, changes in the body shape
the semi-acoustic model, first listed in February 1972, otherwise incorporated a At the end of the day, the 70s instruments largely contributed to the craze for pre:
modified pickguard, a 6-piece Strat-style bridge and a “Thinline” decal on the CBS “vintage” models,
upper bout of the headstock. At first it retained the same basic finishes as the Despite these inconveniences, the all-purpose Telecaster was still in the
original Thinline, i.e. Ash, Mahogany and Sunburst, but very few were actually spotlight as a common denominator among artists as diverse as Roy BUCHANAN,
made in mahogany before this finish was dropped. Ted GREENE, STATUS QUO, Bruce SPRINGSTEEN, the CLASH’s Joe STRUMMER or
In mid-1972, FENDER came up with a more extensive redesign and introduced the OSMOND BROTHERS just to name a few! On the threshold of the 80s,
a new version of the TELECASTER CUSTOM equipped with one humbucker in the however, a loss in market share against competitors, not to mention stagnating
neck position. Even though it retained the Custom name, the guitar was indeed a profits, prompted CBS to recruit a new top management in order to upgrade
totally new instrument having little in common with its forerunner apart from the FENDER and put it more in tune with what was happening in the music industry.
overall shape and the single coil bridge pickup, hence a change in its product CBS SWAN SONG
number from 11-1400 to 11-0700. By and large, the Custom type II was intended
as a hybrid combining the best of both worlds. Earlier on, players like Mike In early 1981 John McLaren and Bill Schultz, formerly with Yamaha, became
BLOOMFIELD or Albert LEE had already stuck a humbucking pickup in the respectively president of the CBS MUSICAL INSTRUMENTS division and FENDER,
forward position of their Telecaster and FENDER simply standardized the process with Roger Balmer as VP in charge of sales and marketing. Initial appraisals
with the new 1972 Custom. Otherwise, the guitar was fitted with a Tilt Neck and outlined several nagging issues which needed to be promptly addressed. An
sported an elongated black pickguard with 4 controls and a 3-way toggle switch. internal report from May 1981 thus cited “a significant increase in domestic and
The earliest production models were released with the original Telecaster bridge, foreign dealer complaints about defective and unacceptable quality” or “a policy ol
but an upgraded 6-piece design was soon installed for an improved intonation. high margins and little product improvement.” In a memo to Bill Schultz, Chuck
Van Liew, director of manufacturing, indicated that “with the exception of 1977,
To foster FENDER’s quest for a new clientele, a third variant with humbuckers
Fullerton has been on a program of restricted capital investment” and proceeded
made its debut inJanuary 1973 as the TELECASTER DELUXE. Marketed then as the
to itemize a $2.5m list of machines needed to upgrade the production facility.
higher grade model in the Telecaster family, the Deluxe was in many respects a
composite design blending appointments from other Fender guitars. It thus CBS had made a lot of money with FENDER in the 70s, but little had been
featured a Strat-style Tilt Neck (with a larger peghead) and 6-piece bridge, also invested back into the company. Over the 1971/1980 period the annual sales of
available with optional tremolo action (discontinued after 1974). The guitar FENDER/ROGERS/RHODES grew from $18.8m to $60.5m but, while pre-tax profit
retained the overall Telecaster shape but the back of the body was contoured a la averaged more than $9m p.a., capital expenditures barely reached $0.75m p.a.
Stratocaster. Electronically, it sported two humbuckers like the revamped and R&D a mere $0.6m p.a. (i.e. less than 1.4% of net sales over the period). It
Thinline, mounted on a black pickguard assembly similar to the Custom, with was time for CBS to spare some capital for its musical division, and plans were
four controls and a 3-way toggle switch. In short, the TELECASTER DELUXE was immediately devised by the new management team to restore Fender's competitive
basically a “Stratocasterized Telly with humbuckers.” Like the Thinline II it was position. In this connection, Dan Smith was in turn called from Yamaha to
exclusively available with a Maple Neck, whilst the Custom could be ordered with become director of marketing for electric guitars and basses.
either a rosewood board or or Maple Neck. Meanwhile, the annual Summer trade show was drawing near and new models
The three Telecasters with humbuckers probably brought a new breed of had to be shown to keep FENDER on the move, whilst the 70s Deluxe and Custom
customers to Fender during the 70s but they somehow failed to attract the were being discontinued. Prior to the management reshuffle, the company had
traditional Gibson clientele, particularly at a time when the Les Paul mystique was finally realized that well-known players were usually keener on older pre-CBS
gathering momentum. Besides, with the possible exception of the “hybrid” models than on more recent guitars. In 1980, it was therefore decided to recreate
Custom, they equally failed to impress hard core Telly players. Rolling Stone Keith a classic Telecaster and the development of a °52 reissue began under Freddie
RICHARDS did add the Custom to his favourite instruments but he also remained Tavares’ supervision. At the June 1981 NAMM show in Chicago, the VINTAGE
faithful to his ’54 Telecaster retrofitted with a Gibson humbucker. So did Terry TELECASTER was thus introduced as a limited edition model whose production
KATH guitarist with Chicago and Andy SUMMERS, later of Police fame. The (3000 guitars) was scheduled to start in August. However, if Freddie Tavares took
Thinline was eventually dropped in 1979 whilst the Deluxe and Custom models trouble to research the original 1952 specs, the prototype exhibited at the show
were discontinued in early 1981. was built with the factory regular jigs and fixtures, hence a wrong body shape
(and a wrong mustard finish!). When Dan Smith came on board in August 1981,
During the 70s, besides the very specs of its guitars, the pre-CBS notion took
he immediately suspended production of the new Telecaster.
root as FENDER priced itself out of the market and produced lower quality
instruments. Over the decade the economy obviously suffered from the impact of The other variant to appear at the June 1981 show was the BLACK & GOLD
the oil crisis and inflationary trends, but CBS's high margin policy brought about TELECASTER, Offered with either a Maple Neck or a rosewood fretboard, the B&G
hefty raises in list price. Whilst a regular Telecaster with rosewood board listed was basically a regular Telly finished in black (including a painted-on headcap)
for $283 in 1973, it spiralled to $635 (+224%!) by 1980. and fitted with gold-plate brass hardware. Its massive 6-piece bridge was
designed with a heavy ridge for additional sustain in line with contemporary
Thanks to a rather weak dollar in foreign terms, the demand from export
popular trends. Actually, the B&G was pretty much a “Schecterized Telecaster”
markets was brisk and Fullerton was churning out lots of instruments. But their
built around the brass works accessories launched by FENDER the previous year
quality was going downhill because of a lack of appropriate control and
in order to seize a share in the then buoyant market of retrofitting hardware.
Unlike the Vintage reissue, it went into production by Summer 1981 and thus kept
for almost nine months the 70s wrong body shape.

Gilt
 1972 advert... "ibe Se ama Hr Ba a 30 ge
“You're looking at Gdadaen . \omak tomes pment ems Aadaden ndiosto p
identical twins!” ib ccias Mescncalnel bv 0cds Votek, ences dow dar whadbe of

SAA i a

Keith Richards playing an early 50s

Telecaster retrofitted with a humbucker
in the neck position.

The 1970s revamped Telecaster Custom

{courtesy Fender]

Two generations of Thinline: the 4 ey Le

original issue (bottom) and the
type II with humbuckers (top).
[courtesy Buck Sulcer]

Ibert Lee in the

rly 70s playing
a rosewood
board Telly
luring his stint
with Heads
lands and Feet.
ourtesy Yves Farge]

1970s Deluxe in non-tremolo version

[courtesy Fender]

1974 dragster advert...“You get there faster

on a Fender!”

27
The late Roy
Buchanan
pictured in
1982 at the
Lone Star
club in New
York city.
[pboto by
Jobn Peden]
1983 Walnut Elite *

1983 Standard Telecaster

Bruce Springsteen
playing his old
Esquire with added
neck pickup.
The 1981 Vintage
Reissue as finally
introduced with a
correct body shape.
[courtesy Fender]

Jazz guitarist and long time Telly connoisseur Ted Greene tries
out the Vintage Reissue at the January 1982 NAMM show.
[courtesy Dan Smith]
40 YEARS OF TELECASTERS PART 2

When Dan Smith became director of marketing in August 1981, he was asked to The combination of all these ingredients resulted in a different kind of Telecaster,
produce quickly a 5-year plan in order to revive sales, develop new products and with more mid-range but not really the sound and feel of a normal Telly.
also restore the dented image of Fender. In early September, the plan was okayed
Beyond these specific appointments, FENDER’s main objective was to produce a
by Thomas Wyman, then chairman and CEO of CBS Inc. and the first steps were reasonably-priced Telecaster and indeed, at $550 with case, the guitar was
taken to upgrade the Fullerton facility. As recalled by Dan: “Basically our goal
significantly less expensive than the previous standard model which listed for
was initially to restore the confidence of the dealers and the players in Fender.
$820 in January 1983. The choice of finishes was restricted to four basic colours,
The only way we could achieve that was to raise the quality levels back up! [...]
but in late 1984 a special run of 75 guitars was made with colourful marble
We basically shut the plant down and retaught everybody how to make Fender finishes (a.k.a. “bowling ball” finishes) in red, gold and blue (25 samples each)
guitars the way people wanted them” (23). By Fall, production fell from around
and sold with assorted matching T-shirts.
250/300 guitars per day down to just a handful to permit a complete rethink of the
manufacturing process. To complete a totally revised product offering, a fourth project was also
conceived by Dan Smith but never materialized production-wise: the ULTRA
Product-wise, the first projects to materialise were the Vintage Reissues and a TELECASTER. Intended as the ultimate top-model, the guitar would have featured
lifting of regular production models. In the latter part of 1981, Dan Smith and a neck-through-body construction, an ebony fretboard with snowflake inlays, two
R&D senior engineer John Page carried out extensive research to come up with humbucking pickups and a tremolo. Only two prototypes were built, one in koa
modern replicas of several old-style guitars and basses. The whole series wood and one with a walnut/maple lamination, but constraints in production
featuring a 57 and ’62 Stratocaster, a 57 and ’62 Precision Bass, a ’62 Jazz Bass capacity plus the CBS decision to get rid of FENDER shelved the whole project
and...a 52 Telecaster was unveiled in January 1982 at the Winter NAMM show in (but the name would resurface a few years later with the Ultra Stratocaster).
Anaheim, but actual production did not start until much later in the year. By then,
the VINTAGE TELECASTER had a correct body shape, and it was no longer a The final leg of the strategy drafted in 1981 was the establishment of “offshore”
limited edition but a full-flight production guitar delivered with a certificate of production to counter the explosion in copies and clones of Fender guitars made
authenticity (and a kit of modern retrofitting parts). Incidentally, the inception of in Japan (or elsewhere!). Affordable budget guitars were needed to recapture the
lower end of the market, but the environment then prevailing in the USA was not
a classic Telly design brought about the discontinuation of Blond finish on the
appropriate for such a project. In December 1981, FENDER entered into
other variants.
negotiations with Japanese companies KANDA SHOKAI Corp. and YAMANO MUSIC
Simultaneously, a refined STANDARD TELECASTER with the right body shape Co. for the creation of FENDER JAPAN Co. Ltd. The American-Japanese joint
was made available with six standard and seven custom finishes. To herald clearly venture was established in March 1982 and Fender-branded guitars were
the change in attitude towards the market, Dan Smith also came up with what is henceforth manufactured in Japan by FUJI GEN-GAKKI Mfg Co., Ltd.
probably the most lavish catalogue ever published by FENDER, with prominent
Those “made in Japan” instruments were intended for the local domestic
pictures of famed Telly players like James BURTON, Steve CROPPER, Albert LEE,
market but also exported to Europe where they caused some confusion among
Roy BUCHANAN and Ted GREENE.
dealers and players. In late 1982, the Squier brand name, which belonged to
The next project was the Elite series whose development was also initiated in the FENDER MUSICAL INSTRUMENTS since 1965, was therefore activated (initially
latter part of 1981 and took some 18 months to come to fruition. The Elite with a “Squire” spelling) on the instruments distributed outside Japan. At this
concept was an ambitious attempt to blend tradition with modern technologies, stage, Japanese models were aimed at protecting FENDER’s share in overseas
and as such its focal points were upgraded electronics, better neck adjustment markets but none of them was then meant for sale in the USA. However, the
and more functional hardware. Overall, the goal was to produce more flexible stronger value of the dollar prompted the US management to acknowledge that it
instruments with a contemporary look and feel. As far as the ELITE TELECASTER also needed agressively priced items to be competitive on its home market. As
“4s concerned, the idea was once more to entice Gibson players, as readily later recalled by Dan Smith: “Finally in 1983, we felt that we had to bring these
admitted by Dan Smith: “The attempt was also to pick up some of the Gibson guitars into the USA to be able to compete with other people that were taking
players, hence the Les Paul-type switch and the humbucking pickups” (24). our business. We tried everything we could to see ifwe could produce guitars
The Elite Telecaster was thus designed as a “balls-out” loud guitar fitted with in the US for below $500 and this was just not possible!” (25). By late 1983, a
Squier Telecaster became available in the USA where it listed for $369 (less case)
two humbuckers, four controls, a 3-way toggle switch and a white binding on the
top edge of the body. Otherwise, it featured the novel appointments common to compared to $589 for its American counterpart.
the Elite series like a Biflex truss-rod, a flatter fretboard radius (12") with jumbo This offshore strategy may be open to criticism in the eyes of those who believe
fretwire, a heavy duty cast bridge with drop-in string loading and of course active that a genuine Fender guitar has to be made in California, or at least in the USA.
electronics with a special tone circuitry (MDX and TBX controls). Three versions Beyond any emotional issue, Japanese instruments eventually helped FENDER
were simultaneously introduced at the June 1983 NAMM show: the ELITE once CBS proceeded to pull out the plug. Despite a spate of improvements since
TELECASTER with chrome-plated hardware, the GOLD ELITE TELECASTER with 1981, FENDER was having difficulty in showing a turnaround in profits. After
gold-plated hardware and pearloid-button tuners and the WALNUT ELITE citing “red ink” in its Musical Instruments division as part of its poor interim
TELECASTER crafted in American black walnut (body and neck) with an ebony results in 1984, CBS informed Bill Schultz in July 1984 that Fender would be put
fretboard, gold-plated hardware and pearloid-button tuners. A tremolo version up for sale on the open market.
and a 22-fret neck were also on the drawing board, but CBS’s decision in mid- A few serious corporate buyers such as KAMAN Corp. or I.M.C. were the first to
1984 to divest from Fender prevented these additional appointments from hitting bid for the company, but in November 1964 CBS accepted the principle of a
the production line. management buy-out led by Bill Schultz. After weeks of rumours and speculation,
of a statement released on the opening day of the 1985 Winter NAMM show marked
In many respects, the Elite series did outline the renewed creative capacity
did not prove a the end of an era. CBS announced that: “It has agreed in principle to sell Fender
FENDER, but in an otherwise fairly conservative guitar world, it
milestone as anticipated by its originators. Musical Instruments, a unit of CBS Inc. to an investor group led by William
but FENDER Schultz, president of Fender Musical Instruments, for an undisclosed price. A
The Elite models signalled the end of the Black & Gold Telecaster,
truss-ro d and a definite agreement is currently being finalized and a signing is expected shortly.”
also announced a revised STANDARD TELECASTER with a Biflex
, though, its most salient Both parties entered into a contract on February 8, 1985 and the sale was legally
flatter 12" fretboard radius. Compared to previous versions
saddles completed on March 12, 1985. After two decades of pre-CBS semantics, the post-
features were a new top-loaded bridge assembly with six elongated Elite
at the bottom of the lead pickup. CBS nomenclature was open!
(and no cover) and the absence of copper plate
eee
40 YEARS OF TELECASTERS PART |

Custom Shop’s original brief was to build one-off superlative Fender guitars as wet
A NEW ERA as to produce customized parts for standard models (e.g. special necks, bodies,
1985-1991 (PRESENT) finishes etc...). The new operation proved an instant success and its scope was
soon extended to the production of small runs of limited editions and custom-
BACK TO BASICS ordered instruments. Accordingly, other luthiers like Jay Black, Fred Stuart, Larry,
Brooks or Yasuhiko Iwanade as well as several apprentices gradually joined force:
The huge Fullerton facility was not included in the agreement with CBS, as
with Mike and John to meet a heavier workload.
explained by Dan Smith: “Because of the nature of the business at that time
and the amount of money that we could raise, we didn’t buy the land and the Tele-wise, the first project engineered by the Custom Shop was the 40TH
buildings that CBS also owned. The Fullerton building [...] was a very large ANNIVERSARY TELECASTER introduced in June 1988. Prompted by the notion tha
plant and it was beyond the size of what we needed for how we planned to do the Telecaster first appeared in 1948 as the Broadcaster, it was meant as a
business” (26). But, in early 1985 Bill Schultz also mentioned that: “Contrary to commemorative model with unique appointments. Globally based on the
some rumours, Fender products will continue to be made in the US, as well as American Standard design, the 40th Anniversary is characterized by a bound ash
in other countries” (27). The questions then were which products and which body with bookmatched flame maple top, a curly Maple Neck with abalone inlays.
production site in the US ? pearloid button tuners, a grained ivoroid pickguard and gold-plated parts.
However, owing to plating problems, the bridge saddles actually kept a stainless
When CBS proceeded to sell FENDER in 1984, the personnel was rapidly brought
steel appearance, which otherwise conveys a Rolex look to the whole assembly.
down from 700 people to about 200 and later to a “workable number” of 110
when the Fullerton factory effectively closed down in early 1985. The suspension The 40th Anniversary was released in only three finishes: Antique 2-tone
of manufacturing activities triggered slashed prices on the inventory of US made sunburst, Natural and see-through red, each showcasing the striking maple top.
guitars (e.g. $699 for a Gold Elite as opposed to $1059 a year before) as well as a It was truly a limited edition and only 300 were painstakingly produced between
massive inclusion of Japanese instruments in the current catalogue. By June, the Summer 1988 and early 1990 with a distinctive serial number (X of 300) and a
headquarters of the newly-independent FENDER MUSICAL INSTRUMENTS Corp. special certificate.
were relocated in nearby Brea, on 1130 Columbia(!) street. Over Summer, after
THE SIGNATURE MODELS
considering various locations in Southern California, suitable production premises
were found in the city of Corona, off the Riverside freeway. At the end of October Naming a model after a well-known artist — whether or not he has contributed
1985 FENDER was again in a position to build American-made guitars, albeit in to its design — was not a fresh idea and many manufacturers had already done so
more limited quantities. in the past, with the notable exception of FENDER. Today, for the record, the Eric
Clapton Stratocaster is the first Signature model ever produced by FENDER, but it
In 1985, the dollar reached unprecedented peaks against other currencies and
was not exactly the company’s first attempt to build a “namesake guitar.” Actually.
this simply meant that US made guitars were moderately competitive on export
the earliest Signature model could well have been the James Burton as such a
markets. The plan was therefore to scale down the local operation and rely more
project was first discussed with James in mid-81 while he was invited to the
on offshore production. Owing to their popularity, the Vintage Reissues — more
Fullerton factory for the launch of the ’52 reissue!
specifically the ’57 and ’62 Stratocasters — were the first guitars built in Corona.
But, with only 10 people on the floor, the initial output was limited to a mere 5 The rationale behind the Fender Signature models is to build a guitar identical to
guitars per day compared to about 200 before the CBS spin-off. Despite an the instrument actually played by an artist, as explained by Dan Smith: “Our desire
obvious emphasis on Stratocasters, the VINTAGE TELECASTER was again listed as with the whole Signature Series was to build the guitars exactly the way the
early asJanuary 1986. It was at first produced in small numbers, partly because artists play them. We didn’t just want to build something that everybody was
of a limited production capacity, partly because Fender was having difficulties in going to buy and then the artist had to have his different” (28). For practical
procuring light-weight “punk ash.” purposes, this rationale would generate two types of Signature models: either dead
copies of the instrument already played by the artist or a new improved design
The next US Telecaster to be listed was the AMERICAN STANDARD, officially
meant to encompass his ultimate needs.
introduced at the January 1988 Winter NAMM Convention in Anaheim. Designed
by George Blanda, senior R&D engineer, the new variant was actually pencilled When James Burton resumed talks with FENDER, he took the second route as
in the wake of its Stratocaster namesake, but its production was delayed until he wanted a Telecaster with a broader tone spectrum. To this end, James
late 1987 because of constraints in Corona. Thanks to more favourable requested a third pickup in the middle position for Strat-style sound variations.
exchange rates (i.e. a declining dollar), FENDER found itself in a situation In terms of electronics, he became interested in the radically new Fender-Lace
whereby it could enlarge its range of US made guitars, hence the choice of a sensors which first appeared on the Strat Plus in 1987. At first, only the 50s-type
meaningful designation vis-a-vis the Japanese made instruments also marketed gold sensor was available but other variants (silver, blue, red) were soon
by the company. devised to cater for a variety of sounds. After a period of trials and errors, J.B.
Compared to the 1983-85 variant, the newer Standard incorporates a few finally settled for three different Lace sensors as he discovered the distinct tones
changes such as a 9.5" fretboard radius, a 22-fret neck, a revised bridge assembly he liked in each version. A 5-way switch was then added with a specific wiring to
provide appropriate combinations.
with compressed steel saddles and a TBX tone control. It also features an alder
body and a neck with a matter satin finish. However, like the previous standard Structurally, the guitar is built around a light ash body and an ovalled-shape
model, the lead pickup has been left without a copper back plate to produce a satin finish Maple Neck with a 9.5" fretboard radius. James kept the original 21-
sound with more mid-range than the ’52 reissue. fret neck with a traditional truss-rod instead of the more recent 22-fret neck with
Biflex. Several options were considered for the finish but since 1969 a Paisley Rec
With a fast-rising production to meet demand for its US models, FENDER steadily
Telecaster was pretty much James’ trademark instrument. A modern rendition of
hired extra personnel (often former CBS employees) and leased additional space
the original Paisley graphic was also designed as an optional appointment. Unlike
in the Corona industrial complex. By early 1987, production topped 100 guitars
the late 60s stickum feature, the new Paisley finish is silkscreened for a more
per day and looked set to increase at a brisk pace. To meet numerous players’
durable finish.
request, FENDER also created in early 1987 a CUSTOM DESIGN GUITAR &
MANUFACTURING facility, headed by Michael Stevens, well-known craftsman from James worked back and forth with FENDER R&D (in particular George
Austin, Texas and John Page, former senior engineer in the R&D department. Blanda) to finalize his Signature model. The earliest prototypes were completed
Established in Corona, albeit in specific premises adjacent to the factory, the in late 1988, but the JAMES BURTON TELECASTER was not officially announced

Cfitlue Se
—
40 YEARS OF TELECASTERS
nner a PART 2

until January 1990 at the Winter NAMM show where it was released in four Besides the “official” Signature models, the Custom Shop has built several
distinct finishes: Telecasters to special order for well known artists such as Waylon Jennings (a
e black with Gold Paisley and gold-plated hardware replica of his old Custom) or Robben Ford (a wider-bodied version with a curly
e black with Candy Red Paisley and black chromed hardware top and three pickups). Small runs of various old-style Tellies like the
e Pearl White with gold hardware and no Paisley graphics Rosewood or the Thinline type I have also been produced. All these instruments
e Frost Red with black hardware and no Paisley graphics can be identified by a small Custom Shop gold decal, usually applied on the
back of the headstock.
Incidentally, the Candy Red Paisley finish is achieved by spraying transparent
red over a black guitar with a silkscreened Gold Paisley. Anyway, more than 8 THE LATEST TELECASTERS
years after he was first talked into it, James Burton signed a contract with FENDER The success of the Strat Plus introduced in 1987 led FENDER to consider a
on November 22, 1989 to finally lend his name to a Telecaster! Telecaster counterpart, i.e. a Tele Plus with Lace sensors. However, as pointed out by
Meanwhile, three other Signature models were also initiated with patented Telly Dan Smith: “The Tele Plus was made in response to the demand for Lace sensors,
players. The first one was the ALBERT COLLINS TELECASTER which is a faithful but we wanted to capture more of a market than just Telly players!” (29).
replica of the 1966 Custom exclusively used (with a Dm6 open tuning) by the Development began under the supervision of George Blanda in late 1988, but the
legendary bluesman. Custom Shop luthier Larry Brooks built the prototype after new variant did not make its debut until June 1990. During this period, various Lace
carefully checking Albert’s original instrument down to the most subtle details. sensors combinations were tried to produce a guitar offering different Telecaster
sounds. The research carried out at the same time on the Burton Telecaster and the
Introduced in June 1990, the Collins basically features a natural ash body with a
Ultra Strat eventually helped define the model’s final specifications.
white binding mounted with a 2-piece maple neck sporting a gold transition
Fender logo. The neck specifications and measurements (width or thickness) The TELE PLUS is equipped with a blue sensor in the neck position and a dual
have been accurately reproduced as well as the hardware. More specifically, the red in the bridge position. Unlike the early prototypes, the production guitars
guitar is characterized by a Gibson-type humbucker in the neck position, a 70s have a mini switch between the volume and tone controls to split the dual red
style 6-way bridge and a glittery plastic adhesive (a.k.a. “Mexican chrome”) on sensor (i.e. two red sensors hooked up in series or individually) and provide
the snap-on bridge cover. Unlike the Burton Signature model, however, it is not additional combinations. The model is available in two versions: the Plus standard
meant as a regular production item but built on a custom-order basis only (hence and the Plus Deluxe, fitted with a Strat-style tremolo, a Wilkinson Roller Nut and
a hefty $2400 price tag!). Schaller keys with string-locking mechanism. Otherwise, both versions feature a
combined ash/alder body and a 22-fret neck with either a one-piece maple neck
The next Signature project involved master bender JERRY DONAHUE, whose or a rosewood board.
model has yet to be officially introduced at the time of going to print. Jerry, like
James Burton, has chosen to develop a new design incorporating a specific wiring As hinted at in the previous paragraphs, a strong emulation has always existed
circuit whose specifications are not yet entirely finalized. since the 50s between FENDER and its arch-rival GIBSON to be the leading
American brand in the field of solid-body electrics. Over the past decades,
Structurally, the proto built so far features a one-piece curly Maple Neck (with a FENDER tried different appointments and features to attract Gibson players, while
slight “V” feel) mounted on a bound ash body with a maple top and back. It is sticking to its traditional bolted-neck construction. In fact, the one thing the
finished in a dark 2-tone sunburst and fitted with a black pickguard and gold- company did not attempt was to build a guitar with a Gibson-style glued-on neck
plated hardware. Besides its unique wiring circuit, J.D.’s guitar is also equipped simply because its production methods and workforce were not geared to it. The
with a Stratocaster pickup in the neck position, but slightly closer than usual to advent of the Custom Shop and the recruitment of experienced luthiers gave
_ the bridge unit. According to FENDER, as soon as the electronic circuit currently FENDER the technical ability to build any type of guitar. Still, the question was
ested is okayed, the Donahue will be added to the Signature series as a custom- how to produce in fair quantities a glued-on neck model without an extensive
order model. retooling or retraining?
Chronologically, the third model to hit the drawing board was the DANNY In Spring 1990 John Page, recently appointed manager of the R&D department
GATTON TELECASTER, which made its debut alongside the Albert Collins model in and the Custom Shop operations, and Steve Boulanger, Custom Shop engineer,
mid-1990. In the same vein as Albert’s guitar, the Gatton is a replica of the developed a novel type of neck joint to solve this predicament. From this moment
customized ’53 Telly used until recently by the multi-style virtuoso from on, it became indeed possible for FENDER to produce a “set-neck” guitar without
Washington, DC. a classic dovetail joint or a finely balanced neck pitch. The new neck joint — in
The D.G.’s Signature model is equipped with special double blade humbuckers, the process of being patented — was immediately applied on a new breed of
made by Joe Barden, which fit in the same space as Fender single coil pickups. Telecaster guitars. With the help of Jay Black, two prototypes were quickly put
These side-by-side humbucking pickups are not built for an extra gain but aim at together for the June 1990 NAMM Convention to test the waters with dealers. In a
matter of weeks, orders began to pour in and on July 26, 1990 the SET NECK
reproducing a high fidelity version of the 50s Fender sound. In addition to the
actual specs and measurements of the original instrument, Custom Shop master TELECASTER was officially included in the Fender price list.
luthier Michael Stevens made sure to replicate the peculiar ergonomic features of The Set Neck could be termed as a classic blend between a Fender and a Gibson
Danny's ’53 such as zirconium side dots (to see and feel the neck under dimmed solid body. The mahogany body is enhanced by a bookmatched curly maple top
lights), angled stainless steel saddles, a notched bridge side-plate and a bent with a contrasting white binding, but to make the guitar lighter than, say a Les
switch lever. Paul, and improve its resonance, the core body is drilled with eleven 1.5" dia.
The back of the neck has no finish so as not to impede playing speed, whilst the cavities. The neck is also made of mahogany, reinforced with a maple insert for
extra rigidity whilst the headstock is painted-on to add a touch of class. The
body is painted in a light Blond colour, half butterscotch-half Mary Kaye.
22-fret board has a flat 12" radius and, depending upon the version, is made of
Compared to his original ’53 Telecaster, the sole modification requested by Danny
either Brazilian rosewood or ebony. Three distinct versions of the Set Neck
was a 22-fret neck for a slightly extended treble register. Like the Collins, the
Telecaster have been simultaneously introduced over Summer 1990:
Gatton Telecaster is available only on a custom-order basis and warrants the same
price tag. Having said that, Michael Stevens and FENDER certainly did a good job e the basic model has two DiMarzio humbuckers, a rosewood fretboard and
because after he received his Signature guitar Danny simply traded his old ’53 for no tremolo;
guitar,
a 1934 Ford Sedan! Since then, however, he has again personalized his own
now finished in a deep gold colour enhanced by a delicate white pattern.
 The prototype
of the Danny
Gatton Signature
model. Note the
double blade
Barden pickups The James Burton
and (see below) Signature model with
the angled steel modern paisley graphics.
saddles. [courtesy Fender]
[photo by
Michael Stevens]

Michael Stevens (left) and John Page (right) presenting

Fender president Bill Schultz with 40th Anniversary model
number 001. [courtesy Fender]

Robben Ford on
stage in Paris with
his Custom Shop
Telecaster
[photo by
Christophe Madronna]

32
 Master bender
Jerry Donahue
with the
prototype of his
Signature model.
[courtesy Fender]

The Bajo Sexto,

i.e. a baritone
Telecaster
designed by
Custom Shop
luthier
Fred Stuart.
Bob Dylan in 1989 playing a silver Sparkle
se Tele Plus with Fender-Lace sensors. [courtesy Fender] Telecaster built by the Custom Shop.
: [courtesy Jay Black]

Albert Collins
(a.k.a. Mr. Iceman)
with the 1966
Telecaster Custom
which served as
a basis for his
Signature model.

33
 ee
PART 2
40 YEARS
e
40 YEARS OF TELECASTERSee
OFTELECASTERS

e the intermediate model is upgraded with an ebony fretboard, a Strat-style the dream factory). Only time will tell whether the new Fender company will
tremolo and a Wilkinson Roller Nut; sustain the momentum it has successfully built since 1985. All those caring for the:
Fender name and reputation sincerely hope that the company will not be tempted
¢ the top model has three pickups (two humbuckers and one single coil), to “sell out” like CBS did a quarter century ago...
an ebony fretboard and a Floyd Rose Pro tremolo.
Forty years after the Esquire made its official debut at the July 1950
After many unsuccessful attempts in the past, the Set Neck Telecasters built by NAMM show, Telecaster guitars are still being made in California. The
the Custom Shop have probably struck the best ever compromise between a unprecedented number of variants available today bears testimony that
Fender and a Gibson. Fender senior solid body is more than ever a major contender in the
In less than five years, the new Fender company has completely restored the field of electric guitars. The Telly may not have the flashy appeal ofa
Telecaster range and opened up a new chapter in the history of America’s most Stratocaster but it has proved to be the most versatile electric beyond
enduring solid body. Several variants are currently available to answer the wants all trends and fashions. Its current popularity on the threshold of the
and needs of new generations of musicians, playing different styles of music. 90s is, among many other lasting achievements, a living tribute to the
From the classic 50s reissue to the lavish Set Neck models, there is a Telly for genius of the late Leo Fender.
everyone not to mention the superlative guitars built by the Custom Shop (a.k.a.

United States Patent Office 839,999

Registered Dec. 5, 1967

PRINCIPAL REGISTER
Trademark

Ser. No. 270,196, filed Apr. 28, 1967

Columbia Broadcasting System, Inc. (New York corpora- For: ACOUSTIC AND ELECTRIC GUITARS, in
tion) CLASS 36.
51 W. 52nd St. First use at least as early as 1961; in commerce at least
New York, N.Y. 10019 as carly as 1961.

C. A. MARLOW, Examiner.

Combined affadavit under Sec. 8 and 15 accepted and filed 11/28/73

NOTES
Excerpts from a conversation between George Fullerton and Dave Crocker (May 1991): 1-2-9-12-13 Excerpt from Musical Merchandise review (August 1950): 17
Quote from a Leo Fender interview in Rolling Stone magazine (February 1976): 3 Quote from a Don Randall interview in Music Industry (June 1955): 18
Excerpts from conversations between Freddie Tavares and author (January 1988); 4-10-15-20-22 Excerpts from a conversation between George Fullerton and author (January 1988): 19
Quotes from a Leo Fender interview in Guitar Player magazine (May 1978): 5-6-7-11 Excerpt from a conversation between Bill Carson and author (January 1988): 21
Quote from a Leo Fender interview in International Musician magazine (March 1978): 8 Excerpts from conversations between Dan Smith and author (January 1988 & November 1990):
Quote from a Leo Fender interview in Guitar Player magazine (October 1984): 14 23-24-25-26-28-29

Quote from a Don Randall interview in Guitar Player (July 1978): 16 Quote from a Bill Schultz interview in Musical Merchandise review (March 1985): 27

THE
TELECASTER

34
 Exceedingly
rare two-pickup
Esquire from mid-
1950 (#0013). Note
absence of “skunk
stripe” on back
of the neck.
: —_— [photo by Kerry Wetzel]
the first prototype built by Leo Fender in late 1949
{courtesy John Hanley/photo by Dave Crocker] : “a,

Two-pickup Esquire (#0087) custom-

built for country artist Hal Hart.
The black-lacquered body is made
ofpinewood. ,

Gesoue
 The March 1953 Telecaster (a.k.a. Nancy) of the late Roy Buchan
[courtesy John Sprung & Gil Southworth/ photo by Joln Sp

The specific wiring circuit

of the early Tellies. Note
brown resistor soldered
to the switch and orange
sheath. [photo by John Sprung]

The figured ash body

of a 1953 Telecaster
adequately showcased Se
ete
eta

by the butterscotch
blond finish.
[courtesy Jeffrey Gray]

1951 “No-Caster,” i.e. transi

model between the Broadcaste:
the Telecaster. [courtesy Jeffrey

1952 Esquire with original custom copper finish.

[courtesy Jim Colclasure/photo by Kathy Ketner|
 1956 Telecaster (#12049) painted with ultra-rare red
custom finish. [courtesy Cliff Williams/photo by Pete Alenov]
i?

ey

This 1957 Telecaster is factory-finished

with an original 2-tone sunburst over
its ash body. [courtesy Jeffrey Gray]

Ml
ad
a

SLL.
|iA
a

e
shine

Mid-56 Esquire in a very unusual pale green finish.

Note the absence of a string guide on headstock.
[courtesy Cliff Williams/photo by John Peden]

Mid-1955 Telecaster with flat poles on lead pickup.

[photo by Patrick Selmer]
 1960 Lake Placid
Blue Telecaster. This
particular instrument
belonged to Alvino Rey,
well-known Fender
endorser during
the 50s and 60s.
[courtesy Jeffrey Gray]

Left-handed 1960
Telecaster in Custom
Ducco red finish.
[courtesy Don’s Musicland/
photo by Sutter's Arts]

1961 Esquire. Note single ply ; | 1960 Esquire C

pickguard. [courtesy Jeffrey Gray] [courtesy Gil South

a.

One of the very first Telecaster Custom (#38820) with top loading bridge and
body marking. Also note distinct 3-tone sunburst and 3-ply pickguard with 5
mounting screws. [courtesy Jeffrey Gray]
 CUSTOM FINISHES FOR Prue FINE ELECTRIC INSTRUMENTS
‘There
Shahan ales Sandan a Ete eek
14Coron, (phrs Wtowaal Avadbality at 4,Asaial

CRCTARE
ON pacar

ran em

1966-67 custom
colour chart

NORMAL i
voLUMe

This August 1964 Telecaster Custom

with gold sparkle finish and maple
board was custom-built for famous
country performer Buck Owens.

63 Telecaster with “unlisted” purple

arkle custom finish. © 0!‘@ 4
| 1 10
NORMAL 1 ; 0,*; INTENSITY
wai Reo
 Experimental
hollow body
Telecaster from
1967 with bound
Spruce top and
rosewood back.
1969 Telecaster | | [courtesy Albert Molinaro]
Thinline in natural hn
mahogany finish.
[courtesy Jim Colclasure/
1967 Telecaster Custom [courtesy Didier Colombi]
photo by Kathy Ketner]

1969 Telecaster with

(faded) Paisley Red fini.
[photo by John Sprung]

PS ele

Show-stopper in “day-glo” finish specially made for a 1968

trade convention
Note silver paint underneath see-through pickguard to conceal
top routing.
[courtesy Margie Baker & Jim Colclasure ]

40
 A fairly rare 1967
Telecaster Custom with
double black binding.

9 Telecaster Thinline finished in

unusual canary yellow colour. |
eccid
likaia
tesy Cliff Williams/photo by Pete Alenov] a's
|aycisiaues

Gold sparkle 1967 Telecaster. |

[courtesy Gil Southworth]

¥ Blue Flower Telecaster [courtesy Gil Southworth]

Candy Apple Red 1967 Telecaster

factory-equipped with
Bigsby vibrato tailpiece.
[courtesy Didier Colombi]
 «
.

1971 Rosewood
Telecaster with
stunning grain pattern
[courtesy Gil Southworth/
photo by Debbie Mazzoleni]

Thinline with humbuckers

(type Il) and factory Bigsby.
[courtesy Albert Molinaro]

1972 Telecaster Custom. One of

the very last Customs built with a
bound body prior to the model’s
reshuffle. [courtesy Dave Kenney]
 1975 regular
Telecaster with
3-tone sunburst
[courtesy Guitar Express]

ary to what this picture might suggest, Antigua Telecasters

grow in trees! [courtesy Gil Southworth/photo by Debbie Mazzoleni]

The first Deluxe off the production line.

This guitar is stamped with serial number
000001 and a December 1972 marking on
the neck. [photo by John Sprung]

The revamped Telecaster Custom

introduced in 1972. Note Tilt Neck
bullet above the nut, front humbucker
and modified pickguard assembly with
4 controls. [courtesy Albert Molinaro]

1974 Telecaster Deluxe with Strat-style tremolo tailpiece.

[courtesy Guitar Express/photo by Debbie Mazzoleni]
 1952 reissue model (a.k.a. the Vintage Telecaster)
[courtesy Fender]

Left-handed 1983
Elite Telecaster
[courtesy Buck Sulcer/photo
by Debbie Mazzoleni]

1981 Standard model in

Pewter [courtesy Albert Molinaro]

fae Revamped 1983

Standard model with
Elite bridge saddles.
[courtesy Albert Molinaro]

Be Se — id

1981 Black & Gold Telecaster. Note the sp

design 6-piece bridge assembly in gold-p
brass. [courtesy Fender]

44
 40th Anniversary
Telecaster in
Antique Sunburst.
This particular
instrument is the
|
ie
+)
Jirst one built by the
ee
eS
a
Custom Shop in 1988.
[courtesy Fender]

1988 American Standard

[courtesy Fender]

umes Burton signature model in black with

disley graphics. Bottom: early pre-series
in Frost Red with black chrome parts.

Limited series Shoreline Gold

Thinline from the Custom Shop. Note
abalone dot markers inlaid into the
fretboard: [courtesy Fender]
 Danny Gatton’s own Signature
model with personal custom
paint job. [photo by John Sprung]

A one-off Tele Thi:

from the Custom Shop
“B” bender and “F” bra
rockabilly orange fi:
[courtesy Fe

SA
1990 Set Neck Telecaster with gorgeous quilted maple top.

MEIER
OED
TPT

Double f-hole custom Esquire

(a.k.a. Page-O-Caster) custom built
in 1990 as 40th anniversary Esquire
for the author. [photo by Patrick Selmer] Tele Plus in Blue Frost [courtesy Fende

1990 Deluxe Tele Plus with tremolo system

and roller nut [courtesy Fender]

46
 LIST PRICE 1951-1991
DATE MODEL PRICE DATE MODEL PRICE DATE MODEL PRICE
July 1951 Telecaster $189.50 February 1972 Rosewood $399.50 January 1984 Walnut Elite $1199.00
Esquire $149.50 Thinline (II) $375.00 Gold Elite $1059.00
+case $39.95 Telecaster Custom $315.00 Elite $899.00
Telecaster (R/W) $283.00 Vintage Telecaster $899.00
February 1957 _ Telecaster $199.50 +case $65.00 Standard (M/N) $589.00
Esquire $164.50 (5) (7)(8)
+case $49.50
(1) January 1973 Deluxe (non trem.) $399.50 January 1985 Walnut Elite $799.00
Thinline (I) $375.00 Gold Elite $699.00
January 1960 Telecaster Custom $239.50 Custom (II) $315.00 Elite $599.00
Telecaster $209.50 Telecaster (R/W) $283.00 Vintage Reissue $749.00
Esquire Custom $199.50 +case $65.00 Standard (M/N) $469.00
Esquire $169.50 (5) (6)(7)
+case $52.50
(1) (2) March 1974 Deluxe $410.00 January 1986 Vintage Telecaster $799.00
Thinline (I) $385.00 (7)
July 1966 Telecaster Custom $232.00 Custom (I) $325.00
Telecaster $203.00 Telecaster (R/W) $295.00 March 1987 Vintage Telecaster $849.99
Esquire Custom $194.00 +case $67.00 (7)
Esquire $164.00 (5)
+case $52.50 October 1987 _ Vintage Telecaster $899.99
(1) (2) November 1976 Deluxe $490.00 (7)
Thinline (I) $475.00
October 1966 Telecaster Custom $244.50 Custom (II) $405.00 January 1988 Vintage Reissue $899.99
Telecaster $214.50 Telecaster (R/W) $370.00 American Std $599.99
Esquire Custom $209.50 +case $70.00 (6)(7)
Esquire $179.50 (5) (6)
+case $57.50 October 1988 Vintage Reissue $999.99
(1)(2)) December 1977 Deluxe $565.00 American Std $649.99
Thinline (ID) $555.00 (6)(7)
July 1968 Thinline $319.50 Custom (I) $475.00
Paisley/Flower $279.50 Telecaster (R/W) $440.00 January 1989 Vintage Reissue $999.99
Telecaster Custom $259.50 +case $65.00 American Std $689.99
Telecaster $229.50 (5) (6) (6)(7)
Esquire Custom $224.50
Esquire $194.50 September 1979 Deluxe $685.00 November 1989 Vintage Reissue $1099.99
+case $57.50 Custom (II) $580.00 American Std $699.99
(1) (2) (3) (4) Telecaster (R/W) $535.00 (6)(7)
+case $110.00
May 1969 Rosewood $375.50 (5) (6) January 1990 James Burton TBA
Thinline $356.50 Vintage Reissue $1099.99
Paisley/Flower $299.50 September 1980 Deluxe $750.00 American Std $739.99
Telecaster Custom $299.50 Custom (II) $675.00 (6)(7)
Telecaster $269.50 Telecaster (R/W) $635.00
Esquire Custom $259.50 +case $125.00 June 1990 James Burton $1299.99
Esquire $224.50 (6) Vintage Reissue $1099.99
+case $62.50 Deluxe Tele Plus $999.99
(1) (2) (3) (4) December 1981 Black & Gold $880.00 Tele Plus $899.99
Vintage Reissue $875.00 American Std $739.99
March 1970 Rosewood $395.00 Telecaster $780.00 Danny Gatton $2400.00
Thinline $375.00 (7) (8) Albert Collins $2400.00
Telecaster Custom $315.00 (6)(7)
Telecaster (R/W) $283.00 June 1982 Black & Gold $925.00
+case $65.00 Vintage Reissue $875.00 January 1991 Set-Neck (3pu’s) $1949.99
Telecaster $820.00 Set-Neck (trem.) $1749.99
(6)
(7) (8) Set-Neck $1649.99
$375.00 James Burton $1299.99
January 1971 ‘Thinline
Telecaster Custom $315.00 July 1983 Walnut Elite $1195.00 Vintage Reissue $1099.99
Gold Elite $1055.00 Deluxe Tele Plus $1069.99
Telecaster (R/W) $283.00
+case $65.00 Elite $895.00 Tele Plus $969.99
Vintage Reissue $895.00 American Std $779.99
(5) Danny Gatton $2400.00
Standard (M/N) $550.00
(7) (8) Albert Collins $2400.00
(6)(7)

$55.00 (5) specific price according to appointments (6) choice

NOTES: (1) custom finish: +5% (2) left-handed: +10% (3) maple fretboard: +5% (4) Bigsby tremolo:
of standard finishes (7) case included (8) custom finish: $75/$100
THE TELECASTER IN DETAIL PART 3

THE TELECASTER
IN DETAIL
Players and collectors are aware that a number of features may actually differentiate but it kept the previous “Custom Telecaster” mention and script style. In the
the same Telecaster variant over the years. Therefore, the purpose of this chapter is to course of 1968, probably on standardisation grounds, the regular Telecaster’s
examine in greater detail the guitar's major components and to describe how they decal with the CBS black logo and 2 patent numbers, but without any “Custom”
have evolved since the 1950s. This information will contribute to selecting useful mention, was gradually applied.
criteria for both dating and authenticating Telecasters and Esquires. After mid-1972, the Custom designation referred to a totally different guitar with
a humbucker in the neck position. FENDER kept the same basic decal, i.e. black’
THE NECK logo, enlarged Telecaster name and 2 patent numbers, but a “Custom” label in
black fancy lettering was added below Telecaster. In late 1976, the patent
HEADSTOCK DECAL numbers were deleted and replaced by the serial number, whilst the Custom
As is typical of Fender electrics, Telecasters and Esquires are branded with a decal label was redesigned to feature a straighter script. The model was discontinued
applied on the headstock. Provided this decal is original, the Fender logo and its in 1981 with this decal.
assorted markings may help narrow down the period of issue of a guitar. Having e THE TELECASTER THINLINE
said that, it should be borne in mind that changes usually occurred over a period of
time, during which two types of decals overlapped. The original 1968 issue is fitted with the same decal as the regular model of the
same period, i.e. CBS black logo, enlarged Telecaster script and 2 patent
e THE BROADCASTER numbers, but no specific “Thinline” marking on the headstock. When the model
The decal features the original Fender logo (a.k.a. “spaghetti” logo) in silver was revamped with humbuckers in late 1971, a “Thinline” mention in black
with a black trim and the model’s name in thin black script between inverted lettering was added on the upper bout of the headstock. In late 1976, the patent
commas. When FENDER had to surrender the designation in February 1951, the numbers were deleted and replaced by the serial number. No other changes
“Broadcaster” name was simply clipped off of the decal, then applied with only took place until the Thinline was discontinued in 1979.
the Fender spaghetti logo. These “NO-CASTER” decals may be found on dual e THE TELECASTER DELUXE
pickup guitars made until Summer 1951.
While catalogued, the model was always fitted with the same decal featuring a
¢ THE TELECASTER
CBS black logo with the name in bold black letters as per a curved line. No
From Summer 1951 right up to the end of 1965, the decal featured the silver patent numbers were ever mentioned on its headstock, but in late 1976 the
spaghetti logo and the model’s name in thin black script between inverted serial number was added to the decal.
commas. After late 1961, it was completed with 3 patent numbers below the
¢ THE VINTAGE TELECASTER
word Telecaster, i.e.
DES 164,227 PAT. 2,573,254 2,784,631 The ’52 reissue is naturally fitted with a 50s style decal, but the spaghetti logo has
a fractionally bigger lettering with a thicker black trim than a real 1952 issue.
In early 1966, the decal first incorporated the modern Fender logo in gold with
a black trim (a.k.a. “transition” logo) and only two patent numbers, i.e. ° THE ESQUIRE
PAT. 2,573,254 3,143,028 The decal of the senior member of the family initially featured a silver spaghetti
By Fall 1967, new markings appeared with a black Fender logo with a gold trim logo with the model’s name in thin black lettering between inverted commas. By
(a.k.a. CBS logo) and a significantly enlarged model’s name in bolder lettering. 1952, the single pickup version came out with a gold spaghetti logo, but silver
The two patent numbers previously mentioned were retained, but shifted below was reinstated in mid-55. In 1963 the decal was completed with the 3 patent
the Fender logo. In late 1976, the patent numbers were deleted when FENDER numbers found since late 1961 on the regular Telecaster headstock, i.e.
first displayed the serial number on the headstock’s decal. DES 164,227 PAT. 2,573,254 2,784,631

In mid-1983, a slightly downsized silver logo with a black trim was introduced After mid-1967, a decal incorporating a gold transition logo appeared whilst the
on the Elite and Standard Telecasters. At the same time FENDER reverted to a number of patents displayed was simultaneously reduced from 3 to 2, i.e.
smaller black lettering for the model’s designation. This logo is still a current PAT. 2,573,254 3,143,028
feature of early 90s production models such as the American Standard, the Tele In the latter part of 1968, the decal was again modified to feature the CBS black
Plus or the James Burton. logo and a significantly enlarged model name whilst the 2 patent numbers were
¢ THE TELECASTER CUSTOM relocated below the Fender logo. The Esquire was discontinued with these
The very first Custom models made in mid-1959 may be found with a regular headstock markings on the threshold of the 1970s.
Telecaster decal without any “Custom” mention. Most 1959 guitars, though, ¢ THE ESQUIRE CUSTOM
display a decal with a gold spaghetti logo whilst the model’s designation actually Like its Telecaster counterpart, the very first Esquire Customs from mid-1959
reads “Custom Telecaster” (and NOT Telecaster Custom!) with a slightly bolder may be found with a regular Esquire decal featuring a silver spaghetti logo but
script — albeit not as tall — than the lettering on the regular Telecaster, Besides, no “Custom” marking. Very soon, though, a specific decal was introduced with
it is not set between inverted commas. a gold spaghetti logo and “Custom Esquire” (NOT Esquire Custom) in slightly
In mid-1964, a new decal appeared with a gold “transition” logo and 3 patent bolder black lettering without inverted commas.
numbers, identical to those displayed at the same period on the regular Owing to afairly limited production, the model kept its original headstock
Telecaster, i.e. markings (without patent numbers) until the late 60s, before FENDER
DES 164,227 PAT. 2,573,254 2,784,631

CGfitltwen
 a
goveesairs

geeeeel cee
eee RE
WONFED

Ff
52 Telecaster ’58 Telecaster 63 Custom 65 Telecaster 66 Custom

69 Telecaster "70 Rosewood 73 Telecaster 74 Deluxe 75 Thin li:

83 Elite "88 America n Std "90 Set-Neck

"78 Custom 83 Vintage

69 Esqu ire
58 Esqu are 60 Esqu ire Custom
’50 Esquire
49
 THE TELECASTER IN DETAIL PART 3

switched over to a black logo with a much bigger Esquire script and 2 patent Also worth mentioning:
numbers, i.e.
¢ The original Maple Neck from the 50s is sealed with clear cellulose lacquer
PAT. 2,573,254 3,143,028
(often yellowed with age) whilst the post-69 version is finished with polyester '
The Esquire Custom was discontinued in late 1969 with these headstock markings. and more recently polyurethane, except on the ’52 Vintage reissue. Since
Also worth mentioning: late 1987, FENDER has introduced a clear satin finish on Maple Necks sealed
with polyurethane.
* Up to 1956 the headstock decal is positioned between the nut and the string
retainer next to the G-string tuning post. ¢ In the early 60s a few instruments were produced with a cocoa bolo fretboard
in lieu of rosewood. Likewise, hickory was also occasionally used for necks
° Beginning in 1956, the string retainer is placed closer to the nut, roughly in
instead of maple.
the alignment of the A-string tuning post, and the decal thus relocated on the
upper bout of the headstock. ¢ Production Rosewood Telecasters were made with a one-piece rosewood
neck, but George Harrison’s guitar came with a 2-piece rosewood neck.
° The black logo with enlarged markings was apparently introduced by CBS to
make the Fender brand more conspicuous on television at a time when rock ¢ During the 70s, the regular and the Custom Telecasters could be ordered with
music was getting heavier exposure on the screen. either a rosewood board or a Maple Neck, but the Deluxe and the Thinline
type II were exclusively fitted with a Maple Neck. -
e Since the advent of the black logo in the late 60s, a small circled “R” (for
registered) has always been featured right behind Fender on the headstock e The 1983 Walnut Elite Telecaster was fitted with an ebony fretboard, then
decal. More recently, the same registered marking has been added behind the considered by FENDER to be more appropriate for fingering than walnut.
Telecaster name on full production models. ¢ The 40th Anniversary Telecaster was exclusively offered with a one-piece
* The Rosewood Telecaster simply featured a modern silver logo with a black Maple Neck
trim and no model designation or patent numbers. e The recent Set Neck Telecaster has a mahogany neck reinforced with an inner
¢ From 1950 up to 1968 the headstock decal was always featured over the finishing maple core strip and is fitted with either a rosewood or an ebony board.
lacquer. With the introduction of polyester finishes in the late 60s, the decal was * Until the early 80s, Fender necks were cut on a pin-router and therefore they display
affixed before the finishing coat and thus sealed under it, to provide a more two characteristic small holes at both ends, one on the underface of the heel and one
durable branding. Accordingly, FENDER then used a new type of reverse decal on the back of the peghead between the holes drilled for the D and G tuners.
known as “C transfer” and requiring a special solvent for its application. Today,
only the Vintage models have a headstock decal applied over the finishing lacquer. POSITION MARKERS
* With the relocation of serial numbers on the headstock in late 1976, patent On Telecaster guitars, whether with a 21 or a 22-fret neck, position markers
numbers were deleted from the decal and the words “MADE IN U.S.A.” added are materialized by dots whose material and spacing at the 12th fret changed
below the model’s designation. over the years.
* 50s Maple Necks are inlaid with black dots (diameter=1/4") which in 1950
FRETBOARD MATERIAL
originally showed a 5/8" spacing at the 12th fret. By the end of 1952, though,
A distinctive feature in terms of sound, feel and looks. As a quick rule of thumb, a the 12th fret spacing was widened by 3/16" and the double dots became neatly
maple fretboard contributes to a brighter sound than rosewood, all else being equal. crossed by the A and B strings.
¢ From 1950 up to mid-1959, Telecaster guitars were exclusively fitted with a fretted ° 1959 rosewood-capped necks were initially inlaid with matt whitish dots,
one-piece maple neck (Maple Neck hereafter) without a separate fingerboard. known as “clay dots,” which kept the same 12th fret spacing as the post-52
° By mid-1959, the original Maple Neck was replaced by a rosewood-capped neck. Maple Necks. But, in mid-1963, FENDER reverted to the original 5/8" narrower
The first variant made between mid-59 and mid-62 is characterized by a fretboard spacing for the 12th fret dots, whether on rosewood or maple-capped necks.
milled flat on the neck base and thus quite thick, hence its “slab board” nickname * In early 1965, clay dots were superseded by slightly bigger pearloid dots,
among collectors. After July 1962, a curved rosewood fretboard ([Link] a convex which subsequently remained the standard trim on rosewood-capped necks
base) superseded the slab board. At first, the rosewood cap was kept fairly thick, until mid-1983.
but in 1963 it was gradually engineered into a thinner veneer which would remain
* By mid-1983, pearloid dots were dropped and replaced by matt white
as the standard feature for the next 20 years. dots on
the newer style rosewood slab board. This combination is still the current
¢ InJanuary 1967 a maple fingerboard officially became optional on most Fender trim
on early 90s production models.
electrics, but Telecaster guitars with a maple-capped neck were actually
available well before 1967, either on a replacement or a custom order basis. Also worth mentioning:
The 2-piece maple neck from the 60s is easily distinguished from the original ° Matt white dots were first used on the ’62-style Vintage reissue models
(Stratocaster,
one-piece neck by both the lack of walnut plug above the nut and contrasting [Link] and [Link]) as a modern counterpart of the original clay dots.
stripe (a.k.a. “skunk stripe”) on the back.
° The 40th Anniversary Telecaster is fitted with dots made of abalone
, also
° In early 1969 the original style one-piece Maple Neck was reissued as an option currently found on some Custom Shop models.
on Telecasters and Esquires in lieu of the 2-piece neck with a separate maple
* Despite their 22-fret neck, the American Standard and Tele
cap. By 1970, both rosewood board neck and Maple Neck became a standard Plus feature the
same basic dot marker configuration.
appointment on Telecaster guitars, but not at the same price!
¢ The fretboard markers are matched by side dots, which
* In mid-1983, the curved rosewood board in use since 1963 was discontin are black on Maple
ued Necks and whitish (also black in the 70s) on rosewood-cap
and replaced by a new cap milled flat on the neck base. This new type of slab ped necks. On the
latter, the side dots generally sit astride board and neck,
board, then designed to match the novel Biflex truss-rod then introduced on except on 70s models
where they are inserted beside the fretboard.
the Elite and Standard Telecasters, is still the regular mount on early 90s
production models.

THE

TELECASTER
 12TH FRET DOTS

Pin router’s holes

are located on the
back of the
headstock and
underneath the
neck’s heel.

modern whitish dots 51

80s Biflex neck
 THE TELECASTER IN DETAIL

stripe. By 1981, Telecaster variants equipped with a Tilt Neck were all discontinued |
and Leo Fender’s device was abandoned.
¢ In early 1983, FENDER introduced its Biflex truss rod, which is basically an
improved Tilt Neck, albeit with a classic 4-bolt neck mounting. The Biflex rod
can be adjusted in two directions (for concave and convex bows) via a bolt
buried in a small well above the nut, whilst the neck pitch is set up with a
wrench inserted into the neck plate. It was first fitted to the 1983 Elite and
Standard models, but since then it has been also built into all the production
Telecasters (bar the Vintage reissue) made in Corona since 1986.
Also worth mentioning:
¢ On the rosewood-capped prototypes from 1959, the truss-rod was still
inserted from the rear and not from the front. This explains why 1959-60
catalogues show pictures of Telecaster guitars with a plug above the nut.
e the Tilt Neck was primarily aimed at upper range models and this may explain why
it was never fitted to the regular Telecaster, which FENDER wanted to keep “as is.”
TRUSS ROD
FRETBOARD RADIUS
With the notable exception of the recent Set Neck model, all Telecasters and
Esquires are equipped with a detachable bolt-on neck, but they do not share the ¢ Older Fender guitars are known to have a slightly convex fretboard compared to
same truss-rod installation and adjustment system. the much flatter board of, say, a Gibson guitar, and until the early 70s all
Telecaster necks were designed with a basic 7.25" fretboard radius.
¢ The neck of the earliest 1950 models is deprived of any reinforcing truss-rod.
Only a handful were made and they can primarily be identified by the lack of The 1973 Deluxe was the first model to offer a slightly flatter 9.5" radius, whilst
truss-rod bolt at the heel, as well as the absence of contrasting stripe on the back other Telecaster variants kept a standard fingerboard. In 1983,the newer Elite and
Standard Telecasters came out with an even flatter 12" radius, meant to facilitate
¢ By Fall 1950, the Broadcaster’s neck was fitted with a metal rod inserted from string bending. Current production models have come back to an intermediate 9.5"
the rear via a channel routed in the back spine. This explains why one-piece radius, except the Vintage Telecaster (7.25") and the Set Neck Telecaster (12").
Maple Necks have a “skunk” stripe on the back (to fill the channel) and a plug
above the nut (to fill the anchoring point of the rod). Adjustment of the rod is ¢ Thin fretwire remained a standard feature on Fender guitars for almost 3
achieved by a bolt (slothead until early ’51, Phillips head thereafter) located in decades, although some instruments were first produced with jumbo fretwire in
the neck heel, whilst pitch can only be modified by inserting little shims in the the mid-60s right after the CBS take-over. In 1973, the Telecaster Deluxe was
neck pocket. equipped with wider frets to match its flatter fingerboard. By the early 80s,
jumbo fretwire became the standard trim, except on the ’52 Vintage Reissue
¢ The advent of a separate rosewood fretboard brought about a change in the which has obviously retained a more traditional thinner fretwire.
truss-rod installation. With a 2-piece neck, it is easier to drill the rod channel in
the neck prior to glueing the fretboard and thus rosewood-capped necks do not
have a back stripe or a plug above the nut. The installation from the front did Aug. 4, 1964 cL. FENDER 3,143,028
not warrant any modification in the neck adjustment. Filed Aug.
ADJUSTABLE

26, 1963
NECK CONSTRUCTION FOR GUITARS AND THE LIKE

* 60s maple-capped necks also have the truss rod inserted from the front and,
SSN
like rosewood-capped necks, they do not have a contrasting back stripe or a =Teen’
plug above the nut. From a purist’s point of view, they should not be referred to
as “Maple Necks” (which somehow implies the notion of a one-piece neck), but SYS
A
as “maple board” necks. 4g
¢ The original style one-piece Maple Neck with a rear installation was reissued in G4
er 4
early 1969 on Telecaster guitars. By then, FENDER would have had to deal with A
4

2 methods of installation of the truss rod, i.e. from the front and from the rear. j4
(4

On standardisation grounds, it was decided to retain only the installation from

Z
yg
the rear, and this is why rosewood-capped necks made after Spring 1969 g
usually feature a contrasting back stripe and a plug above the nut.
;
A
¢ The Tilt Neck was never fitted to regular Telecasters, but it became a standard
appointment on the other variants from the 70s, i.e. the Custom, the Thinline
;
py
type II and the Deluxe. The Tilt Neck incorporates two functions:
¢ truss-rod adjustment via a wrench inserted into a metal bullet located above
the nut
¢ neck angle adjustment via a smaller wrench inserted into the hole below the
lower screw of the neck plate
FINNAAAAAASAAIN
Otherwise its most (in)famous characteristic is a 3-bolt fastening system, as
opposed to the traditional Fender 4-bolt mounting. Instruments equipped with a Tilt
Neck do not have a bolt on the front heel of the neck (like other Fender guitars) but
they display a circular metal plate underneath the heel base and in the neck pocket.
Despite theses changes, the truss-rod was still inserted from the rear, hence a back

THE
TELECASTER

52
THE TELECASTER IN DETAIL
aa PART 3

NECK PROFILE By and large, 50s ash bodies are lighter on the average than their 60s and 70s
Owing to the amount of manual handwork which took place in the final shaping of counterparts, even though some Broadcasters and black guard Tellies are
necks over the past decades, it is difficult to make sweeping statements about neck indeed quite heavy. The density of ash purchased in the mid-60s is probably one
profiles. Besides, the way a neck actually feels may be a matter of a few fractions of of the major reasons behind the scooped-out Thinline model, at 2 time when
an inch in the cross section or in the shoulders. More consistent profiles definitely FENDER was commercially keen to produce lighter guitars. Light-weight bodies
appeared with the introduction in 1981 of sophisticated machinery such as the are fairly hard to come by in the 70s and early 80s, but recently FENDER has
Austrian-made Zuckerman carving machine, which shapes eight identical necks at a paid more attention to this important characteristic.
time as per a master template. Therefore, the following indications should serve Otherwise, contrary to popular belief, ash bodies (even the old ones from the
only as broad guidelines to appreciate the various patterns of Telecaster necks. 50s) are usually made of two or even three pieces of wood and one-piece
e The earliest necks made in 1950 (e.g. Broadcaster) have a pronounced V-shape bodies are exceptional. This feature may be revealed by carefully checking the
and their thickness is usually close to one inch. If one takes the 1st and 12th fret body cross-section, but employees in the spray booth generally took trouble to
as a reference for the cross-section, .95" and 1.00" would be a good average add extra coats of paint on the body sides to camouflage visible “seams”
between planks. Besides, older bodies sanded off show that the pieces are often
indication for the period. By early 1951, necks became more rounded and less
painstakingly bookmatched to harmonize the grain pattern. As a matter of fact,
“Veed” with slight variations in thickness, e.g. .90" and 1.00" on a’52 Telly, but
diagonal seams across the entire body are not unusal on 50s guitars.
overall kept a similar cross-section until the mid-50s.
Although prominently used over four decades, ash is not the only timber found
e V necks (a.k.a. “boat necks”) reappeared in the course of 1955 and became a
on production guitars.
standard pattern over 1956 and 1957, with a variable cross-section ranging
between, say, anything like .86"/.94" at the Ist fret and .97"/1.02" at the 12th e The single pickup black Esquire tentatively introduced in 1950 was most
fret. Early 1958 necks usually still have a slight V feel, but a much flatter profile probably built with a pinewood body, like some of the early prototypes crafted
was quickly adopted with measurements steadily below .90" at the 1st fret and by Leo Fender in late 1949.
1.00" at the 12th fret. Rosewood necks made after mid-59 show a really flat ¢ In 1956, FENDER switched over to alder for’ the sunburst Stratocaster and
pattern with measurements often below .80" and .92". therefore it was quite logical to use this timber on the Custom variant
e Early to mid-60s necks retained similar dimensions, but after 1963 they often feature introduced in 1959. Some “custom coloured” instruments were produced
more shoulders, hence a different feel from a typical 1959-61 neck. By the late 60s, with a bound ash body during the 60s, but until 1972 most Customs were
an increased production brought about a tremendous variance in neck profiles and fitted with an alder body.
both flat and more chunky configurations may be found. As a rule, however, round e Likewise, alder was also used during the 60s on regular Telecasters and
clubby necks with a lot of shoulders are the norm on most 70s Telecaster guitars with Esquires finished in sunburst, whilst the (rare) late 50s sunburst models were
measurements like .85" at the 1st fret and .95" at the 12th fret. made with an ash body.
° As previously indicated, the acquisition of duplicating machines helped FENDER ¢ Up to the early 70s, alder is primarily found on “custom-coloured” guitars
to standardize neck profiles. In line with contemporary players’ requirements, a where a heavy grain pattern is of no benefit under an opaque finish.
rather flat profile has been selected as the norm on modern Fender guitars. The e In the early 60s, Telecaster guitars were momentarily offered with an optional
Vintage reissue has purposedly kept a slightly thicker cross-section (.82"/.87") mahogany body and a reddish finish. This variant, available on special order,
than other production guitars which feature a gentle “C” profile (.80"/.87"). was prominently displayed in the 1963-64-65 catalogues but it was not
produced in large quantitites.
THE BODY ¢ In 1968 mahogany made a return on the Thinline model, also offered with a
WOOD MATERIAL natural ash finish, but it was phased out in the early 70s. A few Thinlines type
II (with humbuckers) were nevertheless produced with a mahogany body.
Although other timbers have been used at times, ash is the wood most commonly
° On the more exotic note, rosewood was (obviously) used on the Rosewood
found on bodies. Because of its heavy grain, it was ideally suited to the semi-
Telecaster produced over 1969-72, but a few prototypes were also made in
transparent blond finish which was the standard finish on Telecaster guitars
Zebrawood as well as with an all-maple body construction.
between 1950 and [Link] enough, when describing Telecasters and Esquires,
Fender commercial brochures scarcely made a clear reference to the type of body e In the 70s, FENDER occasionally resorted to other timbers, such as hackberry
wood. During the 50s, catalogues simply mentioned that “the body is made of fine wood, in lieu of ash on Telecasters
clear hardwood” and subsequent brochures pretty much followed suit. ° The upper grade Elite version was built with an American black walnut body.
Ash is a fairly inconsistent timber and its weight can vary in substantial e After 1985, ash was naturally retained as the staple wood for the Vintage
proportions, which explain why some ash-bodied guitars seem to weigh a ton Reissue but FENDER switched over to alder for the American Standard body.
when others may appear as light as a feather. Its final density depends both on
© The limited edition 40th Anniversary was specially built with a light-weight ash
where the tree grows and which portion of the tree is used to cut the body.
body and a bookmatched curly maple top.
As a quick rule of thumb, suffice it to say that the more water (rain) is absorbed
portion OVERALL SHAPE
by the tree, the lighter the eventual wood spread. Conversely, the bottom
winter, than the top The advent of new manufacturing techniques played havoc for nearly a decade
of the tree usually absorbs more water, particularly during
wider but, as the water recedes with the graceful shape of the body upper shoulder. In the early 70s FENDER first
portion. When saturated with water the grain gets
All in all,
under warmer weather, the wood dries out and becomes much lighter. acquired numerically controlled routers (NC routers for short) to cut the bodies
“swamp ash” or “punk ash”) is not a instead of the traditional pin routers. Both types of equipment were used
obtaining light and figured ash (called
question of luck, but simply a matter of specifica tions (and price) when ordering simultaneously for a couple of years, since FENDER (under CBS's thumb) could not
necessarily a afford then to invest at once in several NC routers. Anyway, as far as 70s Telecaster
wood from a timber merchant. Over the years, weight was not
prime consideration when procurin g ash and this certainly explains why FENDER bodies are concerned, the problem was that the early NC routers were equipped
received wood spreads of variable density. with a cutter whose diameter prevented the forming of the original curve of the
upper shoulder, hence a slightly wrong body shape.

THE
TELECASTER
53
:
 aes The body of the American Standara
Bodies made between Spring ’51 and Summer '69 (left) feature an open channel between
the two pickups. This extra routing no longer exists on 70s and early 80s bodies (right).
The above examples both belong to Esquires which shared
the same body as Telecasters.

Small clamping holes are typical on most _The Thinline body is scooped out from the rear
50s bodies. Top: in the lower horn. and originally featured three pockets as shown in
Bottom: near the control cavity. this picture.

2’
Note the difference in the neck pocket between a 50s-60s
body (top) and a 70s one (middle). The flatter (and
uglier) curve of the upper shoulder on 70s guitars is
quite conspicuous in the bottom picture.

Early 50s bodies feature a prominent lip Back contour of a Deluxe body.
54 under the neck heel.
 i
aps oa IN a
THE TELECASTER epe
DETAIL s

The elimination of the extra top routing between the pickups was first drawn in 1967 as evidenced by this blueprint. [courtesy Fender]

Pictures are better than words to describe what happened and it is best to refer to cavity. The modification was first drafted in mid-1967, but the fourth routing
_ the photos shown in this book. Suffice it to say that in the 50s and 60s the upper was suppressed only in 1969. It was later reintroduced on the Vintage Reissue
_ edge of the body blends into the neck at the 17th fret after a fairly steep curve, model and also on the first American Standard guitars. By 1988, though, the
~ whilst it joins the neck at the 16th fret after a much flatter curve on most 70s and routings of the latter were modified to incorporate a single open channel
_ early 80s models. Besides, on the latter, the neck pocket no longer has the typical between the neck pickup and the controls cavity.
“notch” found on the 50s and 60s bodies. PIN ROUTER’S HOLES
This alteration was not deemed important at the time and for some 9 years Although they are usually well patched up and camouflaged,the back of the
Telecaster bodies were produced with a flatter upper shoulder. Simultaneously, the standard Telecaster bodies feature two small 1/8" holes located:
neck pockets also featured two semi-circular notches, reflecting a routing job with a
° between the neck plate and the string ferrules, at a distance of about 3 3/16"
fairly large cutting head. Fortunately, the new senior management brought in by CBS
from the lower edge of the neck plate
in mid-81 saw the mistake and had the NC router’s program and cutter modified!
¢ between the string ferrules and the bottom end of the body, at a distance of
ROUTINGS & TOOLING MARKS
about 1" from the bottom end of the body.
Routings and tooling marks provide interesting criteria to distinguish the various
These holes ceased to appear after the late 70s when NC routers definitively took
generations of bodies used on the regular Telecaster and Esquire.
over from the old-style pin routers. This being said, they have been maintained
TOP ROUTINGS on the Vintage Reissue.
e In addition to the neck pocket, the body of the earliest models (Esquire, CLAMPING HOLES
Broadcaster and “No” Caster) had only three top routings, respectively for the Older bodies usually feature small clamping holes on the front face, respectively located:
neck pickup, the bridge pickup and the controls.
° under the pickguard, between the front pickup and the neck pocket (until the
© Beginning in mid-51 a fourth routing appeared between the neck pickup and early 60s)
the controls cavity. Back in the early 50s, FENDER probably experienced
problems in drilling one long channel directly across the hardwood body to ° under the control plate, next to the bottom screw hole of the plate (until the
early 60s)
house the neck pickup leads into the controls cavity. The intermediate routing
was most likely created to allow for the drilling of two shorter channels instead. e under the bridge plate, near the upper holes drilled for the strings and the
plate screws (until the early 60s)
° In the late 60s, the availability of sophisticated drilling equipment put an end
to the need for an open channel between the neck pickup and the controls

a "THE

TELECASTER
: 55
THE TELECASTER IN DETAIL

¢ under the pickguard, near the extreme pickguard screw hole in the cutaway problems experienced by FENDER with the red stain, which often faded away
horn (until the late 50s) after it was exposed to daylight. When the CUSTOM was revamped in 1972,
Sunburst remained the standard finish but by 1975 Black, White, Natural,
It should be noted that these small holes usually do not show on the late 50s
Walnut and Blond (!) were added to the stock palette. Antigua and Wine (red)
“top loading” models, which have no string holes through the body.
were also listed in 1977. Some colours were then phased out (Blond, Walnut,
ROUTER’S HUMP White, Antigua) and prior to its discontinuation in 1981 the model was available »
Until about 1964, standard (unbound) bodies show a characteristic side hump with only 4 standard finishes: Black, Natural, Wine and Tobacco Sunburst.
next to the neck pocket right at the beginning of the cutaway. This hump, which ¢ The THINLINE type I originally came out in 1968 with natural ash and
is perpendicular to the 21st fret,can be clearly felt by moving the finger inside mahogany as its two standard finishes, but Sunburst was quickly added.
the cutaway. Additionally, it should be mentioned that, on the early 50s guitars, Shortly after the advent of the THINLINE type II (with humbuckers) mahogany
the neck pocket does not perfectly match the shape of the neck heel. In other was deleted from the standard finishes and the model was subsequently
words, the body forms a protruding “lip” below the neck heel simply because offered with the same standard finishes as the CUSTOM until its
the neck pocket was initially routed with perpendicular sides, without taking discontinuation in 1979. sg
into account the fact that the neck heel does not form a right angle. By the mid-
¢ The DELUXE was introduced with at first Walnut as the sole standard finish,
50s, the neck pocket was drilled with a slightly smaller angle (90° minus 0.87°)
but after 1975 it became available with the same palette as the CUSTOM and
to accomodate the shape of the neck heel.
THINLINE models until its discontinuation in 1981.
Also worth mentioning:
¢ The ELITE Telecaster appeared in 1983 with 6 standard finishes: Black, Natural,
¢ Owing to its peculiar construction, the body of the original Rosewood Pewter, Artic White, Sienna and Brown Sunburst, not to mention the top-of-the-
Telecasters features two maple dowels in the neck pocket (sometimes one) line WALNUT ELITE. By mid-84 though, all the custom colours previously
and in the bridge pickup cavity. These dowels were meant to ensure a available at an extra charge became standard during the ELITE ’s swan song, i.e.
correct alignment of the hollowed-out body halves sandwiching the thin Lake Placid Blue, Candy Apple Red, Aztec Gold, Candy Apple Green, Emerald
maple core strip. Green and Wild Cherry as well as the three Stratoburst: Bronze, Black and Blue.
e The body of the modern replicas recently built by the Custom Shop do not ¢ When FENDER resumed its manufacturing activities after the CBS spin-off, the
incorporate such dowels, as Fender luthiers have perfected a new notion of custom finishes was abandoned and each production model was
construction method for the Rosewood Telecaster. made available in several standard finishes. The TELE PLUS was introduced in
mid-1990 with a selection of 5 standard finishes (Natural, Antique Burst,
PAINTS & FINISHES Ebony Frost, Crimson Frost and Blue Frost) like the newer SET NECK
Telecaster (Sapphire Blue Transparent, Autumn Gold, Antique Burst, Crimson
Fender finishes can be basically divided in two categories: “standard” and
Transparent and Ebony Transparent).
“custom.” Each model has always been offered in one or several characteristic
standard finishes available at no extra cost, and anything else, whether listed or not, Finally, it should be noted that several Telecasters were offered with a unique
should be considered as a custom finish. standard finish which often coined their special designation. For instance: the
Mahogany Telecaster in 1963-65, the Paisley Red and Blue Flower models in 1968-
STANDARD FINISHES
69, the Rosewood Telecaster in 1969-72, the Black & Gold Telecaster in 1981-83,
REGULAR TELECASTER & ESQUIRE the Walnut Elite in 1983-85 and of course the Blond Vintage Reissue since 1981.
e Aside from the black paint tentatively offered on the Esquire in the early 1950 CUSTOM FINISHES
catalogue, Blond(e) remained the sole standard finish between 1950 and 1974.
Leo Fender always made a point of staying close to musicians, in particular to
¢ By 1975 the distinction between standard and custom finishes was country and western players, to be perfectly in tune with their needs and
temporarily suspended and the Telecaster became available in 6 stock requirements. Back in early 50s, some musicians asked for a personalized touch by
finishes: Blond, Sunburst, White, Black, Natural and Walnut. way of a special finish other than the regular production colour. In other words,
¢ In 1977 Antigua and Wine (red) were added to the standard finishes but after they requested a “custom finish.”
1978 the stock palette was gradually narrowed down to 5 finishes as Walnut * The primitive notion of a custom finish was that upon specific request FENDER
(in 1978), White (in 1980) and Antigua (in 1980) were phased out. would paint a guitar in any available colour of the player's choice. At first, this
¢ In 1981 the notion of “custom finish” was briefly reinstated, but the option was the privilege of the artists familiar with the Fullerton factory, but after
Telecaster remained available in 6 standard finishes, some old and some new, the mid-50s it made its way into the company’s literature. The 1957 catalogue
i.e. Black, Natural, Artic White and three different shades of Sunburst (Cherry, thus specifies: “TELECASTER AND ESQUIRE GUITARS ARE AVAILABLE IN
Sienna and Brown). CUSTOM COLOR FINISHES AT AN ADDITIONAL 5% COST.” Incidentally, a
custom finish is not necessarily a solid colour and in 1957-58 a few Telecasters
¢ By mid-83, the list was cut down to 4 finishes: Black, Ivory, Sienna and
and Esquires were painted with a custom 2-tone Sunburst, otherwise standard
Brown Sunburst.
on the Stratocaster.
e In late 1987, the American Standard made its debut with 4 standard (and no
At that time colours were still largely at the customer's discretion, with a
custom) finishes: Black, Sunburst, Vintage White and the all-new Gun Metal
possible reference to contemporary car finishes. FENDER was not yet pro-active
Blue. Crimson Metallic appeared in mid-88 and Midnight Blue, Midnight Wine
in offering its own selection of custom finishes, but the company was already
and Frost Red in 1989. All these finishes (minus Crimson Metallic dropped
using DuPont paints. In the rather conservative environment of the decade, it
after a year) were the stock offering at the end of 1990.
was fairly outrageous to paint a guitar in red or blue. This explains why original
OTHER MODELS custom-coloured instruments from that period are extremely rare, especially
° The first generation of CUSTOM models with a bound body was exclusively Telecaster guitars.
offered with a standard 3-tone Sunburst. Some of the early examples, however, * In the late 50s, George Fullerton came up with the idea of standardized custom
look today as if they were sprayed with a 2-tone Sunburst shading owing to the finishes, i.e. specific optional colours which would be offered by FENDER in

filter
 Before the Thinline, Fender
attempted to lighten the
Telecaster via additional
routings under the pickguard.

The Set Neck body is made of a core spread of mahogany, A run of blond Telecaster bodies drying after being sprayed at the Fullerton factory in
drilled with 11 holes of 1.5" to provide a better the mid-60s. [courtesy Jobn Sprung]
resonance and save weight.

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MATL REF | RIGHT HANO PAV | LEFT HAND PAV

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ALL OUMENSIONS ACROSS CENTERLINE ARE SYMMETRICAL TO CENTERLINE.

HARD. LIFT MAMI) BONY GAM BE MADE BY GLVERSHR TOMLIN.
LEFT HAND BODY /S OIMECT OPPOSITE OF RIGHT

BLEND ALL RADI!

OUTSIDE CONTOUR OF BODY TO BE TAKEN FROM Tes Ome.

in November 1980. [courtesy Fender]

The original blueprint of the Vintage Telecaster as drawn by the late Freddie Tavares 57
 THE TELECASTER IN DETAIL

STANDARD TELECASTER FINISHES* addition to each intrument’s standard finish. Based upon the late 50s custom-
coloured intruments known to this day, it would appear that Fiesta Red,
60s CHART 61 62 63 a 65 66 67 68 69 70
Shoreline Gold, Lake Placid Blue and Black were among the earliest custom
Blond
Sunburst finishes selected by the factory.
Sonic Blue
By 1961 FENDER released its first “custom chart” featuring 14 finishes
Olympic White
displayed in small compressed chips. The colours were: Lake Placid Blue,
Daphne Blue, Sonic Blue, Shoreline Gold Metallic, Olympic White, Burgundy
Mist Metallic, Black, Sherwood Green Metallic, Foam Green, Surf Green, Inca
Silver Metallic, Fiesta Red, Dakota Red and Shell Pink. The chart mentioned
Candy Apple Red “THESE 14 COLORS, PLUS BLOND, AVAILABLE AT 5% ADDITIONAL COST.
Daphne Blue SUNBURST FINISH STANDARD AT NO EXTRA COST.” In the case of Telecaster
Blue Ice guitars, Blond was actually available at no extra cost but Sunburst was a
Shoreline Gold
Firemist Gold chargeable custom finish.
Burgundy Mist e The first chart also indicated “COLORS SUBJECT TO CHANGE WITHOUT NOTICE”
Charcoal Frost
Sherwood Green and shortly FENDER began indeed to delete some colours and replace them with:
Ocean Turquoise other shades. In 1963, the dramatically rare Shell Pink was superseded by Candy’
Surf Green Apple Red, which raised to six the number of metallic finishes, then quite trendy.’
Teal Green
Inca Silver
Other changes gradually took place in subsequent charts, but until 1969 FEND ;
Firemist Silver retained 14 optional custom finishes, besides Blond and Sunburst. Most of them |
were phased out over the 1969-74 period and by 1975 the distinction between
70s CHART 71 I Ww ~IRSS
~InN ~lwn I an ~—I~—I | io) I oo iv.)i—)
standard and custom colours was invalidated. At that time Telecaster guitars
Blond (501)
Sunburst (500) could be ordered with only 6 finishes: Blond, Sunburst, Black, White plus Naturaa
Lake Placid Blue (502) (=ash) and Walnut both introduced in 1972.
Sonic Blue (503)
Firemist Gold (504) ¢ True custom finishes were reinstated at the end of 1980 with the inception of
Olympic White (505) the short-lived “international colours” (Ref. 580 through 586 i.e Morocco Red, ,
Black (506) Monaco Yellow, etc...) available at a $50 additional charge. At the end of 1981
Ocean Turquoise (507)
Firemist Silver (508) the colour chart was revised to feature a palette of novel finishes, often called
Candy Apple Red (509) the “jewel colours” ( Ref. 542 through 548 i.e. Sapphire Blue, Ruby Red, etc...) |
Natural (521) available at a $75 extra charge. The list was completed in 1982 with three
Walnut (522)
Stratoburst metallic finishes (Bronze, Black, Blue) costing an additional $100
Antigua (523)
Wine (524) on a Standard Telecaster. Finally, before all production stopped in Fullerton, 75 |
Tobacco Sunburst (525) Telecasters were also released with a limited edition “marble” finish, available
in 3 equal batches of different colours (Red, Blue and Gold).
80s CHART 2]tN -) aw
- SS oown ES eo)a B e)\o \oi)
Blond (501) 12 ¢ Since late 1985 several colours, either old or new, have been offered with each
Black (506) Telecaster model but they are available as standard finishes at no extra cost. The
Natural (521)
Wine (524) “real” custom finishes now come from the Custom Shop established in 1987...as
Tobacco Sunburst (525) in the old days, a player can request whatever colour he (or she) fancies on a
Cherry Sunburst (530) guitar and even more!
Sienna Sunburst (531)
Brown Sunburst (532) For a quick reference, the production finishes used by FENDER on regular

|
Artic White (580) Telecasters and Esquires are itemized in chronological charts.
Morocco Red (581)
Monaco Yellow (582) Also worth mentioning:
Maui Blue (583)
Capri Orange (584) * The early 50s models finished in Blond (or Blonde as it was initially spelt) are
Sahara Taupe (585) known for their yellowed “butterscotch” colour. Tellies made after 1954 have
Cathay Ebony (586) a “creamier” look, sometimes slightly beige, whilst late 50s guitar feature an
Vintage White (541) “off-white” finish. These different shades basically result from a combination
Aztec Gold (542)
Pewter (543) of factors such as the type of lacquer used, the way the finish was applied and
Mocha Brown (544) to some extent the ageing process.
Candy Apple Green (545)
Emerald Green (546) * On his early guitars, Leo Fender probably used a furniture-grade lacquer,
Sapphire Blue (547) applied with a thin opaqueing colour coat. Contrary to popular belief, though,
Ruby Red (548) the early butterscotch colour does not merely result from ageing. Bodies were
Ivory (549)
Bronze Stratoburst (550) shot with a tinted lacquer, probably meant to emulate the trendy Blond finish
Black Stratoburst (551) then found on “modern” late 40s furniture. The first prototype built by Leo
Blue Stratoburst (552) Fender and George Fullerton in 1949 was sprayed with a white paint, and it is
Gun Metal Blue (568)
Crimson Metallic (525)
still perfectly white to this day. Leo once indicated that he was originally using
Midnight Blue (573) an acetate finish on his guitars, and this may well explain the peculiar look of
Midnight Wine (575) the early Tellies, beyond any cosmetic consideration.
Frost Red (577)
* Although the same basic hue was retained, the finish changed slightly by 1952,
(*) the above charts recap the (standard and custom) finishes officially listed for the “regular” model and, after approximately at the time FENDER began to order paint supplies from a local
1987, for the American Standard.
company called Spartan Lacquer. Around late 1954 it can be assumed that the

THE
TELECASTER

58
 ee

THE TELECASTER IN DETAIL

PART 3

factory switched over to more durable automotive finishes, whilst shooting

¢ THE SINGLE COIL BRIDGE PICKUP
more paint to produce a slightly more opaque Blond shading. Conversely, the
appearance of certain 1955-56 guitars suggest that experiments might also This pickup is often considered the heart of the unique Telecaster/Esquire
have been conducted with different filler pastes and/or undercoats prior to sound. Its construction is fairly rudimentary and consists of a bobbin made of 2
applying the colour coat. At any rate, the ash grain pattern is more visibly vulcanized fibre plates held together by 6 Alnico magnet slugs and surrounded
showcased on early 50s guitars than on late 50s ones. By 1957, the Blonde by a coil. The Alnico magnets (ALNICO = ALuminium-NIckel-CObalt) serve as
finish evolved into the off-white colour it would keep until the early 60s. direct non-adjustable pole pieces. On the early pickups these poles are flush
with the top plate of the bobbin, but by late 1955 staggered poles with a raised
* When the ’52 reissue project was launched, FENDER engineers (among them D and G were introduced to remedy the imbalance in string response. Level-
Freddie Tavares) reckoned that the paint used in the early 50s was actually poles reappeared only in 1981 on the 52 Vintage Reissue and were later
white with a touch of beige in it. Ageing mostly made it turn to a yellower
reinstated on the American Standard.
shade and to replicate the aged Blonde colour, they ended up mixing a special
In the old days, pickups were not wound to an exacting number of turns but
paint...without too much success!
primarily engineered to deliver a certain output on a volt-meter with a 20%
° The custom finishes offered in the early 60s were DuPont automotive paints tolerance. This explains why there are substantial variations in the measurements
usually found on past or current G.M. and Ford cars, In most cases, FENDER of older pickups. The earliest bridge units may thus feature more than 10000
kept the paint’s automotive namesake and did not bother to coin a specific turns of wire and a few of them originally boasted a DC resistance well above 9k
designation. This explains subtle colour changes in the early charts, such as Ohms. Such a high output is compounded by the fact that Leo Fender did not
Firemist Gold (’64 Cadillac colour) vs Shoreline Gold, as FENDER probably initially use 42 gauge wire, but slightly skinnier 43 gauge with a higher DC
modified its own selection in accordance with newer paints used by car resistance. This particular feature accounts for the powerful twangy singing tone of
manufacturers. These DuPont paints were either enamel lacquers (Duco Broadcasters. The shift to 42 gauge wire took place in the very early 50s, but is
colours) or Acrylic lacquers (Lucite colours). fairly difficult to pinpoint more precisely without taking several old pickups apart.
* Custom finishes other than those listed in the charts can be found on perfectly Bridge pickups made during the 50s otherwise feature on average 9200 turns
original FENDER instruments, e.g. gold sparkle, silver sparkle, purple, aqua of 42 gauge wire, meant to deliver anything between 7k and 7.8k Ohms prior
marine, blue antigua (a.k.a. “marlin” finish) etc... They were produced in to installation in the guitar. At any rate, even pickups precisely wound to the
Fullerton either as a “real” custom job for an artist or as a crowd-catcher for same numbers of turns do not necessarily show the very same resistance on a
a trade show — for instance the Day-glo Telecaster in the colour section — or volt-meter! When the old-style hand-winding machines (or rather “hand-
as part of a a special run for an authorized dealer or simply as an experiment. guiding” machines) were replaced by automatic winders in the early 60s,
e “Ghost finishes” are probably among the rarest of all the exotic unlisted FENDER toyed with conversion ratios between the number of turns reading on
finishes. According to old-timer Alfredo Esquivel from the spray shop, a the counter and the actual number of turns in the pickup. Early CBS blueprints
handful of Telecasters were finished in the mid-60s with a special white paint from 1965 indicate that bridge pickups were then wound to 1500 counter
meant to react under black light and reveal motifs hidden under normal light. turns, meant to equate 7500 actual turns. Ratios were changed back and forth,
but on the whole mid-60s and 70s pickups feature an average 7800 actual
¢ 60s guitars are not immune from the effects of ageing and, whether Blond or turns and a resistance ranging between 6k and 6.8k Ohms. In the early 80s,
custom-coloured, some of them have ended up today with different shades FENDER recaptured some of the old specs thanks to the research carried out
from those originally applied. A few Sonic Blue guitars turned almond green for the Vintage Reissue project.
whilst some Olympic White matured into a yellowed ivory. Some Blonde
Tellies also yellowed with age, and in most cases the variation can be traced to What distinguishes the Tele bridge pickup from other Fender single coil units is
' the thinness or the absence of a top clear coat to seal the finish properly. the metal back plate under the bobbin. This plate, made of tin until early 1951
and copper-coated therafter, serves several purposes. It acts as a shield and
e As implied above, a body usually features three different types of finishing ground conductor as well as intensifying the magnetic field. Bearing in mind the
coats: an undercoat (or sealer coat), a colour coat (or opaqueing coat) and a specific installation of the pickup, electronic shielding was probably the main
top clear coat. Until 1968, Fender guitars were sprayed with nitro-cellulose consideration behind the back plate. It may, however, contribute to unwanted
lacquers which account for their gently aged and sometimes weathered finish. feedback and microphonic noises and this is the reason why FENDER decided to
However, nitro-cellulose lacquers are pretty unstable, harder to deal with and delete it in 1983 on the newer Standard Telecaster. The result is slightly
they can generate dangerous toxic fumes. After CBS took over FENDER, different measurements and performance between the Vintage and the Standard
polyester finishes were brought in, primarily because they are better suited to Telecaster lead pickups.
mass production. Heavier coats of polyester soon generated a major change in
Cosmetically speaking, the first pickups featured a bobbin with two black fibre
the look and feel of Fender guitars as the company developed its “Thick Skin”
plates. In 1965 FENDER changed for a light grey bottom plate and after 1968 for
high-gloss finish, typical of the 70s instruments. By late 1981, polyurethane
a dark grey bottom plate (and also top plate in the late 70s). All black bobbins
replaced polyester for the top coat, and shortly before the close-down of
were reinstated in the early 80s when the copper back plate underneath the
Fullerton it also started to be used for the colour coat.
bobbin was discarded. Otherwise, prior to winding the coil, the bobbin is
On the threshold of the 90s, production guitars coming out of the Corona plant dipped in clear lacquer to insulate the magnets from the coil. After the coil is
are entirely finished with polyurethane, except the Vintage Reissue which has so far wound, the whole assembly is also immersed in hot wax to saturate the coil. In
retained nitro-cellulose for its colour and top coats. However, the question is how the mid-60s, some of Leo Fender’s tricks-of-the-trade got lost in the CBS text
long it will last, as the Environmental Protection Agency (E.P.A.) may disagree with book and the waxing process went amiss. It was therefore suspended for a while
the merits of keeping alive the 50s tradition in a highly pollution-conscious area! and resumed only in the 80s.

PICKUPS AND WIRINGS

e THE SINGLE COIL NECK PICKUP
The neck pickup shares the same basic construction as the bridge unit, but it
PICKUP SPECIFICATIONS boasts a few specific features. First of all, its bobbin is noticeably smaller and
the coil has fewer windings than the bridge unit. Besides, it is encased in a metal
Overall, Telecaster pickups can be listed in five main categories over the last 40 years. shell to protect the coil from electronic interference and therefore its individual
 REVISIONS
APPROVED
SPECIFICATIONS=~
CORE ASSY TO BE DIPPED IN
CLEAR LACQUER BEFORE WINDING.
WIRE IN EYELET INDICATED START OF WINDING
THREAD
AS SHOWN.
WINDING: Y _ Back o2oR BFG i
mI)
ACTUAL TURNS : SLAC
7500
21500 COUNTER TURNS
WIRE?
#42 PLAIN ENAMELED
COPPER WIRE

040824 \ u — WHITE
DINGS TO BE WRAPP
TE -COTTON STRING

AND WHITE
OR YELLOW.
TO BE MAGNETIZED AFTER ASSY PER
F.M.1-. SPEC \
— DIRECTION
OF WINDING

cal af 1950 Broadcaster bridge pi

Note the tiny notches 4
= |neao PART HO. aaa peeve 3 MATERIAL | SPEC, / NOTES

SAE eadpickup
| factory Feaesrtiyehcore
guide the coil wire?

eS : es
UNLESS OTHERWISE SPECIFIED rst © lee e| MUSICAL INSTRUMENTS

xx = 3 - sis blueprint
XXX =
ANGLES = ss PICK Ui : drawn in
MATERIAL .
a December 1965.
273 [courtesy Fender]
ofaefet 1B} 034728
USED ON
SEALE FULL [MODEL ASeaSMAe—
| She t

TELECASTER WIRING DIAGRAM 1/1/53

|
Lever Switch shown in deep rhythm position The 1953-6)
wiring circtt
Lever as reproduce
Switch
in 50s Fendi
service mam

0 REVISIONS

SPECIFICATIONS- Ny DESCRIPTION pare | A

a
1. CORE ASSY TO BE DIPPED IN CLEAR §
LACQUER BEFORE AND AFTER WINDING.
2. THREAD WIRE IN EYELET INDICATED
AS SHOWN.
3. WINDING: -—BLACK oR eve(/4)
7500 ACTUAL TURNS
1500 COUNTER TURNS
WIRE? #43 PLAIN
COPPER WIRE
ENAMELED Les = > voted
! ptetat

CORE: PART NO. 040840

mh thee bp
4. aed TO BE 12.0 LONG“22 GAUGE “
\
WHITE OR veriow(/f) be ie
be
STRAWDEOD
WHITE OR
BLACK
YELLOW
OR
RODAY.
BLUE ANDO /
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[Link]. bekh eee / af'l2\
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Top: mid-50s bridge pickup with flush poles. 6. FINISH TO BE LACQUER SEALER. / gy
Middle: late 50s pickup with raised D and A poles. — START OF lg oe
Bottom: - late 60s pickup with staggered poles. WINDING TA OF
a) WINDING

! =
[fen an PART NO. DESCRIPTION MATER AL SPEC. , NOT
LIST OF MATERIALS
UNLESS OTHERWISE SPECIFIED | Re as F , MUSICAL
——_ DEBURR & BREAK SHARP EDGES IKSTRUWE
Neck pickup factory blueprint FULLER“ ON, CALTE

drawn in December 1965. At that j TOLERANCES

XX = + 03
time, both neck and bridge XXX =
ANGLES =
= .010
="
PICKUP ASSY.- RHYTHM

pickups were wound for the same

number of turns. [courtesy Fender] DWG. bio.
034736

USED ON
 Rl visions

FINISH —

=] tcomse2s, #/ 010780) =
SOVTW POLE — | WAS O101G7 TITLE Picwus KB OUITAR Fue:
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START ~ CENGTA IFT TOTAL 5 ae Mae ECPM
ARROWS INDICATE DIRECTION OF WINDING “con a
#2 of
7 L
vwuree - © _ MAGNET -CONIFE ra 1 |
make FROM P/N 0/0195 !
WwW O0GS383 | 42 REQ’D — INSTALL ALL \ LOS —
COVER REMOVED FOR CLARITY “MAGNETS FLUSH
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WITH TOP
FOR MAGNETIZING
Noel
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—— OOTS INDICATE

[Link] ARE (BED IN EACH PICKUP ASSEMBLY,

TAPS COILS WITH PYNOI0ZQ3 TO PROTECT WINDINGS 13 DETAIL. A fyoes9e4
AR.
MAGNETIZE PICKUP WITH POLES AS SHOWN BEFORE
Cabos
k A hb A 5 INSTALLING COVER -+-—~ - - Ba HO COE
THE SMIELDED LEAD MUST ex!T FROM THE 2/GHT- t
bumbucker
; without s ielding cover. EMO TROLS
OF THEOF P/EKUP ASSEMBLY. EVO NEAREST THE i
+ z> c = == =~ 2
TNE INSTRUMENT.) B - = = = :
‘ DOO , 0@ |
BACH CO MEASURES 5,3002 400 OWS D.C RESISTANCE, © 25°C
x
PAN PICKUP MEASURES 10,600F
800 OHMS D.C. RESISTANCE, @25°C. [J
se PLACE
ms 4 ; @Oo |,||
PICKUP AND COLD ROLLEO
bias Siem
STEEL KEEPER (Vax! x2keyas (esx) i — et 7 oa
SHOWN FOR MAGNETIZING,
KEEPER MUST REST FLUSH ON Se,
ALL MAGNETS vi,

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226002
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MAGNETIZER POLES P/N 010201
PICKUP ARAGNET/ZWIG PROCEDURES

[ais
Sra PR Tomar
UNLESS OTHERWISE SPECIFV

ASSEMBLY
PICKUP-HUMBUE KING

FH!

70s humbucker designed by Seth Lover is fitted with NAAR

istable poles offset in two rows.

WHITE

ORANGE are =

BREEN a Oe
be dual red
Lace Sensor
pund on the
GROUNDING
Tele Plus is
currently
Fender’s
test pickup.
Fender-Lace
reer eaeFender-Lace
mrtesy Fender]

TAP FOR #6-32 META

ac | 6 SIDEVVIEW
TOP VIEW COVER COLOR} PART #
036842
037279
® MUSICAL
INSTRUMENTS

@ THIS IS OUR REPRESENTATION OF THE TART WE

MOUNTING PLATE THAT ALREADY HAS R ISENSOR-LACE DUAL RED STD MNT
BEEN TOOLED BY ACTODYNE GENERAL INC.
@ USES Two FENDER-Lace - RED sensors | 2% [39 -6i%
H 9/5/90
@LEADS
TO TO BE Be 102
10% LONG, mouse $0.5
vac ma +0.004 -0,001 g
= Tae
1/1
NOTES: UNLESS OTHERWISE SPECIFIED.

The Elite
Telecaster
pickup is a
humbucker
built around
two small
bobbins.

The Elite’s
PC board.

Top: Esquire wiring circuit featuring paper capacitors.

Middle: Telecaster wiring featuring ceramic disks.
Bottom: 70s Custom wiring with mylar capacitors. 61
THE ORIGINS OF THE TELECASTER

indicate that the neck pickup should be wound with 1500 counter turns (=7500
BRIDGE PICKUPS SPECIFICATIONS actual turns) exactly as for the bridge pickup. The number of turns changed back anq
1950s _— late 1960s 1970s Vintage Elite 1980s forth in the late 60s before settling down to an average 7800 turns, which gave a
early 1960s 1970s Humbucker Reissue Humbucker Standard resistance of 6.5k to 7.3k Ohms with 43 gauge wire. After 1981, FENDER did its best t
retrieve the old specifications, i.e. a resistance ranging between 7.3k and 8.1k Ohms.
TYPE OF WIRE 42GA 42GA 42GA 42GA 42GA 42GA
plainenamel plainenamel polysol_plainenamel polysol _ plain enamel ¢ THE 70s HUMBUCKING PICKUP
then polysol
The pickup found on the Deluxe and the second generation of Thinline and Custom
TURNS OF WIRE 9200 7800 10000 9200 8000 9200 models was designed by former Gibson engineer Seth Lover. His Fender brainchild
(average) both coils both coils
features two coils, each wound with 5000 turns of 42 gauge wire and a resistance of
TYPE OF
5300 Ohms +/- 400 Ohms (i.e. a nominal resistance of 10.6k for both coils together
MAGNET Alnico 5 Alnico 5 Cunife Alnico 5 Alnico 2 Alnico 5 Whilst adopting the humbucking mode for FENDER, Seth Lover was keen to retai
a brighter sound and a higher resonant peak frequency than a Gibson pickup.
DC RESISTANCE 7500 6400 10600 7400 11500 7100
(in Ohms) both coils both coils Besides, the magnets were also to serve as direct adjustable pole pieces (cf the
1953 single coil “Alnico” pickup he designed for Gibson). To this end, Seth used
INDUCTANCE 3.21 , 4.85 3.58 5.88 3.13 a special alloy made of Copper-Nickel-Ferrite (=Cunife), which was then the onl
(in Henries) magnetic material likely to be machined and threaded. Cunife magnets also
contributed to providing a concentrated flux field and keeping the inductance to z
“Q” FACTOR 2.69 2.06 : 3.04 3.21
lower level (hence more trebles) than Alnico V, all else being equal.
The 70s Fender humbucker is fitted with 12 threaded magnets but, once the metal
NECK PICKUP SPECIFICATIONS
cover is soldered, only 6 — split in two offset rows — are fully adjustable in height frone
1950s late 1960s 1970s Vintage Elite 1980s
early 1960s 1970s Humbucker Reissue Humbucker Standard
the top. It remained in production between 1971 and early 1981 and disappeared
from the catalogue with the discontinuation of the Deluxe and Custom models.
TYPE OF WIRE 43GA 43GA 42GA 43GA 42GA 43GA e THE ELITE HUMBUCKING PICKUP
plainenamel plainenamel polysol plainenamel polysol _plain enamel
then polysol Although it was not clearly advertised as such in 1983, the pickups engineered for the
Elite Telecaster are indeed double coil humbuckers. Besides, unlike the 70s unit, thes
TURNS OF WIRE 8000 7800 10000 8000 6000 8000
(average) both coils both coils were produced in two distinct versions for the neck and the bridge positions.
Designed with an active electronics environment in mind, Elite pickups are fitted
TYPE OF
MAGNET Alnico 5 Alnico 5 Cunife AlnicoS Alnico2 Alnico5 with weaker Alnico I magnets meant to facilitate the string vibration and improve
sustain (less pull). Each pair of black plastic-moulded bobbins is wrapped with
DC RESISTANCE 7700 6900 10600 7800 8800 7500 6000 turns (neck) and 8000 turns (bridge) of 42 gauge poly-coated wire and
(in Ohms) both coils both coils
totally encapsulated in a white plastic casing filled with foam resin. The Elite
humbuckers do not have adjustable pole pieces and it is generally impossible to
INDUCTANCE eB 4 4.85 2.29
(in Henries) tinker with them, without running the risk of completely destroying the coils.
Although it was a sensible attempt to combine the best of two different worlds
“Q” FACTOR 1.75 1.82 2.87 1.84 2.41
(i.e. Fender and Gibson), the Elite Telecaster did not make a lasting impact and
it was produced only from mid-1983 until late 1984.
LACE SENSOR SPECIFICATIONS
¢ THE FENDER-LACE SENSORS
DATA GOLD SILVER BLUE RED
This new generation of “pickups” results from the cooperation between
DC RESISTANCE 7100 12800 FENDER and a scientist by the name of Don Lace, head of a California-based
(in Ohms)
R&D firm called ACTODYNE GENERAL. Don Lace first approached FENDER in
late 1983 to suggest new pickup concepts rooted in his vast experience in the
PEAK FREQUENCY 3300
(in Herz) field of magnetic and sensing devices. After the CBS spin-off, talks were resumed
in June 1985 and an agreement was eventually signed in September 1986 for the
INDUCTANCE development of a whole range of pickups for guitars and basses. The Strat Plus
(in Henries)
introduced in early 1987 was the first Fender instrument equipped with the
“Q” FACTOR radically innovative “acoustic emission sensors” designed by Don Lace.
The detailed characteristics of the Lace sensors, which are not produced by
pole pieces are concealed. Judging from the various disencased specimens FENDER but by ACTODYNE, are still classified even for Fender people! Basically,
examined by this author, the neck pickup has always kept level poles, but whilst they are passive units built around an intricate array of low energy particle
they were flush with the top (and bottom) plate on the early units, they are magnets. The conventional pole pieces are thus superseded by 36 micro comb
slightly protruding at both ends on more recent ones. teeth and the inner core of the sensor is framed by metal sides (called Radiant
From the outset the neck pickup was wound with 43 gauge wire and, unlike the bridge Field Barriers) to eliminate hum and provide quietness of operation. Since
unit, it never changed to 42 gauge wire. Leo Fender was probably satisfied with the 1986, several variants with a distinct tonal response have been developed for
sound he was getting from the pickup “as is” and, bearing in mind the size of the electric guitars and are identified by their colour coding:
bobbin, a coil with 42 gauge windings would have delivered a lower resistance. On the * Gold = classic late 50s Stratocaster single coil sound
average, neck pickups from the 50s have about 8000 turns of wire and a DC resistance ¢ Blue = clean late 50s humbucker sound
ranging 7.3k and 8.1k Ohms. In the early 60s, the inception of auto-winders and * Silver= punchier Stratocaster sound with more mid-range
conversion ratios brought about some confusion, and by 1965 CBS documents ¢ Red = high output humbucker sound
 i —— —_

ae

THE TELECASTER IN DETAIL

e
t
)
PART 3
and the hottest of them all, the Dual Red consisting of two
Red sensors hooked
up in series.
The James Burton model was the first Telecaster to be fitted with
a combination
of Lace sensors, now also available on the Tele Plus.
For a quick reference, the basic specifications of all these pickups are listed
in
three separate charts respectively dealing with the bridge pickups, the neck
pickups and the Fender-Lace sensors. The featured data come either from
factory files, including the information researched by Dan Smith and John Page
while preparing the vintage reissue models, or were specially gathered for this
author by Fender electronic engineer Rick Rodriguez, who kindly helped with
the measurement of more recent pickups.
Regarding older bridge and neck pickups, the charts reproduce the average
specifications of only two generations, which loosely speaking refer to the pre-
CBS and the CBS eras. Substantial variations may indeed occur in the The original circuit as drawn by Leo Fender himself. [courtesy Richard Smith]
measurements of older pickups, even for units of the same vintage. Besides,
such measurements may not indicate the actual readings of these pickups when In other words, the 2nd control operates as a blender or pan control between
brand new because of the likely effects of the ageing process. Last but not least, the 2 pickups when the selector switch is in the rear position. Besides, it has no
the pickups were all measured on a stand-alone basis, prior to installation in a effect whatsoever in the other two positions. Electronically speaking, this
guitar, with the controls bypassed and without taking into account the assembly features:
capacitance of a typical cord. * two 250K Ohm audio potentiometers for the controls
* one .05 MED capacitor connected between the switch and the master volume pot
Now, a few words of explanation concerning the main parameters listed in
* one 15K Ohm resistor soldered on the CRL switch.
the charts.
1953 - 1967
e the RESISTANCE represents the restriction opposed to the flow of electricity
because of the wire gauge and length (= number of turns). As a quick rule of In 1952 the assembly was modified by Leo Fender to incorporate a real tone
thumb, the lower the resistance (all else being equal) the weaker the output control, but in doing so Leo discarded any two pickup combination. The post-
and the clearer the tone. Regarding Telecaster pickups, a 43 gauge wire is 52 wiring thus provides the following settings:
skinnier than a 42 gauge wire, hence a higher resistance for an equal number F = neck pickup alone with a pre-set bassy sound but no tone control
of windings. M = neck pickup alone with proper tone control
R = bridge pickup alone with proper tone control
e the INDUCTANCE measures the resistance to alternating curents in relation to
the magnetic field. Basically, the higher the inductance, the greater the output
TO JACK
but also the greater the loss of high end.
e the “Q” FACTOR is supposed to rate the efficiency of a coil and is largely an
expression of the ratio of inductance to resistance. A pickup with a higher “Q”
(all else being equal) would emphasize a narrower band of frequencies and
conversely a pickup with a lower “Q” would emphasize a larger band of
frequencies. For the sake of comparison, all the Q factors listed in the charts RHYTHM

have been calcuiated as per the following formula: Q = 27 FL:R

where 27 = 6.28 1953-1967 circuit.
F = a constant frequency of 1000hz Electronically speaking, this second variant features:
L = the inductance in Henries
* two 250K Ohm audio pots for the controls
R = the resistance in Ohms
¢ one .05 MFD capacitor connected between the 2 pots
PICKUP ASSEMBLIES ¢ one .1 MFD capacitor connected between the CRL switch and the master
volume pot but it no longer incorporates a 15K resistor soldered on the
STANDARD DUAL PICKUP ASSEMBLY selector switch.
Three distinct configurations have been successively used by FENDER since 1950. AFTER 1967
1950 - 1952 The wiring was finally modified in late 1967 to provide a more traditional
The original wiring found on the 2-pu Esquire, Broadcaster,”No-Caster” and 2-pickup switching, i.e.:
early Telecaster is characterized by the absence of a “real” tone control and the F = neck pickup alone with tone control
3-way selector switch offers the following combinations (F= forward, M = both pickups together with tone control
M=middle, R= rear): R = bridge pickup alone with tone control
F = neck pickup alone with a pre-set bassy sound and no tone control
M = neck pickup alone with a natural sound and no tone control TO JACK
R = both pickups together with the neck pickup “blended” into the bridge
pickup according to the setting of the 2nd (“tone”) control

RHYTHM

THE Post-67 circuit.

TELECASTER

63
 PART .
THE TELECASTER IN DETAIL

The third variant finally did away with the pre-set bassy sound obtained in the YELLOW
neck position since 1950. This feature is often overlooked simply because many BOTTOM
VIEW
players clipped off the .1 MFD capacitor connected between the switch and the
volume pot on pre-68 guitars. Others completely rewired the assembly to obtain
a classic 2-pickup switching.
Electronically speaking, the newer wiring initially featured: BLACK

e two 250K Ohm audio pots for the controls

e one .05 MFD capacitor connected between the 2 pots
¢ one .001 MED capacitor soldered on the volume pot for added brilliance at
CONTROL
lower settings. But, in 1969, the 250K pots were gradually superseded by 1
MEG units, bearing in mind that a 250K pot gives a smoother taper but less WHITE

highs than a 1 MEG pot, which otherwise has more roll-off. However, by late
1981 the tone pot reverted to 250K instead of 1 MEG and in 1983 the tone TONE
CONTROL
capacitor was changed for a less bassy .022 MED. In late 1987, the American
Standard came out with a modified circuitry featuring a TBX tone control, first
introduced in 1983 on the Elite Telecaster (see below: other assemblies). The Esquire wiring diagram.
TBX control features a dual concentric pot (250K audio/1 MEG linear), one 4 = bridge pickup
.022 MED capacitor and a 82K resistor. At the same time, the volume pot 10 = 3-position switch
15 = 250k audio pot
reverted to 250K instead of the 1 MEG value in use since 1969. 16 = 0.05MEFD capacitor
17 = 3.3k resistor BLACK GROUND
The Vintage Telecaster is factory-equipped with a 1952-67 type assembly, but it TERMINAL
19 = jack phone
is furnished with an electronic parts kit meant to update the guitar to post-67
specifications.
The 2nd control operates only in the middle position but it works as a real tone
NECK BRIOGE
control. The rationale behind this peculiar wiring used until 1969 was to give to thes
PUCK UP PICKUP
single pickup Esquire tone possibilities similar to those of a dual pickup guitar.
Electronically speaking, this assembly features:
two 250K Ohm audio pots for the controls
e three .05 MFD capacitors
¢ one 2.5K resistor, later replaced by a 3.3K resistor after the mid-50s.
OTHER PICKUP ASSEMBLIES
¢ THINLINE (TYPE I)
The Thinline was originally fitted with a post-67 standard dual-pickup assembly.
In late 1971, the model was revamped with two humbuckers but kept the same
controls arrangement, i.e. master volume and tone controls plus a 3-way
position switch. However, the advent of humbuckers entailed a change in the
value of the pots (250K instead of 1 MEG) and tone capacitor (.022 MFD
instead of .05 MFD). Besides, the .001 MED capacitor added in late 1967 to the
volume control of the standard assembly was also discarded.
¢ CUSTOM (TYPE II)
The original Custom model shared the same electronics as the regular
Telecaster. The Custom type II introduced in 1972 is characterized by a
American Standard circuit with TBX tone control. humbucker in the neck position and a 4-control assembly, with separate volume
and tone settings for each pickup. The new Custom kept 1 MEG pots but, as on
the Thinline type II, .022 MED capacitors were adopted for the tone controls.
SINGLE PICKUP ASSEMBLY @ DELUXE
The single pickup assembly associated with the ESQUIRE is essentially a Telecaster Electronically speaking, the Deluxe could be described as a cross between the
circuit minus the neck pickup. Unlike other single pickup guitars (e.g. Les Paul revamped Thinline and Custom models introduced at the same period of time. I
Junior) usually equipped with a single volume and tone control, the Esquire was sports two humbuckers, a 4-control assembly and a 3-way toggle switch, that is
fitted with a 3-way switch meant to provide different tonal responses. The settings a configuration closely resembling a Gibson guitar! Otherwise, the Deluxe is
work as follows: fitted with the same harness as the Custom, i.e. four 1 MEG pots with one .022
F = the pickup is wired through two capacitors and one resistor to offer a MED capacitor on each tone control.
pre-set bassy sound with no tone control ¢ ELITE
M = the pickup is normally wired through volume and tone controls Built around active electronics, the Elite assembly features two specially designec
R = the pickup is directly wired to the output jack to give a hotter lead sound humbucking pickups, four controls, a 3-way toggle switch and a PC board
with no tone control. crammed with components. Each pickup has a separate volume control (1 MEG
audio pot), but the guitar has a unique tone circuit consisting of one TBX contro
(closer to the jack output) and one MDX control (closer to the bridge).
THE
TELECASTER
a AC
THE TELECASTER IN DETAIL

This circuit works as follows:

° the TBX is a high-range control with a centre detent that gives the standard
Fender sound. Rotating the knob clockwise from its mid-point click-stop
position enhances the higher resonant peak of the pickups. Rotating it
counterclockwise cuts off high frequencies.
e the MDX is a mid-range control which gives a variable boost of up to 6db
while cutting off high frequencies. RHYTHM
P/N
PICKUP
Ofe7/P7
‘— 3 POSITION
ay. SWITCH
Electronically, the TBX features a dual concentric pot (250K audio/1 MEG a P/NOI7OGI
“= SHIELO
linear) with a .022 MFD capacitor and a 82K resistor, whilst the MDX uses a
50K linear pot. The built-in PC board comprises no less than 4 transistors, 12
capacitors and 17 resistors and is powered by a 9-volt battery. The output jack PICKGUARD
P/NONO3S
acts as a on/off switch for the circuitry so that there is no drain on the battery
when the guitar is unplugged. LEAD PICKUP
PIN Cle/pE7

¢ JAMES BURTON
SHIELD

The Burton is fitted with 3 different Lace sensors: Blue in the neck position,
(S) SHIELD
Silver in the middle and Red near the bridge. They are wired to a 5-way selector
switch which allows for the following combinations: JAC
P/NOZ/9SG
-
|, Rast
Z ‘ eA
BHIEL TO BRIDGE PLATE
VewieLo £5 | 1\ P/N O1030
1. neck pickup alone vowing
CONTROL
—" [WHITE
BLACK
r\ Av
Lo
Gy
P/NO2Z/832 : voLuME
2. neck and middle pickup together CONTROL
P/N O2ZIBS2

3. neck and bridge pickup together in parallel BOTTOM VIEW

TONE —
4. bridge and middle pickup together CONTROL
P/NOIOIBS
TONE
5. bridge pickup alone. 022 22 CAPACITOR
PALI NOES
CONTROL
PNOIBA7TZ
*"REQ'O
Otherwise, the assembly features a master volume and tone controls with 250k
audio pots and one .022 MFD capacitor.
e ALBERT COLLINS Deluxe wiring diagram.

The Collins has a 60s style standard dual-pickup assembly, except that the single
¢ Until the late 60s, Fender exclusively used waxed cotton insulated wires
coil neck pickup is replaced by a DiMarzio humbucker. Otherwise, the circuit
(a.k.a. “cloth wires”) on all its pickup assemblies. Beginning in 1968, they
features two 250k pots with one .05 MED capacitor for tone.
were gradually replaced by plastic-coated wires. Cloth wires were later
@ DANNY GATTON resurrected for the ’52 Vintage Reissue although the earliest samples were
The Gatton is equipped with special pickups made byJoe Barden in Virginia. actually fitted with plastic wires.
These pickups are side-by-side humbuckers which fit in the same space as e The early 50s wirings are characterized by a bright-coloured sheath covering
regular single coil pickups. Otherwise, the model features a standard dual- the cloth wires alongside the selector switch.
pickup assembly with a 500k pot for the master volume. e After the late 70s, pickup leads are usually housed in pairs inside a flexible
e TELE PLUS white plastic tube.
The newer Plus features a Blue Lace sensor in the neck position and a dual Red e Beginning in 1983 a metal-braided sheath was first used to shield the wires
in the bridge position. Besides a classic 3-way switching, the model is also fitted coming out of the neck pickup.
with mini toggle switch acting as a splitter for the dual Red sensor. Otherwise, ° On the 70s guitars with humbuckers, pickups leads are shielded braided
the tone control is of the TBX type like American Standard. wires of the Gibson-type and not plastic-coated wires.
¢ SET NECK TELECASTER ° On the regular dual and single pickup assemblies, the wires are colour-
The latest brainchild from the Custom Shop is available with either a 2-pickup coded: black/yellow for the bridge p.u. and black/white for the neck p.u. and
or a 3-pickup assembly. The dual pickup models are fitted with two DiMarzio the jack output wires. Exceptions do exist though, particularly on mid-60s
humbuckers, a classic 3-way pickup switching and a coil-splitting mini toggle guitars which may come with blue/yellow or green/yellow wires.
switch. The 3-pickup model has an additional single coil unit (Stratocaster type) © The coil of the bridge pickup was at first protected by black tape, but after
in the middle position and a 5-way selector switch. Both variants are fitted with 1952 FENDER switched over to black (briefly) and then white cotton string.
a master volume (250K audio pot) and a TBX tone control. The finished coils were dipped in molten paraffin wax until the mid-60s and
On a more general note, the following points are worth mentioning about today the white string is often darkened with dust and dirt on older pickups. It
Fender pickup assemblies. is much cleaner on late 60s pickups, which were not dipped in paraffin wax.
Since the early 70s, the colour of the cotton string has reverted to black whilst
¢ Until the early 80s, FENDER used the same type of spring-loaded selector
the wax-dipping procedure has also been resumed in the early 1980s.
switch, branded “CRL 1452.” The early 50s units usually feature 2 patent
numbers (PAT 2,291,516 and 2,291,517), but a third patent number © Between 1950 and 1961, pickup assemblies featured white paper capacitors,
(2,503,885) is also mentioned after the mid-50s. During the 60s, the first two either flat or cylindrical, on which the value and specs are written in
patent numbers were deleted and only the third one remained stamped on the black/blue lettering (e.g. “ZYW 185 - .OSMED” or “ZNW 1P1 - .1IMFD”). Up to
chassis, Over the last few years, FENDER has primarily used replicas of the the mid-50s, the paper capacitors were often waxed.
original CRL 1452 switch.

ne
 TELECASTER ROTATED 180°

PART PART
PART DESCRIPTION DESCRIPTION
NUMBER KEY PART
|NUMBER REQUIRED NUMBER
PER_ASSY DRAWING
QUANTITY NUMBER
QUANTITY
PER
ASSY
REQUIRED
BODY ASSEMBLY
NECK AND KEY ASSEMBLY
040782 Body - Sunburst
015644 Screw - WOOD, OV, HD. PHIL, #8 x 2 STL, NKL,
PLT.
PICKGUARD ASSEMBLY 010215 Plate - Neck
040881 Neck and Key Assembly - includes, neck with decals
015578 Screw - SM,OV,HD, PHIL, #4 x 1/2 STL, NKL, PLT. keys installed, adjusting nut. No string guide included,
wn
070698 Pickguard White, Black White 040899 Neck Fabrication Assembly - No Keys included,
adjusting nut and decal included,
PICKUP ASSEMBLY, RHYTHM 012252 Nut - Neck Rod Adjusting

034736 Magnetic Pickup Assembly (Rhythm) STRING GUIDE ASSEMBLY

019232 Spring
016295 Screw - WOOD, RD, HD, PHIL, #3 x | STL,NKL, PLT. 016329 Screw - WOOD, RD, HD, PHIL, #3 x3/8, STL, NKL, PLT,
NOE 033027 Cover - Pickup 010389 Guide - String
H—wne
PICKUP ASSEMBLY, LEAD KEY ASSEMBLY

034728 Magnetic Pickup Assembly (Lead) 016329 Screw - WOOD, RD, HD, PHIL, #3/8 STL, NKL,
053694 PLT,
010371 Elevation Plate Key Assembly Complete (Fender Metal)
019240 Spring - Compression, 4 coils, 3/8 F, L, 033738 Cover - Key Assembly
015826 Screw - MACH, RD, HD. PHIL, #6 - 32 x 1/4 STL, NKL, PLT. 033761 Housing - Key Assembly
034330 Post and Gear Assembly
MASTER CONTROL 034363 Head and Worm Assembly

015578 Screw - [Link], HD, PHIL, #4 x 1/2 STL, NKL, PLT. STRAP BUTTON ASSEMBLY
033134 Plate - Master Control
022186 Screw ~ MACH. PH. HD, PHIL, #6 - 32 x 3/8 STL. NKL, PLT, 016188 Screw - WOOD, OV, HD, PHIL, #6 x 1 STL, NKL, PLT,
017053 Switch - 3 position 012344 Button - Neck Strap
019448 Knob - Switch
013359 Knob - Control STRING ASSEMBLY
016352 Nut - Hex 3/8 x 32 THD.
016436 Washer - Lock, Internal Tooth 3/8 017798 String Set Complete (6 Strings) (1500)
032367 Control - Volume and Tone, 250K Audio 017806 "BE" String (1) (1501)
015537 Capacitor 0.1 MFD. 50V, 10% 017814 "B" String (2) (1502)
015552 Capacitor 0.05 MFD. 50V, 20% 017822 "G" String (3) (1503)
017830 "D" String (4) (1504)
OUTPUT ASSEMBLY 017848 "A" String (5) (1505)
017855 "E" String (6) (1506)
021956 Jack - Phone, 2 cond. Open Circuit
016436 Washer -~ Lock, Internal Tooth 3/8 MISCELLANEOUS PARTS (Not Illustrated)
010355 Retainer
010363 Plate Strap - Guitar
016352 Nut - Hex 3/8 x 32 THD. Manual - Instruction
REN
ee
mee
NNN
NEN
EE
weer
ADJUSTABLE BRIDGE ASSEMBLY
016188 Screw - WOOD, OV, HD, PHIL, 6x 1 STL, NKL, PLT.
010330 Plate - Base
015834 Screw - MACH, RD, HD, PHIL, 6/32 x 1.1/4 STL, NKL, PLT.
018689 Spring - Compression
013151 Bar - Adjustable Bridge
016113 Screw - SET, Hd. less Slotted 6-32 x 5/16 STL, NKL,
016105 PLT,
Screw - SET, Hd, less Slotted 6-32 x 7/16 STL, NKL. PLT.
027706 Cover - Bridge
en
a
 — —_

ln —— —«si“‘é$’ “i ees
THE TELECASTER IN DETAIL PART 3

* Beginning in 1961, paper capacitors were superseded by ceramic disks, of * In early 1972, a second retainer appeared for the G and D strings and it was
specific colours (i.e. yellow, red, orange) according to the electronic value positioned slightly closer to the nut than the clip holding the E and B strings.
and the period of issue.
° In mid-83, Fender introduced its newly designed “Ezy-Glider” string tree
e With the introduction of lower value capacitors (.022 MED) on the guitars on the Elite Telecaster. This is still a current feature on production
with humbuckers in the early 70s, FENDER first used mylar capacitors Telecasters but, with the advent of the American Standard, Fender has
(initially coloured in dark blue) instead of ceramic disks, ‘The latter remained reverted to only one guide for the E and B strings instead of two. The only
however, in use on single coil pickup assemblies throughout the 70s. exceptions are the Vintage Reissue, fitted with an old-style round guide, and
* Mixed assemblies with one ceramic and one mylar capacitor are first found in the Deluxe Tele Plus which has no string guide at all because of its special
the early 80s on both Standard and Vintage Telecasters. Mylar capacitors are Wilkinson roller nut.
identified by their oblong shape and (usually) orange colour. BRIDGE ASSEMBLY

HARDWARE The original bridge assembly featured in the patent filed by Leo Fender in January
1950 was used until mid-83 on all the models fitted with a rear single coil pickup.
The only notable exceptions are the guitars equipped with a Bigsby vibrato tailpiece.
TUNING KEYS
For the sake of nitty gritty, there are a few details likely to distinguish various types
¢ From 1950 up to 1967 Telecaster guitars were fitted with keys made by of bridge assemblies.
Chicago-based company, KLUSON MANUFACTURING CO. These tuners are
THE SADDLES
characterized by their split shaft with a well for the string end and their oval-
shaped metal button. However, during that period, four slightly different types of ¢ The earliest 1950 models are fitted with 3 steel saddles ground flat on the
shells can be distinguished. bottom, whilst the Broadcasters released by Fall 1950 usually have brass saddles,
¢ on the guitars made until mid-1951, the shell is stamped with the words ¢ In late 1954 brass saddles were superseded by steel saddles, albeit not ground
“KLUSON DELUXE” on the back and “[Link]” on one side, whilst the flat on the bottom and of a slightly smaller diameter than the 1950 sections.
bottom base shows a “2356766 [Link]” marking. Besides, the early ¢ After mid-58 steel saddles were in turn replaced by threaded saddles, which
Kluson tuners feature a closed shell, without a protruding shaft. remained the basic trim until early 1968.
e the keys found on the guitars made between mid-51 and 1957 do not feature ¢ Beginning in 1968, threaded saddles were phased out in favour of steel
any brand stamp on the outer shell, but are usually stamped with “2356766 saddles featuring a groove for each string. The latter type was kept as a
[Link]” on the bottom base. standard appointment until 1983, but in the mid-70s a bridge with 6
e by 1957 the keys were again stamped with “KLUSON DELUXE” in a single line individual steel saddles was first fitted to the Custom type II and then offered
whilst the bottom base read “PATENT NO D-169400.”
as an accessory to retrofit other Telecaster guitars.
THE BASE PLATE
e the latest version which appeared in 1964 has the words “KLUSON DELUXE”
stamped separately in two lines on the back-shell and “PATENT NO D-164900" e The plates found on the guitars made until late 1954 feature the instrument's
on the bottom base. serial number stamped below the words “FENDER PAT. PEND.”
e In the course of 1967, Kluson tuners were gradually phased out and replaced by e After late 1954,the serial number was relocated on the neck plate and the
Fender-designed keys, characterized by an octagonal button shape and the plate was simply stamped with “FENDER PAT. PEND.”
backwards “F” for Fender stamped on the back-shell. Although designed in e Beginning in 1962, the plate was stamped with “FENDER [Link]. DES
Fullerton, these keys were manufactured by SCHALLER and the gear inside the 164227 2,573,254.” These markings were kept until 1983, except on the 70s
shell is thus stamped with “MADE IN W. GERMANY.” This type of key remained six-piece bridge which displayed only a “FENDER” brand-stamp without any
in use on most Telecaster guitars until 1983. patent indication.
e In 1973, the Deluxe came out with one-piece die-cast Deluxe Schaller keys, THE SNAP-ON COVER
characterized by the lack of split shaft and a Fender logo stamped on the back.
Although it often ended as a portable ash tray, the snap-on cover was maintained
A slightly different version of Deluxe Schaller keys was later adopted by the Elite
until mid-1983 on guitars fitted with the original style bridge assembly. The early
and Standard Telecasters released in 1983, with a pearloid button on the Walnut
50s units display a distinctive solder drop (or at least its mark) on the inner face.
and Gold Elite models.
This detail comes from the fact that in the old days a wire was soldered to the
e As the KLUSON company went out of business, the Vintage Telecaster is cover as a contact for electro-plating. Later bridge covers were snapped on racks
equipped with Kluson-style replicas made by the GOTOH company in Japan. with spring clips for plating, which explains why they do not have a solder drop
Otherwise, the current production models display improved die-cast Schaller on the inner face.
keys. Mechanically they are probably better tuners than the early Kluson heads,
Also worth mentioning:
but conceptually they miss the practical split shaft with a well for the string end!
e In 1953 the two outer brass saddles were notched to allow for a lower
HEADSTOCK STRING GUIDE adjustment of both E strings.
© The earliest 1950 models were initially deprived of any string guide, but very ° In late 1958 the string-through-body pattern was suspended and replaced for
soon a round string guide was added on the headstock to press down the E about a year by a top-loading system. On “top loader” guitars, the 6 string
and B strings. This round guide is screwed on somewhere near the D and G- holes are drilled in the back ridge (and not in the flat base) of the bridge
string tuning posts and can be found in this position on guitars made until plate. However, when FENDER reverted to the original string-through-body
about mid-56. loading, the existing inventory of top loader bridge plates was re-drilled with 6
e In 1956, Fender changed for a “butterfly” retainer which at first kept the same string holes in the flat base. As a result, late 1959 and 1960 guitars usually
location as the early 50s round guide. After 1956, however, it was relocated come with a bridge plate drilled for both loading patterns.
closer to the nut so as to be in the alignment of the A-string tuning post.

THE

TELECASTER
/ 67
THE TELECASTER IN DETAIL PART 3

e the Bigsby vibrato tailpiece was first listed as an option in 1967, but earlier ¢ 1968 saw the introduction of the Thinline model (type I) and its elongated
factory-fitted units are known to exist. Guitars with a Bigsby tailpiece feature a pickguard with a pearloid top face. Some early Thinlines were produced with a
6-piece bridge with threaded saddles and a base plate without any marking. straight 3-ply white guard, but most of them have what the Fender afficionados
e the Vintage Reissue model is naturally fitted with a replica of the 1952 bridge call a “mother-of-toilet-seat” top face! The pickguard shape was redesigned on
assembly, but to avoid any confusion (and forgery!) a small dot is stamped on the Thinline type II and straight 3-ply white guards became the norm whilst
the base plate under the serial number. pearloid guards were gradually phased out. Oddly enough, it is not unusual to
find a pearloid face as the underside of some early 70s white pickguards.
In 1983 the original bridge assembly was phased out (except on the Vintage
Reissue model) with the inception of the Elite and (revised) Standard Telecasters. ¢ The Deluxe and the Custom type II came out in the early 70s with 3-ply black
pickguards (B/W/B) of a specific elongated shape, covering a fair amount of the
¢ The Elite models have a die-cast bridge made by Schaller and characterized by body face. By 1976 the regular Telecaster as well as the Thinline type II were
a massive ridge stamped with a backwards “F.” Designed for “drop in” string also fitted with 3-ply black pickguards.
loading (=top loading), it also features 6 asymetric elongated saddles resting
on staggered tracks. ¢ In the course of 1981, a 3-ply white plastic guard was reinstated on the regular
Telecaster,but the Black & Gold Telecaster (logically) retained a 3-ply black
¢ The 1983 Standard bridge is somewhat reminiscent of the original design, but
pickguard. Likewise, the '52 Vintage Reissue was introduced with a one-ply
it features a longer and thicker chrome-plated brass plate without any side
black guard fastened to the body with only 5 screws.
ridges. Like the contemporary Elite unit, it is designed for top loading and
fitted with 6 asymetric elongated saddles. * In mid-83, the newly designated Standard model changed for a single-ply white guard,
initially mounted with 8 screws but soon came down to 5 screws on most production
However, the top loading pattern did not prove that popular and FENDER went back
models. Meanwhile, the Elite came out with a 3-ply wing-shaped adhesive-backed
to back loading on the American Standard introduced in late 1987. The bridge
separate pickguard, intended to be installed at the owner's discretion.
assembly was also redesigned to incorporate six high density stainless saddles (or
“compressed steel” saddles) already developped for the American Standard ¢ Recent models like the American Standard or the Tele Plus reverted to 3-ply
Stratocaster. To accomodate these new saddles, the string holes have been moved white guards mounted with 8 screws, whilst the James Burton or the Set Neck
forward in the base plate, ahead of the 3 screws fastening the whole bridge assembly Telecasters are simply left without any pickguard at all. Lastly, it should be noted
to the body. Incidentally, while the new bridge was being perfected, the first 100 or that the 40th Anniversary model has been released with a unique ivoroid single
so American Standard Telecasters were released with 70s style 6-piece bridge. ply guard matching the binding of the guitar.
Other types of bridge assembly were also featured on specific Telecaster models. OTHER PARTS
° The Thinline type II (with humbuckers) was fitted with the 6-piece bridge of ¢ THE KNOBS
the non-tremolo Stratocaster (with appropriate snap-on bridge cover). With the exception of a few specific models, Telecaster guitars have been
* The Deluxe also sported a Strat-style 6-piece bridge with snap-on cover, albeit consistently fitted with metal knobs, devoid of any numbers or markings.
with slightly different saddles. In the mid-70s a few Deluxes were also Although they may all look the same to the layman, it would take a few
mounted with a complete Stratocaster tremolo bridge assembly. paragraphs to accurately describe the minute details which help distinguish
them over the years. Suffice it to say that up to 1956, Fender used heavier
* The Black and Gold Telecaster came out with a specially designed gold plated
“dome” knobs made of brass and thereafter much lighter “flat top” knobs
6-piece assembly, made of brass and characterized by a massive ridge with a
(except on the Vintage Reissue and Set Neck Telecaster). But, this sweeping
“FENDER USA” brand stamp.
statement needs additional comments to do justice to the different types of
* The more recent Deluxe Tele Plus is fitted with the tremolo bridge assembly of “dome” knobs and “flat” knobs used by FENDER.
the American Standard Stratocaster.
For instance:
PICKGUARD
¢ The knobs from 1950 and early 1951 are taller and feature a fainter dome as
° Up until late 1954, the standard trim was a one-ply black pickguard, first made well as a coarser side knurl. Later knobs are not as tall and display a neater
of fibre material and then of bakelite, and fastened to the body with 5 screws. dome, but between 1951 and 1956 different types of dome profile and knurl
The very early black guards were simply buffed after being cut, but it was soon pattern can be distinguished.
decided to lacquer them for a glossier look. This also explains why the early 50s
black guards usually display a visible 5" ring on the underside, as they were * According to the years, “flat” knobs may differ slightly in overall height or in
probably put on a paint can while being sprayed. the way the flatted top end blends into the side knurl. Certain 60s knobs have
a gently curved top edge descending into the knurl, whilst some 80s knobs
* Although a very few samples are known to exist on early 50s models, it was not have a knurl perfectly flush with a sharp top edge. Likewise, some 70s knobs
until late 1954 that one ply white pickguards became the standard trim on feature a more prominent bottom lip than late 50s units etc... For the amateur
Telecaster guitars. of nitty-gritty, the pictures featured in this book may contribute to opening
* In mid-59, the Custom versions were introduced with a 3-ply white pickguard new vistas on Telecaster knobs!
(W/B/W) made of celluloid, often called “nitrate guard” or “green guard” Otherwise, a few models were also fitted with knobs of a different style.
because of their greyish/greenish tint even when brand new. The earliest 3-ply
guards were still fastened by 5 screws, but by Summer 1959 all Telecaster * The 70s Deluxe and Custom type I initially sported Gibson-style black
plastic
pickguards were changed to an 8-screw mount, whether one-ply or 3-ply. knobs, with a 1-10 graduation and a metal cap reading VOL. and TONE.

e By the end of 1963, the regular models were also fitted with a 3-ply celluloid * After 1975, these two models as well as the Thinline type II were
fitted with
guard. However, due to security constraints on the factory premises, these Stratocaster-style black knobs.
(highly inflammable) nitrate pickguards were discontinued after 1964 and * The short lived Elite came out with special white plastic knobs, featurin
g a serrated
replaced by straight plastic units. rubber insert, a 1-10 graduation and a backward “F” embossed on
the top end.

THE

TELECASTER
1950 Kluson tuners with “Pat. Appld For” marking stamped on the
outer shell. [photo byJobn Sprung]

Top: 50s dome knobs (left to right

1950-51-53-55) Bottom: flat knobs
(left to right 1958-65-68-75).

50s black guards usually feature a 5" ring on

the underside.

Top: early 50s back ferrules. Quite clearly, Fender did not
use a jig to simultaneously drill the 6 string holes.
Middle: flush ferrules. Bottom: protruding ferrules.
Top: early 50s milled jack cup.
Bottom: jack cup made of pressed steel. 69
Early 50s bridge with brass saddles. Mid-50s bridge with steel saddles. Late 50s bridge with threaded saddles. Tate 60s bridge with grooved steel sas

|
phen
At

fevinions
DESCURTION wy | sare
MEQRPORATED Elo 790 2 lee es

Late 50s top

loading bridge
[photo byJobn Sprung]

:
teats |AVG wercce| 8 20<7| @ MUSICAL INSTRUMENTS
santa
a oe
a Peet THRECAOLO... KT
BIGSBY, TELECASTER
1. IDENTIFY WITH Frt! P/N O84037 BAG Cf TAG
NOTES: UNLESS OTHERWISE SPECIFIED aa ¥ sry
#222 71B
i

1967 factory blueprint for the Bigsby tremolo tailpiece. [courtesy Fender]

1953 Telecaster
equipped with
a fixed-arm
Bigsby tailpiece.
[photo by
Vince Cunetto]
THE TELECASTER
IN DETAIL PART3

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MATERIAL PART NAME / DESCRIPTION
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¢ THE SWITCH
TIP e STRING FERRULES

The models produced between 1950 and mid-1956 have a small barrel-like tip The Telecaster guitars produced between 1950 and 1966 have recessed string
on the selector switcn. In the 50s these black tips were made by a Chicago- ferrules which are flush with the body. On post-1966 models, the ferrules are
based company by the name of Harry Davies Co. But, the markings underneath clearly protruding on the back of the body, but after the CBS spin-off the newly-
read “DAKA WARE” with a patent pending indication on the earlier units and a independant Fender company reverted to flush ferrules.
patent number (2,189,845) on the later ones. ¢ MOUNTING SCREWS
In the course of 1956, the small barrel was replaced by a bigger “top-hat” A few words about mounting screws and the transition from single slot screws to
switch tip, also branded “DAKA WARE” with a patent number. The top hat tip Phillips heads. All the 1950 models feature slot heads, including the adjustable
lost its Daka-Ware branding in the course of the 70s, but it remained a standard truss rod bolt. Beginning in 1951 a gradual transition towards Phillips heads
feature of most Telecaster guitars until 1985, with the following exceptions: was initiated, but Leo Fender was not a man to waste anything and the complete
transition stretched over some two years!
e the 70s Deluxe and Custom models fitted with a Gibson-style toggle switch
with matching screwed-on tip In the course of 1951, the truss-rod bolt as well as the screws fastening the
e the Black & Gold model fitted with a Strat-style brass tip neck, the controls plate and the strap buttons changed to Phillips heads. The 4
screws holding the bridge base plate soon followed suit in early 1952 and
e the Vintage Reissue logically equipped with an early 50s barrel type switch pickguard screws in late 1952. In Summer 1953 the bridge pickup and the
(but not a Daka Ware!). selector switch could still be found mounted with slot head screws, but the
e the Elite Telecaster also mounted with a Gibson-style toggle switch. transition was eventually completed by the end of 1953.
On the American Standard and the subsequent production models introduced
since 1987, Fender has reverted to the original style barrel switch tip. The only
exception so far is the Set Neck Telecaster mounted with a Strat-style metal tip.
° THE JACK CUP
jack
The earliest Telecaster guitars produced in the 50s feature a heavy milled
guitars have a receptacl e made of
cup, with a sharp inner edge, whilst post-52
through the decades but it has been
pressed steel. The latter variant survived
discarded on more recent production models.

THE
TELECASTER
 HOW TO DATE A TELECASTER

HOW TO DATE
A TELECASTER
Assessing the age ofa Telecaster guitar may berelatively easy on the whole, provided
ithas not As indicated previously, early models like the 1950 Esquires without a truss-rod or the
been tampered with oraltered. Itcan be successfully achieved bycombining the following elements: very first Broadcasters are deprived of any neck marking. This has sometimes brought
about apocryphal late-40s neck dates, possibly pencilled by proud owners keen to match
e the actual markings found on the neck, the body or the pickups at certain periods of time;
the official concept that the Broadcaster was introduced in 1948! After Spring 1959, the
e the structural features and discriminating appointments of the various models neck dating procedure was suspended for a few months and resumed in early 1960. Duringg
described in this book; this period, the latest models with a Maple Neck as well as the earliest ones with a rosewood:
e the serial number which may help narrow down the period of issue despite the lack fretboard do not feature any neck date, although they usually carry a body date(!).
of sheer chronology in the Fender serialization schemes. ¢ On the necks made between March 1962 and March 1973, the date is no longer
Should there be any doubt regarding the integrity of an instrument under investigation, pencilled but rubber-stamped in black. This new type of marking reflected an
it is advisable to compare it side-by-side with a model of similar vintage. Any first-hand increased sophistication at FENDER in the early 60s, for it not only shows the first
experience in Fender manufacturing idiosyncrasies over the years is obviously most three letters of the month and the last two digits of the year, but also the neck width
useful to ensure that the above elements are definitely original. and a specific code for each model in the range.
For example a “3JUN63B” marking belongs to:
DATE MARKINGS ¢ a Telecaster/Esquire neck (“3”)
A Fender guitar is best thought of as an “‘assembled kit,” built with components which can ¢ made inJune 1963 (“JUN63”)
be easily taken apart for servicing purposes. The down-side ofthis typical feature is that it may e with a standard nut width (“B”)
allow a number of modifications likely to impact upon the integrity of a model. But the up-side
is that it provides access to critical information for dating a model! Shortly after production of It does not refer to a second choice neck made on June 3, 1963!
the Broadcaster began in Fall 1950, it became customary for wood parts — like the neck and Unlike the Stratocaster, Telecaster and Esquire necks always kept the same inventory
the body — tobe dated by the employees who had shaped them. Although such markings do code, i.e. “3”, between 1962 and 1973 [see GUITAR IDENTIFICATION by same author
precede the actual completion of an instrument by a few weeks or months they are, whenever for other Fender neck codes]. The letter suffix in the rubber-stamped marking indicates
available (and original!), the safest criterion to assess the age of a Fender guitar. the width at the nut, as per the following code applied to both guitars and basses:
NECK DATES e Ameans 1 1/2" (=1.500") ie. narrow
The date (if any) is mentioned on the heel of the neck and may be revealed by loosening ¢ B means 1 5/8" (=1.625") i.e. standard
up the screws securing the neck to the body. Of course, this is not possible on a model like ¢ C means 1 3/4" (=1.750") i.e. wide
the “Set Neck” Telecaster, which is fitted with a glued-on neck. Since 1950, most Telecaster
guitars have been quite consistently dated at the factory, bar a couple of exceptions such as: ¢ D means 1 7/8" (=1.875") i.e. extra wide

e the very first models released prior to Fall 1950; Historically, “B” has always been the standard width on Fender guitars, but in the 60s
the other sizes were made optional at an extra cost. They are nevertheless quite unusual,
¢ the models produced between Spring 1959 and early 1960;
especially on Telecaster guitars for which optional neck widths were not listed.
¢ the models produced between Spring 1973 and late 1981. Between 1962 and early 1973 most necks were quite consistently dated at the factory
Otherwise, different types of date markings have been used at the factory according to in this way. Omissions are possible, albeit fairly scarce. Left-handed necks may come
the period of production. without any marking and Rosewood Telecasters, too, are often deprived of any neck date
¢ On the necks made between late 1950 and late 1953, the date is pencilled and
although they sometimes feature a barely visible black ink stamp. Otherwise, a number
usually shows the month/day/year in numerals. of necks made in the late 60s feature a distinct type of marking, usually in green with
either smaller or taller digits.
For example: “2/1/51” = February 1, 1951
For example: “3 247 9 9B” on Telecaster Custom #255985
“8-23-53” = August 23, 1953
Based upon the specific appointments of the guitars fitted with such markings, this appears
* On the necks made between late 1953 and March 1962, the date is still pencilled to have been essentially used in 1969. At that time, CBS/FENDER may have intended to modify
and indicated in numerals, but the day is no longer systematically mentioned its inventory neck codes for internal purposes, but the plan fell through... temporarily!
although it can be found on some 1954 necks.
* The necks made after early 1973 feature an entirely new type of marking, which
For example: “10-58” = October 1958 unfortunately does not suggest any obvious production date. The stamped code is
“3-61” = March 1961 more elaborate but to the detriment of any instant dating.
These numerals are generally pencilled in black, but they may also be found in red For example “1303 3341” on Telecaster #605659
(1953/54) or even in green (rare, in 1950). Besides, they are usually separated by
The first group of 4 digits is meant to indicate the model and the type of fretboard, i.e.
either a slash or a hyphen and up to the mid-50s, the craftsman who shaped the neck
“13”= Telecaster and “03”= Maple Neck. Based on the reference numbers then used
frequently added his initials ahead of the date. by FENDER for the Telecaster range, the other codes are “07” for the Custom, “08”
for
For example: “DZ 11/1/50” or “TG 3-54” the Deluxe and “30” for the Thinline, whilst a rosewood fretboard neck carries aoe
There has been some speculation as to the names behind these initials. The most suffix. Unfortunately, the last 4 digits are less decipherable and their actual meaning is
commonly found are “TG,” construed to stand for Tadeo Gomez whilst “DZ,” featured not known to this author! These 8-digit markings (sometimes 7-digit only) may be
mostly in 1950, would stand for Dickie Zamora. Other initials such as “AG,” “XA” or stamped in black, red or green. For some reason, however, the Deluxe does not follow
“TD” also exist, but the names behind them so far remain shrouded in mystery. this reasoning and its neck usually comes with a specific “TEL-DELX.73” marking.

72
Galo
 Early 50s body date pencilled in the neck pocket. _ Late 50s body date pencilled in the bridge pickup cavity.

Early 50s date marking

written on a piece of
masking tape in the
control cavity.

Late 60s pickup date pencilled on the bottom plate. Mid-70s date marking (1974) ink-stamped on the
underplate of a 70s humbucker.

ey
My

Over the years, Fender used different types of

neck markings. From top to bottom: 1951, 1953,
1958, 1965, 1969, 1974 and 1988.

Fully dated inspection tag on a 1981 neck heel. it

The “137825” marking on this pot indicates that
was made by CTS during the 25th week of 1958.
 HOW TO DATE A TELECASTER

e After CBS called in a new management team in 1981, the inventory code system was Finally, it should be noted that body dates were still applied in 1959/60, when the
dropped and clear date markings were resumed, albeit in different manners over the dating of necks was temporarily suspended, and they are very useful to assess the age ob
years. At first, numerals (MM DD YY) were rubber-stamped for a short time on guitars made during this period.
standard models, but FENDER soon changed for smaller and more explicit date For example: Telecaster Custom #38820 with no neck date but “5-59” pencilled in tha
markings in 1983. lead pickup routing
For example: “OCT 12 1983” on Elite #E316667 After 1963, the body dating procedure was never resumed as such but dates may
Vintage Telecaster necks, however, were produced from the outset with an old-style surface on 70s and 80s guitars, either pencilled or stamped among names and various |
marking pencilled 4 la 1952, i.e. MM-DD-YY. markings in the neck pocket.
For example: “10-14-83” on Vintage reissue #4720 For example: “11 20 80” on Telecaster #8838365
When the production of guitars resumed at the Corona plant in late 1985, the same These markings are rather inspection dates generated by the control checks enforced |
dating procedures were reinstated, but old-style pencilled markings may now also be by CBS in an attempt to remedy a deteriorating quality in production. Whenever
found on non-vintage models. available, they may be useful to date instruments otherwise deprived of neck dates.
For example: “11 10 88” on American Std #E806098
Rubber-stamped markings have not been discontinued though and on the threshold Owing to its greater availability over the years, the neck date is generally accepted as
of the 90s, they are still applied with either black or red ink. the prime reference to log the “birthday” of a Fender guitar. This being said, it does
precede the actual date of completion and sale of the instrument by at least a few weeks |
BODY DATES
and often a few months.
The body date on a Telecaster guitar may be found (if any) either in the neck pocket
or in the lead pickup routing. However, it should be mentioned right away that over the OTHER MARKINGS
years body dates have not been applied quite as consistently as neck dates. In fact, Besides neck and body, a Telecaster guitar may feature other markings likely to assist
experience shows that body markings are common between late 1950 and 1963 only. with its dating over certain periods of time. Two categories of markings are more
Besides, they are mostly visible on guitars with a light finish such as Blonde or sunburst, particularly interesting in this respect:
but they typically do not show under an opaque custom colour finish.
¢ The early models produced between 1951 and 1955 usually have a date pencilled on:
¢ On the bodies made between 1950 and late 1953, the date is usually pencilled in the a piece of masking tape, located in the control cavity. This piece of tape is affixed
neck pocket according to the month/day/year of production. Like contemporary neck either on the side or on the bottom of the cavity routing and in 1953/55 it also
markings, it goes with the initials or the first name of the employee who did the job. indicates a female first name.
For example: “TG 8/13/51” on No-Caster #1126 For example: “8-10-51” on No-Caster #1043
“Eddie 8/6/52” on Telecaster #3180 “Mary 5-12-53” on Telecaster #2323
Other signatures likely to be found during this period are “EM” (same as Eddie and These markings basically indicate the very day the pickups and wiring harness were
purportedly meant to indicate an employee by the name of Eddie Mendoza), “TAD” installed into the body and at times the name of the woman who did it (usually Mary,
(for Tadeo?), “Kenny,” “IP” or “JS.” Gloria, Virginia or Carolyn). Until 1955 Telecaster guitars thus have up to THREE
* On the bodies made after late 1953, the actual day of production as well as the initials dates to refer to, as illustrated in the following table:
of the employee were gradually phased out. Between 1954 and 1963, the date simply
MODEL S/N NECK DATE BODYDATE CONTROLS TAPE
consists of a fraction showing the month and the year.
No-Caster 1924 TD 8/8/51 JS 8/14/51 8/20/51
For example: “5-55” on Esquire #7886 Telecaster 3849 8-23-53 Tad 7-7-53 Gloria 8/26/53
“12-60” on Telecaster Custom #54746 Telecaster 8503 7-55 7-55 Mary 8-10-55

Up to 1955 the date is pencilled in the neck pocket, but by 1956 it is relocated in the After 1955, the piece of masking tape ceased to be affixed probably because of a more
lead pickup routing, right under the bridge plate. Dates may still appear on some substantial workload at the factory. Too bad, it is most handy to quickly assess the age of
1964 guitars, but the whole process was basically discontinued in late 1963 an old Telly without having to unscrew the neck.
More often than not, neck and body dates do not coincide on one guitar. In the early * In 1964 FENDER began to mention a date on the bottom plate of most of its pickups
days, production was obviously not that abundant by modern standards and both neck bobbins. On Telecaster guitars it usually does not show on the neck pickup because
and body were frequently made during the same month (but usually not on the same of a too narrow bottom with protruding magnets. Only the bridge pickup is likely to
day!). On a 1952 guitar, though, it is quite common to find dates which are one month feature any date, but it is not always easy to actually see it because of the shielding
apart. With a gradual increase in production during the 1950s, the gap between both copper plate.
dates may usually reach anything like one to three months. The following sample of
During the 60s and 70s, three different types of markings were thus successively applied:
referenced Telecasters and Esquires further illustrate this point:
* on the pickups with a black fibre bottom plate, the date is rubber-stamped in clear
MODEL S/N NECK DATE BODY DATE with yellow ink (e.g. “FEB 10 64”)
Broadcaster 0017 11/1/50 11/7/50
* on the light grey bottom plates first used in 1965, the date is hand-written in clear
Telecaster 1201 10/20/51 10/18/51
Esquire with black ink (e.g. “9-6-66”)
3566 7/2/52 6/12/52
Telecaster 4198 3/54 2/54 * on the dark grey bottom plate introduced in about 1969, FENDER switched over to
Esquire 7886 4/55 5/55 a3 to 6-digit code, rubber-stamped in black or red, which may be deciphered to
Esquire 33783 11/58 1/59 indicate the year.
[Link] 54746 9/60 12/60 For example: Thinline #231917 (neck date “JAN69”) with “52 9” on pickup
Some guitars may sometimes feature a much bigger gap between neck and body dates. If (9=1969)
both parts are originally matched, it simply reflects a left-over neck or body unduly put in Telecaster #395620 (neck date “OCT72”) with “479 73” on pickup (73=1973)
storage before hitting the finishing line. Having said that, it may also indicate that either one
* on the 70s humbucking pickups a similar code is rubber-stamped in black
of the two has been swapped at some point in time, not necessarily at the Fender factory! or
yellow on the metal bottom plate. ;

THE
TELECASTER

74
HOW TO DATE A TELECASTER PART 4

For example: Thinline #525896 (no neck date) with “24 44 74” on pickups Telecaster #3686 with a 12-52 neck date
(74=1974)
Esquire #3735 with a 7-52 neck date
Although some of these code numbers may sometimes look like actual dates, too many
This leads to the conclusion that during the early 50s:
exceptions do not fit the scheme. Suffice it to say that the final digit(s) usually show the
year, which is of help on the 70s guitars without any neck date. It should be borne in * serial numbers were not used sequentially on a cumulative basis, i.e. the lower the
mind, however, that the code (if any) was stamped when the pickup was finished and number, the older the instrument
stored, hence a possible gap of a couple of weeks if not months prior to finding its way e there is no strict correlation between neck dates and serial numbers, which were
on a guitar. basically allotted at random regardless of the period of issue
e Finally, mention should be made of the potentiometers code which, although less ° serial numbers were not stamped on an “ad hoc” basis, but probably pre-stamped
reliable to date a guitar, may be useful to cross-check the integrity of its wiring in quantities.
harness. All US made potentiometers are stamped with a 6 to 7-digit code reading
* From 1950 up to 1954 numbers were stamped on the bridge plate, below the words
“XXX(Y)YWW”, in which:
“FENDER [Link].,” between the lead pick-up and the saddles. Upon closer
e XXX is the manufacturer’s code (e.g. 137=CTS; 304=Stackpole.) examination, one could observe that the last numeral is often slightly off-line with the
e YY shows the year (1 digit in the 50s, 2 digits thereafter) preceding three (like on the earliest Stratocaster numbers stamped on the vibrato
back plate). This has sometimes fueled speculation that numbers on the earliest
e WW shows the week in the year Telecaster guitars were originally of a 3-digit format and that a 4th digit was added
For example: later(?). In fact, the slightly off 4th digit certainly originated in a two-step process
(or a faulty machine) because the whole number is anyway well centered below the
“304021” is on a Stackhole pot from the 21st week of 1950
words “FENDER PAT. PEND.”
“1376036” is on a CTS pot from the 36th week of 1960
e In the course of 1954 FENDER ceased to stamp the number on the bridge plate and
“3047305” is on a Stackhole pot from the Sth week of 1973 relocated it on the upper edge of the neck plate. Simultaneously, the company also
“1378821” is on a CTS pot from the 21st week of 1988 put an end to the three parallel, yet identical in format, serialization schemes used so
far on the Telecaster & Esquire, the Precision Bass and the Stratocaster. By then,
This code is not to be confused with the part reference numbers frequently stamped bridge numbers had reached numbers in the 5000s and the higher bridge number
on thepot by the manufacturer for inventory purposes. For instance, the full markings known so far to this author is #5368, but it may well not be the highest ever. Based
on the pots of a 1969 Esquire read as follows “032367 250K A 1376642” in which: upon sampled neck dates it appears that the transition between bridge numbers and
e “032367” is the part number for a 250K audio pot neck plate numbers took place over Summer 1954 without any major overlap.
° “1376642” is the dating code (CTS 42nd week of 1966) For example: Telecaster #4044 (B/P) with a 9-54 neck date

Overall, the pot code may be of assistance to crosscheck the year of issue of models Telecaster #4683 (B/P) with a 8-54 neck date
deprived of any neck and/or body date. But it should be borne in mind that pots are Esquire #7043 (N/P) with a 10-54 neck date
high volume items likely to be ordered in thousands and stored for some time. In the
Esquire #7336 (N/P) with a 8-54 neck date
early 70s, many Fenders were still fitted with pots dating from 1966, ordered in vast
quantities by CBS shortly after the take-over! This short table shows once more the lack of strict correlation between serial
numbers and production dates. The latest bridge numbers are not necessarily the
For example: Rosewood Telecaster #330774 (neck date “SEP71”) with pots coded
“1376636” i.e. 36th week of 1966 higher, e.g. in the 5000s. Likewise the earliest neck plate numbers are not
systematically in the high 5000s or low 6000s.

SERIAL NUMBERS ° From late 1954 onwards, numbers quickly progressed within a basic 4 and 5-digit
format from high 5000s up to 90000s, as they were indiscriminatingly applied to an
Despite a lack of perfect chronology in the Fender serialization schemes, it is ever-expanding Fender range. In less than nine years numbers in the high 90000s
nevertheless possible to derive some useful information from them. No real precise were finally reached in early 1963. Incidentally, this increased production makes it
dating can be achieved from a serial number alone, but it may help narrow down a somewhat easier to do groupings with numbers and derive some information from
period of issue within a 1 to 3 year band. The following schemes have been successively them for dating purposes. For instance, most numbers in the 40000s are found on
used by FENDER on Telecaster guitars since 1950. guitars made between late 1959 and mid-1960.
THE ORIGINAL SERIES: 1950 - 1963 As production grew in Fullerton, larger quantities of neck plates were stamped, but a
few batches came up with peculiar features during the mid-to-late 1950s. For instance:
When the first electric Spanish guitar was introduced in 1950, it came with a 4-digit
e between 1955 and 1956, some plates were stamped with 5-digit numbers
serial number stamped on the bridge plate which, despite its format, did not dovetail
can be beginning with “0” instead of straight 4-digit numbers.
into the schemes already in use on other products such as lap steel guitars. It
lly started with
therefore assumed that the serialization of the all-new model theoretica For example: Telecaster #06998 with a 1-55 neck date
d on a roughly cumulative basis.
#0001 (NB a zero counts as one digit) and progresse Esquire #08970 with a 5-56 neck date
the actual
Although correct in principle, this theory is not entirely corroborated by © between 1957 and early 1958, some numbers were stamped with a precedin
g
1950 guitars. For instance, the numbers of some of the very few
numbers found on dash or hyphen, making them look like “minus” numbers.
are indeed
~ documented Esquires without a truss-rod read #0013, #0043 or #0087 and
numbers on the For example: Esquire #-19547 with a 6-57 neck date
higher than those of some later guitars with a truss-rod. In fact, the
lly and may show jumps in tens, Esquire #20020 with a 2-57 neck date
Spanish guitars made in 1950 do vary substantia
whilst productio n did not probably exceed a hundred with 6-digit numbers
hundreds and even thousands, e between late 1957 and mid-1958, some plates were stamped
an erratic pattern is largely verified during the early 50s with serial
guitars or so. Such
be fitted with a number in beginning with “0” instead of straight 5-digit numbers.
numbers stamped on the bridge plate. Thus, a °52 model may
a lower number in the 2000s. For example: Telecaster #023312 with a 10-57 neck date
the 3000s whilst one from ’53 or ’54 may show
Telecaster #028343 with a 4-58 neck date
For example: Esquire #2782 with a 4-54 neck date
Telecaster #2961 with a 12-53 neck date

oe
 HOW TO DATE A TELECASTER

e between late 1957 and late 1958, some plates were double stamped and feature The first prefix briefly used was “76” and the numbers read 76xxxxx, with “76” in
two different numbers on each side. As a rule, the visible number is of the 6-digit bolder numerals than the x’s.
type beginning with a zero whilst the concealed number stamped on the underside Within a couple of weeks, though, the “76” prefix was deleted and replaced by “S6’
is of the minus type. This change definitely implemented the system still in use today, whereby the first
For example: Telecaster #024154 & — 24785 with a 12-57 neck date letter shows the decade (S=seventies) and the following numeral the year in the
decade (6=1976, 7=1977, etc...). The 1980s logically brought in a new prefix lette
¢ between late 1959 and mid-1960, some numbers were stamped on the lower edge
(E=eighties) and in the course of 1990 FENDER began to order new decals prefix
of the neck plate instead of the upper edge.
with “N” for nineties.
Despite these peculiar features, all the numbers used between 1954 and 1963
This scheme looks perfectly alright in principle, but unfortunately it is not that
belong to the same basic serialization scheme.
reliable to date the guitars made by FENDER in the USA. Here are the reasons why.
THE “L” SERIES: 1963 - 1965
e At the end of each year, new decals reflecting the change in prefix were ordered iri
The “L” series, as it is currently nicknamed, is also in all probability the result of a thousands from a subcontracting company (MEYERCORD up to the early 80s and
stamping mistake, even though the “Leo's theory” is tempting. When numbers in the ASSOCIATED SILK SCREEN PRINTING since then). Problem is that the old decals
90000s hit the assembly line, fresh neck plates were stamped but, for some reason, they were not instantly discarded at the turn of the year, particularly if there were plentt
did not turn out with numbers in the 100000s but with numbers reading L00001s. In of unused left-overs. Therefore, the previous year’s decals often continued to be
other words, their first digit is not “1” but “L”, hence the “L series” designation. used into the new year, despite having a no-longer-correct prefix. For instance,
The earliest L-numbers — but not necessarily the lowest — appeared on guitars made in many guitars actually made in 1980 and 1981 were released with “S9” numbers.
late 1962 and they overlapped with the latest numbers from the original series. The bulk of e After CBS decided to sell FENDER in mid-1984, no “ES” decals were ordered and
the L-series is, however, primarily found on instruments made between early 1963 and mid- until the closedown of the Fullerton plant in early 1985, guitars were shipped with
1965. A few L-numbers may surface on later instruments with for instance an early 1966 “£4” and even “E3” decals. When the newly-independant FENDER company
neck date, but these are rather exceptions. Otherwise, the L-series does not represent a resumed its manufacturing activities in the USA at the end of 1985, it had a sizeable
major evolution and it ran from L00001 up to L99999 on a roughly cumulative basis, albeit quantity of “E4” decals to use up. Bearing in mind the initially limited output of the
without any strict sequential order. Production-wise, it is worth noting that it was used up in new Corona plant and the few models such decals were applied to, it took until
less than three years, which allows for some groupings because of a tighter distribution over 1988 to dry up the left-over E4 decals. In other words, E5, E6 and E7 decals were
a limited period of time. By and large, instruments with L-numbers are often considered never applied to US made instruments, even though they do exist on Japanese
today as the last specimens from the Leo Fender era. made guitars! Besides, some guitars meant for export to Europe or Japan were
THE “F” SERIES: 1965 - 1976 also briefly serialized with an “EE” prefix” instead of “E4”.

When L-numbers in the 90000s came in sight by Spring 1965, CBS/FENDER logically ¢ In 1990, FENDER was still primarily using E9 decals, but around Summer it was
moved up to 6-digit numbers in the 100000s but without a “1” prefix. The newer plates finally decided to order nineties decals. The trouble is that they did not turn up
came up, however, with the typical Fender backward “F” conspicuously stamped below with a “NO” but with a “N9” prefix (=1999!), thanks to what appears to be a
the number,hence the “F-series” nickname. blunder from the subcontracting company. Business obviously means that those
N9 decals have not been thrown away and they are currently applied to both 1990
The earliest F-numbers appeared in mid-1965, but until the end of the year they
and 1991 instruments.
overlapped with the latest [Link] of a drastically increased production after
the mid-60s, F-numbers rapidly moved in thousands and ran from 100000s up to Consequently, notwithstanding their apparently impeccable logic, 7-digit numbers
700000s in about 11 years. Again, no specific sequential order was put to effect and, due meant for standard models are not that reliable for dating purposes. The following
to the dissemination of numbers over a wide range of products, groupings are only guidelines kindly supplied by FENDER clearly evidence numerous overlaps and hiccups.
approximate to within 2 to 4 years! S7 + 5 digits: January 1977 up to April 1978
For example: Telecaster #300612 with a MAR70 neck date * S8 + 5 digits: December 1977 up to December 1978
Telecaster #309661 with a JUL71 neck date * S9 + 5 digits: November 1978 up to August 1981
Telecaster #310967 with a APR72 neck date * EO + 5 digits: June 1979 up to January 1981
Telecaster #316987 with a JAN73 neck date * El + 5 digits: December 1980 up to January 1982
For the guitars produced until early 1973 (i.e. with numbers up to the low 400000s), ° E2 + 5 digits: December 1981 up to January 1983
it is possible to work out a very primitive dating chart thanks to the available neck dates.
The guitars released thereafter (i.e. with numbers from 400000s up to 700000s) are * E3 + 5 digits: December 1982 up to January 1985
more of a problem, but the following broad guidelines, relating to actual shipping dates, ° E4 + 5 digits: December 1983 up toJanuary 1985
were supplied by CBS/FENDER a few years ago:
° E8 + 5 digits: April 1988 up to January 1989
¢ 400000s numbers: April 1973 up to September 1976 * E9 + 5 digits: December 1989 up to September 1990
* 500000s numbers: September 1973 up to September 1976 Over the 1976-1990 period, the above 7-digit numbers are found on the following
¢ 600000s numbers: August 1974 up to August 1976 production Telecasters: Standard, Thinline, Custom, Deluxe, Elite, American
*¢ 700000s numbers: September 1976 up to December 1976 Standard, James Burton and Tele Plus.

HEADSTOCK NUMBERS: 1976 - PRESENT OTHER NUMBERS: 1976 - PRESENT

In late 1976, FENDER ceased to stamp the serial number on the neck plate and began However, not all Telecaster guitars made since 1976 have been fitted with the above
to incorporate it into the headstock decal. Almost simultaneously, a new serialization serialization scheme. Beginning in 1981, several models were released with specific
scheme meant to indicate the year of issue was devised to replace the roughly cumulative numbers.
formula in use since 1950. New style 7-digit numbers were then introduced, with a basic ¢ THE COLLECTOR'S SERIES
2-digit prefix for the year of issue plus 5digits for the identification of the guitar.
The Black & Gold Telecaster produced between mid-1981 and mid-1983 is
characterized by a 7-digit headstock number prefixed with “CE.”

Cfitdtimm
76
 1980s Vintage Reissue
number. Note the dot
stamped below the
numerals to avoid any
possible confusion
with original 1950s
bridge plates.

%
525696

Mid-50s number stamped L-series serial number. F-series serial number. Mid-70s number stamped
on the neck plate. on a Thinline with Tilt Neck.

SERIAL
NUMBER N

“F3” number (=1983) 1990 numbers should have been prefixed with
“NO” but due to a mistake in procurement the first
batch delivered to the factory read “N9” (=1999!).

“E9” number (=1989)

ven digit headstock numbers were allegedly

vised to indicate the year of production (e.g.
15358=1978), but they are not always a reliable
urce of information. For instance, the body of
lecaster #5838365 features an inspection tag
ted November 1980.
Custom Shop 4-digit number applied to the back
of the headstock. Also note Custom Shop label
for
featuring the name of the luthier responsible
the instrument.
77
 BRIDGE PLATE NUMBERS/NECK DATES:
1950-1954
S/N DATE MODEL S/N DATE MODEL S/N DATE MODEL
MODEL S/N DATE MODEL
2961 12-53 Telecaster 4060 10-52 Telecaster
Broadcaster 0724 2-51 Broadcaster 1699 8-51 No-Caster
1769 12-51 Telecaster 3020 12-53 Telecaster 4123 11-53 Telecaster
Broadcaster 0742 12-50 Broadcaster
1788 3-52 Esquire 3065 7-52 Telecaster 4124 2-53 —_Esquire
Broadcaster 0748 9-51 Telecaster
1895 9-51 Telecaster 3180 7-52 Telecaster 4198 3-54 Telecaster
Broadcaster 0856 5-51 — Esquire
1899 11-50 Broadcaster 3224 5-52 Telecaster 4303 3-52 Telecaster
Broadcaster 0984 8-51 Telecaster
Broadcaster 0997 10-51 ‘Telecaster 1924 8-51 No-Caster 3247 1-54 Telecaster 4520 7-52 Telecasterr
2023 10-53 —-Esquire 3342 9-52 Telecaster 4551 4-53 _ Esquire
Esquire 1043 8-51 No-Caster
2112 8-52 Telecaster 3377 2-53 Telecaster 4585 9-54 Telecasterr
Broadcaster 1072 9-51 Telecaster
1120 12-51 Telecaster 2190 7-53 Esquire 3454 11-52 Esquire 4617 4-54 Telecasterr
Broadcaster
Telecaster 1126 8-51 No-Caster 2289 12-53 Telecaster 3491 1-54 Telecaster 4651 10-53 —_Esquire
Broadcaster 1131 8-51 Telecaster 2302 3-53 Telecaster 3566 7-52 Esquire 4670 8-52 Telecaster
Broadcaster 1182 1-51 No-Caster 2339 11-52 Telecaster 3606 6-54 Telecaster 4676 8-54 Telecasterr
Esquire 1201 10-51 Telecaster 2374 6-53 Telecaster 3686 12-52 Telecaster 4700 8-53 Telecasterr
No-Caster 1288 12-51 Telecaster 2384 12-53 Telecaster 3735 7-52 Esquire 4782 9-52 Esquire
Broadcaster 1292 6-51 Esquire 2409 2-53 Telecaster 3776 11-51 Telecaster 4817 7-53 Telecaster:
Esquire 1427 8-51 No-Caster 2547 11-50 Broadcaster 3849 8-53 Telecaster 4902 11-52 Telecaster :
Telecaster 1457 12-51 ‘Telecaster 2580 10-52 Esquire 3928 4-53 Esquire 5031 9-53 Telecaster >
Broadcaster 1569 11-51 —_ Telecaster 2741 4-54 Telecaster 3962 9-53 Esquire 5171 6-53 Telecaster °
Esquire 1587 12-52 Telecaster 2871 7-52 Esquire 3995 6-53 Telecaster 5204 7-52 Esquire
No-Caster 1688 2-51 Broadcaster 2949 4-54 Esquire 4046 1-53 Telecaster 5279 5-52 Telecaster *

NECK PLATE NUMBERS/NECK DATES:

1954-1973
S/N DATE MODEL S/N DATE MODEL S/N DATE MODEL S/N DATE MODEL S/N DATE MODEL _
5883 5-55 Esquire 35695 4-59 Telecaster 101127 APR63 Telecaster 103995 JUL65 Telecaster 250748 MAY68 [Link]
6608 5-55 Telecaster 36560 oe Telecaster 101180 FEB63_ Telecaster 104906 MAY65 Telecaster 254241 MAY69 Esquire
6711 9-55 Esquire 40644 10-58 Telecaster 101635 JUN62 Esquire 112172 SEP66 Telecaster 259947 MAY69 [Link]
06998 1-55 Telecaster 44157 6-60 [Link] 102950 MAR63 Telecaster 115147 DEC65 Esquire 262281 JUL69 [Link]
7307 4-55 Telecaster 44282 8-60 [Link] 103475 APR63 Esquire 122654 FEB66 [Link] 271920 JAN68 Telecaster
7336 8-54 Esquire 48919 3-60 Telecaster 104064 JUN63 Telecaster 125079 DEC65 Telecaster 272501 MAR71 [Link]
7359 10-54 Telecaster 49518 5-60 Telecaster 107189 DEC62 Esquire 128331 APR66 Telecaster 275152 SEP69 Telecaster
8019 7-55 Telecaster 50920 5-60 [Link] 110102 MAY63 Telecaster 132409 MAR66 Telecaster 280816 AUG70 [Link]
8099 1-55 Telecaster 51032 6-60 Esquire 110439 MAR63 Telecaster 147824 MAY66 [Link] 286193 JUL68 [Link]
8503 (2 Telecaster 54360 8-60 [Link] 112092 JUN63 [Link] 149257 SEP66 Telecaster 295859 SEP67 Telecaster
08970 5-56 Esquire 54746 9-60 [Link] 113181 DEC62 Esquire 155431 JUL66_ Telecaster 297863 NOV70 Telecaster
09394 12-55 Telecaster 58020 10-60 [Link] 113281 JUN63 Telecaster 161804 AUG66 [Link] 299736 MAY71 Telecaster
09996 2-56 Esquire 59002 12-60 Esquire 115953 OCT63 [Link] 167924 OCT66 Telecaster 300612 MAR70 Tele. Thinline
10083 8-55 Telecaster 60138 2-61 Esquire L16550 OCT63 [Link] 170416 MAR66 Telecaster 303997 JAN71 Telecaster
11257 6-56 Esquire 61810 4-61 Telecaster 119017 AUG63 Telecaster 172178 AUG66 Esquire 307466 OCT70 Telecaster
12594 9-56 Esquire 63204 5-61 [Link] 119716 JUN63 Telecaster 177112 NOV66 [Link] 310143 JUL71 [Link]
14350 10-56 Telecaster 66499 7-61 Esquire 120349 NOV63 [Link] 182112 JAN67 Telecaster 316337 APR71 Telecaster
16035 11-56 Esquire 66670 8-61 Telecaster 121743 NOV63 [Link] 183957 SEP67 Telecaster 324720 OCT71 Telecaster
16361 7-56 Esquire 69035 6-61 [Link] 123025 OCT62 Telecaster 185952 APR67 Esquire 325015 JUN71 Telecaster
17849 8-57 Esquire 69051 10-61 Telecaster 124814 OCT63 Esquire 193463 AUG66 Esquire 325034 JAN72_ Telecaster
-19054 1-57 Telecaster 70460 10-61 Esquire 124860 NOV63 Telecaster 195769 OCT67 Telecaster 330507 FEB72 Telecaster
-20077 2-57 Telecaster 71059 12-61 Telecaster 129360 NOV63 [Link] 198676 JUL67 [Link] 330774 SEP71 [Link]
-20460 9-5] Esquire 71471 8-61 Telecaster 134459 SEP63 Telecaster 201146 JUL67 Telecaster 338182 FEB73 Telecaster
-21616 7-55 Esquire 72527 12-61 Telecaster 134779 DEC63 Telecaster 205838 NOV67 [Link] 341020 JAN72 Telecaster
023312 10-57 Telecaster 72711 10-61 Telecaster 135905 APR63_ [Link] 208410 SEP67 [Link] 344226 NOV71 Telecaster
023154 76816 3-62 [Link] 136559 NOV63 [Link] 212517 DEC67 Telecaster
-24785
h257 Telecaster
77522 1-62 [Link] 137511 SEP63 Esquire 213820 JUN68 Telecaster
354239 SEP72 [Link]
355205 APR72_ Telecaster
024760 2-58 Telecaster 78794 3-62 [Link] 139957 AUG64 Telecaster 214289 DEC67 Esquire 357231 OCT71 [Link]
025167 12-57 Esquire 81745 12-61 Esquire 140771 SEP63 Telecaster 217178 FEB68 [Link] 362789 FEB73 Telecaster
026461 6-58 Telecaster 83502 MAR63 Telecaster 142308 DEC63 [Link] 220792 OCT68 Esquire 367046 AUG72 [Link]
028343 4-58 Telecaster 85944 3-62 [Link] 150451 APR64 [Link] 221348 AUG68 [Link] 371447 JUN72. Telecaster
29643 9-58 Esquire 86255 12-61 Telecaster 169410 DEC64 Telecaster 223388 SEP67 Telecaster 371900 JAN73_ Telecaster
30134 10-58 Esquire 87551 MAY62 [Link] 172906 JUN6S Telecaster 227021 JAN69 [Link] 382821 MAR72 [Link]
31418 1-59 Telecaster 91245 8-60 Esquire 178135 JUL65 Telecaster 230305 JUL69 Esquire 383098 OCT72 [Link]
31619 2-59 Esquire 93398 MAY62 Telecaster 181798 FEB65_ Telecaster 230556 DEC68 [Link] 393694 NOV72 Telecaster
32577 10-58 Telecaster 93875 JUN62 [Link] 187427 FEB65 Telecaster 235630 FEB68 Telecaster 396183 JUN71 [Link]
33159 4-59 Esquire 94745 DEC62 Esquire 187564 JUN65 Telecaster 241160 MAR68 [Link] 396288 AUG72 Telecaster
33783 11-58 Esquire 95618 JUN62 Telecaster 187740 AUG65 [Link] 244679 MAY69 Telecaster 407156 FEB73 Telecaster
33986 2-59 Telecaster 97339 MAY63 [Link] 191472 JUL65 Telecaster 248469 AUG68 [Link] 409981 MAR73 Telecaster
34981 4-59 Telecaster 99817 DEC62 Esquire 194120 JAN66 Esquire 250107 MAR69 Telecaster 412357 APR72. Telecaster

78
 BASIC NUMBERING SCHEMES:
1950-1990
1950 1972 6 digits in the 300000s
1951 a
1952 4 digits under the 6000s stamped on bridge plate
1973 6 digits in the high 300000s, 400000s and low 500000s
1953

1974 6 digits in the 400000s, 500000s and low 600000s

1954 4 digits under the 6000s stamped on bridge plate
4 digits under the 10000s stamped on neck plate
1975 6 digits in the high 400000s, 500000s and 600000s
1955 4 or 5 digits (beginning with 0) under the 10000s
a few 5 digits in the low to mid-10000s 1976 6 digits in the high 500000s, 600000s and low 700000s
a few 76 and S6+5 digits applied with a decal on headstock

1956 a few 4 or 5 digits (beginning with 0) under the 10000s

5 digits in the low to mid-10000s 1977 S7+5 digits, a few S8+5 digits

1957 5 digits in the mid to high 10000s 1978 $8+5 digits, a few $7 and $9+5 digits
5 digits in the low 20000s
1979 S9+5 digits, a few E0+5 digits
1958 5 or 6 digits (beginning with 0) in the 20000s
5 digits in the low 30000s 1980 S9 and E0+5 digits, a few E1+5 digits

1959 ° 5 digits in the 30000s 1981 E1+5 digits, a few S9 and E0+5 digits
5 digits in the low 40000s except Black & Gold Telecaster: CE+5 digits

1960 5 digits in the 40000s and 50000s 1982 E2+5 digits, a few El and E3+5 digits
except Black & Gold Telecaster: CE+5 digits
Vintage Telecaster: 4 digits stamped on bridge plate
1961 5 digits in the 50000s and 60000s
5 digits in the low 70000s
1983 E3+5 digits, a few E2+5 digits
except Black & Gold Telecaster: CE+5 digits
1962 5 digits in the 60000s, 70000s and 80000s
Vintage Telecaster: 4 digits stamped on bridge plate
5 digits in the low 90000s

1984 £4+5 digits, a few E3+5 digits

1963 _ 5 digits in the 80000s and 90000s except Vintage Telecaster: 4 digits stamped on bridge plate
L+5 digits under the 10000s
L+5 digts in the 10000s and 20000s
1985 £4+5 digits, a few E3+5 digits
except Vintage Telecaster: 4 digits stamped on bridge plate
1964 L+5 digits in the 20000s, 30000s, 40000s and 50000s

1986 Vintage Telecaster: 4 digits stamped on bridge plate

1965 L+5 digits in the 50000s, 60000s, 70000s, 80000s and 90000s
6 digits in the low 100000s
1987 £4+5 digits
except Vintage Telecaster: 4 digits stamped on bridge plate
1966 _ 6 digits in the 100000s and low 200000s
1988 £4 and E8+5 digits
1967 _ 6 digits in the high 100000s and low 200000s except Vintage Telecaster: 4 digits stamped on bridge plate
40th Anniversary: 3-digit number of 300
1968 _ 6 digits in the mid 200000s
1989 £9+5 digits, a few E8+5 digits
1969 _ 6 digits in the mid to high 200000s except Vintage Telecaster: 5 digits stamped on bridge plate
a few 6 digits in the low 300000s 40th Anniversary: 3-digit number of 300

1970 6 digits in the high 200000s and low 300000s 1990 E9 and N9+5 digits
except Vintage Telecaster: 5 digits stamped on bridge plate
1971 6 digits in the low to mid 300000s

79
HOW TO DATE A TELECASTER PART 4

e THE VINTAGE SERIES e THE CUSTOM SHOP MODELS

The ’52 reissue introduced in mid-1981 has a serial number stamped on the The true Custom Shop instruments (i.e. the one-off's) crafted by John Page and
bridge plate in the early 50s style. Both the Fullerton and the early Corona guitars his selected team of master luthiers carry a specific 4-digit number. It is usually
have a 4-digit number, roughly progressing from 0001s up to 9000s, but 5-digit applied with a small decal on the back of the headstock (black numerals), but
numbers in the 10000s have since appeared in 1988. Unlike the other vintage it may also be stamped as well on the neck plate. Having said that, the very
models, the number is not prefixed with a “V” but, to avoid any confusion with concept of the Custom Shop implies that a customer has the possibility to ask
real 50s guitars, a distinctive dot is stamped below the serial number. for a special number for his personalized instrument.
THE SIGNATURE SERIES Besides, not all the instruments carrying a Custom Shop label on the headstock
are one-offs built from scratch. Some may be “customized” production models
The full production Signature models are theoretically fitted with an 8-digit
and thus keep their standard serial number. Some may belong to a limited run
headstock number, meant as an extension of the standard 7-digit scheme
of semi-custom instruments, specially ordered by a dealer/distributor. In this
previously described. Their serial number is simply prefixed with “S”.
case, they may feature a specific run of numbers on the neck plate or on the
Telecaster-wise, only the James Burton is currently a full production Signature headstock. As a matter of fact, the Custom Shop has been recycling in this way
instrument, whilst the other models catalogued (Gatton and Collins) are built to quite a few old-style decals from the CBS era.
order by the Custom [Link] may create discrepancies in the style and location
of their relevant serial numbers. Unlike Stratocaster Signature models, which SUMMARY
feature an 8-digit number prefixed with “‘S,” the Burton has been so far produced For a quick reference, the various serialization schemes used by FENDER on
with a straight 7-digit number without “S.” In other words, its headstock decal is Telecaster guitars since 1950 have been recapped year by year in a global chart.
identical to the one found on the American Standard or the Tele Plus. The numbers itemized in this chart apply only to instruments made in the USA and
© THE 40TH ANNIVERSARY TELECASTER do not encompass Japanese or Korean made Fender/Squier guitars. Besides, the
rounding exercise implied by a global chart means that this chart may not exactly
The limited edition Telecaster produced between mid-1988 and early 1990 is fit all of the Telecasters and Esquires ever produced, but it should reflect the
characterized by a number ranking each guitar in the 300 batch, e.g. “109 of 300”. average year of issue for most of them.
This composite number is applied with a black decal on the back of the headstock.

a
york cores
ae Q
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wa?!
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409),4,35%,, 00"
A CcHAR
“No. 9 2; 47,
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Gitte =
 THE FENDER TELECASTER - née ESQUIRE -

is regarded as the first commercially successful

solid body electric “Spanish: guitar. Designed by

Leo Fender at a time when the words rock and roll

were not even coined, the “Telly” is the senior member of a family

of instruments whose sounds and looks helped revolutionize the world

of popular music.

In the early fifties, its innovative construction

brought to the fore new concepts in professional guitar

making. It also generated a lasting impact upon the music

industry as well as a spate of imitators.

Today, its unique twangy sound remains unequalled

whether for R&B slick comping or C&W chicken

picking, not to mention other music styles it can

lend itself to. This book relates the story of

Telecaster guitars since 1950.

A must for anyone into “Tellies!”

U.S. $15.95

ISBN 0-7935-O08b0-6

0
mu 9 3003
HL00183003
|; HE Leonard Publishing Corpo m