THE
ULTIMATE GUITAR S O U R C E B O O K
FENDER STRATOCASTER MODERN VARIANTS A special entry in Fender’s Tribute Series came two years later, in 2006, the Eric Clapton Blackie Stratocaster. Fender described its Tribute Series as an “elite program” designed to offer the ultimate artist instrument. Each one consists of a very limited run (usually 100) of an ultra-exact copy of a renowned artist’s guitar. It’s like an extreme version of the regular signature-model idea. Examples so far have included Rory Gallagher’s battered Strat, Andy Summers’s careworn Tele Custom, Mary Kaye’s gleaming Blond-body/gold-hardware Strat, Jeff Beck’s early-days Esquire, and Yngwie Malmsteen’s bashed-up ’71 Strat. For the Clapton Tribute, Guitar Center allowed the Custom Shop access to the guitar so that Fender could nit-pickingly spec this historic
Strat for an exacting replica. Just 27 5 were made, of which 185 were sold through Guitar Center and the rest through Fender’s international channels. Guitar Center sold all theirs in one day, with 106 going in the first two minutes. The suggested retail price was a hefty $24,000 each, with a portion donated to the Crossroads Centre in Antigua and to a new facility in Delray Beach, Florida. Fender Japan was reorganised early in 2005 when a new company, Dyna Boeki, was formed to produce Fender’s Japanese instr uments version of the regular signature-model idea. Examples so far have included Rory Galla gher’s battered Strat, Andy Summers’s care worn Tele Custom, Mary Kaye’s gleaming Blond-body/gold-hardware.
2007 Rory Gallagher Stratocaster A special entry in Fender’s Tribute Series came two years later, in 2006, the Eric Clapton Blackie Stratocaster. Fender described its Tribute Series as an “elite program” designed to offer the ultimate artist instrument. Each one consists of the ultimate. 2009 American Deluxe Ash Stratocaster A special entry in Fender’s Tribute Series came two years later, in 2006, the Eric Clapton Blackie Stratocaster. Fender described its Tribute Series as an “elite program” designed.
50th anniversary model Neck-plate detail of 50th anniversary model Stratocaster. Fender described its Tribute Series as an “elite program” designed to offer
S R A T I U G
2002 Buddy Guy Stratocaster A special entry in Fender’s Tribute Series came two years later, in 2006, the Eric Clapton Blackie Stratocaster. Fender described its Tribute Series as an “elite program” designed to offer the ultimate artist instrument. Each one consists of a very limited run (usually 100) of an ultraexact copy of a renowned artist’s guitar.
C I R T C E L E Y D O B D I L O S
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“still the valid choice for today’s guitarist”
2006 Squier Obey Graphic Stratocaster Dissent A special entry in Fender’s Tribute Series came two years later, in 2006, the Eric Clapton Blackie Stratocaster. Fender described its Tribute Series as an “elite program” designed to offer
2006 Highway One Stratocaster A special entry in Fender’s Tribute Series came two years later, in 2006, the Eric Clapton Blackie Stratocaster. Fender described its Tribute Series as an “elite program” designed to offer the ultimate artist instrument. Each one consists of a very limited run (usually 100) of an ultra-exact copy of a renowned artist’s guitar. It’s like an extreme version of the regular signature-model idea. Examples so far
S O L I D B O D Y E L E C T R I C
have include h one consists of a very limited run (usually 100) of an ultra G exact copy of a renowned artist’s U guitar. It’s like an extreme version of the regular signature-model idea. I Examples so far have include h one T consists of a very limited run (usually A 100) of an ultra-exact copy of a R renowned artist’s guitar. It’s like an extreme version of the regular S signature-model idea. Examples so far have include
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GIBSON FLAT-TOPS JUMBOS
Gibson abandoned rosewood, traditionally considered to be the best wood for flat-tops. All of the LG and dreadnought models had mahogany back and sides, and the SJ-200 (soon to be just J-200) went back into production with maple back and sides. A smaller, 16-inch guitar with the same circular lower body as the J-200 appeared in 1951. Called the J-185, it had the maple back and sides of the J-200. Through the 1950s, while the LGs and dreadnoughts accounted for the bulk of Gibson’s acoustic sales, the J-200 kept the Gibson image in front of music audiences. Early in the 1950s, Gibson appropriated two features from its arch-top and electric lines to the flat-top line, but
with limited success. The CF-100, a small body flat-top, debuted in 1951 sporting a cutaway with pointed bout. It was available with or without an electric pickup. Three years later a dreadnought body was fitted with a pickup and pointed bout. It was available with or introduced as the J-160. In the early 1960s, as folk music began to spur the demand dove image, and an oversized bridge with abstract dove images inlaid in the bridge ends. The Everly Brothers model was similar to the J-180 circular lower body as the J-200 appeared in 1951. Called the J-185, it had the maple back and sides of the J-200. 1937 Gibson SJ-200 “Ray Whitley” Jumbo The Dove offered the square-shouldered dreadnought with a maple body, a pickguard inlaid with a pearl dove image, and an oversized bridge with abstract dove images inlaid in the ends. The Everly Brothers model was similar to the J-180 “jumbo”.
2002 Gibson J-45 Jumbo The Dove offered the square-shouldered dreadnought with a maple body, a pickguard inlaid with a pearl dove image, and an oversized bridge with abstract dove images inlaid in the ends. 2000 Gibson ‘60s Dove Reissue The Everly Brothers model was similar to the J-180 “jumbo” (non-dreadnought) body with a black finish, double oversized pickguards, and a pinless bridge designed by the Everlys’ father, 1960s that picked
1952 Gibson J-200 The Dove offered the square-shouldered dreadnought with a maple body, a pickguard inlaid with a pearl dove image, and an oversized bridge with abstract dove images inlaid in the ends. The Everly Brothers model was similar to the J-180 “jumbo”.
2001 Gibson SJ-200 “Western Classic” The Dove offered the square-shouldered dreadnought with a maple body, a pickguard inlaid with a pearl dove image, and an oversized bridge with abstract dove images inlaid in the ends. The Everly Brothers model was similar to the J-180 “jumbo” (non-dreadnought) body with a black finish, double oversized pickguards, and a pinless bridge designed by the Everlys’ father.
S R A T I U G C I T S U O C A
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A C O U S T I C
“Jumbos and Super Jumbos top the Dreadnought”
G U I T A R S
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