From The Galaxy of Strats Book
Interviewer: Yasuhiko Iwanade
(The information about the interviewees is as of the time of the interview.)
P180 & P181
George Fullerton
“I take great pride in the fact that what we created continues to be the best even today.”
George Fullerton, who supported Leo Fender’s achievements as his right-hand man since the late 1940s. His responsibilities ranged from design work and prototype production to setting up and managing production lines, and sometimes even fabricating the machining equipment itself, covering all aspects of production. Here, let’s hear from him as a participant about the circumstances leading up to the birth of the Stratocaster and the subsequent evolution.
Q: First, I would like to ask about the period leading up to the birth of the Stratocaster. As the third solid-body guitar following the Broadcaster/Telecaster and Precision Bass, what was the background behind the development of the Stratocaster?
A: The Telecaster was very well received by players, and we were also strongly committed to it, but we received various feedback based on that foundation. The feedback was of high quality, and we concluded that it would be better to create a new model rather than make minor changes to the Telecaster. It also matched the sales department’s need to expand the lineup.
Q: In terms of meeting the demands of users at the time, what specifications did you incorporate first?
A: The vibrato system. At that time, the Paul Bigsby unit was starting to circulate and received excellent reviews, so we immediately thought about incorporating something that would surpass it into the guitar.
Q: What about other specifications, such as the innovative body styling?
A: This was a further development of the concept we cultivated during the development of the Precision Bass. In the Precision Bass, we extended the horn on the 4-string side, improving the holding balance and achieving weight reduction. We applied that to the Stratocaster.
Q: Having three pickups was also unique at the time.
A: The Telecaster had boom pickups in the front and treble-strong pickups in the rear, but there was a desire for a middle sound that would bridge the contrast between them.
Q: The control system supporting the three-pickup system is also very innovative.
A: While ensuring the necessary functions, I made an effort to keep the controls as simple as possible. I carefully considered the placement, and I positioned the volume control in a location where you could change the volume while playing, enabling what is commonly known as the violin technique. I also designed completely new knobs specifically for the Stratocaster. Moreover, the method of incorporating everything on top of the pickguard was an entirely new approach for this type of guitar.
Q: What was the background behind the shape of the headstock?
A: It was a result of our efforts to create something more complex than the Telecaster design.
Q: Returning to the topic of the tremolo, it is said that the version that was supposed to debut in 1953 had a completely different design. What were the circumstances around that?
A: In 1953, all the tooling (note: the process of creating molds for the main body and parts for full-scale production) for the Stratocaster was completed, and the bodies were already flowing through the production line, with more than 100 bodies being painted. However, during the final stage of testing, we discovered a flaw in the design of the tremolo section.
Q: Then how was the second version that we currently see born?
A: To make the Stratocaster a reality, we continued to develop it without giving up. However, we reached a deadlock as no solution was found, and the staff’s anguish deepened.
Then, one day, Leo finally found a solution. “The bridge should be made heavier!” Leo said, placing an iron block on top of the bridge. At that moment, the sustain that had been lost returned.
Leo’s discovery was a delightful surprise for us, but there was another good thing. The iron block gave the Stratocaster a unique tone. The pure and clear tone was exactly what we aimed for in an electric guitar. I believe that day was the day the Stratocaster was born.
Q: It’s also groundbreaking that all strings can achieve octave with the 6-way saddle, right?
A: This was strongly requested by Bill Carson.
Q: Now let’s talk about what happened after the birth of the Stratocaster. In what month of 1954 did production begin?
A: I think we started making them in March or April. We had to meet the deadline for the NAMM Show, which took place at the end of June and the beginning of July every year. So, I think the full-scale production started in September.
Q: How was the market’s response?
A: The reaction from users and dealers was very positive, and the Stratocaster quickly penetrated the market like wildfire.
Q: In the Telecaster, the body was made of ash, and initially, the Stratocaster was also made of ash. However, in 1956, the Stratocaster was switched to alder. What was the reason for that?
A: As the recognition and acceptance of our guitars increased, the production numbers also rose. However, the lightweight ash that we wanted was in short supply and not stable. So, we needed to find another material, and that’s when alder was chosen. Alder was lightweight, had good workability, good paint adhesion, and ideal qualities for a solid-body guitar. And above all, we liked the sound that came from Alder bodies.
Q: Compared to the light-colored ash, alder has a plain color when left unpainted. It seems that bleaching was done at that time for that reason.
A: That’s right. Indeed, alder had such issues when it came to achieving a sunburst finish. Sunburst effects occur when light reflected from the material passes through the color layers. With a darker color, there is less light reflection, and it doesn’t create a beautiful sunburst effect. Bleaching was done to solve this problem.
Q: In 1958, sunburst added red and became a 3-tone finish. What was the reason for that?
A: I think it was probably a request from Fender Sales.
Q: In the following year, 1959, there was a major specification change with the introduction of rosewood fingerboards.
A: I think there were practical reasons and user requests for this change. With Fender’s maple neck, the surface finish would wear off as you played, exposing the maple and causing dirt to accumulate on the fingerboard. Such issues were raised as complaints, and the introduction of rosewood fingerboards was decided as a solution. However, Leo always said that a one-piece maple neck was superior and opposed the change until the end.
Q: When I heard you speak before, you mentioned that when different materials are glued together, it becomes like a bimetal, making it more susceptible to warping due to environmental factors, especially temperature changes.
A: That’s correct. That’s why we switched from flat bonding surfaces to curved ones. The bonding surface matches the radius of the finger.
Q: In the following year, 1959, there was a significant specification change with the introduction of the rosewood fingerboard, right?
A: Yes, I believe that change was driven by practical considerations and user demand. With Fender’s maple neck, over time, the surface finish would wear off from playing, exposing the maple and causing dirt to accumulate on the fingerboard. These issues were raised as complaints, and the solution was to introduce rosewood fingerboards. However, Leo (Fender) remained opposed to this change, stating that the maple one-piece neck was superior until the end.
Q: When I spoke with you previously, you mentioned that using different materials together would create a sort of bimetallic effect, making the neck more prone to warping due to environmental factors, especially temperature changes.
A: That’s correct. That’s why we quickly switched from flat mating surfaces to curved ones. The mating surface matches the radius of the fingerboard, and the fingerboard itself is only applied to the surface of the neck. This minimizes the impact on the entire neck due to changes in the fingerboard material.
Q: It seems you always listened to the market’s voice and made efforts to meet user needs.
A: Yes, I take great pride in the guitars we were able to create through such continuous efforts. We poured all our energy into making guitars like the Telecaster, Precision Bass, and Stratocaster. I truly feel a great sense of pride that what we created at that time continues to be the best. I also feel fortunate to have been present and to have played a part in history.
Yasuhiko: Thank you for your valuable time.
P182
Karl Olmsted
“I believe that it was because we faithfully responded to Leo’s requests that we were able to accomplish a high level of work that we can be proud of for the rest of our lives.”
Karl Olmsted, who worked alongside Lyman Race at Race & Olmsted Company from the early 1950s, supplied the molds, machinery, and parts necessary for guitar production for Leo Fender. While he had never been in the spotlight as a staff member supporting Leo, his words vividly depict the process of creating the Stratocaster down to the finest details.
Q: How did you come to work with Leo Fender?
A: At that time, we were working for an aviation-related company in Orange County (the area that includes Fullerton and Anaheim), but we wanted to do something independent. That’s when Leo approached us. Our workshop was right behind the Fender factory, and Leo took great care of us. So, we worked hard to meet his expectations. However, it’s also true that he was a very demanding person. He never compromised and didn’t accept the word “impossible.” No matter how much we said, “That can’t be done,” it wasn’t acceptable. He would say, “Find a way to make it work. That’s your job.” It was tough to keep up with him.
Q: Could you provide more specific details about the nature of the work, such as the molds for the body?
A: The body molds were made of a quarter-inch iron plate which we called a template. We traced the shape from the blueprints and cut the iron plate to create it.
Q: Were similar templates used for the Stratocaster as well?
A: Yes, they were. However, the Stratocaster had an additional cavity that was one step deeper in the control area, and there was also a cavity on the back of the body for the springs. I believe we used two templates combined. The size was the same as the body, and we used a woodworking machine called an overhead pin router to cut them. The table had guide pins, against which we aligned the edge of the template for processing.
Q: Did you cut the body, for example?
A: Of course. We had to check if the molds we made were usable.
Q: What about prototypes?
A: It is common to have prototypes for parts and such to ensure proper fit and functionality. We certainly made prototypes as well.
Q: Is it safe to say that the guitar you currently have (referencing the photo) was used for a similar purpose?
A: This one was given to us by Leo in 1954 and was used to check the fit of the parts, among other things. Even after the product was completed, whenever there were improvements or specification changes, it was necessary to check if those parts fit properly with the other components. That’s why it’s always necessary to have an actual instrument at hand.
Q: The tremolo on the Stratocaster is an excellent design, but how was it developed?
A: We struggled with that. The initial prototype was supposed to be okay, but it was scrapped abruptly because it lacked sustain. Although we had already made the molds and partially produced the parts, Leo completely gave up on it and started developing a new type. After a while, he came up with the idea of attaching an iron block to the bridge section, which beautifully solved the problem.
Q: Are there any other memorable aspects related to the Stratocaster?
A: As for the parts, I remember the three-dimensional plate around the jack very well. It required deep pressing, so we had some difficulty choosing the material. I recall using a soft brass material.
Q: So, you were involved in every part of the Stratocaster. Finally, could you say a few words?
A: Leo Fender was a demanding person, and we had a tough time keeping up with him. But when I think about it, it was because we faithfully responded to his requests that we were able to accomplish work at such a high level that we can be proud of for the rest of our lives. I am filled with gratitude toward Leo, who brought out our maximum abilities.
P185
John Clardy
“It makes me think, about the phrases before I play them, rather than letting my fingers do thier own things on the fingerboard.”
John Clardy was born in 1955 in Fort Worth, Texas. He leads a busy life as a manager of two companies but enjoys playing the guitar and going on long rides with his Harley-Davidson as a hobby. He passionately talks about his personal experiences from the dawn of rock music and the world of vintage guitar collecting that went hand in hand with it.
Q: What was the trigger for starting your collection?
A: In the early ’70s, there was a backlash against the Gibson-dominated music scene, and signs of a rediscovery of the Stratocaster began to emerge. Around that time, I obtained my driver’s license at the age of 16 in 1971 and immediately started working at my father’s company. With my new license and money, I started checking the classifieds in newspapers, visiting pawn shops, and getting information from the network of music stores, including those in neighboring Dallas. I think the first Stratocaster I bought was in 1971 or 1972. Now I own 15 of them.
Q: What are your criteria when collecting?
A: The first and foremost is that it should be pre-CBS, followed by being as original as possible, and the price should be satisfactory. By the way, it was rare to see custom colors in Texas.
Q: What attracts you to the Stratocaster?
A: Initially, it’s the cool appearance, but when you actually use it, you realize that it takes some getting used to. I clearly understood that the wide range of tones is the strength of the Stratocaster.
Q: What about playability?
A: The feeling of it fitting perfectly with my body is amazing. However, playing on the fretboard can be quite challenging. I don’t play fast anymore. Instead of relying on the movement of my fingers, I started playing the phrases I think of.
Q: When you think of the Stratocaster, which guitarist comes to mind first?
A: Of course, Jimi Hendrix.
Q: What songs come to mind?
A: There are two representative songs. “The Wind Cries Mary” and “Bell Bottom Blues.” Although they have completely different tones, I think both of them have that textbook Stratocaster sound.
P186
Scot Arch
“One day, I decided to gather three really good pre-CBS ones.”
Scot Arch was born in 1955 in Philadelphia, Pennsylvania. He works as an executive for a computer equipment sales company. Until recently, he used to be a full-time musician, so he still plays as a professional musician on weekends. His collection is particularly rich in custom colors.
Q: How did your collection start, and how many guitars do you currently have?
A: I bought my first vintage Stratocaster 17 years ago, a refinishing from 1960. It’s been about nine years since I seriously started collecting. I’ve always loved Stratocasters and used them as my main guitars since around 1980. But one day, I decided to gather three really good pre-CBS ones. The first one was from the 1950s with a maple neck, the next one was a 1960s slab board, and the third one was a round board from before 1966. However, before I knew it, the three guitars turned into more than a dozen, and now I have 15 of them.
Q: How did you go about collecting them?
A: Some of them were from individual owners, but mostly I acquired them from dealers. I visited shops, met them at shows, and sometimes had them sent to me.
Q: What was your concept when collecting?
A: I specifically looked for ones with gold parts and hang tags. I also tried to collect different colors. I have models ranging from 1954 to 1966.
Q: When it comes to representative players of the Stratocaster, whose names come to mind?
A: Stevie Ray Vaughan, David Gilmour, and Jimi Hendrix, for sure.
Q: How about songs?
A: Any studio recordings by Stevie Ray Vaughan.
Q: What do you find appealing about the Stratocaster?
A: Its wide range of tones is the most appealing aspect. If you listen to players like Stevie Ray Vaughan and David Gilmour, you’ll understand. It produces various tones with rich variations. And it’s comfortable to hold and easy to play. Of course, it’s good looks are also a plus.
P186
Michael Indelicato
“Strats don’t hide your mistakes. If you mess up, the guitar won’t overlook it.”
Michael Indelicato was born in 1959 in Albany, California. He is now a highly skilled guitar hunter who covers the entire United States, primarily focusing on Northern California. Being a fan of Jimi Hendrix and Robin Trower, his first vintage guitar was a 1955 Stratocaster with a maple neck, which he discovered in Walnut Creek, California.
Q: What got you interested in the Stratocaster?
A: It all started in high school when I began playing covers of Jimi Hendrix and Robin Trower.
Q: When did you start collecting?
A: In 1976, I learned from a magazine interview that Robin Trower had switched to a 1956 model. The following week, I found a 1955 Stratocaster in a music store. After that, I started visiting dealers, friends, and eventually exploring small towns and pawnshops. Currently, my collection consists of 15 guitars.
Q: How would you describe the tone of a Stratocaster?
A: Jimi Hendrix, without a doubt. Also, Eric Clapton and Robin Trower. But regardless of the music genre, a Stratocaster always fits right in.
Q: What about its playability?
A: Strats don’t hide your mistakes. If you make a mistake, the guitar won’t overlook it. However, once you become proficient at playing it, it’s a fantastic instrument.
Q: How do you feel about its looks and design?
A: They’re outstanding. I believe Leo Fender created something perfect from the beginning. It has a pleasingly flashy design that never gets boring.
Q: What was your concept when collecting?
A: Initially, I focused on pre-L series models. Then, I developed an interest in the L series as well and later started collecting guitars from the late 1960s.
Q: When you think of Stratocaster players, who comes to mind first?
A: Jimi Hendrix. I also like early Robin Trower, Buddy Guy, Dick Dale, and Stevie Ray Vaughan.
Q: What are some representative songs that showcase the sound of a Stratocaster?
A: “Little Wing” by Jimi Hendrix and “I Got the Fire” by Ronnie Montrose, among others.
P187
Lou Gatanas
“I even think that the men who are said to be the gods of the guitar have changed the world with the Stratocaster.”
Born in 1962 in New York and currently running a guitar shop called “Uncle Lou’s Classic Guitars” on Long Island, New York. He is a respected guitar hunter among dealers, traveling throughout the United States to unearth rare vintage guitars.
Q: What was the reason for buying your first Stratocaster?
A: A friend of mine had a 1971 Maple Neck Strat, and I bought a brand-new one with a rosewood fingerboard in exchange for getting his old one.
Q: How long have you been collecting, and how many guitars do you currently own?
A: I’ve been collecting for about 16 years. Right now, I have 12 guitars.
Q: How did you go about finding them?
A: In the past, I used to go guitar hunting with friends every week. We would look through the classifieds in newspapers and such. I bought my first pre-CBS Strat at the music stores on 48th Street in Manhattan.
Q: What captivates you about the Stratocaster?
A: I’m completely obsessed with the Stratocaster. It’s just a perfect instrument. I even think that the men who are said to be the gods of the guitar have changed the world with the Stratocaster.
Q: How about the tone of the Stratocaster?
A: It truly has a unique tone that can’t be replicated. Whether it’s country, blues, or hard rock, it produces that definitive tone.
Q: What about its playability?
A: It might be a bit harder to play compared to a Les Paul. You need strong hands for it. That’s where Les Paul shines.
Q: What do you think about its looks?
A: It’s fantastic. It’s appealing to girls too. (laughs)
Q: Can you name a few Stratocaster players that come to mind immediately?
A: Clapton, Hendrix, Stevie Ray, and Beck.
Q: How about a song?
A: I’m not a fan of Southern Rock, but “Sweet Home Alabama” by Lynyrd Skynyrd immediately comes to mind.
Q: What made you become a dealer?
A: Initially, I started my collection with the money I earned from my family’s construction and woodworking business. I only sold guitars when I needed to upgrade. But eventually, selling guitars became more interesting to me.
P187
Ronny Proler
“You should play and get used to it. The Stratocaster is worth it.”
Born in Houston, Texas in 1953. He currently runs a diverse business in Houston. In addition to his collection of Stratocasters, he has a heavyweight collection that includes Les Pauls, Flying Vs, Explorers, and more. He is also a seasoned blues guitarist.
Q: What was the reason for starting your collection?
A: It started when I bought a 1960 Stratocaster with a slab board for $125 in 1971.
Q: How many guitars do you currently own?
A: It’s still relatively few for me, but it’s too many for my wife. (laughs)
Q: How did you go about expanding your collection?
A: I would visit dealers, establish connections with friends, and even respond to newspaper ads for guitar hunts.
Q: Do you have any goals when collecting?
A: I’m drawn to guitars that have unique characteristics, even among the rare ones.
Q: What sparked your interest in the Stratocaster?
A: It was the influence of Jimi Hendrix and Eric Clapton. Especially after listening to Eric Clapton’s first album, I admired that sound. I wanted to create that kind of sound.
Q: How about the tone of the Stratocaster itself?
A: It has a wide range. It varies significantly depending on the guitar. It can sound like a clear blue sky or a storm. That’s what makes it endlessly fascinating.
Q: What about its playability?
A: It can be a bit challenging to play, but you should play and get used to it. The Stratocaster is worth it.
Q: What do you think about its looks?
A: If it’s pre-CBS, I think they’re all beautiful. Of course, there may be individual differences.
Q: Can you name the first players that come to mind?
A: That would undoubtedly be Jimi Hendrix and Eric Clapton.
Q: Can you mention a song that symbolizes the sound of the Stratocaster?
A: “Let It Rain.”