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Shown, front, to rear:

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-For more information, send $2.00 postage and han^Hng^udspeakers, c/o Fender Pro
Au^7975'N.'Hayaen Rd., Scottsdale, AZ &525&. ©1995, F.M.I.C.
(602) 596-9690. http://www.fender.com ELECTRONICS
 F A L L 1 9 95 • V 0 L U M E f 7

CAWVR<1 "HOW TcrjEATIJUES

^ IN THE MIX

All Strung Out!

Our man in the studio
compares string types
and explain,? the"8
ijdifferehces."

^</
CRAY B<SA

SOUND SETUPS S.-^Aff'ai

, Great
Dual Prof essioi
^ Young Hope Tips o^Fone from thrfe^
of the Blues vetydlprent players;

Dr. SiSooth gives

W3
t^afriailmm and tour
^that are stripped of all
34 LEARNING CURVE

but the basics, and more. Making Powerful

K0^ powerful than ever.
Connections!

^OEZPlt^^eBush
Solution tothe, power
amp paradox. ' ^

^5 lourneyt"r^albis IMiPAKTMENTS
'^:BT^TEStbands'-
^,,.,...

one of W1
3 editorial: ' 35 POWER POINTS
by Surfing the Web
Amps—Our Other Instruments!
4 Letters. .^'"^ .^. Spicing up your sonic life
"with electEonic yarietyf
5 From The Shop: ' " '' mi
^t JMoyan Guitar
36 ARTIST ADVICE
32 New Products
The Ultimate Teacher
17 Product Index Stringer Carl Verheyen
explores guitar lessons

^ S5
37 The Accessorizer: on computer.
Search Amp Rescue

38- CfMftaway: 36 TECH TIPS

Cuitar/Synth Rig , Acoustic Alchemy
39 l^ewsfiash: Setting Helpful hints, for ttie unplugged.

the Record Straightf

MMY ti^QUISTO 40 SArtist Action

43^g Shots 45 Spotlight

^
A biography of one of the s46 Playback
world's greatest luthiers. . 4^ On Track
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 Mail Call from Ihe Frontline
Thanks for your mail! To write, just address your letter to Frontline Letters, 11 999
Edited for PG audiences) San Vicente Blvd., Suite 401, Los Angeles, CA 90049. If we can, we'll print it and
answer your question so everyone can benefit. So write us already!

kids with their Dad's Fender collection. Is the

?11JNE
FALL 1995 • VOLUME 17 SMOKING
miniature Strat available?
Carl Mace
Columbus, OH
Many people were fooled by this picture! The Strat
EDITOR: Michael Caroff ALLOWED!
looked "mini" because of the angle. Fender does not
11999 San Vicente Blvd., #401 Why don't
Los Angeles, CA 90049 make any miniature guitars.
310/471-6170 ext. 132 you guys
Online: frontline@earthlink.net cover Debbie THE NEXT BIG THING
FAX: 310/471-2830
Davies, the Our "Strat" is 12 feet high and weighs a ton. It
CONTRIBUTING WRITERS:
smokinest never fails to attract the attention of people pass-
Larry Brooks, Mike Cozza., Debra
DeSalvo, Ritchie Fliegler, Her Ganz, woman gui- ing by!
Michael Laskow, Andrew Robbie, Jack
Schwarz, Adam St. James, Stephen tarist ever, Philip Justin
Stem, Fred Stuart, Carl Verheyen as well as Perak D.R., Malaysia
ARTIST RELATIONS: an incredible singer! You must need an amplifier the size of a Mack
Del Breckenfeld
Doug Mencoff truck for that guitar!
Bmce Bolen (Nashville)
CIRCULATION: Janet Shevell, Honolulu, HI
Circulation Manager 818/784-3765 Debbie's appeared in the mag numerous times (issues
DESIGN: LeeAnn Nelson, #1,3, 10 and 12 to be specific), but we're glad to
Nelson Design 510/355-0995
remind readers what an awesome musician she is!
TECHNICAL GRAPHICS: Bob Whitaey
PHOTO CREDITS: Cover (Gray) Mick Hutson, SIGNATURE SOUND
(Pulsford) Pat Enyart, (Tlsdale) Lissa Wales, How is Clapton getting that tone? I have been try-
(Solem) Nancy Carlson, (Anderson) Russ Austin;
Cover and pg 10-11: (Gray) Mick Hutson, (Puls- ing (without success) to emulate it.
ford) Pat Enyart, (Tisdale) Lissa Wales, (Solem) Mario DiBartolo
Nancy Carlson, (Anderson) Russ Austin; pg. 5
Steve Pitkin; 6-8 (Gray) Mick Hutson; pg. 15 & 16 Langhome, PA
Pat Enyart; pg. 33 (Montoya) Mike Cruz; (Kotzen)
Ann; pg. 36 (Verheyen) Peter Figen, (Brooks)
Every player's tone is comprised of a number of
Charles Dailey; pgs. 40-41 (NAMM Show) Dan important factors. See In The Mix on page 9
Loftin, (Hayes) Cindy Wilson, (Malmsteen) John IN MEMORY
Hartigan, (Tackett, Barrere) Pat Enyart, (King) for more details.
Bucky Barrett, (Street Redder) Eric Geisert; pgs. OF MARK
43 & 44 (Sponge) Pat Enyart; pg. 46 (Breckenfeld) MATCH THIS!
Charies Dailey; pg. 48 (Gittleson) Bari Cruze.
When I learned of the passing of Mark Witten-
This model—the result of some four months of
Fender Frontline Is published by The Phelps berg, I was deeply shocked and saddened. He was
Group, Copyright ©1995 by Fender Musical work—is entirely constructed from approximately
always so helpful, intelligent, funny, personable
Instruments Corp. (FMIC). Reproduction in whole 7000 matchsticks!
or of any portion is prohibited without express and had so much professional courtesy.
permission of publisher. To submit material, write T. Winterbottom
Joey Ortega
to: Frontline, 11999 San Vicente Blvd., Suite 401, Lancashire, England
Los Angeles, CA 90049. Publisher assumes no Saginaw, MI
responsibility for unsolicited materials. Features
and specifications subject to change without notice.
We'd like to thank everyone that called or wrote in their
fond memories of Mark. We all miss him!

IMPORTANT INFORMATION SPEAK Up!

Can you give me some information on how to
Fender®, Squier®, Frontline,
find the original speakers for my Bassman amp?
Telecaster?Tele®, Stratocaster®
Herman W. Griffith
Strat®, Precision Bass®,
Chillicathe, OH
P Bass®, Jazz Bass®, J Bass®, Turn to The Accessorizer on page 37 for the answer to
the head profiles of FMIC's your question!
classic guitars & basses, Wow! If patience is a virtue, you must be a saint!
NOTES:
Bassman®, Deluxe Reverb®,
LEFT OUT Paul Galinski wrote a lovely piece commemorat-
Dual Showman® Princeton®
My friend is left-handed and has problems finding ing the late Rory Gallagher. Interested parties can
Showman®, Super Reverb® guitars that he likes. Can Fender help? contact him at 102115.350@compuserve.com
Tone Master Twin Reverb®, Bill Buster to download it.
Vibro Champ® Vibro-King® Redlands, CA
CORRECTION:
Vibrolux®, Dynamaxx, Sunn® Your friend should be pleasantly surprised by the New
In last issue's Tech Tips, a drawing of the
Super Bullets®, are all trade- Products section on page 12!
pickguard mistakenly showed two (2) tone
marks of Fender Musical "MINI" MISTAKE controls—the circuit shown was designed
Instrument Corp. (FMIC). Your Summer '95 Letters column pictures three for only one (1).

4 Fender Frontline
 ^^^S^SWines^ie^to^ lend
t00iHt^it!tismstru-
^^iffliiiiiWi^i^ii^ayan and
W^^Ctmure^^iMJofCorian.
a synthetic stone madle by Dupont,
was suggested by the Success of the
Egyptian Telecaster we did last year
utilizing the same material. Inlay
artist tarry Robinso^ working
from a rough sl^etchl^fmine,
added his own create, refine-
ments to the origm^design.
Hie^tunhih^^^fiiaveo^cred'.I^^IIB
the notion of ^artjej^-e series ..
m
^^^Qtiii^^Knotifs-- •
It^tetimes

Stuart/
Master Builder
^ ^. ^
s^^^
 ost of the music world may consider
Robert Gray to be the great young hope
of the blues, but don't think for a minute
that you'll get him to admit it. "I am a
little modest, so I don't think about it," he says ner-
vously, gazing out of a window overlooking Manhat-
tan's West Side. "I can't even consider anything like
that. No way in the world. That's for somebody else,
if ever. There's so many people that I admire and I'm
a fan of... I can't even think of it!"
Fortunately, this self-effacing nature doesn't extend
to Gray in the recording studio, which is why his
strong new Mercury Records release, Some Rainy Mom-
ing, could soon be adding another Grammy statuette
to his already-overburdened mantelpiece. Record-
ing with a quartet suits Gray—who sounds ^ %^:
even more down n' dirty sans the g ..^ : "" <^ i>*?^ ~'y
L'_V-
horns on this/ his ninth solo ^•^^-^K^- '
recording. ^S^-€~'
A service brat
N^^^^-i^l, who moved
around a lot
but found a base of his
own in the Pacific Northwest—
Gray might not have suffered with the
same pain as the greats of the genre, but his
heart-turning abilities on both guitar and voice
qualify him as a bonafide bluesman. He's added his
distinctive slice 'n dice leads to memorable works by
John Lee Hooker, B.B. King, Tina Turner, Eric
Clapton, and traded licks with Albert Collins and
mf:
johnny "Clyde" Copeland for his first Grammy on
1995's Alligator Records release (currently re-issued by
audiophile label Mobile Fidelity) Showdown! Yet, Gray
feels most at ease when discussing this latest outing.
"I'd like to see what kind of reaction we get when
people finally hear it," he says with a laugh. "We're
talkin' about the same kind of things that we're
always talkin' about: life situations. There's some soft
moments with the ballads and then there's some
rustic moments on there. But it's different for the
fact that it's a quartet. I think that—because it's a
quartet—there's a lot of space on it and a lot of fire
in it." Even a quick listen will bear that out. Gray is
playing a more soulful character on the vocals, let-
ting his natural shyness stretch and pull each lyric
into a heartfelt emotion.
His band—jimmy Pugh on keyboards, Karl
Sevareid on bass, and Kevin Hayes on drums—never
battle for the spotlight, opting instead to punch up
continued on page 8

:S19^S^
 hornless stage show might sound. The song F'e'lU^T Tr©t^tli^-- What guitars
fades as Cray's Signature Stratocaster grinds did you use during the recording of your new
out a black cloud of a solo, sweeping across album, Some Rainy Morning?
the plain landscape others have devised. Else-
where, things are more upbeat, as on the bal- ^©©Wrfc C-raif: i used the Fender Stra-
lad Never Mattered Much (Cray's personal tocaster throughout the album. I used mostly
favorite) or the cover of Syl Johnson s Step- my signature model, along with a couple of
the bottom. "We pin' Out. Though darker than some of his other guitars I guess you would call just regu-
didn't have any prob- work, the recording is also a return to the lar Stratocasters on at least one song—but I
lem with that," he form that brought him Grammys for 1986's couldn't tell you which one. Usually my rea-
admits. "Usually, Strong Persuader and '88's Don't Be Afraid Of son for switching guitars while recording the
I in the past, we'd The Dark. album was, you know, you use one and it
always done our The mounting critical acclaim that sur- goes out of tune so you grab the other one.
work in the front rounds day's solid outing on Some Rainy The sound of all the guitars I used was basi-
as a quartet and Morning has him itching to get back to cally real similar.
we'd have the Europe to showcase his latest recording and

FF
horn players embark on an extended tour. "I'm lookin'
What are some special features of
come in later. On forward to going to Europe," he says with a • your Signature Stratocaster?
our little shows, huge smile. "It's nice, and we haven't been

we played and would bring 'em (the horn there in a while. My father being in the ser- The neck was designed after two
section) in as needed. I know it's gonna feel vice meant that we moved around a bit, and • older ones I use at home—I really
like they'll walk in at any minute. We decid- it's kinda in the blood now. Being in a band, don't use them on stage anymore. One is a
ed at the end of our last tour that I was gonna I got used to going there two or three times a 1958 Strat and the other is a 1964 Strat. What
let the horns go and try and do a four-piece year. It's been three years now and I'm
Fender did is measure both guitars and made
thing as far as recording, and that we'd chompin' at the bit. It's nice to go to a place the neck on my Signature guitar similar to
decide how it played out as the record went where you feel like you're on the total out- the two. The radius was also designed to fit
along. As it went along, I decided that I side, but people are there to dig your music. my hand.
didn't want horns on anything. So I just left Then they reward you by telling you about My guitar has Texas Special pickups. Fender
it as it was." good restaurants!"
uses the Texas Special pickups on a lot of gui-
The Gray Quartet crunch is in full grind on Recently, Gray took time out of his busy tars, but on my model, the pickups get
the closing song, Holdin' On, a bruising blues touring schedule to speak with Fender Front- brighter as they go toward the bridge, which
that throbs and splatters for six and a half line via telephone from the United Kingdom is unusual. I experimented with lots of [pick-
minutes and provides the best clue to how a to discuss his latest recording. up configurations]. I use the second position
and the fourth position mostly. I use the sec-
ond position most of the time for rhythm
.xhibit ot Fine /\rt and the fourth position for lead. But more
recently I've been using the first and the third
quite a bit, as well as the fifth.
Also, there's a stop tail piece, and no
whammy bar. I don't use a whammy bar,
that's the reason why. But the advantage is
that the guitar does not go out of tune. It
doesn't have any of the springs that are
required for the whammy bar; the strings are
threaded through the back of the guitar.
[On tour] I use three Fender Signature gui-
tars—that's all—and it's going pretty good so
far. We're midway through seven weeks. We
did seven dates starting off with the Rolling
Stones and we're in London now. We're get-
ting a good response from the people.

Sounds as if Some Rainy Morning is going to

bring some sunny afternoons to Robert Gray
and his three-piece band. Just don't ask him
to tell you why John Lee Hooker's so
crazy about him!

Robert Gray, is © Andrew M. Robbie and Debra

DeSalvo, 1995. All Rights Reserved.
sing only the finest leather and finished components/ native

Lmerican craftsman UTU White feather has created an

The Editor and Associate Editor of Blues Revue
magazine, Andrew M. Robbie and Debra DeSalvo
exclusive line ot custom .Shop straps for the discerning player.
thank Al Pereira and Mary Beth Curtin for their
'n display at your authorised Fender dealer. assistance on this article.
Al trung Out
By
Michael ' 've spent too many years sitting in cold, dimly lit con-

Laskow trol rooms in search of the perfect sound to stop now. Although
•being president of Taxi is way more than a full time
job, the lure of the studio still calls loud enough
that on occasion I can be found perched behind a
console tweaking knobs and getting sounds. The last
During Michael Laskow's 20-year tenure as time I gave in to my addiction, I worked with a chap
an engineer/producer, he worked with Crosby, who happened to play a Clapton Strat (my favorite
Stills, Nash, and Young, Eric Clapton, model). Soon enough this chap found his way into
Cheap Trick, and countless others. He's also
control room for a playback. The very first thing out of
the founder of TAXI, an independent A&R
company that links record labels with his mouth was, "I don't like the way my guitar sounds. 1S
unsigned artists and songwriters. You can It doesn't sound like Clapton's." At first I thought he was
reach TAXI at 800-458-2111. just pulling my leg—he wasn't.
I spent the next half hour explaining why owning a Clapton Strat
certainly doesn't mean that you're going to
sound like Clapton. For starters, this guy sure didn't play like
Clapton (well, maybe in his mind he did). What's more he
wasn't using the same amp Eric does.
But that's just the beginning. This whole episode set my
mind a wanderin/ "What are the factors that ultimately determine
guitar player's signature sound?" This prompted me to take a semi-
scientific look at this issue. The physics involved would certainly lead
you to identify the player's dynamics (their touch) as a key factor, the
type of guitar, the type of amp, the environment the guitar is being
played in, and last, but not least, what kind of strings are on the guitar.
Hmmm ... how much difference do the strings make? I called my
friends at Fender and asked them to send me three identical guitars of any
sort, with a different type of string on each one. They sent over three groovy
Teles. One loaded up with 150 Pro Nickel wounds, another with 250R Dyna-
maxx, and last, but not least, another Tele with 3 5 OR high output strings.
Let the games begin. We ran all of the guitars through my Fender Pro Jr. at the
same settings: Volume 3, Tone 5. First up, the 150 Pro's. These are "Pure Nickel
Wound," and they sound middle of the road. Definitely smooth and classic: your
basic guitar string. The engineers in the studio liked 'em for rhythm guitar.
Next up were the 350R's. The package says "High Output." Believe it. We
noticed a definite level increase, as well as a nice tone. The sustain was longer, and
the bottom end seemed richer and fuller. These sounded like a great "country"
string on the Tele.
Last, we checked out the 250R, "Dyna-
maxx" strings, and for my money, these
are the strings of choice for rock and roll.
They're brighter than the 350's (which hap-
pen to be the same gauge), and have a very
rich sound. Even the bottom end strings have a
nice bright "edge." The Dynamaxx strings also
have the best feel of the three that we tested:
' definitely a lead player's string, while the 150's
are better suited to rhythm work, and the 350's
being a good utility string that works for both
lead and rhythm.
So, my little experiment proved that to a pretty
large degree, the strings you use can be a factor in creating
your signature sound or personality. It's also important to note
that the other aforementioned factors play roles in determin-
ing your sound, as well as the register the song is played in.
Even the way you voice your chords will affect
the timbre of the guitar.

Fender Frontline 9
 David Andersen
Southern rockers Brother Cane have come up with a new version of musical chairs: after their well-
received self-titled debut they parted ways with their bassist, moved guitarist Roman Click to bass,
and added six-stdnger David Anderson. The result is an even bluesier, more aggressive sound on
their second album, Seeds.
"Roman has always been more of a bass player," Anderson explains. "He didn't ever really play
guitar before. The band wanted someone from the hometown area to keep the roots thing going.
I've known [lead singer] Damon Qohnson] for probably ten years—grew up forty miles from htm in
Huntsville, Alabama. I did some recording on demos, did some shows, and everything seemed to
have clicked."
Even though his playing was a factor, David won't take all the credit for the more powerful
sound on Seeds. "That's the direction they wanted to take, and I'm sure part was getting me in

4
the band, part was getting Roman on bass, and part was the songwriting.
His equipment might also have lent a hand. "I'm playing a custom shop Silver Sparkle Tele of
Roman's that's really nice, plus a Thinline Tele. And I'm kind of partial to Fender Tweed 410
amps in the studio."

-^-

Wayman Tisdale FIFTH QUARTER

As a basketball player, Wayman Tisdale's smooth, unselfish
style has helped render the Phoenix Suns a team with which to
be reckoned. Similarly, his subtle touch on the bass drives the
sound of his band and musical "dream team," Fifth Quarter.
Fans can witness Tisdale's groove sensibility and tasty lead bass
licks on the aptly titled Power Forward.
Tisdale's success as a musician includes songwriting as
well, which is evident not only on his own album, but
in compositions he's penned for other artists. "I co-
wrote That's What I Need for SWV, Payday for the
Winans, Love Me Tonight for Philip Bailey," he
admits.
His starting lineup
.^ -I :* 'I'
includes a Fender Custom "•' '<r

Shop 5-string bass. "The bot-

torn end on this new Fender is
incredible—it makes the whole stage mm-
ble when I hit the low "B," Wayman enthuses.
"It's based on a Fender Jazz, which probably is the
best bass ever built."
Wliile probably providing the listening public
their first exposure to Tisdale, Power Forward is
not technically his debut. "A while ago I did Don't
Give Up: a positive rap," he explams.'"ActuaUy it
got up to number two in Sacramento, behind
Janet Jackson. A nice first effort, but very much
done wrongly."

10 Fender Frontline
 Phil Solem REMBRANDTS
Pans of the Rembrandts quickly recognized the band's trademark sound on I'll Be
There For You: theme for the hit series, Friends. Media attention, of course, has tem-
porarily centered on the current phenomenon. ("The most-asked question is 'How is
it doing a theme song and making it into a hit song?'" affirms guitarist/vocalist/writer
Phil Solem. "It's something everyone seems to want to know.")
Yet that song is merely a minute portion of a tremendous body of work by Phil and
bandmate Danny Tate, who had akeady scored several times with hits like That's
Just The Way It Is Baby and Johnny Have You Seen Her. (An earlier band of theirs,
Great Buildings, was quite well-received, too.)
The Rembrandts' third record, LP, shows the
,^!
maturity of the two talented writer/performers.
"They've progressively gotten a little ballsier,"
says Solem. "The last one was a 'live in the studio'
effort, for the most part."
A quietly accomplishi itarist, Phil is responsible for most
of the lead work. His range hard rock solos to tasty
jazz fills (check out the oul [Down The Hill on the
ibum).
If yoi%mly e^)sure tl ursday at 9:30,
're misB-ig a gfi^t band!

Porter Howell LITTLE TEXAS

It probably was not theii^j , but Little Texas have been sing^d_out<ft84nterna
ti<^pl country ^isic ambc |rs: they've already toured EnafiBttl^teBl and
[land,, [.i Guitarist, VOCE

ith Hill and us withr

ites from Holland to

ise of a greatest hits

)llectiorr. Available here in Aie states as well, the new album—
which includes two new songs—serves as the band's debut
overseas.
The two new songs feature their latest addition, Jeff
Huskins, on keyboards and fiddle. (Jeff replaced key-
boardist Brady Seals, who departed to pursue a solo
career.) Having a fiddle player has provided new
material for the live show: "We're using it as
another signature thing; it's all over everything."
laughs Howell. But other than that, they're not
about to change a winning formula. "We kind
of do what we do; it seems a bit silly to start try-
ing to re-invent it. We just want to see if what
we do over here can generate some interest over
there."
 We've Got
"Watt" You
Need!
DeltaComp™
compression
circuitry and
high efficiency
dual-stepped multi-rail technology are
just some of the features offered by the new SPA series power
amplifiers. Four models are available, from the 3000 (150w/channel)
Four Ways To Get More Squier Power!
to the 24000 (1200w/channel).
From the Champ 25GR guitar amp (25w, with reverb) to the
Champ 15B bass amp (15w), these little powerhouses are electric!

Go Ahead, Play
With It!
Look for this tag
and these disks on
Fender guitars
everywhere. They
contain a sampler
of G-Vox, the

Speakers Of The House! innovative guitar

Special design speakers—such as teaching pro-

gram. Available
those used in the the Blues DeVille,
for Macs or PCs.
'59 Bassman, Princeton Chorus, Twin/
etc.—can be installed to bring your
amp back to factory specs, or to
upgrade your sound.

s i It

How1oKeepALeveiHead!:r
A must for MX-5200 owners. the
'1 MX-Meterbridge provides meters
for the sub- and stereo masters, Looking For Great Acoustics?
mono and PFL/AFL outputs. Only the finest woods and craftsman-
ship make up the new series of
acoustic and acoustic/electric guitars.
 ^ Blast From
The Past!
We've recreated the Bass VI—a
6-string bass guitar—complete with
floating "trem lock" tremolo and three
special full-range single coil pickups.

<^ EquallimeFor
Southpaws!
Left-handed players will be
happy to note these new versions
of 50s Telecaster, 50s
SPA-3000 and 60s Stratocaster,
;'^ jaguar (shown),
^v^^ jazzmaster (shown)
SPA-7500 •:'"y:^1 and Mustang guitars!

SPA 13000

Lace Sensors Are Just

The Beginning!
Alder bodies with ash-veneered top
and back, single-ply
white bound tops, and
Strat-style body con
tours add to the looks and
playability of the revised Tele
Plus models. With maple neck or
Antiques! rosewood fretboard.
So realistic anyone
could be fooled,
the "Relic" series
Stratocaster and
Telecaster guitars
have been built Once Again,
and "pre- James Burton
aged"at the
Sets The Standard!
Custom Shop
Co-designed by the master
to look and
himself, the James Burton
play like Standard Telecaster offers two
the real
Texas Special Tele pickups, a
things-
custom-shaped neck with vintage tint,
^BtnifflB 50s decal, and more!

Si®

Real Pedal Steel Effects

With A Standard 6-String!
•: ;'^
A BOOK You'll Read American Standard Tele pickups and a
new custom-designed Parsons/White
iiStSSSe^-
Over And Over... B-Bender system give the American
Chicago photographer Standard "B-Bender" Telecaster a
Ml'iS&
Steve Pitkin has captured sound you can't afford to miss.
'St a number of distinctive
instruments for the classic
new Custom Shop Book
(to be released early next
year). Read all about it!

Fender Frontline 13
 •n
-\^. '^KSiSSsSS"?
 I nto The Bush
With Gui tarist
• a 1 ^ 9 •

By Adam St. James

Guitarist Nigel Pulsford's shaved noggin hasn't got anything

to do with Buddhism. Neither does the song Everything Zen,
which put his band Bush on the road to nirvana (the state of
mind, not the band) just this year. What a difference a hit
song and an MTV "Buzz Bin" video can make.
A year ago Bush was just another band gigging around Lon-
don. Pulsford and Bushmates—lead vocalist and rhythm gui-
tarist Cavin Rossdale, bassist Dave Parsons and drummer
Robin Goodridge—could still find evidence of their day jobs
as house painters under their fingernails. Not any more.
The band's debut album, Sixteen Stone, exploded onto the
American music scene almost immediately upon its release last
^December. By spring the aggressive, hook-laden single Every-
|tling Zen had skyrocketed up the charts and could be heard
lanating from radios nationwide. When the group's second
ligle, Little Things, hit the airwaves, Bush's success was sealed.
Jnfortunately, successful artists have their detractors. Some
gnparisons to Nirvana—yes, the band—and Pearl Jam label
jtwo-year-old English band as second-generation Seattle
mabes. Pulsford admits that Bush were indeed influenced
Hhe Seattle scene over the last two years. But influences that
Ipe his playing an^Jthi band's material go beyond Cobain
UL his "grunge-y Nprtl-hvest comrades.

\Wh^!S?fSu list^a to tMt influenced your

^playing when yoi^ere parting effit?
^tartdl listeryrig to stuff my older sisters lis-
Rd to: Jiml hfendrix Neil Young— all that. The mid-'70s I
jpppose itjggHgp then when punk rock came along, that was
cluite I listened to as much as I could, really. I've
\ aMHHBIP'z-I reailyliked The Band and people uke that
"little. I still do. I never really liked the long guitar
iff too much, other thanjimi Hendrix and Cream.

lYou're not into the blues?

B Yeah, I like blues, but I prefer Robert Johnson. And I real-
ly like the Layla album (1970, Derek fit The Dominos, Atco
704). I like Howlin Wolf and those sort of people.

BI understand you've got a Neil Young songbook you've had

since you were a kid.

B Yeah, that was one of the ways I learned to play. I really

learned to play chords after I bought Volume I of his song-
book, which is a lot of Buffalo Springfield songs, up to the
first couple of solo albums.

BSD what are your favorite Nell Young tunes?

[There's loads of them—probably too many. I really like On
The Beach (1974, Reprise 2180). I've got virtually all his albums
through about 1980. Every album's different. That's what's so
appealing about him. His musical styles and guitar playing

Fender Frontline 15
 always stand out, somewhere along
the way.

CetY:
lour
B When Bush formed, did the
other guys have similar musical
influences?
H Gavin and I did. Our influences
LUSIC ±0 as a band were more sort of things
like the Pixies, or Big Black. A lot
of the early 80s American stuff was

ie FVigtit influential, up through Nirvana and

that whole Seattle thing. When
Gavin and I got together, we real-
ized that was the sort of stuff that made us the golden rule—less is more. There's a huge

People. want to work together. The other guys, I tendency to overdub just to overdub, and so
don't think they were quite as passionate the Steve Albini (a producer they admire)
about it as Gavin and I were. I think we thing is if you can just get one great cut, it
The fact is, you won't get
shared the influences most keenly. And that's stands as big as five guitar tracks overdubbed.
a deal if you can't get your how we wanted to sound. I think that's probably what we learned.
Every time you go in the studio you learn
tape solicited by a major I Did you start writing originals right away? something new. I think that really we just
label or publisher. We work [ Yeah. We started doing our own from day tried to record everything flat, so that all the
one. We didn't see much point to try and do sounds we got were the sounds out of the
with seventy-five of them.
it any other way. We've started doing cover amps, rather than EQing them on the deck,
You're curious but suspi- versions since, to flush out the live set. And so that when you come to mix you've got
our stuff changed quite a lot over the first that much more control. That was the main
cious. So were hundreds of
year. We just started working really hard on thing. We went for getting the sounds right,
other songwriters, artists, it, trying to get our ideas sorted out, what we which mainly meant taking a day messing
wanted to sound like. around, moving mics around until we got the
and bands who have right sound. But it's certainly worth it.
BHOW many songs do you think you wrote
become members. Now [You've had a lot of comparisons to Nir-
before you wrote the songs that are on Six-
vana and Pearl Jam. Do you think that's fair?
their tapes get to A&M, teen Stone?
11 can't understand the Pearl Jam one, real-
Atlantic, GBS/Sony, Elektra, B Probably twice as many as are on the
ly. I find that one a bit strange because musi-
album. Little Things is the first thing we
Epic, MGA, Mercury, cally I don't think we're really that similar.
worked on though. That's our oldest song, I
But yes, sure the Nirvana thing—they were
suppose. The majority was over a period of
Motown, RGA, SBK, Virgin definitely a positive influence on us. But I
time, working on songs, doing demos, what-
and many more. Sounds too think that's the easy comparison. Hopefully
ever. The strongest songs that came along we
people have listened to Sixteen Stone more
worked on and put in our live set.
good to be true, until you than once, and there's a little bit more to us
[How do Bush songs get written? than that.
find out how we do it. Then
|Gavin comes along with them, basically, [What kind of guitars are you playing?
you'll wonder why nobody's
and we take it from there. Some of them
I My Fender Strat Plus Deluxe that I've had
ever done it before. change dramatically; some stay pretty true. It
for about six years, with a gold and two blue
really depends on the song.
Lace sensors—the standard ones of the time.
That's really all I play. My girlfriend's painted
|Gavin writes the chord progression and
it in oils, and it's had a new block put in it—
the words?
otherwise it's all just standard. I got so used
BYeah. And then we write riffs, or rewrite
to the sound and feel that Fender is working
bits. We work on them and we keep working
on a replica!
until they're right. That's the basic premise.
(Are you using a locking bridge?
BIS Bush the kind of band that jams to work
B No. It's just the nut, and the bearings and
The Independent songs out?
the Sperzel machine heads.
A&R Vehicle |Yeah. Everyone's got ideas, and then until
|What kind of guitars does Gavin use?
the right idea comes along we just keep work-
--all now, before ing on them. We do rehearse songs a lot, to try |He's strictly Jazzmasters. He uses a really
you get distracted. and get them right. Sometimes it just comes old Fender Jazzmaster, like an early '60s one.

1-800-458-2111 together straight away, and others take longer. I do like them, but I guess one person using
them in the band is probably enough. It's got
Sponsored by
|What did you learn about recording an

wn^rr™
a definite sort of sound. I like Tele's as well.
album that you might approach differently I'm fully into using a Telecaster when I can.
next time?
It's just a case of having too many
I Not to overdo everything! I think that's guitars to choose from!

16 Fender Frontline
 A comprehensive listing of every product
made by Fender Musical Instruments'
see page 25 for guide to abbreviations
JAGUAR.............................21 Standard Series
Standard Series Chorus
ACOUSTIC GUITAR
ACCESSORIES
PRO AUDIO
STRING SETS....................27
JAZZMASTER......................21 RAD,HOT, JAM 80/20 Bronze Wound
Squier Champ Series CUSTOM SHOP ACCESSORIES ....29
MUSTANG...........................21
CLASSICAL GUITAR Pickups
MIXERS BASSAMPS.........................25
STRING SETS....................27
Pickguards
Powered DUOSONIC...........................21 Amp Custom Shop Gig Bags
Nylon Classical
Unpowered BXR Series Straps
DESIGNER/SIGNATURE ............21
POWER AMPS 18 D'Aquisto
Squier Champ Series ELECTRIC BASS STRING SETS....27 Picks

Robben Ford Nickelplated Steel Roundwound

KEYBOARD AMPS..................25 FENDER-LACE SENSORS...........30
CROSSOVERS. Stainless Steel Flatwound
GUITAR SPEAKER ENCLOSURES.. 25 Stainless Steal Roundwound
SPEAKERS is Electric Pure Nickel Roundwound
STRAP/STRAP ACCESSORIES.....30
Guitar Straps
Stage Monitor Systems BASS SPEAKER ENCLOSURES ....25 Nylon Tape Wound
Strap Security Lock Systems
Main Systems Nylon Filament Roundwound

Acoustic GUITAR REPLACEMENT PARTS ..30

Accessories Bajo Sexto Telecaster
PRECISION, .22 Vintage Hardware
INDIVIDUAL STRINGS—GUITAR ..27
Electric U.S. Vintage
Reissue GUITARS Plain Gauged Singles
American Standard hardware
Pickguards

GUITARS American Standard

Standard DC SERIES ..........................26
Pure Nickel Wound
Nickelplated Steel Roundwound
80/20 Bronze Wound
Fine Tune Locking Nuts
Pickups
Fender Squier Series
STRATOCASTER. 19 U.S. Deluxe Series NYLON STRING .....................26 FLOYD ROSE PRODUCTS ..........30
U.S. Vintage INDIVIDUAL STRINGS—BASS.....28
Contemporary Series Floyd Rose Bridges
Pure Nickel Roundwound
Reissue
American Standard
Custom Classic Series
Acoustic/ElectPic Nickelplated Steel Roundwound
Nut assemblies
Replacement Arm Kits

GUITARS
American Standard Synth Ready JAZZ, .22 Stainless Steel Roundwound
Standard Stainless Steel Flatwound AMPUFIER PARTS.................31
U.S. Vintage
Fender Squier Series Reissue Amplifier Tubes
U.S, Strat Plus Series
Contemporary Series
Floyd Rose™ Classic Series
American Standard
Standard
DG SERIES ..........................26

Dreadnought
Cutaway
PICKS Amplifier Hardware

GUITAR AMP COVERS .............31

U.S. Deluxe Series
Floyd Rose Standard Series Custom Classic Series CELLULOID..........................28
Set Neck Series SX SERIES...........................26 GENERAL ACCESSORIES...........31
Signature Series MB BASS. .22 COLORPICTM........................28 Fender-Monster Cables
Custom Classic Series SPRING HILL........................26 Cleaning and Tuning Aids
Squier SIGNATURE BASSES .23
NYLON STRING .....................26
THUMB PICKS......................28 Books
Urge Video
DELRIN™—MOLDED...............28
TELECASTER. ,20 Roscoe Beck
ACOUSTIC/ELECTRIC BASS .......26
Guitar and Amp Stands
U.S. Vintage DELRW™—MATTE..............28
Electronic Products
Reissue
American Standard
Standard
AMPS STRINGS NYLON— MOLDED.................^
CASES...............................32

Acoustic Guitar
GUITAR AMPS, Electric Guitar
Fender Squier Series .23 ELECTRIC GUITAR PICKPACKS.......................29
U.S. Plus Series Amp Custom Shop Bass Guitar
Contemporary Series New Vintage Seriss
STRING SETS, .27 PICARF" SERIES ..................29 Gig Bags
Pure Nickel Wound Briefcases
Set Neck Series Vintage Reissue Series
Nickelplated Steel Roundwound Effects Bag
Tribute Series Tweed Series
Stainless Steel Roundwound
Signature Series Professional Tube Series
Stainless Steel Flatwound
Custom Classic Series Performer Series

Phono/RCA Tape In, Forced air cooling w/2-speed fan (except to all mix busses, Dual 10-band Graphic EQ w/ patching, LED

PRO AUDIO
SR-4150P), Eff Out and Aux In level, Reverb; Models: bar graphs for Main and Mon, Power amps: switchable
(stereo, mono sum, or tape monitor), Peak/Compressor
LED's, Deltacomp™ compression, 2-speed fan; Other: built-in
roadcase/stand. Models:
071-2208 PX-2208D, 8 chnl, 2 x 150w/4 ohm
071-2207 PX-2208, 8 chnl, 2 x 150w/4 ohm, spring reverb
071-2212 PX-2012D,12chnl,2x300w/4ohm
071-2216 PX-2216D, 16 chnl, 2 x 300w/4 ohm
MIXERS
UNPOWERED
POWERED 071-4100 SR-4150P, 4 chnl, 150w/4ohms Console
Portable
071-6300 SR-6300P, 6 chnl, 300w/2 ohms MX-5232
LX-1506 071-8300 SR-8300P, 8 chnl, 300w/2 ohms
071-6521 SR-6520P, 6 chnl, 520w/2 ohms
071-8521 SR-8520P, 8 chnl, 520W/2 ohms
071-6521-200 SR-6520PD, same as 071-6521 except
w/digital effects
071-8521-200 SR-8520PD, same as 071-8521 except
w/digital effects

Portable Console

(USA) LX Series Powered Mixers. Channel: XLR lo-z mic & PX-2216D PX-2208D
(USA) The MX-5200 Series 4-submaster/stereo/mono mixers.
1/4" ins, [Main, Mon, Eff/Rev] send levels, 2-band EQ; Out-
Optional VGA grouping, muting and automation, V.U. meter
put: [Main, Mon, Eff/Rev send, Eff/Rev return (to Main &
bridge. Channel: Trim control w/Peak LED, 3-band EQ w/mid
Mon), Tape/Aux return (to Main & Mon)] levels, RCA tape
sweep, 2 Mon and 4 Aux Sends, Solo, Mute, Pan, Assign sws,
ins, front panel patch bay, spring reverb; Power Amp: 150w/4
comprehensive patching; Master: assignable parametric EQ,
ohms; Models:
48V Phantom Power, SysFlex expansion ports, selectable [4
071-1504 LX-1504,4 channels
subs, stereo main and mono sum] operation, and much
071-1506 LX-1506, 6 channels
more. Models:
071-5216 MX-5216,16 channels
(USA) The SR Series Powered Mixers. Features: Phantom
071 -5224 MX-5224, 24 channels
power, 9-band Graphic EQ, 3-band EQ per chnl, Deltacomp™
071 -5232 MX-5232, 32 channels
Compression (switchable), High and Low balanced inputs,
PX-2212D
XLR and 1/4" TRS jacks, Mon & Eff/Rev Sends, Master'Mon
Accessories for the MX-5200 Series mixers. Models:
Send, Front Panel Patch Bay, Eff Out and Aux In Jacks, (USA) The PX-2200 Series stereo powered mixers. Channel: 071-5201 Spare power supply
Trim w/Peak LED, 3-band EQ, 2 Aux and 2 Monitor Sends, 071-5202 Meter Bridge
Solo, Pan, patch jacks, XLR and 1/4" inputs; Master: digital 071 -5203 MX Rack-IVIounting Tray, for 2 power supplies
reverb/effects (except PX 2208), switchable 48V Phantom
Fender Frontline 17
Power w/LED, Separate Eff Send and 2 stereo Return controls
 woofers have polyimide Kapton voice coil bobbins w/cast
POWER AMPS alloy baskets, 40 x 90 degree horn, Titanium drivers w/cir- 1226 Mark ll
cumferential ring phasing plugs, 30/60/90 tilt; Specs: 8 ohm,
95dB/1M/1w Sens, 300w pwr hndlng, black carpet; Models:
071-1282-100 1282 Mark II, 12" cast frame woofer 1225 Mark II 1211 Mark II
w/2.5" coil, 60-20kHz resp ±3dB, 122dB
SPL max out
071-1285-100 1285 Mark II, 15" cast frame woofer w/3"
coil, 50-20kHz response ±3dB, 123dB SPL
(USA) The SPL-6000 and SPL-9000 Power Amps. Features: max output, 4th order Linkwitz-Riley
computer controlled protection, silent delayed turn-on/off, 2- crossover, dual Neutrik Speakon™ & 1/4"
speed fan, Triac "crowbar" speaker protection, high current
phone connectors, built-in pole mount,
design for reactive speaker loads, soft clipping, gracious over- optional removable lid with rolling casters.
load; Convenience: rear stereo-mono and mono-bridge mode trapezoidal cabinet, metal grill, black carpet covering. Specs:
071-1282-107 1282 Mark II Lid, w/casters
switches, [TRS phone; male & female XLR] inputs, high cur- 38-20kHz response, 8 ohm, 100dB/1IW1w Sens; Models:
071-1285-107 1285 Mark II Lid, w/casters
rent 5-way binding posts & phone jack outputs; Models: 071-1225-100 1 225 Mark II, one woofer, 400w pwr hndlng
071-6000 SPL-6000, 2-rack spc, selectable Deltacomp™ 071-1226-100 1226 IVIark II, two woofers, 800w pwr
MAIN SYSTEMS
compressor w/LED's, Stereo: 300w/ 4 ohms; hndlng
Artist Series
Mono Bridge: 600w/8 ohms; THD < 0.01 %/8 Tour Series
Two-way speaker systems. Features: 10" woofer, dual FPZ
ohms, < 0.025%/4 ohms The Tour Series professional arrayable loudspeakers are top-
drivers/dual element horn, metal grill. Specs: 60-20kHz
071-9000 SPL-9000, 3-rack spc, Stereo: 330w/8 ohms, of-the-line speaker systems perfect for even the most
response ±6dB, 94dB/1M/1w Sens, 114dB SPL max out,
450w/4 ohms; Mono Bridge: 900w/8 ohms; demanding concert sound applications. In conjuction with the
200w pwr hndlng; Models:
THD < 0.05%/8 ohms, < 0.059%/4 ohms Fender-RigSafe rigging and flying hardware, they are adapt-
071-1110-100 1110-A, black tolex covering, 16ohm
able enough to be used in any situation. Specs: cast frame
(USA) SPL Monitor Power Amps are specifically designed to 071-1100-000 110-ELC, trapezoidal cabinet, industrial
woofers. Models:
eliminate feedback. Features: 2-rack spc, input level slide con- black carpet covering, 8 ohm
trols, 3-band sweepable notch filter (-25dB of notch), sweep-
1205-A
able low and high pass filters, 2-speed fan cooling, Delta-
Comp™ compression, patch points between control section
and amp (for bi-amping stage monitors); Models:
071 -3000 SPL-IV1300, Monitor Amplifier, 300w/2 ohm
071 -5000 SPL-IV1500, Monitor Amplifier, 500w/2 ohm

CROSSOVERS Mounting
pole for
PCN2 (top) 215s
PCN4 (bottom
Two-way speaker systems. Features: 12" woofer, dual FPZ
drivers/dual element horn, metal grill. Specs: 60-20kHz
response ±6dB, 8 ohm, 95dB/1IW1w Sens, 200w pwr hndlng;
Models: 118s 215s
071-1201-100 1201-A, black tolex covering
(USA) PCN series electronic crossovers are 24dB/octave 071-1200-000 112-ELC, trapezoidal cabinet, industrial
Linkwitz/Reiley units. Features: rackmountable, front panel black carpet covering
controls, CD horn boost sw, balanced XLR in/out, security
115-ELC
covers; Models:
112-ELC 071-1310 118s, 18" sub-woofer w/4" voice coil, 1200w
071 -5510 PCN2, Stereo 2-way/Mono 3-way
071-5520 PCN4, Stereo 3-way/Mono 4-way, phase reverse 110-ELC shorV600w long term pwr hndlng (program)
071-1320 215s, two 15" woofers w/4" voice coils, 2800w
and mute sws on all bands
short/1600w long term pwr hndlng (program)
071-1330 2912,12" wooferw/3" voice coil, CD horn, 400w
SPEAKERS short/200w long term pwr hndlng (program)
071-1340 2915,15" woofer w/4" voice coils, CD horn, 500w
STAGE MONITOR SYSTEMS short/250w long term pwr hndlng (program)
Artist Series 071-1359 Mounting Pole, for 215s
1272A and 1275A Monitors. Features: sealed baffle, woofers Tour Series Lite
w/polyimide Kapton voice coil bobbins, wide angle horns Two-way speaker systems. Features: 15" woofer, dual FPZ Same as Tour Series (above), but with black carpet covering
w/dual drivers, Daisy-chain inputs, level controls, 30/60/90 drivers/dual element horn, metal grill. Specs: 60-20kHz and no flying hardware; Models:
tilt; Specs: 60-20kHz response ±6dB, 16 ohm, 95dB/1M/1w response ±6dB, 8 ohm, 95dB/1M/1w Sens, 300w pwr hndlng; 071-1310-100 118sc
Sens, 115dB SPL max out, 200w power handling; Models: Models: 071-1320-100 215sc
071-1272-100 1272-A, 12" woofer, dual horn, blk carpet 071-1205-100 1205-A, black tolex covering 071-1330-100 2912c
070-2832-100 1272-A, 12" woofer, dual horn, blk Tolex 071-1500-000 115-ELC, trapezoidal cabinet, industrial 071-1340-100 2915c
071-1275-100 1275-A, 15"wooferw/2.5"coil, blk carpet black carpet covering
ACCESSORIES
1282 Mark 11
SPL Series (USA) EFX series racks hold your rack mount equipment
1272-A 1211 Mark II two-way speaker systems. Features: bi-ampable securely and safely; Models:
or fulRange operation, heavy duty 15" woofer, titanium com- 071-1902 RX-1902, 2-space rack
pression driver/constant directivity horn, metal grill. Specs: 071-1904 RX-1904,4-space rack
50-20kHz response ±6dB, 8 ohm, 95dB/1M/1w Sens, 300w 071-1906 RX-1906, 6-space rack
pwrhndlng; Models: 071-1908 RX-1908, 8-space rack
071-1211-100 1211 Mark II, black carpet covering 071-1912 RX-1912,12-spacerack
070-2825-100 1211 Mark II, black tolex covering (USA) The Amp Series Cases include removable, latching front
and rear covers, casters, front and rear rack rails; Models:
1225 Mark II and 1226 Mark II two-way speaker systems. 071-1909 RX-1928, 8 spaces
Features: heavy duty cast-frame 15" woofers w/3" voice coil 071-1913 RX-1922,12 spaces
1275-A
on Kapton former, titanium compression driver w/1" exit CD 071-1917 RX-1926,16 spaces
1285 Mark II horn, bypassable 4th order Linkwitz/Riley passive x-over,
SPL Series (USA) The ST-75 tripod stand raises speakers for max disper-
1282 Mark II, 1285 Mark II Monitors. Features: Biampable or sion. Specs: anodized aluminum alloy tubing, 75 Ib. capacity,
full-range passive operation, Biamp defeat sw, vented baffle, 79" max height; Models:
Fender Frontline 071-0270 ST-75 Speaker Stand
 satin finish, 22 Am Std frets, 9.5" rad, E-tronics: Roland pick- (USA) Based on successful Imited edition versions. Body:

Electric
up, Roland GK 2 system, 3 Am Std SC pu's, Mid pu is reverse light ash w/highly figured bookmatched carved Mpl top; Neck:
polarity/reverse wound for quiet operation w/Bridge or Neck lightly-tigured Mpl, 22 Am std frets, 9.5" rad: E-tronics: HB pu

GUIfflRS
pu's, 5-pos. ssw, Tone (Neck pu), TBX (bridge, Mid pu's); w/coil splitter sw (bridge), 2 "Texas Special" SC pu's (neck,
Other: Am Std trem w/Stnlss Stl saddles; Models: mid), Duncan JB HB pu (bridge), Vol, TBX, special switching;
010-7460 American Standard Strat GR Ready, RW frtbrd Other: LSR nut, locking keys, Fender-Floyd Rose lckng trem,
010-7462 American Standard Strat GR Ready, Mpl neck center pocket Tweed case w/red plush lining; Models:
110-9000 Carved Top Strat, RW frtbrd
STANDARD 110-9002 Carved Top Strat, Mpl neck
Standard versions of Fender's classics. Body: Poplar (except
STRATOCASTER® 027-4620); Neck: "shallow U" shape, satin finish, 21 vintage
frets, 9.5" rad; E-tronics: 3 SC pu's, 5-pos. ssw; Other: vin-
tagetrem; Models: vi^L^W^^^:'''i
A \ U'^^"';'""'1'
013-4602 Standard Stratocaster, Mpl neck
Floyd Rose Clas-
013-4600 Standard Stratocaster, RW frtbrd s/'c Stratocaster
027-4620 Standard Stratocaster, RW frtbrd, left-handed,
Basswood body
FLOYD ROSE™ CLASSIC SERIES
FENDER SQUIER SERIES (USA) The Floyd Rose Classic Series features Fender's classic
U.S. VINTAGE Fender Squier Series instruments are affordable, fine quality guitars updated with some modern innovations. Body: Alder;
(USA) U.S. Vintage instruments are excellent recreations of versions of Fender's standard models. Body: Poplar, classic Neck: 22 std frets, 9.5" rad; E-tronics: DiMarzio Custom PAF
Fender's most famous models. Body: Classic shape, nitrocel- Stratocaster shape; Neck: 21 vintage frets, 9.5" rad; E-tron- Pro HB pu (bridge), 2 Am Std SC pu's, Vol, 2 Tone (Neck,
lulose lacquer finish; Neck: medium, 21 vintage (small) frets, ics: 3 SC pu's, 5-pos. ssw, Vol, 2 Tone; Other: vintage style Mid), special 5-pos. ssw; Other: vintage tuners, chrm Floyd
7.25" rad; E-tronics: 3 Am vintage staggered pole SC pu's, tremolo; Models: Rose Original dbl-lckng tremolo system; Models:
cloth wrapped wire, 3-pos. ssw (comes w/5-pos. ssw kit), 013-3602 Fender Squier Series Stratocaster, Mpl neck 110-6000 Floyd Rose Classic Stratocaster. RW frtbrd
Vol, Tone (neck pu), Tone (Mid pu); Other: ncklpltd hrdwr, 013-3600 Fender Squier Series Stratocaster, RW frtbrd 110-6002 Floyd Rose Classic Stratocaster, Mpl neck
vintage trem; Models: 013-3620 Fender Squier Series Stratocaster, same as
010-0908 '57 Stratocaster, mpl neck, Alder body, sgl-ply 013-3600, except left-hndd FLOYD ROSE STANDARD SERIES
pckgrd, "skunk stripe" (back of neck), hdstck plug The Floyd Rose Standard Series offers affordability with hot
010-0909 '62 Stratocaster, RW slab frtbrd, Alder body, U.S. STRAT PLUS SERIES features. Body: Strat shape; Neck: 21 jumbo frets; E-tronics:
tri-lam (W/B/W) pckgrd (USA) Strat Plus guitars are designed to better address 1 HB pu (bridge), 2 SC pu's, 5-pos. ssw, Vol, Tone; Other:
today's players. Body: Alder; Neck: satin finish, 22 Am Std Floyd Rose II dbl-lcking tremolo system; Models:
REISSUE (Ig) frets, Bi-flex truss rod; E-tronics: 3 FLS's, 5-pos. ssw, 125-5000 Floyd Rose Standard Stratocaster (foto flame),
Reissue instruments capture the style of classic models from Vol, Tone-neck pu, TBX-Bridge & Mid; Other: LSR roller nut, Basswood body, RWfrtbrd, 12" rad
the past. Body: Basswood, classic shape; Neck: 21 frets, 7.25" lckng keys, Hipshot™ tremsetter; Models: 113-1100 Floyd Rose Standard Stratocaster, Poplar body,
rad; E-tronics: Volume, 2 Tone, 3 SC pu's, 5-pos. ssw; Other: 010-7502 Strat Plus, mpl neck, 3 Gold FLS, Am Std trem RWfrtbrd,9.5"rad
ncklpltd hdwr, vintage trem; Models: 010-7500 Strat Plus, RW frtbrd, 3 Gold FLS, Am Std trem 113-1102 Floyd Rose Standard Stratocaster, Poplar body,
027-5902 '72 Stratocaster, large hdstck, u-shaped Mpl 110-9502 Deluxe Strat Plus, same as 010-7502, except Mpl Neck, 9.5" rad
neck, bullet truss rod, tri-lam (W/B/W) pckgrd Red FLS (Bridge), Silver FLS (Mid), Blue FLS
027-9202 '68 Stratocaster, large hdstck, u-shaped Mpl (Neck), Fender/Floyd Rose locking tremolo, Ash SET NECK SERIES
neck, tri-lam (W/B/W) pckgrd top and bottom body laminates, shell pckgrd (USA Custom Shop) Set Neck Series guitars offer the highest
027-9222 '68 Stratocaster (left-handed), same as 027- 110-9500 Deluxe Strat Plus, same as 010-7500, except quality to the discriminating player. Body: Honduras
9202 except left-handed Red FLS (Bridge), Silver FLS (Mid), Blue FLS Mahogany w/bkmtchd highly figured Mpl top; Neck: Ebony
027-9102 "Paisley" Strat, large hdstck, u-shaped Mpl (Neck), Fender/Floyd Rose locking tremolo, Ash frtbrd, 22 std frets, 12" rad; E-tronics: Vol, TBX, special 5-pos.
neck, sgl-layer clear pckgrd top and bottom body laminates, shell pckgrd ssw; Models:
025-6200 60s Stratocaster, u-shaped neck w/RW slab frt- 010-2500 Set Neck Stratocaster, 4 Fender-Lace Sensors
brd, tri-lam (W/B/W) pckgrd (USA) The U.S. Strat Ultra is the ultimate version of the Strat (Blue-neck, Gold-mid, dbl Red-bridge), Tone
025-6220 "Left Hand" 60s Stratocaster, same as 025- Plus series. Body: Alder w/flgured Mpl top & back; Neck: natur- (Neck), Strat Deluxe Tremolo system
6200, except left-handed al satin finish, Ebony frtbrd, 22 jumbo frets, Bi-flex truss rod;E- 110-2600 Set Neck Floyd Rose Stratocaster, DiMarzio
025-1000 Foto-Flame Stratocaster, Alder body w/Bass- tronics: Blue FLS (neck), Gold FLS (mid), dual Red FLS (bridge) Custom PAF Pro HB pu (bridge), 2 Am Std SC
wood Foto-Flame cap, Foto-Flame neck w/RW w/3-pos. mini toggle, special 5-pos. ssw, Vol, Tone-neck pu, pu's, Floyd Rose Pro dbl-lckng tremolo system
slab frtbrd, 60s styling TBX-Bridge & Mid; Other: Fender/Floyd Rose locking tremolo,
025-5702 50s Stratocaster, v-shaped Mpl neck, sgl-ply Chrome LSR roller nut, lckng keys, shell pckgrd; Models: SIGNATURE SERIES
pckgrd, "skunk stripe" (back of neck), hdstck plug 110-9800 U.S. Strat Ultra (USA) The Clapton model was designed under the direction of
025-5722 "Left Hand" 50s Stratocaster, same as 025- guitar great Eric Clapton. Body: Alder; Neck: Special v-shape,
5702, except left-handed CONTEMPORARY SERIES satin finish, 22 Am Std frets, 9.5" rad; E-tronics: 3 Gold FLS's,
The Strat XII is a recreation of a classic Stratocaster, except master TBX, active Mid boost (25dB); Other: vintage tuners,
AMERICAN STANDARD with 12 strings. Body: Basswood; Neck: RW frtbrd, 22 std vintage trem (blocked); Models:
(USA) American Standard Series instruments are modern ver- frets, 7.25" rad; E-tronics: 3 SC pu's, Vol, 2 Tone (neck, mid), 010-7602 EricClapton
sions of Fender's classic models. Body: Alder, classic shape; 5-pos. ssw; Other: special 12-string bridge; Models:
Neck: tinted satin finish, 22 Am Std frets, 9.5" rad, E-tronics: 3 027-8900 Strat XII (USA) The Beck model is the culmination of Jeff Beck's ulti-
Am Std SC pu's, Mid pu is reverse polarity/reverse wound for mate guitar features. Body: Alder; Neck: Pao Ferro frtbrd,
quiet operation w/Bridge or Neck pu's, 5-pos. ssw, Tone (Neck Special Series instruments are carefully updated versions of Special deep 50s shape, satin finish, 22 Am Std frets, 9.5"
pu), TBX (bridge, Mid pu's); Other: Am Std trem w/Stnlss Stl Fender's Vintage models. Body: Poplar w/Ash veneer; Neck: rad; E-tronics: 2 Gold FLS's [neck, mid], dual Gold FLS
saddles; Optional: Limited Edition—RH models only (custom oval shape, 21 Am std frets, 9.5" rad; E-tronics: HB pu w/coil
[bridge] with sgl/dbl sw, Vol, Tone (neck), TBX (bridge, mid);
colors w/matching headstock, vintage 50s decal); Models: splitter sw (bridge), 2 SC pu's, Master Vol, Master Tone, 5-
Other: locking keys, roller nut; Models:
pos. ssw; Other: blk hrdwr, vintage bridge; Models:
010-7402 American Standard Stratocaster, Mpl neck 010-9600 Jeff Beck
010-7400 American Standard Stratocaster, RW frtbrd 0135600 Strat Special, RWfrtbrd
010-7422 American Standard Stratocaster, same as 010- 013-5602 Strat Special, Mpl neck (USA) Yngwie Malmsteen's model incorporates all of his
7402, except left-hndd favorite features. Body: Alder; Neck: special "D" shape, scal-
(USA Custom Shop) Downsized modern guitars designed for
010-7420 American Standard Stratocaster, same as 010- loped frtbrd, 9.5" rad, 21 vintage frets, satin finish; E-tronics:
"virtuoso" rockers. Body: Alder, down-sized shape w/con-
7400, except left-hndd 2 Di-Marzio HS-3 pu's (Neck & Bridge), 1 Am Std SC with
toured heel; Neck: lightly-tigured Mpl, oval shape, 22 Am std
reverse winding/polarity, ITBX-neck, 1 TBX-Mid & Bridge;
frets, 9.5" rad; E-tronics: HB pu w/coil splitter sw (bridge), 2
Other: Brass nut. Am Std trem, Vintage tuners; Models:
"Texas Special" SC pu's (neck, mid), Duncan JB HB pu
010-7702 Yngwie Malmsteen, Mpl neck
(bridge), Vol, TBX, special switching; Other: LSR nut, locking
010-7700 Yngwie Malmsteen, RW frtbrd
keys, Fender-Floyd Rose lckngtrem, wht shell pckgrd; Models:
American Standard
110-9200 Contemporary Strat, RW frtbrd
Strat GR Ready (USA) The Stevie Ray Vaughan Signature Model respectfully
110-9202 Contemporary Strat, Mplneck
reproduces Stevie's unique guitar. Body: Alder; Neck: "Oval"
110-9270 Contemporary Strat FMT, same as 110-9200
shape, Pao Ferro frtbrd, 12" rad, 21 Am Std frets, vintage tint
AMERICAN STANDARD SYNTH READY except with highly figured MPL top
(USA) Connects directly to Roland guitar synths and other 110-9272 Contemporary Strat FMT, same as 110-9202 Fender Frontline 19
new electronic products. Body: Alder, classic shape; Neck: except with highly figured MPLtop
finish; E-tronics: 3 "Texas special" SCs, 5-pos ssw,Vol, 2 (USA Custom Shop) Left hand versions of vintage classics. (USA) The American Standard "B-Bender" Telecaster com-
Tone (Mid, Neck); Other: left-hnd vintage style tremolo, Body: classic shape; Neck: medium, 21 vintage frets, original bines standard and steel guitar capabilities into one instru-
B/W/B pckgrd w/ wht knobs & pu covers, "SRV" initials in dot spacing, 9.5" rad; E-tronics: 3 "Texas Special" SC pu's, 5- ment. Body: Alder; Neck: 22 Am Std frets, 9.5" radius, satin
pckgrd, gldpltd hrdwr; Models: pos. ssw, Tone (neck pu), Tone (Mid pu); Other: ncklpltd hdwr, finish, Bi-flex truss rod; E-tronics: 2 Am Std SC pu's, 3-pos.
010-9200 Stevie Ray Vaughan vintage trem, center pocket red plush/Tweed case; Models: ssw, Vol, TBX; Other: custom designed Parsons/White B-Ben-
010-5722 '57 Stratocaster (left handed), mpl neck, sgl- der system, Schaller chrome tuners, Am Std (individually
(USA Custom Shop) The Robert Gray Signature Model is a layer pckgrd, soft "U" shaped neck adjustable, stainless steel) bridge saddles; Models:
faithful recreation of Robert's favorite '59 Stratocaster. Body: 010-6220 '62 Stratocaster (left handed), RW slab frtbrd, 010-8442 American Standard "B-Bender" Telecaster
Alder; Neck: "Oval" shape, RWfrtbrd, 9.5" rad, 21 vintage frets, aged (W/B/W) pckgrd
vintage tint finish; E-tronics: 3 custom vintage SCs, 5-pos ssw, STANDARD
Vol, 2 Tone (Mid, Bridge); Other: Non-trem bridge; Models: SQUIER Standard versions of Fender's classics. Body: Poplar; Neck:
010-9100 Robert Gray Squiers are economically-priced guitars with classic Fender Mpl, 21 frets, 9.5" rad, skunk stripe; E-tronics: 2 SC pu's, 3-
features. Body: classic Stratocaster shape; Neck: RW frtbrd, pos. ssw, Vol, Tone; Other: sngl-ply wht pkgrd, bridge w/indi-
(USA Custom Shop) The Dick Dale Signature Model is a lov-
10" rad; E-tronics: 3 SC pus, 5-pos. ssw, Vol, 2 Tone; Other: vidually adjustable saddles, chrmpltd hrdwr; Models:
ing recration of the Surf King's twangy Stratocaster. Body:
vintage-style tremolo; IVIodels: 013-5202 Standard Telecaster
Alder; Neck: "Oval" shape, RW frtbrd, 9.5" rad, 21 vintage
033-6100 Standard Stratocaster, 21 frets
frets, vintage tint finish; E-tronics: 3 custom vintage SCs,
033-0600 Bullet SRS Stratocaster, 22 frets FENDER SQUIER SERIES
bypass sw for neck & mid pus, 3-pos ssw, Vol, 2 Tone (Mid,
Fender Squier Series instruments are affordable, fine quality
Bridge); Other: reverse headstock, vintage tremolo; Models:
versions of Fender's standard models. Body: Poplar, classic
010-6100 Dick Dale TELECASTER® Tele shape; Neck: Mpl, 21 frets, 9.5" rad; E-tronics: 2 SC pu's,
3-pos. ssw, Vol, Tone; Other: vintage style bridge; Models:
(USA) The Richie Sambora Signature Model boasts many fea-
013-3202 Fender SquierTelecaster
tures demanded by hot rock players. Body: Alder; Neck: Mpl,
L^^}v'"^
St .,-t^TteY%^'"'

"star" inlays, 12" rad, 22 Am Std frets, satin finish; E-tronics:

U.S. PLUS SERIES
mid-range boost sw, 2 "Texas special" SC pu's (neck, mid), '52 Telecaster
(USA) Tele Plus guitars are designed to better address today's
DiMarzio Pro PAF (bridge), 5-pos ssw, Vol, Tone (Neck), TBX
players. Body: Alder w/Ash top & back, sngl-ply wht bound
(Mid, Bridge); Other: Floyd Rose Original dbl-lckng tremolo
top, Strat-style contours; Neck: natural satin finish, 22 jumbo
system; Models:
frets, Bi-flex truss rod; E-tronics: 3 special design Gold FLS's,
110-2700 Richie Sambora U.S. VINTAGE
5-pos ssw w/special wiring, Vol; Other: shell pckgrd, chrm-
(USA) U.S. Vintage instruments are excellent recreations of
The Richie Sambora Standard Signature Model is a very pltd hrdwr; Models:
Fender's most famous models. Body: Ash, Butterscotch Blond
affordable version of his signature guitar. Body: Poplar; Neck: 010-8502 Tele Plus, mpl neck
nitrocellulose lacquer finish; Neck: 21 vintage frets, 7.25"
Mpl, 9.5" rad, 21 Am Std frets, satin finish; E-tronics: 2 SC 010-8500 TelePlus.RWfrtbrd
radius, tinted nitrocellulose lacquer finish; E-tronics: Ameri-
pu's (neck, mid), 1 DiMarzio Pro PAF (bridge), 5-pos ssw, can vintage pu's, cloth wrapped wire (in electronics), 3-pos
Vol, 2 Tone (Neck, Mid); Other: Floyd Rose II dbl-lckng CONTEMPORARY SERIES
ssw (bridge pu/neck pu/neck pu w/capacitor); Other: vintage
tremolo system; Models: Contemporary Series guitars are carefully updated versions of
tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge w/3
113-2700 Richie Sambora Standard Fender's vintage instruments. E-tronics: Vol, Tone. Models:
Brass barrel saddles, ncklpltd hdwr; Models:
013-5502 Telecaster Special, Poplar body, oval-shaped
010-1303 '52 Telecaster
(USA) The Bonnie Raitt Signature model emulates her favorite Mpl neck, 21 Am std frets, 9.5" rad, HB pu
guitar. Body: light ash; Neck: special narrow shape, RW frt- (neck), reverse-wound SC (bridge), special 5-
REISSUE
brd, 9.5" rad, 22 Am Std frets; E-tronics: 3 "Texas special" SC pos. ssw, chrmpltd hrdwr, vintage bridge
Reissue instruments capture the style of classic models from
pu's, 5-pos ssw, Vol, 2 Tone (Neck, Mid); Other: large mid 025-2500 90s Telecaster Custom, Basswood body w/dou-
the past. Neck: 21 vintage frets, 7.25" rad; E-tronics: 3-pos
60s headstock, wht shell pckgrd; Models: ble pearloid binding, oval-shaped mpl neckw/RW
ssw; Other: vintage tuners, ncklpltd hrdwr. Models:
010-9300 BonnieRaitt frtbrd, 21 frets, 7.25" rad, 2 vintage style Tele
027-3202 72 Telecaster Thinline, semi-hollow Ash body
pu's, 3-pos. ssw, 6-section modern "string-thru-
w/F-hole, natural finish, mpl neck, 2 HB pu's,
(USA) The Buddy Guy Signature model was designed for red- body" bridge, shell pckgrd, gold hrdwr
hot blues players. Body: light ash; Neck: Mpl, 50s "V" shape, Vol, Tone, wht shell pckgrd, non-trem Strat
025-9000 90s Telecaster Deluxe Foto-Flame, Alder body
9.5" rad, 22 Am Std frets, vintage tint; E-tronics: 3 Gold FLS, 5- bridge, "bullet" truss rod
w/Foto-flame Basswood cap, Tele shape w/Strat-
027-7702 '69 Telecaster Thinline, semi-hollow Mahogany
pos ssw, Vol, Tone, active mid boost; Other: vintage trem, shell style contours, Foto-flame Mpl neck w/RW frt-
body w/F hole, mpl neck, 2 SC pu's, wht shell
pckgrd (whtw/sunburst body, brwn w/blonde body); Models: brd, 21 frets, 9.5" rad, 2 vintage Strat-style SC
010-7802 Buddy Guy pckgrd, vintage bridge w/3 saddles
pu's (neck, mid), vintage Tele-style pu (bridge),
027-5100 '62 Custom Telecaster, Basswood body w/wht
5-pos. ssw, modern tele bridge w/6 individual
CUSTOM CLASSIC SERIES binding, mpl neck, tinted finish, 2 SC pu's, 3-ply
saddles, wht shell pckgrd
(USA Custom Shop) The 1954 Stratocaster is a recreation of (w/b/w) pkgrd, vintage bridge w/3 saddles,
025-2400 Telecaster Acoustic/Electric, bound body
that classic model. Body: Ash; Neck: lightly fgrd Mpl, "soft V" chrmpltd hrdwr
w/Spruce top and Mahogany back and "F" hole,
shape, original dot spacing, 21 vintage frets, 9.5" rad; E-tron- 027-5120 '62 Custom Telecaster, same as 27-5100 except
RW frtbrd, 22 frets, 12" rad, 25.125" scale, RW
ics: 3 SC Custom Shop '50's pu's w/beveled magnets, Vol, 2 left handed
string-thru-body bridge, piezo pu system
Tone; Other: center pocket red plush/Tweed case; Models: 027-4902 "Paisley" Tele, Basswood body w/Paisley fin-
(bridge), SC pu (neck), active electronics, Vol,
010-5402 1954Stratocaster ish, mpl neck, tinted finish, 2 SC pu's, vintage
TBX,Pan
010-5472 1954 Stratocaster FMT, same as 010-5402 bridge w/3 Brass barrel saddles
027-4800 Rosewood Tele, RW body, RW frtbrd, 2 SC
except w/highly figured Mpl top TRIBUTE SERIES
pu's, Tri-lam (B/W/B) pckgrd, vintage bridge w/6
(USA) The Waylon Jennings Tribute Telecaster guitar is based
(USA Custom Shop) The 1960 Stratocaster is a recreation of individual saddles
on Waylon's trademark instrument. Body: light Ash, bound
025-5602 50s Telecaster, Basswood body, Mpl neck
that classic model. Body: Alder; Neck: lightly fgrd Mpl w/RW top and back, hand-tooled leather "White Rose" inlay; Neck:
w/tinted finish, 2 SC pu's, vintage bridge w/3
frtbrd, "C" shape, gloss finish, 21 vintage frets, 9.5" rad; E- slim profile, Mpl, vintage tint, 21 std frets, 9.5" rad; E-tronics:
tronics: 3 "Texas Special" SC pu's, Vol, 2 Tone; Other: painted barrel saddles, round string retainer, sngl-ply
2 Texas Special Tele pus, 3-pos. ssw, Vol, Tone; "Elite" tuners
hdstck (optional), shell pckgrd, gold plush/Brown Tolex case; wht pckgrd
w/pearloid buttons, Scruggs tuners on both "E" strings, Am
Models: 025-5622 "Left Hand" 50s Telecaster, same as 025-5602,
Std bridge, 3-ply (w/b/w) pckgrd, 50s decal; IVIodels:
010-6000 1960Stratocaster except left-handed and sngl-ply blk pckgrd
010-0302 Waylon Jennings Tribute Series Telecaster
010-6070 1960 Stratocaster, same as 010-6000 except 025-1100 Foto-Flame Telecaster, Alder body w/Basswood
Foto-Flame cap, Mpl Foto-Flame neck w/RW slab
w/highly figured Mpltop SET NECK SERIES
frtbrd, 2 SC pu's, vintage bridge w/3 barrel sad-
(USA Custom Shop) Set Neck Series guitars offer the highest
(USA Custom Shop) American Classic Series instruments are dies, round string retainer, 60s styling
quality to the discriminating player. Body: Honduras
Custom Shop versions of Fender's American Standard Series Mahogany w/1/4" bookmatched highly figured Mpl top and
models. Body: classic shape; Neck: satin finish, 22 Am Std
AMERICAN STANDARD
Ivoroid binding; Neck: 22 jumbo frets, 12" rad; E-tronics:
frets, 9.5" rad, E-tronics: 3 "Texas Special" SC pu's, Mid pu is (USA) American Standard Series instruments are modern ver-
custom DiMarzio HB pu (neck), 3-pos. ssw, Coil Cut mini tog-
reverse polarity/reverse wound for quiet operation w/Bridge sions of Fender's classic models. Body: Alder; Neck: 22 Am
gle, Vol, TBX; Models:
or Neck pu's, 5-pos. ssw, Tone (Neck pu), TBX (bridge, Mid Std frets, 9.5" radius, satin finish, Bi-flex truss rod; E-tronics:
010-3600 Set Neck Telecaster, custom DiMarzio HB pu
pu's); Other: Am Std trem w/Stnlss Stl saddles; Models: 2 Am Std SC pu's, 3-pos. ssw, Vol, Tone; Other: Schaller
(bridge), Pao Ferro frtbrd, Chrm hrdwr
010-4702 American Classic Stratocaster, Mplneck chrome tuners, Am Std (individually adjustable, stainless
010-3900 Set Neck Telecaster "CA", Honduras Mahagony
010-4700 American Classic Stratocaster, RW frtbrd steel) bridge saddles; Models:
neck w/Ebony frtbrd, Am Std Tele bridge, Am
010-8402 American Standard Tele, Mplneck
20 Fender Frontline
Std Tele pu (bridge)
010-8400 American Standard Tele, RW frtbrd
010-8422 Left-hndd American Standard Tele, Mpl neck
 (USA Custom Shop) The Bajo Sexto is a unique Telecaster
"baritone" guitar. Body: Ash, tinted nitrocellulose lacquer fin- MUSTANG
ish; Neck: Mpl, "C" shape, 30.2" baritone scale, 24 vintage
frets, 9.5" rad, tinted nitrocellulose lacquer finish; E-tronics:
"Texas Special" Tele pu's, cloth wrapped wire (in electronics),
3-pos ssw (bridge pu/neck pu/neck pu w/capacitor); Other:
vintage tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge,
(USA Custom Shop) The Tele Jr. delivers a powerful "fat" ncklpltd hdwr, Black plush Tolex case; Models:
Telecaster guitar sound. Body: Honduran mahogany,11 tone 010-4002 Bajo Sexto Telecaster
The Mustang is a reissue of Fender's deluxe 24" short-scale
chambers; Neck: 22 jumbo frets, 9.5" rad; E-tronics: Duncan
guitar from the 60s. Body: Basswood: Neck: RW frtbrd, 22
"Hot Soapbar" SP90-2 pu (neck), Duncan "Hot Soapbar" (USA Custom Shop) Left-hand version of vintage classic.
frets, 7.25" rad; E-tronics: 2 sgl-coil pu's, on-off slide sw for
SP90-3 pu (bridge), 3-pos. ssw, Vol, Tone; Models: Body: Ash, Butterscotch Blond nitrocellulose lacquer finish;
each pu, Vol, Tone; Other: Mustang Dynamic vibrato; Models:
010-3400 TeleJr. Neck: lightly fgrd Mpl, "soft V" shape, 21 vintage frets, 9.5"
rad, tinted nitrocellulose lacquer finish; E-tronics: "Texas Spe-
027-3700 Mustang ?@
027-3720 "Left Hand" Mustang, same as 027-3700 except
SIGNATURE SERIES cial" Tele pu's, cloth wrapped wire (in electronics), 3-pos ssw left-handed
(USA) The James Burton Telecaster guitar was designed under (bridge pu/neck pu/neck pu w/capacitor); Other: vintage
the direction of famous picker James Burton. Body: Poplar; tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge w/3
Neck: Mpl, natural satin finish, special "oval" shape, 21 vintage Brass barrel saddles, ncklpltd hdwr, Red plush Tweed case; DUOSONIC
frets, 9.5" rad; E-tronics: 1 Blue FLS (neck), 1 Silver FLS (mid), Models:
1 Red FLS (bridge), special 5-pos. ssw, Vol, Tone; Other: Gold 010-5222 '52 Telecaster (left-hndd)
or Black hrdwr (depending on body color), Schaller (Gold or
Black) chrome tuners, Am Std bridge; Models: (USA Custom Shop) Designed for 12-string electric players
010-8602 James Burton Telecaster who want the feel of a Telecaster guitar. Body: 2-piece, light
ash; Neck: lightly-figured Mpl, "C" shape, 21 vintage frets,
The James Burton Standard Telecaster guitar was designed 9.5" radius; E-tronics: "Texas Special" Tele pu's w/series
under the direction of famous picker James Burton. Body: wiring, 3-pos ssw); Other: vintage-style 12-string bridge;
Poplar; Neck: Mpl, vintage tint, special "oval" shape, 21 std Models: The Duosonic guitar revisits Fender's original short-scale
frets, 9.5" rad; E-tronics: 2 Texas Special Tele pus, 3-pos. 010-4102 TelecasterXII electric from the 50s. Body: Poplar; Neck: Mpl, 20 frets, 9.5"
ssw, Vol, Tone; Other: vintage bridge, wht pckgrd; Models: rad; E-tronics: 2 sgl-coil pu's, 3-pos toggle, Vol, Tone; Models:
013-8602 James Burton Standard Telecaster (USA Custom Shop) American Classic Series instruments are 013-0202 Duosonic
Custom Shop versions of Fender's American Standard Series
(USA Custom Shop) The Danny Gatton Telecaster guitar is a models. Body: Alder; Neck: 22 Am Std frets, 9.5" radius, satin
faithful recreation of Danny's heavily modified early 50s finish, Bi-flex truss rod; E-tronics: 2 Strat "Texas Special" SC DESIGNER/SIGNATURE
model. Body: Light Ash; Neck: Mpl, special finish, Zirconian pu's (neck, mid), Tele "Texas Special" pu (bridge), 5-pos.
side dot markers, 22 vintage frets, 9.5" rad; E-tronics: 2 Bar- ssw, Vol, TBX; Other: custom detailing, reversed control plate, D'AQUISTO
den custom SC pu's, 3-pos. ssw, Volume, Tone (special val- Schaller chrome tuners, Am Std (individually adjustable,
ues); Other: modified vintage style bridge; Models: stainless steel) bridge saddles:
010-8700 Danny Gatton Telecaster 010-4800 American Classic Tele, RW frtbrd
010-4802 American Classic Tele, Mpl neck
(USA Custom Shop) The Albert Collins Telecaster guitar is a
faithful recreation of Albert's "red hot" blues axe. Body: Light
Ash w/bound top and back; Neck: Mpl, gloss finish, 21 vin- JAGUAR
tage frets, 9.5" rad; E-tronics: 1 vintage SC pu (bridge), 1
'50's style HB pu, 3-pos. ssw, Volume, Tone; Other: vintage (USA Custom Shop) The D'Aquisto models are painstakingly
style bridge w/special cover; Models: Grafted to the exacting designs of master luthier James L.
010-8800 Albert Collins Telecaster D'Aquisto. Body: sgl cutaway arched top style, multibound
carved Spruce top, carved figured Mpl. back, figured Mpl
(USA Custom Shop) The Jerry Donahue Telecaster guitar sides; Neck: bound Ebonyfrtbrd, IVIother-of-Pearl frtmrkrs, 22
offers Jerry's unique "2 guitars in 1" design features. Body: vintage frets, 12" rad, 25.25" scale; Other: separate bridge and
Light Ash w/bookmatched birdseye Mpl top and back; Neck: tailpiece, Ebonytailpiece and pckgrd, bound "F" holes; Models:
special "V" shape, Birdseye Mpl, 21 vintage frets, 9.5" radius; 010-2070 D'Aquisto Ultra, full 17" body, split block frtmrkrs
E-tronics: Custom wound Tele pu (bridge), custom wound The Jaguar is a recreation of Fender's premier guitar from the 010-2050 D'Aquisto Elite, 1 53/4" body, figured-Mpl set neck,
Strat pu (neck), special 5-pos. ssw, Volume, Tone; Other: vin- 60s. Body: Basswood; Neck: RW frtbrd, 22 frets, 7.25" rad, bound back, floating pu, gldpltd hrdwr, deluxe case
tage style bridge w/Brass saddles, gldpltd hrdwr; Models: 24" scale; E-tronics: 2 sgl-coil pu's, on-off slide sw for each 010-2030 D'Aquisto Deluxe, 153/4" body, laminated Mpl
010-8902 Jerry Donahue Telecaster pu, "Lead" circuit [Vol, Tone, Tone sw], "Rhythm" circuit top, figured-Mpl set neck, bound back, HB pu,
[Vol, Tone], circuit ssw; Other: Floating bridge tremolo chrmpltd hrdwr, deluxe case
The J. D. is an affordable version of Jerry Donahue's unique
w/"Trem Lock"; Models:
"2 guitars in 1" design. Body: Basswood, bound; Neck: Mpl,
027-7700 Jaguar
ROBBEN FORD
21 vintage frets, 7.25" rad; E-tronics: Custom wound Tele pu
027-7720 "Left Hand" Jaguar, same as 027-7700 except
(bridge), custom wound Strat pu (neck), special 5-pos. ssw,
left-handed
Volume, Tone; Other: vintage style bridge w/Brass saddles,
chrmpltd hrdwr, tri-lam (B/W/B) pckgrd; IVIodels:
027-9702 J. D. Telecaster JAZZMASTER
(USA Custom Shop) The Clarence White Telecaster guitar is a
souped up version of the classic country guitar. Body: Light-
(USA Custom Shop) Designed under the direction of modern
weight Ash; Neck: lightly-figured Mpl, 21 vintage frets, 9.5"
blues and jazz great Robben Ford. Body: dbl cutaway style,
rad; E-tronics: "Texas Special" Tele pu (bridge), custom 50s
multibound Carved figured Mpl top, solid Mahogany back and
Strat pu (neck), special 5-pos. ssw, Vol, Tone; Other: vintage
sides w/tone chambers; Neck: Mahogany w/bound Ebony frt-
style bridge w/Brass saddles, Parsons/White B-Bender,
brd, Mother-of-Pearl frtmrkrs, 22 jumbo frets, 12" radius,
Scruggs tuners on both "E" strings; Models:
24.625" scale; E-tronics: 2 HB pu's, 3-pos. ssw, coil tap sw, 2
010-5602 Clarence White Telecaster
Vol, 2 TBX; Other: gold hrdwr, lock-strap system, Schaller
The Jazzmaster is a remake of the guitar that was at the heart
tuners w/Ebony buttons; Models:
CUSTOM CLASSIC SERIES of surf and other 60s instrumental music. Body: Basswood;
010-3060 Robben Ford Model Ultra FM, split block inlays,
(USA Custom Shop) The Sparkle Telecaster guitar is a stun- Neck: RW frtbrd, 21 frets, 7.25" rad; E-tronics: 2 sgl-coil
multi-bound top and frtbrd
ning version of a vintage model. Body: light Poplar, sparkle pu's, "Lead" circuit [Vol, Tone, 3-pos toggle], "Rhythm" cir-
010-3050 Robben Ford Model Ultra SP, same as 010-
finish; Neck: lightly fgrd Mpl, "C" shape, 21 vintage frets, 9.5" cuit [Vol, Tone], circuit ssw; Other: Floating bridge tremolo
3060 except carved Spruce top and solid Alder
rad, tinted nitrocellulose lacquer finish; E-tronics: "Texas Spe- w/"Trem Lock"; Models:
back and sides
cial" Tele pu's, cloth wrapped wire (in electronics), 3-pos ssw 027-7800 Jazzmaster
027-7820 "Left Hand" Jazzmaster, same as 027-7800
010-3040 Robben Ford Model Elite, thinline solid body
(bridge pu/neck pu/neck pu w/capacitor); Other: vintage version of 010-3050 except dot inlays and chrm
tuners, vintage bridge w/3 Brass barrel saddles, ncklpltd except left-handed
hrdwr
hdwr, Black plush Tolex case; Models:
Fender Frontline 21
010-6802 Sparkle Telecaster, Mpl neck
010-6800 Sparkle Telecaster, RW frtbrd
 CONTEMPORARY SERIES 027-3500 '75 Jazz Bass, classic shape, RW frtbrd, medium

Electric
neck, 20 frets
.1 ^ VI
027-3502 75 Jazz Bass, same as 027-3500 except Mpl

BASSES
neck, 20 frets
027-7600 Bass VI, six-string bass, Alder body, RW fret-
Precision Bass "Lyte" board, 1.5" width at nut, 21 frets, 30.3125" scale,
3 special full-range SC pus, floating tremolo
w/"Trem Lock"
The Precision Bass "Lyte" is a smaller, lighter, updated ver-
sion of a classic P-Bass. Body: "downsized" modem contour AMERICAN STANDARD
PRECISION® shape (very lightweight); Neck: RW frtbrd, 22 frets, 9.5" (USA) American Standard Series instruments are modern ver-
radius, "slim" shape; E-tronics: 1 P-Bass (split coil) pu, 1 J- sions of Fender's classic models. Body: Alder, modern "off-
Bass pu, Master Vol, Pan, active Bass boosVcut, active Treble set" contour shape; Neck: graphite reinforced, RW frtbrd, 20
•*•£" boost/cut; Other: Graphite nut, special design bridge, Gotoh Am Std frets, 9.5" radius; E-tronics: 2 J-Bass pu, 2 Vol, Tone;
.'•..i6s
"mini" tuning keys, no pckgrd; IVIodels: Other: strings-thru-body bridge, chrmpltd hdwr, 3-ply W/B/W
'57 Precision Bass 025-9500 Precision Bass "Lyte" Standard, basswood pckgrd; Models:
body, Chrm hdwr 019-2400 American Standard Jazz Bass
025-9800 Precision Bass "Lyte" Deluxe, mahogany body, 019-2500 American Standard Jazz Bass V, same as 019-
Goldplated hdwr, USA-designed E-tronics and 2400 except 5-string
U.S. VINTAGE
HB pu (bridge)
(USA) U.S. Vintage instruments are excellent recreations of
Fender's most famous models. Body: Alder, nitrocellulose lac- STANDARD
Special Series instruments are carefully updated versions of Standard versions of Fender's classics. Body: "offset" waist
quer finish; Neck: 20 vintage frets, 7.25" radius, soft "U"
Fender's Vintage models. Body: Poplar, downsized P-Bass shape; Neck: RW slab frtbrd, 20 std frets, 7.25" rad, polyester
shape, tinted nitrocellulose lacquer finish; E-tronics: 1 Ameri-
shape; Neck: oval shape, RW frtbrd, 22 Am Std frets, 9.5" finish; E-tronics: 2 J-Bass pu, 2 Vol, Tone; Other: tri-lam
can vintage P-Bass (split single-coil) pu, cloth wrapped wire
radius; E-tronics: 1 P-Bass (split coil) pu, 1 J-Bass pu, Master (W/B/W) pckgrd, Chromeplated hdwr; IVIodels:
(in electronics), Volume, Tone; Other: vintage Kluson (reverse
Vol, Pan, active Bass boost/cut, active Treble boost/cut; 013-6500 Standard Jazz Bass, Poplar body
direction) tuners, vintage bridge, nickelplated hdwr; Models:
Other: vintage bridge; Models: 027-6720 Standard Jazz Bass, same as 13-6500 except
019-0115 '57 Precision Bass, mpl neck, sgl-layer Gold
013-5400 Precision Bass Special left-hndd and Basswood body
anodized Aluminum pckgrd, "skunk stripe" on
back of neck, hdstck plug 027-6508 Standard Jazz Bass, same as 13-6500 except
CUSTOM CLASSIC SERIES fretless and Basswood body
019-0116 '62 Precision Bass, RW slab frtbrd, 3-ply
(USA Custom Shop) The Vintage Precision Custom Bass is a
(W/B/W) or4-ply (W/B/W/Tortoiseshell) pckgrd
special Custom shop version of the Fender classic. Body: U.S. DELUXE SERIES
Swamp Ash, contoured slab shape, nitrocellulose lacquer fin- Modified vintage styling with new pickup system and active
REISSUE
ish; Neck: 20 vintage frets, 9.5" radius, soft "U" shape, tinted electronics. Body: Alder w/ash-veneered top and back; Neck:
Reissue instruments capture the style of classic models from
nitrocellulose lacquer finish; E-tronics: 1 P-Bass (split single- graphite reinforced, 22 std frets, 9.5" rad, 34" scale; E-tronics:
the past. Neck: 20 std frets, 7.25" rad; original P-Bass (split
coil) pu, 1 J-Bass pu, lacquer coated copper windings (pu's), 3-band active EQ, 2 J-bass pu, Vol, Tone; Other: strings-thru-
single coil) pu, Vol, Tone; Other: ncklpltd hdwr. Models:
cloth wrapped wire (in electronics), 2 Vol, 2 Tone; Other: Tele body/top-load bridge, shell pckgrd; Models:
025-1200 Foto-Flame Precision Bass, classic shape Alder
bass peghead, vintage Kluson (reverse direction) tuners, vin- 019-4400 Jazz Bass Deluxe
body w/Foto-flame Basswood cap, Mpl neck
w/Foto-flame finish, RW frtbrd, vintage bridge,
tage bridge, nickelplated hdwr; Models: 019-4500 Jazz Bass Deluxe V, same as 019-4400 except
019-5602 Vintage Precision Custom Bass 5-string
60s styling
027-1902 '51 Precision Bass, "Tele Bass" shape Bass-
wood body, Mpl neck, vintage 2-saddle bridge
(USA Custom Shop) Left-hand version of the Vintage Preci- CUSTOM CLASSIC SERIES
sion Bass. Body: Alder, nitrocellulose lacquer finish; Neck: (USA Custom Shop) Left-hand version of the classic J-Bass.
lightly fgrd Mpl, "C" shape, 20 vintage frets, 7.25" radius, soft Body: classic shape; Neck: "C" shape, Mpl, RW frtbrd, 20 vin-
AMERICAN STANDARD
"D" shape, tinted nitrocellulose lacquer finish; E-tronics: 1 P- tage frets, 7.25" rad; E-tronics: 2 J-Bass pu's, lacquer coated
American Standard Series instruments are modern versions
Bass (split single-coil) pu, lacquer coated copper windings copper pu windings, cloth wrapped wire, concentric
of Fender's classic models. Body: Alder; Neck: graphite rein-
(pu's), cloth wrapped wire (in electronics), Volume, Tone; (Vol/Tone) knobs; Other: vintage tuners, vintage bridge,
forced, RW frtbrd, 20 std frets, 9.5" rad; E-tronics: American
Other: vintage Kluson (reverse direction) tuners, vintage ncklpltd hrdwr, red plush/Tweed case; Models:
vintage P-Bass pu, Vol, Tone; Other: strings-thru-body bridge;
bridge, nickelplated hdwr, Red plush Twee case; Models: 019-0209 '62 Jazz Bass (left-hndd)
Models:
019-2200 American Standard Precision Bass
019-5722 '57 Precision Bass (left-hndd)
019-2208 American Standard Precision Bass (fretless), (USA Custom Shop) American Classic Series instruments are
Custom Shop versions of Fender's American Standard Series
same as 019-2200 except fretless w/fretline JAZZ BASS^ models. Body: ash, downsized shape; Neck: graphite rein-
markers
019-2220 American Standard Precision Bass (left-hand), forced, wht shell block inlays, sngl-ply wht binding, 22 std
same as 019-2200 except left-handed frets, 9.5" rad; E-tronics: 3-band active EQ, 2 J-Bass pu, Vol,
Tone; Other: strings-thru-body/top-load bridge, brown shell
STANDARD pckgrd, orange plush case; Models:
'62 Jazz Bass
Standard versions of Fender's classics. Body: Poplar; Neck: 019-7200 American Classic Jazz Bass, RW frtbrd
RW slab frtbrd, 20 std frets, 7.25" radius; E-tronics: P-Bass 019-7202 American Classic Jazz Bass, Mpl neck
(split single-coil) pu, Volume, Tone; Other: 3-ply (W/B/W) 019-7270 American Classic Jazz Bass FMT, same as 01 9-
pckgrd, Chromeplated hdwr; Models:
U.S. VINTAGE 7200 except w/highly figured Mpl top
(USA) U.S. Vintage instruments are excellent recreations of 019-7272 American Classic Jazz Bass FIVIT, same as 01 9-
013-6000 Standard Precision Bass
Fender's most famous models. Body: Alder, nitrocellulose lac- 7202 except w/highly figured Mpl top
FENDER SQUIER SERIES quer finish, original "offset waist" shape; Neck: 20 vintage 019-7370 American Classic Jazz Bass V FMT, same as
Fender Squier Series instruments are affordable, fine quality frets, RW frtbrd, 7.25" rad, nitrocellulose lacquer finish; E- 019-7270 except 5-string
versions of Fender's standard models. Body: classic P-Bass Ironies: 2 J-Bass pu's (out of phase), lacquer coated copper 019-7372 American Classic Jazz Bass V FIVIT, same as
shape; Neck: RW frtbrd, 20 std frets, 9.5" rad; E-tronics: P- pu windings, cloth wrapped wire, concentric knobs 019-7272 except 5-string
bass pu, Vol, Tone; Other: chrome hrdwr; IVIodels: (Vol/Tone); Other: Kluson (reverse direction) tuners, vintage
013-3400 Fender Squier Series Precision Bass bridge, ncklpltd hrdwr, 3-ply (W/B/W or W/B/Tortoise shell)
pckgrd; Models: MB BASS
019-0209 '62 Jazz Bass
U.S. DELUXE SERIES Fender MB Basses bring hot, modern styling to the Fender
Modified vintage styling with new pickup system and active bass. Body: Basswood or Poplar, downsized contemporary
electronics. Body: Alder w/ash-veneered top and back, down- REISSUE
shape; Neck: RWfrtbrd, 22 jumbo frets, 9.5" radius; E-tronics:
Reissue instruments capture the style of classic models from
sized shape; Neck: graphite reinforced, 22 std frets, 9.5" rad, Vol, Tone, Pan; Other: Gotoh tuners, no pckgrd; Models:
34" scale; E-tronics: 3-band active EQ, P-bass pu, HB pu, Vol, the past. Neck: 7.25" rad; E-tronics: 2 vintage J-Bass pu's
025-4700 Fender MB 4 Bass, 1 P-Bass (split single-coil)
(except Bass VI), 2 Vol, Tone; Other: ncklpltd hdwr, vintage
Tone; Other: strings-thru-body/top-load bridge, shell pckgrd; pu,1 J-Bass pu
Models:
bridge; Models:
025-4800 Fender MB 5 Bass, 5-string, 2 special-design 5-
025-1300 Foto-Flame Jazz Bass, classic shape Alder body
019-4200 Precision Bass Deluxe, RW frtbrd string J-Bass pu's
019-4202 Precision Bass Deluxe, Mpl neck w/Foto-flame Basswood cap, Neck: Mpl w/Foto-
flame finish, RW frtbrd, 20 small frets

22 Fender Frontline
 SIGNATURE BASSES Tone Master
?| '59 Bassman

URGE

'63 Vibroverb

(USA) The '63 Vibroverb is a replica of the original 1963

(USA) Sleek looking basses with features for the modern Fender Vibroverb. Specs: 40w, 2-10" spkrs; Features: All tube
player. Body: Alder, special down-sized shape; Neck: Pao
circuitry, tube generated vibrato, spring reverb, tilt-back legs,
Ferro frtbrd, 24 Am Std frets, 9.5" rad, 32" scale; E-tronics: 2
Brown Tolex covering, 2-button footswitch; Models:
custom vintage J-bass pu's (neck, bridge), 1 custom vintage 021-7200 '63Vibroverb
P-bass pu (mid), Pan, Vol, active Treble, active Bass, 4-pos
rotary sw, 3-pos mini sw; Models:
(USA) The '65 Twin Reverb is an authentic reproduction of
019-1400 Stuart Hamm "Urge" Bass
the original Twin Reverb, one of the all-time "hall of fame"

Sleek looking basses with features for the modern player. amplifiers. Specs: 85w, 2-12" spkrs; Features: 2 channels, all
(USA) The Vibro-King 212 speaker enclosure features two 12"
Body: Poplar, special down-sized shape; Neck: RW frtbrd, 24 tube circuitry, tube generated vibrato, spring reverb, tilt-back
Celestion spkrs, Birch plywood closed back cabinet, Blonde legs, "Black Face" cosmetics, 2-button footswitch; Models:
Am Std frets, 9.5" rad, 32" scale; E-tronics: 2 J-bass pu's
Tolex covering, Oxblood grill cloth. Specs: 4 ohms, 140 watts 21-7300 '65 Twin Reverb
(neck, bridge), Pan, Vol, active Treble, active Bass; Models:
power handling; Models:
013-1400 Stuart Hamm "Urge" Standard Bass '65 Twin Reverb
081 -3004 Vibro-King 212 Enclosure

ROSCOE BECK '65 Deluxe Reverb

(USA) The Tone Master is everything its name implies: great
(USA) Created from the famous bassist's exacting specs.
up-front sound, with power to spare. Specs: 100w RMS; Fea-
Body: Alder; Neck: graphite reinforced, Pao Ferro frtbrd, 22
tures: Two channels ("Vintage", "Drive") each with [Vol, Tre-
jumbo frets, 9.5" rad, 34" scale; E-tronics: 2 special design 5-
ble, Bass, Mid, "Fat" switch], 2 effects loops (1 per channel),
string pu's, 2 Vol, tone; Other: Ightwght tuning machines,
chrome plated slides for mounting to enclosures, footswitch;
strings-thru-body/top-load bridge; Models:
Models:
019-6500 Roscoe Beck V, 5-string
081-1000 Tone Master

(USA) The Tone Master enclosures feature Celestion spkrs,

(USA) The '65 Deluxe Reverb is an authentic reproduction of
Birch plywood closed back cabinets, Blonde Tolex covering,
the ultimate "club amp." Specs: 22w, 12" spkr; Features: 2
Oxblood grill cloth; Models:
channels (normal, vibrato), all-tube circuitry, tube generated
081 -3000 Tone Master 21 2 Enclosure, 2-12" spkrs
vibrato, tube reverb, "Black Face" cosmetics, 2-button
081 -3001 Tone Master 41 2 Enclosure, 4-12" spkrs

AMPS
footswitch (reverb, vibrato); IVIodels:
21-7400 '65 Deluxe Reverb
NEW VINTAGE SERIES '63 Fender
Designed in the Amp Custom Shop, the "New Vintage" mod- Reverbs
els aren't copies of any particular previously made amps, but
Black
are amps that "could have been." Time-honored tube circuitry w/silver
and esthetics combined with the modern convenience of grillcloth Blonde
w/oxblood
today's designs make these amplifiers true future classics.
GUITAR AMPLIFIERS grillcloth
"Custom" Vibrasonic
AMP CUSTOM SHOP
These all-tube amplifiers are the result of almost 50 years of Brown w/tan
tube-tone knowledge. Hand-made in the USA with features grillcloth
like point-to-point wiring, Birch plywood construction, cus-
torn designed speakers and—Fender tone!—Custom Shop
(USA) The Fender Reverb is a replica of the original 1963 tube
amplifiers are dripping with the sound and feel that every gui- reverb unit. Features: Dwell, Mix, and Tone control; Models:
"Custom"
tarist's dreams are made of.
21-7500 '63 Fender Reverb, brown w/tan grillcloth
^-^ Vibrolux Reverb
21-7501 '63 Fender Reverb, black w/silver grillcloth
21 -7502 '63 Fender Reverb, blonde w/oxblood grillcloth
(USA) The new Vibrolux is a worthy heir to the name. Specs:
40w RMS at 4 ohms, two 10" blue Alnico spkrs; Features: dual TWEED SERIES
channels (normal, bright) both w/tube reverb and vibrato, all- Based on Fender's original "Tweed" designs of the 50s, the
tube circuitry, 2-button footswitch (reverb, vibrato); IVIodels: Tweed Series amps combine vintage tone with modern versa-
021-5100 "Custom" Vibrolux Reverb tility. They boast original 50s Fender styling which includes
(USA) The Vibrasonic delivers a truckload of tube-tone for play- genuine Tweed covering, rear-loaded chrome chassis and
ers who like to keep it loud and clear. Specs: 100w RIVIS at 4 "chicken head" knobs.

(USA) Big brother to the Vibro-King, the Dual-Pro uses clas- ohms, 15" spkr; Features: dual channels [normal (w/"fat" sw),
sic Fender tone-shaping, vibrato and reverb circuitry to create steel guitar w/"sweet" sw)] both w/tube reverb and vibrate, all- Blues Deluxe
a truly wondrous sound, with serious volume. Specs: 100w tube circuitry, 2-button footswitch (reverb, vibrato); Models:
RMS, 2-12" spkrs; Features: Tube Reverb [controls: Dwell, 021-5200 "Custom" Vibrasonic
Mix, Tone], "Fat" switch, vintage Vibrato [controls: Speed,
Intensity], effects loop, dual selectable Vol and "Fat" controls, VINTAGE REISSUE SERIES
Treble, Bass, Mid, Ftswtch for Vol select and Vibrato on/off; The Vintage Reissue Series amps are meticulously repro-
Models: duced classics using original vendors and materials wherever
081-1005 Dual Professional possible. One would be hard-pressed to discern these amps
from the orignials that gave birth to the timeless sounds of Bronco
rock, country, and modern blues. Pro Junior
(USA) The Vibro-King is 60 watts of pure tube heaven. Sport-
ing the classic 3x10" combo format first seen in the Tweed (USA) The Bronco is a small sized practice/recording amp. Clas-
Bandmasters of the 50s, it's a feast for the ears and eyes. (USA) The '59 Bassman is a reissue of the legendary "narrow
sic Fender clean as well as screaming distortion sounds are eas-
Specs: 60w RMS, three 10" "vintage blue" spkrs; Features: panel" Bassman amp of the late 50s. Specs: 45w, four 10" ily coaxed from this little beauty. Specs: 15w, 8" spkr; Features:
Tube Reverb [controls: Dwell, Mix, Tone], "Fat" switch, spkrs w/Alnico magnets; Features: original all-tube circuitry dual selectable channels (normal, drive) w/separate volume con-
Tremolo [controls: Speed, Intensity], Effects loop, Vol, Treble, w/controls that go to "12," Tweed covering w/"0xblood" grill
trols, 3-band EQ, ext. spkrjack, headphone jack; Models:
Bass, Mid, footswitch fortremolo and "Fat"; Models: cloth; Models:
022-3104 Bronco
081-1000 Vibro-King 021-7100 '59Bassman
(USA) The all-tube Pro Junior is a small amp in the classic PERFORMER SERIES (USA) The Princeton 112 Plus is a mid-sized amp with great
Fender tradition. Specs: 15w, 10" spkr; Features: all-tube cir- These powerful new "hybrid" amps feature real 12AX7 tube sound. Specs: 35w RMS, 12" spkr; Features: dual selectable
cuitry, unique "clean" to "drive" Vol control, tone; Models: distortion and are designed to complement today's aggressive channelsw/independent tone controls, reverb, effects loop,
021-3103 Pro Junior playing styles. Their complex, expressive distortion rivals headphone jack; Models:
many so-called "hot-rodded" amps. 022-6704 Princeton112
(USA) The Blues Deluxe is a potent amp with a broad range of
sounds from clean to milky smooth overdrive. Specs: 40w, Performer 1000 Head Deluxe 112
12" spkr; Features: all-tube preamp/power amp, dual selec-
table channels (normal, drive) w/separate gain and master
controls, 3-band EQ, reverb, presence, bright sw, effects loop,
footswitch for drive select; Models: GE-412 (right & below)
fsee Guitar Speaker
021-3102 Blues Deluxe Enclosures section)
Blues
DeVille212
B/ues Performer 1000 Stage 112SE
DeVille Combo

(USA) The Deluxe 112 Plus has been designed to produce a

broad palette of great tones. Specs: 65w RMS, 12" spkr; Fea-
tures: dual selectable channels independent tone controls,
reverb, effects loop, headphone jack, 2-button footswitch;
Models:
022-6702 Deluxe 112
(USA) The Blues DeVilles deliver both "vintage clean" and
(USA) The Stage 112 SE's "tube emulation" power amp offers
smooth distortion tones with enough power for most any
all the warmth of tone you would expect from a Fender.
playing situation. Specs: 60w; Features: all-tube
Specs: 160w RMS, 12" spkr; Features: channel switching, Ch
preamp/power amp, dual selectable channels (normal, drive)
1 [3-band EQ w/Mid Shift, Vol], Ch 2 [3-band EQ, Gain, Vol,
w/separate gain and master controls, 3-band EQ, reverb,
Contour], Reverb, effects loop, Line Out, 2-button footswitch;
presence, bright sw, effects loop, ext. spkr jack, 2-button
(USA) Both Performer 1000 models offer explosive real-tube Models:
footswitch for drive select and reverb on/off; Models:
distortion and plenty of headroom. Specs: 100w RMS; Fea- 022-6700 Stage 112 SE
021-3101 Blues DeVille, 4-10" spkrs
021 -3100 Blues DeVille 212, same as 021 -3101 with two tures: channel swtchng, Normal channel [Treble, Mid, Bass],
Drive channel [tube preamp, dual selectable Gain, Treble, Mid, (USA) The Pro 185 is our most powerful and full-featured
12"spkrs
Bass], reverb, adjustable effects loop w/mix control, line out- Standard Series amplifier. Specs: 160w RMS/185W CIP, two
put, ext. spkr out, 3-button footswitch; IVIodels: 12" spkrs, 4 or 8 ohm imp; Features: channel swtchng, Ch 1
PROFESSIONAL TUBE SERIES
022-6800 Performer 1000,1 -12"spkr [3-band EQ w/mid cut], Ch 2 [3-band EQ w/mid boost,
An awesome combination of Fender tube-tone, "Black-Face"
022-6801 Performer 1000 Head switchable Gain, switchable Gain boost, Prescence, Contour
styling and real "player's" features, Pro-Tube Series amplifiers
w/Tilt button], reverb, adjustable effects loop, 3-button
offer all the performance "extras"—like all-tube circuitry,
(USA) The Performer 650 is the 70 watt combo version of the footswitch; Models:
spring reverb, multiple gain switching and effects loop
1000 models. Specs: 70w RMS, 12" spkr. Features: channel 022-5600 Pro 185
options—that modern players demand.
swtchng, Normal channel [Treble, Mid, Bass], Drive channel
[Tube preamp, Treble, Mid, Bass], Reverb, adjustable effects STANDARD SERIES CHORUS
loop, line output, 2-button footswitch ; Models: Two individual power amp sections and true stereo chorus
022-6800 Performer 650 give the Standard Series Chorus amplifiers their rich, musical
Concert
sound. In either the clean or the overdrive modes, innovative
STANDARD SERIES solid-state circuitry provides the quality of tone that sets
From their signature clean sound to fluid overdrive, the Stan- Fender apart from the rest.
dard Series amplifiers provide a range of Fender tones that
cover every base. Utilizing innovative solid-state circuitry,
they give you the classic warm musical sound you'd expect
Super
from Fender.

(USA) The Concert and Super are tributes to the vintage amps
of the same name. Features: channel switching, Normal chan-
nel [3-band EQ w/pull/cut], Drive channel [dual selectable
Gain, 3-band EQ], reverb, adjustable effects loop w/Mix con-
trol, line output, ext. spkr out, 3-button footswitch ; Models:
Ultimate Chorus
021 -4802 Concert, 60w RMS, 1 -12"spkr
021-4803 Concert G12-80, same as 021-4802 except with Bullet (USA) The Princeton Chorus is a compact, highly efficient
Celestion G12-80 "Classic Lead 80" spkrs chorus amp with rich sound and smooth distortion. Specs: 2
021 -4806 Super, 60w RMS, 4-10"spkrs x 25w RMS, two 10" spkr; Features: channel switching, Ch 2
The Fender Bullets... Great sound and affordability make a
[Gain, Mid boost, Limiter, Presence], 3-band EQ, Master Vol,
killer combo. Specs: 15w, 8" spkr; Features: tube emulation
stereo chorus, reverb, mono/stereo effects loop, 2-button
power amp, dual selectable channels (normal, drive), 3-band
footswitch; IVIodels:
EQ, Vol, Gain, Drive, headphone jack, ext. spkr jack; Models:
022-5700 Princeton Stereo Chorus
Twin
022-6705 Bullet
022-6706 Bullet Reverb, internal spring reverb
(USA) The Ultimate Chorus is our most sophisticated chorus
amp, created for lush chorus tones. Specs: 2 x 65w RMS, two
12" spkr; Features: channel switching, Ch 1 [Vol, 3-band EQ,
Champion 110
Reverb], Ch 2 [Vol, Gain, 3-band EQ w/Mid boost, Presence,
Reverb], Chorus rate and depth, mono and stereo effects
loops, 2-button footswitch [chorus, channel select]; Models:
(USA) The Twin is the top-of-the-line Pro Tube amp, with 022-5800 Ultimate Chorus
state-of-the-art features and performance. Specs: Switchable
power levels (100w/25w), 2-12" spkrs, selectable 4/8/16 ohm
imp; Features: dual selectable channels w/independent tone
Princeton 112
controls, dual selectable gain in Normal channel, spring reverb
w/assign sw, variable effects loop w/mix control and channel
assign sw, line out, ext spkr out, 3-button footswitch; Models: (USA) The Champion 110 is perfect for home or studio.
021-4809 Twin Specs: 25w RMS, 10" spkr; Features: dual selectable chan-
nels, reverb, extspkrjack, headphone jack; Models:
24 Fender Frontline 022-6703 Champion 110
 RAD, HOT, JAM BXR SERIES Treble, Mid Bass, Prescence, headphone jack, closed back
RAD, HOT and JAM amps are powerful performers with pre- (USA) Designed in conjunction with some of today's best bass cabinet. Models:
programmed sounds that can be personalized with Fender's players, Fender BXR amplifiers provide a forum for almost
exclusive contour control. Tape-in and headphone jacks make every conceivable style, from traditional to contemporary.
it possible to play along with tapes or CDs. iBXR60
J.A.M.

023-0800 Champ 15B

H.O.T.
KEYBOARD AMPLIFIERS
BXR15
(USA) Basically self-contained P.A. systems, KXR Series ampli-
R.A.D.
(USA) Features: 3-band EQ, headphone jack, Tolex covering;
fiers were designed for keyboards, but are also ideal for voice,
Models:
Features: 4 preprogrammed sounds [bright (super clean), full acoustic/electric guitar, or any other acoustic instrument.
022-4402 BXR 15,15w RMS, 8" spkr, ext. spkrjack
(warm clean), crunch (medium overdrive), lead (super over-
drive)], effects loop, headphone jack,; Models: 022-4403 BXR 25, 25w RMS, 10" spkr, Hi/Lo inputs, tape KXR 200
022-6000 BAD, 20w, 8" spkr inputs, effects loop
022-6100 HOT, 25w, 1 0"spkr, Reverb (USA) Specs: 60w RMS, 12" spkr; Features: 4-band EQ, mid
022-6200 JAM, 25w, 12" spkr, Reverb, Chorus notch button, Delta Comp™ limiter, headphone jack, effect-
sloop, tape-in jacks, line out jack; Models: KXR 100
SQUIER CHAMP SERIES 022-4404 BXR 60
Small, portable amps with professional features. Specs: open
back cabinet, heavy duty speaker; Features: 3-band EQ, dual BXR 300C
cascading gain controls (25GR has in drive chnnl), Vol, Tre-
ble, Mid, Bass, headphone jack; Models:
BXR 200
Champ
(USA) Specs: 90w RMS @ 4 ohms, 15" spkr plus dual piezo
15GR
horn, 3 chnnls w/independent vol, XLR in (chnnl 1), 4-band mas-
ter EQ, Deltacomp™ limiter, master reverb, master vol, eff loop,
Champ record out jacks (RCA), headphone jack, Tolex covering; Models:
15G 022-8501 KXR100
Champ
25GR (USA) Specs: 20w RMS @ 4 ohms, 15" spkr plus dual piezo
BXR 100 horn, 4 channels with independent [EQ, vol, insert, reverb
send, effects send], XLR input in channel 4, switchable Delta-
(USA) Specs: 100w RMS, 15" spkr; Features: Delta Comp™ comp™ limiter, master reverb, master vol, pop-in casters,
023-0600 Squier Champ 15G, 15w, 8"spkr limiter, 7-band EQ, high/low shelving, high/mid/low enhance recessed handles, Tolex covering; Models:
023-0601 Squier Champ 15GR, 15w, 8" spkr, reverb sws, headphone jack, effects loop, line out jack; Models: 022-8502 KXR 200
023-0700 Squier Champ 25GR, 25w, 10" spkr, reverb, dual 022-4401 BXR100
selectable chnnls (normal, drive), footswitch jack
(USA) Specs: 200w RMS/4 ohms; Features: 9-band EQ, selec- GUITAR SPEAKER ENCLOSURES
table Delta Comp™ limiter, high and low shelving,
(USA) Closed back cabinets, designed for use with Performer
BASS AMPS high/mid/low enhance sws, chorus w/rate and depth controls,
series amps. Covered in black tolex. 8 ohms. Models:
line out, effects loop, footswiteh (chorus select); Models:
022-4405 BXR 200,15" Eminence spkr 021-1660 GE-112,1-12"spkrs
AMP CUSTOM SHOP 021-1662 GE-412, 4-12" spkrs, straight front w/"hidden"
(USA) The Rumble Bass is the ultimate bass player's 022-4406 BXR 200 Head, also 125w RMS/8 ohms
slant baffle
machine: classic vintage looks, modern features and brutal
(USA) Specs: 300w RMS, 15" Eminence spkr; Features: 3-band 021-1663 GE-412 V30, same as 021-1662 except with
power. Mercy!
EQ w/sweepable mid, high fqncy boost/cut, low fqncy boost/cut, Celestion "Vintage 30" spkrs
high fqncy enhance, low fqncy enhance, Vol, selectable Delta
Rumble
Comp™ limiter, effectsloop, ext spkr jack, fan cooling; Models:
Bass
022-4100 BXR300C
BASS SPEAKER ENCLOSURES--BXR
(USA) Designed with the aid of some of today's best bass
Rumble
SQUIER CHAMP SERIES players to fit every style, BXR speaker enclosures combine
Bass 410
speaker A small, portable bass combo amp with professional features. top quality sound with a modern compact format.
enclosure Specs: 15w, 10" spkr, High and Low sensitivity inputs, vol,
BXR210H

BXR 200 Head

Rumble Bass
410 SUB Abbreviations
speaker AmStd American Standard niddpltd nichelplated
enclosure Ch,ehnl channel piece, pieces
pc,pcs
ChPKIpIUI chpomeplated pckgrd pichguapd
dbl-lctoig double locking pos position
deluxe PU pickup
effects pad radius
(USA) Specs: 300w into 2 or 4 ohms; Features: all-tube circuit-
E-tronics Bectronics BW Rosewood
BXt extension sc tingle Con
iy. dual channels [parallel or independent operation, tone con- R-S Fendep-lace Sensor sgl
trols. mid cut sw], parallel effects loop w/channel assign sw Hncy Ipenuency sphr BXR115
and mix control, blonde tolex, oxblood grill cloth, footswitch
(rttrd Irethoard ssvu selectop switch BXFi410H
Irtmpkps Iretmarkers Stnlss SB Stainless Steel
(channel select); Models: Specs: 8 ohms impedance; Features: perforated metal speak-
Itswtch footsuuitch swtehng switching
081-2100 Rumble Bass Head hdstck headstock trem tremola er grill, black carpet covering, rececessed handles; Models:
goldpltd goldplated tri-lam triple lantfnated 021-1670 BXR 115B, 15" spkr, 300w peak power hndling
(USA) Rumble Bass Enclosures: Models: HB humbucking USA made in the U.S.
hitwr volume
021-1671 BXR 410H, four 10" spkrs, bullet horn tweeter,
hardware ml
081-3100 Rumble Bass 410 enclosure, overload protected 600w peak power hndling
hndd handed w watt*
bullet horn tweeter w/3-pos level sw imp impedance W/B/W White/Blaek/White 021-1672 BXR 21 OH, two 10" spkrs, bullet horn tweeter,
081 -3101 Rumble Bass 410 SUB enclosure lcnsd licensed wht white
mpl maple x-ovep crossover 300w peak power hndling
081-3102 Rumble Bass 115 enclosure
ndl-brng needle-bearing

Fender Frontline 25
 Body: solid mahogany back and sides, RW bridge; Neck:

Acoustic/Electric
Nato, RW frtbrd, chrome tuners; Models:

Acoustic 095-4515-200 SB-15, natural

GUITftRS GUITARS
095-4515-232 SB-15, sunburst

DG SERIES DG SERIES
All DG Series acoustic guitars offer Fender design and manu-
facturing quality, with a range of features that cover almost Dreadnought
Body: solid RW back and sides, ebony bridge; Neck: Nato,
every need. All DG Series acoustic electric guitars offer Fender design and
ebony frtbrd, gold tuners; Models:
manufacturing quality, with a range of features that cover
095-4525-200 SB-25, natural
Body: dreadnought style, mahogany top, mahogany back and almost every need.
095-4525-232 SB-25, sunburst
sides; Neck: Nato, RWfrtbrd; Models:
095-0500-021 DG-5 Body: cutaway electric style, spruce top, mahogany back and
Body: highly-figured solid maple back and sides, ebony
sides; Neck: Nato, RWfrtbrd; Models: bridge; Neck: Nato, ebonyfrtbrd, gold tuners; Models:
Body: dreadnought style, spruce top, mahogany back and 095-1005-021 DG-10CE NS, satin finish
095-4535-200 SB-35
sides (except DG-7); Neck: Nato, RWfrtbrd; Models: 095-2005-021 DG-20CE, satin finish
095-0700-021 DG-7, natural finish, meranti back & sides
095-1000-021 DG-10, satin finish Body; cutaway electric style, flame maple top and back and
095-1020-021 DG-10LH, satin finish, left-hand model sides; Neck: Maple, RWfrtbrd; Models:
095-2205-021 DG-22CE NAT
095-2205-030 DG-22CE CS, cherry finish
095-2205-032 DG-22CE SB, sunburst finish

Cutaway
095-4040-200 LS-40C, solid mahogany back and sides,
Body: cutaway style, solid spruce top, mahogany back and
sides; Neck: Nato, RW frtbrd; E-tronics: one-way mono sys- RW bridge, RWfrtbrd, chrome tuners
095-4050-200 LS-50C, solid RW back and sides, ebony
tem; Models:
bridge, ebonyfrtbrd, gold tuners
095-1012-021 DG-10-12, satin finish, 12-string model 095-4060-200 LS-60, highly-figured solid maple back
095-1500-032 DG-15 SB, sunburst finish
and sides, ebony bridge, ebony frtbrd,
095-1500-006 DG-15 BLK, black finish gold tuners
DG-30SCE
Body: Dreadnought style 12-string, spruce top, mahogany Sunburst
back and sides; Neck: Nato, RWfrtbrd; Models:
095-3012-021 DG-30-12

095-3005-006 DG-30SCE, black

Body: Dreadnought style, solid spruce top, mahogany back
095-3005-021 DG-30SCE, natural
and sides, natural finish; Neck: Nato, RW frtbrd; Models:
095-3005-032 DG-30SCE, sunburst
095-2000-021 DG-20S
095-3000-021 DG-30S
Body: cutaway style, solid spruce top, RW back and sides,
095-3020-021 DG-30SLH (Left-hand) 095-4010-200 LS-10, solid mahogany back and sides,
natural finish; Neck: Nato, RW frtbrd; E-tronics: two-way
mono; Models: RW bridge, RW frtbrd, chrome tuners
Body: Dreadnought style, solid spruce top, RW back and 095-4020-200 LS-20, solid RW back and sides, ebony
095-3005-021 DG-40SCE
sides, natural finish; Neck: Nato, RWfrtbrd; Models: bridge, ebony frtbrd, gold tuners
095-2100-021 DG-21S 095-4020-220 LS-20 LH, solid RW back and sides,
095-4000-021 DG-40S SPRING HILL SERIES ebony bridge, ebony frtbrd, gold tuners
095-4012-021 DG-40S-12 095-4030-200 LS-30, highly-figured solid maple back
Spring Hill series guitars are custom-crafted acoustic guitars
and sides, ebony bridge, ebony frtbrd,
made in Spring Hill, Tennesse which feature hand-chosen
Body: Dreadnought style, solid spruce top, flame maple back gold tuners
woods and the finest components available. Body: quarter-
and sides; Neck: Maple, RWfrtbrd; Models:
sawn solid spruce top; Neck: mahogany bound, mother-of-
095-2200-021 DG-22S NAT
pearl fretmarkers, solid ebony headstock overlay; E-tronics NYLON STRING
[option available on any Spring Instrument): Fishman® piezo
The DC-25SCE is an acoustic/electric nylon string guitar with
transducer and 4-band EQ pre-amp w/phase sw; Models:
a great feel and sound, both acoustically and electrically.
Body: cutaway, solid cedar top, ovangkol back and sides;
DG-22S, Neck: Nato, RW fngrbrd; E-tronics: one-way mono; Other:
cherry gold tuners; Models:
finish 095-2505-021 CG-25SCE

SB-45
DG-22SCS, cherry finish
DG-22S SB, sunburst finish
ACOUSTIC/ELECTRIC BASS
095-4545-200 SB-45C, solid mahogany back and sides,
NYLON STRING RW bridge, RW frtbrd, chrome tuners
095-4555-200 SB-55C, solid RW back and sides, ebony
The CG models are nylon string guitars with great feel and
bridge, ebonyfrtbrd, gold tuners
sound. Body: classic shape; Neck: Nato, RWfrtbrd; Models:
095-4565-200 SB-65C, highly-figured solid maple back
094-0500-021 CG-5, mahogany top, Meranti back and
and sides, ebony bridge, ebony frtbrd,
sides
gold tuners
094-0700-021 CG-7, spruce top, Meranti back and sides
094-1500-021 CG-15, spruce top, Mahogany back and The BG-29 is an acoustic/electric bass guitar with a great feel
sides and sound, both acoustically and electrically. Body: cutaway,
maple top, maple back and sides; Neck: Nato, RW fngrbrd, 20
frets; E-tronics: Fishman® Matrix; Other: black finish, chrome
diecast tuners; Models:
095-2900-306 BG-29
26 Fender Frontline
 PURE NICKEL ROUNDWOUND
ACOUSTIC GUITAR STRING SETS Pure Nickel Roundwound strings offer excellent tone and long
sustain. Sets:
80/20 BRONZE WOUND

STRINGS
073-1700 90, 050/065/085/100
Special hexagonal steel core for brighter, more consistent, 073-1620 990L, 045/060/075/090
longer lasting, lush overtones. Sets: 073-1630 9901V1, 050/065/080/095
Ball End Sets
073-1300 70XL, 010/014/022/030/040/048 NYLON TAPE WOUND
073-1100 70L, 012/016/024/032/042/052 Unique pure Nickel roundwound string with nylon tape cover
073-3900 70R, 013/017/026/036/046/056 for warmer tone, more sustain. Sets:
ELECTRIC GUITAR STRING SETS 073-6000 2200, 058/072/092/110

Bullet End Sets

PURE NICKEL WOUND NYLON FlLAMENT ROUNDWOUND
077-9623 3170XL, 010/014/022/030/040/048 A Black roundwound string designed specifically for Fender's
150's are the traditional electric guitar string, with a pure
077-9523 3170L, 012/016/024/032/042/052 Acoustic/Electric bass. Sets:
Nickel cover wrap—lightly rolled to reduce finger noise. Avail-
077-9423 3170R, 013/017/026/036/046/056 073-6100 Acoustic/Electric, 070/080/090/100
able in standard ball or Fender's exclusive Bullet end. Sets:
Ball End Sets
Ball End Sets, 12 String BAJO SEXTO TELECASTER
073-6500 150SL, 008/011/014/022/030/038 Dynamaxx gauged for Fender's Bajo Sexto Telecaster. Sets:
073-7100 150LH, 009/011/016/026/036/046 073-5100 1400, 010/014/024/028/038/048
010/014/010/013/017/028 073-1090 A-Tuning, 016p/026p/036/046/056/066
073-6300 150XL, 009/011/015/024/032/040 073-1091 E-Tuning, 022/032/042/052/062/072
073-6400 150SXL, 009/011/016/024/032/042
073-2300 150, 010/013/015/026/032/038 CLASSICAL GUITAR STRING SETS
073-2400 150PRO, 010/013/017/026/036/046 INDIVIDUAL STRINGS—GUITAR
073-5600 1550, 011/015/022/032/040/048
NYLON CLASSICAL
PLAIN GAUGED SINGLES
Nylon cores are wound with silverplated copper. The three
Bullet End Sets Available to custom-gauge your own set.
treble strings are available in either clear or black nylon. Sets:
077-9322 3150SL, 008/011/014/022/030/038 Ball End Bullet End
Tie End Sets, Clear/Silver
077-9122 3150LH, 009/011/016/026/036/046 072-0200 (008) 077-1100 (008)
073-1900 100, 028/032/040/029/035/043 072-0201 (009) 077-1101
077-9222 3150XL, 009/011/015/024/032/040 (009)
077-9422 3150SXL, 009/011/016/024/032/042
072-0202 (010) 077-1102 (010)
Tie End Sets, Black/Silver 072-0203 (011) 077-1103 (011)
077-9022 3150R, 010/013/015/026/032/038 073-2200 120, 028/032/040/029/035/043 072-0204 (012) 077-1104 (012)
077-9722 3150 PRO 010/013/017/026/036/046 072-0205 (013) 077-1105 (013)
Ball End Sets, Clear/Silver 072-0206 (014) 077-1106 (014)
NlCKELPLATED STEEL ROUNDWOUND 073-8000 130, 028/032/040/029/035/043 072-0207 (015) 077-1107 (015)
DYNAMAXX® 072-0208 (016) 077-1108 (016)
Dynamaxx® strings make any guitar come alive! The nickel
072-0209 (017) 077-1109 (017)
plating is carefully applied to the steel cover wrap allowing
ELECTRIC BASS STRING SETS 072-0210 (018P) 077-1110 (018P)
co
072-0212 (020P) 077-1112 (020P)
greater volume and superior high-end response. Sets:
Ball End Sets
073-1010 250XL, 008/011/014/022/030/038
NlCKELPLATED STEEL ROUNDWOUND
DYNAMAXX® PURE NICKEL WOUND
Ball End (150-s) Bullet End (3150's)
II
073-1020 250L, 009/011/016/024/032/042
Nickelplated Steel Roundwound bass strings increase maxi- cs
mum volume and give effortless, even response for all playing 072-0310 (018W)
073-1025 250LR, 009/011/016/026/036/046 072-0312 (020W)
styles. Sets:
073-1030 250R, 010/013/017/026/036/046 072-0314 (022) 077-2214 (022)
073-1750 1200XL, 040/060/075/095 072-0316 (024)
073-1035 250RH, 010/013/017/032/042/052 077-2216 (024)
073-1760 1200L, 045/065/080/1 00 072-0318 (026) 077-2218 (026)
073-1040 250M 011/014/018P/028/038/048
073-1770 1 ZOOM, 050/070/085/105 072-0320 (028) 077-2220 . (028) •s ^
(030) £ flc
IS
072-0322 (030) 077-2222
Bullet End Sets 072-0324 (032) 077-2224 (032)
077-9725 3250XL, 008/011/014/022/030/038 5-string 072-0326 (034) 077-2226 (034) § =
Available with "high C" string (H), or "low B" string (L).
077-9724 3250L, 009/011/016/024/032/042
073-1767 1205H, 030/045/065/080/100
072-0328 (036) 077-2228 (036) I u
077-9723 3250R, 010/013/017/026/036/046 072-0330 (038) 077-2230 (038)
077-9721 3250M, 011/014/018P/028/038/048 073-1765 1205L, 045/065/085/105/130 072-0332 (040) 077-2232 (040)
072-0334 (042) 077-2234 (042)
072-0336 (044) 077-2236 (044)
FR Ends (For "Floyd Rose" Tremolo) Sets 6-string 072-0338 (046) 077-2238 (046)
073-2010 4250XL, 008/011/014/022/030/038 Includes both "high C" and "low B" strings. 072-0340 (048) 077-2240 (048) c-o
cs
073-2020 4250L, 009/011/016/024/032/042 073-1766 1206, 030/045/065/085/105/130 072-0342 (050)
073-2030 4250R, 010/013/017/026/036/046 072-0344 (052)
STAINLESS STEEL FLATWOUND 072-0346 (054)
STAINLESS STEEL ROUNDWOUND Stainless Steel Flatwound strings have flat winding for less 072-0348 (056) co
Brilliant tone, longer string life. Stainless steel wrap stands up finger noise, smooth feel. Sets:
NlCKELPLATED STEEL ROUNDWOUND
to vigorous playing; resists humidity, perspiration, skin oils, 073-1500 80, 050/065/080/095
acids without losing punch or superior magnetic qualities. 073-4100 850, 055/070/090/105 DYNAMAXX®
Sets: 073-4400 950, 050/060/075/095 Ball End (250's) Bullet End (3250's)
073-1660 980L, 045/060/075/090 072-1710 (018W) 077-2410 (018W)
Ball End Sets
073-1670 980M, 050/065/080/095 072-1712 (020W) 077-2412 (020W)
073-0210 350XL, 008/011/014/022/030/038 077-2414 (022)
072-1714 (022)
073-0220 350L, 009/011/016/024/032/042 072-1716 (024) 077-2416 (024)
010/013/017/026/036/046 STAINLESS STEEL ROUNDWOUND 077-2418 (026)
073-0230 350R, 072-1718 (026)
Stainless Steel Roundwound strings provide great punch and 077-2420 (028)
072-1720 (028)
STAINLESS STEEL FLATWOUND high output. Sets: 072-1722 (030) 077-2422 (030)
The choice of many jazz greats and studio musicians. Flat 073-2620 970L, 045/065/080/095 072-1724 (032) 077-2424 (032)
073-2630 9701VI, 050/070/085/100 072-1726 (034) 077-2426 (034)
winding reduces finger noise, gives a silky smooth feel. Sets:
073-5000 1000, 045/065/080/105 072-1728 (036) 077-2428 (036)
Ball End Sets 077-2430 (038)
072-1730 (038)
073-3300 505, 012/016/024/032/042/052 072-1732 (040) 077-2432 (040)
073-0900 50, 013/017/026/034/044/054 Bass VI Set 072-1734 (042) 077-2434 (042)
Gauged for Fender's Bass VI reissue. 072-1736 (044) 077-2436 (044)
073-5090 025/035/045/055/075/095 072-1738 (046) 077-2438 (046)
072-1740 (048) 077-2440 (048)
072-1742 (050) 077-2442 (050)
072-1744 (052) 077-2444 (052)
072-1746 (054) 077-2446 (054)
Fender Frontline 27
 80/20 BRONZE WOUND 098-1529 Bright Blue, Thin
Ball End (150's) Bullet End (3150's) 098-1530 Bright Blue, Medium
072-2514 (022) 077-2314 (022) 098-1531 Bright Blue, Heavy

PICKS
072-2516 (024) 077-2316 (024)
072-2518 (026) 077-2318 (026)
072-2520 (028) 077-2320 (028) THUMB PICKS
072-2522 (030) 077-2322 (030) Fender's traditional Celluoid material formed into a comfort-
072-2524 (032) 077-2324 (032)
able heavy gauge thumb pick. Models:
072-2526 (034) 077-2326 (034)
072-2528 (036) 077-2328 (036) 098-1002-001 Shell, medium
072-2530 (038) 077-2330 (038) 098-1002-002 White, medium
072-2532 (040) 077-2332 (040)
CELLULOID 098-1002-003 Confetti, medium
072-2534 (042) 077-2334 (042) Celluloid picks give the traditional feel, with a smooth striking 098-1002-004 Shell, large
072-2536 (044) 077-2336 (044) surface and a warm, round, musical tone. They are also very 098-1002-005 White, large
072-2538 (046) 077-2338 (046) durable. Models: 098-1002-006 Confetti, large
072-2540 (048) 077-2340 (048)
072-2542 (050) 077-2342 (050) 346 Shape
072-2544 (052) 077-2344 (052) 098-2329 Shell, Thin
DELRIN™ " MOLDED KNIFE EDGE
072-2546 (054) 077-2346 (054) 098-2330 Shell, Medium
072-2548 (056) 077-2348 (056) 098-2331 Shell, Heavy Delrin, created by DuPont, is strong and resilient—very long
098-2332 Shell, Extra Heavy lasting. Molded with a knife edge for clean attack and sharp,
vibrant tones. Models:
INDIVIDUAL STRINGS—BASS 098-2129 White, Thin
351 Shape-.NEONPIC ("Neon")
098-2130 White, Medium
PURE NICKEL ROUNDWOUND 098-2131 White, Heavy
098-1004 Melon .50mm (Thin)
098-1005 Orange .60mm (Thin/Medium)
072-3030 (030) 072-3080 (080) 098-2132 White, Extra Heavy
098-1006 Yellow 73mm (Medium)
072-3035 (035) 072-3085 (085) 351 Shape
072-3040 (040) 072-3090 (090) 098-1007 Lime .88mm (Medium/Heavy)
098-1029 Confetti, Thin
072-3045 (045) 072-3095 (095) 098-1008 Pink 1.00mm (Heavy)
098-1030 Confetti, Medium
072-3050 (050) 072-3100 (100) 098-1009 Grape 1.14mm (Extra Heavy)
098-1031 Confetti, Heavy
072-3055 (055) 072-3105 (105) 351 Shape-Phosphorescent ("GLO")
072-3060 (060) 072-3120 (120) 098-1032 Confetti, Extra Heavy
098-3004 GLO ,50mm (Thin)
072-3065 (065) 072-3125 (125)
072-3070 (070) 072-3130 (130)
098-1629 Shell, Thin 098-3006 GLO .73mm (Medium)
072-3075 (075) 098-1630 Shell, Medium 098-3008 GLO 1.00mm (Heavy)
098-1631 Shell, Heavy 098-3009 GLO 1.14mm (Extra Heavy)
NlCKELPLATED STEEL ROUNDWOUND 098-1632 Shell, Extra Heavy

DYNAMAXX® 098-1829 White, Thin DELRIN™ -- MATTE ROUNDED EDGE

072-7030 (030) 072-7080 (080) 098-1830 White, Medium
072-7035 (035) 072-7085 (085) 098-1831 Delrin, created by DuPont, is strong and resilient—extremely
White, Heavy
072-7040 (040) 072-7090 (090) 098-1832 White, Extra Heavy durable. Diei cut and tumbled for a smooth, rounded edge
072-7045 (045) 072-7095 (095) resistant to chipping. The matte finish improves grip, even
(100) 354 Shape
072-7050 (050) 072-7100 after hours of playing. Models:
072-7055 (055) 072-7105 (105) 098-2029 White, Thin
098-2030 White, Medium 323 Shape
072-7060 (060) 072-7120 (120)
072-7065 (065) 072-7125 (125) 098-2031 White, Heavy 098-6104 Red ,50mm (Thin)
072-7070 (070) 072-7130 (130) 098-2032 White, Extra Heavy 098-6105 Orange .60mm (Thin/Medium)
072-7075 (075) 098-6106 Yellow 73mm (Medium)
355 Shape
098-6107 Green .88mm (Medium/Heavy)
098-5029 Shell, Thin
STAINLESS STEEL ROUNDWOUND 098-6108 Blue 1.00mm (Heavy)
098-5030 Shell, Medium
072-5030 (030) 072-5080 (080) 098-6109 Purple 1.14mm (Extra Heavy)
098-5031 Shell, Heavy
072-5035 (035) 072-5085 (085) 346 Shape
072-5040 (040) 072-5090 (090) 358 Shape
098-6204 Red .50mm (Thin)
072-5045 (045) 072-5095 (095) 098-1729 Shell, Thin
098-6205 Orange ,60mm (Thin/Medium)
072-5050 (050) 072-5100 (100) 098-1730 Shell, Medium
098-6206 Yellow 73mm (Medium)
072-5055 (055) 072-5105 (105) 098-1731 Shell, Heavy
(120) 098-6207 Green .88mm (Medium/Heavy)
072-5060 (060) 072-5120
072-5065 (065) 072-5125 (125) 098-1929 White, Thin 098-6208 Blue 1.00mm (Heavy)
072-5070 (070) 072-5130 (130) 098-1930 White, Medium 098-6209 Purple 1.14mm (Extra Heavy)
072-5075 (075) 098-1931 White, Heavy 347 Shape
098-6304 Red .50mm (Thin)
STAINLESS STEEL FLATWOUND 098-6305 Orange .60mm (Thin/Medium)
072-4045 (045) 072-4080 (080) COLORPIC1 098-6306 Yellow 73mm (Medium)
072-4050 (050) 072-4085 (085) 098-6307 Green (Medium/Heavy)
Colorpic picks give the traditional feel, with a smooth striking .88mm
072-4055 (055) 072-4090 (090)
surface and a warm, round, musical tone. They are also very 098-6308 Blue 1.00mm (Heavy)
072-4060 (060) 072-4095 (095)
072-4100 (100) durable. Models: 098-6309 Purple 1.14mm (Extra Heavy)
072-4065 (065)
072-4070 (070) 072-4105 (105) 351 Shape 351 Shape
072-4075 (075) 098-1129 Pink, Thin 098-6004 Red .50mm (Thin)
098-1130 Pink, Medium 098-6005 Orange ,60mm (Thin/IVIedium)
098-1131 Pink, Heavy 098-6006 Yellow .73mm (Medium)
098-6007 Green .88mm (Medium/Heavy)
098-1229 Yellow, Thin
098-6008 Blue 1.00mm (Heavy)
098-1230 Yellow, Medium
098-6009 Purple 1.14mm (Extra Heavy)
098-1231 Yellow, Heavy
355 Shape
098-1329 Red, Thin 098-6504 Red .50mm (Thin)
098-1330 Red, Medium 098-6505 Orange .60mm (Thin/Medium)
098-1331 Red, Heavy 098-6506 Yellow 73mm (Medium)
actual 098-1429 098-6507 Green .88mm (Medium/Heavy)
Transparent Blue, Thin
098-1430 098-6508 Blue 1.00mm (Heavy)
s/zes Transparent Blue, Medium
098-1431 098-6509 Purple 1.14mm (Extra Heavy)
Transparent Blue, Heavy

28 Fender Frontline
358 Shape GIG BAGS
098-6604 Red .50mm (Thin)
098-6605 Orange .60mm (Thin/Medium)

ACCESSORIES
098-6606 Yellow 73mm (Medium)
098-6607 Green .88mm (Medium/Heavy)
098-6608 Blue 1.00mm (Heavy)
098-6609 Purple 1.14mm (Extra Heavy)
390 Shape
098-6704 Red .50mm (Thin)
098-6705 Orange .60mm (Thin/Medium)
098-6706 Yellow .73mm (Medium)
CUSTOM SHOP ACCESSORIES
098-6707 Green .88mm (Medium/Heavy)
098-6708 Blue 1.00mm (Heavy)
098-6709 Purple 1.14mm (Extra Heavy)

NYLON -- MOLDED KNIFE EDGE

Nylon is strong and smooth, for fast runs. Molded with a knife
edge for clear, vibrant tones. Stamped logo helps grip. IVIod-
els: Superior gig bags with leather piping and handles, saddle
351 Shape bags, plush interior. Models:
098-4004 Red .46mm (Thin) 099-2190 Gig Bag, Black Leather w/Fringe
098-4005 Red .58mm (Thin/Medium) 099-2195 Gig Bag, Vintage Tweed
098-4006 Red . 71mm (Medium) 099-2196 Gig Bag, Green Khaki
098-4007 Red .88mm (Medium/Heavy)
098-4008 Red .96mm (Heavy)
098-4009 Red 1.21 mm (Extra Heavy)
PICKUPS
Texas Special pickups provide the classic "Fat Strat" or "Beefy
PICKPACKS Tele" sound. Models:
A handy re-sealable pack of 12 celluloid pics featuring a new 099-2111 Texas Special Strat
Fender logo. Models: 099-2121 Texas Special Tele
351 Shape
The Custom '54 Strat pickup captures the bright, sparkly tone
098-1029-049 Confetti, Thin
of vintage guitars from late '54. Models:
098-1030-049 Confetti, Medium
099-2112 Custom'54 Strat
098-1031-049 Confetti, Heavy
098-1032-049 Confetti, Extra Heavy
PlCKGUARDS
098-1629-049 Shell, Thin Fancy pickguards add spice to your axe. Models:
098-1630-049 Shell, Medium Stratocaster STRAPS
098-1631-049 Shell, Heavy 099-2140 Strat, White Pearl Genuine leather straps of various custom designs. Models:
098-1632-049 Shell, Extra Heavy 099-2141 Strat, Black Pearl 099-0631 1" Black vintage style w/shoulder pad and buckle
098-1829-049 White, Thin 099-2142 Strat, Gold Anodized 099-0632 1" Natural vintage style w/shoulder pad and buckle
098-1830-049 White, Medium
099-2143 Strat, Tortoise 099-0633 Z'Blackw/buckle
099-2144 Strat, Mint Green 099-0636 2" Natural w/hand-tooled designs and Custom
098-1831-049 White, Heavy
099-2220 Strat, 2 HB, White Pearl Shop logos
098-1832-049 White, Extra Heavy
099-2221 Strat, 2 HB, Black Pearl 099-0637 2" Black w/conchos
099-2145 1 HB/2SC Strat, White Pearl 099-0640 1" Natural vintage style w/buckle and hand-tooled
PICART™ SERIES 099-2146 1 HB/2SC Strat, Black Pearl basket weave design on shoulder pad
099-2230 Strat, 2 HB/1SC, White Pearl 099-0642 2" Natural hand-tooled design w/buckle
PicArt picks include a wide array of shapes, colors, designs
099-2231 Strat, 2 HB/1 SC, Black Pearl 099-0643 1" Black vintage style w/buckle and rivets & con-
and surfaces. Models:
Telecaster chos on shoulder pad
346 Shape 099-2150 Tele, White Pearl 099-0645 2" Black w/ rivets and buckle
098-1017-008 Totem, Medium
099-2151 Tele, Black Pearl co||
098-1017-009 Totem, Heavy PICKS csll
099-2152 Tele, Tortoise
Superior Celluloid picks in 4 different shapes. Models:
2
098-1017-013 Mardi Gras, Medium 099-2154 Tele, Mint Green
o5
098-1017-014
351 Shape
Mardi Bras, Heavy Precision Bass
099-2160 P-Bass, White Pearl
351 Shape
098-7004 Abalone 351 Thin sl
098-1017-001 Tattoo GLO, Thin 099-2161 P-Bass, Black Pearl 098-7006 Abalone 351 Medium
098-7008 Abalone 351 Heavy
098-1017-002 Tattoo GLO, Medium Jazz Bass
098-1017-003 Tattoo GLO, Heavy 098-7014 White Snake Pearl 351 Thin
099-2170 J-Bass, White Pearl
098-7016 White Snake Pearl 351 Medium
099-2171 J-Bass, Black Pearl

lil
098-1017-004 Myth Metal, Thin 098-7018 White Snake Pearl 351 Heavy
098-1017-005 Myth Metal, Medium 098-7024 Black 351 Thin
§1
"Alumin' Art" Series
098-1017-006 Myth Metal, Heavy 099-2180-100 Strat, Silver 098-7026 Black 351 Medium
099-2-i-80-100 Strat, Gold 098-7028 Black 351 Heavy 0-
098-1017-012 Jungle, Heavy
099-2180-100 Strat, Black 346 Shape
098-1017-017 Mardi Gras, Medium 346 Thin
098-7204 Abalone
098-1017-018 Mardi Gras, Heavy 346 Medium
098-7206 Abalone
355 Shape 098-7208 Abalone 346 Heavy 00
098-1017-010 Totem, Medium
347 Shape

K
098-1017-011 Totem, Heavy 347 Thin
098-7304 Abalone
098-1017-015 Mardi Gras, Medium 098-7306 Abalone 347 Medium

II
098-1017-016 Mardi Gras, Heavy 098-7308 Abalone 347 Heavy
358 Shape 358 Shape
098-1017-007 Myth Metal, Extra Heavy 098-7604 Abalone 358 Thin
098-7606 Abalone 358 Medium
098-7608 Abalone 358 Heavy
Fender Frontline 29
 FENDER-LACE SENSORS
STRAP SECURITY LOCK SYSTEMS
Provides a secure connection between strap and guitar, but
Roller nut
Lets strings slide easier, reducing tremolo intonation prob-
71
snaps on and off easily at the touch of a button. Chrome cov- lems. Models:
ered. Models: 099-0815 Wilkinson Nut, 9 to 42 string guage
099-0690 Locks 099-0812 LSR Nut, universal, 8 to 56 string guage
099-0691 Buttons
Hipshot® Trem-Setter
Adds return to pitch and string stability to tremolo systems.
GUITAR REPLACEMENT PARTS Models:
099-0811 Hipshot Trem-Setter Kit
VINTAGE HARDWARE
Fender-Floyd Rose Locking Tremolo
Innovative new bridge keeps guitar in tune while retaining the
feel of a vintage tremolo. O.E.M. in Strat Plus and Ultra. Easy
retrofit for all previous Am Std and Plus models. Best with
The innovative low noise, high output units with incredible
LSR nut and locking keys. Models:
response and sustain. Available to retrofit most Fender style
199-6510-100 Fender-Floyd Rose Locking Tremolo
guitars. Black (506), Chrome (100) or White (000) covers as
Assembly
indicated. Models:
Stratocaster PlCKGUARDS
099-2000 Gold Strat™, Blk, Wht Bridge Kits
099-0810 Tele Bridge Kit, 3 to 6-section bridge conversion Vintage
099-2001 Blue Strat™, Blk, Wht
099-2049 Tremolo Bridge, Vintage Stratocaster The pickguards used on instruments in the '50's and '60's
099-2002 Red Strat™, Blk, Wht
099-2051 Bridge Sections, Vintage Stratocaster and reissues of those classics. Models:
099-2003 Silver Strat™, Blk, Wht
099-2017 Pickguard, '57 Stratocaster, 1 -ply, white
Telecaster String Guide 099-2018 Pickguard, '62 Stratocaster, 3-ply, white
099-2065 Blue Tele Bridge, Blk 099-2010 String Guide, Vintage Stratocaster 099-2019 Pickguard, '52 Telecaster, 1 -ply, black
099-2066 Red Tele Bridge, Blk 099-2011 String Guide, Vintage Telecaster 099-2020 Pickguard, '57 Precision Bass, gold
099-2067 Silver Tele Neck, Chrome 099-2012 String Guide, Vintage P-Bass & J-Bass 099-2021 Pickguard, '62 Precision Bass, 4-ply, shell
099-2068 Blue Tele Neck, Chrome 099-1361 Pickguard, Precision Bass, 3-ply, white
Fret Wire 099-2022 Pickguard, '62 Jazz Bass, 4-ply, shell
Bass 099-2014 Fret Wire, Vintage Guitar
099-2006 Silver J-Bass™ [Neck], Blk 099-2015 Fret Wire, Vintage Bass
American Standard
099-2007 Silver J-Bass™ [Bridge], Blk 099-1359 Pickguard, Black, Stratocaster
Strap Button
099-2008 Silver P-Bass™, Blk
099-2013 Strap Button, Vintage Gtr & Bass
FINE TUNE LOCKING NUTS
Dually's
Knobs 099-0620 Fine Tune Locking Nut Kit, Chrome
Drop-in replacements for traditional humbucking mounting.
099-1366 Chrome Knobs, Tele & P-Bass
099-2060 Red-Blue Dually, Blk, Wht
099-2056 Dome Knobs, Vintage Tele PICKUPS
099-2061 Red-Silver Dually, Blk, Wht
099-2035 Tone/Vol Knobs, Vintage Stratocaster The pickups that started it all. Models:
099-2062 Blue-Gold Dually, Blk, Wht
099-1365 Tone/Vol. Knobs, Black, Strat 099-2043 Pickup, '57 and '62 Stratocaster
099-2063 Red-Red Dually, Blk, Wht
099-2044 Pickup, Neck, Vintage Telecaster
099-2064 Gold-Gold Dually, Blk, Wht Strat Accessory Kits 099-2045 Pickup, Bridge, Vintage Telecaster
099-1362 Stratocaster White Accessory Kit 099-2046 Pickup, Precision Bass
Acoustic
099-1363 Stratocaster Black Accessory Kit 099-2047 Pickup, Neck, Vintage Jazz Bass
Easy mount, drop-in units for acoustic guitars.
099-2080 Bronze Acoustic, Blk
099-1368 Stratocaster Aged White Accessory Kit 099-2048 Pickup, Bridge, Vintage Jazz Bass

Pickup Covers
STRAP AND STRAP ACCESSORIES I'l I II I'll fJI I l'l|i| I1! \WtW M M?Ki?y(da FLOYD ROSE PRODUCTS
099-2037 Pickup Covers, Vintage Precision Bass
099-2038 Pickup Covers, Vintage Jazz Bass
099-1364 Pickup Covers, Black, Strat, Pkg of 3

Additional Vintage Small Parts

099-2039 Tremolo Arm, Vintage Stratocaster
099-2040 Machine Heads, Vintage StraVTele
099-2041 3-Way Switch, Vintage Stratocaster/Tele
099-2042 Bone Nut, Vintage Stratocaster & Telecaster
099-2016 Pckgrd Screws, Vintage Gtr & Bass
099-2036 Thumbrest, Precision & Jazz Bass
099-2055 Control Plate, Chrome, Jazz Bass
099-2058 Control Plate, Vintage Telecaster
f !
GUITAR STRAPS
Monogrammed straps shipped with Fender's American-made
AMERICAN STANDARD HARDWARE
FLOYD ROSE BRIDGES
guitars; also in neon colors. Vintage leather strap: longer ver- All Floyd Rose® parts are available in chrome (100), gold
sion of '50's and '60's straps. 21/2" Poly Logo designed for (200) and black (300). (Note: PRO Nut Assemblies must be
comfort, like 3" Tweed (Fender's guitar case/amp cover mate- used with PRO Bridge Assemblies, and have different color
rial). Woven strap has "running" Fender logo. Models: numbers.) Each kit complete with all mounting hardware and
099-0670 Bronco Cowhide Strap, 3" super comfort instructions. Order nut to match your specific guitar; Models:
099-0671 Woven Strap, Black/Gray running logo
Bridge Assemblies
099-0678 Monogrammed Strap, Gray Neon
Floyd Rose PRO tremolo bridges offer Floyd's most recent
099-0679 Monogrammed Strap, Orange Neon
innovations, like low profile construction for playing comfort.
099-0680 Monogrammed Strap, Black Neon
Models:
099-0681 Monogrammed Strap, Black
199-6010 FR PRO bridge assembly
099-0682 Monogrammed Strap, Red
099-0683 Monogrammed Strap, White Floyd Rose "Original" tremolo bridges—the incredible units
099-1367 5-Way Selector Switch, Strat
099-0684 Vintage Strap, Slim, Black that started it all. Models:
099-2050 Tremolo Bridge, American Std.
099-0685 21/2" Poly Fender Logo Strap 199-6210 FR "Original" bridge assembly
099-2052 TBX Tone Control Kit
099-0686 2'/2" Poly Strat Logo Strap
099-2053 Guitar Cable, American Std., 10 ft. Floyd Rose II tremolo bridges: same look and feel as the orig-
099-0688 Tweed Strap, 3" super comfort
099-2054 Tremolo Arm, American Standard inals, but with a mellower tone. Models:
099-0606 2" Poly Black w/pickholder
099-0818 Fender-Schaller Locking Keys 199-6410 FR II, bridge assembly
30 Fender Frontline
 NUT ASSEMBLIES 004-1531 Cover, Performer 1 000 Head
004-1532 Cover, Concert
"Original" and II
004-1533 Cover, Super
Narrow nut. Width: 19/16"; Height: .225"; Spacing: 1.30;
004-1534 Cover, GE 4-12 Enclosure
Radius: 10". Models:
004-1539 Cover, BXR 100
199-6811 FR #1 nut assembly
004-1598 Cover, M-80 Bass
Average Vintage Stratocaster width. Width: IS/B"; Height: 004-7483 Cover, '65 Deluxe Reverb
.225"; Spacing: 1.37; Radius: 10". IVIodels: 004-7484 Cover, Pro Junior (Brown)
199-6812 FR #2 nut assembly 004-7485 Cover, Blues Deluxe (Brown)
004-8913 Cover, BXR 60
Wide nut, narrow spacing for binding. Width: 111/i6"; Height:
004-8915 Cover, Blues Deluxe '63 Reverb (Brown)
.275"; Spacing: 1.40; Radius: 10". IVIodels:
004-8916 Cover, Blues DeVille 212
199-6813 FR #3 nut assembly
Wide width, wide space. Width: 111/16"; Height: .275"; Spacing:
AMPLIFIER HARDWARE
099-0930 Amp Knobs, 1 -1 0, Pkg of 6
1.43; Radius: 10". Models:
199-6814 FR #4 nut assembly 099-0931 Amp Knobs, Red Pointer, Pkg of 6
099-0932 Amp Knobs, Black Pointer, Pkg of 6
Extremely wide. Width: 13/4"; Height: .275"; Spacing: 1.50;
Radius: 10". Models: Amp Handles include handle caps, screws, steel insert and
199-6815 FR #5 nut assembly vinyl handle. Models:
099-0948 Amp Handle, Standard, w/Hardware
Same as Nut #2, but with bullet nut relief. Width: 19/16";
099-0900 Amp Handle, Vintage, w/Hardware
Height: .225"; Spacing: 1.30; Radius: 10". Models:
099-0900 Amp Handle, Molded Brown, w/Hardware
199-6816 FR #6 nut assembly
Same as Nut #2, but with bullet nut relief. Width: W; Height: Amp Corners for amp and speaker cabinets with 3/4" walls;
.225"; Spacing: 1.37; Radius: 10". Models: Universal model for closed cabinet backs and other 3-screw
199-6817 FR #7 nut assembly applications. Sets of 4, mounting screws included. Models:
099-1348 Amp Corners, 2-screw w/lip, tits most amp fronts
Same as Nut #4, but flatter radius. Width: 111/16"; Height:
099-1350 Universal Corners, 3-screw, fits most amp backs
.225"; Spacing: 1.43; Radius: 15". Models: Premium amplifier covers made of Fleece-backed Boltaflex™
199-6818 FR #8 nut assembly Glides include rubber inserts and screws. Models: material coated with PreFixx™ protective finish. Models:
099-3900 Sphinx Glides, Set of 4 004-1535 Cover, Vibro-King
PRO
Casters make moving heavy amps easy. Models: 004-1536 Cover, Tone-Master Head
Average Vintage Stratocaster width. Width: 15/s"; Height:
099-4000 Casters, Set of 4 w/Hardware 004-1537 Cover, Tone-Master 2-12 Enclosure
.225"; Spacing: 1.37; Radius: 10". Models:
004-1538 Cover, Tone-Master 4-1 2 Enclosure
199-6812 FR #2 nut assembly, available in Chrome (110), Replacement "tilt back" legs for vintage and reissue amps. 004-9050 Cover, Rumble Bass, head
Gold (210) and Black (310) Models: 004-9051 Cover, Rumble Bass, enclosure
Wide width, wide space. Width: 111/16"; Height: .275"; Spacing: 099-0712 Amp Legs, 1 6", w/Hardware
1.43; Radius: 10". Models: 099-0713 Amp Legs, 1 9", w/Hardware
199-6814 FR #4 nut assembly, available in Chrome (110), GENERAL ACCESSORIES
Gold (210) and Black (310) GUITAR AMP COVERS FENDER-MONSTER CABLES
Same as Nut #4, but flatter radius. Width: 111/16"; Height: Fender-Player and Pro 200 series are premium, low noise
cables. Models:
.225"; Spacing: 1.43; Radius: 15". Models: Black (standard)
199-6818 FR #8 nut assembly, available in Chrome (110), Instrument
Brown (vintage)
Gold (210) and Black (310) 099-5070 Player 200,10 ft.
099-5071 Player 200, 20 ft.
REPLACEMENT ARM KITS
Replacement Arm Kits include new bushings. Models: Loudspeaker (16 gauge)
199-7000-100 Chrome Arm Replacement Kit 099-5072 Pro 200,6 ft.
199-7000-200 Gold Arm Replacement Kit 099-5073 Pro 200, 25 ft.
199-7000-300 Black Arm Replacement Kit
Fender-Monster Player 400 series are low noise, ultra high
clarity instrument cables. Models:
AMPLIFIER PARTS 099-5077 Player 400,12 ft. Instrument
Brown
(Vibroverb 099-5078 Player 400, 25 ft. Instrument

Black (standard) only)

Brown (vintage)

Fender amplifier covers are made of treated Nylon that protects

amps from wear and tear. Black except where noted. Models:
002-9880 Cover, Champ 12
002-9881 Cover, Deluxe 112, Performer 650, Deluxe 85
002-9883 Cover, Princeton 112, Eighty-Five
002-9885 Cover, '65 Twin, Ultra Chorus, The Twin, Pro
185, Power Chorus
002-9886 Cover, Dual Showman Top CLEANING AND TUNING AIDS
002-9887 Cover, all 4-12 Enclosures Fender's famous treated soft cloth. Models:
002-9888 Cover, Performer 1000, Stage 112SE, Stage 185, 099-0400 Polish Cloth
Princeton Chorus
AMPLIFIER TUBES
002-9891 Cover, Super 60 (1-12" version) Polish, safe for use on all instruments. Models:
The finest quality available, consistently producing the best
003-7961 Super 112/210 099-0500 Polish, 4 oz. pump spray co
sound. Models:
Cover,
S311
099-5090 5881/6L6WGC, Matched Pair 003-7962 Cover, M-80 Combo

099-5091 7025/12AX7A 003-7963 Cover, M-80 Head Tuning Forks include vinyl pouch. Models:

099-5092 12AT7 003-7964 Cover, M-80 Chorus 099-0955 Tuning Fork, A 440.0 Hz. 00
00
099-5093 6V6 GT, Pair 003-7965 Cover, '59 Bassman, Blues DeVille (Brown) 099-0956 Tuning Fork, E 329.6 Hz. LU
003-7966 Cover, '63 Vibroverb (Brown) u
099-5094 5U4 GB
099-5095 6550A, G.E., Matched Pair 003-7967 Cover, BXR 300C Quickly, safely stretches new strings. Models: u
<:;
099-5096 6CA7/EL-34, G.E., Matched Pair 004-0155 Cover, Champ 25SE 099-0957 String Stretcher, Nylon String
099-5097 5AR4 004-0155 Cover, Champ 25 099-0958 String Stretcher, Steel String
099-5098 EL84 004-1529 Cover, Champion 110
Fender Frontline 31
 ELECTRIC GUITAR
*r

GUITAR AND AMP STANDS Hardshell and molded cases protect guitar from almost any-
Kit includes pump spray polish, special polish cloth, deluxe
Guitar Stand features sturdy construction for safety. Black thing, with locking latch and metal hinges. Models:
peg winder, black poly 2" strap and pick sampler. Models:
099-2512 "5 in 1" Accessory Kit w/padded supports. Models: Deluxe
099-1800 Electric Guitar Stand 002-3637 Tweed Case, Strat, Tele (Rt hnd only)
For electrics or acoustics. Include sharp/flat/in-tune LEDs, 099-1810 Acoustic Guitar Stand 004-0901 Deluxe Molded Shaped Case, heavy duty hrdwr,
in/out jacks and microphone. Models: fits: all Strats and Teles
023-9996 AX-5000 Chromatic Automatic Tuner. variable Amp/Guitar Stand raises amp at any angle, holds 1 or 2 gui- 003-6555 Hardshell Case, gray textured "lizard-like" Tolex,
"A" reference (435-446Hz), chromatic pitch dis- tars, folds up for portability. Models: fits: Strats and Teles
play 099-1825 Amp/Guitar Stand, small, amps to 22.5" 003-8977 Hardshell Case, black Tolex, fits: Strats, Teles
023-9997 TX-1000 Automatic Guitar/Bass Tuner, 6 pitch 099-1826 Amp/Guitar Stand, large, amps to 27.45" 002-5917 Hardshell Case, black Tolex, fits: Jazzmaster
indicators 099-1827 Additional Electric Guitar Holder and Jaguar
099-1828 Additional Acoustic Guitar Holder 004-0153 Hardshell Case, black Tolex, fits: Mustang
002-8586 Hardshell Case, black Tolex, fits: Stratocaster XII
"Swivel" design safely holds instruments with any headstock, Standard
surgical tubing protects finish. Models: 004-0900 Molded Shaped Case, fits: all Strats and Teles
^"^. 099-1850 Guitar Hanger, slatwall
099-1860 Guitar Hanger, screw plate mount BASS GUITAR
Hardshell and molded cases protect bass from almost any-
thing, with locking latch and metal hinges. Models:
Deluxe
002-3640 Tweed Case, J-Bass (Rt Hand only)
002-3639 Tweed Case, P-Bass (Rt Hand only)
002-5781 Hardshell Case,J-Bass, P-Bass (Lft Hnd only)
002-5001 Hardshell Case, fits 32" Precision Bass
BOOKS 002-5873 Hardshell Case, fits 32" P-Bass (Lft Hnd only)
For every musician's library. Models: 004-9479 Deluxe Molded Standard Case, heavy duty hrdr,
099-5000 Fender Stratocaster, 40th Anniversary Edition fits P- and J- Bass (Rt Hnd only)
099-5001 Guitar Identification Standard
099-5002 Fender Chord Finder ELECTRONIC PRODUCTS 004-1692 Standard Molded Shaped Case, fits: Jazz Bass-
099-5003 Guitar Method, Fender Edition Attractive and functional mini products that feature "big" per- es and Precision Basses (Rt Hnd only)
099-5004 The Fender Bass formance quality. Models: 004-8318 Small Body Molded Shaped Case, fits small bass
099-5005 The Fender Telecaster 023-9980 '59 Bassman IVIini Amp, MA-59, small version
099-5006 The Fender Book, Complete History of original, in Vintage Yellow
099-5007 Guitar Classics, Strat, Volume I 023-9992 IVIini Practicer, Black, includes headphones and
099-5008 Guitar Classics, Tele, Volume I microphone
099-5009 Guitar Classics, Bass, Volume I 023-9993 Mycro Headphone Amplifier, Black, w/3 set-
099-5010 Ultimate Chord User's Guide tings, includes headphones
023-9998 Bass IVIycro Headphone Amplifier, Black, w/3
tone settings, includes headphones

The Bass Stereo Pak is a self-contained unit with special "jam

together" stereo jacks for connection to other Stereo Paks.
Features: 3-band EQ, echo, switchable stereo/flanger [speed,
repeat, intensity, time], spkr simulator, Eff loop, Aux in/out
jack; Models:
023-9005 Bass Stereo Pak

099-5011 Fender Amplifiers, The First 50 Years GIG BAGS

ACOUSTIC GUITAR Durable Nylon soft case with waterproof backing, 3/4" soft
Hardshell and molded cases protect guitar from almost any- padding, Nylon zippers and clasp fasteners, 3-way carrying
VIDEO
thing, with locking latch and metal hinges. Models: straps, full-roll binding. Models:
How to string, tune, clean and adjust to factory specs for
091 -9461 Hardshell Case, fits: Newporter, Redondo, Catalina, 099-1510 Gig Bag, Fender, Guitar
maximum playability. Models:
Malibu, Del Mar, La Brea, Santa Maria, Concord 099-1520 Gig Bag, Fender, Bass
099-5020-000 Video—Caring For Your Guitar, VHS
091 -9462 Hardshell Case, fits: Montara 099-1530 Gig Bag,Fender, Acoustic
099-5020-040 Video—Caring For Your Guitar, PAL
091 -9463 Standard Molded Acoustic Case 099-1540 Gig Bag,Fender Guitar, economy
099-1542 Gig Bag, Fender Acoustic Guitar, economy
Economy cases are lightweight and convenient for carrying 099-1570 Gig Bag, Squier, Bass
guitar anywhere. Models: 099-1580 Gig Bag, Squier, Guitar
091 -9475 Economy Case, fits: California and DG series
091 -9465 Economy Case, fits Avalon and nylon string BRIEFCASES
Briefcases with internal organizer. Ideal for picks, strings,
accessories, or paperwork. Models:
099-1000 Briefcase, Vintage tweed

EFFECTS BAG
Black Nylon, with padded compartments for effects, tickets,
magazines, etc. Models:
32 Fender Frontline 099-1550 Musician's Effects Bag
 Dual Professional!
When You're Going for Pure Power, Look No Farther!
'his latest creation from Fender's Custom Amp Shop offers clean, sparkling tone at a level
that will knock your socks off (100 watts through two 12" speakers)!
Two volumes (A &B, each with their own "Fat" switch) let you choose between preset (..
levels; treble, mid and bass controls let you dial in the perfect sound. Built in tube reverb b>
provides incredibly rich tone, and the vibrato lends a great effect, when needed. Reverb and
channels are footswitchable.

nfiTnmiVirfiniidi'a
PLAYER: DANNY GROH
99 99 9e
Chicken Pickin/ (bridge pickup)
-'..'11'- BANDS: Alan Jackson

INSTRUMENT USED:
'52 Telecaster
99999999
with 2 vintage Tennessee Tremolo (neck pickup)
single-coils.

SOUND: As the quintessential country

player, Danny needs to have a
pure, powerful guitar sound that cuts
through and sustains at the same time.

r!imn!?iinu
• • • cn[:®
PLAYER: COCO MONTOYA
Chordal Ringer (bridge and mid pickup)
BANDS: John Mayall,

•••€>••• Albert Collins, Solo

INSTRUMENT USED:
Sweet Honk (mid pickup) '62 Vintage Strat
with 3 vintage single coils.

SOUND: Clean tone at every level is essential for Coco's high-powered live
show, with just a little breakup on the upper edge.

9999
PLAYER: RICHIE KOTZEN
Funky Rhythm (bridge and neck pickup)
BANDS: Poison, Solo

INSTRUMENT USED: Custom 9 0 •»: | aa a • ^ • • ». | • •

Shop Tele with
DiMarzio HB Eerie Vibrato (bridge pickup)
(bridge) and
vintage
single coil (neck) pickups.

SOUND: Clear, fat tone is a must for Richie's tasty rhythm

chops, in order to let his incredible technique shine
through.

Fender Frontline 33
 B B? A 81
831%
H?B1l7lu
'%^ &

Powerful Connections
By Mike Cozza

"hen choosing and connecting speakers and power amplifiers

there are several important factors to consider. Remembering
these few rules can keep a sound system from being damaged.

1. Find The Right Power

Design Engineer/guitar player rating at least as big as the speakers' program
Mike Cozza is responsible for the Not Enough Amplifier power rating.
design of both instrument and A large amount of high frequency distortion occurs
pro sound amplifiers. when an over burdened power amplifier is driven
into clipping. This high frequency distortion may
harm the high frequency drivers of a loudspeaker The Tour Series 2915
system. toudspeakers have a
power handling rating
Too Much Amplifier of 400W PROGRAM.
A suitable power amp-
On the other end of the spectrum, an over-sized
tifier should have a
power amplifier can harm a speaker system by deliv- power rating above
ering more power than the speakers can handle. 400W. Using a power
amplifier such as an
SPL-9000, rated at
Just Right 450W per channel, to
Power amps should never be continuously operat- drive a pair of these
speakers will provide
ed above the point of clipping. Therefore buy as
plenty of power
large a power amp as you can afford, with a power without causing
any damage.

2. Match The Impedances

Most power amplifiers have power ratings When speakers of the same impedance are
specified at several load impedances. It is connected in parallel the equation for the
important to know how to calculate the total impedance is much simpler: As the length of wire increases so
total impedance of a multi-speaker system.
'Jofyl Speaker Impedance does the amount of power lost
due to the wire's resistance. The
Series Impedance - Number of Speakers
following chart shows the proper |
When speakers are connected in series their If one of the speakers in a parallel group goes
gauge of wire to use for different
impedances are added together: dead, the rest of the speakers will continue
situations.
Impedance of Speaker 1 to work. This makes the parallel connection
Speaker Wire Gauge
Impedance of Speaker 2. more reliable than the series connection and
etc. thus the most common way of connecting 100'-up 8 10 12 14
7o+a/ Impedance
speakers in groups. 50-100' 10 12 14 16
Warning: Total impedance must never be less than the
Like older Christmas lights, when one speak- minimum rated impedance of the power amplifier. This 25-50' 12 14 16 18
may cause damage to the power amp. *
er goes dead the rest of the speakers in the 10-25' 14 16 18 18
series chain go dead. When connecting four TourSeries29^::spe|jN^^B
two channel power amplifier sueh^Hie^l^^^^^ 0-10' 16 18 18 18
Parallel of speakers canbe.connected!;ift||atatte|||||^^S
20. 4^ 8Q 16Q
When speakers are connected in parallel Speaker Impedance
the total impedance calculation becomes Remembering these tips should
more difficult. The equation for parallel keep any sound system
impedances is: happy and healthy.
Total
Impedance
- 1
^
*Some power amps (including all Fender
models) are protected against this danger.

34 Fender Frontline
 Amplifiers:
Our Other Instruments
By Ritchie Fliegler

1. • • guys love 'em. But amps? Some utilitarian black box that we plug our beloved guitars into.
More like a refrigerator or washer than a love interest, most of us only think about our amps when they stop
Fender new amp man, Richie working. Well snap out of it!
Fliegler, is the author of numerous
Different woods and construction techniques exert their influence on a guitar's timbre. Amps also have dif-
boo/cs and articles on amps and
guitars, and has toured and ferent timbral characteristics caused by circuitry, brand/type of tubes, tubes or transistors, speaker size, speaker
recorded with a wide range of magnet type, cabinet type and size. All these factors and more make for a world of sounds available from our
artists including fohn Wait, other instruments: amps. By bringing two amps to a recording session or gig you immediately double your
Tom Verlaine and Lou Reed.
sound palette in a way that changing guitars simply can't.
We make a wide array of amps that intentionally span a spectrum of tones and timbres. I've listed four
below, to show what they were voiced to excel at and how to use that aspect.

Here goes...
PROSONIC (above!), the Rockin' Swiss Army Knife. The inherent tone of the Prosonic, whether set clean or
overdriven, is up front and in your face. Packing 60 all-tube watts and a heap of tone shaping features, the
two-channel Prosonic is loud enough to be heard, but not so loud that you can't turn it up and make it sing.

The PRO JUNIOR (1x10) and its bigger brother the Blues Junior (1x12, re verb) are the
ultimate 15-watt all-tube tone-buddies. Use these guys when you want that smokey,
"pure as the driven slush" sound for practice or recording. The simple nature of the
circuitry and controls in these amps
lets the natural sound of your guitar
shine through.

The all-time classic '65 TWIN

REVERB AMP speaks with authority
on the subjects of country, jazz and
stinging blues. Spanning the spec-
trum from vintage clean to edgy
crunch, the Twin's beauty is in its
austerity. Your amp collection is
incomplete without one.

And now, for something

completely different...
The STAGE 112E is a The difference
megapowered solid, state
tone-howitzer. Its broad
between a Stage
spectrum circuitry can 112 SE and a Pro Jr.
produce many subtle
colors, but the Stage really is way bigger than
gives it up when asked to between a Strat
fulfill your hard rock and
metal fantasies. and a Tele.
Fender Frontline 35
The few years back I got involved with Lyrrus, some very innovative lads from Philadelphia, who

Ultimate
claimed to be working on interactive instruction using a computer. When I saw the G-Vox

demonstrated, I was blown away. It was like an instructional video that talked to you, corrected

Teacher your mistakes, and had more patience with you than the ultimate private teacher.

frgi
a starter kit, check out the G-Vox Blender. This software assortment pack is full of licks,

Jifis^l(f riij. ^ie fi^ fring I do is click on the "Sample play button" | ^h)) | to hear the feel
:'^Q,.

of the line as the artist intended. After that I have many options for getting it under my hands,

because displayed on the screen is a musical staff, ^ tablature staff A—ys.

and a guitar neck. Using various controls, |'<11^ •yjW11'^! UN IILLilj I can replay the lick at

any speed, ^^igih|jiniV|]j|^n^^^ seeing right and left hand fingering,

picking techniques, ^f^EWKn^ even the names of the notes

on the guitar neck as they go by!

Guitar master Carl Verheyen has left
his fretprints on everything from movie
and TV soundtracks to numerous Steve Morse and I both contributed very usable artist libraries to the G-Vox. I'm having a blast
albums, including two of his own
(Garage Sale and No Borders). learning his stuff!

Acoustic Alchemy Rod in dockwise

merits—re-tunin.n

each time—until
By Lorry Brooks 1't is important to judge the action or playa-
,bility of an acoustic guitar accordins to

you and with you. With

that in mind, here are
The Ritjht Height
some tips on how you as
holdins each string down, one at a
the player can change or at
time, between the 2nd and 3rd fret.
The distance off the first
should be made to vour ax!
fret should be about .010".
More and it will be hard to
'Struitjhtcn Dp
play; less and it will buzz or
"fret out." Caution: if you
tuned guitar string at the first fret, holdins it
down at the last fret, and observing the dis-

7th or 9th fret (it should be about

.010" to .012"). If the distance is
greater, use an alien wrench or
screwdriver to tighten the Trnss

Brooks is responsible for

many of the guitars played
by known artists. His more
than 20 years ofexperi-
ence include running his
own guitar business.
rg?p-i

36 Fender Frontline
 earch Amp Rescue
By Her Ganz

'y calm morning "Her!" he said, looking up, "can you fix it?"
•was disturbed by I pulled the "loaner" from the truck and
the j angle of the tele- wheeled it in. Gently loading the injured
phone. "There's been an amp on the handtruck, I told Steve to meet
accident," said the voice me at the shop.
on the line. "Better bring An hour later he walked in to find the bat-
the truck down." Details tered Bassman up on the blocks, looking
scrawled in my trusty note- good as new. His eyes bulged as he took in
book, I hopped in the "amp- the other projects in progress, as well as my
Her Canz is Fend- mobile" and headed to the substantial inventory of replacement parts:
er's String, Picks scene: a local Tex-Mex "dogbone" handles, casters, corners, knobs,
and Accessories grill/dance hall. jewel lights, tubes, speakers, transformers,
expert. If he can't j^y old buddy Steve (tech dust covers, etc. You name it, I've got it.
for the "Fender makes all of this available to
t, it protia-
bly hasn 't been band the Raging Pioneers), authorized dealers and service centers," I said
invented! was crouched on the floor, in answer to his unspoken question, "for all
blood streaming from a nasty of their new and reissue amplifiers, as well as
looking head wound. "Never mind me!" he many older models."
cried, as he slapped away a washcloth, After a long and pleasant afternoon, he left
"there's the casualty." with a smile, a copy of the new book Fender
He was pointing to a '59 Bassman with a Amps: The First Fifty Years (full of history,
microphone stand through the grillcloth and specs and features), and an appointment
embedded firmly in one of the speakers. to bring in the rest of the band's armory.

don't have a set of nut files, do not try to Write down your existing measurement, the guitar and take a new set of measure-
ments. Repeat this until you are satisfied with
correct files. However, by checkinfi and under up with. The number you get by subtracting the results. If you concentrate and take vour
standing this measurement, you will keep is your workins.', number. Write down this time, you'll eniov the bend
number and double it. You now have the
exact amount vour saddle must be lowered,
Gcipping T lie Bridge

on the neck and the strins's in tune. Check the

remove the saddle. Mark ..-
off the distance you just
TOOLS NEEDED
string height at the 12th fret, from the bottom Sot from where you are to
of the string to the top of the fret. It should be where you want to be, i/ Capo
between .065" (very low action) and .080" such as .030"
(more aggressive action) depending on your Now take a piece of 180 grit sand paper
i/ Ruler or depth gauge
playing style and technique. (If it's less than and lay it on a flat, hard surface. Mold the / Alien wrench
.065", you may need a new saddle to keep the saddle square, up and down (very impor-
i/ Screwd rivers
the action at this point, you will need to take ansled saddle!) and move
^/ 180 grit sandpaper
some off the bottom of the saddle.
Work to achieve a square,
flat bottom on the saddle.
'i^^^j^^ji^i^iiisi^a^
i^3><esH^^iii®a^uiitiniNtt^ replace the saddle, re-tune

.Woi'kiri$|^iinea$ui^nritent|1^-;;7'''
ll->f2'
^
Amount you sand off = .030

Fender Frontline 3 7
 Fender joined minds with HERE SHOW YOU CAN WIN!
Answer the 10 questions in this survey.

Roland to create the GR Mail us this questionnaire, or a copy, by

Jan.1,1996 If we pull your name, you
win! NOTE: You must complete all
Ready Strat: an American questions in order to be eligible.

You can preserve your mag by sending in a

Standard Stratocaster set up copy of this form!
1. How old are you?_
to control Roland guitar
2. Which Fender products do you currently
own (check all that apply):
synthesizers. Just by filling
a Electric guitars/basses Q Amplifiers
1-1 Acoustic guitars l-l Pro Sound(PA)
out and sending in this entry Q Strings, Picks and Accessories
3. Which Fender products would you like to
blank (or a Xerox copy), own (check all that apply):
Q Electric guitars/basses a Amplifiers
you could win this amazing a Acoustic guitars a Pro Sound (PA)
a Strings, Picks and Accessories
instrument—plus a Roland 4. What other music magazines do you read?
a Guitar World Q Guitar Player
GR-09 Synthesizer! Q Roland Users Group l-l Peavey Monitor
a Rolling Stone l-l Spin
Q Guitar (for the Prac. Muscn.)
Q Other_
5. Are you online (check all that apply):
Q No l-l America Online
[-1 Compuserve Q Prodigy
a eworld Q InterneVWortd-wide Web

6. Describe your musical status:

Q Fun only Q Occasional performer
Q Full-time professional l-l Other

7. Estimate the total cost of musical equipment

you own:
a Under $1,000 Q $1,000 to $5,000
a $5,000 to $10,000 Q over $10,000
8. Can you save money by subscribing to
Frontline magazine for more than one year?
a Yes a No
9. What number can you call to subscribe to
Frontline over the phone?

10: Tell us your favorite music styles (check all

that apply):
Q Rock Q Alternative
a Blues 1-1 Pop
a Jazz Q Other_

Only one entry

per person please!
(duplicate entries will be disqualified)
Name

Street.

City.

State . -ZIP. .Country.

Phone #

Send to: FRONTLINE Strat/Synth Rig

11999 San Vicente Blvd., Suite 401
Los Angeles, CA 90049
Entries must be postmarked no later than
January 1, 1996. Void where prohibited.
38 Fender Frontline
 Setting The
fack Schwarz oversees
training and certification for
Fender authorized service
centers. He also hosts clinics at

Record Straight
stores around the country,
working
on
people's
guitars.
By Jack Schw^urz

hush wrongly accused, that's me. Thing band EQ. (cut/boost) controls delivered a
kdescend- was, in this case it was true—and I pleasing "direct-to-board" tone as well?"
ed over the was going to prove it. "Why, I... I don't know what you're talking
courtroom as After the prose- about," stammered the hapless worm.
my client cuting attorney's "And didn't the guitar's Mute button allow
entered. You naseauting opening my client to keep the instrument quiet
know him, of remarks, I immediate- between takes," I continued, "thus producing
course: Red ly called my first wit- an extremely professional recording, even in
Bloodcount, the ex- ness: none other than his home studio?"
punk rocker who Buttons himself. Sweat poured down Hack's face as he
gave up drugs, had a daughter, and wrote "Does this court understand correctly your gulped for air, but I continued to hammer
about his new life on the multi-platinum claim to be responsible for the success of the him mercilessly.
unplugged CD, Sweet Baby Mine. CD in question," I began, "which is in great "When he did bring the guitar into the pro
It's so predictable, isn't it? When the guy part attributable to the silky sweet sound of studio, the AMF control (adjustable midrange
was a starving rocker, no one gave him a sec- the acoustic guitar on every song?" frequency, I explained to the judge) practical-
ond thought. But now that the record-break- "That's right," smirked Hack. "Happens to ly dialed the perfect sound in right from the
ing album had made him a mega-millionaire, be one of my specialties." instrument, didn't it? In fact, not only were
everybody wanted to be his pal. Or his "Your Honor, if it please the court, I'd like your services not needed at the board, but I
enemy. to call exhibit 'F,' one Fender DG30SCE have witnesses who will testify that you had
Enter the plaintiff: producer Hack Buttons, acoustic/electric guitar." to be kept off the controls to avoid ruining the
a no-talent loser who claimed to have put the Buttons blanched when the item was car- tracks!"
golden touches on the album in question. ried to the bench. He knew he was in trouble He collapsed to the ground, the judge
And all he wanted in return was half the prof- now. declared the "case dismissed" with a bang of
its, plus a couple hundred Gs for "mental "Isn't it true," I went on, "that many of the his gavel, and I headed home. Tucked under
anguish." tracks were actually recorded in the defen- my arm was Red's parting gift: the very
He made me sick. And you'd think I'd be dant's home studio? That not only did the Fender DG30SCE acoustic/electric that
used to it by now. Chuck Libel, defender of the guitar sound good when miked, but it's 3- had made him a star.

From the K&F amp of 1945 to the

Custom Amp Shop line of today, you'll
get the whole story in FENDER AMPS:
§§§§!^^S§§1 The First Fifty Years. 256 pages of
S^s^^;^%
'°'»''..lh;J';°~i'"':-S3''ta'7s"ZteS'-«3

features and specs/ rare catalog and clas-

s^^te-.^
^r^^s^
o«;U-;ton>5.'lS^**" •Ah.^'L-X'
sic advertisement reprints, hundreds of
M»'*«8',,^'^°w>>niU^';<».li£
^a^.."n..d'"^^?s"";;^ttv.la' close-up shots, and more. Every amp
IvWf l>l>l»ad wu, h.u'iy.? '«. Iti'^' <-»
B) u >»r».*I« •«cI,,,ni'^T<»hn |n,"3?!_UI-
rfimnnlu- wutanl nS^" •Mn»'."S?tlaC»
;^^,»»"»7ai;7i.^^%£*'^
collector's dream!
CT.f-w^A m-w N«i; hs.^ ^ <h4nR«M t^l.!v*r
s,^.^,^;^^^^

^•.w^;" ^•^^'s";:'^^
fr^lh chatincl... ObvHt,,\iwt^thf Ttvv^^ ^^

;J^^:bl^f^°t>s'"J.',x
tvrv- ,>JAnl jit.<t h.if (}». ^^'\ hl> t>Uinh.,^ .^llt fw

^^N;^,^!'^.^"^?'^
^.K Tlw'in.w(,k.\l, t^n t^Ht,.. ^3t WAS
 W Show
And Elsewhere
•anada's Red Hot Burritos
thave taken Fender pro
audio gear on tour. The band's
P.A. setup—two 215s sub-
woofers and two SPL 2915

cw^^^^^^w
enclosures per side—makes

:s^^^^=:
everything sound great,
including guitarist Todd
Leuck's modified JD Tele-
caster.
set themselves. A great loss was suffered by the music world with
'Fmally, studio legend Brent^
the passing of blues guitar great Rory Gallagher (profiled
Mason and his band of all-sms,
in Frontline Volume #16, Summer '95). The Irish 6-string
. eluding bassist Glen Worf,
legend had been planning an eagerly awaited return to
dosed with a rip-ioaring set.^
the road.
Country sensation Wade Hayes works the microphone
and his Vintage Telecaster hard with every show, as well as
on his debut release, Old Enough To Know Better.
Maestro Yngwie
Malmsteen shares some
of his fretboard secrets
on his new series of
teaching videos (slated
for release in Japan).
Sharing the spotlight is
the pair of Champion
110 amplifiers requested
for the shoot by the
Swedish shredder.
On their current tour
Little Feat guitarists
Fred Tackett and Paul
Barrere are each accom-
panied by their own
duo: a Stratocaster and
a set of Dynamaxx

^-

40 Fender^'ontline
 "^19

WWefeases
strings. Shown here at the House Of
Blues, the legendary band continues
to influence pickers world-wide.

: siiiss^^
,check °"t the ^ €»,.„„.. ^""' "°um' c?a'?"-
Brooks and Dunn guitarist/
vocalist Tony King and the rest of
the band rehearsed in Nashville

' ^ssss^ss.—
Cartage and Sound's SUidio A—which

]5iy:^sss^
is outfitted with Fender pro audio
gear. Look for the band on tour!
All the builders in Fender's Custom

!'
Shop really stuck their necks out for
Street Redder magazine, the cover
of which featured ZZ Top axemeister
Billy Gibbons atop a
faster magzci; wd^Z'^T11^ Stra:«n'i'ror
myriad of guitar B"ddy Miles~o^nc^accoolpani€d by
components. onbjs.'""es on dmms and BWy^oxy

' i
^sSH.i
Yo^^s^yw1th^[

h:^s^1
?SES5^
' &ES-;"£S':"L
^<>.the"^DdF''>C.
enez (Texas
To*-nadoes).

sie]=^s^"
Hear some

s^^s.
^o^pJ^^^9fu''S!IK
comm""^c:Zfu^u/~""""""w

VS^..L ."%-»*,.;'< , .. Fender FrBntline 4$

"%-f-
^
ucts and want to know more about upcoming Fender

Member's receive the Fender Club Pin, T-shirt,

and a distinctive Membership Card that will entitle

The Fender Frontline Magazine will be sent to each

membeps home to keep enthusiasts up to date.
Between Frontline publication dates, members will also
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42 Fender Frontline
Jimmy D'A isto
Luthier
Extraordinaire
By Stephen Stern

"One of 'n March of 1993,1 was being interyiewed by John Page,

•the general manager of the Custom Shop. He asked me,
the first "what type of position are you looking for?" I told him I

things that wanted to build custom Strats and Teles. John said, "I've
got lots of guys that build Strats and Teles, but I need
Jimmy someone to start an incredibly challenging new project:
stressed to the D'Aquisto line of arch top guitars. If you want the
job, i^^oSi^."°!^bK^Needless to say that day
me was, chaN||||«©y^if|QSM Kji^d tlie privilege of meeting and
lust don't worlallllSlti lSta^Hlle'grPatest guitar builder this
wor^l hS^eiSo^ljaaues L. D'Aquisto.
stop at a ^y 'ssSti.. •sc&Ss^"

certain point, The Young Apprentice

Jimmy D'Aquisto was born November 9, 1935 in
experiment —
Brooklyn, New York to James and Mary D'Aquisto.
always From an early age, whether drawing, carving or
model building, Jimmy had shown an artistic apti-
experiment/
tude. The D'Aquisto home was filled with classical
music, but as Jimmy grew older his tastes shifted
towards jazz. He studied with Anthony Antone, a
prominent New York guitarist, and formed groups
with friends from the neighborhood—one of
whom introduced him to legendary guitar-maker
John D'Angelico. D'Angelico hired him on as an
apprentice at the age of seventeen.
D'Aquisto started out like any apprentice: mn-
ning errands, sweeping up the shop and so on.
Soon, however, he began improving pickguard
and headstock templates. "When John made a
pickguard (and you can see this on older ones),
he never made it uniform. I made new tem-
plates and changed that: so all the steps angled
the same way. The same thing with the head-
piece. The Excel headpiece was my template.
The notch and design were John's idea; the
uniformity of the shape of the headpiece was
mine." It was around this time in the mid
1950s that Jimmy met and married his wife
Phyllis Fezza. They were blessed with six
children: Paula, Lisa, Pamela, Jamie Lynn,
Michelle and James II.
Jimmy was a demanding apprentice
in that he was on John to teach him
more and more. So, by the early 60s
Jimmy was performing a lot of the criti-
cal aspects of the guitar, i.e. carving
the tops and backs, shaping necks and
bending sides.
It was also at this time that John's
health started to fail. "I went down
to the shop one day and it was still

Fender Frontline 43
closed," Jimmy recounts. "He had already the tonal characteristic of the instrument.
had three heart attacks and I was worried. I Another innovation of Jimmy's was the
walked to his brother-in-law's, where his way he enlarged the bridge base and created
brother, Alfred, told me John was dead. He an adjustable bridge free of metal parts: a sys-
had died in his sleep. I couldn't believe it." tem which allows full contact between bridge
Jimmy was devastated: at 59, John had been base and saddle, creating more sound transfer
like a second father to him. "I was completely to the top of the instrument. "I'm not an
lost—emotionally crushed," Jimmy said. expert on detailed scientific structures of
wood—I never even considered that. Art is
On His Own not confined to rules. There are no definite
This was a very low point in his life: not only mles to my method of creating an instru-
had he lost his best friend and his mentor, ment. I build upon the ideas I learned in the
but through a poor business decision he also beginning with John and the discoveries I
lost the right to the D'Angelico name. After do did his confidence as a builder. He began make with my own instruments."
weeks of mourning and with encouragement to make cosmetic changes: redesigning head-
from John's brother, Alfred, Jimmy started stocks and "F" holes. By experimenting with The Fender Years
doing repair work at the shop on Kenmare the bridge, tailpiece, carving, neck angle, etc., Fender approached Jimmy in 1982 to design
Street. It wasn't until a year later that he he also began to improve the performance of a line of arch top guitars. Jimmy worked very
found the confidence to build a guitar. the instruments. One of the first things closely on all facets of the project and by
"There had been a set of pre-bent sides sit- Jimmy stressed to me was, "just don't stop at 1983, the guitar line was ready to go into pro-
ting in the shop for a year. I took the sides a certain point, experiment—always experi- duction. The 17" acoustic Ultra and the 16"
and completed the process. The instrument ment." This is very evident from his work: he acoustic/electric Elite (with plywood top and
that I made was an exact D'Angelico guitar, replaced the metal tailpiece with an ebony back) were first produced in Japan. In 1993,
the only difference was that the headpiece one, then took it a step further by making it Fender decided to move the project to the
read 'D'Aquisto.'" adjustable up and down and forward. Custom Shop.
In 1965, Jimmy moved his shop to Hunt- The change in string tension and down- Jimmy and I first started working together
ington. As the demand for his guitars grew, ward pressure on the bridge modified in July of 1993. We began on the telephone.
Speaking to him was like speaking to an old
friend. He was very open, warm and sup-
portive. He put me at ease right away, never
talking down to me but talking to me
"builder to builder."
Jimmy would come out to the Custom
Shop where we would work out details and
the finer points of making arch top guitars.
Aside from the knowledge the Custom Shop
received from Jimmy, the great thing was
that we got to know Jimmy as a.person with
a marvelous sense of humor and an incredi-
ble way with words.
Though he lived apart from his family dur-
ing the week, he spent his time with them on
the weekends. They were in constant com-
munication: I have never witnessed a closer
family than the D'Aquistos. Jimmy passed on
If you see him,
at the age of 59, on April 17, 1995, in the
approach with caution
middle of the night due to complications
and do not from epilepsy: a disease from which he had
mistake him suffered since his early twenties.
for his brother! Jimmy was a simple and honest man who
put his life into his work. "I always tried to
put all I believed in into my work. It can only
work if one strives to better one's self. I never
tried to be better than John. He was D'Angeli-
co making D'Angelico guitars. I am D'Aquisto
and I'm making my guitar. It is not on the
same level as a competitive sport or some-

Tal'b.
thing. The only competition that should take
place is with yourself. I want to share that I
make good instruments for players who
appreciate and respect them. By realizing the
instrument they realize me. This is a way I
can hopefully make the world a better place."
Jimmy, you definitely made our
world a better place.

Twin Amp 65 Twin Reverb

 .•••

JOE MAZZOLA MIKE CROSS

'wenty years spent wrapping his ponge guitarist Mike
hands around the same old bar 'Cross knew what he
chords got boring for Sponge guitarist Joe wanted at an early age.
Mazzola. So on Rotting Pinata, as well as Unfortunately, he was
on the group's newer, yet-to-be-recorded forced to
material, Mazzola turns to the unusual. "I wait a few

SB"1""?:
had been in a lot of bands before this one years until
and always went through the tried-and-
tme, stock AC/DC-style bar chords/' he IISSiiytOl! he could
afford to buy his
says. "I wanted to get something for this first guitar himself. "I
band that was a little more unique." started asking for my first
In their quest to achieve a fresher
sound, Mazzola and fellow
^fc guitar for Christmas when
I was about 8," he says. "I
Sponge stringsmith Mike didn't get it until I saved.up
Cross explored the world enough money to buy a gui-
(continued on page 46) tar out of aJ.C. Penney cat-
alog when I was almost 14."
Once he had that trea-
sured six-string in hand,
however, Mike never looked
back. By the time he was 15
//I really he joined his first band and
^"Fl"t,::od began teaching lessons in
^ b<'c(lll,se his parent's suburban
Detroit basement.
it wos rew^ ^ "One of the things that I
i;,^'blues- (continued on page 46)
i'^i

^'^
*,

TIM CROSS
•ven after working at it for
•years and years, the sudden
success of his band Sponge was
shocking for bassist Tim Cross.
Released in 1994, the group's
,,nt thr<119h first album, Rotting Pinata, was
f /VVe ^el recently certified gold. For
'?*'. "^i
\ of Tim, it was an over-
all-?u'^f .tvl^/ whelming ^ ^ ^J,
(=>r€i
IA cl<TIt^t ohases..- moment.
:ere»

^
"When I actu-
ally saw that
gold album, I was
just in shock."
Tim act-ially started
(continued on page 46)

Fender Frontline 45
 TIM CROSS
on drums, but brother Mike advised him oth-
JOE MAZZOLA MIKE CROSS erwise, reasoning that bass players were hard-
er to come by than drummers, and not stuck
of chord inversions; now it's a musical habit. learned really quick is that you only had to all the way in the back. "Come up front with
"It's rare that we'll play a song that just has be one lesson ahead of the guy you were me," he told his younger brother.
totally stock chords in it," Joe admits. teaching. I used to have younger kids come Soon he was accompanying Mike in a high
Mazzola got his start at 13. Self-taught, the over when I was 15. At the time I was teach- school cover band. The Cross' basement in
33-year-old guitarist says Jeff Beck's Truth ing Mel Bay stuff, because I had already got Sinclair Shores, MI, boomed with the sounds
and Beck-Ola albums were among his early to the point where I was learning songs off of Aerosmith, Ozzy Osbourne, and Alice
favorites. The most influential, however, were records. I was an amazing guitar player to Cooper. By the time he was 17, Tim and his
those of the lesser-known Peter Green and those kids." brother had taken the next step: playing orig-
his late-'60s blues-based rock band, Fleet- Mike's musical inspirations followed a well- inals and club gigs. "We went through all
wood Mac. traveled rock 'n' roll path: "I cut my teeth on sorts of different styles," he says, "different
"I really loved early Fleetwood Mac because Aerosmith s Toys In The Attic," he says. "I phases. It seems like Mike's been coming up
it was real simple blues," he says. "It was learned every lick, every solo, every rhythm with original licks forever, and I was just fol-
something I could grasp pretty easily. Then pattern." He learned well enough to land his lowing along."
Play On is still one of my favorite albums." first record contract, with a band called Loud- Following along led to a record deal with
A native of Detroit, Joe spent his formative house, at the age of 24, allowing him to put the band Loudhouse. Tim chalks it up as a
years playing the local clubs, even hooking teaching on the back-burner. The experience real learning experience. "Going in the stu-
up in 1986 with Sponge singer Vinnie, who was short-lived though, and Mike soon dio, actually doing a couple of dates out of
played drums at the time. He gave the Los returned to teaching 60 shidents a week. town and just dealing with the record compa-
Angeles music scene a try—for five years—but Eventually Mike and his bandmates— ny in general we learned lots," he says. "How
musical success awaited his return to Detroit, including his brother Tim on bass—trans- to deal with people and how things work in
in 1992. formed Loudhouse into Sponge, and got the record business."

Upon his homecoming, Joe joined the another shot at success. This time it worked. At 28, Tim is a few years older and wiser.
band Loudhouse, with Vinnie on drums, and With the songs Plowed and Molly, from This time it's been more than a learning
brothers Mike and Tim Cross on guitar and Sponge's CD Rotting Pinata, playing all over experience; it's been a complete education.
bass, respectively. A name change, a new radio and MTV, the band has struck gold. "It's great to be out doing what you love for
position for their former drummer-turned- Needless to say, Mike Cross probably a living," he says. "You get to play every night,
singer, and a new member behind the won't be giving guitar lessons again and I've seen more of the world in the last
kit was all it took. anytime soon. year than I ever have my whole life."

HIISiSiiSSBSS
ISHBBBilllBiBfi
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uiimiiiisiss
WBISWttNIN
EIWilSWBSS
u%iimi?iiii8i
Artists Re?om^Qirectar?sii??&S?^^
Breckenfeld's wpenerice^ g|mmHiS18S
includes cweradeecKle^an^th^SMiMSSiiiSS^^
roodmth:te^ow7iS'^n|ti||SMIB8
well as years of'daily contaa^^s^lli^ff^ls
with numemus players.^ ^^;^
;"ortem^n's)lM®B
is another man's poison/' it mightsimgt^H
come down to personal taste. Do I mean :Ws:S
like the one person who always orders '
anchovies on everything thereby making
someone else at the table suddenly lose their
will to eat? Not exactly, but design some-

46 Fender Frontlii
 <?7&f^
w

m ^z^i '-TJ.

Wj>;?ssiiaaT
.BWymn
Bon Jovi CD with your
a^s wSV^ ^;
Frontline Sutaiption!
.^'^r.
Sigiiature
Series! 3SOli<|:-J<
H/IMMShaw
Hevlswl

lots Mars

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Ealor 'Pages!

llni

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 Before YOU CSLFl date a
famous model, drive a Lamborghini,
have the top album in the country,
and kick off a world tour, you

have to lCSim

to. play. a
Strat.
Hero's how it works. You go down
to your Fender dealer. You get a
genuine Fender Stratocaster®
with G-VOX® Musician, the
(Sorry, that's just the rules.) ^ interactive system that
teaches you licks, chords and
technique through your Mac or
IBM/Windows-based computer.
You learn to make your Strat®
scream.You record an album. You
get famous. You mention
us in the liner notes.
Software Cool.
Easy CONNECTION: Fender Stratocaster
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specially-equipped for easy
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HARDWARE; G-VOX pickup and belt

pack convert string sounds to

Interactive electronic impulses, so your guitar

Display can talk to your computer.

SOFTWARE: G-VOX Riffs™ and

Collection Library lets you
learn licks by the hottest Rock,
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players. Plus other cool

Advanced playing and composing tools.

Hardware MONITOR; G-VOX displays finger-

ings in easy-to-read diagrams.

It even shows you when you are

playing it wrong, and shows

you how to play it right.

For more info see your Fender dealer.

For a demo disk (specify Mac or IBM)
and brochure send $2
(postage & handling, payable to Lyrrus, Inc.) to:
Fender/G-VOX literature c/o Lyrrus, Inc.
35 North 3rd Street Philadelphia, PA 19106

©1995FMIC.
All brand names are trademarks of their respective companies.
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