Scottsdale, AZ (January 6, 2014) -- The Fender Custom Shop presents a collection of exquisitely crafted instruments for 2014, all created with the finest materials available for the player who demands a high-end boutique instrument carrying the Fender legacy. The most distinctive features of each individual model are listed below:
2014 Custom Deluxe Stratocaster
- Alder body with AAA quilt maple top in Purple Trans, Candy Red Trans, and Cobalt Blue Trans finishes
- AAA birdseye maple neck with a 10/56 large “V” shape
- Rosewood or one-piece maple fingerboard with 22 medium jumbo frets
- Custom Shop Fat ’60s single-coil Strat® pickups (bridge and neck); reverse-wound/reverse polarity Fat ‘60s single-coil Strat pickups (middle) with five-way pickup switch and modern Stratocaster wiring
- Nickel/chrome hardware with pearl button tuners
- Two-point synchronized tremolo with block saddles
2014 Custom Deluxe Telecaster
- Alder body with AAA quilt maple top in Purple Trans, Candy Red Trans, and Cobalt Blue Trans finishes
- AAA Birdseye Maple neck with a NoCaster “U” Shape
- Rosewood or Maple fingerboard with 22 medium jumbo frets
- Texas Special single-coil Tele pickups (bridge), Custom Shop Twisted Tele single-coil pickups (neck) with three-way switch and custom Telecaster wiring
- Nickel/chrome hardware with pearl button tuners
- Six-saddle Custom Shop chrome-plated steel Tele bridge plate with plated solid brass saddles
1964 Closet Classic Stratocaster
- Select alder body in Three-Color Sunburst finish
- Nitrocellulose lacquer finish
- Maple neck with early-’60s “C” shape
- Round-lam rosewood fingerboard with 21 vintage-style frets
- Hand-wound single-coil Stratocaster pickups (bridge, middle, neck) with Vintage Stratocaster wiring
- Vintage-style synchronized tremolo bridge
1964 Closet Classic Jazzmaster
- Select alder body in Sonic Blue finish with a matching headstock
- Nitrocellulose lacquer finish
- Maple neck with an early ‘60s oval “C” shape
- Round-lam rosewood fingerboard with 21 vintage-style frets
- Custom Vintage Jazzmaster pickups (bridge and neck) with vintage Jazzmaster wiring
- American Vintage adjustable six-saddle bridge with floating tremolo and tremolo lock button
2014 Proto Stratocaster
- Select lightweight ash body with cutaway heel in Faded Three-Color Sunburst, Black, and Arctic White finishes
- AAA Birdseye Maple neck with early ‘60s oval “C” shape
- Round-lam rosewood or one-piece maple fingerboard with 22 medium-jumbo frets
- Custom hand-wound Fat ‘60s Strat (bridge), Texas Special single-coil Strat (middle and neck) pickups with five-way switch and custom Stratocaster wiring
- Master volume and master tone controls
- Two-point synchronized tremolo with block saddles
2014 Proto Telecaster
- Select lightweight ash body with cutaway heel in Arctic White, Black, and Faded Three-Color Sunburst finishes
- AAA birdseye maple neck with a 10/56 large “V” shape
- Round-lam rosewood or one-piece maple fingerboard with 22 medium jumbo frets
- Josephina Red Hot pickups (bridge and neck) with three-way switch and Modern Telecaster wiring
- Nickel/chrome hardware with research special design Telecaster bridge
- Master volume and Greasebucket™ tone circuit controls
2014 Proto Precision Bass
- Lightweight select alder body ash body in Arctic White, Black, and Faded Three-Color Sunburst with nitrocellulose lacquer finish
- One-piece quartersawn maple neck with a “C” shape
- Maple fingerboard with 20 medium jumbo frets
- TV Jones Thunderblade pickup with Vintage Precision Bass wiring
- Volume and tone controls
1964 Heavy Relic Precision Bass
- Select alder body with in heavy relic Three-Color Sunburst with nitrocellulose lacquer finish
- Quartersawn maple neck with a “C” shape
- Round-lam rosewood fingerboard with 20 vintage frets
- Vintage split single-coil Precision Bass pickups with Vintage Precision Bass wiring
- “L Series” neck plate
- Nickel/chrome hardware with four-saddle Vintage Precision Bass bridge
- Volume and tone controls
2014 ‘56 Heavy Relic Stratocaster
- Alder body in Black finish with Heavy Relic lacquer
- One-piece maple neck with a 10/56 “V” shape
- One-piece maple fingerboard with 21 6105 frets
- Master-designed pickups with reverse-wound/reverse polarity middle pickup with five-way switch and Modern Stratocaster wiring
For more information:
Fender Custom Shop
Guitarists are used to coveting cranky, old gear, but if you’re not a rack user, the H3000 might not be for you! If you ever see one of these in a studio, be sure to take some time to check it out, and maybe give the plugin a try.When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
