Although the model debuted in 1954, Leo Fender didn't consider his second guitar design complete until '57. Meet that year's serial number 19129.
The Fender Stratocaster was developed with input from players dissatisfied with Leo Fender's first electric guitar, the Telecaster. Their ideas, which included a more comfortable body shape, an adjustable bridge allowing intonation for each individual string, and a vibrato system, were duly adopted, and Fender introduced the legendary Strat in 1954. But Leo didn't consider his second great design "perfected," according to the company's website, until 1957.
Fender's use of parts already in inventory gave this guitar its Bakelite-style pickup covers and dials. Note the slight fractures in the pickup covers, due to the material's brittle nature.
The instrument began to see substantial alterations a year earlier. The body wood, which had been ash, was changed to alder starting after the middle of 1956, due to its better consistency for finishing. The neck profile, which was originally round and clubby, evolved into a distinct V shape. Also by mid-'56, the original round guide for the high E and B strings was changed to a rectangular design known as a butterfly clip. And the control knobs and pickup covers, which were a brittle Bakelite-type material, began receiving more durable plastic, although some production models still sported Bakelite-style dials in early '57.
In keeping with the most historic Fenders, the company logo on this instrument is in spaghetti-style script.
The 1957 Fender Stratocaster pictured this month—serial number 19129—displays the features common to that banner-year model, including a one-piece V-profile maple neck with the spaghetti-style logo on the headstock, single-line Kluson Deluxe tuners (between 1954 and 1957, the tuning machine covers had no "Kluson Deluxe" stamp), a comfort-contoured alder body in a standard two-tone sunburst finish, a single-ply 8-screw white pickguard, and a 3-position pickup selector switch. This particular guitar still has the Bakelite-style pickup covers and knobs, because the Fender company never wasted parts, using what they already had in inventory while transitioning to new appointments.
The dash in front of this guitar's serial number stamp is part of its 1957/'58 lineage.
One master volume located closest to the player's hand controls all the pickups, while separate tone controls are assigned to the neck and middle pickups. The bridge pickup has no tone control, giving that position its full-take-off sound. The neck plate is stamped with a dash (only seen in 1957 and very early '58) in front of the five-digit serial number. The February 1957 list price for a Stratocaster with a vibrato arm was $274.50. The current value is $30,000.
The worn maple neck, scraping on the upper horn, and the condition of the case indicates that this guitar was once a hard-played and well-traveled workhorse.
Behind our Strat is a 1955 Fender Bandmaster amplifier. It has the characteristics shared by most narrow-panel amps made by the company between 1955 and 1960. These include two channels, with each channel having two inputs labeled "mic." and "inst.," two volume controls with the same labeling, treble, bass, and presence dials, and standby and on/off switches, along with a ground switch. The 26-watt amp has two 6L6G power tubes, one 12AY7, and two 12AX7 preamp tubes, along with a 5U4G rectifier. The 21 1/4" x 22 1/2" x 10 1/2" cabinet has three Jensen P10R speakers. The top one has its blue bell-shaped cover removed to allow it to fit in front of the tubes and chassis. The original price for a 1955 Bandmaster was $289.50. The current value for the amp is $8,000.
Sources for this article include The Fender Stratocaster by A.R. Duchossoir, The Stratocaster Chronicles: Celebrating 50 Years of the Fender Strat by Tom Wheeler, The Fender Stratocaster: The Life and Times of the World's Greatest Guitar and Its Players by Dave Hunter, and Fender Amps: The First Fifty Years by John Teagle and John Sprung.
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Learn how Adrian Belew's BEAT Tour came together to include Tony Levin, Danny Carey, and Steve Vai—plus King Crimson, Bowie, Zappa, Talking Heads, and more.
The BEAT Tour, featuring a superband of Adrian Belew, Tony Levin, Steve Vai, and Tool’s Danny Carey, begins on September 12 in San Jose, California, and continues into December, playing repertoire from King Crimson’s highly influential ’80s albums Discipline, Beat, and Three of a Perfect Pear. PG’s editorial director Ted Drozdowski sat down with Adrian in his home studio to talk about how these four great players came together, Adrian’s decades in Crimson, and Robert Fripp, Bowie, Zappa, Talking Heads, and more. Also, stay tuned for our exclusive Rig Rundown, coming soon!
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.
- YouTube
The legendary Queen guitarist shared an update on his social media that he noted as a "little health hiccup." "The good news is I can play guitar,” he said.
Brian May revealed that he was rushed to a hospital after suffering a minor stroke and temporarily losing control of his left arm. In a message to his fans, May addresses the events of the past week:
“They called it a minor stroke, and all of a sudden out of the blue, I didn’t have any control of this arm. It was a little scary, I have to say. I had the most fantastic care and attention from the hospital where I went, blue lights flashing, the lot, it was very exciting. I might post a video if you like.”
“I didn’t wanna say anything at the time because I didn’t want anything surrounding it, I really don’t want sympathy. Please don’t do that, because it’ll clutter up my inbox, and I hate that. The good news is I’m OK.”
Introducing the new Seymour Duncan Billy Gibbons signature offerings: The Hades Gates Humbucker set for a mid-forward punch with extra heat, and the Red Devil for Tele, capturing his hot Texas tone.
Billy Gibbons Red Devil for Tele
When Seymour Duncan first introduced the Signature Billy Gibbons Red Devil set, his fiery sound was captured in Strat-sized humbucker pickups. Now, that hot Texas tone is available as a drop-in replacement bridge pickup for any Telecaster wielding guitarist.
Approved by Reverend Willie G himself, the Red Devil for Tele is built with an Alnico 5magnet, 4 conductor cable, and a hot wind that drives amps and pedals harder than a traditional vintage humbucker. Whether you’re looking for cutting leads, tight pinch harmonics, or thick rhythm tones, it’s all at your fingertips with the Red Devil for Tele.
Billy Gibbons Hades Gates Pickup Set
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.From scorching lead guitar to his own line of hot sauces, Billy Gibbons has never been afraid of a little extra heat. The Pearly Gates pickup set from his coveted 1959 Les Paul has been a favorite among P.A.F. purists for decades. For the Reverend, some guitars in his collection benefitted from additional output to deliver his signature sound.
This demand for a hotter wind forged The Hades Gates humbucker set – a fiery take on the mid-forward, punchy sound Billy is known for. Alnico 2 magnets and this added output drive your amp into some hot, blue, and righteous territory.
Hades Gates Humbuckers are hand-built in Santa Barbara, California with 4-conductor cables and short mounting legs.
For more information, please visit seymourduncan.com.