This vintage Tele’s neck and frets show lots of road wear, but it’s straight and dry.
This was not something that could be seen at the point of purchase. But at some point, that company wasn’t drying the wood, because my experience with instruments built around 1964 is that they didn’t have this problem. I’ve never seen a vintage Fender built before 1964 where the frets were sticking out the side of the neck because they hadn’t dried the fretboard well enough, and it shrank.
For the most part, there’s an extraordinary amount of trust when you’re buying an instrument. For example, customers trust that the frets are installed in the correct positions without checking each fret position with a tuner. This trust is mostly deserved, as most frets are generally installed in the right places. What’s sometimes not installed in the correct place is the nut. This controls how open chords play in tune down in the first position. I’m going to make a list of the things I believe you cansee when you buy a guitar, and the things you can’t. My hope is that it helps you make your next purchase with confidence.
Tuning pegs are among the easy-to-inspect items when shopping for a guitar. The peg at far left has clearly seen better days.
In general, here’s a list of what you can see:
- Tuning pegs and how they operate
- If the nut was cut well in terms of string height over the frets
- The neck shape as regarding how it is comfortable in your hand
- How the truss rod adjusts
- How well the instrument was inlaid in the fretboard
- How the side dots look
- How professional the binding is
- If the neck angle is generally acceptable
- If you like the shape and comfort of the body
- The beauty of the finish
- Overall aesthetic quality
- The sound of the pickups
- The electronic controllability
- Comfort of the bridge
- If the guitar intonates at the 12th fret
- How well is the guitar set up
The “skunk stripe” on this old Tele’s neck remains well-seated.
In general, here’s a list of what you can’t see:
- Are the woods wet under the finish
- How well are the woods dried?
- Will the fretboard shrink so the frets stick out of the neck over time?
- Are the tuning pegs deadening the tone?
- What’s the nut made of and how well it is glued on?
- Are the nut slots too narrow, creating tuning problems?
- Are the frets level?
- Is the truss rod deadening the neck?
- Do the pickups squeal at really high volume? (You may not know this until testing the guitar in a live setting.)
- How thick and how soft is the finish?
- Will the finish last a lifetime?
- Will all the glue joints hold up over time?
- How well does the instrument record?
- Will the frets move over time from reactions to things like sweat?
So, it comes down to trust. Did the guitar-making company tend to all the things that you can’t see when you buy the instrument?
“My goal, as a guitar maker, is that you can take the guitar out of the case and play a gig or a recording session without a repairman working on it first.”
The best way to tell if you want to buy a guitar is to play it! If an instrument is built really well, your experience of playing it will give you a good indication of how well the things you can’t see were done. If the instrument is really trebly and has no bass or midrange, maybe you should walk away from that purchase. If you strum the instrument and go, “Oh my god, that sounds great,” and then you plug it in, and it sounds beautiful—buy it. By the way, online shopping has made this process fairly painless as well, so you can play guitars in stores as well as shop as on the internet.
My goal, as a guitar maker, is that you can take the guitar out of the case and play a gig or a recording session without a repairman working on it first. That said, my personal guitars are often in our PTC (tech center) because of little tweaks that I want done. To tinker, in my mind, is normal. To have to pay for a setup on a brand-new guitar is not. Happy shopping.
Fender’s 70th Anniversary American Vintage II 1954 Stratocaster has the feel, tone, and look of a genuine heirloom guitar.
And if you had taken my 12-year-old self to some magical used-guitar Wonka factory where I could have my pick of anything, I probably would have passed over a fortune in vintage guitars for a sherwood green Jaguar and a Vox Berkeley amp, or something equally awesome and relatively short on long-term-investment return.
Such contrary views have softened over the years, though. And my new open-mindedness lines up rather conveniently with the70th anniversary of the 1954 Stratocaster. To state the obvious, the 1954 Stratocaster remains, seven decades later, a future-gazing design. In many respects it is electric guitar design perfection—comfortable, balanced, full of varied tones, and fantastically ergonomic. I see that clearly now. And such vision, as it were, made this review of two 70th anniversary Stratocasters, from two ends of Fender’s price spectrum, a real pleasure. It’s a testament to the efficiencies and consistencies in modern guitar manufacturing that the $799, Mexico-madePlayer Series Anniversary 2-Color Sunburst Stratocaster and the $2,599 U.S.-made70th Anniversary American Vintage II 1954 Stratocaster share so much in terms of feel, playability, and tonality. Such similarities also speak to the visionary simplicity and elegance of the Stratocaster design. Much more than price distinguishes these instruments. Though expensive at $2,599, the 70th Anniversary American Vintage II 1954 Stratocaster has the feel of an heirloom—the kind of instrument that will hang behind the counter of the local guitar shop with a “do-not-play-without-asking” sign for eternity. And while the relatively inexpensive Player Series lacks the vintage precision and glamor of the American Vintage II, it is unquestionably a professional instrument that can hang in any gigging or recording situation and perform with aplomb.
70th Anniversary American Vintage II 1954 Stratocaster
If you obsess over vintage-guitar minutiae in the way a monocled entomologist studies variations in dragonfly wings, you could spend many seasons poring over differences among original 1954 Stratocasters as well as the reissues that honor them. In its first year of manufacture, the Stratocaster underwent several tweaks, changes, and refinements, some of which lasted mere months. In fact, though they number in the hundreds, Fender considered Stratocasters made before October 1954 “pre-production” models.
Most distinguishing design details on the Anniversary American Vintage II 1954 Stratocastersuggest an instrument made sometime around the middle or later part of 1954. Mini-skirt knobs, a “football” pickup switch, and rounded edges on the pickup covers are copied to the letter. Eight screws affix the single-ply pickguard to the body rather than the 11 used on later Stratocasters. The saddles are stamped with “Fender Pat Pend.” And the tuning machines are shaped like Kluson’s “no-line” tuners, used up to 1956. (By branding the machines with “FENDER” down the centerline, Fender effectively created a mashup of the ’56 “single-line” Kluson and the no-line configuration used in 1954, but I think we can be charitable and give Fender a pass here). The most arresting period-correct detail for casual Strat spotters is the headstock. With its gentler curves just below the “F” in the Fender decal and under the “R” in Stratocaster, it’s a reminder, perhaps, that the Telecaster remained fresh in the minds of Leo Fender and Freddie Tavares.
Befitting a guitar that costs north of $2,500, the AV II 1954 Strat is immaculately built. Our review specimen, at 8.6 pounds, is a little heavy for an ash-bodied Strat, but like most Strats, feels perfectly balanced. If our review guitar is heftier than the average ash Strat, it might be down to the extra mass in the chunky 1-piece maple neck. Fender calls the neck profile a “1954 C.” It feels more D-like to me, but regardless of profile its relative heft is a lovely thing and a welcome alternative to the love-it-or-you-don’t V profile on the similar American Vintage II 1957 Stratocaster or the slimmer, more generic C shapes that make up so many contemporary necks. Finding a guitar that feels just right can be harder than finding one that sounds good. And for some players this neck alone could justify the splurge-y price. If you have small hands or shreddy tendencies, it might not be your thing. And even for players with average or larger-sized mitts, the extra substance could lead to hand fatigue if your playing style or technique are at odds with the larger dimensions. Certainly, it’s different enough from the contemporary norm that you’ll want to spend a while at a shop with one before you commit to purchase. But I love the way the neck, and the 7.25" radius facilitate languid, lyrical string-bending and vibrato. And personally, I find the thicker neck less conducive to hand strain than slimmer necks that compel me to squeeze a bit more.
Ring and Zing
Stratocasters can sound pretty bright, and this 70th Anniversary AV II edition could probably shatter glass at its trebliest. But it also reminded me how much air and breath lives in a nice Stratocaster, how balanced and un-bossy they are in most contexts, and how responsive and sensitive to dynamics they can be. The pickups, which are built around alnico 3 magnets, are pretty quiet. But the output is discernibly more dimensional, open, and alive in the high-midrange than the alnico 5-equipped Player Series Stratocaster or the ’80s E-Series Stratocaster I also used for reference.
The bridge pickup can be a firecracker, but you hear a lot of detail, too. Hot transient notes give way to chiming overtones that blossom even more for the guitar’s perceptible resonance and sometimes surprising sustain. By picking hard and close to the bridge, you can coax a lot of raunch. But use a gentle fingerpicking touch with just flesh and nails up closer to the neck and the bridge pickup turns warm and quite civilized. As with any vintage-correct 1950s-style Stratocaster, there’s no tone control for the bridge pickup, but the dynamic range you can achieve with variation in picking intensity, technique, and position won’t leave you longing for one, either. I don’t gravitate toward the middle pickup on my own Stratocaster, but I lived there a lot in my evaluation of the AV II 1954. The spectrum of available tone shades sounds and feels especially wide and makes a beautiful platform for exploring quasi Richard Thompson-isms (particularly with a detuned 6th string—yum!) or tender, bubbling Velvet Underground tones. Like the bridge pickup, the middle showcases the AV II 1954’s sustain and resonance, and is particularly bloomy. The neck pickup, too, is honey sweet. As with the middle pickup, a detuned 6th string highlights expansive dynamic range and a rich overtone palette. With the tone control wide open, you can create major tone contrasts from this pickup alone, but a little tone attenuation goes a long way toward making the neck unit very, very mellow. Predictably, Curtis Mayfield or Hendrix-style soul-ballad phrasings sound magical at either setting. And if you’re wondering if you can sneak the 3-way switch into the out-of-phase 2 and 4 positions you’d get from a 5-way switch, the answer is an affirmative—as long as you use a tender touch. It doesn’t take much to knock the switch back into one of its three natural positions. But if I didn’t get too enthused, I could keep the switch in out-of-phase positions, and it sounded wonderful.
The Verdict
Sure, $2,599 is a lot of money to pay for a Stratocaster, and apart from the Jimmy Page Mirror Telecaster, it’s as expensive as any vintage-spec Fender that doesn’t come from the Custom Shop. For some customers and collectors that love limited edition runs, the 70th Anniversary distinction and accessories that come with the guitar will justify the price. But if you know you want a Stratocaster and long for something a little special, it might be worth saving up or selling some deadweight instruments to make room for this one. In terms of tone and playability, you are unlikely to regret the investment, and it’s fantastically versatile.
Fender Player Stratocaster Anniversary 2-Color Sunburst
The Player Series version of the 70th anniversary Strat.
I think Mexico-made Fenders are awesome. A lot of my friends do, too. Some have made MIM Fenders their No. 1 instrument. And though a few may have switched in new pickups or made modifications here and there, I’ve heard some of the same people express regret for spending money on improvements that didn’t improve the guitars in any measurable sense. If you get a good one, Mexico-made Fenders are still among the best deals in the business, and our review Player Stratocaster Anniversary plays beautifully, sounds exciting and pretty, is built rock-solid, and exudes plenty of mid-century Stratocaster essence.
Milestone Mishmash
If the AV II 1954 Stratocaster is an exercise in vintage exactitude, our Player Series Anniversary model (which makes no claim to year-specific accuracy) is a more hodge-podge homage to the Stratocaster’s early years. While it can be had with a maple neck, our review version came with a pau ferro fretboard and a 3-way pickup that makes it a sort of mid-’50s/early-’60s mashup. Design cues like the 2-color burst and spaghetti logo nod at 1954, but the tuning pegs, 9.5" fretboard radius, 5-position switch, 22 medium jumbo frets, headstock truss-rod access point, and bridge-pickup tone control are all trappings of a contemporary Strat. And though the neck fills the hand in a comfortable, vintage-y sort of way, it’s listed as a modern C profile, just like non-anniversary guitars elsewhere in the Player Series. The most distinctly 1954-like feature, really, is the finish, which is handsome, understated, lends a more classic air, and actually looks great against the pau ferro fretboard, which would usually accompany a redder, 3-color, ’60s-style burst.
Vibes for Less
You could play a guitar like the Player Stratocaster alongside a Strat as nice as the AV II 1954 anniversary model and end up feeling flat and disappointed—or you could be pleasantly surprised. My experience was distinctly in the latter category. While the alnico V Strat pickups (which are also the same as those found elsewhere in Player Series Stratocasters) lack the oxygenated, widescreen dimensionality of those in the AV II 1954 Strat (this goes for the middle pickup in particular), they communicate the unmistakable sonic signature of a Stratocaster with a bit more punch and authority. The bridge pickup, which in this case can be modified via the same tone control that governs the middle pickup, sounds snappy, surfy, garage-y, or can drive a fuzz to banshee-scream feedback extremes. The neck pickup, too, sounds delectable in all the ways that you want from the mellower side of a Strat. It’s a perfect mate for lyrical, melodic phrases and spare bluesy picking which benefits from the guitar’s excellent sustain properties. For a relatively inexpensive Strat, the Player Series is pretty quiet, too. Sixty-cycle hum goes with the territory here, but it is subdued and never distracting.
The Verdict
The Player Series Stratocaster is perennially among the best-selling electric guitars in the universe, and this 70th Anniversary edition makes the appeal easy to understand. Though it’s not a detail-for-detail 1954 Strat replica, the substantial neck (save for the glossy finish) exudes vintageness. And it definitely sounds classically, unmistakably Strat-like when you track it. For a guitar put together with so much care, $799 is a very attractive and fair price. And while its American Vintage II Anniversary counterpart may exude the essence of an heirloom, the Player Series sounds sweet and feels solid, stable, and familiar enough that, to paraphrase an old Fender ad campaign chestnut, you won’t want to part with this one, either.
The $499 Indonesia-built PRS SE CE 24 Standard Satin does not have the advantage of a flame-maple top to give an upscale aura, like its bolt-on cousin the SE CE 24, but doesn’t need it. Because it takes about a minute of playing the SE CE 24 Standard Satin to feel and hear that it’s guided by the same playability-first design philosophies that make top-shelf PRS instruments coveted. There’s a lot of classic PRS essence in the SE CE 24 Standard Satin, and at 500 bucks in the year 2024, that is no mean feat.
The Best Deal Yet? PRS SE CE 24 Demo
Stirring Up Trouble
One really cool thing about a satin finish PRS is that, rather than compelling you to don kid gloves, it invites you play it hard, like a battered old Les Paul Jr. or Telecaster might. Like those guitars, the SE CE 24 Standard Satin is an elemental instrument. There is little in the way of bells and whistles to distract you from picking. Instead, the straight-ahead nature of the design tends to reinforce the sense of how well-made the SE CE 24 Standard Satin is.
Even with the $499 price in mind, I will surprise exactly no one by mentioning that this PRS is, more or less, flawlessly put together. Look all you want—you won’t find anything misaligned, sloppily cut, or improperly glued anywhere. The bolt-on maple neck sits snugly in its pocket and the fretwork is every bit as nice as what you see on guitars much further up the food chain. There’s no fret buzz, and yet the action is low and slinky. The guitar rings like it’s a living thing, too. Strum a first-position E chord and you’ll feel the resonance in your ribs.
When you examine the SE CE 24 Standard Satin at even closer range, you find details that charm and impress. Where an expensive U.S.-built PRS wouldn’t leave the factory with anything other than a perfectly bookmatched mahogany body, the SE CE 24 Standard Satin’s all-mahogany body is made up of at least three sections which look fairly asymmetric in size. The grain looks pretty different at the joins, too. But that does nothing to detract from the pervading sense of craft. In fact, it heightens the SE CE 24 Standard Satin’s all-business, proletarian essence—a nice thing to see in a guitar from a brand which, historically, is associated with fancy appointments.
Other construction details leave you appreciative of PRS’ commitment to advancing electric guitar design rather than being bound to tradition. The PRS Patented Tremolo vibrato system is as smooth as molasses and stable even under vicious handling (a specialty of mine). Among guitars in this price class, I’ve grown to expect vibratos that fly wildly out of tune if you sneeze, with arms that constantly flop and dangle out of reach. Even on this import version of the system, the ridiculously simple solution of a non-threaded arm that sits in a plastic sleeve works without fail. You can situate it at various heights and swing it into any position that feels comfortable, and it will stay there. It’s a fix for the inexpensive vibrato blues that many manufacturers would be wise to study. The dark-hued rosewood fretboard, too, seems luxurious for a $500 guitar. Most guitars in this price zone pivoted to paler Indian Laurel for fretboards some time ago.
Rowdy, Raw, and Refined
I instinctively get apprehensive when I see uncovered humbuckers in an affordable guitar. Something about encountering decades worth of ghastly, harsh, thin, and nasty entry-level humbuckers will do that to you. The 85/15 “S” pickups in our review guitar go a long way toward alleviating this paranoia. In humbucker mode, the bridge pickup is balanced. There is a midrange bump that can lend just a touch of harmonic clutter and some stridency when you play chords at full volume. But lead lines sing with a heated energy that has a nice touch of silkiness around the edges. Volume and tone attenuation are effective cures, too, if the midrange is too hot for your taste. That midrange emphasis is less flattering in the neck pickup, at least when you play big rock chords. But melodic fingerpicking and a dynamic touch summon a sweet side, and, as with the bridge pickup, single notes from the 1st through 3rd strings in particular have a satisfying, ringing presence that is not at all harsh. Combined pickup tones are especially nice. They’re springy, airy, and at times have an almost-Stratocaster-but-fatter ring.
Speaking of Stratocaster tones, there’s more than a little taste of Straty-ness in the split-coil voices. In the bridge position, the fundamental split-coil tone rings a lot like a hot Strat pickup, but with less bite and muscle than a Telecaster bridge. The neck pickup comes off as a bit rowdy and exhibits more overdrive characteristics than a Strat neck pickup, but is very responsive to a nudge to the volume control if you want clear, less-driven tones. The middle position in split-coil mode, which combines the centermost coils of the two pickups, is the most interesting twist on the instrument’s inner Stratocaster spirit. It generates a thick and muscular but clear and snappy version of a Strat’s out-of-phase tones. That’s not a sound I use a lot, but I love the PRS’s take on that tonality. Each split-coil position, by the way, exhibits very little volume loss when compared to humbucker mode.
The Verdict
We probably sound like a busted record at this point—going on about how PRS tends to overachieve in the affordable price category. But, hey, don’t look at us. It’s PRS’s fault. And until they start building junk we’ll keep on raving. The careful construction, useful and flexible coil-splitting capacity, reliable, smart vibrato, and all-around stability make this instrument an uncommon value. And you could very easily spend a lot more money and fail to get a guitar that does as much, and does it as well, as this straight-ahead, no-frills machine.
