In the early days, Fender bodies were made on shop tools, by hand. Small variations from one guitar to the next are the result of this handwork, and every so often a "Best of the Best" vintage Fender turns up.
Our '63 Body is a flawless recreation of one of those great Strats®. It's shaped exactly like the original, but we've left the final sanding and finishing for you—just as if you were in Fender's Fullerton workshop back in the day.
Choice woods for Golden Age Solidbodies
Nearly seamless grain matching: our swamp ash pieces are sawn and selected for superb grain matching. This gives the almost seamless look that's so important under transparent finishes.
Swamp Ash: We've selected best quality Southern swamp ash, lightweight and toneful. Our swamp ash has striking grain and tone characteristics that drive up the price of sought-after vintage Fenders.
Alder: Fender's main wood from the 1960s, alder is a big part of what we know as the vintage Strat sound. Golden Age alder has handsome subdued grain like the best originals.
Mahogany: A modern twin of one of the very few vintage mahogany Strat bodies ever made! Although mahogany was one of Gibson's most famous tonewoods, it's very rare in the Fender world. Our one-piece African mahogany equals the wood on the rare '63 Strat body that was the pattern for these bodies.
Shaped like a true '63The shape of the body and electronics cavities exactly match the 1963 original. The body is 1-3/4" thick with the correct 7/16" radius. We've left the last touches for you, so you can final-shape the belly cut, the arm cut and shape the transition between the horn and the neck pocket to suit your preference.
Holes for mounting the bridge are drilled. Neck mounting holes are started in the traditional 4-screw placement, it's easy to finish them out with a hand drill. Our Replacement Neck for Strat Guitar is a perfect fit.
Ready for final shaping, sanding and finishing.
Golden Age '52 Body for Tele
In the early days, Fender bodies were made on shop tools, by hand. Small variations from one guitar to the next are the result of this handwork, and every so often a "Best of the Best" vintage Fender turns up.
Our '52 Body is a flawless recreation of one of those great Teles®. It's shaped exactly like the original, but we've left the final sanding and finishing for you—just as if you were in Fender's Fullerton workshop back in the day.
Choice woods for Golden Age Solidbodies
Swamp Ash: We've selected best quality Southern swamp ash, lightweight and toneful. Our swamp ash has striking grain like the fantastic '52 Tele we started from.
Nearly seamless grain matching: our swamp ash pieces are sawn and selected for superb grain matching. This gives the almost seamless look that's so important under transparent finishes.
One-piece Clear Pine: Related to spruce and cedar, pine is a very light softwood gaining lots of attention for its great tone. Golden Age pine bodies are made from Eastern White Pine that is grown, harvested, and processed in Ohio. This pine is clear and straight-grained, milled from trees we've found that will yield full-size bodies in one piece. (Lumber yard pine won't do.) No need to worry about pine sap seepage: we kiln-bake each piece until any pitch inside is thoroughly crystalized.
Knotty Pine: We also make a Knotty Pine version with quirky character, for making a guitar with a wild side!
Shaped like a true '52
The shape of the body and electronics cavities exactly match the 1952 original. The body is 1-3/4" thick with the correct 1/8" radius. The small router hump next to the neck pocket, and the 7/8" flat at the output jack, are quirks we retained for vintage accuracy.
The shape of the body and electronics cavities exactly match the 1952 original. The body is 1-3/4" thick with the correct 1/8" radius. The small router hump next to the neck pocket, and the 7/8" flat at the output jack, are quirks we retained for vintage accuracy.
Holes for mounting the bridge are drilled. Holes for string-thru-body are partially drilled, giving you the option of using a top-mounted bridge instead. Neck mounting holes are started in the traditional 4-screw placement, it's easy to finish them out with a hand drill. Our Replacement Neck for Tele Guitar is a perfect fit.
Fuente:http://www.stewmac.com/Materials_and_Supplies/Bodies_and_Necks_and_Wood/Electric_Guitar/Shaped_Bodies/Golden_Age_52_Body_for_Tele.html
Shaped, inlaid, fretted and finished—feels and plays great! Hard rock maple finished in clear satin polyurethane, with a walnut "skunk stripe" down the back.
The 22 frets are nicely finished, and the nut is shaped and slotted. Maple or rosewood fretboard with dot inlays and side markers.
Screwholes for attaching to the body are not drilled. Each neck has a single-action truss rod with a 4mm adjusting nut at the peghead. We recommend Allen Truss Rod Wrench for adjusting neck relief.
Peghead is drilled for 6-in-line tuning machines. 10mm-diameter holes fit sealed gear tuners with threaded peghead bushing. See all tuners.
Peghead is drilled for 6-in-line tuning machines. 10mm-diameter holes fit sealed gear tuners with threaded peghead bushing. See all tuners.
| Specifications | ||
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| Scale length | 25-1/2" (647.70mm) | |
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| Width at nut | 1-11/16" (42.86mm) | |
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| Width at 22nd fret | 2-3/16" (55.56mm) | |
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| Fretwire | .045" high x .095" wide (1.14mm x 2.41mm) | |
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| Approximate heel length | 3-5/8" (92.07mm) | |
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| Fretboard radius | 9-1/2" (241.30mm) | |
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Compound radius necks
The fingerboard surface radius gradually changes from 9.5" at the nut, to 12" at the 22nd fret (241mm to 305mm), for lower action and cleaner string bending. 14.75" (375mm) bridge saddle radius is recommended.
Neck thickness (approximate; not including fret)
Ideally, the neck should just drop into the neck-pocket, or be a little snug. Don't force the neck into the pocket. If the body is unfinished, remember that the finish will make the neck pocket smaller with lacquer build up on the edge of the rout. Be sure to compensate for the finish buildup or the neck will be too tight after finishing.Replacement Neck for Tele Guitar
Estructura y componentes de la Guitarra
Fuente: Nicolas Ardizzi.
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