Browse Dave’s Collection

“Welcome to the guitar collection. On the second floor of our store we have on display over 300 guitars and more than 50 amps that I’ve accumulated over the years. The friends and customers that have visited us seem to really appreciate being able to view this, so we thought we would share it with our online friends and fellow guitar enthusiasts as well. Enjoy!”

- Dave Rogers

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  • Fender X


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Fender Strat, ’64

Candy Apple Red, Serial number L45572.

Fender Model “Tremolux Amp. AB763″ ’66

Black tolex, Serial number A06527.

Fender Model 5C5 “Pro-Amp” ’53

Tweed, Serial number 221.

Fender Model 5E5 “Pro-Amp” ’57

Tweed, Serial # 501622.

Fender Model 5E7 “Bandmaster Amp” ’55

Tweed, Serial # B00094. The 3-10 version. Leo Fender began a shop in 1938 specializing in radio and electronics repair. By 1946, he was manufacturing amplifiers and electric lap steels as Fender Electric Instrument Co.  Leo’s hard work and his willingness to listen to feedback from working musicians made Fender amps top sellers by the fifties. The constantly improving Fender designs were often copied by other companies.   Fender’s 1950’s product line increased to include electric guitars and electric basses, so more amplifier models were added. 1953 saw the introduction of the Bandmaster. It was the third 1X15 two 6L6 amp in the line (the Pro and the Bassman were introduced earlier). The main difference was that it came with a new tone circuit with bass and treble control knobs rather than just one tone knob like previous models. The 1X15 Bandmaster lasted until mid-1955 when all Fender amps received a narrow-panel makeover (the previous incarnations had “wide” front panels, and “TV” fronts before that). The narrow-panel Bandmaster had three ten inch speakers.   The 1955 Fender Bandmaster has features common to most narrow-panel versions made between 1955 and 1960.These include: two channels labeled mic. and inst., a volume control for each channel, treble bass and presence controls, standby and on/off switch 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 and ¼” X 22 and ½” X 10 and ½” cabinet has three Jensen P10R speakers, the top one with its blue bell cover removed allowing it to fit in front of the tubes and chassis.   The narrow-panel tweed Bandmaster is mainly remembered today as the amp used with wonderful results by Pete Townsend on the Who’s 1971 album “Who’s Next”. It was coupled with a 1960 Chet Atkins 6120 model for shimmering guitar orchestrations.  

Fender Jazz Bass, ’66

Fire Mist Silver, Serial # 137016. The development of the revolutionary Fender Precision Bass in 1951 changed the sound of modern music forever. Since the bass was so functional and easily portable, Leo Fender thought one model was enough. Its design was upgraded twice during the ‘50s, while the preceding versions were discarded. By 1959, Don Randall at Fender Sales requested that Leo devise a more sophisticated, high-end model along the lines of the recently introduced Jazzmaster. The result was the new for 1960 Jazz Bass.   The body of the new Jazz Bass followed the off-set contoured style of the Jazzmaster. The neck was narrower at the nut permitting trouble-free faster playing for those uncomfortable with the wider Precision Bass neck. This proved popular with guitar players doubling on bass for session work. Two single coil pickups were included for extra tonal versatility. The neck pickup gave a warm full sound already familiar to those used to hearing the Precision Bass. The bridge pickup provided a sharp trebly attack to add punch to a bass line or solo fill. Each pickup had a separate volume control allowing the player to achieve the desired blend.   The 1966 Jazz Bass pictured is a striking Firemist Silver, a custom color introduced the previous year. While this finish is very rare, the rest of the bass’s features are typical to any 1966 Jazz Bass. These include: a rosewood fingerboard with pearl block inlays (replacing dots)and white binding (unbound in previous years), a three ply white vinyl pickguard (changed from greenish nitrocellulose in 1964), two volume controls and a master tone (replaced stacked volume/tone controls in 1962), and metal pickup covers.

Fender Strat, ’70

Sunburst, Serial # 295260.

Fender Jaguar, ’65

Burgundy Mist Metallic with a matching headstock, Serial # L89205.

Fender Telecaster Elite, ’83

Black, Serial # E317132. Since Fender’s purchase by CBS in 1965, there were complaints from dealers and customers about the declining quality of the instruments. New management was hired in 1981, including Dan Smith as director of marketing.  Smith came up with a five year plan to improve sales with new products of better quality. After coming up with the Vintage Reissue line of guitars and basses, which recreated the classic designs of Fender’s glory years, Smith developed the Elite series. These instruments had state of the art, technologically advanced features for modern (‘80s) playing styles. The Elite series included a Stratocaster, a Telecaster and a Precision Bass. Each Elite had a Walnut, a Gold (hardware) and a regular version. They were available with maple or rosewood board necks, and came in a wide variety of standard and custom colors. The Elites were introduced in June of 1983 and were dropped by the end of 1984 when CBS put Fender Musical Instruments up for sale.   The Elite Telecaster shown showcases all the radical (for the time) changes made to the traditional Tele. These include: a heavy cast six saddle top-loading bridge, noise-cancelling pickups using Alnico II magnets, TBX and MDX active tone controls allowing fat humbucking to sharp single-coil sounds (similar controls continue to be used on the current Eric Clapton Strats), knobs with a serrated rubber insert for easy gripping, a 3-way toggle switch (Gibson style), and a Bi-flex truss rod in a neck equipped with jumbo frets on a 12” radius fingerboard. This guitar also sports a classy bound top and an optional stick-on pickguard. The 1983 Fender catalog proudly boasts of the guitar’s many advances: “Elite Series instruments incorporate no fewer than 14 new patent pending inventions by Fender. This alone lends substance to our belief that the rest of the industry will be years in catching up with Elite technology.”   Action shots of an Elite Tele played by Dave Davies in full clown makeup can be seen in the 1984 video for the Kinks “Do It Again” single from the “Word of Mouth” album. Davies used Elite Teles for recordings and live shows through the rest of the ‘80s.

Fender Stratocaster, ’55

Blonde, Serial # 7589. “The tone of the Stratocaster is as new and different as tomorrow and is the big professional tone so long sought after by critical players.” These words from the 1954 Fender catalog announced the arrival of what was to be one of the most popular electric guitars ever.  The Stratocaster was developed with input from players dissatisfied with Leo Fender’s first electric guitar, the Telecaster. Ideas including a more comfortable body shape, an adjustable bridge allowing intonation for each individual string, and a vibrato system were incorporated. The guitar not only attracted early rock ‘n rollers like Buddy Holly, Johnny Meeks, and Richie Valens, but it also appealed to artists in genres as varied as western swing (Eldon Shamblin of Bob Wills and his Texas Playboys) and champagne music (Buddy Merrill  of the Lawrence Welk Orchestra). The 1955 Strat featured this month was used for years in a Wisconsin polka band called The Merri Tones.   This month’s Strat is very much like any other made in ’55. It has a one-piece maple neck with spaghetti logo on the headstock, a comfort contoured ash body, brittle “bakelite” pickup covers and knobs (replaced by a more durable plastic during ’56), and a “synchronized tremolo”. While the standard finish for a Stratocaster was a deep sunburst, this guitar has the same see-through blonde as a Telecaster.  Custom color Strats were rare in the fifties and especially rare before 1956 when the option first appeared in the Fender catalog.     The Strat’s original owner bought it new in November of 1955 for $317. He was allowed a payment plan of $15.73 installments with the final amount due in May of 1957.  According to the back of his sales contract, he paid off the guitar a whole year early. His polka gigs must have been good!

Fender Electric XII, ’65

Olympic White with a matching headstock, Serial # 154372.

Fender Custom Telecaster, ’68

Black, Serial # 230066.

Fender Custom Telecaster, ’68

Olympic White with Black binding, Serial # 107308. Introduced in 1959, the Fender Custom Telecaster was a special deluxe version of the regular Telecaster. The Custom's sunburst alder body had white binding around the top and back that was meant to provide a more sophisticated look than the standard blonde finish Fender used on ash body Teles. The 1968 Custom Telecaster pictured has a custom Olympic White finish with black binding (black binding was used occasionally for a light colored guitar). The body is finished with a thick-skin polyester base coat, which was new to '68. The maple neck with separate maple fretboard still has a traditional Fender nitrocellulose lacquer finish, but by '69 polyester finished necks became standard. The headstock boasts the bold black CBS logo, which was first seen on Customs in '68.

Fender Montego II, ’72

Sunburst, Serial # 92. In 1962, Leo Fender was continuing to devise ways to expand his company’s line of musical instruments. Since Fender had revolutionized the solid body electric guitar in the ‘50s, he was hoping to do the same with acoustic guitars in the ‘60s. He hired German born guitar-maker Roger Rossmeisl to help design and execute these guitars. Rossmeisl had come to the United States in the late ‘40s hoping to build guitars for Gibson. After a brief unsuccessful stay in Michigan, he moved to California, and contributed to Rickenbacker’s most enduring electric guitar designs before moving on to Fender.   Rossmeisl continued work at Fender Musical Instruments after its sale to CBS in 1965. He designed not only acoustics, but also the Coronado semi-acoustics and Tele Thinlines. In 1968, CBS gave him the go-ahead to design two high-end archtop electric jazz guitars: the LTD and the Montego.  The LTD was supposed to be the ultimate jazz archtop (meant to rival D’Angelicos). It had a carved spruce top, gold hardware, and one hum-cancelling pickup. The Montego was a step below with a pressed spruce top and chrome hardware. It was available in both a one pickup, and a two pickup version. Only a small number of these guitars were made between 1968 and 1972: about 40 LTDs, and less than 100 Montegos. The Montego II pictured has a hand-signed label numbered 92.   According to the 1969 Fender catalog, “A magnificent instrument for the professional or serious musician, the Montego combines both beauty and performance in a high quality great sounding guitar.” These specs were listed in the 1972 catalog: “Elegantly contoured spruce top, specially-designed pickups with hand-wound hum-cancelling coils – totally shielded from outside interference, genuine hand-cut Australian mother-of-pearl decorative inlays, and the finest materials and workmanship employed throughout.”  The neck is detachable hard rock maple with a curved ebony fingerboard. The body has an arched spruce top with flamed maple back and sides.   The 1972 Fender price list has a Montego II Sunburst at $850 plus $95 for a case.

Fender Precision Bass, ’52

Butterscotch Blonde, Serial # 0215. Leo Fender introduced the Precision Bass in late 1951 following the success of his revolutionary electric six-string, the Telecaster. The P-Bass proved to be even more ground-breaking.  The radical guitar-sized instrument was almost immediately embraced by bassists and guitarists alike. Bassists had labored for years carrying around the huge upright, only to be barely heard over the horns and drums. The new readily portable bass was easily amplified and could provide a strong bottom end compliment to the drums. Unemployed guitarists, out of work due to the post World War II trend of smaller dance bands, could find work without having to learn a completely new technique. An early 1952 ad described the reasons to buy a Precision Bass: “fretted neck, superb tone, easily played, modern design, highly portable, extremely rugged, faster changes, light weight, 1/6 size of a regular bass”.   The P-Bass pictured dates from July of 1952.  It shares the characteristics common to basses made between 1951 and 1954. The most prominent of these are: a flat slab ash body like the Telecaster’s with elongated horns for better balance (the body became contoured to match the Stratocaster’s in ’54), a headstock shaped like a larger version of the Tele’s (became more Strat shaped in ’57), black “Bakelite” pickguard (white by ’56, gold anodized by ’57), and a single coil pickup (became two-coil hum-cancelling in ’57).   Early players of the original Precision were Roy Johnson and Monk Montgomery – two consecutive bassists in Lionel Hampton’s band. Over two decades later, the bass again found favor with two successive bassists for the Fabulous Thunderbirds – Keith Ferguson and Preston Hubbard.

Fender Esprit, ’84

Cherry Sunburst, Serial # 40702271.

Fender Precision Bass, ’63

Candy Apple Red, Serial # L24133.

Fender Precision Bass, ’65

Olympic White, Serial # L86059. The Fender Precision Bass was introduced in late 1951 and almost immediately had a dramatic lasting effect on how music was heard and played.  This new bass was small compared to an upright acoustic bass, and its feedback resistant solid body (like the earlier Fender Telecaster) enabled players to play at higher volumes. Guitarists were able to adapt to this instrument more easily than the upright, and thus could obtain more work.   This Olympic White 1965 Precision is typical (other than the custom color) of the fully evolved model that year. It has a comfort contoured body (following the lead of the Stratocaster in 1954), a split hum-cancelling pickup (replacing the original single coil in 1957), tortoise pickguard and rosewood fingerboard (1959), pearloid fingerboard dots (replacing clay dots in 1964), and a transition headstock decal (replacing spaghetti logo in 1964).

Fender Custom Esquire, ’63

Sunburst, Serial # L18136.

Fender Jaguar, ’61

Dakota Red, Serial # 73776.

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