It’s Oda here!
I post fun facts about electric guitars on X (Twitter), but
since there’s a character limit on X, I’ll share more detailed tidbits in this update!
Knowing these things won’t necessarily make you a better guitarist, but I’d be happy if they just made you go, “Oh, really?”
(Though, learning more about guitars = loving them more = practicing more = you might actually get better at playing. lol)
I’m writing this while thinking “Huh, that’s interesting!” myself, so let’s say “Huh, that’s interesting!” together!!
Part 2 covered the fretboard, neck, and headstock.
This time, we’ve finally reached the body!
So this time, we’ll focus on the body, covering body materials, finishes, neck plates, pickguards, and knobs.
Ash Body
Early Fender Stratocasters followed in the footsteps of the Telecaster and used ash for the body. Starting in mid-1956, the body material was changed to alder (with some exceptions), and ash made a comeback in 1972.
Ash is a hard wood known for producing a sound with well-defined lows and highs!
However, the ash used in the ’70s is completely different from that of the ’50s!
There are different types of ash; the variety used from 1954 to 1956 was Swamp Ash (also used in Telecasters), which is lighter than the White Ash of the ’70s and tends to have a slightly brighter, more mid-range-heavy sound.
Alder Body
Starting in mid-1956, the Stratocaster’s body wood was changed to alder, and alder bodies were the standard until 1972 (with some exceptions, such as the Blonde models).
Alder is a relatively soft wood; its sound peaks in the low to mid-range, and compared to ash, the highs tend to be more subdued.
Fender uses a type called “Red Alder,” which is lightweight due to its lower density and is said to resonate with good balance.
Lacquer Finish
On Stratocasters, until mid-1967, the body finish—from the undercoat to the topcoat—was entirely lacquer.
Because the lacquer coating is extremely thin, it is highly susceptible to temperature and humidity, making it a very delicate finish that can chip in areas where the body comes into contact with the player’s body.
Furthermore, lacquer dries very slowly and continues to change over time. It is believed that the switch to a polyurethane finish later on was primarily due to the long drying time required for lacquer.(Discussed later)
There’s a reason why many people still insist, “The finish has to be lacquer!”
The thin coating allows the wood to resonate, and over time, the finish develops cracks (weather checking), scuffs, and color changes. It’s fascinating how what was once considered a drawback gradually becomes part of the instrument’s charm.
Polyurethane Finish
Polyester began to be used for body finishes in 1967. By 1969, necks were also being finished with polyester, which significantly changed the feel of playing the instrument.
The advantages of a poly finish include the fact that it hardens quickly, ensuring the instrument sounds exactly as the manufacturer intended at the time of shipment. It’s also resistant to scratches and unaffected by changes in temperature and humidity.
While poly finishes are generally perceived as less expensive than lacquer finishes, there isn’t a significant difference in the cost of the paint itself. However, since the drying time is much shorter than that of lacquer, production costs are ultimately lower.
Chic Skin Finish
Although the body began using a poly finish in 1967, not all models were fully poly-finished until 1982; instead, a polyester undercoat was used, with lacquer applied for the color coat and top coat.
At the time, this process was referred to as the “Six Skin Finish,” and it appears to have been actively promoted as an upgraded paint finish.
Sunburst
When it comes to classic Stratocaster colors, “Sunburst” is the first that comes to mind.
However, even though it’s simply called “Sunburst,” its character varied by era.
1954–1957: Two-tone with black on a yellow base.
1958–: It became a three-tone finish with the addition of red, and from then on, it consistently featured a three-tone Sunburst (though on models from around 1960 and 1967–1969, the red tended to fade easily, making some appear almost two-tone).
1964–: The yellow base coat was changed to a paint and application method that made the wood grain less visible.
1968–: The switch to a polyurethane finish significantly altered the texture.
1979–: In addition to the existing three-tone sunburst, sunburst finishes such as Tobacco and Cherry were introduced as standard colors.
(This is a ’66 Jaguar; the topcoat has peeled away, exposing a yellow ground coat that obscures the wood grain.)
Neck Plate
Fender neck plates come in square and triangular shapes.
On Stratocasters, square plates with four mounting points were used from 1954 to 1971. From 1972 onward, triangular plates with three mounting points were used.
There are different variations within each plate type, and the evolution is as follows.
Early 1954: Square, no serial number
1954–65: Square, with serial number
1965–71: Square, with serial number + “F” logo engraving
1971: Triangle, with serial number + “F” logo engraving + “PAT.”PENDING stamp
1971–76: No triangular serial number + "F" logo stamp
1976–82: No triangular serial number + "F" logo stamp
Pickguard
From 1954 to 1959, Stratocaster pickguards were made of single-ply vinyl chloride.
When rosewood fingerboards were introduced in 1959, they switched to three-ply celluloid. With a white/black/white three-layer structure, the middle layer appears greenish through the yellowed white outer layer, which is why they are called “Green Guards.”
This design is faithfully reproduced even in reissue models.
The Green Guard was used until around 1964, but since it was made of celluloid, it was prone to discoloration and shrinkage.
From late 1964 through 1968, while retaining the three-layer structure, the design reverted to a three-ply vinyl chloride construction that was less prone to discoloration.
The three-ply vinyl construction continued from around 1969 through late 1975, but the edge angle became steeper (from a 40° to a 60° bevel), and the back side was given a matte finish.
Starting in 1976, plastic parts—including the pickguard—began to be standardized in black.
Since the pickguard was changed first, there are Stratocasters from this year featuring a mixed configuration of a black pickguard, white pickup covers, and white knobs.
The photo shows a 1979 model. It features a black/white/black three-ply vinyl construction.
Control Knobs
Although the Stratocaster’s control knobs underwent two changes by 1957*, white nylon knobs were standardized from then on until 1977.
Starting in 1977, plastic parts were standardized to black, so the knobs switched to black.
The photos show models from ’66 and ’79!
*1954 → Styrofoam short-skirt knobs
1954–1957 → White Bakelite knobs made of melamine
It is said that the switch to nylon was made to improve durability.
What did you think?
Thank you for reading all the way to the end again this time.
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See you next time—let’s say “Wow!” together!
Oda