FENDER 1956 STRATOCASTER

　Since 1956 was the year the body wood specifications were changed, it is a distinctive model year in which ash and alder bodies coexist.
Naturally, different core woods have a significant impact on the sound, but there’s no doubt that both offer unique and appealing tones.
This guitar responds well to picking, and the harmonics when strumming chords are quite pleasing. It doesn’t feel overly trebly; even with its tight tone, it gives a soft impression.

　A standard 1950s cavity. Around mid-1959, the pickguard was changed from a single-ply white model with eight mounting points to a three-ply model with eleven mounting points, resulting in a design where the screw holes protrude.In addition to the screw holes, there are three jig-pin holes (it appears one was removed around 1958, leaving two) and one hole for the jack cavity—a total of four holes—in the area hidden by the pickguard. The body’s date is marked on the spring cavity on the back.

　The groove for routing the wiring to the rear pickup is finished quite roughly. Although there are individual variations, from around 1957 onward, even when done freehand, it was finished to a somewhat consistent depth.

　　A "SwitchCraft" jack is shown in Recruit. You can see another small hole next to the screw hole; this is a pin hole drilled during jig mounting. There are three such holes on the body (in areas hidden by the pickguard), making a total of four holes.

　　This is the body date marked in the spring cavity. It’s handwritten and quite rough, so it’s a bit hard to make out, but it’s definitely 1956.

　The top and back contours appear to have become significantly deeper through 1957, but after that, they seem to have gradually become shallower and reduced in area. Since these details were subject to minor changes, this is an area where there are differences depending on the year.

　　The neck pocket is fully painted. Since the lacquer wear on the body and neck matches, this is undoubtedly the original set. Starting around 1962, a hanger was attached to the neck pocket before painting, so the paint only covers half of the surface.

　　Original pickups featuring black fiber paper on the top and bottom of the bobbins. The masking tape used to bundle the wiring is also still firmly in place.The pickup magnet is a cylindrical Alnico Type V with a diameter of just under 5 mm, and the coil uses "AWG (American Wire Gauge) #42" wire. The pole pieces are of the "staggered" type, with different heights for each string to balance the volume—a design used on Stratocasters until the mid-1970s.
*Alnico Type V: An alloy consisting of approximately 50% iron with added aluminum (Al), nickel (Ni), and cobalt (Co). Incidentally, the name "Alnico" is simply a combination of the chemical symbols.
◎For reference

(F) 5.77kΩ (M) 5.67kΩ (R) 5.76kΩ

　While the serial number is generally an important factor in determining the year of manufacture, it does not always correspond exactly to the actual production date. This is due to variations in the manufacturing process and other system changes, and there are also units where the serial number and production date differ significantly for various reasons. Since parts can be easily replaced, determining the exact year requires a comprehensive assessment that takes all components into account.

　　The pot is a non-grooved type made by "Stackpole." The pot date is "304633," which indicates week 33 of 1956. The capacitor is a potted "Cornel Dubilier" 0.1μF 150VDC unit, and the switch is an original 3-way "CRL" model.The aluminum shield plate covers only the control section, but starting around 1959, due to a change in pickguard specifications, it was redesigned to cover the entire back. Additionally, starting around 1957, the pots changed from a flat-bottomed type to a type with a circular groove on the bottom.

　　The handwritten date confirms it is from 1956. It’s written upside down, so it’s a bit hard to read...

　It features the distinctive "V-neck" profile. When it first appeared in '54, the grip was thick and somewhat triangular, but from around '56, the grip became slightly thinner and the triangular angle became more pronounced. The angle became even more pronounced the following year, so the peak of the so-called "V-neck" specification can be said to be '57.After that, the neck shape gradually became thinner, transitioning to a flatter grip. Additionally, in the case of a one-piece neck, walnut is inlaid into the truss rod slot on the back to accommodate the rod, a feature commonly known as the "skunk stripe."

　The tuners are covered "Kluson" types. Early models up until the previous year had no engraving on the top of the cover, but from around 1956, they became "single-line Kluson" models with the "KLUSON DELUXE" engraving, continuing until around 1963.

　The gold logo with black trim is commonly known as the "Spaghetti Logo." Starting in 1954, the large chamfering was eliminated, and the headstock gradually became more angular. Midway through that year, the string guide was changed from a round shape to a pressed, wavy design. The logo is still beautifully preserved with no peeling.

　A distinctive feature is the sharp curve where the shape drops down from the fingerboard to the headstock. The rosewood models introduced in 1959 feature a much larger, gentler curve.
◎For reference

1st string side: 14mm, 6th string side: 14mm

　Starting in 1956, the materials for control knobs and pickup covers were changed from Bakelite—which was prone to chipping and cracking—to nylon. While this increased durability, Bakelite is known for its resistance to discoloration, whereas nylon tends to yellow over time.

　A separate-type tremolo block that integrates the "bridge" and the "inertia block," which functions as the tailpiece. The name "Synchronized Tremolo," which brought this innovative idea to life, was derived from the fact that the integrated bridge plate and inertia block move in sync (synchronously) when the tremolo arm is moved.Starting around 1957, a version with a deeper "FENDER PAT.PEND." groove engraved on the saddle also appeared, but it seems there are quite a few instruments where both types are mixed.

　These are wood screws for the pickguard (top 8) and the jack (bottom 2). Starting around 1958, they were changed to self-tapping screws with a cut-in slot extending to the top. Additionally, in the early 1960s, the wood screws for the neck joint and spring hanger were similarly changed to self-tapping screws. The serial number is stamped on the top of the neck plate.