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Chances of it being a '61 or '62 are pretty slim. If it is, then it has replacement tuners, a replacement bridge, replacement knobs and switch tip, the body has been refinished in poly, the neck pickup cover was removed, the neck plate was replaced, and the clay position marker dots in the fretboard were replaced with plastic ones.
To date it, you would need to pop off the neck and look at the date markings on the heel. You would also need to pull up the control plate and look at the date codes on the pots. You would also want to look for dates marked on the bottom of the pickups, among other things.
I was a bit suspicious about this one myself. It could be at heart a 61 or 62, but it's been modded extensively as noted above and is not going to be worth more than a fraction of what a tele of that vintage would be in its unmodded state You have the right to free speech, as long as you're not dumb enough to actually try it. I agree with unworthy: The neck pickup and the switch tip are definitely not original. MIM Teles never had rosewood boards, and even if they did, they'd have the trussrod adjustment at the headstock.
The body looks wrong. The edge of the body looks too round. The notch of the body where the bass side of the neck meets the body doesn't look like anything Fender ever did. It's a traditional poly finished neck as opposed to the satin finish necks I've seen on MIM's for the last decade at least. He also said the MN1 serial number decals were used for and into the beginning months of Numbers like mine, beginning with a zero after MN1, are "indeed made in " and serials MN12 and above are generally 's.
He didn't go as far as I did in my email to him, with me saying that early MIM Strat's are better made than contemporary MIM's and very close to MIA Strat's of the same period, but he did say they were "excellent guitars" and the bodies were made with Alder and the necks were glossy finished. The MIM's of today are Poplar and the necks are satin finished. Cool info and as SJ said they were fast and very friendly.
Dating mim telecaster
Looks like I gotta fix my sig pic I wonder when the body woods changed. I was under the understanding mine is poplar Orlando Mike , Sep 30, AllroyPA , Sep 30, The price of alder came down and the price of clear poplar went up, so Fender switched. I think by the non ash, non mahogany MIM bodies were all alder. I mean, all popular models - there could be some stragglers on some models that use a different cut of body. I go on the neck pocket date and the heel date of the guitar. Here's the pattern I see. A serial number can and regularly does suggest the guitar is from the following or more often the previous year - when they assign serial numbers too optimistically and then don't make those guitars until later because the demand wasn't there.
So a "Z5" guitar might be assembled and stamped in October, or maybe May of Sometimes I think they find necks with numbers on them under a table they forgot about. Or, maybe the serial number decals are in a little bin. Pick the winning ball! Boris Bubbanov , Sep 30, My mistake on the MIM woods poor choice of words , let me clarify. He didn't specify when. Players had been "wiring up" their instruments in search of greater volume and projection since the late s, and electric semi-acoustics such as the Gibson ES had long been widely available.
Tone had never, until then, been the primary reason for a guitarist to go electric, but in , when Fender and his partner, Clayton Orr "Doc" Kauffman , built a crude wooden guitar as a pickup test rig, local country players started asking to borrow it for gigs. It sounded bright and sustaining. Fender was intrigued, and in , when it was long understood that solid construction offered great advantages in electric instruments, but before any commercial solid-body Spanish guitars had caught on the then-small Audiovox company apparently offered a modern, solid-body electric guitar as early as the mids , he built a better prototype.
That hand-built prototype, an anonymous white guitar, had most of the features of what would become the Telecaster. Rickenbacker, then spelled "Rickenbacher", also offered a solid Bakelite-bodied electric Spanish guitar in that seemed to presage details of Fender's design. The initial single-pickup production model appeared in , and was called the Fender Esquire. Fewer than fifty guitars were originally produced under that name, and most were replaced under warranty because of early manufacturing problems. In particular, the Esquire necks had no truss rod and many were replaced due to bent necks.
Later in , this single-pickup model was discontinued, and a two-pickup model was renamed the Broadcaster. From this point onward all Fender necks incorporated truss rods. The Esquire was reintroduced in as a single pickup Telecaster, at a lower price. The so-called Nocaster was a short-lived variant of Telecaster.
Produced in early to mid, it was the result of legal action from the Gretsch company over the guitar's previous name, the Broadcaster Gretsch already had the "Broadkaster" name registered for a line of drums.
In the interim, before Fender had come up with an alternate name and printed appropriately revised headstock decals, factory workers simply snipped the "Broadcaster" name from its existing stock of decals, so guitars with these decals are identified simply as "Fender", without any model name. By the summer of the guitar was officially renamed as the Telecaster and has been known as such ever since. The term Nocaster was coined by collectors to denote these transitional guitars that appeared without a model name on the headstock.
There are no official production numbers, but experts estimate that fewer than Nocasters were produced. Fender has since registered Nocaster as a trademark to denote its modern replicas of this famous rarity. In , Fender released the innovative and musically influential Precision Bass as a similar looking stable-mate to the Telecaster. This body style was later released as the Fender Telecaster Bass in after the Precision Bass had been changed in to make it more closely resemble the Fender Stratocaster guitar.
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At the time Leo Fender began marketing the new, more refined Stratocaster in , he expected it to replace the Telecaster, but the Telecaster's many virtues and unique musical personality have kept it in demand to the present day. Leo Fender's simple and modular design was geared to mass production and made servicing broken guitars easier. Guitars were not constructed individually, as in traditional luthiery. Rather, components were produced quickly and inexpensively in quantity and assembled into a guitar on an assembly line.
The bodies were bandsawn and routed from slabs, rather than hand-carved individually, as with other guitars made at the time, such as Gibsons. Fender did not use the traditional glued-in neck , but rather a "bolt-on" neck which is actually affixed using screws, not bolts. This not only made production easier, but allowed the neck to be quickly removed and serviced, or replaced entirely. In addition, the classic Telecaster neck was fashioned from a single piece of maple without a separate fingerboard, and the frets were slid directly into the side of the maple surface.
This was a highly unorthodox approach in its day as guitars traditionally featured rosewood or ebony fingerboards glued onto mahogany necks. The electronics were easily accessed for repair or replacement through a removable control plate, a great advantage over the construction of the then-predominant hollow-body instruments, in which the electronics could be accessed only through the soundholes. In its classic form, the guitar is simply constructed, with the neck and fingerboard comprising a single piece of maple, screwed to an ash or alder body inexpensively jigged with flat surfaces on the front and back.
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The hardware includes two single coil pickups controlled by a three-way selector switch, and one each of volume and tone controls. The pickguard was first Bakelite , soon thereafter it was celluloid later other plastics , screwed directly onto the body with five later eight screws. The bridge has three adjustable saddles, with strings doubled up on each.
In its original design nearly all components are secured using only screws body, neck, tuners, bridge, scratchplate, pickups to body, control plate, output socket , with glue used to secure the nut and solder used to connect the electronic components. With the introduction of the truss rod, and later a rosewood fingerboard, more gluing was required during construction.
The guitar quickly gained a following, and soon other, more established guitar companies such as Gibson, whose Les Paul model was introduced in , and later Gretsch, Rickenbacker, and others began working on wooden solid-body production models of their own. The original switch configuration used from to allowed selection of neck pickup with treble tone cut in the first position for a bassier sound, sometimes called the "dark circuit" for its muffled sound , the neck pickup with its natural tone in the second position with no tone, and in the third switch position both pickups together with the neck pickup blended into the bridge, depending on the position of the second "tone" knob.
The first knob functioned normally as a master volume control.
Mexican Tele Without Serial Number? - Ultimate Guitar
This configuration did not have a true tone control knob. In the pickup selection circuit was modified by Fender to incorporate a real tone control. Between and the neck could be selected alone with the "dark circuit" treble-cut sound, which disabled the tone control knob, in the middle switch the neck could be selected alone with the tone control and finally the bridge could be selected with the tone control.
Although this provided the player with a proper tone control, this assembly did away with any sort of pickup combination. Eventually from late Fender again modified the circuit for the final time to give the Telecaster a more traditional twin pickup switching system: Typical modern Telecasters such as the American Standard version incorporate several details different from the classic form. They typically feature 22 frets rather than 21 and truss rod adjustment is made at the headstock end, rather than the body end, which had required removal of the neck on the original the Custom Shop Bajo Sexto Baritone Tele was the only Telecaster featuring a two-octave fret neck.
The three-saddle bridge of the original has been replaced with a six-saddle version, allowing independent length and height adjustment for each string. The long saddle bridge screws allow a wide range of saddle bridge positions for intonation tuning.
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The stamped metal bridge plate has been replaced with a flat plate, and the removable chromed bridge cover often called the "ashtray" for its secondary use has been discontinued for most models; it improved shielding but prevented players from muting strings at the bridge and made it impossible to pick near the saddles to produce the characteristic Telecaster 'twang'. During the CBS era in the s, the Telecaster body style was changed to a new "notchless" shape, having a less pronounced notch in the crook where the upper bout meets the neck.
The notchless body style was discontinued in Other features included a "Freeflyte" hardtail bridge and die-cast tuning machines with pearloid buttons. Schultz in , production ceased on the Elite Telecaster and other Elite models. Fender Japan made its own version of the Elite Telecaster in late , which featured a fret neck with medium-jumbo fretwire and a modern 9. The Telecaster is known for its ability to produce both a bright, rich cutting tone the typical Telecaster country twang and a mellow, warm, bluesy jazz tone depending on the selected pickup , respectively "bridge" pickup or "neck" pickup, and by adjusting the tone control.
The bridge pickup has more windings than the neck pickup, hence producing higher output, which compensates for a lower amplitude of vibration of the strings at the bridge position. At the same time, a capacitor between the slider of the volume control and the output allows treble sounds to bleed through while damping mid and lower ranges.