MAKE'N MUSIC MASTER VINTAGE PLAYER
The Master Vintage Players (MVP) are among the longest-running Dealer Selects, born from the collaboration between Teddy Gordon of Make'n Music and John Cruz. These instruments, that could be both Team Built and Master Built (most of the time made by John Cruz), were mainly based on four models: 1956, 1960, 1960 HSS and 1969. Indeed Teddy’s idea was to propose a selection of Stratocasters focused on the '50s and '60s historical models, but “upgraded to be the ultimate when it comes to playability, tonal versatility, feel and maintenance.” Also, in 2013, some 40th Anniversary 1973 Stratocasters, based, despite the name, on the 1969 model, were made to commemorate the forty years since the birth of the Make'n Music.
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The specs of these models slightly evolved over time and could vary according to the requests of the guitarists, so that you can find lots of Stratocasters different from Teddy’s “basic models” (including some with a “sparkle” finish with matching headstock).
All Stratocasters had a “thin” nitrocellulose finish (or Gunstock Oil for the NOS models) available in three main aging levels: NOS, Relic or Heavy Relic (but you could also find those Journeyman Relic or Closet Classic). The body was usually composed by two asymmetric pieces of alder (or ash for the 1956), selected by weight and resonance, and the neck was made of quartersawn maple; the 1960 had a dark rosewood fretboard and the 1969 a round lam maple one, but you could also ask for the rosewood. The custom contour of the neck was based on three main types: 10/57 Soft "V" for the 1956, Oval Mid '60s "C" for the 1960 and 1969 Small "U" for the 1969. The fretboards were not very curved, the radius was usually 9.5" and the medium jumbo frets were preferred to the small vintage style.
The pickups were usually Fat '50, Custom Shop 1960, Custom Shop 1969, John Cruz Master Design or handwound by John Cruz, or Seymour Duncan JB humbuckers. All the models had the access to the truss rod at the headstock and a special wiring that included the S-1 switch to simultaneously activate the neck and bridge pickups. “I've played a lot of vintage Strats, and I appreciate the history,” John Cruz remembers. “But let's face it, for me and my style of playing, some of those things like a steeply curved fingerboard and small frets aren't as practical. Teddy wanted things like the American Standard truss rod adjustment, which a lot of people really like. It's more convenient that having it down at the butt end. He also likes the S-1 switching. [...] It's not vintage correct, but if you want every detail to be vintage correct, we offer those guitars, too. The whole idea here is to do something with an authentic look and a Relic treatment, but with player-oriented details that people like on the gig. [...] Keep it simple, make it convenient, but still have a lot of vintage vibe from the front.”
All Stratocasters had a “thin” nitrocellulose finish (or Gunstock Oil for the NOS models) available in three main aging levels: NOS, Relic or Heavy Relic (but you could also find those Journeyman Relic or Closet Classic). The body was usually composed by two asymmetric pieces of alder (or ash for the 1956), selected by weight and resonance, and the neck was made of quartersawn maple; the 1960 had a dark rosewood fretboard and the 1969 a round lam maple one, but you could also ask for the rosewood. The custom contour of the neck was based on three main types: 10/57 Soft "V" for the 1956, Oval Mid '60s "C" for the 1960 and 1969 Small "U" for the 1969. The fretboards were not very curved, the radius was usually 9.5" and the medium jumbo frets were preferred to the small vintage style.
The pickups were usually Fat '50, Custom Shop 1960, Custom Shop 1969, John Cruz Master Design or handwound by John Cruz, or Seymour Duncan JB humbuckers. All the models had the access to the truss rod at the headstock and a special wiring that included the S-1 switch to simultaneously activate the neck and bridge pickups. “I've played a lot of vintage Strats, and I appreciate the history,” John Cruz remembers. “But let's face it, for me and my style of playing, some of those things like a steeply curved fingerboard and small frets aren't as practical. Teddy wanted things like the American Standard truss rod adjustment, which a lot of people really like. It's more convenient that having it down at the butt end. He also likes the S-1 switching. [...] It's not vintage correct, but if you want every detail to be vintage correct, we offer those guitars, too. The whole idea here is to do something with an authentic look and a Relic treatment, but with player-oriented details that people like on the gig. [...] Keep it simple, make it convenient, but still have a lot of vintage vibe from the front.”
WILDWOOD "10"
In 2007 the Wildwood Guitars contacted Fender to propose a whole line of Custom Shop instruments which could combine Fender tradition with small modern features, in order to make vintage-looking but also “player friendly” models. The name came from the 10" radius fretboards present on most of their Dealer Selects. However, the radius of the fretboard, like the specs of these guitars, in general, could vary widely, and the Stratocasters shown by Fender on its website were only a small selection of those actually available.
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The Dealer Select Wildwoods "10" Stratocasters could be both Team Built and Master Built, and they had a thin nitrocellulose finish, available in different aging levels. The pickups were often Custom Shop, John Cruz Master Design or Limited Edition by John Cruz. Many models also featured a Brazilian rosewood fretboard.
There were many neck shapes, but the primary ones available were:
There were many neck shapes, but the primary ones available were:
- ’54 U – The ’54 U neck usually measures roughly .910" at the first fret and .990" at the twelfth. It’s similar to the ‘52 U in shape, but it’s much skinnier near the first fret. For players seeking a vintage chunkier feel with more of a taper, this neck profile will get the job done.
- ’54 V – The ’54 V was Fender’s first non-U neck profile, and it usually measures about .91" to .99". It has a softer V-shape than other similar profiles, and is a bit chunkier than later V necks.
- ’56 V – The ’56 V neck measures roughly .880" at the first fret – .980" at the twelfth fret. It’s also known as the Boat Neck, because, well, it kind of mimics the shape of the bottom of a boat. There are small “shoulders” at the first fret (or “bow”), and it tapers to a rounder C-shaped feel around the fifth fret. Most of its girth is at the very center of the back of the neck, too.
- ’57 Soft V – The ’57 Soft V measures about .850" at the first fret – .990" at the twelfth fret. This shape is similar to the ’56 V Boat Neck, although the ’57 V Neck is slimmer at the first fret and fatter at the twelfth Fret. The V shape becomes more rounded higher up on the neck, but you can still feel the “spine” of the V up around the tenth fret.
- ’59 Large C – The ’59 Large C profile measures around .860" at the first fret and .980" at the twelfth fret. It’s a chunky shape with larger shoulders than the mid-60s C, which gives you additional leverage for bends.
- Mid-60s C – The mid-60s C neck profile measures roughly .790" at the first fret to .930" at the twelfth fret. It’s the slimmest of the Wildwood 10 neck profiles, and the shape is similar to Fender’s ’65 neck shape (.842"- .970") but not quite as large.