Given the success of the increasingly aggressive sounds, in 1990 Fender decided to export from Japan a new series of Stratocasters, with classic contour, but “hotter”. The Hot Rodded Reissue Series Stratocasters, made famous by Richie Sambora, were characterized by the presence of a Di Marzio humbucker with coil tapping at the bridge, twenty-two frets, asymmetric neck plate (strangely, “FENDER U.S.A” engraved), and a double locking tremolo: at first Kahler Steeler, then Floyd Rose Original.
The series, consisting of the HRR '50s Stratocaster (with maple fretboard) and the HRR '60s Stratocaster (with rosewood fretboard), remained in production until 1983.
The series, consisting of the HRR '50s Stratocaster (with maple fretboard) and the HRR '60s Stratocaster (with rosewood fretboard), remained in production until 1983.
HRR '50s strats sported a 11-Holes pickguard! (Courtesy of andergtr, hugeracksinc.com)
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HRR Series' contoured neck plate with "Fender USA" engraving
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Floyd Rose Bridge and Di Marzio humbucking pickup on a HRR '60s (reverb.com)
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Since 1992 it had been possible to choose, both for the HRR and the other guitars MIJ of the Reissue/Collectables and Floyd Rose (Standard) series, the Foto Flame finishes, which represented an attempt to compete with the extremely figurative maple tops that were increasingly fashionable in the 1990s.
Despite many legends, Fender had nothing to do with the development of the Foto Flame process, and no film company, as Kodak or Fujifilm or Polaroid, was involved, because it wasn't a photo! The only thing Fender did was choose the name Foto Flame, for marketing purposes.
This effect indeed had been developed and patented by Fujigen, which played Fender and Ibanez against each other to get both to order Foto Flame instruments and make the project a success and their investment worthwhile.
The Foto Flame image (and quilt image used by Ibanez, called "graveure") was created digitally and printed on a special heat activated plastic film with something you can refer to as special ink. A piece of this plastic film with the printed image was laid on top of a body which was placed in a very expensive heated vacuum press. Everything was vacuumed and heated. After the correct amount of time the press was opened up and the film removed and thrown away. The only thing that remained was the microns-thick "ink" print of the flame figure transferred to the body. After that is was clear coated as normal. The result was impressive, and it was not always easy to distinguish a foto flame guitars from an instrument with a figured maple top.
It's interesting that Fujigen also was a subcontractor for the auto industry, making the wood panels inside Lexus and Toyota cars (again cars!) so this process had multiple application potential as well.
Despite many legends, Fender had nothing to do with the development of the Foto Flame process, and no film company, as Kodak or Fujifilm or Polaroid, was involved, because it wasn't a photo! The only thing Fender did was choose the name Foto Flame, for marketing purposes.
This effect indeed had been developed and patented by Fujigen, which played Fender and Ibanez against each other to get both to order Foto Flame instruments and make the project a success and their investment worthwhile.
The Foto Flame image (and quilt image used by Ibanez, called "graveure") was created digitally and printed on a special heat activated plastic film with something you can refer to as special ink. A piece of this plastic film with the printed image was laid on top of a body which was placed in a very expensive heated vacuum press. Everything was vacuumed and heated. After the correct amount of time the press was opened up and the film removed and thrown away. The only thing that remained was the microns-thick "ink" print of the flame figure transferred to the body. After that is was clear coated as normal. The result was impressive, and it was not always easy to distinguish a foto flame guitars from an instrument with a figured maple top.
It's interesting that Fujigen also was a subcontractor for the auto industry, making the wood panels inside Lexus and Toyota cars (again cars!) so this process had multiple application potential as well.
The Foto Flame Stratocasters, made between 1994 and 1996, were, in essence,’60s style reissues, with rosewood fretboard, vintage tremolo and three single coils, and whose alder body had a basswood top. Foto Flame’s effect was imprinted both on the top of the body and on the neck. They could be recognized because they had the Foto Flame Logo on the back of the headstock. They should not be confused with the 50’s and 60’s with the foto flame finishes, as these last had a basswood body and the foto flame finish was applied also on the back of the body, but not on the neck.
Foto Flame Strat (Courtesy of Moody, strat talk)
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Foto Flame logo
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A locking tremolo version of the Foto Flame, the Floyd Rose Standard Stratocaster Foto Flame, made between 1992 and 1996, is often confused with the HRR, but can be distinguished from it by its twenty-one frets, only two knobs (volume and tone), the rectangular neck plate (not asymmetric like the HRRs), the "Floyd Rose Squier Series" logo and the Floyd Rose II bridge.
Antonio Calvosa
Very special thanks to Scott Zimmerman for the precious information
Very special thanks to Scott Zimmerman for the precious information
Floyd Rose Standard Stratocaster (reverb.com)
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Floyd Rose Standard Stratocaster's headstock had the Floyd Rose Squier Series Logo (Courtesy of Heilly, Strat Talk)
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