Fender Stratocaster Value By Serial Number
I am currently in possession of a Japanese Fender Stratocaster. It was something my dad bought about 20-30 years ago, back in the 80-90. Welcome to the Reverb Price Guide, the ultimate resource for music gear pricing and information. These price ranges utilize a combination of expert research, external market data, and real-time Reverb transactions to estimate the current value of items in used but original condition. 1964 Fender Stratocaster Serial Numbers. Serial number range for the 1964 Fender Stratocaster is generally L20000 to L55000 (on the neck plate). If you need to figure out the exact year of your pre-CBS Fender Stratocaster, use the serial number and the general features of the guitar. The serial number is located on the back metal neck plate.
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- Fender Stratocaster Value By Serial Number
The 1964 Fender Stratocaster is also one of my favorite years for the Stratocaster. It was the mid 60s and the surfing craze had hit. To cash in on it Leo Fender had really started ramping up the custom colored Stratocasters.
1964 Fender Stratocaster The Spaghetti VS Transition Logo
The Stratocaster itself hasn’t changed much over the years. From mid-1963 to 1964 there were just minor changes as they “transitioned” the model. However, there were quite a few minor changes including the first major change to the Fender headstock logo. First of all, Fender changed from the “spaghetti logo” to what is now known as the “transition logo” shown below.
The image on the left shows the 1963-early 1964 “Spaghetti logo” while the image on the right shows the mid-1964-1967 “transition logo”. It also has an added 4th patent number as well. Mid-1964 they added Patent Number 3,143,028 to the logo. The patent numbers on the logo are now 2,573,254 & 2,741,146 & 2,960,900 & 3,143,028.
1964 Fender Stratocaster Neck
Another change that Fender made was using Pearloid dots instead of the so-called clay dots as fret markers on the neck. The image below shows the Pearloid dots on the right and the previously used clay dots on the left.
The pearloid dots didn’t start until very late in 1964 and carried over into 1965. There are some instances where you’ll see a 1965 with clay dots and a late 1964 with pearloid dots. The reason for this is that Leo Fender was very miserly. He didn’t waste anything. So, when they were changing parts or tooling mechanisms there would be “transition pieces” like that. You can find those all throughout the Pre CBS era of Fender.
The fall of 1964 also saw the change from the celluloid “mint-green” pickguard to the white ABS plastic pickguard.
The 1964 Fender Stratocaster also stuck with the curved laminate fingerboard made of Brazilian rosewood as you can see in the image below. The main part of the neck was still rock maple and used the same truss rod as well. You can also see the neck date stamp. The 2 on the neck date is often confused for the date it was made. But, it’s actually the number for the model of guitar Stratocaster.
For instance, necks with a 4 in that spot are Jazzmasters. Precision Basses are marked with a 7. As far as build date for the neck you get the model month year. 2 Feb 64. The B at the end of the date is the neck width. You will occasionally see a width of A which is a slightly skinnier neck for smaller hands. The standard width was 1 5/8″.
Other notable changes to the 1964 Fender Stratocaster were the tuning keys. They had been using “single line” Kluson tuners since around 1956. Toward the end of 64, the Stratocaster switched to a “double line” Kluson tuner as seen in the image below and to the right.
1964 Fender Stratocaster Body and Finishing
Fender continued to use the paint stick (which was a piece of conduit flattened on one end) screwed into the upper bout side of the neck pocket as shown below.
1964 also brought on the use of more pieces of wood to make the body and less appealing looking wood because it was cheaper that way. They were trying to make the guitars faster by speeding up production. So, on the sunburst models, the yellow was now being sprayed after the initial yellow dye. It made the yellow look more milky colored to cover up the wood more. Also, the color separation didn’t blend as well as previous models. The 1963 Stratocaster is on the left and the 1964 is on the right in the image below.
One thing you would also see from 1962-1964 was the very occasional use of Mahogany as a wood for the body. Over the years, I’ve seen a handful of authentic mahogany body Stratocasters from that time frame. Here is an example that Eddie Vegas has on his site for sale right now. I’ve always been intrigued with the mahogany strat bodies. They give off a little bit of a different sound than the normal alder does. Very sweet sounding.
1964 Fender Stratocaster Pickups
Since its inception the Stratocaster had been using the black bottom single coil pickups. The only change to them had been around late 1959-early 1960 when they changed from winding them north wound to south wound.
They started the year off with the standard south wound black bottoms then around the spring to early summer started stamping the bottom of the pickups with a yellow date on the bottom showing when it was wound as seen below.
As they moved through the year of 1964 they transitioned to a gray bottom pickup. At this point that was only change to the pickup was the color of the bottom.
1964 Fender Stratocaster Cases
There were two color options of Pre-CBS guitar cases through the year of 1964. One, was the cream colored or blonde case used from mid 1963-mid 1964 as seen below. (This one is my favorite).
Here is an image of the burnt orange crushed velvet interior.
The other case used toward the end of the year in 1964 was the black no logo case. It was exactly like the blonde case but with black tolex instead. And it’s called the no logo case because well…it had no Fender logo on it until mid-late 1965 or so.
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The insides of the black cases were the same burnt orange crushed velvet interior and the black leather duck foot handle on the case pocket. The case pocket as seen in the above image is angled with the larger side being on the headstock end of the case. These cases were smaller than cases we see today.
1964 Fender Stratocaster Serial Numbers
Guitar Appraisal By Serial Number
Serial number range for the 1964 Fender Stratocaster is generally L20000 to L55000 (on the neck plate). If you need to figure out the exact year of your pre-CBS Fender Stratocaster, use the serial number and the general features of the guitar. The serial number is located on the back metal neck plate.
Highlights
Mid 1964 Fender Stratocaster specs:
- A gold Fender peghead decal thicker than previous “spaghetti” logo. This is known as the “transition” Strat logo. Now has 4 patent numbers (3,143,028 added).
- The finish on the sunburst changes (especially the yellow, which is now sprayed in addition to the yellow body dye, and is far less translucent). Sunburst finish has a more “target” look with a more dramatic change of the three colors, with less blending between colors.
Late 1964 Fender Stratocaster specs:
- About 12/64 the “nail holes” are no longer present under the pickguard.
- Pearloid fingerboard dots replace “clay” dots. This transitions in with the 1/4″ fingerboard dots converting to pearl first, followed by the smaller side dots becoming pearloid.
- Plastic white three layer pickguard replaces the “mint green” celluloid (this happens about 12/64 to 3/65, though early style mint green celluloid pickguards can be found on some Strats throughout 1965).
- Tuners change from “single line” Kluson Deluxe to “double line” Kluson Deluxe (where “Kluson” and “Deluxe” are now in two vertical parallel lines).
- Contouring of the body is even less dramatic, especially at the right forearm.
- Pickups change from “black bottom” to “gray bottoms”. Dates are often seen on the bottom of the gray pickups in either a black hand-written pen, or in a yellow ink stamp.
- The metal spacer below the butterfly string tree was replaced with a white plastic spacer.
- Peghead Fender decal has 4 patent numbers (2,573,254 & 2,741,146 & 2,960,900 & 3,143,028).
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For more than four decades, Fender electric guitars and amplifiers have had a tremendous influence on the way the world composes, plays and listens to music. While guitarists in the early part of this century played country, folk or blues on acoustic guitars, in the 1930's, jazz musicians experimented with amplifying traditional hollow-body guitars so they could play with other instruments at the same sound level. One problem was that the speakers and pickups tended to generate feedback when played at a high level.
In the 1940's, a California inventor named Leo Fender had made some custom guitars and amplifiers in his radio shop. Eventually, Leo would create the world's very first instrument amplifiers with built-in tone controls.
More importantly, though, was Leo's vision of better guitar. With his knowledge of existing technologies, he knew he could improve on contemporary amplified hollow-body instruments . . . and improve upon them, he did.
In 1951, he introduced the Broadcaster, the prototype solid-body guitar that would eventually become the legendary Telecaster®. The Tele®, as it became affectionately known, was the first solid-body electric Spanish-style guitar ever to go into commercial production. Soon to follow the Tele were the revolutionary Precision Bass® guitar in 1951, and the Stratocaster® in 1954.
Guitar Lookup By Serial Number
In 1965, because of poor health, Leo Fender sold his company to corporate giant CBS. Over the next two decades, Fender Musical Instruments experienced some tremendous growth. But as time wore on, CBS's lack of commitment and real understanding of music and musicians was becoming apparent. (1955 Ad shown, Santa Ana location)
In 1981, CBS recruited a new management team to 're-invent' Fender. William Schultz was soon named President, and was supported by associates William Mendello and Kurt Hemrich. They had developed a five-year business plan based on the idea of increasing Fender's presence in the marketplace by dramatically improving quality and making a significant commitment to research and development. This association continued until CBS decided to divest itself from the non-broadcast media business.
So, in 1985, a group of employees and investors led by William Schultz purchased the company from CBS. This sale put Fender in the hands of a small group of musically dedicated people who have committed their lives to creating the world's best guitars and amplifiers.
The team had to start from scratch - there were no buildings or machines included in the deal. They owned only the name, the patents, and the parts that were left over in stock. Supported by a core group of loyal employees, dealers and suppliers - some of whom had been with the company since Leo Fender began making guitars and amplifiers - Bill Schultz and his colleagues set out to re-build an American icon.
Initially, Fender imported their guitars from offshore manufacturers who had proven their ability to produce affordable, viable instruments. But the quest for even more control over quality soon led to the construction of Fender's flagship domestic factory in Corona, California. Eventually, Fender would build a second modern manufacturing facility in Ensenada, Baja California, Mexico, with the goal of being able to build quality instruments and offer them at more budget-oriented prices.
In 1987, Fender acquired Sunn, a storied line of amplifiers whose past endorsees have included The Who, Jimi Hendrix and The Rolling Stones. This jump-started Fender's re-entry into the amplifier business by making accessible Sunn's manufacturing facilities in Lake Oswego, Oregon. But this was still an early stage of the 'new' Fender, so Schultz put the Sunn line of amps on the shelf until the Fender name had been re-established as the world's leading amplifier.
Fender has always recognized the importance of an open-door policy for the professional musician. When artists first started requesting specific features for their guitars, they were accommodated on an individual basis. These relationships led to the formalizing of Fender's custom operation in 1987. Today, the world's greatest guitarists work with the renowned Fender Custom Shop in Corona, California, to create their dream instruments. Recently, Fender has added amplifiers to the list of custom-made instruments that can be produced at the Custom Shop in Corona.
In 1991, Fender moved its corporate headquarters from Corona to Scottsdale, Arizona. From here, administration, marketing, advertising, sales and export teams oversee the operations of Fender's satellite facilities around the world, which now include the locations in the United States (California, Tennessee, New York and Rhode Island), as well as international operations in: Ensenada, Baja California, Mexico; London, England; Dusseldorf, Germany; Suresnes, France; Brussels; Japan; Korea; and China.
Also brought to Scottsdale at this time was Fender's Amplifier and Pro Audio Research & Development. With guitar amplifiers, Fender sets the standard for sound and value. Its R & D staff has pioneered many technological advancements in developing amplifiers that meet the needs of the performing musician. In late 1992, the Amp Custom Shop was opened in Scottsdale, Arizona, to offer custom and limited editions of professional amplifiers for working musicians.
Recognizing that country music and acoustic guitars were increasing in popularity, Fender expanded upon its acoustic guitar line. In addition to working with respected manufacturers in Japan, Korea and China to produce quality acoustic guitars, the company has become the exclusive North American distributor of the prestigious Manuel Rodriguez line of nylon-stringed guitars, which have been hand-crafted in Spain by the Rodriguez family since 1905. These additions have put the company in an excellent position for growth within the acoustic guitar market.
Founded in a loft in New York City in 1952, Guild Guitar Company continues to be known for its quality instruments and exceptional value. Faced with internal financial troubles in the early 1990's, Guild management had decided to sell the company. Fender acquired Guild in 1995, signaling a return to ownership by a group of people dedicated to producing the finest value in American-made acoustic and electric guitars. Today, Guilds are still being produced at its historic, 60,000 square-foot facility in Westerly, Rhode Island.
1998 would prove to be a banner year for Fender and its subsidiaries. With Fender amplifiers once again enjoying a very strong presence in the market place, it was now time to dust off the Sunn line of amps. R&D had spent the previous three years studying the original Sunn products and developing prototype models that faithfully replicated the trademark Sunn sound. The timing was right, and Fender introduced the new Sunn line of amplifiers to an immediate industry acclaim.
And for Guild, 1998 brought the expansion of its Custom Shop in Nashville, Tennessee. First opened in 1996, the new Guild Custom Shop boasts an 8,000 square-foot , climate controlled facility near downtown Nashville that allows a great deal of extra space for production and storage of raw materials.
Guild had also introduced DeArmond guitars in 1998. Fender had purchased the DeArmond brand of musical instrument pickups in 1997, and then combined the company with Guild to produce an alternative line of high quality, affordable guitars and basses that are modeled after Guild designs. The guitars themselves are built and assembled in Korea before being sent back to Corona, where they are fitted with American-made DeArmond pickups. Following their successful test runs in European and Asian markets, DeArmond guitars were introduced to American and Canadian consumers and received instant acclaim as an exceptional value.
But the biggest event for Fender in 1998 was the opening of its new state-of-the-art manufacturing facility in Corona. The 177,000 square-foot facility was built on a nineteen acre site, with over half of that space set aside for future growth, and is the culmination of a vision that at times seemed almost impossible. The entire line of American-made Fender guitars are built at the Corona factory, which is capable of making over 350 guitars each day. In addition, the Corona facility utilizes the innovative UVOXÔ system, which combines ultraviolet light, a special scrubber process, and a carbon bed absorption system to help ensure that the air emitted from the factory is 95% clean. The new factory is not only a state-of-the-art manufacturing facility, but a tribute to how a group of dedicated individuals, when they set their minds to it, can create the 'impossible'.
The Fender Custom Shop also shares space at the new facility. Over fifty artisans now work at the Custom Shop, offering the world's finest custom made instruments to professional musicians, as well as a complete line of hand-crafted replications of classic Fender models. And to complete the Corona operation, the amplifier Custom Shop was brought back from Scottsdale and folded into the guitar Custom Shop.
Simultaneously, a new 70,000 square-foot addition was completed at the Ensenada facility. The extra space was added to bring amplifier production, aside from those produced at the Custom Shop, into one main facility.
During the past decade, Fender has grown dramatically in sales and stature. The company manufactures and distributes virtually everything that a guitarist needs to perform, from the guitar, strings and accessories, to the pro audio products including amplifiers and mixing boards. Today, under Schultz's direction, Fender Musical Instruments Corporation is a world leader in the manufacturing and distribution of electric guitars and amplifiers.
Fender became the world leader by defining the sounds we hear, meeting the needs of musicians, creating quality products and backing them up with service and stability. As Fender Musical Instruments Corporation forges through the 1990's and into the 21st century, its management team will maintain Fender's number-one status through a winning combination of business acumen and a love of music.