Serial number fall guys crack

Introduction.

For most collectors, pre-CBS (pre) Fender vintage guitars and amps are the desirable ones. Although CBS purchased Fender (officially) on January 3rd , it took some time till the guitars changed (though by mid , six months before CBS bought Fender, things were already "on the way down"). By the end of , the general look and feel of the Fender guitars had changed significantly. All collectors feel the quality of their instruments and amps suffered as CBS employed more "mass production" manufacturing processes to the Fender guitars. The "large peghead" (starting in late ) as used on the Fender Stratocaster was one example of the (bad) changes to come. The "custom contoured" bodies Fender was famous for no longer were as sculped and sleek. Newer (and less attractive) plastics were used for the pickguards. Pearl fingerboard inlays replaced the original "clay" dots. Indian rosewood replaced the beautifully figured Brazilian rosewood on the fingerboards. And by , polyurathane replaced the original nitrocellulose lacquer that was used from Fender's conception. By early the party was truely over. Fender now employed the infamous "3 bolt neck" and one piece die cast bridge on the Strat, ruining it's tone and feel. Many other models suffered the same miserable fate of being over mass-produced and cheapened by corporate zealots.

Because of this, Fender's most innocent era of the 's is their most collectible. This decade produced guitars with one-piece maple necks, single layer pickguards, thin "spaghetti" logos, and tweed cases that seem to capture collectors the most.

The early 's Fenders with "slab" rosewood fingerboards are also collectible, but not to the extent of the earlier 's maple-neck era. Of the rosewood fingerboard models, the "slab" fingerboard (/mid to August ) variants are more desirable than the "veener" fingerboard (August and later) pre-CBS models. The "transistion" era (late summer to December ) are the least collectible of the pre-CBS models. This era is known as a "transition" because later summer to December was the time when there was a transition from the Leo Fender management to CBS management, and mass-production manufacturing techniques were starting to take a firm hold.

By (a year after CBS bought Fender), CBS management had really taken hold of Fender's production facilities and incorporated many changes. The sum of of all these changes had a serious effect on Fender guitars as a whole. brought an era of "large" pegheads, less contoured bodies, and much higher production numbers. CBS looked for ways to cut production time and costs, which generally led to much lower quality. Because of this, and later Fender instruments are considered far less collectible than vintage pre-CBS Fender guitars.

The Guitar Models.

The Esquire was Fender's first electric spanish guitar. Originally introduced in June of as a black (and later blond), one or two pickup model, it was discontinued by Fender's marketing arm in September Only about 50 of these original Esquires were shipped, though Fender had a backorder of hundreds of units. And many came back to Fender to have the neck (and body!) replaced because of neck warpage, from the lack of a truss rod. In October , the Broadcaster replaced the Esquire as their two pickup electric spanish guitar, with a truss rod! The Esquire was re-introduced in early as a single pickup version of the Broadcaster. The and later Esquire, because of its single pickup, does not have the value today of its two pickup brother, due to its limited tonal range with one pickup. By February , the Broadcaster was renamed the Telecaster (though the guitars didn't actually have a "Telecaster" decal on them until the summer of ), because of a naming conflict with a trademarked Gretsch drum line.

The Fender Stratocaster (and Telecaster) from the 's put the solidbody electric guitar on the map. The Stratocaster was like no other guitar ever produced. With three pickups, a contoured body that made playing guitar comfortable, and a tremolo built-in and designed correctly for the guitar, made it an instant sucess. Even today, nearly 50 years later, the Stratocaster is the electric guitar by which all others are judged.

From country, to rock and roll, to surf music, Fender found a niche with its instruments. Especially different for the era was those Fenders with Custom Color finishes. Hence they are more valuable than the standard finish (usually Sunburst, or Blond for the Telecaster/Esquire).

The Jazzmaster, introduced in , became Fender's "top of the line" instrument (though today's vintage guitar market does not hold this view; it's clearly a 3rd class citizen behind the Strat and Tele). Fender truely thought the Jazzmaster would make a sensation in the jazz scene. Instead, it became the main instrument of many Surf-guitar bands of the 's.

Likewise, in Fender introduced another "top of the line" instrument called the Jaguar. Again, this model quickly lost popularity, starting in with decreased sales. The short scale length of the Jaquar was one of its major flaws. Finally the Jaguar and Jazzmaster were discontinued by and , respectively. Before the death of Kurt Cobain of Nirvana, interest had revived in these models, though no were near the level of Strats and Teles. Now most collectors interested in these models do so because they can not afford a vintage Strat or Tele.

The Low-end Fender solidbodies such as the DuoSonic, MusicMaster, and the Mustang are not collectable and are considered student models. Even with the recent popularity of the Mustang, it's still a short scale, entry level instrument. All these instruments share that basic problem of a shorter scale length, and lower quality electronics.

The Bass Models.

Fender hit another home run with the Precision Bass, the first fretted electric bass. Still today, it's the standard by which all basses are judged. Early P-basses (late to mid ) are collectable, but not as much as the models from mid to mid with split coil pickups, aluminum pickguards, and maple necks.

Early Jazz Basses with concentric tone and volume knobs are also very collectable, along with the three knob configuration pre-CBS Jazz basses. Until the late 's, the P-bass sound was more desirable by players than the J-bass. But by , the sound and feel of the J-bass had become preferred.

The Amp Models.

Tweed covered Fender amps are very collectable. The more powerful tweed amps with multiple speakers are the most valued by collectors and players. The tweed Bassman with four 10 inch speakers and four inputs () is considered by many to be the finest guitar amp ever made.

Brown and white tolex amps (), and some "black face" models () are highly regarded by players. "Silverface" and later models (post ) are fine utility amps, but have no collectable value.

General Fender Parts and Detail Specs

Left: to 3/62 style pencil-written neck date at butt of neck.
Note the initials before the date were consistent till about ,
and were sometimes there till they completely stopped around
Right: 3/62 to style stamped neck date at butt of neck. The "2"
before the month indicates the guitar model, NOT the day of the month!

The body and neck dates on a / strat. The body date
(right) is in the middle pickup cavity on this guitar.

The body date on a 7/57 Telecaster, under the lead
pickup. The body date on the Telecaster moved from
the neck pocket to under the lead pickup around
or Consistently by it usually appears
under the lead pickup.

Fender Body Dates, to present.
The earliest models (Broadcaster, NoCaster, Telecaster) had a body date under the neck, in the neck pocket. But by or , this date moved to under the lead pickup (but didn't show up consistently in this spot until ). Stratocasters also had variable body date positions. Usually they are seen in the rear tremolo cavity (if the Strat is a tremolo model!). But it is also common for the body date to be under the middle pickup. For all models, by about or , body dates were rarely used.

Fender Neck Dates, to present.
From the first solidbody guitars to , Fender dated their instruments at the "butt" of the detachable neck. Here is a timeline of the format the dates, and how they were printed:

• to Penciled by hand below the truss rod adjustment at the butt end of the neck usually in M-D-YY format. Many times the initials of the woodworker were also indicated, such as "TAD" or "TG" for Tadeo Gomez.
• to Penciled by hand below the truss rod adjustment at the butt end of the neck in M-YY format.
• Early Due to a complaint by a Fender customer as to an obscentity written on the neck butt, no markings were used for the first part of I've seen dates of , so they started using them again at least by mid-year.
• Mid to March Penciled by hand below the truss rod adjustment at the butt end of the neck in M-YY format.
• March to Ink stamp in dark blue or red ink below the truss rod adjustment at the butt end of the neck in "XX MMM-YY W" format. The "XX" is not the day of stamping. Instead it is a code for the type of neck (for example, "02"=Stratocaster, "3/4"=3/4 scale Musicmaster). The "W" is the neck width where "A" is the narrowest, "B" is normal, and "C" is the widest.
• the model number (the number stamped on the neck before the month) change (for example, "13"=Stratocaster).
• new type of neck stamp consisting of 6, 7 or 8 digits was used on some models. This new stamp was usually green ink. An example of this type of neck code is "B". The new green stamp was used concurrently with the previous "XX MMM-YY W" format. So a neck could have either code system! The model numbers change yet again (for example, "22"=Stratocaster). See below for more info.
• Fender changed to yet another new type of neck stamp which had 8-digits. This was stamped in green or red ink. A example of this is "" found on a Jazz Bass. From through about March , this new system was used concurrently with the previous "XX MMM-YY W" format. Again, a neck was stamped with either the new or the old date stamp, but not both. The model numbers change yet again (for example, "09"=Stratocaster). See below for more info.
• April to After March , Fender dropped the old style date stamp and continued to use the new style, 8-digit code. See below for more info.
• to present: All non-vintage reissue instruments have the serial number printed in the decal on the face of the peghead. The approximate year of manufacturer can be determined from this (see serial number section below). Sometimes a date is also stamped or pencil written on the butt of the neck. Vintage reissue instruments have the date on the butt end of the neck as was used during the time period being reissued.
• Small adhesive labels with Month-Day-Year date stamps appeared in the neck pocket, pickup cavity and/or back of the neck.

to (mostly) Neck Stamp/Model designations. Starting about April , Fender went from a hand written neck butt date to stamped date. Usually the date had a code (often mistaked as a day of the month/year) preceeding the date, to signify what model the neck belongs. Note in many model numbers changed. Here is a list of those codes and the years that they were used.

• 1 = Jaguar
• 2 = Stratocaster
• 3 = Telecaster
• 4 = Jazzmaster
• 5 = Precision Bass
• 6 = Bass VI
• 7 = Jazz Bass
• 8 = Musicmaster II, Mustang, Duo-Sonic II 22 fret 24" scale model
• 9 = Musicmaster II, Mustang, Duo-Sonic II 21 fret 22 1/4" scale Model. Also found on Swinger "Arrow/Musiclander" models.
• 10 = Coronado 1 and 2, and some Jazzmaster and Stratocaster necks
• 11 = Bass V
• 12 = Electric 12 and Maverick/Custom model
• 13 = Stratocaster , many Jazzmasters too
• 14 = Coronado 12
• 15 = Jaguar
• 16 = Musicmaster II, Mustang, Duo sonic II, and Bronco
• 17 = Mustang Bass and MusicMaster Bass
• 18 = Coronado Bass
• 19 = Jazzmaster and Coronado 2
• 22 = Stratocaster
• 23 = Telecaster Bass
• 27 = Villiager 12
• 28 = Shenandoah 12

to Neck Stamps.
This information was documented and written by Greg Gagliano, and was published in a article in 20th Century Guitar magazine.

About Fenders made between and were examined. Of these, less than half had useable information. In most cases, the stamp was smudged beyond legibility or the stamps were incomplete. Many guitars had no stamped codes at all. Some guitars simply had the model name, such as "MUSTANG" stamped on the butt end of the neck in green or red ink.

This means two things for the owner of a to Fender. First, the chances of having an intact stamped code is about 50/ Second, the dataset for making conclusions is relatively small and therefore, subject to change as new information surfaces. However, the interpretation of the two date code systems appears to be relatively straight forward and the conclusions were confirmed by pickup dates and pot dates in most cases.

The to Neck Stamps Explained.
This information was provided by Greg Gagliano. The neck stamp used from to can be extracted by working from the outside inward. For example, let�s take Telecaster Thinline (s/n ) with the code: B. Starting a the right we have the letter B. This appears to be the same neck width code that Fender had been using since The next digit denotes the year, in this case 9 = The next one or two digits denote the month, in this case 11 = November. The first one or two digits of the code, in this case 3, denotes the model. For Telecasters, Telecaster Thinlines, and Esquires that code is 3. For Stratocasters it is 22 and for Precision Basses it is 5. The other three digits () are perhaps some kind of batch or lot number. It could also be the number of instruments of this type produced for that month, but I would suspect Fender could make more than of any one instrument type in a month. Hence it is probably a batch or lot number.

Here�s our P-Bass again (s/n ) with the code B. Breaking up the code we get:

• 5 = code for Precision Bass
• = batch or lot code
• 2 = February
• 9 =
• B = 1 5/8 inch neck width (correct for a �69 P-Bass).

Here's another, a Strat (s/n ) with code B. Break it into pieces:

• 22 = code for Stratocaster
• = batch or lot code
• 10 = October
• 9 =
• B = 1 5/8 inch neck width

Exceptions do exist. A few Telecasters have shown up with neck codes that would indicate a date and one has been reported with a possible date, yet the rest of the guitar appears to be from If Fender used the coding system as early as , then we should see more and guitars surfacing with the green stamped code. One explanation is the use of leftover necks. Fender is known to have done this often. Other exceptions exist too. For example, a Strat with the neck code B. The first "22" is the model (Strat), and the ending "B" is the neck width. But the "" is not the month and year. I can't really explain why this happens, but it does on the occassional Fender guitar from this era.

to Neck Stamps Explained.
This information was provided by Greg Gagliano. The eight digit code is similar to the previous system. Example, Music Master (s/n ) with code The first 6 digits are paired off and the last two digits are taken singly. So that gives us 49 00 3 where:

• 49 = model code (Musicmaster, Mustang, Bronco)
• 00 = neck code (rosewood fingerboard)
• 21 = week code (week 21)
• 5 = year code ()
• 3 = day of the week code (Wednesday)
Model Codes Used from to
Model codes (first pair of digits):
• 01 = Precision Bass
• 02 = Jazz Bass
• 04 = Mustang Bass
• 08 = Telecaster Deluxe
• 09 = Stratocaster
• 13 = Telecaster, Telecaster Custom, Telecaster Thinline
• 49 = Musicmaster, Mustang, Bronco

Neck Codes Used from to
Neck codes (second pair of digits):

• 00 = rosewood fingerboard
• 01 = rosewood fingerboard
• 03 = fretted maple neck OR skunk stripe neck with rosewood board
• 10 = fretless maple neck
Now try and decode a Precision Bass (s/n ) with code You should get:
• 01 = Precision Bass
• 03 = fretted maple neck
• 10 = Week 10
• 5 =
• 1 = Monday

Here's a Telecaster (s/n S) with rosewood fingerboard and code ?.

• 13 = Telecaster
• 03 = rosewood fingerboard on skunk stripe neck
• 16 = Week 16
• 7 =
• ? = day unknown as digit was illegible

Differences between the end of a Telecaster and
Stratocaster neck. Note the Tele neck on the left
has a straight end, and the Strat neck on the right
has a rounded end. The bodies and pickguards are
cut differently to accomodate this.


Style of Strat pegheads and logos from to
Shown is the "spaghetti" logo, the "transition" logo,
and the "black" logo on a large peghead. The Large
peghead style started in late on the Strat, and
lasted throughout the s.



 

Peghead Shapes

• Telecaster/Esquire: consistent peghead shape from (Broadcaster) to present, except on the "Telecaster Deluxe".
• Stratocaster: "small" peghead shape from to end of At the very end of Fender enlarged the peghead shape. This "big head" size was used till
• In Fender changed back to the small Strat-style peghead design on most models (except the Tele).

 

 

Top: the "transistion" logo as
used on a Custom Telecaster
starting about fall
Bottom: the "spaghetti" logo as
used on a Custom Telecaster
in


Peghead Decals
• Telecaster/Esquire: thin "spaghetti" logo (silver with black trim, except for to Esquires which were gold with black trim) from (Broadcaster) to late Larger "transition" logo used from late till Thick "black" logo was used from to The Tele Custom and Esquire used the "spaghetti" logo from mid to late 's (stock not depleted till later).
• Stratocaster: thin "spaghetti" logo from to fall Larger gold "transition" logo from fall till Thick "black" logo from to
• Pbass, Jazzmaster: followed same trend as the Stratocaster.
• Jazzbass: from to the Jazzbass always used a "transistion" style logo. Switched to the thick "black" logo in Note Jbass never used a "spaghetti" style logo.
• In the 's Fender changed back to using "transition" and "spaghetti" logos, depending on the model.
• Exceptions: during the s if any particular model (be it a Strat, Jaguar, Jazzmaster, Jazz Bass, etc.) was an original *black* custom color with a matching black peghead, a different peghead decal was used. Why? Because the normal decals don't show up when applied over black. So black pegheads during the s will usually have just a "Fender" logo, without the model name (and in a different font style). Also the "contour body" decal will be missing.

Peghead Decal Pictures.
The following are scans of most Fender decals used from to the late s. These are all original, unapplied decals. Note decals from the s are "backwards" (reversed). For comparison, I have "unreversed" the pictures so the text is not backwards. Picture from Jim Shine.

• Strat, to
• Strat spaghetti decal repro vs. original
• Strat transition decal repro vs. original
• Esquire, to
• Custom Esquire, to
• Custom Telecaster, to
• Jaguar, to
• Jazzmaster, to
• Precision Bass, to
• Jazz Bass, to
• Telecaster Bass,
• Bass 6, to

Typical wear on a 's
Fender maple fingerboard.

Fingerboard Material
• Maple fingerboard, s: from the start in , Fender used a one piece maple neck with a walnut "skunk" stripe down the back (except on early Esquires with no truss rod), where the truss rod was installed. This was the standard neck on all models until (when the Jazzmaster was introduced with a rosewood fingerboard; the rest of the Fender models changed to rosewood fingerboards in mid).
• Rosewood fingerboard, "Slab" (Brazilian), to from mid ( for the Jazzmaster) till August , Fender used a "slab" rosewood fingerboard. That is, the bottom of the fingerboard was flat and the board was fairly thick. A picture of a slab board neck (as seen from the "butt" of the neck) can be seen in this picture. Also shown is the difference between reissue and original slab board necks. The Musicmaster family also used slab fingerboards (usually Indian rosewood) for about a year from Sept to Oct Slab fingerboards are also identifiable from the peghead by their "hump" line (humps toward the tuners), just above the nut.
• Rosewood fingerboard, "Veneer", from August till , Fender used a curved bottom rosewood fingerboard that was much thinner than the slab 'board. The veneer of rosewood got even thinner by mid Also by the rosewood changed from Brazilian to Indian rosewood. Veneer fingerboards are also identifiable from the peghead by their "dished" line (dishes toward the nut), just above the nut.
• Maple fingerboards, available as special order. Different than the s one-piece maple necks. These used an actual slab maple fingerboard glued to the maple neck, and no "skunk stripe" down the back of the neck for the truss rod.
• Maple fingerboards, and later: Fender's maple neck changed back to the s style one piece neck with a walnut "skunk stripe" down the back.
• Rosewood Fingerboards, and later: Starting in , Fender switched back to the slab rosewood fingerboard style, made from Indian rosewood (except on certain recent custom shop models).

Fingerboard Dots
• Black dots: used on maple fingerboards and made of fiberboard-like material (in the 's) or black plastic later.
• White dots: used on rosewood fingerboards (Jazzmaster in , all other models in mid). Till the end of Fender used "clay" dots as position markers. This material has an off-white opaque color. In very late all models changed to pearl dot position markers. Side markers remained "clay" until spring when these too changed to pearl.
• White dot spacing: In , the spacing of the two fingerboard dots at fret twelve changed (the spacing became closer together).

Neck Back Shapes (profiles), all guitar and bass models.
Fender neck shapes have changed through the years too.

• to Fender neck shapes (all models) have a standard large and chunky "D" profile (big "baseball bat" style neck).
• Fender necks change to a large and chunky "soft V" profile.
• the "V" shape gets much stronger. This "strong V" neck profile becomes famous, and musicians like Eric Clapton prefer its shape. Some Fender necks produced have a "small strong V", where the neck isn't so big feeling, but still has a very strong "V" shape (mostly seen on Musicmasters and Duosonics, and the occassional Strat).
• the neck profile completely changes, with the "V" shape completely gone. It's back to a conventional "D" neck profile, but not nearly as thick and large as and prior neck profiles. This neck style is used on most reissue Fenders (regardless of the year being copied).
• and later: the "D" profile gets yet a bit smaller and less chunky. With the release of rosewood fingerboards on all models in mid, the "D" neck profiles pretty much stay the same throughout the s with only minor variance from year to year (for example, necks seem to be a bit chunkier than to necks).

Neck Width.
From March to , Fender marked their necks with an "official" neck width letter at the butt of the neck (in front of the date code). The "B" neck width is the normal width, as used on about 99% of all Fenders from this period. All other sizes were available by special order only. Also all pre Fender necks have a 1 5/8" nut width (though I'm sure there are some exceptions, but none I have seen).

• A = 1 1/2" wide at the nut.
• B = 1 5/8" wide at the nut (normal size).
• C = 1 3/4" wide at the nut.
• D = 1 7/8" wide at the nut.

Neck Shims.
Shims were used between a Fender neck and body to adjust the "neck set" of the instrument (the "neck set" is the angle of the neck in relationship to the body; if the neck set is too shallow, it needs a shim so the playing action can be lowered with the bridge to a comforable level. If the neck set is too sharp, the strings can not be raised enough with the bridge to stop string buzz). Fender adjusted the neck set at the factory with a shim. Some Fenders use them, so don't. Click here for a picture of the shim used during the s and s.

Neck Bolt Numbers (3 or 4).

• 4 bolt neck plates: all models used 4 bolt neck plates from to early
• 3 bolt neck plates: starting in early , the Stratocaster, Telecaster Thinline, Custom Telecaster, Telecaster Bass used 3 bolt neck plate (the Telecaster and Precision Bass always used 4 bolt neck plates). In the Telecaster Deluxe (from introduction) also used the 3 bolt neck plate. By late /early , the Jazz Bass went to a 3 bolt neck plate.
• In the 4 bolt neck plate came back to the Anniversary strat. By all Stratocaster models were again 4 bolt. And by , all Fender models converted back to the 4 bolt neck plate.

Peghead String Guides (or "String Tree").
String guides were used on most models to give the treble strings greater string tension across the nut.

• to Mid Single round "button" string guide for E & B strings.
• Mid Changed to a "butterfly" string guide.
• a metal spacer is used beneath the butterfly string guide.
• the metal spacer is changed to a nylon spacer beneath the butterfly string guide during
• two butterfly clips are used for the E, B, G, & D strings on the Stratocaster, Telecaster, Telecaster Deluxe, Custom Telecaster.
• two butterfly clips on the Mustang.
• Click here to see the difference between reissue and original Fender "butterfly" string trees.

Truss Rod and Truss Rod Nut

• October all Fender guitars have a truss. Only pre-October Esquires have no truss rod. Adjusts at the "butt" of the neck by the pickups. Click here to see the difference between vintage and repro Fender truss rod nuts.
• Late truss rod changed to adjust at the peghead behind the nut with a "bullet" system on Stratocasters and Jazz Basses. Telecaster and Precision Bass keep traditional truss rod system.
• Fender starts using different truss rod systems, depending on the model.

The body routes on a Stratocaster. Note the rounded
pickup route corners, compared to the 's pickup routes
seen above.

The body routes on Telecasters. In the 's the
"notch" was removed from the bass side of the neck pocket.

Body Routes.
Initially, when the Fender Stratocaster was introduced in , it had a single layer white pickguard attached with 8 screws. In mid , Fender switches to a multiple layer pickguard with 11 mounting screws. One of the additional screws required a change to the interior body route on the Stratocaster. Now a added "shoulder" was left in the electronic route to accomodate one of the extra pickguard screws. Starting in the late 's, Fender also changed the shape of the pickup routes on the Strat. Now the corners were more square, instead of being round.

The Telecaster body also changed in the 's. The "notch" that existed on the bass side of the neck pocket was removed. See the picture above.

to style single line
Kluson tuners on a Tele neck.

Tuners
• late Fender used "single line" Kluson tuners, that had "Kluson Deluxe" stamped in a single vertical row (like and later Klusons); these are easily identified as "early" Klusons (and not and later Klusons) because "PAT APPLD" is also stamped below the vertical "Deluxe" marking. These are also different because they lack the side worm shaft hole for the tuner shaft (there is only a side "entrance" hole).
• to Fender used "no line" Kluson tuners exclusively, and were unmarked (had no brand name stamped in the tuner back). The "PAT APPLD" is no longer there. Also still no side worm shaft hole for the tuner shaft.
• to mid There is now a side tuner shaft worm gear hole. Still "no line" style casing (had no brand name stamped in the tuner back).
• Mid to "Kluson Deluxe" is now stamped in the outside tuner casing in a single vertical line. The bottom side of the tuner is still stamped "PAT APPLD" (only seen if tuner is removed from peghead). Fender used Kluson tuners exclusively on all models. The only variable was the tuner tip. DuoSonics, MusicMasters, Mustangs and other low-end models had white plastic tips, all other models had metal tips.
• to "Kluson Deluxe" still stamped in the outside tuner casing in a single vertical line. But the bottom side of the tuner is stamped "PAT NUMBER" (as Kluson was granted a patent, and the patent "D" number is only seen if the tuner is removed from the peghead).
• to Fender used Kluson tuners, but now the "Kluson Deluxe" was stamped into two vertical lines ("Kluson" in one line, "Deluxe" in the other). Note some models (such as the Jazzmaster and Jaquar) the use of Kluson tuners ended in mid (see below).
• Fall to late 's: Fender had tuners made for them with a big "F" stamped in the back cover. Tuner buttons were chrome plated plastic. Note models such as the Jazzmaster and Jaquar () and the Musicmaster family (fall ) got these tuners before Strats and Teles (late /).
• Click here to see the different Fender tuners used from to the s.
• Click here to see a comparison of vintage versus reissue Kluson tuners.
• Click here to see a comparison of vintage versus reissue Kluson tuner bushings.

Tone Capacitors

• to the tone capacitors are either big, round (sausage-like) paper caps on Teles and Esquires, or flat box-shaped paper caps on Stratocasters.
• to present: all models use a standard ceramic pancake-shaped tone capacitor.
• Seemingly for this year only, most Stratocasters have a green square "chicklet" style tone cap (this may include other models too).

Old style (pre) Stratocaster bridge. Note the nickel plated
saddles with "Fender Pat. Pend." stamped in them. Reissue saddles
look exactly the same but are stamped "Fender Fender". Also since
the pickguard is removed on this Strat, we can see the "nail hole"
just above the pickguard screw hole. If this nail hole does not
have paint in it (as seen here), the finish is probably original.

Old style Telecaster bridges. The bridge at the top is a mid and prior style Tele bridge with brass saddles, and the serial number stamped into the bridge plate (reissue vintage Tele bridge plates with serial numbers have a "dot" pressed below the third number in the serial number, so not to be confused with original Tele bridge plates). The picture below it shows the low E/A string saddle, and how it is ground flat on the bottom. The picture at the bottom is a mid to style Tele bridge with "smooth" saddles, and no serial number on the bridge plate. In Fender then switched to "threaded" saddles on the tele bridge (not shown).

Strat Bridge Saddles and Tremolo Blocks
• Bridge Saddles The Stratocaster used the same bridge saddle from to , a piece of steal stamped into shape. These are stamped "FENDER PAT. PEND".
• Bridge Saddles In the Strat bridge changes to a less expesive saddle made of cast metal.
• Reissue vintage Strat bridge saddles are also stamped metal. But these are stamped FENDER FENDER) on the saddle. Click here for a picture.
• Recent "bogus" Strat saddles are now available in which many individuals pass-off as originals. Click here for a picture.
• Strat Tremolo Blocks a separate solid piece of gray painted steel. Click here for a picture.
• Strat Tremolo Blocks case metal which is now part of the bridge plate.

Pickups and Pickup Springs

• to March all models had "black bottom" pickups and cast slug alnico magnets with rounded top edges. Pickups not dated. Pickup wire is usually a real rich cooper color. Pickups are dipped in hot wax to eliminate microphonics, and this wax is evident on the entire pickup. Also the pickup screw "springs" are made out of rubber surgical tubing cut into small 3/8" long pieces.
• March to late 's: most models had "gray bottom" pickups and cast slug alnico magnets. Gray bottom pickups would be the rule, but black bottom pickups were used from old stock as late as Starting in the early 's, the top edges of the magnets were no longer rounded. Most gray bottom pickup assemblies have at least one pickup with a hand written date. By the late 's this changed to an inked stamped date code, much like the date code used on the butt of the neck. Most gray bottom pickups have a deep burgundy colored pickup wire. Wax treament is no longer used in favor of a lacquer dip treatment, which is much harder to see. Pickup screw springs are now actually real cone-shaped springs instead of rubber surgical tubing. Click here for a picture of gray bottom pickups (s). Click here for a picture of a November 4, gray bottom pickup date stamp.

Potentiometers

• Fender used mostly Stackpole brand pots in the 's, and CTS brand pots in the 's. These pots are date coded, and can help verify the authenticity and year of an instrument. The manufacturer code for CTS is (or for Stackpole), so this number should be stamped on the pot somewhere. Following this number is the date code in YWW or YYWW format. The "Y" or "YY" is the last digit(s) of the year, and the WW is the week. In the 's, YWW date format was used. For example, "" would be a CTS pot made in the 4th week of A code of "" would be a CTS pot made in the 44th week of
• The Telecaster, Esquire, Precision Bass, etc, because of their metal knob configuration, used "smooth solid shaft" pots. Guitars with plastic knobs (Stratocaster, Jazzmaster, etc.) used "knurled split shaft" pots. The split shaft pot could be adjusted for variable tension against the inside of its plastic knob, and the knurling stopped the plastic knob from slipping. The Telecaster or Precision bass type metal knobs with the small set screw (which was tightened against the pot's solid shaft to hold the knob) was better with a solid shaft pot. The only exception to this rule was early production Fender Stratocasters with the small plastic knobs (4/54 to about 7/54). These small "tallboy" plastic bakelit knobs were implemented on the Strat with solid shaft pots (perhaps Fender didn't have any split shaft pots in stock at the time, as the Strat was the first Fender guitar with plastic knobs).
• Note during , CBS/Fender bought a huge supply of CTS pots. Because of this, many late 's Fenders have pots dated from
• Here is a picture of s to CTS pots, compared to and later CTS pots. Click here.
• More info on pots can be found at in the Feature section, by clicking here.

Wiring
• to all models used "cloth" wire where the shielding is actually made of cotton. Usually the color is black for ground and white for "hot". Starting in sometimes yellow is used instead of white. Jazzmasters and Jaquars also used other colors like red and blue.
• to early 's: PVC plastic shielded wire is used. Black for ground, white for "hot".
• 's: all reissue guitars use the old style cloth shielded wire.

An original Stratocaster wiring harness and pickguard.
Notice the small metal shielding plate around the pots,
and the white single layer pickguard. At the top edge is a
early 's three-layer celluliod "mint green" pickguard
with it's full-size aluminum shielding plate.

First generation CRL switches from to had two patent numbers.
Second generation CRL switch used from to about have three
patent numbers. Otherwise the two and three patent number switches look
identical. Shown below is a three patent number switch and brown
center wheel.

Top: to s style CRL 3-way switch with round base.
Bottom: mid s style 3-way switch.

Telecaster/Stratocaster Switches
• On the first single pickup Esquires Fender used a different flat looking 3-way switch.
• to Early style CRL 3-way switch with two patent numbers (, ). Switch made of metal and a fiberous brown bakelite type material holding the switch contact that has flat side cuts. This style of switch started with the double pickup Esquire.
• to CRL 3-way switch with three patent numbers and the bakelite with flat side cuts.
• to Teles and Strats still use the CRL 3-way switch, but the fiberous brown bakelite material that holds the switch contacts is replaced with a less fiberous brown bakelite (lighter in color) that is cut round (like a half moon, instead of having flat sides). The center wheel is still brown bakelite.
• to circa Teles and Strats still use the CRL 3-way switch with the less fiberous brown bakelite round cut (half moon) center. But now the center wheel is white plastic instead of brown bakelite. May or may not have a Diamond logo (seen both ways).
• circa to early s: CRL switches still look basically the same as the previous version, but only one patent number. Definately a Diamond logo during this period. These switches still say "Made in USA" but are actually only assembled in the USA (parts made in Japan).
• to present: Fender strats use a CRL 5-way switch on many models, which looks the same as the CRL 3-way switch but with two added notches in the switch lever metal.
• CRL Special Heavy Duty switch replacements, flat-side type (pre-moon), used on some stock Telecaster Customs for VIPs up to Fender bought of these in total, and just used them on special Teles and some Strats.
• CRL confirmed as original "Special" switch replacement for Strats only (extremely scarce). Probably less than a handful were shipped to dealers when the supply of (4,) CRL switches had run out by mid The quote from Al Petty is, "if you have one of those switches in your Fender, you probably have an employee guitar or it was a guitar for someone special."
• Thanks to cromwellpsi.comldt for much of the CRL switch information.

A virgin Stratocaster pickup assembly with no broken solder joints,
"black bottom" pickups, "cloth" wire, flat box-shaped paper tone cap,
rubber pickup springs, flat edge 3-way switch, CTS pots, and an
aluminum pickguard shield all attached to a "green" pickguard.

Pickguard Material
• Black pickguards: black pickguards were used from to mid on the Telecaster, Esquire and Precision bass. This material consisted of a fiberous bakelite, and was about (inches) thick. The fiberous material was added to the bakelite to add strength (bakelite is too brittle and would crack at that thickness without it). Finally the black pickguards were clear-coated with clear nitrocellulose lacquer (top side only) to give them depth and shine.
• White pickguards (single layer): starting in mid on the Telecaster/Esquire and Precision bass, and from the start on Strats in Fender used a single layer white pickguard material made from ABS or vinyl about (inches) thick. This relatively new material for the time was cheap, easy to work with, and somewhat flexible. Note bakelite was never used for white Fender pickguards on any model (though many people refer to white pickguards as such; but it's not bakelite). Fender stopped using the white material in mid except on the Telecaster, Esquire and DuoSonic/MusicMaster. In this case the single layer thickness increased to (inches), and was used till about (Esquires till about , when all old stock was depleted).
• Multi-layer pickguards: starting in mid Fender switched to a 3 layer pickguard (w/b/w) made from Celluloid on most models. The Pbass and Jazzmaster used a 4 layer pickguard of Tortoise/w/b/w (except on certain custom colors which used a 3 layer w/b/w pickguard). These celluloid 'guards had an outer white layer with a mint green/yellow tint, thus giving them the name "green 'guard". The amount of green/yellow depends on the abuse and UV the pickguard was subject to. To some degree the effect is not only caused by age and sun, but the "felting" of the black layer below the white layer. This material was used till January when Fender switched to vinyl or ABS for their multilayer pickguards (Celluloid was dangerous and very flamable, and shrunk with time causing cracks). Sometimes these pickguards are called "nitrate 'guards" because nitric acid is one of the key ingredients used to make celluloid. The and later white pickguards do yellow a bit with age. But even aged white 'guards look much different than the older "green" 'guards. In the late s, white Stratocaster pickguards change slightly (not sure about other models). Though from the front they look identical to the to variety, the / white Strat pickguards had a bottom layer (the layer not seen unless the pickguard is removed from the body) of "pearloid".

Left: the neck cavity on a custom color Strat. Notice the redish material the
factory used to angle the neck.
Right: the bottom side of this strat's pickguard uses "pearloid" material. This is
typical of and Strats.

• Stratocaster pickguards: multi-layer Strat pickguards had a thin (") aluminum shield underneath the pickguard (see picture above) till Click here for a picture of the ink stamp on this aluminum pickguard shield used during the s. From and later, sticky aluminum foil was attached to the bottom of the pickguard, just around the pots and switch. In the 's, this metal shield was much thicker ("), but also much smaller, only covering the area around the pots. Note reissue Strats also use these shields.
• Click here for a comparison of pickguard material used from to , and a reissue pickguard.

Stratocaster Plastic Parts.
Left: The two pickup covers on the outside are ABS plastic. The three covers on the insides are "bakelite" (actually polystyrene, but collectors refer to it incorrectly as "bakelite"). Note how the "bakelite" covers are whiter, and the edges have rounded. When new, the "bakelite" cover edges were as shape as the ABS covers. But with time, the edges round only on the polystyrene covers. They can even wear to show the black pickup itsef underneath.
Right: The top row of knobs are ABS, the bottom row are "bakelite" (polystyrene). Notice again how the edges of the "bakelite" knobs wear (especially on the volume knob), and the ABS edges don't. Also the "bakelite" knobs are whiter.

Telecaster Switch Tips.
The original Daka-Ware switch tips used on Broadcasters and
Telecasters from to the s. These black bakelit tips
are made by Daka-Ware, with the earliest round tips only saying
"PAT. PEND." (as seen here on the left). The switch tip on the
right is a "top hat" style switch with a patent number
(though round switch tips can also have these markings).

Other Plastic Parts (pickup covers, knobs).
• Stratocaster: this was the first Fender model to use plastic knobs and pickup covers. From to early , these parts were made from white urea formaldehyde, commonly (and incorrectly) known as "bakelite" (bakelite is actually a trade name for phenol formaldehyde, and is most commonly black or molted brown; for consistency, I will refer to these white pickup covers as "bakelite", though in fact they are not). These covers were very brittle and very white. Note early Strat knobs have a different and taller shape than late and later knobs. Since "bakelite" cracked and wore very easily, Fender switched to white ABS parts in early These ABS parts yellowed with age unlike the earlier "bakelite" parts. Click here for a comparison of vintage versus s and later Strat knobs.
• Telecaster/Esquire: these models didn't use plastic knobs or pickup covers. But the switch tip for Telecasters was bakelite plastic. These black tips are still available today, with very minor differences. Early Broadcasters/Telecasters had round (as viewed from the top) pickup selector tips. In about this changed to the "top hat" style of selector switch tip. In either case, all original Tele switch tips have some stampings on their bottom side. The Broadcaster and early Telecasters said "PAT. PEND." on the bottom of the tip. All tips about and later say "PAT. NO. " and "DAKA-WARE CHICAGO". See the picture above. Reissue "top hat" tele switch tips have no marks on the bottom. Click here to see the difference.
• Precision Bass: this model didn't use plastic parts till mid when the pickup changed to a split coil design, and had an ABS plastic cover. Click here for a comparison of old and new pbass plastic pickup covers.
• Jazzbass: click here for a comparison of old and new jbass plastic pickup covers.
• Jazzmaster: from the start in all plastic parts were ABS on this model. Click here for a picture of the knob style used on Jazzmasters starting in

Body Wood.
Exceptions to the below data: the Rosewood Telecaster, the Walnut strat, Thinline Telecasters, etc.

• October to mid All models used Ash as the body wood. Most ash bodies are two or even three pieces, but sometimes a one-piece body was used.
• Mid to current: All models used Alder as the body wood. The ONLY exception to this is if the model had a "blond" finish. In that case, the body would was ALWAYS Ash. For example, since the stock finish on a Telecaster is "blond" (a translucent white color), all blond Telecasters are made of Ash. If a post Stratocaster was ordered in blond, it too would be Ash. To summarize, if the Fender instrument is later than mid, and was originally not blond in color, the body wood should be Alder! Most alder bodies are 2 to 4 pieces. Alder trees do not grow "big", so multiple pieces were used for Fender guitar bodies. The number of pieces has little effect on sound or value.
• a few models made with Mahogany bodies.
• current: Most Japanese Fenders (and some US made models) use a Basswood body.
• current: Some Mexican made models use Poplar bodies.

Left: a Custom Telecaster with the "target 'burst" style
sunburst. Starting in mid, Fender sprayed the yellow part
of the sunburst. This allowed Fender to be less picky with their
choice of Alder, because the sunburst is less transparent.
Right: a Custom Telecaster with the old style Fender sunburst.
Prior to , Fender stained the yellow of the sunburst into the
wood, instead of spraying it. This saved a spray step when shooting
a sunburst finish.

Finishes.
There is a lot more info on Fender finishes here.
• to Fender used nitrocellulose lacquer for all finishes. Film thickness was very thin, especially in the 's. From the beginning, Fender would hammer nails into the face of the guitar body before painting, under the pickguard areas. Then the body was painted on a "lazy susan". First the face of the guitar was painted. Then the body was flipped over onto the nails (which suspended the freshed painted body face), and the back and sides of the body were painted. The nails were then used to suspend the body while the paint fully dried. After all the paint was sprayed, the nails were removed. Hence all original pre-CBS Fender bodies will have "nail holes" (with no paint in them!) under the pickguard or control plates.
• There should be three or four nail holes under the pickguard, control plate or bridge plate on every original finish solidbody pre Fender instrument. NO EXCEPTIONS! Interestingly, Tele nail holes were moved in the early s, but are still present. Again, see here for more details.

One nail hole near the neck pocket on a May Fender Stratocaster.
Note the "shadow" (lack of red) created by the nail, as the red was
originally sprayed on the body!

• Mid Fender started using Alder (instead of Ash) as the main body wood for all models that were not finished in Blond (which means the Telecaster stayed Ash). They did this because it was easier to paint Alder (it required less paint steps). All Alder bodies were dipped in a yellow stain, which was the first step in the sunbursting paint process (sunburst was Fender's primary color on Alder bodies, hence all Alder bodies were prepped this way, regardless of what color they were actually painted).

This Strat has a neck date of December , and still has the "nail holes" under the pickguard. The nails holes were pretty much gone by fall of

• The position of the nail holes was moved on the Telecaster (only). Then were now inside the cavity routes, like in the truss rod rod or neck pocket route, inside the control cavity route, and inside the bridge pickup route.
• Late /early Fender now bolted a "stick" inside the body's neck pocket (to the two bass side neck screw holes) prior to painting. The stick allowed the body to be easily held by the painter while spraying paint and drying. This left a visible paint stick shadow inside the neck pocket. Fender used this technique into the s. The nails were still used, but now only for the drying process (and were no longer needed during painting). Still, the "nail holes" will be present (with no paint in them!) under the pickguard or control plates of original Fender bodies.
• Mid Fender changed how they sprayed a sunburst finish. In early and before, the yellow part of the sunburst was stained into the wood. This meant Fender only had to spray two colors (red and brown) instead of three. But in mid, Fender changed to spraying the yellow portion of the sunburst finish. This made the finish less transparent, and allowed Fender to use Alder body wood with minor defects (such as mineral stains). The and later sunburst finish colors didn't blend together as nice and don't show much wood grain, and hence are sometimes called a "target 'burst". Also by the fall of , Fender no longer hammered nails into the body prior to painting. They instead used the paint stick to suspend the body while drying.
• to Fender used a "thick skin" polyester finish. Later "thick skin" finishes got really thick in the 's, resembling a bowling ball. But all polyester finishes are very thick and glossy compared to the early lacquer finishes.
• to late 's: Fender also made available Custom Color finishes. These finishes were special ordered for an additional 5% cost.

A Jaquar in the rare, top-of-the line molded form-fit case.

Fender Cases
Note that the following case descriptions concerns mostly U.S. sold guitars. Fenders distributed in other countries were often shipped without cases. The reason: the foreign distributor felt they could get cases locally and less expensively. Canada and Europe are perfect examples of this. Until the mid 's, most Canadian imported Fenders were sold with a Canadian case.

Note: the following info does not apply to student model Fenders such as the MusicMaster and DuoSonic. The interior material of these cases generally will match the descriptions below, but the exteriors will not. The exterior of these cases in the 's didn't have any material on them (they were just a brown formica), and didn't have any interior pocket system.

• From to Fender used a guitar-shaped hard case for the Tele and Pbass nicknamed the "thermometer" case, due to it's unique thermometer shape. This case had a brown covering with a brown plush lining. The case had a bulb shape at the peghead.
• Also available from to the early 's, was a Fender gig bag case. These cases are soft, foldable bags, and are brown in color. If you couldn't afford a hard case, this was the alternative.
• From mid to mid, this case changed to the "poodle" case. Still shaped like a guitar, the poodle case had one flat side that did not follow the contours of the guitar (this was the side of the case that rested on the ground when the case was set down by the handle). Though this case looks similar for both the Telecaster and Stratocaster, it was not (a Strat won't fit into a Tele poodle case). The interior was a bright red plush shag.
  Click here for a picture of the early "thermometer" and "poodle" style Telecaster cases.
• In mid, Fender dropped the guitar shaped case in favor of a rectangle shaped case. The first generation rectangle case used in was called the "center pocket tweed" case. The interior center pocket not only allowed cord and pick storage, but also supported the neck of the guitar. These cases were covered in lacquer-coated tweed and had a bright red plush shag lining.
• From to early , the next generation of rectangle case was the "side pocket tweed" case. The same lacquer-coated tweed outside and bright red shag plush lining was used, but the interior pick pocket was moved to the side next to the neck. They also had an interior tag proclaiming the case as a "Koylon" brand case. These cases also had exterior brown leather ends. In (only), these cases also had an exterior "Fender" logo thick foil sticker which fell off % of all surviving cases today.
• From to mid, the case stayed the same except now the interior was a much shorter burnt orange plush. Also the "Koylon" interior tag is gone. The exterior thick foil sticker is now no longer used.
• From mid to the exterior of the Fender case changed. A new material called "Tolex" was now used, in a coffee-with-cream type brown color. Tolex is a rough rubber-like compound that was much more durable than tweed. Brown leather ends stayed the same. The interior burnt-orange plush used from stayed until about when the interior of the cases changed to a dark orange plush. Also around the center manual latch changed positions from under the case handle, to just outside of the case handle (the latch's postion could hurt your knuckles when carrying the case.) Click here for a picture of the early square style Fender cases from mid to This picture includes the "center pocket" tweed case, the "side pocket Koylon" tweed case, the "side pocket burnt orange" tweed case, and the style "brown" case with the dark orange interior. The only case missing from this photo is the to style "brown" case with the lighter colored burnt orange interior.
• In to early , the exterior again changed on Fender cases. Now white tolex with black leather ends was the standard. The interior stayed the same dark orange plush.
• In early , Fender moved to a black tolex case with the (same) dark orange interior. This type of case was basically used till the end of the 's, with some minor changes (mostly the exterior logo). Early to cases have no exterior "Fender" logo.
• mid to late to the s use the same black case but with a Fender logo. This logo had two black plastic rivets holding the logo to the case exterior. There was no "tail" under the "Fender" logo.
• About Still used the black tolex case, but now the case exterior has a plastic Fender logo with a "tail" under the "Fender".
• about The logo on the black tolex case changes to have no "tail" and a small "R". Also the white piping around the leather case ends becomes more pronouced.
• Mid to late s: The logo on the black tolex case changed yet again. No "tail", a bigger "R" (registered) mark, and a "Made in USA" marking. Also the interior of the case got more padding.
• When Fender started making reissues in , they also reissued the tweed case. But now the exterior tweed was considerably "hairer", and was not lacquered. Also the interior was not a short dark orange plush, but was now a long, light colored orange shag.
• Also available starting around to about was a brown molded form-fit case. This was an upper line optional case with a hard brown molded exterior with a red/golden brown interior. This case was basically rectangle, but with very rounded corners. This case looks similar to the black molded Fender cases of the 's, except this case is brown, thicker, a little shorter in length, and the interior is not blue. This case was primarily available for the Jazzmaster and Jaguar guitars.
U.K. Fender cases: Starting around , Jennings Musical Industries of Unity House Dartford Road, Dartford Kent, was the sole Fender distributor in the U.K. The case included with these Fender guitars was a Jennings case, which was similar in dimensions to a California rectangle Fender case, but not as stylish. For example, the Jennings case had no leather ends, and were covered in thin brown vinyl tweed with dark pressed metal corners. The interior was a plush deep wine color, with no lid to the interior "glove compartment". The handle was a smooth plastic-leather over metal. By , Selmer also became a Fender importer. And later, Arbiter also became a Fender distributor in the U.K.

The exterior case logos used through the years. The top logo was used on rectangle Fender tweed cases from about to early It is missing on 99% of all original tweed cases today. No case logos were used from to The next four plastic case logos were used from to the s: Fender logo with no tail. Thrid logo from top used in to ("tail"). Fourth logo from the top with no tail and small "R" above the big "r" was used from The bottom most plastic logo (with "Made in U.S.A." and the "R" symbol) was adopted in the mid to late 's.

Fender Serial Numbers, to Present (Identifying the Year).

Serial numbers compiled from several sources including myself, Gruhn, and Duchossoir. It should be clearly stated that Fender serial numbers ARE NOT definitively chronological. That is, there's lots of overlap between years. Basically there was a big bin of serial number plates, and the installers grabbed one, and screwed it to the guitar. They weren't managing the numbers in any way. The point is, don't read too much into Fender serial numbers.

Pre Fender guitars have a serial number on the bridgeplate or neckplate. Serial numbers are basically chronological, but there is some overlap amoung years. Fender serial numbers were assigned like this: bin with serialized plates/bridges. Assembler reached in and grabbed one (or many). Put them on the instrument(s). As you can see from this over-simplified example, serial number assignment was fairly random. Just keep this in mind. The only truely definitive way to date a pre-CBS fender is to look at all the dates on the instrument (body date, neck date, pot dates). The serial number can only generalized the age of the instrument within a few years.

Esquires, Broadcasters, Telecasters to (number on bridgeplate). This system of serial numbers is unique to these three models until about the early summer of (when Fender switched to a universal neck plate serial number system for all models):

Clank (real designation XJ, serial number B^[1]) is the secondary titular protagonist and playable character of the Ratchet & Clank series. He is a robot created by the Zoni, who possesses a Zoni soul and is Ratchet's best friend.

Clank was created by Orvus, the leader of the Zoni, in the Great Clock. He was produced in a blarg robot factory on Quartu, which produced sentry-bots, and upon acquiring an infobot and learning about Chairman Drek's plans, he fled the planet in a stolen starship but was shot down and crash-landed on Veldin. There, he met Ratchet, who became his lifelong best friend afterward, as they would partake on many adventures. When the two visited the Polaris Galaxy in their mission to defeat Emperor Percival Tachyon, Clank was met by a race invisible to the others known as the Zoni, who referred to him as the Chosen One. The Zoni helped Clank defeat Tachyon and afterwards, abducted him from Ratchet to take him back to the Great Clock, where he was supposed to take up his true destiny as Senior Caretaker of the Clock with Sigmund. However, after stopping Dr. Nefarious from trying to use the Clock to his advantage, Clank made Sigmund its caretaker and returned to his place at Ratchet's side.

Clank is highly knowledgeable in a variety of topics and able to communicate with many other machines. He often acts as a contrast to Ratchet's more brash personality, serving as his voice of reason. Clank also helps Ratchet in the form of attachments such as the Heli-Pack, allowing Ratchet to reach greater heights and storing all of Ratchet's weapons, as well as being able to access areas Ratchet cannot. Clank is also capable of commanding help in the form of Gadge-Bots, Microbots, and Zoni. Clank can sometimes transform into Giant Clank to become a more deadly robot with powerful weaponry. Clank has also wielded the Chronoscepter to manipulate time and access the Netherverse. Clank also at one point starred in a holovision show, Secret Agent Clank.

History

Ratchet & Clank

Clank had been created by Orvus at the Great Clock, with a Zoni soul. However, he was born on planet Quartu, on a production line in a factory producing sentry-bots, created by his mother, a computer on the factory which harbored ill will towards Drek.^[2] Clank appeared on the conveyor belt as a small, harmless robot, in contrast to a dangerous sentry-bot, sharing only a few features with them. After seeing an infobot that uncovered Drek's plan to extract a portion of planet Novalis and use it for his new planet, Clank fled the factory immediately and stole an escape shuttle. However, Clank was chased by two blargian robots who shot his ship down, causing him to crash-land on Veldin.

On Veldin, Clank was initially immobilized and rescued by a lombax named Ratchet. He took Clank to his garage, where the latter awoke to see Ratchet working on a new homemade ship. The two became acquainted, and Clank discovered Ratchet was unable to fly the ship, as he lacked a robotic ignition system. Fortunately, Clank was able to provide support, as he was equipped with the latest in robotic ignition systems.^[3]

The two then resolved to search for galactic hero Captain Qwark to help them defeat Drek. Their quest led them to Al's Roboshack in Metropolis on planet Kerwan, where Al outfitted Clank with the Heli-Pack. However, when Qwark betrayed them both on Umbris, Clank more quickly fell into Qwark's trap, causing Ratchet to fall out with him and become angry at him. Clank gave Ratchet an ultimatum: to provide him with a robotic ignition system to fly starships, Ratchet had to agree to help fight Drek. The two then continued to fight Drek, with their quest leading them to Al's siblings Bob on Pokitaru and Edwina on Hoven, who outfitted Clank with a Thruster-Pack and Hydro-Pack respectively. Ratchet was still focused on revenge against Qwark.

Following Qwark's defeat, the two viewed an infobot showing the destruction Drek has caused on Oltanis, causing the two make amends, with Ratchet admitting Clank was right all along and now determined to fight Drek. When the two defeated Drek and destroyed his new world, Ratchet almost fell to his death, having to cling onto Clank to stay alive. Clank's arm broke, causing them both to fall, though Clank saved Ratchet with his Thruster-Pack last minute. Ratchet then took Clank back to his garage to fix his arm, and the two remained friends ever since.

Re-imagined

In Qwark's retelling and the holofilm, Clank's story is very similar. He was born on Quartu's robot factory, as Warbot Defect B, a defect in a line of warbots created by Dr. Nefarious, which was created when a Zoni lightning bolt struck the factory.^[4] After information about Drek's plan was uploaded to his databanks, Clank was horrified. The factory detected Clank as a defect, and Drek's lieutenant Victor Von Ion chased him as he fled the factory on a shuttle, en route to Kerwan to warn everyone. Victor Von Ion fired a missile that struck Clank's shuttle, causing him to crash-land on Veldin.

On Veldin, Clank was recovered by Ratchet, who gave him his nickname and returned him to his garage to be repaired. Clank then told Ratchet of Drek's plans to invade Aleero City, though he was reluctant for a civilian to help. Ratchet falsely claimed to be a friend of the Rangers, and the two then set off to the Kerwan. On Kerwan, Clank adjusted the Mag Booster on Ratchet's ship to specifically target his raritanium armor, which would also target Drek's warbots, allowing him to grab the warbots and propel them towards a Class G Dreadship and destroy it.

After this accomplishment, Qwark made Ratchet and Clank members of the Rangers. Clank was introduced to Al, who provided him with a free Heli-Pack upgrade.^[5] Clank befriended Elaris, the technical support of the Rangers who was given little respect or appreciation.^[6] He then joined Ratchet on many missions with the Rangers. The first was the Blarg Tactical Research Station, where he explored outside the station's airlock and found the Magneboots. Next, was Gaspar where he made use of the XK Jetpack upgrade to help Ratchet fly around and access other areas. On Pokitaru, Clank met Al again, who installed the Thruster-Pack upgrade (in Qwark's retelling, Clank began with the Hydro-Pack from the start).^[5]

Before a Ranger mission that took him back to the factory on planet Quartu where he was created, Clank and Elaris had devised a plan of attack, which Qwark and the other Rangers ignored out of arrogance. Later, during the Rangers' mission to reach the Deplanetizer and defend planet Novalis, after Ratchet attacked the Deplanetizer alone, Clank remained on the Starship Phoenix with Elaris, where Victor Von Ion attacked. After fleeing Victor Von Ion through the ship, he eventually caused the robot lieutenant to slip into water, which resulted in his defeat. However, Ratchet's infiltration of the Deplanetizer was not successful, as he was captured by Drek, Qwark betrayed the Rangers, and Novalis was blown apart.

Later, Clank returned to Veldin, where he found a solemn and defeated Ratchet. After convincing Ratchet to rejoin the Rangers, the team then devised another plan, this time listening to what Elaris and Clank had learned. The Rangers deduced that Dr. Nefarious had been using Drek and would be planning to destroy Umbris next to take nearby planets with it. Following Clank and Elaris' plan, the Galactic Rangers successfully disrupted the Deplanetizer, causing it to destroy Drek's New Quartu instead (with Drek still on it), while Ratchet and Clank destroyed it from the inside. Ratchet and Clank confronted Qwark, eventually making him come to his senses, and then they defeated Nefarious, causing him to crash on Umbris. As the three fled the Deplanetizer before it exploded, Qwark appeared unable to reach the teleporter. With help from Ratchet, Clank pulled the teleporter from the floor it was attached to, allowing the three of them to teleport back to the Starship Phoenix in one piece.

Clank later returned to Ratchet, who had returned to his life as a mechanic, and the two became lifelong friends.^[6]

Going Commando

Clank appeared with Ratchet in an interview for Behind the Hero, discussing their activities since Drek's defeat. During the interview, Clank's admirer, a female infobot, was hiding behind his chair. Midway through this interview, both Ratchet and Clank were teleported away by Abercrombie Fizzwidget, who offered Ratchet a job as a commando for Megacorp in the Bogon Galaxy to hunt down the Unknown Thief. Clank was ambivalent about this at first, but Fizzwidget offered him an apartment in Megapolis on planet Endako, with a job as Megacorp's head accountant.^[7] His admirer followed him there to deliver him flowers, shortly before being scared off by the Thief, who came to kidnap Clank.

With Clank captured, the Thief had him strapped to a metal board and electrocuted him while repeatedly managing to avoid Ratchet. During the mission "Rescue Clank from the thief", Ratchet then arrived in Endako and freed Clank, who then freed Ratchet, for the Thief had trapped them both. Clank then joined Ratchet on his quest to find Megacorp's "Experiment". Later on, the two discovered that the Unknown Thief was a lombax named Angela Cross, and the Megacorp Experiment was to be mass-marketed as a pet named the Protopet, despite being a killer threat that had not passed safety checks.^[8] When imprisoned by the ThugsLess mercenaries in their prison on Aranos, while they were under Megacorp's employment, Clank's admirer assisted them by breaking through an air duct, providing their only means of escape.^[9]

Towards the end of the adventure, in the Protopet Factory on Yeedil, Clank's admirer arrived to show them a video revealing that Qwark planned to use the Bogon Galaxy to stage a comeback by manufacturing the Protopet menace so that he could save the galaxy from it and restore his tarnished reputation. At that point, Qwark appeared, revealing that he had been disguised as Fizzwidget the entire time, and filmed a broadcast to depict him saving the galaxy from the Protopet while framing Clank, Ratchet, and Angela as the "masterminds" behind the Protopet.^[10] He tried to use Angela's Helix-o-morph to cure the Protopet, but his plan backfired as he morphed it into a Mutant Protopet. Ratchet and Clank defeated it, and Clank diagnosed that the Helix-o-morph was not working due to the battery being inserted backwards.^[11] Ratchet, Clank, Angela, and Clank's admirer were later seen enjoying time together in Clank's apartment.

Up Your Arsenal

Sometime prior to the events of Up Your Arsenal, Clank became a star in his own holovision show, Secret Agent Clank. The show had many fans, including President Phyronix^[12] and Dr. Nefarious.^[13]

While relaxing in Clank's apartment on Endako, playing chess and watching episodes of Secret Agent Clank, the two saw a breaking Channel 64 News report. By watching it, they learned that Veldin was under attack by an alien race known as the tyhrranoids and that Dr, Nefarious was the mastermind behind the attack. Ratchet then wished to return to Veldin using the gravimetric warp drive, a device he had built out of blargian scrap metal. Clank objected as Ratchet had never tested the device, but was proven wrong when they arrived.^[14] After arriving and defeating the tyhrranoids, President Phyronix recognized Clank from Secret Agent Clank, and Ratchet as his chauffeur.^[15] From there, Clank joined the war effort against Nefarious and joined the Q-Force, a team formed by Captain Qwark, based on the Starship Phoenix.

Qwark introduced Clank to Skrunch, his monkey, and gave Clank the Banana-Guided Autonomous Monkey Device, a device that fires bananas, allowing him to direct Skrunch.^[16] During "Find Nefarious' Office", Clank, with the help of Skrunch and several gadgebots, infiltrated Nefarious' base on Aquatos. Al also entered Clank in the Robowars cage match toasterweight division, for which Clank would be required to swap out his arms for a blowtorch.^[17]

Later, when Ratchet and Clank learned that the pop star Courtney Gears was producing propaganda for Nefarious, Clank met with her in Annihilation Nation. She flirted with Clank, and agreed to share more information about Nefarious if he gave her a role in Secret Agent Clank.^[18] Clank agreed, and returned to Holostar Studios, where he filmed an episode known as "Maxmillian Strikes Back". The episode featured Skrunch, after Ratchet was fired from the cast, and involved a chase scene against Maxmillian, before Clank transformed into Giant Clank to defeat the Terror of Talos and rescue the baroness, played by Courtney Gears. After filming the episode, Gears incapacitated Clank and took him to Nefarious, where Nefarious encouraged him to join his cause.^[13] Clank refused and was thus replaced with Klunk, a replica that would spy on Ratchet.

Nefarious took Clank with him to Metropolis to witness the Biobliterator transforming the city into robots. Ratchet found Clank and freed him, after defeating Klunk. Clank blamed himself, though Ratchet reassured him that it was Nefarious' fault, not his. Later, Ratchet and Clank met up with Qwark, who was hiding in the Thran Asteroid Belt and had resigned from the war. While Ratchet berated Qwark, Clank motivated Qwark to return to the war.^[19]

After this, on Koros, Ratchet helped Clank reach the control panel for a cannon, allowing him to destroy the Biobliterator, only for the two to learn Nefarious had constructed a second Biobliterator in secret on Mylon. Ratchet and Clank defeated Nefarious and, with the help of Qwark, destroyed the second Biobliterator.

Clank celebrated alongside Ratchet and many of their allies from previous adventures by watching the premiere of the Secret Agent Clank movie.