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VINTAGE BENCH TEST
The original single-line Kluson tuners feel smooth The feature that sets this guitar apart – and elevates
and accurate, and the hardware is all in very serviceable its price significantly – is the Firemist Gold finish and
condition. It appears correct under the hood too, with matching headstock. Fender introduced this classy
the original wiring and shielding intact and only a hue in 1965, and it was actually a Lucite acrylic made
handful of solder joints disturbed. by Dupont for Cadillac. The front of the headstock
is more yellow than the body, and it’s possible that
GOLDEN STRUMMER Fender sprayed more top coats of nitrocellulose to
Several changes were made to the Jaguar over its first ensure that the decals would adhere properly, but both
four years of production, and this 1966 example has headstock and body look identical under black light.
pearl rather than clay fingerboard dots, as well as neck None of the solder joints or wiring appear to have
binding and an F-branded neckplate. Jaguars were been touched, and all the hardware appears to be
among the first Fenders to sport F-stamped tuners, original. The bridge mute is present but the foam
while block inlays would replace the dots found here rubber has dried out and shrunk so much that it
by the end of the year. Though few would argue that has no effect whatsoever. This probably won’t be a
the Schaller-made tuners were an improvement on deal-breaker, even for Jaguar fanatics, but functioning
the Klusons that Fender used from the beginning, mutes can produce some mightily cool sounds,
this guitar’s F-stamps are smooth and stable. especially when fed into spring reverb.
For a guitar of its age, this Jaguar is in impressive
condition and doesn’t seem to have led a hard life. It’s IN USE
not mint, as a sizeable dent near the rhythm circuit For such superficially similar guitars, it’s remarkable
controls and three deep cuts in the fingerboard binding how different these instruments feel to play. The
will attest, but other than that we’re looking at minor contrasting scale lengths are a big part of that but
dings and dents. There’s no playwear on the neck there’s something about the positioning and spacing
and the original frets are still present. The CBS-era of the components that makes everything line up
scratchplate is still bright white. a little differently.
GUITAR MAGAZINE 59
