Fender headstock: the Croatian connection
This is my first thread, and I want to raise two points:
(1) the Fender Broadcaster headstock.
So I've read that Leo Fender saw the Merle Travis/Paul Bigsby guitar on several occasions in the late '40s. According to Martin Kelly's book "Fender: the Golden Age" Fender's own Don Randall wrote in 1950 that this was "the one Leo copied".
The Bigsby headstock sure looks like the later Strat headstock, but not so much like the broadcaster. Leo later claimed a Croatian connection. Here is a quote from Leo Fender in an interview in Guitar Player magazine September 1971:
"Just one last question, whose idea was it to have the tuning gears located on one side of the peghead?
Well, that's a very old idea that has been around for thousands of years. The Croatians, near Poland, have several instruments with tuning pegs located on one side of the guitar and they invented this years ago."
From the reading I've been doing on the internet it would appear this "scroll" headstock can be attributed to the early 19th century Austrian luthier Johann Georg Stauffer, based in Vienna. This "Stauffer style" headstock is still used on some Classical Guitars, came over from vienna to the US with C.F. Martin, was carried on in Vienna by Stauffer's son, and spread throughout Central Europe to other guitar and lute related instruments.
In Croatia, and other Central European countries, there are ensembles of Tamburica (or Tamburitza) with a family of 5, 6, 7 instruments. These are string bands, like a mandolin orchestra. Croats emigrated to the US, Canada, Australia etc. There are photos of large Tamburica ensembles in California in the early 20th century. Check out their Stauffer headstocks! Leo could have seen a group like these. These groups are still playing in the US (and Croatia) and luthiers are still making Tamburica.
(2) the Precision Bass as the big brother to the Broadcaster.
OK. So if we allow that Leo may have been influenced in his headstock design by Stauffer style headstocks on Croatian tamburica. Consider that the Tamburica are traditionally played in an ensemble comprising a FAMILY of instruments, like a string quartet. Small mandolin-like lutes, medium-sized guitar-like instruments, and a relative of the Double Bass.
There's one called a Brac or Basprim, looks like an acoustic guitar. The next size up is called Celo, often with four strings, sometimes now tuned EADG. Hmm...
There is often discussion about the precedence of other instrument makers who tried to electrify the Double Bass, but what of the consideration that, like in a string quartet, or a tamburica ensemble, Leo was making the big brother of the Broadcaster.
Thanks for listening.
And given Croatia’s relative proximity to Greece, it would come as no surprise to me that Clarence Leonidas Fender’s designs might’ve been consciously or subconsciously influenced by instruments of European origin.
Is this supposed to make up for Croatians having invented the much hated necktie???
Looks like Ovation copied the mandos, too!
Edit: Come to think of it, not just the headstock, but the rounded body backs, as well.
When Leo Fender and George Fullerton designed the Broadcaster and Precision, they were careful to make them easily manufactured by semi-skilled workers with a minimum of wasted material. There are very few points of similarity between the Bigsby/Travis guitar and the Broadcaster, other than the 6-on-a-side tuners. As already noted, that feature was hardly unique to Bigsby.
When Freddie Tavares was hired on, the new instruments gained a lot in attractiveness, which included the Stratocaster's and the second-generation Precision's Bigsby-like headstock.
I'm reasonably certain that Leo showed Freddie a photo of the Bigsby and said, "Let's do something like that." By that time, Paul Bigsby was no longer building guitars, having turned his attention to the Bigsby vibrato.
How did Leo get a photograph of the Bigsby? Merle Travis has said that he loaned the guitar to Fender, and we know that Fender was in the habit of thoroughly checking out everything that fell into his hands, and he was an avid photographer.
I'm basing this conclusion on what I have read in a number of books about Paul Bigsby and the early days of Fender.
But Bigsby's head design really does look proto-Strat.
I always thought Fender designed his headstocks to look like the profile of a traditional violin/cello/double bass' scroll (when you look at it from the side).
Confirming the tamburica headstock - they are widely used since forever in my country just north of Croatia - they are traditional instruments dating way before mentioned Vienna connection. I guess it was bigsby who copied them lol
And yes, I thought the same about Ovation borrowing their headstock design too. I like that Ovation headstock.
Leo had the idea that the necks didn't need truss rods, and as you noted, that when one needed refretting or had some other fault, Fender could mail a new neck in a tube. It didn't take long for Don Randall to show Fender how quickly the truss-rod-less necks warped, and by the time the Strat was in the works, the idea of necks in mailing tubes was history.
Personally, I find the early Broadcaster/Telecaster/Precision instruments to be very attractive, offering as they do a window into the thinking of Leo Fender. I have a reissue '51 and a Classic '50s as well as an AVRI '57. I love 'em all.:D
(This pic was taken before I donated the fretless to a benefit for a local musician and before I got the AVRI '57.)
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