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Johnny went from sketches to developing his Espada preamp mounting fixture in like one day. There’s more to it he’s working on today but man,
this thing sure looks nice in flame maple.

I complained about stocking my bathroom and this is what I get.

Leo’s CTS binder with stuff going up to the ‘80s.

A quiet moment in the lab.

The natural

Project El Toro ready for some fun tonight

Project Fake Broadcaster out for a warmup this morning.

Leo’s 1967 Stimpson 489 Eyelet Press in use on an Espada pickup fiber.

Norma is pressing the MFD pole piece bushings into the Espada fibers she prepared earlier.
This process looked the same with Alnico pickups going way back to Leo’s pickups of the 1950s.

August ‘74: hangin’ out with Leo Fender

I just watched a YouTube clip for the guitar chords (Nile is a pop genius) and was jonesing for a bass line. Hey, here comes Steve!
My bro Johnny had his phone out and sent me this clip.

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Hangin’ with Leo and his white Cadillac around 1973. Doc Kauffman on the right and the guy in the middle... I want to say his name is Robbie.
[edit: thanks to Terry Foster for identifying Robby Lawrence.]

38 years old

Also 38 years old

CLF timewarp

My bro Johnny with Vince of California Electroplating. Vince has done work for Leo and us since the ‘80s, and Johnny calls him the Tiffanys of plating.
The parts always look so rich and luxurious.

Vince unwraps a freshly chromed CLF battery plate and it’s like jewelry. Johnny’s not kidding, Vince really is like Tiffany’s. I love seeing Vince’s reflection in the plate.
That’s the passion right there.

Vince brought some beautifully chromed production Espada control plates. We’re getting very close now...

Our friend Blake Hunter’s 1980 L-1000 that he’s owned since new. Well loved yet in unbelievably clean condition, this bass is magical.

One of Leo’s briefcases.

Idea formation in the mind of Leo Fender.

In a moment desperate for a pick, I found this at the back of my desk drawer. No idea how it got there, but thanks, Sammy!

Leo’s Lounge: friends and family hangin’ out and shakin’ the walls

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Today a crew is doubling the number of can lights in Leo’s Lounge. We achieved this beautiful light just like I wanted,
but I just need more of that golden photon mojo.

Another look at Leo’s 1967 Stimpson 489 eyelet press. I love manufacturer tags on old tools and machines.

Apparently Monday morning will be all about basses in final assembly. Mmmm.....I want me some of that!!!

I was up in a loft and found this 1986 plaque from NAMM to my dad. At first I put it back down, then I turned back and brought it downstairs.
I cleaned it up and will hang it in the lounge. Dad won’t see this, can’t figure out Facebook. But I do hope he sees it some time here on the wall.

Kickin’ it in Leo’s Lounge.

Timeless elegance

Getting closer....

Random shot of the bridge in Johnny’s old Mustang

Taking this ‘91 ASAT Signature out for a ride.

My brother Johnny McLaren on a drum kit for the first time in like 30 years. I remember he had pretty good chops when we were kids in the big music room in the family home. Our parents were cool about all the noise.

Johnny sent me this pic of me with our dad John C. McLaren visiting Leo’s Lounge. No idea what I was talking about but dad appears to be putting up with me. ; )

Johnny brought in one of first Rhodes Mark V pianos made in the big CBS building in February 1984.
Check out Harold Rhodes 1985 signature with “expressly for John.” That’s my father.
My brother Johnny was very close with Harold until his passing.

The Mark V with the harp cover installed. Harold was so proud of the Mark V he declared it the best Rhodes piano ever. This one is obviously quite special.

Johnny dialing in the Mark V. He is a wizard with these things.

Relic from the early years in the 2548 building. I went looking for a Rhodes part where Johnny keeps some old stuff,
and I stumbled on this old Stingray bass headstock template. The history is anywhere and everywhere in CLF land.
EDIT: I forgot to explain that this was used in the final assembly department to locate the tuner mounting screw holes to be drilled.
Note the two wooden dowels, which fit into the tuner post holes to locate the jig.

George Fullerton’s 1982 slim CLF headstock shape. This R&D artifact was made by pasting the headstock drawing
to aluminum sheet (aluminium for my non-‘Merican English speaking friends) then grinding and filing to the exact shape.

I’m in love with this thing. Johnny made it perfect.

Trying to get this mic working and I sort of got a clip noodling on the Mark V. I imagine pretty soon some of the Leo’s Lounge crew will work some real mojo on this.

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You probably knew this had to happen. And it’s frickin’ rad. Push/pull coil split tone pot because the required toggle was too big for the spot on the CLF Skyhawk plate (Cavalier, really). It’s called Fullerton Deluxe Skyhawk HH.

Bill at Imperial Guitar & Soundworks giving me severe GAS pains with this blonde ASAT. It sucks when a cool G&L dealer gets in some old one that I want.
I’m supposed to be selling new instruments, not shopping for them. But....want!!!

Let’s take a moment to appreciate the killer work Carter Drain has put into his 1970s CLF-era Stingray Guitar.

I’m in the loft over Leo’s Lounge, thinking about how I want to convert this space. I’m feeling like VIP hang at the club. That sorta vibe.
There’s a few pipes and wires to work around, but it’s like 300 square feet ( ~28 square metres) of intimate space overlooking the main scene.

I have some ideas, so now I’ll consult the Pharaoh for guidance. Or whatever. Playing music, particularly noodling, helps my mind work through things. Do you do this too?

First production Espada bodies undercoated in the paint department. Johnny is almost done with the details in the control plate assembly
so we should be able to officially launch and ship in April.

Today’s forecast for Fullerton, California: sunny, warm, with heavy thunder reported on Fender Avenue.

In Leo’s office file cabinet

Espada Funkin’

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