ASAT is a military abbreviation for "anti-satellite"; the name was suggested by author Richard Smith after he read an article about the Air Force's ASAT missile. Both Leo Fender and Dale Hyatt reportedly liked the image of a guitar shooting down things in space, and hence the name "stuck". The name is often (incorrectly) interpreted to mean "After Strat, After Telecaster".

Notes:

1. Dates given are approximate.
2. Impedances given are in ohms; these figures are approximate and will vary since all G&L pickups are hand wound.
3. Tone is dependent upon factors other than pickups such as circuit, body wood, body type, and fingerboard wood.

Pickup	Impedance	Found In These Models
Seymour Duncan SSL Vintage (flats)	6.6K	Legacy (1992 - 94)
	The Seymour Duncan Vintage series pickups are voiced to produce vintage Strat tones using modern materials and designs. The polepieces are not staggered as on a vintage pickup, but instead are flush (level or flat). This allows a more balanced sound with the flatter 12 inch radius fingerboard found on the Legacy. The neck and middle pickups have excellent vintage Strat tone while the bridge pickup is on the "thin" side. The in-between tones (positions 2 and 4) have an exaggerated "rubbery" tone that some call "quack".
G&L Vintage Style Alnico V	6.4K - 7.0K	Legacy (post-1994), George Fullerton model, neck pickup of ASAT HB
	By 1995, G&L began hand winding its own vintage style alnico pickups for the Fullerton Signature model and they were eventually fitted to the Legacy as well. Like the Duncan SSL pickups, the G&L units have flush polepieces. The G&L pickups produce bright and glassy Strat tones. The bridge pickup has richer tone than the Duncan counterpart. The in-between sounds do not have as much "latex" to them as the Duncans.
Gotoh Dual Blade and Power Blade Humbuckers	5.1K (neck, middle); 7.5K (bridge)	Legacy Special
	These units are Strat-sized ceramic bar magnet humbuckers made for G&L by Gotoh in Japan. They are noiseless, yet more powerful than the vintage style alnico single coil pickups. The bridge pickup ("Power Blade" unit) is especially hot and is is excellent for lead guitar. The tone is distinctly humbuckery, but not as warm or dark as a traditional size Gibson style pickup. The Dual Blade/Power Blade units are bright yet smooth. These are very versatile; a more "vintage" type tone can be obtained by rolling back the bass control.
G&L Magnetic Field Design Strat style single coils	4.1K - 4.7K	S-500, SC-3, Nighthawk, Skyhawk, Invader, Interceptor, ASAT III, GbL LE
	The G&L MFD Strat style pickups use a powerful ceramic magnet for increased output with fewer turns of wire. They are rather quiet for single coils and can easily overdrive a tube amp way before a guitar with alnico pickups could. These are harmonically rich pickups, but the overall tone varies greatly depending on the guitar that they are in. Early style S-500s and all SC-3s tend to sound bright while these pickups sound darker in Nighthawks, Skyhawks, Invaders, Interceptors and later style S-500s. Rolling back the treble control on the early S-500s and SC-3s will yield a more conventional sound while rolling back the bass control will do the same for the other models.
G&L Magnetic Field Design soapbar style single coils	4.4K - 4.9K (pre-1992); 4.7K - 5.3K (post-1991); 6.5K for the neck, 7.25-7.3K for middle RW/RP, and 7.25-7.3K for the bridge on the ASAT Trinity Special Edition	SC-1, SC-2, Broadcaster, ASAT, ASAT Special, ASAT Junior, ASAT S-3, ASAT Semi-hollow, 20th Anniversary Model, ASAT Classic Custom neck pickup, ASAT Classic Custom Semi-hollow neck pickup, ASAT Super, ASAT Trinity Special Edition
	These pickups have given G&L its enviable reputation for great tone. The soapbars have higher output than the Strat style MFDs and are "ballsy". They have more midrange than Gibson P-90 alnico soapbars while reproducing the P-90's well-known harmonic complexity. They are great for cutting through a mix. The bass response is strong and well focused. In the neck position, the soapbar MFD produces fine blues tone. In the bridge position, it has excellent spank and clarity for lead work. The ASAT Junior, 20th Anniversary Model, and ASAT Trinity Special Edition pickups are overwound. The ASAT Classic Custom and ASAT Classic Custom Semi-hollow neck pickup pole piece bushings are longer than the standard ASAT Special pickup. An extra 200 windings were added, but they stack up entirely differently and the magnet is further down under as well. They are warm and fat but still have tonal characteristics of the standard MFD single coil.
G&L Magnetic Field Design Tele style single coils	3.9K - 4.5K (neck, middle); 4.8K (bridge, pre-1993); 5.6K (bridge, post-1993)	ASAT Classic, ASAT Commemorative, ASAT Classic Custom, ASAT Classic Semi-hollow, ASAT Classic III, ASAT Classic Custom Semi-hollow, ASAT Classic S
	The small MFD neck pickup is far more versatile than an alnico Tele style pickup. The MFD is brighter, more powerful and most importantly, much clearer sounding. The bridge pickup has all the twang, spank, and cluck that a Tele lover could want. It is not as smooth on top as an alnico style Tele bridge pickup and has a harder, more immediate attack. The ASAT Classic III has a reverse-wound neck pickup for the middle position.
G&L Magnetic Field Design "Z-coils"	4.5K	Comanche V, Comanche VI, Comanche reissue, ASAT Z-3, ASAT Z-3 Semi-hollow
	This is a split-coil type single coil pickup based on Leo's venerable post-1957 P-Bass pickup. The two halves have opposite charges that are hum cancelling. Yet the Z-coil produces a very familiar bell-tone single coil sound with a very flat, neutral response. These pickups allow the player great flexibility for "coloring" the sound with effects, amps or playing style. As with all MFD type pickups, the Z-coils are high output.
G&L Magnetic Field Design large humbucking	6.9K - 7.3K	F-100, G-200
	This was the first guitar pickup that Leo Fender designed at G&L. It has a coil split design so the pickup can be switch from humbucking to single coil mode.
G&L Magnetic Field Design GHB humbucking	4.3K - 4.4K	HG-1, HG-2
	Leo designed this small humbucker to fit the same size route as an ASAT pickup. It has the smoothness associated with all hum cancelling pickups, but this unit is much brighter than traditional style humbucking pickups. In fact, this unit has the brightness and chime usually associated with single coil MFDs. However, its brightness also makes it less versatile and the GHB works best for rock.
G&L Magnetic Field Design HG-2R "Angled-Offset" humbucking	4.3K - 4.4K	Cavalier, Interceptor
	Like the GHB MFD unit, the slant humbucker is the same size as an ASAT neck pickup. It is a little warmer sounding (though still bright as far as 'buckers go) than the GHB unit and has a "woodier" tone. As such, it is more versatile and works well for jazz, blues and rock.
Schaller humbucker	7.9K	Invader, Superhawk, Interceptor, Rampage
	These pickups were wound to Leo's specifications by Schaller. They have an extra wire for coil splitting, but oddly, Leo never used this option on any of his "Superstrat" type guitars. These pickups are typically dark sounding humbuckers and are best suited for overdriven tone.
Seymour Duncan '59 humbucker	7.4K	Neck position of ASAT Deluxe, ASAT Deluxe Semi-Hollow, Invader reissue, Invader XL
	This pickup is patterned after the famous Gibson PAF humbucker from the late 1950s which is known for its warm, smooth tone and sustain.
Seymour Duncan JB humbucker	16.4K	Bridge position of ASAT Deluxe, ASAT Deluxe Semi-Hollow, Legacy, Invader reissue, Invader XL
	This is a very high output humbucker that doesn't get too dark or muddy while retaining harmonic richness.
Seymour Duncan Seth Lover humbucker	7.2K	Neck position of ASAT BB, ASAT BB Semi-Hollow, ASAT Classic Bluesboy, ASAT Classic Bluesboy Semi-Hollow
	This pickup is an exact recreation of the very first Gibson PAF humbucker designed by Seth Lover in 1955. It has a warmer tone than the Duncan '59 Humbucker.
Seymour Duncan APTL-3JD Alnico single coil	TBD	Bridge position of ASAT JD-5
	TBD
G&L AS4250B Alnico humbucker	TBD	Neck position of Tribute Invader XL
	TBD
G&L AW4370B Alnico humbucker	TBD	Bridge position of Tribute Invader XL, Tribute Legacy HB, ASAT HB
	TBD
G&L AS4250Z Alnico humbucker	TBD	Neck position of Invader XL Standard
	TBD
G&L AW4370Z Alnico humbucker	TBD	Bridge position of Invader XL Standard
	TBD

Notes:

1. Dates given are approximate.
2. Impedances given are in ohms; these figures are approximate and will vary since all G&L pickups are hand wound.
3. Tone is dependent upon factors other than pickups such as circuit, body wood, body type, and fingerboard wood.

Pickup	Impedance	Found In These Models
G&L Magnetic Field Design large humbucker	8.7K - 8.8K (L-1000); 10.0K - 10.3K ohm (all others)	L-1000, L-2000, ASAT Bass, Commemorative Bass, Climax Bass, L-1500, L-2500 (5-string version)
	This was Leo's first bass pickup designed for a G&L model. It is outrageously versatile and sounds fantastic. It can cop modern tones as well as vintage thanks to its coil splitting capabilities. With the usual hot MFD signal, the tone is beefy, with a broad spectrum. The bottom end is ground-shakingly tight and focused. A pair of these in an L-2000 or ASAT Bass can run the gamut from P-Bass to J-Bass to Stingray to pure G&L.
G&L Magnetic Field Design small humbucker	9.0K - 9.1K	El Toro, Interceptor Bass
	Though a smaller unit than the usual L-2000 style MFD, this humbucker puts out pro quality tone. It has more midrange than its larger brother, but EQ'ing at the amp can bring it into the same league. The small 'buckers also have coil splitting leads which increases their tonal range. These are exceptionally fine sounding for modern slap and pop or tapping styles of playing.
G&L Magnetic Field Design Jazz-style single coil	5.0K - 5.3K	Early-style SB-1, early-style SB-2, Lynx Bass
	The MFD single coil bass pickups have a higher output, more upper midrange, and lots of high end compared to standard alnico Jazz Bass style pickups. In a maple or ash body SB series bass they tend to sound "honky", but EQ'ing at the amp or rolling back the tone control easily tames the extra midrange. The tone of these pickups really smooth out in an alder or poplar body bass. The "student" status of these pickups should not dissuade any bassist as they are fully capable of delivering stage-shaking low end with the ability to cut through a mix.
G&L Magnetic Field Design split coil	8.8K (SB series); 7.0K (L-5000)	Late-style SB-1, late-style SB-2, L-5000 (5-string version)
	This unit looks like a traditional P-Bass pickup, but it's an MFD through and through. Higher output means more growl and punch than any vintage-style alnico P-Bass pickup can deliver. This pickup is an excellent all-around choice for any bassist.
Gotoh Vintage-Style Alnico	N/A	Legacy Bass, LB-100
	Sounds like a '60s P-Bass. 'nough said.
EMG BTC System active soapbar	N/A	L-5500
	The EMGs are extremely neutral and almost sterile sounding, but work well with the stack knob tone controls and active circuitry on the 5-string L-5500.

(Editor's note: a complete tabulation of G&L's current neck options is available at G&L's official company web site  -BWT).

Historically as early as 1980, G&L has offered neck options on its guitars and basses. The options on the F-100 included fingerboard radius (7.5- or 12-inch) and fingerboard wood (ebony or maple). The 12-inch radius was a no-cost option on all G&L guitars (except the student SC series) beginning in 1982 and 1983.

In 1984, three neck options were offered:

    #1 (1 5/8 inch nut width, 2 13/64 inch butt width, 12-inch radius)
    #2 (1 5/8 inch nut width, 2 13/64 inch butt width, 7.5-inch radius)
    #3 (1 3/4 inch nut width, 2 13/64 inch butt width, 12-inch radius)

From 1986 to 1991, the options were expanded to:

    #1 (1 5/8 inch nut width, 2 13/64 inch butt width, 12-inch radius)
    #2 (1 5/8 inch nut width, 2 13/64 inch butt width, 7.5-inch radius)
    #3 (1 3/4 inch nut width, 2 13/64 inch butt width, 12-inch radius)
    #4 (1 3/4 inch nut width, 2 13/64 inch butt width, 25-inch radius)
    #5 (1 3/4 inch nut width, 2 21/64 inch butt width, 12-inch radius)

The #1, 2, 3, and 4 necks were no-cost options and the #5 was a $25 special order.

The most accurate method of dating your G&L is to take the neck off - you'll find two stamped dates, one in the neck pocket on the guitar and one stamped on the butt of the neck itself. The latter of these two dates is generally a good "ballpark estimate" of the construction date of the guitar. This is by no means an exact science, however, as necks and bodies may not be assembled into the "final product" until weeks (or even months) after their their initial construction. Also, be sure you know what you're doing; removing the neck from your guitar is an excellent way to screw up its existing setup.

Alternatively, the instrument's serial number can be used to give a less accurate "rough estimate" of the age of the instrument. Check out our G&L Registry Page for a tabulation of instrument serial numbers that can assist in this regard (also be sure to add your G&L to the Registry!). Also check out the "Chronology" section on G&L's web site, which gives the start and end serial numbers for each year.

The problem with these techniques is that G&L's serial numbers are non-sequential. The story I've heard on this is that they'll make up a whole series of bridges (and/or neck plates) and throw them into a bin, and then pick randomly from that bin when building guitars. As an example of the resultant scattering of serial numbers, consider that #G000519 (in theory, the 20th production guitar if the numbers were in order) is actually a late-1982 S-500!!

The current serial number scheme, begun in late 1997, employs numbers of the form CLXXXXX, where - as verified by G&L's Dave McLaren - CL stands for "Clarence Leo" (note that Leo Fender's full name was "Clarence Leo Fender"). Prior to this change, numbers of the form GXXXXXX were used for guitars and numbers of the form BXXXXXX were used for basses. The two notable exceptions to this are the "GF" and "BC" serial numbers, used (respectively) for the George Fullerton Signature Model and the Broadcaster. Again, just to emphasize, none of these schemes employ a perfectly sequential numbering scheme - so, for example, GF0025 is most likely not the 25th George Fullerton Signature made; in fact, it may not even be from "early" Fullerton production. (See question above for more details regarding this "serial number scattering".)

Check out our G&L Registry Page for a tabulation of real-life G&L serial numbers (and be sure to add your G&L to the Registry!).

• For more recent guitars, the thick "modern"-era tremelo arms can be ordered direct from G&L at their online store and/or via your local G&L dealer.

• Any older G&L with a Dual Fulcrum vibrato tailpiece and the old-style "thin" arm can be retrofitted to use a modern thick arm. All that is needed is a new arm boss (the thing that the arm is pushed into) and arm. Again, check out the G&L online store and/or inquire at your local G&L dealer.

• If you have an older guitar with the "thin"-style arm and would prefer a nonoriginal replacement that is very similar to the original, try installing a replacement arm for a Fender Mustang. These are available at ALLPARTS and Smart Parts. The Mustang arms are essentially identical to the original G&L items in terms of thickness and bend, but they will have a white plastic tip (whereas G&L's arms have black tips).

• If your G&L has a Kahler tremelo, you're in luck! Kahler is now back in business and you can check out their web site by clicking here. All replacement parts, including tremelo arms, can be ordered direct. For the record, the model that appears on G&L guitars is the 2320 Standard Flatmount.

Note: Some examples of models discontinued in 1991, especially models from the Signature series, were made in 1992 using leftover parts. Also, check out our G&L Registry Page for a tabulation of real-life G&L instrument data (and be sure to add your G&L to the Registry!).

Guitar Model	Years of Production	Estimated Production
F-100	1980 - 1986	Approx. 3500
F-100E	1980 - 1982
G-200	1981 - 1982	209
S-500 (no mini-toggle)	1982 - 1987
S-500 (mini-toggle)	1988 - 1991 (old body), 1992 - present (Strat-style body)
SC-1	1982 - 1983	Approx. 250
SC-2 (Mustang-style body)	1982 - 1983	Approx. 600
SC-2 (Strat-style body)	1984
SC-3 (Mustang-style body)	1982 - 1983	Approx. 350
SC-3 (Strat-style body)	1984 - 1987
SC-3 (with pickguard)	1988 - 1991
HG-1	1982 - 1983	Probably less than 5
HG-2 (Mustang-style body)	1982 - 1983	Approx. 500 (total, both styles)
HG-2 (Strat-style body)	1984
Nighthawk	1983	269
Cavalier	1983 - 1986	Approx. 700
Interceptor (1st X-body)	1983 - 1985	Approx. 70
Interceptor (2nd X-body)	1985 - 1986	Approx. 12
Interceptor (Strat-style body)	1988 - 1991
Skyhawk	1984 - 1991	Approx. 4000
Rampage	1984 - 1991
Invader	1984 - 1991, 1998 to present (reissue)
Superhawk	1984 - 1991
Broadcaster	1985 - 1986	869
ASAT	1986 - present	Approx. 4000 prior to 1992
ASAT III	1988 - 1991, 1996 - 1998	Approx. 150 between 1988 and 1991
Comanche V	1988 - 1991, 1998 - present (reissue)
Comanche VI	1990 - 1991
ASAT Classic	1990 - present
ASAT Classic Commemorative	1991 - 1992	Approx. 350
Legacy	1992 - present
Legacy Special	1992 - present
Climax	1992 - 1996
Climax XL	1992 - 1996
Climax Plus	1992 - 1996
ASAT Special	1992 - 1998
John Jorgenson Sig.	1995	Approx. 190
George Fullerton Sig.	1995 - 2007
ASAT Custom	1996	25 - 30
ASAT Classic Custom	1996 - 1997
ASAT Deluxe	1997 - present
ASAT Classic Semi-Hollow	1997 - present
ASAT Semi-Hollow	1997 - present
ASAT Deluxe Semi-Hollow	1997 - present
ASAT S-3	1998 - 2000
ASAT Z-3	1998 - present
ASAT Z-3 Semi-Hollow	1998 - present
Invader Plus	1998 - present
Invader XL	1998 - present
ASAT Classic "Three"	1998	100
ASAT Junior	1998 - 1999	250
guitarsbyleo.com Limited Edition (a.k.a. GbL_LE)	1999	25
ASAT BB Special Edition	1999	20
ASAT BB Semi-Hollow Special Edition	1999	12
ASAT 50 Special Edition	1999	10
ASAT Z-2 Semi-Hollow Special Edition	1999	10
20th Anniversary ASAT	2000	50
ASAT Classic "Blues Boy"	2001 - present	G&L's most popular model!
ASAT Classic "Blues Boy" Semi-Hollow	2001 - present
ASAT Special Deluxe	2001 - present
S-500 Deluxe	2001 - present
Legacy Deluxe	2001 - present
Legacy HB	2001 - present
Legacy 2HB	2001 - present
ASAT Classic Custom	2002 - present
ASAT Classic Custom Semi-Hollow	2002 - present
Will Ray Signature Model	2002 - present
ASAT Classic S Special Build	2004 - present	100 (initial run); several one-offs during 2005-2006; 100 (second run-2007)
ASAT Super Special Build	2004 - present	60 (initial run); 74 total to date (2007)
ASAT JD-5	2004 - 2007
ASAT HB Special Build	2004	less than 35
ASAT Classic "Blues Boy" Special Build	2005	28
G&L 25th Anniversary	2006	250
Legacy Standard-Fullerton Standard Series	2006 - present
Invader XL Standard-Fullerton Standard Series	2006 - present
ASAT Trinity Special Edition	2006	25
Comanche Studio VI Special Build	2007 - present	100 (initial run)
F-100 Return Edition-Limited Edition	2007	100
The Phyllis Model: "Blondie"-Limited Edition	2007	100
Comanche Semi-Hollow	2008 - present
Legacy Semi-Hollow	2008 - present
S-500 Semi-Hollow	2008 - present
ASAT Classic Bluesboy w/Spalted Maple Top Special Build	2008	60 (January-February 2008 initial run)

Bass Model	Years of Production	Estimated Production
L-1000	1980 - 1992
L-2000	1980 - 1981
L-2000E	1980 - 1982; 1983 to present ("E" suffix dropped)
SB-1 (1 J-style pickup)	1982 - 1984
SB-1 (1 P-style pickup)	1985 - 2000
SB-2 (2 J-style pickups)	1982 - 1984
SB-2 (P-J-style pickups)	1988 - present
El Toro	1983 - 1991
Interceptor Bass	1984 - 1991
Lynx Bass	1984 - 1991
L-5000	1988 - 1992	Approx. 400
ASAT Bass	1989 - present	Approx. 400 prior to 1992
ASAT Bass Semihollow	2001 - present
ASAT Commemorative Bass	1991 - 1992	Approx. 150
Climax Bass	1992 - 1996
Legacy Bass	1992 - 1993
LB-100	1993 - 2000
LB-1500	1997 - present
L-5500	1993 - 1997
L-5500 Custom	1997
L-2500	1997 - present
L-2500 Custom	1997
L-2000 Custom	1997
L-1500 Custom	1997
L-1505	1998 - present
JB-2	2001 - present
BABP LE	2007	22

Regular Production ASAT-style guitars
Model	Description
ASAT	Based on the Broadcaster, 2 soapbar MFDs with black covers, black crinkle hardware standard (1986 to 1998). Chrome hardware as well (appeared in 1988 usually on natural finished examples, to 1998). Black tuning keys and 1-ply pg (1986 to 87), maple body (1986 to 1987), ash body (1986 to 91 standard, 1992 to 1998 with premium finish), alder body (1992 to 1998 as standard), ebony fingerboard (1986 to 1987), maple fingerboard (1986- 1998), rosewood fingerboard (1986 to 1998). This variation on the ASAT was discontinued in 1998 (see note on ASAT Special below for a description of the model that is currently known as the ASAT).
ASAT Special	Introduced in 1992, same as ASAT except it has chrome hardware and white pickup covers. The model name changed to simply "ASAT" in 1998. i.e., this is what you'll get if you buy a new ASAT.
ASAT Semihollow	Thinline version of the post-1997 ASAT. Ash body only.
ASAT Deluxe	Solid mahogany body with bound, flame maple top, contour back, rear-loaded controls with coil splitter, 2 Seymour Duncan humbucking pickups.
ASAT Deluxe Semihollow	Thinline version of the ASAT Deluxe, figured maple top on mahogany body, top bound.
ASAT S-3	ASAT with 3 large rectangular MFD pickups, alder body on solid finishes and swamp ash on "see-through" finishes. Saddle-lock bridge, Schaller locking tuners, #2 neck with rosewood or maple fingerboard, 5-way pickup selector, volume and tone controls. Relatively short-lived (1998-2000).
ASAT Z-3	Based on Leo Fender's original "ASAT Comanche" made for John Jorgenson in the late 1980s, this model has an alder body (ash on premium finished guitars), rosewood or maple board, and 3 Comanche Z-coil MFDs with standard ASAT circuitry.
ASAT Z-3 Semihollow	Thinline version of the ASAT Z-3, ash body only.
ASAT Classic	G&L's "Telecaster"-style guitar, 2 Tele-size MFD pickups, chrome hardware, maple or rosewood fingerboard, 1-ply lacquered metal pg (1989 to 1992), 3-ply plastic pg (1992 to present), ash body (1989 to 1991 as standard , to present on premier finishes), alder body (1992 to present as standard).
ASAT Classic Custom	Same as ASAT Classic but with back contour, alder body, and bound ash top. Short-lived model from c. 1996 to 1997.
ASAT Classic Semihollow	Thinline version of the ASAT Classic, ash body only (except for Greg Gagliano's custom-built mahogany example).
ASAT III	First production run from 1988 to 1991. Guitars from this first production run are rarebirds; see the ASAT III: Rarebird page on this site for more information. Second production run from 1995 to 1998. Ash body (1988 to 1991 as standard, 1992 to 1998 on premier finished guitars), alder body (1992 to 1998 as standard), ebony board (1988 to 91), maple or rosewood board (1988 to 1998). Fitted with three S-500 MFDs using standard ASAT circuitry.
ASAT Classic "Blues Boy"	This model originally was a Special Edition with only an alder body and sunburst finish available in 1999. Introduced as a standard model in 2001 to present. The neck pickup is a Seth Lover 1955 Humbucker and the bridge pickup is a specially wound single coil. Ash body on premier finishes and alder body on standard finishes. Rosewood or maple fingerboard.
ASAT Classic "Blues Boy" Semihollow	Thinline version of the ASAT Classic "Blues Boy", ash body only.
ASAT Special Deluxe	Introduced in 2001, this is an ASAT with a Maple top on American Tilia back. Sometime late in 2007, the body wood was changed to Maple top on Mahogany. It has rear mounted controls and no pickguard.
ASAT Classic Custom	Introduced in 2002, this is an ASAT Classic with a modified G&L Magnetic Field Design soapbar style single coil as the neck pickup. The pole piece bushings are longer than the standard ASAT Special pickup. An extra 200 windings were added, but they stack up entirely differently and the magnet is further down under as well. They wanted to see how warm and fat they could get the neck pickup to be, short of a humbucker like the Seth Lover in the Bluesboy, but still have tonal characteristics of an MFD single coil. The net result worked surprisingly well with the Classic bridge pickup and so, at the last minute this was introduced as a model at the Winter NAMM show. So last minute in fact it is not in the new catalog.
ASAT Classic Custom Semihollow	Thinline version of the 2002 ASAT Classic Custom, ash body only.
Will Ray Signature Model	Introduced at the 2002 Summer NAMM show, Will chose the ASAT Z-3 as the basis for the WR model then hot rodded it to suit his unmistakable style. It has a factory installed Hipshot Will Ray B-Bender, Comanche headstock and neck profile (12" radius, 1 5/8" nut width) with rosewood fingerboard, locking tuners, WR spec over-wound middle and bridge pickups using extended length pole pieces for wider bobbin aperture, WR spec pickup height settings, unique skull inlays (designed by Will), choice of Silver or Turquoise Metal Flake with Mirror Pickguard, or for those with more traditional tastes, Will chose to offer Clear Orange over Swamp Ash with a Pearl pickguard. Comes in the molded hardshell case and includes two WR instructional videos (B-Bender Mania and Stealth Slide) and a pair of Will's trademark slide rings.
Will Ray Signature Model Semihollow	Thinline version of the Will Ray Signature Model, ash body only.
ASAT JD-5	July 2004 - Introduced at Summer NAMM, the G&L ASAT JD-5 brings a distinct vintage flavor to the ASAT Classic with the use of traditional Alnico pickups, while at the same time offering added tonal flexibility via a SuperSwitch 5-way pickup selector. The SuperSwitch is wired to offer additional pickup combinations of neck+bridge out-of-phase in the 4th position, and the 2nd position offers a darkened neck pickup tone by the use of a .0022 cap in parallel. For the first time, a Legacy neck pickup appears on the ASAT Classic platform, sans cover, while the complementary Alnico single coil bridge pickup is Seymour Duncan's APTL-3JD.

Special Edition and Non-Production ASAT-style guitars
Model	Description
ASAT with MFD humbuckers	Standard ASAT with one or two MFD humbucking pickups (Cavalier, HG-2). Rare variant from the late 1980s and very early 1990s.
ASAT Classic Commemorative	Special numbered limited-edition ASAT Classic commemorating the life and career of Leo Fender. All-gold hardware, gold pickguard, body binding (front and back), bound birdseye neck. Most featured an ash body finished in cherry sunburst, with a maple neck, though many exceptions exist. See the ASAT Classic Commemorative: Rarebird page on this site for more information. 1991 to 1992.
ASAT Custom	Solid mahogany body with flame maple top, rear-loaded controls. Non-production from c. 1996, probably used as a platform for development of the ASAT Deluxe series. See the ASAT Custom: Rarebird page on this site for more information.
ASAT Classic III	The G&L Custom Creations Department's first model, from 1998. This is an ash body, maple board ASAT Classic with bound top and gun-oiled birdseye neck, and an additional ASAT Classic neck pickup (reverse-wound) in the middle position. See the ASAT Classic III: Rarebird page on this site for more information.
ASAT Junior	The G&L Custom Creations Department's second model, from 1998 to 2000. Semihollow mahogany body, mahogany neck, ebony board, Gotoh tune-a-matic bridge and stop tail, overwound ASAT pickups and circuitry with rear routed controls. See the ASAT Junior: Rarebird page on this site for more information.
www.guitarsbyleo.com Limited Edition (a.k.a. "GbL_LE")	Limited edition model from 1999, designed by visitors to this web site. Semihollow mahogany body, ebony board, three S-500 pickups with standard ASAT circuitry and expander switch. See the GbL_LE: Rarebird page on this site for more information.
ASAT 50	Limited edition model from 1999. Essentially an ash ASAT Classic without a neck pickup, i.e. an "Esquire" style guitar. See the ASAT 50: Rarebird page on this site for more information.
ASAT BB	Limited edition model from 1999. Essentially an alder body, bound top, vintage fret wire version of an ASAT Classic with a Seymour Duncan humbucker in the neck position. See the ASAT BB: Rarebird page on this site for more information.
ASAT BB Semihollow	Limited edition thinline version of the ASAT BB with ash body. See the ASAT BB: Rarebird page on this site for more information.
ASAT Z-2	Limited edition model from 1999. Essentially a 2-pickup version of a double-bound, semi-hollow (no F-hole) ASAT Z-3. Also featured tortoise-shell pickguard and tortoise-shell body binding (front and back). See the ASAT Z-2: Rarebird page on this site for more information.
20th Anniversary ASAT	The G&L Custom Creations Department's model in honor of G&L's 20th year in 2000. Solid Swamp Ash body with no pickguard in a classic 2-tone sunburst. Two specially wound MFD pickups with black covers. Rear mounted controls. Saddle lock fixed bridge, offset volume and tone controls with a 3-way switch. #2 Birdseye maple neck with standard frets, tinted gun oil finish and 20th Anniversary logo headstock, 1-5/8" nut, 7.5" radius, Schaller locking tuners, and chrome hardware. Engraved neckplate commemorating the 20th Anniversary, with number in edition. See the 20th Anniversary ASAT: Rarebird page on this site for more information.
ASAT "Classic S"	In April 2003 the G&L Custom Creations team decided to revisit the theme established by the ASAT Classic Three, using again a third, centrally located pickup and five position selector switch. This time, however, a reverse-wound S-500 middle pickup is installed in the middle position of an ASAT Classic. The basic idea for this kind of arrangment has been long established in the Nashville session player scene, where players often install a Strat® middle pickup in the middle position of a Telecaster® and swap the 3-position pickup selector with a 5-way unit. The G&L Custom Creations Department decided to build an instrument similar to the formula adopted by the Nashville guys but with a distinctly G&L flavor. In particular, that means a Semi-Hollow Swamp Ash body, ASAT Classic MFD pickups in place of Alnico Tele® pickups, and the S-500 MFD in place of the Strat® pickup. The CCD team decided to ice the cake with a push/pull volume pot that functions the same way as the S-500's mini-toggle switch, which enables additional pickup combinations of neck+bridge or all three pickups together. The "S" designation comes from both internal designation for this instrument, due to its use of the S-500 middle pickup, and "Session" in homage to the origin of this guitar configuration. This is a Special Build Instrument and the first 100 run were built January-March 2004. In 2005-2006, one-offs of various finishes were occasionally built. In April of 2007, the second 100 piece run began production.
ASAT "Super"	The ASAT Super was inspired by the ASAT Junior which emerged from the G&L Custom Creations Department in 1998. The primary design goal of the ASAT Super was to bring substantially more girth to the bridge pickup for overdriven tones, while maintaining the characteristic sparkle of the ASAT Magnetic Field Design pickups and good balance between the output levels of the two pickups. ASAT Super shares neck pickup specifications with the G&L 20th Anniversary model, while the bridge pickup is more heavily wound with lighter gauge wire. To offset the increased impedance of the pickups and maximize available brightness, the wiring of the tone control was altered so that the capacitor would be effectively removed from the circuit when the potentiometer is in the wide-open position. The G&L Saddle-Lock bridge was chosen to maximize power, sustain and comfort. This is a Special Build Instrument and the first 60 run were built May-June 2004. As of April 2007 a total of 74 instruments have been made.
ASAT HB	Built in 2004, this has an ASAT mahogany body with a G&L AW4370B Alnico humbucker in the bridge position and a G&L Vintage Style Alnico V in the neck position. It has a mahogany neck with an Ebony fretboard. Volume and tone rear mounted controls, pickup toggle switch, no pickguard and Saddle-Lock bridge. Caramel finish on both body and full neck. Less than 35 were produced.
ASAT Classic "Blues Boy" Special Build	Another blend of the Blues Boy. The body perimeter, neck pocket, pickup cavities and so on were done on CNC machine. Mahogany solid body with arm contour (contour cut/shaped by hand). Mahogany neck with rosewood fingerboard. Trans Cherry finish on body and neck. G&L AS4250B Alnico humbucker in neck position. Standard Classic MFD bridge pickup. 3-ply black pickguard and standard SKB case. This is a Special Build Instrument and the first 28 run were built May-June 2005.
G&L 25th Anniversary	In celebration of G&L’s 25th Anniversary, the G&L Custom Creations team designed this special guitar to feature Leo Fender’s first pickup design for G&L, the Magnetic Field Design® humbucker. These pickups first appeared in 1980 on the very first G&L guitar model, the F-100, then appeared again in different specification in the rare short-scale G-200. During G&L’s early years, many of those F-100 guitars featured mahogany bodies, the tonewood the factory craftsmen prefer with these pickups. See the G&L 25th Anniversary: Rarebird page on this site for more information.
ASAT Trinity Special Edition	Special Edition from 2006. Based upon the ASAT S-3, but semi-hollow (without F-hole) and Maple body, 25 Trinity ASAT's were made. Also featured the remaining ASAT S-3 pickguards and each had a special logo on the end of the headstock that was designed by Mr. George Fullerton. See the ASAT Trinity Special Edition: Rarebird page on this site for more information.
ASAT Classic Bluesboy w/Spalted Maple Top Special Build	In January 2008 the G&L Custom Creations team located some very special Spalted Maple with which to run an ultra-limited production. Spalting is a unique process which occurs when ancient logs, lying in the forest for decades, even centuries, are given character and texture by natural aging processes. Any wood is susceptible to spalting, but maple is the most commonly known. The spalting process results in the characteristic "spalting lines," which look almost like the wood was drawn on with a pen. G&L decided to use this truly unique wood to build their most popular model: the ASAT Classic Bluesboy. This fine instrument has all the same features and specifications as our ASAT CLASSIC BLUESBOY with the addition of an intricately figured Spalted Maple Top. This wood is highly regarded and sought after for its incredible tone. It includes a rear contour body, without pickguard and rear loaded controls. Clear Natural finish on body with a #1 (12" radius, 1 5/8" nut width) neck finished with Clear Gloss, non-locking tuners and Rosewood fretboard. This is a Special Build Instrument and the first 60 run were built January - February 2008.

The four-bolt neck joint was introduced in approximately mid-1997; prior to that, a three-bolt "tilt-adjust" design had been used exclusively. G&L's Purchasing Manager had the following to say about the switch:

"The change was made by John McLaren, Jr. before Sales had even seen it. When we started making the Invader, our necks had improved to a point where we could go without the three bolt micro-tilt system and return to Leo's original design of the four-bolt neck. We surprised Marketing with this design and after some initial hesitancy, they were very happy with the new design."

One of the reasons Marketing was likely won over by the new design was that the three-bolt design had (quite incorrectly) developed a widespread reputation as being "unstable". This ill-founded rumor had mainly been perpetuated by those who had had experience with three-bolt Fenders of the '70s. What these folks were missing was that the instability seen in those '70s Fenders was due not to an inherent weakness in the three-bolt design itself, but rather to the sloppy, careless construction techniques used to build those instruments. Despite the fact that G&L's three-bolt neck was extremely well-executed and offered plenty of stability, the move to a four-bolt neck has proven quite beneficial in terms of eliminating initial "customer skepticism" from shoppers new to G&L.

The switch to the four-bolt neck was gradual; as mentioned above, it first appeared on the Invaders. The first non-Invader four-bolt G&L was a stunning one-off ASAT Classic with a quilted maple top; G&L's Plant Foreman, Ed Sebest, built this guitar for Dave McLaren (Export Sales Manager), in order to demonstrate to Dave that the four-bolt concept was viable on the non-Invader models as well. Upon examining this guitar, Dave gave the "go-ahead", and so began the use of the four-bolt neck on the entire line. The earliest guitars had plain, unstamped neck plates, but soon the G&L logo was added.

Not only can I describe it for you, but thanks (once again) to Greg Gagliano we can actually show you what it looks like! Check out the Instrument Cases section of the Pictures Gallery.

I have a whole separate FAQ devoted to Discussion Page issues; before contacting me, please glance through it and see if your question is answered there. To get to it, please click here (it's also accessible on the G&LDP or G&LDP Lite pages).

(Anticipating the inevitable questions here ;-) ). There's no such model.

This question comes up frequently and if we had a "Urban Legends" section, it would be at the top of the list %^). The majority of contributors to this discussion topic in Discussion Page have agreed that this is not a "bad thing". Here are some of the reasons:

1. It provides flexibility for altering pickups (e.g. installing a full size humbucker in a Legacy).

2. There are tonal benefits (more airy sound).

3. Other guitar builders use this method and have stated similar positive reasons and results.

Our shop has a theory ~ 60% of the sound are the pickups, 30% the body, 10% the neck. I'm referring to the overall tone, and yes ~ certainly a tight neck pocket, etc. etc. etc. is neccessary. We're talking about what really contributes to the tone assuming it's all made correctly. That being said, we find that maple is brighter ~ the highs seem to have more clarity and an edge to them. The rosewood is more of a thicker, midrange sound. Ebony is a hard wood and has the brightness of maple to me, with a slight edge in the midrange like the rosewood. Now, NONE OF THIS is a "dramatic change" in tone, you're back to our 10% of the tone theory. So yes, small nuances and parts of the music will sound different depending on the neck fingerboard.

The factory set-up was always .009 - .042 until Feburary 2002 when it was changed to .010 - .046. In late 2006, we changed to the D'Addario brand. The brand prior had been SIT (about 10 years or so), but prior to that it we used GHS, then back in the 80's we used G&L Hot Rounds (private label strings). For basses, the gauges are .045, .065, .085, .105, and .125 B string on the 5-string.

We were working on the Legacy Special and made a few with the "plus" part of the logo snipped from a Climax Plus decal.

Must have just been a handful of samples. There was never any Legacy Plus official model.

Here's how the expander switch works:

Basically it just ties both the bridge and neck pickup together, meaning that whenever the neck or bridge pickup is selected, you also get the other. After it's all said and done there's a total of seven different combinations. So in regular (or non-expanded mode) you have these combinations:

• Position 1 - Bridge
• Position 2 - Bridge & Middle
• Position 3 - Middle
• Position 4 - Middle & Neck
• Position 5 - Neck

In expanded mode you get:

• Position 1 - Bridge & Neck (same as position 5)
• Position 2 - Bridge & Middle & Neck (same as position 4)
• Position 3 - Middle
• Position 4 - Neck & Middle & Bridge (same as position 2)
• Position 5 - Neck & Bridge(same as position 1)

What we've got here is not the same as the Tribute Series in Japan. That line has Gotoh bridges on the guitars (except a limited edition they did with gold USA DF trem etc.) but USA bridges on the basses. All Japan Tributes have Fullerton-made pickups.

This line, Tribute by G&L, is made in Korea instead of Japan, because Japan has become too expensive and the best Korean manufacturing matches the Japanese nowadays. In total, this line is better than the Japan Tribute instrument by quite a lot. We have the hands-down best factory in Korea doing the work for us, and we really put them through hell to get the Tribute line.

Two years went into making these things right, and not just another import line. These had to be guitars our own people, guys who make them here, would play, and more important, be proud of. Our guys are tough critics, but in the end, we've got excellent instruments for the money.

Models:

ASAT Classic, ASAT Special, S-500, L-2500, L-2000, SB-2.

Pickups:

Fullerton-made real deal MFD, except Legacy with Alnico as usual.

Bridges:

Dual Fulcrum and Saddle Lock, made under license by the best quality hardware manufacturer in Asia. They make hardware for many well-known USA makers, and used on their USA made models. All have die-cast saddles, instead of the machined billet brass. The exception is the Tribute ASAT Classic, which does have 6 brass barrel shape saddles, modeled after the real G&L ASAT Classic bridge, not some off the shelf import bridge. The hardware is of incredible quality. No effect on USA models, this is strictly Tribute, one reason the Tribute name is cast or stamped on them rather than G&L.

Electronics:

None of those cheezy dime size pots here. Replicas of CTS pots, right down to the 1 meg reverse taper pots we needed for the bass knob on the PTB. We had these custom made for us, including the different shaft sizes for our basses. Same with the mini-toggle switches. This electronic pieces took forever to come through with, and a major quantity commitment on our part to have them custom made. Active basses have preamps that are made in Korea to our spec. None of these parts are not used on USA models, we will use the same suppliers as usual.

Colors and trim:

All models have three levels - Standard, Plus and Premium

Standard has basswood bodies and solid finish choice of Candy Apple Red, Blue Violet Metallic or Black. Standard guitars have 3-ply white pickguards.

Plus has basswood bodies and burst finish choices of 3-Tone Sunburst with Tortoise Shell pickguard, Blueburst or Redburst with Pearl pickguard.

Premium has Swamp Ash bodies (3 piece) in Natural Gloss with Tortoise Shell pickguard, Amber (like Honey) or Cherryburst with Pearl pickguard.

Necks:

S-500 and Legacy have 1 5/8" width and 12" radius.

ASAT Classic and ASAT Special have 1 5/8" and 9" radius.

L-2000 is 1 3/4" with 12" radius

L-2500 is 1 3/4" with 12" radius

SB-2 1 1/2" with 12" radius

Choice of maple or rosewood fingerboard on all models. These necks feel great, with a very well done satin finish.

In the US:

They will be here, setup at the G&L factory by the same guys and shipped in a nice padded gig back embroidered with the G&L logo. We'll sell these gig bags separately, too.

How the line may evolve:

There won't be custom options, so let's get that right out in the open. This is not a G&L substitute for half the price (though Tribute MSRPs are about half of G&L MSRPS), and besides, any factory in their right mind wouldn't run themselves like Fender Avenue. We're just a little warped here, and have the flexibility of hand-made production to allow such variation.

Tribute may do other G&L models, though probably nothing semi-hollow. It may be tapped to do things outside our normal scope, but within the Korean factory's current capabilites. They've shown me some interesting options, and when I go to Korea again in a few weeks, I'll take some time to explore this more.

For now, however, we have to focus on getting the quality we need, every day. I think we've successfully pushed these people to be better than they've ever been, and we need to keep them at the top of their game. Looking toward the other designs we could do is fun, but we need to keep the focus on quality at all times.

I know there will be some grumbling, and I totally understand that. We grappled with it too, but we believe it was a necessary step to become a stronger guitar company in the market. But most importantly, when you guys try these Tributes, I know many of you will wind up with some alongside your G&Ls.

Tim has known George Fullerton for many years and has interviewed him about Leo and G&L several times. In July 2004, Tim was asked by several G&LDPer's if he would ask George if he would answer some questions which had come up during various discussions on the G&LDP. George, being the gracious man that he is, was very willing to answer them all. This link will take you to the message which Tim posted with the Q&A's: George Fullerton Q & A's

We have a number of instruction sheets and manuals available in the Wiring Schematics and Manuals section of the Pictures Gallery. Even if we have nothing for the specific model you have, keep in mind that much of this information is pretty much the same from model to model. For example, the '86 manual (from a Skyhawk) that appears in the Gallery is very similar in content to the manual that G&L was using as recently as 1997 or so.

Adjustment Type	Wrench Size
Saddle height, Dual Fulcrum Vibrato	.050"
Saddle height, Guitar Saddlelock Bridge	.050"
Saddle height, Bass Saddlelock Bridge	3/32"
Saddle height, Fine Tuner Vibrato	.050"
Saddle height, Kahler 2320	.050"
Tilt neck adjuster	3/32"
Saddlelock Bridge saddle lock nut	5/64"
Vibrato arm set screw, Dual Fulcrum Vibrato	5/64"
Vibrato arm set screw, Fine Tuner Vibrato	5/64"
Truss rod	1/8"
MFD polepieces	5/64"
Studs, Dual Fulcrum Vibrato	1/8"
Studs, Fine Tuner Vibrato	1/8"
Guitar Tech locking nut	7/64"

We have a number of wiring diagrams available in the Wiring Schematics and Manuals section of the Pictures Gallery.

G&L also has some wiring diagrams (as PDF files) available in the Schematics section on the main website.

The tool to use is called a wood reamer and is available at most any hardware store. No need to order one. But first, take off the control plate and look to see if your jack is held in place with a nut. If so, you will have to remove it. WARNING! DO NOT USE VICE GRIPS UNLESS ABSOLUTELY NECESSARY, as doing so will risk scratching your guitar!

1. After removing the internal nut (if any), insert the "pointy" end of the reamer into the jack just like you would the plug on your cord. Shove it in tight and turn the "T" shaped handle in a counter-clockwise direction. The teeth on the edges of the reamer will dig into the inside of the jack thereby forcing it to turn out and be removed.
2. You will most likely notice a string that has been inserted running the length of the jack. This string is used to give it a tighter fit in the models where an internal nut is not used. Before replacing the new jack run a short piece of kite string through the hole; leave plenty of extra length on the inside and outside (this can be trimmed later).
3. Replace the jack with another Switchcraft brand inline stereo jack available from well stocked music stores or electronics supply stores (editor's note: we'll try get the precise part number for the jack here shortly). DON'T FORGET THE FELT WASHER (if your guitar has one). When re-soldering, use a low-wattage iron (preferably a 30-watt iron), and be sure to use rosin core solder. The guys at Radio Shack can help with this.
4. "Seat" the new jack by driving it back into the hole with a rubber mallet - or, alternatively, you can use a regular hammer if you place something over the jack to protect it. Folded cloth, rubber, or cardboard will work.

Once you do it once, it's really easy and quick. The toughest part is accepting the fact that you will have to destroy the original jack in the removal process. Just remember that it's already ruined and cannot be fixed anyway.

Ken Baker recently created a superb Picture 'step by step' Tutorial in PDF landscape and portrait files. (requires FREE Adobe Reader to view)

1. Jack Replacement-Landscape format
2. Jack Replacement-Portrait format

"If any of you is thinking of using Fender Bullet-type strings on your ASAT, don't. I had to pry to get the bullet ends out of my ASAT with the curved end of a nail file. It seems the bullets are just the right diameter to get stuck in there. Hopefully this will save someone the trouble I had."

This isn't really specific to G&Ls, but regardless we've seen this question quite a bit on the G&LDP. Set your guitar up such that the tremelo is level with the body, then take the backplate off of your guitar - see those spaces (both front and back) between the tremelo and the guitar's body? You need to fill those spaces with something hard that will stay put. Frequently folks cut small blocks of wood and sand them until they fit snugly, then insert 'em; I've also heard of folks using stacks of coins for this purpose. As an example, G&LDP visitor Michael Gowin reports that for his '98 S-500, he got good results using a stack of 4 quarters on the forward side and 7 quarters on the rear side. He held the stacks together with strips of black electrical tape. Then Michael decided to "upgrade" by cutting blocks of wood, and he reports good results with two blocks of oak cut to the following dimensions:

• 1" x 1" x 1/4" for the forward side
• 2" x 1" x 9/16" for the rear side

When performing a setup on a tremelo-equipped G&L, you'll need to "level" the tremelo by placing a 3/16" spacer between the tremelo plate and the guitar's body. I found several old toothbrushes, measured the handle thickness, and many of them were exactly 3/16" thick!! The toothbrush is usually made of nylon so it wont scratch your guitar either.

I have a wierd problem on my newly acquired ('96) Legacy. The trem doesn't come back to pitch correctly when you pull up on it. When you push down it's fine but when you pull up it's sharp. I replaced the nut and the tuning machines and even added an extra spring to the trem. I called G&L tonight and spoke to someone in the service department who was very cool and gave me a great clue. When I told him that I had my bridge uninstalled and was looking at the studs and they seemed a little "sloppy" in their bushings, he told me that the tech's sometimes use Teflon tape to wrap the studs and take up the slop. Well I did that and also filed and polished the worn spots smooth on the bridge plate knife edges, put it back together and voila!