The "Phyllis" legacy--is it anything special?

Certainly the "Phyllis" model is a pretty looking Legacy. And evidently it has a push pull pot for some additional sounds. But other than that, I am not clear what it is about the guitar that makes it so expensive. Yes, I know it has Mrs. Fender's signature, which is very cool.

limited number of guitars. Run of only 100 from the Custom Creations wing

Certainly the "Phyllis" model is a pretty looking Legacy. And evidently it has a push pull pot for some additional sounds. But other than that, I am not clear what it is about the guitar that makes it so expensive. Yes, I know it has Mrs. Fender's signature, which is very cool.

Custom Creations Limited Edition of 100, special finish, special tuner pegs, special case, extra case candy.
Also a significant portion of the proceeds from the sale of "Blondie" models will be donated in Phyllis Fender's honor
to The Smile Train (http://www.smiletrain.org), the world's leading charity providing free cleft surgery to afflicted children
in poor countries around the world. Phyllis' philanthropic efforts are focused on a handful of causes she holds dear to
her heart, but she feels that The Smile Train is most appropriate for this opportunity.

Hope this helps.

Certainly the "Phyllis" model is a pretty looking Legacy. And evidently it has a push pull pot for some additional sounds. But other than that, I am not clear what it is about the guitar that makes it so expensive. Yes, I know it has Mrs. Fender's signature, which is very cool.

Beyond what Craig wrote I would like to add my thoughts. Of course, the question is very subjective. Why would one shell out mega-$$ for a Gibson LP Jimmy Page whereas one could buy a reissue or an 'ordinary' model? With certain manufacturers I can understand that people would prefer models from their Custom Department since, unlike their 'common' models, a lot of personal attention is paid to custom instruments. This would be less true for G&L given the way they produce their models in a smaller shop. But even for G&L there is still something special in each and every Custom Creations Department (CCD) model produced.

I own a recently acquired 'Blondie' (#53 of 100) of which the existence will be proven thus:


Among my guitars, it is one of the lowest output guitars. But the tone is incredibly sweet. The PTB system allows an enormous amount of flexibility. The push-pull tone control also adds some unique sonic options with a little more low-end cream on the top when bridge and neck pickup are combined together or with the middle pickup for a triple whammy. Compared to my George Fullerton, it is less bright in the bridge position.And understandably so, since on the GF the tone controls are by-passed for that pickup. Compared to my Legacy Special, there is some more noise but it has more of that vintage Strat sound to it. And it loves Overdrive pedals! I get my Texas sound through the Overdrive of a Carl Martin Quattro through the clean channel of my Mesa Express 5:25 head and the sound is delicious.

Yes, the PTB control system is available on all Legacies, and craftsmanship is impeccable no matter what G&L you go for (especially US built). Hence, an ordinary Legacy certainly would have sufficed. In my case it was merely a choice informed by other models I have collected. Since I already owned many of the CCD models, a Phyllis Model seemed to be a 'logical' choice. No qualms whatsoever. And I have seen second hand specimen for a very reasonable price at different outlets and eBay.

- Jos

Edit: fix image link after album was lost.

Last edited by yowhatsshakin on Sun Dec 18, 2011 11:09 pm, edited 1 time in total.

limited number of guitars. Run of only 100 from the Custom Creations wing

Probably 101 of them. There's two that's numbered 060. Look at the photos close. The certs. say the same thing.
CLF48904 and CLF50200 are both #060.
OOPS!

[Probably 101 of them. There's two that's numbered 060. Look at the photos close. The certs. say the same thing.
CLF48904 and CLF50200 are both #060.

That explains a lot! Buffalo Brothers had scored a bunch of G&L from an instrument rental in October last year with 2 Blondie's among them: #48 and #60 (CLF50200). Both of these are listed in the the Registry. And when #60 disappeared, shortly thereafter an eBay listing originating at the other side of the country for #60 appeared. I always thought that was the same guitar where somebody tried to make a couple of bucks by flipping that guitar! Looks like that assumption is completely wrong. At least assuming that CLF48904 is the eBay guitar in question... Wonder what happened at the factory (or outside the factory for that matter).

Er... TWO number #060 's? ...Thats a little disturbing! I wonder what happened?

Hi guys,

Craig brought this to Steve Grom's attention and he contacted me. I've done some looking into this and have some thoughts about it. One of the posts above describes two guitars having #60, CLF48904 and CLF50200.

What I found:

CLF50200 was completed on 6/05/08

I cannot find CLF48904 as a Phyllis or any other model for that matter.

My first thought was that perhaps a neck with #60 was rejected, but somehow became a guitar unofficially, whether done in-house or assembled from parts away from the factory. After all, we have no evidence that number CLF48904 has ever been recognized by the company.


Thinking about it more, I googled CLF48904 and found some pictures on an auction.

It appears to have authentic case candy and the special case itself, and it was apparently signed by Phyllis on the body. I cannot prove it but I believe that to be a real signature on the body, though I can’t tell if it’s under the clearcoat or not. If it is under the clearcoat, that’s strong evidence that this body received special treatment while in our factory. It may be that an employee got Phyllis to sign the body while she was in signing headstocks, had the instrument completed in final assembly, then removed it from the floor for whatever reason before being logged into finished goods and shipped. It may be that with #60 officially unaccounted for, a second instrument bearing #60 was produced to keep the numbers in check.

Nobody here has any recollection of this, unfortunately. The former manager may have some idea, but he's been gone since early 2009 when Steve took over as Director of Manufacturing.

My bottom line comes down to a hunch that this guitar is unofficial but may be "authentic." I suppose we'll never be certain of its provenance, but it makes for interesting history. That said, by default CLF50200 stands as the offical #60.

Dave

Thanks for the info Dave, that is , intriguing.