• 1999 promotional photos, maple- and rosewood-neck solidbodies
• The special case that accompanied the ASAT Blues Boy and ASAT '50.

Originally it called for a natural Ash body with no "F-hole", a single ply black pickguard, old ASAT logo from the 80's on the headstock, with a rosewood fingerboard. At the time there wasn't a capability to bring it back solely because G&L was buried in orders!

In a way, this was good as it allowed me time to research more of the early G&L designs that were made. One of my favorites was the SC-3 with a maple body, ebony fingerboard and 3 pickups.

When G&L told me they were open to working on a Special Edition to us in mid-2006, I couldn't wait to bring Trinity to reality. As we got closer to submitting the final specifications, I contacted a few G&LDP'ers to get their response. One was Gabe (GPD) who confirmed that Maple was the wood of choice, and he also gave me specifications that I needed on early G&L Broadcaster MFD's. Another was Greg (ggjaguar) who confirmed my thought of adding Natural Wood Binding. At this point, we met with the store staff to discuss what we were preparing to do. We were stumped on the name, and boy did we have a lot of silly ones! John in our electric department suggested Trinity, which just seemed to fit. Whether you say Trinity is for Leo Fender, George Fullerton and Dale Hyatt ~ or for the three pickups ~ it sure was a cool name! John was also the one to make the recommendation of having the natural wood binding tinted which is a great idea as it matched the neck finish.

By the time we brought the specifications to G&L, the only thing we hadn't nailed down were the finalized pickup specifications. I knew I wanted a Reverse-Wound/Reverse-Polarity center pickup. I spoke with Gene & Efrain at G&L. Efrain made a couple of proto-type pickups to see if we liked them and they were perfect. The final spec's were 6.5K for the neck, 7.25-7.3K for middle RW/RP, and 7.25-7.3K for the bridge.

In September we received the first proto-type that Dean Coy and Craig Dewey (the webmasters of the G&LDP) were kind enough to deliver to us at the San Diego Guitar Show. We were extremely pleased with the sound quality!

Thumbs up were given to start production. We took the original to Mr. Fullerton at his home, who loved the Antique White look with the tinted binding, tortoise guitar and tinted neck with the Ebony fingerboard. After an hour of discussion to the design parameters, George asked us to plug it into his Blackface Twin Reverb. It was the most amazing moment to hear the numerous distinct different guitar tones and the incredible versatility it has. We left pleased.

The next morning Mr. Fullerton called me at my home to tell me it would be wrong to send the guitar out with out a proper name on the headstock. He offered to design the logo and in 5 days, we had them in our hands. He directed me to the companies that Fender had used in the early 50's & 60's for decals. I was concerned as the guitars were in production that putting the decal on after the fact on top of the finish might be an issue. He assured me that decals on top of the finish have lasted pretty well for 50 years from those early Fender days, and I sure couldn't argue with him.

By the time the guitars were nearing completion, we also arranged to have G&L cases in vintage brown tolex made with a yellowed interior. A final agreement was we would use up the "old" ASAT S-3 pickguards that had been sitting in the warehouse at G&L for 10+ years.

25 Trinity ASAT's were made with Brown Tolex G&L case, engraved neck plates with "Special G&L Edition". 21 were in Vintage White, gun oil tinted natural wood binding. Pickguards varied from Tortoise to Black to Creme. All the pickups had creme covers. The necks were Gun Oil Tint with Ebony or Maple fingerboards, available in #1, #2, #3 and #4 neck sizes. 4 were made different. One was in Clear Red with no binding which was for my brother Bob. Mine was Sunburst to match my original Bluesboy. Gabe's was Sunburst, and Greg's was Tobacco Sunburst. ALL of them had the special logo on the end of the headstock that was designed by Mr. George Fullerton. The logo was hand written, scanned into a computer and adjusted for printing by my wife and then printed to laser cut decal labels. Each one included the standard G&L Certificate of Authenticity, and was accompanied by a "Special G&L Edition Certificate" hand signed by Mr. Fullerton, my brother Bob and myself. Each one noted the features, and numbered the guitars in the series."