CLF RESEARCH CO

Are you a fan of Leo Fender? Follow the new CLF Research page. We'll share the story of what Clarence Leo Fender did after selling Fender to CBS, but there will also be Leo's photos and artifacts going back to the early Fender company days. CLF Research i

Lease

On July 5th, 1966, Leo signed a lease for the Elm Avenue building. Soon after, Leo's office, lab and private workshop were moved from CBS/Fender to the Elm Avenue building, the new home of CLF Research.

Fender Electric XII development mule

Leo completed development of the Fender Electric XII after CBS had taken over Fender management in 1965. This development mule is among the examples of Leo's work for CBS/Fender at CLF Research.

3-bolt neck with micro tilt

Leo worked on a 3-bolt neck with micro tilt for Fender acoustics.

rear view of Bandmaster Amp

The caption reads: "This is a rear view of Bandmaster Amp with back panels removed, showing terminal board construction.

1973 photo of Fender Avenue buildings under construction

Leo's circa 1973 photo shows a typical example of one of his Fender Avenue buildings under construction.

GHS Strings supplied special strings CLFR

GHS Strings supplied special strings to CLF Research, including G&L "Hot Rounds" brand. This letter to Leo from GHS Sales Manager Dave Holcomb is regarding samples.

1967 Pickup

In 1967, Leo was still working as a consultant to CBS/Fender and carried out his development work from CLF Research, formed the prior year. This pickup was among a random lot in one of his drawers labeled "pickups".

Music Man 112 RD amp in Leo's Lab

Now that we are coming in Leo's lab and office more, we decided we have to at least vacuum the floor. For 27 years these rooms have been closed, so the cleaners don't go in here.

Leo in the process of inventing a new vibrato

Leo in the process of inventing a new vibrato which pivots on two posts. The completed design would be introduced later in the new G&L brand.

Leo's circa 1968 Telecaster development

Leo's circa 1968 Telecaster development work for CBS/Fender. In future posts we will discuss its features.

Leo Fender to Fender Salesmen on CBS:Fender letterhead

Leo Fender to Fender Salesmen on CBS/Fender letterhead and dated June 4, 1968. That the letter was not on CLF Research letterhead suggests a warmth and active participation with his former company.

breadboard instruments

In Leo's lab, his "breadboard instruments" were used to quickly test new pickups and their position. In this case, a twin MFD single coil arrangement mounted on a wooden board, with pickup selector switch, series/parallel switch, volume and tone

1978 CLF Research envelope

Leo Fender's circa 1978 CLF Research envelope. The graphic features a Music Man Stingray guitar which he designed and manufactured at his CLF Research factory here on Fender Avenue.

CLF Research guitar humbucker

CLF Research guitar humbucker mounted in body section shows mounting and adjustability

G&L L-1000 control plate drawing

G&L L-1000 control plate drawing by George Fullerton (GWF) and approved by Leo Fender (F).

CLF Research prototype Magnetic Field Design (MFD) bass humbucker

CLF Research prototype Magnetic Field Design (MFD) bass humbucker. We believe this is late 1978 to early 1979.

CLF prototype-AUG 21 1977

A CLF prototype which spent decades tucked away in one of our lofts. AUG 21 1977 is stamped in the neck pocket. It appears to be a Stingray with two roughly cut pockets for large humbuckers.

circa 1976 - neck sanding in the CLF factory

circa 1976 - neck sanding in the CLF factory.

Leo's circa 1968 - 1969 Telecaster development work

Leo's circa 1968 - 1969 Telecaster development work for CBS/Fender. This experimental bridge has fixed saddle height relative to the plate but the plate can be raised and lowered on two machined posts. Note the saddles go through the plate. In a few minut

Rear view of Leo's 1968 to 1969 Telecaster development concept

Rear view of Leo's 1968 to 1969 Telecaster development concept. Two main points here. First, the string pull makes the saddle act as a lever, forcing the bottom side of the saddle against the body end grain. About 10 years later he found a more efficient

November 19, 1969 drawing shows string bender installation

November 19, 1969 drawing shows string bender installation.

STRAT-TYPE

Even Leo resorted to writing "STRAT-TYPE" when developing the MFD single coil pickup introduced on the original style S-500 in 1982. The proportions were Strat-like but the ends were rectangular with radiused corners.

Circa 1979 prototype Magnetic Field Design guitar humbucker

Circa 1979 prototype Magnetic Field Design guitar humbucker.

George Fullerton's sister, Shug Atkinson, was hired to wind pickups

George Fullerton's sister, Shug Atkinson, was hired to wind pickups.

December 31, 1962 receipt from Race & Olmsted

December 31, 1962 receipt from Race & Olmsted. Four sets of machined pickup winder parts included: block, pulleys and bearings. Leo likely needed to make more winders as the Fender business was growing. We will talk about Race & Olmsted more as we

Leo's mobile home

1976 photo of Leo's mobile home he lived in with his first wife, Esther, until she passed away in 1979. Though he was a wealthy man, he lived a modest lifestyle aside from his yachts. The Mercedes 450SE was a luxury gift for Esther.

For...

Telecaster body shape

Telecaster body shape and control plate, Saddle Lock bridge, two slanted single coil pickups and pickguard concept sketch likely by George.

Leo's Lab door plaques

The Lab was the center of Leo's creativity. He moved it from Fender to CLF Research in 1966.

1982 - Leo Fender gives one of his new G&L guitars to the legendary Freddy Fender

1982 - Leo Fender gives one of his new G&L guitars to the legendary Freddy Fender. Freddy took the stage name "Fender" in part because he loved Leo's guitars.

CBS memo from Dave Gupton to Fender Salesmen

January 24, 1972 - CBS memo from Dave Gupton to Fender Salesmen introducing the new natural finish, which became known as Natural Ash.

photo which accompanied the 1972 CBS memo

This is the photo which accompanied the 1972 CBS memo posted earlier today.

Strat pickup mounted on test board

Strat pickup mounted on test board. To see how Leo used his test boards, scroll down to the breadboard instrument we posted earlier.

1976 cutaway view shows truss rod action on early Stingray guitar

1976 cutaway view shows truss rod action on early Stingray guitar. "LC" is Lloyd Chewning, another ex-Fender man to join CLF Research. Lloyd continued as plant manager here until he passed away in 1992 if I remember correctly.

Leo kept connector cables handy

Leo kept connector cables handy, often with alligator clips on the ends. Some had a pot in the middle like these two.

1980 F-100 headstock

The original G&L guitar headstock was developed at CLF Research in the late 1970s. I also happen to be playing this 1980 F-100 right now, so this is conveniently my subject matter tonight.

1980 F-100 in G&L Vintage Collection

Another photo of the 1980 F-100 I posted earlier tonight. It is my favorite spec of the time: natural over mahogany, Saddle Lock bridge, ebony board. That finish has really aged beautifully, and there are a few nice bits of flame in the wood. I was also r

January 6, 1965 issue of News Tribune

January 6, 1965 issue of News Tribune, a local newspaper here in Fullerton. The big story was that Leo Fender has sold his Fender company. Leo cut out this article and kept it in his office file cabinet.

Clarence %22Monte%22 Fender

1951 photo of Leo's father, Clarence "Monte" Fender. Monte used to come to the Pomona building to help Leo in the early Fender days. He looks like a happy and proud dad in this photo.

Johnny and Dave McLaren

Clarence Leo Fender: The Story of CLF Research

Have you ever heard of CLF Research? Probably not, but it’s time for its rich history to be shared. CLF Research is the company Leo Fender founded in 1966, where he continued to support...

Sabre guitar breadboard notes

Leo made notes everywhere. On this breadboard instrument are his notes about pickups for the Sabre guitar.

hand painted logo art on a prototype Stingray headstock.

This appears to be hand painted logo art on a prototype Stingray headstock. My guess is George did it. He was a painter, as in brushes and canvas.

Buddy played Electric Spanish Guitar.

Buddy played Electric Spanish Guitar.

Leo's CMA Country Music Association Card

I can't imagine what the CMA Country Music Association would have been like if "C. L. Fender" had not come along.

George Fullerton, Leo Fender, Dale Hyatt

This photo is from around '82 to '83. Left to right: George Fullerton, Leo Fender, Dale Hyatt. Leo is holding the original version of the SC-3.

CLF Research knobs

Machinist Mike did a wonderful job in reproducing the CLF Research knobs. Mike machined them for Leo 38 years ago and he still machines parts for G&L instruments today. Left to right: first new proto, second proto with pointer milled in, and finished

Music Man RD-50 amp

Some of you wanted to see the Music Man RD-50 amp. The MM amps were not manufactured at CLF Research like the guitars and basses were. The amps were made in Anaheim, California. Any of you have a '70s MM amp? What do you think of it?

1978 photo of visitors in Leo's lab

circa 1978 photo of visitors in Leo's lab trying Music Man instruments made here in the CLF Research factory. I believe these guys are from the Japan distributor Kanda Shokai. It would be cool to know their names and if they are still in the music busines

June 30, 1965 - a heartwarming thanks and farewell letter from Fender Salesmen to Leo

June 30, 1965 - a heartwarming thanks and farewell letter from Fender Salesmen to Leo. I think many of you will recognize Tom Walker (later with Music Man) and Dale Hyatt (later with G&L).

G&L Cavalier

June 1983 - tune/test of a new model, the G&L Cavalier. This model featured angled MFD mini humbuckers. If you have a Cav, what do you think of the pickups?

Aftermarket MFD

In the 1980s Leo was interested in selling parts for aftermarket use through dealers, including MFD pickups. His label on this sample tells that story clearly.

December 17, 1969 letter

December 17, 1969 letter from "an ardent Fender fan" named Gary Heidemann. It was received by Fender Director of Marketing Robert McFadden, who wrote a gracious reply saying that his letter would be forwarded to Leo Fender. Coming up, we will sh

January 6, 1970 reply

January 6, 1970 reply from Robert McFadden to Gary Heidemann. This is great stuff.

CLF Research bass knobs and colored mini toggle switch caps

CLF Research bass knobs and colored mini toggle switch caps are now in the online store at glguitars.com.

colored switch tips

CLF Research bass knobs and colored mini toggle switch caps are now in the online store at glguitars.com.

vintage knob

CLF Research bass knobs and colored mini toggle switch caps are now in the online store at glguitars.com.

Fall 1979 - James Burton in the lab with Leo Fender and George Fullerton.

Fall 1979 - James Burton in the lab with Leo Fender and George Fullerton.

Forrest White's business card

Forrest White's business card

G&L Broadcaster neck

In 1985, the G&L Broadcaster was introduced with Telecaster shaped body. It used the same style MFD single coil pickups and Saddle Lock bridge (a Kahler was optional) as the G&L SC-2. Fred Gretsch complained that he still used his Broadkaster trad

1977 Stingray Bass body

1977 Stingray Bass body looks like it was modified to accept a prototype bridge for the Sabre Bass that would debut the following year. Kind of cool to think it has been four decades since this body saw the light of day. It was in a loft above our wood sh

1957 photo in the Fender metal shop

circa 1957 photo in the Fender metal shop of the Raymond Avenue factory. The big machine here is a metal punch, used to form parts like control plates and Strat jack plates. The metal shop was the end unit of the building, closest to where the big CBS bui

clock on Leo’s office wall

For some reason I find it fascinating that the clock on Leo’s office wall continues to work despite him being gone for many years. Hmmm. You know, maybe I should set the time. Or should I just leave it alone?

Stingray headstocks

October 1975 - George Fullerton’s early attempt at headstock design for the Music Man guitars. The first pic shows the early prototype shape on the left and a production neck from December 1976 on the right.

Neck heel of #I neck G.W.F.

October 1975 - George Fullerton’s early attempt at headstock design for the Music Man guitars. The first pic shows the early prototype shape on the left and a production neck from December 1976 on the right.

Back of headstock

October 1975 - George Fullerton’s early attempt at headstock design for the Music Man guitars. The first pic shows the early prototype shape on the left and a production neck from December 1976 on the right.

George Fullerton

This is George Fullerton. He did quite a lot of the drawing work at CLF Research for G&L and Music Man brands. George worked for Leo at the dawn of Fender and later became the G in G&L.

prototype MFD version of his earlier split coil pickup

The dusty pickup is a prototype MFD version of his earlier split coil pickup as installed in his 1975 prototype Sabre Bass. While he didn’t choose that Alnico split coil for the production Sabre in 1976, he continued with the concept of a powerful split c

Forrest White

This is Forrest White. He was one of the founders of Music Man, so he’s part of the CLF Research story even though he didn’t work here at the factory. Earlier, Forrest worked from Fender between ‘54 and ‘66. I think those of you who knew him...

Tom Walker

This is Tom Walker. He was also a co-founder of Music Man. Having spent several years as a Fender sales rep, Tom had good experience to get dealers on board with the new Music Man brand amplifiers and later, Music Man instruments. In this photo, Tom was v

headstock variety in the carts inside Leo’s lab

That’s some headstock variety in the carts inside Leo’s lab. Yeah, I arranged them a little so you can see them better, but all of these things have been in and out of these carts over the years, so it’s not sacrilege or anything.

early 1987 that this oddly pointy concept was made1

Looks to be early 1987 that this oddly pointy concept was made. It’s just a rough milled, unsanded body showing pickup routes which appear to fit the cover of an early style S-500 pickup. Perhaps visualized as a hotter model than the less pointy ...

early 1987 that this oddly pointy concept was made2

Looks to be early 1987 that this oddly pointy concept was made. It’s just a rough milled, unsanded body showing pickup routes which appear to fit the cover of an early style S-500 pickup. Perhaps visualized as a hotter model than the less pointy ...

early 1987 that this oddly pointy concept was made3

Looks to be early 1987 that this oddly pointy concept was made. It’s just a rough milled, unsanded body showing pickup routes which appear to fit the cover of an early style S-500 pickup. Perhaps visualized as a hotter model than the less pointy ...

early 1987 that this oddly pointy concept was made4

Looks to be early 1987 that this oddly pointy concept was made. It’s just a rough milled, unsanded body showing pickup routes which appear to fit the cover of an early style S-500 pickup. Perhaps visualized as a hotter model than the less pointy ...

early 1987 that this oddly pointy concept was made5

Looks to be early 1987 that this oddly pointy concept was made. It’s just a rough milled, unsanded body showing pickup routes which appear to fit the cover of an early style S-500 pickup. Perhaps visualized as a hotter model than the less pointy ...

mockup of CLF REASEARCH INC 70's shirt

I’m kind of surprised that we’ve been getting a bunch of requests for CLF Research T-shirts. Late ‘70s style or ‘60s style (underlined) logo ?

Mockup of C.L.F. RESEARCH CO. 60's shirt

I’m kind of surprised that we’ve been getting a bunch of requests for CLF Research T-shirts. Late ‘70s style or ‘60s style (underlined) logo ?

L-2000 Bass Ad Slick

The L-2000 appeared alongside the L-1000 in the 1980 catalog, but production of the L-2000 officially began in 1981 after changes were made.

The pre-production example in the 1980 catalog has the two pickups positioned as they were in the...

Close up of body of L-2000 Bass

The L-2000 appeared alongside the L-1000 in the 1980 catalog, but production of the L-2000 officially began in 1981 after changes were made.

The pre-production example in the 1980 catalog has the two pickups positioned as they were in the...

Control plate wiring diagram for Stingray Bass

July 16, 1979 wiring diagram for Stingray Bass. Drawn by George Fullerton.

L-2000 Headstock

This old thing. I love it.

This test mule has some interesting Leo concepts1

This test mule has some interesting Leo concepts.

First, it has a prototype 5-string bridge with fine tuners, probably intended to be labeled with the short-lived Guitar-Tech brand. Second, it has an MFD mini-humbucker made using a modified...

This test mule has some interesting Leo concepts2

This test mule has some interesting Leo concepts.

First, it has a prototype 5-string bridge with fine tuners, probably intended to be labeled with the short-lived Guitar-Tech brand. Second, it has an MFD mini-humbucker made using a modified...

This test mule has some interesting Leo concepts3

This test mule has some interesting Leo concepts.

First, it has a prototype 5-string bridge with fine tuners, probably intended to be labeled with the short-lived Guitar-Tech brand. Second, it has an MFD mini-humbucker made using a modified...

This test mule has some interesting Leo concepts4

This test mule has some interesting Leo concepts.

First, it has a prototype 5-string bridge with fine tuners, probably intended to be labeled with the short-lived Guitar-Tech brand. Second, it has an MFD mini-humbucker made using a modified...

This test mule has some interesting Leo concepts5

This test mule has some interesting Leo concepts.

First, it has a prototype 5-string bridge with fine tuners, probably intended to be labeled with the short-lived Guitar-Tech brand. Second, it has an MFD mini-humbucker made using a modified...

Bass Bridge Plate with Fine Tuners-blueprint

This test mule has some interesting Leo concepts.

First, it has a prototype 5-string bridge with fine tuners, probably intended to be labeled with the short-lived Guitar-Tech brand. Second, it has an MFD mini-humbucker made using a modified...

Lloyd Chewning

This is Lloyd Chewning in June, 1983. Lloyd was our factory manager, and like many others who worked here, he was a Fender man years before. Lloyd was a tough guy with a kind heart.

I didn’t really know him, in fact the only words I ever...

Leo’s secretary in 1951

Leo’s secretary in 1951. This was in the little Pomona Avenue building. It’s long gone now, a parking structure occupies that space next to the Fullerton train station. I just parked there on Wednesday and it made me feel like posting something...

1980 L-1000-1

Our 1980 L-1000 represents the first G&L bass model, and it’s mission was clear: it would be Leo’s next gen p-bass. It featured all-new MFD pickup technology, innovative passive electronics and more all wrapped in a modern style that was elegant and

1980 L-1000-2

Our 1980 L-1000 represents the first G&L bass model, and it’s mission was clear: it would be Leo’s next gen p-bass. It featured all-new MFD pickup technology, innovative passive electronics and more all wrapped in a modern style that was elegant and

1980 L-1000-3

Our 1980 L-1000 represents the first G&L bass model, and it’s mission was clear: it would be Leo’s next gen p-bass. It featured all-new MFD pickup technology, innovative passive electronics and more all wrapped in a modern style that was elegant and

1980 L-1000-4

Our 1980 L-1000 represents the first G&L bass model, and it’s mission was clear: it would be Leo’s next gen p-bass. It featured all-new MFD pickup technology, innovative passive electronics and more all wrapped in a modern style that was elegant and

MM amp emblems

People ask me why I didn’t have these MM amp emblems removed from a bench in our final assembly department. I explain that making the early MM instruments is part of our heritage and history as CLF Research.

October 19, 1971 bass bridge drawing

October 19, 1971 bass bridge drawing by Forrest White. I like to note the focus on capturing string energy and transmitting the maximum amount to the body. In the late ‘60s Leo began to favor using strong machined posts screwed into brass bushings pressed

headstock design1

Found at the bottom of the drawer at Leo’s drafting table. Early concept drawings for what would become the G&L brand. Some sort of hand grip? No idea. The first one is weird, the second has pointier hooks (worse), and the third is just like...scrap t

headstock design2

Found at the bottom of the drawer at Leo’s drafting table. Early concept drawings for what would become the G&L brand. Some sort of hand grip? No idea. The first one is weird, the second has pointier hooks (worse), and the third is just like...scrap

headstock design3

Found at the bottom of the drawer at Leo’s drafting table. Early concept drawings for what would become the G&L brand. Some sort of hand grip? No idea. The first one is weird, the second has pointier hooks (worse), and the third is just like...scrap

Dee Murray L-1000

Ah...missed this yesterday, but my friend Mel Dugas gave me a heads up that it was the late, great Dee Murray’s birthday. As Mel noted, “Dee was one of the earliest G&L endorsers and played an L-1000 from 1980 until his death in 1992.”

Leo Fender in front of the CLF Research factory

December 1979 - Leo Fender in front of the CLF Research factory. I don’t know the guy with him, but his name “Andrerjo Rosts” is written on the back. Any of you know him?

Circa 1977 Final Assembly Dept

Circa 1977 Final Assembly Department - installing the control plate on a white Stingray Bass.

'81 Headstocks

I pulled out the ‘81 F-100 which hasn’t seen use in a while. Tony’s ‘81 L-2000 is alway close at hand, so I thought I’d line up the headstocks. I used to be so sure I liked the bass version much more than the guitar version. I thought the proportions were

1982 first gen SB-2 body

I’ve had this 1982 first gen SB-2 at home for years collecting dust. This morning I decided to bring it in here where it can get some love. Any of you have one of these?

1982 first gen SB-2 full

I’ve had this 1982 first gen SB-2 at home for years collecting dust. This morning I decided to bring it in here where it can get some love. Any of you have one of these?

1982 first gen SB-2 body closeup

I’ve had this 1982 first gen SB-2 at home for years collecting dust. This morning I decided to bring it in here where it can get some love. Any of you have one of these?

1982 first gen SB-2 headstock

I’ve had this 1982 first gen SB-2 at home for years collecting dust. This morning I decided to bring it in here where it can get some love. Any of you have one of these?

1982 first gen SB-2 headstock back

I’ve had this 1982 first gen SB-2 at home for years collecting dust. This morning I decided to bring it in here where it can get some love. Any of you have one of these?

1982 first gen SB-2 body back

I’ve had this 1982 first gen SB-2 at home for years collecting dust. This morning I decided to bring it in here where it can get some love. Any of you have one of these?

1980 master template for L-1000 and L-2000

1980 master template for L-1000 and L-2000. This was used to make the working templates used in the wood shop.

mystry pickguard

I went poking around a dusty attic and stumbled onto this. It has a G&L neck heel cut and kind of rough cut pickup holes. Maybe I need more coffee, but I don’t see pickup covers that will fit those holes. And if that control cutaway was for a plate, l

October 20, 1977 drawing by George Fullerton1

October 20, 1977 drawing by George Fullerton during development of the Sabre guitar. Note the additional concept work drawn on top of the print. This was typical of the design process at CLF Research and Fender, where a print was made then additional conc

October 20, 1977 drawing by George Fullerton2

October 20, 1977 drawing by George Fullerton during development of the Sabre guitar. Note the additional concept work drawn on top of the print. This was typical of the design process at CLF Research and Fender, where a print was made then...

October 20, 1977 drawing by George Fullerton3

October 20, 1977 drawing by George Fullerton during development of the Sabre guitar. Note the additional concept work drawn on top of the print. This was typical of the design process at CLF Research and Fender, where a print was made then...

October 20, 1977 drawing by George Fullerton4

October 20, 1977 drawing by George Fullerton during development of the Sabre guitar. Note the additional concept work drawn on top of the print. This was typical of the design process at CLF Research and Fender, where a print was made then...

October 20, 1977 drawing by George Fullerton5

October 20, 1977 drawing by George Fullerton during development of the Sabre guitar. Note the additional concept work drawn on top of the print. This was typical of the design process at CLF Research and Fender, where a print was made then...

CLF bass headstock1

This sketch has no date or name, but appears to be as the CLF bass headstock with a tiny hook added.

CLF bass headstock2

This sketch has no date or name, but appears to be as the CLF bass headstock with a tiny hook added.

CLF bass headstock3

This sketch has no date or name, but appears to be as the CLF bass headstock with a tiny hook added.

January 1989 - a simplified twin humbucker passive concept with pickguard1

January 1989 - a simplified twin humbucker passive concept with pickguard, based on the sleek SB body. Drawn by George Fullerton.

January 1989 - a simplified twin humbucker passive concept with pickguard2

January 1989 - a simplified twin humbucker passive concept with pickguard, based on the sleek SB body. Drawn by George Fullerton.

January 1989 - a simplified twin humbucker passive concept with pickguard3

January 1989 - a simplified twin humbucker passive concept with pickguard, based on the sleek SB body. Drawn by George Fullerton.

framed photo of Dale Hyatt, Rob Joly Jim's Music Center and Leo Fender

Beautifully framed photo of Dale Hyatt, Rob Joly Jim's Music Center and Leo Fender. Out to dinner at the Black Angus Steakhouse on Tustin Avenue near 17th Street on the edge of Santa Ana. 1980 I recall. This is one of the coolest things anyone’s ...

October 16, 1960 letter from Speedy West to Leo Fender1

October 16, 1960 letter from Speedy West to Leo Fender. Well, it’s just the envelope for today. I’ll have to transcribe the handwritten letter as it’s difficult to read, and I think I can get that done by tomorrow. Anyway, looks like Speedy was...

October 16, 1960 letter from Speedy West to Leo Fender2

October 16, 1960 letter from Speedy West to Leo Fender. Well, it’s just the envelope for today. I’ll have to transcribe the handwritten letter as it’s difficult to read, and I think I can get that done by tomorrow. Anyway, looks like Speedy was...

October 16, 1960 letter from Speedy West to Leo Fender3

October 16, 1960 letter from Speedy West to Leo Fender. Well, it’s just the envelope for today. I’ll have to transcribe the handwritten letter as it’s difficult to read, and I think I can get that done by tomorrow. Anyway, looks like Speedy was...

post card from The Rio Hotel where Speedy was staying1

A post card from The Rio Hotel where Speedy was staying. On the back side Speedy wrote, “Warehouse sets about 300 feet to the right of this motel.” The warehouse means the music shop he was preparing to open.

post card from The Rio Hotel where Speedy was staying2

A post card from The Rio Hotel where Speedy was staying. On the back side Speedy wrote, “Warehouse sets about 300 feet to the right of this motel.” The warehouse means the music shop he was preparing to open.

Speedy's letter

I typed out Speedy’s letter below. First let me thank Terry Foster for his contribution. Apparently I misunderstood what my brother was telling me about this letter when he handed it to me yesterday. Terry chimed in with the story that matches the letter.

January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body1

You know that Leo’s Dual Fulcrum vibrato is a core feature of G&L brand, but did you know he briefly considered offering it to Music Man? This January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body.

January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body2

You know that Leo’s Dual Fulcrum vibrato is a core feature of G&L brand, but did you know he briefly considered offering it to Music Man? This January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body.

January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body3

You know that Leo’s Dual Fulcrum vibrato is a core feature of G&L brand, but did you know he briefly considered offering it to Music Man? This January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body.

January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body4

You know that Leo’s Dual Fulcrum vibrato is a core feature of G&L brand, but did you know he briefly considered offering it to Music Man? This January 18, 1980 drawing shows routing and bushing holes for the DF vibrato on a Sabre body.