REVIEW > FENDER
The Fender ’ 51 changes little of the
basic configuration of the Squier ’ 51, but
there are refinements aplenty that make it a
smooth and nasty player—not to mention
a perfect embodiment of the Pawn Shop
Series ethos. Fenders of the 1950s were
no-frills machines, and that same design
austerity informs the look of the ’51: The
glossy butterscotch body and single-ply
. . . the ’ 51 is a beautifully
simple, comfortable, intui-
tive, and inviting guitar that
can gnash, purr, and sing.
black pickguard are sharp and startlingly
simple, and the beautifully yellowed maple
neck, topped with a Telecaster headstock
with a “spaghetti logo,” is a perfect fit for
the guitar’s minimalist visual identity. It’s a
guitar that looks rock-steady, ready to play,
and able to take a beating.
There isn’t much hardware on the ’ 51.
Kluson-style tuners keep things looking period authentic, and the hardtail bridge with
six individually adjustable saddles is pure
simplicity. The Tele-esque control set looks
about as simple as they come, too—and it’s
key to the guitar’s more Frankenstein-ian
nature. The Volume knob is also a push/pull
pot that splits the coils of the humbucker in
the bridge position. Where there would ordinarily be a Tone knob on a Telecaster, there’s
a 3-position pickup selector.
Mustang Special
Pawn Shop ’ 51
Rippin’ and Roarin’
The lack of a Tone knob obviously makes
the ’ 51 a little less flexible in terms of
tone, but the sounds you get in trade
with the splittable humbucker are cool
and plentiful. With both coils in action,
the humbucker is all fangs and sting. But
when you’re so inclined, a nimble finger
on the Volume knob can keep the ’ 51’s
more slashing personality traits in check.
Gunning full throttle with the humbucker
puts a lot of biting high-mid tone at your
fingertips—especially through a wide-open
6L6 amp. If you’re comfortable in that
range and sharp with your pick attack, the
’ 51 can give you a positively Jimmy Page-like authority that makes bluesy jabs sound
fresh and totally nasty. Roll off the Volume
a notch or two, and you’re in a sweet
spot for rootsy jangle tones. Splitting the
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PREMIER GUITAR MAY 2011 127
