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What is it?
It’s fair to say that the third installment of a franchise is often the hardest. Every threequel wants to be Return of the King or The Last Crusade, but more often than not, it ends up being The Godfather Part III, The Matrix Revolutions, or The Dark Knight Rises – you either die the hero, or live long enough to see yourself become the villain, right?
In the realm of the electric guitar, looking to break the curse of the third-act slog is Fender and the hotly anticipated Vintera III series. The Vintera range has never claimed to be faithful vintage recreations. Instead, they opt to generalize the specs, going for a decade rather than a specific production year. This is an effort to capture the look, feel, and tone of golden-age guitars, without locking them into the demands of a fully period-correct build – let’s leave that to the Custom Shop.
Picking up where the II left off, this all-new slate of guitars keeps the original’s premise, but takes it in a slightly different direction in terms of years. This time around, we have models inspired by the late ’50s as well as the early, mid, and late ’60s. The guitar I’m looking at today is the Late ’50s Stratocaster.
As expected, this Strat features an alder body paired with a 1-piece maple neck and maple fingerboard. The neck is a ’50s “D” profile and is peppered with 21 Vintage Tall frets with a retro 7.25″ radius.
Tonally, the Vintera III Strat is powered by a trio of suitably vintage Late ’50s Single-Coil Strat pickups, which look to get you as close to the charm of an old-school Strat as possible. That said, what isn’t period-correct is the switching. Original late-50s Stratocasters were wired a little differently from how they’re wired today. The first tone knob controlled the neck pickup, while the second controlled the middle pickup; this meant the bridge pickup had no tone control, arguably where you need it most!
The Vintera III comes wired like a modern Strat, with a master volume and tone 1 controlling both the neck and middle pickups, while tone 2 takes care of the bridge pickup.
Rounding out the specs is a vintage-style synchronized tremolo and period-accurate split-post tuning machines.
The whole thing is finished in a gloss polyester lacquer and available in three finish options, from the classic 3-Color Sunburst, which I am reviewing today, to Knopfler-esque Dakota Red and the glittering Aztec Gold. The model also ships with a padded Fender gigbag.
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Specs
- Launch price: $1,249 | £1,029 | €1,249
- Made: Mexico
- Type: Six-string electric guitar
- Body: Alder
- Neck: Maple, Late ’50s “D”
- Fingerboard: Maple, 7.25″ radius
- Scale length: 25.5″ (648 mm)
- Nut/width: Bone, 1.650″ (42 mm)
- Frets: 21 Vintage Narrow Tall
- Hardware: 6-Saddle Vintage-Style Synchronized Tremolo with Bent Steel Saddles, Fender Vintage-Style tuners, 1-Ply pickguard
- Electrics: Vintage-Style Late ’50s Single-Coil Strat pickups, Master Volume, Tone 1. (Neck/Middle Pickups), Tone 2. (Bridge Pickup)
- Weight: 7.5 lbs/3.4kg
- Left-handed options: N/A
- Finishes: -Color Sunburst, Dakota Red, Aztec Gold
- Cases: Fender Gigbag
- Contact: Fender
Build quality
Build quality rating: ★★★★☆
I’d say the poly finish feels good enough underhand, but I’d still prefer to see a full nitrocellulose lacquer on these guitars
Right, first things first, this is a very handsome guitar, indeed. I’ve always had a soft spot for ‘50s Strats, personally owning a ‘54 Commemorative Anniversary model, and this one does not disappoint in the looks department.
While my own Strat is the earlier option with the more subtle 2-tone sunburst finish over an ash body, this model opts for alder and brings in a pop of red, turning it into the universally loved 3-tone sunburst – although there’s no woodgrain pattern showing through, making it look more like a solid finish than semi-transparent, like you would expect. Fender first introduced the 3-tone sunburst in early 1958, so it’s right on the money to match that “late ‘50s” moniker the guitar wears.
I’d say the poly finish feels good enough underhand, but I’d still prefer to see a full nitrocellulose lacquer on these guitars – in keeping with the vintage vibe they are going for. It would really complete the look for me, and some natural aging is an added bonus, too.
Another period-correct feature is the 8-hole, 1-ply pickguard. Yes, it may look a little basic, and dare I say cheap, but it is what guitars from this era looked like. Fender wouldn’t switch to the 11-hole, 3-ply pickguard until around mid-1959, so again, the company is authentically including the correct option here.
The overall fit and finish of this guitar is pretty spot on. In fact, I can’t really see anything out of place. The finish has been neatly applied, the sunburst has a satisfying fade through the three colors, and the neck joint is tight and flush. This build quality also extends to the vintage-style tremolo, which feels smooth and glides effortlessly. It also shows how well the real bone nut – an upgrade from previous generations – has been cut, as there’s no string stickage here.
The frets could use a bit of attention
Some players may notice that you can see the edges of the headstock decals, as they have been applied over the finish. This isn’t actually a mistake or carelessness from Fender, but another period-correct trait they have chosen to replicate.
That all said, I must say the frets could use a bit of attention. They are covered in patches of amber lacquer across most frets. For most glossy maple boards, Fender typically sprays the lacquer after the frets are installed, then cleans up the frets to a perfect polish.
The clean-up job isn’t great on my test example, and as a result, it feels dull and sticky when bending the strings – and generally looks pretty unsightly. I’m seeing this carelessness with frets more and more from the big names, and frankly, it’s something I’d like to see companies take more seriously.
At $1,249, this is most definitely not a cheap guitar, and as such, I really expect things like this to be done at the factory ahead of shipping.
However, it is an easy enough fix, and it doesn’t detract from what is otherwise a smartly built guitar that is teeming with vintage mojo straight out of the box.
Playability
Playability rating: ★★★★½
For me, the natural contour of the neck follows the shape of my hand, making rhythm work especially pleasant
If you’re a modern player who likes modern necks, this Strat will not be for you. This is, by all metrics, a vintage-lover’s neck through and through – and I, for one, love it.
Billed as an “authentic late ’50s ‘D’-shaped neck profile,” this neck is certainly rounder than contemporary Strats, but it’s not massive. We’re not talking baseball bat, Gibson Les Paul territory. It’s subtly rounded and very inviting to play, in my opinion.
Now, I have a couple of vintage reissue Fenders, mainly an AVRI Jazzmaster and Telecaster, both based on ‘64 models, so I’m pretty used to a 7.25″ radius fingerboard and those smaller vintage-tall frets. But those not all that familiar may take a little bit of time adjusting to the rounder radius.
There’s a lot of common wisdom swirling online around the 7.25″ radius fingerboard – some swear by it, others avoid it. The main argument in its favor is that its rounder profile makes chording a dream. Open chords, barre chords, and Hendrix-style thumb-over shapes all feel supremely comfortable, and that’s certainly true of this new Vintera model.
For me, the natural contour of the neck follows the shape of my hand, making rhythm work especially pleasant. That said, critics argue that these curved boards make big bends and low action more difficult, claiming that notes can “fret out” when you push a string up high on the neck – but that’s not something I found on this model.
Yes, the neck has some meat to it, but ultimately, it still feels easy to navigate
Bending is easy and expressive. Fender’s vintage-tall frets give you just enough height to dig in for lead work, while the setup – around medium-low for me, at 1.55mm on the low E to 1.25mm at the high E – allows for easy bends and wide vibrato without choking out.
Yes, the neck has some meat to it, but ultimately, it still feels easy to navigate. Okay, so if you’re coming from a flatter, modern fingerboard, you might notice the difference, but for vintage fans this Strat sits in the sweet spot for both chord and lead work.
Sounds
Sounds rating: ★★★★★
Maybe it was because my first-ever guitar was a Strat, but I’ve always loved the sound of this famed Fender. Yes, the Telecaster is a straightforward tone machine – simply set it to stun, point and shoot. The Stratocaster, on the other hand, has a few extra sounds locked away inside, and this Vintera does a very good job of representing the best of what Leo’s crowning achievement can deliver.
For testing, I start by plugging into my ’68 Custom Twin Reverb reissue, set a mild amount of verb, and get to playing.
Labeled as “vintage-style late ‘50s” pickups, there’s plenty of woody warmth here, especially from that neck pickup. There’s a moderate output and a real vintage authority to the pickups as a whole. Which I really appreciate. As I said up top, the model forgoes the 3-way pickup selector that would’ve come on a vintage example and swaps it out for the far more useful 5-way switch. This means I have access to all the sounds typically found in the Strat’s sonic palette.
I’d go so far as to say it gives the Custom Shop ‘54 pickups in my own Strat a run for their money
Arguably the most beloved Strat tone is the combination of the bridge and middle pickup, which results in a smooth, slightly out-of-phase tone that just begs you to play your favorite John Mayer licks.
On the Vintera III, this position is bright, with plenty of attack and a slightly hollowed mid-range. Simply put, it sounds fantastic. In fact, I’d go so far as to say it gives the Custom Shop ‘54 pickups in my own Strat a run for their money.
For the funk-masters out there, you’ll most definitely want to stick to the percussive attack of the middle position, which again sounds as good as ever in this new model. The bridge pickup is, obviously, where the majority of the treble lives, and here it manages to stay on the right end of harsh. Never sounding too brittle or thin, for that matter. It certainly helps that I can roll down the tone if needed – something players in 1958 couldn’t do!
Moving on, I switch things up and plug into a Vox AC30, stomp on a Tube Screamer, and see how this Strat handles with more gain. To my surprise, it takes it in its stride. The guitar almost takes on a somewhat throaty vocal quality that is perfect for bluesy lead lines and even alt-rock riffage.
I dare not push the gain much higher, as things are on the cusp of getting too noisy, but I’d say this late ’50s Strat does more than rock ‘n’ roll, rockabilly or country. It would be easy to write this guitar off as a one-trick pony, but actually there is a wealth of tones here, and it’s a pretty versatile guitar all things considered.
Verdict
The feel of this guitar is very specific
If you’re after a Strat that leans hard into its old-school DNA, the Vintera III Late ’50s is a love letter to Fender’s golden era, wrapped in a handsome sunburst finish. This is not a guitar for a shred set – after all, there are plenty of them available elsewhere – it’s for those who want their instrument to feel like one from the past, but with a few choice contemporary updates.
The feel of this guitar is very specific. That late-’50s “D” profile, paired with a 7.25″ radius and vintage-tall frets, creates a playing experience that’s tactile, inviting, and packed with character. Is it for everyone? No, definitely not. If you’re coming from modern, flatter necks, you’ll feel the difference immediately. But for those who love wrapping their thumb over the top, digging into big chords, or coaxing out expressive bends, this Strat rewards your effort with a feel that’s perfectly old-school. Personally, I think the frets could stand a better polish from the factory, and at this price, that’s worth noting.
Sonically, the Vintera III goes toe to toe with higher-end Custom Shop models, in my opinion. The pickups capture the warmth, snap, and sparkle you want from a late-’50s Strat, with enough output to handle blues, classic rock, and even a touch of alt grit if you push it – and better yet, the modern wiring is a thoughtful update, putting tone control right where you need it.
The bottom line is that the Late ’50s Strat is a fantastic entry into the now long-running Vintera series, proving that some third installments are most definitely as good as the original.
Guitar World verdict: The Vintera III Late ’50s Stratocaster is a loving tribute to vintage Fender, offering authentic late-’50s feel, sound, and looks in a package that’s both inspiring and approachable. The neck is comfortable, the pickups are lively and versatile, and period-correct details are tastefully done.
|
Test |
Results |
Score |
|---|---|---|
|
Build quality |
The Vintera III Late ’50s Strat boasts period-correct details and a high-quality finish, though the frets could use a better polish. |
★★★★☆ |
|
Playability |
Its rounded “D” neck and 7.25″ radius make chording and bends comfortable and familiar for vintage fans, though modern players may need to adjust. |
★★★★½ |
|
Sounds |
The pickups serve up classic Strat sparkle, warmth, and versatility, easily handling everything from blues to indie rock. |
★★★★★ |
|
Overall |
A soulful, vintage-inspired Strat that feels, plays, and sounds like a classic. |
★★★★½ |
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Andertons Music Co
