1966 Fender Jazzmaster in Sonic Blue: The Ultimate Surf Guitar at the CBS Crossroads

Why the 1966 Sonic Blue Jazzmaster Matters

The 1966 Fender Jazzmaster in Sonic Blue represents one of the most visually stunning and tonally distinctive guitars ever produced—a convergence of Fender's most sophisticated offset design with one of its most iconic custom colors, captured at a pivotal moment in the company's history. This combination has made Sonic Blue Jazzmasters among the most sought-after vintage Fender instruments by collectors and players alike.

What makes the 1966 Sonic Blue Jazzmaster particularly significant:

• Transitional CBS Era: Built during Fender's first full year under CBS ownership, these guitars retain much of the pre-CBS quality while showing early signs of the changes to come

• Peak Surf Culture: 1966 represents the height of surf music's influence, and the Jazzmaster—especially in Sonic Blue—was the quintessential surf guitar

• Custom Color Rarity: Sonic Blue was a premium upcharge option, making these instruments significantly rarer than standard sunburst models

• Slab Rosewood Fingerboards: Many early 1966 examples still featured the desirable thick slab rosewood boards before transitioning to bound boards with block inlays

• Pre-CBS Hardware Carryover: Early 1966 production retained many pre-CBS components and construction methods

• Iconic Aesthetic: The combination of Sonic Blue finish with gold anodized pickguard creates one of vintage Fender's most striking visual presentations

The Jazzmaster itself was Fender's top-of-the-line model when introduced in 1958, featuring innovative electronics, a floating tremolo system, and a sophisticated switching arrangement that set it apart from the Stratocaster and Telecaster. By 1966, the model had become synonymous with surf music and the California sound, despite Fender's original intention to market it to jazz players.

Historical Context: The Jazzmaster and CBS Transition

The Jazzmaster's Evolution (1958-1966)

When Leo Fender introduced the Jazzmaster in 1958, it represented his vision of the ultimate electric guitar for discerning jazz players. The model featured:

• Revolutionary offset waist body design for playing comfort

• Wide, flat single-coil pickups with warm, mellow tone

• Separate rhythm and lead circuits with dedicated controls

• Floating tremolo with locking mechanism for tuning stability

• Premium appointments including binding and block inlays (on some models)

The Surf Music Connection:

Despite being marketed to jazz guitarists, the Jazzmaster found its true home in the hands of surf music pioneers:

• Dick Dale adopted the Jazzmaster, becoming its most famous early advocate

• The Ventures used Jazzmasters extensively throughout their surf instrumental hits

• Beach Boys recordings featured Jazzmaster prominently

• The model became visually associated with California surf culture

By 1966, the Jazzmaster's identity was firmly established as the surf guitar, though surf music's commercial peak had passed. This makes 1966 Jazzmasters particularly interesting—they represent the end of an era.

The CBS Acquisition (1965)

In January 1965, CBS purchased Fender from Leo Fender for $13 million. This corporate acquisition would eventually become one of the most significant events in guitar history, marking a clear divide between "pre-CBS" and "CBS era" Fender guitars.

1966 as a Transition Year:

The 1966 model year is fascinating because it represents Fender in transition:

Pre-CBS Characteristics Still Present:

• Many components from pre-CBS inventory continued to be used

• Manufacturing processes hadn't yet been significantly altered

• The Fullerton factory team remained largely intact

• Quality control standards maintained from the pre-CBS era

• Traditional nitrocellulose finishes still in use

• Original tooling and specifications still followed

CBS Changes Beginning to Appear:

• Larger "CBS" headstock introduced late in 1965, becoming more common in 1966

• Transition from clay dots to pearloid position markers

• Some production efficiency changes being implemented

• Bound fingerboards with block inlays becoming standard on Jazzmasters

• F-stamped tuners beginning to appear

The Sonic Blue Color:

Custom colors were a Fender hallmark since their introduction in the late 1950s. Sonic Blue, introduced around 1963, was one of Fender's most popular custom colors:

• Light, vibrant blue derived from DuPont Duco automotive paint

• More commonly ordered than darker blues like Lake Placid Blue

• Perfect complement to gold anodized pickguards

• Associated with surf culture and California aesthetics

• Required upcharge over standard sunburst finish

The combination of Jazzmaster specification with Sonic Blue finish in 1966 creates a highly desirable instrument that captures multiple collecting themes: transitional CBS era, custom color rarity, surf music heritage, and peak Jazzmaster aesthetics.

Detailed Identification Guide

Authenticating a 1966 Sonic Blue Jazzmaster requires examining multiple features across different parts of the instrument.

Serial Numbers

1966 Fender guitars transitioned through different serial number formats:

Neck Plate Serial Numbers:

Early 1966 guitars continued the five-digit serial numbers from the pre-CBS era:

• Range: Approximately 100000-140000

• Stamped on four-bolt neck plate

• Sometimes with "F" prefix appearing late in year

"L" Series Serial Numbers:

Later 1966 production began transitioning to the "L" prefix system:

• Format: L + five digits (L10000-L99999)

• The "L" prefix was used from late 1963 through 1965, continuing into early 1966

• Overlap and inconsistency common during transitional period

Serial Number Limitations:

Fender's serial number system during this era had significant inconsistencies:

• Parts were not always assembled chronologically

• Serial numbers were stamped on neck plates before assembly

• Overlap between numbering systems creates confusion

• Serial numbers alone cannot definitively date a 1966 guitar

Cross-Reference Required:

Always verify the serial number against:

• Neck date (most reliable)

• Potentiometer codes

• Body stamps or markings

• Hardware characteristics

Neck Dating

The most reliable method for dating a 1966 Jazzmaster is the pencil or ink date stamp on the neck heel (visible when neck is removed).

1966 Neck Date Format:

Fender used several formats during 1966:

• "MM YY" format (e.g., "3 66" = March 1966)

• "MM-YY" format (e.g., "8-66" = August 1966)

• Sometimes abbreviated (e.g., "6 6" = June 1966)

Location:

• Stamped on the heel (end) of the neck

• Visible in the neck pocket when neck is removed

• Sometimes accompanied by inspector marks or other codes

Reading Neck Dates:

The neck date indicates when the neck was completed, not necessarily when the guitar was assembled. Necks could sit in inventory for weeks or months, so:

• A neck dated "2-66" might be on a guitar assembled in April or May 1966

• Generally, assembly occurred within 1-4 months of neck dating

• Cross-reference with pot codes for more accurate dating

Potentiometer Codes

Potentiometers provide crucial dating information and can verify originality.

1966 Pot Code Format:

Fender used Stackpole potentiometers during this period:

• Format: 304 YY WW

• 304 = Stackpole manufacturer code

• YY = Year (65 or 66 for 1966 guitars)

• WW = Week of manufacture (01-52)

Example:

• 304 6608 = Stackpole pot, 1966, 8th week (late February 1966)

Important Considerations:

• Pots dated late 1965 may appear in early 1966 guitars (parts inventory)

• All three pots (two volume, one tone) should have similar date codes

• Rhythm circuit controls have separate pots (should also be checked)

• Mismatched pot codes indicate replacement or modification

Location:

• Control cavity on back of guitar

• Codes stamped on pot casings

• May require loosening pickguard to read clearly

Body Markings and Stamps

Inside the control cavities and under the pickguard, authentic 1966 Jazzmasters may have:

Body Date Stamps:

• Pencil dates in tremolo cavity

• Date may precede assembly by several months

• Format varies (sometimes just month/year)

Routing Stamps:

• Shape codes indicating body routing pattern

• Pickup cavity codes

• Quality control marks

Custom Color Codes:

• Masking tape remnants in cavities

• Written color codes (for Sonic Blue: might see "Sonic Blue" or abbreviation)

• Painter's marks or numbers

Wood Stamps:

• Species stamps (alder for sunburst/colors)

• Batch numbers

• Factory processing codes

Finish Identification

Authenticating the Sonic Blue finish is critical, as refinished guitars are common.

Authentic Sonic Blue Characteristics:

Color Properties:

• Light, bright blue with slight greenish cast

• More vibrant than Lake Placid Blue

• Translucent quality over sealer coats

• Subtle color variation in different lighting

Primer/Undercoat:

• Desert Sand (yellowish-tan) sealer coat underneath

• Visible in chips, neck pocket, or cavity edges

• Multiple thin coats rather than one thick application

• Nitrocellulose lacquer (not polyurethane)

Aging Patterns (After 59 Years):

• Yellowing of clear coat creating slightly greener appearance

• Fine checking (spider-web cracks) in finish

• Wear patterns on edges, back of neck, forearm area

• Authentic patina that can't be easily faked

Matching Headstock:

• Custom color Jazzmasters typically had matching painted headstocks

• Color should match body (allowing for different aging patterns)

• Same checking and wear patterns

• Overspray visible in logo area under magnification

Hardware Authentication

Tuning Machines:

1966 Jazzmasters used Kluson Deluxe tuners:

• Kluson Deluxe single-line stamp on back

• "Pat. Pending" or patent number stamps

• Nickel plating (not chrome)

• Oval buttons (plastic)

• Some late 1966 guitars may have F-stamped tuners (early CBS change)

Bridge and Tremolo:

Bridge:

• Floating bridge with adjustable intonation screws

• Rocking bridge saddles

• Chrome plating

• Should show appropriate aging (not bright and shiny)

Tremolo Unit:

• Chrome-plated floating tremolo

• Lock button for locking tremolo in position

• Tremolo arm with white plastic tip

• Spring tension adjustable from back cavity

Pickguard:

The pickguard is one of the most distinctive features:

• Gold anodized aluminum (not painted)

• Aged gold color with darkening/oxidation patterns

• 13 mounting screws

• May show pitting or corrosion (normal aging)

• Reproduction guards are common—look for authentic aging patterns

Other Hardware:

• Chrome control knobs (should show aging)

• Chrome pickup covers (flat top design)

• Chrome switch tip

• Strap buttons (chrome)

• All hardware should show consistent aging

Pickup Identification

1966 Jazzmaster Pickup Specifications:

Physical Characteristics:

• Large rectangular single-coil pickups

• Flat chrome covers

• Wide, flat pole pieces

• Foam or felt surrounding the pickup under cover

Winding Specs:

• Hand-wound with approximately 8,000-8,500 turns

• Formvar-coated wire

• Alnico V magnet bar underneath coil

• DC resistance typically 7.5k-8.5k ohms

Dating Pickups:

Fender occasionally dated pickups during this era:

• Ink stamps on pickup bobbin (visible when cover removed)

• Date format similar to neck dates

• Not all pickups were dated

• Removing covers reduces collector value unless documentation needed

Authentic Characteristics:

• Cloth-covered output wires

• Hand-wound irregular coil appearance

• Period-correct solder joints

• Appropriate corrosion/aging on covers

Electronics and Wiring

1966 Jazzmaster Wiring Characteristics:

Circuit Board:

• Jazzmaster uses a unique circuit board for rhythm/lead switching

• Brown fiber or Masonite board

• Period-correct components soldered to board

• Cloth-covered wiring throughout

Components:

• .05 mfd capacitors (orange or brown)

• Carbon composition resistors

• Switchcraft output jack (1/4")

• CTS or Stackpole potentiometers

• Three-way pickup selector (lead circuit)

• Rhythm circuit on/off switch on upper horn

Rhythm Circuit:

• Separate bass-cut tone circuit

• Dedicated volume and tone wheels on upper horn

• When engaged, neck pickup only

• Creates darker, mellower jazz tone

Wiring Verification:

• All cloth-covered wire (not plastic)

• Period-correct solder (not modern rosin-core)

• Original grounding scheme

• Shield paint in cavities

Detailed Physical Specifications

Body Specifications

Construction:

• Solid alder body (for colored finishes)

• Offset waist design

• Comfort contours on back

• Thickness: Approximately 1.75 inches at rim

Weight:

• Typical range: 8.0-9.5 lbs

• Alder is lighter than ash

• Variation due to wood density differences

Finish:

• Sonic Blue nitrocellulose lacquer

• Desert Sand sealer coat

• Multiple thin color coats

• Clear coat topcoat

• Matching headstock

Pickguard:

• Gold anodized aluminum

• 13 screw mounting pattern

• Covers entire upper bout and control area

• Rhythm circuit controls mounted on upper horn

Body Measurements:

• Body length: Approximately 15.75 inches

• Body width (upper bout): Approximately 13.5 inches

• Body width (lower bout): Approximately 13.25 inches

Neck Specifications

Construction:

• One-piece maple neck

• Rosewood fingerboard

Fingerboard Variations in 1966:

Early 1966 (Slab Board):

• Thick slab rosewood (approximately 1/4 inch thick)

• Flat bottom glued to flat neck

• Clay dot position markers

• Highly desirable "pre-CBS" feature

Late 1966 (Bound Board with Blocks):

• Curved rosewood veneer

• Binding on fingerboard edges

• Pearloid block inlays

• More common CBS-era feature

Neck Profile:

• C-shape profile

• Comfortable medium thickness

• 1.65" nut width (wider than Stratocaster)

• 7.25" fingerboard radius

Fret Specifications:

• 21 frets (not 22 like Stratocaster)

• Vintage-style small fret wire

• Frets extend to edge of fingerboard (no binding on slab boards)

Scale Length:

• 25.5 inches (Fender standard)

Headstock:

Transition in 1966:

Small Headstock (Early 1966):

• Pre-CBS dimensions

• More refined proportions

• "Spaghetti" logo

• Patent numbers below logo

• Matching Sonic Blue finish

Large Headstock (Late 1966):

• CBS "larger" headstock

• 10% larger surface area

• More mass at headstock

• Transition logo styles

• Matching Sonic Blue finish

Neck Attachment:

• Four-bolt neck plate

• Micro-tilt adjustment (not present in 1966)

• Serial number stamped on neck plate

Electronic Specifications

Pickup Configuration:

• Two wide single-coil Jazzmaster pickups

• Neck and bridge positions

• Individual pickup selector (lead circuit)

Control Layout:

Lead Circuit (Lower Horn):

• Volume knob (neck pickup)

• Volume knob (bridge pickup)

• Master tone knob

• Three-way pickup selector switch

Rhythm Circuit (Upper Horn):

• Rhythm volume wheel

• Rhythm tone wheel

• Slide switch to engage rhythm circuit

• When engaged: neck pickup only, bypasses lead controls

Output:

• Single 1/4" output jack

• Located on lower edge of body

• Chrome jack plate

Hardware Specifications

Tremolo System:

• Fender floating tremolo (Jazzmaster-specific design)

• Chrome-plated brass components

• Tremolo lock button

• Tremolo arm with white plastic tip

• String anchors at bridge (not through-body)

Bridge:

• Floating rocking bridge

• Individual saddle adjustment

• Chrome finish

• Height adjustable via thumbwheels

• Separate from tremolo unit

Tuning Machines:

• Kluson Deluxe tuners

• 6-in-line configuration

• Nickel-plated

• Oval plastic buttons

• Single-line "Kluson Deluxe" stamp

Other Hardware:

• Chrome knobs (lead circuit)

• Chrome wheels (rhythm circuit)

• Chrome pickup covers

• Strap buttons

• Screws and springs

Tonal Characteristics

The 1966 Sonic Blue Jazzmaster offers a distinctive voice that set it apart from Fender's other models.

The Jazzmaster Sound

Fundamental Tone:

The Jazzmaster's wide, flat pickups create a unique tonal signature:

• Warmth: Fuller, warmer tone than Stratocaster single-coils

• Clarity: Clear, articulate response without harsh highs

• Depth: More low-end presence than Telecaster or Stratocaster

• Smoothness: Rounded top-end without brittleness

Frequency Response:

Low Frequencies:

• Enhanced bass response compared to Strat pickups

• Full but not boomy

• Excellent for chord work

• Provides foundation for surf music rhythm parts

Midrange:

• Scooped midrange character

• Less midrange punch than Telecaster

• Smooth, vocal quality

• Excellent for clean tones

High Frequencies:

• Softer high-end than typical single-coils

• Clear but not piercing

• Retains presence without harshness

• Sparkle without ice-pick treble

Position-Specific Tones

Neck Pickup:

• Warm, full jazz-like tones

• Excellent for rhythm guitar

• Smooth lead tones

• Vintage surf music sound

• Rich chord voicings

Bridge Pickup:

• Brighter but still warm

• More presence and attack

• Excellent twang for surf music

• Clear, articulate lead tones

• Retains warmth despite brighter position

Rhythm Circuit:

• Neck pickup with bass rolloff

• Darker, mellower jazz tones

• Reduced output for rhythm work

• Unique tonal option

• Switches instantly between lead and rhythm sounds

Tremolo Character

The Jazzmaster's floating tremolo system offers unique characteristics:

Vibrato Effect:

• Smooth, subtle vibrato

• Less dramatic than Stratocaster tremolo

• More stable tuning

• Lock button allows completely stable tuning when desired

Playing Characteristics:

• Light touch required

• Responsive to playing dynamics

• Can create shimmering effects

• Excellent for surf music techniques

Sonic Blue's Acoustic Impact

While finish doesn't directly affect tone, the Sonic Blue 1966 Jazzmaster has characteristics worth noting:

Nitrocellulose Finish:

• Thin finish allows wood resonance

• 59 years of aging has allowed finish to cure and thin

• More resonant than thick polyurethane finishes

• Wood breathes and ages naturally

Alder Body:

• Balanced, even tone across frequencies

• Lighter than ash

• Warm but clear

• Standard Fender tonewood for colors

Amplifier Interaction

The Jazzmaster excels with certain amplifier combinations:

Clean Tones:

• Fender amps (Deluxe Reverb, Twin Reverb)

• Sparkle and clarity

• Natural compression

• Responds to playing touch

Overdrive:

• Takes pedals exceptionally well

• Smooth, creamy overdrive

• Less harsh than Stratocaster when overdriven

• Vintage fuzz pedals complement the tone perfectly

Surf Music Tones:

• Spring reverb essential

• Light tremolo effects

• Clean to edge-of-breakup

• Dick Dale achieved legendary tones with similar setups

Comparison to Other Fender Models

Vs. Stratocaster:

• Warmer, fuller tone

• Less aggressive high end

• More bass response

• Different neck feel (wider at nut)

Vs. Telecaster:

• Smoother, less twangy

• More complex switching options

• Floating tremolo vs. fixed bridge

• Different aesthetic and playing feel

Vs. Later Jazzmasters:

• 1966 represents peak of original design

• Earlier pickups have unique character

• Pre-bound fingerboard models (early '66) more resonant

• Transitional features create interesting variations

Common Issues and Modifications

Typical Age-Related Issues

After nearly 60 years, 1966 Jazzmasters commonly exhibit certain issues:

Finish Checking:

• Fine cracks throughout finish (especially Sonic Blue)

• More pronounced in stress areas

• Normal for nitrocellulose finishes

• Actually desirable to collectors

Color Fading/Changing:

• Sonic Blue develops greenish cast from clear coat yellowing

• Some UV fading lightens the color

• Varies by storage conditions

• Original color visible in protected areas (under pickguard)

Pickguard Oxidation:

• Gold anodizing darkens and pits

• Edge corrosion common

• Some examples show more dramatic aging

• Replacement guards common but detract from originality

Hardware Tarnishing:

• Chrome plating dulls or shows pitting

• Tuner mechanisms may feel stiff

• Bridge saddles show wear grooves

• Normal aging—avoid replating

Fret Wear:

• Grooves in first five frets

• Flattening of fret crowns

• Some instruments have been refretted

• Original frets preferred but not critical if refret done professionally

Tremolo Issues:

• Springs weaken over time

• Lock button mechanism may be worn

• Bridge rocking motion may cause tuning instability

• Many players upgrade to Mastery bridge (reduces value)

Electronic Problems:

• Scratchy potentiometers

• Weak output from aged pickups

• Switch crackling or failure

• Corroded solder joints

• Cloth wiring may be brittle

Common Modifications

Many 1966 Jazzmasters have been modified over the decades:

Bridge Replacement:

The most common modification:

• Original floating bridge replaced with Mastery or Mustang bridge

• Done to improve tuning stability and reduce buzz

• Significantly reduces collector value

• Original bridge should be retained if possible

Pickup Replacements:

• Modern high-output pickups installed

• Seymour Duncan, DiMarzio, Lindy Fralin replacements common

• Changes original tone character

• Original pickups should be retained

Electronics Modifications:

• Rhythm circuit disabled or removed

• Modern wiring harness installed

• Shielding added to cavities

• Modern capacitors and pots

Tuner Replacements:

• Modern locking tuners

• Grover or Gotoh tuners

• Improves tuning stability

• Original Klusons should be retained

Tremolo Lock/Block:

• Tremolo blocked with wood or foam

• Lock mechanisms added

• Done for tuning stability

• Easily reversible

Refinishing:

• Complete refinishes extremely common

• Sonic Blue often refinished when worn

• Dramatically reduces collector value

• Very difficult to detect on some instruments

Authentication Red Flags

When examining a purported 1966 Sonic Blue Jazzmaster:

Finish Concerns:

• Too-perfect finish (no checking on 59-year-old guitar)

• Wrong color shade (Sonic Blue specific)

• Thick, plasticky feel (polyurethane vs. nitrocellulose)

• No Desert Sand undercoat visible in chips

• Overspray in wrong places

• No appropriate wear patterns

Hardware Inconsistencies:

• Bright, new-looking chrome (should show aging)

• Wrong tuner types

• Modern bridge or tremolo

• Incorrect screws

• Metric measurements

Electronics Issues:

• Plastic-covered wiring (should be cloth)

• Modern capacitors

• Wrong pot codes

• Missing rhythm circuit

• Modern pickup wire

Serial Number Problems:

• Numbers don't match period format

• Obvious re-stamping

• Missing serial number

• Number doesn't correlate with neck date or pot codes

Structural Issues:

• Routed for humbuckers

• Neck pocket modifications

• Filled screw holes

• Non-original neck

• Wrong body wood (should be alder for colors)

Production Variations Within 1966

The transitional nature of 1966 production created interesting variations:

Early 1966 (January-April)

Pre-CBS Characteristics:

• Slab rosewood fingerboards with clay dots

• Small pre-CBS headstock

• Pre-CBS serial numbers (no "F" stamp)

• More likely to have late-1965 dated pots

• Gold anodized pickguard standard

• Original Fender logo styles

These early examples are particularly desirable as they retain more pre-CBS features.

Mid-1966 (May-August)

Transition Features:

• Mix of slab and bound fingerboards

• Headstock size variations

• "F" stamps beginning on some tuners

• Serial number format transitions

• Pearl dots beginning to appear

• Mixture of old and new components

This period shows the most variation as CBS changes were gradually implemented.

Late 1966 (September-December)

CBS Features Becoming Standard:

• Bound fingerboards with block inlays more common

• Larger CBS headstock more prevalent

• F-stamped tuners

• Pearloid dots standard

• Some production efficiency changes

• Quality still high but transitioning

Late 1966 examples begin to look more like 1967-1968 models.

Custom Color Considerations

Sonic Blue Ordering Process:

Custom colors required special order:

• Dealer would order specifically

• Additional cost over sunburst

• Longer wait times

• Special attention in factory

Production Numbers:

While exact figures aren't available:

• Sonic Blue was more common than some custom colors

• Still represents small percentage of total production

• Most Jazzmasters were sunburst

• Custom color survival rate lower (more likely to be refinished)

The Surf Music Legacy

The Jazzmaster in 1966 Music

By 1966, the Jazzmaster had established its place in music:

Surf Music:

• Dick Dale's legendary performances

• The Ventures' instrumental hits

• Beach Boys sessions

• Countless surf bands used Jazzmasters

Garage Rock:

• Early punk and garage bands adopted Jazzmasters

• Aggressive playing styles

• Raw, energetic tones

Studio Work:

• Session players valued the versatility

• Unique tones for specific parts

• Rhythm circuit useful in mix situations

Visual Impact

The Sonic Blue Jazzmaster became iconic:

California Aesthetic:

• Bright blue finish evoked ocean and sky

• Gold pickguard represented sun and sand

• Perfect visual for surf music

• Associated with beach culture

Stage Presence:

• Distinctive offset body shape

• Eye-catching color combination

• Gold pickguard reflected stage lights

• Memorable visual in band photos

Later Rediscovery

The Jazzmaster experienced several waves of rediscovery:

1980s Alternative/Indie:

• Sonic Youth championed the Jazzmaster

• Cheaper vintage prices made them accessible

• Unique tones appealed to experimental players

1990s Grunge/Alternative:

• J Mascis (Dinosaur Jr.)

• Elvis Costello

• Blur and other Britpop bands

2000s-Present Revival:

• Vintage Jazzmaster prices increased dramatically

• Custom color examples became highly sought

• Sonic Blue among most desirable colors

• Reissue models introduced

Why Collectors Value 1966 Sonic Blue Jazzmasters

Multiple Collecting Themes Converge

Transitional CBS Era:

• Historical significance of ownership change

• Last gasp of pre-CBS features

• Beginning of CBS changes

• Documents important period in Fender history

Custom Color Rarity:

• Special order instruments

• More valuable than sunburst

• Sonic Blue particularly desirable

• Beautiful aesthetic appeal

Surf Music Heritage:

• Associated with legendary players

• Peak of surf music influence

• California cultural significance

• Iconic 1960s instrument

Offset Model Collectibility:

• Jazzmaster, Jaguar gaining respect

• No longer "budget" guitars in collector market

• Unique features and tones

• Distinct from Strat/Tele collecting

Investment Perspective

Several factors support continued appreciation:

Increasing Scarcity:

• 59 years of attrition

• Many refinished or modified

• All-original examples increasingly rare

• Sonic Blue examples rarer than sunburst

Growing Recognition:

• Market finally recognizing Jazzmaster significance

• Custom colors commanding appropriate premiums

• Transitional CBS period gaining respect

• Younger collectors entering market

Playing Desirability:

• Not just collectors seeking these

• Professional players want authentic vintage tones

• Studio use driving demand

• Modern music using vintage Jazzmaster sounds

Sonic Blue Specific:

• One of most visually striking custom colors

• Strong association with surf culture

• Photographs beautifully

• Gold guard creates stunning contrast

Preservation and Care

Storage Recommendations

Climate Control:

• 45-55% relative humidity critical

• 65-75°F temperature range

• Avoid rapid changes

• Use hygrometer to monitor

Case Storage:

• Store in original case when possible

• Keep case latched

• Check case condition regularly

• Replace deteriorating foam

Display Considerations:

• Avoid direct sunlight (fades Sonic Blue)

• UV-protective glass if framing

• Quality wall hangers

• Maintain climate control

Finish Care

Cleaning Sonic Blue Finish:

• Gentle cleaning only

• No abrasive polishes

• Avoid silicone-based products

• Microfiber cloths

• Preserve checking and patina

Protecting the Color:

• Minimize UV exposure

• Keep away from heat sources

• Don't over-clean

• Accept natural aging

Hardware Maintenance

Pickguard Care:

• Clean gently

• Don't attempt to polish gold

• Oxidation is normal aging

• Replacement guards available but detract from originality

Chrome Hardware:

• Light cleaning only

• Don't use harsh chemicals

• Some tarnish is desirable

• Avoid replating

Tremolo System:

• Keep mechanism lubricated

• Check spring tension

• Ensure smooth operation

• Professional setup recommended

Electronics Maintenance

Potentiometers:

• Clean with quality contact cleaner

• Test for scratchiness

• Replace only if necessary

• Keep original pots even if replaced

Switches:

• Clean contacts

• Test functionality

• Original switches preferred

• Keep original parts

Pickups:

• Avoid removing covers unless necessary

• Test output and resistance

• Document any work

• Original pickups essential for value

Selling Your 1966 Sonic Blue Jazzmaster

Understanding Value Factors

Critical Elements:

1. Originality: All-original condition commands significant premiums

2. Finish Condition: Original Sonic Blue finish essential

3. Slab vs. Bound Board: Early slab board examples more desirable

4. Matching Headstock: Should have matching Sonic Blue headstock

5. Original Hardware: Gold pickguard, original bridge, tremolo, tuners

6. Documentation: Original case adds value

7. Provenance: History and documentation enhance value

Condition Grading:

• Excellent: Light play wear, all original, minor checking, fully functional

• Very Good: Moderate wear, all original parts, normal 59-year aging

• Good: Heavy play wear, possible minor modifications

• Fair: Significant wear, modifications, repairs needed

What Significantly Impacts Value:

Major Value Reducers:

• Refinishing (most serious issue)

• Non-original neck

• Routed for humbuckers

• Missing rhythm circuit

• Modern bridge replacement

• Wrong pickguard

• Headstock repairs

Acceptable Modifications (minimal impact if reversible):

• Professional refret

• Replaced pots (if period correct)

• Setup adjustments

• Replaced nut or saddles

The Edgewater Guitars Advantage

Expert Evaluation:

We specialize in vintage Fender instruments and understand the nuances of transitional CBS-era guitars. Our evaluation includes:

• Finish authentication (Sonic Blue specific)

• Dating verification (neck dates, pot codes, serial numbers)

• Originality assessment

• Slab vs. bound fingerboard identification

• Custom color verification

• Hardware authenticity

• Overall condition assessment

Why Choose Edgewater:

Premium Valuations: We understand the collector market for custom color Jazzmasters and offer valuations that reflect true market value—typically exceeding local guitar shop offers by substantial margins.

Streamlined Process:

• Free authentication and evaluation

• Immediate offers for qualified instruments

• We travel to you for valuable instruments

• Cash or bank transfer payment

• Professional, discrete service

Vintage Fender Expertise:

• Over 20 years specializing in vintage Fender guitars

• Deep knowledge of custom colors and Jazzmaster variations

• Understanding of transitional CBS period

• Connections with serious collectors

Geographic Service: Edgewater Guitars serves collectors throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia. For exceptional instruments like Sonic Blue Jazzmasters, we travel regionally for in-person evaluation.

Preparing for Sale

Documentation to Gather:

• Original case (brown tolex with orange interior typical)

• Any paperwork or receipts

• Photos showing the guitar's history

• Service records if any

• Provenance information

Information to Have Ready:

• Serial number and location

• Neck date (if known/accessible)

• Fingerboard type (slab or bound)

• Headstock size (small or large)

• Any modifications or repairs

• Detailed photos from multiple angles

Photography Tips:

• Overall guitar from front and back

• Headstock showing logo and serial number

• Close-up of pickguard

• Finish details showing checking and wear

• Any unique characteristics

• Control cavity showing pot codes

• Case and accessories

Common Seller Questions

Q: Will refinishing to restore the Sonic Blue finish increase value? A: No—even a professional refinish dramatically reduces collector value. Original finish, even with significant wear, is far more valuable than a refinish.

Q: Should I have the gold pickguard re-anodized? A: No—original pickguard with natural aging is preferred. Replacement guards are available but reduce authenticity and value.

Q: Is a slab board 1966 worth significantly more than a bound board? A: Yes—early 1966 examples with slab rosewood fingerboards and clay dots command premiums as they retain more pre-CBS characteristics.

Q: Does a Mastery bridge replacement hurt value? A: Yes—while it may improve playability, it's a non-original modification. If you still have the original bridge, that's important.

Q: How important is the original case? A: Very important—original brown tolex case with orange interior adds to authenticity and value, especially if serial numbers can be correlated.

Related Resources

Serial Number and Dating Resources

For comprehensive Fender dating information:

• Fender Serial Number Lookup Tool - Complete database for all Fender guitars

• Fender Neck Dating Guide - Understanding neck stamps and formats

• Potentiometer Code Guide - Dating Fender guitars by pot codes

• Pre-CBS vs CBS Fender Guide - Understanding the transition period

Jazzmaster Resources

Learn more about vintage Jazzmasters:

• Complete Jazzmaster History - Evolution from 1958-present

• Jazzmaster vs Jaguar Guide - Understanding Fender's offset models

• Jazzmaster Bridge Setup Guide - Understanding the unique bridge system

• Famous Jazzmaster Players - Legendary users through the decades

Custom Color Resources

Explore Fender's custom color history:

• Fender Custom Color Guide 1960s - All available colors by year

• Sonic Blue vs Lake Placid Blue - Understanding blue variations

• Authenticating Fender Custom Colors - Verification techniques

• Custom Color Value Premiums - Understanding relative rarity

Authentication Guides

• Spotting Refinished Fender Guitars - Red flags and verification

• Fender Hardware Dating - Tuners, bridges, and tremolo systems

• 1966 Fender Specifications - Year-specific details

• Transitional CBS Features - What changed when

Contact Edgewater Guitars

Ready to discuss your 1966 Sonic Blue Jazzmaster or any vintage Fender instrument?

Free Evaluation Services:

• Expert authentication of finish and originality

• Detailed condition assessment

• Custom color verification

• Transitional CBS feature identification

• Current market analysis

• Immediate purchase offers for qualified instruments

How to Reach Us:

• Phone: (440) 219-3607 (call or text)

• Service Area: Ohio, Michigan, Pennsylvania, Indiana, West Virginia

• Specialty: Premium vintage Fender guitars, especially custom colors and transitional period instruments

What to Have Ready:

• Serial number and location

• Neck date if accessible

• Fingerboard type (slab or bound)

• Photos of the entire instrument

• Original case if available

• Any documentation or history

• Description of condition and modifications

In-Person Evaluations:

For exceptional instruments like Sonic Blue Jazzmasters, we provide in-person evaluation services throughout our region. We'll travel to you to examine the instrument, verify authenticity, and provide immediate offers.

Conclusion: The Ultimate Surf Guitar

The 1966 Fender Jazzmaster in Sonic Blue represents the perfect convergence of design, aesthetics, and cultural significance. These guitars capture a unique moment in Fender's history—the transition from Leo Fender's original company to CBS ownership—while displaying one of Fender's most iconic custom colors on its most sophisticated offset model.

The combination of Sonic Blue finish with gold anodized pickguard creates one of vintage Fender's most visually striking presentations. When you add the Jazzmaster's unique tone, innovative features, and association with surf music, you have an instrument that transcends being simply a "vintage guitar" and becomes a piece of California cultural history.

Whether you're a player seeking the authentic surf music tone, a collector building a comprehensive Fender collection, or an owner considering selling, the 1966 Sonic Blue Jazzmaster deserves recognition as one of Fender's most significant instruments. The transitional nature of 1966 production—with early examples retaining pre-CBS slab fingerboards and late examples showing CBS features—adds another layer of collecting interest.

At Edgewater Guitars, we understand the unique position these instruments occupy in the vintage Fender market. With over 20 years of experience authenticating and evaluating collectible Fender guitars, particularly custom colors and offset models, we provide expert service throughout Ohio and the surrounding region. If you own a 1966 Sonic Blue Jazzmaster—or any vintage Fender instrument—we'd welcome the opportunity to discuss its history, authenticity, condition, and current market position.

Contact Edgewater Guitars today at (440) 219-3607 to discuss your 1966 Sonic Blue Jazzmaster or any vintage Fender guitar.

Edgewater Guitars specializes in purchasing premium vintage Fender guitars throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia. Our deep expertise in Fender's custom colors, offset models, and transitional CBS-era instruments allows us to provide accurate authentication and fair valuations that consistently exceed local guitar shop offers. We travel to you for high-value instruments and provide immediate purchase decisions backed by decades of experience in the vintage guitar market.