SERIES 10 STRAT COPY Model 2235B BLAST FROM THE PAST
Posted: Mon Dec 06, 2021 12:29 pm
The other day a friend of mine told me they had an "old guitar" laying around in storage in the upstairs of their house. This is the type of thing every guitar player dreams of hearing. Immediately visions of a vintage Gibson or Fenders came to mind, or even one of those super cool offset body 60s Japanese imports with all the switches, buttons, and knobs.
When I opened up the soft case I was surprised at what I saw. It wasn't at all what I anticipated, but it put a big smile on my face. It was a Series 10, which I can remember seeing adds for in guitar magazines back in the 80s. Technically this isn't a proper Superstrat, as it lacks a humbucker at the bridge and a locking tremolo. Though the pointy Charvel/Jackson style headstock gives the strong impression of a Superstrat, it is actually a traditional Strat copy.
The reason why this one make me feel warm and fuzzy is that in 1986 I bought a red Charvel Model 2 (now long gone) that was very similar in dimension and feel to this Series 10. It's a nostalgia thing. Series 10 was something like what Rondo brand guitars are today, knocks-offs of the popular brand names of the day. They offered much fancier models than this one, with locking tremolos, shark tooth inlays, and other upgraded appointments.
From what I've read online Series 10 may have initially been made in Japan starting in the early 80s, after which production moved to South Korea through Cort or Samick. The St. Louis Music Co. marketed them as beginner guitars. I was told that this guitar was purchased around 92, which would have been about the extreme end of the time frame when pointy headstock guitars were even salable. After Grunge exploded you couldn't give a guitar with a beak like this away.
I'm guessing that this guitar at some point either, 1) had somebody jumping around with it playing air guitar and yanking on the trem bar, or 2) It was stored with the bar screwed in, in a soft case laying flat, with a significant amount of weight on top of it. The steel tremolo bar is actually bent at the threaded end and the block is cracked apart where it threads in. The block is also chipped where the trem springs attach, indicating over vigorous use. There was also a strap attached to the guitar and the screws for both pins were backed halfway out of the body. Perhaps more evidence of some serious air guitar action? It's a small miracle that the neck isn't warped or that the headstock didn't get snapped off. Any guitar with a long, curved, tapering headstock that is also angled backwards should absolutely be kept in a hard case. Many a Gibson Explorer owner has learned that lesson the hard way.
When I got the guitar home to set it up I discovered that it didn't produce any sound, which is not entirely uncommon for instruments left unused for decades. As I was anxious to hear how it sounded I took it apart, traced the problem to the selector switch and dirty pots, and promptly remedied the issue. I then polished the tarnished frets, lubricated the bone dry fretboard, tightened up all the screws and hardware, and gave the guitar a thorough set up.
It plays really nice, and I would go so far as to call the neck exceptional. The body is made from plywood and is significantly thinner than a full sized Strat. There is a very small shim on the bass side of the neck pocket, which I imagine was put in at the factory. The tuners pegs are plastic but the gears and housing are metal and operate smoothly with no slack. The pickups are quite good sounding for import ceramics, measuring 7.48K at the bridge, and 7.56K at both the middle and neck.
While these instruments aren't particularly valuable, they have an appeal to somebody like myself who started playing guitar in the 80s. I made an offer to buy this charming little guitar, but my friend doesn't want to sell it. They do want to see it played live though, so at my gig tonight I'll be putting it through the paces on a couple songs and maybe even have a video to share. I love the feel of the neck on this thing and have already started searching online for one for sale.
Small, flat, perfectly level frets, very well dressed at the ends. After a proper set up the action is low and slinky.
Note several things in this photo. The body is plywood. The block has broken at the points where the springs attach at the A and D string inserts. The block is also broken at the point where the trem bar screws in. To be fully functional this guitar needs the entire block replaced.
And this is no doubt related to the reason as to why the block is broke. Notice that the bar is bent where it is threaded.
I own a Squier Bullet from the late 90s that has pickups constructed similar to these, with the magnet and coiled wire built into the cover, filled with wax, with a metal baseplate underneath. This kind of pickup sounds very good and musical to my ears, much better than the standard ceramic bar magnet on the bottom variety, which tend to sound harsh and overly bright. That spring taking a ride must have been an extra that attached itself at the factory.
Note tiny little shim on bass side neck pocket. I've got to imagine this was done at the factory, which does demonstrate attention to detail and caring about the stability of the neck, given the tolerance of the components the assemblers had to work with.
When I opened up the soft case I was surprised at what I saw. It wasn't at all what I anticipated, but it put a big smile on my face. It was a Series 10, which I can remember seeing adds for in guitar magazines back in the 80s. Technically this isn't a proper Superstrat, as it lacks a humbucker at the bridge and a locking tremolo. Though the pointy Charvel/Jackson style headstock gives the strong impression of a Superstrat, it is actually a traditional Strat copy.
The reason why this one make me feel warm and fuzzy is that in 1986 I bought a red Charvel Model 2 (now long gone) that was very similar in dimension and feel to this Series 10. It's a nostalgia thing. Series 10 was something like what Rondo brand guitars are today, knocks-offs of the popular brand names of the day. They offered much fancier models than this one, with locking tremolos, shark tooth inlays, and other upgraded appointments.
From what I've read online Series 10 may have initially been made in Japan starting in the early 80s, after which production moved to South Korea through Cort or Samick. The St. Louis Music Co. marketed them as beginner guitars. I was told that this guitar was purchased around 92, which would have been about the extreme end of the time frame when pointy headstock guitars were even salable. After Grunge exploded you couldn't give a guitar with a beak like this away.
I'm guessing that this guitar at some point either, 1) had somebody jumping around with it playing air guitar and yanking on the trem bar, or 2) It was stored with the bar screwed in, in a soft case laying flat, with a significant amount of weight on top of it. The steel tremolo bar is actually bent at the threaded end and the block is cracked apart where it threads in. The block is also chipped where the trem springs attach, indicating over vigorous use. There was also a strap attached to the guitar and the screws for both pins were backed halfway out of the body. Perhaps more evidence of some serious air guitar action? It's a small miracle that the neck isn't warped or that the headstock didn't get snapped off. Any guitar with a long, curved, tapering headstock that is also angled backwards should absolutely be kept in a hard case. Many a Gibson Explorer owner has learned that lesson the hard way.
When I got the guitar home to set it up I discovered that it didn't produce any sound, which is not entirely uncommon for instruments left unused for decades. As I was anxious to hear how it sounded I took it apart, traced the problem to the selector switch and dirty pots, and promptly remedied the issue. I then polished the tarnished frets, lubricated the bone dry fretboard, tightened up all the screws and hardware, and gave the guitar a thorough set up.
It plays really nice, and I would go so far as to call the neck exceptional. The body is made from plywood and is significantly thinner than a full sized Strat. There is a very small shim on the bass side of the neck pocket, which I imagine was put in at the factory. The tuners pegs are plastic but the gears and housing are metal and operate smoothly with no slack. The pickups are quite good sounding for import ceramics, measuring 7.48K at the bridge, and 7.56K at both the middle and neck.
While these instruments aren't particularly valuable, they have an appeal to somebody like myself who started playing guitar in the 80s. I made an offer to buy this charming little guitar, but my friend doesn't want to sell it. They do want to see it played live though, so at my gig tonight I'll be putting it through the paces on a couple songs and maybe even have a video to share. I love the feel of the neck on this thing and have already started searching online for one for sale.
Small, flat, perfectly level frets, very well dressed at the ends. After a proper set up the action is low and slinky.
Note several things in this photo. The body is plywood. The block has broken at the points where the springs attach at the A and D string inserts. The block is also broken at the point where the trem bar screws in. To be fully functional this guitar needs the entire block replaced.
And this is no doubt related to the reason as to why the block is broke. Notice that the bar is bent where it is threaded.
I own a Squier Bullet from the late 90s that has pickups constructed similar to these, with the magnet and coiled wire built into the cover, filled with wax, with a metal baseplate underneath. This kind of pickup sounds very good and musical to my ears, much better than the standard ceramic bar magnet on the bottom variety, which tend to sound harsh and overly bright. That spring taking a ride must have been an extra that attached itself at the factory.
Note tiny little shim on bass side neck pocket. I've got to imagine this was done at the factory, which does demonstrate attention to detail and caring about the stability of the neck, given the tolerance of the components the assemblers had to work with.
