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There’s no point in cataloging Leo Fender’s contributions here. Certainly, no brand is more recognizable than Fender.However, there are other names on the musical landscape that are not so obviously the children of Leo Fender, as represented here by this ’81 G&L F-100-I.The active versions added a second “splitter” function, which was a coil tap. To compensate for the loss in bass response, these guitars kicked in some extra bass compensation with the active circuitry.This is clearly a professional-grade guitar, extremely well made with a lot of thinking put into the design.
Again, Leo never strayed far from his original creations… All necks were figured maple with either an ebony or maple fingerboard. The biggest distinction, however, was in the electronics, which could be passive or active.
The first serial number recorded in ’81 was G003122 and the first in ’82 was G009886, confirming this dating, although it may be optimistic to conclude that these serial numbers reflect actual production totals.
Like the Music Man instruments before them, G&Ls were well-received by critics, but not particularly well by dealers or players.
The F-100 lasted less than four years, biting the dust in ’84, replaced by the more Stratocaster-like S-500 that debuted in ’82.
In some ways, the F-100’s lack of popularity makes it more attractive.They incorporated in ’72 and in ’73 changed the name to Musitek, which proved difficult to pronounce, so Leo came up with Music Man.