Comment by matchagaucho
2 hours ago
It would be odd to try this as copyrightable in the U.S, where there’s a pretty clear distinction between art added to a guitar, like PRS bird inlays, and the core body shape.
2 hours ago
It would be odd to try this as copyrightable in the U.S, where there’s a pretty clear distinction between art added to a guitar, like PRS bird inlays, and the core body shape.
I think so. But also they lost even their case to make a trademark of it:
https://www.musicradar.com/news/guitars/fender-loses-guitar-...
https://ttabvue.uspto.gov/ttabvue/v?pno=91161403&pty=OPP&eno...
You would think this would have been quite an easy win, because regardless of who makes guitars with S-type bodies, the outline of the Stratocaster or Telecaster is surely sufficiently identifiable with Fender as to be something they could at least claim should be their trademark in certain categories (on merchandise etc.)
Fender failed to prove that if people saw a line art outline of the Stratocaster, they would associate it first with "Fender". And indeed an illustrated dictionary at the time used such an outline to just generically illustrate "Electric guitar", apparently.
And in that finding:
This was in 2009, when it was clear that Fender had never "policed" the body shape until that point.
And this — from a deposition from Warmoth as far as I can determine (they made spare parts) which makes it clear that Fender never entered into an agreement with Warmouth about the body shape, only the neck (because of the headstock shape which they believed was trademarked):
So this is Warmoth, in 2009, saying that Fender never asked them to license the body shape as far back as 1979 (which is also, if I remember reading correctly, when Schecter and G&L started making S-type guitars)
So even if they do have ownership of some kind of copyright, they've never asserted it before and three decades of their own conduct kind of militates against them being able to enforce it.
And they aren't the only ones, the finding goes on because Fender took action against multiple companies (this is around page 30–40 or so).
The 1950s were a different era. Industrial and functional designs and were not protected.
Leo knew and acknowledged his body inspirations (Bigsby and Rickenbacker), and considered his true IP to be in sound, pickups, mechanics, tremolo...
I really wish Warmoth or PRS could get some legal fee subsidizing to push back.