The company began as Fender's Radio Service in late 1938 in Fullerton, California, USA. As a qualified electronics technician, Leo was asked to repair not only radios, but phonograph players, home audio amplifiers, public address systems and musical instrument amplifiers. (Technical note: at the time, most of the above were simply variations on a few simple vacuum-tube circuits). All designs were based on the research developed and released to the public domain by Western Electric in the 30s, and used vacuum tubes for amplification. The business also sidelined in carrying records for sale and the rental of self-designed-and-built PA systems. He became intrigued by design flaws in current musical instrument amplifiers, and he began custom-building a few amplifiers based on his own designs or modifications to designs.
By the early 1940s, he had partnered with another local electronics enthusiast named Clayton Orr (Doc) Kauffman, and they formed a company named K & F Manufacturing Corp. to design, manufacture, and sell electric instruments and amplifiers. Production began in 1945 with Hawaiian lap steel guitars (incorporating a patented pickup) and amplifiers, which were sold as sets. By the end of the year, Fender had become convinced that manufacturing was more profitable than repair, and he decided to concentrate on that business. Kauffman remained unconvinced, however, and they had amicably parted ways by early 1946. At that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947. The first big series of amplifiers were built in 1948. These were known as tweed amps because they were covered in the same kind of cloth used for luggage at the time. These amps varied in output from 3 watts to 75 watts.
Fender moved to Tolex coverings for the amps in 1960 with the exception of the Champ which kept its tweed until 1964. Fender also began using Oxford, Utah and CTS speakers interchangeably with the Jensens; generally the speaker that could be supplied most economically would be used. Jensens and Oxfords remained the most common during this period. By 1963 Fender amplifiers had a black Tolex covering, silver grille cloth, and black forward-facing control panel. The tremolo was changed to a simpler circuit based on an optical coupler and requiring only one tube. The amps still spanned the spectrum from 4 watts to 85, but the difference in volume was even larger due to the improved clean tone of the 85w Twin.
By the early 1940s, he had partnered with another local electronics enthusiast named Clayton Orr (Doc) Kauffman, and they formed a company named K & F Manufacturing Corp. to design, manufacture, and sell electric instruments and amplifiers. Production began in 1945 with Hawaiian lap steel guitars (incorporating a patented pickup) and amplifiers, which were sold as sets. By the end of the year, Fender had become convinced that manufacturing was more profitable than repair, and he decided to concentrate on that business. Kauffman remained unconvinced, however, and they had amicably parted ways by early 1946. At that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947. The first big series of amplifiers were built in 1948. These were known as tweed amps because they were covered in the same kind of cloth used for luggage at the time. These amps varied in output from 3 watts to 75 watts.
Fender moved to Tolex coverings for the amps in 1960 with the exception of the Champ which kept its tweed until 1964. Fender also began using Oxford, Utah and CTS speakers interchangeably with the Jensens; generally the speaker that could be supplied most economically would be used. Jensens and Oxfords remained the most common during this period. By 1963 Fender amplifiers had a black Tolex covering, silver grille cloth, and black forward-facing control panel. The tremolo was changed to a simpler circuit based on an optical coupler and requiring only one tube. The amps still spanned the spectrum from 4 watts to 85, but the difference in volume was even larger due to the improved clean tone of the 85w Twin.
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