Fender American Ultra Luxe Vintage Stratocaster HSS review: “probably the best marriage of vintage and modern features out there”
$2,899/£2,899, fender.com
If there’s anyone that can find a gap in an already comprehensively stocked catalogue, then it’s Fender. Back at the tail end of 2024, Fender updated their pro-focused American Ultra range with the release of the American Ultra II series. Guitars designed to cater to those modern players desirous of compound radii, Noiseless pickups, extra body contouring and the like.
READ MORE: Fender Player II Modified Stratocaster review: “it gives Fender’s US instruments a run for their money”
The thing about those guitars, however, was that they tended to look as modern as they played – and not everyone wants that particular recipe. Enter then, the American Ultra Luxe Vintage series. This brand new tangent at the top of Fender’s USA production range aims to, “Fender’s contemporary innovations with their historic foundations to create a series of modern performance-focused instruments beautifully inspired by vintage tones and aesthetics.”
In short then, these electric guitars offer all the tweaks on the classic formula that the Ultra guitars have championed, but with more old-school sounds and visuals that mean you’d probably never know unless you played it yourself.
Guitars that combine vintage aesthetics and tones with more modern appointments are, of course, already very popular – many of the biggest names in the boutique guitar world made their names doing it. The biggest question is why it’s taken Fender so long to catch up.
Despite the company introducing a 22-fret neck all the way back in 1987, Fender guitars that blend vintage aesthetics with appointments favoured by more technically-minded modern players have been vanishingly rare in the intervening three decades.
Outside of Custom Shop instruments, it’s been pretty much unheard of. It was notable however that last year a British retailer spec’d a run of Custom Shop Strats with heavy relic finishes but with bridge humbuckers, sculpted heels and large frets – and despite the hefty price tag these guitars sold out almost instantly. You would imagine that this did not go unnoticed by Fender’s accounts department…
Image: Adam Gasson
Fender American Ultra Luxe Vintage Stratocaster HSS – what is it?
So what does the snappily-named American Ultra Luxe Vintage Stratocaster HSS actually offer you? Well, for players such as myself, the best of both worlds.
Many of the specs of the Ultra II range are replicated here. That means you get a 22-fret compound radius neck complete with rolled edges and Luminlay side dots. You’ll also find a sculpted heel for upper-fret access, and further accommodation is offered for dusty end excursions courtesy of some extra contouring to the back (including on the lower horn).
Up top you’ll find Fender’s two-point Syncronized Tremolo with block saddles, a Tusq nut at the other end, and Fender’s own locking tuners. Under the hood you’ll also find Fender’s S-1 switching system adding some extra sonic options to the usual.
But the pickups themselves are where things start to deviate – rather than the Noiseless units found in the Ultra II, this HSS guitar pairs a duo of Pure Vintage ’61 single-coils (also found on the 1961 American Vintage II Stratocaster) in the neck and middle with a Haymaker humbucker in the bridge.
The most striking visual difference of course is the visual stuff. In this case you get a Heirloom-aged nitrocellulose lacquer finish, and a rosewood board instead of ebony – in this case it’s ol’ faithful Fiesta Red, and there’s also a rather lovely Surf Green option in this HSS configuration.
Image: Adam Gasson
Fender American Ultra Luxe Vintage Stratocaster HSS – build quality and playability
As you’d expect from a guitar that occupies the space at the very top of Fender’s production output, the general impression upon pulling this guitar out of its brown vintage-style case (another departure from the Ultra II recipe) is very impressive.
The general fit and finish is exemplary throughout, but it’s worth spending a minute talking about the Heirloom finish Fender has introduced with these new models – as it’s not always totally apparent in photos. The first thing to be aware of is that this is not a pristine ‘just left the factory’ finish – there is artificial ageing going on here, though it is very subtle.
There’s no overtly artificial wear and tear, but the finish itself does have a very subtle (and pretty convincing) lacquer checking to the body and the neck – which has a satin lacquer treatment as opposed to the satin urethane job on the Ultra II. The finish too has a slightly dulled effect – it certainly doesn’t have the vibrant orange-tinted sheen of a classic Fiesta Red, but that’s all to its benefit, I think.
The plastics on the guitar have a slightly yellowed colour too, while the beautifully dark and inviting rosewood board is similarly given the more retro vibe courtesy of some yellowed clay dots – the contrast of which with the Luminlay side dots really does reflect the world-straddling nature of the whole guitar.
The neck shape itself is described by Fender as a shallow D, but with a slightly pronounced set of shoulders, it actually feels more ‘C’. The definition of a modern player’s neck seems to be a D shape, but the dimensions can prove to be a little too slim for some. The Vintage Ultra Luxe has a decent set of shoulders, which vintage enthusiasts may find a little slim, but as someone who has a strong preference for the fulsome Oval 60s C shape offered on a Custom Shop model, I can say that this is still comfortable in comparison.
The rolled fingerboard edges really lend a touch of finesse to the playing experience and further hints at a guitar that’s been well played-in. Combine that with the stainless-steel fretwork and compound radius, and it makes for a notably sleek Strat that will certainly appeal to more technical players.
Image: Adam Gasson
Fender American Ultra Luxe Vintage Stratocaster HSS – build quality and playability
If I had my way, every Strat would have a humbucker in the bridge. I’ve never been a fan of the often bright, shrill, and scything tone produced by a single coil in this position but that is a disservice to all the incredible rock riffs by Messrs Blackmore and Gilmour (I guess that’s why they’re called the greats).
Through a Boogie Mark IV the Haymaker humbucker pays homage to another icon of yesteryear, Jeff Beck, as the tonal similarity with his namesake’s iconic pickup are remarkably similar. We get the trademark mid-range bump with a crisp – but not harsh – high end supported by a focused low end. The stainless-steel frets also add an additional presence to my ears and combined, make legato work smooth and seamless. There is also a wonderful balance across all six strings for chordal/rhythm work. This is everything a rock humbucker should be.
In the middle and neck position we have Fender’s Pure Vintage ’61 Single-Coils, so when switching over to the neck pickup I’m expecting a lower output vintage experience. Rather surprisingly – and pleasingly – there’s a plenty of snap and girth on tap, making for a well-rounded tone that is obviously vintage-inspired but with a slightly higher output (noticeable more on the thicker strings).
Through the Boogie, pentatonic-based rock riffs sound wonderfully percussive and full, while retaining some warmth traditionally expected from the neck position. In fact, they’re reminiscent of the Bare Knuckle ’63 Veneer Board’ pickups, which are based on the hotter coils from the ’63/64-era Strats – a set venerated for their wide frequency response and dynamics.
The only real disappointment here is the S-1 system, which continues the trend from the Ultra II of offering a significantly reduced palette of extra sounds than was previously available on the pre-Ultra Elite model Strats. Here it functions in just two positions: splitting the bridge humbucker. I would argue that a simple push-pull switch would do the job just as well.
The split coil is an acquired taste and certainly has its uses, but I found it to be a little on the thin side for my needs – your mileage may vary depending on how much you love the sound of a Strat bridge pickup, however!
Image: Adam Gasson
Fender American Ultra Luxe Vintage Stratocaster HSS – should I buy one?
When you’re talking about a near-$3,000 instrument, the pricetag is always something that’s going to weigh heavily on any comparisons made. At this end of the market you’re putting yourself up against not only Fender’s own Custom Shop, but also some of the most storied names in the US boutique market who have been doing this sort of thing for a long time.
The Ultra Luxe Vintage more than stands up to these rivals, however. The attention to detail and general build is exemplary, while the playability is exactly what you’d expect from an instrument at the very highest echelons of production instruments.
It’s one of the most enjoyable and compelling Fender-made Strats I’ve played in a long time – the combination of vintage looks with all the modern conveniences that a technically elevated player could ask for makes for a serious forever guitar. In fact, it’s probably the best marriage of vintage and modern features out there.
Fender American Ultra Luxe Vintage Stratocaster HSS – alternatives
When you’re within touching distance of the $3k price point, you’re bringing in not just other big brands, but the meat of some of the bigger boutique guitar makers, too. The vintage/modern amalgamation is extremely well espoused by Suhr and its Classic S guitars ($3,525). It’s not cheap, but is designed to capture the essence of vintage guitars whilst simultaneously offering modern precision and comfort. Tom Anderson is another big name in this world, and the Classic ($4,134) offers a unique blend of classic styling and modern playability. A relic’d Tom Anderson is an unusual sight, but their “Level 1” distressing is subtle yet authentic. And of course, the playability and craftmanship are second to none. The elephant in the room is probably the PRS Silver Sky ($2,339) – if you can live without a bridge humbucker, it does a fine job of blending the vintage and modern in a very stylish package.
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Source: www.guitar-bass.net
