When you think about it, it’s quite amazing how few instrument archetypes there really are. By “archetypes” we’re discussing visual style, or forms.
If you withdraw and scrunch up your eyes, there are generally only about some groups. The most primary is the Language instrument, that charming, womanly figure-eight from antiquity. A Ramirez traditional, a Martin dreadnought, a D’Angelico archtop, a Les John solidbody, probably even the modest Telecaster and double-cut SG are all modifications on this historical archetype.
At the other excessive is a type of catch-all classification we might contact “exotica.” These consist of all those strange forms that force the type. Travellers, Traveling Vs, a Mockingbird, a Sand, a Gittler, a Steinberger; all quite wonderful, yet certainly unusual understanding of the type.
In between drop styles such as the once-mighty Jazzmaster and one of the most amazing and battling styles of the Twentieth millennium, the balanced out double-cutaway Stratocaster developed in 1954 by Leo Fender, with help from Freddy Tavares.