Stevie Ray Vaughan's musical instruments  This is a list and description of the guitars and other equipment played by musician Stevie Ray Vaughan. Vaughan played a number of Fender Stratocasters throughout his career, one of which, a 1963 body and a late 1962 rosewood (curved fingerboard) neck, became "the most famous battered Strat in rock history." He was notoriously hard on his guitars, and many of them required extensive periodic maintenance, as well as other equipment. He used a limited number of (mainly vintage) effect pedals, and favored Fender and Marshall amplification. In spite of being rough on his gear, it was reported Vaughan could hear even the slightest malfunction, even when, for instance, he was running 32 amplifiers into the mixing console for the recording of "In Step". His guitars were serviced by Charley Wirz of Charley's Guitar Shop in Dallas, Texas, and especially Rene Martinez, who worked in Wirz's shop for a while. Martinez also built guitars for Carlos Santana. His amplifiers were tuned and serviced by Cesar Diaz, also the guitar technician for Eric Clapton and Bob Dylan. Number One (also known as Vaughan's 'First Wife') was a Fender Stratocaster used by Vaughan for most of his career; it was "rebuilt more times than a custom Chevy." Vaughan always claimed it was a 1959 model, since that date was written on the back of the pick-ups; Rene Martinez, who maintained the guitar since 1980, saw the year 1963 stamped in the body and 1962 on the neck. The guitar was given to him by the owner of Ray Henning's Heart of Texas music shop in Austin, Texas in 1973 and was his main performing instrument and companion. Vaughan used the guitar on all five of his studio albums and on "Family Style". The distinctive cigarette burn on the headstock comes from an incident when Vaughan had left a burning cigarette tucked under the sixth string for too long while playing. The article "Supernova Strats" by Dan Erlewine published in the February 1990 issue of "Guitar Player" magazine includes measurements of the specifications of several of Vaughan's guitars. All of Vaughan's guitars had a neck relief of approximately .012" at the 7th and 9th frets, and leveled out through the remainder of the fingerboard. The fingerboard radius of "Number One" when new would have been 7.25" like most Fender instruments made before the 1980s, but after refretting the fingerboard multiple times the radius evolved into a 9" or 10" radius in the upper registers.