Δευτέρα 11 Ιουλίου 2011

From Broadcaster to Telecaster

Guitar, object photograph, enlargement

Fender Broadcaster
with Amplifier
Fender Electric Instrument Company
Fullerton, California
1950 


The Broadcaster, Fender's first mass-produced solid-body electric guitar, initially was derided by competitors as too simple and lacking in craftsmanship. Yet everything about its patented practical design, such as the bolt-on neck, was optimal for production in large quantities.
This guitar, serial number 27, was one of the first Broadcasters sold. In 1951, due to a trademark infringement claim, the model's name was changed to Telecaster in honor of another popular invention—television.
The many famous artists who have played the Telecaster, such as Jimmy Bryant, Buck Owens, Keith Richards, and Bruce Springsteen, propelled it to the status of a classic.

Παρασκευή 8 Ιουλίου 2011

XI TELECASTER DELUXE GUITAR FOR SALE

One of the most desireable guitars in tele category is the XI Tele Deluxe !!!

The real sound of Jimi Page, Keith Richards, Andy Summers and more in one guitar which is a really workhorse!



  • 3-Color Sunburst,
  • Body Alder Neck 1-Piece Maple
  • Modern “C” Shape
    Fingerboard Rosewood, 9.5" Radius (241 mm)
  • No. of Frets 21 Medium Jumbo Frets
  • Pickups 1 Custom Vintage Style Single-Coil
  • Pickups 2 Seymour Dunkan – Seth Lover PAF Humbucker
  • Volume, Master Tone Pickup Switching
  • 3-Position Silver Blade:
  • Position 1. Bridge Pickup
  • Position 2. Bridge and Neck Pickups
  • Position 3. Neck Pickup Bridge
  • Vintage Style Strings-Thru-Body Tele® Bridge with 3 Threaded Steel Barrel Saddles
  • Machine Heads Vintage Style Tuning Machines Hardware Chrome Pickguard
  • 3-Ply Mint Green Scale Length 25.5” (648 mm) Width at Nut 1.625” (41.3 mm)
  • Unique Features Double-Bound Body,
  • “C” Shape Maple Neck,
  • Knurled Chrome Control Knobs,
  • Vintage Tinted Neck,
  • White Pearloid Dot Position Inlays,
  • “Top-Hat” Blade Switch Tip,
  • Synthetic Bone Nut
  • Strings ELIXIR, (.009 to .042)
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ERIC CLAPTON "Blackie Story"


The year was 1970, and after years playing several
different guitar makes and models, Eric
Clapton, the British bluesman, began searching
for his next muse.
Eventually, he ended up in the Sho-Bud guitar
shop, a small music store in Nashville. There he
found a rack of vintage Fender Teles and Strats.
He was astonished to find that each instrument
was for sale for a mere $100. He bought six of
the instruments and, upon returning to England,
gave three of the guitars as gifts to George
Harrison, Pete Townshend and Steve Winwood;
keeping the remaining three for himself.
After playing each one, Clapton decided to do
something he’d never done before—to
build one “ultimate” instrument out of the best
parts of each Strat. He began by selecting a ’56
alder body finished in black nitrocellulose lacquer.
He chose a one-piece, hard V-shaped maple
neck from a ’57; the pickups and hardware
were pulled and installed. Clapton knew that
by tampering with each of the vintage
instruments, he was lessening their value;
what he didn’t know then was that the resulting
instrument – which he affectionately nicknamed,
“Blackie,” due to its finish – would follow
him through some of his most creative and
successful periods.
Blackie quickly became Clapton’s favorite
instrument, and would be his main guitar
during one of his most prolific periods,
1973 to 1985. He introduced Blackie to
the world on Jan. 13, 1973, at the Eric
Clapton Rainbow Concert—an all-star
performance at London’s Rainbow
Theater that later yielded the Eric
Clapton’s Rainbow Concert album.
Clapton returned to the studio with Blackie
in tow to record his second solo album. 461
Ocean Boulevard yielded one of his most recognizable
hits, the Bob Marley-penned “I Shot the
Sheriff.” The album flew to number one and reestablished
Clapton’s artistry and status among
rock’s elite. He remained highly prolific throughout
the rest of the ’70s and into the ’80s,
recording 13 solo albums from 1973 to 1985, all
with Blackie.
While each album had its merits, few of his recordings—
solo or otherwise—match the popularity of
1977’s Slowhand. The album cover featured a photo
of Clapton playing Blackie, and featured several of
his biggest hits, including “Wonderful Tonight,” “Lay
Down Sally” and “Cocaine,” and a tour-de-force guitar
solo on “The Core.”
In addition to Clapton’s studio recordings, Blackie
was also heard live as part of some of the most
monumental rock concerts of all time, including
the star-studded 1983 ARMS benefit tour, featuring
Ronnie Lane, Jeff Beck, Jimmy Page, Steve
Winwood, Joe Cocker and members of the
Rolling Stones, and Live Aid in 1985. Eventually
Blackie would be auctioned off in 2004 to benefit
the Crossroads Centre, Antigua—a charity founded
by Clapton. It sold for $959,500, making it the
most valued guitar ever to have been sold at auction
at the time.
For the Tribute Series Eric Clapton Blackie
Stratocaster, the Fender Custom Shop has recreated
the legendary instrument down to the last
detail. From the worn-to-the-wood body, the
neck reshaped by Clapton’s own hand, the
unmistakable cigarette burns on the headstock to
the world-weary “Duck Brothers” flight case,
every historical detail is recreated. All the parts,
pickups and electronics are aged and matched to
the unique specifications of Blackie, right down
to the flaked-off finish, which was lovingly filled
in with pen ink—just like the original.

Roy Buchanan's - 53' Nancy Tele

Nancy's bridge pickup never would give up its OHM reading - not even for Roy or Danny Gattons Tech..etc..
the ohm meter always stayed blank when trying to read that pickup!... and yet it was LOUD and working - just like it is currently today,
and so whatever else was going on inside the coil was also responsible for that high treble and unusual AM Transistor Radio type tone,, it also enhanced the harmonics! & made the Tone knob act way different then while your on the neck pickup.. it makes the tone knob way easier to do swells - as if the sweep is drastically changed while in Bridge Position.

However.. all this Buchanan Tone-Chasin' really depends on if your after Roy's style?, or Nancy's tone? = HUGE difference! IMHO..

I'm about ready to blow the bubble off of Nancy's Bridge Tone secret... but I really have not decided to _release it publicly?_ or keep it under my hat and for my new customers..??

Mainly because It's taken me 8 years of really CARING and always testing and trying to get "Nancy's tones, and to get them "Right on the mark..
all these years of R&D I've endured here - when no one else in the manufacturing world seemed to really care at all if they got it _Dead Right_ or not..
I did all this R&D over these years - because I've always felt Nancy was the best sounding Tele ever used on recordings! and its only fair that its made available to us players who really-really know and understand the truth and want that sound.. and not just a close proximity..etc..
With a little practice most guys can cover Roy's style.. BUT NO ONE HAS EVER NAILED "Nancy' Tone"... or offered a 100% real version of it, I know I've been thru _Running Changes_ and was always a step closer then whats out there.. but that was NEVER good enough for me.. but for that time being Closer was much better then being further away - and that worked well for for me and my 2324 pickup product customers... ( Closer was cool )
but DEAD on was the quest!..

As for R&D with me, its not half way or 50%... that was never ever good enough with me.. its got to be 100% or I do not stop R&D... or stop making _Running Changes_ to my 2324- aka "The Real Nancy" product here.

Well... GREAT NEWS.. its actually ( out of the blue) gone and hit 100% - just a few weeks back and a few customers got the recent _Running Changes_ added into their Nancy orders here..

keep in mind - Nancy's bridge pickup NEVER EVER ( while Roy owned it) gave a Ohm Reading...there's always been something _screwball_ going on inside that pickup... its the pickup causing the _Unusual sound_ takes _no genius_ to figure that out, once you plug her in and listen _ U get it_
so did a big crowd at the Vintage show in 2004 when I first Plugged and Played Nancy.. they knew _nothing_ they did not know who Roy was, They did not know anything about Roy's Nancy_ etc... and all day long they all blew past me while I played numerous other 50's Tele's that day at the show.. same licks same chops all day.. yet when I played Nancy they gathered around and would not leave ( even came from the back of the room)
and I was playing WORSE then I had all day = why?... well to tell ya the truth... I was scared/shocked,,, etc.. all that stuff... just to even be holding Nancy was ghostly - let alone playing her thru a little white tolex 12" speaker Gibson vintage amp amp.. with a huge crowd starting to form around me, as I was positioned behind a table and setting in a chair ..

She was like holding a real ghost in my lap.. I was totally freak-in!
I was feelin' her vibe too.. shes almost human like.. ( like a golden voiced angel that was being let out of her Glass Jail for the first time in 10 years - her and Roy were a Team - I do not care what anyone says she really did HELP Roy too better ease into all that outer-space style he pulled off and he dang well knew it too.. he knew she helped him and he knew people liked to hear that guitar.. she lends you that direction,and it happens that fast.. shes that different and awe-inspiring,,etc.. and that's really a true fact) (maybe unknown? but very true!)
... gosh...that whole day was very dreamy to me.. it still is when I recall the turn of events that lead me there --and what all transpired and ultimately lead to the Owner of Nancy getting her out of that - Glass Case - and letting me actually have a go on her!...

I mean lets face - it in a POLL ( even today) she always gets top billing as the best sounding Tele ever made, and were talking on the very same planet we all live on..

Nancy also has a .1 cap in series full time at the switch connecting the two pickups thru it no matter where its switched.. ( Nancy has no two pups On option on the switch - its just neck-neck-bridge)

And after you hear her, please then try to convince yourself that she was stock or normal.. or miraculously Roy's Fingers were all that was responsible to get her sounds... cause that's my fingers on that tape..
he~he!

PS.. amps do matter regardless that Roy used Twins, Deluxe's or on occasion a 70's Pevey Classic 2x12"... best to use a Vibrolux which was always his main amp of choice with Nancy in tow...

Treble 8 or 9
Bright Switch OFF
Bass at 4 to 6
Reverb 2 to 3
Volume 6 to 10

Most Expensive Guitar in the World

“Blackie”, Eric Clapton’s favorite mid-career modified Strat has been surpassed in value and is no longer the most expensive guitar ever, despite that it was bought for $950,000 USD in 2004 by a guitar archaeologist.
Most Expensive Guitar
The latest most expensive electric guitar in the world dethroned its predecessor at an auction in Doha, Qatar on November 16th, 2005. The Strat was signed by several rock musicians to benefit a tsunami charity, ‘Reach out to Asia’. It was bought one year ago by Qatar’s royal family for a million dollars and donated back to the Asia Program, bringing in $2.7 million USD at the more recent auction, whose attendees included Former President Bill Clinton. Technically, the guitar has generated a total of $3.7 million USD, making it the most expensive guitar yet.
Signees of this expensive electric guitar included Mick Jagger, Keith Richards, Eric Clapton, Brian May, Jimmy Page, David Gilmour, Jeff Beck, Pete Townsend, Mark Knopfler, Ray Davis, Liam Gallagher, Ronnie Wood, Tony Iommi, Angus & Malcolm Young, Paul McCartney, Sting, Ritchie Blackmore, Def Leppard, and Bryan Adams, the coordinator of the project.

The most popular guitar

The first Fender solid body guitar

The very first solid body electric guitar the Fender company made was the Esquire - very similar in design to the Tele and introduced in June 1950. By September the Esquire had been discontinued, possibly because it didn't have a truss rod and necks were warping. In October 1950 the Broadcaster appeared, essentially the same guitar, with two pickups and, importantly, a truss rod. The name Esquire appeared again on a single pickup version of the Broadcaster guitar. Due to complaints from the Gretsch company regarding a naming conflict with a drum kit they manufactured, Fender changed the name of the guitar to the Telecaster and it proved such a serendipitously well designed piece of musical equipment that todays Teles are essentially the same as those from the early fifties. A pure case of "if it ain't broke don't fix it." Bruce Springsteen holds an Esquire from 1952 (upgraded with a Telecaster neck pickup) in the famous cover picture from his album Born To Run. He still plays that guitar to this day. And why wouldn't he?


Why Is The Tele So Popular?

George Fullerton, one of the designers at Fender, was also an astute and intuitive marketing mind. He gave an early Broadcaster to Jimmy Bryant, legendary country/jazz/swing guitarist. Fullerton later likened this act to "starting a prairie fire." Bryant loved the guitar. He played it in countless live dates, on TV, on record and amateur and professional guitarists alike did what they have continued to do to this very day ie try to emulate their guitar heroes by playing the same guitar. The Tele is such a versatile guitar that it has been the guitar of choice for many famous players from all kinds of music who have inspired others to pick up the two pickup, single cutaway, slab bodied guitar.

La Bella Figura

But there's more to it than that - Keith Richards, Bruce Springsteen, Francis Rossi, Andy Summers, Muddy Waters the list of famous Tele players goes on forever, so add the non famous players and you've got a mighty long list of musicians who love this instrument. There's something in a Telecaster that you'll find in any object that's exquisitely and perfectly designed, something Italians call "la bella figura". This translates as "beautiful figure" but means more than that - "a beautiful image" is perhaps closer. One look at a Tele is all you need to instinctively recognize the perfection of its design. Play one and you'll realize that the sound it makes can also be classified as "la bella figura". It's a remarkable guitar. The Fender company had an incredible strike rate as regards "la bella figura" - they also came up with a revolutionary electric bass that has remained virtually unchanged to this day.

What About The Stratocaster?

The Strat first appeared in Spring 1954. It has since become one of the most popular and most copied guitars of all time. The reasons are similar to those stated in connection with the Telecaster. It's perfection in sound and design, this time with a touch of the deluxe about it. The guitar was an attempt to improve on the Telecaster, though some will always prefer its slightly more rough hewn sister. The Strat is an asymmetric double cutaway guitar with a contoured body for comfort while playing. It has three pickups in comparison to the Tele's two. It also comes with a very sexy device - the tremelo or whammy bar. Players such as Jimi Hendrix, Jimmy Page, Eric Clapton (famous enough so far?) have made magic with the Stratocaster but the first really high profile guitarist to use them was Buddy Holly. Buddy did for the Strat what Jimmy Bryant did for the Tele. Hank Marvin, Mark Knopfler and John Mayer may have introduced the guitar to legions of fans, but Buddy was so enamoured with his Stratocaster that it is engraved on his tombstone. Now that's true love between a man and a guitar.

Πέμπτη 7 Ιουλίου 2011

Secrets of great guitar players

Frank Zappa
Frank Zappa
One of the greatest musicians of the 20th century was also a damn good guitar player, he stands alone as a composer, instrumentalist and satirist beyond compare. His name was Frank Zappa. Frank is still IMHO the most underrated musician in the rock and roll era.
Frank was a master at the use of wahwah (check out his early wah solo on Orange County Lumber Truck from the album Weasels Ripped My Flesh), one of his techniques was using the wah as an EQ boost. His feel for the wah was so good he could feel the notch in the pedals throw that would give him (for most part) that growling round sound that Frank was known for during the 70′s. Try it yourself plug in your SG (or any humbucking solidbody guitar) and get your favorite distortion sound. Now go to the neck pickup crank it up but do not roll off the treble as you would if you were trying to cop the Clapton ‘Woman tone’, leave it up full and roll off the highs using the wah. This will give the wah a full spectrum signal for it to work with.
Another Zappa secret was his uncanny ability to combine exotic scales with the pentatonic blues scale. If you watch any videos of Frank playing you will notice he is not in the “normal guitar boxes”. Viva la Frank!!!
Speaking of Frank Zappa, it is well documented that growing up two of his favorite guitarists were Guitar Slim and Johnny Guitar Watson. Frank in a Guitar Player magazine interview said that his favorite guitar solo of all time was Guitar Slims Story of my life. This solo has a tone and approach that is very Zappaesque.
Guitar Slim
Guitar Slim
One of the secrets of Guitar Slims sound was the fact that he preferred to plug his guitar into a PA amp as opposed to a guitar amp. This was probably a Bogen or Premier. What Slim liked about these amps I am sure was the loudness (I have seen p.a. amps from the early 40′s using 2 6L6′s way before Fender used these tubes for his amps) their high end, and most important their reaction to the signal of his guitar (Slim was reported to be using a Strat and a 52 Les Paul) which gave out more signal than the microphones of that era. End result? Distortion mmmm yummy yummy!!!
Jimmy Page with his Fender Telecaster
Jimmy Page with his Fender Telecaster
How come I don’t sound like Jimmy Page when I play the intro to Heartbreaker when I use my Les Paul? Is it because I don’t own a 59 Burst? What can I do to make my Les Paul sound like Jimmy’s? Well first of all you would have to transform it into a Telecaster. That’s right a Telecaster. Now let me explain how this happened.
A young Jimmy Page was the protégé of British studio legend Big Jim Sullivan. Jim was a member of an elite group of cats who like their American counterparts the “Wrecking Crew” played on most of the hit records of the 60′s recorded in England. The fact is that 95% of the records we grew up listening to in the 60′s were made by the same two dozen or so musicians. The truth is no producer (the music industries version of a movies director) would put his reputation on the line using some prettyboys who were signed because of the haircuts or their trousers. (Rutles 101). This fact by itself is what separates the Beatles, the Stones from everyone else, they were the first truly self contained band.
Now back to Sully, Page and the Tele. Sullivan could be seen weekly in the UK and US as a featured player on the Tom Jones Show. Sullivan was known for his swarthy good looks and his White Telecaster. Being a studio player Jim knew the merits of the Tele, how it cut through the mix and was a safe bet at sessions as far as its versatility. (A side note; there was a guitarist across the pond making ground breaking records with his Telecaster, his name was Joe Messina one of the house guitarists of Motown’s Funk brothers).
When Jimmy took his formidable talent and studio experience to the studio to produce the first Led Zeppelin record Jimmy had an early 60′s rosewood board white Tele in tow just like Big Jims.
Jimmy had already toured with the Yardbirds using the Tele as well as the first go round with Zeppelin in the UK (check out Zep on the DVD Supershow). But Page felt that the Tele was not fat enough sounding for a power trio setup, Jimmy soon switched to the Les Paul for good.
Jimi Hendrix in Studio
Jimi Hendrix in Studio
Jimi’s tone using the Fuzz boxes of the 60′s. We all know how thin sounding the fuzz boxes of the 60′s were. Whether it’s a Big Muff, an Octavia,or a Tonebender, they were all pretty thin sounding. Jimi Hendrix used all of these at one time or another, yet his tone was mostly pretty fat and round sounding (unless he was looking for a special effect) This leads us to Jimi’s secret tone maneuver.
It’s a really simple one. We all know now that Jimi used Marshall’s most of his career and we also know that Jimi made use of the channel jumper cable (as seen in many of Jimi’s live video’s) Jimi’s trick was to boost the bass sounding channel to even out the thin sound of the fuzz box. This gave Jimi the desired fat tone he was accustomed to when he came up using Fenders and Ampegs. The other benefit was that when Jimi would simply turn down his volume for his rhythm sound it was still quite big sounding. Rarely in the videos I have seen (many) did Jimi ever step on a fuzztone for a lead, when you have seen him go to a pedal for a lead it was to a wah for the tone boost.
Surf guys outboard reverb unit trick. Boy did the surf records of the early to mid 60′s blow my mind. Imagine guitar records with no singing, simple melodies that almost everyone could cop, and tons of self important guitar slinger attitude. I ran into a surf guitar legend years ago and I asked him how he ran his reverb, because I could see that he had something funky going on there as I saw that his guitar was plugged directly into the amp.
He smiled and told me that he and some of the other cats of that era were using a primitive effects loop so to speak. Here’s how they did it.
He ran the guitar into input one of his Showman and then ran a cable from input two to the input of his Fender reverb unit and ran the output of the reverb to the input of channel two (or normal channel). This way he could not only tailor the sound of the unit with the onboard controls he could also utilize the second channels volume and tone controls.
One benefit he did not realize too, was that the guitar running direct into the first channel did not have its dry input signal colored by the reverb unit! This setup is also called the poor mans effects loop

Myths, myths, myths.... and some guitar lies


  1. Myth: Les Paul/Leo Fender/Adolph Rickenbacher invented the electric guitar – While all had a very important role in developing the first solid body electric guitars, they were all nearly 50 years late to the party! The first documented application of applying electricity to a guitar goes to U.S. Navy officer George Breed who was granted US Patent no 435679 in 1890 for his “Method of and Apparatus for Producing Musical Sounds by Electricity”. However, his idea was actually the opposite of his later brethren using an electromagnetic field to force a string to vibrate, similar to what the Fernandes Sustainer or Ebow accomplish. You can read more on Breed’s invention by performing a patent search or checking out this excellent article on the instrument and it’s designer: http://polkaboy.typepad.com/polkaholics/2007/12/update-who-inve.html
  2. Myth: All the vintage PAFs sound so good due to being hand wound – While there’s no doubt in my mind that a hand wound pickup can sound absolutely fantastic, the man himself, Seth Lover inventor of the humbucking pickup, only hand wound the prototype PAFs. All of the pickups which made it into production guitars were wound on a machine using an automatic traverse. However, before the 60’s there were no counters on the machines and they simply wound them until the bobbin was “full”. This variance in winding is likely the cause of the variation in tone between many early PAF’s. Of course, there is even some debate over what hand wound actually means as some will define guidance of the wire by hand even when fed by machine as hand winding. You can read an entire interview by Seymour Duncan of Seth Lover describing how it was done in the old days here: http://www.provide.net/~cfh/seth.html
  3. Myth: A “breathing” nitro finish is the key to good tone – If you think you’re the key to your Fender guitar’s tone is its nitro finish, check the date. From 1955 until the late 60’s Fender sealed their guitars by submerging them in a vat of Homoclad; a heavy, oil based sealer product from Sherwin Williams. From the late 60’s into the mid 80’s, all Fenders had a polyester undercoat regardless of the final finish. From the 80’s until very recently all Fenders additionally used a poly based top coat. So the vast majority of those glorious tones made by our heroes on Fender guitars were made on poly coated instruments. You can see pictures of the Homoclad submerging process in Tom Wheeler’s American Guitars book as well as read a very informative post by Mark Kendrick from Fender here: http://www.fenderforum.com/forum.html?db=2000&topic_number=50113
  4. Myth: Eddie Van Halen invented two hand tapping - Eddie Van Halen single handedly made two hand tapping a fashionable and must know technique in the 80’s and is routinely incorrectly credited with inventing it. The earliest recorded examples were by the late Jimmie Webster in 1958 who 6 six years earlier in 1952 published a instruction manual for the technique titled 'Touch Method for Electric and Amplified Spanish Guitar'. However, Jimmie learned this technique from none other than Harry DeArmond, inventor of the first commercially available attachable guitar pickup in the 1930’s, who created the technique to show off the sensitivity of his pickups. You can hear some Jimmie Webster recordings at a posthumous tribute MySpace page: http://www.myspace.com/jimmiewebster
  5. Myth: Good Tone – While I can’t argue that everyone has their tonal center by which they measure what they hear, everyone has their own subjective opinion of what defines a good tone. From a dual humbucking Dean into a solid state Randall to a vintage Tele into an all tube tweed Fender, there have been literally millions of variations of what a guitar sounds like and each sound has their fans. Therefore, there can not be a single universal good tone but rather only tone. It’s up to the player to make it good or move on…
XI

Half truth.... a lie !!!

Going back to the early days of 50's, there were men with big courage in thw music industry.
Many groups, many engineers, many manufactures were doing their best not only for profit but basicly because of their desire of success.
Leo Fender, Les Paul and many, many others were just the beggining. Small laboratories with lot of fun and first of all... desire. Things have been change year by year, the small labs are now big factories and the new bosses just see the numbers and the increase of profits because of a good marketing. I am not the person that judging all this stuff but only a man who started a relationship with music and sounds before 30 years and still running.
This is an open blog... You can write whatever your opinion is, and i quarrantie to you that i will never stop you.
You are gonna read in this blog stories that never been told about guitars, players and more that never been told before.
You will see amazing guitar instruments with the very first good sound of early years and maybe some of them will be yours. So stay tuned... you won't loose!!!


XI GUITARS

This is how the story begins...