Tag: Leo fender

<aWhen Fender Customized the Tele … with a Little Help from Martin

In 1959, Alaska as well as Hawaii became the 49th as well as 50th states in the U.S. However guitar followers understand ’59 as an epic year for both Les Pauls and Telecasters– 2 preferred tastes among meat-and-potatoes 6-string connoisseurs. On the Fender side of the food selection, that’s the year the Telecaster and Esquire Custom models debuted, at the NAMM program in June.Honestly, there had not been much that was different about the 1960 Tele, exemplified by this month’s

Telecaster Custom

instrument. The greatest adjustment was a change from all-maple necks to slab rosewood fretboards installed on maple. This was likewise provided for Stratocasters and various other versions at the time.With its choice location, top bout, as well as back put on, this guitar has actually been used difficult– which is typically a sign that it’s a great-sounding and playing instrument.The 1960 Tele Custom likewise has what the 1960 Fender catalog rather undoubtedly called a” customized treatment of the body. “What exactly does that suggest? The catalog notes that” an attractive very refined sunburst coating is used, and also the bottom as well as top edges of the strong body are trimmed with contrasting white binding.” Fender originally had problem keeping that binding glued in position and also had to seek advice from the Martin Guitar business to learn the appropriate technique.Telecaster Custom Our well-worn 1960 Telecaster Custom appears to be ended up in a 2-color sunburst (as made use of on Strats from 1954 to 1958). After removing the pickguard, the original unfaded red from a 3-color sunburst can be seen. A.R. Duchossoir, in his book The Fender Telecaster, prices estimate Fender designer Bill Carson regarding this red pigment:” We needed to look as well as

1960 Telecaster Custom

so we splashed several blocks of alder and also put them on the top of the structure to see which ones would fade as well as which ones would not. The red just merely got gobbled up in this chemical interaction.” Probably this guitar belonged to that colorful experiment? For the record, Fender did take care of to locate a consistent red by 1961. This guitar, and all other Tele Customs from 1960, have an alder body with a 3-ply pickguard. Criterion, non-custom-color Teles kept a single-ply white pickguard for a pair much more years. The control set is the common T-style 3-way pick-up selector with quantity as well as tone dials. In 1972, the Fender Telecaster Custom first showed up with a Seth Lover-designed humbucker in the neck port, which’s the arrangement made well-known by Keith Richards– maybe the most notable Telecaster Custom player.With its selecting location, upper spell, and back wear, this guitar has been used hard– which is typically an indication that it’s a great-sounding as well as playing instrument. This version’s original list price was $239.50. The current worth for one in this condition is$ 20,000.

Behind the Tele is a Fender Pro-Amp from April 1960. From its introduction in 1946 as The Professional, this amp utilized a 15″ speaker. It evolved from the ’40s “woodie” version to numerous tweed looks, consisting of a television front, a vast panel, as well as a narrow panel. In 1960, the Pro et cetera of the line transitioned to brown Tolex covering. The 1960 Pro pictured has two 6L6 power tubes pressing 40 watts with a Jensen P15N. The typical network has treble, bass, as well as volume controls, while the vibrato channel has volume, treble, bass, rate, strength, as well as existence controls. The original rate was $289.50. The current worth is $2,500.

Resources for this article include The Fender Telecaster: The Detailed Story of America’s Senior Solid Body Electric Guitar by A.R. Duchossoir as well as Fender Amps: The First Fifty Years by John Teagle and also John Sprung.

Honestly, there had not been much that was various about the 1960 Tele, exhibited by this month’s tool.< div course =" rebellt-item col1" data-basename= "particle-7" data-href=" https://www.premierguitar.com/pro-advice/vintage-vault/1960-fender-telecaster-custom?rebelltitem=7#rebelltitem7" data-id =" 7 "data-is-image=" True "data-post-id =" 2657536404" data-published-at= "1655762237 "data-reload-ads =" real" data-use-pagination

=” False” id=” rebelltitem7″ readability=” 6″ > Severe belt breakout shows this 1960 Tele Custom has actually seen a considerable amount of playing time.

This guitar, as well as all various other Tele Customs from 1960, have an alder body with a 3-ply pickguard.

Note the distinctive upper-and-lower-case design name on the headstock, versus Fender’s traditional all-caps variations.

Behind the Tele is a Fender Pro-Amp from April 1960.

The Bass Is Not a Guitar

The bass is not a guitar.

I know, I know…. This can be confusing and even controversial. Basses look a lot like guitars, and so many people call the instrument I play the “bass guitar.” From this name, one might deduce that, like the bass flute, a bass guitar is merely a member of the guitar family which sounds lower. I will concede that the guitar and bass might seem similar and even appear to have a common ancestor, but appearances can be deceiving. These two instruments are separate and come from very different lineages. The ancestor of the electric bass is actually the double bass or upright bass, which hails back to the Renaissance, belonging to the violone family (along with the viola da gamba). On the other hand, the modern guitar’s ancestors range from the oud to Spanish instruments such as the guitarra latina and vihuela.

Upright and electric basses do typically feature four strings in the same tuning. Because they share the same note names as the first four strings of the guitar, some might see this as evidence that they are, indeed, related. Our modern guitar tuning was probably derived to accommodate chordal playing. This is why the second string interrupts the pattern of fourths with a third, which makes a whole host of chords possible and simpler to strum across all the strings at once.

To make matters more complicated, Leo Fender is sometimes mistakenly credited with the invention of the electric bass. In 1951, Leo modified his solidbody Telecaster guitar design to create the Precision Bass, so called because the frets allowed for precise intonation while playing. Later, Leo borrowed his offset body design from the Jazzmaster to create the Fender Jazz Bass. Both the Precision and Jazz basses became extremely popular and most modern electric bass designs are in some way based on them. By utilizing standardized patterns for most of his guitars and basses, Fender mastered the art of assembly-line mass production, which helped us all to see the electric bass as a type of guitar, due to the obvious similarities.

The ancestor of the electric bass is actually the double bass or upright bass, which hails back to the Renaissance, belonging to the violone family (along with the viola da gamba).

However, the first known electric bass ever made was the Audiovox Bass Fiddle, created by Paul Tutmarc in the mid 1930s. With the help of two new inventions, the amplifier and magnetic pickup, Tutmarc created the world’s first truly portable bass. While acoustic bass instruments had to be large to reproduce the extremely low fundamentals required, electric instruments changed all of that. Now, a relatively small 18-watt portable package could produce the lowest fundamentals, which had only been possible with instruments such as tubas, pipe organs, huge double basses, and 9′ grand pianos. Tutmarc’s first attempt was a small solidbody upright, but he soon realized that he could build an even more compact bass that could be played horizontally.

Many bass players who would eventually play electric basses exclusively began as upright players, continuing a long tradition that predated the invention of the electric bass by at least two centuries. From my perspective, I come out of a long lineage which began with great upright players like Jymie Merritt and James Jamerson, who switched to the electric bass in the late ’50s, mostly out of convenience. These new smaller and louder instruments were game changing because they allowed constantly touring musicians to hold down a bass role in a more transportable package.

At first, bassists transferred what they were already playing on the upright to electric. But over time, they developed new voices, techniques and approaches specifically tailored to the physical characteristics, sonorities, and capabilities of this instrument. By the time we get to Bootsy Collins, Tony Levin, Louis Johnson, Larry Graham, Jaco Pastorius, Anthony Jackson, Jeff Berlin, Mark King, Marcus Miller, Rich Brown, Victor Wooten, and so many others, there are bassists who play the electric bass exclusively, and who have developed their own astounding techniques for doing so.

The bass has spent over six decades at the forefront of cutting-edge genres from soul to R&B, country, rock, funk, disco, jazz, and fusion. Today, there are countless virtuoso bassists who have never played the guitar or upright bass and have no desire to. The bass is not a guitar or even an upright bass substitute. And it is no longer a thing played out of convenience, but an independent instrument with its own sound and rich lineage.