00:00I
00:35so second fender from gary's collection and he didn't play an awful lot of fenders so the ones
00:40he did uh you bet are going to be pretty special which is indeed the case with this so this
00:45is um
00:46uh a 63 but it's it's not completely original and gary bought it that way in the 80s
00:51um and i believe he called it his workhorse okay so and that kind of leaps out straight away doesn't
00:58it so perhaps you can tell us why why this one is fairly indicative of most telecasters um in my
01:03experience yeah i mean the the neck if nothing else is uh slab which would imply kind of early 62
01:09i
01:09guess at the very latest um it's amazing though uh i've fallen a little bit in love with this one
01:15um it's just shouty and loud in the nicest possible way it's like you pick up certain guitars and it
01:21feels like it's playing a piano everything's kind of equal every every note kind of leaps out to the
01:26kind of same extent you know which i guess you could interpret it as a negative you could
01:29interpret that as being kind of one-dimensional but there's just uh just a brilliance about it
01:34you know which everything kind of wants to leap off the fretboard and do most of the work for you
01:38um which is great because it means i have to do less work then but um it's just great i
01:42mean you
01:42know straight away you know before i plugged it in just just strummed it and it's alive it's kind
01:48of resonating and vibrating through body you know which is usually a pretty good sign
01:54yeah it's interesting this because uh when you when you play it in country you know back to back
01:59with the strat you notice that the bottom end is a lot looser it's it's it's louder it's more
02:03raucous in general it's a sort of wilder guitar altogether isn't it yeah i mean we're tuned down
02:07as well which i guess straight away kind of lends itself to sound a little bit more kind of swampy
02:12but what it is about finding guitars that seem to lend themselves so well to be down tuned i don't
02:16know but it seems to just open them up and you kind of get this extra just low-end response
02:22you know
02:23which is is not boomy it's not bellowy it's none of the kind of um pejorative b words apparently but
02:29just you know very um just open sounding and all this beautiful clarity so uh yeah very impressive
02:36guitar and much much as we were saying with the strat i mean the almost the outline of the guitar
02:42tells
02:42us almost nothing what it will sound like because this is not one of these shrill tellies it's not
02:46one of these these piano like tellies at all it's so it's it's kind of almost a you know dare
02:51i say it
02:52rather rather gibson humbuckery yeah in some respects yeah absolutely there's there's definitely
02:56an edge of that it's um i mean this you know relative to what we were talking about earlier
03:01in terms of it feeling like more of a gary guitar this would be the type of guitar that i
03:06would
03:06associate with with gary's style a little bit more you know it's kind of um a bit more forthright a
03:11bit more kind of strident and aggressive i guess you know it kind of but but still at the same
03:15time no
03:16no piercing highs that you can sometimes sometimes associate with the telly it's just um beautifully
03:22even throughout it's uh yeah gorgeous that instrument what do you look for in a telly because
03:26they again just like strats they can they can be all things to all people in in their variety so
03:32what kind of telly would you reach for were you using one good question um yeah i guess fundamentally
03:39you want it's obviously i guess versatility is a word that's sort of very commonly associated with
03:44the with the telecaster they can theoretically be that kind of all things to all men all of my
03:49favorite telecasters are um it's hard it's hard to kind of try and articulate it there's just a kind
03:56of like an openness to them where it like that kind of piano-esque response that i was just kind
04:01of
04:01describing um it feels like it's just a particularly open resonant uh wide sounding guitar appreciate
04:09none of those words makes particular sense when you're trying to describe the sound
04:14you know but um yeah it's it's hard to put into words it just it's one of those things that
04:19you
04:19kind of know the moment you pick it up if it feels like it's just going to ring and resonate
04:23for days
04:24and this you know is one of those guitars it's just a kind of like a loudness to it if
04:29nothing
04:29else you know you kind of play a chord and it's just
04:35yeah just rings like a bell i know exactly what you mean i think i'm glad you do because i
04:40don't
04:42i think when we've we've looked at sort of other other models guitar in the past and especially
04:46vintage ones i think what separates really nice guitars often electrics that is from um you know
04:52sort of so so ones is that instead of the note being like a kind of solid core and not
04:57much else
04:57around it these ones seem to have a lot more going on around the sort of yeah main kind of
05:01point of the
05:02note yeah all of these overtones and the tones um flying around it's uh i think that's probably
05:09something i would apply to most of the great guitars i played is you feel like you're getting
05:15all of these extra kind of beautiful rich harmonics flying around in addition to the
05:19the fundamental note that you're playing and it just lends itself to playing more musically or at least
05:25trying to anyway you know if you feel like it's drawing these extra notes out of you which you're
05:30not necessarily accustomed to hearing when you just play one note it's just such an inherently
05:34musical experience to that that um it just makes playing it more enjoyable which makes the music
05:40that you make hopefully more enjoyable you know it's um that's generally my approach to gear i guess
05:46is you know whether or not the person in the back row of the auditorium can you know differentiate
05:51between a ts808 or a ts9 is kind of irrelevant if it makes you play differently whatever that is whether
05:57it's an extra weetabix that morning or whether it's a guitar that's drawing that out of you
06:02that's what will translate that's what will transcend to that person in the back of the room you know
06:06and there's just certain guitars like this one which you pick up and are just a joy to play they
06:10just draw music out of you well we've talked um talked about how this guitar sounds let's hear a few
06:14of the pickup sounds uh one by one uh so neck pickup first and foremost
06:18and then we're going to play a little bit more
07:03Middle position.
07:27guitar solo
07:50Then, push back up.
08:27guitar solo
08:55That bridge pickup though, it's nuts.
08:58You think, that sounds nice, all the way through to the bridge, and you go, Jesus.
09:01Yeah, yeah, it takes your head off.
09:02Yeah, yeah, yeah, yeah.
09:34guitar solo
09:43guitar solo
09:55guitar solo
10:14I love how, you know, it's the simplest of guitars.
10:17It has three pickup sounds, a bridge that looks like an ashtray, and it's an orchestra.
10:26Bolt that to that bit and away you go.
10:28Yeah.
10:28There's something, I think, weirdly liberating around, like, not having too many options.
10:34That's always been, and far be it from me to criticize Leo in any way, shape or form, but
10:39like, there's almost too much on a strat sometimes in terms of, you know, options, which I appreciate
10:46maybe, you know, sacrilege to some people, I guess, where you want that versatility.
10:50You want all of those little extra different kind of nuances and stuff, but there's something
10:54strangely focusing about a guitar that doesn't offer all of that.
10:57It just focuses your mind solely on what you're meant to be doing.
11:00I mean, stick to three chords, don't make it too difficult, you know, just kind of, yeah,
11:06rock out and enjoy it.
11:06So, yeah, tally's the one, isn't it?
11:09Yeah.
11:10Nailed it first time.
11:11I'm going to be playing.
11:13I'm going to be playing.
11:29I'm going to be playing.
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