A Look At A 1949 Bigsby Guitar - Rarer Than Rare!

Before the Telecaster… before the Les Paul & the Strat… there was Bigsby.In this video, we take a deep dive into a 1949 Bigsby electric guitar, one of the earliest solid-body electrics ever made, and a true cornerstone in the evolution of the modern guitar. Built by Paul Bigsby, these instruments weren’t mass-produced, they were individually handcrafted works of art.Bigsby guitars are incredibly rare, as he built around 27 guitars from the mid-1940s through the late 1950s. Each one was custom-made, often for top-tier players, making them some of the most elusive and historically significant electric guitars in existence.Most famously associated with Merle Travis, Bigsby’s designs introduced features that would later define the electric guitar as we know it, including a solid body, a six-on-a-side headstock, and a sleek, functional aesthetic that clearly influenced Leo Fender and the birth of the Fender Telecaster.This particular instrument has its own incredible story. Created on August 7, 1949, this guitar was built by Paul specifically to be photographed for one of his early catalogs. Because of that, collectors have long referred to it as “the catalog guitar.”Even more special, the owner generously allowed me to take the instrument to my studio for a couple of hours so I could film this episode. Getting hands-on time with a guitar like this is a rare opportunity, and I’m excited to share it with you.www.truetone.comTo Support the Channel:Patreon  https://www.patreon.com/AskZachttps://ask-zac-shop.fourthwall.comTip jar:  https://paypal.me/AskZacVenmo @AskZacSupport the show

Best known for his longtime work with Delbert McClinton, James Pennebaker has been one of the most tasteful and versatile guitarists in Nashville for decades. Starting his professional career at just 19 years old with McClinton, he went on to become a key part of the band on and off for more than forty years.But Pennebaker is far more than just a sideman. He’s a true multi-instrumentalist—equally comfortable on electric guitar, acoustic guitar, pedal steel, fiddle, mandolin, and more. Over the years he’s recorded and performed with artists like John Fogerty, Bonnie Raitt, Willie Nelson, Lee Roy Parnell, and many others.Support the show

The only Gibson model I’ve ever really connected with is the ES-335. While I’ve always gravitated toward Fender, the 335 is one Gibson that I think absolutely got right. Much like the Fender Telecaster, it’s simply a brilliant piece of guitar design.The magic of the 335 is in how balanced the concept is. The semi-hollow body combined with the center block gives you the warmth and air of a hollowbody while still delivering the sustain, focus, and feedback resistance of a solidbody. The result is a guitar that can cover an incredible amount of musical ground. Blues, jazz, country, rock,  a great 335 seems to sit comfortably in all of those spaces.In this video, I spend some time talking about what makes the ES-335 such a successful design and why it continues to be one of the most versatile electric guitars ever built. I’m using a vintage 1964 ES-335 as the reference point, a guitar from Gibson’s golden era that really shows the design at its best.We also compare it to a more recent ’63 reissue built during the Gibson Memphis years to see how modern versions stack up against a true vintage example.And because not everyone is shopping in the vintage market, we also talk about some of the more affordable ES-335-style options out there today that capture a lot of the same spirit and sound without the vintage price tag.Support the show

In this episode, Joe Spann and I dive deep into the legacy of Don Rich and one of the most fascinating lost instruments in Fender history, his 1964 Gold Sparkle Fender Custom Telecaster.Joe breaks down exactly how Fender created the Gold Sparkle finish using crushed mirror material, why it was so visually striking under stage lights, and how unusual the process was for the era. We also discuss the many Buck Owens hits Don Rich recorded while using this Telecaster, and how central it was to his tone, image, and the Bakersfield sound.Finally, we explore the leading theories behind how the guitar disappeared, when it was last seen, why it was likely never recovered, and what makes it one of the great “what if” stories in vintage guitar history.This is a deep-dive into Don Rich’s influence, Fender’s experimental finishes, and one legendary Telecaster that vanished without a trace.Support the show

We went behind the scenes at Gruhn Guitars in Nashville for a tour of the 'Tele Vault' with legendary vintage archivist and researcher Joe Spann.We aren't just looking at vintage guitars; we’re looking at the DNA of the Fender company. Joe walks us through the history and technical specs of some of the most significant instruments on the planet, including George Fullerton's personal 1949 prototype, a guitar that predates the Broadcaster and Telecaster as we know it.The Lineup:1949 Fender Prototype: George Fullerton’s personal guitar.1951 Nocaster: The bridge between the Broadcaster and the Telecaster.1963 Custom Esquire: A minimalist masterpiece in rare Custom trim.1967 Custom Telecaster: Featuring a rare factory-installed Bigsby.1967 Telecaster: A pristine late-60s classic.Massive thanks to Joe Spann and the team at Gruhn Guitars for opening the vault for us.Support the show

Ever heard a song that has a shimmering, "angelic" jangle that sits perfectly above a mix? Or how Buddy Miller creates those haunting, rootsy textures on songs like Lucinda Williams' "Car Wheels on a Gravel Road," or Daniel Lanois on Emmylou's Wrecking Ball album?The answer isn't a mandolin, it’s the Octave 12-string guitar (often called a mando-guitar). In this video, we’re diving into the world of these high-tuned wonders, exploring the gear, the tuning, and the legendary players who made them a staple of modern atmospheric production.Support the show

Think your clean tone should be 100% pure? Think again. In this video, we’re looking at why "perfectly clean" guitars often sound thin in a mix and why adding a little "hair" or grit is the secret to a professional sound.There is a common "studio secret" that pro mixers have used for decades: subtle harmonic distortion makes everything sound better. Whether it’s a vocal, a drum bus, or a "clean" electric guitar, adding a touch of saturation provides the weight and character that a dry signal lacks.Support the show

The 1950s Guild Aristocrat is one of those vintage guitars that somehow slipped through the cracks, and that’s exactly why it remains such a sleeper today.Built during Guild’s early New York era, the Aristocrat was a serious professional instrument: a small, yet fully hollow body, carved spruce top, and the legendary Franz single-coil pickups that deliver clarity, punch, and a voice all their own. This was Guild's attempt at an improved Les Paul, that was lighter, and just enough wider to seem not like a toy.www.truetone.comTo Support the Channel:Patreon  https://www.patreon.com/AskZachttps://ask-zac-shop.fourthwall.comTip jar:  https://paypal.me/AskZacVenmo @AskZacSupport the show

Baritone electric guitars live in that perfect middle ground between standard guitar and bass, and once you understand what they do best, it’s hard to live without one.In this video, I’m diving into baritone guitars, why a typical 27” scale baritone is very different from a Bass VI (usually 29–30” scale), and how each one functions in a band context. While they can look similar at first glance, they play, feel, and sit in a mix very differently.I also talk about classic effects choices for baritone, especially tremolo and vibrato, and why those sounds pair so perfectly with the baritone’s extended range and piano-like low end.A huge influence for me was Pete Anderson, particularly his baritone work with Dwight Yoakam on tracks like “Little Ways” and "Buenos Noches From a Lonely Room." Seeing Pete on Austin City Limits in 1989, playing a baritone Telecaster, impacted me as a young player, as it was the first time I really understood how powerful a baritone could be in country music.Fast-forward to touring with Brad Paisley, I was using a Bass VI on “Whiskey Lullaby”, but quickly realized it wasn’t quite right. Brad played a baritone on the original recording, and once you hear that, you can’t un-hear it. That experience really cemented the difference for me between the two instruments and when each one truly shines.I also break down my personal baritone guitar, which is a bit of a Frankenstein in the best way possible:Allparts baritone conversion neckMusic City Bridge saddlesKiller Vintage and Adder pickupsCustom Emerson wiring harness, with the tone control only on the bridge pickupMJT pine bodyA one-of-a-kind blue burst finish and relic paint job done by Brad Paisley himselfThe final piece of the puzzle was the nut, fretwork, and setup, expertly handled by Aaron, Nick, and Max at Glaser Instruments, who absolutely nailed the feel and playability.If you’ve ever wondered whether a baritone is right for you, how it differs from a Bass VI, or how players like Pete Anderson and Brad Paisley have used them so effectively, this one’s for you.www.truetone.comTo Support the Channel:Patreon  https://www.patreon.com/AskZachttps://ask-zac-shop.fourthwall.comTip jar:  https://paypal.me/AskZacVenmo @AskZacSupport the show

The 1962 Brown Deluxe (6G3) sits in one of the most fascinating, and misunderstood, eras of Fender amplification. It’s often lumped in with other brownface amps, or treated as a short stop between tweed and blackface. But the truth is: the Brown Deluxe is its own animal.In this video, we take a deep dive into what really sets the ’62 Brown Deluxe apart, sonically, electrically, and historically.Brown Deluxe vs Tweed Deluxe (5E3)Why the Brown Deluxe is tighter, punchier, and more controlled than the loose, saggy tweed, and how Fender was clearly responding to players wanting more headroom and definition.Brown Deluxe vs Blackface Deluxe (AB763)How the Brown Deluxe’s mid-forward voicing, earlier breakup, and raw edge contrast with the cleaner, scooped, hi-fi nature of the later blackface circuit.Why the Brown Deluxe Does Not Sound Like Other 1962 Brownface AmpsThe Brown Princeton and Vibrolux from the same year often get mentioned in the same breath, but they’re fundamentally different circuits, power sections, and feel. Same era, totally different results.’62 Brown Deluxe vs ’65 Blackface Deluxe ReverbA direct tonal comparison between grit and refinement:Brown Deluxe: raw, aggressive, chewy midsBF Deluxe Reverb: cleaner, wider, glassier, more politeTwo iconic Fender voices aimed at completely different players.Bias Tremolo vs Photocell (Opto) TremoloWhy the Brown Deluxe’s bias-vary tremolo feels deeper, swampier, and more organic than the photocell tremolo found in blackface amps—and why many players consider it Fender’s best tremolo design.www.truetone.comTo Support the Channel:Patreon  https://www.patreon.com/AskZachttps://ask-zac-shop.fourthwall.comTip jar:  https://paypal.me/AskZacVenmo @AskZacSupport the show