well hello friends and welcome to ask
0:16
Zack so glad to see y'all again I've
0:18
been out for the last two weeks I was
0:21
out on the road with Brad Paisley I was
0:23
his uh guest along with the great nacho
0:27
BOS and we had a ton of fun talking
0:31
telecasters and so much so that I asked
0:35
nacho if he would do a little comparison
0:38
and so this was filmed backstage in
0:41
Zurich Switzerland and this is nacho
0:46
comparing his July 1953 Telecaster
0:50
against an original broadcaster that
0:52
another friend of mine Olivier alri that
0:54
lives in URI that lives in uh in
0:58
Switzerland he brought to the show for
1:00
us to to look at so from the patron
1:04
saint of the Telecaster nacho BOS you're
1:06
going to get to see and hear a
1:09
comparison between a 53 Telly and a
1:13
broadcaster my only regret on this was
1:15
that you know we just had this little
1:16
backstage area in one of the dressing
1:18
rooms and so we couldn't bring an amp in
1:21
to uh you know hear them but you're
1:22
going to get a really good
1:24
comparison now in thanks for nacho doing
1:27
this uh I'm going to give a plug for his
1:30
book the pinecaster book so this is a uh
1:34
a four volume set that is really the
1:38
Bible for early telecasters um it tells
1:44
this the context of what was going on
1:47
before the broadcaster Telecaster
1:50
Esquire was developed and it tells the
1:52
entire process it shows the prototypes
1:55
the guitars made of pine and such and
1:57
then there's all sorts of pictures of
1:59
black guards and it's amazing for the
2:03
photographs for the stories that are
2:05
told for the context that's given of the
2:08
time and also for the uh the drawings
2:11
and little caricatures that you get from
2:13
uh Billy Gibbons it's an amazing book
2:15
and you should go to pinecaster book.com
2:17
to check it out all right guys here's
2:22
nacho well hello friends you're not
2:25
seeing my face this is the face of Nacho
2:28
BOS and he has a
2:30
broadcaster and we also have my friend
2:34
Olivier URI with lead music in
2:39
Geneva and so we are going to have a
2:42
good time talking about telecasters
2:44
we're going to let nacho give take us to
2:47
school on the differences between this
2:51
broadcaster that uh that is owned by
2:53
Olivier and then we're going to talk
2:55
about this 53 Telly that Olivier is
2:59
holding and uh yeah just kind of the
3:01
evolution that these guitars uh went
3:04
through you know in a in a brief period
3:06
of time all right let's take it away
3:10
nacho so this is Olivier's guitar and um
3:16
it's a I have to say it's a beautiful
3:17
guitar this number
3:20
0725 I'm I'm guessing it's a November
3:24
1950 um because of the the way of the
3:28
body the finish and
3:30
um the neck shape
3:33
and and the you know
3:38
um the the looks of the of the of the
3:41
finish in general um it's a I would say
3:46
it's a very light guitar for being a
3:48
broadcaster I would I would be surprised
3:51
if this thing is over 7 PBS it will be
3:53
most likely six and something MH yeah
3:55
absolutely um the neck is a typical
3:58
November um guitar is more of a uh
4:01
medium D you know I would say be kind of
4:05
like
4:07
a 85 86 on the on the first fret uh it's
4:13
been refed which is good news because
4:16
you you can play it and it's a great
4:17
sound and and great playing instrument
4:20
um and it's it's got the typical you
4:23
know features of a of a broadcaster has
4:25
get um what I'm I'm we haven't plugged
4:29
it in but I'm going to assume this is a
4:31
very powerful oh yeah it
4:34
is um the finish on this guitar is the
4:37
typical November of 1950 which is a
4:42
very um brittle um and it's um it's thin
4:48
and it looks as if doesn't have any real
4:52
undercoat so if I were Olivier I
4:57
wouldn't play this guitar in Spain
4:58
during summertime
5:00
because the
5:02
sweat would destroy the finish and you
5:05
would be flagging all over uh with your
5:08
arm and you know uh it would it wouldn't
5:11
be blond anymore uh and some of them
5:14
Parts but you know other than that it's
5:17
a I think it's a beautiful condition um
5:20
it's got you know the tall knobs I'm
5:23
going to say it's it's got the blend
5:24
control uh um you know the to
5:30
guard it one half the diagonal route
5:34
here has got brass
5:36
Saddles and um you know all of the
5:39
screws are going to be uh Sloe head on
5:42
the back you see
5:45
how uh the ferles uh are not aligned so
5:49
that means that they were uh drilled
5:51
from the top and you know you can see
5:54
some it's a little funny that's that was
5:56
a question I had for you because I've uh
5:58
yeah were they drilled from the bottom
6:00
or the
6:01
top I I guess they were they were
6:04
drilled from from from the top without
6:07
having any any type of template each at
6:10
a time yeah each each one a time so
6:12
that's why it's not align if if you use
6:15
kind of like a template then they will
6:17
all go makes it better yeah and um of
6:21
course you know we have
6:22
the the broadcaster decal and uh and the
6:27
um the Clos shell tuners with Clos and
6:31
blocks PN apply on the on the
6:33
back
6:35
um this is
6:38
um the pots I'm going to guess are 304
6:41
stock pole um it would be 304 Z
6:46
something uh from 1950 it's got the
6:50
um the early style uh Jack
6:55
cap and um yeah you know it's a I think
7:00
it's a perfect example of a 1950
7:03
broadcaster it's a beautiful I like we
7:05
were talking about this before but I
7:07
really like how the finish on this or
7:11
the guitars is so complex because you
7:14
get so many different colors in one in
7:17
one single place you got you know some
7:20
some is darker some is more butter
7:22
scotchy you know some you got different
7:25
tones here different color here you know
7:28
here's total
7:30
different um on the sides you you get
7:33
you know different shade so it's very
7:35
very threedimensional looking it's never
7:39
a single color blonde uh finish which is
7:43
why it's so hard to replicate these
7:46
guitars and when you get to the worn out
7:48
areas like this you always get that
7:50
barewood and then a little lighter
7:53
collar and then there starts to get Dark
7:56
Water
7:57
Scotch it's a Beau with her I'm in love
8:00
I'm sorry yeah I think I'm going to take
8:02
it home me just
8:05
thing j is a nice place to stay you I
8:08
can stay
8:13
here it is a it is a gorgeous guitar
8:15
nacho it's a beautiful guitar I'm so
8:17
happy it yeah it's a it's a sickness oh
8:20
yeah it's a pleas I'm really appreciate
8:22
let's let's switch over to the uh unless
8:24
you have something else to say let's
8:25
talk about the 53 I um I think it's uh
8:30
you know you guys want to say something
8:31
else or ask any questions but I think
8:34
this is you know it's a perfect it's a
8:36
perfect practice what do you what do you
8:38
think is the sound difference with the
8:41
broad in just in general between the
8:43
broadcaster pickup and the pickup that
8:45
you that you would get in the 53 well
8:48
the construction of this pickup is
8:50
different because it's got It's got the
8:52
thinner wire and um in order to get the
8:57
body of a pickup that would do mortal
8:59
violence so it's a harder to pick up and
9:03
um you know um some you know we did the
9:08
research on the magnets and we found
9:11
that most of the ear guitars instead of
9:13
having onco fives would have the larger
9:18
diameter um po 195 Ono 3s or on e3s
9:23
don't have
9:24
Cobalt so that would give this sound
9:30
a different quality and the different
9:32
quality would be it would be a more kind
9:35
of like maybe a TD darker
9:38
sound uh more powerful you know um um
9:43
rounded off town maybe less um twangy
9:48
um um it it you know it will still be
9:53
the you know a great blood guard sound
9:56
but it will be um um
9:59
different from from a later lard in that
10:02
sense because that the construction of
10:04
this pickup was was a little different
10:07
yeah switch to the 53 we're going to
10:10
have the the careful handoff let's let's
10:12
make sure everyone's really careful this
10:14
is the most expensive
10:17
trade and and this is Nacho's guitar
10:20
okay this is his 53 yeah this is I don't
10:23
even know the s number but
10:27
2241 yeah this guitar is a 53 is to me
10:30
this is like another perfect time for
10:33
Fender is a July
10:36
1953 that's very specific which is very
10:40
specific for this this is the type of
10:42
neck that everybody likes to say like to
10:47
refer to as a baseball bat but it's it's
10:51
a large neck I'm I'm I don't remember
10:54
this by heart but I'm going to guess
10:57
this is over 90 uh 0 90 on the on the
11:00
first fret which may sound like a a fat
11:03
neck and it is a fat neck but it's so
11:07
comfortable the way uh ttio would shave
11:11
the back of a neck they you know the
11:13
shoulders on the back are like very
11:16
defined you know very subtle so it's a
11:19
nice grip uh it feels great and you get
11:22
a lot of tone because you got a lot of
11:24
mass in the wind mass in the neck so um
11:29
you know this um this is another great
11:32
example of a of a great year for for a
11:36
blood guard so here we have as you can
11:39
see you know the finish on this guitar
11:40
is totally different from that guitar
11:42
not even the color but how the finish is
11:45
is is applied and this buildup you know
11:48
here we have like the desert
11:51
sand undercoat which is which is like
11:54
makes the Finish look a lot flatter than
11:58
than that one and it's more stable so so
12:01
basically we have you know we have like
12:04
uh what they do here they they seal the
12:06
wood then they will apply the theer sand
12:09
then they would do the blonde and then
12:11
they would do a clear coat so um um so
12:14
you can play it in Spain I can play it
12:17
in summertime and um and somebody played
12:21
it you know cuz there's a there's a lot
12:23
of buckle wear here um but it is kind of
12:27
like what we were talking about the
12:29
blond finishes from this era it's kind
12:30
of like the same principle like you get
12:32
a lot of different shades and a lot of
12:35
different it's so three-dimensional you
12:38
have different colors here there there
12:42
there you know it's it changes uh and
12:46
it's beautiful in that sense um this
12:49
guitar is U the the only thing that was
12:51
changed in this guitar when I got it
12:54
many years ago was that the
12:57
fretboard had the plan
12:59
and uh it was it had been refereed so um
13:02
the guitar didn't look that bright
13:05
because it had a shiny looking new
13:07
looking
13:08
fretboard um so I what I did is I added
13:11
the um the grooves um the finger board
13:15
where uh to make it look a little better
13:17
but other than that you know it's the
13:19
Frets are perfect they're a little
13:22
they're not the Vintage uh size of Frets
13:24
but they maybe like medium I don't know
13:27
I haven't measured them but um the
13:29
pickups are original the everything
13:31
under here is original so it's got the
13:33
uh the second generation wiring which is
13:36
is not the blend control like that
13:38
guitar so um here you have a tone
13:41
control so you can here you know you
13:44
have a tone control on all three
13:46
positions and you you know and you can
13:49
see combine both pickups if you live the
13:52
uh the switch in the middle but it
13:54
that's not going to stay so so here you
13:57
have U this pickup with with a tone this
14:01
this pickup with a tone and here you
14:03
have the the cap with the with the neck
14:06
pickup why did the the scratch plates on
14:10
on these guitars look very different was
14:12
the finishing process different at that
14:15
point or you know again is that just is
14:17
that just the wear difference and we got
14:19
a little glare going on but I'm going to
14:20
look at that and we're going to try to
14:24
well this you
14:27
know Fender I think was getting folic
14:30
paper from from whoever was was making
14:35
it and and and I'm I'm pretty sure that
14:39
he was getting whatever they would
14:40
deliver so over the years um it doesn't
14:45
some of the phenolic paper that they
14:47
were getting was more of a
14:50
uh uh
14:53
plasticy feel and look you know it would
14:55
it would be more more less of a five
14:59
fiber and more of a plastic right and uh
15:02
the first um the broadcasters that the
15:05
very first ones from October
15:08
1950 don't even have any ler on top so
15:12
and it's a very different uh uh phenolic
15:16
uh
15:17
paper it's a shiny it's a very shiny uh
15:21
paper and then on this guitar this is um
15:24
this is very you know it's different
15:26
from that one and this is you know this
15:28
spot is something that's you know kind
15:30
of hard to replicate and kind of
15:32
something that you see from that era
15:33
guitar also yeah it's
15:37
U yeah it's got uh again you know this
15:41
is paper pressed with
15:45
um um with some kind of of plastic you
15:50
know so it's uh it's they call it's a
15:54
it's a bake light but it's a it's a it's
15:58
a compress
15:59
paper with oh so those are the light the
16:02
layers you see here yeah
16:05
yeah um so you know again we have the
16:10
the Saddles here with the brass but on
16:12
this guitar it's different than that
16:14
that that guitar cuz they are noted on
16:17
the on
16:18
the on the high e and on on the low E
16:21
and the high string I don't know if you
16:23
can get that with the camera but but in
16:26
order to get a lower action Leo would uh
16:31
with add a notch on the on the back side
16:35
of the of the saddle so you can lower it
16:38
down
16:41
further and um the knobs
16:44
are kind of like shorter and they have a
16:48
different Dome
16:49
shape this is different too this is uh
16:53
kind of like the second
16:54
version U the broadcaster verion version
16:57
is open on the top this is
17:00
closed um as you can see here you know
17:03
there's a mix of U Phillips and and
17:07
Flathead screws um the broadcasters got
17:10
all of them are Flathead screws but on
17:13
this guitar everything is Phillips but
17:17
the switch
17:22
and yeah the switch everything else is
17:27
Phillips um the 2 ERS are different this
17:30
is open shell um no
17:33
brand um CL and Tuners which is where I
17:36
came
17:37
in early I would say spring of
17:43
1952 and uh yeah I um you know very
17:48
similar guitars but very different
17:50
guitars can you hold both of them
17:53
carefully or bring them in close so
17:56
people can kind of this is this is
17:58
lighter than this
18:00
one
18:04
um they they have different
18:07
personalities but they're both great
18:10
yeah I appreciate you uh giving us a
18:13
little uh his history in a comparison
18:16
you know again we're we're backstage at
18:18
a at a at a concert hall in zurk
18:22
Switzerland and uh it just such a a
18:25
prize to have you know these two you
18:28
know cool guitars here so I had to take
18:31
the opportunity to uh pester nacho into
18:34
uh talking a little bit so are you still
18:36
selling the pinecaster book yes I am
18:39
okay that is an amazing book that if you
18:41
have any level of Interest any serious
18:44
interest in the book you need to check
18:46
that out and that's pinecaster decom yes
18:48
sir yes there's pinecaster book or just
18:50
pinecaster pinecaster pinecaster book
18:53
pinecaster book.com yeah and Olivier of
18:56
course has lead music in in Geneva
18:59
really appreciate him uh letting us look
19:01
at his broadcaster so it's a pleasure
19:04
really you know and we got some hint as
19:07
well so that's really interesting yes
19:09
really appreciate yeah he G he gave us a
19:11
little bit of a little he gave away a
19:12
little bit of the magic just a little
19:14
bit but not too much thank you nacho
19:17
thank you guys thank you so much for
19:19
watching uh I need to thank my uh
19:21
patreon members that really make this
19:23
show possible you are the best and uh if
19:27
you want to find out more you can go
19:29
down in the description there's a link
19:31
there uh also again I need to thank
19:33
nacho and I need to thank uh Olivier URI
19:36
for uh you know bringing his broadcaster
19:39
the show in Zurich and of course to Brad
19:41
Paisley for uh letting me ride on the uh
19:45
on the train so thanks
19:49
[Music]
19:51
[Applause]
19:54
[Music]
19:57
bye-bye