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Hi everyone!
First post here - long time bass player (Fender Precision, Jazz + Classical upright ) who used quarantine to get deep into jazz guitar via this telecaster!
I bought this new Squier classic vibe 50's strat a few months ago, swapped the original black pickguard for 1 ply white, swapped the bridge for a custom shop tele bridge (the brass, file-your-own slots one), brass nut, and bridge cover!
I put standard D'addario Chrome 12's on it at first, then 13s, and then I ordered a slew of custom gauge plain strings to experiment with e & b sizes
currently playing e 15 b 17 G 26w D 35 A 45 E 56. Combined with one of those silly Fender Mustang GT40 amps (which is such fun) running neck pickup only with the tone ALL the way off - I'm able to get an impeccable late 1950's early 60's Jim Hall tone thanks to these 15's.
I call it the "Cool Jazz Tele", because it spends most of its time accompanying Bill Evans Trio recordings :haha:
I really love everything about this guitar, and I'm blown away daily by the sheer amount of tone it has to give you.
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11-28-2020 11:01 AM
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Originally Posted by colorblindbass
Hi everyone!
First post here - long time bass player (Fender Precision, Jazz + Classical upright ) who used quarantine to get deep into jazz guitar via this telecaster!
I bought this new Squier classic vibe 50's strat a few months ago, swapped the original black pickguard for 1 ply white, swapped the bridge for a custom shop tele bridge (the brass, file-your-own slots one), brass nut, and bridge cover!
I put standard D'addario Chrome 12's on it at first, then 13s, and then I ordered a slew of custom gauge plain strings to experiment with e & b sizes currently playing e 15 b 17 G 26w D 35 A 45 E 56. Combined with one of those silly Fender Mustang GT40 amps (which is such fun) running neck pickup only with the tone ALL the way off - I'm able to get an impeccable late 1950's early 60's Jim Hall tone thanks to these 15's.
I call it the "Cool Jazz Tele", because it spends most of its time accompanying Bill Evans Trio recordings :haha:
I really love everything about this guitar, and I'm blown away daily by the sheer amount of tone it has to give you.
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welcome aboard colorblindb
using those heavy pat martino gauge strings...can tell you were a bass player!! haha
nice lookin tele..enjoy
cheers
ps- see you are using old school 5 screw pickguard style!
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I got out a bunch of my guitars this weekend. My Gibson 339 and 175, and my Kirn Tele.
I found my favourite was an inexpensive FSR MIM Tele that I paid $750 for a couple of years ago. It does the J thing admirably.
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never had a tele
what do you proper tele guys
think of these ?
https://m.thomann.de/gb/harley_benton_te_90qm_hh_trans_blue.htm?o=38&searc h=1606794684
£200
too good to be true ?
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Never played it, but I am on this Dutch guitar forum and they are very positive about it there.
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I am right now in the process of hunting for a Tele... (you can check nearby thread I opened). Originally Posted by pingu
I tried one HB... it was ok... but I like Affinity better - if I had to choose between the two.
I planned for a cheaper end Teles first - like Squires and HB or Vintage (brand) -- but after trying a few (though they were very well-made and nice guitars) I decided that I won't go even for Classic Vibe...
When I plugged in MIM Standard I finally heard the idea of tone that I was after really coming out there
That tone lived in my mind since I heard some years ago whne I played old American Tele in the shop... it was so sweet.
When I bought Martin 00016-gt I could also get 00018,00028... but it was that particular guitar that I liked, there was other 00016 which I did not like that much.. I just got it right in my hands.
Now after trying a few Teles - I think with Teles it should be the same thing.. I just have to try regardless of brands and prices (as much as possible of course) and when I get The One in my hands - just find the way to keep it.
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NTD : New Tele Day Originally Posted by pingu
Sometimes it is true.
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Are those of you who gig stock teles ever bothered by the single coil noise? The few times I've brought my single coil strat to an otherwise acoustic jazz band, I've felt that the noise stnd out more than it does in an electric band
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Actually I found P90s (common for jazz) much more noisy than modern singles Originally Posted by Average Joe
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Some fixes: Originally Posted by Average Joe
1. Shielding tape in the guitar's cavities.
2. Noise gate pedal.
3. More cymbal from the drummer
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Hi,
Here is my Squier Standard Telecaster (1996 - Midnight Wine)
A bit neglected at the moment, I'm in a classical guitar period.
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Is it perhaps the 25.5” scale that creates this Tele-love? Or the under wound neck pickup? Or string-through-body?
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I never noticed scale difference between guitars... I guess for some players it is important, for some not... Originally Posted by Eck
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Not sure I can put my finger on a one thing that draws me to the telecaster. So maybe it's the whole being greater than the sum of its parts. Originally Posted by Eck
The telecaster is a brilliant piece of engineering and for making music, a remarkably versatile tool. It's fun to play, it sounds good and it's user serviceable.
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Non of that on my Tele.... Originally Posted by Eck
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Amazing. And it’s one of the very first if not the first solid body guitar design. Originally Posted by Little Jay
Non of that on my Tele....
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Did you relocate the bridge to accommodate the short scale neck or was the guitar short-scale design originally? Originally Posted by Little Jay
Non of that on my Tele....
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I think today there is a lot of cultural historic refernce already both in jazz and rock music... Originally Posted by Michael Neverisky
I mean.. I am more after the tone and playability and I would not buy guitar as 'a fetish'... but I would like to get a good Gibson or Martin from 30s or 40s... as well as a good old vintage Tele... of course ig they play and sound good...
But still there is a huge part of reference...
Jazz and partly rock already became sort of 'early music'... and it would be like getting a real 18th century harpsichord for a musician whose passion is baroque music.
Tele is very symbolic instrument...
And by the way I think the way Julian Lage chooses the instruments for the project is pretty much connected with their cultural identity.. .Julian is young and for him it is already having some historic perspective.
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On that point, as someone who has owned a few 30s Gibsons and pre-war (meaning WW II) Martin guitars I feel confident is saying that some of the early Bozeman instruments from Gibson and many of the guitars from the tenure of CFM IV (Marquis, Golden Era, etc lines) are superior to the vintage guitars. Playability is better without a doubt and you're likely never going to hear the difference in performance or recording without a serious investment in sound reproduction. Originally Posted by Jonah
MHO, YMMV.
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What identifies guitar as telecaster, IMO, is idiomatic image.
Specifically shaped solid body and headstock, two single coil pick ups, angled bridge PU with 6 metal rods, neck PU with metal cover, "Telecaster" written on the headstock.
Variations are acceptable if guitar is Fender, "by Fender", or eventually by some other company established, or approved by Leo Fender.
Everything else are guitars more - less resembling Telecaster.
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It must be somewhere in this thread already, but I made the neck sink slightly deeper into the body by taking off a little wood of the neck base and by reshaping the rounded off corners of the neck pocket into square corners. Originally Posted by Tal_175
*edit: found the picture:
Last edited by Little Jay; 12-02-2020 at 01:07 PM.
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Sorry I must have missed it, this is a huge thread Originally Posted by Little Jay
So I'm guessing you measured the distance between saddles and the nut in a 24.75 scale guitar and made sure the distance is the same by cutting into the body so the intonation is correct. Am I right?
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Only 1682 posts! Originally Posted by Tal_175
Sorry I must have missed it, this is a huge thread
So I'm guessing you measured the distance between saddles and the nut in a 24.75 scale guitar and made sure the distance is the same by cutting into the body so the intonation is correct. Am I right?
What I did was putting the neck in the pocket, put the bridge in place and measured the distance form top nut to bridge saddle indeed. That was a little more than the 24.75" of course, so I removed the surplus (should be .75") from the neck, so the distance between top nut and bridge became 24.75". I set the bridge saddles somewhere halfway for the measurement.
I remeber measuring a lot of times and also making sure the the distance from top nut to fret XII was the same as from fret XII to bridge.
I figured I had a little room to wiggle, because the Tele-bridge construction has long intonation screws, so I took as little as possible off the neck because I didn't know how far the trussrod would extend into the heel. It worked out fine but it was close and it's good I didn't take more off the heel, because I could just see the start of the trussrod cavity!Last edited by Little Jay; 12-02-2020 at 01:38 PM.
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To my mind, all of these work together (in conjunction with relatively light strings) to produce the Telecaster's distinctive "twang" as heard on so many recorded songs. The instrument has a distinct visual look, it balances well on strap or knee, it sounds great live and records beautifully, It is relatively inexpensive and easy to work on and physically nearly indestructible. It has found wide adoption in a number of genres. What's not to love? Originally Posted by Eck
Aside: Mrs k hated my Strats, which to her sensitive ears were "Too twangy." She loves my '66 Custom Telecaster and my nameless T-Type.
Maybe I just got better? Yeah, that's the ticket.
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