Ask Zac

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.
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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.
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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.
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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.com

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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 neck
Music City Bridge saddles
Killer Vintage and Adder pickups
Custom Emerson wiring harness, with the tone control only on the bridge pickup
MJT pine body

A one-of-a-kind blue burst finish and relic paint job done by Brad Paisley himself

The 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.com

To Support the Channel:
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Tip jar:  https://paypal.me/AskZac
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