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