Not many people can monologue on a guitar channel without playing and keep people's attention. Zac, you are a great story teller. I very much enjoy this channel.
Completely agree. One of the few guitar channels I can just stick on and listen to and learn from his experience. I'm not into country music at all but absoultely love hearing Zac play and really appreciate hearing about his experience. I've also finally been convinced to buy a Telecaster. It's not a particularly high end one but a mid-90s Mexican made Fender and I have to say I'm kicking myself for not buying one sooner. It instantly became my favourite guitar and is amazing versatile. So thanks Zac for that :D
When we all bought “vintage “ guitars back in the 70s they were because the contemporary guitars were not as good. So I bought a 55 tele at We Buy for $450 and a 57 strat for $1000 and would leave them in the locker at the show I was doing on Broadway. I used to tour with the strat. I had to do a lot of customization to make those old guitars work for me. New tuning machines. I flattened the neck installed bigger frets. Fast forward to today. I find that new well made guitars are better than those old instruments. They’re easier to play. And with all of the variations of pickups and parts you can get a new guitar to sound great. And they don’t cost an arm and a leg. I personally don’t like a guitar whose value has been decided by doctors and lawyers. So I really don’t care I love my MIM tele and my American Standard Strat and my Memphis 335. So I’m good.
We are in the golden age of new gear. The gear made today is great (not only guitars, but microphones, channel strips, synths, amps, pedals, everything). The old gear sounds great, but many times needs some work to play well. Collectors, want all original, and that doesn't always make for the best playing gear. I'd prefer a vintage piece that is already hacked so I can fix it's shortcomings and still use it's outstanding qualities.
I agree the prices don't make sense, and the fit and finish of new guitars are great, lots of tonal options but it's the sound, the tone, it's not the same. A 62 RI Strat does not sound the same as the real thing. Same with a 52 Tele? 59 Les Paul? Not sure why that is. Better is subjective but different is not so much, just can't get the same tone.
I'm an 80s kid, who started playing in the 90s. I'm starting to realize that nostalgia is the key word. For me, its nostalgia for those guitars that were super cool and just out of reach when I was young and super excited about the guitar. I dig proper vintage guitars too, but they aren't the guitars of my generation, and not the ones I'm nostalgic for. Most people might not think twice about 90s guitars, but for me, seeing those guitars that were super rad in the musiciansfriend magazine, pop up for sale on reverb, always makes me smile, remember fondly being a kid, and all to often, reach for the wallet. None of them are rare or valuable, but they've got an irreplaceable nostalgia factor for ME. I bet if people really thought about it, they realize they have similar feelings.
PRS, Framus, Knaggs, Music Man, Suhr, Friedman, LSL, Crook, I could name many more. All of these companies are making great guitars. Affordable guitars, though not always cheap. But these are all built better than most all vintage guitars. They may not sound the same as a vintage piece, but they sound great and play like butter and are built to last. Yeah, I love a nice vintage guitar, but the new stuff made today is fantastic.
I have a 2008 PRS that's rare. It's my favorite guitar, but it's value is now around $7k and I can definitely relate to it not being fun to play and leave on stage anymore. I now play a Squier that I've built up.
During the latest Dipped in Tone Podcast, Rhett mentioned Paul Reed Smith talking about Hendrix recording Wind Cries Mary on what was basically a brand new guitar, through a brand new amp and that kind of tone is what people reference as a "vintage sound". I think that kind of idea is pretty interesting.
Yes, its a weird kind of logic that argues that the “ageing” of pickups and wood make a “vintage”tone in instruments that made “classic” tones in the 50s and 60s, but were new and unaged at the time. Perhaps that’s why “relicing” really threatened so many people? The issue was less how it looked “old” by manufacture, and more that it answered the “played in” argument about the superiority of “vintage” guitars. I’ve always thought the real value of a Fender Telecaster or Gibson 335 lay in the design itself; both for its effectiveness and its “character”/idiosyncrasy.
@@paulcowart3174 I would agree that many new players don't understand that the amplifier is responsible for the majority of your final tone. I've seen guys spend thousands of Dollars trying different pickups searching for "that tone" all the while playing through a sub-par amplifier that makes everything sound average. Upgrade the amplifier first, only then will you be able to realize the small differences the instrument contributes to the overall sound. And when I say amplifiers I do indeed include speaker choice. Choice of speakers could be compared to tires on a car. The right speaker for the job to desired tone is paramount.
Yup, old wood makes a big difference in tone..........it is called "tight grain" and "harder" ! I lived in a house in Groves TX that had 2x4 framing. The house was built in the '50s and I tell you what, that pine was extremely hard to drive a nail thru !
@@AskZac Zac, serious question; How come on a clear mid-day in NYC I can look up in the sky and see the moon, face time call my buddy right then and there during a clear midnight in Perth Australia and he can hold his phone up and see the same moon at the same time? It's there and can be done every day so long as it's not cloudy. Shouldn't us being on opposite sides and opposite hemispheres of the Earth make that impossible? Is there a mirror in space? Or is it some effect of "refraction" or the "gravitational bending of light" that can be explained with math we don't understand by scientists we don't know because we have faith and believe it to be true? I'm honestly not being smug here (unlike people who deride "flat earthers" as having lesser intelligence) but I'm yet to have someone explain that to me. **(Typos edited as I'm sure my fat fingers mistyping words will be catalyst for someone to dismiss my inquiry)
The reason people buy vintage gear divides neatly into two camps. Musicians who use their gear. Collectors who admire their gear. I don't have a problem with either view. Vintage guitars are historic time capsules, a message from the past. I fall somewhere in between. For awhile I was buying vintage and collectable instruments and that was fun. Fast forward ten years, I have about the same number of guitars, but they're mostly MIJ and MIM Fenders from the last 20-30 years. I have hardly any true vintage instruments left and they all have sentimental value far in excess of their monetary value. Bottom line is that I think any reason that a person may have for loving guitars is a good one. By the way, Zac is spot on that we should play vintage because we love the guitar not just because it's "vintage." Vintage isn't necessarily better than some of the exceptional guitars being made today.
Worrying about high dollar gear getting stolen or damaged is a miserable feeling. When I was 20 or so, I saved up for a new 335. It wasn’t vintage or anything special, but that $2800 it cost me might as well have been a million dollars at the time. Gigging with it was like a 6 hour anxiety attack.
Insurance brother. I understand the exact guitar can never be replaced though Insurance helps with the anxiety or just buy a Mexican strat or Tele for gigs or whatever less expensive good guitar you like that you don't worry as much about. All the above I do. Save your expensive instruments for the studio or higher end gigs that are safer.
Be careful with the vintage axes some may be in bad condition and totally unusable ! Sometimes even beyond repair..I had gotten a 1967 Telecaster that was beaten and not well taken care of. The neck was petrified and back bowed and it was very tragic how it was damaged by someone that really didn't care about it, but on the same token by the thing being damaged it made it possible for me to get it ...for $75 and a can of beer ! Chance of a lifetime deal but the guitar was totally unplayable and useless so I sold it to reputable guitar dealer that specializes with vintage high-end guitars and I had traded it for a Rickenbacker 360 and some cash but if that neck wasn't back bowed and all I would have kept that guitar! A lot people treat these guitars so badly to the point of making them damn near worthless ! I have restored numerous vintage fender guitars and a lot of them were owned by guys that were irresponsible.
Zac, you are so right about old wood. One of my Teles I built it out of 80 yr old wood that came from an old church. It was the scaffolding that they used to clean the stained glass. It just has a ring to it that you cannot find in any newer wood.
I like old amps, old guitars, old motorcycles, old cars, old dogs, old friends... bottom line, have and enjoy things that inspire you, old or new.. we only have so much time here on planet earth..
My personal opinion is that vintage guitars were NEW GUITARS when used on the records that we love. My Custom Shop Fender guitars are excellent instruments and inspire more than any vintage guitar I’ve ever owned. Especially with the incredible relics that are being made today, you can get the vintage feel and tone without the vintage problems. But everyone is entitled to their opinions. This is just mine! :)
Agree totally. The few vintage guitars I've owned were nowhere near as good as new Custom Shops I own. I don't even lust after vintage guitars, but I do lust after new "relics" 😃
So much sense spoken in this Video. As with most rare collectibles vintage guitars command very high prices but if it’s just a great sounding and easy playing guitar you’re looking for there are some really nice new instruments out there.
I played an Eric Johnson Semi Hollow Strat not too long ago and they were talking to me about how that neck is based on a vintage early Strat and when I put it in my hands I felt like I was trying to wrap my hands around a California Redwood. I thought to myself that if I paid the astronomical price of a vintage Strat and it had a neck like that I'd cry my eyes out. It was just completely uncomfortable to me but I guess some people love that. My favorite Fender neck that's not from the Custom Shop or whatever is just the simple modern C neck. That's what I try to get if I can on Strats and Teles. Chris Buck is the same way I'm assuming because his number one Strat is a Highway One then he must like that type of neck too.
Get a guitar you love, keep it and play the heck out of it until it's vintage. That's a win all the way around! I play inexpensive Squires and i love them but I don't expect them to jump up in price.
Great points Zac. I am often eating dinner with my L5 in downtime at gigs. Sometimes it just puts you right on edge. It’s annoying because you just can’t relax.
I used to take my '54 Goldtop LP on gigs. Once in awhile, someone would mention how good it sounded and ask me about it. I always said that it was a reissue. It made me nervous that it was being noticed so much, so I stopped taking it out. Say what you will about vintage prices and new guitars, the effect of age on wood and electronics is why most vintage guitars sound the way they do. Nothing can duplicate this. Many (most?) vintage guitars are just magic in a way that no newer guitar can be, and those who sell them and those who can buy them know it. That said, A good guitar is a good guitar. If you find a new or newer guitar that works for you, great. If you find a vintage guitar that does the same, great. It doesn't matter. What does matter is the music you make. The instrument is irrelevant. Play music, not guitar. Cheers, Zac. Stay healthy.
Or perhaps it was just a decent guitar? It doesn't seem to occur to anyone that there's a good chance that it's only the guitars that play well and sound decent that survive. So you're looking at maybe 10% of the original output and probably the top 10%. I had a 1965 Jazzmaster. I bought a Japanese Jazzmaster and put Lollar pickups in it. Sounded indistinguishable from each other. Sold the 65 - just didn't want to take it out to play because of the value. That's not what I play the guitar for - to be anxious.
I used to have a 2 tone burst 64 Jazz bass. I was worried about gigging with it. Afraid to take a whiz and leave it on stage. I used to come home and make sure it was still there. The frets were practically bald but I was afraid to refret. I ended up selling it because I wasn't able to enjoy it and I got a better tone out of my '75 which was more easily replaceable.
@@rrdream2400 I know exactly how you felt. However, professionally re-fretting a guitar/bass is like putting new brake pads on a vintage car. It makes it playable (drivable) and it ought not reduce its value, but unreasonably, it does to some.
@@pdp977 it's not the good ones that survived, it's a percentage of the total built that survived. People keep rehashing the bad ones were thrown away theory, doesn't hold water. Also Sound is subjective
I was a teenager in the late ‘60s to early ‘70s and would go to the music store to try out the guitars which I couldn’t afford to buy. I always remember trying a Telecaster with a maple neck, this was it as far as I was concerned it was a really good playing experience. After about 50yrs I finally bought a Baja Telecaster and I love it.
I have mixed feelings about vintage. The fact that they are unique, good, and bad. Collectors are greedy and want to push the prices up. I build guitars that I play. Vintage doesn't excite me like it does others. If you're that concerned, don't spend the money on them. The market is controlled too much by influencers. That's just stupid. Old wood is great, but it doesn't mean it's good. Nostalgia has its limits as well. Cheers, Zak. You are doing a great job. Thanks
Zach, this is a show I had asked you about making in a comment of a previous video and I was so stoked when I saw the notification for this one. As usual, you approach these things in a very level headed fashion. Two thoughts: First, it’s very easy to make strong arguments from either camp on the vintage vs modern debate and you will usually find that most people are promoting the belief that is in line with the gear they own. Vintage gear owners rarely say new guitars are better and vice versa. As someone who does not own a vintage guitar, but really wants one, I think there is also something about owning an instrument that has a story, a piece of history so to speak. Maybe I will finally get that vintage Strat and find it plays and sounds worse than my modern boutique ones. Who knows? Second point is that you made a really reallly important statement that was almost an aside. Vintage Amps have not inflated the same ways guitars. They are by far the best deal in vintage gear, and they just so happen to affect your tone more than anything else in the chain besides your own fingers. As someone who owns and has owned a lot of amps both old and new, I can say that IMO, vintage amps are definitely better. Better iron in the transformers, simpler circuits, etc. I think a modern reissue of a classic amp (Deluxe reverb, Plexi, etc) is likely way further off from the original, in a way that would be audible to an audience, than a modern boutique guitar vs it’s vintage counterpart. Thanks for a great episode. It would be cool to hear the same lick played on your ‘67 vs one of your boutique teles though... cheers.
Great segment as usual Zac. That vintage market sure hit its peak back in 2007 or so. It goes up and down, like anything else. A lot of people who buy vintage, rare gems keep them in jars, kinds like guitars in jars. It's a shame, really. They need to be played, heard and enjoyed. Are they all worth the price they sell at? Some yes, some no. It's not automatically a 'great' vintage guitar because of its brand and age. There were duds then too. Some sounded better than others. Some folks have a lot of money to throw at stuff. Good for them. I don't. I remember telling one of my buddies, who was so happy to have a vintage strat in his collection, 'you're doing ok, can't you afford to buy a new one'??? haha.
I bought a 1961 Gibson Les Paul jr in January of 2021. I was expecting an ok guitar but once I held it in my hands and played it blew my mind. Here it is 8 months later and its still inspiring me to play. Love it.
The LP Juniors are really nice and affordable guitars. I have a 1960 Les Paul Special that I fell in love with the first time I played it. The P90's are outstanding!
I can relate to the nerve wracking aspect of gigging vintage gear. I had a 1960 Jazzmaster that I was uncomfortable gigging with after a while. It was simply taking too much of a chance to bring it out to gigs anymore. I've already had gear stolen after playing out in the past and even just the fact that something could happen to it at the gig at a break as you mention. Yes, it stole the satisfaction and enjoyment away from playing the guitar! Hey, I'm with you about the "Flat Earthers".. YES.. wood does play a role in the tone of a guitar. It's not only about the pickups... the wood is just as much of an influence.. Awesome video, thanks! :)
I really like my newer Fender Professional Series Telecaster's (2018 to 2020), had to get the pickups that i liked in a couple of them which was easy to do. I have played several vintage 50/60 telecasters and expensive fender custom shop vintage style telecasters but still like my newer professional series telecasters better. Maybe its the feel of the Deep C modern neck I like better although I really like the 60s style telecaster necks. I think if you find a Vintage guitar you really like buy it as you said about Vince, you may never find another one like it which makes it more special.
I'm 75. I've owned vintage guitars since before they were vintage. At one point in Tokyo, I had 47 really good vintage guitars. Four Blackguards. Half a dozen pre-63 Strats. Lesters out the kazoo. Brazilian Martins, Gretsches, Emmons Steels, you name it, I had a bunch. Through a clean amp, only a ‘59 Lester gets that tone. All other guitars can be mixed and matched. I’ve owned them all minus that particular Lester. I sold them all when I came back from Tokyo in 2000. These days, I have 14 guitars and the ones I play most are my Martin Authentics. They aren't as good as the prewar Martins I've owned. They're better. Far better. The only remotely vintage guitars I have are a '74 Lester Standard and a '63 D28. I'm fine with that...
We are as humans all restless, this energy has to be channeled outwardly somewhere. Gear Acquisition Syndrome rears its ugly head in the consumerism you address. The latest color, hardware, electronics combinations are infinite apparently as evidenced by the marketing and sales we anticipate and spend on with every new lineup! The volatility of vintage guitars and amps is insane IMHO. I have the crazy habit of buying and selling mid-priced guitars and amps and feel like that is a bit crazy. Same addiction, less cost. I am selling my larger collection and purchasing better quality but keeping my investments in the sub $1,000.00 range. I am an average musician and could never justify Vintage price spending any more than I could a Rolex or Maserati. Cool video and great playing as usual!
I have played a lot of vintage Fenders teles and strats some are amazing some not so amazing. It is the feel and mojo of a vintage guitar that is so attractive but you don't necessarily have to spend so much money to get that. My Nash T63 is an amazing guitar and it feels broken in just like a well used vintage ax for way less money. The most important thing is does the guitar inspire you to create music. If it does the year it was made matters not one little bit.
I have a Big Apple Strat that I bought new in 1997. I've always been happy with it, but I have to say it is really coming alive now. It has a magical sound that it didn't have before.
The last thing you said is what I was thinking. It's the variance in old hand-made instruments that gives them their unique character. Some are exceptional, and others are not very good at all. Given the rarity of the good condition / unmodified ones, and the fact that people expect top dollar for anything old whether it's good or not, it seems like it's better to look at new custom made instruments where you can have everything you want and can swap out parts as desired, rather than go chasing an ideal thing that might turn out to be a pig in a poke. I have found that brands and prices have little to do with my enjoyment of a thing. Stereo equipment is another example of this. It's often about the synergy of the entire signal chain. By connecting a bunch of expensive components, you are in no way guaranteed of getting a good sound.
Rick Kelly at Carmine Street Guitars, uses wood from really old NYC buildings- "Bowery Pine" and they're the best of both worlds, I've found. Ancient wood, made to spec. Oh, and I fell in absolute love with a Witfill blackguard- I never even bothered to plaug it in before I asked to have it put on layaway. You're absolutely right about acoustics- my Regal parlor guitar is from 1925-35(?) and it sounds amazing. It's hard to play and you can't put a capo on its gigantic neck, but it sure sounds pretty. That said, I play my 12-fret Waterloo much, much more, for all the reasons you pointed out. I still think that the best way to get a "vintage" guitar is to buy one you love new and play it for 37 years. I'm looking at you, Skippy, my beloved 62RI Strat from 1983. Great lick at the end! I'm gonna play that all the way through the debate.
Thanks Zak, some real food for thought about vintage guitars. I have a vintage Deluxe Reverb that makes all my guitars sound great no matter how old they are😉
I totally agree, wood matters. It matters more than we even understand. I like and own vintage instruments. Mainly '30's and '40's Martins. But this month I bought a used D-28 Authentic 1931 version. This guitar was built in 2013. It is everything I would look for tone wise in an instrument. I always look at anything new this way; if I found a vintage instrument and it sounded this good, would I be happy with it? This is the third Authentic D-28 I've bought, and this is by far the best one I've had, regardless if it was built in 2013 or 1931. Great episode Zac, thank you for all you do.
You hit the nail on the head for my reason I sold my 1978 Strat for a new one! You feel more like a caretaker that you have to keep it preserved to hold or help appreciate its value. Plus many vintage guitars need work in order to be gigging worthy or you’d have to get a better case than its original
Hey Zac! I love your channel and I plan to pick up some merch on payday. My take on “tone wood” on electric guitars is that it’s a feel thing more than what is picked up by your pickups and into your amplifier. I think the feel is important as a player, but I think even someone as experienced as yourself would have a difficult picking that out in a blind test.
I remember talking to Dad in the 90's about the vintage ads in Vintage Guitar magazine. '57 LP Jr for $2000. 50's Telecasters for as low as $4-5k. Seemed like an easy leap to make when the new relics and reissues were going for $1300-$2500. Great stuff, brother.
Ahhhh the tone wood debate. There’s no substitute for mature tone wood, most likely to be found in a vintage instrument - but NOT necessarily. I have a vintage Telecaster and it has THE sound of mature tone wood. I have other Telecasters that don’t. The closest I’ve found (and I’m sure there’s others) is Nash Guitars (you also mentioned MJT and Danocaster which are in the same sphere) that achieve a very vintage-like tone at reasonable prices and don’t leave you sweating bullets to leave on stage after a gig. In my experience it’s these companies if you want a player guitar with vintage tone, or search through the hit and miss world of real vintage instruments and be prepared to take out a second mortgage. I can still remember seeing Craig Ross playing at a Lenny Kravitz concert with his 1955 Tele. The very first strum I was like, now that’s how aTele should sound, but I could guarantee that not every 55 Tele would sound like his does. To me Nash and the others mentioned deserve respect for making a huge effort to produce guitars that sound like what we expect of the models they duplicate.
Enjoy the Channel. Great topics & comments. Miss my '51 Esquire from a long time ago. Now I have a 2010 Fender Roadworn Tele. Closest I could afford like the '51.
Those Musikraft parts as well as Mark Jenny and his son’s work are fantastic. My favorite Tele has a Blackguard Musikraft neck with a Warmoth swamp ash body and Duncan Broadcaster pickups. The body and neck were reliced by MJT. I also had a ‘69 Tele with F Bigsby that was heavier than hell but I loved the clubby neck and sound. One of the ones I shouldn’t have sold.
Monty Cantsin A fair few of them, they just didnt match the mjt body i have.I had MJT necks, Warmoth, genuine usa & mex fender. i tried a Fender Roadworn neck & thats what stayed. it resonates well, really tight fit in the neck pocket. all the other necks i did finally match with other bodies but it was a process. fo me it has to feel right & resonate well acoustically & not just a matter of bolting up any old neck to any old body, thats just me.
@@rickgoughguitar: Thanks for responding. I couldn't find a Telecaster that I liked so I decided to go down the route of putting together a partscaster. I had a really nice body made by USACG and aged slightly by MJT but USACG ceased production before I could have a neck made by them too. I've been looking at various companies for a neck but I'm worried that it won't be a good fit for the body right off the bat as it were. I completely agree with you that the guitar has to resonate well acoustically and the neck being right is a big part of that. I just hope I don't have to spend a fortune on various necks in order to get the right one!
Monty Cantsin yes its definitely a search. I live in rural Northern Australia & basically if you want to try something you have to buy it (nearest decent music store is 700 miles away) the best thing ive found for a neck is to find the fretboard radius you like, back neck shape & frets, measure your neck pocket & hit up guitar mill. i like a deeper neck pocket on my bodies, to me the strings feel more like being tuned 1/2 step down, probably in my head though lol.
Great points Zac! I’ve only owned one vintage guitar and I completely agree with you on the point of worrying about a vintage guitar on the local bar gigs that I do. What if somebody knocks it over let alone runs out w it? I even had a small part of me that feels like I should only play it in special circumstances so that I don’t wear out the frets. Well I sold this 63 330 back in 2000 and now of course it’s worth about three times or more so there’s that other side of the coin that they really are investments. Now I just make parts casters and they leave me wanting nothing. Telecasters are very simple instruments and if you can file a nut and do a set up you can put one together a really nice one exactly the way you want it.
I have a 74 thin line tele and a 78 Stratocaster and feel the same way, I actually quit using my vintage guitars several years back and built two telecasters and repaired to strata, and I now play my built telecasters and I am very content, thanks for posting this video Zac
Hiya Zac, Thanks for sharing. After over fourty years of playing, repairing and some building of guitars, my opinion on Vintage guitars is totally in line with what you're saying in this vid. I must say that they're all different, but at the same time these oldies from before around 1970, share a particular brilliance that is very hard to find in later guitars. I think it has to do with woods and how these were dried. Also Leo's hardened hardware has yet to be equaled. To get the sound of old fender guitars, they need a kind of sirup before finished and I think I really found what it is. It's bringing the brilliant ring to the sound. But not when the wood is kiln dried and the year rings are aligned in the wrong direction. Greetz y'all from the Netherlands.
I really enjoyed your video. Definitely a lot of great advice when it comes to the tricky world of vintage guitars. A number of times I've offered to buy guitars I liked years before their owners were ready to sell. Twice I've been contacted years later asking if I was still interested. I was able to purchase very valuable guitars for down to earth prices just because the owner or the owners family remembered I was interested.
In a sense, vintage guitars are free. If you choose a decent instrument and take pretty good care of it, you'll sell it for what you made (and then some) a decade later. Seldom true for boutiques.
Always like your videos Zac, to your point about old wood, I've been a professional carpenter for 49 years now and can tell you for a fact that when you try and pound a nail into a 50 yr old stud or joist, it's gonna be hard as a rock. Also have to agree with your friend about the 67 Tele, to me it has the sweetest sound and a really cool look. She's even got some great tan lines! I can't afford any vintage stuff but get a lot of enjoyment from putting parts together and basically making my own version of a custom shop instrument . Takes a lot of time and work but at least they are my own.
Great show! All good points. I retired my 93 strat from playing live because of sentimental value and didn't want it stolen. I can relate to not enjoying your break for that reason. So true all vintage gear is not the same. I've played great guitars and ive played clunkers too. Thanks so much for these shows. I love the truetone show too!!
I’ve only played a few vintage guitars that really blew me away, a refinished 66 jag and a early 60s epiphone coronet, neither were over 3k though. I think just like modern production guitars some vintage guitars are dogs and some are great and have a special thing. On the other hand I’ve had great luck with my handful of vintage fender amps. They sound great and are equal in price or cheaper than some modern boutique stuff. I got my 67 bassman head for less than a new hot rod deluxe. I think we’re living in a golden age of gear with quality stuff in all price ranges.
Hey Zac, I love the way you approached this subject! I’ve recently become a tele guy without ever owning one in 20 years of playing lol. And own a fender 65 deluxe reverb reissue because of your video! I admire your approach with your videos and your a man of god so that’s a bonus! Inspiring 🙏 I agree with everything you said about the wood and all. But coming from an acoustic world, I feel this is 100% true because your sound IS the wood. But I feel like the wood with electric instruments doesn’t apply nearly as much. The wood resonates “vibrates” when a string is plucked, but the pickup is right below where your strumming so the majority of what the pickup is actually picking up is all a 1/4” away depending on action and pickup height. But I am a firm believer of if your electric guitar sounds and resonates nicely acoustically “unplugged” then it’s sure to be a great guitar either way. You can always upgrade your pickups. Either way just wondering what your thoughts were on that type of approach? And feel is a totally different subject also. Vintage feel is unmatched in my opinion. That’s why the newer fenders of today are going with a satin finish on the back of the neck vs glossy to mimic the worn feel of bare wood in my opinion. Cheers man! And god bless brother
Great video Zac. Funny how things change over time. I remember buying a 71 Fender Custom Tele in a pawn shop for $400, in 1980. It was just an older Tele. Still play vintage guitars mostly but got ‘em a long time ago before they got expensive. Could never afford them now.
Hi. Sorry for posting so much (but I got inspired). I've started collecting old Guild Starfire guitars, and they are affordable and cool. They're hollow bodied, and the weight is incredible. The most I ever payed was 1.800 for an original '66 and the pu's sound very good. If they have a Bigsby, I always pay less (you can always install one, but removing leaves scars)
Dude I sweat any guitar I have. Not just because of the values, but mostly because of the feelings I have invested in them. The wonderful times I have had with friends & family members playing these instruments. It doesn't matter to me the value someone else puts on my instruments.
Great video !!! When you were talking about old necks being harder and kind of fosselized ..... I was wondering what you thought of roasted maple necks ? I had built a couple of franken tele's over the last year that I used roasted maple necks on and , well , the first time I touched one , it just felt soo good ., I was wondering ( out of curiosity ) what you thought of them..... Cheers , Keep up the good work , Bro !!!
Had a vintage experience with a saxophone. I found a rare 1950s Selmer Mark VI, similar to John Coltranes and had an opportunity to play it and it played like butter. I had no intention of getting a vintage instrument, but it just played so well and sounded so great that I fell in love with it. Sadly, even getting a massive deal on it, it was still far more than I could afford.
I think an underrated factor in your sound, regardless of instrument, is how it feels to play. An instrument you have to fight to play is going to sound far different than one that plays like butter, even if everything else is constant.
I subbed recently, great channel. Great video! One other good thing I would say about the vintage thing to consider is that their value is pretty much guaranteed to at least remain the same, or more likely than not it will increase. Sometimes very quickly. The same can't necessarily be said for lesser known boutique builders. Meaning a desirable vintage instrument will generally be a good financial investment for he/she who owns it. It's a supply and demand thing, there aren't that many around and like you say, people will always want them. The dealers like Carters in the states or here in the UK ATB or Vintage n Rare continually pushing the values up if they can. I have restored a '64 Strat, all the hardware is original apart from a volume pot and the saddles and a couple of the pickups have been rewound. I got it in 2015, and Clive Brown restored it (body and neck refin) in 2019. It has roughly doubled in value since I first got it. Not a lot of other material goods you can say that about! Certainly not anything else I own! Ha ha. Double plus - it's a lovely playing and sounding guitar, plus it's a 'player' not a museum piece.
Excellent vid, thx. When I was young, playing in clubs in the early 70s, I had a bunch of (what was even considered then) vintage guitars -- 50s Esquire, Strat, 335s, several Gold Tops, a red (swear it) '60 Standard, etc. Lived in Kalamazoo, old guitars were everywhere, especially of course, Gibsons. Playing in clubs back then, no one knew nothing, didn't sweat it. Had a Firebird 7 stolen but that was by a 'friend' with a drug habit. But -- a bosom bud owned the '59 Spinal Tap burst (later sold it to Norm). We would switch off; I'd lend him my '54 GT and I'd play his '59 for a wk or two. Even then I knew that guitar was something else. So I did what any sensible player would do when they took a break: I'd take it out to the car with me whenever I smoked a joint with another band member, hold it between my legs. Of course, if it was winter, I'd stick it in that old brown case before heading for the parking lot with it. Sorry to prattle, struck a good nerve.
@Zac despite the fact that you and I have completely different taste in music, amps, and playing styles (altho we agree on Teles!), your vids have become almost must watches for me. You do a really nice job.
Regarding what you commented about vintage maple necks, the stiffness and hardness of the maple is not a perception. All woods to some extent contain sap and pitch. I had some Douglas fir beams once that literally leaked pitch all over the floor of my shop overnight. Over time that sap and pitch "cure" and turn into amber resulting in the wood becoming harder and less giving. Old slow-growth pine is prized among furniture makers because the density caused by the tight ring growth and ambering of the liquids make it often harder than many hardwoods.
21:51 Do a comparison of Telecasters. Select something for a beginner, Intermediate and A+ picker. Select a modern Tele against a vintage one. Who can decide on the “ultimate Tele”? (Maybe a Brent Mason Tele but paint it a didn’t color besides garage gray 😳🤣❤️)
Great show zac,ive always wanted a vintage tele but as you mentioned, the price seems to get in the way, i had 63 mosrite ventures model but sold it to put a d/payment on my plumbing truck🤦♂️ anyway when i moved to bakersfield in 1974 there was a guitar store on baker street that i wished i would have bought a couple of tele,s at s very cheap price. Thanks for the show.
Its what you love. I have 12 electrics (IBZ, Epi and Sq mix) but the wild card was a Delta Tone HSS Strat I bought for $75.00 New almost 10 years ago. Heck, I demo'd it thru a FM212. Screamed, then went home. During lunch, wife says "Go back and buy it'' which I did.. More head phones thru a few amps or MicroCube after a move but I still love it.. What ever gets you thru the night ….its all right.
I agree Zac old woods affect tone ,I have a custom built S Style guitar crafted in Japan by a very famous builder, body is 600 year old swamp ash and the neck is 150 year old aqua timber maple . I gig with this guitar and I always get comments about nice the tone is. It's eye candy, Daphne Blue , vintage white pickguard and it's a one of a kind. I bought it to be played.
I'm a vintage collector and I agree with everything you said. I buy guitars that I've never seen or played before. When you get into early instruments the number of makers is limited (there just wasn't that many). I have a 1918 Gibson L-1, a 1922 Gibson L-Jr (sounds incredible, never refinished), a 1931 Gibson L-4 (mint), a 1941 ES-150 (P-13 P/U), a 1951 ES-150 (3/4, P-90) and a 1960 Fender Duo-sonic. Prices will definitely drop but I love guitars and don't really care about the money. I truly feel like these instrument are my responsibility and am the caretaker for the next owner. When it comes to tone wood: on hollow, 100 year old vintage the difference is huge.
Thanks for this great video,on vintage guitars Zac. What you didn't mention on this subject,is the growing amount of counterfeit reproductions. 2 months ago,i had a discussion about this,with a customer,for a Fender Brownface Superamp. He told me,he owns a Fender Stratocaster 1963.I guessed him a value of around €25000 and he confirmed that.I told him that the quality of counterfeiting these kind of guitars is rising.When you sell such a guitar,lots of interested buyers will be quite insecure of the authenticety of such an offer.Even experts are getting a much harder time,to get all the facts straight. I told him selling such a guitar becomes much harder,instead of selling this Fender 1963 Super Amp(which is totally original,in mind condition and probably the last transition version to the Blackface era amps and asking price €4500),which i never saw any counterfeit reproduction.
I totally agree on the nostalgia point! My first car was a 67 mustang bought used in 76. I had to work on it all the time to keep it running. My first guitar was a 30 Gibson The Paul. Both long gone. I would like to have them back - only for the memories…what I have now is better.
Great episode as usual. Zac, it's clear that you feel that well-made boutique guitars can approximate the experience of playing a vintage guitar in good condition. But beyond the domain of the Fender Custom Shop or other boutique manufacturers, what's your opinion of the production models coming out of Fender today -- from the Mexican-made Player and Vintera series through the American Performer, American Professional, American Original and Ultra? Fender just released some Vintera Road Worn models as well.
Great video Zac! I really like your take on this matter. I still have some vintage gear and have sold some in the past but I really think things have gotten out of hand with prices. Here's an example to illustrate where I stand on the matter. Back around 2002, I bought a Silvertone 1484 amp in OK shape (all original, with the cabinet & speakers too but having some issues). I paid $180 for it after a bit of bargaining and my friend helped replace some capacitors that needed changing. It was my favorite amp for years but I decided to sell it when I was prepping for my over-seas move. I sold it for $500 in 2009. By this point, it was common knowledge that Jack White and a few other big names loved these amps and they were considered kind of cool. If you look them up now, they are regularly listed for $1,000 and up. If I had a grand to shell out for an amp right now, I would absolutely not buy the Silvertone again. I'd much rather buy something used from say Orange or perhaps a smaller manufacturer and spend probably half that amount. I loved the 1484 but it is no way, no how worth a thousand dollars to me. There are simply much better options out there if you're simply looking to play.
I didn't believe the vintage hype until I played a 64 Strat. I saved a ton and bought it. It really is what I was looking for and there is nothing modern that can capture the sound and feel. I own several boutique strats and they sound great but they just aren't as close to the 64 strat. It's got soul. But yeah, I'll never take it out to play, but I would sell every single guitar guitar I own before I'd consider selling my 64 strat.
I owned a 1962 hardtail strat for a long time. It was beautiful, and sounded amazing. I was so scared of it getting ripped off or broken that after a while I was hiring a guy to go to gigs just to watch the guitar. When I didn't take it out of fear, when I was gigging I would hire a house sitter to watch the guitar. It got to the point where owning it became a burden, and I ended up selling it. I have one of the first 57 vintage strats from 1982 that I have played almost to death and a very nice custom shop strat that is a beautiful guitar. They both play and sound really nice, but that 62 had magic in it. I miss it, but don't miss the stress thar went along with it. I agree totally with what Zac says. Keep on pickin.....
Vintage guitars are important because of the reasons you described. They have a sound and feel unlike modern guitars. That's why I like my Warmoth Teles. If you pick out the right specs, you can make a guitar with a classic feel and sound. Plus, you can change them about as much as you want because you aren't destroying collectible value. The down side to the Warmoths is that they won't be valuable. They are tools for working musicians.
I bought a new FSR Telecaster (MIM) a couple years ago for about $550 online sight unseen. I have a couple of old 60's Gibsons, a 70s Strat, and I love them, but the truth is the Telecaster is a great guitar and I play it just as often, maybe more than the old ones.. It's got a broader, flatter neck with big frets, great sounding pickups.. Great guitar. One of my amps is a Deluxe 65 Reissue. Based on a tip from Zak, I swapped the speaker out for a Celestion Vintage 30, and had the bright cap rewire to a switch so I could turn off and on. It's the nicest sounding amp I've ever had for about $700. I think some of the vintage stuff is nice, but I also think that some of the new stuff out there is better than it's ever been.
I put together a Strat from Warmoth - Alder body with a maple/maple neck. I swear after two to three years, I started to feel the neck resonate at some freq's and it sounds sweeter ever since.
I agree with everything you said 100%, but I'd like to add one thing---like a lot of guitarist, I want my guitar to look cool---and vintage guitars often have an aesthetic that very attractive, etc. and that looks like what I want my guitar to look like. Relic-ing is fine (sometimes), but so few do it well (Dano of course is the best). I'd love to get a 50s Esquire but will most likely get a Danocaster down the road.
Hi Zac. Have you ever had good tone coming out of Hot-Rod Telecaster Partscasters? Allparts neck, Joe Barden Bridge, Duncan Alnico 2 Pro, Fender Mexico Alder Body, CTS and Fender fender parts.
Great subject Zac. When I watch a major collectable guitar mogul go to.hie "warehouse" and sort through his stock to place in his shoe room I understand what has happened to the vintage guitar market. I see who has some control on the prices. I'm 67 and would love to have a replacement for the Thinline Tele I had to sell in the late 70's to put food on the table but the prices are too much for me. Thanks for your work.
I have a left handed 1960 McCarty Gibson Doublecut. (Same model Beato plays). It has the original frets and electronics on it. I'm not gonna lie: It sounds absolutely amazing for some stuff but it is in no way a workhorse guitar. This is why more times often than not it stays in the closet, and I will typically grab my MiM Tele or Gibson SG for rehearsals, jams, and gigs.
Thank you Zac, enjoyed this presentation. Regarding tone and feel of older/vintage instruments, there maybe a factor called "covalently bonded" molecules. When two materials are fastened together, over time their molecules can share their outer orbit electrons. (This used to be call 'Cold flow' - this term has now changed). The longer instrument parts (guitars, violins, possible wooded wind instruments) are fastened together the more they become 'one' piece' sharing outer electrons between materials. This is possible why we like the feel and sound (resonance) of older/vintage instruments. They will resonant differently than a new identical instrument. As a possible example of this, guitars with removable necks may sound different to sound when put back together. I seem to think my Stats get 'angry' at me for having there neck 'broken' when I do a neck adjustment and they pout for a few days and then everything is alright again. I watch a documentary on old violins in the million dollar range. Any change/adjustment /repair is meticulously managed.
Great episode once again Zac. I will add that when Dan announced he wasn't going to make Danocasters anymore the price for a second hand Dano soared, & when prices soar in America they nearly two fold down here, my heart sank (for both reasons) I stopped taking my Danocaster to gigs for the fear of some grub stealing it and more so me not being able to replace it. I started taking my parts casters. there is no way I will leave it out of sight now. its frustrating not being able to use my favourite playing guitar for what I bought it for.
I’m lucky I’m good at building things so the last 12-13 years I’ve built my own, including pickups. I have long hands and love big V necks. Way too expensive to get what I like, but I can use the very best hardware, pots, one pice blanks of perfect weight swamp ash, alder or pine, nitro and well under a grand. I could afford vintage, but I spent a lot of time with a 1954 Strat and 50 Broadcaster and they just weren’t all that. Yes, there are magic ones out there, but with torrified maple necks, Wudtone hardware for Strats, rutters for Teles. I’m happy and it leaves more for all of you.🎉
All the guitars I played in the 60's are now guitars I can't afford to own. But we live in a golden age of affordable guitars. American made Fenders are about the same price in adjusted dollars as what they cost in 1964. Sometimes less. And the used market has lots of lightly played nice guitars for much less. When I look for a used Tele I rather have one at least 10 years old. If the neck hasn't gone wonky by then it'll probably be a stable neck. I will agree with you, Zac, that there's just something that feels right about a 50 year old maple neck. Thanks for the video, Zac. Love the licks.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
Not many people can monologue on a guitar channel without playing and keep people's attention. Zac, you are a great story teller. I very much enjoy this channel.
I appreciate that!
Me, too! It is compelling!
Completely agree. One of the few guitar channels I can just stick on and listen to and learn from his experience. I'm not into country music at all but absoultely love hearing Zac play and really appreciate hearing about his experience. I've also finally been convinced to buy a Telecaster. It's not a particularly high end one but a mid-90s Mexican made Fender and I have to say I'm kicking myself for not buying one sooner. It instantly became my favourite guitar and is amazing versatile. So thanks Zac for that :D
Would you rather inherit a $300 k house or a $300 k 59 les paul ? Ah that’s a good one ain’t it ?
I think I'd go for the burst.@@dananthony6258
When we all bought “vintage “ guitars back in the 70s they were because the contemporary guitars were not as good. So I bought a 55 tele at We Buy for $450 and a 57 strat for $1000 and would leave them in the locker at the show I was doing on Broadway. I used to tour with the strat. I had to do a lot of customization to make those old guitars work for me. New tuning machines. I flattened the neck installed bigger frets. Fast forward to today. I find that new well made guitars are better than those old instruments. They’re easier to play. And with all of the variations of pickups and parts you can get a new guitar to sound great. And they don’t cost an arm and a leg. I personally don’t like a guitar whose value has been decided by doctors and lawyers. So I really don’t care I love my MIM tele and my American Standard Strat and my Memphis 335. So I’m good.
We are in the golden age of new gear. The gear made today is great (not only guitars, but microphones, channel strips, synths, amps, pedals, everything). The old gear sounds great, but many times needs some work to play well. Collectors, want all original, and that doesn't always make for the best playing gear. I'd prefer a vintage piece that is already hacked so I can fix it's shortcomings and still use it's outstanding qualities.
Nice observation by an actual player of the time. As with so many other things, its largely a case of Star-Bellied Sneetches.
Amen brother
I agree the prices don't make sense, and the fit and finish of new guitars are great, lots of tonal options but it's the sound, the tone, it's not the same. A 62 RI Strat does not sound the same as the real thing. Same with a 52 Tele? 59 Les Paul? Not sure why that is. Better is subjective but different is not so much, just can't get the same tone.
Yep, I have to agree with that statement. Same situation here.... I would say for acoustics it's the same for the most part... most part.... =)
I am turning my new Strat into a vintage version, by playing the hell out of it.
Lol!!! Good for you brother!!!
Make Rory proud!
I have a Godin Exit 22s from back in the 2000s that I do the same!!!
Go brother!
I'm an 80s kid, who started playing in the 90s. I'm starting to realize that nostalgia is the key word. For me, its nostalgia for those guitars that were super cool and just out of reach when I was young and super excited about the guitar. I dig proper vintage guitars too, but they aren't the guitars of my generation, and not the ones I'm nostalgic for. Most people might not think twice about 90s guitars, but for me, seeing those guitars that were super rad in the musiciansfriend magazine, pop up for sale on reverb, always makes me smile, remember fondly being a kid, and all to often, reach for the wallet. None of them are rare or valuable, but they've got an irreplaceable nostalgia factor for ME. I bet if people really thought about it, they realize they have similar feelings.
PRS, Framus, Knaggs, Music Man, Suhr, Friedman, LSL, Crook, I could name many more. All of these companies are making great guitars. Affordable guitars, though not always cheap. But these are all built better than most all vintage guitars. They may not sound the same as a vintage piece, but they sound great and play like butter and are built to last. Yeah, I love a nice vintage guitar, but the new stuff made today is fantastic.
I have a 2008 PRS that's rare. It's my favorite guitar, but it's value is now around $7k and I can definitely relate to it not being fun to play and leave on stage anymore. I now play a Squier that I've built up.
During the latest Dipped in Tone Podcast, Rhett mentioned Paul Reed Smith talking about Hendrix recording Wind Cries Mary on what was basically a brand new guitar, through a brand new amp and that kind of tone is what people reference as a "vintage sound". I think that kind of idea is pretty interesting.
All the "classic" albums were recorded on brand new equipment.
Yes, its a weird kind of logic that argues that the “ageing” of pickups and wood make a “vintage”tone in instruments that made “classic” tones in the 50s and 60s, but were new and unaged at the time. Perhaps that’s why “relicing” really threatened so many people? The issue was less how it looked “old” by manufacture, and more that it answered the “played in” argument about the superiority of “vintage” guitars. I’ve always thought the real value of a Fender Telecaster or Gibson 335 lay in the design itself; both for its effectiveness and its “character”/idiosyncrasy.
Point in case B Gibbons played a LP that was only 12 years old in 72 Amps make more of a difference in my opinion 😉
@@paulcowart3174 I would agree that many new players don't understand that the amplifier is responsible for the majority of your final tone. I've seen guys spend thousands of Dollars trying different pickups searching for "that tone" all the while playing through a sub-par amplifier that makes everything sound average. Upgrade the amplifier first, only then will you be able to realize the small differences the instrument contributes to the overall sound.
And when I say amplifiers I do indeed include speaker choice. Choice of speakers could be compared to tires on a car.
The right speaker for the job to desired tone is paramount.
@@hkguitar1984 Enzo Ferrari said "the tires make the car".
Zac when you called these trolls "flat-earthers" I almost spit my coffee all over my computer! Gonna have to bless the tip jar for that little nugget!
THANKS!!!!
Yup, old wood makes a big difference in tone..........it is called "tight grain" and "harder" ! I lived in a house in Groves TX that had 2x4 framing. The house was built in the '50s and I tell you what, that pine was extremely hard to drive a nail thru !
@@AskZac Zac, serious question; How come on a clear mid-day in NYC I can look up in the sky and see the moon, face time call my buddy right then and there during a clear midnight in Perth Australia and he can hold his phone up and see the same moon at the same time? It's there and can be done every day so long as it's not cloudy. Shouldn't us being on opposite sides and opposite hemispheres of the Earth make that impossible?
Is there a mirror in space? Or is it some effect of "refraction" or the "gravitational bending of light" that can be explained with math we don't understand by scientists we don't know because we have faith and believe it to be true? I'm honestly not being smug here (unlike people who deride "flat earthers" as having lesser intelligence) but I'm yet to have someone explain that to me.
**(Typos edited as I'm sure my fat fingers mistyping words will be catalyst for someone to dismiss my inquiry)
@@AnodyneHipsterInfluencer because you're on facetime & he's seeing it on your phone?
@@tomk1tl39 Do flat earthers believe in carved tops or are only slab guitars possible? I need to know. :P
The reason people buy vintage gear divides neatly into two camps. Musicians who use their gear. Collectors who admire their gear. I don't have a problem with either view. Vintage guitars are historic time capsules, a message from the past. I fall somewhere in between. For awhile I was buying vintage and collectable instruments and that was fun. Fast forward ten years, I have about the same number of guitars, but they're mostly MIJ and MIM Fenders from the last 20-30 years. I have hardly any true vintage instruments left and they all have sentimental value far in excess of their monetary value. Bottom line is that I think any reason that a person may have for loving guitars is a good one.
By the way, Zac is spot on that we should play vintage because we love the guitar not just because it's "vintage." Vintage isn't necessarily better than some of the exceptional guitars being made today.
Worrying about high dollar gear getting stolen or damaged is a miserable feeling. When I was 20 or so, I saved up for a new 335. It wasn’t vintage or anything special, but that $2800 it cost me might as well have been a million dollars at the time. Gigging with it was like a 6 hour anxiety attack.
Insurance brother. I understand the exact guitar can never be replaced though Insurance helps with the anxiety or just buy a Mexican strat or Tele for gigs or whatever less expensive good guitar you like that you don't worry as much about. All the above I do. Save your expensive instruments for the studio or higher end gigs that are safer.
Be careful with the vintage axes some may be in bad condition and totally unusable ! Sometimes even beyond repair..I had gotten a 1967 Telecaster that was beaten and not well taken care of. The neck was petrified and back bowed and it was very tragic how it was damaged by someone that really didn't care about it, but on the same token by the thing being damaged it made it possible for me to get it ...for $75 and a can of beer ! Chance of a lifetime deal but the guitar was totally unplayable and useless so I sold it to reputable guitar dealer that specializes with vintage high-end guitars and I had traded it for a Rickenbacker 360 and some cash but if that neck wasn't back bowed and all I would have kept that guitar! A lot people treat these guitars so badly to the point of making them damn near worthless ! I have restored numerous vintage fender guitars and a lot of them were owned by guys that were irresponsible.
Zac, you are so right about old wood. One of my Teles I built it out of 80 yr old wood that came from an old church. It was the scaffolding that they used to clean the stained glass. It just has a ring to it that you cannot find in any newer wood.
I like old amps, old guitars, old motorcycles, old cars, old dogs, old friends... bottom line, have and enjoy things that inspire you, old or new.. we only have so much time here on planet earth..
Aaron, this is by far the best comment I have read. +1 !!
My personal opinion is that vintage guitars were NEW GUITARS when used on the records that we love. My Custom Shop Fender guitars are excellent instruments and inspire more than any vintage guitar I’ve ever owned. Especially with the incredible relics that are being made today, you can get the vintage feel and tone without the vintage problems. But everyone is entitled to their opinions. This is just mine! :)
Agree totally. The few vintage guitars I've owned were nowhere near as good as new Custom Shops I own. I don't even lust after vintage guitars, but I do lust after new "relics" 😃
So much sense spoken in this Video. As with most rare collectibles vintage guitars command very high prices but if it’s just a great sounding and easy playing guitar you’re looking for there are some really nice new instruments out there.
I played an Eric Johnson Semi Hollow Strat not too long ago and they were talking to me about how that neck is based on a vintage early Strat and when I put it in my hands I felt like I was trying to wrap my hands around a California Redwood. I thought to myself that if I paid the astronomical price of a vintage Strat and it had a neck like that I'd cry my eyes out. It was just completely uncomfortable to me but I guess some people love that. My favorite Fender neck that's not from the Custom Shop or whatever is just the simple modern C neck. That's what I try to get if I can on Strats and Teles. Chris Buck is the same way I'm assuming because his number one Strat is a Highway One then he must like that type of neck too.
Get a guitar you love, keep it and play the heck out of it until it's vintage. That's a win all the way around! I play inexpensive Squires and i love them but I don't expect them to jump up in price.
Great points Zac. I am often eating dinner with my L5 in downtime at gigs. Sometimes it just puts you right on edge. It’s annoying because you just can’t relax.
I used to take my '54 Goldtop LP on gigs. Once in awhile, someone would mention how good it sounded and ask me about it. I always said that it was a reissue. It made me nervous that it was being noticed so much, so I stopped taking it out.
Say what you will about vintage prices and new guitars, the effect of age on wood and electronics is why most vintage guitars sound the way they do. Nothing can duplicate this. Many (most?) vintage guitars are just magic in a way that no newer guitar can be, and those who sell them and those who can buy them know it.
That said, A good guitar is a good guitar. If you find a new or newer guitar that works for you, great. If you find a vintage guitar that does the same, great. It doesn't matter. What does matter is the music you make. The instrument is irrelevant. Play music, not guitar.
Cheers, Zac. Stay healthy.
Or perhaps it was just a decent guitar? It doesn't seem to occur to anyone that there's a good chance that it's only the guitars that play well and sound decent that survive. So you're looking at maybe 10% of the original output and probably the top 10%. I had a 1965 Jazzmaster. I bought a Japanese Jazzmaster and put Lollar pickups in it. Sounded indistinguishable from each other. Sold the 65 - just didn't want to take it out to play because of the value. That's not what I play the guitar for - to be anxious.
@@pdp977 +1,000,000
I used to have a 2 tone burst 64 Jazz bass. I was worried about gigging with it. Afraid to take a whiz and leave it on stage. I used to come home and make sure it was still there. The frets were practically bald but I was afraid to refret. I ended up selling it because I wasn't able to enjoy it and I got a better tone out of my '75 which was more easily replaceable.
@@rrdream2400 I know exactly how you felt. However, professionally re-fretting a guitar/bass is like putting new brake pads on a vintage car. It makes it playable (drivable) and it ought not reduce its value, but unreasonably, it does to some.
@@pdp977 it's not the good ones that survived, it's a percentage of the total built that survived. People keep rehashing the bad ones were thrown away theory, doesn't hold water. Also Sound is subjective
“Flat earthers” oh my god, that was so great! Awesome episode Zac!
The earth is flat as far as I can see, Brett! lol
Thanks, Rhett! Honored to have a comment from you. Been watching your show for a long time.
It's great to believe that "old wood" add to tone, but in a solid body electric isntrument "science" tells the truth - it doesn't.
@@marcbolan1818 hahahahahahahahahahahahahahahahahahahahahaha!
Dear Flat Earther,
I bet you still use flat-wound strings.
Thanks!
Thank you so much!
I was a teenager in the late ‘60s to early ‘70s and would go to the music store to try out the guitars which I couldn’t afford to buy.
I always remember trying a Telecaster with a maple neck, this was it as far as I was concerned it was a really good playing experience.
After about 50yrs I finally bought a Baja Telecaster and I love it.
I have mixed feelings about vintage. The fact that they are unique, good, and bad. Collectors are greedy and want to push the prices up. I build guitars that I play. Vintage doesn't excite me like it does others. If you're that concerned, don't spend the money on them. The market is controlled too much by influencers. That's just stupid.
Old wood is great, but it doesn't mean it's good.
Nostalgia has its limits as well. Cheers, Zak. You are doing a great job. Thanks
Finally it's clear to me what the whole vintage market is all about! Thanks, Zac and as always, superb work!
Zach, this is a show I had asked you about making in a comment of a previous video and I was so stoked when I saw the notification for this one. As usual, you approach these things in a very level headed fashion.
Two thoughts: First, it’s very easy to make strong arguments from either camp on the vintage vs modern debate and you will usually find that most people are promoting the belief that is in line with the gear they own. Vintage gear owners rarely say new guitars are better and vice versa.
As someone who does not own a vintage guitar, but really wants one, I think there is also something about owning an instrument that has a story, a piece of history so to speak. Maybe I will finally get that vintage Strat and find it plays and sounds worse than my modern boutique ones. Who knows?
Second point is that you made a really reallly important statement that was almost an aside. Vintage Amps have not inflated the same ways guitars. They are by far the best deal in vintage gear, and they just so happen to affect your tone more than anything else in the chain besides your own fingers. As someone who owns and has owned a lot of amps both old and new, I can say that IMO, vintage amps are definitely better. Better iron in the transformers, simpler circuits, etc. I think a modern reissue of a classic amp (Deluxe reverb, Plexi, etc) is likely way further off from the original, in a way that would be audible to an audience, than a modern boutique guitar vs it’s vintage counterpart.
Thanks for a great episode. It would be cool to hear the same lick played on your ‘67 vs one of your boutique teles though... cheers.
I love the little lessons you’ve been doing at the end of your episodes - thanks for doing that!
Great segment as usual Zac. That vintage market sure hit its peak back in 2007 or so. It goes up and down, like anything else. A lot of people who buy vintage, rare gems keep them in jars, kinds like guitars in jars. It's a shame, really. They need to be played, heard and enjoyed. Are they all worth the price they sell at? Some yes, some no. It's not automatically a 'great' vintage guitar because of its brand and age. There were duds then too. Some sounded better than others. Some folks have a lot of money to throw at stuff. Good for them. I don't. I remember telling one of my buddies, who was so happy to have a vintage strat in his collection, 'you're doing ok, can't you afford to buy a new one'??? haha.
Finally someone that approaches vintage vs new with pure logic.
Thanks for your common sense.
...or so you imagine. haha... HEY! just teasin'.
As a new guitarist, I love your series of Ask Zac! Keep them coming your stories about guitars and amps please!
I bought a 1961 Gibson Les Paul jr in January of 2021. I was expecting an ok guitar but once I held it in my hands and played it blew my mind. Here it is 8 months later and its still inspiring me to play. Love it.
The LP Juniors are really nice and affordable guitars. I have a 1960 Les Paul Special that I fell in love with the first time I played it. The P90's are outstanding!
@@rosewoodsteel6656 very nice! Those vintage p90s roar don't they? I forget im playing a single coil. Fat full and great
I can relate to the nerve wracking aspect of gigging vintage gear. I had a 1960 Jazzmaster that I was uncomfortable gigging with after a while. It was simply taking too much of a chance to bring it out to gigs anymore. I've already had gear stolen after playing out in the past and even just the fact that something could happen to it at the gig at a break as you mention. Yes, it stole the satisfaction and enjoyment away from playing the guitar! Hey, I'm with you about the "Flat Earthers".. YES.. wood does play a role in the tone of a guitar. It's not only about the pickups... the wood is just as much of an influence.. Awesome video, thanks! :)
I really like my newer Fender Professional Series Telecaster's (2018 to 2020), had to get the pickups that i liked in a couple of them which was easy to do. I have played several vintage 50/60 telecasters and expensive fender custom shop vintage style telecasters but still like my newer professional series telecasters better. Maybe its the feel of the Deep C modern neck I like better although I really like the 60s style telecaster necks. I think if you find a Vintage guitar you really like buy it as you said about Vince, you may never find another one like it which makes it more special.
I'm 75. I've owned vintage guitars since before they were vintage. At one point in Tokyo, I had 47 really good vintage guitars. Four Blackguards. Half a dozen pre-63 Strats. Lesters out the kazoo. Brazilian Martins, Gretsches, Emmons Steels, you name it, I had a bunch. Through a clean amp, only a ‘59 Lester gets that tone. All other guitars can be mixed and matched. I’ve owned them all minus that particular Lester. I sold them all when I came back from Tokyo in 2000. These days, I have 14 guitars and the ones I play most are my Martin Authentics. They aren't as good as the prewar Martins I've owned. They're better. Far better. The only remotely vintage guitars I have are a '74 Lester Standard and a '63 D28. I'm fine with that...
Of course, you are listening to your guitars through 75 year old ears.. :)
@@rosewoodsteel6656 my hearing is surprisingly good. My waistline not so much. Smiles..
I've played some of that imagined and authentic stuff. They don't have the tone of a prewar. Maybe they just need to age get playing time
When it comes to collectibles, (and whiskey), price is a reflection of rarity not quality.
Important vid. Your love of vintage comes through but also your honesty. The wood/tone comment was great.
We are as humans all restless, this energy has to be channeled outwardly somewhere. Gear Acquisition Syndrome rears its ugly head in the consumerism you address. The latest color, hardware, electronics combinations are infinite apparently as evidenced by the marketing and sales we anticipate and spend on with every new lineup! The volatility of vintage guitars and amps is insane IMHO. I have the crazy habit of buying and selling mid-priced guitars and amps and feel like that is a bit crazy.
Same addiction, less cost. I am selling my larger collection and purchasing better quality but keeping my investments in the sub $1,000.00 range. I am an average musician and could never justify Vintage price spending any more than I could a Rolex or Maserati. Cool video and great playing as usual!
I have played a lot of vintage Fenders teles and strats some are amazing some not so amazing. It is the feel and mojo of a vintage guitar that is so attractive but you don't necessarily have to spend so much money to get that. My Nash T63 is an amazing guitar and it feels broken in just like a well used vintage ax for way less money. The most important thing is does the guitar inspire you to create music. If it does the year it was made matters not one little bit.
I have a Big Apple Strat that I bought new in 1997. I've always been happy with it, but I have to say it is really coming alive now. It has a magical sound that it didn't have before.
The last thing you said is what I was thinking. It's the variance in old hand-made instruments that gives them their unique character. Some are exceptional, and others are not very good at all. Given the rarity of the good condition / unmodified ones, and the fact that people expect top dollar for anything old whether it's good or not, it seems like it's better to look at new custom made instruments where you can have everything you want and can swap out parts as desired, rather than go chasing an ideal thing that might turn out to be a pig in a poke. I have found that brands and prices have little to do with my enjoyment of a thing. Stereo equipment is another example of this. It's often about the synergy of the entire signal chain. By connecting a bunch of expensive components, you are in no way guaranteed of getting a good sound.
Rick Kelly at Carmine Street Guitars, uses wood from really old NYC buildings- "Bowery Pine" and they're the best of both worlds, I've found. Ancient wood, made to spec. Oh, and I fell in absolute love with a Witfill blackguard- I never even bothered to plaug it in before I asked to have it put on layaway.
You're absolutely right about acoustics- my Regal parlor guitar is from 1925-35(?) and it sounds amazing. It's hard to play and you can't put a capo on its gigantic neck, but it sure sounds pretty. That said, I play my 12-fret Waterloo much, much more, for all the reasons you pointed out.
I still think that the best way to get a "vintage" guitar is to buy one you love new and play it for 37 years. I'm looking at you, Skippy, my beloved 62RI Strat from 1983.
Great lick at the end! I'm gonna play that all the way through the debate.
Thanks Zak, some real food for thought about vintage guitars. I have a vintage Deluxe Reverb that makes all my guitars sound great no matter how old they are😉
Sounds like a keeper
sounded great, I really enjoyed the red t-shirt you wore in the intro. The bright blue shirt was also well received by me. Thank you
So glad I came across your channel.Level headed discourse is very entertaining.
Glad you enjoy it!
I totally agree, wood matters. It matters more than we even understand.
I like and own vintage instruments. Mainly '30's and '40's Martins. But this month I bought a used D-28 Authentic 1931 version. This guitar was built in 2013. It is everything I would look for tone wise in an instrument.
I always look at anything new this way; if I found a vintage instrument and it sounded this good, would I be happy with it?
This is the third Authentic D-28 I've bought, and this is by far the best one I've had, regardless if it was built in 2013 or 1931.
Great episode Zac, thank you for all you do.
You are so welcome!
None has ever argued against wood affecting tone on acoustics, only electric guitars.
You hit the nail on the head for my reason I sold my 1978 Strat for a new one! You feel more like a caretaker that you have to keep it preserved to hold or help appreciate its value. Plus many vintage guitars need work in order to be gigging worthy or you’d have to get a better case than its original
Hey Zac! I love your channel and I plan to pick up some merch on payday. My take on “tone wood” on electric guitars is that it’s a feel thing more than what is picked up by your pickups and into your amplifier.
I think the feel is important as a player, but I think even someone as experienced as yourself would have a difficult picking that out in a blind test.
I remember talking to Dad in the 90's about the vintage ads in Vintage Guitar magazine. '57 LP Jr for $2000. 50's Telecasters for as low as $4-5k. Seemed like an easy leap to make when the new relics and reissues were going for $1300-$2500. Great stuff, brother.
Ahhhh the tone wood debate. There’s no substitute for mature tone wood, most likely to be found in a vintage instrument - but NOT necessarily. I have a vintage Telecaster and it has THE sound of mature tone wood. I have other Telecasters that don’t. The closest I’ve found (and I’m sure there’s others) is Nash Guitars (you also mentioned MJT and Danocaster which are in the same sphere) that achieve a very vintage-like tone at reasonable prices and don’t leave you sweating bullets to leave on stage after a gig. In my experience it’s these companies if you want a player guitar with vintage tone, or search through the hit and miss world of real vintage instruments and be prepared to take out a second mortgage. I can still remember seeing Craig Ross playing at a Lenny Kravitz concert with his 1955 Tele. The very first strum I was like, now that’s how aTele should sound, but I could guarantee that not every 55 Tele would sound like his does. To me Nash and the others mentioned deserve respect for making a huge effort to produce guitars that sound like what we expect of the models they duplicate.
Awesome video Zac. Thanks again for the the help the other day identifying the wood on my '72 strat
Glad to help!
Enjoy the Channel. Great topics & comments. Miss my '51 Esquire from a long time ago. Now I have a 2010 Fender Roadworn Tele. Closest I could afford like the '51.
Those Musikraft parts as well as Mark Jenny and his son’s work are fantastic. My favorite Tele has a Blackguard Musikraft neck with a Warmoth swamp ash body and Duncan Broadcaster pickups. The body and neck were reliced by MJT. I also had a ‘69 Tele with F Bigsby that was heavier than hell but I loved the clubby neck and sound. One of the ones I shouldn’t have sold.
100% agree about the MJT stuff but I spent a lot of money getting the right neck/body combo
@@rickgoughguitar: Which neck/body combinations didn't work out?
Monty Cantsin A fair few of them, they just didnt match the mjt body i have.I had MJT necks, Warmoth, genuine usa & mex fender. i tried a Fender Roadworn neck & thats what stayed. it resonates well, really tight fit in the neck pocket.
all the other necks i did finally match with other bodies but it was a process.
fo me it has to feel right & resonate well acoustically & not just a matter of bolting up any old neck to any old body, thats just me.
@@rickgoughguitar: Thanks for responding. I couldn't find a Telecaster that I liked so I decided to go down the route of putting together a partscaster. I had a really nice body made by USACG and aged slightly by MJT but USACG ceased production before I could have a neck made by them too. I've been looking at various companies for a neck but I'm worried that it won't be a good fit for the body right off the bat as it were. I completely agree with you that the guitar has to resonate well acoustically and the neck being right is a big part of that. I just hope I don't have to spend a fortune on various necks in order to get the right one!
Monty Cantsin yes its definitely a search.
I live in rural Northern Australia & basically if you want to try something you have to buy it (nearest decent music store is 700 miles away)
the best thing ive found for a neck is to find the fretboard radius you like, back neck shape & frets, measure your neck pocket & hit up guitar mill.
i like a deeper neck pocket on my bodies, to me the strings feel more like being tuned 1/2 step down, probably in my head though lol.
Great points Zac! I’ve only owned one vintage guitar and I completely agree with you on the point of worrying about a vintage guitar on the local bar gigs that I do. What if somebody knocks it over let alone runs out w it? I even had a small part of me that feels like I should only play it in special circumstances so that I don’t wear out the frets. Well I sold this 63 330 back in 2000 and now of course it’s worth about three times or more so there’s that other side of the coin that they really are investments. Now I just make parts casters and they leave me wanting nothing. Telecasters are very simple instruments and if you can file a nut and do a set up you can put one together a really nice one exactly the way you want it.
Great episodes Zac
Thank you, Keith
I have a 74 thin line tele and a 78 Stratocaster and feel the same way, I actually quit using my vintage guitars several years back and built two telecasters and repaired to strata, and I now play my built telecasters and I am very content, thanks for posting this video Zac
Hiya Zac, Thanks for sharing. After over fourty years of playing, repairing and some building of guitars, my opinion on Vintage guitars is totally in line with what you're saying in this vid. I must say that they're all different, but at the same time these oldies from before around 1970, share a particular brilliance that is very hard to find in later guitars. I think it has to do with woods and how these were dried. Also Leo's hardened hardware has yet to be equaled. To get the sound of old fender guitars, they need a kind of sirup before finished and I think I really found what it is.
It's bringing the brilliant ring to the sound. But not when the wood is kiln dried and the year rings are aligned in the wrong direction.
Greetz y'all from the Netherlands.
I really enjoyed your video. Definitely a lot of great advice when it comes to the tricky world of vintage guitars. A number of times I've offered to buy guitars I liked years before their owners were ready to sell. Twice I've been contacted years later asking if I was still interested. I was able to purchase very valuable guitars for down to earth prices just because the owner or the owners family remembered I was interested.
In a sense, vintage guitars are free. If you choose a decent instrument and take pretty good care of it, you'll sell it for what you made (and then some) a decade later. Seldom true for boutiques.
Always like your videos Zac, to your point about old wood, I've been a professional carpenter for 49 years now and can tell you for a fact that when you try and pound a nail into a 50 yr old stud or joist, it's gonna be hard as a rock. Also have to agree with your friend about the 67 Tele, to me it has the sweetest sound and a really cool look. She's even got some great tan lines! I can't afford any vintage stuff but get a lot of enjoyment from putting parts together and basically making my own version of a custom shop instrument . Takes a lot of time and work but at least they are my own.
Old, stiff wood, sounds different.
Great show! All good points. I retired my 93 strat from playing live because of sentimental value and didn't want it stolen. I can relate to not enjoying your break for that reason. So true all vintage gear is not the same. I've played great guitars and ive played clunkers too. Thanks so much for these shows. I love the truetone show too!!
I’ve only played a few vintage guitars that really blew me away, a refinished 66 jag and a early 60s epiphone coronet, neither were over 3k though. I think just like modern production guitars some vintage guitars are dogs and some are great and have a special thing. On the other hand I’ve had great luck with my handful of vintage fender amps. They sound great and are equal in price or cheaper than some modern boutique stuff. I got my 67 bassman head for less than a new hot rod deluxe. I think we’re living in a golden age of gear with quality stuff in all price ranges.
Hey Zac, I love the way you approached this subject! I’ve recently become a tele guy without ever owning one in 20 years of playing lol. And own a fender 65 deluxe reverb reissue because of your video! I admire your approach with your videos and your a man of god so that’s a bonus! Inspiring 🙏
I agree with everything you said about the wood and all. But coming from an acoustic world, I feel this is 100% true because your sound IS the wood. But I feel like the wood with electric instruments doesn’t apply nearly as much. The wood resonates “vibrates” when a string is plucked, but the pickup is right below where your strumming so the majority of what the pickup is actually picking up is all a 1/4” away depending on action and pickup height. But I am a firm believer of if your electric guitar sounds and resonates nicely acoustically “unplugged” then it’s sure to be a great guitar either way. You can always upgrade your pickups. Either way just wondering what your thoughts were on that type of approach?
And feel is a totally different subject also. Vintage feel is unmatched in my opinion. That’s why the newer fenders of today are going with a satin finish on the back of the neck vs glossy to mimic the worn feel of bare wood in my opinion.
Cheers man! And god bless brother
Thanks for the mini lesson at the end!
Great video Zac. Funny how things change over time. I remember buying a 71 Fender Custom Tele in a pawn shop for $400, in 1980. It was just an older Tele. Still play vintage guitars mostly but got ‘em a long time ago before they got expensive. Could never afford them now.
I sold my guitar (SG) and Princeton Reverb that I bought around 1970. They held more nostalgia than I needed.
Hi. Sorry for posting so much (but I got inspired). I've started collecting old Guild Starfire guitars, and they are affordable and cool. They're hollow bodied, and the weight is incredible. The most I ever payed was 1.800 for an original '66 and the pu's sound very good. If they have a Bigsby, I always pay less (you can always install one, but removing leaves scars)
Thanks for the double string bends at the end.
Dude I sweat any guitar I have. Not just because of the values, but mostly because of the feelings I have invested in them. The wonderful times I have had with friends & family members playing these instruments. It doesn't matter to me the value someone else puts on my instruments.
Great video !!! When you were talking about old necks being harder and kind of fosselized ..... I was wondering what you thought of roasted maple necks ?
I had built a couple of franken tele's over the last year that I used roasted maple necks on and , well , the first time I touched one , it just felt soo good ., I was wondering ( out of curiosity ) what you thought of them..... Cheers , Keep up the good work , Bro !!!
Had a vintage experience with a saxophone. I found a rare 1950s Selmer Mark VI, similar to John Coltranes and had an opportunity to play it and it played like butter. I had no intention of getting a vintage instrument, but it just played so well and sounded so great that I fell in love with it. Sadly, even getting a massive deal on it, it was still far more than I could afford.
I think an underrated factor in your sound, regardless of instrument, is how it feels to play. An instrument you have to fight to play is going to sound far different than one that plays like butter, even if everything else is constant.
I subbed recently, great channel. Great video! One other good thing I would say about the vintage thing to consider is that their value is pretty much guaranteed to at least remain the same, or more likely than not it will increase. Sometimes very quickly. The same can't necessarily be said for lesser known boutique builders. Meaning a desirable vintage instrument will generally be a good financial investment for he/she who owns it. It's a supply and demand thing, there aren't that many around and like you say, people will always want them. The dealers like Carters in the states or here in the UK ATB or Vintage n Rare continually pushing the values up if they can. I have restored a '64 Strat, all the hardware is original apart from a volume pot and the saddles and a couple of the pickups have been rewound. I got it in 2015, and Clive Brown restored it (body and neck refin) in 2019. It has roughly doubled in value since I first got it. Not a lot of other material goods you can say that about! Certainly not anything else I own! Ha ha. Double plus - it's a lovely playing and sounding guitar, plus it's a 'player' not a museum piece.
Clive is a master
@@AskZac true that - I visited his place when I dropped the strat off. An Aladdins cave for sure!
Excellent vid, thx. When I was young, playing in clubs in the early 70s, I had a bunch of (what was even considered then) vintage guitars -- 50s Esquire, Strat, 335s, several Gold Tops, a red (swear it) '60 Standard, etc. Lived in Kalamazoo, old guitars were everywhere, especially of course, Gibsons. Playing in clubs back then, no one knew nothing, didn't sweat it. Had a Firebird 7 stolen but that was by a 'friend' with a drug habit. But -- a bosom bud owned the '59 Spinal Tap burst (later sold it to Norm). We would switch off; I'd lend him my '54 GT and I'd play his '59 for a wk or two. Even then I knew that guitar was something else. So I did what any sensible player would do when they took a break: I'd take it out to the car with me whenever I smoked a joint with another band member, hold it between my legs. Of course, if it was winter, I'd stick it in that old brown case before heading for the parking lot with it. Sorry to prattle, struck a good nerve.
Always an enjoyable and informative experience to watch. And I love your playing!
Thank you kindly!
I work in a music store in Tulsa, Firey Bros., where I met you Zac. I have my hands on all kinds of stuff everyday, and I play a 24' Affinity Strat.
Great to meet you
@Zac despite the fact that you and I have completely different taste in music, amps, and playing styles (altho we agree on Teles!), your vids have become almost must watches for me. You do a really nice job.
Cool!
Regarding what you commented about vintage maple necks, the stiffness and hardness of the maple is not a perception. All woods to some extent contain sap and pitch. I had some Douglas fir beams once that literally leaked pitch all over the floor of my shop overnight. Over time that sap and pitch "cure" and turn into amber resulting in the wood becoming harder and less giving. Old slow-growth pine is prized among furniture makers because the density caused by the tight ring growth and ambering of the liquids make it often harder than many hardwoods.
21:51 Do a comparison of Telecasters. Select something for a beginner, Intermediate and A+ picker. Select a modern Tele against a vintage one. Who can decide on the “ultimate Tele”?
(Maybe a Brent Mason Tele but paint it a didn’t color besides garage gray 😳🤣❤️)
Great show zac,ive always wanted a vintage tele but as you mentioned, the price seems to get in the way, i had 63 mosrite ventures model but sold it to put a d/payment on my plumbing truck🤦♂️ anyway when i moved to bakersfield in 1974 there was a guitar store on baker street that i wished i would have bought a couple of tele,s at s very cheap price. Thanks for the show.
Its what you love.
I have 12 electrics (IBZ, Epi and Sq mix) but the wild card was a Delta Tone HSS Strat I bought for $75.00 New almost 10 years ago.
Heck, I demo'd it thru a FM212. Screamed, then went home. During lunch, wife says "Go back and buy it'' which I did..
More head phones thru a few amps or MicroCube after a move but I still love it..
What ever gets you thru the night ….its all right.
I agree Zac old woods affect tone ,I have a custom built S Style guitar crafted in Japan by a very famous builder, body is 600 year old swamp ash and the neck is 150 year old aqua timber maple . I gig with this guitar and I always get comments about nice the tone is. It's eye candy, Daphne Blue , vintage white pickguard and it's a one of a kind. I bought it to be played.
Thanks for you HONESTITY
I appreciate a woman who shows me her honestity.
I'm a vintage collector and I agree with everything you said. I buy guitars that I've never seen or played before. When you get into early instruments the number of makers is limited (there just wasn't that many). I have a 1918 Gibson L-1, a 1922 Gibson L-Jr (sounds incredible, never refinished), a 1931 Gibson L-4 (mint), a 1941 ES-150 (P-13 P/U), a 1951 ES-150 (3/4, P-90) and a 1960 Fender Duo-sonic. Prices will definitely drop but I love guitars and don't really care about the money. I truly feel like these instrument are my responsibility and am the caretaker for the next owner. When it comes to tone wood: on hollow, 100 year old vintage the difference is huge.
Thanks for this great video,on vintage guitars Zac.
What you didn't mention on this subject,is the growing amount of counterfeit reproductions.
2 months ago,i had a discussion about this,with a customer,for a Fender Brownface Superamp.
He told me,he owns a Fender Stratocaster 1963.I guessed him a value of around €25000 and he confirmed that.I told him that the quality of counterfeiting these kind of guitars is rising.When you sell such a guitar,lots of interested buyers will be quite insecure of the authenticety of such an offer.Even experts are getting a much harder time,to get all the facts straight.
I told him selling such a guitar becomes much harder,instead of selling this Fender 1963 Super Amp(which is totally original,in mind condition and probably the last transition version to the Blackface era amps and asking price €4500),which i never saw any counterfeit reproduction.
I totally agree on the nostalgia point! My first car was a 67 mustang bought used in 76. I had to work on it all the time to keep it running. My first guitar was a 30 Gibson The Paul. Both long gone. I would like to have them back - only for the memories…what I have now is better.
Great episode as usual. Zac, it's clear that you feel that well-made boutique guitars can approximate the experience of playing a vintage guitar in good condition. But beyond the domain of the Fender Custom Shop or other boutique manufacturers, what's your opinion of the production models coming out of Fender today -- from the Mexican-made Player and Vintera series through the American Performer, American Professional, American Original and Ultra? Fender just released some Vintera Road Worn models as well.
I laughed for 10 minutes when you said flat earthers 🤣
Scott Mcdonald
Pancakes for breakfast.
Great comparison, the older guitar looks smaller? Is the body shape different? Could you compare / review a US standard tele against the 67? Thank you
Great video Zac! I really like your take on this matter. I still have some vintage gear and have sold some in the past but I really think things have gotten out of hand with prices.
Here's an example to illustrate where I stand on the matter. Back around 2002, I bought a Silvertone 1484 amp in OK shape (all original, with the cabinet & speakers too but having some issues). I paid $180 for it after a bit of bargaining and my friend helped replace some capacitors that needed changing. It was my favorite amp for years but I decided to sell it when I was prepping for my over-seas move.
I sold it for $500 in 2009. By this point, it was common knowledge that Jack White and a few other big names loved these amps and they were considered kind of cool. If you look them up now, they are regularly listed for $1,000 and up.
If I had a grand to shell out for an amp right now, I would absolutely not buy the Silvertone again. I'd much rather buy something used from say Orange or perhaps a smaller manufacturer and spend probably half that amount. I loved the 1484 but it is no way, no how worth a thousand dollars to me. There are simply much better options out there if you're simply looking to play.
I didn't believe the vintage hype until I played a 64 Strat. I saved a ton and bought it. It really is what I was looking for and there is nothing modern that can capture the sound and feel. I own several boutique strats and they sound great but they just aren't as close to the 64 strat. It's got soul. But yeah, I'll never take it out to play, but I would sell every single guitar guitar I own before I'd consider selling my 64 strat.
I owned a 1962 hardtail strat for a long time. It was beautiful, and sounded amazing. I was so scared of it getting ripped off or broken that after a while I was hiring a guy to go to gigs just to watch the guitar. When I didn't take it out of fear, when I was gigging I would hire a house sitter to watch the guitar. It got to the point where owning it became a burden, and I ended up selling it. I have one of the first 57 vintage strats from 1982 that I have played almost to death and a very nice custom shop strat that is a beautiful guitar. They both play and sound really nice, but that 62 had magic in it. I miss it, but don't miss the stress thar went along with it. I agree totally with what Zac says.
Keep on pickin.....
Vintage guitars are important because of the reasons you described. They have a sound and feel unlike modern guitars. That's why I like my Warmoth Teles. If you pick out the right specs, you can make a guitar with a classic feel and sound. Plus, you can change them about as much as you want because you aren't destroying collectible value. The down side to the Warmoths is that they won't be valuable. They are tools for working musicians.
I bought a new FSR Telecaster (MIM) a couple years ago for about $550 online sight unseen. I have a couple of old 60's Gibsons, a 70s Strat, and I love them, but the truth is the Telecaster is a great guitar and I play it just as often, maybe more than the old ones.. It's got a broader, flatter neck with big frets, great sounding pickups.. Great guitar. One of my amps is a Deluxe 65 Reissue. Based on a tip from Zak, I swapped the speaker out for a Celestion Vintage 30, and had the bright cap rewire to a switch so I could turn off and on. It's the nicest sounding amp I've ever had for about $700. I think some of the vintage stuff is nice, but I also think that some of the new stuff out there is better than it's ever been.
This was a spectacular segment...
I put together a Strat from Warmoth - Alder body with a maple/maple neck. I swear after two to three years, I started to feel the neck resonate at some freq's and it sounds sweeter ever since.
I agree with everything you said 100%, but I'd like to add one thing---like a lot of guitarist, I want my guitar to look cool---and vintage guitars often have an aesthetic that very attractive, etc. and that looks like what I want my guitar to look like. Relic-ing is fine (sometimes), but so few do it well (Dano of course is the best). I'd love to get a 50s Esquire but will most likely get a Danocaster down the road.
Hi Zac. Have you ever had good tone coming out of Hot-Rod Telecaster Partscasters? Allparts neck, Joe Barden Bridge, Duncan Alnico 2 Pro, Fender Mexico Alder Body, CTS and Fender fender parts.
Great subject Zac. When I watch a major collectable guitar mogul go to.hie "warehouse" and sort through his stock to place in his shoe room I understand what has happened to the vintage guitar market. I see who has some control on the prices. I'm 67 and would love to have a replacement for the Thinline Tele I had to sell in the late 70's to put food on the table but the prices are too much for me.
Thanks for your work.
Jeez my spelling is horrible.
I have a left handed 1960 McCarty Gibson Doublecut. (Same model Beato plays). It has the original frets and electronics on it. I'm not gonna lie: It sounds absolutely amazing for some stuff but it is in no way a workhorse guitar. This is why more times often than not it stays in the closet, and I will typically grab my MiM Tele or Gibson SG for rehearsals, jams, and gigs.
Great summary of the vintage landscape/value
Thank you Zac, enjoyed this presentation. Regarding tone and feel of older/vintage instruments, there maybe a factor called "covalently bonded" molecules. When two materials are fastened together, over time their molecules can share their outer orbit electrons. (This used to be call 'Cold flow' - this term has now changed). The longer instrument parts (guitars, violins, possible wooded wind instruments) are fastened together the more they become 'one' piece' sharing outer electrons between materials. This is possible why we like the feel and sound (resonance) of older/vintage instruments. They will resonant differently than a new identical instrument. As a possible example of this, guitars with removable necks may sound different to sound when put back together. I seem to think my Stats get 'angry' at me for having there neck 'broken' when I do a neck adjustment and they pout for a few days and then everything is alright again. I watch a documentary on old violins in the million dollar range. Any change/adjustment /repair is meticulously managed.
Great episode once again Zac. I will add that when Dan announced he wasn't going to make Danocasters anymore the price for a second hand Dano soared, & when prices soar in America they nearly two fold down here, my heart sank (for both reasons) I stopped taking my Danocaster to gigs for the fear of some grub stealing it and more so me not being able to replace it. I started taking my parts casters. there is no way I will leave it out of sight now. its frustrating not being able to use my favourite playing guitar for what I bought it for.
As you know, Dan is still building. And If something happened to yours, I bet you could twist his arm into making a replacement.
@@AskZac yeah true.
I’m lucky I’m good at building things so the last 12-13 years I’ve built my own, including pickups. I have long hands and love big V necks. Way too expensive to get what I like, but I can use the very best hardware, pots, one pice blanks of perfect weight swamp ash, alder or pine, nitro and well under a grand. I could afford vintage, but I spent a lot of time with a 1954 Strat and 50 Broadcaster and they just weren’t all that. Yes, there are magic ones out there, but with torrified maple necks, Wudtone hardware for Strats, rutters for Teles. I’m happy and it leaves more for all of you.🎉
You are right, and smart man,the freakin guitar doesn't play by itself...the 1+only PAUL MASTERS...good video
All the guitars I played in the 60's are now guitars I can't afford to own. But we live in a golden age of affordable guitars. American made Fenders are about the same price in adjusted dollars as what they cost in 1964. Sometimes less. And the used market has lots of lightly played nice guitars for much less. When I look for a used Tele I rather have one at least 10 years old. If the neck hasn't gone wonky by then it'll probably be a stable neck. I will agree with you, Zac, that there's just something that feels right about a 50 year old maple neck. Thanks for the video, Zac. Love the licks.
Been watching every episode! Love all the content! Keep it coming!
Awesome! Thank you!