Ask Zac

Most players settle for whatever string set is on the shelf, but I’ve been piecing together custom sets since the early ’90s. In this video, I build my perfect custom string sets using my preferred D'Addario NYXL strings through their Custom String Shop.

For my 1957 Fender Esquire, I dialed in a set gauged 10, 12, 16, 24, 34, 44 balanced for feel, tension, and snap. It’s based on their NYXL 9.5–44 set, but with slightly more robust high E and B strings.

Then I went further, building a baritone NYXL set that doesn’t normally exist, with gauges 14, 18, 24, 44, 56, 70, including an unwound 3r...

Before the Telecaster… before the Les Paul & the Strat… there was Bigsby.

In this video, we take a deep dive into a 1949 Bigsby electric guitar, one of the earliest solid-body electrics ever made, and a true cornerstone in the evolution of the modern guitar. Built by Paul Bigsby, these instruments weren’t mass-produced, they were individually handcrafted works of art.

Bigsby guitars are incredibly rare, as he built around 27 guitars from the mid-1940s through the late 1950s. Each one was custom-made, often for top-tier players, making them some of the most elusive and historically signif...

Best known for his longtime work with Delbert McClinton, James Pennebaker has been one of the most tasteful and versatile guitarists in Nashville for decades. Starting his professional career at just 19 years old with McClinton, he went on to become a key part of the band on and off for more than forty years.

But Pennebaker is far more than just a sideman. He’s a true multi-instrumentalist—equally comfortable on electric guitar, acoustic guitar, pedal steel, fiddle, mandolin, and more. Over the years he’s recorded and performed with artists like John Fogerty, Bonnie Raitt, Willie Nelson...

The only Gibson model I’ve ever really connected with is the ES-335. While I’ve always gravitated toward Fender, the 335 is one Gibson that I think absolutely got right. Much like the Fender Telecaster, it’s simply a brilliant piece of guitar design.

The magic of the 335 is in how balanced the concept is. The semi-hollow body combined with the center block gives you the warmth and air of a hollowbody while still delivering the sustain, focus, and feedback resistance of a solidbody. The result is a guitar that can cover an incredible amount of musical ground...

In this episode, Joe Spann and I dive deep into the legacy of Don Rich and one of the most fascinating lost instruments in Fender history, his 1964 Gold Sparkle Fender Custom Telecaster.

Joe breaks down exactly how Fender created the Gold Sparkle finish using crushed mirror material, why it was so visually striking under stage lights, and how unusual the process was for the era. We also discuss the many Buck Owens hits Don Rich recorded while using this Telecaster, and how central it was to his tone, image, and the Bakersfield sound.

Finally, we...

We went behind the scenes at Gruhn Guitars in Nashville for a tour of the 'Tele Vault' with legendary vintage archivist and researcher Joe Spann.

We aren't just looking at vintage guitars; we’re looking at the DNA of the Fender company. Joe walks us through the history and technical specs of some of the most significant instruments on the planet, including George Fullerton's personal 1949 prototype, a guitar that predates the Broadcaster and Telecaster as we know it.

The Lineup:

1949 Fender Prototype: George Fullerton’s personal guitar.

1951 Nocaster: The bridge between the...

Ever heard a song that has a shimmering, "angelic" jangle that sits perfectly above a mix? Or how Buddy Miller creates those haunting, rootsy textures on songs like Lucinda Williams' "Car Wheels on a Gravel Road," or Daniel Lanois on Emmylou's Wrecking Ball album?

The answer isn't a mandolin, it’s the Octave 12-string guitar (often called a mando-guitar). In this video, we’re diving into the world of these high-tuned wonders, exploring the gear, the tuning, and the legendary players who made them a staple of modern atmospheric production.

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Think your clean tone should be 100% pure? Think again. In this video, we’re looking at why "perfectly clean" guitars often sound thin in a mix and why adding a little "hair" or grit is the secret to a professional sound.

There is a common "studio secret" that pro mixers have used for decades: subtle harmonic distortion makes everything sound better. Whether it’s a vocal, a drum bus, or a "clean" electric guitar, adding a touch of saturation provides the weight and character that a dry signal lacks.

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The 1950s Guild Aristocrat is one of those vintage guitars that somehow slipped through the cracks, and that’s exactly why it remains such a sleeper today.

Built during Guild’s early New York era, the Aristocrat was a serious professional instrument: a small, yet fully hollow body, carved spruce top, and the legendary Franz single-coil pickups that deliver clarity, punch, and a voice all their own. This was Guild's attempt at an improved Les Paul, that was lighter, and just enough wider to seem not like a toy.

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Baritone electric guitars live in that perfect middle ground between standard guitar and bass, and once you understand what they do best, it’s hard to live without one.

In this video, I’m diving into baritone guitars, why a typical 27” scale baritone is very different from a Bass VI (usually 29–30” scale), and how each one functions in a band context. While they can look similar at first glance, they play, feel, and sit in a mix very differently.

I also talk about classic effects choices for baritone, especially tremolo and vibrato, and why those sounds pai...

The 1962 Brown Deluxe (6G3) sits in one of the most fascinating, and misunderstood, eras of Fender amplification. It’s often lumped in with other brownface amps, or treated as a short stop between tweed and blackface. But the truth is: the Brown Deluxe is its own animal.

In this video, we take a deep dive into what really sets the ’62 Brown Deluxe apart, sonically, electrically, and historically.

Brown Deluxe vs Tweed Deluxe (5E3)
Why the Brown Deluxe is tighter, punchier, and more controlled than the loose, saggy tweed, and how Fender was clearly responding to p...

If you want to understand why a Telecaster sounds and feels like a Telecaster, you have to start with the bridge.

The Tele bridge isn’t just a place where the strings anchor, it’s the heart of the instrument, and the single biggest reason a Tele responds the way it does. Leo Fender’s original design brilliantly combines the bridge, tailpiece, and pickup mounting system into one integrated unit, creating a level of coupling, attack, and clarity that no other electric guitar quite matches.

In this video, we explore:

-Why the Tele bridge...

Today we sit down with Lou Toomey, one of the most successful and enduring road guitarists in Country Music.

In this conversation, Lou walks us through his unbelievable first pro gig as Keith Whitley’s lead guitarist during the height of Whitley’s all-too-brief but iconic career. From there, we follow his journey through the ’90s as he hit the road with Faith Hill, and into his remarkable three-decade run with Brooks & Dunn, all legendary Country touring acts.

We dig into how he landed each of those gigs, the gear that shaped his tones across the ye...

This year has been one for the books. In this video, I’m sharing the unbelievable story of how I ended up performing on Brad Paisley’s new Christmas album, Snow Globe Town, and the fun we had in the studio bringing those tracks to life.

I also dive into what it was like hitting the road with Brad on his November–December 2025 Canadian tour, from the gear I brought, to backstage routines, to the moments that made this run unforgettable.

And to top it all off… The Tonight Show. I break down how that opportun...

Early ’60s Fender Telecasters are legendary, but what really changed between 1959 and 1964? From rosewood “slab boards” and “veneers” to pickguard and hardware tweaks, we break down the details that shaped the classic early-’60s Tele look and sound.

We’ll also highlight the famous players who made these Teles iconic, from country twang masters to R&B pioneers, and explore why 1961–1964 Telecasters are relatively rare compared to other Pre-CBS years.

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In this week’s Ask Zac, I’m cooking up a little Tele Gumbo, as today’s show is a mix of guitar talk, gear love, and practical tips:

A better way to stretch your strings, one that keeps your tuning stable and won’t damage your nut.

Why Tele bridge covers (ashtrays) are actually useful — especially for protecting your strings and saddles when your guitar’s in a gig bag.

Book Review: In-Law Country by Geoffrey Himes — a must-read for fans of Emmylou Harris and her circle of musical friends.

Gig-Ready Gear...

When you’re young and dreaming about hitting the road, touring sounds like the ultimate adventure, until you actually do it.

In this episode, I look back on my first tour experience with the long drives, bad gigs, and all the hard lessons that came with it. It wasn’t glamorous, but it taught me things I still carry with me every time I step onstage.

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In this episode of Ask Zac, I put my 1957 Fender Esquire through a true bridge showdown, comparing the classic 3-saddle setup that defined early Tele tone with a modern 6-saddle bridge known for better intonation, and for beefing-up the sound.

We’ll dig into:
The history of Fender bridge designs, and why Leo Fender stuck with 3 saddles
The tonal differences between the two setups
Direct sound samples recorded on the same guitar for an honest comparison
My verdict after playing both

Guitar: 1957 Fender Esquire

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From 1967 through 1981, Fender used the now-infamous F-stamped tuners on many Telecasters, Stratocasters, and the majority of their product line. For some players, they’re a charming piece of CBS-era design; for others, they’re a headache.

In this episode, I dig into the full story of why Fender switched from Kluson tuners in 1967, who actually made the F-tuners, how they changed through the 1970s, and what their strengths and weaknesses really are.

I also cover how the original version 1967-75, have no modern replacement, and the only option is to buy used originals. For the 1975-81...

The Telecaster is known for its twang and simplicity—but add a Bigsby, and it becomes something completely different. In this video, I explore the history of Bigsby-equipped Telecasters, from Paul Bigsby’s development of the B-16 in 1953, to Fender’s first factory-installed B5 models in 1967, and how they’re still used in today’s guitars.

Along the way, I’ll share setup tips and tricks to keep your Bigsby Tele in tune, break down how a vibrato changes both tone and feel, and highlight some of the famous players who made the Bigsby Telecaster iconic.

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The Fender Vintera II LE Road Worn ’60s Telecaster might be one of the best bang-for-your-buck guitars Fender has released in years. For the first time, Fender has made a maple-cap neck ’60s style Telecaster available at an accessible price point.

The maple-cap neck is a big deal in Telecaster history. Legendary players like Cornell Dupree, Brent Mason, Bobby Womack, Brad Paisley, Don Rich, and Buck Owens all made their mark with maple-cap Teles, and now Fender has finally delivered that vintage vibe in a guitar most players can actually afford.

With its blonde finish, road...

Not every gig goes the way you want it to. Technical issues, a rough mix, or even just playing for a crowd that couldn’t care less can be frustrating. In this video, I talk about what it’s like to keep a good attitude when things fall apart on stage, and why sometimes you have to force a smile and keep pushing through.

I also get into the difference between “filler gigs” where you’re basically background music, and shows where people are actually there to see you play. Filler gigs can sometimes feel demoralizing, or artistical...

When Fender switched the Telecaster from one-piece maple necks to rosewood fingerboards in 1959, the guitar’s sound and feel changed forever. In this video, I take a close look at the history of rosewood-board Telecasters, why Fender made the switch, and what makes them unique.

I’ll also share my theory: it’s not just the rosewood itself, but the stiffness of the rosewood plus maple neck construction that really changes the tone compared to an all-maple neck. That extra rigidity shapes the attack, sustain, and overall resonance of the guitar in a way you can feel as muc...

Albert Lee is one of the most inventive B-bender players in history. Today we look at Albert’s gear, his trademark Telecaster tone, and the 4 basic shapes he uses to create many of those flowing, pedal steel–like lines. To bring it to life, I’ll play and break down examples from:

1. C’est La Vie – Emmylou Harris
2. Don’t Cheat in Our Hometown – Ricky Skaggs
3. Pancho & Lefty – Emmylou Harris

https://open.spotify.com/playlist/1gIMx3pi0NDsRcpQyLHRVd?si=98903f5149c54997

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Three outdoor Georgia/Florida gigs with Brad Paisley in August , 90°+ heat, swampy humidity, and sweat everywhere. Normally, that’s when strings go dead and feel sluggish, but my D’Addario XS coated strings didn’t just survive, they crushed it.

After all three gigs, I used the same guitar and same set of strings for two recording sessions, and they still sounded and felt fresh.

In this video, I’ll share how the XS strings handled brutal touring conditions, why they feel great even when the air feels like soup, and the wild St. Augustine show wher...

Ever picked up a guitar and thought, “This just doesn’t feel right?” It might be the nut width, the measurement that directly impacts string spacing and left-hand comfort. In this video, we break down the most common nut widths found in the wild, and look at how the various widths affects chord shapes, lead playing and string separation. We also take a hard look at the 1.625 nut width used on the vast majority of vintage Fender guitars, and why most boutique copies, and even reissues made by Fender now tend to have a wider1.650 nut width.

If you...

In this video, I share how Eric Clapton’s Just One Night album completely shifted my musical direction, and how the real surprise was Albert Lee. Clapton’s fiery playing grabbed my attention, but it was Albert’s Telecaster tone, precision, and country-infused style that opened the door to a whole new world of music for me. In the episode, I forget the names of 1985 tour members Shawn Murphy and Tim Renwick. 

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Alnico 2 and Alnico 5 are the two most common magnet types used in Telecaster pickups, but how much do they really change the tone?
In this video, I compare them in the exact same Telecaster, using pickups with identical windings, wire, and build—only the magnet type is different. We’ll listen to tapped and full output, and both clean and dirty tones, of these Seymour Duncan 53 Tapped Custom Shop Pickups. The clips were recorded in a professional recording studio using a Bruno version of a Deluxe Reverb with an EVM 12L, for maximum transparency.

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Ricky Skaggs is mostly known for his mandolin and bluegrass chops, but on “I’m Tired,” he rips a Telecaster solo that deserves a spot in the Tele Hall of Fame.
In this video, we break down the legendary Tele/B-Bender solo from his 1987 tune “I’m Tired,” a Ray Price/Mell Tillis shuffle, that blends Bluegrass, Honky Tonk, and hardcore twang.
I breakdown the solo, and show you why it works so well, the phrasing, the pedal steel illusions, and how Skaggs used the B-bender as an essential part of his electric guitar style.

Ricky playin...

Reggie Young may be one of the most recorded guitarists in history—but did you know he played a 1957 Stratocaster on Merle Haggard’s Back to the Barrooms album? In this video, we dig into Reggie's tasteful, understated Strat work that helped shape the tone and feel of one of Haggard’s most emotional and booze-soaked records.

We'll talk about:
The tone Reggie got from his Strat
How his playing elevated tracks like “Makeup & Faded Blue Jeans”  “I Think I’ll Just Stay Here and Drink,” and “Leonard.”

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I didn’t think I’d be adding a chorus pedal back to my board… until a recent session totally changed my mind.

In this video, I talk about the TC Electronic Stereo Chorus Flanger — a pedal that quietly shaped the Nashville sound in the '80s and '90s. It was originally built in Denmark back in 1976 as a studio-friendly chorus with super low noise and a clean, transparent sound. Turns out, that clarity is exactly what made it a favorite for tons of session players — and even guys like Eric Johnson for his legendary clean tone.
...

I’m excited to finally share the story behind the Fender Limited Edition 1967 Lost Paisley Telecaster—Brad Paisley’s stunning new signature model—and my journey helping bring it to life.

This project has been a true labor of love. From digging into vintage inspiration to fine-tuning the smallest details, The Lost Paisley Telecaster blends history, tone, and style in a way that truly honors Brad’s legacy and Fender’s craftsmanship.

Stick around until the end of the video for a clip of me playing with Brad Paisley, his amazing band, and the legendary Steve Warine...

In 1969, Fender offered a little-known custom option: factory-personalized neck inlays. In this video, we dive into the rare story of a father and son who took Fender up on that offer—ordering two Telecasters inlaid with their names: "Bubba" and "Bob Clawson." These guitars were custom-made at the Fender factory and delivered to Clawson's Music in Corpus Christi, Texas, a Fender dealer since 1964.

Join us as we explore the history of Fender’s neck personalization option, examine these two stunning custom Telecasters, and uncover how this one-of-a-kind order came to be. Whether you're a vintage guitar lover, Fend...

Meet Nashville Guitar Great: Matthew Lee
If you’ve strolled down Broadway in Nashville, chances are you have heard the unmistakable sound of Matthew Lee—an exceptional guitarist whose chops are as sharp as his tone.

Matthew shares the story of how music first grabbed hold of him, what led him to Music City, and the major influences that shaped his sound. He also gives us a look at some of his favorite gear, including his go-to axes from Lucky Dog and Crook Custom Guitars.

Want to dive deeper? Check out his instructional book from...

My favorite acoustic guitar—a 1981 Martin HD-28—just received a full upgrade while also bringing it a little closer  to the timeless tone and vintage character of a true 1940s Martin. In this video, I walk you through the complete restoration and customization process, including:
• Fresh frets for smoother playability, improved tone, and better intonation. .085X.050 Fretwire
• Waverly open-back tuners for a vintage-correct look, lighter weight, and improved break angle at the nut
• Removal of the 1990s Fishman Matrix under saddle pickup and installation of the more transparent, passive K&K Pure Mini
• A new bone nut and...

The #1 Question I Get: “What Pickups Should I Put in My Telecaster?”
In this video, I break down the key questions you should ask yourself before buying pickups — whether you're upgrading or starting from scratch. This guide will help you make smarter choices and communicate more effectively with pickup winders.

I also cover:
The differences between flat pole ’50s-style and staggered pole ’60s-style pickups
Recommendations at various price points
How much saddles and the tone control really matter to your final sound

Whether you're chasing vintage twang or modern bite, this will help...

Since the DGT was released by PRS in 2007, I have been a fan. I didn't buy one then because I foolishly decided to get a more vintage-flavored reissue 1959 Les Paul, but have regretted that purchase ever since. With the new SE PRS DGT, I was able to scratch that humbucker with trem itch, but at an incredibly affordable price. The PRS DGT SE is a fantastic instrument that can really fill out your guitar arsenal at a great price.

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Mike Campbell is one of the most significant guitarists of our time as a result of his 40-year stint with Tom Petty & The Heartbreakers, and guesting with everyone from Don Henley, to George Harrison. He recently released his memoir, Heartbreaker, a lovingly honest telling of his life with the help of author Ari Surdoval. We take a look at the compelling story it tells, and the incredible legacy and influence of Mike Campbell.

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Joe Fick, leader of Kelley's Heroes and alumnus of the Don Kelley Band, joins us today. He shares of his time with the Dempsey's, The Don Kelley Band, working movies Walk The Line, and Baz Luhrmann's Elvis, to currently leading Kelley's Heroes. We also discuss the history of the upright slap style, challenges of transitioning from electric to upright bass, and a variety of upright bass playing styles. If you visit Nashville, you must see Joe and the band, Wednesday thru Saturday, at Nashville's famous Robert's Western World on Broadway. 

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Leo Fender was heavily influenced by the work of Paul Bigsby in the late 1940s, yet in all of the interviews he did, he never acknowledged it. Today we look at both the influences, and the reasons why Leo did not give the credit that Paul Bigsby deserved for his innovations that filtered into every Fender guitar. 

To help us, we have an amazing copy of the 1948 Bigsby "Merle Travis" guitar, that clearly spotlights the influence on the Fender Telecaster, Stratocaster, and just about every instrument that Leo designed.

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The Bigsby B...