Ask Zac

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 wa...

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 resul...

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 Fende...

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 signa...

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 fo...

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 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 h...

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. ...

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: ...

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 o...

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 vin...

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 To Support the Cha...