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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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 F-style tuners , I look at the modern replacements that fit the original footprint, and which offer better performance. We’ll also look at the modern reissue F-Tuners, which are based on the latter style made by Schaller, yet they were used on reissues that should have had the earlier style.

By the end, you’ll know how to identify each version, how to keep them working smoothly, and the best paths for replacement or restoration, whether you’re chasing originality or reliability.

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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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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 artistically unfulfilling but usually pays decently. Shows, on the other hand, can be incredibly rewarding even if the paycheck is smaller.

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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-worn relic treatment, and authentic ’60s specs, this Tele feels and sounds like a much more expensive vintage-style instrument. In this video, I put it through its paces, share tones, and explain why this release is such a milestone for Tele fans.

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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 much as hear. I also take a look at the 59-style Custom Esquire that I play throughout the video.

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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

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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 where lightning struck nearby, Brad’s rig went down, and we had to keep the show rolling.

https://truetone.com/

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