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Fender Telecaster
Manufacturer	Fender
Period	1950-present
Construction
Body type	Solid
Neck joint	Bolt-on neck
Scale	25.5"
Woods
Body	Ash, Alder, or Poplar
Neck	Maple
Fretboard	Maple or Rosewood
Hardware
Bridge	Fixed
Pickup(s)	3 Single-coil, 2 Single-coil, 2 Humbucker, 3 Humbucker, or 1 Single-coil and 1 Humbucker
Colors available
Butterscotch Blonde (shown above); other colors are available

The Fender Telecaster, colloquially known as the Tele ( /ˈtɛli/), is typically a dual-pickup, solid-body electric guitar made by Fender.

Its simple yet effective design and revolutionary sound broke ground and set trends in electric guitar manufacturing and popular music. Introduced for national distribution as the Broadcaster in the autumn of 1950, it was the first guitar of its kind produced on a substantial scale. Its commercial production can be traced as far back as March 1950, when the single- and dual-pickup Esquire models were first sold. The Telecaster has been in continuous production in one form or another since its first incarnation.^[1] The Fender Telecaster has been mostly used in music genres such as country and rock, but is also sometimes used in jazz[1].

Origins[link]

The Fender Telecaster was developed by Leo Fender in Fullerton, California in 1950. In the period roughly between 1932 and 1949, several craftsmen and companies experimented with solid-body electric guitars, but none had made a significant impact on the market. Leo Fender's Telecaster was the design that finally put the solid-body guitar on the map.

Fender had an electronics repair shop called Fender's Radio Service where he first repaired, then designed, amplifiers and electromagnetic pickups for musicians—chiefly players of electric semi-acoustic guitars, electric Hawaiian (lap steel) guitars, and mandolins. Players had been 'wiring up' their instruments in search of greater volume and projection since the late 1920s, and electric semi-acoustics (such as the Gibson ES-150) had long been widely available. Tone had never, until then, been the primary reason for a guitarist to go electric, but in 1943, when Fender and his partner, Doc Kauffman, built a crude wooden guitar as a pickup test rig, local country players started asking to borrow it for gigs. It sounded shiny and sustaining. Fender got curious, and in 1949, when it was long understood that solid construction offered great advantages in electric instruments, but before any commercial solidbody Spanish guitars had caught on (the small Audiovox company apparently offered a modern, solidbody electric guitar as early as the mid-1930s), he built a better prototype.

That hand-built prototype, an anonymous white guitar, had most of the features of what would become the Telecaster. It was designed in the spirit of the solid-body Hawaiian guitars manufactured by Rickenbacker – small, simple units made of Bakelite and aluminum with the parts bolted together—but with wooden construction. (Rickenbacker, then spelled 'Rickenbacher,' also offered a solid Bakelite-bodied electric Spanish guitar in 1935 that seemed to echo details of Fender's design.)

The initial single-pickup production model appeared in 1950, and was called the Esquire. Fewer than fifty guitars were originally produced under that name, and most were replaced under warranty because of early manufacturing problems. In particular, the Esquire necks had no truss rod and many were replaced due to bent necks. Later in 1950, this single-pickup model was discontinued, and a two-pickup model was renamed the Broadcaster. From this point onwards all Fender necks incorporated truss rods. The Gretsch company, itself a manufacturer of hollowbody electric guitars (and now owned by Fender), claimed that "Broadcaster" violated the trademark for its Broadkaster line of drums, and as a newcomer to the industry, Fender decided to bend and changed the name to Telecaster, after the newly popular medium of television. (The guitars manufactured in the interim bore no name, and are now popularly called 'Nocasters.') The Esquire was reintroduced as a one-pickup Telecaster, at a lower price.

In 1951, Fender also released the Precision Bass as a stablemate to the Telecaster. This was later released as the Fender Telecaster Bass when Fender updated the Precision Bass to more closely resemble the Stratocaster.

Construction[link]

Leo Fender's simple and modular design was geared to mass production, and made servicing broken guitars easier. Guitars were not constructed individually, as in traditional luthiery. Rather, components were produced quickly and inexpensively in quantity and assembled into a guitar on an assembly line. The bodies were bandsawn and routed from slabs, rather than hand-carved individually, as with other guitars made at the time, such as Gibsons. Fender did not use the traditional glued-in neck, but rather a bolt-on. This not only made production easier, but allowed the neck to be quickly removed and serviced, or replaced entirely. In addition, the classic Telecaster neck was fashioned from a single piece of maple without a separate fingerboard, and the frets were slid directly into the side of the maple surface—a highly unorthodox approach in its day (guitars traditionally featured rosewood or ebony fingerboards glued onto mahogany necks). The electronics were easily accessed for repair or replacement through a removable control plate, a great advantage over typical construction, in which the electronics could only be accessed through the soundholes in the case of hollow-body instruments, or later by taking off the pickguard after removing the strings (as in Fender's own later design, the Stratocaster).

In its classic form, the guitar is simply constructed, with the neck and fingerboard comprising a single piece of maple, bolted to an ash or alder body inexpensively jigged with flat surfaces on the front and back. The hardware includes two single coil pickups controlled by a three-way selector switch, and one each of volume and tone controls. The pickguard was first Bakelite, soon thereafter it was celluloid (later plastic), screwed directly onto the body with five (later eight) screws. The bridge has three adjustable saddles, with strings doubled up on each. The guitar quickly gained a following, and soon other, more established guitar companies (such as Gibson, whose Les Paul model was introduced in 1952; and later Gretsch, Rickenbacker, and others) began working on wooden solid-body production models of their own. A large chromed cover, often called the "ashtray", was fitted over the bridge for improved shielding, but this is rarely seen as most players find it impedes their style.

The original switch configuration used from 1950 to 1952 allowed selection of neck pickup with treble tone cut in the first position (for a bassier sound), the neck pickup with its natural tone in the second position with no tone, and in the third switch position both pickups together with the neck pickup blended into the bridge, depending on the position of the second "tone" knob. The first knob functioned normally as a master volume control. This configuration did not have a true tone control knob.^[2]

In 1952 the pickup selection circuit was modified by Fender to incorporate a real tone control. Between 1953 and 1967 the neck could be selected alone with a pre-set bassy sound and no tone control, in the middle switch the neck could be selected alone with the tone control and finally the bridge could be selected with the tone control. Although this provided the player with a proper tone control, this assembly did away with any sort of pickup combination. Eventually from late 1967 Fender again modified the circuit for the final time to give the Telecaster a more traditional twin pickup switching system: neck pickup alone with tone control in the first position, both pickups together with the tone control in the middle position and in the third position the bridge pickup alone with the tone control.^[2]

Typical modern Telecasters (such as the American Standard version) incorporate several details different from the classic form. They typically feature 22 frets (rather than 21) and truss rod adjustment is made at the headstock end, rather than the body end, which had required removal of the neck on the original (the Custom Shop Bajo Sexto Baritone Tele was the only Telecaster featuring a two-octave 24-fret neck). The 3-saddle bridge of the original has been replaced with a 6-saddle version, allowing independent length and height adjustment for each string. The long saddle bridge screws allow a wide range of saddle bridge positions for intonation tuning. The stamped metal bridge plate has been replaced with a plain, flat plate, and the bridge grounding cover (which, while helping with the shielding, impedes players who like to mute strings at the bridge with the side of the palm, and makes it impossible to pick near the saddles to produce the characteristic Telecaster 'twang') has been discontinued for most models. Also different from the original is the wiring: The 3-way toggle switch selects neck pickup only in the first position, neck and bridge pickups together in the second position, and bridge pickup only in the third position. The first knob adjusts the master volume; the second is a master tone control affecting all the pickups.

During the CBS era in the 1970s, the Telecaster body style was changed to a new "notchless" shape, having a less pronounced notch in the crook where the upper bout meets the neck. The notchless body style was discontinued in 1982.

The short-lived Elite Telecaster of 1983 incorporated two specially designed humbucking pickups powered by an active circuitry that featured a "TBX" guitar expander and an MDX midrange booster with 12 dB of gain. Other features included a "Freeflyte" hardtail bridge and die-cast tuning machines with pearloid buttons. This guitar was among the latest CBS-era Fenders to feature a BiFlex truss-rod system, low-friction EasyGlider string trees and active electronics. After CBS sold Fender to a group of employees led by Bill C. Schultz in 1985, production ceased on the Elite Telecaster and other Elite models. Fender Japan made its own version of the Elite Telecaster in late 1984, which featured a 22-fret neck with medium-jumbo fretwire and a modern 9.5 inch fingerboard radius. Notable Elite Telecaster players include Johnny Hallyday and Dave Davies of The Kinks. Michael Houser w/ Widespread Panic and Andy Summers of The Police.

Higher-end models such as the American Deluxe and Plus Series Telecasters usually come with a Stratocaster-like contoured body for playing comfort.

The Telecaster sound[link]

The Telecaster is known for its ability to produce both bright, rich, cutting tone or mellow, warm, bluesy tone depending on the selected pickup, respectively "bridge" pickup or "neck" pickup. The bridge pickup has more windings than the neck pickup, hence producing higher output, which compensates for a lower amplitude of vibration of the strings at bridge position. At the same time, a capacitor between the slider of the volume control and the output, allows treble sounds to bleed through while damping mid and lower ranges.^[3] A slanted bridge pickup enhances the guitar's treble tone. The solid body allows the guitar to deliver a clean amplified version of the strings' tone. This was an improvement on previous electric guitar designs, whose hollow bodies made them prone to unwanted feedback. These design elements allowed musicians to emulate steel guitar sounds, making it particularly useful in country music. These characteristics make the Telecaster a versatile guitar, usable for most styles of music including country, blues, rock, and jazz.

Variants[link]

The Telecaster has also been a long-time favorite guitar for hot-rod customizing. Several variants of the guitar appeared throughout the years with a wide assortment of pickup configurations, such as a humbucker in the neck position, three single-coil pickups and even dual humbuckers with special wiring schemes. Fender offered hot-rodded Teles with such pickup configurations, the US Fat and Nashville B-Bender Telecasters around 1998. The Deluxe Blackout Tele was also equipped with 3 single-coil pickups, a "Strat-o-Tele" selector switch and a smaller headstock than a standard Telecaster. The most common variants of the standard two-pickup solid body Telecaster are the semi-hollow Thinline, the twin-humbucker Deluxe—and the Custom, which replaced the neck single coil-pickup with a humbucking pickup. The Custom and Deluxe were introduced during the CBS period and are still offered.

Telecaster Thinline[link]

A semi-hollow thinline version appeared in 1968/69, designed by German guitar maker Roger Rossmeisl. Today two versions of the Thinline are available, the '69 version has two standard Telecaster pickups and a mahogany body, while the '72 version, based on the Fender Telecaster Deluxe, yields two Fender Wide Range pickups and a solid natural swamp ash body. In 2011, Fender released the Modern Player Telecaster Thinline as a part of the Modern Player series. The guitar features two MP-90 pickups, similar to the Gibson P-90.

Telecaster Deluxe[link]

This model includes two Fender Wide Range humbucking pickups and was originally produced from 1972 to 1981 and have since then been reissued. The Tele Deluxe sported a large headstock similar to the Stratocaster, maple neck and a contoured body, as well as a tremolo bridge option on models manufactured after 1973/74.

Telecaster Custom[link]

The Tele Custom was popularized by Rolling Stones' guitarist and composer Keith Richards since its introduction in the early 1970s, featuring a Fender Wide Range humbucker in the neck position and a single-coil pickup in the bridge. The market generally refers to the guitar as the "1972 Custom", indicating the year this model was originally released.

Telecaster Plus[link]

Designed to restore Fender's reputation after a group of employees led by William C. Schultz took over ownership from CBS in the early 1980s. The pickups used in early models were dual humbucking Red Lace Sensors in the bridge position and a single Blue Lace Sensor in the neck position. Later models (post 1994 or so) used three Gold Lace Sensors or a Red/Silver/Blue set in a Strat-like configuration, as well as low-friction roller nuts, locking synchronized vibrato bridge and tuners, and a bound contoured alder body with ash veneers. These instruments were discontinued in 1998 with the advent of the American Deluxe series. In 2011 Fender released the Modern Player Telecaster Plus as a part of the Modern Player series. The guitar has a humbucker in the bridge, a Strat pickup in the middle, and a Tele pickup in the neck positions.

Tele Jr.[link]

The Fender Tele Jr. is a variant of the Fender Telecaster electric guitar that the Fender Custom Shop produced in a limited run of 100 units in the early 1990s. It uses a Telecaster body shape, scale length, and electronics controls (albeit, with a reversed control plate). However, many of its construction and electronic features—for example its set-in neck and P-90-style pickups—are similar to those of a Gibson Les Paul Junior(hence the name)and Gibson Les Paul Special electric guitars.

J5 Triple Tele Deluxe[link]

The Triple Tele Deluxe is Marilyn Manson and Rob Zombie guitarist John5's signature model. It is similar to the regular Telecaster Deluxe, but it features three Fender "Enforcer" humbuckers and a chrome pickguard.

Models[link]

In keeping with other models Fender distinguishes product lines manufactured in different locations.

• The moderately-priced Standard, Classic and Deluxe Telecaster models are manufactured in Mexico, Japan and Korea. Each of these instruments has a feature set that makes them more affordable.
• The American Standard, American Vintage, American Deluxe, Special Edition and Highway One model lines are manufactured in the United States.

The American Deluxe Telecaster (introduced in 1998; upgraded in 2004, 2008, and 2010) features a pair of Samarium Cobalt Noiseless pickups and the S-1 switching system. Models made prior to 2004 featured two Fender Vintage Noiseless Tele single-coils, Fender/Fishman Powerbridge piezo system and 4-bolt neck fixing. Other refinements include a bound contoured alder or ash body and an abalone dot-inlaid maple neck with rosewood or maple fingerboard, 22 medium-jumbo frets, rolled fingerboard edges, and highly detailed nut and fret work. The HH model sported an ebony fingerboard, quilted or flamed maple top and a pair of Enforcer humbuckers with S-1 switching (discontinued as of 2008). As of March 23, 2010, Fender updated the American Deluxe Telecaster with a compound radius maple neck, N3 Noiseless Tele pickups and a reconfigured S-1 switching system for wider sonic possibilities. The new model now sports staggered, locking tuning machines, which provide better break angle over the nut for increased sustain and improved tuning stability.

The American Series model uses two single-coil pickups with DeltaTone system (featuring a high output bridge pickup and a reverse-wound neck pickup). Other features include a parchment pickguard, non-veneered alder or ash bodies and rolled fingerboard edges. Telecasters with a humbucking/single coil pickup arrangement, and with two humbucking pickups, Enforcer humbucking pickups, and S-1 switching which debuted in 2003 and were discontinued in 2007. As of 2008, all American Standard Telecasters came with a redesigned Tele bridge with vintage-style bent steel saddles. In March 2012 the American Standard Telecaster was been updated with Custom Shop pickups (Broadcaster in the bridge, Twisted in the neck); the body is now contoured for reduced weight and more comfort.

The American Nashville B-Bender guitar is modeled after the personally customized instruments of some of Nashville's top players, featuring a Fender/Parsons/Green B-Bender system, two American Tele single-coils (neck, bridge), a Texas Special Strat single-coil (middle) and five-way "Strat-O-Tele" pickup switching. Ideal for country bends and steel guitar glisses, this Tele is available only with a maple fingerboard.

The American Series Ash Telecaster is based on the '52 vintage reissue. It features an ash body, one-piece maple neck/fingerboard with 22 frets and two Modern Vintage Tele single-coil pickups. Fender discontinued this guitar in 2006.

The Custom Classic Telecaster was the Custom Shop version of the American Series Tele, featuring a pair of Classic and Twisted single-coils in the bridge and neck positions, as well as a reverse control plate. Earlier versions made before 2003 featured an American Tele single-coil paired with two Texas Special Strat pickups and 5-way switching. Discontinued in 2009 and replaced by the Custom Deluxe Telecaster series models.

The Highway One Telecaster (introduced in 2003) features a pair of distortion-friendly Alnico III single-coils, super-sized frets, Greasebucket circuit and 1970s styling (since 2006). The Texas Telecaster sports a 1-piece maple neck/fretboard with a modern 12” radius and 22 jumbo frets, solid ash body and a pair of Hot Vintage pickups.

In 2010, the American Special Telecaster was introduced. While retaining such features from the Highway One as jumbo frets, Greasebucket tone circuit and 1970s logo, the American Special also includes some upgrades such as a glossy urethane finish, compensated brass 3-saddle bridge and Texas Special pickups.

Artist Series Telecasters have features favored by world-famous Fender endorsees James Burton, John 5, Muddy Waters, Jim Root, G. E. Smith, Joe Strummer and Jim Adkins. Custom Artist models are made at the Fender Custom Shop, differing slightly quality and construction-wise; their prices are much higher than the standard production versions.

The Squier Telecaster was introduced in 1982 as an entry level version of the Telecaster It is similar to a Telecaster. The Affinity Series guitars are marketed for entry level guitarists, while the Classic Vibe, Vintage Modified and Standard Series are better quality guitars.

In September 2010, Fender introduced the Mexican-made Black Top Telecaster HH, featuring dual hot vintage alnico humbucking pickups, a one-piece maple neck with rosewood or maple fretboard and 22 medium-jumbo frets. Other features include a solid contoured alder body, a reversed control assembly and black skirted amp control knobs.

In 2011, Fender released the Modern Player series, which featured the Modern Player Telecaster Thinline and the Modern Player Telecaster Plus.

Significance[link]

The Telecaster was important in the evolution of country, electric blues, funk, rock and roll, and other forms of popular music. Its solid construction let guitarists play loudly as a lead instrument, with long sustain if desired. It produced less of the uncontrolled, whistling, 'hard' feedback ('microphonic feedback') that hollowbodied instruments tend to produce at volume (different from the controllable feedback later explored by Pete Townshend and countless other players). Even though the Telecaster is more than half a century old, and more sophisticated designs have appeared since the early 1950s (including Fender's own Stratocaster), the Telecaster remains in production. There have been numerous variations and modifications, but a model with something close to the original features has always been available.

Signature Telecaster players[link]

This unreferenced section requires citations to ensure verifiability.

Paisley Red Telecaster (1968–1968), same model is often played by James Burton

Replica of Waylon Jennings' Telecaster, on display at Cooter's Museum and Store in Nashville, Tennessee

Over the years, many guitarists have made the Telecaster their signature instrument. In the early days, country session musicians were drawn to this instrument designed for the "working musician". These included The King of the Teli Roy Buchanan , Buck Owens, Guthrie Thomas, Waylon Jennings, James Burton who played with Ricky Nelson, Elvis Presley, and Merle Haggard (a Signature Telecaster model player himself). Burton's favorite guitar was his Pink Paisley (or Paisley Red^[4]) model Telecaster. Later, Danny Gatton blended diverse musical styles (including blues, rockabilly and bebop) and became known as the "telemaster". Eric Clapton used a Telecaster during his stint with The Yardbirds, and also played a custom Telecaster fitted with Brownie's neck while with Blind Faith. Roy Buchanan and Albert Collins proved the Telecaster equally suited for playing the blues. Muddy Waters also consistently used the Telecaster and Mike Bloomfield also used the guitar on his earlier works. Soul sessionist Steve Cropper used a Tele with Booker T. and the M.G.'s, Sam and Dave, Otis Redding and countless other soul and blues acts.

Additionally, George Harrison used a custom-built rosewood Telecaster during the recording sessions for The Beatles' Let It Be album (including the rooftop concert), played through a Leslie speaker. Pearl Jam singer and guitarist Eddie Vedder has been known to use a custom black Telecaster with a white pickguard containing a black arrow decal pointing towards a target design under the strings. Guitar virtuoso Chet Atkins, known for the variety of acoustic and electric guitars that he used, occasionally played a Telecaster in his duets with Jerry Reed.^[5]

With the development of rock, the Tele inspired and sustained yet another genre. Keith Richards of the Rolling Stones has composed many classic riffs on his battered "Micawber" Tele. Iconic are also worn-off green and respectively white Telecasters of the two frontmen of Status Quo, Francis Rossi and Rick Parfitt. Another signature Telecaster player is Andy Summers of The Police. Jimmy Page used a psychedelic-coloured 1958 Telecaster, (painted by Page himself, and also known as the "Dragon Telecaster") on the first Led Zeppelin albums, and also for the lead solo in the 1971 song "Stairway to Heaven". The guitar had been given to Page by his friend Jeff Beck,^[6] but by the time of Led Zeppelin's fourth album, on which Stairway to Heaven appears, Page had begun using various Gibson electric guitars, so his use of the Telecaster was considered unusual. Bruce Springsteen used a custom Telecaster (with an Esquire neck) off and on throughout his career, both solo and with the E Street Band. David Knopfler, rhythm guitarist from Dire Straits played a sunburst custom Fender Telecaster with white ribboning when with the band.

Albert Lee's extensive use of the Telecaster earned him the nickname of "Mr. Telecaster". Hugh Cornwell of The Stranglers has used Telecasters throughout his career. Joe Strummer (frontman of the punk band The Clash) used his worn and battered 1966 Telecaster (originally Sunburst but spray painted black) with its distinctive "Ignore Alien Orders" sticker from the beginning of his musical career until the day he died. In January 2007, Fender issued the G. E. Smith signature Telecaster in honour of Smith's reputation as a modern master of the Telecaster. G.E. Smith was the lead guitarist in the Hall & Oates band and the musical director of Saturday Night Live. Tom Morello of "Rage Against The Machine" plays a black American Telecaster called "Sendero Luminoso" (Shining Path) for songs in drop-D tuning. Jim Root from Slipknot had a signature Telecaster released in 2009. Prince plays a Telecaster in the opening scene of his film, Purple Rain. Singer and Songwriter Jeff Buckley (Son of musician Tim Buckley) played an American Telecaster throughout his career. Lynval Golding, one of the guitarists for 2-Tone band The Specials, used a yellow telecaster throughout his time as a Special. Jonny Greenwood, lead guitarist of Radiohead uses a Telecaster Plus model with lace sensor pickups as his main guitar. British singer and guitar player Anna Calvi exclusively plays a Telecaster through a Vox AC30. Danny Jones, of McFly, uses a Telecaster Vintage '52. Deryck Whibley (frontman and guitarist of the band Sum 41) uses his own signature Telecaster Deluxe, issued in 2005. It features one knob for volume and tone, a single humbucker pickup near the synchronized six-saddle bridge and without the traditional pickup selector switch.

References[link]

1. ^ Duchossoir, A. R. (1991). The Fender Telecaster: The detailed story of America's senior solid body electric guitar. Milwaukee: Hal Leonard Publishing Co. ISBN 0-7935-0860-6.
2. ^ ^{a b} Duchossoir, 1991, 15
3. ^ The Telecaster Sound
4. ^ Dave Rogers, Laun Braithwaite & Tim Mullaly, 1968--69 Paisley Red & Blue Flower Fender Telecasters, Premier Guitar, http://www.premierguitar.com/Magazine/Issue/2009/Dec/1968_69_Paisley_Red_Blue_Flower_Fender_Telecasters.aspx 
5. ^ "Chet Atkins and Jerry Reed Play 'Baby's Coming Home'". 1976. http://www.youtube.com/watch?v=yLqyNV1SMWE. Retrieved 2011-04-19. 
6. ^ 1977 Jimmy Page Interview (Audio/Text)

• Bacon, Tony (1991). The Ultimate Guitar Book. New York: Alfred A. Knopf, Inc. ISBN 0-375-70090-0.
• Bacon, Tony & Day, Paul (1998). The Fender Book: A complete history of Fender electric guitars (2nd ed.). London: Balafon Books. ISBN 0-87930-554-1.
• Burrows, Terry (general editor) (1998). The Complete Encyclopedia of the Guitar: The definitive guide to the world's most popular instrument. New York: Schirmer Books. ISBN 0-02-865027-1.
• Denyer, Ralph (1992). The Guitar Handbook. London: Dorling Kindersley Ltd. ISBN 0-679-74275-1.
• Kelly, Martin, Foster, Terry & Kelly, Paul (2010) Fender: The Golden Age 1946-1970 London & New York: Cassell ISBN 1-84403-666-9.
• Freeth, Nick & Alexander, Charles (1999). The Electric Guitar. Philadelphia: Courage Books. ISBN 0-7624-0522-8.
• Wheeler, Tom (et al.), edited by Trynka, Paul (1993). The Electric Guitar: An illustrated history. San Francisco: Chronicle Books. ISBN 0-8118-0863-7.
• U.S. Patent No. D1642

External links[link]

Wikimedia Commons has media related to: Telecaster

• Ten Terrific Telecaster Guitars - Descriptions, including the prototype (Archived version accessed 18 October 2006).

Leo Fender
Born	Clarence Leonidas Fender (1909-08-10)August 10, 1909 Anaheim, California, United States
Died	March 21, 1991(1991-03-21) (aged 81) Ione, California, United States
Occupation	Inventor

Clarence Leonidas "Leo" Fender (August 10, 1909 – March 21, 1991) was an American inventor who founded Fender Electric Instrument Manufacturing Company, or "Fender" for short. He left the company in the late 1960s, and later founded two other musical instrument companies, MusicMan and G&L Musical Instruments.

The guitars, bass guitars, and amplifiers he designed from the 1940s on are still relevant: the Fender Telecaster (1950) was the first mass-produced electric guitar; the Fender Stratocaster (1954) is among the world's most iconic electric guitars; the Fender Precision Bass (1951) set the standard for electric bass guitars; and the Fender Bassman amplifier, popular enough in its own right, became the basis for later amplifiers (notably by Marshall and Mesa Boogie) that dominated rock and roll music.

Biography[link]

Early life[link]

This section requires expansion with: Teenage years if anything.

Clarence Leonidas Fender ("Leo") was born on August 10, 1909, to Clarence Monte Fender and Harriet Elvira Wood, owners of a successful orange grove located between Anaheim and Fullerton, California.

From an early age, Fender showed an interest in tinkering with electronics. When he was 13 years old, his uncle, who ran an automotive-electric shop, sent him a box filled with discarded car radio parts, and a battery. The following year, Leo visited his uncle's shop in Santa Maria, California, and was fascinated by a radio his uncle had built from spare parts and placed on display in the front of the shop. Leo later claimed that the loud music coming from the speaker of that radio made a lasting impression on him. Soon thereafter, Leo began repairing radios in a small shop in his parents' home.

In the spring of 1928, Fender graduated from Fullerton Union High School, and entered Fullerton Junior College that fall, as an accounting major. While he was studying to be an accountant, he continued to teach himself electronics, and tinker with radios and other electrical items but never took any kind of electronics course.

After college, Fender took a job as a deliveryman for Consolidated Ice and Cold Storage Company in Anaheim, where he later was made the bookkeeper. It was around this time that a local band leader approached Leo, asking him if he could build a public address system for use by the band at dances in Hollywood. Fender was contracted to build six of these PA systems.

In 1933, Fender met Esther Klosky, and they were married in 1934. About that time, he took a job as an accountant for the California Highway Department in San Luis Obispo. In a depression government change-up, his job was eliminated, and he then took a job in the accounting department of a tire company. After working there six months, Leo lost his job along with the other accountants in the company.

Fender Radio Service[link]

In 1938, with a borrowed $600, Leo and Esther returned to Fullerton, and Leo started his own radio repair shop, "Fender Radio Service." Soon, musicians and band leaders began coming to him for PA systems, which he built, rented, and sold. They also visited his store for amplification for the amplified acoustic guitars that were beginning to show up in the southern California music scene—in big band and jazz music, and for the electric "Hawaiian" or "lap steel" guitars becoming popular in country music.

Early guitar builds[link]

During World War II, Leo met Clayton Orr "Doc" Kauffman, an inventor and lap steel player who had worked for Rickenbacker, which had been building and selling lap steel guitars for a decade. While with Rickenbacker, Kauffman had invented the "Vibrola" tailpiece, a precursor to the later vibrato or "tremolo" tailpiece. Fender convinced him that they should team up, and they started the "K & F Manufacturing Corporation" to design and build amplified Hawaiian guitars and amplifiers. In 1944, Leo and Doc patented a lap steel guitar with an electric pickup already patented by Fender. In 1945, they began selling the guitar, in a kit with an amplifier designed by Fender.

Development of the electric guitar: Esquire/Broadcaster/Telecaster[link]

As the Big Bands fell out of vogue toward the end of World War II, small combos playing boogie-woogie, rhythm and blues, western swing, and honky-tonk formed throughout the United States. Many of these outfits embraced the electric guitar because it could give a few players the power of an entire horn section. Pickup-equipped archtops were the guitars of choice in the dance bands of the late-'40s, but the increasing popularity of roadhouses and dance halls created a growing need for louder, cheaper, and more durable instruments. Players also needed faster necks and better intonation to play what the country players called "take-off lead guitar." In the late 1940s, solidbody electric guitars began to emerge in popularity, yet they were still considered novelty items with the Rickenbacker Spanish Electro guitar being the most commercially available solidbody, and Les Paul's one-off home-made "Log" and the Bigsby Travis guitar made by Paul Bigsby for Merle Travis being the most visible early examples.

Fender recognized the potential for an electric guitar that was easy to hold, tune, and play, and would not feed back at dance hall volumes as the typical arch top would. In 1949, he finished the prototype of a thin solid-body electric; it was first released in 1950 as the Fender Esquire (with a solid body and one pickup), and renamed first Broadcaster and then Telecaster (with two pickups) the year after. Although he never admitted it, Fender seems to have based his design on the Rickenbacker Bakelite.^[1] The Telecaster, originally equipped with two single-coil pick-ups and widely used among country and western players, became one of the most popular electric guitars in history.

Stratocaster[link]

Instead of updating the Telecaster, Fender decided, based on customer feedback, to leave the Telecaster as it was and design a new, upscale solid body guitar to sell alongside the basic Telecaster. Western swing guitarist Bill Carson was one of the chief critics of the Telecaster, stating that the new design should have individually adjustable bridge saddles, four or five pickups, a vibrato unit that could be used in either direction and return to proper tuning, and a contoured body for enhanced comfort over the slab-body Telecaster's harsh edges. Fender, assisted by draftsman Freddie Tavares, began designing the Stratocaster in late 1953. It included a rounder, less "club-like" neck (at least for the first year of issue) and a double cutaway for easier reach to the upper registers.^[2]

Bass guitars: Precision, Jazz[link]

During this time, Fender also tackled the problems experienced by players of the acoustic double bass, who could no longer compete for volume with the other musicians. Besides, double basses were also large, bulky, and difficult to transport. With the Precision Bass (or "P-Bass"), released in 1951, Leo Fender addressed both issues: the Telecaster-based Precision Bass was small and portable, and its solid body construction and four magnet, single coil pickup let it play at higher volumes without feedback. Along with the Precision Bass (so named because its fretted neck allowed bassists to play with 'precision'), Fender introduced a bass amplifier, the Fender Bassman; a 45-watt amplifier with four 10" speakers (although initially with one 15" speaker).

1954 saw a redesign of the Precision Bass to coincide with the introduction of the Stratocaster. Incorporating some of the body contours of the Stratocaster, the redesign also included a split single coil pickup and a gold anodized pickguard. In 1960, rosewood fingerboards, wider color selections and a three-ply pickguard became available for the P-Bass.

1960 saw the release of the Jazz Bass, a sleeker, updated bass with a slimmer neck, and offset waist body and two single coil pickups (as opposed to the Precision Bass and its split-humbucking pickup that had been introduced in 1957). Like its predecessor, the Jazz Bass (or simply "J-Bass") was an instant hit and has remained popular to this day, and early models are highly sought after by collectors.

1970 — Music Man and G&L[link]

In the 1950s, Leo Fender contracted a strep infection that impaired his health to the point where he decided to wind up his business affairs, selling the Fender company to CBS in 1965. As part of this deal, Leo Fender signed a non-compete clause and remained a consultant with Fender for a while. Shortly after selling the company, he changed doctors and was cured of his illness.^{[citation needed]} In 1971 he returned to business and formed the Tri-Sonic company. In 1974, as the expiry date of the clause approached, the company's name changed to Music Man. In 1975, Leo Fender became its president.^[3]

The StingRay bass was an innovative early instrument. Though the body design borrowed heavily from the Precision Bass, the StingRay is largely considered the first production bass with active electronics. The StingRay's two-band active equalizer, high output humbucking pickup, and smooth satin finished neck became a favorite of many influential bassists, including Louis Johnson, John Deacon, and Flea. Later, a three-band active equalizer was introduced on the StingRay.^{[citation needed]} Music Man was active making amplifiers as well, but the HD-130 Reverb, designed to compete with the Twin Reverb, came at a time when the clean sounds of the Twin were going out of fashion.^[3]

In 1979, Leo Fender and old friends George Fullerton and Dale Hyatt started a new company called G&L (George & Leo)^[4] Musical Products. G&L guitar designs tended to lean heavily upon the looks of Fender's original guitars such as the Stratocaster and Telecaster, but incorporated innovations such as enhanced tremolo systems and electronics.

In 1979, Fender's wife Esther died of cancer. He remarried in 1980; Phyllis Fender is an Honorary Chairman of G&L. Despite suffering several minor strokes, Fender continued to produce guitars and basses. On March 21, 1991, he died, having long suffered from Parkinson's disease. He was buried at Fairhaven Memorial Park in Santa Ana, California. His accomplishments for "contributions of outstanding technical significance to the recording field" were acknowledged with a Technical Grammy Award in 2009. ^[5]

References[link]

External links[link]

• Fender Musical Instruments website
• G&L Guitars website

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2010)

Philip Xenidis, better known as Phil X (born 10 March 1966), is a Greek-born Canadian ^[1] guitarist and co-founder of the Los Angeles-based turbo pop band Powder. He also has a second band, the Drills. He is best known as the guitarist who replaced Rik Emmett in the Canadian rock band Triumph, for the Edge of Excess album and tour and as the Guitar Reviewer of fretted americana^[2] on YouTube.

An early opportunity in Xenidis's career came when he was asked in 1990 to tour with Randy Coven, whom he met through Aldo Nova; in 1991, he toured the US with Aldo Nova.^[3]

Phil X is a prolific session guitarist, having played on albums by Tommy Lee, Methods of Mayhem, Avril Lavigne, Kelly Clarkson, Orianthi, Rob Zombie, Chris Daughtry, Alice Cooper, Thousand Foot Krutch and many others. He wrote the song "Tired" and also played guitar on Tommy Lee's Tommyland: The Ride album. He has appeared with Lee on Ellen and The Tonight Show with Jay Leno. Phil X was featured in the "making of" video for the movie Josie and the Pussycats. He, along with his Powder bandmates, taught the young actresses to appear as if they were actually playing their instruments.^[4]

He has performed with the band Frozen Ghost. Phil X is also the inventor of the "Flip Stick," an innovative replacement for the "whammy bar" on Floyd-Rose-equipped guitars.

Since 2008, Phil X has been a faculty member of Camp Rock, a camp in Ontario for aspiring musicians.^{[citation needed]}

In April and May 2011, Phil X substituted for Bon Jovi's lead guitarist Richie Sambora, who could not be present for the required dates. He played the last 13 American shows of Bon Jovi's 2011 world tour.

References[link]

External links[link]

• Official Web site of Phil X
• Camp Rock Faculty member since 2008
• [1]

Joe Bonamassa
Bonamassa in Manchester, 2010
Background information
Born	(1977-05-08) May 8, 1977 (age 35) New Hartford, New York United States
Genres	Blues rock, hard rock, rock and roll
Occupations	Musician, singer-songwriter
Instruments	Vocals, guitar, theremin
Years active	1989–present
Labels	J&R Adventures, Provogue
Associated acts	Bloodline, Black Country Communion, Beth Hart
Website	Official website
Notable instruments
Gibson Les Paul Gibson ES335 Fender Stratocaster Fender Telecaster Gibson Flying V

Joe Bonamassa (born May 8, 1977) is an American blues rock guitarist and singer. He began his career playing guitar in the band Bloodline, which featured the offspring of several famous musicians (such as Miles Davis, Robby Krieger and Berry Oakley of The Allman Brothers Band)^[1]. He released his first solo album A New Day Yesterday in 2000, and has since released nine more solo studio albums, four live albums and three live DVDs, along with two albums with the band Black Country Communion and one album in collaboration with vocalist Beth Hart^[2]. He tours the world regularly, and has developed a large following in the U.K. especially. His most recent album, Driving Towards The Daylight, reached #2 on the U.K. Top 40 Albums Chart, and he completed an arena tour there in 2012. In 2009 he was the recipient of the Classic Rock Magazine "Breakthrough Artist of the Year" award^[3], and The Guardian said of him: "the 32-year-old from upstate New York has consolidated a reputation as the pre-eminent blues-rock guitarist of his generation"^[4].

Bonamassa has collaborated with numerous artists, including B.B. King, Eric Clapton, Beth Hart, Paul Rodgers, Leslie West, Jon Lord, Vince Gill, Sandi Thom and Glenn Hughes. He also plays with Hughes in Black Country Communion, along with Jason Bonham and Derek Sherinian^[5].

Joe Bonamassa's music contains a mix of several different genres: although it is primarily blues rock, since relocating to Santorini, Greece in 2009 to record the album Black Rock (named after the studios in which it was created), his music has gained eastern influences, with the addition of instruments such as the bouzouki and clarino (for instance, on Black Lung Heartache from Dust Bowl and Athens to Athens from Black Rock ^[6]). He has also covered songs by John Hiatt and Leonard Cohen^[7].

Early life[link]

Bonamassa was born and raised in New Hartford, New York. His parents owned and ran a guitar shop. He is a fourth-generation musician; with a great-grandfather and grandfather who both played trumpet, and a father who plays guitar, Bonamassa credits his parents with fostering an appreciation of music in his life as early as he can remember. When he was a young child, he would listen to his parents' large record collection. He recalls at age 7, sitting with his parents on Saturdays and listening to Guitar Slim, Bonnie Raitt, Crosby, Stills, Nash, and Young, Eric Clapton, and Jethro Tull. Thus, he sees his music as an amalgam of all the various rock and blues he heard as a child.^[8]

He received his first guitar from his father at the age of 4, and by age 7 he was playing Stevie Ray Vaughan and Jimi Hendrix tunes note for note. At the age of 11, during a short period of being mentored by Danny Gatton, he learned such styles as country and jazz as well as polka. During this time with Gatton, Bonamassa sat in with Gatton's band whenever they played in New York. He first opened for B. B. King at 12 years of age. At 14, he was invited to attend a Fender guitar event; during that trip to the West Coast he met Berry Oakley, Jr., with whom he founded the group Bloodline, along with Miles Davis' son Erin and Robby Krieger's son Waylon. They released one album which produced two chart singles — "Stone Cold Hearted", and "Dixie Peach." He has since played with Buddy Guy, Foreigner, Robert Cray, Stephen Stills, Joe Cocker, Gregg Allman, Steve Winwood, Paul Jones, Steve Lukather, Ted Nugent, Warren Haynes, Eric Clapton, Derek Trucks, and Jack Bruce.

Influences[link]

Unlike other successful blues-rock guitarists, Bonamassa cited his influences as being British and Irish blues acts, rather than American artists. Within the blues genre, hearing the traditional blues players, as with Guitar Slim, Robert Johnson, Muddy Waters, and all the traditional American blues players, (with the exception of B.B. King), comparing the music in the United States to the "European" versions of the blues, Bonamassa found the English blues, fostered by the Jeff Beck Group, Eric Clapton and the Irish blues player Rory Gallagher, to be far more interesting to him than the original Delta blues players.^[8] In an interview in Guitarist magazine (issue 265), he cited the three albums that had the biggest influence on his playing: John Mayall & the Bluesbreakers with Eric Clapton (the Beano album), Rory Gallagher's Irish Tour and Goodbye by Cream. He also stated that Stevie Ray Vaughan's Texas Flood was a big influence at a young age.

Bonamassa performing in Stafford, Texas, 2007

He elaborated further on his influences in his interview:

"You know, my heroes were the Columbine guys – Paul Kossoff, Peter Green, Eric Clapton. There’s so many - there’s Gary Moore, Rory Gallagher – another Irish musician who played the same things, but don’t tell him that. But those guys were my guys – Jeff Beck, Jimmy Page. There’s a certain sophistication to their approach to the blues that I really like, more so than the American blues that I was listening to. B. B. King’s a big influence – he’s probably my biggest traditional influence. I love Muddy Waters, Robert Johnson and T-Bone Walker and stuff like that, but I couldn’t sit down… I was always forcing myself to listen to whole records by them, where I’d rather listen to Humble Pie do "I'm Ready" than Muddy Waters, you know? I think, the English interpretation of the blues just hit me a lot better, you know?"

And in his October 2008 interview with Express & Star:

“When I heard Kossoff playing "Mr. Big" and when I heard Clapton playing "Crossroads" and when I heard Rory Gallagher playing "Cradle Rock", I was like, 'This is way cooler'.... "British blues are my thing. When I heard Rod Stewart and the Jeff Beck Group singing "Let Me Love You", it changed my life. I knew exactly what I wanted to do. Those are my influences".

These influences are evident in his music, but Bonamassa has been influenced by other artists; notable examples include B.B. King, Robert Johnson, Danny Gatton, Eric Johnson, Albert Collins, Stevie Ray Vaughan and Buddy Guy. Bonamassa's style of playing incorporates rock, blues-rock, Delta blues, electric blues, jazz, country - and even prog rock as evidenced by Yes's "Heart of the Sunrise" and the "Würm" section of "Starship Trooper" being regular features of live performances.

Solo career[link]

Bonamassa's solo début, in 2000, was his Top 10 Blues disc A New Day Yesterday, named after the 1969 Jethro Tull classic that Bonamassa makes his own with what allmusic.com called “a jaw-dropping performance”. Produced by the late Tom Dowd, the album featured guest shots by Gregg Allman, Rick Derringer and Leslie West. "Miss You, Hate You" remains a cornerstone of Bonamassa's repertoire, as does "Cradle Rock". Bonamassa followed it up in 2002 with "So, It's Like That", which included "Pain And Sorrow". The album was his first to hit #1 on Billboard's Blues Chart.

Joe Bonamassa performing at the Manchester Apollo, October 2010

In 2003 – designated "Year Of The Blues" by Congress – Bonamassa returned with Blues Deluxe. In the liner notes, Harris Cohen observed that Bonamassa, "never loses touch with the raw emotion that makes the blues what it is." Reviewing "Blues Deluxe", former Creem editor Jaan Uhelszki added, "New York guitar phenom walks tall in the blues tradition…jettisoning fiery riffs inspired by John Lee Hooker, B.B. King, Elmore James, and Albert Collins into the future with furious playing, a hard-rock sensibility, and a grizzled voice that owes a debt to Gregg Allman. Equally inspired by the Delta blues and the mid-'60s British blues boom, the young firebrand … is able to fuse those two schools together, creating edgy blues rock." Had To Cry Today followed in 2004.

In 2006, Bonamassa released his fifth full-length studio album, You & Me. This album also reached #1 on the Billboard Blues Album Chart. For the recording of this album, he enlisted Jason Bonham, while "Your Funeral And My Trial", featured harmonica player L.D. Miller, and the bassist Carmine Rojas. The title of the album was taken from the Django Reinhardt song "Vous et Moi" (1942). The violin introduction of that song inspired Bonamassa to write "Django", the seventh track on the album. Longer live versions would later appear on Live From Nowhere in Particular in 2009, and at the Royal Albert Hall Concert (Live DVD). For this tour, Bonamassa used former Johnny Winter Bassist Mark Epstein and former Kenny Wayne Shepherd drummer Bogie Bowles.

Bonamassa performing on a double necked guitar in Madrid, Spain on June 2, 2009

Sloe Gin was released in August 2007, and spent several weeks at the top of the Billboard Blues Chart. Bonamassa's touring band underwent another change for this album's tour; bassist Carmine Rojas replaced Mark Epstein, and keyboardist Rick Melick was added. Both of the new band members took part in the recordings of You & Me and Sloe Gin, and toured on select dates during promotion of You & Me.

Bonamassa presented his first live show as a DJ on the UK radio station Planet Rock on November 9, 2008, playing tracks from B.B. King, Muddy Waters, Rory Gallagher and Eric Clapton.

In November 2008, Bonamassa announced he would be playing at the Royal Albert Hall in London on May 4, 2009. Tickets for the concert sold out in less than a week. Bonamassa described the event to the Express & Star as "the complete culmination of 20 years of work for me."^{[citation needed]}

At the Royal Albert Hall concert, Bonamassa mentioned that the first song that he learned to play was "Further on Up the Road" and he then introduced Eric Clapton and together they performed the song. Later Bonamassa paid tribute to the Paul Jones Radio Hour on BBC Radio for playing his material on the air, then introduced Paul Jones who played the harmonica on a Sonny Boy Williamson II song, "Your Funeral, My Trial."

In March 2010, Bonamassa released his tenth full-length solo album Black Rock^[9] which debuted at #1 on the Billboard Blues Charts and #38 on the Billboard 200.

In May 2010, Ian Anderson guested at his concert at London's Hammersmith Apollo, and they played "A New Day Yesterday" along with "Locomotive Breath". At the end of 2010, Bowles announced his departure and Tal Bergman took over as touring drummer.

The Bonamassa, Glenn Hughes, Jason Bonham, Derek Sherinian supergroup is now called Black Country Communion. The band were forced to add 'Communion' to their original name Black Country after another band with the same name raised an objection.

In March 2011, Bonamassa released his eleventh full-length solo album, Dust Bowl, followed in September of the same year by a collaboration with Beth Hart called "Don't Explain".

In early 2012, Bonamassa completed the recording of his twelfth studio album. The title was confirmed by Bonamassa in a post on his official Facebook page on March 12 2012 as Driving Towards The Daylight^[10]. Bonamassa debuted the title track during his UK Tour in the same month^[11]

Discography[link]

DVDs[link]

Live at the Rockpalast was released in 2005, and recorded at the Burg Satzvey in Mechernich, Germany.^[12]

A live DVD titled A New Day Yesterday, Live was given away for a short period of time with So, It's Like That. This concert was later re-released as a full CD and DVD.

An instructional DVD, Signature Sounds, Styles and Techniques, was released in 2006.

A live DVD, Joe Bonamassa: Live From Royal Albert Hall was released in September 2009, featuring Eric Clapton as a guest performer.

Bonamassa's performance with pedal-steel guitarist Robert Randolph, Randolph's Family Band and Pino Daniele at the 2010 edition of Crossroads Guitar Festival appears on the Crossroads 2010 DVD. The song they played is Going Down.

A live DVD, "Joe Bonamassa Live from New York Beacon Theatre" was released in 2012.

References[link]

External links[link]

Wikimedia Commons has media related to: Joe Bonamassa

• Official website
• Joe Bonamassa Experience official website
• Joe Bonamassa Official Fan Website
• European Joe Bonamassa Website