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 players wanting more headroom and definition.

Brown Deluxe vs Blackface Deluxe (AB763)
How the Brown Deluxe’s mid-forward voicing, earlier breakup, and raw edge contrast with the cleaner, scooped, hi-fi nature of the later blackface circuit.

Why the Brown Deluxe Does Not Sound Like Other 1962 Brownface Amps
The Brown Princeton and Vibrolux from the same year often get mentioned in the same breath, but they’re fundamentally different circuits, power sections, and feel. Same era, totally different results.

’62 Brown Deluxe vs ’65 Blackface Deluxe Reverb
A direct tonal comparison between grit and refinement:

Brown Deluxe: raw, aggressive, chewy mids

BF Deluxe Reverb: cleaner, wider, glassier, more polite
Two iconic Fender voices aimed at completely different players.

Bias Tremolo vs Photocell (Opto) Tremolo
Why the Brown Deluxe’s bias-vary tremolo feels deeper, swampier, and more organic than the photocell tremolo found in blackface amps—and why many players consider it Fender’s best tremolo design.

www.truetone.com

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
https://ask-zac-shop.fourthwall.com
Tip jar:  https://paypal.me/AskZac
Venmo @AskZac

Support the show

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 defines the guitar’s tone and feel
-How the steel bridge plate acts as both bridge and tailpiece
-Why the bridge pickup is mounted directly into the bridge
-The often-overlooked pickup elevator plate, and how it allows precise height adjustment

Decades later, the Telecaster bridge remains one of the most elegant and effective designs in electric guitar history.

Support the show

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 years, and the mindset and work ethic that have kept him at the top of his game for nearly 50 years.

www.truetone.com

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
https://ask-zac-shop.fourthwall.com
Tip jar:  https://paypal.me/AskZac
Venmo @AskZac

Support the show

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 opportunity came together, what the day-of looked like behind the scenes, and the surreal feeling of stepping onto that stage under the bright lights.

NEW MERCH SITE!
https://ask-zac-shop.fourthwall.com

Support the show

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.

Support the show

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: Why I love Headstrong Amps and Danocaster Guitars — no mods, no tweaks, just plug in and play.

It’s a hearty serving of tips, tone, and talk — grab a coffee and dig in!

#AskZac #TeleGumbo #Telecaster #GuitarTips #HeadstrongAmps #Danocaster #GuitarTalk

www.truetone.com

NEW MERCH SITE!
https://ask-zac-shop.fourthwall.com

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
https://ask-zac-shop.fourthwall.com
Tip jar:  https://paypal.me/AskZac
Venmo @AskZac

Support the show

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.

NEW MERCH SITE!
https://ask-zac-shop.fourthwall.com

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
https://ask-zac-shop.fourthwall.com
Tip jar:  https://paypal.me/AskZac
Venmo @AskZac

Support the show

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

Support the show

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.

Support the show

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.

Support the show