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’ve ever wondered why some necks feel cramped and others feel perfect, this deep dive will help you understand what works best for your hands and playing style.

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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.

https://truetone.com/

Thanks to MJ at Seymour Duncan, for winding these pickups for me.

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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 playing the tune on the Opry in 1987
https://www.youtube.com/watch?v=uGUg2AqpkAw

Full ACL performance from 1987
https://www.youtube.com/watch?v=QJho_B-r1aw&t=1595s

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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.

After dusting one off in the studio recently, I remembered why this thing was so loved — and now it’s officially earned its spot back on my board.

If you’re into that classic shimmer or just curious why chorus is cool again, stick around.

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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 you get closer to your Tele tone.

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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 saddle for increased tonal clarity and responsiveness
• A vintage-style Holter tortoiseshell pickguard to restore the classic herringbone-era aesthetic

https://holterpickguards.com/

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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 Hal Leonard and explore his top-tier lessons over on TrueFire. Whether you’re a player or a fan , Matthew’s insights are pure gold.


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#MatthewLee #NashvilleGuitarist #BroadwayNashville #LuckyDogGuitars #CrookCustomGuitars #GuitarGear #HalLeonard #TrueFire #CountryGuitar #GuitarLife



https://www.matthewleeguitar.com/

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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, Fender historian, or just into cool guitar stories, you won’t want to miss this rare glimpse into a forgotten piece of Fender’s past.

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#FenderTelecaster #VintageFender #CustomFender #Telecaster1969 #ClawsonsMusic #GuitarHistory #FenderCustomInlay

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