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The Blobbycaster
• Youtube - https://www.youtube.com/@Goldeneraguitars
• Youtube - https://www.youtube.com/@Goldeneraguitars
I think he used the Esquire on a lot of the classic recordings so that's probably the more important guitar. He kept a Telecaster in open G in the studio because Otis wrote in open G although I don't know if that's the same Telecaster that also went out on tour.
But a rosewood board Tele needs a pale body either way!
The Rory Gallagher one was very white. Apparently later refinished in green and then cream so it's still in Donal Gallagher's collection in the cream finish.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
• Youtube - https://www.youtube.com/@Goldeneraguitars
Fender do a white-blonde on some of their reissue stuff but I don't know how authentic to the period that actually is . Sometimes you see blonde finishes that get very yellow and look a bit school custard. I'm sure Wez will do something sympathetic whatever.
additional info
Fender ran with a limited edition Custom Shop Tele a short while ago - As someone mentioned earlier, it is effectively a forerunner to a Thinline Tele
i am confident I can get close, but the point is still a valid one.
I have taken this approach before. The market does not seem to appreciate it as much and most prefer a bit of appropriate wear. I know in building restoration the approach is to replace old with new and keep the repair visible and show the progress of history, but i am not sure that is what the guitar world wants
I think you have both got to the crux of the dilemma and discussions we were having behind the scenes. It has been helpful to get a bit of input from other. .
We have decided on aged white/blonde. I am not going to debate the name of the colour too much. We know the shade(s) we are after from other aged late 60's/early 70's examples. That is what I will work to.
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I have another vintage restoration to start soon and will be applying similar principles. Its a 50's les paul custom where the multi-ply binding has been replaced by 4 thick strips of white/cream binding oversprayed with vintage white. it was also refinished a long time ago. Many parts have changed but its all vintage wood and pickups The challenge is the same as the tele and the dilemma is very similar too... put it back to original spec - try not to lose the mojo of a hard life gigging.
https://i.imgur.com/tYRq9G8.jpg
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That's a difficult one too. Given the potential value it becomes an important financial decision as well as just a taste one - even compared to a '67 Tele. At least there is only one colour choice .
It needs to lose that nasty modern pickguard at the very least!
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
I will be using a white paint as my base and mixing with tobacco and amber to get the final colour. like all the vintage examples, it won't be one solid colour. getting the variation between light and dark right will be key to the success of the new finish
see exhibit a
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My first assumption was the binding had been painted, because who would do this. But yeah, its been replaced... front and back. If you look closely you can see the treble side of the fretboard has been replaced by 2 thinner strips too. the bass side has a few cracks so I assume the replaced binding did similar earlier in its life.
Colour - we were thinking sunburst
Pickguard - i'm working on it
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