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countandduke

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Posts: 52
Reply with quote  #1 
Okay so, I've read that Ted or someone would remove a lot of the wood from underneath the front part of a tele that would be covered by the pickup plate.  Anyone have any pics of that?  Barbara?  How much would he remove?  Was there some sort of template that he would follow or was it a hodge podge?  Seems to me, Ted would be more particular that just drilling holes in the wood but who knows.  In doing so, the guitar almost becomes a hollowbody somewhat did Ted like that kind of tone?  Or was it to lighten the guitar?  I'd also be curious what he did as far as the wiring of his most beloved tele...  What were the potentiometer values?  Capacitor values?  Again, just curious...

Also, what did Ted think of PRS guitars?  I actually have a fantastic hollowbody guitar built by a fantastic luthier (Ben Bruton) and I intentionally had him NOT install F-Holes and the guitar just sounds great!!!

Seems like Ted also liked bigger frets...  6150's  6105's or the railroad track 6000's?  I know, lots of questions here but I am fascinated by his genius...

Best,

Chris
SteveBrodie

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Posts: 209
Reply with quote  #2 
He used filtering capacitors.  I don't remember the values.  He guided me in customizing my 345  way way back.  Made me nervious when he suggested that I cut a hole in the back to allow easy access to the wiring.  It turned out great.  As for the routing.  Erics, in Van Nuys did mine.  They did a great job.  I think Ted routed out as much as he safely could.  

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barbarafranklin

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Reply with quote  #3 
Hi Chris,
I remember seeing the inside under the pick-guard of several of Ted's Teles and the gouges were not pretty.  He had done this years ago to install extra pickups. There are some wiring diagrams I posted on the Archives Blog but I don't know what they are for, I posted them with the hopes that they may be useful. 
I'm sorry I didn't take more interest in this aspect of Ted's knowledge, simply because now I know so many others would benefit. 
Chris, Ted would never hollow out a guitar to merely make it weigh less!
As I mentioned many, many time - TONE was everything!
The frets didn't seem any "bigger" to me but he did use heavy strings - ouch.
Hope this helps a little. Barbara


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Barbara Franklin
James

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Posts: 284
Reply with quote  #4 
I remember discussing frets in the 1980s with Ted. At the time, there was a view that tall, almost pointy frets, could make for more precise intonation. Ted favored the opposite kind of fret. On his tele, his were somewhat big and definitely filed very low and smooth. If you think about it, this is in keeping with his playing style. How often do you see Ted bend? Way more often he is interested in tone and sliding. Hence, heavy strings and low, large, smooth frets.

When I asked him if he recommended anyone for refrets or other luthier work, he spoke very highly of Toru Nittono. I never used him personally and don't know if he's still in business.
barbarafranklin

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Reply with quote  #5 
Toru is still here! and yes, Ted really like him!  I have a link in the archives for Toru, so here it is:


http://tedgreenearchive.wordpress.com/links/

Scroll down to the bottom of the page and you'll find it.


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Barbara Franklin
countandduke

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Posts: 52
Reply with quote  #6 
In one of Mark Levy's lessons, Ted speaks about the benefits of big frets and said he can definitely hear GOOD things with big frets.  Increased sustain, clarity etc. and I agree.  I LOVE big frets too.  Ted didn't bend much so he could get away with a low action on those low radiused guitars...

Best,

Chris
LeonWhite

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Reply with quote  #7 

And yet . . .  When Ted got the guild 'bug' those guitars were medium or small frets (by comparison) and those neck radiuses were fairly flat relative to the traditional Fender radius (on older necks). And his strings were quite heavy. So . . . I think you have to keep that all in mind when thinking about what he "liked."  One concern with big frets that he and I spoke about was intonation as they wore down.  But who knows?

L
countandduke

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Posts: 52
Reply with quote  #8 
I would be really surprised if Ted wore down his frets because his touch was so light with low action.  I would understand the intonation being off as the frets wear down a little bit because the fret needs to be rounded at the top so the intonation is where it's supposed to be.

I just prefer big frets...but, to each his/her own...

Best,

Chris

LeonWhite

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Reply with quote  #9 
Agreed.  He did however wear down and wear OUT necks. It was the Indiana Jones Effect: "Its not the years . . . its the mileage."  When he was really practicing on his teles the necks lost their finish, then some wood between the frets, then the frets.  These were sort of 'self scalloping' necks I guess. May have been part of the reason he switched between guitars during lessons etc.  Or not.


L
countandduke

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Posts: 52
Reply with quote  #10 
Wow, if Ted was wearing out the wood between the frets, that's just TONS of hours of playing...  No wonder he played the way he did.  This big strings would help things wear out too...

I have to be honest and say I was never much of a tele player but I have to agree with Ted, the tele guitars just sound fantastic....

Chris

Keith

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Posts: 105
Reply with quote  #11 
I used to put jumbo frets on my guitars. The taller frets made it way easier to barre, bend, vibratto, and hammer on. The tone was improved as well.
 The down side was my pulloffs and slides tended to suffer. The strings felt stickier. The string would create deep grooves on my fingertips. When I'ld fret a note the string would hit the fret and my fingertip would never touch the wood on the fret board. The taller frets gave the neck a scalloped feel. It's great for guys and gals with bony fingers, esp with the infamous 3rd string buzz on a full barre.

My best to you all.
Keith
DanSawyer

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Posts: 283
Reply with quote  #12 
quote: "I would be really surprised if Ted wore down his frets because his touch was so light with low action…" No, Ted did not have a light touch in the left hand. It seemed that way because he played with such control and finesse. He actually had a strong muscular touch and a powerful left hand. That is also why he wore down the necks as Leon White mentions. Ted often wore down his frets but rarely had them re-fretted. He was pretty good at leveling frets himself.

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Dan Sawyer, friend of Ted's.
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