A new iteration on the classic Esquire formula that adds in a "secret" pickup.
Hollywood, CA (November 17, 2020) -- Fender Musical Instruments Corporation (FMIC) today released the new Brad Paisley Signature Esquire, in collaboration with the multiple-Grammy-Award-winning country music superstar. Over the course of the guitar brandās nearly 75-year history, the Fender Esquire has been used by generations of country musicians who prized its approachability and uncompromising tone. With his second Signature guitar, Fender honors both the storied history of the beloved model and a man who has made the Esquire iconic to fans of modern country music. Brad Paisley has used the Esquire guitars tried-and-true sound throughout a decades-long career which includes three Grammy awards, 24 No. 1 hits and over 3.9 billion on-demand streams making him the perfect partner for Fender to celebrate this guitar anniversary with.
āThe Esquire is a streamlined, working-manās guitar,ā said Paisley. āItās really important to me that you hear an echo of the past in the stuff that I do, and in that sense, this guitar encompasses what I try to do musically. It has a retro feel, but at the same time, itās progressive, with a new style of pickup that hasnāt been done before.ā
The signature twang of the Esquire and its later iteration, the Telecaster, have been heard on countless country albums and have helped to define the sound of the genre. In this spirit, the Brad Paisley Signature Esquire takes the elements that have made the guitar a staple and provides subtle upgrades to bring this iconic model into the future. Historically, the Esquire model is known for featuring a single pick-up; making it perfect for country artists like Brad Paisley, as well as those seeking an affordable, but professional instrument at the outset of their career. In order to maintain this upstart spirit of the Esquire while giving musicians a greater sonic range, Fender has added a Seymour Duncan Brad Paisley Signature āSecret Agentā neck pickup. This pickup is hidden under a pickguard adorned in a custom paisley pattern ā keeping the image of the instrument intact while delivering a robust palette of sounds.
āWe view our Artist Signature Series as a significant way to honor the sound, style and talents of the artists who have made Fender who we are today,ā said Justin Norvell, EVP, Fender Products. āThe creation of this guitar was driven by two amazing stories. One is the story of a nearly 75 year-old guitar made for professional players that still is heard today on hit records. And alongside it is Bradās story; taking the elements of classical country music and continuing delivering hit after hit in the modern era. With Bradās suggestion to add the hidden pickup that opens up new sounds while keeping its traditional stripped-down nature, this guitar tells both of these stories. Anyone who purchases one can help write the next chapter.ā
āAt Fender, we remain dedicated to supporting country music and the Nashville guitar community,ā said Ben Blanc-Dumont, Director of Artist Marketing for Fender in Nashville. āIn addition to being one of the most influential artists in country musicās history, Brad Paisley is also one of the most-respected guitar players in the world. Working with Brad on his Fender signature models is always an incredible process; he is so focused on getting every little detail right, not only to match his musical vision, but also for all kinds of guitarists - from aspiring players to professionals.ā
The Brad Paisley Signature Esquire features a lightweight Paulownia body with Spruce top and back, finished in a stunning black sparkle and given a RoadWorn treatment for a vintage look and feel. The maple neck with 9.5ā radius fingerboard improves the playability over previous Esquire guitars but features a classic V-shaped profile in a nod to the guitarās heritage. American Professional compensated saddles in a vintage bridge show an attention to detail and quality, while the black paisley-patterned nods to the artistās influence. And of course, the Seymour Duncan Brad Paisley Signature āSecret Agentā neck pickup maintains the aggressive spirit of the original Esquire, while giving the players tone options never before heard in the model.
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Fender
See and hear Taylorās Legacy Collection guitars played by his successor, Andy Powers.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylorās classic acoustic models, curated by the legendary luthier and innovator himself. āTo imagine that weāre doing guitars that harken to our past, our present and our future all at the same time,ā Bob says, āI really like that.ā
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. āItās an up-to-date version of what those guitars would be,ā Bob explains, ābut with the same sound.ā
Visually, these guitars feel classicāclean, understated and unmistakably Taylor. While Bobās original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylorās reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. āMy first neck was a bolted-on neck but not an NT neck,ā Bob says. āThese are NT necks because itās a better neck.ā Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bobās use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy PowersāTaylorās current Chief Guitar Designer, President and CEOādebuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylorās premium-performance guitars. Still, Bobās X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says āharkens back to those days.ā
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bobās successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylorās guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builderās Edition Collection, and most recently, the stunning Gold Label Collection.
Below youāll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylorās first official guitar series. Today, it remains home to some of the brandās most acclaimed instruments, including the flagship 814ce, Builderās Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Raddingāthe original owner of the American Dream music shop where Bob and Kurt first met. āI was making my guitars in the molds that Sam had made at American Dream,ā Bob recalls. āThere was a Jumbo and a Dreadnought. Thatās all we had.ā
All three Legacy 800 Series guitars feature one of Bobās favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bobās āstraight-earā peghead design. Both Jumbo models also showcase a mustache-style ebony bridgeāa nod to Bobās early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylorās heart. āMy first 810, the one I made for myself, was a thrilling guitar for me to make,ā he says. āItās the one and only guitar I played. It didnāt matter how many guitars we made at Taylor, thatās the one I took out and played.ā The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough DemoĀ
Legacy 855e
Taylorās first 12-strings found an audience in 1970s Los Angeles. āI was making guitars that would find their way to McCabeās in Santa Monica and Westwood Music,ā Bob says, āand these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.ā The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough DemoĀ
Legacy 815e
The Legacy 815e revives Taylorās original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: āNot everybody wants a dreadnought guitar anymore.ā Players were asking for something with comparable volume but different proportionsāsomething more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bobās Grand Auditorium attracted a wide variety of players. āWe came into our own with our Grand Auditorium,ā he says. āPeople were describing it as āall around.ā Itās a good strummer and good for fingerstyle, but itās not totally geared toward strumming or totally geared toward fingerstyle.ā Also referred to as the āSwiss-Army Knifeā of guitars or the āGoldilocksā guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. āThat guitar made studio work successful,ā Bob says. It gained a wider fanbase with the debut of the āceā version, which introduced a Venetian cutaway and onboard electronics. āThat became one of our hallmarks,ā says Bob. āIf you want to plug in your guitar, buy a Taylor.ā
Today, the Grand Auditorium is Taylorās best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bobās original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough DemoĀ
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedarās soft-touch sensitivity and warmth. Itās a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough DemoĀ
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isnāt currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white āpinstripeā body purfling.
While the Legacy Collection spotlights Taylorās past, newer models from the Gold Label, Builderās Edition and Somos Collections show the companyās legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough DemoĀ
Detail of Tedās 1997 National resonator tricone.
What instruments should you bring to an acoustic performance? These days, with sonic innovations and the shifting definition of just what an acoustic performance is, anything goes.
I believe it was Shakespeare who wrote: āTo unplug, or not to unplug, that is the question. Whether ātis nobler in the mind to suffer the slings and arrows of acoustic purists, or to take thy electric guitar in hand to navigate the sea of solo performing.ā
Four-hundred-and-twenty-four years later, many of us still sometimes face the dilemma of good William when it comes to playing solo gigs. In a stripped-down setting, where itās just us and our songs, do we opt to play an acoustic instrument, which might seem more fittingāor at least more common, in the folksinger/troubadour traditionāor do we bring a comfy electric for accompaniment?
For me, and likely many of you, it depends. If Iām playing one or two songs in a coffeehouse-like atmosphere, Iām likely to bring an acoustic. But if Iām doing a quick solo pop up, say, as a buffer between bands in a rock room, Iām bringing my electric. And when Iām doing a solo concert, where Iāll be stretching out for at least an hour, itās a hybrid rig. Iāll bring my battered old Guild D25C, a National tricone resonator, and my faithful Zuzu electric with coil-splitting, and likely my gig pedalboard, or at least a digital delay. And each guitar is in a different tuning. Be prepared, as the Boy Scouts motto states. (For the record, I never made it past Webelos.)
My point is, the definition of the āacousticā or ācoffeehouseā performance has changed. Sure, there are still a few Alan Lomax types out there who will complain that an electric guitar or band is too loud, but they are the last vestiges of the folk police. And, well, acoustic guitar amplification is so good these days that Iāve been at shows where each strum of a flattop box has threatened to take my head off. My band Coyote Motel even plays Nashvilleās hallowed songwriter room the Bluebird CafĆ© as a fully electric five-piece. Whatās key, besides a smart, flexible sound engineer, is controlling volume, and with a Cali76 compressor or an MXR Duke of Tone, I can get the drive and sustain I need at a low level.
āMy point is, the definition of the āacousticā or ācoffeehouseā performance has changed.ā
So, today I think the instruments that are right for āacousticā gigs are whatever makes you happiest. Left to my own devices, I like my Guild for songs that have a strong basis in folk or country writing, my National for blues and slide, and my electric for whenever I feel like adding a little sonic sauce or showing off a bit, since I have a fluid fingerpicking hand that can add some flash to accompaniment and solos. Itās really a matter of what instrument or instruments make you most comfortable because we should all be happy and comfortable onstageāwhether that stage is in an arena or theater, a club or coffeehouse, or a church basement.
At this point, with instruments like Fenderās Acoustasonic line, or piezo-equipped models from Godin, PRS, and others, and the innovative L.R. Baggs AEG-1, itās worth considering just what exactly makes a guitar acoustic. Is it sound? In which case thereās a wide-open playing field. Or is it a variation on the classic open-bodied instrument that uses a soundhole to move air? And if we arrive at the same end, do the means matter? There is excellent craftsmanship available today throughout the entire guitar spectrum, including foreign-built models, so maybe we can finally put the concerns of Shakespeare to rest and accept that āacousticā has simply come to mean ālow volume.ā
Another reason Iām thinking out loud about this is because this is our annual acoustic issue. And so weāre featuring Jason Isbell, on the heels of his solo acoustic album, a piece on how acoustic guitars do their work authored by none other than Lloyd Baggs, and Andy Fairweather Low, whose new solo albumāand illustrious careerāincludes exceptional acoustic performances. If youāre not familiar with his work, and you are, even if you donāt know it, he was the gent sitting next to Clapton for the historic 1992 Unplugged concertāand lots more. There are also reviews of new instruments from Taylor, Martin, and Godin that fit the classic acoustic profile, so dig in, and to heck with the slings and arrows!Ernie Ball, the worldās leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayerās exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projectionāmaking them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
āEarthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. Theyāre great in any musical setting but really shine when played solo. Thereās an orchestral quality to them.ā -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
The Irish post-punk bandās three guitarists go for Fairlane, Fenders, and a fake on their spring American tour.
We caught up with guitarists Carlos OāConnell and Conor Curley from red-hot Dublin indie rock outfit Fontaines D.C. for a Rig Rundown in 2023, but we felt bad missing bassist Conor āDeegoā Deegan III, so weāve been waiting for the lads to make their way back.
This time, riding the success of their fourth LP, 2024ās Romance, we caught up with all three of them at Nashvilleās Marathon Music Works ahead of their April 30 gig to see what they brought across the pond.
Brought to you by DāAddario
Allās Fairlane
Curleyās go-to is this Fairlane Zephyr, loaded with Montyās P-90s and a Mastery bridge. It mostly stays in standard tuning and, like his other axes, has Ernie Ball Burly Slinky strings.
Blue Boy
Fender sent Curley this Jazzmaster a couple of years ago, and since then, heās turned to it for heavier, more driven sounds. Itās tuned to E flat, but Curley also tunes it to a unique shoegaze-y tuning for their tune āSundowner.ā
You can also catch Curley playing a Fender Johnny Marr Jaguar.
Twin Win
Fender Twin Reverbs are where Conor Curley feels most comfortable, so theyāre his go-to backline. The amps are EQād fairly flat to operate as pedal platforms.
Conor Curleyās Pedalboard
Curleyās pedalboard for this tour includes a TC Electronic PolyTune3 Noir, Strymon Timeline, Boss RV-6, Boss PN-2, Boss BF-3, Keeley Loomer, Death by Audio Echo Dream, Fairfield Circuitry Hors d'Ouevre?, Strymon Sunset, Strymon Deco, DigiTech Hardwire RV-7, Electro-Harmonix Nano POG, and Lehle Little Dual.
Fake Out
Connor Deegan didnāt own a bass when Fontaines D.C. began, and his first purchase was the black Fender Jazz bass (right)āor so he thought. He later discovered it was a total knock-off, with a China-made body, Mexico-made neck, and a serial number that belongs to a Jaguar. But he fell in love with it, and its soundānasal on the high strings, with cheap high-output pickupsāis all over the bandās first record, Dogrel. Deego plays with orange Dunlop .60 mm picks, and uses Rotosound Swing Bass 66 strings.
Deegan picked up the Squier Bass VI (left) for its āsurfy vibes,ā and upgraded the pickups and bridge.
Also in his arsenal is this 1972 Fender P-bass (middle). (Heās a bit nervous to check the serial number.)
V-4 You Go
Deego plays through an Ampeg V-4B head into a Fender 6x10 cabinet.
Conor Deeganās Pedalboard
Deeganās board includes a Boss TU-3, Electro-Harmonix Hum Debugger, Boss TR-2, modded Ibanez Analog Delay, Death by Audio Reverberation Machine, Boss CE-2w, Tech 21 SansAmp Bass Driver DI, Darkglass Electronics Alpha Omega Ultra, and Dunlop Volume (X) Mini pedal. A GigRig QuarterMaster helps him switch sounds.
Mustang Muscle
Carlos OāConnell favors this 1964 Fender Mustang, which has been upgraded with a Seymour Duncan Hot Rails pickup since Romance. Itās set up so that the single-coil pickup is always on, and heāll add in the Hot Rails signal for particular moments.
Ghost of Gallagher
After getting to play a number of Rory Gallagherās guitars thanks to a private invitation from the guitaristās estate, OāConnell picked up this Fender Custom Shop Rory Gallagher Signature Stratocaster. The jangly, direct tone of this one is all over tunes like āBoys in the Better Land.ā
More Fender Friends
OāConnell runs his guitars, including a vintage Martin acoustic which he picked up in Nashville, through a Fender Twin Reverb and Deluxe Reverb.
Carlos OāConnellās Pedalboard
The gem of OāConnellās board is this Soundgas 636p, an imitation of the infamous Grampian 636 mic preampās breakup. Alongside it are a TC Electronic PolyTune, Ceriatone Centura, Strymon Volante, Eventide H9, Orchid Electronics Audio 1:1 Isolator, Vein-Tap Murder One, MXR Micro Amp, Moog MF Flange, MXR Smart Gate, and Freqscene Koldwave Analog Chorus. A Radial BigShot ABY navigates between the Twin and Deluxe Reverb.