This 1950 Fender Broadcaster—serial #0163—is instantly recognizable as the forebear of today’s Telecaster.
In the late 1940s, Leo Fender began working on a practical electric Spanish guitar. His design would be simple, and the guitar would be easy to manufacture and repair. It would also be convenient and uncomplicated for the working musician to transport and maintain. Introduced in the fall of 1950, the result was the Broadcaster.
The Broadcaster was a two-pickup solidbody guitar able to reach high stage volumes with none of the feedback problems that plagued hollowbody guitars. The instrument was fitted with an easily replaced bolt-on neck that contained an adjustable truss rod (something earlier prototypes lacked). The instrument’s pickups were meant to give the same bright clarity as Fender’s lap steel guitars. Lastly, a 3-saddle adjustable bridge was included for better (though not perfect) intonation.
In mid-February of 1951, the Gretsch Company contacted Fender to point out that the guitar’s name was very similar to its Broadkaster drum set. Gretsch requested “immediate assurance” that Fender would abandon the name. Fender complied, and the guitar continued to be produced without a name until September of that year, when “Telecaster” began appearing on the decal. The Telecaster name continues to be used on the Broadcaster’s contemporary descendents.
Most modern Telecasters have changed very little from the 61-year-old Broadcaster spotlighted this month. The features special to Broadcasters and early Teles include closed-shell Kluson Deluxe tuners with no protruding shafts on the side (they were open-shell by 1952), a maple headstock plug (all were walnut by ’52), back string ferrules that weren’t in a straight line (they were straightened by ’51), a pickup Blend control (this became a Tone control by ’52), and slot-head screws (which became Phillips screws by ’54). A black pickguard was used until late ’54, and an ash body with a see-through blonde finish remained standard through the ’70s.
If you want to explore the fascinating world of vintage Fender Broadcasters and Telecasters, check out The Fender Telecaster by A.R. Duchossoir and The Blackguard, an astounding coffee-table book by Nacho Baños.
Dave ’s Guitar Shop
Dave Rogers’ collection is tended by Laun Braithwaite and Tim Mullally and is on display at:
Dave’s Guitar Shop
1227 Third Street South
La Crosse, WI 54601
davesguitar.com
Photos by Mullally and text by Braithwaite.
Truetone 1 Spot Pro XP5-PS 5-output Low-profile Isolated Guitar Pedal Power Supply
The XP5-PS is a package containing the 1 Spot Pro XP5, along with a 12Vdc 2.5A adapter, which allows you to power the XP5 without having a CS11. The adapter comes with an array of international plugs so that you can take it with your pedalboard anywhere in the world. Some musicians may even choose to get one of these, plus another XP5, to distribute their power around the pedalboard and have the dual XP5s acting as two pedal risers.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
