Why would a legendary tone snob with Dumbles and real '59 Tweed Twins put his name on a digital amp? On today's episode of Ask Zac, we take a deep dive into the new Fender Joe Bonamassa Tone Master '59 High-Powered Tweed Twin, and what happened when I took it out on the road.

Fender sent over one of these digital tweed powerhouses to review. As someone who uses digital and solid-state gear on stage (including recent televised Grand Ole Opry performances), I share my honest thoughts on why this amp exists, who it’s actually for, and whether modeling has earned a permanent spot in a vintage purist’s rig.

We walk through the amp's features, tone flexibility, studio usability, and real-world gig results, including:

Why Joe Bonamassa Went Digital: The real-world realities of touring, component drift, finicky 12AX7 tubes, and why consistency reigns supreme on the road.

Tonal Features: Exploring the Normal vs. Bright inputs, the padded #2 inputs, mid-range grit, built-in digital reverb, and the rear-panel power selector (from under 1 watt to 85 watts).

Modern Upgrades: The switchable FX loop (ideal for big solo boosts and delays), direct XLR output with IR cab simulations, and custom Celestion Joe Bonamassa Neodymium "blackback-style" speakers.

Road-Test Results: How the amp performed on stage during big shows, lightweight transport benefits, dialing in the Vintage vs. Tight switch, selecting IR presets, and how it paired with my Danelectro doubleneck and baritone Telecaster.

TIMESTAMPS

0:00 - Intro & Welcome to Ask Zac

0:51 - The Fender Joe Bonamassa Tone Master '59 High Powered Tweed Twin

1:53 - Patreon Thanks & Why I'm Doing This Video

2:44 - Why Fender Sent Me This Amp & My Experience with Tone Masters at the Opry

3:11 - Why Would Joe Bonamassa Do a Digital Amp? (The Consistency Factor)

5:33 - XLR Direct Out & Modern Gigging Maintenance Realities

7:08 - Power Attenuator / Output Selector Switch Features

8:01 - Tone & Input Demos (Normal vs. Bright, Padded Inputs)

10:07 - Onboard Digital Reverb & FX Loop Walkthrough

11:40 - Cosmetic Build & Leo Fender’s Favorite Circuit

12:39 - Celestion JB Neodymium Speakers & Mid-Range Push

14:28 - Why Keith Richards & Big Tweed Fans Love High-Power Twins

15:09 - First Impressions & Studio Verdict

16:47 - Road Test Addendum: Taking the Amp Out on the Road

17:40 - Direct XLR Experience & In-Ear Monitor Tweaks (Bass & Tight Switch)

18:52 - Selecting IR Preset #2

19:18 - Stage Photos & Guitars Used (Dan Electro Doubleneck & Baritone Tele)

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If you enjoyed the video, please give it a Like, subscribe to the channel, and drop a comment below—would you gig a digital Tweed Twin?

#AskZac #Fender #JoeBonamassa #ToneMaster #TweedTwin #GuitarAmps #GuitarGearReview

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On today’s episode of Ask Zac, we dive into the world of guitar wireless systems, specifically when and why you should consider ditching your instrument cable.

From small casino stages to massive stages with thrusts, we look at how going wireless impacts your stage presence, overall safety, tone, and performance workflow. I also share a few embarrassing lessons I’ve learned the hard way (including a dropout mid-solo on a giant stage) so you can avoid making the same mistakes!

Key Topics Covered:

Why Go Wireless? The freedom of stage movement, safety from electrical shocks, and eliminating trip hazards/cable management.

When to Make the Switch: Why cables work fine on tiny stages, but wireless becomes essential as stage size and performance expectations grow.

The "Soundcheck Hack": How wireless lets you step out front into the audience area to hear what your rig actually sounds like through the PA.

Tone & Pickup Buffering: Does wireless ruin your tone? We break down capacitance, signal buffering, and do an A/B audio comparison between a cable and a wireless unit.

Pedalboard vs. Rack Units: Choosing the right tool for the job, when a pedalboard unit works vs. when you need a professional rackmount setup with external antennas.

Video Chapters:
0:00 - Intro: Talking to My Younger Self
1:25 - Do You Need Wireless on Small Stages?
3:00 - Stage Size & Showmanship Expectations
4:25 - Real-World Story: Cabling vs. Stage Movement
6:00 - Entertaining the Audience & Stage Freedom
7:20 - Big Stages, Thrusts, and Cable Nightmares
8:30 - Does Wireless Ruin Your Tone?
11:08 - Stage Safety & Shock Prevention
11:39 - Gear Review: Shure GLXD+ Pedalboard Wireless
14:08 - Bodypack Placement & Guitar Switching Tips
15:57 - Soundcheck Hack: Hearing Yourself Out Front
16:37 - A/B Sound Test: Wireless vs. D'Addario Cable
18:23 - Pickup Buffering & Capacitance Explained
19:15 - What to Avoid: Cheap Units & Big Stage Dropouts
20:50 - Final Thoughts on Showmanship & Wrapping Up

Gear Featured in This Episode:

Shure GLXD+ Digital Wireless Pedalboard System

D'Addario Instrument Cables

If you enjoyed this episode, please like, subscribe, and share it with a fellow gear head. Thanks for watching!

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Delay is hands down my favorite guitar effect. It’s the ultimate tool for adding space, fattening up your tone, and creating depth, whether you're playing fast country chicken pickin' or holding out ambient chords. In this episode, I share the delay pedals I’ve relied on for years (including one I've been playing since 1991), complete with my favorite settings, live rig applications, and sound demos.

Note: This video is 100% unsponsored. Every pedal featured was purchased with my own money from pawn shops, Reverb, or local gear stores.

Pedals Featured in This Episode:

Universal Audio UAFX Del-Verb – The ultimate solution for a killer Deluxe Memory Man style delay combined with a top-tier spring reverb.

Boss DM-3 Analog Delay – My most-used delay of all time. Quiet, warm, and the absolute king of always-on slapback.

Boss DD-2 Digital Delay – The legendary 1980s long-chip digital classic used by John Jorgenson and Brad Paisley for punchy, mix-cutting repeats.

Mad Professor Deep Blue Delay – A touch-sensitive digital delay with a dynamic, "ducking" quality that gets out of the way of your pick attack.

Line 6 Echo Park – The ultimate compact workhorse with tap tempo, versatile voicings, and rock-solid reliability.

Honorable Mention: Strymon El Capistan (V2) – The modern industry standard for multi-head tape echo emulation, complete with a favorite switch for fly dates.

Timestamps:
0:00 - Intro & Why Delay is My Favorite Effect
1:28 - Full Disclosure (Unsponsored Content)
1:51 - Support the Channel
2:13 - 1. Universal Audio UAFX Del-Verb
7:54 - 2. Boss DM-3 Analog Delay
12:22 - 3. Boss DD-2 Digital Delay
18:15 - 4. Mad Professor Deep Blue Delay
22:34 - 5. Line 6 Echo Park
25:48 - 6. Honorable Mention: Strymon El Capistan
28:21 - Final Thoughts & Outro

www.truetone.com

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On this episode of Ask Zac, we take a deep dive into Steve Earle’s landmark 1986 album Guitar Town and, in particular, the incredible guitar work of Richard Bennett.

Bennett’s playing on the title track is a masterclass in taste, melody, and knowing exactly what a song needs. We’ll break down the licks, turnarounds, tic-tac parts, and that fantastic solo, and look at how Richard created so much musical impact with what might seem like a very unusual instrument: a vintage Danelectro six-string bass.

I’ll also talk about Richard Bennett’s background, his work with artists including Neil Diamond and Billy Joel, his move from Los Angeles to Nashville, and his growing role in the making of Guitar Town. There’s a great story behind how Richard ended up playing the “guitar solo” on the song, and why the instrument he chose helped create such a distinctive sound.

Along the way, I’ll put my own Jerry Jones Longhorn six-string bass through its paces and explain some of the things that make the original Danelectro six-string bass so unique.

Richard is one of my favorite guitar players, and I had the pleasure of interviewing him for Vintage Guitar back in 2005. I’ll also point you toward some of the sources I used, including David McGee’s Fearless Heart and my original Richard Bennett interview.

So grab your guitar, or just listen closely, and let’s dig into one of the great examples of Nashville guitar playing.

And if you haven’t listened to Guitar Town lately, go give the whole record another spin. It’s a classic.


My 2005 interview with Richard
https://www.askzac.com/post/richard-bennett-interview

Steve Earle with Richard
https://www.youtube.com/watch?v=8Xp4OGarKJo

Steve, Richard, and Mike McAdam
https://www.youtube.com/watch?v=6yGhm8CviuE

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#SteveEarle #GuitarTown #RichardBennett #CountryGuitar #NashvilleGuitar #Danelectro #AskZac #GuitarSolo

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In honor of Seymour Duncan’s 50th anniversary, I’m taking a look at some of my favorite Seymour Duncan pickups, and the guitars I use them in.

I’ll start with a little Seymour Duncan history, including the famous story about Seymour, Robbie Robertson, and the pickup that helped set him on the path toward building his own pickups. I’ll also talk about my own history with Seymour Duncan, from buying my first Alnico II Pro Tele bridge pickup to eventually getting involved with the Lost Paisley pickup set for Fender.

Then it’s time for the guitars. I pulled out a bunch of my favorite instruments and talk about why I chose the particular Seymour Duncan pickups in each one, including Antiquity humbuckers, Antiquity Tele pickups, the ’53 Tapped Tele set, Hot Strat Stack pickups, Lipstick Tube Strat pickups, the Twang Banger, Vintage Stack Tele pickups, and more.

Along the way, I’ll demonstrate how I use these pickups for everything from classic Tele tones and Nashville/Bakersfield sounds to higher-output Strat sounds, slide, recording, and live work, including some of the guitars I take on the road with Brad Paisley.

It’s a tip of the hat to Seymour Duncan, a look at some great pickups.

Congratulations to Seymour Duncan on 50 years!

www.truetone.com

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#SeymourDuncan #AskZac #GuitarPickups #Telecaster #Stratocaster

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Eight months ago, I built a baritone Telecaster with some friends. Since then, it has traveled with me all over the United States and Europe on tours, stages, airplanes, and 18-wheelers. Through all these gigs, I’ve learned a lot about what makes a baritone work in a band setting, and what doesn’t.

In this episode of Ask Zac, I’m taking a deeper look at the evolution of this guitar and the biggest change I’ve made to it: installing a Glaser bender.

The guitar is tuned B-to-B, and I’ve found that the lower register makes it a fantastic complement to other instruments. I’ll discuss what I discovered while playing and soloing onstage, including how the lower range encouraged me to play more melodically and simply rather than trying to compete with the fastest players.

I’ll also share the practical lessons I’ve learned along the way, such as cutting low end, using more dirt, and experimenting with different string sets before settling on a lighter D’Addario set. I’ll explain why my attempt to use an unwound third string failed and how that ultimately led me to add the bender.

Additionally, we’ll take a close look at the Glaser bender itself to hear what happens when you put one on a B-to-B baritone. It delivers a bigger, throatier sound than a conventional Telecaster bender, bringing both unique advantages and drawbacks that open up interesting musical possibilities. Finally, I’ll talk about the Music City Bridge saddles, the Ron Ellis Tele pickups that have been in the guitar for the last seven months, and a few other experiments.

Think of this as a sequel to my original baritone Telecaster video, updated with everything I've learned from eight months of real-world use on the road.

www.truetone.com

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#AskZac #BaritoneGuitar #Telecaster #GlaserBender #BBender #FenderTelecaster #BaritoneTelecaster #GuitarGear

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In this episode of Ask Zac, I’m paying tribute to the late, great Jerry Jones, one of Nashville’s most respected guitar repairmen, builders, and innovators.

Before becoming known for his incredible line of instruments, Jerry was the guitar guru for many of Nashville’s top players, including Chet Atkins, Reggie Young, and Sam Bush. He eventually began building his own instruments, creating unique hybrids and, most famously, a whole range of beautifully made guitars inspired by the classic Danelectro designs.

We’ll look at Jerry’s incredible Bass 6, baritone, 12-string, sitar, double-neck, and other specialty instruments, and the musicians and records that helped make these unusual guitars essential studio tools.

I’ll also talk about Jerry’s work for Merle Haggard, his friendship with Danelectro founder Nat Daniel, the return of the Danelectro name in the 1990s, and the lawsuit that ultimately had a major impact on Jerry’s guitar business.

And, of course, I’ll show you one of my favorite Jerry Jones instruments: Brad Paisley’s Bass 6, a guitar Brad bought in the mid-'90s that has appeared on every Brad Paisley record and continues to be an important part of his musical arsenal.

Jerry Jones made instruments that were innovative, incredibly useful, and built to survive the road. His guitars became the go-to “niche” instruments for countless players, and his influence can still be heard today.

This is a tribute to Jerry Jones, his remarkable instruments, and the lasting mark he left on the world of guitars.

www.truetone.com

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Patreon https://www.patreon.com/AskZac
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Tip jar: https://paypal.me/AskZac
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#AskZac #JerryJones #Danelectro #Bass6 #BaritoneGuitar #GuitarHistory #NashvilleGuitars #BradPaisley

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