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be23 « Legend updated »
Published on 08/06/14 at 03:36The American Deluxe Telecaster solidbody guitar is made by Fender in the U.S., its characteristics are virtually unchanged for over 60 years: full body Alder (note that it is also available with an Ash body like the original version of 52 ), bolt-on maple neck (also available with an attached rosewood fingerboard), fixed bridge, 2 single noiseless pickups kind (I will return later), a 3 position switch, a volume knob and a tone knob .
Some minor adjustments that may (or may not) consider improvements have been made in relation to the historical model: a stomach cutting was performed on the body to facilitate the game sitting a chamfer was performed on the heel to facilitate access to acute, the bridge has six bridges for precise adjustment of the intonation of each string, and the latest version is called the radius offset, ie it is less serious side (affects more rounded ) and most important acute side (flatter) button.
A change was also made from the perspective of electronics with a switch named "S1" on the volume knob. This switch affects only the middle switch position: if it is not enabled, the intermediate position is classic with two microphones connected in parallel; if enabled, the two microphones are coupled in series, much like the two coils of a humbucker.
UTILIZATION
The handle is a C rather thin profile, different from the log found on the 52 RI. It is very comfortable but it is above all a matter of taste. The history of the radius offset is in my opinion quite anecdotal.
The guitar is light, well balanced, and access to acute is rather good, beveled heel provides a little more from the standpoint of ergonomics, it is thought!
SOUNDS
Sounds, and anyone who claims otherwise is either dishonest or deaf. Now noiseless pickups are quite specific, and have as many detractors as diehard fans (to name him Eric Clapton signature strat which is equipped). Depending on the model year, there are three versions (the Fender Vintage Noiseless on earlier drafts, the Fender Noiseless SNC, Fender N3 Noiseless and the latest versions).
The principle is simple: they can eliminate background noise inherent in single coil pickups while retaining their signature sound. First observation: it works! The guitar is extremely quiet, even if it rises copiously gain on the amp, amazing!
The neck pickup delivers round and crystalline sound, clarity can be good temper, lowering the tone. Classical intermediate position (switch S1 unactivated) provides a slightly tart side, with a nice dynamic and always a lot of clarity. Side easel that hard! It is open territory classic rock, slap, that "twang" tone and there's your friend to avoid bees in the eardrums!
The noiseless side allows these microphones tolerate a fair amount of gain they will be more comfortable with a generous vintage microphones overdrive, with beautiful precision retained. If the switch S1 is switched on, the intermediate position clearly becomes more plump, and without turning into Les Paul either, the Tele can type in a nasty rock carefree (I said no metal rock eh!)
In his clear, the next "zero parasite" of noiseless offers a very pure sound, ideal for recording, which will be arranged very well with type modulations delays, reverbs ...
Note that these sounds will be a little too "perfect" for some, and the grainy side of a vintage microphone will be preferred to one that has to do with a Telecaster cashing the distortion ...
OVERALL OPINION
I am a player of Gibson Les Paul 90%, and my Fender incursions have always resulted in a certain weariness, with one exception: the Telecaster.
This model is legendary, and offers me something other brand guitars are unable to provide me ...
I had a 52 RI Telecaster there a few years ago, and unfortunately I was forced to part. Recovering the American Deluxe, I do not really know what to expect.
This guitar is simply amazing, no better or worse than the 52, the mind is just different: the 52 authentic vintage, American Deluxe is versatile and modern.
Some minor adjustments that may (or may not) consider improvements have been made in relation to the historical model: a stomach cutting was performed on the body to facilitate the game sitting a chamfer was performed on the heel to facilitate access to acute, the bridge has six bridges for precise adjustment of the intonation of each string, and the latest version is called the radius offset, ie it is less serious side (affects more rounded ) and most important acute side (flatter) button.
A change was also made from the perspective of electronics with a switch named "S1" on the volume knob. This switch affects only the middle switch position: if it is not enabled, the intermediate position is classic with two microphones connected in parallel; if enabled, the two microphones are coupled in series, much like the two coils of a humbucker.
UTILIZATION
The handle is a C rather thin profile, different from the log found on the 52 RI. It is very comfortable but it is above all a matter of taste. The history of the radius offset is in my opinion quite anecdotal.
The guitar is light, well balanced, and access to acute is rather good, beveled heel provides a little more from the standpoint of ergonomics, it is thought!
SOUNDS
Sounds, and anyone who claims otherwise is either dishonest or deaf. Now noiseless pickups are quite specific, and have as many detractors as diehard fans (to name him Eric Clapton signature strat which is equipped). Depending on the model year, there are three versions (the Fender Vintage Noiseless on earlier drafts, the Fender Noiseless SNC, Fender N3 Noiseless and the latest versions).
The principle is simple: they can eliminate background noise inherent in single coil pickups while retaining their signature sound. First observation: it works! The guitar is extremely quiet, even if it rises copiously gain on the amp, amazing!
The neck pickup delivers round and crystalline sound, clarity can be good temper, lowering the tone. Classical intermediate position (switch S1 unactivated) provides a slightly tart side, with a nice dynamic and always a lot of clarity. Side easel that hard! It is open territory classic rock, slap, that "twang" tone and there's your friend to avoid bees in the eardrums!
The noiseless side allows these microphones tolerate a fair amount of gain they will be more comfortable with a generous vintage microphones overdrive, with beautiful precision retained. If the switch S1 is switched on, the intermediate position clearly becomes more plump, and without turning into Les Paul either, the Tele can type in a nasty rock carefree (I said no metal rock eh!)
In his clear, the next "zero parasite" of noiseless offers a very pure sound, ideal for recording, which will be arranged very well with type modulations delays, reverbs ...
Note that these sounds will be a little too "perfect" for some, and the grainy side of a vintage microphone will be preferred to one that has to do with a Telecaster cashing the distortion ...
OVERALL OPINION
I am a player of Gibson Les Paul 90%, and my Fender incursions have always resulted in a certain weariness, with one exception: the Telecaster.
This model is legendary, and offers me something other brand guitars are unable to provide me ...
I had a 52 RI Telecaster there a few years ago, and unfortunately I was forced to part. Recovering the American Deluxe, I do not really know what to expect.
This guitar is simply amazing, no better or worse than the 52, the mind is just different: the 52 authentic vintage, American Deluxe is versatile and modern.