Ask Zac

In this episode of Ask Zac, we take a deep dive into an unusual vintage instrument: the 1960 Danelectro 3923 Double Neck. From the early history of Danelectro to playing demos, modding options, and the famous Stevie Ray Vaughan connection, here is a full breakdown of this unique guitar/bass hybrid.

Chapter Timestamps
0:00 – Introduction & Overview

1:54 – Channel Thanks

2:10 – The History of Danelectro & Nate Daniel

3:35 – The 1956 U2 Model & Innovation

4:16 – Unique Danelectro Specs: Poplar, Masonite & Lipstick Pickups

8:05 – The 6-String & 4-String Basses

9:09 – Introducing the 1959/1960 Danelectro 3923 Double Neck

10:18 – Why a Guitar + Bass Hybrid is So Odd

12:42 – Pop Culture, Props & The Beverly Hillbillies

14:18 – Stevie Ray Vaughan, Steve Soest & The Bass 6 Mod

15:47 – Jimmy Vaughan, The Fabulous T-Birds & "Tuff Enuff"

18:05 – Breakdown of the Mods on This Specific 3923

19:39 – Playing Demo: Guitar Neck (Bridge, Both, Neck Pickups)

22:49 – Playing Demo: Bass Neck (Overdrive & Clean)

26:05 – The Sympathetic Resonance / Natural Reverb Trick

27:10 – Factory Bass 6 Myths & Modular Dano Designs

29:01 – Credits & Final Thoughts

1. Danelectro History & Engineering Innovation
Founded by Nate Daniel, Danelectro started by building amplifiers for major department store catalogs like Sears and Montgomery Ward. When Fender and Gibson revolutionized the market with solid-body guitars in the early 1950s, Daniel approached guitar design from an engineer's perspective, launching the iconic U2 model in 1956 for just $60, roughly a third of the cost of a Fender Telecaster at the time.

Key construction features included:

Necks & Nuts: Poplar necks with Brazilian rosewood fretboards and non-adjustable twin steel rods to prevent warping, topped with a metal nut screwed straight into place.

Body Construction: Masonite front and back panels built over a hollowed poplar/pine frame with internal wooden support blocks under the bridges.

Lipstick Pickups: Bar magnets wrapped in wire inside metal lipstick tubes, yielding a clean, lower-output tone with less noise.

2. The 1960 Danelectro 3923 Double Neck
Introduced around 1959 for $175 (plus $30 for the case), the Model 3923 featured a double-cutaway body equipped with two distinct necks: a 6-string guitar neck and a 4-string bass neck.

Unlike most double necks of the era, which usually paired a standard guitar with a 12-string or high-octave neck to replicate Les Paul's multi-track studio effects, a guitar/bass hybrid was a strange practical match for live players. For decades, it was often treated as a novelty or comedy stage prop, appearing on album covers like gospel duo Stan and Dan or featured in 1960s TV shows like The Beverly Hillbillies.

3. The Stevie Ray Vaughan & Steve Soest Connection
The instrument's reputation shifted in the 1980s when Stevie Ray Vaughan sought out a vintage Danelectro double neck. SRV recruited legendary California luthier and Danelectro expert Steve Soest to convert the 4-string bass neck into a 6-string bass.

The conversion was popular because Danelectro's modular headstocks and bridges easily accommodated two extra tuners and a 6-string saddle setup. Stevie used this modded setup on stage and featured it prominently in magazine shoots, such as the post-humous Guitar Player tribute cover.

4. Special Mods on the Featured Instrument & Playthrough
The specific 1960 model demonstrated in this video has been upgraded beyond the original factory specs:

Added Pickups: Factory 3923 models came with only one pickup per neck. This unit features an added vintage bridge pickup on both the guitar and bass sides.

Upgraded Electronics: Features a dedicated neck-selector switch (Guitar / Both / Bass) plus a secondary pickup selector switch that operates both necks simultaneously.

Sympathetic Reverb Effect: When both necks are active at the same time, playing notes on one neck causes the strings on the idle neck to vibrate sympathetically, creating a natural acoustic reverb effect through the amp.

Mentioned Links & References
Book: Guitars from Neptune: The Illustrated History of Danelectro by Paul Bechtold and Doug Tulloch

Video Clip: Stevie Ray Vaughan performing on his modded Danelectro double neck alongside Santana and The Fabulous Thunderbirds

https://www.youtube.com/watch?v=uDj2_319CJU&t=735s

www.truetone.com

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Patreon  https://www.patreon.com/AskZac
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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)

www.truetone.com

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
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Tip jar:  https://paypal.me/AskZac
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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

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
https://ask-zac-shop.fourthwall.com
Tip jar:  https://paypal.me/AskZac
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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

www.truetone.com

To Support the Channel:
Patreon  https://www.patreon.com/AskZac
https://ask-zac-shop.fourthwall.com
Tip jar:  https://paypal.me/AskZac
Venmo @AskZac

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