Chords for Fender Custom Shop Master Design 1950s Relic Stratocaster | Fender
Tempo:
138.65 bpm
Chords used:
E
B
C#
A
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The Master Design Series is where I get to decide what the guitar is going to be.
Based on my knowledge of what I've built in the past, what I'd like to see in the future,
comments that people make to me and questions people ask,
what happens is you ultimately end up with this list of specs that you would like,
what would I build for myself today, right now?
The whole concept for this guitar started with this color.
Sometimes when [A] I'm building guitars and doing stuff, I see a color and it's like,
oh man, I want one of those.
And I would do this and I would do that and it would be like this and I'd go, oh my god.
And that's where this comes from.
One of the things that I think is special about the Master Design guitar
that I think is really a great opportunity for me to put specs on a team-built guitar
that haven't been featured on a team-built guitar.
To communicate this guitar and train other people how to do it
is not as difficult of a task as one might think
because I stayed pretty true to a certain era of guitars.
This is what I would call somewhere probably around a 58, 59 with just a few added changes.
So in a team-built respect, they already know how to do a lot of this.
It's just getting the right ingredients into the stew.
[E] [B]
[C] Obviously the first thing you'll see is this is a different color.
This is a color you could have seen on a car back in the 50s.
I wanted something that was kind of of that era.
I did the gold hardware.
It's aged, but it's not rusted.
It's just aged.
I wanted to pull back on the process of relic-ing.
I wanted it to be a relic because I love the feel of a beat-up guitar.
There's just something about the feel that I find very endearing.
So we have the thinner paint job with a few dents and a few dings
and after about a year or two of your playing, it will take on your [F#] personality.
[B]
[E] Inside the electronics, these are fat 50s pickups, but they've been shielded,
which was a typical mod in the 60s and 70s
where an attacker or a guitar repairman would take and wrap copper around the single coil and ground it.
So it kind of helps shield the pickup from the 60s cycle hum.
The cavity has carbon-conductive paint, so it's a little bit quieter,
but that also adds something to the tone.
Any time you change the magnetic field of the pickups and stuff, it's going to change the tone.
So this has a very 70s tone.
[D] [D] I did a 9 1⁄2 inch radius with 6105 frets,
so there's a little bit of hot-rodding on the neck, so to speak.
I wanted to make it a headstock adjust,
and the whole premise for that is the same reason I went with a one-piece neck.
I get a lot of questions from people just out on the streets or in-store appearance and stuff,
and it all has to do with neck movement.
My neck is moving.
One of the reasons necks move is if you have an exposed fingerboard,
and then on some of the Relics you have exposed maple,
and they're expanding and contracting at different rates.
It's nothing to worry about.
It can be annoying sometimes if the action's been changed.
So for that reason, I went with a one-piece neck,
[G] and it's also the fatter 58, nice V-shape,
but that's going to add some [C#] stability too.
Into the structure of this guitar, I wanted to design in the most stable neck that I know how to make,
which is this, and then if it does move, it's easy to adjust.
[E]
[A] [E] I used a two-piece alder spread for the body.
Once again, that was based [N] on getting that classic 70s tone.
I've always been a fan of alder for its consistency.
The tone is a little bit more articulate.
When you play fuller chords, you're going to hear a little bit more unity in the notes,
whereas ash can be very light, it can be very heavy,
which means it's either going to have a lot of bottom end or a lot of high end.
For something in production, alder is the most [C#] consistent.
[B] [C] [C#] [B] [C#]
Based on my knowledge of what I've built in the past, what I'd like to see in the future,
comments that people make to me and questions people ask,
what happens is you ultimately end up with this list of specs that you would like,
what would I build for myself today, right now?
The whole concept for this guitar started with this color.
Sometimes when [A] I'm building guitars and doing stuff, I see a color and it's like,
oh man, I want one of those.
And I would do this and I would do that and it would be like this and I'd go, oh my god.
And that's where this comes from.
One of the things that I think is special about the Master Design guitar
that I think is really a great opportunity for me to put specs on a team-built guitar
that haven't been featured on a team-built guitar.
To communicate this guitar and train other people how to do it
is not as difficult of a task as one might think
because I stayed pretty true to a certain era of guitars.
This is what I would call somewhere probably around a 58, 59 with just a few added changes.
So in a team-built respect, they already know how to do a lot of this.
It's just getting the right ingredients into the stew.
[E] [B]
[C] Obviously the first thing you'll see is this is a different color.
This is a color you could have seen on a car back in the 50s.
I wanted something that was kind of of that era.
I did the gold hardware.
It's aged, but it's not rusted.
It's just aged.
I wanted to pull back on the process of relic-ing.
I wanted it to be a relic because I love the feel of a beat-up guitar.
There's just something about the feel that I find very endearing.
So we have the thinner paint job with a few dents and a few dings
and after about a year or two of your playing, it will take on your [F#] personality.
[B]
[E] Inside the electronics, these are fat 50s pickups, but they've been shielded,
which was a typical mod in the 60s and 70s
where an attacker or a guitar repairman would take and wrap copper around the single coil and ground it.
So it kind of helps shield the pickup from the 60s cycle hum.
The cavity has carbon-conductive paint, so it's a little bit quieter,
but that also adds something to the tone.
Any time you change the magnetic field of the pickups and stuff, it's going to change the tone.
So this has a very 70s tone.
[D] [D] I did a 9 1⁄2 inch radius with 6105 frets,
so there's a little bit of hot-rodding on the neck, so to speak.
I wanted to make it a headstock adjust,
and the whole premise for that is the same reason I went with a one-piece neck.
I get a lot of questions from people just out on the streets or in-store appearance and stuff,
and it all has to do with neck movement.
My neck is moving.
One of the reasons necks move is if you have an exposed fingerboard,
and then on some of the Relics you have exposed maple,
and they're expanding and contracting at different rates.
It's nothing to worry about.
It can be annoying sometimes if the action's been changed.
So for that reason, I went with a one-piece neck,
[G] and it's also the fatter 58, nice V-shape,
but that's going to add some [C#] stability too.
Into the structure of this guitar, I wanted to design in the most stable neck that I know how to make,
which is this, and then if it does move, it's easy to adjust.
[E]
[A] [E] I used a two-piece alder spread for the body.
Once again, that was based [N] on getting that classic 70s tone.
I've always been a fan of alder for its consistency.
The tone is a little bit more articulate.
When you play fuller chords, you're going to hear a little bit more unity in the notes,
whereas ash can be very light, it can be very heavy,
which means it's either going to have a lot of bottom end or a lot of high end.
For something in production, alder is the most [C#] consistent.
[B] [C] [C#] [B] [C#]
Key:
E
B
C#
A
C
E
B
C#
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
The Master Design Series is where I get to decide what the guitar is going to be.
Based on my knowledge of what I've built in the past, what I'd like to see in the future,
comments that people make to me and questions people ask,
what happens is you ultimately end up with this list of specs that you would like,
what would I build for myself today, right now?
The whole concept for this guitar started with this color. _ _
Sometimes when [A] I'm building guitars and doing stuff, I see a color and it's like,
oh man, I want one of those.
And I would do this and I would do that and it would be like this and I'd go, oh my god.
_ And that's where this comes from.
One of the things that I think is special about the Master Design guitar
that I think is really a great opportunity for me to put specs on a team-built guitar
that haven't been featured on a team-built guitar.
To communicate this guitar and train other people how to do it
is not as difficult of a task as one might think
because I stayed pretty true to a certain era of guitars.
This is what I would call somewhere probably around a 58, 59 with just a few added changes.
So in a team-built respect, they already know how to do a lot of this.
It's just getting the right ingredients into the stew.
[E] _ _ _ _ [B] _ _ _
[C] _ Obviously the first thing you'll see is this is a different color.
This is a color you could have seen on a car back in the 50s.
I wanted something that was kind of of that era.
I did the gold hardware.
It's aged, but it's not rusted.
It's just aged.
I wanted to pull back on the process of relic-ing.
I wanted it to be a relic because I love the feel of a beat-up guitar.
There's just something about the feel that I find very endearing.
So we have the thinner paint job with a few dents and a few dings
and after about a year or two of your playing, it will take on your [F#] personality.
_ _ [B] _ _
_ _ _ [E] Inside the electronics, these are _ fat 50s pickups, but they've been shielded,
_ _ _ which was a typical mod in the 60s and 70s
where an attacker or a guitar repairman would take and wrap copper _ around the single coil and ground it.
So it kind of helps shield the pickup from the 60s cycle hum.
The _ cavity has _ carbon-conductive paint, so it's a little bit quieter,
but that also adds something to the tone.
_ Any time you change the magnetic field of the pickups and stuff, it's going to change the tone.
So this has a very _ 70s tone. _ _
_ [D] _ _ [D] _ I did a 9 1⁄2 inch radius with _ 6105 frets,
so there's a little bit of hot-rodding on the neck, so to speak.
I wanted to make it a headstock adjust,
and the whole premise for that is _ the same reason I went with a one-piece neck.
I get a lot of questions from people just out on the streets or in-store appearance and stuff,
and it all has to do with neck movement.
My neck is moving.
One of the reasons necks _ move is if you have an exposed fingerboard,
and then on some of the Relics you have exposed maple,
and they're expanding and contracting at different rates.
It's nothing to worry about.
It can be annoying sometimes if the _ _ _ action's been changed.
So for that reason, I went with a one-piece neck,
_ [G] and it's also the fatter 58, nice V-shape,
but that's going to add some [C#] stability too.
Into the structure of this guitar, I wanted to design in the most stable neck that I know how to make,
which is this, and then if it does move, it's easy to adjust.
[E] _ _ _
[A] _ _ _ [E] _ I used a two-piece alder spread for the body.
Once again, that was based [N] on getting that classic 70s tone.
I've always been a fan _ of alder for its consistency.
The tone is a little bit more articulate.
When you play fuller chords, you're going to hear a little bit more _ _ _ unity in the notes,
whereas _ ash can be very light, it can be very heavy,
which means it's either going to have a lot of bottom end or a lot of high end.
_ For _ something in production, alder is _ _ the most [C#] consistent.
[B] _ _ [C] _ _ [C#] _ _ _ _ _ [B] _ _ _ [C#] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
The Master Design Series is where I get to decide what the guitar is going to be.
Based on my knowledge of what I've built in the past, what I'd like to see in the future,
comments that people make to me and questions people ask,
what happens is you ultimately end up with this list of specs that you would like,
what would I build for myself today, right now?
The whole concept for this guitar started with this color. _ _
Sometimes when [A] I'm building guitars and doing stuff, I see a color and it's like,
oh man, I want one of those.
And I would do this and I would do that and it would be like this and I'd go, oh my god.
_ And that's where this comes from.
One of the things that I think is special about the Master Design guitar
that I think is really a great opportunity for me to put specs on a team-built guitar
that haven't been featured on a team-built guitar.
To communicate this guitar and train other people how to do it
is not as difficult of a task as one might think
because I stayed pretty true to a certain era of guitars.
This is what I would call somewhere probably around a 58, 59 with just a few added changes.
So in a team-built respect, they already know how to do a lot of this.
It's just getting the right ingredients into the stew.
[E] _ _ _ _ [B] _ _ _
[C] _ Obviously the first thing you'll see is this is a different color.
This is a color you could have seen on a car back in the 50s.
I wanted something that was kind of of that era.
I did the gold hardware.
It's aged, but it's not rusted.
It's just aged.
I wanted to pull back on the process of relic-ing.
I wanted it to be a relic because I love the feel of a beat-up guitar.
There's just something about the feel that I find very endearing.
So we have the thinner paint job with a few dents and a few dings
and after about a year or two of your playing, it will take on your [F#] personality.
_ _ [B] _ _
_ _ _ [E] Inside the electronics, these are _ fat 50s pickups, but they've been shielded,
_ _ _ which was a typical mod in the 60s and 70s
where an attacker or a guitar repairman would take and wrap copper _ around the single coil and ground it.
So it kind of helps shield the pickup from the 60s cycle hum.
The _ cavity has _ carbon-conductive paint, so it's a little bit quieter,
but that also adds something to the tone.
_ Any time you change the magnetic field of the pickups and stuff, it's going to change the tone.
So this has a very _ 70s tone. _ _
_ [D] _ _ [D] _ I did a 9 1⁄2 inch radius with _ 6105 frets,
so there's a little bit of hot-rodding on the neck, so to speak.
I wanted to make it a headstock adjust,
and the whole premise for that is _ the same reason I went with a one-piece neck.
I get a lot of questions from people just out on the streets or in-store appearance and stuff,
and it all has to do with neck movement.
My neck is moving.
One of the reasons necks _ move is if you have an exposed fingerboard,
and then on some of the Relics you have exposed maple,
and they're expanding and contracting at different rates.
It's nothing to worry about.
It can be annoying sometimes if the _ _ _ action's been changed.
So for that reason, I went with a one-piece neck,
_ [G] and it's also the fatter 58, nice V-shape,
but that's going to add some [C#] stability too.
Into the structure of this guitar, I wanted to design in the most stable neck that I know how to make,
which is this, and then if it does move, it's easy to adjust.
[E] _ _ _
[A] _ _ _ [E] _ I used a two-piece alder spread for the body.
Once again, that was based [N] on getting that classic 70s tone.
I've always been a fan _ of alder for its consistency.
The tone is a little bit more articulate.
When you play fuller chords, you're going to hear a little bit more _ _ _ unity in the notes,
whereas _ ash can be very light, it can be very heavy,
which means it's either going to have a lot of bottom end or a lot of high end.
_ For _ something in production, alder is _ _ the most [C#] consistent.
[B] _ _ [C] _ _ [C#] _ _ _ _ _ [B] _ _ _ [C#] _ _