The lower DC reading equates to a clear, harmonically rich and trebly tone, while the hotter ones sound more like Broadcaster pickups. Depending on the magnet wire, they ohm out between 5.8K and 8K. Until recently, these easy-to-find pickups were an affordable way into vintage Tele tone. In fact, many old Fender Champion lap steels had their original pickups scavenged after Keith Richards’ tech revealed that he had been installing them in his boss’s guitars. Although most of us have a fairly clear idea of what Teles sound like, the construction of the pickups has changed quite a lot over the years.
Compare the Tele with almost every other classic electric guitar and it’s probably unique in that regard. This was achieved by having two very different pickups installed in a single instrument. The pedal steel-like bridge pickup combines with the dark warmth of the neck pickup, and Fender’s early wiring scheme accentuated the contrast. Leo’s personal musical tastes veered towards western swing and country, so his ears would have been naturally attuned to those big old archtops and the tones of pedal steel guitars. When you consider the stock sounds of a vintage-style Telecaster, that’s sort of what you get – both sounds in one guitar. Only Paul Bigsby’s guitars were true solidbodies. All the electrified Gibsons, Epiphones, Gretsches and so forth were essentially hollow-bodied jazz instruments that produced big, mellow and woody tones.
When you think about it, Leo Fender didn’t really have a sonic reference point for solidbody electric guitars when he was designing the guitar that became known as the Telecaster.
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