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12 HOOK When you think of the exotic wood that goes into making them it's easy to see why. Gui- tars are multinational creations: Brazilian rosewood for fretboards. Douglas fir from the Pacific Northwest for acoustic tops, bird's-eye maple for necks, bone and ebony for bridges, Koa for solid bodies, alder and ash for Telecasters — Every molecule, growth ring, climatic variation contributes to that in- definable subjective experience we call tone. More than any one thing, it's the wood that makes the guitar. It's what really makes a common Strat various. Next to that it's the loving hands that put all these pieces to- gether. Old world craft and a sense of fit- ness — because for a time every guitar has a wet nurse who guides these pieces into a form that actually sings. Field Guide to Vintage Guitars. Making the Common Strat Various Compton Maddux with his 1964 Fender Telecaster. Story by Compton Maddux Photography by Andrea B. Swenson His fingers move so fast he had asbestos implants grafted to the tips. Joke. It's a joke. That's the thing about this place — it's hard to tell the living from the dead. Yeah, yeah… the Grateful Dead are OK. Close your eyes. Listen. You hear that? That liquid vibrato? Albert King? What Price Mojo ? 1934 National Duolian resonator guitar.14 frets to the body. Old blues guys like Blind Boy Fuller used these guitars because of their volume. Photo by Compton Madddux HOOK 2 0 1 8

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