“He’s had it three or four years now and he’s really enjoying playing it at the moment. It’s a mint condition, 1954 lefty which is rare as hen’s teeth. He’ll say ‘I want something really clean… let’s try a Tele.’ It’s a real favorite of his at the moment because he hasn’t had it very long. “But in Paul’s mind a Tele is a really nice clean, sparkly, almost country sound.

Paul also made use of a ’54 Tele, which was “used on quite a few tracks,” Smith said. He got it before my time, but that’s his big rock sound through his AC30.” It’s PAFs in that, and it’s all original as far as I know. “For a really straightforward rock ’n’ roll sound he’s got a ’57 Gibson Les Paul Goldtop which is always his go-to chord-y rock sound. Ask Bigsby what they think.Īs far as a source for a wiring harness, I would talk to TWANG if I were you.When it came to electric guitars, Smith said there were three main ones in the studio. But, as I indicated, McCartney's Casino had a B7 too and it would have been a pound or two higher than a B3 so that's not entirely the issue. My first thought is that Casino doesn't use a B3 because there isn't a licensed model (no B30 or B300) so cost would be a factor. The only potenitial issue might be the break angle off the back of the bridge. My first guitar, a Harmony H76, had one and it worked just fine. My guess is that the top of the casino is thick enough to support a B7/B70/B700 just fine but if was mine, I might consider a B3 that didn't have to be screwed down to the top. Here's a picture of Lennon playing it before Paul had it restrung sinister style: McCartney's Casino has a B7 on it as well. Previously, Epiphone had their own branded Bigsby (didn't say Bigsby on it so I've always wondered if it was a knockoff). Epiphone had a special run of Casinos with Bigsbys that I thought looked fantastic.

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