Leaderboard

I have a nice collection of Ashdown cabs (a 610, a 410, a mini 4x8 and a mini 15) that I'm very happy with apart from one slight niggle. They all have Ashdown's trademark blue speakers - apart from the 610 so it doesn't match the others when using them together. After a chat a couple of weeks ago with the very helpful Dave Green at Ashdown, he kindly sent me some proper speaker cone paint in the correct shade of blue and yesterday I finally got around to doing it. It didn't take too long to do and I'm really pleased with how it's turned out. 🙂

Well, she needs a lot of setup work as it's a newborn bitsa, and I somehow messed up wiring a God damn precision(?!) but it seems fairly stable and hasn't exploded. Why would a precision explode, you ask? Well, the bridge on this bad boy isn't your standard BBOT.... I've never even seen another Hipshot trem system in real life, so the chance to play with one is just fantastic. I'm going to come back to this thread when I've had a few more days off work and a chance to do a bit of a spit and polish, maybe even a demo, but for now I couldn't wait to show it off. This has been a lot of slow, stressful work and having a vaguely playable bass is very, very exciting! Please, someone be half as excited as me!!

Hey hey! I've unceremoniously chopped together a handful of snippets from the DVD. Check it out...

I've just had this assembled and setup this afternoon. In the words of Tony the Tiger, It's Grrrrrreat!!!

Fancied a change away from the normal run o the mill and received this yesterday. First dabble with a Sandberg & very impressed 🙂...

still waiting for some cables, but here is my lockdown board. The Future compact and Proton will be on the HX’s fx loop. Tuner-Octabvre-Pork n Pickle-Stomp-(fx loop)-Future Compact-Proton-Becos-Noble

I've owned 4 streamlines (including a 5 and a fretless) and one XL2 transitional. The Streamlines were nice basses - I liked them but didn't love them (some had very expensive options too - I bought second-hand). I was initially fairly impressed - they're light and compact and the tone is ok/acceptable. They're very easy to transport as you'd expect. That said, the Status bags aren't good in my opinion - a bit cheap and nasty. They also mark the bass - one of my Streamlines was seafoam green and another sonic blue - both ended-up with difficult to remove black marks. I only re-bought Streamlines because of their portability... then gave up. For me, they're nothing like the quality of an SII. Now that's a bass that I love - solid, heavy, fantastic hardware and incredible tone. I still have the SII. Onto the Steinberger. In a different league to the Streamline and an incredible example of superb industrial design. Solid, heavy, truly innovative in so many ways and biblical tone. Really, unbelievable power and poke. I loved the Steinberger but only had it a couple of months. The balance was awkward for me - really awkward - and it exacerbated back pain. The neck is solid as others have noted and whilst twists/warps have been reported, these are unusual. The board is fascinating - really quite flat, and as there's no truss-rod, the relief is built-in as the neck is constructed. Ned really did re-think the bass from the ground-up with the vision and detail that only the best industrial designers bring to their creations. I wish I could get that tone out of a short-scale conventional bass. To address the OP's question, when you have a Steinberger in your hands, you can see/feel why they were so expensive. To resurrect the original would be horrendously expensive and I suspect that there's a really limited market at present.

Well, that's not strictly the case! Right - sit down, make yourself a cup of coffee/tea/gin and let's see what we can work out from the evidence as presented. This is likely to be largely stream-of consciousness rambling, confusing & very, very boring. Don't say you weren't warned. The problem with trying to identify old instruments from online sales listings is - how can I put this? Sellers often don't know what it is they're selling, or if they do, they will assume the majority of potential purchasers don't. So they might say things that either aren't necessarily true, or aren't meticulously researched & fact-checked, to sell whatever it is. Many buyers & sellers often seem more concerned about what they want something to be, rather than what it actually is. That's the case with both of the basses you've linked. They're not Japanese, probably not '70s and they're absolutely not made by Matsumoku. They're Korean, and possibly made by Cort, if the style of the control plate/scratchplate on the natural finish example is any indication. That one's actually very interesting & I'll get to why a bit later. I should probably explain that I sort-of know what I'm on about with these things - I've had an unhealthy preoccupation with old-ish MIJ & MIK instruments for most of the time I've been playing (which is a looooong time!) and for about 15 or so years made a living by restoring & selling predominantly 1970s copy-era Japanese guitars & basses. I don't claim to know everything (& no-one does) but when you've worked on literally hundreds of instruments from a particular era, you do get an eye for traits & details. Typically Korean & Japanese are easy to tell apart, and the products of specific Japanese factories (such as Matsumoku) are very straightforward to ID too. These two basses, like yours, are Korean. The neck style, very similar to yours (extra fret, unusually wide black blocks, no binding, Fender-type headstock, Gibson-style nut) indicates they're from the same factory, which as I've said is probably Cort. It's worth understanding a bit about brand names too. Best advice is usually to ignore them, in the majority of cases they'll tell you nothing at all about who actually made an instrument. In many ways your bass is a good illustration of why - it's unbranded, it came from the factory unbranded & like thousands of others, would've been sold brand-new like that. For a few pennies per unit more, whichever company ordered & imported your bass could have thought up any name they wanted, and the factory would have put that on the headstock for them. However - some well-known brands can be tied to specific factories and that's why the two you found are helpful in understanding more about yours. Japanese-made Hohners all came from a factory called Moridaira, and when that arrangement came to an end in the early 80s, Hohner production moved to the Cort factory in Korea. I mention Hohner because Leyanda appears typically as a brand for Hohner acoustic guitars, although a little research indicates they used Leyanda as a sub-brand for budget electric guitars too. This might be a regional thing, as Hohner also used Rockwood & Arbor as budget sub-brands in some territories. And about 30 seconds' Google image search gives us a Hohner Arbor Jazz copy with an identical body, control plate & scratchplate to the natural finish Leyanda: I'd say, based on inlay style & hardware it's a few years later than the Leyanda - but it's an associated brand, has the same highly distinctive components, & fits the established timeframe for Hohner's use of Korean manufacturers - so it's safe to say it's from the same factory. So through this process of somewhat anal detective work, I think we can be perhaps 99.65% sure that your unbranded Jazz bass came from the same factory as the two Leyandas you found - it has a distinctive & near-identical neck. That neck's overall style (black blocks, Fender headstock) probably dates it to late 70s - at a guess '78 or later. We know the manufacturer's Korean, as all the basses have identifiable MIK traits, and we can narrow down the factory to probably Cort because one of the Leyandas has the same distinctive body & hardware as a Korean Hohner Arbor - which was probably made by Cort. There are a few reasons I can't be 100% that it's a Cort. Firstly, knowledge of older Korean manufacturers isn't great - like in Japan there would have been dozens of different factories but we only know a few - off the top of my head Cort (Cor-Tek), Samick, Young-Chang, Saehan & (possibly) Arirang, and apart from the first two it's not clear how early they were operating & what they made. We know that Hohner's high-quality post-MIJs are Corts because they're often identical to Cort's own-branded guitars from the same era, but we can't be certain Hohner's budget ranges were also from Cort. At this point though, there's no particular reason to think they weren't. So it's Korean, late 70s, factory-unbranded and made by Cort. Evidence to 100% establish the manufacturer & a specific year might emerge in future, or with more detailed research than I've done, but at the moment that'll have to do!

Six years ago I bought a bitsa on ebay because I wanted the neck for a project I was working on. The neck ended up on the fire but the body once stripped of it's psychedelic spray paint was a nice wine red with visible grain that I found rather pleasing. I put it to one side thinking it might come in handy one day. Time passed and for reasons I can't remember I put bought a fretless neck , no name, looks to be well made from what looks like beech wood. It happened to be a perfect fit for the body. The body had oversized routing and regular scratchplates don't cover it. The original was by this point long gone. I put it to one side. Time passed and my boss bought a box of interesting bits at auction including a brass precision scratch plate that was also a perfect fit. I bought the machine heads last year , I wanted to use the original screw holes and research led me to get a set of Wilkinsons. The pickup came from a bass I decommissioned long before I got the body. Yesterday I found myself in the workshop with time to kill and It's finally complete. I call it Tom after Tom E Lewis aboriginal musician and actor that I was privileged to have played a gig with a few years ago. The gig was a total car crash but he was such a gent and as the bass is the colours of the Aboriginal flag it reminds me of him.

Squier tele.... got it earlier this year and paid a little extra to get the colour I liked.

For a short period (maybe 2-3 years) I owned my L2 alongside an 80s Status Series II. Both amazing basses. The Status was amazing to play, so fast, complete slap monster. But there was something about the sound that seemed very focused, really distinct .... possibly even dated (please don't shoot me!!! ). I thought the Steinberger was more versatile, but in the way a Precision is versatile - it doesn't do much, but that thing it does seems to work well in lots of different situations. Having said that, I still regret selling the Status, it was a beautiful example of one. EDIT: I just remembered something, about the Status sound. The preamp was probably the thing that I remember as being "dated". I had other basses with preamps, in particular a Sadowsky, and it has that sound that a lot of us are familiar with. The Status preamp dates to the 80s, and it was definitely voiced to suit the way people wanted a bass to sound in the 80s. So it's probably unfair to judge the Status on that - they produced a bass that was what people wanted at the time. I assume the voicing of their preamps has changed over the years - I don't really have much experience with later Status basses.

Terrific mint Nash PB-57 up for sale in relic Mocha Sanded C neck with relic maple fretboard and vintage frets. Terrific nitro body, very resonant bass and lightweight at 3.8-3.9kg. People who have played a Nash bass before know their playability is great. Currently fitted w/SPB-3, but as you can see on the pictures I will include the original Lollar pickup. I’m only selling it to get funds for a ‘70s P Comes with Nash certificate and original case. Ive bought the bass 3 months ago from MusicStation germany.

Bad news. Seller had sold it 4 months ago for 80€ and forgot/ didn't know how to delete the ad. 😌 Turned to be an elder kind man, ex drummer in 70s and the bass belonged to his friend bassist in the band back then that now passed away. 😕 Told me if i had contacted him back then and known my home is next to him he could give it for free as a gift to me cause he got my love for old instruments and so. Lesson learned no worries planet is full of old basses like that out there, i keep my eyes open. It was also a good chance to meet you here guys, will be around for sure 👊

Yeah, very fair. I wonder if someone like our own @Grangur might be able to refinish it for you at a fraction of the cost of what you were quoted? And there was a BB425 refinished in white + pattern (earlier on the thread) and it looked amazing! I'll see if I can dig out the pic... Here you go - it won't be to everyone's taste, I appreciate, but I love it!

Frankly, I'd be simply terrified of standing in a garden near a drummer huffing and puffing his way through a set. If a virus molecule thing were - as is highly likely - to alight upon on his crash cymbal the consequences could be deadly. Out of the chorus, tom fill, crash, and whappo! the virus goes shooting off across the grass at 250 mph, over the dahlias and up the nose of some poor, vulnerable individual blithely unaware that airborne death is incoming. The obvious solution is to place some perspex screens around and over each of the musicians then put the whole band in a fruit cage and drape the structure with multiple layers of horticultural fleece so that it's effectively one big mask. It's still taking a chance but it's a balanced option until we can find a way to safely encase band and audience alike in individual resin blocks.

I'm a huge Peter Gabriel fan and if there is one track that is my 'favourite song of all time', this would be it. When I was asked to be part of a collaboration to create a lockdown version of this track, I didn't need to be asked twice. I'm immensely proud of this and it was an honour to work with so many talented folk (please check the description and the end credits). For a short time, I get to be Tony Levin, complete with hammy, deep bass, vocal part.

Now sold! Recently acquired this in a trade for a Sandberg jazz bass I had... Unfortunately, after several hours of playing this, hoping I'd eventually get used to it, I've decided the nut width is a bit much for me. I've pinched the photos from the original ad as the bass is over at the rehearsal studio. I can go and take any extra photos if required, but the condition is identical from when I've had it. Here's the original ad which has some extra details, but the some of the highlights are below: - 2 band EQ - Weight is 4.2kg - 4 pickguards included (photos below) Happy to receive trade offers with potentially cash adjustments either way. Looking for a US Precision or similar as a trade. I can ship at the buyers expense/risk but I'd prefer collection or I'm also willing to travel a reasonable distance for a car park deal 😊 Any questions, give me a shout!

When there is an effective vaccine and / or a non-traumatic treatment that prevents the lung damage / cognitive issues / kidney problems.

I wasn't going to do a build thread for this. In fact, I wouldn't even call it 'building' as it's more 'putting together', but judging by the way today has gone, I think I'm going to have get my hands dirty anyway. So this is more for your comedy value than anything else as it's the first time I've done anything like this - and will possibly be the last. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- This sorry tale starts with my purchase of a Fender Flea '61 Jazz Bass just over four years ago. It was a very nice bass. They are made in Mexico and my one bettered a few of the USA Fender's I've had pass through my hands. You may have read this elsewhere, but one day in 2018, I went to play this bass and found the strings were about half an inch off the fretboard. Definitely not where I had left them the night before. Long story short, the truss rod had failed. Cue long boring discussion with Fender UK who appeared uninterested. Such was my frustration with the failed neck scenario, that I ended up getting a graphite neck from Status fitted to the Flea body by Rob. It's still on it and I plan to leave it that way. Some time later, Fender sent me this.... It's sat around doing nothing since I received it and I thought I had better make use of it. In hindsight, it was nice of them to send me the neck fully loaded with tuners and string tree as I had stripped the faulty neck when I returned it to them. Stay tuned for the next episode: 'The Search for A Body'

The bass is now with @andyonbass and nestled securely in his cab 😊

I've recently discovered this band and dayum are they good! 'The Tide, The Thief & The Rivers End' is a spectacular album, as is 'Rise Radiant', particularly the song 'Salt'. REALLY worth a listen. Anyone else aware of these guys?

Anyone forming the impression Neil Young nicked @Dad3353 's girlfriend when they were at school?

Yay! all fitted and glued Carefully re-did the slots to depth having radiused the fretboard. That was lots of tedious sanding, forgot to take a pic!

Shall we all be adults, put the handbags down, and get back to the thread then? Yes? OK. I have a 1979 Ibanez Roadster RS800 with a good number of battle scars! Will post a picture when I can be bothered to go upstairs... too many heats to climb stairs right now!

Video from the manufacturer so you can hear what it sounds like

This is so under rated. I never used the shape on my ABM as I found it too boomy, but after experimenting on the OriginAL its now on on the ABM too. Just cutting back on the bass a bit and adding a few high mids brings out a lovely sound. Swapping out the valve is going to be tough though. It's in its own little metal prison! Oh and they exist in gold too.

Cheers! That's my go-to setting as well. I'll be honest, when I first got the pedal I was a bit disappointed as I wanted it to do that but felt it was much to OTT - to the extend I started considering valve swapping. I believe it was @javi_bassist who suggested playing with the input gain and it really is the key to getting almost anything from super clean through to horrendous filth. Now it's become such an important part of my board that both my Darkglass Vintage Ultra and SansAmp BDDI are both destined for the FS forum.

If folk can put Fender Japan basses at £1k+ & Fender Mexico at £800+................... I need to raise some cash, however not yet desperate. With slowly increasingly arthritic fingers, I doubt I'll play a P size neck live again, so this is an expensive home toy. Original owner bought it for £1099 in Dec 2016. I'm the second owner. This is the version with the fabulous Custom Shop pick up & it's the second best P I've ever played. The last model American Standard before changing to American Pro. As new as far as I can see, weight is just on 9lb. Comes with black 'plate, original tortie 'plate included. Recent set up & strings. PART TRADES only 2 really considered; Mexican player series + £550 to me YAMAHA BB714BS (either colour) + £500 to me. I will meet halfway (as I have done with recent deals with folk in Minehead & Colchester). Sorry, I don't have a box to courier. IF BUYER WANTS IT HOLDING FOR A WEEK OR TWO, happy to take a NON-REFUNDABLE DEPOSIT of £50. As might be seen by the advert, bit reluctant on more than one level 🙂 Apologies for the awful photos, it really is unmarked as far as I can see.

Lock the 4 strings away and practice with a lot of songs in Eb!

Having a few financial and health problems currently so taking this opportunity to move this on. I have this advertised elsewhere so if you're serious, be quick. I had to import this in from the States - there are very few of these in the UK - they built about 270 basses and guitars during the 70s/80s. I also had a fretless (green) which I sold here and I believe that there may be one other owned by a BCer in the UK. Named owners include Bjorn from ABBA and Tina Weymouth from Talking heads. These sell in the USA for over £3,500 (not dollars). Joe Veillette is currently building hollow bodied basses http://www.veilletteguitars.com/press_citron.shtml#:~:text=Veillette-Citron was a pioneer,first-ever production baritone guitars. I always said that this would be the last bass to go but as an owner of several custom basses I think it would only be right to hang on to those built for me by @Andyjr1515. I often drag this out for visiting BCers to try so many of you will have seen and tried this. This is now around 40 years old and has a number of little knocks which are hard to photograph but can only be noticed on close inspection. Any serious buyers are welcome to view. Here are a few photos:

For between £50-100, you could get an M-Audio Keystation 61, and use Vst instruments for your keys; they're very good. Worth a look..?

I missed out on the one that was for sale on the forum last week and I think that for the first time ever was genuinely disappointed that I hadn't seen it sooner so set about looking for another. A casual browse on Facebook marketplace brought up one about 20 minutes from my house and another two PMs from members on the forum who had them as well. I decided to go with the one on Facebook as it looked really nice in the red ( I must admit that I also like the green and blue ones ) and picked it up. I gave the fretboard a good clean with lemon oil and the body a wipe down with a clean microfibre cloth. This was followed by a new set of D'addario Prosteel EPS165 strings plus a 135 B that I had bought separately some time ago A quick play revealed that it badly needed setting up and when I got the capo and feeler gauges out I discovered that the neck was poker straight with absolutely no relief at all. The truss rod nut was quite tight so I gently moved it and thankfully it began moving no problem at all ( I wonder if this was why it had been so straight, maybe tightened really tight and the owner couldn't loosen it) I had to remove the little black plastic thing that protects the body from the allen key as I couldn't get the allen key in properly with it in place It is in incredible condition, I can't quite work out how old it is. I tried one of the websites and was told it was 1989, 1999 or 2009 by the serial number. The plastic is still on the control cover. There are a couple of light dents in the paintwork but no scratches and the only damage to the paintwork that I can see is on the headstock. The hardware is a little tarnished in places due to age but everything works I absolutely love it and the only way that I can describe the tone is that it is very 80s and will really suit a lot of the stuff we do with the band when the time comes to gig again. Anyway, enough waffling - now the pictures:

Sorry, late to the conversation, but back on pickups: After nearly 10 years and many different Sandberg models /configurations, I've found the following; Sandberg large pole piece standard pickups - they're pretty good all-rounders, some say a bit lacking in output, but I've never found that especially. They are pretty well balanced, but quite clean /neutral (some would say too clinical). Sandberg Black Labels - I ordered a Cali VM5 with these as I'd heard great things, and after 9 months patiently waiting, I ended up selling the bass almost immediately.... I found these pickups to certainly be very aggressive /hot, but to my ears they just didn't seem to have any 'tone' to them, the neck P pickup and the MM bridge pickup sounded almost the same! I know others love them, but that was my experience. TT Passive alnico V pickups - These are probably the best pickups I've ever had, toneful, organic, but plenty of guts. I know my tastes have changed a bit over the years, but these are really great. I believe they're the same as in two of the signature models, the Marlowe DK and the Torsten Sholtz, which I guess says something also. As with everything though, it's entirely subjective/personal 🤷🏻‍♂️

I have 3 short scale basses that I am currently waiting on to arrive. I have been playing medium scales for a few years now since I sold my regular scale basses but I had a mustang P/J model recently and really like the 30" scale also. I have a Sandberg Lionel Short Scale Bass that is in the mail. A Chowny SWB-1 in Trans White 2020 model on order and I have a Mayones Cali4 mini Bass being built. I'll post some pics of the Sandberg when I receive it next week. 😎

I had this up for sale earlier this year as an "either/or" sale - this and an NS94. The plan was to sell one, keep the other. Both basses are excellent examples of Stu Spector's fine work and, if anything, were advertised "too cheap". I can honestly say that I wouldn't be selling this if I could keep hold of it. I've got a few health problems currently which are "forcing" the sale of a number of my basses/amps/cabs. Watch the For Sale threads for details of the clear out. As anybody who has ever owned one of these would agree, you'd be hard pushed to find anything of similar quality for the money. I'm asking £325 which is closer to what similar items have sold for recently.

You'll find the plans and the parts list on page one of the thread, @martyy. Build the cab without the horn and compression driver if you find the electronics a bit daunting. Add them at a later date if you want.

I like that - a lot!

Sorry folks its Mine..ALL MINE I TELL YOU. Nice little road trip and I now have another p type bass lol. This one is so much kookier than a Fender though, I think me and it are gonna get along just fine

Here's my three electrics. A Gretsch Electromatic given to me by a very very good friend of mine for my 50th birthday. My first electric guitar - an E-series '80s Squire Tele and a '96-'97 Fender Jaguar (Charvel acoustic not included in shot)

This is all sounding a bit "Jimmy Page was 25 when he wrote Stairway, but I could play it when I was 17" about it.

It was. I laughed aloud when I read it. I've been going through a similar battle and it can get really frustrating . Tabs do a job and if the job they do i.e. get you playing a song you want to play, then there is nothing wrong with them at all. However... I have begun to study this whole music theory thing (very late in life, but there it is) and while others can explain it better than me, I'm going to take a stab at it. If I follow a tab I am essentially following a trail of breadcrumbs through a forest. Wearing blinkers. Me that is , not the breadcrumbs. So can I start at the entrance to the trees and emerge at the appropriate exit? Yes. But all I will see is the trail of breadcrumbs. What I don't know is why they follow that path. Nor what any of the trees are called, nor how other paths intersect with the one I'm following. I either follow the breadcrumbs or memorise the path they take. At the end I know nothing else about the forest. If I learn to read music then I am learning to read a map and history of the entire forest. I learn how the person who laid the breadcrumbs knew where to put them. I learn what happens if I want to take a detour, or make my own path. Which trees I can climb, which I can duck under, which ones are hollow which drop their leaves and obscure certain paths and ultimately how the whole wooded wonder of the forest works the way it does. So if I want to enter the wood at A and leave at B I can do so looking around me understanding where I am and why certain paths get me there in different ways. Certain common paths begin to become recognisable at a glance and I can trip merrily along them while planning ahead for the complicated bit where I have to cross a tricky stream and not fall in. Nothing wrong with following the breadcrumbs. But look at all I'd be missing.

Click here RB: 👍

Looks like translucent paint so might be a high end model, 320 possibly?? https://www.ebay.co.uk/itm/SGC-Nanyo-Bass-Collection-Guitar/174374672789?hash=item28998a5995:g:uN8AAOSww9RfJbdI

Rumble Seat ? Groovestool ? Vibr-o-Perch ?

I did 2 yesterday. A garden party and then a pub garden. All very acceptable

Hi everyone, Been a member of TalkBass for 10 years and wanted to join these forums as well. Nice to be here.

Interesting old bass - I can tell you it's not Japanese. From what I can see I'm fairly confident it's Korean - that style of tuner with the pressed steel backplate in that shape, and the domed string retainer, are universal on MIK Fender copies from the late 70s/early 80s. Importantly these never appear on Japanese instruments. For comparison, this is a Korean Jazz copy I had a few years back: Another clue is what looks like a blank neckplate - most Japanese instruments from this era have an MIJ stamp. There are exceptions but those will usually have other identifying characteristics. The extra fret's odd - I don't think I've seen that before, but I wonder if that's because a number of MIK basses (including the Franconia above) were available in long & short scale versions - the extra fret suggests the neck pocket's longer, which might be to make it possible to use the same body blank/routing for both scale lengths. Just an idea. The round-ended J type pickups originated on MIJ basses but also appear on MIKs - speculation is that manufacture was quicker/cheaper routing rounded body cavities than cleanly squared ones, leading to these being used. Early MIJ Gibson copies with bolt-necks have round-ended fretboards & neck pockets, presumably for the same reason. It's an interesting bass, nice to see a solid timber body rather than the usual ply. If you can get it for £/$/€50 (don't know where you are!) then that might be worth a gamble, but tbh it does look pretty tatty & neglected, in that state I wouldn't pay more than that.

Hey all. I’m thinking about picking up a Sandberg but not sure which to get. I’ve got it down to the TT4 or the TM4. I’ve not played the TM4 but sounds great online and think the humbucker would help with some of the more classic rock stuff I’ll play. Mainly be playing classic rock and gospel stuff. Wondering if anyone has tried both and what their recommendations would be? Thanks for the help. Alex

Some lovely guitars in this thread. I've had all sorts over the years, mostly vintage Tele's but also Strats, Jaguars, Mustangs, Les Pauls, LP Jr's, SG's, 335's, 330's, and loads of acoustics as well. My last trio of decent guitars was a 1997 Danelectro DC59, a 1966 Gibson ES-125T, and a 1960's parts Fender Telecaster with a goldfoil pickup in it. When I sold almost everything off to buy a flat the Danelectro was the electric guitar I kept. I've got a Squier Thinline Tele as well which is a bit more hi-fi sounding than the Dano, but the Dano is just the easiest guitar to play I've ever had.