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bassaussie

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  1. The back of the neck is beautiful, I love the way it contrasts with the body and headstock wood.
  2. Yeah, it was a real battle for me. I wanted to keep it because it was lovely, but I was always worried about the neck. Fortunately it's now owned by a very good friend, so I can go visit when I need to! The tone of the bass was amazing - every time I played it, it was everything I wanted from a bass. I can imagine a 65 version would be incredible. Funny thing - I've always heard that when older Gibsons (guitars and basses) suffer the inevitable break, they usually end up being a more stable instrument provided the fix is done correctly. I've had quite a few people say that to me, although whether it's correct or not I don't know.
  3. I didn't know that about the pickups being the same as a Grabber. I'm not hugely into Gibson basses, but I do like Grabbers, they're sensational instruments. Also interesting what you said about the neck joint - again, something new to me. I had an Anniversary Thunderbird for a while, from 1976 - absolutely mint condition, so beautiful, and with a great tone. But I ended up selling it as I was always terrified of it falling over and have the headstock snap off.
  4. Thanks Tony. Great description, really explains the choice. I've always been a big Musicman fan, I think they make fantastic instruments, and they seem very consistent with their QA, so I can see why you'd be drawn to them. And yes, they do have fantastic necks.
  5. Hi. Question for the OP. I've been really curious about these basses ever since they first came out, and I've always wondered what the appeal is for them. I'm sure you've heard this a million times, but the question for me is ..... if you wanted a P/J, why not get a Fender, or one of the brands known for that style of bass? Why go with a brand that is so closely identified with the Stingray? Just to be clear, in no way is this meant as a criticism - I'm genuinely interested in the thinking behind it.
  6. You summed this up perfectly. I was thinking about the same thing - that in 10 years time (you said 30! ) this might end up in the "Ebay Weird and Wonderful" area, with people speculating why such sacrilege was performed! But the OP gives such a great explanation of why he would do it - that combination of loving the bass to bits, yet wanting something a little extra from it, and not being in a financial position to do an entire project to create a replica bass with additional features.
  7. Regarding the bridge, around the time the bass was made, Gibson was using a bridge that appeared to be a Gibson version of a Schaller 3D. It functions exactly the same as a 3D, but has a slightly larger footprint. If you check out photos of Gibson Victory basses from this period, you can see the bridge on any of those. I'm not sure of the actual arrangement Gibson had with Schaller at the time, but the bridges are obviously connected, and I think they were also using their machineheads. Getting back to the Explorer, if you look closely at the closeup photo of the bridge, you can see a faint outline that shows the slightly larger footprint of the original bridge. So the new bridge they have on there would've been a direct swap for the original, with regard to screw placement. Personally, I think it's a great mod they've done, but like a few others have mentioned, I find the positioning of the strong retainers really odd. If you think of Gibsons, and the damage they would be most associated with, one that would spring to mind is a snapped headstock. So whoever did this either wasn't familiar with Gibson, or was supremely confident in their abilities to get it right.
  8. Good point. So the thinking here is along the lines of un-earthing Hendrix's burnt Strat, or the guitar Peter Townshend smashed up US national TV. Makes sense now!
  9. I think this seller's auctions have come up before. He's an odd case - some gear is actually not badly priced, other stuff is really overpriced. I just don't get where he sees £800 in this. You could imagine someone picking it up as a project, and doing something interesting with it - there's some guys on Basschat who do some amazing woodwork, so this could end up being nice in the hands of the right person. But it would have to be at a price that would make it worth the effort. The only redeemable quality this has is that it provides the basic foundation for a neck-thru instrument, so provided the neck isn't a mess, it could end up being interesting. But who ever does that needs to source EVERYTHING - pickups, hardware, whatever else, and then needs to spend a lot of time figuring out how to make this a decent bass again that doesn't have a prosthetic **** sticking out the top. Also noticed that whoever did this hatchet job also had a go at the headstock, so that classic Aria Pro II shape is gone as well.
  10. LMAO! Nearly had a coffee on screen moment there! I'm referring to the kit they put out in the 80s, that sort of period, It was aimed at someone who doesn't want to invest in top end kit, say Trace Elliot. You were fortunate in England - you had a good selection of brands that were locally made and covered a good variety of price points. Laney springs to mind as well. We didn't have those options in Australia - we either massively overpaid for TE or GK, or we ended up with Peavey stuff. Which was good, but bland.
  11. That's really smart. It's so obvious, yet so practical. If I remember correctly, wasn't this brand a similar quality level to something like Carlsboro? Not top of the line, but solid and reliable?
  12. The Westone basses are lovely looking instruments. They look like this wonderful combination of Alembic, BC Rich and Aria Pro II.
  13. Mate, I agree with you, 100%. I've seen his auctions for years, and I would never consider dealing with him. But some people do, for whatever reason, so his ploy seems to work.
  14. I'd agree with this. He puts trainwrecks on Ebay, we all talk about, then we all go to look at what else he has. It's just a perverse form of advertising that seems to work, because he's done this for years.
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