FlatEric

[quote name='Spoombung' post='675239' date='Dec 5 2009, 08:28 PM']I want one! I've been looking for one of those for a while...[/quote] Here are the pics. This is the nicer one of the two, the other is more of a "Road Warrior" I have played this one today - the first time for ages!!!!! What a surprise. Whisper quiet electrics, HUGE tonal range, big sound and plays like a knife through butter! These are quite rare - I guess even more rare with the case. . . and the distributors label!!! This one is a keeper. The other one has a missing tuner knob, which I can sort - this one will be up for grabs. I don't need two but after having a go today, I have realised what a great recording tool this is. Move the pup 10mm this way or 10mm that - it makes a LOT of difference. [attachment=37818:Rail.jpg][attachment=37819:Rail1.jpg][attachment=37821:Rail2.jpg] [attachment=37822:Rail3.jpg] [attachment=37823:Rail4.jpg][attachment=37824:Rail5.jpg][attachment=37825:Rail6.jpg] Cheers.

[quote name='OutToPlayJazz' post='669550' date='Nov 29 2009, 10:14 PM']I'm waiting for someone to turn up on here with a "Rail." Fred.T.Baker had one when I had a couple of lessons with him in the late 80's. Seriously cool thing! [/quote] Aha, I might be able to help. I have two of these, one in it's original silver soft case. Big sound and the sliding pup allows you to hear how important pick-up positioning is. Not as light as you would think - weighs around 6lbs, from memory. Fun thing and is a serious bass but never dared to gig them. I took my Gordy Headless to a gig, just after Christmas - I can still hear the ringing of the laughter from the lads in the band What the **** is that - it's got no head!! I, erm - pretended not to be hurt! I may be letting one or both of them go as I saw one recently fetch about £350!!! Wow! I keep looking at them but just can't seem to pluck up the courage. The lads seem to think that unless I have at least 10lbs of wood hanging around my neck, it won't sound any good. Will keep you posted. Cheers.

Played at a private party last night, with my RD Artist, which for some reason didn't like my radio gear. Plugged in a trusty old lead and away we went! Great night, made even better by a guest appearance of the host's 13 year old son, in the second set. He rehearsed with us twice and pulled off 13 numbers. ACDC, Purple, ZZ Top, Lizzy and several more - awesome! Also somewhat upsetting for us "older" members! How can a 13 year old be as good as that???? :wacko: :wacko: :wacko: Great night. Hoping he will guest with us next year.

Very nice P, love the grain and the rose board. Lucky man. Here's mine from the same era. [attachment=37674:78P3.jpg][attachment=37671:78P.jpg][attachment=37672:78P1.jpg][attachment=37673:78 P2.jpg]

Good luck to you. Seems like things are turning around for you, at last. Stunning bass - you're not going to see many like that. Enjoy your playing - bet you have got out of bed a couple of times in the night . . . . . just to have another peek!! All the very best. Flat Eric.

[quote name='noelk27' post='670683' date='Dec 1 2009, 01:32 AM']Having trouble identifying a particular SB series model. Purchased by me in '88, used, the bass has an '85 serial number. Based on the weight I'm guessing that the wings are a North American ash, finished in black, with the traditional maple and rosewood five-piece centre block. Now, here's where I start to get confused: the bass is not thru-neck, but has a socketed and glued neck, with a deeper profile than than usual for an SB, and which is comprised of three sections of maple, with a dark (possibly Jacaranda) touchboard (dot, not eye/block, markers), a 40mm nut, tapering to 18mm bridge spacing. Bridge is chromed, tuning pegs are chromed, nut is brass, control pots knurled (finished gold), and pickup appears to be an MB-II. My best guess is a late issue SB 600, as it's not an SB R-60 or SB Elite-I. Anyone have any thoughts?[/quote] I think it must be a 600. The description of the "chunky" neck joint matches mine. Don't remember them having gold knobs - maybe a later addition. Mine sounds great but it takes me about half an hour to get used to the string spacing. [url="http://www.matsumoku.org/models/ariaproii/catalogs/1981ts/81ts_a_pg3.jpg.html"]SB600 Link.[/url] Can get you a pic of the neck joint, if you want to check it out. Cheers. Flat Eric.

[quote name='noelk27' post='666848' date='Nov 26 2009, 10:45 PM']Any thoughts on the current (non-eBay; non-Denmark St) value of an '84 Aria Pro II TSB 400, finished in black, in average condition.[/quote] Hi. Spotted this post, as I whipped out mine, the other day!!! It's an earlier one, with four in line on the head. I would agree with the other post, the later two aside would fetch around £180 ish - maybe £200, if it's a nicer one. I also agree on the "won't sell it" Try taking your £180.00 into a shop, or on-line to see what you can get for your money. Nothing like what you have.

[quote name='The Bass Doc' post='664086' date='Nov 24 2009, 05:56 PM']As an aside, I've got one of those Blazer pickups going spare if any one needs it (sorry if this is slightly OT).[/quote] Sent you a PM.

[quote name='henry norton' post='663141' date='Nov 23 2009, 08:32 PM']Changing the strings should be the very first thing a player tries if they're looking for a new sound from their bass. It's where 'the sound' emanates from and the medium that interprets the entire physical construction of the guitar. Lucky you by the way. Interesting experiment but have you strung the three basses with identical sets of strings and played them back to back through a flat EQ so you can see the difference each neck/body combination, magnet age, finish option makes on the tone of what are otherwise supposed to be identical instruments?[/quote] Yep, I tried that as well, with a brace of T-40's and Japan P's. The T-40's were the same era, neck, controls etc - Red, Natural and Sunburst, all strung with Elite mediums, same gauge. The Natural was the most bright and powerful, then the Sunburst, then the Red, in that order. The P's, strung with the same strings, were hard to tell apart, although all (and most of the ones I've played) had a more powerful E, which despite having the pup further down on that side, still barks louder than the other strings. I am just more gentle on the E - seems to work. The thing I mentioned about the leads, in the previous post, had one being hurled into the bin. Looked OK, got some fancy writing on the side but seemed to suck up about 10% of the power. Never noticed until I started playing around with them. Just goes to show that if all the governing factors are in your favour, Great! If not, could be a great bass but the lead and amp let it down, or a great amp and duff bass! I have followed a lot of the posts from "doctor of the bass" and I'm sure he must have had a similar experience. Would be interesting to find out.

I've spent a while browsing older posts, to see if this subject has been posted but can't find anything like it, so I'll have a go. Anyone who knows of a post like this, let me know After many years of collecting, I have recently been fortunate enough to be able to put same make and different make basses side by side, in three different amp/cab combinations. To make the recipe more interesting, in some combinations, they are strung with different makes of string/different gauges. As we all search for "our sound", or to emulate one that we like, or to copy it for cover numbers, the recipe has to be about right. If you take a sample bass, (I started with three Japanese 62 RI Jazzes) near enough the same year, with three different types of strings (all roundwound) the difference was very noticable. The amp is set to a fixed setting, all the time and then the same basses were tried in a different amp/cab, with pretty much the same EQ settings. The sound and tone, as you might expect were different again. So, when looking for "that sound", it may be a case of keeping the bass you have and altering the recipe. I even tried different (good quality) leads and a wireless rig and found that there was a noticeable difference. Alternatively, you may chop in a completey good bass for something different, only to find that the elusive magic sound is out of your grasp, as the amp/cab doesn't add to the flavour. Comments please. Cheers. Flat Eric.

[quote name='kennyrodg' post='662363' date='Nov 23 2009, 08:07 AM']Cheers Flat Eric, Yep,that's the Blazer I have. I was'nt so much thinking of selling it, i'm more wondering if I should get a P for the tone or does the Ibby come close enough to save me the dosh. Thanks again. [/quote] Well, like I said - the thing that I like about the big pup ones, is that they have a very good uniform sound. I have a Greco GOB, with the same pup. [attachment=36886:GOB.jpg] One of my all time favourite gigging basses. The blazer is pretty much the same - good spread of sound - full. Stick the B and a P together, you must know someone who has one. Same settings on the amp - see what you think! Cheers.

[quote name='kennyrodg' post='662149' date='Nov 22 2009, 09:37 PM']Hey folks, I'm toying with the idea of aquiring a P bass but as I already have an Ibanez Blazer i'm wondering if any of you guys have any experience with both and how the tone compares,also if the Blazer comes close.The one I have a 1980 Humbucker version and is strung with Ti flats.D I stick or twist ???? I quite fancy a Tokai Hardpuncher but they're few and fare between.I'm looking at a couple of other non Fender examples as $$$$$$$$ are not in abundance at the moment. Thanks in advance. [/quote] Hi. If you have the one with the single pup, three screw adjustment, poles in a row, stick with it. I have two Blazers, with the big pup, which was also used on Greco basses and they offer a big full sound, equally, across all the strings. Great bass. If you fancy something else, I would save up and get it but don't sell the Blazer, as I'm sure you will regret it. Cheers. Flat Eric

[quote name='cocco' post='652382' date='Nov 12 2009, 10:42 AM']MORE!!!![/quote] And another thing. . . . . Definative details on the controls, by Chip Todd, the "T" in T-40, and all the other "T" Series instruments. This explains it far better than I can. This was written to detail the T-60 but as far as I can make out, the T-40 works in the same way. "It has been said many times that the Peavey T-60 guitar is capable of many sounds and tones from the pickup and wiring design. The only problem is most people that own one of these instruments are not aware how it works or how to adjust anything to get those wonderous tones. The basic layout of the instrument is two splitable humbucker style pickups. One located at the bridge, the other located at the end of the neck. The controls consist of two sets of volume and tone controls, one for each pickup. The pickups are split into single coil pickups by applying a ground connection to the middle of the two humbucker magnetic coils. This bypasses one of the pickup coils and the remaining coil becomes a single coil pickup. The tone control darkens (makes the sound more bass) the pickup sound by slowly grounding out the pickup through a tone capacitor. The genius of the Peavey wiring design is that when the tone control is turned clockwise it applies ground to the pickup center and splits it into a single coil pickup. When turned counter-clockwise the tone control removes the ground from the pickup center (returning it to a regular humbucker pickup) and then slowly applies ground to the capacitor, which darkens the tone. Therefore using the volume and tone controls with the three position selector switch, many various pickup combinations can be achieved. The volume controls have a .001uf capacitor bridging the input and output terminals. This they call volume compensation. It allows the sound of the pickups to remain constant as the volume is reduced. There is also a phase switch, which reverses the positive and negative connections of the bridge pickup. Pickups connected out of phase have a hollow, tinny, mouth harp kind of sound. When the phase is used, this is where the real genius of the wiring design comes into play. First of all, when the bridge pickup is selected and set at single coil setting on the tone control, the phase switch can be used to select either coil of the pickup. Second, when the middle pickup switch position is selected and the phase switch set out of phase, those volume controls have volume compensation. This means that as the volume control is rotated counter-clockwise, the volume is slowly reduced and the output of the pickup is passed through the .001uf compensation capacitor. The capacitor counteracts the out of phase sound characteristics and creates a rich mellow refined pickup sound. Now with the pickup selector switch in the middle position and the pickups out of phase, the volume and tone pots can be used to create many new sounds from the pickups, in addition to the many already achievable from the in phase setting". Got that?? Cheers. Flat Eric.

[quote name='Happy Jack' post='657176' date='Nov 17 2009, 04:36 PM']It weighs 8 1/4 lbs. 1976 P-bass in cream (not Olympic White) with the grain visible through the paint. Neck pickup cover doesn't look original to me but the rest might be. [attachment=36574:Woodgrain.jpg] [attachment=36573:Tuners.jpg] [attachment=36572:Reverse.jpg] [attachment=36571:Neck_pocket.jpg] [attachment=36570:Neck.jpg] [attachment=36569:Headstock.jpg] [attachment=36568:Front.jpg] [attachment=36567:Covers.jpg] I already have a very nice 70's P and I don't really need another, but you guys know that I'm obsessed with weight! What do you think? Does this look pukka?[/quote] Looks OK to me. How heavy would you like it to be? I've just posted something about weight.

[quote name='cocco' post='652382' date='Nov 12 2009, 10:42 AM']MORE!!!![/quote] Sorry about the delay!!! One of the things that is often said about the T-40 is how powerful the pups are and how you can dial in a lot of different subtle tone differences. Although they were all machine made and feel pretty much the same, they all have slight differences in sound. Two of the same year, side by side, have a difference. Pretty much in line with other makes, I guess. In reality, this would only make a difference in a studio, live - you would not be able to tell. The other thing is the weight. Well, compared to a Steinberger, yes! Compared to a Jazz or Precision, Yes. I do have heavier, though - an Ibanez Studio that you could knock posts into the ground with!! I was thinking about this, earlier this year, when I opened up my '79 to sort out an annoying crackle, I decided to strip it down, clean it up and give it a good service. I weighed the parts on a very accurate industrial scale. The body was 2.15Kg - 4.73 lbs, neck 1.16KG - 2.55 lbs and all the remaining parts were 1.45KG - 3.19 lbs. Total 4.76KG - 10.49 lbs. When you consider that each bridge saddle weighs about one ounce and the whole bridge, assembled, is just under 1 lb, at 15 ounces, I think that's what tipped it over the edge! Does anyone know of a heavier bridge?? Having weighed some of the others, 10.5 lbs is about on the mark. Does this add to the sound? Well, all things considered, I suppose it does. What are they like to gig with? Well, our sets are about 45 to 50 minutes and it doesn't bother me, in fact after a while you get used to it and then going back to something lighter/smaller, feels a bit odd. The last two weekends I used a Jazz and an Ibanez Roadster - loved it but this weekend I've got to whip out a couple of T-40's! The bodies are Ash, with the natural ones having more figuring on the upper bout. The odd thing is that most are five piece but every now and again, they are three pieces - central core and two wings. Think that'll do for now. Cheers. Flat Eric

[quote name='Crazykiwi' post='584489' date='Aug 29 2009, 12:56 PM']Here's mine: Burman Pro501 guitar amp, ex Simon Cowe, Lindisfarne Older style Burman Pro4000 with script logo and red transformers. Newer style Burman Pro4000 with sans serif logo and yellow transformers. [/quote] WOW! When I were a lad, workin' int' shop, we used to sell these. We had the 501 and the 502 - probably my favourite guitar amp It is a VERY long time ago, but we put them up against all sorts of stuff and as far as I can remember, it was very close to a Messa Boogie. BLOODY loud - not even seen one for years - didn't even know he did bass amps!! Look at all the workmanship in there - almost a work of art!! How much do the 501's go for these days? Santa's coming soon!!

[quote name='EssentialTension' post='653744' date='Nov 13 2009, 04:01 PM']Is that the same as a TSB-550 but two pickups?[/quote] Yep. Stacked volume and tone and individual series/parallel switches. When I get five mins, I will post a pic. On another note (nothing to do with Aira) went to see Deep Purple, last night. WOW. Those boys can still do it, big time!! [attachment=36298:DP.jpg] Now, how does it go??? G Bb C G Bb C# C G Bb C Bb G!!!! Tee Hee. We all came out to. . . . .

[quote name='razze06' post='652398' date='Nov 12 2009, 10:54 AM']I've recently found out a something else: the schematics of the T-40 you can download from the net refer to the post-1983 models, and show no resistors in the tone circuitry. My bass is from 1980, and if you open it, you can see a resistor staring back at you, right where the tone circuit connects to the volume pots. At first I thought it was some kind of modification, because I didn't seem to get much variation in tone, only a drop in volume. Further inspection revealed that it is infact part of a treble bleed, a high pass filter that helps retain high frequencies when lowering the volume. Expert opinion is that it is original wiring, and not a later mod. So it seems that pre-1983 models have an extra bit of circuitry to help with high frequencies. Could this be because earlier pickups are supposed to be a little darker-sounding?[/quote] Here's something I didn't know. I will check this out - as you say, the Toasters are warmer, so maybe the Blades didn't have the same curcuit. I'll get back to you. What colour is yours? Pic?

[quote name='EssentialTension' post='652628' date='Nov 12 2009, 01:34 PM']I used to have a TSB-550 (32" scale) which was lovely. I regret selling it.[/quote] DOH!!!! I've got a TSB 650 and everytime I pull it out to play it, I keep thinking how small it is!!! Never measured it! Doh!! I've also got a TSB 400 and I did know that was medium. Another good one is the old "Thump Thump" - CSB 400! Where's me glasses!!!!

quote name='cocco' date='Nov 11 2009, 10:46 PM' post='652084'] Turns out mine is a 79 build. I gave it an outing today and it's damn near broke my back, but I still love it Flat Eric you are a mind of information about these fair play. What else do you know about them? I'm tempted to get a railed one now just to hear the contrast between them I found out from the previous owner that it set him back a mere 25 notes. I still think I came out on top though [/quote] Well, out of my enthusiasm for the beasts, T-40's and T-60's, I have learned quite a bit. The very early ones had a line around the truss rod cover, an 8M serial number and square cases. The line was deleted after they discovered it was too difficult to apply. These are very rare! There were some rare ones with six digit numbers - I have one with pots dated '77 and apparently these were issued to the reps to promote Peavey's new venture into guitars. Each set of numbers were issued to different reps, so if one went missing or the rep forgot to go back and collect, they would know who lost it. The early ones, same as yours, would be slab bodied, Toaster pups, blade type switches, pots dated on the sides on the very early ones - on the top later on, metal nut and "Patent Applied For" decal. [attachment=36162:IMGP0349.JPG] Most were natural/maple but you could get Black, White, Red, Tobaco Burst and like a Tan/Orange burst. Rosewood board was also an option. The intermediate ones - early 80's, went to a more sculptured body, blade pups, which were built in a moulded unit, (the Toasters were on a brass chasis) blade switches and metal nut were retained, PAF detail went. The later ones went to BAT switches (larger) and a nylon nut but were pretty much the same and the previous model. [attachment=36163:BATSwitch.jpg] Diferent colour options were available - Dark Sunburst and a Wine Red, again with Rosewood as an option but rose boards are rare. They came (after the early square case) with a dedicated moulded case, that was build to withstand a fall down several flights of stairs, complete with a manual, thumb rest, key for the case and I believe, a truss rod key. I know lots of other stuff about Peavey T's, most of it useless - so if anyone is interested, shout MORE!!! Cheers. Flat Eric.

[quote name='grimbeaver' post='427572' date='Mar 6 2009, 08:55 PM']this is my aria pro II double neck, cant play the bugger but it looks good[/quote] WOW. I was after one of those, a couple of years ago - slipped through the net!!! Looks great.

[quote name='waynepunkdude' post='650115' date='Nov 9 2009, 09:19 PM']What is the neck width like on these? also what do the switches do?[/quote] The necks are not small, mine average around 43mm at the nut. As per the previous post, they were all machine made, so any slight variation is down to sanding and finishing. The neck, however, is not very deep, at around 19mm at the first fret and because of this, although it looks like a handful, it is very easy to get on with. I have small hands and have no trouble at all. I have a Jazz that is 37mm at the nut, which feels tiny, compared to the T-40 but the T-40's have been out a lot more times than the Jazzes!! For anyone who doesn't know, the humbuckers can be turned into single coil, with what would normally be the tone control. On 10 it is pure single coil and as it is backed off, it starts to feed in the other coil, fattening up the sound. This can be done on both pickups, to any degree. So, you can alter the sound and tone a great deal. On top of that there is an in/out phase switch, which if used with the volume equal gives a very empty sound (not much use at all) but if you feed in one more than the other, or bring in/take out coils, the permutations are endless. This all sounds very complicated but I guess if most bass player are like me, you have 2 or 3 favourite signature sounds and stick with them. The other thing is, the early "Toaster" pick-ups have a slightly warmer sound, with the later "Blade" pups being slightly brighter. Both are powerful!! Cheers. Flat Eric.

[quote name='cocco' post='645296' date='Nov 4 2009, 02:45 PM']Thats cool man, how do you work out the age of them? mine is definatly an old one because it is slab bodied and doesnt have the pickup rails but ive never actually known the age[/quote] As per Kingforaday. These also relate to the T-60's and all the other guitars and basses. [attachment=35749:Peavey_Serials.JPG]