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Posts posted by notbillcosby

  1. It looks like it may be time for me to thin the herd a little, and unfortunately one of my least played guitars is also one of the coolest in my collection... A well worn early 70s Ibanez (with no name on the headstock) Jazzmaster copy with silver pickup covers and a sunburst finish. I've never seen another one like it, ever, except for in scans of old Ibanez catalogs. It hurts to consider selling it, but I figured I'd ask anyway... Does anyone know what these things are worth? I got it via Ebay several years ago, with no picture and just the description "old jaguar copy" or something. Got it on a whim and was really pleasantly surprised. I could see them being worth $400 because that's probably what its actually worth as an instrument, or I could see them being worth $2000 because they're so uncommon. Also, I'm pretty sure the dude from My Bloody Valentine has said it was the first guitar he owned or something like that- This model, not this guitar specifically. I don't think. ;)

  2. Love? Hardly! I'm gonna get the action set where it needs to be, and it's good to go. I love a guitar with some battle scars, and this is easily one of the more dinged and chipped guitars I've ever owned. I've thought about getting a new (or new to me) white pickguard to replace the control plate, but heck, that plate is part of the story of this guitar now. I feel like I've gotta leave it.

  3. I've been playing guitar for a little over 13 years. When I started I was a freshman in highschool. My band teacher owned a red Musicmaster bass that lived in the band room permanently, and was used by various people for jazz band, pep band, and whathaveyou. It was chipped and chipped some more due to years and years of careless kids knocking it around, but it played just fine and sounded fat. It was one of the very first electric instruments I ever played, and was always there through my first four years of learning to play. My friends and I all played on that bass, and I loved it dearly. After graduating, I tried a bunch of times to get Mr Franz to sell that little guy to me, and he always said he didn't figure he'd get rid of it. Alright, that's fair. I bought a couple black on black MM basses in an attempt to find the magic that old red one had, while also paying tribute to a local punk band that was extremely important to me that also used a black MM. I had one for about the last 8 or so years that was always there and always good, just never really clicked with me. I still figured I'd never really sell it, since it was what it was and I liked it enough.

    I work at a guitar store now, doing setups and repairs. A highschool kid came in to have me set up his floyd-rosey Ibanez and we got to talking... He happened to go to my tiny little highschool, and as it turned out, had an old red bass that he found in the art room there. When Mr Franz retired a few years ago, he left the bass at the school, and due to it looking like a pile of crap to the untrained eye, it migrated into a corner of the art room. This dude got it for $30.

    My jaw dropped as he told me about it, and I verified that it was indeed the same red bass I'd been longing for over the last 13 years. Darrick (highschool kid) was kinda down on it; the original pick guard had been cracked and the control plate area had been replaced with a Mustang style control plate. One of the pots and the output jack had been changed, and the nut was broken so he slapped in some new one that he had no idea how to set up properly. He hardly played it. He said his sister was just using it as a backup bass. I of course tripped over my tongue in excitement, telling him I had a black one of the same vintage that was all original and in far nicer shape than the red one from highschool was in even the last time i saw it, which was 9 years ago. I offered to do an even trade, since i could care less about how original the nut was and wanted that bass, THAT SPECIFIC BASS, more than I could really explain. That bass is my personal musical history! I had to have it. Had to had to had to had to had to. He said he'd check with his sister.

    Uhhhh... So yesterday he brought it to me. It's everything I remembered! The neck feels just like I thought it did, which is surprising considering how many other guitars I've felt since I saw this one last, 9 years ago. Other than the control plate being added, it looks exactly like it did back then! The neck is still straight, the frets are still completely playable, and after 4 minutes of work, the new nut was cut and sanded down to where it needed to be. I happily handed over my black MM that had surprisingly little sentimental value when put up against the red one.... and I will never let this bass leave my side. The pictures below don't really show just how battered this finish is. I love it! I couldn't be happier! I had accepted that I'd probably never see this bass again, and here it is, in my studio, in my hands, plugged into my amp. An old friend has come back into my life, and it's almost as if I had never been without it.





  4. My Jag-Stang wielding partner in crime plays through a surprisingly rare Sovtek Tube Midget MG50h head. The wooden one! It recently took a spill at the end of our set, and in the process broke the cheapo plastic input jack. I'm good with a soldering iron but have a poor track record with ordering replacement parts that are what I wanted in the first place. Can anyone shed some light on what part number I'd want to order to replace this, or what i'd need to check, multimeter style, to determine it? I've included pictures of the jack itself and a schematic I found that may or may not actually match this amp (as I hear there are a few versions of it, with no differentiating model numbers). I'm apprehensive to make a guess at what part it is, because I know there's a variety of jacks that work a variety of different ways that look extremely similar to this one. Not to mention, the schematic makes it look like there should be 3 terminals when there's very obviously 6... I'm the first to admit that I'm not great with this stuff.




  5. A guy I know is working on re-electronicing his early 70s Musicmaster bass. He has the original pickup, but needs pots and a cap. What values did Fender use in those? I'd normally guess a 250k since it's running a single coil, but I seem to recall them using lower value pots or a different-than-normal value cap to make that little Mustang pickup act like it is a little closer to a bass pickup. Anyone able to shed some light on this? Google only turns up Musicmaster Bass Amp schematics, and my bass isn't near me right now, which makes it hard to take a look under the hood...

  6. So, there's really that little tonal difference between a 250k and 1meg pot? It seems silly that everyone is so adamant about using 500ks for humbuckers then... I couldn't imagine that it really makes much of a difference if I can barely hear a difference between 250s and 1megs. I've got a box built with a few different tone circuits and a bunch of alligator clips and a toggle switch, so i can mix and match pot and cap values and do A/B comparisons... I've got an old junko guitar that I'm stuffing one single coil, one humbucker, a toggle switch and an output jack into, so I can use the box as the tone controls and see what difference it makes. Long story short... I just need to finish that up so I can hear for myself.

  7. I've had an AVRI Jazzmaster for several years. It was never one of my most-played guitars for a variety of reasons, but mostly because of the shrill ice-picky high end that i heard through every single amp I played on. I decided I wanted some Antiquity II's, but needed to let the initial blow of spending the money on a fairly high end guitar wear off before spending MORE money on it. It took a back seat for a long time.

    I'm a huge huge Danelectro fan (90s reissues rule, haters.) and decided I wanted to take a page from the book of danelectro and make a wooden bridge for the Jazzmaster. So I did! I used a scrap of mahogany (WAY too soft.) to make 6 new bridge saddles as a test. It's alright, I'd like to use rosewood and construct it out of one compensated slab and make a new bridge baseplate for it to attach to... but whatever. My point with this exercise was to tame the ice-picky high end. It really didn't work; more than anything, it just changed the attack and sustain properties, but not so much the tone itself. So I dug a little further.

    Why the hell does the brightest guitar in the world (well, second brightest to the Jag) use 1 Meg pots?! I'm not an electronics pro by any means, but I know that higher value pots let more treble through. So I decided to swap them out for some CTS 250ks I had laying around. After some struggles getting thigns to fit back in without grounding out on the shielding, it works! But...

    I don't notice a huge difference between 1 megs and 250k's!! I'm completely shocked. The rhythm circuit still sounds more dull and subdued (is that a 50k tone pot?) which is surprising to me. I expected a HUGE night and day difference when knocking those pots down to 1/4 of their previous value, but if anything, it only touched the ice-picky peaks, and i'm not even sure if those are gone as I haven't gotten to play this at higher volumes yet.

    Should I have noticed more of a difference, or does this seem about right? Also, the fact that the rhythm circuit is still a 1meg (i think) along with that 50k makes me wonder, which pot's value affects overall tone? What difference would I hear if I had left the 1meg volume in, or the 1meg tone in, while replacing the other with a 250? I know I could try it and find out, but it's a hassle and you guys might just tell me :)

  8. I did a temporary rig-up with something roughly bridge-height shoved under the strings, and a blank uncut nut stuck in the neck, and i THINK i can still make it work with the current neck. I have some new saddles on order to replace the two I'm missing, then i can get down to business trying to set this little guy up. It'll be a challenge, but hey, I always need more projects.

  9. No pawn shop... I work at a guitar store, and the guy brought in this guitar to sell to us. It was so far from being functional, we had no quick way to test it out and see if it was even anything worth sinking money into, so the store politely passed. I, however, said I was interested and asked what he wanted for it. After having a, "What do you want/Make me an offer" battle for a while, I shrugged and said $50, and he actually took it. Nice! Too bad that damn neck is twisted...

  10. Hey there! Long time member, first time in a long time visiting the site!

    Very recently, I stumbled onto an old, pre-Mustang/offset, 22" scale Musicmaster for $50. The finish was stripped years ago, the guitar has seen a lot of use and abuse, but all the important parts are there. Original pick guard (albeit cracked and missing pieces), metal shielding sheet underneath, pickup, pots, knobs, tuners. And the neck, from what I can tell. There's no decal left, and no distinguishing marks on the heel, but judging from the neck itself along wtih the rest of the guitar... it's original. Problem is... It's twisting!

    There's only 1 of 3 bridge saddles and no nut, so I haven't tried stringing it up, but it looks pretty obviously twisted. There's a chance I could set it up and cut the nut in a way that it'd compensate some for the twist, but there's a pretty good chance that it'll wind up playing horribly. I'm totally geeked out about the guitar though, so I'd really like to figure out a way to make it work.

    What necks will fit on this guitar? The neck is tiny and I'd be happy to move up to a 24 or even a 25.5 if possible, but I don't know if it will fit. The heel looks pretty narrow, do mustang or strat necks even fit in these neck pockets? My mustang isn't here right now or else i'd measure and check...

    I'd really hate to not use this neck, it's super old looking and has a really cool feel to it, not to mention the years of playwear that's worn into it. It matches the rest of the beat to hell little guitar so well it'd be a shame to replace it with something shiny and new, but if i must, i must. Help me out!

  11. I've got a Mustang and a mexican 50's Strat, and both have really small frets. The action is set comfortably- low but not EXTREMELY low- and both guitars buzz pretty much all the time and kill any chance of tone or sustain. I'm guessing this has somethign to do with the angle of the strings against such low frets but I don't know enough about guitar setup to know if this is the case or not. Is there a way i can setup these guitars to solve the problem, or do i just need to live with it?

  12. And what kind of dimwit would try, and buy, an electric guitar but not plug it in til he got home?? Next time you see him coming give him something with no pickups in it :lol:

    he said that pickups are the easy part to change... I said, "ahw, man, i'd STILL want to hear the pickups in a guitar before it took it home, you know?" and he kept playing his unplugged strat, and goes, "i don't care."

    Whatever, man. Just give me the comission for that great sounding block of wood and i'll never bug you again.

  13. I recently started a job at a large guitar store. During training, my head was pumped full of "facts" on how much better a nitro finish makes the wood sound than a thick, cheap poly finish. How nitro lets the wood breathe, and allows the grain to loosen with age, making the guitar resonate more freely the longer you play it. Since we've opened, i've had plenty of people turn down plugging in a guitar in favor of just listening to the sound the wood makes when they play it unplugged. One guy went so far as to tell me that he NEVER plugs a guitar in until he gets it home. I decided that some people are real tools.

    But at the same time, I can't help but wonder... All my guitars that have poly finishes on them... How much better would they sound if they DIDN"T have poly finishes? My Casino that i love and cherish... how much more could that sing? Would my mexican 50s reissue strat open up if the finish was different?

    I don't want to strip down these guitars to find out. I also don't want to refinish them, because frankly i like the color they are now. I was thinking though, on my strat specifically... could i sand down the clear coat and make things sound any better, or would the remaining poly still smother the sound of the guitar? Is the finish really doing that much to affect the sound of my guitar?

    I have no good way to compare at work... If i try to compare the sound of, say, a gibson les paul with nitro finish for $2300 and an epiphone les paul with poly for $500, there's a great chance that i'll be hearing a difference due to more than just the type of paint on the outside. I guess i could try a Highway One strat against a mexican standard or something, but even then I think there's a difference in pickups that i'll be hearing instead of the sound of the wood.

    So yeah, everyone give me your opinions. I'm curious.

  14. Nah, i have a tascam thing WITH eq... 424 MKII. I love it! It's absolutely not pro quality at all, but it let me take a step back from the ridiculous flexibility of a computer with an unlimited number of tracks and more plugins than you can shake a stick at, while still having some decent control over the sound. The mic pres and EQs on the board certainly aren't beautiful, but they do the job.

  15. So, just got my first 4 track casette recorder about a month ago. Up until this point i'd been using a 16 channel mackie and 16 channel soundcraft going into a delta 1010 DA box and then into my computer... i felt like i should take a step back and do some stuff George Martin style for a while, in hopes of the limitations pushing my creativity a little more and making me do stuff more spontaneously. So far, so good. I'm having a blast.

    Anywho, i figured as long as i'm doing it, i better do it right. Got some anhydrous isopropyl alcohol, some wooden-sticked swabs, and a used demagnetizer off of ebay. I know that the cleaner and the swabs are fully functional... thing is, i have no idea how to test out a degausser. I know i could use it and see if i could tell a difference, but i'm guessing there's a fairly decent chance that i wouldn't immediately be able to hear a real audible difference between stuff i'd recorded pre and post demagging... Is there another, more obvious way for me to see if this baby works?

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