Shaggy

[quote name='BigRedX' post='1171991' date='Mar 22 2011, 12:31 PM']BTW Shaggy was your Magnum always fretless or is that a mod? Also the black pickup surround?[/quote] Original fretless; only one I've seen - to my mind it's one of those basses that are just "right" as a fretless. There are individual fret markers on the side of the board with 3/5/7...etc markers in between, which isn't my preferred layout. Ebony board of course, on all models. The p/up surround frame is original black-finished alu alloy too - I used to think the polished versions had been stripped and polished by owners (probably when the paint had started flaking), but I think someone on here - joegarcia? - said the factory finish changed from black to polished alloy at some point. You can see from the pics that the thumb-slide mute is missing on mine.

Ay, I'd noticed those new Eastwoods and was very disappointed - as the OP says the whole point of the original was to redesign the bass guitar from the ground up, with a whole raft of new design features and use of new materials. Slightly flawed they may have been, but I love my Magnum 1 (in pics) - now my longest-serving "keeper" by some measure. Someone on Finnbass said they admired it aesthetically for its "combination of art nouveau curves and massive f*ck-off industrial hardware", which about sums it up. I wish Ovation would return to making electric solid-bodies how they used to do best - high tech, highly original designs which I think would be better recieved these days. Unfortunately a reissue of the Magnum wouldn't be in the ethos of that, but I wish Eastwood would have tried harder than this cheap, bland, formulaic load of old tosh.

[quote name='Ou7shined' post='1156766' date='Mar 10 2011, 03:59 PM'] You probably have to be Scottish to get this. edit - Pants! It took so long to find the pic you'd already corrected it. [/quote] I got it.........also as played by Robbie Shakespeare

[quote name='silddx' post='1156619' date='Mar 10 2011, 01:59 PM'][/quote] Seriously cool - I used to have the guitar version of the white one, with 3 p/ups and the on-board active boost/FX

Not a huge amount amount of choice back in '61, but I wouldn't say no to any of the below. One? It would have to be the Rick, one lady owner (pic attached)............ I've got the EB-2, but it's a '58.

[quote name='hillbilly deluxe' post='1153428' date='Mar 8 2011, 09:37 AM']Yep,an Ibanez fretless,ala Sting,people rave about them,but i thought it was completely lifeless,and it weighed about as much as Dawn French.[/quote] I had one of those, but then I've always loved a fat bird A much better bass with decent strings and set-up - applies to any bass I know, but to some more than others. Back to the OP, it took me years to realise the bass that was was perfect for me ergonomically and tonally was ..........a Thunderbird (albeit a '60's one) Biggest let down; a Patrick Eggle Milan IV. Looked nice, build quality obviously the mutt's, but totally uninspiring

[quote name='Beedster' post='1150370' date='Mar 5 2011, 10:51 AM']Hope you're well Greg? C PS the only reason I let the fretless go was that I was increasingly aware that, recorded, I could get very similar tones from my Yamaha EUB, and that on the basis that DB is where both my gigs are now, it simply seemed more sense to use the EUB if the situation called for classic fretless tone. As Clarky will tell you though, I had a couple of 'moments' during the trade![/quote] Good thanks mate, almost GAS-free these days! Hope the EUB and studio projects are going well. I'm actually about to put your old '78 fretless maple P neck back onto the '79 body in place of the CIJ fretted rosewood one currently in situ (also courtesy of Beedster's "Vintage Fenders 'R Us Emporium"...... ), using Status or D'Addario half-rounds, as I've tried and tried but just can't get on with flats! Yes, Clarky said you hummed and hah-ed a bit, but hey, by your standards the '71 semi-qualified as a "keeper"! [quote name='Clarky' post='1150379' date='Mar 5 2011, 10:57 AM']Thanks Greg. Re: aesthetics, if only there was a way to accelerate the aging process for the headstock (which is too pale by comparison) it would look perfect. Don't suppose I can pour coffee on it [/quote] There's a trader on ebay who supplies cans of aerosol nitrocellulose lacquer for around £12 a can, one tint of which is called "nicotine" and specifically for ageing maple necks - I used it very successfully on an old no-name '60's Euro-crap guit*r I refinned last year. I'll try and dig out the contact details. People worry about lacquer spraying, but nitro is actually a cinch as it's very thin, the tint is very subtle, idea is to build up layers so there's no dramatic irreversable change and you just stop after a couple of coats when it looks right. (also works on fingers for that "60 Capstan full-strength a day" look...) What makes it look done by a pro is rubbing down with T-cut or a liquid rubbing compund after it's hardened for a week or so - again, a cinch. Apparently leaving in the sun accelerates the ageing patination too. Holiday in the Bahamas .......... ? [i][Edit; obviously neck only, not the body, or the red in the 3TS will vanish, and become 2TS......][/i]

Been in the hands of a few BC-er's this one (in fretless guise); originally Bassbod's for years and years, then Walbassist's, then mine, then Beedsters. A lovely, lightweight, resonant bass. I wasn't expecting to like it with the Jazz neck, but have to say it looks absolutely superb - the rosewood just right, and the neck binding continues into the pickguard edging in an aesthetically really pleasing way. Bet it plays well too. Nice one! ([i]nostalgic sniff[/i]! )

A few threads on this; try [url="http://basschat.co.uk/index.php?showtopic=116948&hl=EB3"]http://basschat.co.uk/index.php?showtopic=116948&hl=EB3[/url] and particularly check check 9th post down (ELJJ's) For me it would have to be an old EB-3; still relatively affordable, much more tonal options than the "0", and more grunt than the SG. I'd have thought your Triumph would have ticked most of the boxes though?

I acquired this one; [url="http://basschat.co.uk/index.php?showtopic=108319&hl=Paulman"]http://basschat.co.uk/index.php?showtopic=...&hl=Paulman[/url] in a trade with Lozbass for a Gordon Smith semi-acoustic 4 (apologies to angelagnostic for the use of his sale thread and pics) - as a dyed-in-the-wool 4-string player I saw it as an inexpensive foray into the world of 5-string, but at a decent quality level. I have to say I'm hugely impressed with the build quality and the tonewoods - the multi-laminate flamed maple neck is a work of art, and the lovely quilt top is needless to say a proper carved one, not a veneer Also as the spacing on the upper 4 strings is very similar to a standard 4-string it's perfect for a 5-string noob like me - no confusing the E with the B like I did on my previous attempt (an OLP "MM5"). I'm considering changing the p/ups and preamp, more out of interest than from real need. Shame Paulman wasn't better known as his instruments are easily on a par with Overwater, Goodfellow etc, and damn shame he passed away last year. Edit; I think this was designated the "Rex" model

I'm sure there'll be some EB-0 / 3 owners along in a minute (check with EvilLordJuju), but if not I can measure my '69 EB-2 which should be the same Post the query on here too: [url="http://forums.vintageguitars.org.uk/forumdisplay.php?f=19"]http://forums.vintageguitars.org.uk/forumdisplay.php?f=19[/url]

[quote name='Lozz196' post='904684' date='Jul 25 2010, 11:40 AM']Definately a great bassist, very capable, and a great ear for melody, some of his lines are just amazing, so melodic. With regards to the original point - who inspired me - many from the punk era, Glen Matlock, JJ Burnell, Paul Simenon to name a few, but if I had to name one who stood out, for me it would be Bruce Foxton from The Jam. Again, amazing melodies, and, in many of their songs, he sang backing vocs virtually all the time. To compose those lines is hard enough, but to play those lines and sing at the same time - amazing. And bear in mind he was late teens/early 20s, and only took over bass when the original bassist left. A name you don`t hear much, as Paul Weller was the obvious focal point, but Bruce Foxton was essential to The Jams sound.[/quote] Saw the Jam at Deeside on the "Setting Sons" tour (a lone black bike-jacketed "Rocker" in a vast sea of khaki Parkas), Bruce playing his Fender P. He's the man. Don't know if anyone caught it, but BBC3 showed an old "Rock goes to College" with a Specials gig from 1979 week before last - sheer class: raw and unpolished by modern live production standards and all the better for it. To me HP is the [b]only[/b] bassist that looks cool playing with his bass chest-high +1 on Jerry Damners being the driving force behind them though, and what a sad end "Fun boy three" was to a fine band [quote name='mike f' post='904276' date='Jul 24 2010, 07:00 PM']I played a gig in January and afterwards this chap in his 50s said I reminded him of Horace Panter, the way I played but mostly the way I moved and my presence on stage.[/quote] I was compared to Wilko Johnson which ain't so flattering

[quote name='evilLordJuju' post='1132164' date='Feb 18 2011, 01:16 PM']The 60s Gibsons had a veneer made of wood - holly in fact - painted black. By the late seventies (certainly for the RD series) it was a black resin - I can probably find the exact name they were calling it - but can't remember off hand. I interviewed the guy who designed the RD series (including the flying f-hole inlay) - the late Chuck Burge - and he told me all about it. I'll try and get that interview transcribed at some point. I can not tell you the exact date they changed, but they were still using holly in 1972 or so.[/quote] The replacement sheets, and what Gibson currently use are "fibreboard" (a kind of thin MDF I guess). Interesting they used to use holly - stained holly-wood has been used as an ebony substitute since the Renaissance. I recently tried to patch a missing piece on my '58 EB-2, but in the end gave up and left it mojo'd. The "winged note / flying shrimp" logo-ed RD Artist headstock probably the classisest headstock ever IMO.

[quote name='andysleigh' post='1131593' date='Feb 17 2011, 09:50 PM']Does anybody know what the finish on Gibson bass headstocks is. e.g. RD artist, ripper etc I assume its an ebony veneer/ top, but you can never see any grain. jsut a straight black finsih . Is it painted? cheerz Andy[/quote] I think the ones with the painted / transfer gold logo are usually just painted black, but the ones with an inlaid MOP logo are a black stained veneer with a clear lacquer topcoat. You see them as pre-cut sheets for Les Pauls etc on ebay. but never seen one for bass.

First Bass Owned: Kalamazoo KB1 (£25!) 'Go To' Bass: varies - mainly Fender '78 P just now 'Your' Bass: Fretted - '65 Gibson Thunderbird IV, Fretless - '85 Wal Mk1 Custom

Bought an Aggie GS112 off Dave (doubtless the one above!) at a soggy Sarn services on the M4 today - very fast and easy deal; great communications and a pleasure to do business with

Thanks to all for the info - clearly makes sense to leave as is.

Apologies if this has been covered before; couldn't find anything. I'll happily re-wire basses, but a total noob when it comes to amps and cabs. Just wondering if it's possible to convert a cab with a single driver from 8 ohm to 4 ohm, eg; by wiring in a dummy resistance in parallel? Cab is an Aguilar GS112 with variable tweeter. I'm guessing not! Thanks!

Lovin' that bassdrobe! Mine are all in hardcases (except a semi in a gigbag as I can't find a HSC to fit) and yes they take up a hell of a lot of room. Also, having quite a few vintage basses with their original hard cases I bought a big generic HSC without a shaped liner, so that I can gig them without taking the OHSC - which with '60's instruments are often pretty crap anyway. I'm fairly sure Mrs Shaggy was visually measuring me for a straight-jacket when I explained the rationale to her.

Met Dan today at a a services on the sunny M11, bought an Eden 410 cab off him - smooth deal, good guy to deal with, great communications.