noelk27

And it's not that we, on BC, are overly cynical, but proving that a vintage Fender is indeed a vintage Fender is an essential in establishing its value. Too many unanswered questions or dubious connections and the buying public will walk away. As for what you'd spend getting it put right, you'd be looking at circa £500 for refinishing the body and neck. Assuming there are other issues to be resolved - such as a refret - the costs soon mount up. My '66, taking the purchase price and refurbishment/refinishing, cost me circa £1,800 all in. Realistically, mine might be capable of achieving £2,000 if sold. Not exactly what you'd call a massive profit margin.

[quote name='yorks5stringer' timestamp='1344467470' post='1765207']Looks as if it has in fact popped out, doubtless he will set it up to play as well for the beginner as for the professional.....[/quote] Do you think fretwire popping out slots is as a result of his heavy-handed truss rod adjustments? [quote name='yorks5stringer' timestamp='1344467598' post='1765210']There's Butchers who cut bones better than that......you could get a set of Bass Strings in those gaps[/quote] Could just be perspective, or my eyes, but the A string looks somewhat higher than the D string. Although it's hard to focus on the relative heights as I keep getting distracted by how wide the slots have been cut.

[quote name='Johnston' timestamp='1344464161' post='1765135'] [font=Arial,Helvetica,sans-serif][size=1] [/size][/font] Is it just me or is the Fret high on the treble side. As in off the fretboard?[/quote] Case in point. What did he cut those slots with? A pneumatic drill?

[quote name='Happy Jack' timestamp='1344441934' post='1764598']It will have a bone nut and a brass nut and two zero frets (just to make sure)[/quote] B*ll*cks. Isn't that what we usually call two nuts?

[quote name='davehux' timestamp='1344429963' post='1764297'][i]I think the build technology employed on a vintage Aria was never as advanced as a modern Schecter or Ibanez neck[/i][/quote] What total b*ll*cks. And if a clearer demonstration of what he doesn't know were required, I really don't know where it would come from. "Arias" were built by Matsumoku (no slouches), FujiGen (no slouches - and also some of the guys who built for Ibanez), Tokai (no slouches - and some more of the guys who built for Ibanez) and Samick (both Japan and Korea - also no slouches - and the guys in Korea built for Schecter). He's a p*ll*ck.

You should probably add R Cocco and Status.

B*ll*cks! Thought it was Mark D Phillips.

[quote name='Johnston' timestamp='1344340205' post='1762988']Basically he reckoned the set up is so messed up even those policing it don't have a clue what is going on. All you can do is keep the paper work and hope for the best.[/quote] Certainly, there was a great deal of confusion among luthiers/manufacturers when the news that Gibson had been raided broke, but I'd disagree with the view you've summarised. It would be unfair to say that the authorities and environmental pressure groups are not aware of the statutory position, and the intent that the regulatory regimes are attempting to act on. Yes, weighing the statutes passed by individual countries in the context of intra- and extra- territorial obligations can be problematic, but it is the mindset of commercial consumers that has to be altered. Many simply see the exercise as one of box ticking, as they take no long-term view on how their consumption is impacting on the environment. Certainly, Gibson exhibited an attitude that is not uncommon - aware of the statutory obligations at home and abroad, but exercising a corporate mind that wilfully ignored its position. Clearly, Gibson take the view that using virgin stock is how it as a corporate entity maximises its reward position in monetary terms, although that approach may prove shortsighted in terms of reputation management in the long term. We just have to hope that the musical instrument buying public takes such acts as those perpetrated by Gibson into account when making purchases (even if in vain). There are luthiers/manufacturers who have alternative approaches, such as Yamaha, which has been involved in forestry, and husbandry of timbers, for decades. Praise should also be given to those luthiers/manufacturers who take the reclamation approach, although this also has its paperwork headaches (the change of use having to be document, and the date of creation of the instrument given as the date for the timbers, which not all agencies appear to appreciate). Unfortunately it takes time to alter mindsets, and Gibson currently represents the bad attitudes which prevail among manufacturers.

[quote name='Roland Rock' timestamp='1344337092' post='1762902']Isn't that like giving poachers a slap on the wrist, then giving them the elephant tusks back and telling them to go about their business?[/quote] No. All trade in ivory, since the ban introduced in the 80s, has been illegal. Ivory per se is not illegal, so long as it was obtained and fashioned before a set date (although the exact date escapes me at this time). The woods which Gibson obtained from India were not "illegal", either under Indian or US statute. However, what Gibson failed to do was properly describe these woods at point of importation, and to keep proper records of supply chain information. Destroying those woods which have been legally harvested and exported would be perverse because the importer has not kept proper records. The woods which Gibson obtained from Madagascar were more problematic, as the exportation from the Republic of this ebony was contrary to statutes in Madagascar. However, that's not the same as saying the woods are per se "illegal", even if removal from Madagascar was a statutory offence. Even that wouldn't have gotten Gibson into significant trouble, except that Gibson imported the woods from Madagascar in full knowledge that international trade in those woods, in a raw (unfinished) state was illegal. Again though, it would be perverse to have woods which can be legally harvested destroyed, so any judicial sanction is gauged to have an element of punishment and an element of recompense. As for the level of fine, unfortunately such fines are often of a low order, as the acts of companies such as Gibson are placed in the "offence" category (like parking) as opposed to "crime" (say assault). That fines are of such a low order is one of the reasons why it is difficult stopping the trade, as some organisations would see such fines as commercially justifiable to obtained "sanitised" woods.

[quote name='icastle' timestamp='1344299639' post='1762585']A friend of mine has a sort of frame thing that holds her bikes rear wheel off the floor (it sits on some sort of adjustable roller thing) so she can exercise any time day or night when her diary gets overloaded. No adaption of the bike needed, she just drops it into the frame and flicks a couple of clip things.[/quote] Turbo trainer

[quote name='Ou7shined' timestamp='1344280957' post='1762269']Although bizarrely enough all of the original examples to be found in the first 5 pages on [url="https://www.google.co.uk/search?hl=en&safe=off&rls=com.microsoft:en-gb:IE-ContextMenu&q=Aria+Pro+II+Primary+bass&bav=on.2,or.r_gc.r_pw.r_qf.&biw=1243&bih=529&wrapid=tlif134427947538710&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=shMgUMeVOMaR0AWXiIC4BA"]google image search[/url] (bar this one ) did...

 Filtering out the bad results these are they [url="http://farm4.static.flickr.com/3020/3112361535_df3215225c.jpg"]1[/url] [url="http://i227.photobucket.com/albums/dd117/vintagejapanbass/Aria%20Pro%20II%20Primary%20Bass/100_4400.jpg"]2[/url] [url="http://s227.photobucket.com/albums/dd117/vintagejapanbass/Aria%20Pro%20II%20Primary%20Bass/?action=view&current=100_4660.jpg"]3[/url] [url="http://farm4.static.flickr.com/3321/3437564155_8e068f7316.jpg"]4[/url]

Obviously NJ's one is different in this respect - I don't know much about these Arias (and my question earlier was purely coincidental) but was certainly not attempting to perpetuate any urban myths.[/quote] One of those if it quacks like a duck scenarios. I'd like to ask the owners of those basses if they'd remove the pickups, and see if there's a code on the rear that starts with an "M" or a "K". If they do, then they've got Matsumoku's homemade variants. With these AP/APII instruments, the majority at this end of the range, PB400/450/500/550, didn't feature DiMarzio pickups. There certainly came a point in time when these models did feature DiMarzio look-alike pickups, before some featured DiMarzio licensed designs, but not made by DiMarzio pickups. But, that said, some models did featured made by DiMarzio pickups, although this is limited. Most are to be found in the PB600/650/700/750 range. Even then it was mainly two variants, the PB600D, which featured a mini toggle switch mounted on the scratchplate to control its active circuit, and the PB700J that featured made by DiMarzio pickups.

[quote name='NancyJohnson' timestamp='1344279362' post='1762231']Thanks for this info...[/quote] No worries. I'd have taken a guess at the model, but one photo wasn't enough, given the colouring. But, for general information, the 400/450 models could be got in solid finishes, mostly black and white, and this alder-bodied version is the one lower PB that would have featured a rosewood touchboard. The 400/450 could also be got with a natural finish or three-tone sunburst (this later version coming with a vintage tinted neck). It's more usual to see these 400/450 models where the sunburst version features a tortoise shell scratchplate. Moving up to the 500/550, this model was mostly commonly available in natural and two-tone sunburst, both models featuring white/black/white scratchplates. Thereafter you move up to the 600/650 and 700/750 models. These models featured better quality hardware and finishes in addition to being either two or one piece bodies, with one-piece maple necks with rose wood touchboards (with the exception of the PB600D, featuring a maple touchboard, and active circuit). One 600/650 model was available in three-tone sunburst, and would have come with a white/black/white scratchplate, but would have featured a rosewood touchboard. My guess, if the body is alder then it's a 450, and if it's sen a 500.

[quote name='Johnston' timestamp='1344201997' post='1761289']Does the EBAY and for sale section increase the post count? I thought they were like off topic?[/quote] The "active posts" count on your profile, yes, I think so. But not the post count displayed under your avatar.

[quote name='NancyJohnson' timestamp='1344163051' post='1760483']Aria ProII Primary bass; effectively a 1978 Precision copy out of the Matsumok[u] factory. Aside from the machine heads, it's 100% stock ...[/quote] Several different version of the Primary. The PB400 and 450 where alder, and tended to have four or three piece bodies. The PB500 and 550 were sen ash, and tended to be three and two piece bodies. Alder versions usually weight circa 4.0/4.1 kg, with sen versions circa 4.3/4.4 kg. Necks mostly one piece maple, with bonded maple touchboard, although some rosewood versions can be found. Necks are usually slightly slimmer at the nut than the Fender models these are based on: circa 40.0/40.5 mm. Most didn't have DiMarzio pickups fitted, contrary to urban myth. Matsumoku, mostly, bought in pickups from Maxon and Gotoh for these, until it started building its own. You can tell the date from the first three characters of the serial number - letter is month, first two numbers are year. Knobs: usually chrome, so those might have been replaced. Covers: Usually came with a bridge cover, some models came with a pickup cover also.

Yea, but it might help us find it, given that he currently has four threads racking up all our post counts.

I'm quite fond of "Badger the Bodger", because it's all a bit like kiddies TV, watching his listings.

[quote name='Ashborygirl' timestamp='1344189854' post='1760958']My guess is a ghost account or friend doing some shilling. Still, "concavity" [/quote] Sounds more like "convexity" to me. Or should that be complexity?

[quote name='LukeFRC' timestamp='1344113672' post='1760102']do you think we should just have one thread for this fella?[/quote] You mean pinned? If so, then can I suggest we entitle the thread "Mahogany". If that's a touch obscure, then perhaps "Zero fret". Or we could just have a poll to decide the title, there are bound to be so many others with favourite phrases mined from his listings.

[quote name='chrismuzz' timestamp='1344135490' post='1760322']Oh bloody hell, i BEGGED her not to tell anyone [/quote] It wasn't made of mahogany then?

Are the straps made from mahogany?

[quote name='waynepunkdude' timestamp='1344124572' post='1760248'][size=3][color=#000000][font=Arial]He is now a master [/font][/color][font=Arial][color=#000000]apparently[/color][/font][/size][/quote] We're either all, or have been, masters. But we're not all, or ever will be, planks. Or maybe that should be "laminations of maple and mahogany". And why the f*ck is absolutely everything that passes through his hands made from mahogany, even the stuff that's made from maple?!

[quote name='BigRedX' timestamp='1343992599' post='1758289']IMO "never gigged" = not as good as the bass(es) I am gigging.[/quote] [quote name='razze06' timestamp='1343994005' post='1758322']Never been gigged = untested in gigging situation = inadequate quality/reliability/tone/whatever?[/quote] Don't agree. My regular gigging bass was a BB3000 because it was lighter than, and has a more compact body than, the BB1200 and BB2000 basses I'd use for studio work. Didn't mean that the quality or sound of the 1200 and 2000 basses were less than the 3000, simply that the 3000 was the most suitable gigging tool. I've always taken never been gigged to mean not subject to the rigours of the road - smoky environments, extremes of moisture, shock and vibration from transportation, etc, etc.

Musik Produktiv is among the largest resellers of musical instruments in Europe. The organisation is massive. It's like the Tesco of direct musical retail. Its buying power puts it in the position to offer such exceptionally low prices. The fact that the product is so sh*tty, is neither here nor there. If people want to pay good money for sawdust and particle board just because it has the Gibson name on it, let them.

Seriously, if you want an exceptional vocal mic for not a lot of money, get an SE Titan. No longer in production, so lots of new old stock to be got for under £300 (for a mic that had an RRP circa £1,000). Best price I've spotted was £199, for one that had been used as part of SE's downtime replacement programme. Oh, and you get a shockmout, xlr cable, and two cases (wooden one for the mic which fits inside a larger one that holds everything). Those DRP mics also come with a full two-year guarantee. And no, I don't work for SE.

[quote name='lowdowner' timestamp='1343852039' post='1756434']So is this common? Do many bassists try out drumming? If you have, do you think it has been useful to your bass playing?[/quote] Yes. The likes of Billy Sheehan and Geddy Lee play, and that's McCartney drumming on the "Band On The Run" album. Very much so, as well as guitar playing and songwriting.