leftybassman392

Tricky. I've done a bit of searching, and they seem to be pretty elusive. As far as I can tell Yamaki and Joodee were brand names for the Dyna Gakki company in Japan (although the presence of both names on the label is a bit confusing). The company was active during the 70's and 80's so that gives you a ballpark for the age of your guitar. I haven't been able to identify a direct match from the model number although some visually similar (though not identical) models - including a 12-string - bearing the Yamaki name are here: [url="http://www.guitar-museum.com/search.php?q=yamaki&forsale=0"]http://www.guitar-mu...amaki&forsale=0[/url] A complication is that there was another company, T and Joodee, active at the time. They seem to have made upmarket clones of Fender and Gibson models along the lines of Tokai. I'm pretty sure that this guitar is not one of theirs. The impression I get is that they were well thought of by owners at the time, and seem to be collectable as a result. More and if possible better pictures (no offence intended) would help, but it looks well made and in good condition. Any value offered at this point would be a guess, but at least you now have something to go on. You may want to contact the Guitar Museum directly. Hope this helps.

[quote name='Doctor J' timestamp='1336215356' post='1642568'] I'm an Elixir devotee, I'm baffled by how you only get a month out of them. [/quote] +1 here too. Surely the whole point of the coating is to give them a longer useful life. I use them on all my guitars (though not the basses yet for a variety of reasons), and they last months (compared to the 2 weeks or so I used to get from a set of Ernie Balls on my electrics).

[quote name='gafbass02' timestamp='1336152419' post='1641881'] Ahem. First reply y'know [/quote] Guilty as charged, and with due apologies and pleas of mitigation (see below), etc.! For the record I had actually read the thread (honest!) - I just forgot. You may care to think of it as a senior moment and take it upon yourself to be appropriately lenient when sentencing.

Thanks for taking the time to respond to all the individual comments. Having spent many [s]happy[/s] years working in and with educational establishments, I do understand the issues and I do appreciate how hard it can be to keep musical kit in decent condition for any length of time in the presence of teenagers who forever want to 'test' it - it's a bit like giving them a sports car and asking them not to drive it too fast. Your situation does sound tricky, but IME the establishments that manage to keep kit in decent condition invariably have procedures in place that encourage students to appreciate the benefits of looking after it. When asked about it, they tend to argue that in the long run it makes everybody's life easier. On a more positive note, I would endorse Skank's suggestion of Peavey Bandits. Lots of schools and colleges seem to have them. Valve amps in your situation are an indulgence.

[quote name='owen' timestamp='1336064379' post='1640431'] Thanks all for your concerns about how I run my dept. I will look at the Peavey, Vox and Fender options suggested. [/quote] I detect a note of sarcasm here. You asked a question and got responses from a variety of people, some of whom have current or recent experience doing what you do. Given that they weren't the responses you were expecting but were nevertheless meant to help you (certainly in my case), I'm a little disconcerted at the tone of your reaction. If your funding is such that you can afford to replace a battery of amps and ancillaries every month or two as well as provide all the other resources a busy department needs then you are indeed a lucky man - most schools and colleges I've worked in cannot afford to be so profligate. That being the case, why bother asking us when the answer you seek is on the other end of a phone at your nearest guitar emporium?

[quote name='LawrenceH' timestamp='1336057865' post='1640280'] Deposit systems require monitoring to be enforceable, which then takes time away from other things, like teaching... [/quote] ....which of course a constant stream of damaged equipment wouldn't...

I have a PJB Fightcase that I'm thinking of selling. It looks like this: [url="http://www.bassdirect.co.uk/bass_guitar_specialists/PJB_Flightcase.html"]http://www.bassdirect.co.uk/bass_guitar_specialists/PJB_Flightcase.html[/url] Small, very light, and it's pretty much unmarked and is a top notch piece of kit (superb for recording). 150w should be plenty in a home setting, and if you need more power they do a 250w powered cab. It has a protective cover. I'd be looking for £400. I'm left-handed but there'd be no issues with swapping it back. If you're interested let me know.

...and from yet another 50something (nearer 60 if truth be told). We're planning a takeover on the quiet (but you'll need to speak up a bit... ). Welcome.

For what it's worth, a lot of manufacturers are now producing lightweight but very powerful 1x12 cabs. There's a bit of marketing hype in the idea, but I have to say that the ones I've tried are all very good at what they do (I currently run a Vanderkley 112 and will be looking to get another in due course). At the end of the day though, if your setup sounds good to you as it is and does what you want it to then what's the problem?

At the risk of stating the blindingly obvious, it's an educational establishment and you're a teacher. Is there something wrong with teaching them how to use it properly? Something wrong with making students sign for them? Something wrong with restricting access to encourage proper use? Lots of possibilities here. Letting them have free rein to f*** it up every time they get their hands on it ain't one of them. Although now retired, I've been both a schoolteacher and private tutor over many years. You need to find a way and stick to it - even if they hate you for doing it, they'll come to respect the decision in time.

Beat me to it ET. Plenty of info already posted.

Thanks for that. I have a 600 and it's brilliant! Like you say it's hard to say what an amp sounds like; but I like a smooth, clean sound with plenty of top end detail, and this amp delivered it straight out of the box - no e.q. at all. 10 o'clock on the gain and 2 o'clock on the volume, into a Vanderkley 112. Lovely!

Joe bought my PJB Briefcase. Prompt payment in full and a terrific bloke to deal with. Very patient over a minor issue that needed resolving. Trade with confidence.

You wanna borrow my PJB Flightcase? It's got 150 watts...........

[quote name='Lozz196' timestamp='1335579440' post='1633439'] So it was 2.6 I was remembering - I knew there was a third digit but that one completely escaped me. [/quote] To be totally and unnecessarily pedantic, it's actually 2.6 recurring. That means you write down as many 6's as you can be bothered with, then top it off with a 7. It means (quite literally) almost nothing in the real world, but I thought I'd say it anyway.

[quote name='icastle' timestamp='1335547011' post='1633053'] Closer It's actually 2.67Ω [/quote] Yup. For parallel connections you get 1/8+1/4 = 3/8 , then turn the result upside down to get 8/3 = .... For future reference, the formula for 2 parallel connections is [i]1/R[sub]1 [/sub]+ 1/R[sub]2[/sub] = 1/R[sub]n[/sub][/i] where R[sub]1[/sub] and R[sub]2[/sub] are the the individual values and R[sub]n[/sub] is the resulting net impedance.

Hot Rats was one of the first albums I ever bought, and an enduring favourite. Zoot Allures would be next, with Sheik Yerbouti up there somewhere as well. (Q. Where have all the Bobby Browns gone? A. They're all serving as Special Advisors to British government ministers.) Had the good fortune to see him live in the early 80's at the Birmingham Odeon (in the very amenable company of one Horace Panter). He had this scrawny little runt of a guitarist on stage with him by the name of Vai. Happy days.

Have you tried offering it on eBay? Start it low but set a high reserve and let it run as long as possible. That should tell you what the market thinks it's worth. (Offering internationally would help as well, though you sound like someone who's done this kind of thing before... )

+1 to guitar/vox duos. I've done hundreds of them over the years (mostly - though not entirely - acoustic), and really enjoy it as a format. Bass/vox is much more difficult for all sorts of reasons, and needs to be spectacularly good to engage even modest audience interest. To be fair most people attending OMN's will be expecting the occasional oddball act, but even so... +1 to guitar/bass/vox - I can think of a few U2 songs off the top of my head that should work in that format.

And a warm welcome from another old git Lefty. Started when I was twelve. That was, er, let me see now.. er, 47 years ago!

It's a slightly tricky one to value because on the one hand it's a vintage US-made Telecaster and being a Lefty it has rarity value, but on the other hand a shop might be reluctant to offer you top dollar up front as it's a lefty and so has a much smaller marketplace to access (not to mention difficult market condition right now!). I'm not really an expert in this area, but a quick scan of various locations leads me to believe £1500 or so would be a good jumping off point - don't expect that from a dealer of course, because they'll start whining on about difficult trading environments and difficulties selling it on as a lefty, etc. I'll do a bit more digging and see what I can find out. I may not get an answer quickly though. Edit: to be worth big money it would need to be a good bit older than it is - pre-CBS (i.e. pre-'66, preferably a bit earlier) instruments regularly trade for 5-figure sums even in todays market.

Well, until recently I had a MIJ '72 reissue in black with a maple neck, so I'm guessing it will looka bit like this: [url="http://[IMG]http://i1109.photobucket.com/albums/h440/muso392/DSCN0349_223.jpg[/IMG]"][IMG]http://i1109.photobucket.com/albums/h440/muso392/DSCN0349_223.jpg[/IMG][/url]