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Post by banjo on Jan 30, 2019 9:37:00 GMT
And Lo! it came to pass that David Gilmour has decided to move on his herd (including 0001) in favour of some charity, thereby reiterating that ownership is no more than a construct which masks curatorship, and for a dwelling affords protection against stovepipe hat wearing and moustache twirling landlords. There's a sobering thought- that one might devote twenty five of our earth years, much graft and hemorrhage lots of beer tokens on a pile of bricks and mortar that will ineluctably be passed on to others, or sold off to settle the Grim Reaper's tax bill. Coincidentally, 0001 would probably finance a comfortable roof over many folks' heads alone.
e&oe...
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Post by sleepyjohn on Jan 30, 2019 10:06:50 GMT
Still waxing poetical,must be the Lakeland influence?
I am hoping to purchase....a catalogue!,although it will probably be out of my price range.
Selling so many at once will necessarily dilute the price,but I 'll be most interested to see which comes second!(assuming that the piece of white wood meets it's reserve.)
PS having just read the listings in Rolling Stone,it seems that the black strat is the market leader.
Estimates are lower than I thought.
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Post by banjo on Jan 30, 2019 13:10:09 GMT
The black one is so ordinary though? I have a 1973 with the dreaded three bolt and a bullet. I ruined it by having the maple neck reworked with an ebony board by Chandler and Roger Giffin. (It was relatively unheard of back then but you can have pretty much anything these days.) I also had the sunny replaced with a "red plastic skin" by Ron Roka in Endell Street. Result: it's worth a great deal less than even a much maligned 1970s one could aspire to. DG's black one is a 1970s. Although 0001 is a false serial number (Fender had passed 5,500 by 1954) it's a much more coveted instrument to my mind. Actually, I have a feeling it's a marriage? Seymour Duncan could probably confirm or refute that.
e&oe...
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Post by sleepyjohn on Feb 2, 2019 16:55:16 GMT
Yep,both the Black Strat (half a dozen different necks,not to mention pickup changes and drilling and filling) and 0001are partsocaster.
The following is from SD forum..
This is one of those folklore legends that has taken on a life of its own. Here’s the real story – and it’s actually a tale of two guitars. In 1976, right before he started Seymour Duncan Pickups, Seymour was doing guitar repair at Jensen’s Music, here in Santa Barbara. While he was there, a guy from Nipomo, California named Richard Green brought a ’57 Strat to Seymour to fix and refinish – he wanted the new color to be see-through root beer, like Bonnie Raitt’s guitar. Seymour remembers the original color as a light mint green; probably the same finish Fender used on some lap steels.
Seymour sent the body to his friend and colleague Wayne Charvel for refinishing. Wayne was an authorized Fender repairman. But Wayne couldn’t refinish the body because the dings and nicks were too deep for a see-through finish. So Wayne used another Fender body, which he sprayed see-through root beer, and he sent it back to Seymour. (Back in the ‘70s, when you sent a neck or body to Fender for replacement, the practice was to saw the original in half and throw it away. However, in this case, the original body wasn’t destroyed...)
The original neck went to another Santa Barbara repairman Phil Kubicki, who refinished it. It eventually made its way back to Seymour who re-plated the hardware gold, put the guitar back together (with the new body) and returned it to Richard Green. The neck plate said serial number #0001, but Seymour knew it wasn’t accurate since Fender didn’t do solid color finishes back then.
Some time later, Seymour was visiting Wayne’s shop and saw the original ’57 body and bought it to use for a test guitar he was building. Seymour bought a ’57 maple neck from Kubicki for $85 and he bolted it onto the ’57 body. He wound some ‘60s replica pickups and used the guitar as a test bed. Eventually, he sold the Frankenstein guitar to a guy named Phil Taylor who in turn sold it to David Gilmour for $600. The neck plate said #0001; but like Richard Green’s, Seymour believed it to be non-original. Keep in mind, this was long before the vintage guitar craze had started; and was 15 years before the first Antiquity pickup was ever sold.
So there ya have it. A Seymour Duncan User Group Exclusive! Unfortunately, Richard Green’s guitar was stolen in the ‘80s and is out there somewhere. If anyone has an idea of where it is, let Seymour or me know and we’ll get it back to Richard.
So the moral of the story is....very few guitars stay unchanged.
It you spend a fortune buying the Black Strat,(as an example),it IS the Black Strat, but it iSN'T the guitar used on DSOTM.
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Post by Ratae on Feb 5, 2019 17:36:51 GMT
You're probably right. No you are right- someone had to hold it all together! In the studio he was excellent. A lot of his work still sounds timeless, while live he was frequently quite messy. Actually, I think that Billy Cox and Buddy Miles in The Band of Gypsys were more in tune with the direction in which he was set to travel, but Electric Ladyland and the posthumous Cry Of Love are both wonderful stuff. Here's a thought- can you visualise Voodoo Chile (not "Slight Return") without Stevie Winwoods keys? e&oe...Ah ha.....a last a moniker that I'm familiar with (obviously I also know who Hendrix was!) Yep, Stevie Winwood. I first saw him live at a club in Leicester named the 'Il Rondo' .. I'm ashamed now to admit that my pals and I were only allowed in this club as we had promised the manager, who was a lovely fella, that we wouldn't cause any trouble, but would sort out anyone who did.  I'm not dead sure, but I think that it was around '63/64. Anyway, the band was called 'The Spencer Davis Group' and I think Winwood was about 17 yrs old. I distinctly remember Spencer Davis telling us clubbers that he himself was Spencer Davis, not the young fella doing lead guitar and vocals. The Stones Rod Stewart (with Long John Baldry) Manfred Mann Freddie and the Dreamers John Mayall's Blues Breakers. Joe Cocker and many more who's names escape me, all of them I saw at the 'Il Rondo' Happy days!  |
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Post by sleepyjohn on Feb 6, 2019 10:55:36 GMT
Great bands,all of them. I was at college in 1965, and was in a scratch blues band....Black Cat's Bones. We opened at the Christmas ball, and John Mayall was the headliner.Really nice guy,who took the time to show me the right way to p!a y back harp (You suck rather than blow on a different key harmonica) He had a miserable guitarist though... wonder what happened to him?..Eric something...  |
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Post by banjo on Feb 6, 2019 13:03:50 GMT
Isn't Steve Winwood great? A multi instrumentalist. I saw him three or four years ago at The Shepherds Bush Empire (Bush House is it?) and unlike all the other aging groaners I've reluctantly hemorrhaged beer tokens on recently, he was stunning. youtu.be/eoSn2Y-b6wI(Says it all for an old rocker) but also revisit "The Low Spark of High-Heeled Boys". e&oe... |
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Post by sleepyjohn on Feb 9, 2019 17:43:46 GMT
Best wishes for a speedy recovery to Lindsey Buckingham.saw him live once and was greatly impressed with his playing.
Wasn't a massive fan of FM in the later years....now the early days with Peter Green was a different story entirely
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Post by sleepyjohn on Mar 30, 2019 17:44:25 GMT
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Post by banjo on Mar 30, 2019 18:14:12 GMT
Someone told me that viewing Saturday and Sunday is free, you can get up close for a gander and it's a free for all with your camera. Only fifteen miles for me but I think I'll pass. I signed up at Christies to buy the catalogue, I heard they are great quality and usually hard bound. I figured it ought to be worth thirty squids, but then I realised I was only interested in 0001 so I backed out. The amount of personal information they required put me off too. I understand up to a point but it was just too invasive.
e&oe...
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Post by sleepyjohn on Mar 30, 2019 18:25:29 GMT
I'm not going,too far,but I emailed Christies re the catalogue,and they told me it's not out till May  . I also asked about a virtual tour,but they seemed not to have thought of that. .In fact,this article is probably enough for me,and there's more to come nearer the auction. Interestingly,0001, lot 20 is followed by a copy 0001, and there are several black strat copies before the real thing,which is last. |
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Post by sleepyjohn on Apr 1, 2019 14:33:35 GMT
Well,despite having said that the cigarbox uke was going to be my last build,I couldn't resist buying some more parts. As I said to the mrs,there's always time for one more. It's an Arbiter copy of an SG.,I 've not done a Gibson before.Looks very similar to this,although I 'll probably be having 2humbuckers.....the quality of the video is very poor...it's not me!!I go it off utube m.youtube.com/watch?v=jr2QiSNu1X4Looks a little odd, in that the body is almost a straight SG clone, except that there's a lot more routing,with the electrics on the pickguard.No through holes with back covers. The neck is a 6 in line.probably to keep the lawsuits at bay. Anyway,it's mainly a straight clean and build except that I will have to make the pickguard from scratch.Everything else is either on it's way,or in my bits box,except for the trem/tailpiece,which I will probably have to give up on,as its a bit of a one off in all the photos I have seen.Will make do with just a basic ashtray taipiece,and keep looking. Won't have time to get off to NY for the auction now, so banjo can have a clear run at 0001!!!! |
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Post by sleepyjohn on Apr 5, 2019 22:27:10 GMT
Dirty deeds afoot in the world of Hofner.
"My old late ‘64 500/1 has been back on eBay as a late ‘63 having had its control plate changed for an earlier dated one as a false way to hike up the value"
"! The guy has put a wk 39 1963 board in an otherwise straight lovely bass and describing it in his description as a week 39 ‘63"
The difference in value is in 4 figures,depending on condition.
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Post by sleepyjohn on May 20, 2019 16:11:06 GMT
Well,here's a request for advice from anyone who has experience of tremolos.
I must admit that,apart from the usual strat type,I have only ever used a Bigsby( on a Hofner verithin)
Now this Arbiter seems to have a Kahler,which are collossoly expensive,even second hand, but the routing may also fit a Jazzmaster/Jaguar type.
Can't decide whether to try either of the above, or dispense with a tremolo altogether,and cover the routing with an ashtray tailpiece.
With my current arthritic playing,the latter seems favourite,but I would like opinions from anyone else reading this. (That's probably just you,Steve!)
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Post by banjo on May 20, 2019 23:10:22 GMT
I know jack about Kahlers other than the heady price tag Dave. My only involvement with vibratos has been with S-line Leo-Types and those I just add springs and tighten claw screws to stabilise the at-rest tuning. I would love a Maestro Vibrola for my Firebird, but I am reluctant to bore the necessary holes and anyway- one of the stop tail mounting bushes is impossible to conceal. Considering what they are in the cold light of day, they are even more stupidly expensive than a Kahler and far from stable to boot, but they have "the look".
Bigsbys are Marmite. I view them as scaffolding. Each to his own etc.
Unless you are Jeff Beck writing under a pen name, I would give a vibrato the swerve and install a Tele ashtray. "Joe Barden" ones are made from a slightly heavier gauge, have two extra tiny stabilising screw holes, are nickel plated (which I vastly prefer to chromium) and benefit from the oh-so ergonomic flange scoop that makes it more comfortable to play. I have one on my home assembled Danny Gatton signature Tele. It is noticeably easier on the little finger than the standard Fender one on my (again!) home assembled Esquire.
e&oe...
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