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Messages - Tony Raven

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As you say, it's a D-10N, a basic dreadnought in natural finish. The top is laminate (plywood) unless the model number contains "S" or "SW."

Well, the downer is that nobody here has access to production numbers, & in any case for a standard model the company's records won't have much detail either. Yours probably left the factory April 1998. Since then, quality of entry-level instruments has risen even as prices have dropped, so there's not so much demand for a used D-10, even two decades old.

What exactly do you mean by "how much"? If you want to buy one, I can point you to listings $100-$150. For most individual looking to sell a guitar, they're fortunate to get 40%-60% of current market price, so at best you could maybe get like $90.

The one style of guitar I do not own is the LP, though I have other guitars (like the Lyon LPT-24) with the TOM bridge, & really ought to upgrade, as the biggest problem is too little room for intonation adjustment, & I usually wind up with one E imperfect.

Have you measured the post-to-post widths (on centers)? Standard Gibson spacing is supposed to be 2-29/32". The problem usually occurs on stud size: Gibson used M5 studs, but most copies use M8. So long as it's the same on center, you might have to pull the bushings & press in new ones to fit the studs.

If I was going to upgrade a good guitar, my first try would be Schaller.

I liked their Nashville as soon as I saw it, a straight-up improvement on the now-classic TOM.

Schaller also makes a roller-saddle version. These have the added advantage of adjustable side-to-side string spacing (like older Gretsch).

The Schaller I've been wanting to try is their Signum. The design looks to possibly improve tonal curve & sustain.

You might also consider the GraphTech NW2 ResoMax or the Gibson TP-6.

General Discussion / Re: Pots for Washburn MG100
« on: June 19, 2018, 10:53:33 PM »
The standard cap value is .047. The smaller the value, the less high tones it will roll off. I've heard of players using anything from .022 to .1 depending on their pickups, amp, effects, & musical genre.

If a guitar has all single-coils, 250K is fine; if there's one or more humbuckers, it's generally 500K. I've been told that 1M is best, but I've never made any comparison.

Show Us Your Washburn / Re: 1979 Sunburst Bass - Help Needed
« on: June 13, 2018, 09:23:22 PM »
Oh, right!! I forgot about the Vultures.

The G3H site says the early (1978-1979) version had "brass (cilinder shaped) saddles," the trussrod & control-cavity covers were plastic, & a top-mounted jack, while the "B" version (1979-1981) had "brass (normal shaped) saddles," wood covers, & side-mount jack.

The only problem is that the tobacco sunburst was with the first model, & G3H seems to say the second model was only available in transparent brown. Other than that, I'd say what we're seeing is a Model B.

Why is it that you are replacing the hardware? Are you intending to upgrade somehow?

IME, most LP clones use very standard hardware, though not the same as an actual Gibson.

Show Us Your Washburn / Re: 1979 Sunburst Bass - Help Needed
« on: June 11, 2018, 09:16:06 PM »
There was a guy from Belgium here back around 2008 (before I signed up) with the handle G3H. He loved the Wing models, & created a website dedicated to them --

The Scavenger was the bass sub-line of the Wing Series. It was shorter-lived. The G3H site has only one page, without photos, & mentions only the lower-end bolt-neck versions --

As I've regularly discussed, what it's "worth" depends on too many variables to give you a reliable number. Some Washburn models have achieved near-cult status, but most are undervalued on the market. Your bass is beautiful, & my poor guess is that the multi-piece neck marks it as both higher-end & made-in-Japan. If I owned it, I'd consider it worth $1,000... but to sell it, I'd consider myself fortunate to get half that, & likely after having it listed for a year or two.

Announcements & News / Re: production numbers for acoustic guitars
« on: June 09, 2018, 07:42:37 AM »
Yah, the sudden upsurge of one-post spambots is going from annoying to worrisome. How long until any personal info is compromised?  :(

I don't have my notes handy, but Blue Book says the last retail on the BT-2 (2002) was $340.

I'm fairly certain the early ones at least (1998) were Indonesia (probably Samick) but those serial numbers begin "I". Yours might be Red China.

My experience is that $1,700 is... optimistic. I've seen very few old Washburns go out for $1,000+, & those had interesting inlay work or gold decoration, like this one --
(Yes, $1,500 is far too high, considering the wear.)

I've championed the parlour since the first time I tried one in 1980. While it's nice to see the size finally getting recognition, this might also be a passing fad. But as a result, the market is saturated with some very good inexpensive guitars.

To compete, I'd recommend your Washburn should have all the bracing removed & reglued, & the neck reset, & probably ought to have a trussrod installed. But for moral support, you could contact this guy:

This one?
- dreadnought style, solid spruce top, round soundhole with several rings, select rosewood back and sides, natural hardwood purfling, mahogany neck, adjustable truss rod, 14/20-fret rosewood fingerboard with brass target inlays, three-per-side gold tuners, rosewood bridge, pickguard, Natural finish, mfg. early 1980s-mid 1980s.

Sorry, I'm not familiar with the model. From "HG" I can only guess it's a Grand Auditorium size in the Heritage series.

I wonder if you've got the model number right. Washburn does mostly indicate value by the digits, but unless the one you're looking at shows a lot of detail (binding, inlays) or quality woods, I suspect it's more a "7.5" than a "75" (like the D100, which is a D10).

You say nothing about the price. It's difficult to set a value for a short-lived model, especially one that's fairly recent.

If you need an acoustic guitar, & you like it, & it sounds good & plays good, then you probably ought to consider buying it. Waving cash might be a good way to bargain the price down a little, especially if it's been hanging there for months with no interest.

Twenty years ago, I paid $250 for my plywood Alvarez. Still my main acoustic. So I'd have to say that if the HG is in the $250 range, then buy it. If it's in the $500 range, or if you're not excited about playing it, then you could walk away.

If your main intent is to sell it for a profit, then enjoy the gamble.

I used to pop in a 1/4"-to-1/8" headphone adapter that was sitting around. it stood out only 1/2" from the jack so wasn't in the way.

There was at least one guitar on the market with both jacks, & putting in the XLR pressed a tab that both disconnected the phone jack & activated the electronics. I've always been curious why Washburn didn't use the gimmick.

Show Us Your Washburn / Re: Washburn EA10N Festival series 1994
« on: May 27, 2018, 12:12:01 AM »
I think the EA10 was the low-end Festival. A great model, but I wouldn't buy one without playing it first, as I've seen some that were almost falling apart -- they were NOT intended to last forever or become "collectible."

And the Festivals aren't really meant to be played acoustically, rather run through the PA system. Most people shopping for an "acoustic/electric" want an electrified acoustic -- a Festival is more like an acoustified electric -- so will pass up an EA.

Looking at the recent marketplace, $150-$200 in Very Good condition, maybe more if it's got a fitted case.

Fjestad's Rule: few guitars will EVER get a value that's even 50% of MSRP (except by inflation). Most Washburns are undervalued, so even THAT can often be halved; in your example, that'd be 25% of $680, or $170.

A note of caution. The following is my experience, independently corroborated by some others.

The short version: an unplayed guitar will sound "new" for a long time.

With an acoustic guitar, & particularly a quality instrument with non-laminate components, the guitar NEEDS a "break-in" period. The glue is not 100% cured for quite come time after it leaves the bench, & regular play seems to let the adhesive "settle" properly as the wood vibrates. But after a few untouched years, the glue is entirely cured, & will not improve further.

As well, play "loosens up" the wood at a molecular level, shaking out dust of sap & minerals.

If a guitar has spent years hanging on the wall of a busy store, it's probably going to sound distinctly better than an identical model that's been cased.

Sometime back, I spoke with a guy (call him Ed) who'd launched an acoustic duo with his buddy. They both bought shiny new Martins, gigged around town a bit, then amicably parted ways when the friend went off to college, & Ed hit the road. A decade later, Ed was visiting his friend & asked about his guitar, which had been safely packed away in its case, untouched, while Ed's was battle-scarred, & Ed had the notion of replacement. He dropped that idea after a couple minutes of play: it sounded "stiff," harsh, overbright, while the tone of Ed's beat-up axe was full & rich. Instead, he bought the guitar, sold it to a "collector" for a hefty profit, & had his old guitar overhauled.

If I was doing regular gigs, & relying mainly on one acoustic, I might consider spending big on a new axe -- which I could have built to MY needs, rather than an off-the-shelf model. But the best-sounding guitars I've played have clearly had hundreds (if not thousands) of hours of play.

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