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Messages - Tony Raven

Pages: [1] 2 3 ... 57
1
Well, heck, if Dug wants it, I'moutta here.  ??? Heknows his axes, & treats them well.

2
General Discussion / Re: Washburn build by Matsumoku and/or Yamaki?
« on: December 10, 2017, 02:02:31 AM »
The style they used was 6 digits stamped/burned into the heel of the neck
Please define what YOU mean by "heel of the neck." For us lutheirs, that would be "just north of the neck pocket."

3
Discuss Basses and Bass Playing / Re: Washburn force 4, origin?
« on: December 07, 2017, 09:32:52 PM »
a Yamaki serial number :)
How can you be certain it's "a Yamaki serial number"? Did they trademark all six-digit numbers? :o

4
IOW it's not for "dealers only"?
I think long ago it might have been primarily for professional Washburn dealers (Funky Munky, Boogie Street, etc.), but recently it's been used by whoever wants to sell or buy a Washburn item.

In Very Good condition, it'd go for maybe $500. As with so many quality Washburns, it's under-rated; if you ask $200 + shipping, you may find a taker, especially from someone who knows it'll probably play great, & likely sound pretty good even with the cracks.

5
General Discussion / Re: Washburn build by Matsumoku and/or Yamaki?
« on: December 07, 2017, 08:58:06 PM »
[quote author=Mbechmann link=topic=27080.msg159514#msg159514 date=1512669518Yamaki also build some acoustics Washburns earlier. We just dont know if they were full scale productions or prototypes of some sort. We have also seen some acoustics Washburns that was build prior to 1977 that was build by Terada. So we dont know for sure about the acoustics :)

On the electric sides its a whole different story. Wings, Stage, HP35 and Force to some degree as well are confirmed to be Yamaki.
[/quote]

I apologize in advance because I realize that you are a serious fan & not simply seeking for controversy.

First, though I will gladly have Jim Smith weigh in here, there is little argument that there are Yamaki-built instruments branded "Washburn." There were, of course, the dreadnought-format acoustics built for Beckmen Musical Instruments, which ceased operation in 1977, selling off assets (including the Washburn brand).

There is no confusion about this, except for your use of undefined terms such as "full-scale production": as Jim Smith has said, many Washburn models (particularly acoustic)  were ordered in lots of 200 units &, if sales were poor, were simply never re-ordered. I certainly wouldn't make the case that the 200 were somehow "a prototype" rather than "full-scale production."

Rudy Schlacher sourced multiple factories to produce Washburn-branded instruments, & one of those vendors was Yamaki. The better Wing & Stage models were likely made by Terada, with the lesser (biolt-neck) models from Matsumoku, possibly until its 1987 demise. After Schlacher launched Washburn, he certainly continued to "audition" other manufacturers in pursuit of both quality AND profit margin.

6
Yes, definitely -- I'd been unaware of that method being used.

FWIW, though, the WD21 (cedar top) has been made since 2010. The D21 (spruce top) was made ~1987 through 2000.

7
Post your thoughts on Banjos & Mandolins / Re: Model 1915 Series 1422
« on: November 28, 2017, 01:06:47 AM »
8) Mythbusting 8)

The serial number of old Washburns does not indicate year of manufacture.

For that matter, if the first two digits of a four-digit serial number indicate year, that means only 100 instruments could have been built that year -- for instance, #1700 through #1799. This might happen with a small luthier, but Lyon & Healy (makers of Washburn) were at one time turning out more than 100,000 instruments a year, so "small" definitely doesn't apply!

8
General Discussion / Re: Gregg Allman EA27 dating
« on: November 28, 2017, 12:43:45 AM »
The model was available 1997-1999.

9
Washburn Parallaxe Series / Re: Using the buzz feiten system
« on: November 17, 2017, 12:52:13 AM »

10
Washburn Parallaxe Series / Re: Using the buzz feiten system
« on: November 17, 2017, 12:29:45 AM »
I have a bunch of (potentially relevant) thoughts.
________________

Over the years, I've played a  range of guitars -- & by "range" I mean that I'm a gear addict. ::) Anyway, a very common problem, IME, is that the nut is worn, ever so slightly, & particularly under the wound strings; if an electric guitar has seen lots of vibrato use, this wear can extend all across. As a result, it's impossible to properly tune such a guitar relying on the open-string tone: to do so would make all fretted notes sharp, however slightly, & adjusting the bridge based on the open note would screw up ALL fretted notes.

When I adjust a bridge, I put a capo at Fret #1 (though, as I'll get to, maybe #3 would be better). And when I tune a guitar, I tend to adjust for where I'm playing, so an acoustic will be tuned to sound best on first-position chords, a rhythm guitar for accuracy around frets 5-7, & an electric for soloing work around fret 10.
________________

Though I have been critical of the Buzz Feiten Tuning System, I should make clear that it is an excellent fix for an inherent problem of the guitar, namely the "break angle" over the nut. See, in a mechanically ideal system, the edge of the nut ought to be as close as possible to the exact center of the string. Instead, not only do strings vary in diameter, but some of them have further wraps that push the string up from its proper break point (not unlike the mounting end of strings in an autoharp or piano). As a result, when fretting the thicker strings, pressing down stretches the string, raising its pitch. The BFTS is a very simple & smart way of compensating for this.
________________

However, this is NOT some miraculous cure-all. Feiten's own literature states that this compensation is intended to make up for problems in the first two or three frets. Anything higher on the fretboard is probably imaginary.
Quote
This eliminates sharp notes at the first three frets.
[url]http://www.buzzfeiten.com/howitworks/howitworks.htm[/quote]
________________

Ultimately, though, it's a game of "close enough for jazz" (or whatever). It is impossible to tune ANY guitar perfectly, because even temperament is a compromise... but that's another discussion for another day. 8)

11
Far as I know, for modern banjos, the necks are pretty much interchangeable, maybe with slight modifications. But I'm a guitar guy, & hope for a more hands-on opinion from someone.

12
Bantam Basses / Re: WAshburn XB122 bad preamp
« on: November 13, 2017, 01:04:34 AM »
Photos need to be placed at some online site, from which you can import htem with an [ img ] tagset.

Anyway, speaking as an actual guitar tech 8) the kid at the GC counter is NOT an authority.

If you get a "pop" then nothing, I'd suspect a break or short first, rather than the preamp. To me, sounds like a bad battery connection across the jack.

I have no idea what an XB-122 is.  ??? The 120 ended 2004. In any case, it's likely LONG gone & there's about zero chance of a factory replacement, seeing as the company has changed hands since. For me, there's little upside to reworking a $200 instrument except for he experience.

As the (happy) owner of an XB-400 & XB-500, a downside is that the mini-pots easily sieze up due to humidity. They need a shot of something like Caig DeoxIT to have a chance of working right.

13
Idol Series / Re: What did I get?!?
« on: November 11, 2017, 06:44:04 PM »
The WI-14 only had a hardtail bridge. It's possible someone routed it out for a trem, though I'd be surprised they'd do this with the cheapest Idol. BlueBook says the 14 was built 2004-2010, but there's some "slop factor" in the numbering system so 2003 would not be impossible. The 14 was available in Walnut finish -- you don't say what the color is.

Trussrod covers can be changed.

14
There's little demand for good Washburns, especially in the local market (as opposed to online). My D-46CESPK is near-mint, & I'd take $450, but I'd likely wait months before getting any interest, & even then probably go below $400.

All in all, asking price depends what's more important: maximizing price, or moving it along in the foreseeable future. It's a flashy axe, so you might just have to do some fishing: "$500 or best offer, cash only." There's no law that says you MUST take the best offer, particularly if it's so low you'd rather just donate the guitar to Goodwill. :( You can always ratchetthe price down if you get tired of waiting, or contact the high bidder(s) to negotiate.

15
Guitar Care, Repair, Modification & Lutherie / Re: Bridge Ground on WM100
« on: November 11, 2017, 06:29:22 PM »
Just looked it up: the WM-100 has a two-piece TOM-style bridge.

In any case, if the strings & the jack are connected, all is well.

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