Username: Password:

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Topics - Tony Raven

Pages: 1 [2] 3 4 ... 6
Discuss Basses and Bass Playing / BEAD -- any players?
« on: October 16, 2016, 03:40:57 PM »
It's only in recent years that I bought my first five-string basses.

This was partially a matter of self-defense. There was an open-stage night that I quickly found myself anchoring, & the only space more overpopulated than singers is guitarists.

And most of the axe-slingers seem to gravitate toward doing EVERYTHING in E. It's my job as bassist to add not only tone but rhythm, to help keep the guitarists together. In order to hammer/slide up to an E, I'd have to move up an octave & then be competing directly with all those guitars.

Bringing a five freed me. I could stay comfortably mid-neck yet have room to PLAY a little, & still provide a defined bottom under everyone else.

But really, on a four I don't rely on the G, preferring to move up (or down when I can) rather than lay over, so I considered having a three-string bass built, skinny neck & all.

So why not put the bottom four strings of a five-set on a four & call it good? Less weight, less wasted real estate. I'd enjoy hearing from anyone who's done this.

Timbercraft Series / Woodcraft Series & Comfort Series moving in!
« on: October 16, 2016, 03:20:57 PM »
As grateful as I certainly am that these forums remain open, they really don't keep up with the changes in Washburn model lines.

So, as the proud owner of a new WCSD30SCEK, I hereby propose that the "Timbercraft Series" area -- which has not had a post in almost three years!! -- become home for the recent Woodcraft & Comfort Cut models.

All in favor?


General Discussion / The Eternal Question
« on: October 05, 2016, 10:48:53 PM »

I've been a guitar fanatic for almost a half-century, & in my declining years have enjoyed finally being able to indulge my obsession. In recent years, I've gotten really good at valuation. And I've fielded That Question literally hundreds of times --

What is my guitar worth?


That sounds smart-alecky & dismissive... but it's the absolute truth. Like, if you're truly desperate for cash -- as in your kid is critically ill & you need cash Right Damn Now for medicine -- you'll sell a 1957 Strat for $100 if that's all you can get.

So the longer version of The Answer is, "Whatever you can get for it, at the moment you want to sell it, where you happen to be."

While Fjestad's Blue Book publications are THE Bible of traders like me, the fact is that ANY moron can look in the same damn book & read off the same damn numbers. Problem is, The Book does NOTHING to take the actual marketplace -- real supply & demand, in the recent past -- into account, & at its best can be incorrect AND years out-of-date. (If it was truly definitive, it'd at least offer some production numbers, right?) However, Blue Book DOES give hardcores (like me) a great place to start from, & that research is why my services usually go for $50-$150. But I'm a generous guy, so here's some insights.

First, it depends on whether you actually want to sell -- maybe you're looking to insure it, or just want "bragging rights" when you tell others about the absolute steal you got. That's going to be the maximal "value."

Then there's time to sale. If you intend to sell it soon, you're a LOT less likely to max the price, compared to what you could make if you can locate some serious buyers & pit them against each other to bid up your guitar. If that can be done at all, it might take months, or even years.

If you want to maximize your price, you can sell it on eBay... which of course means fees, photos, & shipping; if you live in any moderate-size city, any of that stuff can be handled by one service or another (like the UPS Store)... which of course means more fees. If you already sell stuff there (or know someone), this is a good route, but it's a HUGE learning curve just to sell one or two items.

By comparison, you can bring your guitar to the nearest Big Chain Store -- specifically Music-Go-Round or Guitar Center, but there are regional chains like Sam Ash -- where they will likely offer you 40%-60% of Blue Book value. Last time I sold an amp at MGR, I got what I'd paid for it, walked out with a check, & it took all of a half-hour.

Consider straightforwardness, too. While Craigslist is a reasonable option, it can also result in someone showing up just to try wearing you down further. While there's apps that hope to get the cash before you meet, none really has much reach yet, but here's a few examples:

And let's not forget stupid blind luck. I still have my second electric guitar. Back in 1974, it cost me about $48 new, plus the fitted chipboard case (+$15) & shipping; all told, less than $80.

I was the only player I knew who liked the darn thing, & I've been told they were a common sight at pawnshops around the country, going cheap but no takers. Then in the early '90s Kurt Cobain started playing them, & when the Heart-Shaped Box video was released on MTV, the whole brand became "collectible." Now the mania's faded, but my axe has a quick-turn street value of $400, +/-$75.

Post your thoughts on Banjos & Mandolins / M1SDL
« on: September 29, 2016, 12:49:48 AM »
Okay, so the M1S is one of Washburn's longest-lived instruments. It's also... well, boring -- typical A-type F-hole in orangey sunburst.

I'd just sold my old plywood Johnson MA-100B for cheap because it was almost unplayable & really not worth  the time or cash to fix it... but at least it was gloss black with one-ply white binding.

So instead of the M1S, I found a Mike Kelly "A Solid" (yep, that's what they called it) in a satin-finish reddish two-tone burst, for maybe half what their F-types go for, & also more highly reviewed. Hand-carved spruce top, maple back & sides, no plywood. I tell you, the tone's so sweet it'd bring tears to your eyes. If I play it regularly, it'll only get sweeter.

And then I saw a Washburn M1SDL. Snagged one used for maybe half what the MK cost me, & included a good case.

The M1SDL suffers from being confused with the M1S & the even cheaper M1K... leading me to wonder whether Washburn goes out of their way to hire idiots to come up with sale-killing ideas. >:(

The M1SDL comes in some really standout colors -- gloss black (-DLB, which I got), transparent red (-DLTR), transparent blue (-DLTB). The colors cost a little more, but any can be had for under $200 new. It's also an oval-hole. And the headstock is an F-style silhouette, which makes me smile. And it's got a proper raised pickguard so I can brace my pinky for accurate picking. Compared to the MK, the tuners are more robust & the nut is better slotted.

Downside: the pickguard bracket is poorly fitted, & I'll have to get around to redrilling the hole. That's about it.

Did I mention the sound? Not so much the MK's sweet delicate tone. In fact, the Washburn has some serious bark to it, able to hold its own onstage. It's a great instrument for a guitarist who wants to double.

And that unfortunate model number means you'll find used ones racked right alongside its lesser siblings, at the same under-$150 price point & often a bit less. Unless you are pro enough to need an all-solid Washburn -- at triple the cost -- you owe it to yourself to try an M1SDL.

...because it's not like OS (much less Lyon) has their own site.  >:(

Though it's become a generic term, Autoharp is a company trademark (though only the cursive-lettered word is still protected).

I find myself with two 12-bars & a little 6-bar. There's not a whole lot of discussion, & I've yet to find any site that collects the history or lists known models.

But, maybe next week...  ;)

Guitar Care, Repair, Modification & Lutherie / Voice Contour Control (VCC)
« on: September 18, 2016, 05:20:07 PM »
Yah, I am resurrecting this topic again, because for some reason it pops up in conversation.

For those in the dark: up until a few years back, many of the midrange-or-better dual-humbucker Washburns replaced the standard "tone" knobs (actually just crude lowpass filters) with the Voice Contour Control (commonly abbreviated "VCC") circuit. The associated knobs are marked "VCC".

The VCC was marketed as being able to not merely produce a humbucker tone AND a single-coil tone (as with a standard "coil tap" switch), but the whole range of in-between sounds, & do so entirely without mains hum. This marketeering did make me grit my teeth, as (1) one coil of a humbucker does not sound like a proper single-coil pickup, & I'm tired of that myth >:(, & (2) that's NOT what the VCC is doing anyway (see below). But it certainly WAS an innovative idea, & most guitarists never use the "tone" knob anyway, so why not add to the options?

QUESTION #1 -- can anyone tell me what years the VCC was installed? The archived catalogs in the VCCs early days are gappy (like 1993, 1997-8, 2001, then 2005-now). I'm guessing the same span as the WI-64: 1999-2010.
QUESTION #2 -- any idea of exactly which models had the VCC?

Here's what purports to be an actual circuit diagram -- rather than steal his thunder, I'm gonna send you to the page:
the VCC (Voice Contour Control) on the Washburn WI64 guitar is *not* a spin-a-split pot (which varies the linkage from HB to single coil) but a dual-ganged 500k linear pot which varies the linkage from series HB to parallel HB.
Naturally, being as it's an innovation, & most guitarists are a bunch of slavish sheep who mostly want to "sound like THAT guy," the VCC was widely despised.  :P

Well, to be fair, I've always had my doubts, feeling that the circuit -- though it looks GREAT on paper -- should have been somehow adjusted (resistance or capacitance or maybe an inductor) for the particular pickup sets, for the type of amplifier, maybe for the guitar's construction & even the type of music & playing style for which it's intended. In any case, I didn't see where it was going to be a "one size fits all" game-changer.

Online, most VCC owners whined about it, even after admitting -- sometimes with pride -- they never used their "tone" knob anyway (as I predicted). You can easily find dozens of stories where they basically say, "I took the circuit out of my WI-64, put in better pickups with standard wiring, & now it sounds so much better!!" -- meaning "just like every h-h guitar ever made." ::)

Yes, you read correctly: they replaced the pickups, THEN blamed the VCC for sounding bad. This is yet another instance where I feel comfortable saying "clearly, many guitar owners are tone-deaf idiots." 8)

Any "four wire" pickup can be swapped into the circuit.

The single greatest innovation was (IMO) the WI-66 ProG, the goldtop with dual P90s. Actually, they're each stacked dual coils.

Guitar Care, Repair, Modification & Lutherie / Grover tuners
« on: September 15, 2016, 03:08:41 AM »
For no good reason that I can determine, I am a devotee of Grover tuners -- whether Rotomatics on a modern guitar or Sta-Tites on a vintage acoustic or elephant-ear 142s on a Precision.

Wait... no, I do have good reasons.  ;D Generally, if a used guitar has Grovers, it meant that someone cared about the instrument, whether the previous owner or the manufacturer. So, when I'm making a quick browse through a shop, used guitars with Rotos get high priority.

As for Washburn: the Mercury Series probably holds some GREAT guitars, but I don't own a single one. But I have three Mavericks.  8) All told, eight of my nine Washies have factory Rotos.

And they REALLY DO honor their "Lifetime Warranty." A few years back, I bought an Epi Stratoclone with busted-up Grovers. I sent an email to asking about this. Their rep said "send 'em in," so -- having nothing to lose -- I did. Back came a sealed fresh set of Minis... absolutely free.


I've collected a bit of data about the Rotomatics, & am trying to push it into some sort of order, with intent of eventually looking for a book deal if I can get enough photos. Meantime, if anyone is interested, I'd be happy to share chunks of it on this site.

(And if anyone's got an old set of 12:1 Rotos gathering dust, I'd maybe want them. :) I'm a player, not a collector, so not interested in paying premium prices for the "made in USA," & it's okay if they're a bit beat-up. I find modern 18:1 & even 14:1 to be too fiddly for my taste.)

Post your thoughts on Banjos & Mandolins / tenors?
« on: September 15, 2016, 02:38:16 AM »
Does anyone know whether modern Washburn has ever made a tenor (four-string) guitar?

General Discussion / RIP: Toots Thielemans
« on: August 22, 2016, 11:00:22 PM »
All-round cool guy, & you'd be surprised at all the places you've heard his music.  8)

He first got my attention as the harmonica soloist on Rick Derringer's track "It's Rainin'."

Idol Series / And the Idol Series is finally dead.
« on: July 16, 2016, 07:25:24 PM »
Whether "Original Idol" or mere LP clone, the Idols are no longer on the site.


Idol Series / Idols seen for sale
« on: June 26, 2016, 03:25:36 PM »
I talked myself out of buying a WI-64DL for $100 + shipping. It needed some TLC, & I'm feeling overwhelmed by projects at the moment.  :(

And on eBay I see a 66 Pro that looks to have had almost no play: correct branded ABS case, hangtags, VCC sticker, even what looks like the protective foam piece on the switch. Asking $399, delivered.

A mere $300 can get you a goldtop.

No, not mine (though I really should pare back on the Mavericks... :o).

I'm always willing to find a Washburn bargain, especially some neglected model I think is pretty cool -- that's how I got a JB-80 for $250. But there's only so many guitars I need, & lots of cool stuff I pass by.

Let's start with a few remarks on the Idols. There's been a lot of used WI-64 in the past few months, which in itself scatters market prices.

But the 64 had a few variants in its long run (1999-2010). The pearloid-top 64PL was apparently a short run for a Big Retailer (Guitar Center?) in 2001 or 2003 or something, supposedly a run of 300 (not confirmed with Customer Support) -- the BlueBook skips it entirely. Then there's the 64V -- here "V" is for Vintage rather than Vibrato -- with various degree if beat-up-looking finish & "discolored" hardware. At the top is the 64DL with quilt maple top. And let's not overlook that the "basic" 64 had a few finishes: the most common are the black & trans red, which were available for the whole run, more briefly the Platinum Metallic & the Blonde, the "M3 Crackle Graphic" (only available 2006), & Natural (2009-2010). Having spotted only one Blonde, it does look nice.

Yet the marketplace usually lumps all the 64 together, & this even affects pricing for the rest of the Idols. The result is that there's ludicrous offers (like a $400 WI-14) & bargains ($150 WI-64PL).

While I can't say I love the color, it's tough to argue with $180 all-in --

Though innocently labelled "WI-64," this had to be THE dirtiest-looking "relic" job I've seen short of dragging a Badwater through a swamp --

Still has the VCC label on the back, too. Possibly the only four-knob Idol to NOT have speed knobs.  :o It's the hardware that makes this worth at least $180 (+ s/h): every last little screw & washer has been uglified, the pickup covers are perfect, & I dare you to find a set of discolored Grovers on the open market for less than $65, much less 18:1.

I'm totally serious about weird pricing. The transparent red (SG-style) 64s have created some sort of meme. Here's one on eBay asking $500.
Or you can get a new (??) one on Amazon for $920.78 -- a used one is a mere $400.

FWIW, Guitar Center Online has been placing the 64DL at $200-$250, the 64 at $150-$250 (depending on coolness of color, I guess). MGR Online had similar prices but the lower-priced 64s have disappeared.

I'm spoilt.  8) Now that I've had a 66V in my hands -- quilt top AND binding -- but I didn't need the vibrato, I'd skim past the 64 & go right to the WI-66PROQ with Duncans. Why, here's one for $300 + $50, or about 1/3 of what the aforementioned Amazon idiot wants for a red 64.

The BT-2 is trending downward. Still a great little h-h axe, but unappreciated. Here's a black one hoping for $52  ??? + reasonable s/h.

I got attached to a BT-3 as a "Strat substitute," & so long as you're not a gung-ho Fender nut I think you'd likely agree... even though it's got a mahogany body & an SG scale, which is enough to give fantods to some Gibson fanatics.  ;) Anyway, prices are pretty darn low;black is most common, though I'm seeing reds more common, & one sunburst. MGR Online has then at a mere $80-$90 (saddened a bit by $40-$50 s/h), but here's one at GC for $60, so call it <$100 total, & you could probably partit out for twice that.

And if you want the quilt top & h-s-s, this BT-4Q is $100+.

At $150 + $50, this white-&-gold X-30 is beginning to haunt me.
It's like the "good twin" of my black maple-board s-s-s X-33!!

After getting an X-10, I wanted to do it right, but couldn't find an X-40 at sane price. Well, here's one for $150 + $50.
The waist cut intrigued me, & is certainly unique. Anyway, it's another model that BlueBook messed up: they assume the 40 is the same as the 40PRO, though the latter was an h-h with Duncans, the bridge assembly is Schaller, & there's a quilt-top version (Trans Blue) that ought to raise the value further. One online review disparages the 50's chunky neck & compares the 40PRO favorably to Ibanez Wizard necks. I figure the Book is right that the 40PRO is worth more than the X-50... but the older 40 is worth less, & the quiltie worth most of all.

Heck, now I look around, here's one for a little less than $300 all-in.

I spotted a WI-66PROG -- goldtop with P90s, you know the one -- on eBay, where a handful of weasels had taken 11 bids to get it to $76.  >:( I'll give 'em a run, but if you want to put in a serious offer, I'll step aside. You've got a week.

Acoustic Guitar Players Post Comments & Questions / EAG-88
« on: May 28, 2016, 05:32:24 PM »
I spotted an interesting Washburn oddity at Goodwill -- electrified acoustic, lots of binding, distinctive 6-in-line headstock.

No luck at finding info on it... but I soon found the Samick EAG-88, a.k.a. "Blue Ridge," sold through 1995, part of their American Classic series.

The only significant difference I see is the fingerboard end.

I can't find the Washie in BlueBook, but they have the Samick, rating it worth maybe as much as $300. The only review I've found says that his was good plugged in but pretty useless unplugged.

Idol Series / a "WI-65 SR USA"?
« on: May 20, 2016, 03:06:18 AM »
I found this on eBay, & it is just WRONG in SO MANY ways that I don't even know where to begin. Let's get the pictures first.
removed dead image links

Now, THIS is what a WI-65 usually looks like --

Among other differences, the black one has amahogany SET neck, Grover tuners, four knobs, VCC, & Tune-O-Matic. The few I've seen had no fretboard inlays.

Meanwhile, that red thing has the WI-14 forearm cut, & what looks like a built-in tuner (did Lyon use something like that?) or maybe practice amp.

The damned thing really looks like some sort of actual Washie, albeit elements of Oscar Schmidt or Lyon. My first thought was a WI-/OI-/LI-14 that'd gotten its control cavity crushed (hence the repair plate), but someone put a bit of effort into the logo decal & the lettering. Both faces of the headstock have the "end burn" I associate with a ham-handed sanding after a paint strip. The headstock actually appears to be the proper Washburn shape. :o The "serial number" is repeated, stamped into the headstock below the lower tuner pair.

I suppose MAYBE the Custom Shop let a "test bed" mutant slip from its grasp, but that's me being an optimist. Anyone care to venture their own guesses?

Signature Series / Jennifer Batten's other Washies
« on: May 08, 2016, 12:39:40 PM »
Before production of the JB series, Jennifer Batten apparently played a Centurion, but now I can't find my notes on this.

However, there's definitely some one-off Battens out there:

Her preference for string dampers is a giveaway.  ;D

For some reason, Batten is still listed as a Washburn Signature Artist, though she hasn't had a signature model since 2004.

Bill Nelson once reviewed a Variax 700, saying he wanted to enjoy the electronics but this was undercut by the not-so-great work on the guitar part. From the sound of it, Batten hit the same wall. Per an interview published last November --
I took a little hiatus from Washburn for a couple of years because I was so excited about the Line 6 Variax, but I'm back with Washburn and I've conned them into putting the electronics of the Variax into a new Washburn Parallaxe electric and I was hoping to take it out on this tour, but I've stumped them with the electronics.

They're going to have a big release in October, right when the tour is over. So what I'm taking out is my old Washburn that I've been using for 15 or 16 years; it's not available any more, it's called the JB100.
The only guitar she mentions on her website is indeed the Parallaxe, with a link to the Washburn site.

Pages: 1 [2] 3 4 ... 6