Recent content by KimDealWithIt

Now that’s a great story, and seems very in line with the way Leo & Co. were doing things circa ‘53-54-55, just trying things and not writing it all down.

That’s kind of what I assumed, that as soon as they went to that palette they were at least theoretically available. I like to imagine Bill Carson going down to the factory floor every morning and interrupting whatever real work Forrest White was trying to do by pitching whichever zany solid...

Question for the true Fender historians: It occurred to me today that, while black is a ubiquitous Fender color these days, it wasn’t always that way. Has anyone ever seen a factory black Precision from before, say, 1960?

This many, because you just never know when you might need to annoy your band with huge ambient interludes.

I was an eyelash away from overpaying for a ‘75 until I weighed it. 13.3 pounds. I don’t know what the real record is but it can’t be much more than that!

Just bought a Stingray from Carter Vintage in Nashville (NBD coming soon!) and it was an A+ experience, as it always is when dealing with them.

It’s always amused me that Leo, an otherwise practical thinker who swore by the opinions of those who product-tested his instruments, had these couple little aesthetic tics that he could not be talked out of: ashtray covers and body protectors. Ashtray covers especially; heaven knows how many...

Born in ‘88, gigging a ‘74 Gibson Ripper.

Certainly looks like an otherwise-stock ‘82 in Sienna Sunburst, which did indeed come with white pickups.

Yikes, and are you doing those 45 minutes with a Ripper hanging on you? If so, solidarity, been there mate!

I have to ask; where did you get that pickguard? It’s fantastic.

What an absolute unit.

As a 4003 and Alembic owner, I agree with all these folks; very fair trade.

*Looks nervously at Fender 400PS triple stack* They’d better not be!

My Alembic Elan came to a livestream from an art gallery; it was one of the cheapest things in there.