Maybe. But I think they're not hard to find. A certain internet retail conglomerate has Hodad guitars and basses in all colors for $299 still.
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Danelectro Owners Club
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Maybe. But I think they're not hard to find. A certain internet retail conglomerate has Hodad guitars and basses in all colors for $299 still.
Yeah - you're right, the later MIKs were matte finish - when they brought them back after a couple years away.
Most people (myself included) tend to think of 90s = MIK, post 2001, MIC, but that's not exactly accurate, and as they are now doing both, we'll have to adjust our thinking.
And like I say - the difference is so slight as to be almost a matter of taste - many people equate the matte with low quality which is NOT the case - just not what people are used to.
Yeah, there are lots of those around. And I think they've found that most of their fans want more traditional Danelectro designs. As cool as the Hodads are, they look like Mosrites, rather than Danos - what Evetts should do is bring out a Mosrite line for people looking for that - that would be slick.
Or they could buy a new Mosrite (expensive), or an Eastwood replica (is replica the right word?) of a Mosrite.
I have a different model Eastwood, and it's nice, and wasn't extensive (though more expensive than a Dano).
Right. I don't think that the body is bending. The screws are pulling out. That might be the screws stripping. But my best guess, from what I can see so far, is either the wood stripped and the screws are lifting out. Or maybe the screws are seated into collets (?) and it's the collets (?) that are lifting out.
Yup, you have in mind just the fixes that I'd do- if needed and if I become inclined to do so. I like the bass but I don't love it. So it may not be worth that effort to me. If the body/screws and stripping out or something (they are) AND the bridge is warped (it is), it's getting to be a weak enough bass that I might walk away. Or I can always keep it around for the future, should I decide that I just can't live without a Dano.
Besides, there is the excuse to get a new bass. For now, though, it is holding stable. So I'm good.
Collapsing bridges are an ongoing issue for many reissue Danos. You have to be careful to try to keep the bridge plate parallel to the body, or else tension from the A and D strings can cause the plate to bow. They use (used?) cheap metal. I replaced the bridge on my 56 bass with a nice strong stout Jerry Jones bridge, which turned it into a prefect instrument. The Chinese Longhorn has a little bow. I had a '90s Hodad guitar (since given to my sister), with a bowed bridge plate.
Very true, however, I highly recommend not getting one of the fully adjustable bridges (buy a used rosewood one if you can, that is straight, or straighten it yourself). I had one on my '56 reissue guitar and it didn't have the same vibe. Something about it sounded different. I installed a rosewood one on it shortly after and it brought it right back. Something about the rosewood bridge is part of the equation to a Dano's tone.
In terms of the bowed bridge issue, my '59 DC is bowed quite badly, which makes setting it up properly a little more time consuming and difficult to achieve proper intonation. I can't remember if it was like this when I bought it 5 years ago and didn't think much of it till I did some reading about it. I have it perfectly intonated right now the way it is, but was planning on throwing it in a vise to straighten it out. I also set it almost perfectly parallel to the body, with a very, very, very slight downward angle to it to apply pressure to the rosewood slab. The key to this bridge is finding its "sweetspot." I went from .45-.100 Slinkys to Fender 9050ML Flats (.50-.100) and didn't have to move the rosewood saddle at all. I had to make truss rod adjustments, and more adjustments to the bridge to get the action nice and low due to the higher tension of the flats, but I found with the high tension strings, I was able to get the neck a lot straighter/flatter, and it plays more amazingly than ever. I might just leave it the way it is.. "If it ain't broke, don't fix it."
Take your time, it's a very tedious and frustrating process to do it, but very much worth the the hassle.
The Jerry Jones bridge I installed on the 56 is an old-fashioned rosewood one.
I just ordered another rosewood one (not a Jerry Jones bridge, but I hope it's a good one) to keep in reserve. If I hold onto the Chinese Longhorn, maybe I'll install it on that.
Some people (after straightening the bridge plate in a vise) add a third screw to the middle-front, midway between the two existing screws, so it won't collapse again. I've never done that, but it seems like an easy sensible solution.
Heh , I went through the process of finding the "sweet spot " for the bridge and it did take some time . And I did find the sweet spot . Amazingly , my Korean Longhorn is one of the most stable necks I own and it doesn't need the usual seasonal adjustments most other basses do .
Haven't had to touch my bridge or truss rod in years . It's also my #1 go to bass .
Haven't had to touch my bridge or truss rod in years . It's also my #1 go to bass .
Yes - the screws are straight into the wood - so it's the wood stripping. You can do the relatively simple fix I suggested with the toothpics, OR the other option which solves both problems (and permanently) is throw on a Fender style bridge - the only trick to that is lining it up - and you have two holes on the body to go by which makes it easy. The height is right so you don't have to do anything fancy to make it work - now you have 4 screws (I'd still pre-drill the holes and do the reinforcement for this too) in the right place holding it in and you will never warp and full adjustability.Right. I don't think that the body is bending. The screws are pulling out. That might be the screws stripping. But my best guess, from what I can see so far, is either the wood stripped and the screws are lifting out. Or maybe the screws are seated into collets (?) and it's the collets (?) that are lifting out.
Yup, you have in mind just the fixes that I'd do- if needed and if I become inclined to do so. I like the bass but I don't love it. So it may not be worth that effort to me. If the body/screws and stripping out or something (they are) AND the bridge is warped (it is), it's getting to be a weak enough bass that I might walk away. Or I can always keep it around for the future, should I decide that I just can't live without a Dano.
Don't give up on the Dano - they are fantastic - and if you're not there yet, soon you'll appreciate the effect (or lack therof) they have on your back relative to Fenders and other solid bodies.
I knew of the Eastwoods (I'd say copy - it's not a derogatory term) - they're very nice, and I didn't realize that Mosrite was back in production - or rather, I thought that after his short-lived comeback he'd retired/died. If that's the case I guess no one can buy the name and produce new ones.
Just to be clear - I'm not down on the Hodads (theyre very cool) at all - just explaining what (I think) their marketing strategy is.
There is a guy who produces an after-market Dano replacement that uses the three existing screws but bolts straight down to the body and then has a two piece adjustable bridge (think Telebass) with rosewood bridgepieces which looks like a really good solution and isn't nearly as expensive as you'd think something that specialized and low production would be - I can't remember his name but I posted about him elsewhere on this thread.
I just looked carefully at my '56 baritone reissue that is almost 2 years old. It's made in Korea and, generally, much better built than my made in China bass. Sure enough, there is a small bow in the bridge plate. Eh, no big deal at this point. The bow in my bass doesn't bother me, either. (The screws stripping out of the wood do, though.)
Right, I've heard that the adjustable bridges loose some of the Dano character. The baritone reissues come with both the adjustable and the rosewood bridges, depending on the year or run. I wanted the adjustable bridge because it looks so much easier to deal with setup and such. But when the next batch of baris came out (about 2 years ago) there was only rosewood and I bought one. To my surprise, the rosewood bridge has been just fine. Admittedly, I don't play this one very much. (But that's more due to my lack of free time than anything else.)
Despite my troubles with the bass, I have found the adjustments and setups to proceed more smoothly than I had expected. It's all fairly simple, if you understand the factors at play.
A few years ago, I wanted to get myself a Jerry Jones baritone. I was waiting to get a little free cash and also for a trip to Nashville, to go meet the guy and get the bass there, in person. Time passed, the money found its way into my pocket, and I had a work trip to Nashville scheduled. Perfect! So I went to arrange things... only to see that he retired and sold off the shop. D'oh! A few months later, a new batch of the Dano bari reissues appeared and I got one of those instead.
OK, so it's just screws into the wood. Thanks.
I like my Dano enough not to get rid of it. But not so much that I am willing to put that amount of work into it. Yet.
For the moment, it's stable and doesn't need anything. Although I would not be surprised to pick it up one day and find the bridge screws to have lifted out of the wood. I think that I'll buy a second, different non-dank bass. Maybe the variety will make me appreciate the Dano more.There is one thing that I really do like about this Dano bass: The unplugged sound. These days, I find myself playing late at night, unplugged, when the other people at home are all asleep. There are two things that are good here. First, I think that it's louder unplugged than a typical solid body bass. Second, it kind of sounds like an upright acoustic bass to me, more so than other basses.
While I personally prefer the original style rosewood bridges, I think people worry too much about the difference in "vibe", I've had both and guarantee that no-one would be able to tell which bridge I had without looking at it. Also, Jerry Jones did a lot of work and research on his versions of Danelectros and most of his have Fender style bridges - so if HE thought it was close enough to not look the vibe, it's good enough for me.
The biggest problem with this bridge style isn't even that the metal's too weak (though it is) it's that there is a built-in weak point (slot for the saddle screw) right in the middle where the pressure is directed - if I was re-designing that bridge I'd simply leave out the slot and have the saddle "floating" akin to the floating bridges on arch-tops and violins, etc.
But back to the specific point - that's why I recommend this guy - he's created something that looks right on the guitars AND has the rosewood for whatever tonal character it gives AND is more easily adjustable than the traditional bridge.
I love them for couch playing - way more convenient than a practice or headphone amp.OK, so it's just screws into the wood. Thanks.
I like my Dano enough not to get rid of it. But not so much that I am willing to put that amount of work into it. Yet.
There is one thing that I really do like about this Dano bass: The unplugged sound. These days, I find myself playing late at night, unplugged, when the other people at home are all asleep. There are two things that are good here. First, I think that it's louder unplugged than a typical solid body bass. Second, it kind of sounds like an upright acoustic bass to me, more so than other basses.
I was planning to get myself a Jerry Jones DC or dolphin-head SC bass someday. When I found out that was not going to happen, I got the Dano 56, which has served me well. Of course, it was also around $800 cheaper.
My Jerry Jones Longhorn sounds write different from the Dano Longhorn and 56, which sound woodier. The J is twangier. Thinner, I guess. The JJ has a thinner neck, metal fender-style bridge, lighter body. The bathroom scale says it weighs 6.4 lbs, vs 7.1 for the 56. (Not sure if I've ever weighed the Dano Longhorn, but it's closer to the 56)
My Jerry Jones Longhorn sounds write different from the Dano Longhorn and 56, which sound woodier. The J is twangier. Thinner, I guess. The JJ has a thinner neck, metal fender-style bridge, lighter body. The bathroom scale says it weighs 6.4 lbs, vs 7.1 for the 56. (Not sure if I've ever weighed the Dano Longhorn, but it's closer to the 56)
First; I sympathize with the folks who are having problems with their bridges, and screws pulling out. But, I'm a little confused. Both my Danos are lefty Korean DC Pros, with the all-metal adjustable bridges. On those, the bridge sits on top of the 2 front screws, and is only held onto the body by the screw in the rear- in my case, very long screws that I can't imagine ever pulling out. The load on them has to be 99.9% lateral; which, considering how little of the screws are actually out of the body, is not going to pull it sideways, much less out. Are the rosewood-saddle bass bridges mounted differently? The amp-in-case Silvertone guitar that I re-built for a friend is definitely Danelectro-made; and it's rosewood-saddle bridge is mounted exactly like my DC Pro's bridges. I can understand the 2 front screws being pushed down into the body if they were too small for the holes, or the wood was messed up somehow. I can't see how they could be pulled out, though; virtually all the load is down. And, the same goes for the back screw. I'd think the screw would have to be way too short/small, or the wood completely shot, for it to be completely pulled out by a stress that's almost completely sideways.
Enlighten me, please.
Enlighten me, please.
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I guess we're talking about two different kinds of failures. One involves "tearing" of the body at the screw holes, and this might be specific 63 basses (and maybe only long-scale ones?), and maybe even only one particular guy's long-scale 63. The other, very common problem is the bridge plate itself warping/collapsing in the middle because of cheap metal (and because of the adjustment slot, on rosewood versions).
But yes, you're right, most of the lateral stress should be on the single rear anchor screw, but not all of it, though, apparently.
And it's the downward stress, perpendicular to the body, that causes the plate to collapse (if it does).
But yes, you're right, most of the lateral stress should be on the single rear anchor screw, but not all of it, though, apparently.
And it's the downward stress, perpendicular to the body, that causes the plate to collapse (if it does).
