- Jun 30, 2010
- 49,605
- 222,077
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- musician/artist/owner - Gildaxe
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Mike Watt EB bass replica (prop)
- Thread starter JIO
- Start date
- Jun 30, 2010
- 49,605
- 222,077
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- musician/artist/owner - Gildaxe
I hope he does - at least that he freaks out enough to ask you to build him one out of a real Gibson, and then, when he sees what you do, freaks out enough to buy half a dozen custom gildaxes...
Yes, that would be freaking in a good way!
It invites interesting thought… I mean, there has been 'road-worn' copies of famous players axes, maybe starting with FCS's Tele for Keith Richards. (at least how the story goes…) and the 'Tractor' Jazz bass, but I'm not sure one has been done w/vintage stickers. Mine are from an 'actual size' blow-up print of his bass but if one was really going to replicate such, for instance - the hoot page.com and SISTAS IN THE PIT stickers could probably be hunted down. (or just new ones made) It was fun to see it transformed when I glued the 'stickers' on - it really lands the illusion.
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- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
If I were going for a player, I have a printer connection who could do reproductions of the 2 stickers mentioned (as in, recreate new stickers of them using original sources) CJ at Winters said he might even have one of the original "the man in the van with the bass in his hand" stickers! The pic on the pg of John Coltrane may have been cut-out from a music magazine photo (I did a google image search and couldn't come up w/it) and the photo of the woman (?) was probably an old-school processed photo.
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Gotta admit the Cherry red Gibsons look pretty sweet. And his just looks bad ass. It's probably the ONLY recognizable 'stock' bass guitar on the planet.
I saw one in a pawn shop out in California, but it was beat to hell, if I ever found a decent one in good shape I'd probably buy it.
I saw one in a pawn shop out in California, but it was beat to hell, if I ever found a decent one in good shape I'd probably buy it.
- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
That body shape was introduced by Gibson (in their new Kalamazoo facility) in the early 60's as a revision of their Les Paul and LP Juniors (guitars) and sometime in '63 switched to calling them SG's. The EB-0 short scale bass was born in 1961 using the same SG body as used on the guitars. (maybe the only case of this ever occurring in a major companies line) There was an earlier solid body EB-0 but it had a body much like (if not the same) as what was called the Les Paul Jr guitar.
I think you'd have to be a fan of short scale (30") basses first off. Gibson did make the EB-3L in the early 70's which had a 34" scale w/slotted & standard hs and I think they also did one more recently w/a standard hs, but I'm sure they neck dive horribly. Also, EB-0's (with the Seth Lover HB pu) were not called 'mud-buckers' for nothing! The EB-2 & 3's sounded much better with the addition of a bridge pu and rotary tone switch. (like on MW's) His was probably an EB-3 and he swapped the bridge pu for the Bartolini ZBS-440 (according to what I've read - discontinued) and added the Lane Poor MM style bucker between them. The 2 mini-switches are a 400/800hz mid frequency and preamp bypass.
The current Epi's are your basic entry level MIC products and with a few mods could end up as a decent bass. I saw Mono play years ago and their bass player rocked one of the more recent long-scale models and it sounded massive! This one weighs 7lbs/10oz w/o bridge and strings.
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- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
Another point about those 'mud-bucker' pu's… Fender CBS mounted one on their Tele bass in '70 and those Fenders were also very 'bass-heavy' sonically. During that same period, some players modded their basses installing one, one example being the bass player with the Mahavishnu Orchestra Rick Laird, on a P bass. In conjunction with a second pu closer to the bridge, the 'mud' could gain some needed definition while 'maintaining low tones'. The Guild Bi-Sonic Dark Stars filled this same role. Rick Laird also rocked the legendary Acoustic 360 which delivered big sub-tone from its folded 18" driver cab. That big thick blanket of bass tone was what most players were after at that time.
I just discovered the Curtis Novak, who is the current maker of the Bi-Sonic Darkstar pu (awesome pu!) makes a EB-0 Mudbucker pu!
I just discovered the Curtis Novak, who is the current maker of the Bi-Sonic Darkstar pu (awesome pu!) makes a EB-0 Mudbucker pu!
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- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
I considered that possibility but I'm not sure it's her. I will definitely get the scoop from the Watt when I meet him.
- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
The cheap "new" bridge arrived and reminded me of why I have a policy of not buying/supporting MIC 'items'. Luckily it is never to be used functionally - what a POC. One attachment screw was bent and one saddle had no height adjustment screws. (luckily I had some in my parts bin) That's on top of the fact the saddles were too wide for the unit causing alignment issues. It was stupid shiny and so a wire brush and black stain helped subdue it visually. I binned the new short scale strings and installed an old set I had that came on my (only) short scale Conrad hollow body when I got it years ago. Mission accomplished! Glad to have it done a week early so I didn't feel pressured. If anyone is interested, a local radio station KFJC will be doing a live stream of the evening show w/Mike & the Missingmen. It's possible you can capture it through some internet connection.
- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
Here's an article with Mike Watt talking about his basses. What was normally a Varitone tone selector (chicken-head knob) on EB-3's he switched to a pu blend knob. He likes one volume knob so the rest are bass, mid and treble. I bet it sounded great after his major modding. Hopefully it will surface one day, like the Bass of Doom did.
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- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
Cool illustration for Steve Mackays tribute - postcards and posters were made. My friend Thollem McDonas (keys) is playing earlier in the day at Winters and he and I are doing a duo the next day (Sunday 28th) at the Hemlock/SF for another SM trib event. Thollem and I played with Steve on a couple of occasions here in Pacifica (once at Winters) in what we called the "Now and then trio". Fun weekend ahead!
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- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
A really nice (recent) pic of Steve Mackay resting with his horn, probably at a sound check. I feel lucky to have met and played briefly with him - life is funny that way, you never know who you'll bump into traveling down this mortal coil.
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- Jun 30, 2010
- 49,605
- 222,077
- Disclosures
- musician/artist/owner - Gildaxe
Mission accomplished… but it wasn't easy.
The Steve Mackay day of tribute/memorial at Winters was cool with lots of good musicians who had played w/ Steve over the years rocking' out from 3:00 to 7:00 (free). Once the space was cleared for ticket-holders only, my hang began. As most gigging musicians know - 'the hang' becomes part of your life. Some people's nature allows them to flow with it, but luckily I've never had extending periods of 'hang' in my life - it's hard work. There was a small room w/a bathroom & kitchenette upstairs of the tavern referred to as "the Green Room". (via a green light in the center of the ceiling) This is where Watt perched before the show, holding court to a never-ending flow of people. CJ wanted the signing to be more private/less people - so we were holding for an opportune moment. (which wasn't happening) Eventually Watt walked downstairs to get ready to perform and so a post performance signing was now the strategy. Their show rocked - Watt is a dynamo live! One song launched right into another with his bass front and center. His tone was what I'd call signature Watt - tubby, round, BASS, with "bass-faces" galore. A total pro. His trio was hot too - the guitarist emulating the early 80's Dee Boon songs seamlessly and the drummer tight and in synch w/Watt. I realized last night that Watt is the lead player in this band - much like Entwistle was in the WHO - cool lines, great dynamics and tight, very bass tone. A lesson in bass steering the ship.
The hang continues into the next day…
Another band took the stage and Mike moved back to the green room to further hold court for another endless stream of glommers. I realized at that point it was going to be a long hang part II. CJ who filtered in and out could have just forced his hand but preferred to have a zen approach; it will happen when it happens. ~ I've never been a groupie-type and feel uncomfortable being around such a glom-fest. I drifted in and out of conversations with people in the room, some fellow musicians and some 'groupies'. (for lack of a better word) Some nice and interesting, some I did my best to cut short. Ego's were not left at the door. Speaking of which, local Bay Area legend Jello Biafra was perched right in front of Watt going over past experiences. He sat in with all the bands earlier belting out songs in his characteristic way. The main drummer was also an alumni from the Dead Kennedy's. A local aging musician trying to impress a woman (musician) was standing 4 ft away singing an a cappella litany of songs like Wichita Lineman at a volume matching the other (loud) conversations going on in the same small space - I nearly lost it at one point.
Finally, there was a call for everyone to walk down to the ocean (two blocks away) and so seeing this hang further escalating, I cornered CJ's wife Corinne (CJ was no where to be found) and asked if we could get it signed so I could leave. (it was now 3AM) She thought it had already happened (!) and took charge - and we did the introduction/handshake and unveiling. Watt was a bit taken back first sight but then instantly launched into gear-geek mode describing how his bass was different including all minute details! I keep feeling the need to say "it's a replica, it's made of wood" when he would ask if it was a Lane Poor pu, or "this isn't the bridge like on mine".... (needless to say, he was deep into Watt world) Hoping for a big, expressive signature on the distressed section, he instead signed it over the reproduction of the small pic of Kira, taking up about 1" square! (Ha! - that cracked me up!) I took this pic and finally left for home, (a couple blocks away) feeling completely wasted - and I hadn't really done anything other than 'hanging'. Gave me a peek into his world - it was most likely just normal operations for him - doing something very much like this in different towns his whole life. Really enjoyed his performance - very inspiring seeing/hearing him belt out those iconic songs. He's really a masterful player in his very unique style.
Oh, half way through his set, Watt got a call on his iPhone from Iggy (Pop) and he put it on speaker mode through his mic. Iggy recited a free-form poem about Steve MacKay - short but sweet. It was his day and he would have loved to have been a part of it in the flesh. (he was there in spirit!)
One of the musicians sax to represent Steves presence
the man in the van with a bass in his hand
at one point he fired off a salvo of low-tones and yelled "BASS - YAH!"
"They call him mellow yellow" - NOT! pre-signature … will update later with a close-up!
The Steve Mackay day of tribute/memorial at Winters was cool with lots of good musicians who had played w/ Steve over the years rocking' out from 3:00 to 7:00 (free). Once the space was cleared for ticket-holders only, my hang began. As most gigging musicians know - 'the hang' becomes part of your life. Some people's nature allows them to flow with it, but luckily I've never had extending periods of 'hang' in my life - it's hard work. There was a small room w/a bathroom & kitchenette upstairs of the tavern referred to as "the Green Room". (via a green light in the center of the ceiling) This is where Watt perched before the show, holding court to a never-ending flow of people. CJ wanted the signing to be more private/less people - so we were holding for an opportune moment. (which wasn't happening) Eventually Watt walked downstairs to get ready to perform and so a post performance signing was now the strategy. Their show rocked - Watt is a dynamo live! One song launched right into another with his bass front and center. His tone was what I'd call signature Watt - tubby, round, BASS, with "bass-faces" galore. A total pro. His trio was hot too - the guitarist emulating the early 80's Dee Boon songs seamlessly and the drummer tight and in synch w/Watt. I realized last night that Watt is the lead player in this band - much like Entwistle was in the WHO - cool lines, great dynamics and tight, very bass tone. A lesson in bass steering the ship.
The hang continues into the next day…
Another band took the stage and Mike moved back to the green room to further hold court for another endless stream of glommers. I realized at that point it was going to be a long hang part II. CJ who filtered in and out could have just forced his hand but preferred to have a zen approach; it will happen when it happens. ~ I've never been a groupie-type and feel uncomfortable being around such a glom-fest. I drifted in and out of conversations with people in the room, some fellow musicians and some 'groupies'. (for lack of a better word) Some nice and interesting, some I did my best to cut short. Ego's were not left at the door. Speaking of which, local Bay Area legend Jello Biafra was perched right in front of Watt going over past experiences. He sat in with all the bands earlier belting out songs in his characteristic way. The main drummer was also an alumni from the Dead Kennedy's. A local aging musician trying to impress a woman (musician) was standing 4 ft away singing an a cappella litany of songs like Wichita Lineman at a volume matching the other (loud) conversations going on in the same small space - I nearly lost it at one point.
Finally, there was a call for everyone to walk down to the ocean (two blocks away) and so seeing this hang further escalating, I cornered CJ's wife Corinne (CJ was no where to be found) and asked if we could get it signed so I could leave. (it was now 3AM) She thought it had already happened (!) and took charge - and we did the introduction/handshake and unveiling. Watt was a bit taken back first sight but then instantly launched into gear-geek mode describing how his bass was different including all minute details! I keep feeling the need to say "it's a replica, it's made of wood" when he would ask if it was a Lane Poor pu, or "this isn't the bridge like on mine".... (needless to say, he was deep into Watt world) Hoping for a big, expressive signature on the distressed section, he instead signed it over the reproduction of the small pic of Kira, taking up about 1" square! (Ha! - that cracked me up!) I took this pic and finally left for home, (a couple blocks away) feeling completely wasted - and I hadn't really done anything other than 'hanging'. Gave me a peek into his world - it was most likely just normal operations for him - doing something very much like this in different towns his whole life. Really enjoyed his performance - very inspiring seeing/hearing him belt out those iconic songs. He's really a masterful player in his very unique style.
Oh, half way through his set, Watt got a call on his iPhone from Iggy (Pop) and he put it on speaker mode through his mic. Iggy recited a free-form poem about Steve MacKay - short but sweet. It was his day and he would have loved to have been a part of it in the flesh. (he was there in spirit!)
One of the musicians sax to represent Steves presence
the man in the van with a bass in his hand
at one point he fired off a salvo of low-tones and yelled "BASS - YAH!"
"They call him mellow yellow" - NOT!
pre-signature … will update later with a close-up!
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