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SHOW YOUR DISTRESSED FINISHES!
- Thread starter JIO
- Start date
D
- Jun 30, 2010
- 49,612
- 222,129
- Disclosures
- musician/artist/owner - Gildaxe
- Jun 30, 2010
- 49,612
- 222,129
- Disclosures
- musician/artist/owner - Gildaxe
Hard to find a prettier J - Dakota Red early '66
- Jun 30, 2010
- 49,612
- 222,129
- Disclosures
- musician/artist/owner - Gildaxe
1980 Precision Special - @CaseyVancouver
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- Jun 30, 2010
- 49,612
- 222,129
- Disclosures
- musician/artist/owner - Gildaxe
It's great hearing you say that with your experience, as people still dis active basses. I own a few and as long as you don't leave them plugged in, batteries last for years! (and they sound great!)
Never had issues with them and judging from your years of pro-playing, sounds like you haven't either!
- Jun 30, 2010
- 49,612
- 222,129
- Disclosures
- musician/artist/owner - Gildaxe
'65 gold-undercoat CAR J -
Sorry for my long silence. Film production has finally picked back up here and I've been very busy. Have not looked at Talkbass in the last month.
Anyway, that Tele sure looks like a reissue to me. The orange color of the 'clay' dots being the most immediate 'tell'.
Here's a few various photos of wear on authentic pre-CBS examples (most likely authentic, anyway - very hard to be 100% sure as many were redone at the time and Fender used various painters - some like the silver burst Strat have known history from new - and some then contemporary refins were done by some of the same painters Fender used like Dennis Swiden). Note that a lot of these were shot over colors and it was typical that many had a matt black basecoat. Also it should be considered that some of the sparkle/metal flake jobs were done in a nitro clear base/topcoats while others were done in acrylic and these age very differently. It's also typical that a lot of these combined different flake colors as well as different color tinted clearcoats before final clear.
Here's an original that was done in acrylic. You can see how much cleaner it remained and none of the sinkage typical of nitro are far less discoloration or checking:
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Here's an oddball I had. Original gold bridge from a '61 3 knob Jazz. Bridge was obviously a leftover late 50's P bass bridge. It was clear why they changed as the Jazz Bass bridge cover would not lay flat (close but no...). Neckplate was also earlier with a date more in the '59 range (I had the full set of hardware off the bass).
My 66 jazz. Well played and loved. When I got it, it had a carved up body, microphonic pickups, and gunk everywhere! I’ve since potted the pickups, replaced the body with a bloomdoom relic body in firemist gold, cleaned it, and sent it off for a refret. Should have it back by early December. Wish I took a photo of the back of the neck, all played in and wonderfully worn.
Pic when I got it
Pic of it currently.
Pic when I got it
Pic of it currently.
Sonic over Daphne. Very nice. That's Matteo Rufini's and/or Romano Burini's work. Both very talented (in Italy).
Unusual that the grain can be seen so close to the edges. The opaque edges (to hide endgrain and lamination lines) on blonds was usually more pronounced. Often creating a sort of reverse burst with age/yellowing of the clear.
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Man. The finished product is fantastic, but I really liked the carved up body look. Maybe your photo enhances it, but I can't take my eyes off it.
