tag:blogger.com,1999:blog-70020878310292176942024-03-05T09:45:25.129+00:00A HISTORY OF WAL BASSESTrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.comBlogger48125tag:blogger.com,1999:blog-7002087831029217694.post-65713879638236230722016-10-19T00:01:00.000+01:002017-01-10T11:55:50.913+00:00Wal Woods Part 2 - Bodies<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfZB5YPZccESIcZS-Mh0dxILgFw-SFv7HMWDcmVcPJL1SX35ZEHbht-l4iS1Nv8szVopbEU1xf6SWLSY62zQLAo7YfP8QNPT-Fe3sWeDrNUo50y9Z7aEGspgcnsCwgox8PoNHO5bMzgE/s1600/Wenge+wal+carving.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfZB5YPZccESIcZS-Mh0dxILgFw-SFv7HMWDcmVcPJL1SX35ZEHbht-l4iS1Nv8szVopbEU1xf6SWLSY62zQLAo7YfP8QNPT-Fe3sWeDrNUo50y9Z7aEGspgcnsCwgox8PoNHO5bMzgE/s320/Wenge+wal+carving.jpg" width="320" /></a></div>
<div class="Body">
<b><span lang="EN-US">The Wonderful World of the Woods of Wal –
Part 2, Bodies</span></b></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">In this second feature looking at the
woods employed by Wal in building their basses we are going to take a closer
look at the woods used for the bass bodies. </span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Initially, all Wal bodies were
constructed from solid ash. Although not as common a tone wood as, say alder or
basswood (pronounced <i style="mso-bidi-font-style: normal;">BASS</i> - as in the
fish or the beer!) it is well known for its tonal properties. It's featured on
many classic Fender models and a host of other designs. The wood is considered
to give a relatively bright, snappy tone with good sustain.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkm5_mAoNAagfubfuAkCQBNsdinmFqtt8fkVfLjJ65FWd7SNjz-QpMt31BAgDyDlThbXPEpHiONE56ke3nq_9pVWJqRzMfxfvDEROGWUiTLp9gu5TiOU0YbY6snjvrWaAQE57m2RECn6Y/s1600/Padauk+Wal2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkm5_mAoNAagfubfuAkCQBNsdinmFqtt8fkVfLjJ65FWd7SNjz-QpMt31BAgDyDlThbXPEpHiONE56ke3nq_9pVWJqRzMfxfvDEROGWUiTLp9gu5TiOU0YbY6snjvrWaAQE57m2RECn6Y/s320/Padauk+Wal2.jpg" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">However, with the introduction of the
Custom Series basses everything changed and Wal stepped up into the ranks of
what would later be known as "boutique basses". The Custom Series
retained the same laminate neck construction (although with a streamlined
headstock shape) but the construction of the body was very different. This time
a sandwich of different (often exotic) hard woods was employed. At the core was
a thick slab of mahogany. Initially this was exclusively Brazilian mahogany but
over time as the wood became scarcer, more expensive and subject to
increasingly strict export restrictions under CITES (The Convention on Trade in
Endangered Species) other sources and subspecies were employed. Notwithstanding
the emotional and almost mystical cachet that Brazilian mahogany and rosewood
has with builders and players alike this didn't imply any reduction in the
quality (aesthetic or sonic) of the woods used.</span><br />
<a name='more'></a></div>
<a href="https://www.blogger.com/null" name="more"></a><span lang="EN-US"></span><br />
<div class="BodyA">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHWZ1GbL6Q_QiAwESeYCfbGnfwgFe-cLB987SOp1efJ7yd4rSy-FQHboU63S2kCIoAs0HcWAl1i9G0VC4DTHTH-N0I9G4wqKCtuvI77Fxnyj6xSLyp09sIuL8J2DUCcpdncXQ2HduFaQ4/s1600/wenge+and+zebrano.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHWZ1GbL6Q_QiAwESeYCfbGnfwgFe-cLB987SOp1efJ7yd4rSy-FQHboU63S2kCIoAs0HcWAl1i9G0VC4DTHTH-N0I9G4wqKCtuvI77Fxnyj6xSLyp09sIuL8J2DUCcpdncXQ2HduFaQ4/s320/wenge+and+zebrano.jpg" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Either side of this mahogany core
would be a very thin veneer of either maple or walnut to act as a visual
contrast between the core and facing woods. The outside layers would be a
hardwood facing chosen for a mix of aesthetic and tonal properties. The visual
effect of the thin veneer is particularly effective on the forearm chamfer and
other comfort contours.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">A wide range of woods were available
as standard on the Custom Series models. Initially these were American Walnut,
Padauk, Shedua and Wenge, with a note that sometimes figured examples of Maple
could be available, albeit at an additional charge. However since the brand was
relaunched by Paul Herman in 2009 shedua has been removed from the list of
standard woods, replaced by Zebrano. The reason for this was a pragmatic one.
Paul commented, "These two are very similar in they structure qualities – shedua
being slightly harder/denser but very close. The up-charge for shedua is
because it’s harder to find nicely figured pieces and more expensive too. The
natural grain pattern and colours of zebrano make it very striking without
having to search to far." Certainly, the shedua basses being produced
recently do tend to have very striking grain and flame structures; easily
justifying the additional cost, both to producer and customer.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTehQju0fMqhA-p07r5RUYd-cFGlfLU8jyghh66fvoqddP61zIStHEaXELOxpv9tbX9DchJyzd3_on0_ziDa2Q8u2Vq0g7bKKA4HGWcEqyq7aH1zBLUoJosbjETkT1j4b8GjnHzATzS0/s1600/IMG_1099.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTehQju0fMqhA-p07r5RUYd-cFGlfLU8jyghh66fvoqddP61zIStHEaXELOxpv9tbX9DchJyzd3_on0_ziDa2Q8u2Vq0g7bKKA4HGWcEqyq7aH1zBLUoJosbjETkT1j4b8GjnHzATzS0/s400/IMG_1099.JPG" width="300" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">All this begs a question which is
debated hotly across guitar and bass Internet forums. Apart from the look, does
all this make any difference? Many might contend that all that matters are the
strings and pickups. Having played a variety of different Wals with different
woods, passive and active electronics (of all generations) it's clear that they
all have a certain "Wal sound" to them. The dominant factor in
creating their tone does seem to be the unique Wal pickup. But to stop there
seems to ignore the wonderfully complex physics going on inside a musical
instrument. As much as the nut and bridge transmit vibrations into the body and
neck those vibrations resonate through the body, are modulated (depending on
the structure of the bass and the materials used) and transmitted back into the
strings. These reflected vibrations create complex overtones in the strings
which contribute to the tonal subtleties sensed and transmitted through the
pickups.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Most luthiers would seem to ascribe to
that more complex world view - as did both Ian and Pete. Asked about the
difference that wood facings make Paul shared his insights. "The standard
bodies all have a central Mahogany core and the facings add character to the
overall tone. So regardless of facing choice there is a consistency running
through by using the same core timber. As a general rule, the harder facings
such as wenge/padauk (wenge being slightly harder) tend to be slightly brighter
and punchier giving more attack and reflection - often selected for fretted
basses. At the other end of the scale are the softer/less dense timbers like
American Walnut, which is favourite for fretless instruments and players who
prefer a rounder less aggressive sound." </span><span lang="EN-US"></span></div>
<div class="BodyA">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ym2glxXKx74gb7vCgnbf_SZBE6MlfemgeUarXfNd1PYPiMmH52Qygy13uzUMp9YQyAtc1chPFBpDkejjRRt0Hv95T0MqU9Zrs7V3263gDcaDoEIh8RX_-1Fw0iQ8WyVPGtC4IlYQmTs/s1600/Wal+bodies+in+process.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ym2glxXKx74gb7vCgnbf_SZBE6MlfemgeUarXfNd1PYPiMmH52Qygy13uzUMp9YQyAtc1chPFBpDkejjRRt0Hv95T0MqU9Zrs7V3263gDcaDoEIh8RX_-1Fw0iQ8WyVPGtC4IlYQmTs/s400/Wal+bodies+in+process.jpg" width="400" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Ian and Pete also, famously advocated
American Walnut as, quite simply, the best wood to use for a fretless. Paul
agrees but also concedes that, in a complex world there's no simple formula and
American Walnut is by no means the only option. "Yes, in general, but to
counter the theory we’ve had some great sounding hard faced (like wenge)
fretless basses through here – more aggressive sounding though. Also, you mustn’t
forget that the density and grain structure can vary even from one end of a
single board to the other. There can be a lot of variables even on two basses
with exactly the same spec."</span><span lang="EN-US"></span></div>
<div class="BodyA">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVp83PZ30mKIXUhDVg-g6ZyQaRgfdzNfSXx7kbb5ekLFPWU7qmJ2bLHfxt8hH1av_oEmfcnZv-oatp6N1ThIOcvFUly82mOrFrEZPPyI2c13mERlzWlsy4OufrNGct3vgAdJXNi-6wncI/s1600/Padauk+Wal1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVp83PZ30mKIXUhDVg-g6ZyQaRgfdzNfSXx7kbb5ekLFPWU7qmJ2bLHfxt8hH1av_oEmfcnZv-oatp6N1ThIOcvFUly82mOrFrEZPPyI2c13mERlzWlsy4OufrNGct3vgAdJXNi-6wncI/s400/Padauk+Wal1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmUCBezcRbwSqjzvCSPrY9AqPDml0ZQiUIRyA6vWn_OmMrmBszOH7w2_xuebCKih7DbJ8OdP0n1AwIs5JNJYJuU_cttDvD_q01UwAm2nlcG3c8FN6HRZVmaXk-jdxTJN5HtVqht10D9I/s1600/BDMidiBass2.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmUCBezcRbwSqjzvCSPrY9AqPDml0ZQiUIRyA6vWn_OmMrmBszOH7w2_xuebCKih7DbJ8OdP0n1AwIs5JNJYJuU_cttDvD_q01UwAm2nlcG3c8FN6HRZVmaXk-jdxTJN5HtVqht10D9I/s320/BDMidiBass2.JPG" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">However, tone and aesthetics aren't
the only factors for deciding the woods that go into a bass. Each different
variety has its own physical properties and some are loved or loathed by
woodworkers for these reasons. Some hard woods have a reputation for being able
to blunt a newly sharpened plane in one pass. Others produce dust which is
simply quite unpleasant (or even hazardous). I couldn't resist asking Paul
whether, as a luthier, there were any woods he particularly liked or found
difficult. "You can’t go wrong with a nice piece of walnut! Some of the
spalted timbers can be challenging to work with as can buckeye burl. These can
be soft and can have defects which need to be stabilised but they're visually
stunning and that's part of the charm."</span><br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvJBSq7vz_4OMD_-wZcxyicMUyBY7DBiYUVnLfoFL6b3D5o9LfVj46QJDFi_gm86tXlmL66urSuLyly07aEVcUcSLLVkucBGC2M_16OFPw0Nk8215aTVCGFJaY9PgvvvWnWNGwThjKh_A/s1600/buckeye1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvJBSq7vz_4OMD_-wZcxyicMUyBY7DBiYUVnLfoFL6b3D5o9LfVj46QJDFi_gm86tXlmL66urSuLyly07aEVcUcSLLVkucBGC2M_16OFPw0Nk8215aTVCGFJaY9PgvvvWnWNGwThjKh_A/s640/buckeye1.jpg" width="560" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A stunning buckeye burl top on a Mk 3 5-string. Worth the extra effort!</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq80IBDMcVAeL2eEVgOgoxclYQJpI7jhLgRTUzrt5dHOG_sak36iwfbxajsH_w0ePjgdpbV8RppNfz8Ayv5Y3ly5B3sMIoQpxWzwOAlU-Mw2f5NLoIVDqA5wC86HR1YRb8b24EhiCfE6k/s1600/buckeye2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq80IBDMcVAeL2eEVgOgoxclYQJpI7jhLgRTUzrt5dHOG_sak36iwfbxajsH_w0ePjgdpbV8RppNfz8Ayv5Y3ly5B3sMIoQpxWzwOAlU-Mw2f5NLoIVDqA5wC86HR1YRb8b24EhiCfE6k/s640/buckeye2.jpg" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">And a matching headstock facing.</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM8NkYfNiLifswAJQqnGeEjNbKcL78FEGgKcD-OOhmOWmTfWU4MO65iMRwa01Tj4sIMmEMe9rHRHNXQbKJ6uOCKwVHtE724nQ-Uo7tgcxZVSP01ikLH497CoPkjC_P2i8O_UcQBOh3NcE/s1600/buckeye3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM8NkYfNiLifswAJQqnGeEjNbKcL78FEGgKcD-OOhmOWmTfWU4MO65iMRwa01Tj4sIMmEMe9rHRHNXQbKJ6uOCKwVHtE724nQ-Uo7tgcxZVSP01ikLH497CoPkjC_P2i8O_UcQBOh3NcE/s640/buckeye3.jpg" width="480" /></a></div>
<span lang="EN-US"><br /></span><span lang="EN-US"><br /></span></div>
<div class="BodyA">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDOTVf6N3RMZklHNfvpg_yYn5W34Tp0sQscoZGYX9RYtVVqhqX5yuGjQCsF8IUAHfLA3I6b-EDYqmNa6zsmUyf8dYWkVcEqmRnCureqs-sFRdbmTU86tbFydmQzQA675-r8_PDIfmSaWs/s1600/spalted+maple.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDOTVf6N3RMZklHNfvpg_yYn5W34Tp0sQscoZGYX9RYtVVqhqX5yuGjQCsF8IUAHfLA3I6b-EDYqmNa6zsmUyf8dYWkVcEqmRnCureqs-sFRdbmTU86tbFydmQzQA675-r8_PDIfmSaWs/s320/spalted+maple.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An example of spalting in maple - the black streaks<br />
are a naturally occurring fungal growth</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3DhCDZOdJW1eZ8A5GPaND90dI5jEHAlJCyXJ5rswuY087OZADz4D4bAkPtyu-P9fUIzt81nWEHGNvIJ1q3z4c60GgWRXUSa_ovgtTakUsGEyzpQ1-5PEA23h8huzINcQ6-QYsO3PHOxQ/s1600/SpaltedBeechWalMkIII.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3DhCDZOdJW1eZ8A5GPaND90dI5jEHAlJCyXJ5rswuY087OZADz4D4bAkPtyu-P9fUIzt81nWEHGNvIJ1q3z4c60GgWRXUSa_ovgtTakUsGEyzpQ1-5PEA23h8huzINcQ6-QYsO3PHOxQ/s400/SpaltedBeechWalMkIII.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A stunning Mark III 5-string with spalted beech facings</td></tr>
</tbody></table>
</div>
<div class="BodyA">
<b><i><span lang="EN-US">"Standard" Wal Body Woods (over
the years):</span></i></b></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Wal is fairly unusual in offering a
small number of body styles in a range of different standard body woods, rather
than tailoring a single body wood to a particular model within the range. Here
is an overview of the woods which Wal have used as standards for bodies across
the years.</span><br />
<span lang="EN-US"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyY_uwGmHNXvsT9Jz1OXd3KAH8sPLb907ikaMQ9XfVBqrVterM_2kLlzBtYi4vtPOxTTdxm2xKvFcK7PrfKN9ta9Ofu7bli93T7d42MwIZMhWUTMbk3pSqLUy4PXR4-g2skftX6wMpZ10/s1600/Mahogany-640x295.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyY_uwGmHNXvsT9Jz1OXd3KAH8sPLb907ikaMQ9XfVBqrVterM_2kLlzBtYi4vtPOxTTdxm2xKvFcK7PrfKN9ta9Ofu7bli93T7d42MwIZMhWUTMbk3pSqLUy4PXR4-g2skftX6wMpZ10/s320/Mahogany-640x295.png" width="320" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Mahogany (Swietenia Macrophyllia):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> a dark reddish brown hardwood which gives a warm tone,
this has been consistently used as the core wood for Custom series bodies. As
noted above Paul considers that this provides the body's main influence on the
tone of a Wal bass, modulated to an extent by the facing woods. Original Wal
literature for the Custom series specified the use of Brazilian mahogany
however since 2003 the status of swietenia macrophylla has been </span><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">increased on the CITES (the UN
Convention on the Import and Trade in Endangered Species) from Annex III to
Annex II making Brazilian mahogany more difficult to source. As a wood it has
very good woodworking properties, attractive grain and colour and requires
little preparation for finishing. For these reasons it has been used for a very
wide range of furniture and other uses - contributing to its over usage and
increasingly at risk status. My own Mk 1 Custom from 1985 lists the core as “Brazilian
Mahogany”.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4WVi859kJloQka0IpcBHeBQbKbA92_7K-IRH_oirFPZRhEEYiWUyQmDY6XO0cRrPS0nxWqWr-iKwro-JI4lYOYxBiNR2jBkZazNmCMAsDTBs5RjEzpbMgbnIjYD-jhp7MHbbx9V7L4Y/s1600/mahogany+sandwich.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4WVi859kJloQka0IpcBHeBQbKbA92_7K-IRH_oirFPZRhEEYiWUyQmDY6XO0cRrPS0nxWqWr-iKwro-JI4lYOYxBiNR2jBkZazNmCMAsDTBs5RjEzpbMgbnIjYD-jhp7MHbbx9V7L4Y/s400/mahogany+sandwich.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjkRWlkJTT4yaYyhXEi2VHY3kIcYU-1UsJMhJh9zEhmcFLHjlo_MuZh3FpdB8LRaoPlA0zA1A4Ub0mOWuu8hEp5LLik_z6HnzIkwBXS5hUwncXJYvUuvPNpmr3bSKfUjj9sfiWGSE395c/s1600/planed-timber-american-ash-grain-close-up.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjkRWlkJTT4yaYyhXEi2VHY3kIcYU-1UsJMhJh9zEhmcFLHjlo_MuZh3FpdB8LRaoPlA0zA1A4Ub0mOWuu8hEp5LLik_z6HnzIkwBXS5hUwncXJYvUuvPNpmr3bSKfUjj9sfiWGSE395c/s320/planed-timber-american-ash-grain-close-up.jpg" width="320" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Ash (Fraxinus Americana - American
ash; Fraxinus Exelsior - European ash):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">
Ash is a temperate hardwood with a pale colour and a high density. It is a well-known
and commonly used timber for guitar and bass building with a high density and a
relatively bright, sustaining tone. It's good machining and finishing qualities
make it a popular wood for a wide variety of woodworking applications. Its
grain also looks very subtly attractive under a translucent colour finish.</span><br />
<br />
<br />
More recently Paul has begun offering ash as a body core material as a special order option. The contrast with a darker facing wood makes for a striking look.<br />
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4dimllm7dqKWMkvdd8HYlZg1WxThLABFRpufZmj1XDTieGisLHU_LVKmyisISf4RTmns9Oy0yxCOK9VookpjUEm0c2vzcfm483n0DGGF1YcjFe6d3yoLVZWbjwZVVk220a0p5W3SfDg8/s1600/IMG_1137.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4dimllm7dqKWMkvdd8HYlZg1WxThLABFRpufZmj1XDTieGisLHU_LVKmyisISf4RTmns9Oy0yxCOK9VookpjUEm0c2vzcfm483n0DGGF1YcjFe6d3yoLVZWbjwZVVk220a0p5W3SfDg8/s400/IMG_1137.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ash bodied Pro Series bass in trans-red</td></tr>
</tbody></table>
<div class="BodyA">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPfPr6gx2bMTjCQgm0bWXphrip97lUmNs0Dr_zT1kRp2Ok3a2W_WN4Jp6FtduN8VZ7InhgTzmCAZ4QWfsJVFirgAO_HlEeXzRGhZxyKIAdyKRRcwRTDpQAqfb6GHRh_15irUYj398kDI/s1600/ash+core.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPfPr6gx2bMTjCQgm0bWXphrip97lUmNs0Dr_zT1kRp2Ok3a2W_WN4Jp6FtduN8VZ7InhgTzmCAZ4QWfsJVFirgAO_HlEeXzRGhZxyKIAdyKRRcwRTDpQAqfb6GHRh_15irUYj398kDI/s320/ash+core.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An ash core on a Mk 1 walnut faced bass</td></tr>
</tbody></table>
<span lang="EN-US"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRFr2U2DdUsy30gpAp2PrzL5J8btkhyzz8OmBa8ihqM0f0f-GIoPWO8tNedsBdmNpR6UKaiVMFwgpd6xjkMcvtJHycMPfiE9uv6mua0zlOnlHA2KkEZ_yf6eriit_49EW2fdyNYNyYLc/s1600/Martin+Elliott+Wal+5.jpg.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRFr2U2DdUsy30gpAp2PrzL5J8btkhyzz8OmBa8ihqM0f0f-GIoPWO8tNedsBdmNpR6UKaiVMFwgpd6xjkMcvtJHycMPfiE9uv6mua0zlOnlHA2KkEZ_yf6eriit_49EW2fdyNYNyYLc/s640/Martin+Elliott+Wal+5.jpg.jpeg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martin Elliott's unique solid ash Mk 2 5-string<br />
<br />
<br /></td></tr>
</tbody></table>
</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJihx-0AQZUo-7ROidfF3SIJfDrW_kCaQqM0iSbIdHy_i-DTNhOXNajmeWr7GzWF8IvdxIyG1RssAIpaq-o_C9nSlxktwWxtA6dePD-Y9pC1hIStfFbh8ABVWXvXZyFWFGaYesFAGz7dw/s1600/American-Black-Walnut-585x295.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJihx-0AQZUo-7ROidfF3SIJfDrW_kCaQqM0iSbIdHy_i-DTNhOXNajmeWr7GzWF8IvdxIyG1RssAIpaq-o_C9nSlxktwWxtA6dePD-Y9pC1hIStfFbh8ABVWXvXZyFWFGaYesFAGz7dw/s200/American-Black-Walnut-585x295.png" width="200" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">American Walnut (Juglans Nigra):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> a temperate hardwood with a dark, straight grained heart
wood. The colour tends to be a mid/dark brown which can also have a greyish
tinge. It is well known for its good woodworking properties and so has been
used for a wide range of practical and decorative applications. It's relatively
light density in comparison to some other tone woods leads to a round, well
balanced, mellower tone. As noted above, American Walnut has long been a
favourite wood for building fretless basses.</span><span lang="EN-US"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3okNcGkhsDKzv8sjw8arLWs-r_aDnknQkOi52_4O6SDOFR50o7II8KCg7emwo9_arm9ZPksuS_0EPMePr5HZBieOWuA04fjBlO3YrdnvMfkMBN3Zdn1ZTQBQglx0aBp2UTCKnmRAqAa4/s1600/Padauk-472x295.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3okNcGkhsDKzv8sjw8arLWs-r_aDnknQkOi52_4O6SDOFR50o7II8KCg7emwo9_arm9ZPksuS_0EPMePr5HZBieOWuA04fjBlO3YrdnvMfkMBN3Zdn1ZTQBQglx0aBp2UTCKnmRAqAa4/s200/Padauk-472x295.png" width="200" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"><br /></span></b><br />
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Padauk (Pterocarpus Soyauxii - African
Padauk):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> this hardwood has a strong red hue
when recently cut. This can mellow over time to a darker red-brown. The sapwood
of the padauk is very pale, almost white. This strong visual contrast has been
used on some bookmatched Wal facings seemingly giving an appearance of two
separate, different woods having </span><br />
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<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">been used to create the top. Being relatively
hard, dense wood it typically produced a brighter tone, although not quite as
bright and punchy as wenge. An interesting bit of Wal trivia is that, although padauk
has an alternative spelling of "padouk" the early Custom series
leaflets used neither of these. Rather they consistently misspelled it as
"paduak". Aria made the same misspelling on their SB series literature,
makes you wonder if that's where Ian and Pete picked that spelling up from!</span><span lang="EN-US"></span></div>
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<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Shedua (Guibourtia Ehie):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> More commonly known in guitar making circles as “Ovangkol”,
<i>guibourtia ehie</i> luxuriates under a plethora of pseudonyms. Amazaque,
Amazoué, Shedua, Hydua, Hyedua, Mozambique... The early Custom series leaflets
compromised with "hydua (pronounced 'shedua')". This African hardwood
became a staple of the Wal stable throughout the 1980s through to the 2000s as
one of the more commonly used facings – my 1985 Mk 1 lists the facings as “African
Shedua”. The wood itself is striking in colour. A golden brown colour in the
heartwood it shows pronounced and regular dark brown annual lines but,
attractive as this is, it isn't its most striking feature. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_WBSlWyYt7m6ArR468Z91eZpwjKP_fIhv1SOdN6WVxi63vI7IaI1iB4HSURoXFlbET5BknUGbxFiT8OIfI5RuA5lKudMiZB8r2EXWkGm-0yV4ZL7BcxDUwaBpf3HlceVuTud101BIJsE/s1600/woodsschedua.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_WBSlWyYt7m6ArR468Z91eZpwjKP_fIhv1SOdN6WVxi63vI7IaI1iB4HSURoXFlbET5BknUGbxFiT8OIfI5RuA5lKudMiZB8r2EXWkGm-0yV4ZL7BcxDUwaBpf3HlceVuTud101BIJsE/s320/woodsschedua.jpg" width="240" /></a></div>
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<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">The wood often
displays quite wild wavy or chequer board flaming which undulates with changes
in light angle. Increasing price and scarcity of particularly good quality
blanks means that this wood now carried an up-charge. However, this means that
in choosing the most select pieces most recent shedua Wals have the most
incredible flame patterns. Another feature of the wood is the graduation in
colour between heart and sapwood, the latter being a paler grey/yellow colour.
This fact was often used to great effect on bookmatched facings to create a
pseudo-through neck appearance. Although an exotic hardwood, shedua is
considered to be in one of the least threatened conservation classifications -
"least concern". The wood is also closely related to another well-known
bass guitar tone wood, bubinga, which is another subspecies of <i style="mso-bidi-font-style: normal;">guibourtia</i>.</span><span lang="EN-US"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBF4WEqWkeU76k1nJUjwuqw-zruBlJThKSaHHDAxeynh5AmHdAfV1cEnE8r-0pWslsQ0dZLypHXXDshx5cSMSln-yNzagF0Gt60Dj3yPe6UoTEqL1ZbfuKje-Cvz1PW-qoew3c6AeetcM/s1600/wenge.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBF4WEqWkeU76k1nJUjwuqw-zruBlJThKSaHHDAxeynh5AmHdAfV1cEnE8r-0pWslsQ0dZLypHXXDshx5cSMSln-yNzagF0Gt60Dj3yPe6UoTEqL1ZbfuKje-Cvz1PW-qoew3c6AeetcM/s200/wenge.jpg" width="200" /></a></div>
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<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Wenge (Millettia Laurentii):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> A striking African hardwood, wenge has been adopted by a
number of bass guitar makers but more commonly as neck laminates. However the
very dark, almost black colour, makes for a very striking facing wood. Very
hard and dense it has one of the brightest, punchiest tonal palettes of the
standard Wal facing woods. When quartersawn wenge has a very close, straight
grain structure. However if sawn tangentially it displays a striking wavy grain
pattern which mixes almost black lines with a dark chocolate colour. The level
of grain variation will vary greatly from one piece of wood to another and can
be very pronounced. The conservation status of wenge has been increasing over
recent years with continued logging and loss of habitat. It is currently listed
as "Endangered" under the "Threatened" category IUCN Red
List of Endangered Species. Bearing this in mind it will be interesting to see
how much longer it is easily available as a bass building choice.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqfhnwbi-Y8oFAkrDhyphenhyphenvEOZHnmijCDK8RfS8mAWpQWl_pWfPQ78gxzXRQsDXcNH9yvsOIjuf1JAd8kxHVOSTLtcCvE0CfL7P_qq6qNqCcPPcZ_ZUs9On0kK8W7rHxSc4xiGxTNDerTs0M/s1600/pale+Wenge+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqfhnwbi-Y8oFAkrDhyphenhyphenvEOZHnmijCDK8RfS8mAWpQWl_pWfPQ78gxzXRQsDXcNH9yvsOIjuf1JAd8kxHVOSTLtcCvE0CfL7P_qq6qNqCcPPcZ_ZUs9On0kK8W7rHxSc4xiGxTNDerTs0M/s400/pale+Wenge+3.jpg" width="325" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unusual pale coloured wenge</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5QGuklyMlgz7MYh-D43CHwjArKc0mcFuK5_stVj30nhpnINOdOFbKL9H_R5u2KvJINzZsRuyWjD0oL3U4dCFYRBB7W3jxKiYUVft446-Xi8_pI4lvj5ip2yjuRAd5774Gjzq0On-nzZ4/s1600/Wenge+wal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5QGuklyMlgz7MYh-D43CHwjArKc0mcFuK5_stVj30nhpnINOdOFbKL9H_R5u2KvJINzZsRuyWjD0oL3U4dCFYRBB7W3jxKiYUVft446-Xi8_pI4lvj5ip2yjuRAd5774Gjzq0On-nzZ4/s400/Wenge+wal.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVNAELJL9rdlIbioODh5Hd6bngBngAuFhe13NM5DwwdhYQinETymZJJU7kZS6lKScK2cYdZKrjgIqBgqFmjdbOufFy9ij2SLjGWFJDHDiQyzJI2Dm2j5SL4SajTmuf0to0jnnPRyHjWns/s1600/Zebrano.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVNAELJL9rdlIbioODh5Hd6bngBngAuFhe13NM5DwwdhYQinETymZJJU7kZS6lKScK2cYdZKrjgIqBgqFmjdbOufFy9ij2SLjGWFJDHDiQyzJI2Dm2j5SL4SajTmuf0to0jnnPRyHjWns/s200/Zebrano.jpg" width="200" /></a></div>
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<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Zebrano (Macroberlina
Brazzavillensis):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> Zebrano is an
African hardwood known for its striking grain patterns, particularly when
quarter-sawn. The heartwood colour ranges from a golden yellow to a very light
brown. However, this contrasts with strong very dark brown streaks and annual
lines which produce a stripped effect, reminiscent of a zebra's markings -
hence the name, “Zebrano”. The wood is relatively hard and dense and displays
similar woodworking and tonal qualities to shedua. For this reason it has taken
the place of shedua as a standard Wal facing option as the cost of that wood
has risen. That said, zebrano gives just as striking a visual effect as shedua
and so still provides Wal buyers with an unusual look which will stand out from
most basses. Zebrano has been commonly used as a special order option on Wal
basses since the early days of the Custom series basses.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkoYZfOjqmUPa2XPYsoh1eZAxSfmg8dyY99QmBOrTPNNp1a0UWACx9TPZ3uleTKkmLhc2JY8JuUjZEbyJHHbFWcZALUqT1hgOPkzF7X9qESW2mhwq_3wW4tCKWMDNK6UG2aJ4ZkcupDLk/s1600/zebrano+blank.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkoYZfOjqmUPa2XPYsoh1eZAxSfmg8dyY99QmBOrTPNNp1a0UWACx9TPZ3uleTKkmLhc2JY8JuUjZEbyJHHbFWcZALUqT1hgOPkzF7X9qESW2mhwq_3wW4tCKWMDNK6UG2aJ4ZkcupDLk/s400/zebrano+blank.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zebrano body blank</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLJT92KuTGnUrNrooTyFOM9yPeFtMYb0j-ecJPaWSLzRShgxvRzOemtreXz6rEuLlZyIl0FIl04UNMhXjxnaa1NN3vwXKiD9YFrCT2TFqhxmhfeVIPKXsYVLa8CCFchhKc1ETr46svNPE/s1600/evil+zebrano.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLJT92KuTGnUrNrooTyFOM9yPeFtMYb0j-ecJPaWSLzRShgxvRzOemtreXz6rEuLlZyIl0FIl04UNMhXjxnaa1NN3vwXKiD9YFrCT2TFqhxmhfeVIPKXsYVLa8CCFchhKc1ETr46svNPE/s640/evil+zebrano.jpg" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A particularly striking piece of zebrano</td></tr>
</tbody></table>
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<span style="font-size: x-small;"><span lang="EN-US"><i>Many thanks to Paul at Wal Basses for permission to use a selection of photos from <a href="http://www.walbasses.co.uk/" target="_blank">the Wal Basses website</a> demonstrating the various wood which he uses to make his beautiful basses.</i> </span><span lang="EN-US"></span></span></div>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-8171265162142639752016-10-11T21:38:00.002+01:002017-10-24T10:16:28.570+01:00Wal Woods Part 1 - Necks<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKKNk3R82J2ZMtPPLEx6eHxcV2T1_xZq2ar6WNdJ2J4KaEhxOkctcctHZP0Dg1Yi_eisgGsmtXzB1GTwkv7nVq-G_La19xYiHoQP2loKMyFavaTizSmMZIiPBvDRMJNnuEHmosF7GDgc/s1600/80sWorkshop2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKKNk3R82J2ZMtPPLEx6eHxcV2T1_xZq2ar6WNdJ2J4KaEhxOkctcctHZP0Dg1Yi_eisgGsmtXzB1GTwkv7nVq-G_La19xYiHoQP2loKMyFavaTizSmMZIiPBvDRMJNnuEHmosF7GDgc/s320/80sWorkshop2.jpg" width="216" /></a></div>
<h2 class="Body">
<b><span lang="EN-US">The Wonderful World of the Woods of Wal –
Part 1, Necks</span></b></h2>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">In Ian Waller and Pete Stevens the early 1970s
cooked up a perfect recipe for bass guitar building creativity. A perfect storm
of bass playing experience (in Ian's case), innovative design skills, inquiring
minds, guitar building experience, woodworking skills, affability, electronics
savvy and connections within the industry. Given those factors it's no surprise
that something magical happened. </span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">And there are plenty of anecdotes highlighting
their skill with a chisel and a plane. Stories of Ian sizing up a job
(refitting a recording studio) by eye and still perfectly dovetailing together
complicated elements in perfect harmony. Ian, in particular clearly had a
strong affinity with wood as a material and a living theme.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">In a recent blog on his own site, The New
Colloquium, </span><span class="Hyperlink0"><span lang="EN-US"><a href="http://thenewcolloquium.com/wal-bass-neil-finn-me/">http://thenewcolloquium.com/wal-bass-neil-finn-me/</a></span></span><span lang="EN-US"> Paul Phillips outlines his memories of Wal. "...Ian, on the
other hand, was a bit of an electronics genius and also built guitars. Everyone
called him Wal (his name was Ian Waller). He made the legendary Wal Bass...</span></div>
<div class="BodyA">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfOsIJzGF9SjRWYCZ4IPp6Bnt5XcRrWymCz2JYbxnBcOcTLcv_LuKQ7z4j2gophUQSEBIDh6vPa2ASOgNg6MyP0GVGNBBAd0y7SbHJbmwBPQZk2h7J8Kt8uJ3gtmAb0-hbkh3-6hrzlM/s1600/80sWorkshop1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfOsIJzGF9SjRWYCZ4IPp6Bnt5XcRrWymCz2JYbxnBcOcTLcv_LuKQ7z4j2gophUQSEBIDh6vPa2ASOgNg6MyP0GVGNBBAd0y7SbHJbmwBPQZk2h7J8Kt8uJ3gtmAb0-hbkh3-6hrzlM/s320/80sWorkshop1.jpg" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">"...When I met him, he had
already built his own acoustic bass guitar, the first I’d ever seen. It was
huge, and beautiful. At one point, George Harrison coveted it, but Wal wasn’t
keen. I think he’d rather it went to a bona fide and great bass player.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">"He started studying wood and how
it aged, and dreaming up the design of the Wal Bass. To me, wood was wood. But
then Wal showed me some birds-eye maple and made me study it as he saw it. I
never – to this day – looked at wood the same way again."</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br />
<a name='more'></a><br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Given this it's no surprise that
beautiful and unusual woods became an integral part of the Wal story. In this
first part of the blog we will look largely at neck woods, focusing on bodies
in the next blog.</span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US"></span><br /></div>
<a href="https://www.blogger.com/null" name="more"></a><br />
<div class="BodyA">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGjYNR1P4kz55YLc0Nn6cUJ9MqRs3QDb7GjcX-ARFQe_5JeBRVqgcbMxnvgQPU9kifmniqfK3wqNClFq6_ZzlATMjVhxBtQPXGZs1FB73sJ3l-ub0lqIFmNRFFGPcVsVr9fU0UOvLWK38/s1600/IMG_3003.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGjYNR1P4kz55YLc0Nn6cUJ9MqRs3QDb7GjcX-ARFQe_5JeBRVqgcbMxnvgQPU9kifmniqfK3wqNClFq6_ZzlATMjVhxBtQPXGZs1FB73sJ3l-ub0lqIFmNRFFGPcVsVr9fU0UOvLWK38/s320/IMG_3003.JPG" width="239" /></a><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">At the beginning of the brand, though
wood choices were somewhat more modest. Solid ash for the bodies. Necks made
with a mix of hard rock maple and English hornbeam. Rosewood for the
fingerboards. Ebony was sometimes employed for a harder more durable
fingerboard, especially with fretless basses. All well respected hardwoods well
known for their tonal properties and often used for guitar and bass building.
Well, except for the hornbeam - an exceptional domestically sourced hardwood
with good strength and warping resistance but a quirky choice for bass
building.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Part way through the run of the early
JG basses an additional wood was thrown into the mix as the tropical hardwood
"mukulungu" was added between the maple and hornbeam laminates in the
neck. This created the now classic striped look of Wal necks and headstocks.
Later on the mukulungu was dropped for the more easily available mahogany while
the hornbeam in the centre laminates gave way to the rock maple already used
for the outer laminates.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">With the introduction of the Custom
Series basses everything changed and Wal stepped up into the ranks of what
would later be known as "boutique basses". The Custom Series retained
the same laminate neck construction (although with a streamlined headstock
shape) but the construction of the body was very different. This time a
sandwich of different (often exotic) hard woods was employed.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinCED-LKp0Ad_e4abzyoIhT2YT7ubBhHmHGyeV_6z2A78Qrob-fdjuvkQOhxgKtvTbBK6ImQmjOU6kpdsUNNVUKvmnHUYLFQVHlbD3psaTrnvRPWiyUpvs8Ho0srADEiKiOl2JB2l1IOA/s1600/Custom1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinCED-LKp0Ad_e4abzyoIhT2YT7ubBhHmHGyeV_6z2A78Qrob-fdjuvkQOhxgKtvTbBK6ImQmjOU6kpdsUNNVUKvmnHUYLFQVHlbD3psaTrnvRPWiyUpvs8Ho0srADEiKiOl2JB2l1IOA/s320/Custom1.jpg" width="240" /></a></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">There is much debate among guitar fans
on the contribution which different woods make to a guitar' sound.
"Absolutely none at all." would be the starting position for some.
However, most luthiers would probably say that different woods will add
different flavours to an instrument's core sound - albeit that it is not a linear relationship. Wood is an organic material and, as such heavily
influenced by its growing environment. Different pieces of wood from the same
species, or even from the same tree can have variations in their internal
structure which will affect how they resonate. A telling comment from Paul
Herman on the topic, "You mustn’t forget that the density and grain
structure can vary even from one end of a single board to the other. There can
be a lot of variables even on two basses with exactly the same spec."</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">That said, there are some general
principles at work. Most would say that a harder wood with a denser grain
structure (like maple or wenge) will tend to produce a brighter, punchier tone
that a softer wood such as mahogany or walnut.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0_GBGg0bY4v7reH3HZPAV7_I8f1TgQA17aaVIG-h42x-22mP-vjHU5uAhKpHBWxrNXz_YcYukoBZbuemRwo2Lwtt7OdfetQJEbEeCnISP4cLSY__oT74m8ACrz3eRKxwfx7DLhv_p0ms/s1600/Chris+blue+Mk3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0_GBGg0bY4v7reH3HZPAV7_I8f1TgQA17aaVIG-h42x-22mP-vjHU5uAhKpHBWxrNXz_YcYukoBZbuemRwo2Lwtt7OdfetQJEbEeCnISP4cLSY__oT74m8ACrz3eRKxwfx7DLhv_p0ms/s400/Chris+blue+Mk3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sycamore Mk 3 5-string</td></tr>
</tbody></table>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">So let's have a look at the woods that
Wal use themselves...</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<b><i><span lang="EN-US">Neck Woods</span></i><span lang="EN-US">:</span></b></div>
<div class="BodyA">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuKOH-kcekaA2nH_1tFEokz3xGRPP3X9xTRMu2Ar_BmfgVsN2bkYRN_aLbBIfzS-57FnEZdUsaBtDcZj6HTvJTaMSkHDmuc0mWe8qS3dAdZRPb_co5nzXqzLKnYsPaSptOODI-F-kgiU/s1600/Hard+rock+maple.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuKOH-kcekaA2nH_1tFEokz3xGRPP3X9xTRMu2Ar_BmfgVsN2bkYRN_aLbBIfzS-57FnEZdUsaBtDcZj6HTvJTaMSkHDmuc0mWe8qS3dAdZRPb_co5nzXqzLKnYsPaSptOODI-F-kgiU/s200/Hard+rock+maple.jpg" width="200" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Hard Rock Maple (Acer Saccharum):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> maple, alongside mahogany (or one of its cheaper
equivalents) is one of the most ubiquitous woods used for building guitar and
bass necks - just think about any Fender instrument you've ever seen. Or indeed
any of the instruments hanging on the wall of your local guitar shop. The wood
has many benefits. First of all, as a temperate hardwood still common in many
countries it is easily available and relatively inexpensive compared to some others
and very stable. It has an excellent reputation both for ease of working and as
a tone wood. Also depending on the specific variety used and the nature of the
individual piece of wool it can display some very attractive cosmetic
properties - from flaming to birds-eye. Its harder, denser grain structure
produces a brighter sound than many other woods.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Maple has always been a staple neck
wood for Wal necks - right from the initial Wal bass, John G Perry's W1111,
which features a beautiful birds-eye maple neck. </span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLPYytKZ1jxGuuBBJwHquL5xqFPtI9-9jHuhH8Uh2ZkKNHDGG1_NfMlKkaovgVu-2rkrupa9fK6BVG4lM1HUBDMjRgy0Hn76vWeNOj5PNJCpw2br-vAbL2fHOpx2tR7Mj5Fp0YGfKTrqA/s1600/european-hornbeam.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLPYytKZ1jxGuuBBJwHquL5xqFPtI9-9jHuhH8Uh2ZkKNHDGG1_NfMlKkaovgVu-2rkrupa9fK6BVG4lM1HUBDMjRgy0Hn76vWeNOj5PNJCpw2br-vAbL2fHOpx2tR7Mj5Fp0YGfKTrqA/s200/european-hornbeam.jpg" width="146" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">English Hornbeam (Carpinus Betulus):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> as the name implies, this is an English hardwood. It is dense
and stiff with a light colour but is sympathetic to work. This property is also
reflected in the wood's name - hornbeam referring to the hardness of the wood
(like horn). The alternative name is "ironwood", again reflecting its
physical properties. One of many hardwoods sharing this common name. It is an
unusual wood in guitar building applications its stiffness and stability
nonetheless suits it to neck building and it was used for the inner neck
laminates of late JG, Pro Bass and early Custom Series basses. This was dropped
in favour of the hard rock maple used on the outer neck laminates because Ian
and Pete felt that is added an unnecessary level of rigidity to the necks,
given the inherent stability of the laminate structure. The carbon fibre stiffening
rods used under the fingerboards of the Pro Series basses were dropped in the
Custom series for much the same reason.</span><span lang="EN-US"></span></div>
<div class="BodyA">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhELwOBW5UOhKzwJq28jy8BzvAvxQzTtf85p_Ipehu8g43vJ0NO4zDWvtlHID-KEqMRwYtt7Fwx-0tu537cphUfk6BTqhAR9E52SBIHQe7Lxd9T6WIW1BPD9UK7II69OSYAmiCxMDxuYhs/s1600/IMG_2998.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhELwOBW5UOhKzwJq28jy8BzvAvxQzTtf85p_Ipehu8g43vJ0NO4zDWvtlHID-KEqMRwYtt7Fwx-0tu537cphUfk6BTqhAR9E52SBIHQe7Lxd9T6WIW1BPD9UK7II69OSYAmiCxMDxuYhs/s200/IMG_2998.JPG" width="200" /></a></div>
<div class="BodyA">
<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Mukulungu (Autranella Congolensis):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> An African hardwood, mukulungu is probably the most
obscure wood used by Wal basses. Native to Cameroon, Congo, Gabon, Nigeria and
neighbouring countries, this wood has a range of locally used names (kungulu,
elanzok, bouanga, kabulungu, mfua and many more. Mukulungu is the more common
Congolese name. It was used for a few years from the introduction of the Mk 2
JG Series basses as the dark tropical hardwood laminates sandwiched between the
hard rock maple and hornbeam in the bass necks. After a few years, the exact
timing is uncertain it was replaced with the more familiar mahogany still used
today. Like mahogany it has a dark brown colour, sometimes with a reddish
undertone. As noted above, the reasons and timing of its replacement are not
known. However, mukulungu has been listed on the IUCN Red List of Endangered
Species as "Critically Endangered", the most serious classification
for a species prior to extinction in the wild, since at least the mid-1990s. On
that basis, it may be safe to presume that a mixture of increasing cost and
scarcity will have contributed to the decision.</span><span lang="EN-US"></span></div>
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<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Mahogany (Swietenia Macrophyllia):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> a dark reddish brown hardwood which is considered to give
a warm tone, balancing well with the maple in the laminated necks. We'll look
more deeply at this species in the next blog on body woods. </span><span lang="EN-US"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSA9SZTZxpOXL0M6DXm9JWRFz1bSKJSiPiW9iq5Ul4iXc4RaoIa0Xfvs0uPfbPZwyMfQEfgwRH0obkcC8l_aCaZSYxAzE6IRCB6VR8oOXBA7S6fUp1IwlTjuZJefRyG7RLOQ6mNSJsgVE/s1600/Indian-Rosewood-640x295.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSA9SZTZxpOXL0M6DXm9JWRFz1bSKJSiPiW9iq5Ul4iXc4RaoIa0Xfvs0uPfbPZwyMfQEfgwRH0obkcC8l_aCaZSYxAzE6IRCB6VR8oOXBA7S6fUp1IwlTjuZJefRyG7RLOQ6mNSJsgVE/s200/Indian-Rosewood-640x295.png" width="200" /></a></div>
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<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Rosewood (Dalbergia species. Brazillian
Roeswood - Dalbergia Nigra, Indian Rosewood - Dalbergia Latifolia, East Asian
Rosewood - Dalbergia Oliveri):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> Rosewood is a
common wood for fingerboards. It is dark chocolate brown and can either have a
very uniform straight grain or show some subtle grey to purple streaming within
the grain. It is considered a warmer sounding wood than maple or ebony and is
thus often paired with a maple neck to provide an overall rounder tone. This is
wood predominately used by Wal for fretted necks. In the past, before 2006,
maple fretboards were sometimes offered at customer request. However, this is
no longer an option.<span style="mso-spacerun: yes;"> </span>Throughout the
history of Wal basses the variety of rosewood specified in Wal literature has
been Indian rosewood. As ever with Wal basses, though, there are exceptions.
Whereas the label inside a Wal control cavity will usually just list
"Rosewood" as the fingerboard wood my own Mk 1 Custom specifies
"Thai Rosewood".</span></div>
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<b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";">Ebony (Diospyos Melanoxylon/Ebenum):</span></b><span lang="EN-US" style="mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"> The other wood used by Wal for fingerboards, ebony is
typically a very dark, almost black colour with a tight, straight grain. This
gives a very uniform look and a very hard surface, particularly suitable for
fretless basses. The sound is brighter than Rosewood with a stronger
"snap" to it, further enhancing its suitability for fretless. Other
varieties, such as Macassar Ebony (diospyros celebica) display convoluted pale
and dark streaks within the grain pattern. However this variety is not used for
Wal basses. Throughout the history of Wal basses the variety of ebony specified
in Wal literature has been Indian Ebony.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGatIa21FfIq2zXKv5-jqR_TOPbEvqUHrXoGANSrnDUDHaRoGory6vEV7dBUy8nYPwL0FL4p8fgVDsGdfxFadjjcUO-r3Y54tEVvaiuwXGBL9caU-lgqxuOO6vlBBdLvlhhn1HgTReRg/s1600/ebony-sawlog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGatIa21FfIq2zXKv5-jqR_TOPbEvqUHrXoGANSrnDUDHaRoGory6vEV7dBUy8nYPwL0FL4p8fgVDsGdfxFadjjcUO-r3Y54tEVvaiuwXGBL9caU-lgqxuOO6vlBBdLvlhhn1HgTReRg/s1600/ebony-sawlog.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A sawn ebony log showing the natural colour of the wood in situ...</td></tr>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-32942005443902481672016-09-21T00:01:00.003+01:002021-07-06T12:54:11.170+01:00JG Special Pt 6: A coincidental coda...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZm22ebmDq5SGXwt-fHryK4nYO2fg01WSHUcEtIpKQ2PqTMs6Or22gUc5N3uGd0pZq7XzAEtxMIIwkmnpr1aoks8BufrrZe_Sh9T7Sx9heNb9KnkDY-jHL1ykf9kGLBoaCzQ7p_DRnks/s1600/JG1124e.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZm22ebmDq5SGXwt-fHryK4nYO2fg01WSHUcEtIpKQ2PqTMs6Or22gUc5N3uGd0pZq7XzAEtxMIIwkmnpr1aoks8BufrrZe_Sh9T7Sx9heNb9KnkDY-jHL1ykf9kGLBoaCzQ7p_DRnks/s320/JG1124e.jpg" width="240" /></a></div>
<h3>
JG1124 - John Glascock's JG bass, and </h3>
<h3>
JG1127 - Theo de Jong's first JG bass</h3>
<h3>
JG1114 - Pete Hurley's (Lone Star) JG bass<br /> </h3>
Just as a strange little coda to this series of special features on the beautiful JG series basses made by Ian Waller and Pete Stevens at Electric Wood, just as the last few pieces were ready for publication, three more "celebrity" JG basses turned up.<br />
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Only a few serial numbers apart they also show some interesting factors which make them worthy of individual inclusion here...<br />
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<b>JG1124 - John Glascock from Jethro Tull's JG bass </b><br />
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First up is the gorgeous bass built for late Jethro Tull bassist, John Glascock. Another talent taken from us far too soon, Glascock passed away in 1979 after suffering from heart problems. But that was not before he contributed to some of Tull's most iconic albums, including:<i><a href="https://en.wikipedia.org/wiki/Too_Old_to_Rock_%27n%27_Roll:_Too_Young_to_Die%21" title="Too Old to Rock 'n' Roll: Too Young to Die!">Too Old to Rock 'n' Roll: Too Young to Die!</a></i> (1976),<i><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Songs_From_the_Wood" title="Songs From the Wood"> Songs From the Wood</a></i> (1977) and<i><a href="https://en.wikipedia.org/wiki/Heavy_Horses" title="Heavy Horses">Heavy Horses</a></i> (1978).<br />
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His purchase of the JG bass would have coincided with the middle of his tenure within Tull's ranks. The bass itself is the only JG listed on the order sheet as being "red" - and what a red it is. The deep, almost raspberry, hue sets off the plain black leather scratchplate. Unlike the "snotburst" mentioned in a previous blog this raspberry red was a colour that progressed into the Pro Series catalogue. I should know, it's not a million miles from the colour of my own Pro IIE. The transparent colour really shows off the grain of the solid ash body.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrnHGhkzdlH6-ovDslKDeHywx1ts0ibPKxpDfgXSicPHhOG0Nmc-ZZCXWK_aDk19ezfIOB-Z5PQMoCCGVaBAMH3LuRiB7UmNkbM6whKlyRyiQaenRmv8yob2UpXn1lwja1bGXBYS85Uw/s1600/Aldo+Tagliaferro1.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrnHGhkzdlH6-ovDslKDeHywx1ts0ibPKxpDfgXSicPHhOG0Nmc-ZZCXWK_aDk19ezfIOB-Z5PQMoCCGVaBAMH3LuRiB7UmNkbM6whKlyRyiQaenRmv8yob2UpXn1lwja1bGXBYS85Uw/s320/Aldo+Tagliaferro1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aldo Tagliaferro, the bass' current owner</td></tr>
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Sadly, Glascock's widow was forced to sell the bass early in the 2000s and she asked Pete at Wal to arrange this for her. The photos here were taken for the adverts for the bass. Ironically, or perhaps appropriately, the bass was purchased by one of the organisers of the Italian Jethro Tull Convention. It has even graced a stage with Ian Anderson at one of those conventions. So as with so many things the circle is somehow completed once more.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUY5l7ISS5jyoTDVT1vDraMXadEcZ0gFcDACKWNxOJpjnouPfqgrwxF7fVOQbtgduK2XWww0s0jVW7AVP4j0I1WziK0a9L0K6OUzBMFZiMgh2TMoVSpsUR0KTL5tQBnCjLZQZQhJ0S9U/s1600/JG1127a.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUY5l7ISS5jyoTDVT1vDraMXadEcZ0gFcDACKWNxOJpjnouPfqgrwxF7fVOQbtgduK2XWww0s0jVW7AVP4j0I1WziK0a9L0K6OUzBMFZiMgh2TMoVSpsUR0KTL5tQBnCjLZQZQhJ0S9U/s200/JG1127a.jpg" width="150" /></a><b>JG1127 - Theo de Jong's first JG bass</b></div>
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As noted before, Dutch session bassist Theo de Jong is one of the few people to have bought two JG basses from new. His later bass was featured in an earlier blog however, since that, his first has also turned up. However, it's fair to say that it's been through the wars a bit. The current owner, Hans Blok informs us that the neck was replaced at some time in the past because of some sort of structural issues. Indeed, in the photos he supplied the bass seems to be sporting a standard Custom Series style neck. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuRtijGkm_iBwbEQ85UXzdAj1v_fXY_bbhey8YCut18TtT-u1OCLqpdNlEbcnKMzbuaG6nsXgGQWOnTyymeCWtUvJIVhFCxpf18cGfvyAxeVM-XUn8ksXl1fNxLdSJ1dMCbmmcx9m8840/s1600/Theo+JG.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuRtijGkm_iBwbEQ85UXzdAj1v_fXY_bbhey8YCut18TtT-u1OCLqpdNlEbcnKMzbuaG6nsXgGQWOnTyymeCWtUvJIVhFCxpf18cGfvyAxeVM-XUn8ksXl1fNxLdSJ1dMCbmmcx9m8840/s640/Theo+JG.jpg" width="458" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Promo shot from the 1970s or Theo playing his bass</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVb0p3biS0CMvZWEYIRGo7rthxA5sStL3aJoR555UdU4UuCJqEsFOcQncb5hgdnXPLGyJWwGQ_KvXLkrYjuX0Sz5bGaLS1AYYMgRQjhTjbpCHjJBE4wi3sAyMtYOsu0WMThtpromYeysM/s1600/JG1114f.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVb0p3biS0CMvZWEYIRGo7rthxA5sStL3aJoR555UdU4UuCJqEsFOcQncb5hgdnXPLGyJWwGQ_KvXLkrYjuX0Sz5bGaLS1AYYMgRQjhTjbpCHjJBE4wi3sAyMtYOsu0WMThtpromYeysM/s320/JG1114f.png" width="240" /></a><b>JG1114 - Pete Hurley from Lone Star's JG bass</b></div>
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Something of a footnote in the history of 1970s rock, Lone Star (not to be confused with the similarly named US country band) were a Welsh hard rock band who, perhaps, never quite achieved the level of acclaim which they deserved. Perhaps most notable for containing within their ranks, Paul "Tonka" Chapman, most well known for spells in British metal band UFO. Active between 1975 and 1978 their bassist for their heyday was Pete Hurley. <br />
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After Lone Star split up, other than playing for Van Morrison on a couple of albums, Hurley somewhat fell off the map. He still plays around the Welsh rock circuit in the band, The Red Hot Pokers. However, in 1977 he had the good taste and discernment to order a very early JG bass. Only the fourth long scale JG to be built, JG1114 displays many characteristics of the earlier JGs. Most notably, the neck does not feature the mukulungu stringers introduced a few basses later.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutuBRDeBnWLZ5x89ThNbkxUCqZz5NpkaXRbkwnATkn47VS1JmeaghTT8GNlm4OJiuSgkmnoW8AccD9WqZ7r-PadZ5HAcXteK_HddHRkEb1hK3A-Ik34J9j55VEM-zT_gPd0KN7R7hFOk/s1600/JG1114d.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutuBRDeBnWLZ5x89ThNbkxUCqZz5NpkaXRbkwnATkn47VS1JmeaghTT8GNlm4OJiuSgkmnoW8AccD9WqZ7r-PadZ5HAcXteK_HddHRkEb1hK3A-Ik34J9j55VEM-zT_gPd0KN7R7hFOk/s320/JG1114d.png" width="320" /></a>The JG Bass order list suggests that JG1114 was originally a natural finish. However, it now sports a dark reddish-brown stain. Either this reflects an error on the order sheet, a late change in the required finish or a later re-spray. </div>
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Whatever the truth is, it will probably remain shrouded in history.<br />
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<div class="bi6gxh9e" data-block="true" data-editor="3hsto" data-offset-key="bthh1-0-0" style="background-color: white; color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; font-size: 15px; margin-bottom: 8px; white-space: pre-wrap;"><div class="_1mf _1mj" data-offset-key="bthh1-0-0" style="direction: ltr; font-family: inherit; position: relative;"><span data-offset-key="bthh1-0-0" style="font-family: inherit;"><b>EDIT:</b> Just discovered this clip of an early JG being used live by the short lived Welsh band, Lone Star (not to be confused with the US country band)...
He's hidden away at the back on the right but Pete Hurley is playing his JG in this BBC OGWT/Live In Concert film of Lone Star from 1977. There are a few blink and you'll miss it shots which clearly show the bass.</span></div></div><div class="bi6gxh9e" data-block="true" data-editor="3hsto" data-offset-key="cs13s-0-0" style="background-color: white; color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; font-size: 15px; margin-bottom: 8px; white-space: pre-wrap;"><div class="_1mf _1mj" data-offset-key="cs13s-0-0" style="direction: ltr; font-family: inherit; position: relative;"><span data-offset-key="cs13s-0-0" style="font-family: inherit;"><br data-text="true" /></span></div></div><div class="bi6gxh9e" data-block="true" data-editor="3hsto" data-offset-key="658i5-0-0" style="background-color: white; color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; font-size: 15px; margin-bottom: 8px; white-space: pre-wrap;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="368" src="https://www.youtube.com/embed/dPrdvpa1uQ0" width="443" youtube-src-id="dPrdvpa1uQ0"></iframe></div></div></div>
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com1tag:blogger.com,1999:blog-7002087831029217694.post-54147896832384807012016-09-14T00:01:00.000+01:002016-09-14T00:01:01.221+01:00JG Special Pt 5: Gallery - JG Basses and their players<div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjMgjjAoa4lEDLiT4v8GxnFXpqtyYTvzDDJuDeDRvUV5ChdkyO-vG7iH6QBNDqCgqrdU6ZVovMAbO_HfkSKn4SCNbzpAibFQZuxLTJKd136Frl_YB8PBe2veTLy-gb3ikA98IraG1PjVo/s640/blogger-image-1980657540.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjMgjjAoa4lEDLiT4v8GxnFXpqtyYTvzDDJuDeDRvUV5ChdkyO-vG7iH6QBNDqCgqrdU6ZVovMAbO_HfkSKn4SCNbzpAibFQZuxLTJKd136Frl_YB8PBe2veTLy-gb3ikA98IraG1PjVo/s640/blogger-image-1980657540.jpg" /></a></div>
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<b>A gallery of JG bass owners...</b></h3>
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Finally, let's just indulge ourselves with a gallery dedicated to some of the great players who have played JG basses over the years. Given the very short production run it's quite a remarkable roster that reflects how well known and well respected Ian Waller and Pete Stevens were with the musical elite of the 1970s, even in these early days.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4PuZrB2pip0OX4cWPiLZVPrXUsA5sknHGM3R6NgUNWAP9NtFklW83vAv_l34Kk15KP4Vbt4UBLuNn6zM5rGeWKgLkfL3SIkVvE9wSwqacZ-Nn6CYmC_NiBfBLD4RUmEyrRjGLlIBShI/s640/blogger-image-1801563303.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4PuZrB2pip0OX4cWPiLZVPrXUsA5sknHGM3R6NgUNWAP9NtFklW83vAv_l34Kk15KP4Vbt4UBLuNn6zM5rGeWKgLkfL3SIkVvE9wSwqacZ-Nn6CYmC_NiBfBLD4RUmEyrRjGLlIBShI/s200/blogger-image-1801563303.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Gustafson</td></tr>
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JG basses are pretty rare beasts so, of all those made, only a small proportion of the basses are represented here. The photos come from a wide variety of sources... internet pages, screen grabs from YouTube videos and the like so apologies for the variable quality. I promise that, as more and better photos turn up this page will be duly updated... </div>
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So here are a few of the faces who queued up to order their own JG basses from Electric Wood...</div>
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<b>Nigel Griggs - Split Enz</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-gAkbBDAvdfMqxdaL_TC-U72eSpyb6nfGVPXs60MNfaL9MuEiSQyybmWPP56yowwW95bs7zBnJG-Da-osgxQJniqg6UWlWmHdzMz8xxBzkcZnupsByH7Q8VaW9bgcFhTUBMqUYzpEWk/s640/blogger-image-299699818.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-gAkbBDAvdfMqxdaL_TC-U72eSpyb6nfGVPXs60MNfaL9MuEiSQyybmWPP56yowwW95bs7zBnJG-Da-osgxQJniqg6UWlWmHdzMz8xxBzkcZnupsByH7Q8VaW9bgcFhTUBMqUYzpEWk/s400/blogger-image-299699818.jpg" width="253" /></a></b></div>
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<b>Alan Spenner - Roxy Music</b></div>
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<b>John Entwistle - The Who</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfSHPnYy-7XuL8UVJZPfYQFjMWfXqNk-UGuqbQZW-RQesKE94-fBYDSq9B2Lc-XYdviom37vP-Z_Kgptwl2PNqj-xNt31xSJpaERlMV-HAYhzhEhLiMoL_8Ymj_vsJQpHVLf1UKqw52rY/s1600/Entwistle1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfSHPnYy-7XuL8UVJZPfYQFjMWfXqNk-UGuqbQZW-RQesKE94-fBYDSq9B2Lc-XYdviom37vP-Z_Kgptwl2PNqj-xNt31xSJpaERlMV-HAYhzhEhLiMoL_8Ymj_vsJQpHVLf1UKqw52rY/s400/Entwistle1.JPG" width="301" /></a></div>
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<b>Percy Jones - Brand X</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZOKzxAUZ2N3CtWekWIcdEtmgONplXricx7a7TiG0z8p0vT_5-oj3IXqn_kcFqHru9PHxyC6a7O4h5Br5FQ0kFlAZPvVgByvdMntL8cdjjdvLS8P0II5Smfz2jd2r6BN3CrOLKbHHgFYw/s1600/PercyJonesBottom+Line.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZOKzxAUZ2N3CtWekWIcdEtmgONplXricx7a7TiG0z8p0vT_5-oj3IXqn_kcFqHru9PHxyC6a7O4h5Br5FQ0kFlAZPvVgByvdMntL8cdjjdvLS8P0II5Smfz2jd2r6BN3CrOLKbHHgFYw/s400/PercyJonesBottom+Line.jpg" width="400" /></a></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqENZfXll4u31f_pAwMQjxUejJbJYaRiTZq2OKy-OTbm-KIZuisYm-Wnz2Qmqkdu1IH_Hl2Dnk0gDDwkx8gnibggAZCnAHPXXKsJ93JPMPBdHuTRg0fcOHtIC2p2S8ouKwLbICe5TfyRc/s640/blogger-image-436807386.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqENZfXll4u31f_pAwMQjxUejJbJYaRiTZq2OKy-OTbm-KIZuisYm-Wnz2Qmqkdu1IH_Hl2Dnk0gDDwkx8gnibggAZCnAHPXXKsJ93JPMPBdHuTRg0fcOHtIC2p2S8ouKwLbICe5TfyRc/s400/blogger-image-436807386.jpg" width="400" /></a></b></div>
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<b>Gary Tibbs - Roxy Music</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2j3DRycyE8TOMUJtHs92dT8KuiqKcOEt_BY50foATAvVnGYm3oeCm4ZIkL7PuHmb5zo6I2d69o7ytQadq0IMaw_2kKsiBUYDumRlGquwB3OZZlOZaDFE1Ry0cTI6-1K2zJXb5KwDd9V8/s640/blogger-image--496651008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2j3DRycyE8TOMUJtHs92dT8KuiqKcOEt_BY50foATAvVnGYm3oeCm4ZIkL7PuHmb5zo6I2d69o7ytQadq0IMaw_2kKsiBUYDumRlGquwB3OZZlOZaDFE1Ry0cTI6-1K2zJXb5KwDd9V8/s400/blogger-image--496651008.jpg" width="400" /></a></b></div>
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<b>Theo de Jong - Kayak and Toots Theilemans </b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQEPkewXt3nM7QHM8JAPAMx8XqHlvLYzh2Sprtr7P6FJUYD-PJc7xUnsj3BmiIsHgQKhpJMw6Fw9unS2iYG_tPYh8q-7eKOw3vJnIHIGYRWkYtAedayiOpSsvsuXvUB3wbXFLpK_weV_0/s640/blogger-image-2126884547.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQEPkewXt3nM7QHM8JAPAMx8XqHlvLYzh2Sprtr7P6FJUYD-PJc7xUnsj3BmiIsHgQKhpJMw6Fw9unS2iYG_tPYh8q-7eKOw3vJnIHIGYRWkYtAedayiOpSsvsuXvUB3wbXFLpK_weV_0/s400/blogger-image-2126884547.jpg" width="386" /></a></b></div>
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<b>Paul Simenon - The Clash</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAwqKj_OzzPaJTw_MtsRFNYtRyzBuzZVx0IR2E_BHv1cajouh9_efSm1Dvp0VNw7in2FpT3N9t48P_Awh95AsuaTdT12Sg_jJ73UaWz4ZRqoj_fGfvQLpdUf2kPNgem6lZtt5JcJmjo20/s640/blogger-image--2023214131.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAwqKj_OzzPaJTw_MtsRFNYtRyzBuzZVx0IR2E_BHv1cajouh9_efSm1Dvp0VNw7in2FpT3N9t48P_Awh95AsuaTdT12Sg_jJ73UaWz4ZRqoj_fGfvQLpdUf2kPNgem6lZtt5JcJmjo20/s400/blogger-image--2023214131.jpg" width="400" /></a></b></div>
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<b>Leigh Gorman - Bow Wow Wow</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCCNlTBfTm2d_AP9KBc807aVHzBVgKXObWB7teNvsmEd1KjVa7Ir3UzKgB_kUa7QxcUTk9GXDpGxTwYU1d-cXnlwk-1_DyBVbZ9AEqWE42PXNvRKE9kOg-L0PKBzFkhOJYGnquALJH3mg/s640/blogger-image--307757947.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCCNlTBfTm2d_AP9KBc807aVHzBVgKXObWB7teNvsmEd1KjVa7Ir3UzKgB_kUa7QxcUTk9GXDpGxTwYU1d-cXnlwk-1_DyBVbZ9AEqWE42PXNvRKE9kOg-L0PKBzFkhOJYGnquALJH3mg/s400/blogger-image--307757947.jpg" width="281" /></a></b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUO3WkbrFYd6q97GlEH1B2Fv0LzCeAK_F1w2bmz7bcF6YEZ0W4c2LoMeN7Bwgw_RSX0-tvsSp3sdhrGrLtctp_bvL1Lif0C5Tq3vIUAlzdPw369TcWSMx-3tXHH034lDTUWxAr7_ob25k/s640/blogger-image-510205683.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUO3WkbrFYd6q97GlEH1B2Fv0LzCeAK_F1w2bmz7bcF6YEZ0W4c2LoMeN7Bwgw_RSX0-tvsSp3sdhrGrLtctp_bvL1Lif0C5Tq3vIUAlzdPw369TcWSMx-3tXHH034lDTUWxAr7_ob25k/s400/blogger-image-510205683.jpg" width="400" /></a></b></div>
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<b>John Gustafson - Ian Gillan Band, Gordon Giltrap and others...</b><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1CWNsBB2vAy83AgUZziOglgKt3iE5o9UIEirRzXtcNqNPx9qTm6jCTnhcAdcOZD0fTSAryeme44cvgxDudkDGQlGlUHCUXpcd9upRygAE_pPStdXW04PVjhUUfkzPTCuT-SBFO-G1Bg/s1600/jg77.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1CWNsBB2vAy83AgUZziOglgKt3iE5o9UIEirRzXtcNqNPx9qTm6jCTnhcAdcOZD0fTSAryeme44cvgxDudkDGQlGlUHCUXpcd9upRygAE_pPStdXW04PVjhUUfkzPTCuT-SBFO-G1Bg/s400/jg77.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JG recording with the Ian Gillan Band in the late 70s</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggfVmwV4c28KYXtBcSB2nf373nlcIV_2rQk0EoORiuONvjuOee7SQOcqJyMaG7oLd194mTdH-6R3yXVfwJT34hJYxxzVPSZvDRBE2Gd46IT2odxMiwbMexTxO35jooDns_hg4I1DiPNt8/s1600/JohnGus1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggfVmwV4c28KYXtBcSB2nf373nlcIV_2rQk0EoORiuONvjuOee7SQOcqJyMaG7oLd194mTdH-6R3yXVfwJT34hJYxxzVPSZvDRBE2Gd46IT2odxMiwbMexTxO35jooDns_hg4I1DiPNt8/s400/JohnGus1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JG back in the studio with his beloved JG bass some two decades later</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxEC933nfRp6Xc-dTD3aLl_laXsVOU60NYuTnogASceXejHgDjjuezDgaOgMbC7nuY7jIoIi07FXDsfM4lRLY3uQ48LUFADX41Yla17UvD_zjfNjbALyXmRe64dJqiqDtvusAmatQ61g/s1600/GG-JG2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxEC933nfRp6Xc-dTD3aLl_laXsVOU60NYuTnogASceXejHgDjjuezDgaOgMbC7nuY7jIoIi07FXDsfM4lRLY3uQ48LUFADX41Yla17UvD_zjfNjbALyXmRe64dJqiqDtvusAmatQ61g/s400/GG-JG2.jpg" width="400" /></a></div>
Of all the JG players the richest photo record is probably of John Gustafson - JG himself. A few years ago my dear friend <a href="http://www.giltrap.co.uk/" target="_blank">Gordon Giltrap</a> (for whom JG was a sidesman for several years in the late 70s) sent me the original negatives of a host of photos of his band in concert. Scans of the prints taken from those negatives are included here. For that I am eternally grateful to Gordon and it is a pleasure to share them here.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIESHQtQdjlnsIWh1lKmh41r9pyy5RcxEptaPNn9twzLo_ktYfiHo2hI6PFYpJ-7QlZLyrPy05kLK1swrIGO86gAOLXtyVi-_dY3Uk3_IL6TlJJyFlGd9XHo6A_-NVWTJsAv99sof6o6U/s1600/GG+Live+at+Oxford.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIESHQtQdjlnsIWh1lKmh41r9pyy5RcxEptaPNn9twzLo_ktYfiHo2hI6PFYpJ-7QlZLyrPy05kLK1swrIGO86gAOLXtyVi-_dY3Uk3_IL6TlJJyFlGd9XHo6A_-NVWTJsAv99sof6o6U/s200/GG+Live+at+Oxford.jpg" width="200" /></a></div>
John Gustafson's amazing playing on his JG basses is particularly showcased on Gordon Giltrap's "Live at Oxford" album. </div>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-31761397743756439462016-09-07T00:01:00.000+01:002016-09-07T00:01:00.174+01:00JG Special Pt 4b: Gallery - "Mk 2" JG Basses - the later models<div>
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<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">JG1147 - Gary Tibbs' JG Bass</span></h3>
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JG1148 - Theo de Jong's second JG bass</h3>
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Our last two JG basses are a couple of celebrity specials and represent some of the latest JG basses to be made. Certainly they are the last two conventional JG basses to be detailed on the Wal bass order sheet. This also confirms that they were the last two of the batch of basses being built in February 1978. </div>
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That period began to see the start of the transition towards what became the Pro Series bass. That "production model" carried forward many of the characteristics of the JG bass and one of today's basses shows an interesting transitional quirk.<br />
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<b>JG1147 - Gary Tibbs' JG Bass</b></div>
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Towards the end of the 1970 bass duties in Roxy Music were largely shared across two players. Alan Spenner and Gary Tibbs. Tibbs must have been impressed with Spenner's JG bass as, in 1978, he ordered his own.</div>
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Clearly the "horticultural" nature of the scratchplate on Spenner's bass was a step too far for Tibbs in an era still reeling from the emergence of punk. On Tibbs' bass the leather scratchplate is still present but, this time, is a tasteful plain black. Tibbs did order a whistle and bell as a this bass boasts both the dual output and the small Pick Attack switch on the scratchplate. The plain scratch plate and natural finished ash body make for a striking yet understated bass.</div>
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The photos here were first published on the (now sadly defunct) Bunnybass website and are used by permission.<br />
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<b>JG1148 - Theo de Jong's second JG bass</b></div>
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Not many people have had the luxury of owning two JG basses. Dutch bass player, Theo de Jong (best known as bassist for Dutch vocal group, Kayak, and for the late jazz harmonica virtuoso, Toots Theilemans) was one of that rare breed. De Jong's first JG, JG1127, seems to have been a fretless according to the videos online of him playing with Theilemans. Wear and tear on the Wal JG orders sheet means the the order specs aren't quite clear. However, what is clear is that he liked the bass enough to want to complete the set with a fretted version - JG1148. A quick look in the neck pocket leaves on doubt as to whom this bass was destined for... Theo's name is scrawled there in biro.</div>
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This bass came to light in the wake of interest sparked by the sale of JG1117 on eBay when current owner, Frank Stropak, shared some photos on the Wal fan page on Facebook. He commented, "I took some pics of my Wal, JG1148. Passive, the bass has a very dark round organic sound, I think the pots and switches are the original ones, still working great."</div>
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In terms of specs the bass is pretty standard (as far as the specs of a JG bass can ever be considered "standard"). Ash body in a natural gloss finish, decorated leather scratchplate, laminate bolt-on neck... The bass features the twin outputs (unbalanced jack and transformer balanced XLR DI) with the innovative signal routing options on the XLR. As an aside I've often wondered how many people ever actually used this option to run effects pedals back through the bass and out through the DI. Certainly when the Pro Series basses became available this was an optional extra rather than a standard feature.</div>
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There is one little conundrum posed by the bass... The neck, which raises some interesting questions. Frank commented on this, "The fretboard has been replaced by a previous owner, and I think the neck has been replaced in the late seventies." Certainly there are things about the neck that don't add up. Not that this implies something dubious, rather it points up the little quirks and consistencies which make the history of Wal basses so interesting. So, let's look at the headstock... Unlike the other JG series basses this one sports a Pro Bass transfer. However, it still has the plain maple facing which characterises the JG basses. So was this a replacement neck? I prefer to believe that it is merely one of the transitional anomalies which creep up between the difference series of Wal basses. There are several very early Custom Series basses which still have PB serial numbers. I've even seen the odd late Pro/early Custom bass which is a Custom series in pretty much every respect but still has a Pro bass style large paddle headstock. </div>
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We may never know the complete truth but either option seems perfectly plausible.</div>
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Again, Frank has provided us with a host of photos of the bass to enjoy and a which really showcase the beauty of his bass in close detail both inside and out.</div>
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<tr><td class="tr-caption" style="text-align: center;">A handsome beast!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The built-in DI box...</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8uPpDMNVNC9AScZYjn55Ah9FQWy5DWwrIdagfvKDHcVYdsiiZ5Ke12x17WgWvM35hDr4C1IfvfEayjPTmQlm8j4mtYk17ncB2NxU9P8FErsgY9g5fabrDU6mOAofRe2cqmry-RNr63R8/s1600/IMG_20160708_202059.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8uPpDMNVNC9AScZYjn55Ah9FQWy5DWwrIdagfvKDHcVYdsiiZ5Ke12x17WgWvM35hDr4C1IfvfEayjPTmQlm8j4mtYk17ncB2NxU9P8FErsgY9g5fabrDU6mOAofRe2cqmry-RNr63R8/s400/IMG_20160708_202059.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A close-up of the pickup and series/parallel switch</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIZkkyEjfU2QfQMDnJnRdOSvoNKoyterxBCTn7XnMF88NOdlDGtPkwl6HvzRm1P-3w9qaNQh4UE_1ZX0bqrhRHSf4MXnFhJdnU__FxUnbyAdKSojLAWYSg4yVYcWK9N6PV3-5FWnjMj0I/s400/IMG_20160708_202211.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pick-up selector switch...</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO432WbE2cxA8Eh72aC7Mk_s6uOD-Z7HUkXbu7jX1GsV4DeKDk1NKyAXpzkRzoghzhhQWFs9Ne3H35YvX9-KHfRWktAabxL_3CswIkFBz4Kc327O5HdsEgc88_rfFYMMZr1K_PpE6lOLM/s1600/IMG_20160708_204145.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO432WbE2cxA8Eh72aC7Mk_s6uOD-Z7HUkXbu7jX1GsV4DeKDk1NKyAXpzkRzoghzhhQWFs9Ne3H35YvX9-KHfRWktAabxL_3CswIkFBz4Kc327O5HdsEgc88_rfFYMMZr1K_PpE6lOLM/s400/IMG_20160708_204145.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">...which looks rather less "agricultural" the right side up!</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MsJp7dbuDjO5dJ2YZ8LFkSIAC2d01hDksZjJVnyOWohECm56RK8NsbTwGP2lq-f12wVBi5j1p7R-FFhrTkQ-MZm4_5d6hw-IaC7DezQUuVWZYmvbWqUEOy-VgA7cIlL7joPjL8uVGOI/s1600/IMG_20160708_203329.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MsJp7dbuDjO5dJ2YZ8LFkSIAC2d01hDksZjJVnyOWohECm56RK8NsbTwGP2lq-f12wVBi5j1p7R-FFhrTkQ-MZm4_5d6hw-IaC7DezQUuVWZYmvbWqUEOy-VgA7cIlL7joPjL8uVGOI/s400/IMG_20160708_203329.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All the controls are coloured to match in a fetching oxblood colour</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIXYr1-gJxx9V0jhFTzBR3eTp8le1ESD4O6xzb48JuLhBLfC8GdvyoYTzv35agnpv4kZk6DezD-WjUkaFi_akvaY7R0xTxSNnb21nTXnHidLAafJjqeHRvex3b_lMExzS8CKeyhpWcec/s1600/IMG_20160708_203116.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIXYr1-gJxx9V0jhFTzBR3eTp8le1ESD4O6xzb48JuLhBLfC8GdvyoYTzv35agnpv4kZk6DezD-WjUkaFi_akvaY7R0xTxSNnb21nTXnHidLAafJjqeHRvex3b_lMExzS8CKeyhpWcec/s400/IMG_20160708_203116.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Output and switching options way beyond its time...</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYvtwHYRAioGKMMI8Zpc5225JxT7J-GJmmvG3zJmo9vSAgN3eHnPZgvynP4-zmC7PPV7OMx8pf-Yku077LVbnov4bmIMs6zRill-9BeaU8wsyOvb81NsF3vG85U5KQ-L2dtl_vBZ51rWg/s1600/IMG_20160708_202910+-+Copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYvtwHYRAioGKMMI8Zpc5225JxT7J-GJmmvG3zJmo9vSAgN3eHnPZgvynP4-zmC7PPV7OMx8pf-Yku077LVbnov4bmIMs6zRill-9BeaU8wsyOvb81NsF3vG85U5KQ-L2dtl_vBZ51rWg/s400/IMG_20160708_202910+-+Copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Conundrum... Maple faced headstock but with "Pro Bass" logo...</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO-qrN_-V8zVI_b-9F_lqJvKetYQpWIzdOaXFWlDQWg3XJyaeaGJBmEm9a8bcVZ2ne50Gh4I_cKG9TS5OTEUpVBIIN7Asp06nC4n5QnYPk2CWV7iDA4k39Bi3GoodiRUgIRZuY32Ayh8A/s1600/IMG_20160708_203614.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO-qrN_-V8zVI_b-9F_lqJvKetYQpWIzdOaXFWlDQWg3XJyaeaGJBmEm9a8bcVZ2ne50Gh4I_cKG9TS5OTEUpVBIIN7Asp06nC4n5QnYPk2CWV7iDA4k39Bi3GoodiRUgIRZuY32Ayh8A/s400/IMG_20160708_203614.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">And standard laminated rear to the headstock.</td></tr>
</tbody></table>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-68519057180327247632016-08-31T00:01:00.000+01:002016-08-31T00:01:00.164+01:00JG Special Pt 4a: Gallery - "Mk 2" JG Basses - the later models<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEFqvmLO4mUHGxyAa-K5VREmkkvHjeORYkbL4u6KogZ7ynPSfAmABhw72Cs5I_nWgm1zdwXlSxx67KcI9IX0jUVm3zURIEBlo_EeXd08JkZN3GUDRV8f65jAjvbpSHAJtu3rGnZj8NlHg/s1600/JEntwistleWal4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEFqvmLO4mUHGxyAa-K5VREmkkvHjeORYkbL4u6KogZ7ynPSfAmABhw72Cs5I_nWgm1zdwXlSxx67KcI9IX0jUVm3zURIEBlo_EeXd08JkZN3GUDRV8f65jAjvbpSHAJtu3rGnZj8NlHg/s320/JEntwistleWal4.jpg" width="320" /></a></div>
<h2 class="BodyA">
<span lang="EN-US"></span><span lang="EN-US"></span><span lang="EN-US">JG1128 - John Entwistle's fretless JG bass</span>
</h2>
<h2 class="BodyA">
<span lang="EN-US">JG1145 - “Snotburst” JG</span></h2>
<br />
<h2>
</h2>
<span lang="EN-US">In the second and third of the JG bass
galleries as part of this special feature we'll take a close look at some of
the later JG basses which were produced by Wal in late 1977 and through 1978.
These are marked on the JG bass order sheet as being "Mk 2" versions.
The changes in the basses are subtle but significant and set out the firm
template for the Pro Series basses. All the elements are there - the multi-laminate
neck and paddle headstocks (although some sported a fancy facing veneer), the
distinctive chromed bridge, humbucking pickups and stratchplate shape. Check
out the previous posts for the fuller specs.</span>
<br />
<div class="BodyA">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEFeqcmko3OYO0jYWHNG53Z1SYPl5X1nynnXYNjjO5YefqcPhyphenhyphenw1og9Jy55sdNigZfnQ7nN9akNTvhuekFN3Xl8_I8MH5b5zBm6ONv5kmJi_khyphenhyphenu9_dTkFBnMkpFbjdFBNeHQ1fiCUc08/s1600/IMG_0899.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEFeqcmko3OYO0jYWHNG53Z1SYPl5X1nynnXYNjjO5YefqcPhyphenhyphenw1og9Jy55sdNigZfnQ7nN9akNTvhuekFN3Xl8_I8MH5b5zBm6ONv5kmJi_khyphenhyphenu9_dTkFBnMkpFbjdFBNeHQ1fiCUc08/s320/IMG_0899.JPG" width="240" /></a></div>
<div class="BodyA">
<span lang="EN-US">So we've got a few real celebrity basses to
share in these blogs... John Entwistle, Gary Tibbs plus a couple of other
beauties... Two of the featured basses are very late models - one so late it
already has a Pro Bass decal on the headstock. But it is still 100% JG series.
These came to light when their current owners shared photos on the Facebook Wal
fan page after JG1117 was put up for auction. Despite the heady final bid which
that bass attracted (£7,400!) they were both very clear that their JG basses
were definitely NOT for sale!</span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">So let's just work our way through in numerical
order...</span></div>
<div class="BodyA">
<br /></div>
<br />
<h3 class="BodyA">
<span lang="EN-US"><a name='more'></a>JG1128 - John Entwistle's fretless JG bass</span></h3>
<div class="BodyA">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-quXC6FosPg7X3389fo2y9qMgZh7NfIY5GB_mjDXckcQj6PH-HtInU4yH4oqO7o4dhVoa1JoTRfs7bldO45Uz_hiGWrfaYH2GLZ1SrccwDAMQhnj7auciycP9nD1tQmJFypxV_i9lRs/s1600/JEntwistleWal1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-quXC6FosPg7X3389fo2y9qMgZh7NfIY5GB_mjDXckcQj6PH-HtInU4yH4oqO7o4dhVoa1JoTRfs7bldO45Uz_hiGWrfaYH2GLZ1SrccwDAMQhnj7auciycP9nD1tQmJFypxV_i9lRs/s320/JEntwistleWal1.jpg" width="121" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMS58-nz6I41lCRvBzcPpU33crgbdzUtParPvzpmnbFVMdFWQkzEmUYIygiqS_MuO3cjHE6oaIxR2036oBOGRwF5IGHv-zAhL5AeyzBiPiMAPVay6yyy36GLzngx97tGUnnRMUpiZ9Jd4/s1600/JEntwistleWal5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMS58-nz6I41lCRvBzcPpU33crgbdzUtParPvzpmnbFVMdFWQkzEmUYIygiqS_MuO3cjHE6oaIxR2036oBOGRwF5IGHv-zAhL5AeyzBiPiMAPVay6yyy36GLzngx97tGUnnRMUpiZ9Jd4/s320/JEntwistleWal5.jpg" width="130" /></a><span lang="EN-US">John Entwistle's fretless JG bass is featured
elsewhere in this blog but well worth revisiting. John was a well-known bass
collector so it's not surprising that some Wals ended up in this collection.
After his untimely death in 2002 the JG was one of the basses included in the
famed Sotheby's auction of some of his extensive collection. Complete with the
characteristic leather tooled scratchplate which typified the design it is a
typical later model JGs. It now resides in Arizona in the collection of bass
and Wal enthusiast Mike Gutierrez.<span style="mso-spacerun: yes;"> </span>As a
professional sports and music memorabilia appraiser and a contributor to the US
version of the Antiques Roadshow he's well placed to spot a good deal when he
sees one. Bearing in mind the price which JG1117 achieved in the recent eBay
auction he picked it up for a song...<span style="mso-spacerun: yes;">
</span>the bass went for only £2040! A bargain even without the exceptional
provenance!</span></div>
<div class="BodyA">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc-jRVSXgIgbvCOt3lJWRY9Qask0uvKuofqZTtjnveBR-s8AYqrwj6ANQjCtaJl27FpCrqHj8CgYmVVvlbxXchpq9jULAoayVANSeIvJsoTc5VT40o-a3fAF2tRXvE-amPON0npvdjgjs/s1600/JEntwistleWal8.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc-jRVSXgIgbvCOt3lJWRY9Qask0uvKuofqZTtjnveBR-s8AYqrwj6ANQjCtaJl27FpCrqHj8CgYmVVvlbxXchpq9jULAoayVANSeIvJsoTc5VT40o-a3fAF2tRXvE-amPON0npvdjgjs/s200/JEntwistleWal8.jpg" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRgdqa0vgtbBgxnF7_KwGVbwW_LGzHIozvzK4AwHePxHySI2jKoGx_Q5pm0Ue_DQsKXpfU2grlM3kIpA1J3SczUiqBBOv4-GXM7oTlbv3urDDykbu9IJ-BZXyKrOY5B8nLa2gyeJplP9Q/s1600/JEntwistleWal7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRgdqa0vgtbBgxnF7_KwGVbwW_LGzHIozvzK4AwHePxHySI2jKoGx_Q5pm0Ue_DQsKXpfU2grlM3kIpA1J3SczUiqBBOv4-GXM7oTlbv3urDDykbu9IJ-BZXyKrOY5B8nLa2gyeJplP9Q/s200/JEntwistleWal7.jpg" width="175" /></a><br />
<div class="BodyA">
<span lang="EN-US">The bass was featured in early Wal
promotional literature, pictured in the Ox's hands... Ironically
it was promoting the Pro Series rather than the JGs!</span></div>
<div class="BodyA">
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<h3 class="BodyA">
<span lang="EN-US"></span></h3>
<h3 class="BodyA">
</h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkSTGbzGxOqftAaH1tsN6jN6cYEgHnbqS_6imfKSCCgvf1FCkSUPmZVkU0RLcOx4gTUoRxmW_QIlMrYvHssuFnSSgK0IaCZfnVvHz_pYKjAnF4dxHwscnQFE0dE9XRcvqfyr4EoL2Pj8k/s1600/JEntwistleWal2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkSTGbzGxOqftAaH1tsN6jN6cYEgHnbqS_6imfKSCCgvf1FCkSUPmZVkU0RLcOx4gTUoRxmW_QIlMrYvHssuFnSSgK0IaCZfnVvHz_pYKjAnF4dxHwscnQFE0dE9XRcvqfyr4EoL2Pj8k/s400/JEntwistleWal2.jpg" width="323" /></a></div>
<br />
<h3 class="BodyA">
<span lang="EN-US">JG1145- “Snotburst” JG</span></h3>
<div class="BodyA">
<span lang="EN-US">Next up is a bass whose original owner isn't
specified in the Wal order sheet. Neither does the order sheet specify the
rather unusual green finish in which this bass luxuriates. It's certainly an
unusual finish which, if original, suggests that it may be a custom order whose
details were not recorded. Certainly the photos and the comments of the current
owner, Andy Lucey, corroborate that presumption. Let's open up the Wal branded flight case and have a little look...</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVU88gFV-n5Tlowrq4r0sagfpmSCLvV7Uc9jNoKHB3Jm4jTwBzcsNoqkx0Q5o_XVs4_YpJg63pGSjWih__NacztlbB7wZgYrhEowB72ilqcz0r_gO5pyDlwJBIyy-jirxrFM5pT38C4uU/s1600/IMG_0887.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVU88gFV-n5Tlowrq4r0sagfpmSCLvV7Uc9jNoKHB3Jm4jTwBzcsNoqkx0Q5o_XVs4_YpJg63pGSjWih__NacztlbB7wZgYrhEowB72ilqcz0r_gO5pyDlwJBIyy-jirxrFM5pT38C4uU/s320/IMG_0887.JPG" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US">"Just a little background info - I brought
the bass in 2011 from the original owner who lived very close to High Wycombe.
He told me that he'd been a personal friend of Ian Waller and had the bass made
to order in the custom colour that you now see (which earned it the nickname of
'the Snotburst')."</span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">"I've been very careful with the bass and
haven't gigged it but I've spent a fair amount of time playing it at home (I
also have an 80's Mk1 that I'm a little less precious about fortunately).</span></div>
<div class="BodyA">
<span lang="EN-US">In many ways I prefer the JG to the Mk1 - I
feel that it [the JG] gives me a warmer more 'vintage' tone than the Mk1 but it
still retains a classic Wal sound."</span></div>
<div class="BodyA">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINDFmpi0P7eveSfltZgTYj2s9o81DALuqKaKuuQq9iqNf0zIXdoK96NX5K7FRAVkL84eWc92cMsYlnMhtk3aVVjXyCkcnReGk28tWall3r_opRbBooQKhnyjT5v5ARzDlf1bVMhjgQpM/s1600/DSC_0341.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINDFmpi0P7eveSfltZgTYj2s9o81DALuqKaKuuQq9iqNf0zIXdoK96NX5K7FRAVkL84eWc92cMsYlnMhtk3aVVjXyCkcnReGk28tWall3r_opRbBooQKhnyjT5v5ARzDlf1bVMhjgQpM/s400/DSC_0341.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlWvPD5QqRJm3HzMxxQgOShTglfVXlqdTQ978nSFgZ0zVL2MCucSO9UXanZ8SktXdiIE_i969C5gQLt1LzmcdWOyKhSEmX_KA28Mo4s9ylA7SzVxBeIBEnZY7LIPNudpQPU3HBg6QtWJU/s1600/IMG_0904.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlWvPD5QqRJm3HzMxxQgOShTglfVXlqdTQ978nSFgZ0zVL2MCucSO9UXanZ8SktXdiIE_i969C5gQLt1LzmcdWOyKhSEmX_KA28Mo4s9ylA7SzVxBeIBEnZY7LIPNudpQPU3HBg6QtWJU/s320/IMG_0904.JPG" width="240" /></a></div>
<div class="BodyA">
<span lang="EN-US">That "snotburst" really is a striking
finish (no wonder it never made it onto the Pro Series list of standard
finishes). And that affectionate appellation is so typical of the type of
comment Pete and Ian might come up with.<span style="mso-spacerun: yes;">
</span>However, like all translucent stains, it does show off the beautiful
grain patterns in the ash body as it winds around the curves and contours of
the bass.</span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">The detailed photos provided by Andy really do
give a great opportunity to examine the JG bass marque close up. So let's open
up the Wal flight case and see what we have before us...</span></div>
<div class="BodyA">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTN9Budh64arc08QFfMSo-EW77qqAVM2I_JMil7lD45xQZuvNjr8vqiZjZoix6lLJPIvaCN-S-k6wtYsva2kLbdIn9J7ytyXhrUwTSoIMWVPZH2I-0oJOjgy7OL42MujUPxgAHk0RNWOI/s1600/IMG_0882.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTN9Budh64arc08QFfMSo-EW77qqAVM2I_JMil7lD45xQZuvNjr8vqiZjZoix6lLJPIvaCN-S-k6wtYsva2kLbdIn9J7ytyXhrUwTSoIMWVPZH2I-0oJOjgy7OL42MujUPxgAHk0RNWOI/s320/IMG_0882.JPG" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US">The headstock shows up a couple of interesting
points of detail. First is a typically Wal-going-the-extra-mile feature. The
bass features the now familiar multi laminate neck. However, the headstock is
faced with a book-matched maple veneer to give a smooth finish to the front of
the bass. </span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">Also visible are the new style string trees
which were carried over into the Pro series. Here finished in an oxblood colour,
to match the control knobs, they neatly create the requisite break angle over
the nut and retain a straight string pull to the chunky Schaller machine heads.
Compare with the much less "designed" Fender type string trees on the
Entwistle JG above.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1cgCFPp_-nBq83ECTl9YAYHDxmXi9JkZVhjbLhkBTB8MopuLMZzjShAk4Gox_RusV8sEBkCpezdUGK1-tKNUrCA1G9SHGUoAtYpHBcGeTIptxCjuRRIuCm-IFwN7CAm_IY2jPo1_V9z4/s1600/IMG_0661.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1cgCFPp_-nBq83ECTl9YAYHDxmXi9JkZVhjbLhkBTB8MopuLMZzjShAk4Gox_RusV8sEBkCpezdUGK1-tKNUrCA1G9SHGUoAtYpHBcGeTIptxCjuRRIuCm-IFwN7CAm_IY2jPo1_V9z4/s320/IMG_0661.jpg" width="320" /></a></div>
<div class="BodyA">
<span lang="EN-US">The neck sports a rosewood fingerboard with dot
inlays, the twelfth fret having a cute trio of side dots. This was a common
feature across a lot of the JG series. The heel of the neck shows how it was
carefully shimmed to ensure proper alignment, a common luthier's practice.</span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">Coming down to the body, the leather-tooled
scratch plate and twin humbuckers are present and correct. The series/parallel
dip switches are clearly visible on the mounting rings.</span></div>
<div class="BodyA">
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<div class="BodyA">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGu77oRByly1kcuyl2cQepg0eFfX93z7xsTk2elj5nq3exs03e3uR5arMA95aQ5EQN0g0CiGHnwERqH6FZQVjHfXj5yxiHB6wALiRNkQ9Eu63Iju_gYl2Rf35VVdWVmYXLiov_3icZbA/s1600/IMG_0881.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGu77oRByly1kcuyl2cQepg0eFfX93z7xsTk2elj5nq3exs03e3uR5arMA95aQ5EQN0g0CiGHnwERqH6FZQVjHfXj5yxiHB6wALiRNkQ9Eu63Iju_gYl2Rf35VVdWVmYXLiov_3icZbA/s320/IMG_0881.JPG" width="320" /></a><span lang="EN-US">On this bass the selector switch and control
knobs are a rather fetching oxblood brown. Close examination shows that unlike
the Pro Series knobs which include an unused number 11, these knobs go up to
12! To misquote Nigel Tuffnel, "That's TWO more, innit?!" </span></div>
<br />
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">The bass features the dual balanced and
unbalanced outputs developed by Wal for these basses, the XLR output being fed
by a neat little passive transformer DI nesting under the scratchplate.</span></div>
<div class="BodyA">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuFEtbD3UOmLFHEEzuegDS4hNVdOTTruxYsMtX_yeUqSq3qgvVh5fnEkYOtzVdj2AcxtJuXc52CFuwjEwdHaIviPUSOzqmjAE1lrBgZI7RJSyEE3n1lhhgDIhDWUmq3DpTsA7AoZb8Vuo/s1600/IMG_0892.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuFEtbD3UOmLFHEEzuegDS4hNVdOTTruxYsMtX_yeUqSq3qgvVh5fnEkYOtzVdj2AcxtJuXc52CFuwjEwdHaIviPUSOzqmjAE1lrBgZI7RJSyEE3n1lhhgDIhDWUmq3DpTsA7AoZb8Vuo/s320/IMG_0892.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Series/Parallel switches in the mounting rings </td></tr>
</tbody></table>
<div class="BodyA">
<span lang="EN-US">Lifting the scratchplate really allows us to
examine the truly innovative design that went into these basses. The printed
circuit wiring run on the back of the scratchplate is clearly visible, and so
very elegant. </span></div>
<div class="BodyA">
<br /></div>
<div class="BodyA">
<span lang="EN-US">There is no doubt about it... These basses were
beautifully designed, expertly built and way, way ahead of their time! The perfect
example of great British innovation and guitar building!</span></div>
<div class="BodyA">
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<div class="BodyA">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHltHTRlBnJAPP82wXk3dtOYTUuqK0slOJT6t6KfOtjjbNtAF9ei2XDoMaUdfvvz7iKGgYuEhO7CeXqVktC6dv8GI8nVT5rckV2PEpLZ1D4oUGELWTrpKoIkvpB5Fxcm2BuWuPLQS7mHE/s1600/IMG_0653.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHltHTRlBnJAPP82wXk3dtOYTUuqK0slOJT6t6KfOtjjbNtAF9ei2XDoMaUdfvvz7iKGgYuEhO7CeXqVktC6dv8GI8nVT5rckV2PEpLZ1D4oUGELWTrpKoIkvpB5Fxcm2BuWuPLQS7mHE/s400/IMG_0653.jpg" width="400" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtj0KIEcLxfPacXzfMKt9vHEeHfAnE7qs4d-YefTM1wRr_GKuvbt3FTIwEeeHJSaZ4V7S6v8yZ7XyvPG0wjeY0Bs8kmIfPbIc1uc7lBP2mU8kVGYmD0kZ3NfEb-4OXSydydjXdSHLavE4/s1600/IMG_0657.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtj0KIEcLxfPacXzfMKt9vHEeHfAnE7qs4d-YefTM1wRr_GKuvbt3FTIwEeeHJSaZ4V7S6v8yZ7XyvPG0wjeY0Bs8kmIfPbIc1uc7lBP2mU8kVGYmD0kZ3NfEb-4OXSydydjXdSHLavE4/s400/IMG_0657.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The neat little integrated balanced DI box feeding...</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCGVF_CbfDuS3ojzzhYBlh-CFGI3alcrOmlXCwzH1KAdbyBLv9vOKw401Os701YmXJ3c3_E-06FibCH_wiqEYCZL4hw_4bQ7x9cj8-UiFp05DPEtjhZ_i5gpWTSVchvZZa_CMYiyPKF4/s1600/IMG_0879.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCGVF_CbfDuS3ojzzhYBlh-CFGI3alcrOmlXCwzH1KAdbyBLv9vOKw401Os701YmXJ3c3_E-06FibCH_wiqEYCZL4hw_4bQ7x9cj8-UiFp05DPEtjhZ_i5gpWTSVchvZZa_CMYiyPKF4/s400/IMG_0879.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">...the balanced DI output alongside the standard jack output<br />
NB the dip switches for earth list and effects routing through the DI</td></tr>
</tbody></table>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-64421867081751660892016-08-24T00:01:00.000+01:002016-09-09T10:46:47.028+01:00JG Bass Special Pt 3: Gallery - "Mk 1" JG Basses - the earlier models<br />
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<h2>
JG1117 - Phillip Knight's JG bass.
</h2>
<h2 class="MsoPlainText">
JG1113 - Pete Zorn's JG bass</h2>
<h2>
</h2>
<div class="MsoPlainText">
<br /></div>
<h3 class="MsoPlainText">
JG1117</h3>
<div class="MsoPlainText">
It's funny how sometimes life stores things up and then
throws them at you in one big lump. Sometimes it's life's woes, sometimes its
blessings and sometimes it's just quirky little happenstances. It was only a
week or so after Martin Elliott had emailed me out of the blue about his
encounter with John Gustafson's JG bass that a post went up on the Wal Facebook
fan page. The post, from bassist Martyn Baker said that he was thinking of
putting his JG bass up on eBay as it was, literally, just gathering dust and
deserved to go to a good owner. The bass eventually sold for a tidy sum -
£7,400 to be precise! A hefty price tag but one that reflects the ownership of
a little bit of bass history.</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
This all caused not a little consternation and discussion
online but also brought a few other owners out of the woodwork to post their
beauties alongside it. More of those other JG basses (both from later in the
short-lived model's run) in a future post. However, JG1117, built in May 1977, offers a good
opportunity to look at what made up a JG bass before Wal and Pete slightly
refined the design after JG1118. </div>
<div class="MsoPlainText">
</div>
<a href="https://www.blogger.com/null" name="more"></a><br />
<div class="MsoPlainText">
Martyn filled in a little background to the bass. He was
the second owner and had owned the bass since the late 1980s. "I have
owned the bass since 1988. After buying it in London I decided to take it up to
the Electric Wood factory in High Wycombe. Ian Waller picked me up from the
station, and set it up perfectly in one afternoon. Such a shame that he died so
so soon after that - he seemed like a really great guy."<a name='more'></a><br /></div>
<div class="MsoPlainText">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXkNT0kV9pjLU5ontApVHFaFu55cvFGgbThjoAfwGsNSzcZ_nmOyJgHiQpDJCTQN7gFvPtttMoOO4VKQxkOt1nsPPLT7rwqoULyDwDwni0Q3AGqE9L5lvN-hDN5uDG0k8bYXQClvCYbhs/s1600/20160629_212011.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXkNT0kV9pjLU5ontApVHFaFu55cvFGgbThjoAfwGsNSzcZ_nmOyJgHiQpDJCTQN7gFvPtttMoOO4VKQxkOt1nsPPLT7rwqoULyDwDwni0Q3AGqE9L5lvN-hDN5uDG0k8bYXQClvCYbhs/s320/20160629_212011.jpg" width="180" /></a></div>
<div class="MsoPlainText">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYpUkxfnOazp53muTx9vo7Km5PEbR5r9lmXOc0hkNCaCZBnVoJPob0rEQkILrvVqwcAdWkd2-NVeZ-7mlrkTSrALaHZ9AfFlLMMOJIHa2EuMzk6Y3PHN-x1QeYe4f0DuMUZ9aieHZOcLY/s1600/20160629_212148.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYpUkxfnOazp53muTx9vo7Km5PEbR5r9lmXOc0hkNCaCZBnVoJPob0rEQkILrvVqwcAdWkd2-NVeZ-7mlrkTSrALaHZ9AfFlLMMOJIHa2EuMzk6Y3PHN-x1QeYe4f0DuMUZ9aieHZOcLY/s320/20160629_212148.jpg" width="180" /></a>The bass was originally built for Peter Knight of
Seahorse (no, me neither) and shows amply how well put together and forward
thinking even these early models were. This one features the dual jack/balanced
DI XLR outputs which were available on the JG series and the series/parallel
switches on the pickup mounting rings. It also features a small switch on the
scratchplate. This is an early version of the "Pick-attack" feature
which adds a small peak to the output in the high-mids. The idea was to allow
finger style players to emulate the attack which you get with a plectrum
without changing their playing style. This also has the beneficial effect of
acting as a presence enhancer, assisting the bass (however played) to cut
through in the mix. You can see the battery compartment for this feature on the back of the bass.</div>
<div class="MsoPlainText">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmphtYzYuVGzs5OJZKJw7aWdV9Gm0Zrk314Yw6WS2ZsEgMkaZsp12TJ7vJrFFedFxZ9t3IGMt-gpdS-VFgBRDUl7OZ-XSY9S__H9HzsUYOHzJwJeIt1a0bM95Z33GDQG_z27Jpc_HZeO4/s1600/20160629_211853.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmphtYzYuVGzs5OJZKJw7aWdV9Gm0Zrk314Yw6WS2ZsEgMkaZsp12TJ7vJrFFedFxZ9t3IGMt-gpdS-VFgBRDUl7OZ-XSY9S__H9HzsUYOHzJwJeIt1a0bM95Z33GDQG_z27Jpc_HZeO4/s400/20160629_211853.jpg" width="400" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Bw2TvRm3u-IY9CsWNs0-cwtJxj09VVSqSK6Zu_j5UHcegf44LAFgxWSYTX72ndcYfiNV18-eUfPaFNM_mzbSjDu-viceUKSHkl7Xp44F7B359RG6NeLzgnnbGNhwSDmjaAGOX4cq2L4/s1600/20160629_211919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Bw2TvRm3u-IY9CsWNs0-cwtJxj09VVSqSK6Zu_j5UHcegf44LAFgxWSYTX72ndcYfiNV18-eUfPaFNM_mzbSjDu-viceUKSHkl7Xp44F7B359RG6NeLzgnnbGNhwSDmjaAGOX4cq2L4/s400/20160629_211919.jpg" width="400" /></a></div>
<div class="MsoPlainText">
It also shows the simpler laminate structure employed for
the neck, missing the mukulungu layers which were added to the necks from
JG1119 onwards. The machine heads employed are the smaller enclosed type of
tuner rather than the more substantial half enclosed Schaller-type used on
later basses.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwN-AL7HURhgLb2tlPlidF1TXPSF21YbJjfY_x71KyXh1kzp1iijNJ8KgdHPzF5xBPwrd-4JlDiQVnwOepVjlvvy3LFNwFrtpxQLpulzaP83l8binVd8tXeHV4A8nosVPJ2WdQvF9Zaw/s1600/20160629_212247.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwN-AL7HURhgLb2tlPlidF1TXPSF21YbJjfY_x71KyXh1kzp1iijNJ8KgdHPzF5xBPwrd-4JlDiQVnwOepVjlvvy3LFNwFrtpxQLpulzaP83l8binVd8tXeHV4A8nosVPJ2WdQvF9Zaw/s320/20160629_212247.jpg" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_4n7wnfzXyilO2aFnL4l-un_KJfei7RCUVZX6hyphenhyphentG-LQYASuS7EqSsZ1VqKtpOx0LC23nupwT0cRRqcvygUmMlYEgXKGEziLjz6HB-Xm0bq2J2byeAX9jT-iI8C3WnhMz4YBX_rbt-Lk/s1600/20160629_212219.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_4n7wnfzXyilO2aFnL4l-un_KJfei7RCUVZX6hyphenhyphentG-LQYASuS7EqSsZ1VqKtpOx0LC23nupwT0cRRqcvygUmMlYEgXKGEziLjz6HB-Xm0bq2J2byeAX9jT-iI8C3WnhMz4YBX_rbt-Lk/s320/20160629_212219.jpg" width="180" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuG9FSNZmuYu9zG9tnoXRFaUxATY6v6KPn1L9tAXYB2yT2LP2-1J6vi_CUmY2SZheiEih33GE0O-32xlfz99C6r-Kg7Zps2LFa5tWX6bDC-rnTKVQLKrCBbnBXK5ihEI-4zGfn2kdTnZo/s1600/20160629_212233.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuG9FSNZmuYu9zG9tnoXRFaUxATY6v6KPn1L9tAXYB2yT2LP2-1J6vi_CUmY2SZheiEih33GE0O-32xlfz99C6r-Kg7Zps2LFa5tWX6bDC-rnTKVQLKrCBbnBXK5ihEI-4zGfn2kdTnZo/s320/20160629_212233.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMLH-GuLaw58MYnUQhgvSpZ9PD4Tfr1tqih91I17EGBvCQUsgcrTNYMGWvaiiBCxgNICMworlX8qBBfLzjYXD9yBZA0UJorUGc_8G-6dze8JbC5LgUBr6jXaMNzA_r3jAYpRLpLwl8mxw/s1600/20160630_114136.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMLH-GuLaw58MYnUQhgvSpZ9PD4Tfr1tqih91I17EGBvCQUsgcrTNYMGWvaiiBCxgNICMworlX8qBBfLzjYXD9yBZA0UJorUGc_8G-6dze8JbC5LgUBr6jXaMNzA_r3jAYpRLpLwl8mxw/s400/20160630_114136.jpg" width="225" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBGC28vXya9pwA8VxxGNNAMaqHWA42BJDHirpGTCU_iPaCDNMvWyS_3HAis-QEdbFBCpjwpDLfxaWnnRGdwT5IkIqfrgg-Xx6DDOLW4QUX3io_Utj-OPIr3Ks3PcrodiN7budQq5vVNE/s1600/20160630_114255.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBGC28vXya9pwA8VxxGNNAMaqHWA42BJDHirpGTCU_iPaCDNMvWyS_3HAis-QEdbFBCpjwpDLfxaWnnRGdwT5IkIqfrgg-Xx6DDOLW4QUX3io_Utj-OPIr3Ks3PcrodiN7budQq5vVNE/s400/20160630_114255.jpg" width="225" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2UOiokxekht4qMBjwmOv-4-c2hFW_WiNEftgBKec0WB78v6IX3TQFycFeW5DTuo5RzeaZr6C0eos23KEAoqR4sYqwPhI8L2noFkxzK5O9zbpr7bqCpZptnLQrAOti4zYN77-ZW_rrUzE/s1600/JG1117+label.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2UOiokxekht4qMBjwmOv-4-c2hFW_WiNEftgBKec0WB78v6IX3TQFycFeW5DTuo5RzeaZr6C0eos23KEAoqR4sYqwPhI8L2noFkxzK5O9zbpr7bqCpZptnLQrAOti4zYN77-ZW_rrUzE/s400/JG1117+label.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finished in May 1977 and signed off by Ian Waller</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqbkaPzBo_M-298py6FZ0NfzSgH9Kl8Nf7fjD3FdzOlhMj_dixGY64MJp6d1rRvqS-u2an0Dv5qHiDvnzDyrwMMC1lot_6CZu5Krllh4a5D79fVzojH4xBu1rV7e47K610V9q4vGjNg5o/s1600/Frank+Zs+Wall+of+Wals.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqbkaPzBo_M-298py6FZ0NfzSgH9Kl8Nf7fjD3FdzOlhMj_dixGY64MJp6d1rRvqS-u2an0Dv5qHiDvnzDyrwMMC1lot_6CZu5Krllh4a5D79fVzojH4xBu1rV7e47K610V9q4vGjNg5o/s640/Frank+Zs+Wall+of+Wals.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JG1117 in its new home hanging around with some Wal friends<br />
(thanks to new owner, Frank Zimmerman, for the photo of his collection and the label above).</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<br />
<h3 class="MsoPlainText">
JG1113</h3>
<div class="MsoPlainText" style="border-image: none;">
<br /></div>
<div class="separator" style="border-image: none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkYjfFzSbq56wpCO6Lp0pX6vCGmqWfuVKfrLwm2J6YEZYiJiGBFLMwaYC8SJtqfLjkUcJYArJw-XZvj4CQ-Y6GMDv-lraj3FlmTCzJp24znFRHw9PK_wFbLe23Qf_GQ5TPrHyy14aWFE/s1600/blue_jg6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkYjfFzSbq56wpCO6Lp0pX6vCGmqWfuVKfrLwm2J6YEZYiJiGBFLMwaYC8SJtqfLjkUcJYArJw-XZvj4CQ-Y6GMDv-lraj3FlmTCzJp24znFRHw9PK_wFbLe23Qf_GQ5TPrHyy14aWFE/s320/blue_jg6.jpg" width="237" /></a></div>
<div class="MsoPlainText" style="border-image: none;">
A dozen years earlier, in 2004 another very early JG bass
turned up on eBay. This one, JG1113, was the fourth JG bass to be made (if one
includes John G Perry's short-scale JP1111) and had originally been owned by
bassist, session player, multi-instrumentalist Pete Zorn. The Wal orders sheet
for the JG basses lists him under his job of the time - bass player in Barbara
Dixon's band. When originally built the bass sported a natural finish, as did
all the other early "Mk 1" JG basses. However, when it came up for
sale, although it had clearly been through the wars and was in desperate need
of refurbishment, it wore a more eye catching colour. A beautiful translucent
blue burst. It sets off the dark brown leather of the scratch-plate
surprisingly effectively and the stain shows off the grain of the ash body
particularly effectively.</div>
<br />
<div class="MsoPlainText">
The JG clearly has a chequered history, as an old friend of Ian Waller and Pete Stevens confirmed in a recent blog. In another little
piece of JG bass happenstance Paul Phillips, best known for the 1970s hit
"Driver 67", published a piece about Zorn and his JG just a few weeks
ago <a href="http://thenewcolloquium.com/wal-bass-neil-finn-me/" target="_blank">on his blog at The New Colloquium</a> . Paul takes up the story...</div>
<div class="MsoPlainText">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGB85pBjE13hZ-IoWIquWArNmMGyy6OLPfkJ8jwlNkJz1g2QetfSCJOzR5otZqYVOukFOAgZRneIJEcnpUAKTfGLKncQ9YPaxJqX8hyUTy-fEwU1S4SwoS_9W3DdLvPjrcAJh_1ePWk8/s1600/blue_jg3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGB85pBjE13hZ-IoWIquWArNmMGyy6OLPfkJ8jwlNkJz1g2QetfSCJOzR5otZqYVOukFOAgZRneIJEcnpUAKTfGLKncQ9YPaxJqX8hyUTy-fEwU1S4SwoS_9W3DdLvPjrcAJh_1ePWk8/s320/blue_jg3.jpg" width="320" /></a></div>
<div class="MsoPlainText">
"...Ian, on the other hand, was a bit of an
electronics genius and also built guitars. Everyone called him Wal (his name
was Ian Waller). He made the legendary Wal Bass. The list above appears to be
of orders for the first run of the original bass. Notable names on there
include Percy Jones of Brand X, (Phil Collins’ jazz fusion side project away
from Genesis); ‘Paul’ of The Clash (obviously Simonon); Nigel Griggs of Split
Enz (who morphed into Crowded House); and Pete Zorn, my old music partner and
brother in law..."</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
"...Wal was a friend of mine since 1968. I
introduced him to Pete Zorn after Pete and I became friends in 1971. Later,
after Pete and I had our hit with Car 67, Wal sent Neil Finn of Split Enz and
the group’s manager down to Bexleyheath to ask me to produce them. Little did
they know: Pete and I were crazy fans..."</div>
<div class="MsoPlainText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgScSsaBwI8ALVz-hoZx7ujsDbGqK7s4U0S6Out6n4RqxinZhU3Xsjeu7ivv6uisNT4BaM3YmzeM8Vln5ZkanMYrWdzWh5MLa120xtU1MIBwSkhWdx-3SiIlzMgDyEJlbh_Ke9DCxT80-w/s1600/blue_jg2a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgScSsaBwI8ALVz-hoZx7ujsDbGqK7s4U0S6Out6n4RqxinZhU3Xsjeu7ivv6uisNT4BaM3YmzeM8Vln5ZkanMYrWdzWh5MLa120xtU1MIBwSkhWdx-3SiIlzMgDyEJlbh_Ke9DCxT80-w/s320/blue_jg2a.jpg" width="320" /></a></div>
<div class="MsoPlainText">
"...Anyway, back to Wal and his basses. Wal and
Geoff were part of an extraordinarily rich time in Manchester culture. They
came up alongside The Hollies, Herman’s Hermits (close friends with the group)
and Freddie & The Dreamers. Liverpool’s The Beatles were just another group
on the circuit.</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
When I met him, he had already built his own acoustic
bass guitar, the first I’d ever seen. It was huge, and beautiful. At one point,
George Harrison coveted it, but Wal wasn’t keen. I think he’d rather it went to
a bona fide and great bass player.</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
He started studying wood and how it aged, and dreaming up
the design of the Wal Bass. To me, wood was wood. But then Wal showed me some
birdseye maple and made me study it as he saw it. I<span style="mso-spacerun: yes;"> </span>never – to this day – looked at wood the same
way again.</div>
<div class="MsoPlainText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKKWVjeBSJ-8UtMMnQ3JwkIaJTFO19pTngyAoXQdVwov72dDkwjuRrpaVXMkHDFljt4DC_0cszEwn-FpnUq-UZf7uoIItHudv13dyEmnfZINaAl5A8BeuvmaA7aG1C_WY20qK66l0YgFI/s1600/blue_jg4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKKWVjeBSJ-8UtMMnQ3JwkIaJTFO19pTngyAoXQdVwov72dDkwjuRrpaVXMkHDFljt4DC_0cszEwn-FpnUq-UZf7uoIItHudv13dyEmnfZINaAl5A8BeuvmaA7aG1C_WY20qK66l0YgFI/s400/blue_jg4.jpg" width="400" /></a></div>
<div class="MsoPlainText">
When the Wal Bass went into production, Pete Zorn was
given a very early model, a massive compliment from Wal. The guitar was later
stolen from a dressing room on tour, never to be seen again. Pete bought
another, so entranced was he with the first.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhufDagvcxbrJvLWW-SR9z4qhxrKfW1h5dj6PTmsbTBxBTNfLYXpE61I3Lp0A55QEeRSVcGP1N4Nj_lDC1Odl13ikU_Ny9FVWoWDU0ThUrtqoyGySiUBmyqC9rz6rUQOeqxMK2LzU2XeiQ/s1600/blue_jg7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhufDagvcxbrJvLWW-SR9z4qhxrKfW1h5dj6PTmsbTBxBTNfLYXpE61I3Lp0A55QEeRSVcGP1N4Nj_lDC1Odl13ikU_Ny9FVWoWDU0ThUrtqoyGySiUBmyqC9rz6rUQOeqxMK2LzU2XeiQ/s320/blue_jg7.jpg" width="320" /></a></div>
<div class="MsoPlainText">
Wal died shockingly young. Barely 43, he had a heart
attack as he left home one morning in 1988, headed to the factory he and his
partner, Pete ‘The Fish’ Stevens, had built with such high hopes for an
exciting future.</div>
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<div class="MsoPlainText">
Well, the future came, and the bass lives on. Wal didn’t
get to see it. But the rest of us are proud to have known him."</div>
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<div class="MsoPlainText">
For the full story and how this bass links to a later JG
bought by Nigel Griggs of Split Enz read the full blog here... <a href="http://thenewcolloquium.com/wal-bass-neil-finn-me">http://thenewcolloquium.com/wal-bass-neil-finn-me</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig9MHAwgAnwBkF0zppm68rSca-S0DPyuA9uqc_cBgePQSg7Orhyphenhyphenuqk4Otu9CtQ7of8dP0tmbEhkq9YlAAYaIHRWIPpTWXadtAMwbVXaIvZJb_fHNxetUBCmUFf_LFXJEVOGKkEohG05a8/s1600/blue_jg8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig9MHAwgAnwBkF0zppm68rSca-S0DPyuA9uqc_cBgePQSg7Orhyphenhyphenuqk4Otu9CtQ7of8dP0tmbEhkq9YlAAYaIHRWIPpTWXadtAMwbVXaIvZJb_fHNxetUBCmUFf_LFXJEVOGKkEohG05a8/s320/blue_jg8.jpg" width="320" /></a></div>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-17220836239388184372016-08-17T00:01:00.000+01:002016-08-17T15:16:15.823+01:00JG Bass Special Pt 2: A tale of two basses<h2>
<span lang="EN-US">John Gustafson's original JG bass (JG1112) and Martin Elliott's solid ash Custom Series basses</span></h2>
<div class="Body">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoTgRBMyetyAEB9TZ2Dil3hVJdyvMvaJPLm4AFU3UeBGrc9EO59EvHBBu3XvpSArtGrZ-UF7sKonHQAL1pi1lE-OtdSzNv7sBKf2KkOqIfYJsiAmm37h0_SRjBsxTXy1-2h26Wqfl0G8E/s1600/IMG_0005.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoTgRBMyetyAEB9TZ2Dil3hVJdyvMvaJPLm4AFU3UeBGrc9EO59EvHBBu3XvpSArtGrZ-UF7sKonHQAL1pi1lE-OtdSzNv7sBKf2KkOqIfYJsiAmm37h0_SRjBsxTXy1-2h26Wqfl0G8E/s320/IMG_0005.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Gustafson in 1978 with the Gordon Giltrap Band</td></tr>
</tbody></table>
<div class="Body">
<span lang="EN-US">A few weeks ago I got a very interesting email
quite out of the blue. It came from a bass player who is notable in his own
terms but even more so in the inextricable links he has with the history of Wal
basses. During the 1980s and 1990s Martin Elliott was a session player working
on the London and wider UK session circuit. To carve out a successful living in
that tough world one needs a range of skills – the ability to read accurately
from a chart while simultaneously injecting real life and emotion into the
notes rendered, the ability to come up with original and inventive bass lines
on the spot time and time again and the ability to be the sort of person that
people want to spend many, many hours shut in a claustrophobic environment
with. In short, you need incredible playing skills and a winning personality.</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAoecUQXswX5x6Z_Azq1fSkACi86zeby_07YAVoMU9xi88aV3vIMXfoBSH2O5D6BP3dojhnO1yD84t-KwCDYfqhkUP_iBcg1wrknCMqTYU9ZsPMfzgs3YzKrMmXn3G4BmioUHZYIP8zI/s1600/Nyman-Forl%25C3%25AC+2016+-Kframe+Bologna+%252815%2529.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAoecUQXswX5x6Z_Azq1fSkACi86zeby_07YAVoMU9xi88aV3vIMXfoBSH2O5D6BP3dojhnO1yD84t-KwCDYfqhkUP_iBcg1wrknCMqTYU9ZsPMfzgs3YzKrMmXn3G4BmioUHZYIP8zI/s400/Nyman-Forl%25C3%25AC+2016+-Kframe+Bologna+%252815%2529.JPG" width="266" /></a></td></tr>
<tr align="center"><td class="tr-caption"><span style="font-size: x-small;">Martin Elliott with the Michael Nyman Band</span><br />
<span style="font-size: x-small;">Forli, Italy, July 2016 (<i>Photo by F<span style="color: black; font-family: "arial" , sans-serif;">rancesca
Lelli,</span></i></span><br />
<span style="font-size: x-small;"><i><span style="color: black; font-family: "arial" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #212121;">Kframe fotografia Bologna - <a href="http://www.kframe.it/">www.kframe.it</a></span></i>)</span></span></td></tr>
</tbody></table>
<span lang="EN-US">Across the course of his career he has played
with many artists – from Petula Clark and Helen Shapiro to the Jesus And Mary
Chain. However, since 1983 it is with the classical composer, Michael Nyman,
that he has been most closely associated. And let’s face it, Nyman is hardly renowned
for writing simple, basic bass lines. </span></div>
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<br /></div>
<div class="Body">
<span lang="EN-US">Elliott also has strong links with Wal basses
which reach back to the early days of his session career. This has led to him
owning two unique Wal basses, including being the original owner of one of the
most notable Wal basses in existence – the solid ash Mk 1 which is now used to
great effect by Colin Edwin of Porcupine Tree. </span></div>
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<br /></div>
<div class="Body">
<span lang="EN-US">However, his email wasn’t about his playing
experiences or his basses (more of that later). No, it was about something much
more intriguing…</span><br />
<a name='more'></a><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim7GFUm703h-CJ1ClBr9Emy3fXX5K5ewgtMzivfxuf7RF_30TvSo2DPYo7dsJF-goDQxmBdlL0ozHmJXjnUh4Bv8qSFF2aEhWqNNvvFffdzuVaXbwpaRz_pr2r82TvAtZFvUP_CMzR37o/s1600/John+Gustafson+JG+3+head.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim7GFUm703h-CJ1ClBr9Emy3fXX5K5ewgtMzivfxuf7RF_30TvSo2DPYo7dsJF-goDQxmBdlL0ozHmJXjnUh4Bv8qSFF2aEhWqNNvvFffdzuVaXbwpaRz_pr2r82TvAtZFvUP_CMzR37o/s320/John+Gustafson+JG+3+head.jpg" width="320" /></a></div>
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<span lang="EN-US"></span><br /></div>
For the last few years Martin has made his home
by the sea in Kent, sharing his session duties with indulging musical and other
artistic passions while being part of a local community. And one of Martin’s
near neighbours has a strange and serendipitous link with Wal history. He is
the son of the late John Gustafson – one of the great (sadly all too unsung)
bass players of the 1960s and 1970s and a pivotal figure in the history of Wal
basses. Martin noted that Jon’s son had just been over at his house and had
brought John’s old JG bass for him to admire. Would I be interested in the few
snaps he’d taken while he was over there? There was only one possible answer to
that question! <br />
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<div class="Body">
<span lang="EN-US">Martin takes up the story. “I never met JG, even
though he lived along the road from me, but my mate Jim Leverton <i>[former Caravan, Blodwyn Pig and Steve Marriott's Packet of Three bassist]</i> knew him well.
I recently photographed one of John Gustafson's old basses. He lived along the
road from me, as does Jim Leverton (who also has a lovely old Wal) and his son,
Joe, brought the bass round here for me to look at."</span></div>
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<span lang="EN-US">Here are the photos of JG1112 which Martin sent
to me…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqN6wHjQ2be4hoOA0GBgt2Kk4qRuXQ4B7rhMWZpmy006tcJWaNHqqKPEeqJkIWqQi2pi6HjYYCm6H8hOG7SAP8AiQv5O1HF_FV4U746n0qcoitRUXd4j5t3VNkJK3wWOcmuUAz_am01eo/s1600/John+Gustafson+JG+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqN6wHjQ2be4hoOA0GBgt2Kk4qRuXQ4B7rhMWZpmy006tcJWaNHqqKPEeqJkIWqQi2pi6HjYYCm6H8hOG7SAP8AiQv5O1HF_FV4U746n0qcoitRUXd4j5t3VNkJK3wWOcmuUAz_am01eo/s400/John+Gustafson+JG+1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHLIQGfrCYoWGW3YmvBa-5u3CiJHVYBs6NrMCd4xQ8J9GTLP_xng-djxFN9h3olqE_7yssbT-fYmPZQDQvWojBHvPtEuUDlR1b6ain8qEh6hvEYuUYgfdfQ7o1At3zhW1eSE8mkSDrVY/s1600/John+Gustafson+JG+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHLIQGfrCYoWGW3YmvBa-5u3CiJHVYBs6NrMCd4xQ8J9GTLP_xng-djxFN9h3olqE_7yssbT-fYmPZQDQvWojBHvPtEuUDlR1b6ain8qEh6hvEYuUYgfdfQ7o1At3zhW1eSE8mkSDrVY/s320/John+Gustafson+JG+2.jpg" width="320" /></a></div>
<div class="Body">
<span lang="EN-US">Gustafson’s first JG bass was a natural finish,
ash-bodied fretted bass – as were most of the earlier JGs. The leather
scratchplate mirrored a previous custom bass that Ian Waller had made for him. Later
he also acquired a sunburst fretless JG (JG1131). The neck is the Mk 1 JG laminate
design featuring only maple and hornbeam. The neck plate shows Wal’s original
mounting design with the strap button mounted in the centre of the plate. This
clearly wasn’t comfortable enough as the photo of the front of the bass shows
that an additional strap button was added to the back of the upper horn. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy6aZ9aXbx_XDXR-jRChh1qF6JuCMnSw6padbWpXk_8XZpPofKOvuXB9PxXIfkrbvKAe2v2jrcd-Khllw_7ya3n9iNDGhBcdZJwBP0ZJBL0k5y751tDz63ldSFKitvGh592R001Oa4vFw/s1600/John+Gustafson+JG+4+Neck+plate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy6aZ9aXbx_XDXR-jRChh1qF6JuCMnSw6padbWpXk_8XZpPofKOvuXB9PxXIfkrbvKAe2v2jrcd-Khllw_7ya3n9iNDGhBcdZJwBP0ZJBL0k5y751tDz63ldSFKitvGh592R001Oa4vFw/s400/John+Gustafson+JG+4+Neck+plate.jpg" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnV5aRuyH6i-4b3YGn4yNYcY4kYqL33ZNVsxzR7U9ACLYJQ_1lzzDSM2lgxjjRGNv5lZ5kUUWkOpyDU0qCPv7YUPvIYYbuWK4Dl-2lcV2mu4J9cfu9l4AJzyzf1SaUJx02jtxU2lv1po/s1600/John+Gustafson+JG+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnV5aRuyH6i-4b3YGn4yNYcY4kYqL33ZNVsxzR7U9ACLYJQ_1lzzDSM2lgxjjRGNv5lZ5kUUWkOpyDU0qCPv7YUPvIYYbuWK4Dl-2lcV2mu4J9cfu9l4AJzyzf1SaUJx02jtxU2lv1po/s400/John+Gustafson+JG+9.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOi4YufL_jO83ltqQnRAs8RZTLYvRsK-K09qGRUzJ03QAlEiH28W2VPEQ_czD1Sh-pNBF4MtFxGGv4euD7VtPEohfBExQN330zcfXOw6ybx6f2GwUkFJcztUx1RvJwyDDsmHVCRJ9Cas/s1600/John+Gustafson+JG+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOi4YufL_jO83ltqQnRAs8RZTLYvRsK-K09qGRUzJ03QAlEiH28W2VPEQ_czD1Sh-pNBF4MtFxGGv4euD7VtPEohfBExQN330zcfXOw6ybx6f2GwUkFJcztUx1RvJwyDDsmHVCRJ9Cas/s320/John+Gustafson+JG+10.jpg" width="196" /></a></div>
<div class="Body">
<span lang="EN-US">Even on this earliest of JG basses the
electronics are as sophisticated as any later model. This includes the phase
switches on the pick-up ring surrounds and the passive balanced DI output.</span></div>
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<span lang="EN-US">Below are photos of two additional Gustafson
Wals, pictured when they were dropped off at Wal’s workshop for some TLC. On
top, the fretless JG bass and then below a Pro IIE with a funky body design.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXylnLPWI1Jkg_viTOlUMb5LGeMsCVWtsR5ojLOd5xUipuFX5zk6YLqL8PxwiPTbew9wBvbSV7kb1XDhKOkp5ojyVEWTRh9h1oxD2kPtknNckzq-2DNcFSaRilTd37AemS-0g40JiNUA/s1600/Gus+JG+Fretless.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXylnLPWI1Jkg_viTOlUMb5LGeMsCVWtsR5ojLOd5xUipuFX5zk6YLqL8PxwiPTbew9wBvbSV7kb1XDhKOkp5ojyVEWTRh9h1oxD2kPtknNckzq-2DNcFSaRilTd37AemS-0g40JiNUA/s400/Gus+JG+Fretless.jpg" width="400" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_YkTcUBkjXopnP7H9PYTIGijYcH7tR-8QsCXYXpWBtHJSwQiPwilg_LBTWX_rbEYDu0s7c6ANtFbkgfllHbV7FFTjlPdwJn_o4oS6W4OJBjr0-vX3ihn4djkzVzsRqKpUCNxBVtSQMiw/s1600/Gus+Pro+Bass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_YkTcUBkjXopnP7H9PYTIGijYcH7tR-8QsCXYXpWBtHJSwQiPwilg_LBTWX_rbEYDu0s7c6ANtFbkgfllHbV7FFTjlPdwJn_o4oS6W4OJBjr0-vX3ihn4djkzVzsRqKpUCNxBVtSQMiw/s400/Gus+Pro+Bass.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photos courtesy of Wal Basses </td></tr>
</tbody></table>
<div class="Body">
<span lang="EN-US"> </span></div>
<div class="Body">
<span lang="EN-US">Which brings us to the second pair of basses
linked to this story… A brace of Custom Series basses which buck the trend of the
design as they boast solid ash bodies instead of the usual laminated bodies. I’ll
let Martin take up the story…</span></div>
<div class="Body">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBz_3n5fvknUZOC_IEZPmT-SP-zP4lryQW9aCMRLQMDFghGfGGMVfD1HzQVtuSR1iEyZ_IDrAVvcuTmnh9JRIVUZ24qE0-Bzkiol98oiIaAlg8bh1rjiA61UxdyiAXsSSSWTp5F386NN8/s1600/Martin+Elliott+with+Helen+Shapiro+1.jpg.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBz_3n5fvknUZOC_IEZPmT-SP-zP4lryQW9aCMRLQMDFghGfGGMVfD1HzQVtuSR1iEyZ_IDrAVvcuTmnh9JRIVUZ24qE0-Bzkiol98oiIaAlg8bh1rjiA61UxdyiAXsSSSWTp5F386NN8/s200/Martin+Elliott+with+Helen+Shapiro+1.jpg.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martin's original Mk 1 Custom</td></tr>
</tbody></table>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5GkvzcPQxactw8KPaqFOqMitzb9Hm7HOesCvmiKLquqM6Yf4jUlvHVjLA6A5xiXjkAGwb3CsBGFYnJV294KRu6D1YurYUwpybopRn0XH1YcTAlAGimhTB2Hqskt6X8vVEdSIu5SG9UHs/s1600/Martin+Elliott+with+Helen+Shapiro.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5GkvzcPQxactw8KPaqFOqMitzb9Hm7HOesCvmiKLquqM6Yf4jUlvHVjLA6A5xiXjkAGwb3CsBGFYnJV294KRu6D1YurYUwpybopRn0XH1YcTAlAGimhTB2Hqskt6X8vVEdSIu5SG9UHs/s200/Martin+Elliott+with+Helen+Shapiro.jpg" width="172" /></a> <span lang="EN-US">“So, I've been using Wals for over 30 years and
have happy memories of visiting the original workshop back in the '80s.” The Custom
Series Wal bass, because of its tone and versatility, was a staple of the
British session scene. As a member of the session playing community he also
chose to acquire a Wal bass. However, that first Wal was more conventional than
his eventual purchases. “Here's a photo of my original Wal from a TV show with
Helen Shapiro. It had a mahogany core with Bird's Eye Maple on the top. I went
to Wal because they were not far from where I lived and I knew that Percy Jones
and John Giblin played them.”</span></div>
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<span lang="EN-US"></span> </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv_Qd990kR_U9HtFhsWAX3wyctn6l9EwF0vskJFrHTC7tZhNjA0K-px17m99vntqJiJr_U7p2Yv_fcRAmwfHdZTKn45TCBT0Gy4sZc-5RgXs0XfrziJnsV-i_WNpAYcfQCeZ0PRHPiksg/s1600/Martin+Elliott+Wal+4b.jpg.jpeg.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv_Qd990kR_U9HtFhsWAX3wyctn6l9EwF0vskJFrHTC7tZhNjA0K-px17m99vntqJiJr_U7p2Yv_fcRAmwfHdZTKn45TCBT0Gy4sZc-5RgXs0XfrziJnsV-i_WNpAYcfQCeZ0PRHPiksg/s200/Martin+Elliott+Wal+4b.jpg.jpeg.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martin and his original solid ash Mk 1</td></tr>
</tbody></table>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Zj5fif9F1MaBdCVkrf9uIi3KNzxZ_WTjdho-fvMNS6yHlTo6zFsQ_G-7vAR1j5-Yh5ykelW0ZG_xU9cRr-tyDj1uThazWaGLyK6p5P_IXnRLhYOH2fRZFuX5gHhpOvtL08hLw7GwVM0/s1600/Martin+Elliott+Wal+4a.jpg.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Zj5fif9F1MaBdCVkrf9uIi3KNzxZ_WTjdho-fvMNS6yHlTo6zFsQ_G-7vAR1j5-Yh5ykelW0ZG_xU9cRr-tyDj1uThazWaGLyK6p5P_IXnRLhYOH2fRZFuX5gHhpOvtL08hLw7GwVM0/s200/Martin+Elliott+Wal+4a.jpg.jpeg" width="143" /></a><span lang="EN-US">“This bass didn't last long, though. It looked great,
but didn't resonate properly. The E string just died and I couldn't make it
work for me, so I took it back to Pete and (very cheekily) showed him how my
old Fender sounded! Because of the Fender, which was ash, they suggested that I
would like a solid ash body and so I agreed.” </span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">“As you know, that bass ended up as a classic! I
can't believe that they didn't chuck me out, but I guess they could tell that
this body didn't work. I know they kept it on a shelf for a long time, so maybe
they never did use it. I used to see it when I popped back to collect my new
basses.</span></div>
<div class="Body">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7IzY3jGFbnrmicZHO8CR4PDi8xZx75YnYQjuxecsCjpvUIUuKAyg90za8Bw31FhZpIm-4V47GHniHc9mIaevbrRpoXnwa_GQW9BBOxDr4-gL1UkUpfVGXH8M0MWXINiT6OUHlyYEKt8/s1600/Martin+Elliott+with+Petula+Clarke.jpg.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7IzY3jGFbnrmicZHO8CR4PDi8xZx75YnYQjuxecsCjpvUIUuKAyg90za8Bw31FhZpIm-4V47GHniHc9mIaevbrRpoXnwa_GQW9BBOxDr4-gL1UkUpfVGXH8M0MWXINiT6OUHlyYEKt8/s320/Martin+Elliott+with+Petula+Clarke.jpg.png" width="271" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The ash fretless backing Petula Clark</td></tr>
</tbody></table>
<div class="Body">
<span lang="EN-US">I followed the 4-string ash-bodied bass with a
matching fretless. I played that on many recordings with Gary Numan and even on
the TV with Petula Clark.”</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">That original ash-bodied Mk 1 later went on to
find world-wide fame when Elliott sold the bass to Colin Edwin of Porcupine Tree.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">However, Elliott is still a keen Wal user and
his current bass, a Mk 2 five-string, harks back to those original ash Wals. “My
current solid ash 5-string is also amazing. I have used it with Nyman for years
and it is a magical instrument.”</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">You can find out more about Martin Elliott, his
music, his basses and his photography at this website:<span style="mso-spacerun: yes;"> </span><a href="http://www.beachhut.demon.co.uk/">http://www.beachhut.demon.co.uk/</a></span></div>
<div class="Body">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ieJeGXDXgwb-NuPDnV__EtuInNDfomLRl_iYvwEPfgEaoUBZOvrwoi1DKIDZZf__vmhUPe5ziAJbxc2x7_7UdzqloKBlWpfg2kWnOhOFmsC_nioXVEOuvXt_ezMYNGKSIiaxSzsjA2k/s1600/Martin+Elliott+Wal+5.jpg.jpeg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martin's ash-bodied Mk 2 5-string Wal</td></tr>
</tbody></table>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KrTJcrIwTzF7HB4yGJlK5Egff3JsboKtNuGU2uf2jCs4z98qbBJYA-cnvXALLdQ-u__ek9Or0DFqDU2Iazej2hX9icVWQN3VUG8nFU14Wf92ziI56sWFrPFauzox7KP8qjo9_wQYaVA/s1600/Martin+Elliott+Wal+5b+Angel+Studio+Nyman.jpg.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KrTJcrIwTzF7HB4yGJlK5Egff3JsboKtNuGU2uf2jCs4z98qbBJYA-cnvXALLdQ-u__ek9Or0DFqDU2Iazej2hX9icVWQN3VUG8nFU14Wf92ziI56sWFrPFauzox7KP8qjo9_wQYaVA/s320/Martin+Elliott+Wal+5b+Angel+Studio+Nyman.jpg.jpeg" width="190" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iZY_K-2WicipohPounzRBIC5uJU-0XrUsgn8Dcc9EDk79vRct0mowFxh0jVY3xI2jkCE0rqbeHckpFtvPb9rsoLzaUStm7zDRwOUzv2TAUkZ_p8EOZK9Uzbk9aXhH_4J3SM4TVJJLOg/s1600/Martin+Elliott+Wal+5c+Angel+Studio+Nyman.jpg.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iZY_K-2WicipohPounzRBIC5uJU-0XrUsgn8Dcc9EDk79vRct0mowFxh0jVY3xI2jkCE0rqbeHckpFtvPb9rsoLzaUStm7zDRwOUzv2TAUkZ_p8EOZK9Uzbk9aXhH_4J3SM4TVJJLOg/s320/Martin+Elliott+Wal+5c+Angel+Studio+Nyman.jpg.jpeg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijVc3LFxHzr6XKMC8zRiuEd-2sayyG1wqtFnwYX2Ie0OVpfe90tkWDYZ5qEx0X1uyThWmWqeToyMNC373-6h1zRBSUzv_uFzCarCq0BUv-hKpkct57bKByjDoMW-8J6UDLOmcVGa9BL0w/s1600/Martin+Elliott+Wal+5a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijVc3LFxHzr6XKMC8zRiuEd-2sayyG1wqtFnwYX2Ie0OVpfe90tkWDYZ5qEx0X1uyThWmWqeToyMNC373-6h1zRBSUzv_uFzCarCq0BUv-hKpkct57bKByjDoMW-8J6UDLOmcVGa9BL0w/s400/Martin+Elliott+Wal+5a.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: left;">
And finally, just as a bit of fun, here are a few of Colin Edwin's Wals in for a service at the workshop in Fetcham, including the Martin Elliott ash-bodied bass. A little bit of Wal magic!</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4GPfEDIm3_iTvV5oZZrPXvxP-Tx3Fz1r3WRYi_XGBeFEBnoeQk8u7_Y53pUcBq4ICMFFJCrAB_oi1ZFXvwWH6_MT8GkF2Uk5DFgqkapBx0SFl1F1B7rvAuN1y2zsOzG0TmTaFZWncn1A/s1600/Edwin4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4GPfEDIm3_iTvV5oZZrPXvxP-Tx3Fz1r3WRYi_XGBeFEBnoeQk8u7_Y53pUcBq4ICMFFJCrAB_oi1ZFXvwWH6_MT8GkF2Uk5DFgqkapBx0SFl1F1B7rvAuN1y2zsOzG0TmTaFZWncn1A/s400/Edwin4.JPG" width="400" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHRzaUJrGi1VOxIOAZMu-rzaauc5IdQSZN6GA5SdEMTBGUO75n4M2VhuFseP2HKZFi-21SQXybHe5n1COtau5Ko8swL6bD4uneOYnCWhzI_qCFqhJ2IM_m-1E3fuzQCmuSKG8CGoa6Sz4/s1600/Edwin1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHRzaUJrGi1VOxIOAZMu-rzaauc5IdQSZN6GA5SdEMTBGUO75n4M2VhuFseP2HKZFi-21SQXybHe5n1COtau5Ko8swL6bD4uneOYnCWhzI_qCFqhJ2IM_m-1E3fuzQCmuSKG8CGoa6Sz4/s400/Edwin1.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Colin Edwin's ash-bodied and wenge-topped Wals in for some fettling at Wal HQ</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tU5y0fnTLZZ0qjqOQCHZwU_4QFzZpd_e56MwFUVTH-7ko7cvpvGqjPLoA9_TuwVA2tMh1mUwIsnTTM3RD-wsvGy8UCOSD6tABrEusSwD_Elpko3_MYi6O5a1MDKHWMPth908-RD5HKs/s1600/Edwin2.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tU5y0fnTLZZ0qjqOQCHZwU_4QFzZpd_e56MwFUVTH-7ko7cvpvGqjPLoA9_TuwVA2tMh1mUwIsnTTM3RD-wsvGy8UCOSD6tABrEusSwD_Elpko3_MYi6O5a1MDKHWMPth908-RD5HKs/s320/Edwin2.JPG" width="212" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjss3NV9d5v5m2kWkvpR9ac8vTiMWzrpYrqTzxQ4ieSYJqYUKTYQs1fO43idCYySVmMv1MHM3bjvDLf01J6HLkTEhCSMirjpFaffrMVmx9trUPSX2modBeFNISH_bp3CvwQuZgU8W1Ec3s/s1600/Edwin3.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjss3NV9d5v5m2kWkvpR9ac8vTiMWzrpYrqTzxQ4ieSYJqYUKTYQs1fO43idCYySVmMv1MHM3bjvDLf01J6HLkTEhCSMirjpFaffrMVmx9trUPSX2modBeFNISH_bp3CvwQuZgU8W1Ec3s/s320/Edwin3.JPG" width="212" /></a></div>
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<img height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tU5y0fnTLZZ0qjqOQCHZwU_4QFzZpd_e56MwFUVTH-7ko7cvpvGqjPLoA9_TuwVA2tMh1mUwIsnTTM3RD-wsvGy8UCOSD6tABrEusSwD_Elpko3_MYi6O5a1MDKHWMPth908-RD5HKs/s320/Edwin2.JPG" style="left: 135px; opacity: 0.3; position: absolute; top: 6225.13px;" width="63" />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com1tag:blogger.com,1999:blog-7002087831029217694.post-75035428561675046092016-08-09T23:08:00.000+01:002016-08-10T00:20:53.686+01:00JG Bass Special Part 1: A masterpiece of design...<!--[if gte mso 9]><xml>
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UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig2QW_82eZuaowlMUBDc6RrQU8RFt8NlwL_LshP7QyTsp0CZREjLlG76c5J37LHKyJxf8SrkdiFeY2sw1huCdZS35VmD84e2pUpf5v_6gW5KseM2ZWlbC_sMDpwlJW8PaxrB4HpGkhfF0/s1600/JEntwistleWal4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig2QW_82eZuaowlMUBDc6RrQU8RFt8NlwL_LshP7QyTsp0CZREjLlG76c5J37LHKyJxf8SrkdiFeY2sw1huCdZS35VmD84e2pUpf5v_6gW5KseM2ZWlbC_sMDpwlJW8PaxrB4HpGkhfF0/s320/JEntwistleWal4.jpg" width="320" /></a></div>
<div class="Body">
<span lang="EN-US">Every so often something comes along in life
that forces you to reevaluate. Sometimes it's something foundational and
Earth-shattering and sometimes it's a tiny tweak in perspective. Over the last
few weeks I've had a series of revelations about the nature of one of the early
Wal bass designs. I'll leave it to the reader's discretion to decide which camp
they fall into.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">I have a confession to make. Having never
actually had an opportunity to play a JG series Wal bass I had always
considered them a bit of a homespun, stepping stone bass. A simple work in
progress towards a more sophisticated, complete design - as embodied in the Pro
Series bass. I now</span><span style="mso-ansi-language: EN-GB;"> realise</span><span lang="EN-US"> that assumption was very, very wrong. </span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">Over the last few weeks there has been a strange
coincidental domino effect of emails popping into my inbox and social media
feeds. First an email arrived from a bass player I have long admired and whose
playing with Michael Nyman scales pinnacles I can hardly dream of. In it a
fascinating anecdote was related and photos of the first true JG, number JG1112
were produced. Then a JG bass suddenly turned up being offered for sale on eBay
and flagged on the Wal basses fan group on Facebook. Finally, other JG owners,
emboldened by the reaction to that bass joining in an online show-and-tell
session showcasing their own instruments. What a treasure trove.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">One thing that became clear across these
communications - which encompassed the second JG ever made and one of the last
- was that my presumptions about the basses were dead wrong.</span></div>
<div class="Body">
<span lang="EN-US"></span></div>
<a name='more'></a><br />
<div class="Body">
<span lang="EN-US">As noted above, and probably due in some part to
the rustic design qualities of the leather tooled scratchplates, I had presumed
that the JG series basses were somewhat thrown together. Perhaps more the
spiritual brothers of the original Wal, W1111, than the modern-retro 70s Pro
bass aesthetic.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">In fact, the JG was a much more carefully
designed bass than I had previously imagined.<span style="mso-spacerun: yes;">
</span>Sure, there was the homespun charm of the leather scratchplate, often
festooned with small daisy like flowers. But there was more clever design
hiding below the surface. Let's look at the evidence.</span></div>
<div class="Body">
<br /></div>
<h3 class="Body">
<b><span lang="EN-US"><span style="mso-spacerun: yes;"></span>The Body:</span></b></h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5DH5VecfPFEqWILJV1RHRSuO3laG0aK4bgolIW6SRNfw768sQEV4_LAUeOKqXrcVhZR7tL_iKVX0OZSUTpkPegNpFxYp4Ym5AhpPzSmB6xR5HfTIKnUy9lqCevBrVL7oi7Zj-NuxQkFg/s1600/IMG_20160708_120900.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5DH5VecfPFEqWILJV1RHRSuO3laG0aK4bgolIW6SRNfw768sQEV4_LAUeOKqXrcVhZR7tL_iKVX0OZSUTpkPegNpFxYp4Ym5AhpPzSmB6xR5HfTIKnUy9lqCevBrVL7oi7Zj-NuxQkFg/s320/IMG_20160708_120900.jpg" width="320" /></a></div>
<div class="Body">
<span lang="EN-US">The body design of the JG series, carved from
solid ash, set the template for the models which came after it. John Perry's
original Wal was shaped somewhat differently. The almost symmetrical shape of
the body reflected the Gibson which he had</span><span style="mso-ansi-language: EN-GB;"> favoured</span><span lang="EN-US"> up to that point - albeit with
something of a softer Fender aesthetic added. Rounder horns, softer contours
and radius end edges. The strap button was located on the back of the neck
plate (a la Gibson). On Perry's short scale basses that wasn't such a problem.
However as the scale length increased balance problems crept in. Gustafson's
first JG came with a neck plate mounted strap button. However, it wasn't long
before an alternative one was added on the back of the upper horn. The button
soon migrated further to the usual mounting position for a double cutaway bass.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">Some have wondered at the inspiration of the
body shape. Was it a blatant copy of the similarly shaped Hayman and Shergold
basses? I prefer to think of it as a piece of convergent evolution driven by
ergonomics. As the need for additional stability was needed the anchoring point
moved further from the</span><span style="mso-ansi-language: EN-GB;"> centre</span><span lang="EN-US"> of gravity. That will be what drove Leo Fender towards the classic
Strat/P-Bass shape in the first place. That was a certainly the thinking of
former Caravan bassist, John G Perry. He insisted that the extension of the
upper horn from the shape of his near-symmetrical W1111 was merely a matter of
balance and practicality.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">The JG body and scratchplate shapes translated
directly into the design of the Pro series basses. The first clue that the JGs
came as a fully formed design.</span></div>
<div class="Body">
<br /></div>
<h3 class="Body">
<span lang="EN-US">The Neck:</span></h3>
<div class="Body">
<span lang="EN-US"><span lang="EN-US">Here there is a key feature that evolved across the
short production life of the JG bass. </span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrifKEav9RK-vhMt-ECydYESfTHfM88bPnzl4ibl9aZfTKH5VVtGdS2ZqX78iSwL1sJMuFrn3IGL8kABzENVXlzhc1irSrnjPdI1GVM77H2DP5NGtOsDAiMGzRNsl-Z0oyeiQB1UoIGC0/s1600/20160629_211919.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrifKEav9RK-vhMt-ECydYESfTHfM88bPnzl4ibl9aZfTKH5VVtGdS2ZqX78iSwL1sJMuFrn3IGL8kABzENVXlzhc1irSrnjPdI1GVM77H2DP5NGtOsDAiMGzRNsl-Z0oyeiQB1UoIGC0/s400/20160629_211919.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JG1117 - note the "Mk 1" style neck</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDeuMmlO7OnVRjFcmrEO5ZqenK5RJGerFJjtHco11GDI75xmhtzf6Wi2LGEIMkz-lTNLLGpbxcKHnA8hu2VWTJzmkPGOAxBnkmOmAh66vtssHWmk7Mw2Fsh9tjtlX6btB_fg83lu3zK4/s1600/IMG_20160708_203917.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDeuMmlO7OnVRjFcmrEO5ZqenK5RJGerFJjtHco11GDI75xmhtzf6Wi2LGEIMkz-lTNLLGpbxcKHnA8hu2VWTJzmkPGOAxBnkmOmAh66vtssHWmk7Mw2Fsh9tjtlX6btB_fg83lu3zK4/s400/IMG_20160708_203917.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JG1148 - "Mk 2" style with mukulungu stringers and heavy-duty machineheads</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxz-vGdYRx3TnpFkPq1KZJ7F8GeSUOilMzW6CXatu14pZyBrgmiuj-TwAW6tH-a4pGyzqSuSxg4qupBQmySz8Bl9Y9IuLTBCkwi0Yo5C5yhhJNF0Mf83u39TnAJ7eHWPJ4Okbwh3OOVUs/s1600/IMG_20160708_204108.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxz-vGdYRx3TnpFkPq1KZJ7F8GeSUOilMzW6CXatu14pZyBrgmiuj-TwAW6tH-a4pGyzqSuSxg4qupBQmySz8Bl9Y9IuLTBCkwi0Yo5C5yhhJNF0Mf83u39TnAJ7eHWPJ4Okbwh3OOVUs/s400/IMG_20160708_204108.jpg" width="400" /></a></div>
<div class="Body">
<span lang="EN-US">The earliest necks were plain in
comparison to the more familiar Wal laminate design but still elegantly
designed and well-engineered. They too featured laminates but more visually
subtle maple (sometimes birds-eye figured) and English hornbeam. However,
between JG1118 and JG1119 the design was changed to match the more familiar
laminate arrangement alternating maple, hornbeam and a tropical hardwood called
"mukulungu". As many other builders have found, the laminate provided
a very stable structure for the neck. Around about this time the quality of the tuning heads was improved and the more familiar Schaller half open design adopted.</span></div>
<div class="Body">
<br /></div>
<h3 class="Body">
<span lang="EN-US">Electronics and Pick-ups:</span></h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEWPc_i2d398OFKCtiI6t4I6k83S5FXrWdv0jQ5ImB_TP7ryIdfY_H6TivwrEQq0SDghgipBmquS1UC2QlF5vPqAcN47OblAnuYBHRsLKpo33lSXEDkYBXiNFz86F_XqdUU00gJhLfXrM/s1600/IMG_20160708_201656.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEWPc_i2d398OFKCtiI6t4I6k83S5FXrWdv0jQ5ImB_TP7ryIdfY_H6TivwrEQq0SDghgipBmquS1UC2QlF5vPqAcN47OblAnuYBHRsLKpo33lSXEDkYBXiNFz86F_XqdUU00gJhLfXrM/s320/IMG_20160708_201656.jpg" width="320" /></a></div>
<div class="Body">
<span lang="EN-US">It is here that the level of thought and design
which went into the earliest Wal basses becomes clear. Firstly, there is the circuit
loom. Most of those who have ventured to take the access plate off the back of
their basses will have been greeted by the same sight – a rat’s nest of tangled
wiring connecting together the various pickups, volume and tone controls and
switches. Not so on a Wal. Removing the scratchplate from a JG bass presents the
eye with a glorious piece of design. The leather front of the scratchplate may
look rustic, not so the rear. The back of the scratchplate is in fact, one huge
printed circuit board with electronic connections laid out on the plastic
connecting potentiometers, pickups and other accoutrements. The whole back of
the scratchplate is covered with conductive material (other than the necessary
bare plastic sections isolating the circuit). This would have the added
advantage of providing screening from unwanted electrical interference – enhancing
the performance of the bass. The printed circuit also includes a declaration “ELECTRIC
WOOD LTD. EW 031:1 patent pending”. Some significant degree of thought and preparation
had gone into the bass. </span></div>
<div class="Body">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv3GDraR3lFy0ctsZErvEN3uS3Kj4n0Ro5I85VoOciGM7WafTHOdLSd1ABj7vCkAGvTCegnp-deD0wmVECBMwsDAMMliWJGn1rVwnw7R3oyfIxOZ9TscI2AKXAYHOztm9ivZus9DL3QIg/s1600/IMG_0653.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv3GDraR3lFy0ctsZErvEN3uS3Kj4n0Ro5I85VoOciGM7WafTHOdLSd1ABj7vCkAGvTCegnp-deD0wmVECBMwsDAMMliWJGn1rVwnw7R3oyfIxOZ9TscI2AKXAYHOztm9ivZus9DL3QIg/s320/IMG_0653.jpg" width="320" /></a></div>
<br />
<div class="Body">
<span lang="EN-US">It’s not clear whether the patent was actually approved
(or indeed ever actually applied for). A well-known trick used by many was
simply to declare “Patent pending” as a way of discouraging copyists. In a
pre-internet age the effort required to verify this, even if one could, was
probably enough to dissuade all but the most dedicated forgers and all without the
hassle or expense of actually filing a patent. All that is missing from the Pro
Bass design are the clip on connectors used to connect the pickups and output
to the scratchplate. On the JG these are hard wired using traditional solder
connections.</span></div>
<div class="Body">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguN3aaTaIh1yVMUynDVh7Mi1fJEtxzS5M4y0jd3RvCH1f3z3WIPGD_E1216AYiIi24-PRc8fNEbigliIo6hRaagdHLQyeLYlhJLhMNeTH6xUNCyGUekjNdwRi7gI6w1ao1Ir7eEd3YIO8/s1600/IMG_0654.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguN3aaTaIh1yVMUynDVh7Mi1fJEtxzS5M4y0jd3RvCH1f3z3WIPGD_E1216AYiIi24-PRc8fNEbigliIo6hRaagdHLQyeLYlhJLhMNeTH6xUNCyGUekjNdwRi7gI6w1ao1Ir7eEd3YIO8/s320/IMG_0654.jpg" width="320" /></a></div>
<div class="Body">
<span lang="EN-US">Then there are the pickups – already a fully
formed concept which has been carried on into all future Wal basses. They are
already housed in the distinctive ABS housings which have been retained right
to the present day for 4 string Wal basses. Eight individual bobbins, one for
each magnetic pole piece and two per string. Effectively each string was
treated to its very own humbucking pickup. I’ve never had the ability to
dismantle one of these pickups (nor would my electronics expertise stretch to deciphering
its mysteries if I did). However, I understand that in the earliest versions
(the JG and Pro basses) the pickups are wired with each row of four bobbins in
series (as in a regular humbucking pickup) and then the two rows wired in
parallel with each other. The later Custom Series basses have a slightly
different arrangement where the two bobbins for each string are wired in
series, and then each string’s pair of coils is wired in parallel to each other.
In that latter case, literally a separate humbucking pickup for each string.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">The JG basses share a feature which was also
carried onto the passive Pro Series basses. Each pickup can be switched between
parallel and series wiring. These options are switched in the Pro Series by
small flick switches on the scratchplate. On the JGs they are mounted, as tiny
dip switches, in the pickup mounting rings themselves – just visible between
the two height adjustment screws on the lower side of the mounting ring. </span></div>
<div class="Body">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3obC8sNn_S3lh0YGbmrSSI4v5Wl9HkUFwrfT7hMVCD4ItRlsTWf4IOl5qhoqrroi3p1BfvXnHzBorVT01fLu8W9ZPxztpUY8zdaCecak5D8Os94hl4h2xjhGhXzLd44rEYRSLFQROA50/s1600/John+Gustafson+JG+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3obC8sNn_S3lh0YGbmrSSI4v5Wl9HkUFwrfT7hMVCD4ItRlsTWf4IOl5qhoqrroi3p1BfvXnHzBorVT01fLu8W9ZPxztpUY8zdaCecak5D8Os94hl4h2xjhGhXzLd44rEYRSLFQROA50/s320/John+Gustafson+JG+10.jpg" width="196" /></a></div>
<div class="Body">
<span lang="EN-US">But that’s not all. The JG basses still have a
few surprises in store in their wiring. Looking at JG1112, John Gustafson’s
bass (only the third produced) I was astonished to see that it featured an
option I wouldn’t have imagined available until well into the Pro Bass – a versatile
and complex set of output options. Alongside the standard ¼ inch jack socket
was a passive transformer balanced XLR output. This not only gave the option to
“Earth lift” the XLR output to deal with potential earth loop problems but it
gave the ability, through a specially wired cable, to send the output of the bass
to external effect pedals and then return the wet signal to the bass for Direct
Injection into the PA via the XLR socket.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">The Pro Bass promotional brochure describes it
thus… </span></div>
<div class="Body">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">“</span><i style="mso-bidi-font-style: normal;"><span style="border: none; font-family: "arial" , sans-serif;">The output is
an attractive heavy duty casting which directly replaces the standard jack
output socket in the edge of the instrument. It contains: </span></i><i style="mso-bidi-font-style: normal;"><span style="border: none; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i></div>
<ol start="1" type="1">
<li class="MsoNormal" style="border: none; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-padding-alt: 0cm 0cm 0cm 0cm; tab-stops: list 36.0pt;"><i style="mso-bidi-font-style: normal;"><span style="border: none; font-family: "arial" , sans-serif;">Standard
jack output (unbalanced) </span></i><i style="mso-bidi-font-style: normal;"><span style="border: none; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i></li>
<li class="MsoNormal" style="border: none; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-padding-alt: 0cm 0cm 0cm 0cm; tab-stops: list 36.0pt;"><i style="mso-bidi-font-style: normal;"><span style="border: none; font-family: "arial" , sans-serif;">600 ohm DI
output via a standard 3-pin Switchcraft QG (XLR) connector </span></i><i style="mso-bidi-font-style: normal;"><span style="border: none; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i></li>
<li class="MsoNormal" style="border: none; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-padding-alt: 0cm 0cm 0cm 0cm; tab-stops: list 36.0pt;"><i style="mso-bidi-font-style: normal;"><span style="border: none; font-family: "arial" , sans-serif;">Earth Lift
Switch to avoid hum loops when using both outputs simultaneously </span></i><i style="mso-bidi-font-style: normal;"><span style="border: none; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i></li>
<li class="MsoNormal" style="border: none; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-padding-alt: 0cm 0cm 0cm 0cm; tab-stops: list 36.0pt;"><i style="mso-bidi-font-style: normal;"><span style="border: none; font-family: "arial" , sans-serif;">Loop
Switch which allows effects to be looped onto the DI output via a special
accessory lead.”</span></i><i style="mso-bidi-font-style: normal;"><span style="border: none; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i></li>
</ol>
<div class="Body">
<span lang="EN-US">Crazy!</span></div>
<div class="Body">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_LZb1u3K7ANznK0kS_qYIGx7yn0_Tcde6Nk-tjpwhI7x9BA9c-QuUAIVuPPPMbjZx2coN6bq8cFmMx2N0hcF1Lt6IhKjE6cdqnhg5SrOsLtBdfRLCKQerluhsN5tkMSsMQID0Oz0pjKc/s1600/20160630_114136.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_LZb1u3K7ANznK0kS_qYIGx7yn0_Tcde6Nk-tjpwhI7x9BA9c-QuUAIVuPPPMbjZx2coN6bq8cFmMx2N0hcF1Lt6IhKjE6cdqnhg5SrOsLtBdfRLCKQerluhsN5tkMSsMQID0Oz0pjKc/s320/20160630_114136.jpg" width="180" /></a></div>
<div class="Body">
<span lang="EN-US">Another early model, JG1117, springs another
unexpected surprise. The scratchplate of this bass features a small switch and
the rear has what is obviously a battery cover. This is a very early version of
the “Pick-Attack” function which was included on in the Pro Bass wiring and
later perfected on the Custom Series basses. Another piece of “design
aforethought” I would never have expected to have seen on these early basses.</span></div>
<div class="Body">
<br /></div>
<h3 class="Body">
<span lang="EN-US">Hardware:</span></h3>
<div class="Body">
<span lang="EN-US">After all that it seems odd to finish on
something as mundane as the hardware. However, this once again shows the level
of thought which had clearly gone into the JG series basses. As with the other,
later models very little is off the shelf – just the strap buttons and the
tuners (smaller less substantial types on the earlier versions, upgraded to
more heavy duty, half-open Schallers later on). This neck upgrade also
introduced the distinctive Wal string guides.</span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span lang="EN-US">The distinctive Wal bridge is included in a
pretty fully-formed version. Effectively, this is the same silver chrome
version that graced the Pro Series basses. </span></div>
<h3 class="Body">
<span lang="EN-US">A closing thought:</span></h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsirRO55VkVPp_bauMtbcXCNPDR1lt1vkpwdjvPooWAW5uCjbkuk2oFntzAfyBX4373GtnKwXjtpA5ckcLYbPWdbe0B-qslWjWBU97do-9CoVw-DqnSC3WjdDZM2_HGEgl-65q9SNn52E/s1600/IMG_20160708_203614.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsirRO55VkVPp_bauMtbcXCNPDR1lt1vkpwdjvPooWAW5uCjbkuk2oFntzAfyBX4373GtnKwXjtpA5ckcLYbPWdbe0B-qslWjWBU97do-9CoVw-DqnSC3WjdDZM2_HGEgl-65q9SNn52E/s320/IMG_20160708_203614.jpg" width="320" /></a></div>
<div class="Body">
<span lang="EN-US">All in all the JG is not the
part-prototype/part-experimental/part transitional bass I had always assumed.
But then again, this is Ian Waller and Pete Stevens we’re talking about. Of
course it wasn’t! I, of all people, should have known better. No, it is a
thoroughbred beast in its own right. That Ian and Pete could go on to improve
and enhance (perhaps even better) the design in the Pro Series basses and then
further refine and perfect it through the Custom series is testament to their skills,
abilities and genius. However, the JG stands on its own two feet and on its own
terms as a fine piece of bass building and bass design.</span></div>
TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com1tag:blogger.com,1999:blog-7002087831029217694.post-52087882274663692942016-04-17T22:14:00.000+01:002016-04-17T22:25:12.830+01:00Gallery - 1983 Rosewood-topped Reissue Passive Pro<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BTLYhRe2XhQXn-vA8qzNj_9rvUu3raRjFATNxawezqI54ZwVuT3wYiLthFTL6qkTs_VDV9a99JSezGw7ESYuCMSLcP4ol_06d1xcIc41mfvqfpqGqH5-34TEvwKCumcIGUKr9TRJneE/s1600/007.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BTLYhRe2XhQXn-vA8qzNj_9rvUu3raRjFATNxawezqI54ZwVuT3wYiLthFTL6qkTs_VDV9a99JSezGw7ESYuCMSLcP4ol_06d1xcIc41mfvqfpqGqH5-34TEvwKCumcIGUKr9TRJneE/s320/007.JPG" width="320" /></a><span style="font-size: large;">1983 Rosewood-topped Reissue Passive Pro</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of the great things about a brand like Wal is that a mix
of two inquiring minds and a <i style="mso-bidi-font-style: normal;">laissez
faire</i> attitude to “standard models” throws up a whole load of interesting
basses to scratch your head about. One such bass cropped up recently in an online
discussion on Basschat. The then owner, Gary Mackay, offered up his 1983
reissue Passive Pro bass as an unusual example of the model. The history of the
Pro Series deserves, perhaps, a little unpacking as its history isn’t
necessarily straightforward.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The original Pro Series was the first standard model of Wal
bass and was offered between 1978 and 1981. They offered four options – single or
dual pickups and active or passive circuitry – solid ash, paddle headstocks, contoured
bodies and large black scratchplates. These basses were superseded with the introduction
of the Mark 1 Custom in 1981. The Pro Bass was no longer offered for sale.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwizHGpxxp2IkgRSmBg0W5zVJtOgjmqYDlIpM5rVlGASVt_YTniIhmSGGJiLfY7rgdMx9Yjcts9AWojYiCwn-b2ewznGgQo47vGUPm_Nja184MYfDXI3_j8Y_XsMyfAqHKQj6zy1-BS-8/s1600/010.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwizHGpxxp2IkgRSmBg0W5zVJtOgjmqYDlIpM5rVlGASVt_YTniIhmSGGJiLfY7rgdMx9Yjcts9AWojYiCwn-b2ewznGgQo47vGUPm_Nja184MYfDXI3_j8Y_XsMyfAqHKQj6zy1-BS-8/s400/010.JPG" width="400" /></a></div>
<div class="MsoNormal">
However, realising that their new Custom Series were effectively
luxury models Electric Wood saw that there was a space in the market for a
budget Wal. But how to cut costs without cutting corners? The Reissue Pros feature
a more or less standard laminates Wal neck but a slab, solid ash body and a
single passive pickup (either in the bridge or neck position – the position
changed over time) controlled via a small, tear drop-shaped control plate.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5U1tkWe2bEh-4PhFFAincvl1RpON9BvQoX0zSiZQPkKS7aBGL8_bIPmN0_iLITw_TWYFd-dJjHfnN4cXD11MF8ErdSJFU9AHlIqN4gy29Ll3QE8aSFNu31pzX1JhGKrgR3kFj66Ri-hI/s1600/IMG_1859.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5U1tkWe2bEh-4PhFFAincvl1RpON9BvQoX0zSiZQPkKS7aBGL8_bIPmN0_iLITw_TWYFd-dJjHfnN4cXD11MF8ErdSJFU9AHlIqN4gy29Ll3QE8aSFNu31pzX1JhGKrgR3kFj66Ri-hI/s200/IMG_1859.JPG" width="200" /></a></div>
<div class="MsoNormal">
As a little extra bling they were often finished with a
fairly plain flamed or birdseye maple veneer (and a sunburst finish to hide the
veneer’s edge). Gary’s Reissue Pro, however, if the only one I’ve ever seen
with a rather tasty, pale rosewood top and clear varnish. All in all a rather
classy set of appointments for a supposedly “budget” bass.</div>
<div class="MsoNormal">
</div>
<a name='more'></a><br />
<div class="MsoNormal">
The bass was originally supplied to the south London store,
Gig Sounds, in June 1983 (26/6/83 to be precise thanks to Wal’s legendary
orders log book). It lived a full and active life with its first owner before
being purchased by Gary around 1990/91 – according to him, “<i style="mso-bidi-font-style: normal;">It had very obviously been fairly heavily
gigged and not exactly treated gently. It's had a much more sedate lifestyle
since coming in to my possession. These days it just gets played at home, as
although it's very light for a Wal, these days I need to gig with instruments
that are well under 9lbs.</i>” </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2YjA3xMcUY46KSgeTXK46DG_qrsGZLVDi1C7m5ZZHb7jjozPFopKUMYZKWouSay-_P4oNMzdrz3N73MbD7q3HU8fqxVl88dTLScNwPcFfkMEQwpGwDmnwQLelbqDBvMOdCFjDS965S8/s1600/IMG_1854.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2YjA3xMcUY46KSgeTXK46DG_qrsGZLVDi1C7m5ZZHb7jjozPFopKUMYZKWouSay-_P4oNMzdrz3N73MbD7q3HU8fqxVl88dTLScNwPcFfkMEQwpGwDmnwQLelbqDBvMOdCFjDS965S8/s320/IMG_1854.JPG" width="320" /></a></div>
Gary continues. “<i style="mso-bidi-font-style: normal;">It is a passive bass, with the single Wal
pick up and a series/parallel switch. Paul from Wal tells me that the
body is Ash with some sort of Rosewood veneer. The fretboard is a lovely
dark Indian Rosewood. As far as I know it's all original, with the
exception of a couple of the bridge screws. I changed them as some heavy handed
previous owner had totally burred them up. For a Wal it is very light at just
9lb 6oz.</i>”<br />
<div class="bbccenter" style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div class="bbccenter" style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzrk7ggOQKpv0fnoqFGSckJqSPRGxdJ6G8qmWUHyO0vQRuBXao3T3iFT4GICIIbyLYW67fHgm06Pg2wWLJYwaydFwNXowPNGdJTkhIPFAWafO6mi7xqmqYdiP-wzKnUiEM0tLOFmv5lUk/s1600/IMG_1860.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzrk7ggOQKpv0fnoqFGSckJqSPRGxdJ6G8qmWUHyO0vQRuBXao3T3iFT4GICIIbyLYW67fHgm06Pg2wWLJYwaydFwNXowPNGdJTkhIPFAWafO6mi7xqmqYdiP-wzKnUiEM0tLOFmv5lUk/s320/IMG_1860.JPG" width="320" /></a>“<i style="mso-bidi-font-style: normal;">A previous owner did not treat it with kid
gloves, so it does have some dings and signs of wear. There is an area of wear
by the pickup and a couple of holes, presumably from a thumb rest and a couple
of cracks within the lacquer on the rear of the head stock – this is fairly
typical, I believe, on Wals of this vintage. There are also a couple of
areas to the front of the bass that periodically fade. Not sure what has caused
this but a quick wipe with Lemon Oil every few months keep it looking good.</i>”</div>
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Finding that it wasn’t getting used in anger as much as either
bass or owner would have liked Gary decided to move it on towards the end of
2015. One thing is for sure, whoever now owns this rather unique bass has got
themselves a thing of beauty and a bass which will be a joy to play.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b>What a lovely rare beast. Enjoy some more photos of it below... </b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com2tag:blogger.com,1999:blog-7002087831029217694.post-14026413410404262332016-04-15T12:33:00.002+01:002016-09-09T23:37:03.462+01:00Special feature: Wal Basses - the early years<h2 style="text-align: center;">
<span style="font-size: x-large;">Wal Basses the early years</span><o:p></o:p></h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Over the last half a century some incredible bass guitars have come from these shores. From the “yeah baby” grooviness of Burns, to the quirky ergonomics of Shergold, from the Alembic influences of Jaydee and John Birch to the macho 80s lines of Status… all classic designs in their own right. However, perhaps one other British bass stands shoulder to shoulder with them – the instruments made by Electric Wood in High Wycombe: the Wal bass. For much of the 1980s and 1990s a Wal was the must-have bass de jour for the discerning British session player and attracted a wide range of celebrity endorsees (all of whom shared one characteristic… they’d bought their own Wals - the company had a “no freebies” policy). A few years ago the brand ceased production when ill health forced the retirement of founder Peter Stevens. However, in the hands of luthier, Paul Herman, Wal has recently re-emerged so perhaps it’s perhaps an appropriate to have a look back at the birth of the brand. We’ve gathered together some of the characters who were instrumental to the story and picked their brains on those early years.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> Ian Waller - the Manchester years...</span></span></h2>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><i><span style="font-family: "georgia" , "times new roman" , serif;">Ian Waller (second from left) in the Demons - early 1960s </span></i></span></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ian Waller was an enthusiast. A bass enthusiast and an enthusiastic tinkerer. From an early age he was adept with his hands - playing in bands around the early 60s Manchester scene and building instruments and pedals to power his own music. It’s a matter of record that, with US trade embargoes biting, the availability of decent instruments in the early days of the UK beat revolution was low. Many aspiring players plumped for lower cost alternatives like Hagstroms, Dallas Arbiters and Grimshaws. Others such as "Big Wal", as he had become known around the scene, went for the home-made route. Other members of those early bands recall him as a popular figure on the circuit, the quality of the bass he had made with the assistance of his father always drawing gasps of admiration from jealous musos.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">After closely missing out on taking his place as one of Herman’s Hermits a decision was made to seek fame and fortune in down in London. But not as a rock star - as an electrical engineer, putting his electronics experience to good use building medical diagnostic equipment. However, his enthusiastic tinkering continued and before long he was building radio-controlled gadgets for the theatre and film industry – one old friend recalls him showing off a couple of radio controlled cars fashioned in the shape of a ham sandwich and a tomato sauce bottle! The passage of time saw both Waller and his soon to be partner in crime , Pete “The Fish” Stevens, working at the Farmyard Studios owned by Quantum Jump drummer, Trevor Morais. All the time that tinkering still extended to instrument building. “I remember Wal as someone who was always building guitars and basses.” recalls former Caravan and Quantum Jump bassist, John G Perry. Indeed, Perry would become the first person who would benefit from an instrument officially created under the “Wal” banner.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> A Quantum Leap...</span></span></h2>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">John G Perry takes up the story... “We were at Farmyard Studios. There were a lot of jams going on there at the time, organised by Trevor Morais who owned the place. Mega-jams with all sorts of people – like Johnny Gus, Peter Robinson, Rupert Hine. A lot of notable musicians from that period who’ve gone on to do some amazing things. So I met Wal via Trevor, they were good mates. We were getting Quantum Jump together and my old Gibson EB3 wasn’t quite up to that but I wanted something ¾ scale – that was all I’d ever played and I wasn’t used to big, grown-up basses. So I asked Wal to make me one which would have its own identity as well as sounding like a Gibson or sounding like a Fender. At that time I was starting to do a load of session work so I needed a bass that was a chameleon as far as its range of sounds was concerned. Combining the two ends of the spectrum – Gibson at one end and Fender at the other – and seeing what happened. What came out of it was something with its own identity; and better than the other two in my view.”</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT0qmeQ3jPsrGTpucoAirN_5_mTrOOv2cXZx6bp564yhLqaGwg_DZJZx-vYmpxKkz1QOwv5i87bqIdMnd2ZWtfjYac0AteMAuKNUd8Jx0Bf2mGlz0LjDdi5uZLjYR5ar8928kEwPYZFB0/s1600/jg3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT0qmeQ3jPsrGTpucoAirN_5_mTrOOv2cXZx6bp564yhLqaGwg_DZJZx-vYmpxKkz1QOwv5i87bqIdMnd2ZWtfjYac0AteMAuKNUd8Jx0Bf2mGlz0LjDdi5uZLjYR5ar8928kEwPYZFB0/s1600/jg3.jpg" /></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It’s at this point that John Gustafson takes up the story. “I first Met Wal in the early 1970s. A friend of mine, Tony Walmsley, the Pedlars’ tour manager, took me along to see him at his flat off Bond Street in London. I remember I bought a Sammy Turner album off his flatmate! Wal was talking about basses and I became interested. He asked me what I would like in a bass. I was playing a Fender Jazz at the time, the first thing I suggested was an extra fret as the Fender only went up to E flat on the G string. I loved the Jazz neck at that time and I wanted something with a similar width and with a sculpted back for a more comfortable position.” Unsurprisingly the bassist was tempted and an order placed. “I bought a hybrid from Wal: a precision neck with a Wal body, the leather scratchplate was Wal's surprise. It was a great bass which I used until I picked up the JG model.” That hybrid bass became session hound Gustafson's staple instrument through the following years – including a stint as the studio bassist for Roxy Music. This lead to it featuring on a range of classic 70s tracks, including providing the iconic bass line for ‘Love Is The Drug’. “Yes, it is the green hybrid on Roxy Music’s Siren, including ‘Drug’.”</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> Three necks are better than one...</span></span></h2>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The next notable commission would become one of the marque's most notorious and iconic basses – the Wal triple neck. Originally commissioned by Rick Wakeman it was another Farmyard connection... “I knew Wal well. I saw him a lot in the early seventies and loved the sound of his basses. Very unique. The bass was made for my King Arthur album. I needed two guitars in one section but only had one guitar player, so initially my plan was for a twin neck with one bass neck and then one guitar neck. But then there was a piece that went between fretless and bass so it became a triple neck . Wal always told me from the outset that it would weigh a ton... I said that didn't matter because it wouldn't be hanging round my neck!”</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Roger Newell playing the Wal Triple Neck in Rick Wakeman's band</i></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The neck in question belonged to Roger Newell, former bassist for Wakeman's English Rock Ensemble, who continues. “The triple-neck bass evolved from a conversation that I had with Rick. There were quite a few double-neck guitars about then and Mike Rutherford had his bass & 12-string combination so the idea was to have three necks for a bit of up-staging. For me it was a standard fretted bass, a fretless bass (tuned to D) and a guitar on top. I said to Rick, ‘I don't play guitar in anything.’ So he replied ‘I’ll write something’ and he did! I was involved pretty much throughout the design; I had to be, as I would be playing it. Wal was a local guy and already a friend, so was Pete but he wasn't working with Wal then, he was collecting tropical fish from around the world – hence his nickname of Pete The Fish.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1q473JA0f84Y2xHPrq74wZTx17PYOW_93C3C-Qy5NP2dhdHEYYeTZnd2miYZ3Ltt-2PXTH_CBCGPyZZv7V50MdJbQxNl8IKAkZoFYGxpXZ6RDRZcIdKOQNz-ky3KEh0aQ1kj60m7SNU/s1600/TripleWal.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1q473JA0f84Y2xHPrq74wZTx17PYOW_93C3C-Qy5NP2dhdHEYYeTZnd2miYZ3Ltt-2PXTH_CBCGPyZZv7V50MdJbQxNl8IKAkZoFYGxpXZ6RDRZcIdKOQNz-ky3KEh0aQ1kj60m7SNU/s320/TripleWal.jpg" width="320" /></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">“We rehearsed at Trevor Morais’s place where his band Quantum Jump also practised. Wal had built a short-scale bass for their bass player John G Perry and this was the inspiration to build mine. I chose the pick-ups, asked for tooled leather scratchplate (like John’s) and Wal worked on ways to make the thing come together in a practical way. The final design was drawn out on graph paper on his kitchen table. We both liked the look of it so he set about making it. He made a beautiful job and apart from some re-wiring to make it more practical on stage it basically stayed the same. It wasn't easy to play, or to put on, as it was pretty heavy and had a mind of it’s own. (Chris agrees too!). In America, during a tour of their factory, Ovation made me a custom strap in order to spread the weight out as much as possible over my whole left shoulder. It helped a bit. Whenever I put it on the crowd went nuts. It was simply amazing and never failed to get a positive reaction.”</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Wakeman performing in the King Arthur concerts</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB6PjRHwWc3AXIFhKYXGUMmu34_zGsp6RAz9HkxqqxzdI2Ug7IeFiRGjAdQDcAe00YZAHT_ASWfdFTJCshucbtQCaZs37Ba76ks49sDTNZCPT_3GXGod7LyDy_7e5Mj93_dcGpWjlM0Cs/s1600/RickOnIce1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB6PjRHwWc3AXIFhKYXGUMmu34_zGsp6RAz9HkxqqxzdI2Ug7IeFiRGjAdQDcAe00YZAHT_ASWfdFTJCshucbtQCaZs37Ba76ks49sDTNZCPT_3GXGod7LyDy_7e5Mj93_dcGpWjlM0Cs/s400/RickOnIce1.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Wakeman's shows were nothing if not over-blown!</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWvObYbjdBIrl0yyK1PG-SAcATs4f7Ws23a4u0_0b3bGHsAfMmO2Vbk9FqJKPVwQaleaEMdvIF1I6uDTYyhLhWAPOPM8NDXj3kyPv_D34T4yebo5ycKGvwl8Xzgihy0nh3lmHKXBN5ms/s1600/awaken3neck.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWvObYbjdBIrl0yyK1PG-SAcATs4f7Ws23a4u0_0b3bGHsAfMmO2Vbk9FqJKPVwQaleaEMdvIF1I6uDTYyhLhWAPOPM8NDXj3kyPv_D34T4yebo5ycKGvwl8Xzgihy0nh3lmHKXBN5ms/s320/awaken3neck.jpg" width="251" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Squire with his triple neck replica by Hiroshi Kid</i></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Wakeman certainly agrees with that final comment, “Phenomenal! I think there were more pictures taken of that bass than any other bass ever made! The Americans loved it.” However all good things must come to an end and eventually the bass was given as a gift to Yes bassist, Chris Squire. “My band had come to an end in the line-up that had been with me for some time and the bass was unique to that line-up. Yes were recording, Going For The One in Switzerland and I realised the the triple neck would be ideal for ‘Awaken’... Chris loved it and so I decided to give it to him. It's now in the Hard Rock in New York and Chris uses a much lighter and cheaper copy triple neck on shows.” Strangely Newell's recollection is slightly different. “When Rick folded the band he offered me the bass at almost five times what it cost to build and without another gig in sight I had to turn down his generous offer! When he gave it to Chris I was indeed a little upset! It was Chris that changed the guitar section into a short scale 6-string bass with three octave pairs. I still have a Wal Pro Bass and I love the sound and the feel! As the triple neck was the first full-scale bass that Wal designed the neck profile was made to fit my left hand perfectly so when I play an early Wal bass there is something rather personal about it, like a custom instrument, so I guess I got the benefit in the end! Also recently the bass has been dubbed the ‘Roger Newell bass’ so there is some justice in the world.”</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A business proposition...</span></span></h2>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">But what inspired the transition from interesting sideline to full time business? Perry recalls “Of course my first bass was stolen. That was awful but in some ways the impetus behind getting Wal going as a business. I went to Wal and said, ‘I’ve had it stolen so I’m going to have to get you to make another one but I think you should also start making them for other people.’ It was that theft and losing the thing that created that thought. Purely out of embarrassment, I expect; probably thinking ‘How can I go tell this man who’s made this beautiful instrument I’ve gone and left it in the car and got it stolen. I must give him more than just an order for another one.’ That was what kicked the whole thing off. So he and I put our heads together and we got some capital together to set him up in London, actually. A little place just off Bond Street. And he literally just started from there, from scratch. When that very first bass surfaced again Pete said, ‘Do you want it?’ I said, ‘No, no, no, This is the first one... for the museum!’.”</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimA2y1IdLkFSbcgF72VT1tRa7TmhQAN-LzEnmZ14BPdKWbYslVizCF9So2-ADy8psNNgZ2uzefw9pRjUCttkwrhb3U8QLEthDD7MeHdaAwnzVUI5gNMDNTIFTEizHzO_keW5QLdflgGt8/s1600/JohnGPerryGGBand1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimA2y1IdLkFSbcgF72VT1tRa7TmhQAN-LzEnmZ14BPdKWbYslVizCF9So2-ADy8psNNgZ2uzefw9pRjUCttkwrhb3U8QLEthDD7MeHdaAwnzVUI5gNMDNTIFTEizHzO_keW5QLdflgGt8/s400/JohnGPerryGGBand1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>John G Perry (right) in the Gordon Giltrap Band</i></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtt5BlWPxZJyCnRMHdVcDscMTOahN9OZUBO1m50GzyIsHCMOLrcN7R2f3YK_KxK_Dc-M8EENs9dhzk9m4wk5oy5f8Muy21vIh1KMJTTM3YWG1rP6dpYi6n6EZzV9Gu3YHicdL6D0B6Nvo/s1600/jg1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtt5BlWPxZJyCnRMHdVcDscMTOahN9OZUBO1m50GzyIsHCMOLrcN7R2f3YK_KxK_Dc-M8EENs9dhzk9m4wk5oy5f8Muy21vIh1KMJTTM3YWG1rP6dpYi6n6EZzV9Gu3YHicdL6D0B6Nvo/s1600/jg1.jpg" /></a></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gustafson was also in on the ground floor with the new line of semi-custom basses, picking up only the third one to be built. Unsurprisingly, the first, a short scale model, went to Perry. A second was used for a little promotional activity, left lying around at London's busy Trident Studios for any passing session-player or rock star to pick up and fall in love with. The new basses, dubbed the JG series in Gustafson's honour, were a much streamlined development of the early custom orders which Wal had been building. Soon Pete the Fish was fully on board and Wal was trading as a company under the Electric Wood moniker.</span></span> <br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The JG series sported solid ash bodies while the necks were moving towards the laminated structure which would become a characteristic of all future Wals. The distinctive tooled leather scratchplate was retained. Most significantly, however, it was on the JG basses that the unique pick-ups which contribute so much to the Wal sound were introduced. Although, on the surface looking like a standard set of humbuckers their internal construction was unusual to say the least as Wal used his knowledge of electronics to good effect. Rather than simply being two coils of opposing polarity to cancel out mains and RF interference the Wal pick-ups effectively contain eight individual pick-ups in one housing – a humbucking pick-up for each string. Added to this, the JG basses also had various switching options built into the mounting rings allowing coil-split and out of phase tonalities to be thrown into the mix. It made for a versatile yet intuitive mix.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gustafson, owner of two JGs, a matching fretted and fretless recollects, “The only other Wal I ever picked up belonged to John Perry, It was the short scale that he preferred and so naturally it felt a strange. The JG is on hundreds of sessions combined with a Fender Twin, almost everyone commented on the sound of the bass and it's versatility. On other gigs I had a later Pro series Wal as backup; although it had wider neck I was very comfortable with it. It had a great sound, more biting than the JG. Amongst others, Al Jarreau said he loved the sound of it on some live shows in Germany."</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>John Gustafson playing with the Gordon Giltrap Band</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0QuxXWiyWUZKcYj_Y5AkCkbJAXn8_btfspHhOP0ztkuzkcB7YrgCTULc6mmRlLxjUvQ4sTw8vVFm2hh2y7PdRuXtbLAmc16LptMAcJZvKjUwltVEIreJfmWoPdY7o7Y7u2cu1j9EeSY/s1600/JohnGus1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0QuxXWiyWUZKcYj_Y5AkCkbJAXn8_btfspHhOP0ztkuzkcB7YrgCTULc6mmRlLxjUvQ4sTw8vVFm2hh2y7PdRuXtbLAmc16LptMAcJZvKjUwltVEIreJfmWoPdY7o7Y7u2cu1j9EeSY/s1600/JohnGus1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Gustafson pictured more recently (still playing his Wal)</i></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> “I took the JG On a Japanese tour with the Ian Gillan Band. I wasn't playing particularly loud but the sound crew told me they didn't have it through the PA and that it was the best, tightest and punchiest bass sound they'd heard at the Budokan. What a feather in your cap Wal!” </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Although only around 40 JGs were built, the marque picked up an impressive roster of customers. John Entwistle purchased one (originally destined for Renaissance bassist, John Camp) as did session players like Alan Spenner and Gary Tibbs. Jethro Tull's John Glascock and Blue Oyster Cult's Sandy Pearman were customers, as was a rather surprising Paul Simenon (at producer, Pearman's behest). To be fair, the Clash bassist did find the complexity of the bass a little too un-punk for his tastes, soon reverting to his trademark Precisions. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgKWx1Ba0BZWCwE0_uP9C2-RYiVTqwz9nxL9KmhtSrPGJei3vy4B0zkbUQhT-UEsKxyLhgnj4B6g8c_Lvx1l9G_XZdu5rht1NvdFb3zz5qpFCClT0PyUC87mLMGr3GzHCsycgS4eaE3E/s1600/PercyProAd79.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgKWx1Ba0BZWCwE0_uP9C2-RYiVTqwz9nxL9KmhtSrPGJei3vy4B0zkbUQhT-UEsKxyLhgnj4B6g8c_Lvx1l9G_XZdu5rht1NvdFb3zz5qpFCClT0PyUC87mLMGr3GzHCsycgS4eaE3E/s320/PercyProAd79.jpg" width="217" /></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As the 1970s progressed Wal established itself further, launching the Pro Bass and linking up with other influential bass players </span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">of the time - not least the Brand X bass virtuoso, Percy Jones, who was to become another real </span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQiGoYWh1Bh4TOzcULjhxqjlfNxYAV9GEZ9Scw1npYWdvrlzW0VQKFST-NbWDWZZZmy_crSnwnVXM04eIONrVrNjQuCkdv0Qz-5mvJIe6MfBBTJqqmvgjrooODt4Aj4WTQ7eUKbjnSv4/s1600/c0b29c9b463be4653fe27d559c63ed68_full.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQiGoYWh1Bh4TOzcULjhxqjlfNxYAV9GEZ9Scw1npYWdvrlzW0VQKFST-NbWDWZZZmy_crSnwnVXM04eIONrVrNjQuCkdv0Qz-5mvJIe6MfBBTJqqmvgjrooODt4Aj4WTQ7eUKbjnSv4/s200/c0b29c9b463be4653fe27d559c63ed68_full.jpg" width="200" /></a></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">ambassador for the brand. Building on the template set by the JG it was an active, production line bass (albeit a typically small and hands-on production line, as befits a company called Electric Wood).</span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In the early 1980s the “Custom Series” was launched featuring significantly enhanced electronics and exotic woods, signalling the brand's move into what’s now dubbed boutique territory. In this period the bass reached a Fender-like level of ubiquity in the British rock world. Developments and improvements continued with the introduction of a 5-string variant – one of the earliest commercially available 5-strings to be manufactured in the UK – and a brief dalliance with the concept of a midi-bass (which actually worked).</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Tragedy strikes... a bass-making legacy</b></span></span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJr481DRC-DamWi8jx7rnurxusk9JHnnDT8VoxHw_YnkQNuaZh4pbE4XCQE1J8-5Nc02PZXhg3VaEu1zt6ykIR4-RgY1lIBdGkkhPFkyaV0H_mwbalBU098BP05CxrDVyroJQpWbmJpT4/s1600/80sWorkshop1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJr481DRC-DamWi8jx7rnurxusk9JHnnDT8VoxHw_YnkQNuaZh4pbE4XCQE1J8-5Nc02PZXhg3VaEu1zt6ykIR4-RgY1lIBdGkkhPFkyaV0H_mwbalBU098BP05CxrDVyroJQpWbmJpT4/s400/80sWorkshop1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Wal and Pete in their workshop in the late 1980s</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCaUx1-Rxeb84MX6EwLeLKVGU5SOCgHpJIUltj0KgKMPJ6zikGyjaZn9JBXz8yQixNLVqNyZwBa3VS06GnIZh2aLugf_lgis1IvwS4IwdjyP8RD27zrCLoxDJQGCioXKTwr2xebSIUKMc/s1600/80sWorkshop2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCaUx1-Rxeb84MX6EwLeLKVGU5SOCgHpJIUltj0KgKMPJ6zikGyjaZn9JBXz8yQixNLVqNyZwBa3VS06GnIZh2aLugf_lgis1IvwS4IwdjyP8RD27zrCLoxDJQGCioXKTwr2xebSIUKMc/s1600/80sWorkshop2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ian Waller in the mid 1980s</i></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">However, in July 1988 the company was rocked by an unexpected tragedy. The sudden, untimely death of its founder Ian Waller. Victim of a heart attack as he walked home one evening, his passing sent reverberations throughout the British music industry. A solemn tone enters John G Perry’s voice as he thinks back to the time “It was very sad when Wal died. Had an aneurysm – he was only in his forties. He was living just off Shepherds Bush at the time. Very fit, a vegetarian, lots of exercise. Kept himself fit – he was always a big, strong sort of guy. Wasn’t the sort who did anything to excess. He was walking up to his first floor flat and he must have had a burst aorta as he was walking up the stairs. Just like that. His funeral service was out at Amersham and the church there was absolutely packed with family and friends. There was a who’s who of bass players in there, other musicians, friends of Wal’s. He was a very very dearly loved man. Hugely missed. But what’s so exciting is that he lives on in his basses”. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The memory of it also brought a sombre mood to Gustafson's reflections. “Wal's passing was dreadfully unexpected news. His funeral was a testimony of the love everybody had for him; a gentle man who lived for his art. Pete carried on the tradition in the same meticulous way.” Sentiments echoed by Newell and Wakeman, “Wal was a quiet guy really, loved to work on new ideas and hated repetition so it was just as well Pete kept an eye on production. Pete’s a gem; a really genuine and lovable character and a friend for life. You couldn't help but like Wal and Pete, both great guys.” “Just guys who loved music. That was their motivation; a rare quality these days. I was tremendously sad when Wal died.” </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Perry sums up the legacy of Ian Waller, “Still after all these years when I open the case and pick one up it takes my breath away. And I know the love and heartache Wal and Pete put into making these things for us – the level of care, you would not believe it. Every Wal has bit of Ian Waller in, and Pete Stevens after Wal died. They are not inanimate objects, they’re living breathing things. Every bit of wood he picked up spoke to him.”</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-size: small;">Trevor Raggatt</span></i></span></h3>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-size: small;">© 201<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1</span></span></span></i></span></h3>
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<i><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Acknowledgements: </b>In preparing this article I'm truly indebted to the players who provided information and took the time to recall the early years of the Wal brand or describe just why Wal basses are some of the best around. Particular thanks go to John G Perry, John Gustafson, Colin Edwin, Rick Wakeman, Roger Newell, John Illsley, Justin Meldal Johnsen, Laurence Cottle, Percy Jones, Gordon Giltrap and all the others who contributed. Many thanks. Long live Wal!</span></span></i></div>
TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-6892617979757874862016-04-03T21:20:00.001+01:002016-04-03T21:20:04.700+01:00Gallery - Wal MB5 5-String Midi Bass<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKd00Q1ODzJ1BEf33SMVPmBcEx7Hs636iLmG6ZmVncI3h9IhDIOEd_W76fCTi4CXESHmg_XvOMXBoSHkGeUO5eyJya3jtonIdU43B-ssF7khWB-2UuoBECX0HnDSDUxTdktyt0GlZDm24/s1600/BDMidiBass2.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKd00Q1ODzJ1BEf33SMVPmBcEx7Hs636iLmG6ZmVncI3h9IhDIOEd_W76fCTi4CXESHmg_XvOMXBoSHkGeUO5eyJya3jtonIdU43B-ssF7khWB-2UuoBECX0HnDSDUxTdktyt0GlZDm24/s320/BDMidiBass2.JPG" width="320" /></a> The Wal Midi Bass has always been a bit of a rare beast. So when one turned up for sale at <a href="http://www.bassdirect.co.uk/bass_guitar_specialists/Home.html" target="_blank">Bass Direct in Warwick</a> with a sumptuous shedua/hydua top, a Mk II 5-string body and some stunning photos attached it seemed like the perfect excuse to feature this beautiful bass on the blog. Many thanks to Mark Stickley at <a href="http://www.bassdirect.co.uk/bass_guitar_specialists/Home.html" target="_blank">Bass Direct</a> for permission to use these photos. Whoever ends up purchasing this bass is in for a rare treat!<br />
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MB4s were on the more obscure and exclusive end of the Wal catalogue and were only available for a limited period of time. That said, over that short period from around 1990 they gained a reputation for being just about the only midi-bass that actually worked.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd9_tI2MsYdAVUYxVYuy8Ecfcw2Kpuo3FBXq215k-QrI6o3LYsGNV-Mg_fO0CCiAewexZDDV8-ZYQRDWF-cVRaT8mdpwSJaswH3wzEzBqv0HUxPwQJy-2a5TFDzow-Q89cfajkKPO2jmU/s1600/BDMidiBass3.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd9_tI2MsYdAVUYxVYuy8Ecfcw2Kpuo3FBXq215k-QrI6o3LYsGNV-Mg_fO0CCiAewexZDDV8-ZYQRDWF-cVRaT8mdpwSJaswH3wzEzBqv0HUxPwQJy-2a5TFDzow-Q89cfajkKPO2jmU/s320/BDMidiBass3.JPG" width="320" /></a></div>
That was largely down to the genius electronics provided by Australian Steve Chick. The stroke of genius was to remove the need for the bass to midi converter to rely on a hexaphonic pickup to sense the pitch of the note being sounded. The beauty of a keyboard synthesiser is that the keys are effectively just switches. As soon as they are "on" they are "on" - there is no delay in getting them engaged. Hex pickups, on the other hand, take a few cycles of the note to sense what note is being played. For the loser notes on the bass that could potentially take more than a tenth of a second. Definitely noticeable for the listener, positively off putting for the player. Add to that the potential that overtones in the note could be interpreted as an entirely wrong note. For this reason midi basses gained a reputation for being tricky to play and badly glitchy. At the very least they demanded a very precise playing style.<br />
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The competition... </h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_zSoigccC9ZAPGdnCaycB2iapSEEWPVpaVTf8UWPwZTiD9TVE_c9ZvfsXAiK1ylV26yMtZpuvDZUwZM_qZL8aRFibECEGp4M8hBAma28cqzwOSOQSwW6cO6qMxQUWhf-pDqp8MsqZmXI/s1600/RolandGR77MidiBass.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_zSoigccC9ZAPGdnCaycB2iapSEEWPVpaVTf8UWPwZTiD9TVE_c9ZvfsXAiK1ylV26yMtZpuvDZUwZM_qZL8aRFibECEGp4M8hBAma28cqzwOSOQSwW6cO6qMxQUWhf-pDqp8MsqZmXI/s320/RolandGR77MidiBass.jpg" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFmQ3fOyMMK0_1T9QPsEgvtuWVPWbNzjbbg4L3u9TnS8KqAbuQSjw0Q1OCRWsTv_Blv_sxGYN2j6a5qeHoA3kDSprLjdnPJdRPznXG4IFN1SojjOU80uJTn798gp4l8WhBYKbVLRPmPE/s1600/SteinbergerXL2-GRMidiBass.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFmQ3fOyMMK0_1T9QPsEgvtuWVPWbNzjbbg4L3u9TnS8KqAbuQSjw0Q1OCRWsTv_Blv_sxGYN2j6a5qeHoA3kDSprLjdnPJdRPznXG4IFN1SojjOU80uJTn798gp4l8WhBYKbVLRPmPE/s320/SteinbergerXL2-GRMidiBass.jpg" width="92" /></a>The competition available from makers such as Roland (who produced a range of midi basses based on their hex pickup and guitar to midi controller system) was pretty limited. This included the space age G-77 bass which employed a "tone bar" to stabilise the neck and present the hex pickup with a purer, more reliable tone - it created quite a space age look!<br />
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Roland offered a couple of more conventional looking basses in midi format (the G-33 and G-88, both simply bass versions of the G-303 and G-808 electric guitar versions). In addition other builders, such as Steinberger, offered basses with Roland bass to midi controllers retrofitted. The Steinberger, with its incredibly stable carbon composite construction presented, possibly, the ideal vehicle for the bass to midi system.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSKuZVOfitu7PrTXU2y_uWDCRjEVZUkxI8CGaFxi4tCA4bsPe2SX__srmjxkTfcd0XpMY2Mf_JkhVQR7-dUyqPjCvrLJpiLo0CdOf3u2M5gHYCPnbAegd806oRJyr_DufE63b4NMpjLRs/s1600/Roland+G-33+Bass+Guitar.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEBmzohrHis_8hUQjxzqeYmLRgkBk5L_jM_GpiKsrRNt88_BMeVj_isVUwcXuFwBZWKuwJPUe1vRoJDTr0IqbbSs6cCUmeEtOAcBv7ToBdkKwTJfot8-ZOF9zRaTH0V-lzJPErOqb0WBc/s1600/RolandG88BassSynth.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEBmzohrHis_8hUQjxzqeYmLRgkBk5L_jM_GpiKsrRNt88_BMeVj_isVUwcXuFwBZWKuwJPUe1vRoJDTr0IqbbSs6cCUmeEtOAcBv7ToBdkKwTJfot8-ZOF9zRaTH0V-lzJPErOqb0WBc/s320/RolandG88BassSynth.jpg" width="320" /></a><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSKuZVOfitu7PrTXU2y_uWDCRjEVZUkxI8CGaFxi4tCA4bsPe2SX__srmjxkTfcd0XpMY2Mf_JkhVQR7-dUyqPjCvrLJpiLo0CdOf3u2M5gHYCPnbAegd806oRJyr_DufE63b4NMpjLRs/s200/Roland+G-33+Bass+Guitar.jpg" width="191" /></div>
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The 1991 5-String Mk II Wal MB5 Midi Bass</h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB4JGbM1iviW-pKztel2shdTdL9we03TchteV7rpdSbs8k2GVezeEwkZ0cvYLFfsCet1BbQl4x86QPEmhx_zs6Y6QriDOhaixPsNxwlTAWdLhM8MhEf0_mTyN1R_DvM9ndw0W_0czrPuM/s1600/BDMidiBass1.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB4JGbM1iviW-pKztel2shdTdL9we03TchteV7rpdSbs8k2GVezeEwkZ0cvYLFfsCet1BbQl4x86QPEmhx_zs6Y6QriDOhaixPsNxwlTAWdLhM8MhEf0_mTyN1R_DvM9ndw0W_0czrPuM/s640/BDMidiBass1.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mahogany core, figured shedua/hydua facings, ebony fingerboard</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCvPbdTLZleih-pFXAozH3hCcVooMmLXQEngDVbopEp0oj74ga6tmB6uiTP5hoER0JEZ6lDzzDX8yt5OWboQeTMoFbc5YN0rtv4tRznnv4KAgb3_LM-VB9tVrN8ggLJClvggkub-HESo/s1600/BDMidiBass4.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCvPbdTLZleih-pFXAozH3hCcVooMmLXQEngDVbopEp0oj74ga6tmB6uiTP5hoER0JEZ6lDzzDX8yt5OWboQeTMoFbc5YN0rtv4tRznnv4KAgb3_LM-VB9tVrN8ggLJClvggkub-HESo/s640/BDMidiBass4.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6-ply laminate neck<br /><i>Maple:Mukalungu:English Hornbeam:English Hornbeam:Mukalungu:Maple</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The split frets should be clearly visible...</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Note the oblong multi-channel midi signal socket on the rear of the bass</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0M3pcvG6TbJd2dQZ497n2B4gpNIWLksfLHjiU2Mc67Q_3X5QVM5EuVcrDR-yJDHJC5rzu3Ijid1CFvhCFSPRdxsxMvH8VF81ys48oDEzwUc7swDw5aNrm9FtC2rV-ll7UEDfiF7GjBw/s1600/BDMidiBass7.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0M3pcvG6TbJd2dQZ497n2B4gpNIWLksfLHjiU2Mc67Q_3X5QVM5EuVcrDR-yJDHJC5rzu3Ijid1CFvhCFSPRdxsxMvH8VF81ys48oDEzwUc7swDw5aNrm9FtC2rV-ll7UEDfiF7GjBw/s640/BDMidiBass7.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHT63lhdURHCEKENty5QWsyzlr5nAPcaPVwg1K4yEhM0nqGPujozBBl_uDwe4PCc83Ry7kQua3Nv8mTP-S_3bDojWYYDPqPYMXH39yrgYUMzjMAx8kNUZ9kgYe0NQiwfoIa-wLK9m1a-8/s1600/WalMB4CloseUp.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHT63lhdURHCEKENty5QWsyzlr5nAPcaPVwg1K4yEhM0nqGPujozBBl_uDwe4PCc83Ry7kQua3Nv8mTP-S_3bDojWYYDPqPYMXH39yrgYUMzjMAx8kNUZ9kgYe0NQiwfoIa-wLK9m1a-8/s320/WalMB4CloseUp.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJ0AdPxhKLLUNqFgP9i6K5joTq0bKmIE5-my7sLj14nzuW9EapCofPwc-4mX5gFzHQV__dtmxconzjpAOQNb7d9KTpa9_2yyl3tVV52K2E89MQV77zQdTcmxWmRFO_6S_RUhyphenhyphen9-omHtI/s1600/BDMidiBass2.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJ0AdPxhKLLUNqFgP9i6K5joTq0bKmIE5-my7sLj14nzuW9EapCofPwc-4mX5gFzHQV__dtmxconzjpAOQNb7d9KTpa9_2yyl3tVV52K2E89MQV77zQdTcmxWmRFO_6S_RUhyphenhyphen9-omHtI/s320/BDMidiBass2.JPG" width="320" /></a>The photos below show a comparison between the early Wal Midi Basses. The photo on the left clearly shows the hexaphonic pickup squeezed in between the custom die cast bridge and the bridge pickup. This was an early model which was reviewed in Guitarist Magazine in February 1990. The photo on the right shows that by the end of 1991 the hex pickup had been dispensed with.<br />
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-23285238084910124232016-01-31T22:20:00.000+00:002016-04-28T12:29:17.285+01:00General Wal music magazine adverts from through the years...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6AvvsoeovK9t4bboGjPtN-mpo07QnYxV4yUGZwchyYVQQ4Pc3gLFTVKZmb70bSld34sDXNPIDHV7ga-X7ODyhtUz4RKdaqT_5ZWHhoc9JdO-QIrJmn0pLfHOg6HODGZLbPu_t7Ct3lWk/s1600/Classifieds+6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6AvvsoeovK9t4bboGjPtN-mpo07QnYxV4yUGZwchyYVQQ4Pc3gLFTVKZmb70bSld34sDXNPIDHV7ga-X7ODyhtUz4RKdaqT_5ZWHhoc9JdO-QIrJmn0pLfHOg6HODGZLbPu_t7Ct3lWk/s400/Classifieds+6.jpg" width="215" /></a></div>
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General Wal music magazine adverts from through the years...</span></h2>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Throughout their history Electric Wood, the company behind Wal Basses (in effect Ian, Pete and maybe a couple of sleeping partners) took out ads in the national music press. For many years it was just a very bijou Wal add nestling in the paid ads at the back of Guitarist Magazine. Minimalist but with all the info that a keen Wal-hunter needed. However, some where a little more all singing and all dancing. Including those featuring their celebrity endorsers... John Entwistle, Percy Jones and Laurence Cottle.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A few of those adverts are attached below for your enjoyment...</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC4ToAG8zplgrsn-0NzfJzsMI9evLcRfPUjogAUNuKBAlNcuqrsw08j5clGIOz7_muZ_m9tYM1cA0KIXD1y7FNf6d-GGaCcw30Bsg7puR-fl1V6-6z7Nv-zrCOjgyx9qAkRlzYB4xDEng/s1600/Classifieds+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC4ToAG8zplgrsn-0NzfJzsMI9evLcRfPUjogAUNuKBAlNcuqrsw08j5clGIOz7_muZ_m9tYM1cA0KIXD1y7FNf6d-GGaCcw30Bsg7puR-fl1V6-6z7Nv-zrCOjgyx9qAkRlzYB4xDEng/s400/Classifieds+5.jpg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><a name='more'></a><span style="font-family: "arial" , "helvetica" , sans-serif;">These were the last series of Classified ads which ran in Guitarist Magazine through the late 1990s. They petered out completely from then on as the company started to experience difficulties, lost staff and moved premises several times...</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Here are some others from earlier, happier times...</span><br />
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Pro Series bass adverts from the 1970s...</span></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZi3Ckj1UXd3yALNoN3a7oCphSq9dpoIYQWxOYVAuKm4PlsLePVsasOHCmrqOSAiPn50-aKl0Wtshm_HZucUHFRJpVRSueyIE0LB1kpk5gsUl_KKHtSVmRRDM8sGZA2IgxdrtRb4PndrY/s1600/PercyProAd79.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZi3Ckj1UXd3yALNoN3a7oCphSq9dpoIYQWxOYVAuKm4PlsLePVsasOHCmrqOSAiPn50-aKl0Wtshm_HZucUHFRJpVRSueyIE0LB1kpk5gsUl_KKHtSVmRRDM8sGZA2IgxdrtRb4PndrY/s640/PercyProAd79.jpg" width="433" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQeN2I0CVekRJAp_481lWtrbK3BDc8fUaoXvbM1eB7tZozRd-crFDUQPQeeOOWzN4YxcxHB_tfQiAZgA-stS__6i3eLoQnn5ZcPafklV_50SqNDLz1dJ1hpQIioC6WndL__xUL8C3iLA/s1600/EntwistleAdvert1979.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQeN2I0CVekRJAp_481lWtrbK3BDc8fUaoXvbM1eB7tZozRd-crFDUQPQeeOOWzN4YxcxHB_tfQiAZgA-stS__6i3eLoQnn5ZcPafklV_50SqNDLz1dJ1hpQIioC6WndL__xUL8C3iLA/s640/EntwistleAdvert1979.jpg" width="430" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIupbQxaqfHTCvbNm4mB6IwoQn2AG40wp3bvhAZ6543yGLQwkv4zKX7ogoSrpiuaXMnMoGX2YdJCPr1ZDAoAZEsOhRPaQz3ahG-zKi4x8qnXDTFf2vW8JF395KJCRnjep-Y83IOsQa7rA/s1600/ESSProAd81.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIupbQxaqfHTCvbNm4mB6IwoQn2AG40wp3bvhAZ6543yGLQwkv4zKX7ogoSrpiuaXMnMoGX2YdJCPr1ZDAoAZEsOhRPaQz3ahG-zKi4x8qnXDTFf2vW8JF395KJCRnjep-Y83IOsQa7rA/s640/ESSProAd81.jpg" width="462" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Custom Series Bass adverts from the mid-1980s...</span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgifRYn6qzjXYtZAOX2UMXy4FOMNft1maSrhRx6hiYJMFzTAeHJ_abGNv4Cn97VgoBSPk_4LAMsT2Noe6a2WlBpX_DjuEfRzICqNDHEtba0ZXFvBMSn5TBGXxAubHlELHGP56f1zLuA114/s1600/WalAdMarch1986.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgifRYn6qzjXYtZAOX2UMXy4FOMNft1maSrhRx6hiYJMFzTAeHJ_abGNv4Cn97VgoBSPk_4LAMsT2Noe6a2WlBpX_DjuEfRzICqNDHEtba0ZXFvBMSn5TBGXxAubHlELHGP56f1zLuA114/s400/WalAdMarch1986.jpg" width="275" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Generic Wal advert from 1986</span><b><br /></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQIpLlsNihMHPOfp0UU_2Le5JCLUQltVp5mkRx5bMOs3xLQzDPgybSj7iEd60f4cca1yFXkGBbexl6eROdUCN3aAyT9rL7czHFKYfmmT9ex1vN51Bx0vTaKjCXOuZ9LRUBc1N9dCAydI/s1600/CottleCustomAd87.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQIpLlsNihMHPOfp0UU_2Le5JCLUQltVp5mkRx5bMOs3xLQzDPgybSj7iEd60f4cca1yFXkGBbexl6eROdUCN3aAyT9rL7czHFKYfmmT9ex1vN51Bx0vTaKjCXOuZ9LRUBc1N9dCAydI/s400/CottleCustomAd87.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br /></td></tr>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
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<![endif]--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">In the UK, 5-string basses were something of a
novelty throughout the 1980s. Some claim that Wal was the first UK company to
make 5-strings as part of a regular bass range - though this is yet to be
confirmed. However, what is certain is that the first two 5-strings which Wal made went to rising session star, Laurence Cottle. Here he features in an ad for the Wal 5-string back in 1987.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">From the 1990s onwards the adverts were confined to small ads in the Classified sections of music magazines. Here are two of the types most commonly found and some page layouts to give an idea what they would have looked like in context. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Hi res scans of all </span><a href="http://walbassarchive.blogspot.co.uk/2016/01/general-wal-magazine-adverts-from-down.html" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">these ads can be seen/downloaded here...</span></a><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-8657435026851056562016-01-31T21:11:00.000+00:002016-05-16T12:32:49.823+01:00Pro Series Advertising Materials Featuring John Entwistle and Percy Jones<h2 class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXDE1gx9fnhSP9AoncvAz8DOX5wXNHaOx5-AIbKy5TmGPHt53OMX7wcZx9itkuVninO112FO99HhkdNSD9q3nAorsSAmbuGdHsGQTaw80NPfEtYOUtWWhyphenhyphen-3HoKDLWVXQ3xBvrp7NBHc/s1600/Entwistle1.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXDE1gx9fnhSP9AoncvAz8DOX5wXNHaOx5-AIbKy5TmGPHt53OMX7wcZx9itkuVninO112FO99HhkdNSD9q3nAorsSAmbuGdHsGQTaw80NPfEtYOUtWWhyphenhyphen-3HoKDLWVXQ3xBvrp7NBHc/s320/Entwistle1.JPG" width="241" /></a>Pro Series Advertising Materials From the 1970s Featuring John Entwistle and Percy Jones</h2>
In many ways Wal Basses grew out of Ian and Pete's friendships with the musicians who passed through Trevor Morais' Farmyard Studios. And similarly across the London session scene. Certainly a lot of musicians ended up becoming Wal's official design consultants - John G Perry, Rupert Hine, Pete Zorn and a host of others... However, in those early years only two of their muso friends actually became "official" endorsers of the brand through appearances in formal advertising materials. And the guys couldn't have asked for two more respected and influential spokespersons than John Entwistle from The Who and Percy Jones the Welsh Wizard who played the fretless bass for Brand X.<br />
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Both John and Percy had been purchasers of the early JG Series basses but it was propounding the Pro series that they appeared in print.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQeN2I0CVekRJAp_481lWtrbK3BDc8fUaoXvbM1eB7tZozRd-crFDUQPQeeOOWzN4YxcxHB_tfQiAZgA-stS__6i3eLoQnn5ZcPafklV_50SqNDLz1dJ1hpQIioC6WndL__xUL8C3iLA/s1600/EntwistleAdvert1979.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQeN2I0CVekRJAp_481lWtrbK3BDc8fUaoXvbM1eB7tZozRd-crFDUQPQeeOOWzN4YxcxHB_tfQiAZgA-stS__6i3eLoQnn5ZcPafklV_50SqNDLz1dJ1hpQIioC6WndL__xUL8C3iLA/s640/EntwistleAdvert1979.jpg" width="430" /></a></div>
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Ironically, the bass that The Ox is seen playing in the Pro Bass advert isn't actually a Pro Series bass. It's his JG series Wal from a few years earlier. The floral leather tooled scratchplate is an unmistakable feature of the JG Series. Here's that bass...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGGDF9G4xo1r1Te85Whm3TQ6f_xrj35iwZcMOzgA1v_tjU1yNdzyyqLpDHz2bo0c1liOiadOmOEu2gSQ-kjMHIYdt8mY1d7iOMX8CnmeOx8muuEMqa7o9Ru9g7kKqHsvnOra5Z5dlGC8o/s1600/JEntwistleWal7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGGDF9G4xo1r1Te85Whm3TQ6f_xrj35iwZcMOzgA1v_tjU1yNdzyyqLpDHz2bo0c1liOiadOmOEu2gSQ-kjMHIYdt8mY1d7iOMX8CnmeOx8muuEMqa7o9Ru9g7kKqHsvnOra5Z5dlGC8o/s200/JEntwistleWal7.jpg" width="175" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDoOP4IIBDW63cgkuWF0-SartGKVq3UhYT815OuLkyEXLpXqFcGo44N-b9ZJSsaG7AYuaxO2GMuiKGBZm9T4UZUdQ5j_HBUYw0BlCKucq-J11PLjva0AAwH0Q75VxdkZjbDbcLP7huVao/s1600/JEntwistleWal5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ253j9mFjVtEsqpxjo0ez4av0rFuwEf0mRl48Jd8X6lZdJGjb694gjUxMcp4rvbwknQBfjNzcI33MBorCP5y3n2wG4gLU6vBhQEm_Qh0kiZnDYZ-y1JYhRCA_js9rhAaJ5RmR7yRiskA/s1600/JEntwistleWal4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ253j9mFjVtEsqpxjo0ez4av0rFuwEf0mRl48Jd8X6lZdJGjb694gjUxMcp4rvbwknQBfjNzcI33MBorCP5y3n2wG4gLU6vBhQEm_Qh0kiZnDYZ-y1JYhRCA_js9rhAaJ5RmR7yRiskA/s200/JEntwistleWal4.jpg" width="200" /></a><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDoOP4IIBDW63cgkuWF0-SartGKVq3UhYT815OuLkyEXLpXqFcGo44N-b9ZJSsaG7AYuaxO2GMuiKGBZm9T4UZUdQ5j_HBUYw0BlCKucq-J11PLjva0AAwH0Q75VxdkZjbDbcLP7huVao/s200/JEntwistleWal5.jpg" width="81" /></div>
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However, he did own other Wals over the years (as part of his legendarily huge bass collection), including Pro Basses. The picture below shows him playing a hybrid Pro/Custom model at a charity music bash hosted by Rick Wakeman in the very early 1980s.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW5pd9FP3rwk74hc2ky7dVTRMxkDJddMQ_YuEFyiY-IuKUXU-GZCxWcqEGkJszDFMakeWbBxzaBwRZvO37lq56tzHXPFtqBxpvH0_BoM7n-ZWfA14ZgBd96gnF4n2MAH8coR9hpSxoGUs/s1600/EntwistleWakeman1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW5pd9FP3rwk74hc2ky7dVTRMxkDJddMQ_YuEFyiY-IuKUXU-GZCxWcqEGkJszDFMakeWbBxzaBwRZvO37lq56tzHXPFtqBxpvH0_BoM7n-ZWfA14ZgBd96gnF4n2MAH8coR9hpSxoGUs/s400/EntwistleWakeman1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo courtesy of Rick Wakeman</td></tr>
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Percy Jones, however, made his Wal basses his number 1 weapons of choice when he swapped to them in the late 1970s. Putting down mind bogglingly inventive fretless bass sounds as part of Brand X's complex jazz fusion sound, his playing drew as much interest in the musician community as the presence of Genesis drummer Phil Collins on the drum stool drew in the mainstream media.<br />
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There couldn't have been a better proponent of the brand than Percy...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWaDGffMSV_D-Gu61stY3pK9wBBh90LjIWRlySWkNzs-rVcGrQ_FjNcC0vENG0uD-tfg3XO8w-bZ5quwiFO_5KOSNd1g7K1upchZzhWO67tlbmZai49Bb615bAOkW07u3RjFrBBSrDeY/s1600/PercyJonesBottom+Line.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWaDGffMSV_D-Gu61stY3pK9wBBh90LjIWRlySWkNzs-rVcGrQ_FjNcC0vENG0uD-tfg3XO8w-bZ5quwiFO_5KOSNd1g7K1upchZzhWO67tlbmZai49Bb615bAOkW07u3RjFrBBSrDeY/s400/PercyJonesBottom+Line.jpg" width="400" /></a></div>
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Here's the Wal ad in which he appeared. A Pro Series advert from 1978.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWuOE4Y0ITpNBnvgTRNcdD-qVRqwCmpWPY4eH8XfCocYeIdtJerpik8XIiOl-mV-xhObiXbPwVKlqYKhuGUqjAOBewiETAVkipF8yl54Tv3WBUprx1zYQhZQaprTICsJCPY9brsoMxd4/s1600/PercyProAd79.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWuOE4Y0ITpNBnvgTRNcdD-qVRqwCmpWPY4eH8XfCocYeIdtJerpik8XIiOl-mV-xhObiXbPwVKlqYKhuGUqjAOBewiETAVkipF8yl54Tv3WBUprx1zYQhZQaprTICsJCPY9brsoMxd4/s640/PercyProAd79.jpg" width="433" /></a></div>
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And of course, Percy wasn't just one of those players who would tote the instrument for the purposes of the photo shoot and never bother to pick it up again. In fact, when he went along to take some promo shots for an entirely different company the following year, guess which brand of bass he took along...? Remember the mighty "Frunt" amplifier? Nope me neither. Nice hybrid Pro bass, though!<br />
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Hi resolution scans of the adverts above <a href="http://walbassarchive.blogspot.co.uk/2016/01/hi-res-scans-pro-series-adverts.html" target="_blank">can be found at this link...</a><br />
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-53323184552255838462016-01-30T21:41:00.000+00:002016-05-08T22:42:46.553+01:00“Chris Squire” Custom Triple Neck Wal feature - "Bassist" magazine 1999<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7P_Jgy8IXCXuoS0YYvXEUkJaN2uVtKESgT72aV7zQ3Op56KqUGVVDXOHnRp-85dbmbt1XgkuHhdn0iP4pThXpc7NdZQgzI8q5CaUqsfMIxurE6RfnkGabQHpPYdzh__b0K8DbbmySeM4/s1600/Roger-Newell-Triple-Neck.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7P_Jgy8IXCXuoS0YYvXEUkJaN2uVtKESgT72aV7zQ3Op56KqUGVVDXOHnRp-85dbmbt1XgkuHhdn0iP4pThXpc7NdZQgzI8q5CaUqsfMIxurE6RfnkGabQHpPYdzh__b0K8DbbmySeM4/s320/Roger-Newell-Triple-Neck.jpg" width="320" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">The “Chris Squire”
Custom Triple Neck Wal </b></span></h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">Transcript from
"Bassist" magazine 1999. Roger Newell </b></span></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Inspired by all the revelations in Bassist's Wal Special, I
thought it time to reveal the details of one of Rocks Progressive icons - the
Wal Triple Neck bass. Built for me, but later made much more famous by Yes'
Chris Squire, between us it was used in some of the largest venues in the
world, and made its last appearance with Chris on the <i style="mso-bidi-font-style: normal;">Union</i> tour featuring Yes's mega eight-man line-up, where it sounded
as impressive as ever. Its beginnings were somewhat humble in comparison,
though... </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">The Idea </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The man to thank - or blame - for the idea was Rick Wakeman.
We met at my local pub in Buckinghamshire, where I often jammed with friends on
a Sunday night for a free pint. Rick lived nearby, sat in on keyboards one
night and had so much fun, it became a regular occurrence. Much to our
surprise, he adopted most of this band for the <i style="mso-bidi-font-style: normal;">Journey To the Centre Of The Earth</i> gig, which was recorded and when
subsequently released, hit the top of the album charts. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1q473JA0f84Y2xHPrq74wZTx17PYOW_93C3C-Qy5NP2dhdHEYYeTZnd2miYZ3Ltt-2PXTH_CBCGPyZZv7V50MdJbQxNl8IKAkZoFYGxpXZ6RDRZcIdKOQNz-ky3KEh0aQ1kj60m7SNU/s1600/TripleWal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1q473JA0f84Y2xHPrq74wZTx17PYOW_93C3C-Qy5NP2dhdHEYYeTZnd2miYZ3Ltt-2PXTH_CBCGPyZZv7V50MdJbQxNl8IKAkZoFYGxpXZ6RDRZcIdKOQNz-ky3KEh0aQ1kj60m7SNU/s640/TripleWal.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We'd rehearsed the <i style="mso-bidi-font-style: normal;">Journey</i>
set and performed the Festival Hall show during a three-week holiday from my
day job, but a number one album cannot he ignored. Plus, uneasy with the
musical direction of Yes on <i style="mso-bidi-font-style: normal;">Topographic
Oceans</i>, Rick left Yes and hired us... </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">By the time of the follow-up album, <i style="mso-bidi-font-style: normal;">King Arthur</i>, we'd done a lot of touring, particularly in America,
and were riding the crest of a progressive and conceptual wave. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiEqJuhj0JAIGaKKK2l-LUgMnAGujplRBMzIgp7KWmqSu5nKahu38rNsDA1iklyri7SqccVmdNMaaKJM6Tuf13kqq1-r3Dt4BJ8bVCc0O8LeKebif085D0RVzOjIDvM2mMsnYEjJi0V0o/s1600/BBC+docu+Triple+Neck.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiEqJuhj0JAIGaKKK2l-LUgMnAGujplRBMzIgp7KWmqSu5nKahu38rNsDA1iklyri7SqccVmdNMaaKJM6Tuf13kqq1-r3Dt4BJ8bVCc0O8LeKebif085D0RVzOjIDvM2mMsnYEjJi0V0o/s400/BBC+docu+Triple+Neck.jpg" width="400" /></a></div>
During a casual conversation about gear for the <i style="mso-bidi-font-style: normal;">King Arthur</i> tour, Rick suggested I use
something visually stunning like a triple neck bass, and he would fund the
project. I was left totally speechless, but he had a very persuasive way of
putting his ideas across and I agreed to see if it was feasible. <br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">Triple Echo </b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWvObYbjdBIrl0yyK1PG-SAcATs4f7Ws23a4u0_0b3bGHsAfMmO2Vbk9FqJKPVwQaleaEMdvIF1I6uDTYyhLhWAPOPM8NDXj3kyPv_D34T4yebo5ycKGvwl8Xzgihy0nh3lmHKXBN5ms/s1600/awaken3neck.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWvObYbjdBIrl0yyK1PG-SAcATs4f7Ws23a4u0_0b3bGHsAfMmO2Vbk9FqJKPVwQaleaEMdvIF1I6uDTYyhLhWAPOPM8NDXj3kyPv_D34T4yebo5ycKGvwl8Xzgihy0nh3lmHKXBN5ms/s320/awaken3neck.jpg" width="251" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The choice of luthier to attempt this unique piece of
history was no problem. I'd met Ian 'Wal' Waller sometime before and was well
acquainted with the short scale bass he'd made for John G. Perry, his only
professionally made instrument at that time (featured in Bassist Nov '96). Wal
felt perfectly capable of manufacturing the instrument but the idea was
beginning to bother me greatly, after all, I was kinda slight 'n' skinny
('Budgie' was my nickname!) so how could I cope with something that sounded so
'large'? An evening or two designing with Wal had me feeling a lot easier. My
first request for 4-string fretted, 4-string fretless and an 8-string neck was
rejected (too heavy), so we came up with a basic 2-neck design on an off-set
body to improve balance. Rick rejected this two neck option: Mike Rutherford of
Genesis was already using a double- necked Rickenbacker, and he wanted to top
that, but if weight was the problem then stick a guitar on it! I protested. I
didn't play guitar on any of the stuff. Rick, never to be outsmarted, retorted,
“I’II write something...” And he did! </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">Re-think </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Again, Wal and I set to work by the end of the night he'd
got it (I was asleep): guitar at the top, fretted bass in the middle, lined
fretless on the bottom. Now I'd never even seen a fretless bass close-up at
that time, so the thought of playing an unmarked board scared the proverbial
out of me; I insisted on the fret lines. Whether this pre-dated Jaco's fret-
stripped Fender, I have no idea, but he'd not been heard of in 1974. Whatever,
we put on stock Fender parts (hard to get back then), including bridges and
pickups. Four split-coil Mustang units for the bass necks and a standard pair
of Telecasters for the guitar. For the huge scratch plate, I chose hand-tooled
leather along the lines of John G. Perry's as I thought that looked classy,
with a natural finish the body. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrnx771FbXJ7haYQVb77-rY2i7pSB0yBl7apkv1tv0AUWIlQVGrs_jU54SkmFTfusuk45eiyNjhKjCa2DJoLS_WUew23-DrrwRB23NFRH3uou6xkpLWBvjYDI-oEFqT4Ahw-28GWBs8c/s1600/WalTripleNeck.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrnx771FbXJ7haYQVb77-rY2i7pSB0yBl7apkv1tv0AUWIlQVGrs_jU54SkmFTfusuk45eiyNjhKjCa2DJoLS_WUew23-DrrwRB23NFRH3uou6xkpLWBvjYDI-oEFqT4Ahw-28GWBs8c/s1600/WalTripleNeck.jpg" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">The Reality </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There were a few fitting sessions as it gradually took
shape, being finally completed just days before a four month world tour. It
felt reasonably comfortable, sounded good - but not great - and was a complete
dog electrically. There were switches for each neck, pickup switches and Volume
and Tone for each neck on dual concentric pots. Frankly, it was a bloody nightmare.
Wal, as ever, was totally undaunted. We discussed each problem and he came up
with a solution. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Firstly, re-winding the pickups to make them much more
powerful added enormously to the impact, so the sound was fixed. I was already
using a massive pedal board of effects (all pre-digital), with a set of Fender
keyboard bass pedals (Moog had yet to produce their outstanding Taurus unit)
and I sang at the same time. Boy did I earn my money. So it made sense to dump
the volume controls from the bass and put Volume pedals on the board. A further
switch on the bass allowed me to choose between the basses or the guitar,
helping to prevent unwanted sound from sympathetic vibration on other strings.
This proved very effective and, with a final decision to tune the fretless down
to D-G-C-F to accommodate the Merlin track for which I'd de-tuned my Precision
on the record, Budgie and bass extraordinaire flew to America. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq05gORZ5wb3p-uEuq7LU58Sg2ByBbhFmwa1FR6Rw8sd0_Gtpouk_8hztW8V1ermTViydpozdyWl8u8HzkhS0f2UXcLXeDiy9_ICpcshkpOsz1WpPjc22nkb_V7GbTRV4zEIP5b4XTZvc/s1600/Chris%252BSquire%252BYesChrisSquire.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq05gORZ5wb3p-uEuq7LU58Sg2ByBbhFmwa1FR6Rw8sd0_Gtpouk_8hztW8V1ermTViydpozdyWl8u8HzkhS0f2UXcLXeDiy9_ICpcshkpOsz1WpPjc22nkb_V7GbTRV4zEIP5b4XTZvc/s320/Chris%252BSquire%252BYesChrisSquire.png" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">Impact </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rick, bless him, was right the triple-neck caused a
sensation whenever I used it, which was usually only a couple of times a night
due to the weight, but it sounded great. We did a long world tour and it never
once let me down. It did tend to leap from my hands when I jumped into the air
(an action I considered pretty cool at the time - sad, eh?), so we strapped the
headstocks together to stop that. It was a great success. Subsequent tours and
two more albums followed, then the bombshell was dropped. Rick was persuaded to
fold up the band, and within a few short weeks was back in the bosom of Yes. He
naturally offered to let me buy the Wal from him, but it now had a profile of
its own and was considered to be worth shed loads more than it cost to build
and sadly, more than I could manage to pay, considering that I was now
unemployed. We parted company, and to this day I've never even held it, let
alone played it so my own association ends here. But that's not the end of the
story. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHDiY6pARjN8o0SVTjZbCQXekPDkFhNLkjt6vaLruAzLkdqCn2fkBhYVCApWF_Fz5DG_YZ6ctfBet4sBHTG8ivrKOgq_-xVMzRv0VFcnBdwKH2eLIOYaxyhU8AQF8AhcUfHckkROvaSp0/s1600/tumblr_l721tsNyKv1qa2js1o1_500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHDiY6pARjN8o0SVTjZbCQXekPDkFhNLkjt6vaLruAzLkdqCn2fkBhYVCApWF_Fz5DG_YZ6ctfBet4sBHTG8ivrKOgq_-xVMzRv0VFcnBdwKH2eLIOYaxyhU8AQF8AhcUfHckkROvaSp0/s320/tumblr_l721tsNyKv1qa2js1o1_500.jpg" width="320" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">Chris Squire </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rick returned to Yes in time for their <i style="mso-bidi-font-style: normal;">Going For The One</i> album, which featured a truly epic track where
Rick plays a beautiful organ section over a strange repetitive bass line played
in octaves. Chris Squire used three different Rickenbackers when recording this
track, so when it was decided to perform it live he needed something to cope
with all aspects of the song. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Chris told me: “The only reason I decided to use it was
because of the track Awaken which along with regular fretted bass, required the
use of fretless and 8-string so when it came to doing it on stage, because of
the quick change-over between different sections, I knew I'd need a guitar that
could produce the three sounds quickly. Rick suggested I borrow the triple-neck
and as it did the job so well he eventually gave it to me. [Well, f**k me! -
RN]. I didn't realise it was only the second bass that Wal had ever made. I
adapted the top neck to become the A, D and G string of the 8-string bass,
tuned in octave pairs. I changed the nut so the strings would pair up but
didn't change any of the rest of the guitar, I just left it as it was 'cos it sounded
all right. The leather scratch plate added a lot to the visual appeal and I
didn't really change it much as far as I remember, unless some enthusiastic
roadie had a go at it first, but I may have removed the cover plates. It's very
heavy, and for a 20 minute piece, of music, I needed an extra wide strap. I did
notice, too, that the necks had a tendency to wave about a bit.” </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes had another break-up, whereupon Chris donated the three-
headed beast to the Hard Rock Cafe's display in New York., Again this was not
the end of the story. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Hard Rock Return </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“When we did the <i style="mso-bidi-font-style: normal;">Union</i>
tour we borrowed it from 'the Hard Rock’,” continues Squire, “and it did need
switch cleaner spray, plus the necks needed attention. After the tour was over,
the Rock wanted it back. Soon after I was introduced to this Japanese guy who'd
made two copies of the triple-neck. [The company was <i style="mso-bidi-font-style: normal;">Kidd</i> - RN]. He gave me one and got me to sign the other which he
kept, so I've now got a slightly more up-to- date working model. It doesn't
sound quite as good, but then it is relatively unplayed. Perhaps you should
have had it first! I used to put the middle neck through a Fuzz box and that
sounded better on the original than it does on the copy.” </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaNwVW3Z7T8sm5zaBslAtYJDxgCNWVXuZWzKRdMeGTk7rYUtMJL6MXnVyL9JHyPqKwkh7fyVnkKuBDNKP5eBAf_TcEv4SVIfdgxQI_AoJPJ5UgoyU3pYShvP8YbN4uyp6NrEmMhDXY6os/s1600/Roger-Newell-Triple-Neck.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaNwVW3Z7T8sm5zaBslAtYJDxgCNWVXuZWzKRdMeGTk7rYUtMJL6MXnVyL9JHyPqKwkh7fyVnkKuBDNKP5eBAf_TcEv4SVIfdgxQI_AoJPJ5UgoyU3pYShvP8YbN4uyp6NrEmMhDXY6os/s640/Roger-Newell-Triple-Neck.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Addendum </b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Having assured-its iconic status in prog rock history it's
unlikely that the triple-neck will ever see a gig again, but if you're ever in
New York, drop into the Hard Rock Cafe where it still hangs securely on the
wall and say “Hello” from me. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="mso-bidi-font-style: normal;">Roger Newell </i></span></div>
TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com2tag:blogger.com,1999:blog-7002087831029217694.post-65013254839254848982016-01-27T20:12:00.003+00:002016-04-15T12:20:33.016+01:00Wal Pro II bass review by Jimmy Bain of Rainbow and Wild Horses (Beats International, July 1980)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCqjIjitv7zONmVS79I_5JPqVWWz427Wal94lyXFbLcX-RmcC46EK4UddI0cO9pKlD7gta-wMIi3inLsa4d9F6ENqUh7Piwiox5VVxOZ-9sCGrCd-ePNhixBx0SpQOQTPv9xGUgDzX4Qw/s1600/Jimmy+Bain.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCqjIjitv7zONmVS79I_5JPqVWWz427Wal94lyXFbLcX-RmcC46EK4UddI0cO9pKlD7gta-wMIi3inLsa4d9F6ENqUh7Piwiox5VVxOZ-9sCGrCd-ePNhixBx0SpQOQTPv9xGUgDzX4Qw/s320/Jimmy+Bain.jpg" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 9pt; letter-spacing: 0.1pt;"><span style="font-family: "verdana" , sans-serif;">Jimmy sticks his neck out</span></span></i></td></tr>
</tbody></table>
<span style="font-family: "georgia" , "times new roman" , serif;">The latter weeks of 2015 and the first few of 2016 have been a sad period for the music world, with so many great musicians from the heydays of 1970s rock passing away over a short period of time. So it was with great sadness that I read only a few days ago of the passing of bassist Jimmy Bain. A member of Richie Blackmore's Rainbow, Dio and Wild Horses and a collaborator with the likes of Philip Lynott and Gary Moore his distinctive bass playing and songwriting was embedded within the hard rock landscape of the late 1970s and early 1980s. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">His passing, reminded me of an article from the July 1980 edition of <i>Beats International</i> which I had picked up a few years ago on eBay. In the article Bain gives his opinion, as an experienced player, on the passive Wal Pro II bass. The article is reproduced below and I hope is some sort of fitting tribute to him as a bass player. Rest in Peace, Jimmy. </span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Hi-Res scans of <a href="http://walbassarchive.blogspot.co.uk/2016/01/review-wal-pro-ii-bass-review-by-jimmy.html" target="_blank">the original article can be found here</a>:</span><br />
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 19pt; letter-spacing: 0.7pt;"><br /></span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 19pt; letter-spacing: 0.7pt;">WAL Pro ll Bass <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 15pt; letter-spacing: 0.3pt;">Price: £529 inc. VAT<o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "verdana" , "sans-serif"; font-size: x-large; letter-spacing: 0.1pt;">ALL PRO'S - NO CONS</span><span style="font-family: "verdana" , sans-serif;"></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">What we have here is the second in a range of four basses
made and distributed by Electric Wood in High Wycombe (Tel: 0494 442925/6). In
all honesty it's one of the most powerful basses I've ever tried out. I
normally turn the bass up full and set my Marshall on about 6. With this bass
full on, 2 on the Marshall is easily loud enough.</span></span></div>
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Getting down to details, the head
on the bass is very square in design, very sturdy, and fitted with Schaller
machine heads which are the best heads for </span>basses you can buy. They're accurate
and keep their tuning well. The strings run through metal pieces on the head
which keeps them down low for a smooth action.<o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;">The neck is a lovely piece of work.
The centre section is hornbeam and the outer section is maple. The neck is
inlaid with red stripes which are made of a sympathetic wood from the Amazon
called mukalunga. It's chosen because it's totally non-porous and remarkably
straight. On top of all this lies an Indian rosewood fretboard which is shipped
from Bombay to Germany. In Germany the wood's cut (Germany have the best
cutting equipment) and it's then shipped to England.</span><br />
<span style="font-family: "verdana" , sans-serif;"></span><br />
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<span style="font-family: "verdana" , sans-serif;"></span><br />
<a name='more'></a><span style="font-family: "verdana" , sans-serif;">So with so much effort put into
its construction, how does it feel? Actually, it's very good. It has the
accuracy of a Rickenbacker and the feel of a Fender. The way the action was set
up when I got it was perfect. It lets you play fast and it's very decisive. The
action remains true even in the higher registers. It's medium in width so it's
OK if you've got short fingers, and the rosewood fretboard makes it very easy
to the touch.<o:p></o:p></span><br />
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<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">The body is crafted from ash,
which is a very dense wood giving the bass a good sound even without
amplification. Overall it's quite heavy, though not too heavy, and , is
perfectly balanced.<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif; letter-spacing: 0.2pt;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">The pick-ups are their own design, and they both
have eight individual coils in them, giving a fat spectrum of sound and equal
string response. Each pick-up has a plastic sliding switch under it. When the
switch is pushed towards the neck, the two poles (each containing four coils)
are wired in parallel. This effectively produces an extended top end.<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif; letter-spacing: 0.2pt;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">When the switches are pushed away from the neck
the poles are series wired, which loses some top and boosts the bass end.<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif; letter-spacing: 0.2pt;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">The controls are all secured on the plastic
scratch plate that hides the electronics. There are individual volume and tone
controls for both pick-ups, a master volume control and a three-way pick-up
selector switch. The set up gives you a lot of variables to play with.<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif; letter-spacing: 0.2pt;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">All controls are very responsive, and well
positioned, though perhaps the three-way selector switch could be moved a
little closer to the rest of the controls. The master volume control
effectively overdrives the sound to give you that little bit more sustain
without having to go to the amp.<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif; letter-spacing: 0.2pt;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">Although there are a lot of controls they all
serve a purpose and are not just added for the sake of it.<o:p></o:p></span></span><br />
<span style="font-family: "verdana" , sans-serif;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">Strings fitted to the bass are the twenty quid a
set Rotosound RS77's, which have an adjustable ball on the end. The wire that
runs through the coil of the string is the bit that actually touches the bridge
which again gives the bass more sustain.<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif; letter-spacing: 0.2pt;"></span><br />
<span lang="EN-US" style="letter-spacing: 0.2pt;"><span style="font-family: "verdana" , sans-serif;">So right down to the jack input (which is also
extremely sturdy) you have a real pro's guitar. At £529 (a custom case is
available for an extra £75) the Pro 2 is not cheap, but you are getting a lot
for your money. There are cheaper ones, the Pro 1 is £439, but I think
everything they've put on this guitar was well worth the effort, and I look
forward to playing it some more.<o:p></o:p></span></span><br />
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-49335347663024271882016-01-21T22:47:00.002+00:002016-01-21T22:50:34.610+00:00Published obituaries for Ian Waller and Pete Stevens<h2 style="text-align: center;">
<b>Published obituaries in the music press for Ian Waller and Pete Stevens</b></h2>
This post gathers together some of the obituaries for Ian and Pete which were published in the music press. There are three here, two for Ian (from the UK's Guitarist Magazine and the US Guitar World magazine) and one for Pete in the UK's Bass Guitar Magazine. If my memory serves, I am aware of one more which marked Ian's passing and was published in the UK's late, lamented musos' free-sheet, "Making Music" but my copy of that vanished many years ago...<br />
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<a href="http://walbassarchive.blogspot.co.uk/2016/01/published-obituaries-for-ian-waller-and.html" target="_blank">Full sized scans of these articles can be found at this link...</a><br />
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-44938537176112643372016-01-18T21:31:00.000+00:002016-01-27T14:08:09.240+00:00A History of Wal Basses - The Movie<div class="separator" style="clear: both; text-align: center;">
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Of all my favourite memories of 2015, one of the longest lasting will be a Saturday in September spent at the "Basschat South East Bass Bash 2015". This was a gathering of members of the fine discussion board, <a href="http://basschat.co.uk/" target="_blank">Basschat</a> - a fine place to hang out and talk about all things bass. And indeed, it was a fine day to hang about with some like-minded bass players, shoot the breeze, check out each others' basses and generally geek out. I'm not going to blog about the day itself because that job has <a href="https://bassclef141.wordpress.com/2015/10/05/basschat-south-east-bash-2015/" target="_blank">already been done brilliantly by the music blogger, Bluejay,</a> also a keen Basschatter.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://c1.staticflickr.com/1/778/21980694301_0cc4c3e9c1_c.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://c1.staticflickr.com/1/778/21980694301_0cc4c3e9c1_c.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here are the quartet which were there that day...</td></tr>
</tbody></table>
But I wasn't just there to shoot the breeze. The main reason that I as there was that I had been invited to give a talk about Wal basses - a run through the history of the brand. Alongside my own two Wals a number of other attendees had brought theirs - a lovely Wenge Mk 1 Custom and a Reissue Pro bass which had been retrofitted by Wal with Custom Series bass pickups and controls - a truly unique bass. The talk gave me the perfect opportunity to tell those assembled about the history of the brand and to demo a few of the qualities which make Wal basses so unique. <br />
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Fortunately, Bluejay also video'd the talk and posted the it on YouTube for posterity. So here, for your viewing pleasure, a trilogy in four parts of "The History of Wal Basses". Here is the first of the four videos...<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Cot2EN0JrS0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Cot2EN0JrS0?feature=player_embedded" width="320"></iframe></div>
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<a name='more'></a>Part 2:<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/HpBzB-6IEnY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/HpBzB-6IEnY?feature=player_embedded" width="320"></iframe></div>
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Part 3:<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/wZelMUtYF4A/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/wZelMUtYF4A?feature=player_embedded" width="320"></iframe></div>
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Part 4:<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/qq4yNlIk6co/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/qq4yNlIk6co?feature=player_embedded" width="320"></iframe></div>
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The slides I used for the presentation, including a suggested Wal Bass listening list can be <a href="http://basschat.co.uk/uploads/monthly_09_2015/post-38200-0-04971000-1443297331.ipb" target="_blank">downloaded from this link (open in your web browser)...</a> or <a href="https://dl.dropboxusercontent.com/u/90710763/Wal%20Presentation%20by%20Trevor%20Raggart.pdf" target="_blank">downloaded from this link...</a><br />
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Finally, if you want to see more Wal basses in action you can <a href="https://www.youtube.com/playlist?list=PLGIYNBxcSZ3uo0Dv4GUoVf-4yKXu7xmKT" target="_blank">watch a YouTube play list of some of the best of Wal performances here...</a> <br />
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-91631706973112686922015-08-27T22:37:00.002+01:002015-08-27T22:39:26.570+01:00Gallery - Reissue Pro Bass<h2 style="text-align: center;">
Gallery: Early and mid 1980s reissue passive Pro basses</h2>
Andy Baxter, of <a href="http://andybaxterbass.com/" target="_blank">Andy Baxter Basses</a> in London takes some amazing photos to display the basses which he has on display in his shop. This includes a number of lovely Wal basses. He has kindly given permission to display some of these on this blog. This gives a really good representation of the various models in the Wal range over the years. The ones displayed here give a really good representation of how the details of these basses changed over the years...<br />
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<b>1982 reissue Pro bass:</b> <br />
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<b>1984 reissue Pro bass:</b> <br />
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Note the movement of the pickup placement to the bridge position, rather than the mid placement more akin to the original Pro I and Pro IE basses.<br />
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<b>And a rather beaten up 1984 reissue Pro bass - solid ash body with no facings:</b> <br />
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<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com1tag:blogger.com,1999:blog-7002087831029217694.post-15965078151267501542014-08-04T01:30:00.000+01:002014-08-12T12:55:06.855+01:00Wal MB4 midi bass review from Guitarist magazine - February 1990<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
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<![endif]--><span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;">Wal MB4 midi bass
review from Guitarist Feb 1990</b> </b></span></h2>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;">ELECTRIC WOOD <br />Wal MB4
MIDI Bass</b></span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">As MIDI controllers
grow in type and in complexity, one instrument seems to have been overlooked -
the bass guitar has always been the 6- string’s poor relation... Review by
Ollie Crooke.</i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">AS A BASS PLAYER who works a great deal in a MIDI
pre-production studio, I have spent the last few years gnashing my teeth in
jealousy as controllers for drummers, guitarists, saxophonists and trumpeters have
come on to the market; there just didn’t seem to be much commercial interest in
making MIDI accessible in any acceptable form to bass players. I contacted
Yamaha, who make guitar and saxophone controllers (both of which I have bought
in frustration) to ask if they had any plans to develop something to help me,
and was told that although the technology was of course available, such a
development was highly unlikely, as there was not a sufficient market to make
it worth their while. Well, I hope this instrument proves them wrong.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I am hardly unbiased, but I believe that the potential of a
MIDI bass controller is immense - even more so when coupled with a machine like
the Simmons SDX and a good drummer. Whole rhythm sections can be recorded into
a sequencer, edited, looped, tightened up and generally manipulated, giving
whatever balance of human feel and computer precision you require. Exciting,
eh? Like drums, although great bass parts can and have been programmed from a
keyboard, most of them don’t sound the same as if they’d been played by a real
bassist or drummer. Neither is there any of the spontaneity or interaction generated
by a good rhythm section playing together. And as there just happens to be a
Simmons SDX lying around in my studio, perhaps you can understand my
desperation for a decent MIDI bass controller...</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a name='more'></a>Enough of this, onto the review proper, or at least a brief
history of the instrument. It came about as the result of a collaboration between
Steve Chick of Bass Technology and Pete Stevens of Electric Wood. Steve is the
Australian-based designer of the MB4 system, while Pete, together with the late
Ian Waller has been responsible for the highly professional range of Wal bass
guitars since 1978. A mutual respect for each other’s work led to the
collaboration which spawned this instrument. In essence, it amounts to an
Australian MIDI system fitted, with some improvements, into a heavily
customised Wal Custom bass.</span><br /></div>
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</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg68XqoaJJhqK_dbEm2AmL5RckQtv4glfn-K_RF5i0gQLr0q8G3jcxB6EzoMze-OT25r-lwo7Bsow1XaoeACtJ4-7ASHBN1qVyuWgrf1mnKG1B9Vvy9pHH6Qi9ua4rlGEthKAOyynLR-lI/s1600/WalMB4Guitarist1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg68XqoaJJhqK_dbEm2AmL5RckQtv4glfn-K_RF5i0gQLr0q8G3jcxB6EzoMze-OT25r-lwo7Bsow1XaoeACtJ4-7ASHBN1qVyuWgrf1mnKG1B9Vvy9pHH6Qi9ua4rlGEthKAOyynLR-lI/s1600/WalMB4Guitarist1.jpg" height="400" width="275" /></a><span style="font-family: Arial,Helvetica,sans-serif;">The Wal/MB4 comes in three separate units: the bass itself,
a 1 U high 19" MIDI interface and a fairly small pedalboard. The bass in question
is a 4-string model, but built into the body of a 5-string, with a two-octave
rather than the standard 22-fret neck. At first glance it looks like a
particularly fine example of a normal Wal Custom bass - it certainly doesn’t
scream out ‘MIDI’ at you. The craftsmanship on the guitar really is
outstanding, with the kind of exotic woods and laminations which are only seen
on hand-made instruments. As these basses are made to order, you can choose between
paduak, shedua, American walnut and wenge as facia woods. One of these
sandwiches a central core of Brazilian mahogany.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">MIDI Bassics For those who are unfamiliar with the Wal’s
tone control system, here goes: there are four, the first being a master volume
pot with a click-up position, more of which later. The second is a pickup pan pot
- the centre notch representing both pickups full on. Being a pan pot rather
than a switch, it can mix any combination of the pickups, though the guitar’s
overall output level will always remain at that set by the master volume.
Underneath are two quasi-parametric controls, one for each pickup; clicking up
the knob produces a boost of around10 dB to the harmonics at or near to the
roll off frequency set by the rotary position. Lastly, when the master volume
control is clicked upwards, ‘Pik-Attack’ is introduced - a narrow band of high frequency
is added to the overall tone setting to provide extra attack. Both the overall
output level and the level of Pik-Attack are trimmable from inside the bass’s
battery compartment.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The only external signs that this is not just a normal bass,
are (a) the MIDI Bass logo on the headstock, (b) a small extra pickup next to the
bridge which is wired though the body to (c) a computer port socket on the
back. All very neat, and by far the most discreet MIDI system I’ve seen on any
guitar. The obvious advantage of all this is that you’re still playing a real
instrument, and it’s still entirely possible to go out without the interface
and play a gig as though you’d never heard of MIDI.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The computer port on the guitar is attached via a special
multicore connector to a similar port on the interface. This is a slightly fiddly
process, as there are four screw-like attachments which fasten from the ends of
the lead into the receiving sockets. However, once fastened, they hold the
connections extremely firmly and eliminate any chance of the sockets being
damaged whilst in use. On the front of the interface itself are two rotary
control knobs and five slider switches, with a standard quarter-inch
high-impedance audio output socket. The first knob controls the sensitivity of
the unit to different playing strengths. Next to it, the Velocity control has
two functions: its setting represents the maximum velocity that can be
generated by the system (0-127), and for the ‘scanning’ of a sound - pluck a
string, twiddle the knob and it scrolls through the different velocities as you
play.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The Style switch has three positions: A for finger style and
slap playing, B for plectrum playing and C for two-handed tapping. It has also
taken on some software-related functions (more of which later on). Next comes a
three position Octave switch - 0 being the centre position, with octave up and
down positions to the right and left respectively. The next control is Dynamics
Off/On, which in effect switches on velocity sensitivity to the synthesiser, or
in the ‘off’ position, transmits constant velocities at the level set by the Velocity
control. Then there is a fairly self-explanatory Mono/Poly switch; if you’re
playing only single lines, then the Mono setting is for you, but if you’re
trying to play guitar power chords... then perhaps it’s not so appropriate.
Just before the Power switch come two LEDs - a MIDI active and Power On
indicator. The Audio Out from the interface sends a high-impedance signal,
which is not suitable for studio use - for that you plug an XLR into the socket
for the DI box built into the guitar itself. On the back of the interface is a multi-pin
connector for the pedalboard, and a MIDI Out socket. The pedalboard is rather
pleasingly mounted on a nicely polished piece of wood, and contains three
DX7-type pedals - the first for patch changes, the second for modulation and
the third being a hold pedal.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGWloSSG9kE6dWR5IyrdlvoQL_QuUbtWX5k3c4mAmX03yiSrYkyVKukG0IKfe7ZCQEhlXBJmncNp1Xc8ZUtZMfmvEIH1FhIqKQgRqpK5MLrjwMnSBxfeYcPprSZV0hBuObWExJE66-BQM/s1600/WalMB4Guitarist2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGWloSSG9kE6dWR5IyrdlvoQL_QuUbtWX5k3c4mAmX03yiSrYkyVKukG0IKfe7ZCQEhlXBJmncNp1Xc8ZUtZMfmvEIH1FhIqKQgRqpK5MLrjwMnSBxfeYcPprSZV0hBuObWExJE66-BQM/s1600/WalMB4Guitarist2.jpg" height="400" width="271" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Does the system actually work? Does it track well enough?
The answer to these is a resounding yes. I must say that I’ve never felt so comfortable
with a guitar controller of any kind. This is because you’re playing a
conventional instrument of the highest quality which just happens to possess
very accurate MIDI triggering. The adjustments in playing technique are, for a
player with a reasonable basic facility, about as minimal as MIDI will allow
them to be - especially when you consider some of the crazy guitar controllers that
have come out! Of course, your fretting needs to be cleaner and more precise,
and good left and right hand co-ordination is necessary to avoid double
triggering. It is also best to pluck as near to the bridge as possible. I found
that practising these things sharpened up my own technique quite substantially.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I have been told that the tracking time is under two milliseconds,
and I never had any reason to believe otherwise. It is a fret contact system,
working in two stages - underneath the fingerboard and in the MIDI pickup
itself. All note information is derived from electronic sensors beneath each
fret, thus bypassing the delays associated with string vibration/pitch sensing
systems. The pickup senses only the dynamics of a note, and translates them
into velocity information. Hammer-ons are interpreted using pitchbend
information, a system which works very well for most uses, except that the
interface will not respond to string bending - a sacrifice perhaps, but one
which is worthwhile when you consider that most bassists use hammering and sliding
techniques far more often.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The system is a very simple one, but the important thing is
that it actually works, and has the advantage of being mounted on a real instrument,
allowing you to mix the synth signal with the audio signal - a huge advantage,
especially for live work.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;">In Use</b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">In the short time I’ve been in possession of the bass, it
has got me practising something I swore I would never do - two-handed tapping. In
Style position C, which reads data from the fingerboard only, some highly
spectacular results can be achieved. Using a good lead guitar patch it’s easy
to program some of those over-the-top Van Halen imitations that we all know and
(some of us) love. On a more subtle front, it’s possible to orchestrate huge,
widely spread chords - a lush string sound on a couple of strings and a brass
sample on the others. In position A, where it will most commonly be used, a
slapped audio bass line mixed in with a little tracked synth bass can sound truly
thunderous; if you’ve got a good fretless bass sample, then you’re playing a
programmable fretless bass on which it’s impossible to go out of tune! Another
nice touch is the patch changing system. The first 16 frets on each string
represent 16 patches, giving a total of 64 sounds instantly accessible from the
bass itself. All you do is press the fret of your choice whilst tapping your
foot on the Patch pedal. The other two pedal functions are useful, only the Modulation
seeming a little limited, in that being an on/off switch it sends a fixed,
rather than variable amount of modulation information to the synth. The Hold
function is fairly self-explanatory - and useful too, especially for slow,
graceful passages. In order to get the most realistic feel from the instrument
it’s necessary to use the Poly mode to trigger a multitimbral module, receiving
on MIDI channels 1-4 in Mono mode (the G string transmits on channel 1, the low
E on channel 4). Slides come out very well in this mode, though good results
can be obtained using the Mono position on the interface, the catch being that
you are effectively playing a monophonic synth.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggOfiqRCerJBGSEyKkZA8vC3qNNDfQXqoQmdG36hhyaYOn2pgb4pUolH0Sbi3SgNXIA8mIbgSuq7uDrsfjXB4ab7ZpkU9f2S6BcbvU9EXYrdC0z2_5s9bf-4aT8BrcQCFfQI-k3LdfuGg/s1600/WalMB4Guitarist3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggOfiqRCerJBGSEyKkZA8vC3qNNDfQXqoQmdG36hhyaYOn2pgb4pUolH0Sbi3SgNXIA8mIbgSuq7uDrsfjXB4ab7ZpkU9f2S6BcbvU9EXYrdC0z2_5s9bf-4aT8BrcQCFfQI-k3LdfuGg/s1600/WalMB4Guitarist3.jpg" height="221" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;">Conclusion</b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Any criticisms I have of the system are minor, and must be
tempered with the fact that it seems to be the only one around that actually works.
It would have been nice to have had the possibility of different tunings (a
good feature of the Yamaha G 10 guitar controller), and while the fixed channel
MIDI transmission is fine for live work, it can seem a bit limited in a studio
setup - some flexibility would be useful. The manual is, on the whole,
extremely good, but the order of some of the material has become somewhat misleading
due to the fact that software improvements have taken place (which depend on
the setting of the Style switch prior to powering up the unit), and are
relegated to the back pages.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">All in all, I really can put my hand on my heart and say
that, in 24 years of music-making on a variety of instruments, I have never
been as excited as I am about this. I can’t stop playing it, and when I’m not
playing it I’m staring at it because it’s so lovely. I also find it refreshing
that two small companies have got together and between them created something
which many, much larger concerns seemed to have decided was not commercially
viable. I also admire the success with which they have achieved it.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The final question: should every forward-thinking bass
player now rush out and order themselves a Wal MIDI Bass, or should they have the
MB4 system installed in a bass of their own choice (perhaps even their vintage,
unique, totally original ‘S0s Precision?). If you opt for an MB4 retrofit on
your own bass, you send it to Australia with a cheque for $2000 (Australian)
plus freight costs, and eagerly await the arrival of your souped-up, MB4-ified
bass... At this point it must be mentioned that Electric Wood have extensively
repackaged the MB4 system for use with their Wal basses. On a retrofitted
system, you will receive a rather flimsy and insubstantial plastic box housing
the interface, with the dreaded external PSU to plug into the mains. The three
pedals would have to be bought over here, as they are not actually supplied as
standard with the MB4, and each pedal has a separate lead going to the back of
the unit, thus creating a spaghetti-like state of affairs. Add to this the fact
that an old neck might not appreciate the drastic surgery necessary to install the
sensing system, and that such a system might not work too well with a dodgy
neck. Any problems which might occur would have to be referred to Steve Chick
at Bass Technology in Australia, who I’m told is experiencing exactly these
problems, and while the folks at Electric Wood are extremely helpful, they can
hardly be expected to take any responsibility for other people’s work!</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I’d think very carefully about subjecting an instrument that
was dear to me to such a process - better to fit it to something a little cheaper!
For roughly the same price, however, you can get around £1000 worth of very
fine bass guitar, the interface housed into a 19" rack unit which plugs
straight into the mains, one single multipin- connected pedalboard, endless
cups of tea, advice and backup service from Electric Wood in High Wycombe.
Suffice it to say that I’m already selling a piano, a fretted, a fretless and
double bass, two amplifiers and two speakers to buy the Wal MIDI Bass, and I’ve
never been happier to buy anything..!</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">RRP; £ 1700 plus VAT</i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">For further
information contact: Electric Wood Ltd, Sandown Works, Chairborough Road, High
Wycombe, Bucks. Tel: (0494) 442925</i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><strong>This review was first
published in the UK’s “Guitarist” magazine in February 1990</strong></i></span></div>
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<a href="http://walbassarchive.blogspot.co.uk/2014/05/review-wal-mb4-midi-bass-review-from.html" target="_blank"><span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><strong>A hi-res version of the article can be seen here </strong></i></span></a></div>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-37341733035435632192014-07-28T00:56:00.000+01:002015-09-01T13:24:25.456+01:00Photos of Ian "Wal" Waller and Pete "The Fish" StevensThat's it really. Just an opportunity to post in one place some photos of two of the best bass builders this country has and will ever see...<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkKP3sQB-5oK11U2J3mOtn5ilcUdOdrLmj4UuYYLa6lXXK7b_VT8NCtWJRDqfXTgZ3crgz6nX5LstpkhIrFLqyucQs8BTIoAPyDYhQX_LTqArAXSFqMIkIGp3sOTpnjXisnSDNZECYD5Y/s1600/Pete.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkKP3sQB-5oK11U2J3mOtn5ilcUdOdrLmj4UuYYLa6lXXK7b_VT8NCtWJRDqfXTgZ3crgz6nX5LstpkhIrFLqyucQs8BTIoAPyDYhQX_LTqArAXSFqMIkIGp3sOTpnjXisnSDNZECYD5Y/s1600/Pete.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Pete "The Fish" Stevens</i></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUP_Ei8lga-XtRAgpfnIcYwCkGJQzFyyyW7rWQ_Pf5oFNbUoIlyCtVUMUqq6-LGeU2QXcMf0c41Kxsz3xcpaTn8yTimbnPKYmsav9Eg0tXk4tepWqLV1nWplcSjDfpVX3SbmwNNPnu8GQ/s1600/Wal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUP_Ei8lga-XtRAgpfnIcYwCkGJQzFyyyW7rWQ_Pf5oFNbUoIlyCtVUMUqq6-LGeU2QXcMf0c41Kxsz3xcpaTn8yTimbnPKYmsav9Eg0tXk4tepWqLV1nWplcSjDfpVX3SbmwNNPnu8GQ/s1600/Wal.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ian "Wal" Waller</i></td></tr>
</tbody></table>
For more shots of these fine men please continue below...<br />
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<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;">So just who was this handsome young fellow?</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyckxk7Ben3txql4IoRJHue9AMkgfyQuObxV2JQNeuz3LQg2RxTWujsHd9v_zPyZi5gtUvgM1ocT_NzocgrvwYjpWvCPs1fLmXXwLl0OcZwtRwOU6SqzRZPCzmKropqIzeGT4dCQ83yvc/s1600/Ian+in+The+Demons.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyckxk7Ben3txql4IoRJHue9AMkgfyQuObxV2JQNeuz3LQg2RxTWujsHd9v_zPyZi5gtUvgM1ocT_NzocgrvwYjpWvCPs1fLmXXwLl0OcZwtRwOU6SqzRZPCzmKropqIzeGT4dCQ83yvc/s640/Ian+in+The+Demons.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;"><i><span style="font-family: Georgia,"Times New Roman",serif;">Ian Waller (second from left) in the Demons - early 1960s </span></i></span></span></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">A few years later...</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0FIT3yHC3awmYFEan002tayz_-Ag2uADmrsRGdMVYqEdBDbnSl0JTtNftPCdN6WAWP9Z-ivWWSQjbG0l_erRYXl-U2qN24PkiMwl2BRshU_T3RHU_u0_-aJ3SPXvXwXUwnaVGVKvhQ8/s1600/JMJWalPete.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0FIT3yHC3awmYFEan002tayz_-Ag2uADmrsRGdMVYqEdBDbnSl0JTtNftPCdN6WAWP9Z-ivWWSQjbG0l_erRYXl-U2qN24PkiMwl2BRshU_T3RHU_u0_-aJ3SPXvXwXUwnaVGVKvhQ8/s1600/JMJWalPete.bmp" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUyJMWA-6aqENRCrW_LkeZce0ZBSWwL7N5QY7cZ31qkSxbFpnwDH7eiweJo2B_15O9jar6SAxUlU15EoQjnZQJ2dZJAvStlrLKwI7HJuraGUyqIFETyv3oPPRrAdT3yvbNCZSzIgnlxQ/s1600/PeteAndPaul.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUyJMWA-6aqENRCrW_LkeZce0ZBSWwL7N5QY7cZ31qkSxbFpnwDH7eiweJo2B_15O9jar6SAxUlU15EoQjnZQJ2dZJAvStlrLKwI7HJuraGUyqIFETyv3oPPRrAdT3yvbNCZSzIgnlxQ/s1600/PeteAndPaul.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi86NZ8o3pZR_by2RKtqY3dAcYoDHvI9Fcbt_lD5t0GadOlaCx5tz-kbiP2K2xzBqkVfnJ0A2lVj-ahvpF2aGTTOH0kF1nqfVSsA_ma2D6tplMzwL2zXk01O6meHqIZc8NwfxI8YzNJZwA/s1600/80sWorkshop1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi86NZ8o3pZR_by2RKtqY3dAcYoDHvI9Fcbt_lD5t0GadOlaCx5tz-kbiP2K2xzBqkVfnJ0A2lVj-ahvpF2aGTTOH0kF1nqfVSsA_ma2D6tplMzwL2zXk01O6meHqIZc8NwfxI8YzNJZwA/s1600/80sWorkshop1.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv9sjVucjr2I-N049fVQNP2-osCjOKXHE5l-KeF3o147NuE52cSX39pm30jl_gMNzX4Ru-lRyBsBqYsSkUHVNO0TP7WqQbbYyovrFG722SEGVGpSO9Ra7Dq-_Y_uZ4RRQoY7RD5H_q51I/s1600/Pete+in+workshop2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv9sjVucjr2I-N049fVQNP2-osCjOKXHE5l-KeF3o147NuE52cSX39pm30jl_gMNzX4Ru-lRyBsBqYsSkUHVNO0TP7WqQbbYyovrFG722SEGVGpSO9Ra7Dq-_Y_uZ4RRQoY7RD5H_q51I/s1600/Pete+in+workshop2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgctSJlsh53IB0j6ejB4vSRoWSReUvydFKvkHhIaMrZnwyZuXIV82LOWO2Wk12_5uNEiFnZSrOlzR2Yu_jNBcmDGzEcRI9RBtNtwtT2-MaVApf8MWgUUBVYLSay8f0z-WFVt_lxxg91K0A/s1600/Pete+in+workshop4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgctSJlsh53IB0j6ejB4vSRoWSReUvydFKvkHhIaMrZnwyZuXIV82LOWO2Wk12_5uNEiFnZSrOlzR2Yu_jNBcmDGzEcRI9RBtNtwtT2-MaVApf8MWgUUBVYLSay8f0z-WFVt_lxxg91K0A/s1600/Pete+in+workshop4.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPVWqQGjylz-4El_NUa8wYUDwx9m9WIdxd27gHrgLMX9ufm1QHe5Z_zez1krZc8cgIoJHVGAx2GAEEl-ZVaxEJZzjSEUY-y387lThBx696-hkNXvEadj9ZxZHKGJseFr8WDP143ycoBcg/s1600/Pete+in+workshop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPVWqQGjylz-4El_NUa8wYUDwx9m9WIdxd27gHrgLMX9ufm1QHe5Z_zez1krZc8cgIoJHVGAx2GAEEl-ZVaxEJZzjSEUY-y387lThBx696-hkNXvEadj9ZxZHKGJseFr8WDP143ycoBcg/s1600/Pete+in+workshop.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMDVWBZCWysqIhYVl9sfU1J2SMRFYpb_p7KhyphenhyphennLnY5Lq1bM-wn1zWBJHSnTGpG1h79VRe726k9pALI_5B6ZPXrkP2d3w-n1sk5tNeR8fIiS7wRPdNQ4sM3e16TVWqMD7xe5isbTo1CCPg/s1600/PeteStevensWithJonas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMDVWBZCWysqIhYVl9sfU1J2SMRFYpb_p7KhyphenhyphennLnY5Lq1bM-wn1zWBJHSnTGpG1h79VRe726k9pALI_5B6ZPXrkP2d3w-n1sk5tNeR8fIiS7wRPdNQ4sM3e16TVWqMD7xe5isbTo1CCPg/s1600/PeteStevensWithJonas.jpg" /></a></div>
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And finally, the obituaries published in the music press for these two great bass builders. Messages of admiration separated by over 20 years...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhggZjEvaZv0lESP-7lEorBIXtVP5UZCprx5WKfatzV043GwqlljM_krrzXtb3vcQOmSMIiJGXnbnA2_o7ZsC_JtgjF5MCnokT7koPn7IBUnhJK9UWL00NekTirBvBhDdzMZfGSdfPEQY/s1600/IanWallerObit3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhggZjEvaZv0lESP-7lEorBIXtVP5UZCprx5WKfatzV043GwqlljM_krrzXtb3vcQOmSMIiJGXnbnA2_o7ZsC_JtgjF5MCnokT7koPn7IBUnhJK9UWL00NekTirBvBhDdzMZfGSdfPEQY/s1600/IanWallerObit3.jpg" width="440" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiO_JCg1vN9HI2KmPTArrXY-L0N0O55GiaVkyTasriol_M7xaoIHhzgX1UQ9AiNnMJS4ncle1y0WxH9EgtOFAO7RhGPlQLnDgq4DViQsTQE1kHewSP4DhUFqFkAbc9PFEyl6nVOID6ZOM/s1600/WalObitBassGtrMag03-12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiO_JCg1vN9HI2KmPTArrXY-L0N0O55GiaVkyTasriol_M7xaoIHhzgX1UQ9AiNnMJS4ncle1y0WxH9EgtOFAO7RhGPlQLnDgq4DViQsTQE1kHewSP4DhUFqFkAbc9PFEyl6nVOID6ZOM/s1600/WalObitBassGtrMag03-12.jpg" width="422" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpg1XE1-dNdsSsCAI6rvrFUp_gIsnLr-9LL4cHIPjYu2NqMAbSbeJlmzBkZ0_Js-DwAGjxWWhMqHH-P-TXqgM8uvFY7Qhx5p3rGueI7QK5656BhfnZaf0ZQVYbX6LY2NyWwTlcBIPCf1E/s1600/PeteStevensWithJonas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<br />TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-56096282426676320252014-07-21T01:30:00.000+01:002016-01-27T13:38:57.070+00:00 Wal Pro Series basses article from The Guitar Magazine, early 2000s<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEify1UdnyATafKGiHHvB9LxtkXY3pgKf-8oH8gFwH6qpqLLjXhqajg7z9ED0Upw46S69_V3ajPNuHjJDMYUf93uQ1SKTHTaz15-DdirX69u4qd-fCFFKIB5Xy0TcBRVAeMlfyfOOy0qp2E/s1600/prohs.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEify1UdnyATafKGiHHvB9LxtkXY3pgKf-8oH8gFwH6qpqLLjXhqajg7z9ED0Upw46S69_V3ajPNuHjJDMYUf93uQ1SKTHTaz15-DdirX69u4qd-fCFFKIB5Xy0TcBRVAeMlfyfOOy0qp2E/s1600/prohs.jpg" width="320" /></a><b><span style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Article from the UK's The Guitar Magazine on the Wal
Pro Series basses from the early 2000s</span></b></h2>
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<b><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Wal Pro-1 Bass </span></b></h2>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Review category: Basses </span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">A great opportunity to get your
hands on a genuine Wall for</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">a </span><span style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">fraction</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"> of the price you may have expected </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpK83NAl0NgFLHXRBb2rHlrq0FuwmDChZwL520ImB1FCezulLMKN-4f0p7QxkoSjQI0IbQ_-6RvWCuDiFd7Ly_DR0Mm-crj6MylPpu4eYZaE2LL7mm36WE8hb3o4ilBqcrZ5bun9ma6E/s1600/prohsrear.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpK83NAl0NgFLHXRBb2rHlrq0FuwmDChZwL520ImB1FCezulLMKN-4f0p7QxkoSjQI0IbQ_-6RvWCuDiFd7Ly_DR0Mm-crj6MylPpu4eYZaE2LL7mm36WE8hb3o4ilBqcrZ5bun9ma6E/s1600/prohsrear.jpg" width="320" /></a></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Founded in the mid-'70s with a commitment to high-quality design and
construction, Electric Wood (the company that made Wal basses) was responsible
for some of the best machines ever to grace the woofers of your hi-fi. </span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The Pro range of basses, from the entry-level Pro-I, to the
top-of-the-line Pro-IIE, encapsulated all the ideas and innovations that Wal
was known for. </span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">You may not be able to buy a new one, but all the Wal Pro series are
excellent second-hand buys. Of the four instruments in the range, the Pro-I
offers the least in the way of refinements, though you still get a handmade
pro-quality bass guitar. The others in the range are the Pro-II (two pickups),
The Pro-IE (active), and the Pro-IIE (two pickups, active circuitry). </span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">In action, the Pro-I is a beast of distinction, easy and comfortable
to play, with a lovely thick, woody tone. It gives a very chunky 70s sound, but
with some adjustment to the pickup, a wider range of sounds can be achieved. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt9ycMCmhKWPixBhwFAMKuCJDDM1d95vEOiFABUrKwChTCotmNdCIssQ5E-AqhzPYPei7FNaOL29AI-76FwzVnVTYVNw53TUmkaWqzkFT81Hz3GrfTiyacaBvkeIjBU-u4NJ1SleKi_8o/s1600/pro1front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt9ycMCmhKWPixBhwFAMKuCJDDM1d95vEOiFABUrKwChTCotmNdCIssQ5E-AqhzPYPei7FNaOL29AI-76FwzVnVTYVNw53TUmkaWqzkFT81Hz3GrfTiyacaBvkeIjBU-u4NJ1SleKi_8o/s1600/pro1front.jpg" width="227" /></a></div>
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Still, with no facilities for easy change of tone, it's probably a bit
limiting for the modern bass player, who may have to switch from zingy funk
tones to bowel-quaking dub in the course of a set.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The body of the instrument is a glued three-section piece of ash, with
an angled upper bout, a cutaway at the rear between the upper bout and horn,
and a lower horn cutaway that offers access to the higher frets. </span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The neat, functional body styling results in a distinctive
well-balanced shape that doesn't suffer from too much tipping, even with the
large Wal headstock. Inside, the Pro-I really shows its pedigree; the wiring
and circuitry is mounted on a circuit board instead of being just a loose
tangle of wires. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">This feature is becoming more common in high-end basses, but in 1982,
when this bass was manufactured, such clarity of design was very rare indeed. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxeJEtAntfdBijEMJjQNdPfPZ6W0oMaLKjE01-jQI3hL9xLSoF2C9jHOtLYELOo12PYEpNX4MAlZyiNh9l2FItfySshz48ujI8PkxEejzqTgaXx1HEnGxji57RY7BDDphg5_OzFbSHxpg/s1600/myprofront.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxeJEtAntfdBijEMJjQNdPfPZ6W0oMaLKjE01-jQI3hL9xLSoF2C9jHOtLYELOo12PYEpNX4MAlZyiNh9l2FItfySshz48ujI8PkxEejzqTgaXx1HEnGxji57RY7BDDphg5_OzFbSHxpg/s1600/myprofront.jpg" width="228" /></a></div>
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The neck is a 34-inch six-piece laminate bolt-on type with a
centre-piece of hornbeam and outer pieces of rock maple, separated by two
pieces of muckalungu. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The fretboard is Indian rosewood with 21 nickel-steel frets, and the
neck as a whole is quite thick, with good feel and playability. The fretboard
width at the nut is 42mm, with a string spacing of 13mm. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">This widens to 19mm at the bridge - meaning that the strings are
fairly close together all the way down the neck, compared with modern basses. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">There are three carbon-fibre strips reinforcing the neck too - one
under the fretboard and two at the back, adding extra stability. These, coupled
with the brass inserts at the heel- joint, provide the rigidity necessary for
good sustain and tone. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The single pickup is an eight-coil humbucking type, mounted on
floating springs and fully height-adjustable. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The pole-pieces, too, are adjustable by Allen key for further tone
refinement, and there's a small phase reversal switch just at the lower edge of
the pickup to switch between in- phase and out-of-phase sound. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGg9eurtkaZ9rTmuGIdL8cOP4-TW0ynOS_xA2lc9ELgn4akB7HrL8h2g9c65VPOxbQitsd2jSx5UKWhWmFB_zwU88q87-D-ajox_W1nHbNF0M9MqROuIj8OKFimyHtRaoBSBkgtYdAnrA/s1600/laterprohead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGg9eurtkaZ9rTmuGIdL8cOP4-TW0ynOS_xA2lc9ELgn4akB7HrL8h2g9c65VPOxbQitsd2jSx5UKWhWmFB_zwU88q87-D-ajox_W1nHbNF0M9MqROuIj8OKFimyHtRaoBSBkgtYdAnrA/s1600/laterprohead.jpg" width="180" /></a><br />
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Price And </span></b><b><span style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Availability</span></b><b><span style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"> </span></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3NZXxwg5UNu86LtCMroWGqqG9AnCglpD5yAodeXr_UCHHvX6n_wru0Q30dAn7AlgrCjI0vr7EuC-y_39nDkxk1WJX01MKtlakVJ2yf2WOX2iufpavJunjb8mQPO9NDI5-a3wXE9bcck/s1600/earlyprohead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3NZXxwg5UNu86LtCMroWGqqG9AnCglpD5yAodeXr_UCHHvX6n_wru0Q30dAn7AlgrCjI0vr7EuC-y_39nDkxk1WJX01MKtlakVJ2yf2WOX2iufpavJunjb8mQPO9NDI5-a3wXE9bcck/s1600/earlyprohead.jpg" width="173" /></a><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The price to pay for a Pro-I in good condition, with original Wal case
(brown moulded fibreglass with embossed Wal logo) is about the same as the
price when new - around </span><span lang="EN-US" style="font-family: "arial unicode ms" , "sans-serif"; font-size: 12pt; line-height: 107%;">£</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">375. </span><br />
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">The more expensive models follow the same pattern, meaning that you
can be sure of your purchase remaining an investment. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Expect to pay from </span><span lang="EN-US" style="font-family: "arial unicode ms" , "sans-serif"; font-size: 12pt; line-height: 107%;">£</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">400 to </span><span lang="EN-US" style="font-family: "arial unicode ms" , "sans-serif"; font-size: 12pt; line-height: 107%;">£</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">599 for those models, depending on type and condition. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">Just 3,000 Wal Pro series basses were made in total, so finding a good
example may be a bit of a search. Still, chances are, it'll be worth it. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">ORIGINAL PRICE </span></b><b><span lang="EN-US" style="font-family: "arial unicode ms" , "sans-serif"; font-size: 12pt; line-height: 107%;">£</span></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;">375 </span></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 12pt; line-height: 107%;"></span></b></div>
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-64951219403946613232014-07-14T00:16:00.000+01:002016-10-11T22:04:08.696+01:00Wal custom built basses, rarities & oddities...<h2>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Wal custom built basses, rarities <span style="font-family: "arial" , "helvetica" , sans-serif;">&</span> oddities</span></span></h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Throughout their history, Electric Wood were known for their custom builds alongside their production models. Whether it was the iconic triple neck or a tweak to the established formula, if you could convince Ian or Pete then the world was your oyster. However, they had to be convinced it would work. They remained craftsmen, dedicated to building beautifully crafted working tools for working musicians. The weird and wonderful but frankly silly basses could be left for other builders. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">When visiting their workshops in High Wycombe it was not so unusual to see the odd Strat shaped guitar (albeit sporting the characteristic Wal laminated body) hanging from the guitar rack. Alongside might be a Jazz bass in for renovation. However, despite that their passion remained for the basses for which they had become known. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">There were a few oddities, though. This page showcases a few of Wal's more unusual creations. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD7DvZO5FwMLDqjCKW2Y_G-MjGljGhG9Cpsa9-w_HF4b3ZSUoRSX-fC6sU6ukenVZtyGDogZRm46vKINRnLu2HSavfN0BOfMVdghGYeQ7d1Itt5WroijVSwfH1F6mO9RINXwgc_UkQxqw/s1600/36fret_custom.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD7DvZO5FwMLDqjCKW2Y_G-MjGljGhG9Cpsa9-w_HF4b3ZSUoRSX-fC6sU6ukenVZtyGDogZRm46vKINRnLu2HSavfN0BOfMVdghGYeQ7d1Itt5WroijVSwfH1F6mO9RINXwgc_UkQxqw/s1600/36fret_custom.jpg" width="198" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span lang="FR" style="line-height: 107%;">A unique Wal bass design. </span></i><i><span lang="EN-US" style="line-height: 107%;"> </span></i><i><span lang="EN-US" style="line-height: 107%;"><br />
Steve Chesney's custom "36 fret" <br />
fretless Wal custom bass with <br />
burled redwood top and <br />
matching headstock facing. </span></i><i><span lang="EN-US" style="line-height: 107%;"><br />
</span></i><i><span lang="EN-US" style="line-height: 107%;">But strangely this isn't a "one-off". <br />
It's a "two-off"!</span></i></span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt; line-height: 107%;">Steve Chesney's 36-fret fretless extended cutaway Wals!</span></b><b><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Throughout the 1990s and until Pete laid down his chisel one of Wal's most passionate and prolific supporters was a bassist from the USA called Steve Chesney. For a long period in the late 1990s and early 2000s, Steve was the go-to guy on the web for info on Wal basses. He hosted a website on the brand which was often mistaken for the "official" Wal bass website. And in many ways it was. With Pete Stevens' lack of inclination to concentrate on topics as prosaic as "web promotion" and the relationship that the two had, Steve soon became the US ambassador for the brand.</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Over the years Steve gathered together an enviable collection of basses built specifically for him. As a leftie player the scope for picking up a Wal second hand was sorely limited. A series of commissions, therefore ensued. At one point the number of Wals he owned reached double figures, all built to his personal specifications. However, the most unusual of these commissions were two unique, probably never to be repeated, builds. A brace of left-handed fretless basses with finger boards built to accommodate a 36-fret playing area. This unusual fingerboard required an extended reach to allow that playing area to be utilised. The length of the neck had already disposed of the possibility of a neck pickup and so a long, slot-like extended cutaway was created. It makes for a unique and striking look, particularly with the exotic wood tops.</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Steve ended up having two basses built in this configuration. One features a burled redwood top and lined finger board. The other is quilted maple.</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">And its non-identical twin! </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Also Steve's...</span></i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFC4VaAdS5V1oX39h94LaUJivFqW80BiR2MpJlKENZ1lATnAodKpHVbrDGOCmvhjYaJ_RhWbiXQRQGvD8UUcAkIVzNwnkco48y-FOwEWEhyGDC1DfYcEs0VKfDghAneYaHMQ1mZnuZZ8/s1600/36fret1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFC4VaAdS5V1oX39h94LaUJivFqW80BiR2MpJlKENZ1lATnAodKpHVbrDGOCmvhjYaJ_RhWbiXQRQGvD8UUcAkIVzNwnkco48y-FOwEWEhyGDC1DfYcEs0VKfDghAneYaHMQ1mZnuZZ8/s1600/36fret1.jpg" width="212" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRmctlv9K23buZN0oaDaJx1pIWsLL5cXOq3aEbRjN0bXxMkQ667QJ9eXaWmI3c-W7uzsTTp9L0KzukFx5IvJKLFrR7R3PDEPstwA8iasD5Hkh_6nG6WM_PQyjusD95Cf6ItofbenI-FVk/s1600/36fret2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRmctlv9K23buZN0oaDaJx1pIWsLL5cXOq3aEbRjN0bXxMkQ667QJ9eXaWmI3c-W7uzsTTp9L0KzukFx5IvJKLFrR7R3PDEPstwA8iasD5Hkh_6nG6WM_PQyjusD95Cf6ItofbenI-FVk/s1600/36fret2.jpg" width="212" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt; line-height: 107%;">Non asymmetric cutaway Mk I Custom</span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">This unusual looking Wal turned up some years ago being offered for sale on eBay. Its provenance is uncertain as although it features many proprietary Wal features and fixtures it has clearly been assembled from disparate pieces. The bass is configured as a leftie but features a right-handed fretless neck turned around (and with the logo upside down). The electronics and bridge are clearly Wal in origin but were they originally mated with this body in a workshop in High Wycombe?</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">All in all it is a bit of a mystery but it definitely counts as an oddity!</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt; line-height: 107%;">Jonas Hellborg's single-necked Wals</span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Although, in Wal terms, Jonas Hellborg is most intimately associated with his iconic double necked bass that was not the only instrument he commissioned from Electric Wood. In addition he owned a couple of single necked Wals, closely modelled on the upper half of his double neck. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">The basses both possess a body which seems to be significantly slimmer than the Mk II basses which Wal was producing at the time, although they feature an extended upper horn like a Mk II. The sleeker, slimmer body profile is reminiscent in some ways to the Mk III body style which appeared over a decade later. Single pickup designs, they also feature pickup placement akin to the double neck. As such they are positioned a centimetre or so further from the bridge than is usual for a Wal bridge pickup. Most unusual (although there's a lot of competition for that crown with these basses!) is the use of a 4-a-side headstock on a single necked Wal bass. On the double necks on which they are modelled the 4-a-side headstocks are used for purely ergonomic reasons - it would be simply too fiddly adjusting the D and G strings on the upper neck and E and A strings on the lower neck otherwise. Here it seems more on an aesthetic decision.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">One of the basses features a natural wood body, however, it was the other (a black poly-gloss model) which Hellborg seemed to favour. It was doubly unusual in that it featured a Kahler tremolo unit rather than the proprietary Wal bridge.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqet6vA0g4nHkm4aHc0kb7l6pZF-kw0YwvrANHtS29p1_ZqsfTwhG3pVg5oNckvWb4nTyOxDdeAMJg-5C4rDMvG1tlD99kpnM8e5gBxpunmmHMMZV8AayZEOfW4ounJE6d0njAg7I666w/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqet6vA0g4nHkm4aHc0kb7l6pZF-kw0YwvrANHtS29p1_ZqsfTwhG3pVg5oNckvWb4nTyOxDdeAMJg-5C4rDMvG1tlD99kpnM8e5gBxpunmmHMMZV8AayZEOfW4ounJE6d0njAg7I666w/s1600/image.jpeg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt; line-height: 107%;">Fender bodied Wal Custom bass</span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTw1EbckhacBOOWagPb-FAa_-6ScffYxHtChvpXY01rsfulmbkfXS22hJLM92mLbljzVSNk1x_pkwIlTJ8vOWMZ_ZjWA-8msvuIgow-BBTKqEV9BqhBN6pcusrwVXMu3kGeDsLyi63uE/s1600/WalStump.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTw1EbckhacBOOWagPb-FAa_-6ScffYxHtChvpXY01rsfulmbkfXS22hJLM92mLbljzVSNk1x_pkwIlTJ8vOWMZ_ZjWA-8msvuIgow-BBTKqEV9BqhBN6pcusrwVXMu3kGeDsLyi63uE/s1600/WalStump.jpg" width="320" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">One little known option which Pete offered at Electric Wood was to build a Wal bass, not in a standard Mark I, II or III body but in a Fender shape. It's not an option that was taken up by a lot of players. However, the first taker was Kevin Hopper, formerly from 1980s indie pop band, Stump. Here he chats about how the bass came about...</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNfhjqyJO_0OtGaLaOIjkakjwocPAYuwJq6pGIookWrmWO85nfi-nyXp4vMcfM55QhJ6qAI3hDTSnV6dJovdh4e7GzwdcAqcMKcdcrkdDMLvsS36098OTi2A2R3wmKR9Px_zBNt1Qpjvo/s1600/StumpGigWal.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNfhjqyJO_0OtGaLaOIjkakjwocPAYuwJq6pGIookWrmWO85nfi-nyXp4vMcfM55QhJ6qAI3hDTSnV6dJovdh4e7GzwdcAqcMKcdcrkdDMLvsS36098OTi2A2R3wmKR9Px_zBNt1Qpjvo/s1600/StumpGigWal.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kev Hopper's Wal in its original form with Stump</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">I bought the bass as a standard fretless model in 1984 secondhand from the Bass</span><span style="font-size: 12pt; line-height: 107%;"> C</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">entre in Wapping. It cost </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">£</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">550. I'd wanted one ever since I'd seen Percy Jones play one at a Brand X gig around 1979 but couldn't afford one till 5 years later. On</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">receiving it I have to admit that my first impression was not a good one: although the bass sounded great it was very heavy, didn't balance well on the strap or the lap and worst of all it had a huge, fat baseball neck which I absolutely hated! I decided to put up with it and get used to it..</span><span style="font-size: 12pt; line-height: 107%;">. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">because I liked the sound so much.</span><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi94z2DDAtziMSRrzaZhmzKuFqXaPaw_Q2zM10F4tHKFjWy6wxPL3Y7p3cFr-KDvR-Am9W2Uac0icskSx1jAQi58T4z_kkpJe0glYz1tlk2_spdVHmoJUH8AP0FW3GS75HJ2by7vCzGDQw/s1600/Wal2012a.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi94z2DDAtziMSRrzaZhmzKuFqXaPaw_Q2zM10F4tHKFjWy6wxPL3Y7p3cFr-KDvR-Am9W2Uac0icskSx1jAQi58T4z_kkpJe0glYz1tlk2_spdVHmoJUH8AP0FW3GS75HJ2by7vCzGDQw/s1600/Wal2012a.jpg" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">After...</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEind0CBuY113jlTvjG65V9Mbz9o4Xgv6tBprcGjpdObbO2DaAhNMuwDRKmM1z4cbgH0_Y3k65UYUGFHgJby-PvE51bO5FY3OX9EmydFwqGsyZp_BGfRCME0QAlOfIjHzS74BxkOE1MEdcE/s1600/Wal84.jpg" style="margin-left: auto; margin-right: auto;" width="149" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Before...</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEind0CBuY113jlTvjG65V9Mbz9o4Xgv6tBprcGjpdObbO2DaAhNMuwDRKmM1z4cbgH0_Y3k65UYUGFHgJby-PvE51bO5FY3OX9EmydFwqGsyZp_BGfRCME0QAlOfIjHzS74BxkOE1MEdcE/s1600/Wal84.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">The first thing I had changed were fret</span><span style="font-size: 12pt; line-height: 107%;">-</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">lines inserted at the Wal workshop. While I was there, for some reason, it never occurred to me to ask if they could make other changes to the bass so I played it how it was all through my Stump days.</span><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Anyway, years later around 1993, I took it down to the workshop for a service and I saw a Fender template hanging on the wall. Pete explained that it was there in case customers couldn't get on with the Wal body shape but that no one had taken up the option yet. So of course I explained that I found the shape awkward and it might suit me. I then casually mentioned that I didn't like the fat neck and he immediately offered to slim it down and narrow the profile for me. If only I'd asked in 1984! I also mentioned that I'd like the body heavily contoured to reduce the weight. So he did all that for me. The sycamore facing was found in a skip in Leeds (I think Paul Herman spotted it).</span><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%;">"</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Incredibly they charged me just </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">£</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">200 for the new body. The staff at Wal were great. I was surprised they knew all my stuff and had been following my career.</span><span style="font-size: 12pt; line-height: 107%;">"</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Kev Hopper playing his Jazz bodied Wal</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Eo5osLALB2IoO-QRzLF5YzNY1BmUtRn6Xg96xx6SypfWGubo7iTDWluq-fCB1UrHv1bQiPuArsOtWcKZ2IKWIHxZCa5BEF3nueYf0PzuDteKvqhbi9hgvDMn46QCT1TWndzPq5POSwE/s1600/Wal_Kev2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Eo5osLALB2IoO-QRzLF5YzNY1BmUtRn6Xg96xx6SypfWGubo7iTDWluq-fCB1UrHv1bQiPuArsOtWcKZ2IKWIHxZCa5BEF3nueYf0PzuDteKvqhbi9hgvDMn46QCT1TWndzPq5POSwE/s1600/Wal_Kev2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7y349S2Ksgv8w3dk3PfuzxVFj-VVArO7X5MfNnV4Fw2bfXgz7e_AfDGdmXpWkYN4YHeeb1nT4DI0wuzjt5IdwqdhuHQizPfFJ9Ln4573ptAJRE4hr_-1cyQFXD4vGqHFPOlHOkvLMD6k/s1600/Wal_Kev3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7y349S2Ksgv8w3dk3PfuzxVFj-VVArO7X5MfNnV4Fw2bfXgz7e_AfDGdmXpWkYN4YHeeb1nT4DI0wuzjt5IdwqdhuHQizPfFJ9Ln4573ptAJRE4hr_-1cyQFXD4vGqHFPOlHOkvLMD6k/s1600/Wal_Kev3.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZM2UPLiGp48lAfGg5Lk0R2i-l0_cgjb0HJkCY-SfZuZmGKky_pjdhUgfA5TnU3ABP6iteswjTiANY_6KkjzeDPj9MoN1Rcg3ua_1eUwC1ul5IJckEPG5G2xCgm7ojQOA81YLoExUALhw/s1600/WalSlimNeck.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZM2UPLiGp48lAfGg5Lk0R2i-l0_cgjb0HJkCY-SfZuZmGKky_pjdhUgfA5TnU3ABP6iteswjTiANY_6KkjzeDPj9MoN1Rcg3ua_1eUwC1ul5IJckEPG5G2xCgm7ojQOA81YLoExUALhw/s1600/WalSlimNeck.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The reprofiled Wal neck</td></tr>
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<i>Kev's Wal in its original mode back in the Stump days</i></div>
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<i>A more modern piece on the Jazz bodied Wal</i><br />
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<h3>
The FoderaWal and the SeiWal</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PMM6SyRf9_2C8j2vMWRp099uFYf4-wDV7zN7uGyf7m72jQy-Z0BnB7nQTrVQLXvtsqgv7jEl-95R-BTVqgyuwkNPafbRS4ykElbsoqVPYxLOVthhDFNSj7VFpLw7AHdi-mpsFJSfgcY/s1600/IMG_2985.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PMM6SyRf9_2C8j2vMWRp099uFYf4-wDV7zN7uGyf7m72jQy-Z0BnB7nQTrVQLXvtsqgv7jEl-95R-BTVqgyuwkNPafbRS4ykElbsoqVPYxLOVthhDFNSj7VFpLw7AHdi-mpsFJSfgcY/s400/IMG_2985.JPG" width="251" /></a></div>
Ian and Pete were always very protective of their bass designs and, in particular their pickups and electronics. The chances of finding an aftermarket Wal pickup are less than zero so these two Walish basses are definitely oddities. A Fodera and a Sei with Wal pickups and electronics.<br />
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With the FoderaWal as I recall the owner bought a beat up Wal 5 string with the express intention of harvesting and handing them over to the guys af Fodera. You see the resulting bass before you.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn4iLemgyLYrNBSpJjT15d89dvMhmTFjd2OyaFXMta5FyAxjbKxQw-LEAfzb12NiwUWtCoTeGzSs7uHHberki8lIdzVHPGf-yJfsX1wAq6Hd2yR7WDJuUqzsJl-YBWGD82Dfb8fegv-aQ/s1600/IMG_2986.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn4iLemgyLYrNBSpJjT15d89dvMhmTFjd2OyaFXMta5FyAxjbKxQw-LEAfzb12NiwUWtCoTeGzSs7uHHberki8lIdzVHPGf-yJfsX1wAq6Hd2yR7WDJuUqzsJl-YBWGD82Dfb8fegv-aQ/s1600/IMG_2986.JPG" /></a></div>
The SeiWal is a little different. There are few whom Ian and Pete would trust with a set of their pickups. Martin Petersen of Sei Basses is one, perhaps the only person. He is a luthier of huge skill and his Sei basses are real things of beauty. This one is a Flamboyant model with the rare addition of a bit of Wal...<br />
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-2024814482878516872014-07-07T15:56:00.000+01:002014-07-07T16:13:40.522+01:00Wal Double Neck Basses<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePrRuPvVJHemfmZuqW8xlBtN6p0K2NH5G4buFU6HdhDoN-sp3JE48dUqnvveOpgQzRMQcxemBtwKU5skWG5hjoH-qRI43yk8Se6fTT3MnDGHJAXbYqBOSSccQ9I1F5X-0YI4u6EC2Xq4/s1600/DSC01239.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePrRuPvVJHemfmZuqW8xlBtN6p0K2NH5G4buFU6HdhDoN-sp3JE48dUqnvveOpgQzRMQcxemBtwKU5skWG5hjoH-qRI43yk8Se6fTT3MnDGHJAXbYqBOSSccQ9I1F5X-0YI4u6EC2Xq4/s1600/DSC01239.JPG" height="240" width="320" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Double-necked Wal</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-hansi-font-family: "Arial Unicode MS";"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">basses.</span></span></h2>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Over the years Electric Wood have made a number of double-necked basses. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Although not exactly common there are a good few examples out there. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">The original idea for a Wal double neck came from renowned bassist, Jonas Hellborg, who approached Wal in 1983 with the idea of building a unique bass which</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">combined fretted and fretless necks. Of course, Wal had some history with multi-necked basses having built the iconic Wal Triple Neck for Roger Newell in Rick Wakeman's band in the early 1970s. The triple neck was, however, somewhat "agricultural" in its lack of finesse. It predated the development of Wal's proprietary pickups, electronics and bridge using off the shelf components. Hellborg's double neck was to be a rather slicker affair.</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Throughout the rest of the 1980s it became pretty much the iconic Hellborg image - the phenomenally talented shaven headed young bassist wielding his double neck in anger. The lasting image of Hellborg in that period is him playing the bass (often throwing it around as if it were a featherlight Steinberger!) both as a solo artist and in John McLaughlin's Mahavishnu Orchestra. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Hellborg's website describes the genesis of the bass as follows...</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">"In 1983 I was at the Frankfurt Musik Messe displaying my first Bass Amp System. It was a booming time for Bass with lots of young dynamic innovators coming on the scene like Warwick, Alembic, Status,</span><span style="font-size: 12pt; line-height: 107%;"> JayDee</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> and Wal to name a few.</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">I had owned a Wal around 79-80 that I bought from Bruce Emms at MUG, the music shop in Gothenburg, Sweden. At the time it was my favourite instrument. So meeting Ian Waller and Pete Stevens, the founders of Wal was indeed very exciting. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirOyHgL_jCKiYj0glsUQeJWCw3oq8jkQHj_Bo2iMB428lnlcGU2N5sOHLOYpIATRuw1UkiRansfgiwSi3voB81QM3ocgM-bu7DEdq01RBqaiMSgfq54OUC4FOCIVimPGM0NwjnLDXGK1g/s1600/PeteStevensWithJonas.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirOyHgL_jCKiYj0glsUQeJWCw3oq8jkQHj_Bo2iMB428lnlcGU2N5sOHLOYpIATRuw1UkiRansfgiwSi3voB81QM3ocgM-bu7DEdq01RBqaiMSgfq54OUC4FOCIVimPGM0NwjnLDXGK1g/s1600/PeteStevensWithJonas.jpg" height="202" width="320" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">At the time I was playing both fretted and fretless basses equal amounts so when they offered to make me an endorser I enquired if it was possible to make a fretted/fretless double neck.<span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">They had already done a triple neck for Roger Newell of Rick Wakeman</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">’</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">s group so they felt confident about making me one. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Details were discussed, wood selected and we had some get-togethers leading up to the final design and the bass was finally delivered to me 1st of July 1984 in Paris.</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">For my entire stint with McLaughlin this was the main bass and for a while after as well. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">It is indeed a treasured instrument."<span style="mso-spacerun: yes;"> </span><i>Jonas Hellborg, July 30, 2012</i></span><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Photos of his double neck can be found on his website on the gear page dedicated to this bass:<span style="mso-spacerun: yes;"> </span><a href="http://www.hellborg.com/index.php/en/component/content/article/42-equipment-details/78-wal-double-neck-">http://www.hellborg.com/index.php/en/component/content/article/42-equipment-details/78-wal-double-neck-</a></span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR3AZdeQr1xOJ8RUregqkal41zKzKFPrc_iMug2euDGgLzWyt1RADpAYNf9Z1mJm17eLmsYhiaQwqSJj2iNtYtaq6J-ASp3aQ99JqYnJJbqQRBr-PgcXBJ8xAMLXvCqiKHCeTxBXIAXog/s1600/Wal_Double_Neck_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR3AZdeQr1xOJ8RUregqkal41zKzKFPrc_iMug2euDGgLzWyt1RADpAYNf9Z1mJm17eLmsYhiaQwqSJj2iNtYtaq6J-ASp3aQ99JqYnJJbqQRBr-PgcXBJ8xAMLXvCqiKHCeTxBXIAXog/s1600/Wal_Double_Neck_.jpg" height="320" width="214" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNTwkCU-XIaOvjPeHp7EfMGqRhsWE_eV1Oe23ahazJX3c91WhVCEW3i1ZWk0rzd7depDik0cZljSdxrlyfjV2JWl97asHCgLUz9P3PvGmzT-JaYsijcfRNoiUjIEbZ9oSiWSmVqwimvw/s1600/HellborgDoubleNeck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNTwkCU-XIaOvjPeHp7EfMGqRhsWE_eV1Oe23ahazJX3c91WhVCEW3i1ZWk0rzd7depDik0cZljSdxrlyfjV2JWl97asHCgLUz9P3PvGmzT-JaYsijcfRNoiUjIEbZ9oSiWSmVqwimvw/s1600/HellborgDoubleNeck.jpg" height="320" width="228" /> </a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEismFajSn2MZibdZdMzjfOXUmBktE1bbJnzyAG8yTDjYOtkmcBdVtNYapKZQGNeD99WM4siesVIQXs7zuZOFNSFx_kmiL_GCqHsWF4pT4n8Dde-wm-I6WIwy4fng9nMswFMAmBMePYaZag/s1600/image+%25287%2529.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEismFajSn2MZibdZdMzjfOXUmBktE1bbJnzyAG8yTDjYOtkmcBdVtNYapKZQGNeD99WM4siesVIQXs7zuZOFNSFx_kmiL_GCqHsWF4pT4n8Dde-wm-I6WIwy4fng9nMswFMAmBMePYaZag/s1600/image+%25287%2529.jpeg" height="400" width="227" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hellborg's bass on the rack at Wal</td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">The normal recipe</span><span style="font-size: 12pt; line-height: 107%;"> for a Wal double necked bass</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> would be to have a solid wood body without facings (usually </span><span style="font-size: 12pt; line-height: 107%;">a solid </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">walnut or mahogany</span><span style="font-size: 12pt; line-height: 107%;"> body)</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> but faced and solid colour versions are known. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span style="font-size: 12pt; line-height: 107%;">There is usually a single pickup for each neck in the bridge position (shifted a centimetre of so forward towards the neck) with a single pickup variant on the standard Custom series volume and tone controls for each neck. The headstocks of a Wal double neck tend to mimic the configuration of the headstocks on Newell's beast. They will be an angular variant on the classic Fender bass shape with four-in-line tuners facing outward from each other, i.e. one conventional headstock on the top, a reverse one underneath.</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Traditionally both necks on a Wal double neck will be marked with the same serial numbers. However, some are given consecutive numbering (<em>see the photo below of a white poly gloss double neck on the Wal stand at a guitar show at the NSC in Birmingham in 1991. (</em></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt; line-height: 107%;"><em>W3561/W3562).</em>) </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">The most common versions of these rare beasts mix a fretted and a fretless four string neck although, again, with the custom-build nature of Wal variants are known - </span><span style="font-size: 12pt; line-height: 107%;">I once came across a monster</span><span lang="FR" style="font-size: 12pt; line-height: 107%;"> double 5-er</span><span style="font-size: 12pt; line-height: 107%;"> and a double necked Wal MB4 midi bass! That midi bass had spent a long time in a studio specialising in prog music and, over its stay, had been used by the likes of Mike Oldfield and Greg Lake. Truly prog in every sense. <a href="http://walbasshistory.blogspot.co.uk/2014/06/wal-mb4-midi-bass.html" target="_blank">Click here for some more details on that midi monster...</a></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Is there a drawback of the double neck? </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Well they can be a bit unwieldy and take a bit of getting used to. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">However, Wals don't exactly have a reputation for being "feather light" </span><span style="font-size: 12pt; line-height: 107%;">at the best of times </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">and the sheer mass of wood in the bodies make them a bit back-breaking to use for extended periods. </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Perhaps for studio usage and curiosity value mostly, then?</span><span style="font-size: 12pt; line-height: 107%;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt; line-height: 107%;">Unless you are Jonas Hellborg, of course!!</span><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Double neck - solid walnut body, fretted and fretless necks, ebony fingerboards.</span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-hansi-font-family: "Arial Unicode MS";"> </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Wal have made several double necked basses - most famously used by bassist, Jonas Hellborg, who does happily throw his around on stage.</span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;"> </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-hansi-font-family: "Arial Unicode MS";"> </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Double necks usually have a solid wood body rather than exotic facings (often mahogany) although some faced models are known.</span></i></span><br />
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TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0tag:blogger.com,1999:blog-7002087831029217694.post-82252115767063845582014-06-30T23:07:00.000+01:002014-06-30T23:07:00.587+01:00Bassist magazine feature, January 2000 - "My bass(es) are... Four Wals"<!--[if gte mso 9]><xml>
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<b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">My Basses are... </span></b><b><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-spacerun: yes;"> </span></span></b><b><span lang="FR" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Four Wals </span></b><b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></b></div>
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<br /></div>
<div class="Body">
<i><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Steve Weston wanted a Wal. Then he wanted another. And another. Then?
Well, we'll let him tell you... </span></i><i><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></i></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">I will never forget the first time I heard a Wal, it was in 1983 and
being very ably played by Colin Bass of Camel. I'd had a number of basses over
the years, Rickenbacker, Fender, Ibanez etc, but had never quite managed to
capture that elusive sound that </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">I</span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> wanted from any of
them. Anyway there I was watching Camel and I was suddenly being blown away by
this amazing bass, loud in the mix without being overpowering, driving, clear
and very tight. I decided then and there that I had to have one. </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Anyway as it turned out, deciding I had to have one was the easy bit.
It actually took me two years of saving, gigging</span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">on reduced curry and beer intake (slightly) before I had enough cash
to realise my dream, a 1984 Custom 4 string purchased from a reluctant seller
in London. </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">The bass as it was then had a Mahogany body, Electric Wood standard,
with Walnut facings and an ebony fretless fingerboard, great looks, and yes, it
had that great fretless Wal sound w<span style="font-family: Arial,Helvetica,sans-serif;">hich suited me exactly at the time due to
the material we were playing. I later had luthier Pete the Fish at Electric
Wood make me a fretted neck so I had some opportunity to change style from time
to time. In one form or the other it was my only bass for the next 6/7 years
and it never let me down once. </span></span><span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><span style="font-family: Arial,Helvetica,sans-serif;">Unfortunately the band eventually split, but far from thinking of
selling the Wal, my mind was focused on getting my hands on one of the new Wal
5 string basses. In 1995, I got one with Padauk facings and a Rosewood fretted
fingerboard. It's had a few outings since then and it has a cracking sound, the
low B is a real boost if you want to rearrange the furniture at a gig. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: Arial,Helvetica,sans-serif;">My next buy wa</span>s last year when I went to the Embassy in Mansfield and
saw a 1979 natural Pro II E fretless bass in almost mint condition hanging on
the wall. The price was right and the sound was absolutely amazing, a real
fretless growl. I must confess that I was then beginning to feel a bit like a
collector as I was playing less frequently than before, even though the old
desire to thump the strings was still there. Funnily enough, although it is the
least expensive Wal I have, it's become my favourite. It's also a very unusual
bass in that the headstock is a 7 piece construction, reminiscent of very early
Pro I's, but yet without the carbon fibre strengthening rod used in all Wal
necks at that time. (All later Pro II headstocks were 5 piece construction.) It
is also marked as a Wal Custom not a Pro II using brown transfers not black as
they all are today. The original owner must have specified that particular
arrangement when ordering. It's even had Pete scratching his head a bit. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXUgEbtkcw78Vfc6Gu6nfTD9CHMyysqxdJa-fQDKNdqcd0pKiv4PICuc5R-ZXR6ck8z5m1aZ0jTD4PY19p6w30igiNcZtA_EzjXWrm8d6Kp3B5sZvCGAQKD_bas5-dSJVysW5PuKwJfsw/s1600/My+4+Wals+Steve+Weston.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXUgEbtkcw78Vfc6Gu6nfTD9CHMyysqxdJa-fQDKNdqcd0pKiv4PICuc5R-ZXR6ck8z5m1aZ0jTD4PY19p6w30igiNcZtA_EzjXWrm8d6Kp3B5sZvCGAQKD_bas5-dSJVysW5PuKwJfsw/s1600/My+4+Wals+Steve+Weston.jpg" height="320" width="236" /></a></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">So nearly to the present day when a chance phone call to Pete in
February revealed that he had a very unusual Wal 6 string bass which he had
recently made in association with Martin Simms of Simms LEDs. The body colour
is blue, green, and black sunburst and was designed to compliment the
aquamarine LEDs in the neck. It is unique in that it is the only Wal 6 string
with LEDs fitted to date. </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">One thing I must tell you about is Pete himself. As all who know him
will tell you, he doesn't care if you are the best bassist in the world, or the
worst. He's always keen to listen to your requirements but will tell you
straight if what you're asking for won't work. That's perhaps the great
strength of Electric Wood, each and every Wal bass is the sum of Pete's
experience and the contributions of the bass players who own Wal basses. It's a
family sort of thing. As Pete says "They're all my babies". </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Anyway I wouldn't say that my collecting is becoming obsessive, but I
never tire of Wal basses, and the nice thing about all of them is that each one
is uniquely individual but yet unmistakably Wal. Without wanting to sound like
a salesman, my advice to anyone who hasn't tried a Wal is get hold of one. </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">So there we are, a tale of four Wals. But it doesn't end there - even
now Pete is building me another 6 string, this time with bird</span><span lang="EN-US" style="font-family: "Arial Unicode MS","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">’</span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">s eye maple body facings, but that's another story. As for my Jennie
my wife, she lives in constant fear that one day Fete will announce the Wal 7
string. Well - how about it Pete? </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Background info: </span></b><b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></b></div>
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<span lang="EN-US" style="font-family: "Arial Unicode MS","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">•</span><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-hansi-font-family: "Arial Unicode MS";">
</span><b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Custom
4 (1984) - W2246.</span></b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> Walnut facings, Rosewood fretted fingerboard,
also Ebony fretless fingerboard. Purchased 1985 </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial Unicode MS","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">•</span><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-hansi-font-family: "Arial Unicode MS";">
</span><b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Custom
5 (1992) - W3702.</span></b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> Paduak facings, Rosewood fretted fingerboard.
Purchased 1995 </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="font-family: "Arial Unicode MS","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">•</span><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-hansi-font-family: "Arial Unicode MS";">
</span><b><span lang="IT" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Pro II E (1979) - PB1800. </span></b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Ash solid body,
Ebony fretless fingerboard. Purchased 1998 </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: Arial;"></span></div>
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<span lang="EN-US" style="mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Custom 6 (199 -
W6398.</span></b><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> Translucent blue, green, black sunburst maple facings Ebony fretted
fingerboard, SIMMS LED's. Purchased 1999</span><span lang="EN-US" style="mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Article first published in the UK's
"Bassist" magazine in January 2000.</span></i></div>
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<a href="http://walbassarchive.blogspot.co.uk/2014/05/article-bassist-magazine-january-1990.html" target="_blank"><i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">A high resolution version of the article can be viewed here </span></i></a></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span></i><span lang="EN-US"></span></div>
TrevRhttp://www.blogger.com/profile/05305560141789395369noreply@blogger.com0