Showing posts with label [器材現存]. Show all posts
Showing posts with label [器材現存]. Show all posts

Thursday, August 30, 2012

1963 Fender Brownface Vibroverb clone by Auralux


手工打造的複製品

六個月後我總算買到這個 David Saltzman 手工打造的63 Vibroverb Clone 複製品, Dave 賣了很久決定降價. 昨天我用 Fender 67 Blackface Twin Reverb 和他換. 雙方似乎都很滿意.

放上'63 Vibroverb Clone 照片供參考









Dave是向朋友借了真正的63年的Vibroverb音箱放在旁邊(只生產250台, 市價$6000-8000), 按63年的Vibroverb規格慢慢地製作的.

電路板比1990年 Fender RI 規格正確, 整流器(Rectifier)和63年的規格相同用真空管不是1990RI的電子整流器, 變壓器 (output transformer)是和63年規格相同的70年的零件. 連電阻和加油口蓋的用紙都用中古的. 可以看出Dave對規格細節的執著和細心.

這台音箱是裝 1X10 和 1X12的喇叭. 1X12是1958 Jensen Alnico P12Q.

我相信很難找到如此接近63年Vibroverb真品的複製品.

音箱的木箱是用帶漂亮木紋的松木. 比Twin Reverb 輕十多磅, 我勉強可搬的動.

音色我上次和這次都試過, 的確是沖浪吉他手的夢幻音箱.

Dave Saltzman是芝加哥有名的 Auralux Pedals / tube Amps 師傅




Accurate replica of the 1963 Fender Vibroverb, except that this amp has one10" speaker AND one 12" speaker. Makes for a slightly bigger tone. The 12"speaker currently installed is an actual vintage 1958 Jensen Alnico P12Q.The 10" is a fairly recent Eminence Legend ceramic, similar to what is used in the Fender reissue.

The circuit is WAY more accurate than the Fender reissue, including tube rectifier and the amp has an ACTUAL 1970 Fender output transformer, the exact model that was used in the original '63 Vibroverb.
Power transformer is new and was made by Magnetic Components here in Chicago. 

This amp is THE CLOSEST thing to buying an ACTUAL VINTAGE '63 Vibroverb.It is the clone of an actual '63 that was present on the bench when thi swas built. Vintage (tested) paper in oil caps and carbon comp resisters were used throughout.

The teak oiled wood is stunning reclaimed southern yellow pine (boards are from the 60's!), finger-jointed just like Fender,and Fender wheat grill cloth installed.

Must see and hear to appreciate this amp! This one-of-a-kind amp is $.....  or -$150 if I remove the vintage Jensen 12" speaker. Price is firm.

Brownface, brown Tolex-the 1963 Vibroverb

The original (6G16 circuit) Vibroverb was introduced in February 1963, the speaker lineup and the output transformer were based on the Fender Super amp of the time, the circuit based on the Fender Vibrolux of the time, with no presence control and only one 12AX7 tube for the tremolo effect. It sported typical “brownface” cosmetics, with brown “Tolex” covering (introduced by Fender in 1959), and wheat-colored speaker cloth.

The 40-watt amplifier boasted two channels (NORMAL and BRIGHT). Both channels had VOLUME, TREBLE and BASS controls; the single-control REVERB affected only the BRIGHT channel.

The tremolo effect (labeled VIBRATO by Fender, see “VIBRATO or TREMOLO?” section of the article Vibrato unit) had two controls, SPEED and also INTENSITY, which affected the bias of the output tubes and therefore both channels. To make room for the reverb circuitry (not found on the Super amp) the company used the direct-coupled oscillator vibrato circuitry found on Fender’s previous generation tweed amplifiers (which used two tubes fewer than the Super’s brownface vibrato circuit).

The TREBLE control was the same as found in many Fender amplifiers of the time (i.e. Pro Amp -6G5A-, the Super -6G4A-, the Showman -6G14-, the Vibrolux -6G11-). It was fitted with a “tapped” treble circuit, meaning that the treble control is “flat” at setting “5”; cutting or boosting the treble was possible by turning the knob down (below “5”) or up (above “5”), respectively.

It had two ten-inch speakers manufactured by the Oxford Loudspeaker Company.
This incarnation of the Vibroverb was made for only a few months, and it is thought that fewer than 600 of these units were made.

Tube Complement:
Power:............6L6GC (Two)
Preamp:...........7025 (Two)
Phase Inverter:...7025
Rectifier:........GZ34
Tremolo/Vibrato:..12AX7
Reverb Driver:....12AX7
Reverb Recovery:..7025

..

Thursday, June 7, 2012

Hofner Jazzica Custom

特殊琴身的爵士吉他


幾天前在Craigslist看到一把上次沒有買到的二手Hofner Jazzica Custom, 雖然不是我喜歡的小提琴塗裝, 但是她的琴身設計是我一直想要的. 上端 2 1/2" 彈奏時不需要彎腰趴著彈, 下端又慢慢的加大到4", 有Jazz Box 大桶身的音效.

 圖檔

圖檔

賣琴的是一個非常友善的年輕人叫 Andrew Trim. 買完琴聊起來, 原來他出生在芝加哥五歲隨父母去日本在名古屋長大. 最近才回來. 現在在芝加哥教課兼表演.

http://www.andrewtrim.com/live/

買琴後Andrew答應給我一個免費的爵士吉他課, 到時我想邀請上次買另外一把爵士琴結交的新朋友, 去台灣教過書的Kris一起去. 看來又交了一個新朋友.

***********

今 天下午(6/6/12), 和沙漠嫂開車去芝加哥城裡Andrew的家上我的第一堂爵士吉他課. 從公路下來要經過芝加哥公牛隊Chicago Bulls的大本營United Center籃球場. 附近看來是黑人區, 但這幾年來整頓的不錯. 往北開一陣, 慢慢的變成更整齊的社區.

到了Andrew家, 我們早到了, Andrew還在吃中飯, 不好意思打攪. 沙漠嫂送上一份伴手禮, 我坐在客廳拿出吉他調音. 不久Kris就到了. 他也拿一把Hofner的VeryThin JS 吉他, 和上次他賣我的同樣吉他像雙胞胎.

圖檔

Andrew吃完飯, 過來大家寒喧一下就開始上課. 先了解我的程度和樂風. 我告訴他我喜歡彈投機者The Ventures的演奏曲, 但對爵士吉他是門外漢. 彈了一下我唯一會的帶爵士味道的"哈林小夜曲" Harlem Nocturne 後, Andrew從爵士的基本和弦講起, 我雖然一知半解, 但有點基本的概念.


http://www.youtube.com/watch?v=UDmvQrURP8I&feature=player_embedded

簡單的上了和弦課, 我建議Andrew和Kris開始Jam, 我告訴他們我今天來的目的主要是觀摩, 希望能夠因此被激勵啟發.

他們是第一次見面, 從來沒有配合過. 但究竟是老手, 馬上開始Jam幾首我不知道名字的爵士曲.

圖檔


http://www.youtube.com/watch?v=Sv_tVU88zsM&feature=player_embedded#t=0s


http://www.youtube.com/watch?v=7yVjl988Uk4&feature=player_embedded#t=0s

我告訴Kris台灣吉他論壇的網友上次聽了我放上的他隨便彈的"Close To You" Youtube, 覺得很喜歡. 希望再聽他們彈. Kris說這首曲子並不太適合Jam, 而且Andrw比較年輕, 對70年代Carpenters的曲子不是很熟. 不過兩隻老鳥, 大概了解一下和弦進行, 就開始Jam. Kris 先開頭, Andrew不久馬上進入情況.


http://www.youtube.com/watch?v=I87vsbPsjcQ&feature=player_embedded#t=0s

我告訴他們我最近買了本爵士吉他書, 裡面有首Nat King Cole 的曲子"It's only a paper moon", 我很喜歡, 他們是否可Jam一下? 他們聽過此曲但沒有彈過. 真是即興老手, 兩位又滴沽一下和弦進行和旋律, 就開始Jam起來


http://www.youtube.com/watch?v=HLArLr-6lmE&feature=player_embedded#t=0s

我再要求他們彈沙漠嫂喜歡的電影插曲"Over the rainbow":


http://www.youtube.com/watch?v=l_gDKSJNxAc&feature=player_embedded#t=0s

他們兩位又開始J一首曲子, 原來是有名的"Autumn Leaves". 我說最近在台灣吉他網上還提到此曲, 台灣網友還戲稱這是爵士吉他的國歌.


http://www.youtube.com/watch?v=PDPhyHf8lY8&feature=player_embedded

最後我問Andrew是否可以彈一些帶有日本風味的曲子, 他隨便彈了一下:


http://www.youtube.com/watch?v=Qqz4jRf-MPQ&feature=player_embedded

時間過的真快, 一恍兩個鐘頭就過去了. 應該要說告別了.

今天的上課雖然學到不多, 但受到不少的啟發, 對爵士吉他有更一層的認識.

Friday, April 27, 2012

Hofner John Stowell VeryThin Signature model

送環迎燕?

這把德國生產Hofner VeryThin John Stowell Signature Model 吉他(不是海外生產的VeryThin CT型號)在Craigslist賣. 琴身厚度比ES335還薄, 德國Spruce Top. 我很喜歡的小提琴塗裝色. 價格公道. 一直認為我的1968年Gibson Barney Kessel 的Jazz Box 桶身太大了, 不容易彈.

和賣家約好星期日去看琴. 如果決定買, 就打算把大琴身的 Gibson Barney Kessel 吉他賣掉. 楊玉環太豐滿了, 換把輕巧一點的趙飛燕.

  •  
     音色示範:



     


     世界真正小, 天涯遇同鄉

    今天去看這把Hofner Verythin John Stowell Signature琴. 進門後互相介紹寒喧後, 沙漠嫂看到一隻小貓,
    喜歡動物的她問賣琴者Kris的媽媽, 小貓咪幾歲? 她告訴我們Jumper其實是隻18歲的老貓. 我們一點都
    看不出來她的老態. 更驚奇的是她來自我和沙漠嫂的故鄉; 台灣!!

    我們告訴他們我們也來自台灣. 我過去摸摸她的頭和同鄉打招呼. 正納悶她如何從台灣來到美國. Kris
    告訴我們他在台灣呆了十年, 擔任過淡江大學當英文教授. 我們又驚喜又好奇, 就和Kris聊起來.  Jumper
    和他一起回美國有十年了.

    我們坐下來像是老朋友聊了半天, Kris在台中待過一段相當長的時間, 也學過國語, 和我們攙雜著英文對話,
    高興講了一大堆台灣的往事, 包括他爸媽去台灣看他去過的地方.

    Kris小我十歲, 彈爵士吉他有三十多年了. 他有兩把Hofner Verythin John Stowell Signature, 所以想賣掉這把.
    試過琴覺得不錯, 琴身真的很薄, 而且很輕, 叫她趙飛燕一點都不言過其實. 調音鈕有個特色; 調到"7"以上
    變成Humbucker的音色, 往下調到"5"左右變成Single Coil 的音色.  做工相當細膩,Pickguard 板, 琴尾板, 調音鈕
    (Volume & Tone Control)和調弦鈕(Tuners)都是用黑檀木Ebony. 吉他線條簡單大方. 價格也相當公道. 就買了下來.

    和Kris約好以後保持聯絡再多聊聊台灣和吉他.

























    回家後迫不及待的馬上試看看, 用唯一會的"哈林小夜曲"彈彈看, 而且用她彈了首沖浪曲. 好像強迫趙飛燕跳現代舞一樣.



     
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  • Sunday, April 15, 2012

    2011 Gibson Custom Shop ES339

    移情別戀

    今天總算把一直不喜歡彈的Taylor Solidbody Custom 和別人在Craigslit換掉了. 試過好多次都沒有人要. 今天狠下心貼了不少錢, 換了把全新的 Gibson Custom Shop ES339. 雖然Taylor Custom 賠的很慘, 但既然不喜歡她, 就讓別人試試她吧.

    緣份已盡, 不如分手
    TaylorSBCustom.jpg picture by onemanventures

    ES339 和ES335 大同小異, 主要是琴身小一點. 希望會喜歡她而多彈.

    有了ES339, 原來的ES335 如果有好價格就要賣掉了. 希望能賺回一點, 賠償今天的損失.

    Classic semi-hollowbody sound from a solidbody-sized guitar.

    The ES-339 is the next generation from the Custom Shop of Gibson's iconic ES electric guitars. It goes where no guitar has gone before with a bold, new semi-hollow tone that is rich with expressive, even stinging, overtones. The ES-339 has some exciting enhancements including Memphis Tone electronics, the 30/60 slender neck profile, and reduced dimensions and weight.

    Memphis Tone electronics
    Memphis Tone circuitry utilizes 500K audio taper pots that operate with an interactive load that preserves high end as you turn down the volume. The loading effect preserves the full-bodied tone with rich midrange and singing sustain from the '57 Classic humbuckers while adding a very sweet bite. Another difference is the volume is very smooth, rolling off in even increments along with the numbers on the knobs. Since they operate more like how we hear (logarithmically), the controls work the way the player thinks they should. So when the guitarist turns down the volume the highs are still there!

    30/60 Neck
    Developed in assistance from guitar guru Jon Schwartz. The 30/60 slender neck is a '60s style neck with an extra .030" front-to-back to preserve the semi-hollowbody tone, sustain, and feel while providing smooth playability (The rounded '59 neck profile is also available on the ES-339 '59 Neck - product #515255).

    Reduced dimensions and weight

    The ES-339 builds on the success of the semi-hollowbody guitars first introduced by Gibson in 1958 with the ES-335. Lighter and more compact than a traditional semi-hollow guitar, the ES-339 retains the distinct semi-hollowbody electric tone that powered so many hit records and landmark performances.

    Outer rim output jack

    Here's one ES players have been wanting: The output jack is mounted on the outer rim. No more cable crossing the body, spoiling the guitar's clean looks and and getting in your way.

    Two '57 Classic Humbuckers with 3-way pickup selection plus individual volume and tone controls provide the incredibly versatile sounds that make the semi-hollow electric famous for its use in jazz, rock, blues, country, and nearly every other style you can think of. Quality Kluson tuners keep retuning time to a minimum, and nickel hardware enhances the great looks.

    To show off its vintage vibe, the ES-339 is available in a choice of three finishes: Antique Cherry, Antique Vintage Sunburst, and Light Caramel Burst. The lacquer finish is applied with a light, even touch, allowing the guitar's wood to resonate naturally while providing a protective, mirror-like shine. The Antique Cherry and Antique Vintage Sunburst both come with aged bindings to further enhance the proud ES tradition

    The ES-339 comes with a Gibson Custom Shop hardshell case and a Certificate of Authenticity.

    Features
    • Body Type: ES-339
    • Body Wood: Maple/poplar/maple laminate
    • Top wood:Maple/poplar/maple laminate
    • Scale Length: 24-3/4"
    • Neck Joint: Set-in
    • Neck Wood: Mahogany
    • Neck Profile: Slender Players Profile - '60s slim-neck plus .030" front-to-back
    • Fretboard: Rosewood
    • Frets: 22
    • Nut Width: 1-11/16"
    • Fretboard Radius: 12"
    • Bridge: Fixed
    • Pickup Bridge: '57 Classic Humbucker
    • Pickup Neck: '57 Classic Humbucker
    • Controls: Volume / Volume / Tone / Tone
    • Tuners: Kluson
    • Hardware color: Nickel
    • Pickup selector: 3-way
    • Finish: Lacquer











    [網上說ES339是介于LP和ES335之間的吉他. 我認為更接近ES335. 沒什麼LP的感覺, 只有琴身小似LP, 重量可差多了. 音色彈奏幾乎是ES335的感覺. ]

    音色介紹:





    .

    Thursday, April 5, 2012

    2011 Epiphone Elitist 1965 Casino

    尋找最好的"卡西諾"

    [買賣琴要不後悔, 就要在事前多做功課, 而且心不要急, 但手腳要快. 下面是我這兩天尋找一把爵士吉他的日記, 供大家參考]

    這個"卡西諾"可不是賭場, 沙漠叔是從來不睹的.

    這"卡西諾"是Epiphone在60年中出的一把爵士吉他. Gibson在50年代出了一把ES330T, 是全部空心的窄身吉他. 有一個或二個pickups選擇. 1957年Gibson買下Epiphone 後, 在63年就不生產ES330. 而 在61年改用Epiphone的品牌推出這個全部空心的窄身吉他Casino型號, 也是有一個或二個pickups選擇. 兩個長相幾乎像是雙胞胎兄弟.

    披頭四樂隊 The Beatles的Paul McCartney 買了把 62 sunburst 漸淡色的Casino, John Lennon 借彈後也買了把素色65年出品 Natural, 自己稍作改裝, 這就是有名的 65 John Lennon Casino. 這把琴因此大紅熱賣, 把古董吉他的價格炒高起來.

    有天在吉他師傅店裡看到一把65年的古董Epiphone Casino, 是一個Pickup的型號. 我試彈了一下, 音色和彈奏是出乎我意料的好. 但要$2700. 而且不是像John Lennon 的 65 Casino 最紅火的兩個Pickups 型號. 價格太貴, 我買了將來不易脫手, 就不敢下手了.

    我另外有收藏到一把59年單PU的 ES330吉他, 是向投機者The Ventures主奏諾奇Nokie Edwards買的, 是古董吉他又是名人的私人吉他, 價格不菲. 雖然音色很好, 很好彈. 平日有點捨不得常常用來練習.

    最近立志要走進爵士吉他的大門, 聽到一位爵士吉他手 Grant Green 用ES330彈的非常動聽, 想開始學彈, 就開始找音色類似但比較便宜的這把"卡西諾" Casino練習用. 先看看網上的大吉他店, 有把中國製作的Casino Standard只要$599似乎合理想. 打電話問熟悉的吉他店. Mike說正好有現貨, 而且可以賣我特價. 就馬上跑去看了.

    Grant Green








    Mike吉他店總共有三種Casino型號; 一把 Standard標準型($599), 一把65 John Lennon 的特別版 ($999), 一把高檔日本製的Elitist ($1799). 我對John Lennon 的特別版沒有興趣, 只想找類似ES330的替代品. 日本的那把 Elitist 折扣相當好, 很想買. 但是想想要兩倍多的價格, 只是練習用捨不得下手. 就用我的一把 Fender American Special Jazz Bass 貝士和Mike換了便宜的中國Casino Standard 型號.(還加了琴盒, 再退點錢)

    回家彈了一下, 覺得音色還不錯, 但是比較亮一點, 和ES330有段差別, 彈奏也沒有ES330順手. 中國的手工品質的確進步了, 整體的塗裝比幾年前進步很多, 但還是有點小暇疵(我做過傢具生意, 對塗裝可能眼睛尖一點). 但最擔心的還是中國的吉他將來轉賣可能價格不會太好.

    再上網仔細的研究, 發現大部份的Casino愛好者還是喜歡日本Elitist的品質. 對中國製作的Casino有不少意見. 對Elitist Casino卻褒多于貶,

    這把Elitist Casino琴是在日本品質最好的吉他工廠之一的Terada公司生產, 送到美國組裝拾音器. (用美國Gibson廠的P90 Pickups). 中國廠標準型的Pickups是中國廠自己捲的, 難怪音色有點差異.

    而且琴面, 琴側, 琴背日本廠都用5 Ply的合板, 不像中國廠用的3 Ply, 琴身比較輕一點, 有點頭重腳輕, 平衡性比較差.

    另外的大差別是在琴頸, 日本廠琴頸稍微小一點, 但是手感比較好. 日本廠用加級的五金零件. 做工塗裝還是要比中國廠細膩, 整體品質層次較高. 光看日本廠的吉他琴盒就覺得品質要高檔好幾倍.

    上網去eBay查賣價, 發現Mike給我的Elitist價格實在便宜. 許多琴頸背後蓋印 "Used" (用過) "Refurbished" (重修)的賣價還比Mike的新琴貴. 全新的還有終身保證, 買的安心一點, 錯過可惜.

    想了一個晚上, 第二天還是回到Mike店裡, 加錢換了日本廠的Elitist型號.

    Casino的唯一缺點是琴頸在16格處接琴身, 彈奏的指板較短, 雖然有22格, 超過17格就不好彈. 基本上是很好的節奏吉他.

    ************

    古董 59 Gibson ES330T vs. 現代的再製Epiphone Casino Standard. 兩個長相幾乎像是雙胞胎兄弟.

    Epiphone Casino Standard (Made in China) 一般賣價 $599 (不帶琴盒)
    DSCN8177.jpg

    Epiphone 65 John Lennon 用美國Gibson廠的P90 Pickups, 金色的五金. 一般賣價 $999 (帶琴盒)

    後面有John Lennon 的卡通圖簽名. 65 JL 用金色五金配件. 我喜歡Elitist鎳的顏色Nickel.

    Epiphone Elitist 65 Casino (Parts made in Japan, assembled in the U.S.) 送到美國組裝拾音器, 用美國Gibson廠的P90 Pickups. 一般賣價 $1799 (帶高級琴盒)






    琴盒真漂亮, Casino 的下身比ES330, ES335稍微寬一點, 必須用特別的琴盒, 不能共用.


    Elitist Casino 的規格:


    Epiphone Elitist 1965 Casino

    Features

    • 5-ply maple back, sides, and top
    • One-piece mahogany neck
    • 24-3/4" scale
    • Neck set at the 16th fret
    • Rosewood fretboard
    • Bone nut, 1-5/8"
    • 22 frets
    • P90 USA single coil rhythm pickup
    • P90 USA single coil reverse treble pickup
    • Nickel hardware
    • 2 volume, 2 tone, 3-way toggle
    • Grover tuners
    The Epiphone Elitist '65 Casino, with its clarity and high level of responsiveness, will satisfy precision players who demand well-defined low and high tones. Designed for the professional musician, the Elitist '65 Casino from Epiphone combines over 125 years of instrument building experience and expertise with the finest materials. The result is an instrument of impeccable quality and beauty.

    The Elitist '65 Casino Wood
    At the heart of every great instrument is the wood itself. That’s why every piece of wood used in the Elitist '65 Casino line is hand-selected. It is then slowly and painstakingly dried to perfection in custom kilns until it is at the ideal moisture content. The Elitist '65 Casino features 5-ply maple top, back, and sides.

    The Elitist '65 Casino Neck
    All Elitist necks are cut at a 14o grain orientation from one piece of wood for optimum strength, stability and tonal response. As with all great instruments, the necks are then carefully and individually fitted to the body using a hand-glued, dovetail neck joint. The Elitist '65 Casino has a 22 fret, 1-piece mahogany set neck with an rosewood fingerboard, which imparts a warm midrange sound.

    The Elitist Pickups
    All Elitist instruments are equipped with custom-wound pickups “Made in the USA” exclusively for Epiphone by Gibson Musical Instruments and feature such uncompromising features as:

    - High Quality Cover Materials – All pickup covers use quality German silver with vintage Nickel or real 24K Gold finish.

    - Vintage Braided, Shielded Wire – For authentic vintage look and tone with no noise.

    - Full Wax Potting – Every pickup is potted in a special wax bath to insure that microphonic feedback due to internal vibration is eliminated. All covered models receive a second wax bath to further protect the pickup.

    - Specially Made Magnets – All magnets are magnetized by Gibson to ensure the total reliability of each magnet’s performance. Critical magnetic flux is maintained for the perfect combination of output without sacrificing tonal characteristics.

    The Elitist Hardware
    All Elitist instruments feature the finest hardware including precision Grover machine heads for precise tuning accuracy
    and stability

    The Art is in the Elitist Details
    The Epiphone Elitist '65 Casino's appointments are nothing but the finest including real abalone and pearl Inlays, bone nuts and saddles, hand-rubbed finishes, USA strings, and goes through a meticulous adjustment and set-up.

    Epiphone Elitist '65 Casino Features:
    • Color: Vintage Sunburst finish
    • Body Wood: 5-ply maple back and sides
    • Top Wood: 5-ply maple
    • Neck Wood: 1-piece mahogany
    • Neck Profile: Joint set, 16th fret, 1-11/16" bone nut
    • Fingerboard: Rosewood
    • Scale length: 24 3/4
    • Number of Frets: 22
    • Pickups: 2 PU P90 (USA single-coil)
    • Controls: 2 volume, 2 tone
    • Pickup Switching: 3-way selector
    • Hardware: Nickel
    • Machine Heads: Grover
    • Case: Hardshell

    音色介紹(1):

    http://www.youtube.com/watch?v=t039alhYFT8

    音色介紹 (2)


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    Monday, March 12, 2012

    拼湊的五下弦貝斯: Project 5 String Bass

    幫人付房租的貝士

    買過Lakland的五弦貝士, 彈沒有多久, 正好看上一把吉他就拿去換了. 覺得多一條低音弦, 彈起來效果應該更好. 有機會再來學.

    有個星期天看到在Craigslist上有個人在賣一把他自己拼湊的五弦貝士. 他說他急需錢,拿去當舖只被估計三百元, 他很不服氣, 因為他花在這把貝士材料錢都要一倍以上. 覺得當舖太吃人. 就放上Craigslist, 廣告說與其賣給當舖不如同樣價錢賣給可以彈的貝士手,今天下午希望能試看看賣掉, 不成的話週一再拿去當舖.

    我看照片和他用的器材很扎實, 看他寫的很真誠. 就回復說我雖然不會五弦貝士, 可以買來試看看. 他馬上回復約好在兩人的中點一家建材行門口見面.

    是一個中年人開部老舊的小Pickup truck卡車. 頭髮有點髒亂, 穿著很隨便. 我要他把貝士拿到我的SUV的後面. 顯然是他自己拼湊做的, 很熱心的向我詳細解釋, 琴身是整塊很漂亮的實木, 但是相當的重, 我不好意思問他是否把家裡的傢具改造的, 還附個Fender袋子, 和鎖扣肩帶. 我用耳機擴音器試一下轉鈕功能都正常, 就付錢買了.

    中年人拿到錢高興的對我咧嘴一笑說"我的房東會謝謝你". 我也覺得能夠幫人渡過難關心裡也很高興, 音色如何沒關係看運氣吧.


    我不好意思問他是否把家裡的飯桌改造的...


    注意看背後的電子線路的蓋子居然是用罐頭蓋子. 你說是否夠酷?

    用Fender 的 5 String 琴頸.


    還送我一條有鎖扣的肩帶...

    加個Fender袋子....


    拿回家試彈投機者的沖浪曲, 這個拾音器音量很大, 音色很低沉, 彈起來房子都會震動. 我還不會彈五弦貝士就當做四弦貝士彈. 大家聽聽看音色如何.

    試試我熟悉的"走不要跑" Walk Don't Run貝士

    http://www.youtube.com/watch?v=G8jJ099pQgs

    再試試"不老實" Perfidia 貝士

    http://www.youtube.com/watch?v=uZemCT2lEv8

    試試"黃夾克" Yellow Jacket貝士

    http://www.youtube.com/watch?v=I-YU1SlY0lI

    我覺得還不賴, 蠻喜歡的.

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