Willie G. Moseley

Showed the images to a knowledgeable guitar friend who worked at Peavey in the '80s and he said that the cap was "...definitely from a car."

^^^Excellent postulation. Its flat wide profile does make manipulation a lot easier, and I can visual that shape as something on the dashboard. Thanks

Prelims: During the most recent respite vacation coordinated with the local hospice folks, the Princess and I went to south central Kentucky to my mother's hometown. Elizabeth had never been there and I wanted her to know about her paternal grandmother's family (my Mom died when Elizabeth was 17 months old), so there was a visit to the home where my mother was born, the cemetery, etc. Plus we stopped by Cumberland Falls. We were a little ahead of schedule, so naturally I hit some pawn shops, and picked this '83 Peavey T-27. I had always been intrigued by this model, as it was of the few production model S/S/HB hardtails made (the only other ones I can recall off the top of my head were Gibson's short-lived US-1 later in the '80s (didn't Gary Richrath endorse that model?) and the Robin Medley. Seemed like almost all S/S/HB guitars had high-tech vibratos. And Robin made a S/S/HB Medley bass. The T-27 had Peavey's patented coil-rolloff circuitry but it's set up differently from the T-60 (I'm still figuring it out). But I'm wondering what the replacement toggle switch cap is, and the intrigue is admittedly the main reason I bought it. Its wide-and-flat configuration is easy to locale (by feel) and easy to manipulate. Any ideas? Thanks in advance.

Seems like most folks who purchase a Hofner Beatle Bass or Club, etc.( at all price levels) have been talking about using flat-wound strings, but is there something i should know if I want to use round-wounds? How would the sound differ, considering the body construction, scale, etc. Thanks in advance; I just got a present-day cheapo Club that's a lot of fun to play but it came with flatwounds.

Anderson is as much of a "humbler" as Danny Gatton, Roy Clark and Roy Buchanan were. Highlight of the first guitar show I ever worked for VG Magazine (Atlanta 1990) was a jam session with Steve Morse, Jeff Berlin and Anderson. He's one of Kentucky's best kept secrets

Couple of tunes from a San Diego club on 7 MAY 26

Maybe I oughta blow it away with a shotgun, on camera like Ted Nugent done to that Casio keyboard back in the '90s (somebody ought to post the link to that episode). Seriously. This thing feels "tainted" and I can rationalize the $ amount as "lesson learned."

Maybe I could send it to Gibson and let them run a steamroller over it. Hasn't that been a publicized event for the company in times past?

I think maybe I'll grab a Sharpie, write "COPY" on the back of the headstock, and donate it to a thrift store. Would that be acceptable?

In my neck of the woods "You Never Even Called Me By My Name" was a mandatory song for bar bands. It was a "learn it or get your ass klcked by the patrons

No, the title wasn't inspired by my first marriage. Per a March 6th thread here called "Pawn Shop Revenge" I jumped on what appeared to be a Gibson Dave Grohl DG-335. Turns out it's a "Chibson" but it's fine instrument---plays well, sounds good, is well made, balance nicely.And it's in mint condition. I acted quickly because I simply didn't it to let it get away. The Gibson authority I contacted afterwards (and sent jpegs to) cited the following "telltale signs": (1) The bridge has large-diameter height adjustment posts with a slotted screwdriver head, (2) the frets are over the binding (without nibs), (3) the tuners don't say "Grover" on them, and they look like Grover copies. I suppose it could hang onto it for personal use but this episode feels "tainted" for lack of a better term. Donate it to a charity? It would be hard to establish the tax write-off amount. Any other suggestions? Anybody else ever been thru a situation like this?

At least it's got the handrest. Contemporary version of the 4003 doesn't. If I was still gigging thart piece of hardware would be mandatory.

I just checked out that video and it's very informative. There aren't any historical photos of personnel, the plant or of famous players gigging with the instrument; just pictures of assorted models that don't coordinate with the narration. Still, it appears did an appropriate job researching the brand's history.

^^^One of the hype facets was that the trem was supposed to maintain the integrity of an entire chord, not just a couple of strings, when the vibrato was used. Wonder how it compares to later vibratos like Steinberger's Trans=Trem

As noted in a thread about a Peavey Dyna Bass I acquired a while back, I'll still poke my head into pawn shops on occasion if I'm out of town and ahead of schedule for some kind of business or medical appointment. There are certain sections of larger towns that have turned into combat zones, and I no longer look into shops in such areas. Made that (easy) decision after hearing nearby gunfire when I left such a store a few years back. So this '72 Micro-Frets Stage II came from an alternate location, and once again, I just stumbled into it. It's in Near-Mint condition and I paid too much for it but should be able to make it back if and when I flip it ...And it may be a while before I flip it on accounta this Maryland-made oddity has all sort of cool attributes and innovations: A "Calibrato" vibrato (feels like a Mosrite), a tuneable nut, and a reportedly-Bill-Lawrence-designed "Hi-Fi" circuit that suppresses 20% of the coil windings to offer a switchable tone shift. Neck profile feels like a Mosrite as well (YMMV), Instrument is fully original. Moreover, It's got the original plush-line hard case, instructions, and a November 1972 newsletter...checking out case candy is always a cool experience. Pickups are P-90ish (IMO) and it plays like butter. Micro-Frets only made about 3000 instruments during its initial existence. Finding one this nice from that era is probably a rare experience. HFC members from the Old Line State can probably relate.