If someone doesn't want to use a guitar, I'd humbly suggest giving it to a kid who can't afford one and who will be thrilled to play the crap out of it.Īs for repairing this one so it's playable, that's a bit more complicated. Secondly, I'd hate to see it end up as wall art. and while they are very nice guitars, none of them is the same as a well worn vintage one. A lot of people here will disagree with me, but I've owned and played modern recreations by Tom Murphy, Danocaster, Vince Cunetto, MJT, GVCG, Fender CS Masterbuilt, etc. No amount of "relic" work is going to recreate the patina on your Musicmaster. And no, it shouldn't go on your wall as a decoration!įirst of all, that's a very cool guitar. A $300 modern Squier is never going to be a 60's vintage Fender. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.I'm going to throw out another opinion, since that's what we do here on TGP. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there.
#1964 fender musicmaster 2 pics plus#
Other electric models include: HOFNER ELECTRICS: Committee, Verithin 66, Ambassador, President, Senator, Galaxie, HOFNER BASSES: Violin bass, Verithin bass, Senator bass, Professional bass GIBSON ELECTRICS: Barney Kessel, ES-330TD, ES-335TD, ES-345TD, ES-175D, ES-125CD, SG Standard, SG Junior, SG Special GIBSON BASSES: EB-0, EB-2, EB-3 - plus a LOT of acoustics branded Gibson, Hofner, Selmer and Gianniniīy the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price).
This catalogue saw the (re-)introduction of the late sixties Gibson Les Paul Custom and Les Paul Standard (see page 69) and the short-lived Hofner Club 70. Selmer were the exclusive United Kingdom distributors of Hofner and Gibson at the time, and this catalogue contains a total of 18 electric guitars, 7 bass guitars, 37 acoustics, and 2 Hawaiian guitars - all produced outside the UK and imported by Selmer, with UK prices included in guineas. Scan of 1968/1969 Selmer guitar catalogue (printed July 1968), showing the entire range of electric and acoustic guitars distributed by the company: guitars by Hofner, Gibson, Selmer and Giannini.
#1964 fender musicmaster 2 pics manual#
The Duo-Sonic service manual issued by Fender in 1968 consisted of five sides on a single folded sheet: cover list of components - with part numbers and key to diagrams, (two sides) diagram of disassembled guitar simplified Duo-Sonic circuit diagram detailing pickup and control assemblies. Fender Duo-Sonic 1968 replacement parts list (illustrated) The Fender Duo-Sonic was deleted from the solid body range in 1969 these were the final parts lists for this guitar. This level of post-sales care was rarely seen amongst other guitar manufacturers - at least to the level of detail given here. Something that made maintenance of Fender guitars very easy indeed, even to guitarists without the technical knowledge to describe the fault in their instrument. In some cases, as in the 1968 list below, circuit information and assembly blueprints were also provided. This would typically include lists of replacement parts, to allow easy and accurate ordering of new components. Fender periodically produced technical information, distributing folders of such information to dealers.
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