I'm really into the post-punk scene and modeled my sound after Peter Hook. When I work up the courage I'll record something because it really does has a cool sound. I play for myself and have a blast just playing along to iTunes. I've played out a couple of times but I'm not in a band, nor do I record. LOL I've spent lots of time in the 'Phil Zone'. Back in fashion, eh.? That's a new one on me never happened before. I seem to remember seeing that the 'original' 335 bass has been re-issued. Most, but not all.Д«ut enough of me and mine this is your thread, lad.! What style(s) do you play.? Do you play out, or record.? Any chance of a sound file, or even (gasp.!) a video.? I'd like to hear how your beauty sounds I have memories of Phil Lesh and co, but that might not be a suitable reference for you.! To be fair, I must admit that most of my guitars and basses are 'jazz' boxes, with lyre-type tailpieces. No, the whole sound is very much 'upright bass', with a nice solid 'thump'. Monster.? Well, I wouldn't have chosen that as the closest description, and, being fully hollow, feedback becomes an issue anyway (although I rather like taming that effect think Casady.). Verithin.? I thought the mention 'Hofner' was superfluous my mistake, sorry. I'll try to get some more/better pics up soon. That said, I now want a new solidbody and in the market for a Yamaha BB1200S With my current rig I couldn't be happier the tone I'm getting. Since I'm going for the Hook-esque sound I went balls out and restrung it with 60, 65, 85, 105 cables. Then I realized I had older, heavier strings on the Jazz. Having played a Jazz for so long the initial sound took some getting used to.

The transparent red finish was gorgeous and the neck was straight with very smooth fretwork. The dealer notified be of the shipping details and a week later it arrived. I put down a very small deposit and waited.ДЄ week later I was notified that it would be arriving at the dealer the following week. They were out but said they would be getting some more in in a couple of weeks. I went to the Dillion site and was referred to a dealer in North Carolina. People had lots of positive things to say to the point where it seemed like a best kept secret. I had seen the Dillion on eBay and started doing some research. I was set to pull the trigger and order one since no one carries them and then started reading not so great things. I had been shopping for a while and since I can't afford an Eccleshall I was set on an Aria Tab-65. Prior to that I was playing a MIM Jazz which was cool (actually great) but I really wanted a 335-style semi-hollow. Even so, I couldnвЂ™t wait to trade it in.I just recently acquired a Dillion DB-335 bass. At least it sort of looked like the ones the Beatles occasionally played. Imagine my disappointment when I had to begin my guitar tutelage on a rented Gibson вЂњstudentвЂќ acoustic. As the singing cowboys Roy Rogers and Gene Autrey strummed off into the sunset, the pace of technology pushed the look and sound of the electric guitar (and bass) into the limelight and into my heart. I didnвЂ™t even know what those old-timey round-hole guitars were called.

Bristling with space-age switchgear and chrome-plated hardware, those solidbody hotrod guitars were the fighter jets of my musical dreams. Before IвЂ™d even held a guitar, I knew I wanted a Mosrite, which I was sure was made of fiberglass like the surfboards the Beach Boys, Surfaris, and the Challengers rode in their off time. ThatвЂ™s the sound I wanted, and the way to get it was powered by electricity. My infatuation with the 6-string really blasted off with the Ventures. I have a love-hate relationship with acoustic guitars. That number also served as an activist hotline and still exists today, doubling as the Righteous Babe store contact. 'At first, I just wrote 'Righteous Babe Records' on the cassettes then it became a reality.' Without a label to handle inquiries, she left her phone number, 1-800-ON-HER-OWN, on the tapes. I want to make a record now and I want to sell it at my gig tomorrow,' says DiFranco (who had just spent the whole week painting her house by herself from morning to night, because she couldn't wait for the painters to come). Just before moving to New York City, she formed Righteous Babe Records at 19. She often slept in a Greyhound bus station and even celebrated her 16th birthday there. DiFranco has always been fiercely independent and, when she turned 15, she became an emancipated minor. At the store where she bought her 6-string, she met her guitar teacher, Michael Meldrum, and not long after started playing shows with him. She was raised in a troubled home and took solace in the guitar, an instrument she picked up at age 9 after hearing the sounds of John Fahey around the house. DiFranco's defiant nature can be traced back to her childhood.

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