Westone - US Design - Development History

Page 2 of 3 Previous  1, 2, 3  Next

View previous topic View next topic Go down

Re: Westone - US Design - Development History

Post by Barry on Wed Mar 10, 2010 8:48 am

Many thanks for the new info on the finishes, et al. Great stuff Tom!
As I've said before, you can't talk too much in this place!

I'm sure there are still lots of questions, large and small, to come from forum members but if I may:

  • Did you have any luck locating that box of archival "goodies" you alluded to some time ago...you know, the one with production and serial numbering information? You're probably aware that we're taking our best guess as to when models were made. It seems to be a relatively consistent pattern but only as it applies to the first number (year). If you can clarify the numbering system it would be greatly appreciated.


  • A related request includes any catalogues or other documentation that you might be able to (legally) copy and share with us. Again, what we have is spotty, and gathered and contributed as a labour of love. It would be fantastic if there was something more inclusive and descriptive. Component specifications of course would be the ultimate!


  • I'd also be interested in knowing to what extent, if any, you were involved in other Matsumoku "labels", particularly the Aria Pro II and Vantage lines. Regardless of headstock design and other "trim" details there is no mistaking that you're playing a Mats when you pick it up; at least the solid bodies. I've just obtained an Aria Pro II Urchin for example, and there's no mistaking the neck and playability. Close your eyes and it could easily be a Westone Spectrum or a Vantage Avenger. Can you comment on the technical overlap between the lines? It looks like Westone designs and innovations hugely influenced the other labels.


  • Finally, if possible, can you comment on the the thinking behind the Marketing strategy relative to that last question? I've always maintained that there were too many similar Mats guitars flooding the market with not nearly enough features to differentiate them, not even within the same label. The overall effect I think was to water down the attributes of a hugely innovative instrument maker. Outside of some small dedicated groups of followers, no one brand ever properly established itself as being a viable alternative to the big name players of the time. Brilliant instruments but lousy Marketing methinks.
Cheers!

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Barry's Questions

Post by tpresley on Wed Mar 10, 2010 7:14 pm

Hello Barry,

Not really a matter of luck finding the "goodies". More an issue of sloth. This will be a "Spring Cleaning" project. Now that I know that someone really needs the stuff, I'll dig it out. I'll see if I actually kept the actual production records which identify the quantities made by model of the production lot. I still have many of the "orders" placed I'm sure. If I have he production records, it will identify the key information everyone is looking for.

I do have at least one of every catalog we designed. I either have them in hard copy OR they are on my Mac. I did most of the layouts on the Westone and all Alvarez brands so I KNOW they are still around in one form or another. Now all I need to do is find the Macintosh.

We tooled 4 necks for 6 string blanks - not counting thru necks - solid and laminated. Body material was a game of popularity. Matsumoku tooled our Westone 4 and much to my surprise actually started using 2 of them on their production models. Always a surprise to me was the fact that the "Vantage" and "Aria" models were not really specified nor was their much design done by the "brand". These designs were largely done by Ohwa-san and his team. A typical Vantage and Aria trip to the factory was an October visit to see what was new and what could be produced for the next calendar year. Toshi and Akira would bring out some new designs - using the brand headstock and logo and see what the customer wanted to buy. The Electra and Westone brands were a little more complex since the design elements and engineering guidelines were actually a collaboration between the Matsumoku engineering and us. OR, in the case of the Electra, we already had design production that we moved from Kasuga to Matsumoku piece by piece. Now, comes the answer to your question. "What were the influences on other brands?" Can you say; "Tom was PISSED!" I worked by butt off in the shop with Jerry Proctor and our guys to find the particular neck tapers, fingerboard radius - specific compounding - particular Sanko frets etc... then they start appearing on other brands! This happened BEFORE the Westone brand was even picked up by SLM. Did you ever notice that the some of the later Electra and "Phoenix" brand set the timeline for particular design changes at Matsumoku? Prior to that, the standard neck on the Matsumoku product had a very rounded design and a steep radius on the fingerboard. After the changes, the neck profile shoulders were reduced on the bass side by 2mm compounding from the nut to the 14th fret and the back of the neck began to flatten from the 4th to the joint. At the same time we kept a steep fingerboard radius at the nut and flattened the fingerboard to the pocket. Yep, Aria AND Vantage AND other brands benefited from this. As the Westone deal concluded between SLM, the European distributors and the factory management, it became apparent that it was not in their best interest to pass design elements to others. So, Bendmasters, Switchmasters, Unbalanced Coils, String Rollers and the actual pickup content became exclusive. Shiro was pissed because we pulled some of the neck profiles. He quickly took some of his production to Samick in Korea...I just smiled and said; Good luck Arai-sama.

Your question about the marketing really hit's a home run. My biggest challenge with many of the production oriented factories was that there was little individuality in brand or content. Some of this was due to economic factors yet other issues such as homogeneity of the Japanese society. They wanted consistency! Continuity! Balance! Ok, so where does the "soul" of a guitar come from? It was one of the most elusive concepts to bring to the Far East. Akira got the concept, Masau Terada got it, Kazuo Yairi got it - Taka Yamada got it - convincing their workers was a tough and never ending. Most of the time I lost that battle.

Tom

tpresley
Registered Member

Number of posts : 18
Age : 66
Location : Huntingburg, IN
Registration date : 2010-01-28

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Wed Mar 10, 2010 11:43 pm

Wonderful stuff Tom, as usual! Thanks for the quick reply, very much appreciated.
Man, what a crazy few years you must have spent there! Looking forward to the next installment...

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Fri Mar 12, 2010 10:45 am

Hi Tom, I was re-reading your last post and all the others (for about the 12th time, there's so much to take in and think about!) and a couple of followup questions/comments came to mind...

NECK DESIGN OWNERSHIP
I and many others here have continuously raved about the Westone necks which have got to be the most comfortable and playable designs I've ever squeezed between my ole arthritic fingers. I'm pretty much spoiled and wrecked for playing the other guitars in my collection now...thanks a lot for that!!

Other players, instructors, and music store owners to whom I've introduced these guitars are left with dropped jaws and drooling lips once they've played 'em! They may have had only a vague notion of the Westone brand, but once they play one they never forget it.

So for me, the inevitable question is:
Who now owns your design, and are we likely to ever see it resurrected, and by whom? Is it even possible to separate the neck from the overall guitar design and still have anything "special"?

THE SOUL OF A GUITAR
Your comment about the Japanese cultural tendency to achieve balance and harmony and consistency, etc. and its being a prime factor in influencing the overall marketing strategy was interesting to say the least.

It's somewhat counter to what I think of as Asian-ness, in the sense that I think of an introspective, contemplative culture which would seem to point to self-awareness and one's "soul".

I found it rather shocking that the notion of the "soul of a guitar" is a Western concept!
Did you mean this to indicate that they were focused too tightly on the homogeneous technical aspects of guitar production and ignored the reason for why they were creating the guitar in the first place?

Cheers!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Necks, Soul AND Ownership

Post by tpresley on Sun Mar 14, 2010 4:42 pm

Barry,

Thanks again. Deep stuff . . .

Ok, simple stuff first.

The neck profile of guitar is very individual, right? In truth, ones hands, determine in part the correct size and scale. Now, the real question becomes how do you know and how do you make it, if you do know?

The neck profile on the majority of Westones evolved from the Phoenix models, which originally were sold in the Electra transition years. We'd been working on numerous profiles with the Electra models for years and due to the "copy" market at the time, the intent of the copy was to replicate what was a known factor. I remember guys attempting to put a Strat profile on the LP scale and they simply blew up in the market. The LP players would say it just didn't feel right. Conversely, an LP profile on a Strat was looked at like it was a frumpy neck.

We were attempting to find a “blend” without creating a “Camel”. Some of the problems had to do with getting the factory – Kasuga, originally, to allow us to change the machining and router profiles that would allow a 3rd and 4th pass. It doubled the production time on task and since we were now using true North American maple rather than the European soft maple, it was eating the heads on the NC machines. Once convinced, we started using a compound cut with 2 passes on the lathe and 2 passes on the NC. Now this was only done on a few production models but became the standard process for them. Once done, we could slightly change the second pass and develop a very well balanced neck profile for about any model environment.

The neck profile, though not owned by ANYONE is simply a manufacturing process. In today’s manufacturing world, we’d not have the same problems. We’d simply do a CNC route group on a 7 head bundle and blow in the program. 420 to 500 seconds later, you’d have a rough in. Take 4 of these CNC machines and a pile of blanks, and you can add up the production count per day. Build in a head change out after 850 necks are cut – 2 hour downtime per re-set and you’re at the monthly production capacity. Utilization curves get thrown out of whack a little but you get the picture.

Who owns it? I guess the answer is; “anyone who wants to pay for the production lot and that can convince the manufacturer that they need to buy really good wood, keep it dry and be willing to do short runs.” That, to me is the overall issue. Our Luthier friends on this page could make these necks in a heartbeat with no litigation potential. The question is whether they could do it at any profit!


Now the tough part…

I agree with the Asian culture’s introspection and self awareness and one that contemplates the natural sequence of events and responsibilities therein.

Is the Soul of a guitar, a Western commodity? As far as the personal dynamics associated with what we know of today’s electric guitar, yes, I do.

Remember the guitar as we define it has NO particular common property. Our industry was initiated by various Iconic sources, mainly players, not manufacturers. Segovia, Les Paul, Chet Atkins, B.B. King, Ventures, Clapton/Beck/Page, Albert King, Muddy Waters, Van Halen etc…. and thousands of classical, acoustic and electric virtuoso’s all over the world.

Larry Carlton could take a Strat and make it sound like a 335. HE became the force behind the “machine”.

Now where does this tie together? In the traditional “guitar factory” the staff really didn’t play. If they did, it was simply a few chords and a few folk songs they’d heard. Don’t get me wrong, there were serious players out there, but they were being trained and in the post WWII era, they were being trained classically. We were now asking the factory to produce something that they didn’t have any idea of how it should sound, play, feel or insure character.

Man, could they ever mechanize though. You’d take a product to them and in a short time they’d have a prototype. It may have been an exact cosmetic copy. It worked, it played through an amp, the neck, though fat, would play. And, they could make 10000 a month. Is there anything better than that? It was evident what it was and nobody considered them really NICE guitars.

Once matured, they could produce ANYTHING we wanted and some things that we didn’t. Strats with Paul necks, Pauls with Strat necks etc. Yep, AND Strats with Paul pickups – Yes, some things were OK!

After some of the factory guys actually started playing, and understanding that our industry had imperfections – pickups were never design to be flat response – even though you COULD make them, the instruments developed Character.

Perhaps, Character is the combination of balance, individual behavior, and awareness that we’re speaking of. Character/Soul/Individuality – no not really a western concept but one that we’re pretty good at. Have you ever heard a newby player or a classical player try to improvise a rock or R&B solo? More often than not it sounds like a classical player improvising a Rock solo.

Way off the overall concept of your question but the simple to the:

“Did you mean this to indicate that they were focused too tightly on the homogeneous technical aspects of guitar production and ignored the reason for why they were creating the guitar in the first place?”

Yes.

Tom

tpresley
Registered Member

Number of posts : 18
Age : 66
Location : Huntingburg, IN
Registration date : 2010-01-28

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Sun Mar 14, 2010 5:32 pm

Insightful and thoughtful reply Tom.
'Really appreciate the time to articulate it!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Fri Mar 19, 2010 11:58 pm

Hello Tom, hope all is well in your universe.

I was hoping there would be some more input from other forum folks by now. It does appear to have gone uncharacteristically quiet (for this bunch anyway!). I don't wish to appear to be taking over but I am curious about a few things...

PICKUPS
Two questions actually:

  • You've talked about the part serendipity played in your development of the Westone's Unbalanced Coils. Many of us here are also huge fans of the MMK45's in particular that Matsumoku used in so many of their models, and I was wondering if you had any part to play in their development as well. Or were these simply outsourced to Maxon and the like?


  • Similarly, do you know how the single coil pups used on the Concords, Spectrums, etc. were developed? I've never owned a Strat but everyone I've ever played with over the years did, and I find the sound of the Concord to have a decidedly different tone to my ears.
BRASS
A very distinctive feature of many Mats guitars including some Westones is the use of brass for nuts and bridges, even knobs! My Concord II and Thunder I-A are two examples in the Westone line. Can you comment on why brass was chosen over the more traditional materials? Was there a tonal or sustain advantage to brass or is it simply a way to reduce string friction/slipping?

BARREL SADDLE BRIDGE
Since we're talkin' brass, I gotta ask this!
Most regulars here are aware that I've been um, saddled, with three Mats guitars sporting these bridges; one Westone and two Vantages, all 1981. I've had nothing but troubles with them as have others. (you can see a discussion of mine HERE)

The main problem is that the string spacing is too wide, caused primarily by a ridicuous "jog" that the strings are forced to do after they enter the back of the bridge in order to rest in the groove in the saddle. There's an accumulated offset error across the string pack which ends up with one or more strings either tracking diagonally up the fretboard or, in the case of one of mine, right off the neck entirely!

In an effort to try and correct this, the bridges were installed at an angle which didn't help too much and looked bloody stupid! (see a good example HERE) We've been trying to understand the reasons for such an awful design in the first place but can't come up with too much. My hunch was that it worked OK on the basses so they tried to adapt it to the guitars...unsuccessfully.

In any event the mistake seems to have been quickly corrected later that same production year and a "proper" design substituted.
If you have anything to comment on this I'd be very interested since I have a grudge against whoever came up with this goofy design.
I'm sure hoping it wasn't you!

Cheers!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Questions and More!

Post by tpresley on Sun Mar 28, 2010 4:35 pm

Hi Barry,

I knew we could wear out this crew! See, you guys already knew about all there is to know about these instruments!

Pickups - The 45s were selected after about 12 different pickups were "cleared" for production. Toshi has a great ear and in reality, they had already selected the pickup by the time that I had made up my mind. I'm not a true fan of some of the earlier MMK pickups as I found them a little overcooked in the lower mids. Also, there were many isssues about the capacitance in the OFC wire which robbed a ton of the above 5k. Also, lots of movement in the coil bobbin structure caused them to be a little to lively. Resonant feedback etc....

Single coils were a very funny issue for me. We had constant problems with inconsistent winds. I think that the original culture for single coils was developed from a cost model. I threw out hundreds over the years due to either a mis-spec or a simple phase inversion. We fully identified that we needed the reversed wind on the center pickup on our 1-1-1, 1-1-2 and 2-1-2 models with 3 different wind specs depending on the models. Too often, a production lot would come thru with the incorrect metrics. Sometimes, there was no audio damage but it simply pissed me off. Eventually, after returning enough to Maxon and others, the issue was resolved.

Brass

That's a slippery slope discussion. My original training called for bone on the nut but with the changes in playing styles and vibrato utilization, bone became less practical. In a perfect world, you'd have a "0" fret since the open string harmonic content would be identical to a closed string - with the exception of resonance occuring on the off side of the neck. Delrin and nylon synthetics were nice and slippery, easy to mold and easy to work, they simply alterned the open string vs closed string resonance. This didn't impact the audio on the heavily overdriven, compressed "hit the rail" content but really came out in recordings and the natrual acoustics of the instrument. Brass was an economical material. It didn't have too much expansion/contraction and had a natural metalic lubricant if fitted properly. As far as the other accesories - knobs etc... I think that it was more of an easy manufacturing process and didn't require a tooling.

BarrelSaddles - Badly engineered, not well thought out and clearly NEVER would have worked. The inertial difference and torque loading on a single support peg was bound to fail. I'm not sure how it ever got on any of the Matsumoku production. It was likely a standard part that was simply ordered for specification. The concept of a "Barrel" for a bridge isn't the bad idea part, but the application parameters violated a mess of physics.

Not sure where the design came from but in all fairness, there've been many concepts of guitar designs that were thought out well and simply didn't work, some concepts thrown against the wall and worked well and others that could NEVER work, that for some odd reason, did. The important factor with Matsumoku and one that I always admired was their commitment to making a fantastic product.


Be Well!

Tom

tpresley
Registered Member

Number of posts : 18
Age : 66
Location : Huntingburg, IN
Registration date : 2010-01-28

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Sun Mar 28, 2010 8:43 pm

tpresley wrote:Hi Barry, I knew we could wear out this crew!
The old guys always outlast the young 'uns! lol!
I'm not a true fan of some of the earlier MMK pickups as I found them a little overcooked in the lower mids. Also, there were many isssues about the capacitance in the OFC wire which robbed a ton of the above 5k.
Yeah, many of us have noted that there does seem to be a variance in this pup, with resistance ratings in my own case ranging from the low 5's to the upper 11's. I have a 310 Avenger which roars but, as you say, is rather "boomy". On the other hand my Thunder and Vantage VS600 are ballsy buggers but with the ability to "finesse" the sound when needed.
(brass) didn't have too much expansion/contraction and had a natural metalic lubricant if fitted properly. As far as the other accesories - knobs etc... I think that it was more of an easy manufacturing process and didn't require a tooling.
So much for radical design concepts! study
BarrelSaddles - Badly engineered, not well thought out and clearly NEVER would have worked.
I'm putting that quote on my guitars which have those bridges swapped out!
The inertial difference and torque loading on a single support peg was bound to fail...the application parameters violated a mess of physics. I'm not sure how it ever got on any of the Matsumoku production.
As I've remarked in other posts, it's a bloody wonder the guitars even can be played at all with these things. I have even completely lost my top E string when it torqued right off the fretboard!

Even at that, I can tell you that I was still very apprehensive about changing it out. I thought that there must have been some mystical far Eastern design reason for using this dumb design, and that by removing it I would screw up the guitar's mojo! Glad to get confirmation that both my design and player instincts were right in taking it off.
with Matsumoku and one that I always admired was their commitment to making a fantastic product.
Absolutely! We're still discovering some remarkable examples of both the more popular models and some of the more obscure ones, particularly in the Aria Pro II lineup.

Many thanks as always Tom!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by boutjp97 on Sun Apr 04, 2010 1:31 pm

Mr. Presley any ides on this beast I just picked up?????

LINK

The BM Deluxe (not the Kahler) and what appears to be the lack of active pickups make it kind of strange. Also the seller states that the neck has X350 not X350MA. Is this a prototype or some limited run maybe? Were the few X350MA's made with the trem called the X350 maybe? Any thoughts from anyone will be much appreciated.

boutjp97
Senior Member

Number of posts : 306
Age : 43
Location : Boston, New York USA
Registration date : 2008-05-16

http://www.facebook.com/jason.bouton

Back to top Go down

Re: Westone - US Design - Development History

Post by X350ma on Mon Apr 05, 2010 7:08 am

I've got the same guitar, also with the bendmaster trem, original case, key, wammy bar, warranty application, etc. Had it since 89 or so. Mine also has X350 stamped on the fretboard, but I thought it was an 'ma', which stood for maple??? I had no idea there were less than 48 made. I'd be interested to know exactly how many like mine were made. This has been my favorite guitar for a long, long time. Still is.

Great bunch of info here!

By the way, mine also has passive pickups.

X350ma
Registered Member

Number of posts : 10
Registration date : 2009-08-05

Back to top Go down

Re: Westone - US Design - Development History

Post by boutjp97 on Mon Apr 05, 2010 4:02 pm

There is very limited information on this model so passive pickups and the neck reading X350 not X350MA may be normal, but the BM deluxe still has me itching my head. The X350MA in the catalogue has Pantera on the fretboard not X350(MA). Then on the Pantera X350MA advertisement it states that the kahler deluxe trem is available, and if you look at the one I just bought the locks at the nut look to be kahler???? I don't know, I just want to play the thing, can't wait to get it.

boutjp97
Senior Member

Number of posts : 306
Age : 43
Location : Boston, New York USA
Registration date : 2008-05-16

http://www.facebook.com/jason.bouton

Back to top Go down

Re: Westone - US Design - Development History

Post by tpresley on Tue Apr 06, 2010 6:07 pm

Hey Guys,

You have 2 of the rarest production models we ever did. Frankly, these were made at my request for personal use. I wanted the maple, but not the Kahler. Since I couldn't mod the maple body without destroying them, and not wanting to hand build one, I did the next best thing, I ordered 6 culled from the MA run and had the Bendmaster installed at the factory! Long story short, b4 I could get mine set up, we ended up selling them to dealers at our Expo. I did make one other production run of 6 more and I don't really know how many of this batch ended up in the US since every one was grabbed by either fans at stores or collectors. My opinion ... maybe the best electric ever made.

tpresley
Registered Member

Number of posts : 18
Age : 66
Location : Huntingburg, IN
Registration date : 2010-01-28

Back to top Go down

Re: Westone - US Design - Development History

Post by boutjp97 on Tue Apr 06, 2010 6:16 pm

Wow! My left arm is tingling and chest tightening. Amazing. I couldn't be happier. Thank you for that information Mr. Presley.

boutjp97
Senior Member

Number of posts : 306
Age : 43
Location : Boston, New York USA
Registration date : 2008-05-16

http://www.facebook.com/jason.bouton

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Tue Apr 06, 2010 6:43 pm

Outstanding!
Do we have lots of pix of these beasts here somewhere??
This really needs proper visual documentation to go with Tom's comments!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by boutjp97 on Tue Apr 06, 2010 11:46 pm

I didn't get it in the mail yet, only pics available of mine are on the ebay link. I promise to post when I get it, maybe even upload some video to youtube.

boutjp97
Senior Member

Number of posts : 306
Age : 43
Location : Boston, New York USA
Registration date : 2008-05-16

http://www.facebook.com/jason.bouton

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Wed Apr 07, 2010 7:26 am

Excellent. king

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by X350ma on Wed Apr 07, 2010 1:16 pm

That's awesome! Yeah, I love this guitar and will never sell it. I'll get some pics up tomorrow, I have to go work a double shift right now.

By the way, mine also says 'Pantera' with a recutangular inlay on the fretboard (easily seen). The 'X350' is merely stamped/pressed into the ebony fretboard, near its end, after the last fret, and is rather hard to see.

Great info, and greatly appreciated.

X350ma
Registered Member

Number of posts : 10
Registration date : 2009-08-05

Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Tue Jul 13, 2010 1:07 pm

Hello Tom! Hope all is well with you and yours.
Man, this thread has suffered from atrophy it seems. Where have all the Westie weenies gone?
Sheesh! Rolling Eyes

I was just wondering if you were yet able to locate the catalogue info that you mentioned you had, and in particular the manufacturing/dating codes? We think we're correct in at least the year and possibly the month interpretation but it's observational reasoning and would be nice to have something more concrete to hang a hat on.

If you have anything at all on Vantage numbering too that would be a huge bonus as the boyz are going batty over in the Matsumoku forum trying to determine what happened around the 1980/81 mark. That seems to be a pivotal change year in both manufacturing design and serial numbering.

Cheers!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by Guest on Sun Sep 12, 2010 3:22 pm

Thought this might be interesting - a section from a Westone Hot Harrdware Handbook. I haven't figured out a way to scan the whole thing yet, it's too big for the scanner...I think it dates from 1985/6 (the guitars featured on it are Spectrums, with Bendmaster FT trems) which makes a bit of this extract puzzling (Been product manager of Westone guitars at SLM for 10 years???)

Guest
Guest


Back to top Go down

Re: Westone - US Design - Development History

Post by Warrn on Mon Sep 13, 2010 1:55 am

Just means he's been product manager at SLM for that long I think, since he designed the Spectrum line as Electra models originally and is well known for his work on the Electra line as well.

Warrn
Moderator

Number of posts : 1093
Age : 27
Location : Gainesville, FL
Registration date : 2008-08-03

Back to top Go down

more question about westone history

Post by gittarasaurus on Mon May 30, 2011 10:12 am

i'm sure if the thread has gone dead, but anyway........

there has been alot said about the development of the guitar bodies and necks and hardware even, but not much about the electronics (aside from the true story of the origin of the UBC, too awesome!).

for me, one of the many things that set westone apart from other types of guitars is the very innovative design of the pickup switching. there were lots of combinations of switches used, 3-way box sw, 5-way blade, mini switches, push/pull pots...it seems that the idea of active electronics was tried a short time and then dropped....what inspired the change from mini switches to push/pull pots?

can you elaborate on the way the pickups/electronics/switching process evolved through the various models?

great thanks for all the insider information, fascinating history. this forum is like a finding a bunch of old friends i never met before. wonderful place ya got here....

gittarasaurus
Financial supporter

Number of posts : 1207
Location : San Jose, CA
Registration date : 2011-05-25

Back to top Go down

Please Have Some Consideration For Tom's Time!

Post by Barry on Mon May 30, 2011 1:44 pm

Good question, and I hope Tom sees this and has time to respond, but he is definitely still around and reading the forum when he can.
Meantime, if I may be so bold, on his behalf and for the benefit of all members, to request that you post your considered and researched questions either here or in a new thread.

One of the reasons we don't see Tom so much publicly is because he's being a bit overwhelmed with private message questions. A lot of these are dumb ones asking the value of a particular guitar. Rolling Eyes Others are questions which have already been asked and discussed and are readily available both here and on the www.WestoneGuitars.net site under "History". These people are just too damn lazy to look it up and read!

Tom is too much of a gentleman to complain. So I will!
Folks, we have a unique resource here. Not every guitar forum is honoured to have a key designer of their instruments actively participating with the members. Plain and simple: you're wearing the man out with needless offline chatter! And while it may be a thrill to get a personal email, the rest of us do not get to share in the information given.

Whatever spare time, energy and enthusiasm Tom has available to give us is being sapped away by this selfish activity. And I can't blame him for keeping a low public profile now. So please, please! think before you fire off a PM to Tom.

Let's all see the question and the answer, and let poor Tom answer it only once!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by Guest on Mon May 30, 2011 6:44 pm

I for one have emailed TP and was lucky enough to get a response and totally agree with Barry's comments. I'll be posting my question/answer soon, as I am on track on aquiring a certain guitar at which my question was directed to. Once the guitar is in hand, I will post my response along with some additional knowledge of the particular guitar in question. Should be good stuff for those interested.

Guest
Guest


Back to top Go down

Re: Westone - US Design - Development History

Post by Barry on Mon May 30, 2011 9:46 pm

Cheers for that sarc!

_________________
"A little song. A little dance. A little seltzer down your pants." -Chuckles the Clown


GUITARS : http://legend.barryeames.com/guitars.html
MUSIC/PIX/VIDEOS: http://getback.barryeames.com (including Spectrum ST)

Barry
Hero, Legend, and all round good guy

Number of posts : 6025
Age : 71
Location : Port Weller, St. Catharines, Canada
Registration date : 2009-05-01

http://www.barryeames.com

Back to top Go down

Re: Westone - US Design - Development History

Post by Guest on Mon May 30, 2011 10:11 pm

posted the Presley info here:
http://forum.westoneguitars.net/t2288-tp-qa-on-trevor-rabin-signature-models

Guest
Guest


Back to top Go down

Re: Westone - US Design - Development History

Post by Sponsored content Today at 6:10 am


Sponsored content


Back to top Go down

Page 2 of 3 Previous  1, 2, 3  Next

View previous topic View next topic Back to top

- Similar topics

 
Permissions in this forum:
You cannot reply to topics in this forum