Author Topic: What is the opinion of signatures on alembic instruments? (Read 340 times)

bsee · « **Reply #15 on:** April 09, 2007, 02:40:06 PM »

Guess you should order these basses with a couple duplicate plastic electronics cavity covers if you're an autograph hound. That way, you can accessorize by bringing the appropriate signature with you when you gig.

jazzyvee · « **Reply #16 on:** April 09, 2007, 04:27:20 PM »

Hmm Mica, I'm not going to sand down my babe and ruin all tha hard work. The inside cavity it will be. I just hope I get to meet him.

I trust the silver coating will not be affected by using a marker pen on it?
Jazzyvee

mica · « **Reply #17 on:** April 09, 2007, 06:01:14 PM »

Shielding should be just fine.

edwin · « **Reply #18 on:** April 10, 2007, 09:11:16 PM »

I've been wondering about this. I have a '67 Starfire signed by both Phil Lesh and Jack Casady. While there is no outside proof, I know it's real, because I had them both do it. As instruments of that vintage get more valuable and it gets more valuable to me, I am wondering how much to insure it for. Aside from all the vintage whatnot and the signature whatnot, it just sounds great and plays great and getting another just like it is pretty much impossible. I don't want to leave it at home, but I want to make sure that I am somehow protected. To be honest, I am pretty pissed off at this whole vintage thing. Basses are tools to create music and all this artificial inflation takes them out of the hands of those who might get the best use of out them.

Edwin

keavin · « **Reply #19 on:** April 11, 2007, 04:06:31 AM »

Stanley (clarke) had one of his personal alembics on ebay some years back & it didnt even sell so he yanked it...

dannobasso · « **Reply #20 on:** April 11, 2007, 06:13:14 AM »

If I ever met anyone I respected to sign my basses I would have them do it. Sometimes to the right person it increases the value for certain reasons. If it is something that you get a kick out of, by all means do it. If you are doing it for investment purposes you may be dissapointed in a diminished return. On a smaller note I asked Pete Steele from Type O to sign a copy of their new cd for a friend of mine. He seemed pleased to do it. If not for fans, where would anyone in the entertainment business be?

2400wattman · « **Reply #21 on:** April 11, 2007, 08:16:22 AM »

Edwin, partial blame should go to the doctors and lawyers that could never play(and I mean can not PLAY), but have what would seem unexhaustable funds to buy the guitars/basses our heroes played. This is not directed at our attorney/member Bill(hell I'll assume that since he plays Alembics that he can play).
Sorry Jazzy, slight detour on this thread.
Get the back plate signed & feel confident knowing it's there for you. I doubt you'll be selling this bass as these are hard to come by financially alone, despite what part of the world you are in. Take care and enjoy the show!

57basstra · « **Reply #22 on:** April 11, 2007, 10:30:46 AM »

Not Alembics, but ?

Recently I bought a Rogue Beatle Bass for under $200 at a local pawn shop. We live near Fort Campbell and the bass had been one Charlie Daniels took to Iraq. He presened this one, along with a lot of other instruments, to our soldiers. He also had a well publicized instrument signing event there. This was one of those instruments. Since it had Charlie's signature and had some documentation, and had this history, I bought it. I have played some high dollar (new and vintage) Hofner Beatle basses and surprisingly (or not so surprisingly), this one is not far off in looks, action and sound.

I also have a very nice newer Aria Pro II guitar signed by the members of the group 'Slaughter'. I got this one at a real pawn shop bargain and I believe the autographs actually diminished the price the pawn shop could get for it.

(Message edited by 57basstra on April 11, 2007)

lbpesq · « **Reply #23 on:** April 11, 2007, 05:38:00 PM »

Adam & Edwin:

As far as whether I can play, I just know that I have a lot of fun and when my wife first heard me play shortly after we met she said she was happy to find out I wasn't a fakee. For a less biased report, ask the folks who attended the recent Northern California gathering. I ain't the best and I ain't the worst. As for my high dollar vintage instruments, I bought my '61 Strat in about 1975 for $125 and my 1970 ES-335 in 1986 for $400. Each time it was big money to me.

Bill

edwin · « **Reply #24 on:** April 11, 2007, 10:35:41 PM »

Bill, my rant was in no way directed at you! I even kind of understand the collector mentality, but it's still hard to believe the current economic tribulations of being a full time musician. Regular gigs have hovered near $100 a night for decades, yet the cost of living has gone through the roof. I don't want to delve into political topics, but I'm none too happy with how the economics of the 21st century are panning out.

Happy playing, everyone!
Edwin
PS I bought my '67 Starfire for $275 and my Alembic Series I for $750, (but not recently!) and they both felt like big money to me.
PPS Bill, I'll be in SF on May 3rd and 4th, probably staying with my cousin the lawyer, and it would be great to meet you!

lbpesq · « **Reply #25 on:** April 12, 2007, 06:34:52 AM »

Edwin:

It could be arranged ... for, of course, my regular billing rate of ...... hehehehehe.

Seriously, though, email me and we can set something up. Maybe shoot down to the studio and make some noise?

As for being a pro, my hat's off to ya, buddy! I long ago chose a different path once I realized that Paul Simon and Bruce Springsteen made millions and everyone else starved.

Bill, tgo

cozmik_cowboy · « **Reply #26 on:** April 12, 2007, 07:03:12 AM »

I understand the collector mentality completely - you have to acknowledge the logic behind the argument that classical players have all those amazing 17th & 18th century fiddles because collectors kept them protected (Steve Stills justified being the first to pay $10,000 for a D-45 by explaining that he was bidding against a representative of a Japanese manufacturer who would have taken it apart to see what made it so good, and he wasn't going to let that happen); also, when I was young I couldn't wait until I could afford to be a collector, but with prices like $1500 for a '61 SG Les Paul and $150 for a '59 ES330TD (& $125 for a '61 Strat, for that matter), I knew I'd have to wait a while. Well, I saw a '61 Paul for $100,000 not long ago. The guy who owned the '66 Tele I learned my first chords on bought it for $300 in '78 & sold it for $600 in the mid-80s. I saw one on e-bay a month or so ago with a BIN of $16,700. I guess I won't be collecting any time soon - I'm glad the quality of new instruments is as good as it is, because the vintage stuff has gotten freaking insane - this is what they should go for in another 100-200 years.
And Bill - if you want to double your money on the Strat, shoot me an e-mail anytime !

Peter

Oh, yeah - there's a thread here, isn't there? SO, just to make it legit: I agree with Kevin - signatures on instruments look like graffiti.

(Message edited by Cozmik_Cowboy on April 12, 2007)

(Message edited by Cozmik_Cowboy on April 12, 2007)