Under the top edge of the plate was a piece of grayish-green foam that muted the strings. The bridge/tailpiece was under a plate that attached with a single screw. The 21-fret rosewood fretboard was shown with rectangular position markers along the bass side and double blocks (one along the treble side) at the 12th fret. The headstock has an oversized silhouette that exudes an Egyptian-pharaoh vibe, and the crown on the logo plate alludes to the “Del Rey” (Spanish for “of the king”) portion of the name. One of the more-seen Teisco Del Rey basses thumped in garages across the country was the solidbody EB-200, a simple, short-scale instrument with practical (and interesting) aesthetic features. market, changed the brand name to Teisco Del Rey. Which means, of course, that an untold number of American teenagers played instruments like these.ĭuring that era, Teisco instruments were imported from Japan by Westheimer Sales, a distributor that, for the U.S. Teisco Del Rey basses from the 1960s are exemplary of the Japanese-made instruments that swept into the American market like a tsunami during the “guitar boom” – and were the primary contributor to the demise of America’s budget-guitar industry. Two of the finishes offered on the EP-200B, circa 1966.
0 Comments
Leave a Reply. |