And the roof wasn't even on Abbey road

@@asherfilms923 Yep that's right it was at number 3 Saville Row. Apple headquarters at the time.

it may not even be from the final show of the ‘66 tour; it makes more sense it was there for the entire tour; there’s a similar list on John’s Rickenbacker which he didn’t play on that last tour so it must’ve been a usual thing they did; and you can see the song titles on that set list; they didn’t play any of those songs on the roof in ‘69

@@franktaconelli9095 As I said, it is well-documented in a lot of books.

@@mvp019 yep I’ve read ‘em all

1966 last tour. You can plainly see the names of the songs. I don't know how that was missed.

@@jmasno5 yeaaahhh exactly!!!!

@@jmasno5he missed some commonly known info

Known paul he probably had it well insured for three times its actual value lol

Probably an inside job, maybe someone who worked at the Abby Road Studio. Its very unlikely a stranger moseyed in to the studio and walked out with two guitars.

​@@geneobrien8907 , as Rick Beato demonstrated in a recent video, people don't get to just walk in off the street to tour Abbey Road Studios.

​@@geneobrien8907 i always suspected someone who set up the instruments walked out with it when no one was in the studio

@@robd1329 That seen to be very likely. When you consider the exclusivity of the location and the insight it would take for someone to nick the guitar, it is perhaps the most plausible theory.

You're correct. Though the Candlestick Park gig was in August of '66.

1966

3 Sevlle Row, was the headquarters for Apple Records

They rattle a lot if you pick even slightly hard too.

I saw them recently too! Great sound!

I was going to say the same thing. Not having been born when it first broadcast I mostly know Ready Steady Go from the edited version shown by Channel 4 in the early 80s. Rights belonged to Dave Clarke, and the Dave Clarke Five appeared far more frequently than had in fact been the case.

@@luxford60 I'm old enough to have seen RSG live the first time round... way more exciting than Top of the Pops... the best TV music show until The Tube that was inspired by it.

​@@clickem2697, Ready Steady Go often showed lip-synched "concerts" where the bands weren't actually performing live and the music was straight off the album or 45-single recording. In the UK you folks did much better in the Seventies and Eighties with "the Old Gray Whistle Test", where to the best of my knowledge everything was actually played live. Here in the States we had Midnight Special, In Concert, and Don Kirschners' Rock Concert, featuring almost entirely live performances. I hate lip-synching with a passion, and I refuse to take any show that broadcast lip-synched performances seriously (American Bandstand being an example of a terrible, useless music show).

@@goodun2974 It wasn’t so much about the performances… their strap line was ‘the weekend starts here’ and that was the feeling, everyone’s weekend was starting there as a musical generation. As worthy as the OGWT was there wasn’t the same excitement generated about music happening now. Also I’ve heard that because the studio was so cramped that some performances were pre-recorded then mimed to. Whatever, OGWT has provided a wonderful archive in a way that RSG hasn’t because the cultural context of that, the immediacy, has been lost.

I remember the bassist from Dread Zeppelin getting some mean reggae tones with a Hofner. Guess he took a clue from Robbie

You just can't beat a proper neck pickup!

@@cochabambas That was my favorite Rastaman Bassist, Jah Paul Joe.

The guy from Sly & Robbie? That Robbie?

Yep. You're absolutely correct.

The Hofner really is a piece of crap. If not for Sir Paul....we wouldn't even know it existed.

Why do you find them unplayable?

The bridge doesn't allow a precise Intonation. But for those, who struggle with the neck dive issue: try a Höfner Club Bass (Single Cut Shape): everything ist the same, but the body allows for far less neck dive. Furthermore, the Höfner club Bass is a bit more resonant. So it's more fun playing unplugged.

I 100% agree. I bought an Epiphone Viola bass a few years ago. The tone was incredible, but the ergonomics were terrible. The Viola shape doesn't allow for you you to rest it on your lap. If you use a strap, you get horrible neck dive. And I also found something strange with the string spacing which cause me pain in my right hand (although I never actually measured it). I desperately wanted to love it, but I had to return it after a week.

@@crawfish666 Agreed. I can't stand playing either of these basses. I never understood the hype over a Ricky

As a guitar player who had to play bass, I agree, the short scale is a win. I also put flat wounds on mine and use a thick rubber pick to sound a bit more like I’m playing with fingers.

@@jimbofet I used a thumb pick with my Hofner 500 at first (1964), but I broke so many strings. After I changed to playing finger style, I never broke another. Flat-wound strings always gave a more mellow sound to my ears, and I preferred them over wire-wounds.

@@jimbofet I play with a Big Stubby pick to give it more of a thunk sound I enjoy.

😉I feel like I could have written this (but I didn't)!

I love my Contemporary. Underrated. So easy to play and after a bit of set up it has fab intonation. Has many haters but I don’t care. Enjoy yours in good health and joy.

Who made 18" speakers back then? I worked at Cerwin-Vega in the early 70's and I think they basically had the market for 18" bass speakers to themselves. I know the speaker in the iconic Acoustic 360 folded horn bass amp was theirs; I owned one of those before my stint with C-V.

@@GRobLewis The only companies that used the 18" was Vox as far as i know and they werent sold in the US I had a SUNN Colliseum with two Reverse Horn 1-18' Cerwin Vega Cabs, the most powerful bass amp i ever used. Loved it. I wanted an Acoustic 360 but no music stores had them within 200 miles so i got the SUNN.

I agree 👍

He has done a history of Rickenbacker basses. He even mentioned it in this very video.

Agree 100%. Absolutely the fourth “voice” of rock bass.

The sound of the Rick has always been what I think of when I think rock. Right from roundabout on. The fender bass sounds are what you use if you don't want the bass to stick out. On the other hand, I think more bass players go custom, fretless, 5 string, 6 string or at least semi-custom. Bass playing is a different animal from guitar playing. Guitarists seem to pick from just a few iconic guitars, bass players are more willing to look outside of the fender P/J and Rick basses. As stated in the video, it was hard to find video of people playing a Hofner aside from Beetle tunes. Historical importance but not a common use bass. The assertion that the Hofner was bought because a better instrument cost too much pretty much says it all. Many musicians used cheap guitars not for sound but because of price.

I played a 1974 Rickenbacker 4001S for years on the road until it died in a car wreck in 1983. I never thought I got a really good sound out of it since the shielding sucked on those and most Bass Amps of the day other than an Ampeg SVT were downright shitty but I was broke and used a Fender Bassman 135 with a VT15 Cab, Sunn Sorãdo Piggyback with 2x15" and 2 Peavey Bass Amps (Century, Centurion) in my early days. Prior, I had a 1959 Gibson EB0 and broke the neck. The only two solid neck thru-body Solid Body Basses I owned in my youth are the only necks I have ever broken, I have never broken a bolt-on neck. The irony of this is staggering. These days, I usually play a 1971 Fender Jazz Bass, which is currently getting a fret job, so I'm playing my early G&L JB-2 that I scored from a Pawn Shop a few years ago. I also have a dozen others that never leave the house. Mostly, my other Fender Basses (Jaguar, Modern Player Telecaster Bass, fretless J Bass) Gibsons (EB2, EB3, Flying V), Danelectros (Longhorn Bass, SC-2 Baritone), and even an incredibly versatile 1978 Peavey T-40 with a Rock Maple Neck & Swamp Ash body, it literally weighs 40lb, and was my #2 fave to play until I found this G&L.

Then you should like the one playing example.

@@fivewattworld I did! The blade pickups are underrated as they're overshadowed by the Paul McCartney/Staple pickups connection

@@fivewattworld Here's my 2 cents and I'll try not to be too long winded. I was 16yrs old and went to Chuck Levins Music with my buddies. I had about $100 in my pocket. There we find a '67 w/ blade pickups and they want $300. I tell my buddies we need to run home so I can get the balance, this is pre ATM btw. My one buddy digs into his pocket and pulls out a wad of cash. He fronts me the $200 and we bring the Hofner home! On the ride home the cash flush buddy gives us all a life lesson that "you never go to a music store w/ less than $500 in your pocket, bcuz you never know what you might be fortunate enough to stumble across!" I played that bass thru high school and then put it in it's case for almost 30yrs. About 15yrs ago I dug it out and sent it to Mike Lennon in Arizona who perfectly restored it to its full glory. It has been a joy to play and share with others ever since. Thank you so much Keith for all of the work that you do!!!

Ringo was one of the few British drummers that used Zildjian as Paiste tried to get a foot hold in the market by giving drummers free replacements if they cracked one. Most of the heavy rock guys played Paiste for that reason.

It's actully the final tour Candlestick show setlist, but still, the effect is the same- so awesome it remains there to this day.

Thanks Michael

@@fivewattworld 🙏🎸

He opted for them because roundwound strings had not been invented in the early 60s yet.

​@Docteur Pikachu Beat me to it :-) Yeah, that characterizes all the somewhat darker guitar tones on the earliest recordings and throughout Meet The Beatles etc.

@@roughcutguitars you mean With the Beatles? Meet the Beatles was an Americanized version of the album which, among other things, added artificial reverb not present on the original tracks.

@Jeanne Taylor Yes to both. Funny that I defaulted to the American title - I suppose due to being from the U.S. - despite later getting and preferring the more pure production U.K. import. Still, my point is more to the same flatwound-strung guitars throughout, which impart a more mellow/'darker' tone balanced nicely with the brighter Vox amps. My first Rickenbacker ordered back around 1982 was still shipped with Pyramid flatwound strings though that was before I ever knew the technical side of things. Ignorantly put round wounds when it came time for a string change and couldn't understand why I lost that characteristic sound - that and the awful high-gain pickups they'd switched to by that point. While pickup preference for lo/hi-gain is admittedly subjective, it does directly affect the ability to get the same 'Beatles tone'.

​@@docteurpikachu6913 , Interesting. So, what type of strings would have been stock on a Danelectro Longhorn bass around 1964 or 65, flatwound or woundwound? John Entwhistle was playing Longhorns live and in the studio around that time, and recorded My Generation with one, but he ended up with 3 Longhorn basses because he kept breaking what he said were "really thin" stock strings and nobody in England had those strings in stock, so he would just buy another bass!

I think you should 'tip-toe' around that admission!😁

Merçi mon frère!

@@fivewattworld we should try to catch up soon

Yeah…thanks

Thanks Jeff