The Buzzard Brothers...

DiMarco

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VERY similar tone. Only bass nerds will notice the difference, which is the buzztard sounding a little bigger in the lower mids but only a fraction.
And the G is slightly out of tune on the other buzzard. :cool:
 

Hardy

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VERY similar tone. Only bass nerds will notice the difference, which is the buzztard sounding a little bigger in the lower mids but only a fraction.
And the G is slightly out of tune on the other buzzard. :cool:

That’s right. The 1990 Buzzard with Barts also has no hissing at all, the new preamp is just slightly making noise, still this gets worse when increasing treble.

G string out of tune? Strings are new, maybe it still moved a bit.
 

Hardy

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Here we go again. One big difference between the two basses: passive/active sound of the BuzzTard is without difference when eq is flat. The 1990 Buzzard has a clear difference here.

As you can see I now wear it in the correct position with my elbow rested on the fin. Comfortable for the right hand, tuning is now a question of help from the singer.


 

Henrythe8

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I was wondering why you switched positions. Seems weird to me to have the same bass and not the same "strap setting" :) )
 

Hardy

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I was wondering why you switched positions. Seems weird to me to have the same bass and not the same "strap setting" :) )

BuzzTard on my knees: easy playing of the low frets, left arm in natural position, sometimes nearly upright playing, Rock‘n‘Roll posing.
Buzzard flying high: easy playing for the right hand, left arm often outstretched. These are completely different ways of playing. Both with advantages and disadvantages.
 

Hardy

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Buzzzöööörd!!!

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My first exposure to a Buzzard was in 1987 when I worked for Guitar Center in Chicago. I had set up several synthesizer rigs for a show called the NAMM JAM at the Vic Theatre, and had to make a repair to a keyboard backstage. I needed to check my repairs, so I went to the warm up room to plug into an amp, and there was John Entwistle, playing one! Of course I was struck by seeing JE, but what really shook me was his bass; a gorgeous Zebrano Buzzard. I thought to myself, “That thing must’ve been made just for me! I must have one!" It is truly one of my most prized possessions.

Cheers!


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Hardy

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Cool story! I never had the chance to see him. For a long time the Buzzard was the ugliest bass I could think of. Today it’s always by my side! Cheers!
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Here you can see that I share the heads shape with my bass: :p
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Hoggles

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Yeah, there seems to be 2 camps; love it or hate it :)

View attachment 20392

3 camps.... scared of it :eek:

Beauty you have there. One of the first. Smooth bottom horn, no front knob. Very cool! According to my copy of Bass Culture, John says the non "gun grip" was a prototype....yet yours has the mirrored P's. Very interesting. @Hardy what do think about this? Would this be considered a prototype?

If you get a chance, we'd love to see some more detailed pics.
 

Hoggles

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From the book...
IMG_20190904_141419__01.jpg

And one of the first gun grips...
IMG_20190904_141352__01.jpg
 
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Here are the specs (from Hans-Peter):

Bass
Serial Number I 56 86
The I would be today an J !!!!
Year 1986
Month September
Number 56
Neck Wood Wenge Wood
Fingerboard Wenge
with real mother of Pearl Number Inlays
Frets Bronce Warwick Frets
Nut Just a Nut Brass Version
Neck construction Neckthrough hiddenneck construction
Body 3 pcs. solid Zebrano Wood
Surface Oil Finish
Pickups active P Pickups from EMG
Electronic active MEC 2 Band Electronic
Hardware Gold Hardware made by Schaller for Warwick

IMG_3890.jpg
 

Hoggles

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Very special Wick you have there. Not a stretch to say John may have touched that while in the factory. Others know more about the Buzzard than I do, but I wonder if any of these smooth "original" lower horns were made, after the gun grip was thought of. Any? Just a few? Hmmm. Inquiring minds want to know :cool:

Also, different knob layout, input placement than the smooth one from John's book.
 
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There used to be a website, buzzardbass.com, that had more info on those kinds of things, but it seems to have been taken down. :(
 
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So, what I can glean from the archived site is that #17 had a smooth, non-pistol grip lower horn, same knob layout and headstock as mine. #75 had the pistol grip lower horn, the newer headstock, two-piece Warwick bridge and MEC pickups; pretty much the "final" design. No mention of when the lower horn was changed, or if any non-grip models were made after the first. The site states "Only the first 20 had the Entwistle trademark forward master volume knob with top mounted jack." Seems there were a lot of unique variants in those days.
 
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