Nolan Evans' Pegasus Gear:

 

Fender VI Bass ~ An electric bass, released in 1961, having six strings tuned E-E - an octave below the Spanish guitar. It had a short scale, thin strings, and three pickups. The third pickup was accommodated by using three pickup on-off switches rather than the more conventional three-position switch. Later a fourth bass cut (strangle) switch was added. The Fender VI had a pronounced curve for such a wide fingerboard, which made them all tricky instruments to set up without buzzing, and required some adjustment of playing technique. The electronics and extra strings were ideal for a soloist, but in the 1960s few electric bass players played solos. The close string spacing and light strings might have made guitarists more comfortable, but were an annoyance to string bass players. The original Fender VI was discontinued in 1975.

 

1965 Gibson EB-0 Bass ~ The second Gibson bass, it had a solid thump bottom end with not one ounce of treble especially with the flat wound strings I used; just my style, it was also a short scale, which is perfect for a lazy bassist. Manufactured from 1959 until 1979, and Gibson's top selling bass of the 1960s and 1970s, it remains one of Gibson’s most recognizable instruments using the Les Paul Special 'SG Bass' guitar shape. The 1965 EB-O Bass shown here has a solid mahogany body, one-piece mahogany neck with rosewood fretboard, single humbucking pickup, and 30½ inch scale. The single humbucker has a very low mellow tone. The EB-0 is a 'thumper' rather than a 'twanger' great for sixties styled music, reggae and rock, but not a bass for slapping. This sound comes from the mahogany bodies and set necks, short scale, and the aforementioned humbucker. This 1965 beauty looks the same as mine, except that it is missing the mute slider found on the late 1965 models. I bought mine used, in 1967, for a fairly good price.

 

1959 Gibson EB-2 Bass ~ Used at the Wheeling recording session, in 1984, this bass has a nice bottom end with only a hint of the dreaded treble. Manufactured from 1958 until 1972, most models featured one large humbucker in the neck position, and some also featured a foam mute near the bridge. The short-scale neck made for very fast action, and the un-damped hollow body gave the EB-2 a deep, resonant tone. Its baritone switch drastically increases volume.

 

Vox Violin Bass: V250 ~ Nice mid-range sound but always easy to create infinite sustain on most notes due to the thin hollow body design. It was a medium scale bass. The Vox Violin Bass: V250 had two extended range pickups; polished neck with binding; adjustable master bridge channel; rotary pickup selector and precision machine heads.

 

 

1966 Hagström 12-string ~ The thin flat neck was too easy to play, and I loaned it to either Alan or Roger whenever the song warranted a 12-string. Also available in black, red, and white, 2,959 of these guitars were manufactured in three production runs during 1966-67. Two single coil pickups, one volume knob, one pickup on-off switch, four pickup selector/tone switches by the volume knob and a fixed hard tailpiece which gives the guitar a very nice, natural sustain.

 

Farfisa Combo Compact ~ My first portable organ, it replaced the big Kimball console organ I used during my formative years in my first rock and roll band, The Foremost Esquires. The Compact line was in production from roughly 1964 until about 1970, and was also available in grey. Mouse over the image to see the lid come off.

 

Vox Continental Baroque Organ: V305 ~ This organ was purchased for that cheesy British sound alone. U.S. retail for a Continental Baroque in 1970 was $1499. It was a night mare to keep in playing condition as it was too delicate for the road, or maybe the roadies. Two 6 x 9 speakers were mounted in the lid of the organ, and a knee pedal dropped out of the case to provide either wha or pitch bend functions. Mouse over the image to see the ad featured in a 1968 "The Sound That Travels With The Stars" catalog, the year of the Baroque's introduction.

 

 

Does "Lifetime Warranty" really mean "lifetime?"

Lifetime Warranty for Model 361 from 1971

Certificate of Purchase and LIFETIME GUARANTEE for an Acoustic 361 Bass Cabinet, dated 07/09/1971. Purchased from Chuck Levine at Pied Piper on 4th Avenue and 10th Street in Huntington, before the move to Third Avenue and the much larger city-block-sized store.

Lifetime Warranty for old Model 880 from 1971

Certificate of Purchase and LIFETIME GUARANTEE for an Acoustic 880 MIXER (no power, just pre-amp level outputs), dated 07/15/1971. Purchased from Chuck Levin (no "e" in Levin) at Washington Music Center in Washington, D.C. This mixer was made famous by Owlman and John Blaine whose story can be seen elsewhere on this website.

 


Acoustic 360/361 Combo w/ TWO Cabs Powered by 1 X 18 Vega Speakers ~ My all-time favorite bass amp that when paired with my old dead-string EB-0 was the first piece of gear that I was never disappointed in. It helped me deliver a true bottom end for Pegasus.

 

 



Kustom Amps w/ 3 X 15 Cabs ~ Along with the Standel, they provided a reasonable amount of bass, but not thunderous bass like I wanted.


 



Peavey 800 Power Amp ~ Used it to power 2 X 15 JBL (James B. Lansing) D140Fs. The amp was (and is) nearly indestructible.


HK Citation 16 Power Amp ~ I used this amp for the Wheeling recording session, in 1984, until the owner of the studio decided to run my bass directly into the board rather than trying to mike me, and then about the first five or six PegaFests.

Heathkit AA-100 Stereo Combination Amplifier w/ 2 X 15 JBL D140F Cabs ~ My first bass rig. It was enough for the soul band I played in earlier, but not enough to compete with the guitar amps and keyboard amps of Pegasus.

Standel Powered Slave w/ 4 X 12 ~ Placed between the two Kustom 3 X 15 towers, it provided a nice mid-range.

Shure Microphones ~ Used for live gigs.

Sony Condenser Microphones ~ Used for recording.

A zillion patch cords that always failed after a few months, especially the coiled cords. Can you say “planned obsolescence?”

Felt Ukulele Picks ~ Used for the bass, a trick I learned from Dale Baker, the first electric bassist that I ever played with. They provide a nice funky sound that nothing else can.

Vox Python Strap ~ It slithered away one night!




 

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