gibson rd artist bass manual

File Name:gibson rd artist bass manual.pdf
Size:2828 KB
Type:PDF, ePub, eBook, fb2, mobi, txt, doc, rtf, djvu
Category:Book
Uploaded8 May 2019, 13:47 PM
InterfaceEnglish
Rating4.6/5 from 587 votes
StatusAVAILABLE
Last checked15 Minutes ago!

gibson rd artist bass manual

It describes the full operating instructions, as well as information on the internal battery, bridge and neck adjustment. The basses had some changes however - primarily the arrangement of switches that controlled the bass, but also different finish options. Functionally there was no difference. Condition is Used. Shipped with USPS Retail Ground. more Condition is Used. Ebony fretboard, very good condition with OHSC No shipping, willing to meet from Delaware to NYC area. Let's work something out. Only selling this because I want to buy a Harley. more This is the ultra rare Standard version which has the original passive Gibson pick ups. They sound unbelievable, such a powerful and resonant bass.. more Add your comment Specialising in Gibson and Epiphone bass guitars from the 1950s-1980s; primarily instruments built at the legendary Kalamazoo plant. No equivalent sheet was produced for the much more conventional controls of the RD Standard. Have a closer look at a 1978 RD Artist bass. Basses with this second switch arrangement are referred to as RD79 basses. Have a closer look at a 1981 RD Artist bass. Condition is Used. Ebony fretboard, very good condition with OHSC No shipping, willing to meet from Delaware to NYC area. Only selling this because I want to buy a Harley. more Condition is Used. Shipped with USPS Retail Ground. more This is the ultra rare Standard version which has the original passive Gibson pick ups. Site functionality is therefore limited. Please enable Javascript for full functionality. The RD Artist is one of the new solid guitars developed by Gibson's Product Development Director Bruce Bolen, with the help of the odd crony like Dr Bob Moog. The RD family comprises three six-string guitars and two basses — three of these instruments are a completely new departure for Gibson in that they offer built-in pre-amping, expansion and compression facilities: the Artist reviewed here, the Custom guitar, and the Artist bass.https://www.cnsostudios.com/images/457gw-manual.xml

You can see from the accompanying photo roughly what the beast looks like, and I'll leave it to your subjective aesthetics to decide whether it is beautiful or bloody ghastly. The model shown (and the review sample) is in natural maple finish with ebony and something called 'fireburst' also available. And here cometh my first carp: instead of lengthening the scale, why didn't they add 2 frets for a full two octave fretboard, instead of the 22-fret board? Still. the neck is similar to a Les Paul neck in many ways; although unbound, the fret-edge finishing is immaculate and the instrument lies easily in the hand. No problem there: being tension-adjustable, you can go for either a stiff or loose turn, and small spring-washers will take up wear on the gears. The neck joins the body at about the sixteenth fret - fairly short on the neck, in fact — but the cutaways are deep enough for easy access to all frets. However, the cutaways are not faired, they are slab-cut similar to a Telecaster, and might prove uncomfortable for someone used (as I am) to an SG or a Strat. Likewise, the heel joint is rounded but there is a step left, down onto the body. This sits rather oddly in the hand and may also take getting used to. Just under the heel is the forward strap-button, and I have several times got my hand tangled in leather as I went after the higher frets. Personally, I think the button would be better positioned on the side of the top upper bout. The body hardware is, of course, gold-plated: the bass pickup is a Series VI humbucker, as is the treble pickup; the bridge is a Tune-o-matic with individually-adjustable saddles and knurled wheels at each side for height adjustment; the tailpiece is a simple stop-bar type. The controls are slightly more complicated.http://henca.com/files/details/45cmx-foxconn-manual.xml

The knob (of the hatbox speed type) nearest the bridge controls the bass pickup level; looking at the guitar vertically face-on, the knob below that is the treble pickup level; moving out to the edge of the body, the upper knob is bass cut and boost, and the knob below is treble cut and boost. Immediately below the knobs is the (high impedance) output jack socket. Now, this socket also acts as a power switch for the active electronics — since the guts are powered by a small 9v battery, some provision must be made for switching the battery out of circuit unless you want to replace batteries every day. So if the jacklead is plugged in, the battery is draining; jacklead out, and the battery is switched out. This is all very useful, but I tend to leave my guitars plugged in overnight, so my habits would probably cost me a few batteries. Just below the tailpiece are two three-position switches, one white and one black. The white switch simply controls pickup selection in the usual manner, but the lower black switch takes some working out. In the middle position (straight up), the guitar is neutral, passive, and plays like a normal guitar. Pull the black switch toward the neck and you get Bright Mode, a boost of about 8dB at 4KHz on both pickups. Compression affects the bass pickup only, so you have to make sure your white pickup selector is on bass pickup. Conversely, Expansion affects only the treble pickups, so your selector switch must be set accordingly. But - with the selector on both pickups, both modes are in operation and can be mixed according to the pickup level controls. Complicated, but extremely versatile. The guts. Looking at the back of the body, one sees a large screw-on plastic plate butted against a smaller plate which is removable by two screws for battery replacement (I am led to understand that a failing battery will give plenty of warning by power loss, and that a battery will last 150 to 200 hours of intermittent playing time).

When I opened the large plate, I was somewhat taken aback by the mass of wiring harness and the single large PC board - visions of complicated electronics in small spaces going wrong at a critical moment floated into my head. However, after a bit of investigation, I discovered two things: firstly, the construction is extremely well done using high-quality components and a good coat of screening paint, which points to overall reliability; and secondly, there were tiny wood-shavings wandering about in the cavity, just looking for a switch to get caught in — a definite tut-tut. Gibson, buy thyselves a vacuum cleaner. But the proof of the pudding lies in the scoffing. The sample I reviewed was lent me by London's Top Gear music shop, through the good offices of noted Gibson authority Sid Bishop, who advised me that the guitar had not been set up in any way. In which case, congratulations to Gibson, because very little setting up should prove necessary. Apart from being strung with rather heavier strings than I like, the RD Artist felt and played extremely well. As a neutral or passive guitar, it was very like an SG Standard circa 1965: fat sound, a bit raucous on the treble, heavy on the strap or the knee (but comfortable nevertheless). Not recommended at any kind of level for those with delicate constitutions. Switching to Compression Mode (on the bass pickup, you recall), I took about an hour to get used to it. Essentially what Compression does is to level off the note's attack peak and to raise and lengthen the decay time, so that the note is sustained without any immediate hardness. The feeling is similar to having perfect control over feedback, but the sound sustains the whole harmonic content of the note, not just the feedback frequency. There are obvious advantages to this levelling when chording, but single-string licks tend to sound monotonous and soulless.

While I can see many uses for Compression, and while I appreciate the excellence of Gibson's execution, I have to admit I was bored. Expansion, on the other hand, is a blast. Literally that. The Expansion Mode on the treble pickup electronically activates the pre-amp on the attack, pushing the attack peak up even higher than it would normally go, and then speeding the decay time for a fast dropoff. The result is a tremendous explosion of sound on each note, without hold-over to muddy a fast run. The ability to articulate quickly has always been a problem on fretted instruments - hand-damping the strings is sometimes a solution, sacrificing clarity and volume. But with Expansion, Beware Ye Speed-Merchants. And just to increase its usefulness, the Expansion Mode is touch-sensitive and can be adjusted to your own picking strength by means of a trim-pot. This pot takes a small flat-blade screwdriver and is located below a hole in the back plate. Cosmetically, the Artist is a lovely instrument — the craftsmanship on the head inlay alone reflects the fact that the doubtful days of 1967-71, during which the standard of Gibson instruments suffered, are over. Electronically, this is a masterpiece (and like most masterpieces, is expensive). It is not a guitar which can be played casually; it takes some getting used to the controls and their flexibility; some guitarists may need time to settle into the offset body which is faired similar to a Strat (although for me, the long top lower bout provides an admirable elbow rest). The position of the bottom strap-peg and the offset slant of the base of the lower bout renders the guitar unstable in the usual out-of-use position - i.e. leaning against an amp or wall.

Apart from the criticisms already mentioned, I found the switches a bit stiff - these may loosen up with wear, but in any case many players prefer stiff switches - and I noticed that a straight jack-plug tends to get in the way of the lower knobs, so a side-on plug would be preferable (if less reliable). And an interesting observation rather than a criticism: the use of active modes into an HH amp with Sustain circuit on actually drops the level and increases noise, feedback, and string noises. The RD Artist comes with hard case, strap, lead, owner's manual, battery, and five year guarantee. A final word or three: Gibsons are distributed in the UK by Norlin, as friendly a bunch as ever you'd wish to chat with - positively oozing Good Will. But they are a bit inefficient. The trouble I had to go through to get the review sample is a saga with which I shan't bore you. It was like the RD Standard Bass but had different pickups and electronics and an f-hole shaped headstock inlay.The four control knobs on the RD Artist bass were a volume for each pickup, a treble control, and a bass control. There were built in active compression, expansion and bright mode circuits - developed with the help of another Norlin owned company - Moog. Reviews (0) Write a review Gallery (0) Upload your GIBSON RD Artist Bass photos Players (5) Famous GIBSON RD Artist Bass players: Krist Novoselic Ralphe Armstrong Justin Meldal-Johnsen Adam Clayton Mick Hawksworth The Five Day Week Straw People Add new comment. Click here. It may not display this or other websites correctly. You should upgrade or use an alternative browser. Sign Up Now! The factory plastic is still on the pickguard as well as the control cavity. After a long hiatus from playing bass, I got back into it about (3) months ago. This was the first bass I bought. After a bit of playing, I realized I missed having a 5th string and the fact that I like the string spacing on 5-strings more than 4-string bass guitars.

As such, I've bought several 5-strings since and this is gathering moss (not literally.right?) as it sits alone in its case. Big mean and every other adjective you might use to describe a hammer smashing rock. You won't be disappointed with the sonic abilities of this bass. Shipping via FedEx or UPS, whichever you prefer. Shipped with full insurance. CONUS only. Also note: being that I'm a new(er) member here, I've made 5 purchases to date, but no sales. Because Seller Feedback is important, please see my feedback ratings on my Reverb.com store: Moose's House of Hi-Gain Feedback The 70's ones were like strapping on an anchor.Not sure if you consider that heavy. Personally I love a heavy guitar.Gold Supporters see zero ads. Upgrade Now Thanks for your support! By continuing to use this site, you are consenting to our use of cookies. Subscribe to our free newsletter I bought it used almost 25 years later, it is still in all original condition except for the Schaller straplocks. I think the features of this guitar are well-known by now. I guess it may work well for some fast country picking. I think with some bass boost and bright switch it can produce jazzy sounds very nicely. As for distortion sounds, this guitar sounds best when keeping the electronics on zero. The gain sound definitely don't benefit from the electronics. Jimmy Page used this guitar on one song on their performance in Knebworth 1979, seems he didn't know how to handle the electronics (you can see a clip of it on YouTube). Also Steve Howe used an ES Artist which has the same electronics as the RD. I think this guitar is well in hands of fast pickers, Tele-players, jazz players who like to use guitars like the Gibson L-5S. It is also well for clean funky riffs. The neck can become sticky with sweaty hands. It is neck heavy the weight is moderate (which I can't say for the RD Artist Bass that I also own, that thing is heavy!). By using our services, you agree to our use of cookies. Find out more.

In fact the controls were updated in 1979, the first and second series controls are summarised below. Pickup selector switch then engages front pickup for expansion effects, back pickup for compression or combine the two. Pickup selector switch then engages front pickup for expansion effects, back pickup for compression or combine the two. The first is the Expander sensitivity adjuster. Early models have a small hole on the back of the guitar, in the control panel cover, just big enough for a flat blade screwdriver to adjust this. The effect of this control is self explanatory, and in reality is quite subtle. Obviously this only effects the expansion mode. Later models had a small rubber plug which could be turned with the same effect. The second board-mounted control is the decay time adjuster. Unlike the expansion sensitivity this can not be adjusted without removing the board itself and is probably best left at the factory setting. From the assembled board, all you see is a small hole. The image on the right shows the location of the sensitivity expander adjustment on the Moog circuit board. When covered, the plastic cover has a hole or rubber knob in the same place Perhaps the reason Gibson released a series of sheets in 1978 detailing their operation - obviously this refers to the earlier RD77 version. Disagree with something written above. Please comment My hot rod bass Laryl4string See my ebay store for more vintage guitars and gear. more Add your comment Any tips on how to do this without ruining things. How is the board attached in the cavity? There are two potentiometers mounted onto the Moog board itself - and these are also attached to the body front with standard hex nuts. Undo the nuts holding on the bottom two pots and the board (plus pots) will lift right out. There are five molex connectors joining the 'other' circuitry to the board. These can easily be removed (just pull them out) and the board is then completely free. Very easy job.

Like the previous catalog, this featured the company's guitars in a variety of interesting settings around California, from the Whiskey-A-Go-Go, to the Hollywood Bowl. Several instruments were making their first appearance amongst it's pages: the Telecaster bass, Montego and LTD jazz guitars, and the Redondo acoustic. It was the final catalog appearance, however, of the Electric XII, Bass V, Duo-Sonic, Coronado I and Coronado Bass I.Not a bad guitar; a little quiet, but pretty playable. These were great value in 1973, and because they sold so many, they are easy to find and excellent value today.It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in 1968, unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model 4537. This bass, although with a neck date of February 1966, was most likely one of the unsold Vox guitars sold on by Dallas Arbiter. Check out the bass, and the two video demos through 1960s Ampeg and WEM amplifiers.Shaftesbury was the house-brand of major UK distributor Rose-Morris, and seems to have been launched as a response to the company's loss of it's distribution deal with Rickenbacker. The guitars were mid-priced, and built in (initially) Japan, and later Italy, by Eko It featured 6 electric guitars, 32 acoustic guitars, 3 basses and 1 steel guitar.Fender got it right first time around, and although there are numerous minor cosmetic differences, the essence of this bass is effectively the same as it was in '52: a simple, single pickup instrument with a GREAT sound. Check out the demo video through an old Ampeg B15. It's no wonder this is the bass that everybody wants!

Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge.It is an early example, and as such has a thin black scratchplate and side mounted, coaxial output jack. JMI offered left handed examples of their solid body Vox guitars and basses at 10% premium. Production numbers are unclear, but left-handed examples rarely come up for saleIt was planned for launch as a high end semi acoustic with 335-style construction (central maple block) and innovative circuitry - but was pulled at the last minute, being deemed too expensive. Apparently, several examples were produced with varying specifications, though exactly how many actually left the Kalamazoo plant is unclear. Certainly two guitars were sold to LaVonne Music by Gibson in around 1980. Read more about the development of this guitar, with details from Chuck Burge and the story of it's sale to LaVonne musicBy the early sixties the carved top was replaced with a laminate, and although still a very fine guitar, the earlier carved top examples, with frondose headstock (like the example shown here) are far more highly prized amongst musicians and vintage guitar collectors.This wonderfully faded example from 1965 was originally Dark Cherry Red, but has turned a mid-orange brown. The original color, however, can be seen underneath the pickup surrounds. 1965 specs: maple body, two-piece neck, Brazilian rosewood fretboard and Hi-Lo 'Tron single coil pickups. Nickel plated Gretsch Bigsby tailpiece.You'll be amazed at the difference you can make with just a few tools, a bit of knowledge, and a little time. Fixing loose frets can eliminate fret buzz, remove sharp fret ends, and greatly improve the tone of any guitar. If your luthier bill will be greater than the value of your guitar, definitely time to have a go yourself!

This eight page 'worlds fastest playing neck' catalog, printed in two-colors contained six solid body electrics, three solid body basses, two electric acoustic guitars, two electric acoustic basses and five acoustics.The President was a hollow body electric acoustic, available as a full body or thinline, and with blonde or brunette finish. It was a great playing guitar that sold fairly well in the second half of the 1950s, throughout the 1960s, and into the very early 1970s. The example shown here is a full-body depth guitar in blonde - and as a 1965 guitar, one of the last to feature the rounded Venetian cutaway. From late 1965 until 1972, the President sported a sharp Florentine cut. Naturally, such an electric acoustic suggests jazz and blues, but many of the original British Hofner President players were part of the rock 'n roll, skiffle and beat scenes of the late 50s and early 60s.The new guitar came with a new owners manual explaining the (somewhat complicated) controls, their operation, and giving other specifications, including recommended strings, action and control settings.Functionally, these basses were very similar, although the Triumph did offer low and high impedance operation, without the need for a transformer cable. This owners manual details the basses specifications, suggests a string set, recommended action, and suggests a series of tonal settings for rock, country and solo bass playing.In the middle of 1981, Rosetti took over distribution of the Gibson line in the UK. Rosetti were a very big name in Britain, having distributed Epiphone since at least 1963, as well as Hagstrom and others. This catalogue was produced at the tail end of 1981, and introduces a number of models to the UK, such as the MV-II, MV-X guitars and the Victory basses, the GGC-700 and the Flying V bass. Some of these models were so short-lived that they were actually never included in US brochures.

The cover image (reproduced in part here) showed some of the earliest demonstration models, including a Victory with a highly unusual white scratchplate.The Gibson Victory MV, or 'Multi-Voice' guitars had very wide tonal palettes; with coil-tapped humbuckers they could produce typical Gibson tones, but were also designed to 'out-Fender' Fender. Two models were launched in the summer of 1981. Whilst the MVX, was designed to do everything a Stratocaster could do, the MVII was 'primarily for the discerning country player' - placing it squarely against the Telecaster.These flyers all contained one or more side-panel, that folded out with model specifications, but were also designed to be reproduced in guitar magazines of the time without the extra fold out.As an entry level model it was very light, fitted with the most basic components, and not made of the most select woods, but it's unique styling, low price and easy playability made for a relatively popular guitar. Initially there were two guitar models, the single pickup Clubman I and dual pickup Clubman II, and a companion Clubman bass - check them out in the 1962 Vox catalogue. The guitar was redesigned in the middle of 1963, getting a new Strat-style body, but examples with the older body style were still being shipped perhaps as early as the start of 1964.By the middle of 1963, the model had been redesigned, becoming less Fender-esque and more Vox - have a look at the redesigned Consort in the 1963 Vox catalogue Other instruments featured include guitars and basses by Hagstrom and Futurama, and Brazilian acoustic guitars by Giannini. 44 pages, with UK pricing in guineas.The Verithin was Hofner's thinline model, produced in Germany for Selmer in the UK, and aimed at capturing the desire for the highly desireable, but largely unaffordable Gibson ES series thinline models. They were good quality, well-built, lightweight instruments, and very popular in early 1960s Britain.

Rather than a manual in the conventional sense, it is actually a mini folder with three loose-leaf inserts with catalogue-style image and description, one each for the 180 Deluxe, 180 Custom, and a new model, the Sonex Artist. The Sonex-180 Standard was not included, having been dropped from the Gibson line earlier in 1981.Pertains to the Sonex-180 Deluxe, Standard and Custom models.The Sonex series consisted of four models altogether, all made with the same 'multiphonic' bodies, but varying hardware. The Deluxe was the most basic model with reasonable pickups and hardware, but they were good looking guitars, affordable, solid, and with the Gibson logo on the headstock. It did not have a passive mode. The electronics consisted of a 9v battery powering a circuit board the length of the body, accessible from the back cover. It was also available as a bass. The post '79 instruments are less desirable today than the original '77 Artist, which has become something of a modern classic. In recent years, RD Artists have become quite collectible among collectors and players alike.In one case, the measurements were 3.95K and 3.62KThe electronics consisted of a 9v battery powering a circuit board smaller than the Artists, but still of significant size, accessible from the back cover. No passive mode.Also available as a bass.The 2007 model featured two Dirty Fingers pickups, whereas the 2009-11 models featured two Burstbucker Pro pickups.Available with a maple body and neck in an Ebony finish, obeche fingerboard, with Seymour Duncan Bass Lines STK-J2n and STK-J2b Hot Stack pickups.This model included GEM Gibson Active pickups and the Gibson 120th Anniversary 12th fret inlay.Bold Strummer. p. 130. ISBN 9780933224186. By using this site, you agree to the Terms of Use and Privacy Policy. It was introduced near the end of the decade in order to mix things up a little bit. Over the time, RD models were removed from the catalog, appearing only sporadically over the years.

2018 catalog of Gibson USA features one four-stringed RD, named RD Artist Bass 2018. Natural is the only available color option.If you have more information about Gibson RD Artist Bass 2018 please write a review. Some reviews are automatically generated generated by using verbal representation of publicly available numeric rating information musicians entered while writing review of Gibson RD Artist Bass 2018. User generated reviews of Gibson RD Artist Bass 2018 represent opinions of credited authors alone, and do not represent Chorder's opinion.All trademarks, images and copyrights on this page are owned by their respective companies. Please activate JavaScript and reload this website. Gibson uses the. Data will only be sent via social networks with your consent. Gibson uses the traditional maple body and glued maple neck construction, while two Gibson EB bass humbuckers combined with versatile active electronics provide variable power sounds. Last but not least, the Gibson RD Artist Bass has a Babicz Full Contact bridge and precise Grover Shamrock tuners. To adjust the sound, an active 2-band tone control is available, whose semi-parametrically designed highs and lows allow a particularly precise tuning of the sound image. A mini switch can also be used to bypass the equalizer, providing the pure passive sound of the Gibson RD Artist bass. The Babicz FCH-3 Full Contact Bridge with traditional 3-point attachment serves as a bridge on the body, whose massive construction supports the lively response and endless sustain of the bass. In addition, Grover Shamrock tuners on the headstock ensure precise and stable tuning. Gibson Series. Gibson USA Design. RD Artist Body. Maple Neck. Maple Neck Profile. Rounded Neck Lacquer. High-Gloss Neck Construction. Set-in Fretboard. Rosewood Fretboard Radius in Inches: Fretted Number of Frets: Medium Nut type. Tektoid Nut width in mm: Longscale Scale (inch): Gibson Pickup neck. No Pickup middle. Rhythm EB Bass Pickup bridge.

Lead EB Bass Active pickups. No Piezo Pickup. No Electronic: Grover Bridge. Babicz Full Contact Number of Strings: Standard Hardware. Chrome Colour. Ebony Finish. Nitrocellulose Country of Origin. USA String Gauge: Standard E Case included. Yes Gigbag included. No Certificate. No Ensure that you entered a valid email address or try again later. With cookies we can remember your settings and provide you with better offers. They also help us to optimize our marketing. We are always trying to improve our pages, to provide you with an optimal shopping experience. To view and manage more details, please click Generally, these cookies are only created based on actions you take in response to a service request, such as setting your privacy preferences, logging in, or filling out forms. Through Google Ads conversion tracking, Google and we are able to track which ads users interact with and which pages they are redirected to after clicking on an ad. We may use the information collected through cookies to compile statistics about ad performance. No personally identifiable information is submitted to Google. The data is stored anonymously by Google. Through Microsoft Ads Conversion Tracking, Microsoft and we can track which ads users interact with and which pages they are redirected to after clicking on an ad. We may use the information collected through cookies to generate statistics about ad performance. No personally identifiable information is submitted to Microsoft. Microsoft stores the information anonymously. Emarsys For a more convenient implementation of discounts, we occasionally use cookies which guarantee the discount through a so-called affiliate program through the link of origin. Userlike This cookie stores user-like settings for the chat system provider, which are required for our online chat service. Trusted Shops With the customer reviews of Trusted Shops it is possible to award stars for delivery, condition of the goods and customer service.