The scratchplates had an intricate floral design printed on them, which would be a feature on some Kawai guitars soon after. The Rickenbacker recess for the vibrato is a nice touch and the metallic red finish on this one, and others I've owned, is superb. These are a thin laminated body obviously influenced by Fender but with a really nice aesthetic twist. Kawai made versions tend to have just dots probably to keep production costs and times down. They were all listed as ET-220's but the dots and binding seems to be earlier (Teisco manufactured) necks with the blocks and binding being standard on the 440's and probably used on the 220 to keep up with demand of the cheaper model at the time. The Spectrum 2 was available with rosewood fretboards with dots, dots and binding or blocks and binding with no real indication of why. These necks rarely have issues 30 years later.
Teisco del rey spectrum 5 guitar free#
This makes for a very strong twist free neck but is looked on as somehow being a "cheap" construction method. Once Kawai took over production the necks became the standard multi laminate necks as used by Kawai (and later Teisco Gen Gakki) at the time. Initially these were manufactured for about a year by Teisco Gen Gakki until the Kawai takeover in '67 and then they were made in the Kawai factory in Hamamatsu where they were made until their demise in the early 70's.Įarly ones had a one piece Asian mahogany neck with the Teisco crown logo badge, or Teisco Del Ray in the US, on the very "Fender" headstock shape not used on many Teiscos at the time. The ET-220 here is the 2 pickup version and there was a 4 pickup version (ET-440) and a (much rarer) short scale bass. The humble little Spectrum 2 was a more conventional design and construction making it a more affordable way of getting in the "Spectrum" series.
The Teisco Spectrum is more famous for the top of the line big sibling to this model that was the magnificent Spectrum 5, which was in fact the deluxe version of the Spectrum SP62. – nice site you have here in remembering some older cheap guitars for those starting out that couldn’t afford the GRETSCH’s & the GIBSON’s… (Hofner’s…. Even Paul Simon owes more than a bit of his ‘soul’ for what you gave to him in making that ‘Bridge’ to the world in his music and on the piano. – Rest in peace LARRY… one of THE greatest keyboard players (and even bass players) ever to walk into the studios in LA, and onto stages all over this world. To stadium crowds and ‘commercial success’? What’s next ‘Scott’ – complaining about the Beatles success for not staying in leather pants and playing the Cavern and the Star Club instead of listening to Brian Epstein in appealing to a wider audience and possibly fame for “selling out” But to “fault” him for NOT being stuck in the studio and using his vocal talents to take the “pop route” to greater stardom is like faulting ANY successful musician for making both money AND his name known to the public at large – as well as some “wannabe” who doesn’t seem to know where that pop music comes from in the talents of those who make that music. Glenn WAS one of THE most famed (and most requested) session players known to all working within the industry. WITHOUT members of the CREW being involvedįrom the MONKEES to the (early) BYRDS – Phil Spector – Brian WIlson & The Beach Boys (which is how Campbell actually was a ‘Boy’ for awhile)… and that (famed) guitar solo on LAST TRAIN TO CLARKSVILLE (again – Campbell)…. You COULDN’T HEAR a session coming out of L.A.
Oh, by the way, do yourself a favour and catch up with Henry Kaiser.ĪNY musician (who’s actually a WORKING musician) SHOULD know about how important GLENN CAMPBELL was in MOST of the 60’s west coast sessions AS an ‘ax man for hire’ in the WRECKING CREW with HAL BLAINE/JIM GORDON – LARRY KNECHTEL/LEON RUSSEL – CAROL KAYE etc… etc… But sometimes you catch a really big one, and relling it in is so much fun! As a customer once stated, it is like fishing, catch and release.
Once I get them, I start looking for the next and the initial romantic attraction wanes. Cool things come and go every month, but this one was worth a mention for sure. So goes the lifetime obsession of guitar collecting. But wait… this one was a plexi Spectrum!! What the hell? Apparently they made 100 or so in Japan (where Henry got it earlier in the decade) so I’m guessing not many – if any other than this one – ever made it across the pond. Yes, a Teisco Spectrum is always in the top ten in my “trade-for” list. What did Henry have to trade? A Teisco Spectrum. He saw an older article from the My Rare Guitars website that circled around a particularly wierd guitar and was interested in trading something for it. Vintage 1960's Teisco Plexi Spectrum 5 GuitarĪ while back I got an email from one of the worlds best “out there” guitar players – Henry Kaiser.
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