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Axis 30th Anniversary

Is it true ?!?

Sterling, along with a couple of other guys whose names would seem mighty familiar to most of you, was a beta-tester for the Stingray.
 
I remember him talking about testing the Stingray (Tommy Walker was his godfather) but you'll have to wait for him to come around to get a more detailed answer.
 
I think I heard that Tommy was the one who designed the first SR preamp but I'm not sure.
 
I didnt design the stingray bass. I was a 17 year old beta tester.... I made suggestions that ended up on the bass but a few of us bassists did back then. This is the problem with Wikipedia.

Tom Walker did design the preamp for the sting ray bass and sabre he also was the guy who designed the music man amps not Leo........The Jretro guy has a thread on the pit where he credits leo for the design of the preamps but it was Tommy even though Leo patented it. They are both no longer with us but I was there.
 
So you were actually there when it all started.
Have you ever considered posting some nice stories from back then?
I'd love to read about the history of the Instrument and the people that were involved in making it. Most of them are gone by now and this could be a beautiful thing to do for present and future reference. What say you?
 
I recall some stories getting posted around here somewhere straight from Sterling. If he doesn't reply soon enough, a go at the ol' search function may sate your curiosity.
 
What am I searching for?
BP has thousands of posts.
I'll give it a try and see what comes up.
 
mbgreene said:
Plato check out this thread - lots of history and stories

http://www.ernieball.com/forums/showthread.php?t=7512&highlight=tommy+Walker
Click to expand...

More debates than solid information in that thread ... but it sure is interesting. There always seem to be gray areas and contradictions with the history.
It looks like the gang splited with some high tensions back in 1979. Who knows what the truth is when it comes to those kind of situations huh?

I still wish BP to come forward with a nice pack of true stories. I do believe it's important (and fun too).
 
I'm dying to see a book out about the history of Ernie Ball & Music Man. It would be terrific to have that up on my bookshelf!
 
More debates than solid information in that thread ... but it sure is interesting. There always seem to be gray areas and contradictions with the history.
It looks like the gang splited with some high tensions back in 1979. Who knows what the truth is when it comes to those kind of situations huh?

I still wish BP to come forward with a nice pack of true stories. I do believe it's important (and fun too).
Click to expand...

It's been my experience that you can count on BP for the real info. And believe me, he has a memory like an elephant. Ask some of these guys on the forum; he remembers things that you think might have gone unnoticed and years later, he'll hit you with it. He must scare lawyers and historians to death.
 
I too would second the comment about wanting to have a book about the history of Ernie Ball. That would be awesome, especially if it had pictures through the years!

Any chance of this becoming a reality BP?
 
Big Poppa said:
Plato keep searching or post a question
Click to expand...


Technical:

1. Why was the first issue P.U. with the long magnets replaced with short ones?
2. What was the reason for choosing regular Ash for the body (being so heavy) as opposed to Alder that Leo mainly used in his Fender era?
3. Why did you change the string tree location?
4. What was the reason for implementing the micro-tilt and bullet truss-rod on MM instruments? Was it George's idea or was it the competition with cbs fender features at that time?
5. Did Leo and you (as a tester) realize that it would be impossible to set a normal string action when the micro-tilt is at the lowest angle position?
6. What's the internals on the original (76) bridge location being set too far back resulting with intonation problems (couldn't be set for g string)?
7. What's the internals on the Grover Jackson period? Why the design changes(4 bolt, finish coat material, top load bridge, etc...)? did he build the production line tooling from scratch?
8. Why did Leo drop the contours off the SR? He always had it on his earlier designs.
9. Why did you move the trus-rod adjustment to the body end of the neck? was it done in order to get rid of the neck hump towards the higher frets or was it because the neck was too thin at the headstock causing cracks at high tr tenssion or was it because you don't trust musicians with an allen key?
10. Why did you change from Alnico to ceramic on the SR5 and kept the Alnico on the SR4?

Personal:
1. Were you a guitar or bass player back in the 70's? Did you play out much? Did you play MM?
2. What caused you to decide to join MM and what roles did you play in the early game?
3. What's the internals on the Beta testing you mentioned before?
4. How was Leo? Were you two close? Did you love your job?
5. Was Ernie involved as well in the early days?
6. Can you describe the market reactions to the first MM basses? How quickly was it picking up?
7. What caused the tension between MM and CLF?
8. Did Leo has really done the 2500 necks "thing" on purpose? Why?
9. What happened between 80-83? Was Grover Jackson unable to provide the market quantities demand?
10. What was the main reason for MM to shut down their operation in 83/4?
11. Why did you buy MM? What were your plans back then? etc...
12. How did you arrange to rapidly produce your new line of MM's (was it 84 or 85?)
13. Did you use existing parts, tools, etc... or did you set it up from scratch?
14. What was your role in the first days of EB?


I'd better stop right now.
But If you'll give me the green light I can go on forever like this...:D
 
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