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The best of the forecasters.
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Besides this podcast, we are currently working on another Beatles project.
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And we need your help for that.
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We are looking for the address of the house that the Ringo star in the 70s owned in Amsterdam.
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On YouTube, there is a video of an old Beatles and Limited chairman René van Halim,
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in which he claims that the address is Prince Gracht 1025.
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But in our research, we were already quick to find out that the address is not correct.
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But what is the address anyway?
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We have already written community archives, cadastres and all kinds of instances and persons,
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but unfortunately we are not getting any further.
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And that is why we are directing us to you.
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Can you help us further in our search for Ringo's address in Amsterdam?
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Have you spoken to Amsterdamers who have seen Ringo or his manager, Hillary Gerard, at that time?
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Every instruction is valuable.
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You can email us at fabforecastatgmail.com or leave a message on our Facebook page.
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Thank you very much for your reaction and hopefully you help us solve this Dutch Beatles mystery.
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Fab Four, we have for you the Fab Four.
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The Fab Four!
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Fab Four cost.
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So how could I dance with another when I saw her stand there?
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Well she looked at me and I could see that before too long I fall in love with her.
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She wouldn't dance with another when I saw her stand there.
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Well my heart went boom when I crossed that room and I held her hand in my ear.
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Well we danced through the night and we held each other tight and before too long I fell in love with her.
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So I'll never dance with another when I saw her stand there.
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So how could I dance with another when I saw her stand there?
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Well my heart went boom when I crossed that room and I held her hand
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in my ear.
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Well we danced through the night and we held each other tight and before too long I fell in love with her.
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So how could I dance with another when I saw her stand there?
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Fab Four cost.
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Fab Four cost welcome to this remote broadcast episode.
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Remote means that we are all at home.
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I am in Utrecht and Michiel in Den Haag and Jan Kees in Hilversum.
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Guys say hello.
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Hello from Luisterhuis.
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Hello Fab Four cost.
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Today we have a very special subject and it has been in the news recently.
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Namely the background of the long-lost bass guitar of Paul McCartney.
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His very first bass guitar he ever bought in Hamburg.
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And that's a very nice and intriguing story.
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And we thought we were going to invite someone who wrote an article about it.
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In the magazine The Bassist.
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And that's Chris Decker.
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Chris, welcome.
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Hello.
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Nice to be here.
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Yes, nice that you wanted to do this.
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Could you briefly tell us something?
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I told you about the magazine The Bassist, but what else do you do?
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Yes, I am Chris Decker.
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I am the head director of The Bassist.
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And that is really a bassist sheet.
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You could see it as a bass sheet, but of course also a hobby sheet.
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Because not everyone pays the bass player.
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With test, bass guitar, effects, amplifiers.
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We are going to interview bassists again.
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So really a nerdy sheet for the bassist.
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Furthermore, I also write for the sheet Music Maker.
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That is really a musician sheet.
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So there are also tests and interviews, background stories.
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But that is also very much about how you feel as a musician who can earn money.
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Subsidies, tax tips.
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But also studio tips are really wide about being a musician.
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And I also write a little bit for the sheet Guitarist.
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And then of course I do a lot of language work.
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Namely, I can interview the musician.
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And then with the name of the bassist, but also other musicians.
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And I have a nice bassist at home.
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I don't test it then.
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And can you also keep that bass?
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No, they always say, oh, but you can buy it well.
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And then every month I think, oh shit, I think this one is also very nice.
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But yeah, no, so actually, unfortunately.
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How big is your collection?
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I think I'm about 35 basses now.
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So I have more than enough.
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But very well bought, very well bought, yes, still pricy.
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And then you have room for a special expansion at your house?
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Something like that.
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I am also the chairman of a festival in the Younger Centrum.
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The Younger Centrum has a lot of room.
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There were a number of basses for me.
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And I think it's great to borrow them.
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And maybe a nice little bridge.
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A very good friend of mine who has been playing for a long time.
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The band Beatles by Girls.
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He played regularly in Belgium and France.
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And she is a very talented bassist.
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And I have a number of Huffner basses.
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So always when she went on stage with that band,
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they would pick up a few Huffners for me.
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And then they played with it.
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It was still a bit authentic.
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So I borrow them often.
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Yes, young people.
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You have a pair.
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Right.
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How much?
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I have a very good one.
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I have five Huffners.
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I have three Vial basses.
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So say a Pommelkarting model.
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And I have two club basses.
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They are a little bigger.
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Were those not the basses that Stuart Sutcliffe also had?
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He had a bigger one.
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He had a 505.
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And he has another bigger one.
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And for the nerds among us,
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the club bass looks a bit like a Gibson Les Paul.
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But then whole.
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Okay.
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A little wider than a Vial bass.
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And those Huffners are very different.
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Those three?
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Yes, I have one Huffner.
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That is a Sunburst.
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That is actually the Pommelkarting model that you are still using.
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It is a 63 model.
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Only then the rest is a different version.
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So you can see a little bit together.
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That is the unofficial signature model of Pommelkarting.
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I also have an orange one.
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That is nice Dutch.
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An orange Vial bass.
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And it is actually the same as an orange.
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And I have a red one.
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And it is very comparable to the bass that we are going to talk about today.
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The first Vial bass of Pommelkarting.
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Because it has the elements closer together.
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Maybe we'll get back to that later.
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But Pommelkarting's two Vial basses are clear to distinguish.
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To make more with the location of the elements.
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So the metal blocks that really absorb the tone.
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And does Pommelkarting have left handed basses?
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Yes, Pommelkarting has left handed basses.
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That is also a mystery.
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Or a mystery.
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That is actually a bit of a story that goes around.
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Pommelkarting has bought his first Vial bass in Hamburg.
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And he once said in an interview that he could easily play a right handed bass.
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And he did that in the beginning with the bass of Stu Sutcliffe.
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And that is why it is a bit in the world that Pommelkarting did not play a right handed bass.
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But he immediately bought a left handed bass.
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The lost and found bass.
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And that is probably the very first left handed bass that Huffner has ever made of that type.
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Oh, and that was to buy it in Hamburg.
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Yes, that is part of the mystery.
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Yes, we are talking about it now.
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So I'm just going to start right away.
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Pommelkarting was of course not a bassist at all.
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But Stu stopped with it and he took over the bass.
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Then he indeed played on that big hollow Huffner of Stu.
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Of course, the brand Huffner was available in Germany well.
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But his band leader had also already bought Huffner guitars.
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He once made an appointment with the band,
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where the bassist also had a Huffner Vial bass.
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So the brand Huffner was a kind of reliable brand of Pommelkarting.
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He went into the Steyr West Shop and he probably had a Vial bass there.
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Or maybe he had seen a record or maybe he knew that he had that bass.
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That is not exactly clear.
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And he did not buy the bass there.
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He really ordered it.
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So Steinway called Huffner.
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Can you make this Vial bass by hand on the left?
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It is of course a quite symmetrical model.
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So I said to him, oh, we can do that very easily.
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And then a special Pommelkart was made in a left-handed model.
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Because at that time there was also no left-handed model
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of that type in the official price list.
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So that is actually proof of one thing.
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And then with eBay, Reverb, all foreign security sites,
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sites where Huffner and Samelaars come together,
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Facebook groups.
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There has never been a left-handed Vial bass,
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the older one is not from Pommelkart.
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So until now we can say that he was the first.
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That's nice, that's nice.
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Chris, can you tell us what this means?
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That you have to convert a bass to a left-handed one.
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So of course the strings have to be different.
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But I also assume that the thing where the plug goes in,
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that has to come to another place.
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What does it all come with?
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Normally, when you take a left-handed instrument,
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you take an instrument that is asymmetrical.
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You often have a band attached to it.
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We call it the top horn, which stands out a little more.
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And that stands out a little less on the bottom.
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And Jimmy Hendricks, for example,
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always played on a press-handed guitar,
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but then turned around.
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It always looks a little weird.
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What is important is that you indeed have to change
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your setting, your bridge and your top.
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Change the input for your plug and the panel where the buttons are.
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Because otherwise those buttons actually
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are a little bit in the way for your top arm when you play.
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So you have to change the button panel.
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The fun part is that there are those farms
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that have also come through a bit.
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The Vial bass is a symmetrical bass.
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So if you turn it around, you see it yourself.
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But you indeed have to replace the control panel
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and the input.
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I can't tell you so much about that.
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It's very difficult to see where I have to start,
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but everything comes with it.
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The Huffner bass was actually launched in 1955.
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Probably Gibson bought the Huffner Gibson
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a little bit, because Gibson also had a model
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with a Vial form.
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But that was a massive bass.
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It's a massive piece of wood, while the Vial bass is a hollow bass.
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It's actually a bit of a weird bass in its Vial form.
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And it was also very popular.
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And actually the only place where that bass was popular
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was in the Netherlands, because a lot of Indorockers
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played on Vial bass.
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So they made a lot of things and they went a lot
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to the Netherlands.
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The Huffner had, for example, no serial number system.
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The importer did that himself.
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And the Dutch importer of Wauw put
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his own serial number on top of his head.
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So you get a lot of old basses who,
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what we call Dutch Huffners,
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are imported from Wauw.
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The bass bass wasn't that popular.
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Probably the Huffner always makes a pre-bass.
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That says, you know what, we're making
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ten Vial basses now.
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We make the Bordys, we make the Halzen,
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or we make the Twintig.
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And well, we're going to continue next week
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with the big model of the Toasthead Cliff.
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And probably there have been a number of basses
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on pre-bass.
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Probably there was already a hole in it for the snoring
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and there was already a hole in it for the control panel.
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Because all the basses that were delivered in that time
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were a version with a flat back.
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Then you think, what does it make?
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I'll come back to that.
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Pommelkarty just ordered one.
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And probably there were a lot of those basses
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who were ready to go.
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But they couldn't make it any more convenient
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because the gate was already in the wrong place.
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And they made a new one.
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In 1962, basses came with a bolle on the back.
253
00:13:12,200 --> 00:13:14,200
And now the bass is back.
254
00:13:14,200 --> 00:13:15,200
Nobody knew that at all.
255
00:13:15,200 --> 00:13:19,200
Even the experts, it turned out that Pommelkarty's bass had a bolle on the back.
256
00:13:19,200 --> 00:13:22,200
And then everyone has to go back and say, how is that possible?
257
00:13:22,200 --> 00:13:23,200
It's all speculation.
258
00:13:23,200 --> 00:13:27,200
But we think that Huffner probably had ten basses ready.
259
00:13:27,200 --> 00:13:30,200
For a year, Pommelkarty ordered the left-hand one.
260
00:13:30,200 --> 00:13:33,200
That they thought, oh shit, we have to build a completely new one now
261
00:13:33,200 --> 00:13:34,200
with the right gate.
262
00:13:34,200 --> 00:13:36,200
And then that was the first one with a bolle on the back.
263
00:13:36,200 --> 00:13:37,200
And what does that make of?
264
00:13:37,200 --> 00:13:38,200
It doesn't make any difference at all.
265
00:13:38,200 --> 00:13:40,200
You feel a little bit like you're hanging around.
266
00:13:40,200 --> 00:13:43,200
But it's actually more because it's a very strange bass,
267
00:13:43,200 --> 00:13:45,200
the first left-hand one.
268
00:13:45,200 --> 00:13:49,200
And it actually has too modern specifications for what it has to be.
269
00:13:49,200 --> 00:13:52,200
So that makes the mystery even bigger.
270
00:13:52,200 --> 00:13:53,200
Oh yeah.
271
00:13:53,200 --> 00:13:54,200
And was he now in that time?
272
00:13:54,200 --> 00:13:59,200
Was such a Huffner now more expensive or cheaper than a mid-bass?
273
00:13:59,200 --> 00:14:03,200
It was very difficult to get American basses in Europe.
274
00:14:03,200 --> 00:14:05,200
So we played the best of it.
275
00:14:05,200 --> 00:14:07,200
Fender and Gibson, Rick and Bakker and things like that.
276
00:14:07,200 --> 00:14:08,200
That was very difficult to get.
277
00:14:08,200 --> 00:14:11,200
We also know the story of George Harrison,
278
00:14:11,200 --> 00:14:15,200
who first bought the scratch of a seaman or a military car
279
00:14:15,200 --> 00:14:16,200
that he bought with America.
280
00:14:16,200 --> 00:14:18,200
That just didn't come into the store.
281
00:14:18,200 --> 00:14:22,200
So Huffner was just much cheaper than American instruments.
282
00:14:22,200 --> 00:14:26,200
And the word is often said, well, it's a cheap bass, blah, blah, blah.
283
00:14:26,200 --> 00:14:28,200
But it's just a well-built German bass,
284
00:14:28,200 --> 00:14:31,200
which then had a pretty good price,
285
00:14:31,200 --> 00:14:33,200
but just cheaper than American opponents.
286
00:14:33,200 --> 00:14:34,200
And it's light, isn't it?
287
00:14:34,200 --> 00:14:35,200
Super light.
288
00:14:35,200 --> 00:14:38,200
Yes, that was one of the reasons, at least what Pompkart didn't always say,
289
00:14:38,200 --> 00:14:41,200
why he was good at buying those bass-choices in combination with the fact that he was cheap.
290
00:14:41,200 --> 00:14:47,200
And of course he was able to be very mobile and dynamic on stage with the things he bought.
291
00:14:47,200 --> 00:14:48,200
Yes, exactly.
292
00:14:48,200 --> 00:14:53,200
This has to be a huge complaint for the company Huffner, right?
293
00:14:53,200 --> 00:14:55,200
McCartney on Huffner.
294
00:14:55,200 --> 00:14:56,200
Yes, that's right.
295
00:14:56,200 --> 00:14:59,200
It was even so that there was no left-hand bass in the price list,
296
00:14:59,200 --> 00:15:02,200
but in England that bass was completely unreachable.
297
00:15:02,200 --> 00:15:06,200
And when McCartney started playing, he came on television,
298
00:15:06,200 --> 00:15:09,200
asked for a bass, and suddenly at Huffner's order,
299
00:15:09,200 --> 00:15:11,200
from the importer in England, from Selmer,
300
00:15:11,200 --> 00:15:13,200
just do 500.
301
00:15:13,200 --> 00:15:16,200
And she thought, wait, just 500.
302
00:15:16,200 --> 00:15:17,200
Is this not a mistake?
303
00:15:17,200 --> 00:15:20,200
Because we sell 10 per year in the Netherlands for the interlocutors
304
00:15:20,200 --> 00:15:23,200
and 5 in Germany and 2 in Norway.
305
00:15:23,200 --> 00:15:26,200
So at the point that she actually wanted to call Selmer from 500,
306
00:15:26,200 --> 00:15:27,200
you don't mean 50,
307
00:15:27,200 --> 00:15:30,200
she got a message from just doing 5,000.
308
00:15:30,200 --> 00:15:33,200
So it really went from 10 numbers to 100,000.
309
00:15:33,200 --> 00:15:37,200
So for Huffner that was really important.
310
00:15:37,200 --> 00:15:41,200
Now it is so that Huffner is mainly in the classical instruments.
311
00:15:41,200 --> 00:15:44,200
There are people who claim that Huffner had been there for a long time,
312
00:15:44,200 --> 00:15:46,200
as long as McCartney had been there.
313
00:15:46,200 --> 00:15:48,200
But most of the money still comes from the contrabassist and the viola
314
00:15:48,200 --> 00:15:50,200
and the classical instruments, so it was...
315
00:15:50,200 --> 00:15:54,200
But it's also special, because McCartney really chose it himself.
316
00:15:54,200 --> 00:15:58,200
I mean, according to the story of George Bezoek,
317
00:15:58,200 --> 00:16:02,200
when he was there in February,
318
00:16:02,200 --> 00:16:04,200
he said, do you want to test something?
319
00:16:04,200 --> 00:16:06,200
And then that keeps hanging.
320
00:16:06,200 --> 00:16:09,200
But McCartney just chose it himself.
321
00:16:09,200 --> 00:16:10,200
Yes, exactly.
322
00:16:10,200 --> 00:16:12,200
And I'm going to tell you a little bit about what I said before.
323
00:16:12,200 --> 00:16:13,200
There were also different stories about it.
324
00:16:13,200 --> 00:16:15,200
Of course, the other Beatles also had Huffner models.
325
00:16:15,200 --> 00:16:18,200
So for them it was a brand that they knew and trusted.
326
00:16:18,200 --> 00:16:20,200
I don't dare to call the band a bit,
327
00:16:20,200 --> 00:16:22,200
but the Beatles or maybe the Corrie Man,
328
00:16:22,200 --> 00:16:23,200
or maybe I used to have one before,
329
00:16:23,200 --> 00:16:25,200
but from the band that already had a viola bass,
330
00:16:25,200 --> 00:16:27,200
probably also played in Germany.
331
00:16:27,200 --> 00:16:31,200
And Paul McCartney claimed that he had seen a few concerts
332
00:16:31,200 --> 00:16:33,200
by an American artist,
333
00:16:33,200 --> 00:16:35,200
where the bassist had a Gibson bass,
334
00:16:35,200 --> 00:16:37,200
which looked a bit like that Huffner bass.
335
00:16:37,200 --> 00:16:40,200
So maybe it was all sails that were planned then.
336
00:16:40,200 --> 00:16:43,200
And then he thought, oh yes, this bass is symmetrical.
337
00:16:43,200 --> 00:16:45,200
It doesn't look weird when I order it left-handed.
338
00:16:45,200 --> 00:16:47,200
And indeed, it's nice and light.
339
00:16:47,200 --> 00:16:49,200
So you can throw it with me and say, I'm a bassist myself.
340
00:16:49,200 --> 00:16:52,200
And if you have a light bass, you can move it nicely.
341
00:16:52,200 --> 00:16:54,200
If you have a light bass, you can put the air in it,
342
00:16:54,200 --> 00:16:56,200
what Paul McCartney often does.
343
00:16:56,200 --> 00:16:58,200
You can actually move it a bit more.
344
00:16:58,200 --> 00:17:00,200
I would almost want to say more with dancers.
345
00:17:00,200 --> 00:17:02,200
But with bass, of course, you also have to...
346
00:17:02,200 --> 00:17:04,200
That's why they are so heavy, I think.
347
00:17:04,200 --> 00:17:06,200
Just have a nice deep sound.
348
00:17:06,200 --> 00:17:09,200
Is that not a problem with such a light bass?
349
00:17:09,200 --> 00:17:11,200
That something sounds better?
350
00:17:11,200 --> 00:17:13,200
No, actually, it's very nice and full.
351
00:17:13,200 --> 00:17:16,200
And it's like a bass is longer than a guitar.
352
00:17:16,200 --> 00:17:18,200
That's why you can already see it.
353
00:17:18,200 --> 00:17:20,200
Yes, there's more wood in it for the neck.
354
00:17:20,200 --> 00:17:22,200
That often makes it a bit heavier.
355
00:17:22,200 --> 00:17:24,200
And yes, bass should be strong.
356
00:17:24,200 --> 00:17:26,200
The tension of the bass is about 80 kilos.
357
00:17:26,200 --> 00:17:28,200
So something like that has to be good together.
358
00:17:28,200 --> 00:17:30,200
And you have to be really good together.
359
00:17:30,200 --> 00:17:32,200
Okay, but at some point,
360
00:17:32,200 --> 00:17:36,200
you choose to take it away from about 65 kilos.
361
00:17:36,200 --> 00:17:38,200
Yes, that's right.
362
00:17:38,200 --> 00:17:40,200
Is the Hovner only used for tournaments?
363
00:17:40,200 --> 00:17:44,200
And then it ends up at the get-back sessions, of course.
364
00:17:44,200 --> 00:17:45,200
That's right, yes.
365
00:17:45,200 --> 00:17:47,200
Why do you choose that?
366
00:17:47,200 --> 00:17:50,200
Is it the sound that fits better?
367
00:17:50,200 --> 00:17:52,200
Yes, maybe.
368
00:17:52,200 --> 00:17:54,200
You can also change it a little.
369
00:17:54,200 --> 00:17:56,200
He played it on the Fender bass for a while.
370
00:17:56,200 --> 00:17:59,200
In his Wings time, it was completely Rickenbacker.
371
00:17:59,200 --> 00:18:01,200
And then he said, I just wanted to have a different sound.
372
00:18:01,200 --> 00:18:03,200
The Beatles was Fjolbass and Wings,
373
00:18:03,200 --> 00:18:05,200
maybe more Rickenbacker if you look at it.
374
00:18:05,200 --> 00:18:08,200
Of course, he also took part in half of the Beatles career.
375
00:18:08,200 --> 00:18:10,200
That's what he said.
376
00:18:10,200 --> 00:18:11,200
Yes, exactly.
377
00:18:11,200 --> 00:18:14,200
But he probably never played the Beatles on the Rickenbacker.
378
00:18:14,200 --> 00:18:16,200
No, that's right.
379
00:18:16,200 --> 00:18:18,200
So he thinks maybe with the Beatles,
380
00:18:18,200 --> 00:18:20,200
that he saw that it was the Beatles bass
381
00:18:20,200 --> 00:18:22,200
and the Rickenbacker with the Wings bass.
382
00:18:22,200 --> 00:18:24,200
And I think, yeah, bassists.
383
00:18:24,200 --> 00:18:25,200
There are also the other Beatles.
384
00:18:25,200 --> 00:18:26,200
The new snoop.
385
00:18:26,200 --> 00:18:27,200
You see a new bass.
386
00:18:27,200 --> 00:18:29,200
And then you think, oh yeah, that sounds very nice.
387
00:18:29,200 --> 00:18:31,200
That's why you also have 35, of course.
388
00:18:31,200 --> 00:18:32,200
Yes, exactly.
389
00:18:32,200 --> 00:18:34,200
And sometimes you play on one bass for a while
390
00:18:34,200 --> 00:18:36,200
and then you think, oh, but that sounds nice too.
391
00:18:36,200 --> 00:18:38,200
Because then you go back to the first one three months later.
392
00:18:38,200 --> 00:18:39,200
Because they all have different sounds.
393
00:18:39,200 --> 00:18:41,200
So it's often also a bit of a snoop of the week, say.
394
00:18:41,200 --> 00:18:42,200
Yes, yes.
395
00:18:42,200 --> 00:18:46,200
Now of course McCartney plays in the early Beatles time.
396
00:18:46,200 --> 00:18:49,200
On the bass, also on the Please Please Me.
397
00:18:49,200 --> 00:18:51,200
And I think also with the Beatles.
398
00:18:51,200 --> 00:18:52,200
Maybe another part.
399
00:18:52,200 --> 00:18:53,200
And the early singles.
400
00:18:53,200 --> 00:18:54,200
Yes.
401
00:18:54,200 --> 00:18:56,200
So let's go to a few of those fragments.
402
00:18:56,200 --> 00:19:00,200
Songs where the first bass of Paul McCartney is used.
403
00:19:19,200 --> 00:19:20,200
Yes.
404
00:19:49,200 --> 00:20:16,200
Well, that was his Paul McCartney on his very first bass.
405
00:20:16,200 --> 00:20:19,200
And then in 1963 he buys a second one.
406
00:20:19,200 --> 00:20:20,200
Yes.
407
00:20:20,200 --> 00:20:21,200
What is the difference?
408
00:20:21,200 --> 00:20:22,200
Why?
409
00:20:22,200 --> 00:20:23,200
Because they are, I think, quite the same.
410
00:20:23,200 --> 00:20:24,200
It should be the same sound.
411
00:20:24,200 --> 00:20:25,200
Yes.
412
00:20:25,200 --> 00:20:26,200
Why does he buy a new one, do you think?
413
00:20:26,200 --> 00:20:27,200
Well, it's like that.
414
00:20:27,200 --> 00:20:29,200
Paul McCartney has played a lot of that bass.
415
00:20:29,200 --> 00:20:31,200
And he actually has played it broken.
416
00:20:31,200 --> 00:20:32,200
He has done so many exercises.
417
00:20:32,200 --> 00:20:33,200
Yes.
418
00:20:33,200 --> 00:20:35,200
When I play so many, all the recordings.
419
00:20:35,200 --> 00:20:37,200
Then you start with everything at some point.
420
00:20:37,200 --> 00:20:39,200
I won't play too much in that time.
421
00:20:39,200 --> 00:20:41,200
But the elements are in a sort of plastic ring.
422
00:20:41,200 --> 00:20:43,200
And the plastic ring can break.
423
00:20:43,200 --> 00:20:45,200
That also happens to me.
424
00:20:45,200 --> 00:20:47,200
The button suddenly goes off.
425
00:20:47,200 --> 00:20:49,200
Yes, such a bass has to be set off at the end.
426
00:20:49,200 --> 00:20:51,200
It has to stay in the bottom.
427
00:20:51,200 --> 00:20:52,200
Just like a car.
428
00:20:52,200 --> 00:20:54,200
If you drive your car, you just have to replace things.
429
00:20:54,200 --> 00:20:56,200
With a bass, if you play a lot, it also happens one way or another.
430
00:20:56,200 --> 00:21:00,200
So Paul McCartney thought, hey, this bass is getting a little less.
431
00:21:00,200 --> 00:21:01,200
I buy a second one.
432
00:21:01,200 --> 00:21:05,200
That's his 1963, which is still live on the stage.
433
00:21:05,200 --> 00:21:06,200
To be seen.
434
00:21:06,200 --> 00:21:07,200
Yes.
435
00:21:07,200 --> 00:21:09,200
Then he has his first bass.
436
00:21:09,200 --> 00:21:10,200
He has let go of it.
437
00:21:10,200 --> 00:21:11,200
Through a shop.
438
00:21:11,200 --> 00:21:13,200
And he has probably helped a group of Burns.
439
00:21:13,200 --> 00:21:14,200
The guitar brand.
440
00:21:14,200 --> 00:21:16,200
And they actually did a lot of weird things with it.
441
00:21:16,200 --> 00:21:19,200
They just had to go to the Huffner-imperateur with Sharon Cross.
442
00:21:19,200 --> 00:21:22,200
But they thought, well, we can do that ourselves too.
443
00:21:22,200 --> 00:21:24,200
So they have the bass of a new lacquer layer.
444
00:21:24,200 --> 00:21:26,200
Which was actually too thick.
445
00:21:26,200 --> 00:21:28,200
And not this Huffner's.
446
00:21:28,200 --> 00:21:31,200
Much more black and red instead of brown and yellow.
447
00:21:31,200 --> 00:21:35,200
And they have those two elements that are normally in plastic rings.
448
00:21:35,200 --> 00:21:38,200
They have put in a sort of wooden block.
449
00:21:38,200 --> 00:21:41,200
And later the control panel has been replaced a few years later.
450
00:21:41,200 --> 00:21:45,200
And yes, when Paul got his new bass, he actually started playing there.
451
00:21:45,200 --> 00:21:49,200
And the old bass has become a reserve bass after the repairs.
452
00:21:49,200 --> 00:21:52,200
Of course, it is now that we have grown a bit since the nineties.
453
00:21:52,200 --> 00:21:55,200
Of course, the Beatles have actually grown bigger than they used to be.
454
00:21:55,200 --> 00:21:59,200
And we are all going to read books, going to write books.
455
00:21:59,200 --> 00:22:02,200
All of the Beatles have been made, made into a sort of gold.
456
00:22:02,200 --> 00:22:05,200
But at that time, of course, there were a few pieces of business for Paul McCartney.
457
00:22:05,200 --> 00:22:07,200
He had a bass that was a bit broken, let it repair.
458
00:22:07,200 --> 00:22:09,200
He had a new one and he is going to play on it.
459
00:22:09,200 --> 00:22:12,200
So actually it is very pragmatic, very practical.
460
00:22:12,200 --> 00:22:17,200
But now, yes, the Beatles have grown so big that they are going to make a podcast about it today.
461
00:22:17,200 --> 00:22:19,200
And I didn't think of that at the time.
462
00:22:19,200 --> 00:22:21,200
We are making a podcast in the seventies, so...
463
00:22:21,200 --> 00:22:25,200
Oh, yes, okay, then we have to get back to it.
464
00:22:25,200 --> 00:22:29,200
The story goes that he, in the years, I thought in the nineties or so,
465
00:22:29,200 --> 00:22:31,200
his boss has completely let it repair.
466
00:22:31,200 --> 00:22:33,200
I thought in America.
467
00:22:33,200 --> 00:22:37,200
And that his personal assistant, John Hammel,
468
00:22:37,200 --> 00:22:42,200
has reserved a special chair in the Concorde for that bass.
469
00:22:42,200 --> 00:22:44,200
And that he, together with John Hammel,
470
00:22:44,200 --> 00:22:48,200
went to America with that bass and has completely repaired it.
471
00:22:48,200 --> 00:22:51,200
So at that time it must have been very special
472
00:22:51,200 --> 00:22:55,200
to let that bass be repaired and then by someone in America.
473
00:22:55,200 --> 00:22:57,200
So not to the factory.
474
00:22:57,200 --> 00:23:00,200
Do you know why he went to America?
475
00:23:00,200 --> 00:23:02,200
Yes, that's a fun story.
476
00:23:02,200 --> 00:23:05,200
To make it clear, we now have about the second bass of Paul McCartney.
477
00:23:05,200 --> 00:23:09,200
The first was, at some point, disappeared in what we always thought in the sixties.
478
00:23:09,200 --> 00:23:11,200
But I think it was in the seventies.
479
00:23:11,200 --> 00:23:14,200
So the second bass in the sixties, he has played it for a long time.
480
00:23:14,200 --> 00:23:17,200
And even that bass, after a while, just went underground.
481
00:23:17,200 --> 00:23:20,200
He went to the chest with Paul McCartney in the trunk.
482
00:23:20,200 --> 00:23:23,200
Until he approached Elvis Costello.
483
00:23:23,200 --> 00:23:26,200
And Elvis said, you have Paul McCartney.
484
00:23:26,200 --> 00:23:29,200
Actually, I would like to hear you on your head.
485
00:23:29,200 --> 00:23:32,200
So special recording with Elvis Costello,
486
00:23:32,200 --> 00:23:35,200
has Paul McCartney, I think, already opened a warehouse or a chest,
487
00:23:35,200 --> 00:23:38,200
packed an old suitcase, and there the bass came to appear.
488
00:23:38,200 --> 00:23:42,200
And at that moment there was also a setlist taped up,
489
00:23:42,200 --> 00:23:43,200
very small on the side.
490
00:23:59,200 --> 00:24:19,200
Also, that bass was just an underground tour.
491
00:24:19,200 --> 00:24:20,200
It had already been quiet for a long time.
492
00:24:20,200 --> 00:24:21,200
It was played a lot.
493
00:24:21,200 --> 00:24:22,200
And what I can say, just like a car.
494
00:24:22,200 --> 00:24:25,200
Sometimes you just have to replace something or repair it for a while.
495
00:24:25,200 --> 00:24:26,200
APK.
496
00:24:26,200 --> 00:24:28,200
APK, something like that.
497
00:24:28,200 --> 00:24:31,200
And then there was a moment, I think, that it was later,
498
00:24:31,200 --> 00:24:35,200
that it was clear that the bass had that story.
499
00:24:35,200 --> 00:24:37,200
One was gone, and this bass was over.
500
00:24:37,200 --> 00:24:39,200
And it was, of course, the remaining bass.
501
00:24:39,200 --> 00:24:42,200
Then the bass indeed flew to the Mendelin Brothers,
502
00:24:42,200 --> 00:24:46,200
Mendelin Brothers in Brooklyn, as I said.
503
00:24:46,200 --> 00:24:48,200
That's where the bass really got up.
504
00:24:48,200 --> 00:24:50,200
The story is indeed true, that he got his own plane seat.
505
00:24:50,200 --> 00:24:53,200
That still happens with expensive instruments.
506
00:24:53,200 --> 00:24:56,200
And then there comes another fun story,
507
00:24:56,200 --> 00:24:58,200
the repair of the Mendelin Brothers.
508
00:24:58,200 --> 00:25:00,200
That was Flip CPO.
509
00:25:00,200 --> 00:25:01,200
And that's a Dutchman.
510
00:25:01,200 --> 00:25:02,200
He's just from Echmond.
511
00:25:02,200 --> 00:25:05,200
So the current bass of Pommelkart, which is now played,
512
00:25:05,200 --> 00:25:07,200
is actually completely revised by a Dutchman.
513
00:25:07,200 --> 00:25:09,200
Tell us, and why after the Mendelin Brothers?
514
00:25:09,200 --> 00:25:11,200
Are they famous?
515
00:25:11,200 --> 00:25:14,200
Yes, at that time, I think Pommelkart had chosen a lot of companies.
516
00:25:14,200 --> 00:25:17,200
I could have chosen, it was a renowned company
517
00:25:17,200 --> 00:25:20,200
that built guitars and repaired for quite a few large areas.
518
00:25:20,200 --> 00:25:24,200
And I think that in that time it was also that he wanted to repair guitars,
519
00:25:24,200 --> 00:25:27,200
that he came across an aircraft crash that day,
520
00:25:27,200 --> 00:25:29,200
or that that crash was going on that day.
521
00:25:29,200 --> 00:25:31,200
And he said, hey, what is such a good address?
522
00:25:31,200 --> 00:25:33,200
And then he said, oh, you have to go there.
523
00:25:33,200 --> 00:25:35,200
That it was actually in that way again,
524
00:25:35,200 --> 00:25:37,200
that it could also be in another place.
525
00:25:37,200 --> 00:25:40,200
I think a lot of things are best more coincidental,
526
00:25:40,200 --> 00:25:42,200
or more so, as they have been,
527
00:25:42,200 --> 00:25:45,200
than that there really is a magic or a story behind it.
528
00:25:45,200 --> 00:25:47,200
It's not like the Mendelin Brothers
529
00:25:47,200 --> 00:25:49,200
were all known for their rough repairs or something like that.
530
00:25:49,200 --> 00:25:50,200
That's not the case.
531
00:25:50,200 --> 00:25:52,200
I'm not allowed to ask questions like that.
532
00:25:52,200 --> 00:25:54,200
Tell me that the story is a bit wrong.
533
00:25:54,200 --> 00:25:57,200
So George Harrison is offered a Rickenbacker,
534
00:25:57,200 --> 00:26:00,200
and Warenpole, in the room next to me,
535
00:26:00,200 --> 00:26:03,200
is also offered a Rickenbacker in 1964.
536
00:26:03,200 --> 00:26:06,200
And then it goes on to, for example, The Hardest Night.
537
00:26:06,200 --> 00:26:09,200
What do you get for a difference in sound?
538
00:26:09,200 --> 00:26:11,200
Is, for example, the Rickenbacker,
539
00:26:11,200 --> 00:26:14,200
as we know it from Paperback Writer and Rain,
540
00:26:14,200 --> 00:26:16,200
very dominant, very full, very rich.
541
00:26:16,200 --> 00:26:18,200
Is that nature in the Rickenbacker,
542
00:26:18,200 --> 00:26:20,200
or is it more in the mix?
543
00:26:20,200 --> 00:26:22,200
How the number is mixed?
544
00:26:22,200 --> 00:26:24,200
Exactly.
545
00:26:24,200 --> 00:26:26,200
Or what kind of difference would you get?
546
00:26:26,200 --> 00:26:28,200
I think a little bit of both.
547
00:26:28,200 --> 00:26:30,200
A fun anecdote of myself.
548
00:26:30,200 --> 00:26:32,200
I took up a studio in Belgium once,
549
00:26:32,200 --> 00:26:34,200
and I had seven bass guitars with me.
550
00:26:34,200 --> 00:26:36,200
And those seven basses go through D-Ice,
551
00:26:36,200 --> 00:26:38,200
now they're sent to my amplifier via bank table.
552
00:26:38,200 --> 00:26:40,200
And there are now microphones in front of them,
553
00:26:40,200 --> 00:26:42,200
and then it's mixed, and then compressors come over.
554
00:26:42,200 --> 00:26:44,200
And when the album was ready, I thought,
555
00:26:44,200 --> 00:26:47,200
I don't actually hear which bass is on which number anymore.
556
00:26:47,200 --> 00:26:49,200
I myself think that a guitar
557
00:26:49,200 --> 00:26:51,200
that gives more color.
558
00:26:51,200 --> 00:26:53,200
I always say the bass and drum give a base to it.
559
00:26:53,200 --> 00:26:55,200
They have a kind of base sound.
560
00:26:55,200 --> 00:26:57,200
And with a guitar you have much more the difference
561
00:26:57,200 --> 00:26:59,200
of the choice of an acoustic guitar,
562
00:26:59,200 --> 00:27:01,200
or a brighter Fender, or a brighter Rickenbacker,
563
00:27:01,200 --> 00:27:03,200
or a darker Gibson.
564
00:27:03,200 --> 00:27:05,200
That's a very simple step.
565
00:27:05,200 --> 00:27:07,200
The fun thing is that there are a number of Beatles
566
00:27:07,200 --> 00:27:09,200
that are still not known
567
00:27:09,200 --> 00:27:11,200
what Paul McCartney played exactly.
568
00:27:11,200 --> 00:27:13,200
And then there are people who say, hey, listen to this.
569
00:27:13,200 --> 00:27:15,200
I played this on my headphones, blah, blah, blah,
570
00:27:15,200 --> 00:27:17,200
it sounds exactly like the number.
571
00:27:17,200 --> 00:27:19,200
And then he says to me, yes, but I played it on a Rickenbacker.
572
00:27:19,200 --> 00:27:21,200
And I also sound exactly like the number.
573
00:27:21,200 --> 00:27:23,200
And then the third one says, I played it on a Fender.
574
00:27:23,200 --> 00:27:25,200
So it's also recorded.
575
00:27:25,200 --> 00:27:27,200
You can treat it in some way that it comes very close to each other.
576
00:27:27,200 --> 00:27:29,200
But if you put those two basses next to each other,
577
00:27:29,200 --> 00:27:31,200
there are huge differences.
578
00:27:31,200 --> 00:27:33,200
Actually, the difference is that the Rickenbacker
579
00:27:33,200 --> 00:27:35,200
is a so-called long scale bass.
580
00:27:35,200 --> 00:27:37,200
That's actually the normal length of the most bass guitars.
581
00:27:37,200 --> 00:27:39,200
I think that 35 percent of the bass guitars in the world
582
00:27:39,200 --> 00:27:41,200
are long scale.
583
00:27:41,200 --> 00:27:43,200
And that means that the snare length is 34 inches.
584
00:27:43,200 --> 00:27:45,200
That means it's still an inch.
585
00:27:45,200 --> 00:27:47,200
And the short scale bass is 30 inches.
586
00:27:47,200 --> 00:27:49,200
So a short bass is 10 centimeters shorter.
587
00:27:49,200 --> 00:27:51,200
In the 1960s, the short scale basses
588
00:27:51,200 --> 00:27:53,200
that were in the short scale basses were
589
00:27:53,200 --> 00:27:55,200
very much in.
590
00:27:55,200 --> 00:27:57,200
Jack Bruce, Rien Scherz, Frank Reijfeld,
591
00:27:57,200 --> 00:27:59,200
a lot of Sissies bass players
592
00:27:59,200 --> 00:28:01,200
play on a short scale.
593
00:28:01,200 --> 00:28:03,200
And the Huffner is hollow.
594
00:28:03,200 --> 00:28:05,200
So you actually have a short hollow bass
595
00:28:05,200 --> 00:28:07,200
and a long, massive bass.
596
00:28:07,200 --> 00:28:09,200
What is still a surprise,
597
00:28:09,200 --> 00:28:11,200
is that Fender bass has a smooth neck
598
00:28:11,200 --> 00:28:13,200
which gives a very own sound.
599
00:28:13,200 --> 00:28:15,200
And a Rickenbacker,
600
00:28:15,200 --> 00:28:17,200
it runs through the neck in the body.
601
00:28:17,200 --> 00:28:19,200
So I have one very long piece of copper bridge.
602
00:28:19,200 --> 00:28:21,200
And at the Huffner it is an inclined neck
603
00:28:21,200 --> 00:28:23,200
that is closer to each other via sound.
604
00:28:23,200 --> 00:28:25,200
But if you want to use it in sound,
605
00:28:25,200 --> 00:28:27,200
then you can put a long note
606
00:28:27,200 --> 00:28:29,200
with a Rickenbacker much nicer.
607
00:28:29,200 --> 00:28:31,200
A Huffner bass, the notes are actually
608
00:28:31,200 --> 00:28:33,200
quite short. Through that hollow body
609
00:28:33,200 --> 00:28:35,200
you get a kind of warmth,
610
00:28:35,200 --> 00:28:37,200
but you get a kind of short sound.
611
00:28:37,200 --> 00:28:39,200
And if you play with a track, you actually get
612
00:28:39,200 --> 00:28:41,200
a kind of low sound.
613
00:28:41,200 --> 00:28:43,200
But that sound is actually very short.
614
00:28:43,200 --> 00:28:45,200
And I also think that Tom McCartney
615
00:28:45,200 --> 00:28:47,200
plays, as he plays,
616
00:28:47,200 --> 00:28:49,200
for a few reasons. One of the reasons is that
617
00:28:49,200 --> 00:28:51,200
he is of course a brilliant musician.
618
00:28:51,200 --> 00:28:53,200
Maybe one of the best musicians in history
619
00:28:53,200 --> 00:28:55,200
of the world. That he can
620
00:28:55,200 --> 00:28:57,200
think of fantastic bass lines.
621
00:28:57,200 --> 00:28:59,200
And then you just have to put something
622
00:28:59,200 --> 00:29:01,200
on, hear how brilliant he is.
623
00:29:01,200 --> 00:29:03,200
But because the Huffner has a fairly short tone
624
00:29:03,200 --> 00:29:05,200
you actually have to keep playing.
625
00:29:05,200 --> 00:29:07,200
You can't say, hey, I'm just putting
626
00:29:07,200 --> 00:29:09,200
some more, but you have to keep playing
627
00:29:09,200 --> 00:29:11,200
continuously on that trip.
628
00:29:11,200 --> 00:29:13,200
And I think that Tom McCartney plays so many notes
629
00:29:13,200 --> 00:29:15,200
that the bass actually comes to ask for it.
630
00:29:15,200 --> 00:29:17,200
Yes, that's what he learned
631
00:29:17,200 --> 00:29:19,200
on that Huffner, because that Huffner
632
00:29:19,200 --> 00:29:21,200
just had too short notes and then
633
00:29:21,200 --> 00:29:23,200
had to fill it up, he just had to play
634
00:29:23,200 --> 00:29:25,200
a lot of notes. And that's his style.
635
00:29:25,200 --> 00:29:27,200
That's right. I'm a little bit short on the
636
00:29:27,200 --> 00:29:29,200
corner, but here I can talk about it for an hour.
637
00:29:29,200 --> 00:29:31,200
And with a Rickenbacker you can play a very long note
638
00:29:31,200 --> 00:29:33,200
with it. You also notice that he also
639
00:29:33,200 --> 00:29:35,200
does that again in Wings.
640
00:29:35,200 --> 00:29:37,200
It's a Huffner.
641
00:29:37,200 --> 00:29:39,200
Yes, with that Huffner up there.
642
00:29:39,200 --> 00:29:41,200
That's good.
643
00:29:41,200 --> 00:29:43,200
I'm a nerd too.
644
00:29:43,200 --> 00:29:45,200
I invited you to my party. I'm a bass nerd.
645
00:29:45,200 --> 00:29:47,200
Of course, that Huffner is a little bit
646
00:29:47,200 --> 00:29:49,200
difficult for foreigners, so in Engeland
647
00:29:49,200 --> 00:29:51,200
a lot of Huffners are delivered without the Huffner.
648
00:29:51,200 --> 00:29:53,200
So you were specially sent to Engeland
649
00:29:53,200 --> 00:29:55,200
and a Huffner was there.
650
00:29:55,200 --> 00:29:57,200
Yes, McCartney himself also says
651
00:29:57,200 --> 00:29:59,200
a Huffner for Huffner.
652
00:29:59,200 --> 00:30:01,200
Yes, I think so too.
653
00:30:01,200 --> 00:30:03,200
Tell us, what do those two buttons
654
00:30:03,200 --> 00:30:05,200
have to offer?
655
00:30:05,200 --> 00:30:07,200
Yes, that's also a very nice
656
00:30:07,200 --> 00:30:09,200
nerdy story.
657
00:30:09,200 --> 00:30:11,200
Most basses have a volume button,
658
00:30:11,200 --> 00:30:13,200
so that you can set up your front
659
00:30:13,200 --> 00:30:15,200
elements. The element at the
660
00:30:15,200 --> 00:30:17,200
neck sounds very warm.
661
00:30:17,200 --> 00:30:19,200
There is your snar more in the middle,
662
00:30:19,200 --> 00:30:21,200
so you can move a little more.
663
00:30:21,200 --> 00:30:23,200
And very close to the bridge,
664
00:30:23,200 --> 00:30:25,200
the snar is a little bit tighter.
665
00:30:25,200 --> 00:30:27,200
You have to imagine that if you
666
00:30:27,200 --> 00:30:29,200
have a elastic band or a string
667
00:30:29,200 --> 00:30:31,200
between two points, that you can
668
00:30:31,200 --> 00:30:33,200
choose between those two buttons,
669
00:30:33,200 --> 00:30:35,200
whether you set up the front
670
00:30:35,200 --> 00:30:37,200
element or the rear element or both.
671
00:30:37,200 --> 00:30:39,200
There are just two volume buttons,
672
00:30:39,200 --> 00:30:41,200
so you can choose between a little bit
673
00:30:41,200 --> 00:30:43,200
warmer or a little bit warmer.
674
00:30:43,200 --> 00:30:45,200
And now it's fun for Huffner
675
00:30:45,200 --> 00:30:47,200
and I take my own basses with me.
676
00:30:47,200 --> 00:30:49,200
Between those two round
677
00:30:49,200 --> 00:30:51,200
three buttons are three knobs.
678
00:30:51,200 --> 00:30:53,200
Yes, four knobs.
679
00:30:53,200 --> 00:30:55,200
The one that is close
680
00:30:55,200 --> 00:30:57,200
to the volume button on the neck
681
00:30:57,200 --> 00:30:59,200
is called Rhythm or Solo
682
00:30:59,200 --> 00:31:01,200
and that is often called a bass boost.
683
00:31:01,200 --> 00:31:03,200
If you set it to Solo, it gets a little
684
00:31:03,200 --> 00:31:05,200
harder. Now a bass without a
685
00:31:05,200 --> 00:31:07,200
battery can never get harder, so you
686
00:31:07,200 --> 00:31:09,200
set it a little softer if you set it to
687
00:31:09,200 --> 00:31:11,200
Rhythm. But you have a choice
688
00:31:11,200 --> 00:31:13,200
for a few moments to set it
689
00:31:13,200 --> 00:31:15,200
just a little harder than normal.
690
00:31:15,200 --> 00:31:17,200
Now it's fun, the other two volume
691
00:31:17,200 --> 00:31:19,200
buttons are called Bass On and Travel On.
692
00:31:19,200 --> 00:31:21,200
Well, Bass is the low tone,
693
00:31:21,200 --> 00:31:23,200
that's about the neck pickup and
694
00:31:23,200 --> 00:31:25,200
Travel On is about the high tone,
695
00:31:25,200 --> 00:31:27,200
that's the bridge pickup.
696
00:31:27,200 --> 00:31:29,200
If you set it to Travel On,
697
00:31:29,200 --> 00:31:31,200
then you set the bass element out
698
00:31:31,200 --> 00:31:33,200
and if you set it to Bass On,
699
00:31:33,200 --> 00:31:35,200
then you set the other element out.
700
00:31:35,200 --> 00:31:37,200
So if you set both buttons on,
701
00:31:37,200 --> 00:31:39,200
then they are both out.
702
00:31:39,200 --> 00:31:41,200
And that's really bad,
703
00:31:41,200 --> 00:31:43,200
so they set both out and they are
704
00:31:43,200 --> 00:31:45,200
both on. There is also this logic here,
705
00:31:45,200 --> 00:31:47,200
because if you want to hear one, you set the other out.
706
00:31:47,200 --> 00:31:49,200
That's how you actually see it.
707
00:31:49,200 --> 00:31:51,200
So in short, yes, there are a lot of
708
00:31:51,200 --> 00:31:53,200
pictures of that control panel that you
709
00:31:53,200 --> 00:31:55,200
share, that's how it works.
710
00:31:55,200 --> 00:31:57,200
That's wonderful.
711
00:31:57,200 --> 00:31:59,200
Hufner has been thinking for a long time
712
00:31:59,200 --> 00:32:01,200
that we can just change it.
713
00:32:01,200 --> 00:32:03,200
But yes, the Paul McCartney fan
714
00:32:03,200 --> 00:32:05,200
doesn't want it as Paul McCartney has it,
715
00:32:05,200 --> 00:32:07,200
so he would keep it.
716
00:32:07,200 --> 00:32:09,200
You can also play acoustic,
717
00:32:09,200 --> 00:32:11,200
because there is a kind of soundcast, right?
718
00:32:11,200 --> 00:32:13,200
Yes, that's right.
719
00:32:13,200 --> 00:32:15,200
But with a Rickenbacker it might not go,
720
00:32:15,200 --> 00:32:17,200
because that is massive, right?
721
00:32:17,200 --> 00:32:19,200
Yes, that's right. You would always hear it
722
00:32:19,200 --> 00:32:21,200
a little bit if you put it on a scale
723
00:32:21,200 --> 00:32:23,200
and you play one, you can hear it well.
724
00:32:23,200 --> 00:32:25,200
Bassists always have bigger amplifiers
725
00:32:25,200 --> 00:32:27,200
to move the air and the counter bass
726
00:32:27,200 --> 00:32:29,200
is a bit bigger than a violin.
727
00:32:29,200 --> 00:32:31,200
And it's just too small
728
00:32:31,200 --> 00:32:33,200
to fit perfectly at home.
729
00:32:33,200 --> 00:32:35,200
You sit on the bench, you take your
730
00:32:35,200 --> 00:32:37,200
bass, you hear that dry, short, nice, round note.
731
00:32:37,200 --> 00:32:39,200
But if you play with a different instrument,
732
00:32:39,200 --> 00:32:41,200
you are really too soft.
733
00:32:41,200 --> 00:32:43,200
And then those elements, so you
734
00:32:43,200 --> 00:32:45,200
can distinguish the first and second bass
735
00:32:45,200 --> 00:32:47,200
of Paul McCartney well from each other.
736
00:32:47,200 --> 00:32:49,200
Because that old one has those elements
737
00:32:49,200 --> 00:32:51,200
that you put on those big gray
738
00:32:51,200 --> 00:32:53,200
corners, that you put on the
739
00:32:53,200 --> 00:32:55,200
old bass, on the first bass,
740
00:32:55,200 --> 00:32:57,200
close to each other and on the second bass
741
00:32:57,200 --> 00:32:59,200
further apart. That's why they are
742
00:32:59,200 --> 00:33:01,200
indeed very good at distinguishing each other.
743
00:33:01,200 --> 00:33:03,200
What is the difference in sound, actually?
744
00:33:03,200 --> 00:33:05,200
Because then you put something closer
745
00:33:05,200 --> 00:33:07,200
to the hall, to that very old bass,
746
00:33:07,200 --> 00:33:09,200
instead of in the second where
747
00:33:09,200 --> 00:33:11,200
those elements are further apart.
748
00:33:11,200 --> 00:33:13,200
Yes, that's right. We have
749
00:33:13,200 --> 00:33:15,200
delivered a lot of basses with the
750
00:33:15,200 --> 00:33:17,200
elements close to each other. And on a day
751
00:33:17,200 --> 00:33:19,200
with all those elements, the elements are
752
00:33:19,200 --> 00:33:21,200
closer to each other. And I think
753
00:33:21,200 --> 00:33:23,200
that has something to do with
754
00:33:23,200 --> 00:33:25,200
competition. Many brands place the
755
00:33:25,200 --> 00:33:27,200
elements further apart. So I think
756
00:33:27,200 --> 00:33:29,200
this has been a choice to be able to
757
00:33:29,200 --> 00:33:31,200
measure with other manufacturers.
758
00:33:31,200 --> 00:33:33,200
What I notice very much
759
00:33:33,200 --> 00:33:35,200
with the Huffner is that the hall element,
760
00:33:35,200 --> 00:33:37,200
the element that is close to the hall,
761
00:33:37,200 --> 00:33:39,200
sounds very nice, warm, very nice, full.
762
00:33:39,200 --> 00:33:41,200
That is also the one that all artists
763
00:33:41,200 --> 00:33:43,200
use, Paul McCartney also. And that
764
00:33:43,200 --> 00:33:45,200
is so close to the bridge that
765
00:33:45,200 --> 00:33:47,200
I actually find it unusable.
766
00:33:47,200 --> 00:33:49,200
And as a bass player you want to have
767
00:33:49,200 --> 00:33:51,200
that round layer. I
768
00:33:51,200 --> 00:33:53,200
myself have an exemplary element
769
00:33:53,200 --> 00:33:55,200
from each other and with the elements
770
00:33:55,200 --> 00:33:57,200
that are closer to each other. I have
771
00:33:57,200 --> 00:33:59,200
a preference for the elements closer to each other.
772
00:33:59,200 --> 00:34:01,200
So actually as Paul's first bass.
773
00:34:01,200 --> 00:34:03,200
Because there is a nice place to put your thumb
774
00:34:03,200 --> 00:34:05,200
on, that you have a thumb stone. But this
775
00:34:05,200 --> 00:34:07,200
element also has a little more middle. So instead
776
00:34:07,200 --> 00:34:09,200
of having a very warm element and
777
00:34:09,200 --> 00:34:11,200
unusable, that is too much, you now have
778
00:34:11,200 --> 00:34:13,200
a very warm one and give it a little more
779
00:34:13,200 --> 00:34:15,200
middle tones that are really between
780
00:34:15,200 --> 00:34:17,200
the two elements. So if I play music
781
00:34:17,200 --> 00:34:19,200
and I take that bass with me, then
782
00:34:19,200 --> 00:34:21,200
I can have an incredibly full
783
00:34:21,200 --> 00:34:23,200
warm sound with both elements on
784
00:34:23,200 --> 00:34:25,200
or only the hall element. And with that
785
00:34:25,200 --> 00:34:27,200
middle element I have to have a line that
786
00:34:27,200 --> 00:34:29,200
is placed in the middle of the body. Yes,
787
00:34:29,200 --> 00:34:31,200
then you can use something, yes, modern
788
00:34:31,200 --> 00:34:33,200
is perhaps not the right word, maybe I
789
00:34:33,200 --> 00:34:35,200
have to say less old-fashioned, but a
790
00:34:35,200 --> 00:34:37,200
less artistic, less somber tone
791
00:34:37,200 --> 00:34:39,200
to get. So I find it a bit more usable.
792
00:34:39,200 --> 00:34:41,200
So you can use it in some more modern
793
00:34:41,200 --> 00:34:43,200
music. Now I have to say that there are
794
00:34:43,200 --> 00:34:45,200
a lot of bands that have been
795
00:34:45,200 --> 00:34:47,200
picked up by this instrument.
796
00:34:47,200 --> 00:34:49,200
Think of Dale Davis from
797
00:34:49,200 --> 00:34:51,200
Amy Winehouse, T. Mimpala.
798
00:34:51,200 --> 00:34:53,200
A lot of artists take it up.
799
00:34:53,200 --> 00:34:55,200
Harry Styles, of course, one of the
800
00:34:55,200 --> 00:34:57,200
biggest modern musicians.
801
00:34:57,200 --> 00:34:59,200
His previous bassist plays all
802
00:34:59,200 --> 00:35:01,200
of his basses. But short
803
00:35:01,200 --> 00:35:03,200
with that closed spacing, the
804
00:35:03,200 --> 00:35:05,200
cavern spacing is also called. I think
805
00:35:05,200 --> 00:35:07,200
you have a bit more versatility.
806
00:35:07,200 --> 00:35:09,200
Are there also differences in
807
00:35:09,200 --> 00:35:11,200
strings? Certainly, yes.
808
00:35:11,200 --> 00:35:13,200
And what does the Paul McCartney use?
809
00:35:13,200 --> 00:35:15,200
And what is the difference?
810
00:35:15,200 --> 00:35:17,200
Can you say something about it? Yes,
811
00:35:17,200 --> 00:35:19,200
in the sixties you actually had
812
00:35:19,200 --> 00:35:21,200
said one kind of bass string.
813
00:35:21,200 --> 00:35:23,200
We call that the flat wound.
814
00:35:23,200 --> 00:35:25,200
And in the Netherlands it is also called the
815
00:35:25,200 --> 00:35:27,200
slip string. And that is a
816
00:35:27,200 --> 00:35:29,200
completely smooth string. So you have to
817
00:35:29,200 --> 00:35:31,200
think of having a
818
00:35:31,200 --> 00:35:33,200
string wire. And there you actually
819
00:35:33,200 --> 00:35:35,200
have a kind of flat lint that you
820
00:35:35,200 --> 00:35:37,200
turn around, which makes the string
821
00:35:37,200 --> 00:35:39,200
completely smooth. If you just feel
822
00:35:39,200 --> 00:35:41,200
it. And they have as
823
00:35:41,200 --> 00:35:43,200
sound that they are very warm, very dark.
824
00:35:43,200 --> 00:35:45,200
No additional sounds for recordings,
825
00:35:45,200 --> 00:35:47,200
very nice, but it is a very warm
826
00:35:47,200 --> 00:35:49,200
dark sound. We had a few more
827
00:35:49,200 --> 00:35:51,200
years, a little bit. That's called the Who.
828
00:35:51,200 --> 00:35:53,200
And there is one John and Whistle in there.
829
00:35:53,200 --> 00:35:55,200
And he bought an electric bass.
830
00:35:55,200 --> 00:35:57,200
And that was the only brand in the world
831
00:35:57,200 --> 00:35:59,200
that used a round wound string on their bass.
832
00:35:59,200 --> 00:36:01,200
And then it is actually a round
833
00:36:01,200 --> 00:36:03,200
wire that is wrapped around a wire.
834
00:36:03,200 --> 00:36:05,200
And if you then go over that wire
835
00:36:05,200 --> 00:36:07,200
with your fingers, then it is
836
00:36:07,200 --> 00:36:09,200
a round winding. But by
837
00:36:09,200 --> 00:36:11,200
continuously feeling a wave,
838
00:36:11,200 --> 00:36:13,200
they call it a round wound string.
839
00:36:13,200 --> 00:36:15,200
And that string is much more flexible.
840
00:36:15,200 --> 00:36:17,200
And well, if you know the Who,
841
00:36:17,200 --> 00:36:19,200
if you know John and Whistle, they
842
00:36:19,200 --> 00:36:21,200
went everywhere. And during this time
843
00:36:21,200 --> 00:36:23,200
they have the Rota sound strings.
844
00:36:23,200 --> 00:36:25,200
Rota sound strings.
845
00:36:31,200 --> 00:36:33,200
Yes, that is a jingle.
846
00:36:33,200 --> 00:36:35,200
Tyreband Together, Song the Who.
847
00:36:35,200 --> 00:36:37,200
They have developed a round wound.
848
00:36:37,200 --> 00:36:39,200
But only in the 70s
849
00:36:39,200 --> 00:36:41,200
that actually became a bit
850
00:36:41,200 --> 00:36:43,200
the snar. And that has been
851
00:36:43,200 --> 00:36:45,200
the standard for years in rock bands.
852
00:36:45,200 --> 00:36:47,200
So until the very end of the 70s
853
00:36:47,200 --> 00:36:49,200
at that dark, warm flatwound
854
00:36:49,200 --> 00:36:51,200
Jamerson at
855
00:36:51,200 --> 00:36:53,200
Motown, for example. And after that
856
00:36:53,200 --> 00:36:55,200
came that remote sound.
857
00:36:55,200 --> 00:36:57,200
And actually only in the last years
858
00:36:57,200 --> 00:36:59,200
is the short scale bass and
859
00:36:59,200 --> 00:37:01,200
the flatwound string is completely back.
860
00:37:01,200 --> 00:37:03,200
So the section sound is completely back.
861
00:37:03,200 --> 00:37:05,200
That band is a lot of known bands.
862
00:37:05,200 --> 00:37:07,200
You hear a bit of the 60s sound again.
863
00:37:07,200 --> 00:37:09,200
I think maybe that Amy Winehouse,
864
00:37:09,200 --> 00:37:11,200
that kind of bands were a bit
865
00:37:11,200 --> 00:37:13,200
full open.
866
00:37:13,200 --> 00:37:15,200
So that really is the Pomba Cartney sound.
867
00:37:15,200 --> 00:37:17,200
So yes, Pomba Cartney has always played
868
00:37:17,200 --> 00:37:19,200
on that flatwound, the darker sound.
869
00:37:19,200 --> 00:37:21,200
That's what he's still doing.
870
00:37:21,200 --> 00:37:23,200
There is still a tussle model and that is
871
00:37:23,200 --> 00:37:25,200
a metal snar with a very thin layer
872
00:37:25,200 --> 00:37:27,200
made of nylon.
873
00:37:27,200 --> 00:37:29,200
Once the bass was really a
874
00:37:29,200 --> 00:37:31,200
replacement of the contrabass.
875
00:37:31,200 --> 00:37:33,200
The bass is also very warm,
876
00:37:33,200 --> 00:37:35,200
dark, dry. So at Fender
877
00:37:35,200 --> 00:37:37,200
you saw that there were all
878
00:37:37,200 --> 00:37:39,200
big layers over the bridge and there was a
879
00:37:39,200 --> 00:37:41,200
bit of foam underneath. At Rickenbacker
880
00:37:41,200 --> 00:37:43,200
you could play a piece of foam with a
881
00:37:43,200 --> 00:37:45,200
rotary button. At Gretsch you could
882
00:37:45,200 --> 00:37:47,200
play a piece of foam with a switch
883
00:37:47,200 --> 00:37:49,200
and press the foam against the snar
884
00:37:49,200 --> 00:37:51,200
to keep that sound as short as possible.
885
00:37:51,200 --> 00:37:53,200
So they really wanted to make that very short
886
00:37:53,200 --> 00:37:55,200
contrabass sound. And the bass,
887
00:37:55,200 --> 00:37:57,200
by people like Entwistle, they have
888
00:37:57,200 --> 00:37:59,200
emancipated the bass.
889
00:37:59,200 --> 00:38:01,200
But also the snar with that
890
00:38:01,200 --> 00:38:03,200
nylon layer was also meant to
891
00:38:03,200 --> 00:38:05,200
have a more dry sound.
892
00:38:05,200 --> 00:38:07,200
And if you look at the Rooftop
893
00:38:07,200 --> 00:38:09,200
Concert, Pomba Cartney also plays
894
00:38:09,200 --> 00:38:11,200
with black snars.
895
00:38:11,200 --> 00:38:13,200
So those are not snars with
896
00:38:13,200 --> 00:38:15,200
such a layer of nylon underneath.
897
00:38:15,200 --> 00:38:17,200
Those are rotary sounds.
898
00:38:17,200 --> 00:38:19,200
And they are also more friendly for the fingers.
899
00:38:19,200 --> 00:38:21,200
I heard from Entwistle that
900
00:38:21,200 --> 00:38:23,200
his fingers were in a kind of
901
00:38:23,200 --> 00:38:25,200
layer of foam because it was so painful
902
00:38:25,200 --> 00:38:27,200
and you wanted to have this kind of
903
00:38:27,200 --> 00:38:29,200
sound. Or does it not matter?
904
00:38:29,200 --> 00:38:31,200
Yes, flatwounds are
905
00:38:31,200 --> 00:38:33,200
much softer. But I
906
00:38:33,200 --> 00:38:35,200
often find them a bit more sticky
907
00:38:35,200 --> 00:38:37,200
because you have a bit more contact with the snars.
908
00:38:37,200 --> 00:38:39,200
Roundwounds are a bit rougher,
909
00:38:39,200 --> 00:38:41,200
but because they are rougher, I think
910
00:38:41,200 --> 00:38:43,200
they are a bit easier to glue because you
911
00:38:43,200 --> 00:38:45,200
have less contact with them.
912
00:38:45,200 --> 00:38:47,200
I tried the Rotosound
913
00:38:47,200 --> 00:38:49,200
versions, so Pomba Cartney
914
00:38:49,200 --> 00:38:51,200
uses them. And they are a bit rubbery
915
00:38:51,200 --> 00:38:53,200
and I find them a bit sticky.
916
00:38:53,200 --> 00:38:55,200
And Pyramid, that is the
917
00:38:55,200 --> 00:38:57,200
one that Pomba Cartney uses.
918
00:38:57,200 --> 00:38:59,200
They have a bit of rubbery layer of
919
00:38:59,200 --> 00:39:01,200
fabric that feels a bit finer for me.
920
00:39:01,200 --> 00:39:03,200
I think that the glue is not so nice.
921
00:39:03,200 --> 00:39:05,200
But that is also a
922
00:39:05,200 --> 00:39:07,200
advantage of the player.
923
00:39:07,200 --> 00:39:09,200
And where did he play at the Rickenbacker?
924
00:39:09,200 --> 00:39:11,200
He always played the flatwound
925
00:39:11,200 --> 00:39:13,200
snars in that level.
926
00:39:13,200 --> 00:39:15,200
I do not remember to mention it, because
927
00:39:15,200 --> 00:39:17,200
at that time you only had flatwound snars.
928
00:39:17,200 --> 00:39:19,200
In the end of the 1960s
929
00:39:19,200 --> 00:39:21,200
with the Roundwounds
930
00:39:21,200 --> 00:39:23,200
and that lasted a while
931
00:39:23,200 --> 00:39:25,200
until it got mixed up.
932
00:39:25,200 --> 00:39:27,200
Well, we have half an hour,
933
00:39:27,200 --> 00:39:29,200
half an hour walking around Lullen
934
00:39:29,200 --> 00:39:31,200
over the Huffner.
935
00:39:31,200 --> 00:39:33,200
But where we
936
00:39:33,200 --> 00:39:35,200
contacted you for the first time
937
00:39:35,200 --> 00:39:37,200
was that story about the missing Bas.
938
00:39:37,200 --> 00:39:39,200
Because the very first Bas of Pomba Cartney
939
00:39:39,200 --> 00:39:41,200
disappeared at some point.
940
00:39:41,200 --> 00:39:43,200
Oh yes, you would almost forget that.
941
00:39:43,200 --> 00:39:45,200
Yes, you would almost forget that.
942
00:39:45,200 --> 00:39:47,200
He died again, luckily.
943
00:39:47,200 --> 00:39:49,200
And we wanted to hear from you
944
00:39:49,200 --> 00:39:51,200
how that all happened.
945
00:39:51,200 --> 00:39:53,200
So our information before this came out
946
00:39:53,200 --> 00:39:55,200
we always thought
947
00:39:55,200 --> 00:39:57,200
he was stolen during the getback session.
948
00:39:57,200 --> 00:39:59,200
Because there he has again, we see that on the screen,
949
00:39:59,200 --> 00:40:01,200
he took it from Stahl
950
00:40:01,200 --> 00:40:03,200
and then with a different
951
00:40:03,200 --> 00:40:05,200
Sunburst, he spits on it.
952
00:40:05,200 --> 00:40:07,200
He looks different than
953
00:40:07,200 --> 00:40:09,200
in the beginning of the Beatles.
954
00:40:09,200 --> 00:40:11,200
So he thought, he still has a Bas,
955
00:40:11,200 --> 00:40:13,200
but he just spilled it over.
956
00:40:13,200 --> 00:40:15,200
So we always thought he was stolen there.
957
00:40:15,200 --> 00:40:17,200
Because afterwards you no longer smoke
958
00:40:17,200 --> 00:40:19,200
but that does not seem to be the case.
959
00:40:19,200 --> 00:40:21,200
He seems to have been stolen in 1972.
960
00:40:21,200 --> 00:40:23,200
At the end of the story
961
00:40:23,200 --> 00:40:25,200
I would like to hear from you about
962
00:40:25,200 --> 00:40:27,200
how this happened.
963
00:40:27,200 --> 00:40:29,200
Yes, of course you can
964
00:40:29,200 --> 00:40:31,200
see a lot more from Benz on social media
965
00:40:31,200 --> 00:40:33,200
but indeed everyone thought
966
00:40:33,200 --> 00:40:35,200
yes, we have seen that Bas for the last time
967
00:40:35,200 --> 00:40:37,200
in 1969.
968
00:40:37,200 --> 00:40:39,200
In that time, I think there were a few instruments stolen
969
00:40:39,200 --> 00:40:41,200
from the Apple Building, which was true.
970
00:40:41,200 --> 00:40:43,200
And people actually went from
971
00:40:43,200 --> 00:40:45,200
when Bas was stolen.
972
00:40:45,200 --> 00:40:47,200
When Nick was, my good friend Nick was
973
00:40:47,200 --> 00:40:49,200
of course started to find Bas back.
974
00:40:49,200 --> 00:40:51,200
Then they actually came after
975
00:40:51,200 --> 00:40:53,200
that Bas was already stolen in Bas in 1972.
976
00:40:53,200 --> 00:40:55,200
It even stood in the newspaper.
977
00:40:55,200 --> 00:40:57,200
It even stood in America in the newspaper.
978
00:40:57,200 --> 00:40:59,200
Small reports, but it was included.
979
00:40:59,200 --> 00:41:01,200
We could have known it.
980
00:41:01,200 --> 00:41:03,200
We could have known it.
981
00:41:03,200 --> 00:41:05,200
It was well known.
982
00:41:05,200 --> 00:41:07,200
Paul McCartney Badele of it.
983
00:41:07,200 --> 00:41:09,200
He also put that piece in the newspaper.
984
00:41:09,200 --> 00:41:11,200
I'm looking for my Bas back.
985
00:41:11,200 --> 00:41:13,200
But I think it was not that important in that time.
986
00:41:13,200 --> 00:41:15,200
In 1972, where the Beatles were just two years apart,
987
00:41:15,200 --> 00:41:17,200
and then that Bas wasn't that important yet.
988
00:41:17,200 --> 00:41:19,200
Yes, it was the best band in the world
989
00:41:19,200 --> 00:41:21,200
that was out of each other.
990
00:41:21,200 --> 00:41:23,200
Paul McCartney is perhaps already a little forgotten
991
00:41:23,200 --> 00:41:25,200
or hasn't said it yet.
992
00:41:25,200 --> 00:41:27,200
Yes, now Bas, the last 30 years
993
00:41:27,200 --> 00:41:29,200
when the Beatles have taken his son's flight
994
00:41:29,200 --> 00:41:31,200
it has become known to Bas.
995
00:41:31,200 --> 00:41:33,200
So in the end they are the eight to come
996
00:41:33,200 --> 00:41:35,200
that Bas is stolen in 1972.
997
00:41:35,200 --> 00:41:37,200
And that's why there are also a lot of things
998
00:41:37,200 --> 00:41:39,200
that can be done on the track.
999
00:41:39,200 --> 00:41:41,200
Did it come from McCartney?
1000
00:41:41,200 --> 00:41:43,200
Did he actually want to, he asked
1001
00:41:43,200 --> 00:41:45,200
to let us do this.
1002
00:41:45,200 --> 00:41:47,200
Yes, that's exactly what it was.
1003
00:41:47,200 --> 00:41:49,200
I have been working for Bas for years.
1004
00:41:49,200 --> 00:41:51,200
I have been in contact with Nick Was.
1005
00:41:51,200 --> 00:41:53,200
He is an English speaker.
1006
00:41:53,200 --> 00:41:55,200
He is working at Huffner.
1007
00:41:55,200 --> 00:41:57,200
As a marketing manager and his wife as social media manager.
1008
00:41:57,200 --> 00:41:59,200
Those are good friends of mine
1009
00:41:59,200 --> 00:42:01,200
who are also going to come to the Netherlands
1010
00:42:01,200 --> 00:42:03,200
to eat together etc.
1011
00:42:03,200 --> 00:42:05,200
Nick Was is actually the contact person
1012
00:42:05,200 --> 00:42:07,200
with Huffner with Paul McCartney.
1013
00:42:07,200 --> 00:42:09,200
He came to the studio with Paul McCartney.
1014
00:42:09,200 --> 00:42:11,200
He actually never told about it.
1015
00:42:11,200 --> 00:42:13,200
He really doesn't tell much about it.
1016
00:42:13,200 --> 00:42:15,200
He really comes into contact as a business
1017
00:42:15,200 --> 00:42:17,200
and not as a fan.
1018
00:42:17,200 --> 00:42:19,200
He wants to keep business as much as possible.
1019
00:42:19,200 --> 00:42:21,200
He also provides spare parts
1020
00:42:21,200 --> 00:42:23,200
to the body of Paul McCartney
1021
00:42:23,200 --> 00:42:25,200
so that they can replace what is broken.
1022
00:42:25,200 --> 00:42:27,200
They have built a number of buses for Paul McCartney.
1023
00:42:27,200 --> 00:42:29,200
Think of the Union Jack bus that he used
1024
00:42:29,200 --> 00:42:31,200
with the English flag on it.
1025
00:42:31,200 --> 00:42:33,200
They also made a replica
1026
00:42:33,200 --> 00:42:35,200
of the lost bus.
1027
00:42:35,200 --> 00:42:37,200
As he was.
1028
00:42:37,200 --> 00:42:39,200
And they made a replica as good as possible
1029
00:42:39,200 --> 00:42:41,200
because he was overplayed.
1030
00:42:41,200 --> 00:42:43,200
So they regularly delivered buses to Paul McCartney.
1031
00:42:43,200 --> 00:42:45,200
That's what we did at some point.
1032
00:42:45,200 --> 00:42:47,200
Because we saw him in the clip of Now and Then
1033
00:42:47,200 --> 00:42:49,200
we saw Paul play in the studio.
1034
00:42:49,200 --> 00:42:51,200
He said, hey, there's a bus.
1035
00:42:51,200 --> 00:42:53,200
He had it long ago.
1036
00:42:53,200 --> 00:42:55,200
But that seems to have been a replica.
1037
00:42:55,200 --> 00:42:57,200
Yes, that's really a replica.
1038
00:42:57,200 --> 00:42:59,200
Because the bus that we found back
1039
00:42:59,200 --> 00:43:01,200
was not so good at all.
1040
00:43:01,200 --> 00:43:03,200
But that's something later.
1041
00:43:03,200 --> 00:43:05,200
Nick Was also in the background
1042
00:43:05,200 --> 00:43:07,200
that the 63 bus of Paul McCartney
1043
00:43:07,200 --> 00:43:09,200
had been replaced.
1044
00:43:09,200 --> 00:43:11,200
So the elements are a bit different.
1045
00:43:11,200 --> 00:43:13,200
Nick Was also bought an old bus for Paul McCartney
1046
00:43:13,200 --> 00:43:15,200
and modified it
1047
00:43:15,200 --> 00:43:17,200
so that it sounds like a 63 bus.
1048
00:43:17,200 --> 00:43:19,200
So he always plays on the stage on the 63 bus.
1049
00:43:19,200 --> 00:43:21,200
But in the end he has a comparable old bus
1050
00:43:21,200 --> 00:43:23,200
as a backup.
1051
00:43:23,200 --> 00:43:25,200
Yes, Nick Was was there one day
1052
00:43:25,200 --> 00:43:27,200
and he was going to deliver some parts
1053
00:43:27,200 --> 00:43:29,200
or ordered something or repaired something.
1054
00:43:29,200 --> 00:43:31,200
And then Paul McCartney said
1055
00:43:31,200 --> 00:43:33,200
literally, hey, you're from Huffner.
1056
00:43:33,200 --> 00:43:35,200
Yes, then you know what the bus is.
1057
00:43:35,200 --> 00:43:37,200
And Nick said, no.
1058
00:43:37,200 --> 00:43:39,200
But then there was a plan
1059
00:43:39,200 --> 00:43:41,200
that he thought maybe we should go for it.
1060
00:43:41,200 --> 00:43:43,200
Then the idea was also thought
1061
00:43:43,200 --> 00:43:45,200
at that moment to build those two buses for Paul.
1062
00:43:45,200 --> 00:43:47,200
So actually a first bus
1063
00:43:47,200 --> 00:43:49,200
as a replica of the factory
1064
00:43:49,200 --> 00:43:51,200
and his first bus as a modified replica.
1065
00:43:51,200 --> 00:43:53,200
And then Nick Was was going to look
1066
00:43:53,200 --> 00:43:55,200
for a website built.
1067
00:43:55,200 --> 00:43:57,200
But he is marketing manager
1068
00:43:57,200 --> 00:43:59,200
of Huffner in Germany.
1069
00:43:59,200 --> 00:44:01,200
So a few German clients picked it up
1070
00:44:01,200 --> 00:44:03,200
and that was it actually.
1071
00:44:03,200 --> 00:44:05,200
And here and there in the news.
1072
00:44:05,200 --> 00:44:07,200
But actually not good enough to look around the world.
1073
00:44:07,200 --> 00:44:09,200
Of course you want to look for
1074
00:44:09,200 --> 00:44:11,200
people to look for or see.
1075
00:44:11,200 --> 00:44:13,200
Then he was approached by a real couple
1076
00:44:13,200 --> 00:44:15,200
from England.
1077
00:44:15,200 --> 00:44:17,200
And that's an old man Scott Jones.
1078
00:44:17,200 --> 00:44:19,200
And they were known
1079
00:44:19,200 --> 00:44:21,200
that there are researchers who are world-famous
1080
00:44:21,200 --> 00:44:23,200
to find things back.
1081
00:44:23,200 --> 00:44:25,200
They had contacts.
1082
00:44:25,200 --> 00:44:27,200
They had access to databases.
1083
00:44:27,200 --> 00:44:29,200
And when they actually joined,
1084
00:44:29,200 --> 00:44:31,200
when the research exploded
1085
00:44:31,200 --> 00:44:33,200
and that is now I think about
1086
00:44:33,200 --> 00:44:35,200
about a year ago
1087
00:44:35,200 --> 00:44:37,200
that it really started to come up.
1088
00:44:37,200 --> 00:44:39,200
The weird thing is,
1089
00:44:39,200 --> 00:44:41,200
he was stolen a little later.
1090
00:44:41,200 --> 00:44:43,200
But McCartney actually took off
1091
00:44:43,200 --> 00:44:45,200
from that bus as we know.
1092
00:44:45,200 --> 00:44:47,200
He didn't play with that Huffner anymore.
1093
00:44:47,200 --> 00:44:49,200
So how did that happen?
1094
00:44:49,200 --> 00:44:51,200
It was a backup bus I think.
1095
00:44:51,200 --> 00:44:53,200
Yes it was a backup.
1096
00:44:53,200 --> 00:44:55,200
He was repaired.
1097
00:44:55,200 --> 00:44:57,200
He had his new bus. This was a reserve bus.
1098
00:44:57,200 --> 00:44:59,200
And at some point he had to
1099
00:44:59,200 --> 00:45:01,200
choose between the two studios
1100
00:45:01,200 --> 00:45:03,200
of Paul McCartney or a studio where he took off.
1101
00:45:03,200 --> 00:45:05,200
He loaded the same bus with a few
1102
00:45:05,200 --> 00:45:07,200
Fox AC-30s and some instruments.
1103
00:45:07,200 --> 00:45:09,200
And he thought at 10 o'clock
1104
00:45:09,200 --> 00:45:11,200
we're going to park tomorrow
1105
00:45:11,200 --> 00:45:13,200
in the bus. We're going to sleep.
1106
00:45:13,200 --> 00:45:15,200
He parked the bus and the next day
1107
00:45:15,200 --> 00:45:17,200
he was broken open.
1108
00:45:17,200 --> 00:45:19,200
So he missed the bus and two stretchers.
1109
00:45:19,200 --> 00:45:21,200
And then he went to Paul McCartney
1110
00:45:21,200 --> 00:45:23,200
and said, sorry boss,
1111
00:45:23,200 --> 00:45:25,200
your bus is gone.
1112
00:45:25,200 --> 00:45:27,200
And he did need the newspaper
1113
00:45:27,200 --> 00:45:29,200
because I want my bus back.
1114
00:45:29,200 --> 00:45:31,200
But the red one
1115
00:45:31,200 --> 00:45:33,200
didn't work for Paul McCartney for six years.
1116
00:45:33,200 --> 00:45:35,200
So it's not so bad that he was hit
1117
00:45:35,200 --> 00:45:37,200
with a standing foot.
1118
00:45:37,200 --> 00:45:39,200
So at some point the search is in the news
1119
00:45:39,200 --> 00:45:41,200
and so we were also behind it.
1120
00:45:41,200 --> 00:45:43,200
We also got the news.
1121
00:45:43,200 --> 00:45:45,200
Then there appears to be a lead somewhere.
1122
00:45:45,200 --> 00:45:47,200
Where does that come from?
1123
00:45:47,200 --> 00:45:49,200
Where does that report come from
1124
00:45:49,200 --> 00:45:51,200
that maybe the bass guitar for Paul McCartney is somewhere?
1125
00:45:51,200 --> 00:45:53,200
To make a step forward,
1126
00:45:53,200 --> 00:45:55,200
finally Nick Wasch didn't find the bus.
1127
00:45:55,200 --> 00:45:57,200
But a lady did see
1128
00:45:57,200 --> 00:45:59,200
the news on television
1129
00:45:59,200 --> 00:46:01,200
and she thought, hey,
1130
00:46:01,200 --> 00:46:03,200
I think that bass is somewhere at my house.
1131
00:46:03,200 --> 00:46:05,200
So in direct search
1132
00:46:05,200 --> 00:46:07,200
it was solved.
1133
00:46:07,200 --> 00:46:09,200
Then we take a step back.
1134
00:46:09,200 --> 00:46:11,200
Nick Wasch got a message
1135
00:46:11,200 --> 00:46:13,200
and he was like, oh yeah,
1136
00:46:13,200 --> 00:46:15,200
I lived there. The bus was in 72.
1137
00:46:15,200 --> 00:46:17,200
There was a bus and the instruments were out.
1138
00:46:17,200 --> 00:46:19,200
And Nick Wasch
1139
00:46:19,200 --> 00:46:21,200
didn't take it seriously because he thought
1140
00:46:21,200 --> 00:46:23,200
the bass is 69 years old.
1141
00:46:23,200 --> 00:46:25,200
This is a story where nothing is right.
1142
00:46:25,200 --> 00:46:27,200
Later he got another message from someone
1143
00:46:27,200 --> 00:46:29,200
and he actually told
1144
00:46:29,200 --> 00:46:31,200
this was a bit of a soap.
1145
00:46:31,200 --> 00:46:33,200
He said I was an ambulance driver
1146
00:46:33,200 --> 00:46:35,200
and I had a patient in an ambulance
1147
00:46:35,200 --> 00:46:37,200
and he told me about the bass
1148
00:46:37,200 --> 00:46:39,200
and that it was stolen in 72 in Notting Hill.
1149
00:46:39,200 --> 00:46:41,200
And Nick Wasch
1150
00:46:41,200 --> 00:46:43,200
heard it and he thought,
1151
00:46:43,200 --> 00:46:45,200
what is this story?
1152
00:46:45,200 --> 00:46:47,200
And suddenly he remembered that he had
1153
00:46:47,200 --> 00:46:49,200
a message from someone who also provided
1154
00:46:49,200 --> 00:46:51,200
something in Notting Hill
1155
00:46:51,200 --> 00:46:53,200
and stolen stuff.
1156
00:46:53,200 --> 00:46:55,200
So one by one it was a bit two.
1157
00:46:55,200 --> 00:46:57,200
So he approached some people.
1158
00:46:57,200 --> 00:46:59,200
In the end he spoke to the ambulance
1159
00:46:59,200 --> 00:47:01,200
brother and he knew a lot
1160
00:47:01,200 --> 00:47:03,200
about telling the bass.
1161
00:47:03,200 --> 00:47:05,200
And Nick Wasch thought, wait a minute.
1162
00:47:05,200 --> 00:47:07,200
You are an ambulance brother. You had a patient
1163
00:47:07,200 --> 00:47:09,200
behind your ambulance.
1164
00:47:09,200 --> 00:47:11,200
He told me a little about the
1165
00:47:11,200 --> 00:47:13,200
bass that was stolen and you have an expert.
1166
00:47:13,200 --> 00:47:15,200
It's been a while now.
1167
00:47:15,200 --> 00:47:17,200
It was a bit fishy.
1168
00:47:17,200 --> 00:47:19,200
Now there are Omi and Scott Jones in the picture.
1169
00:47:19,200 --> 00:47:21,200
They had a lot of access to
1170
00:47:21,200 --> 00:47:23,200
databases and old papers.
1171
00:47:23,200 --> 00:47:25,200
They also found that the bass was stolen in 72
1172
00:47:25,200 --> 00:47:27,200
and so all those things were right.
1173
00:47:27,200 --> 00:47:29,200
And then it turned out that
1174
00:47:29,200 --> 00:47:31,200
in that house where the bus was
1175
00:47:31,200 --> 00:47:33,200
where the bullet was stolen,
1176
00:47:33,200 --> 00:47:35,200
someone with the exact name of the
1177
00:47:35,200 --> 00:47:37,200
ambulance brother lived.
1178
00:47:37,200 --> 00:47:39,200
Then it becomes a bit strange.
1179
00:47:39,200 --> 00:47:41,200
So Nick Wasch called again and said
1180
00:47:41,200 --> 00:47:43,200
Sir, we are not going to call the police.
1181
00:47:43,200 --> 00:47:45,200
It's all not serious, but you always tell this story.
1182
00:47:45,200 --> 00:47:47,200
We know that you just live in the house.
1183
00:47:47,200 --> 00:47:49,200
Just say how it is.
1184
00:47:49,200 --> 00:47:51,200
Then it turned out that the father of the man
1185
00:47:51,200 --> 00:47:53,200
did not seem to be an honest man.
1186
00:47:53,200 --> 00:47:55,200
He was a bit in the basement.
1187
00:47:55,200 --> 00:47:57,200
His father stole the bass.
1188
00:47:57,200 --> 00:47:59,200
He broke the bus open.
1189
00:47:59,200 --> 00:48:01,200
So he had that stuff.
1190
00:48:01,200 --> 00:48:03,200
That bass had been lying in a crib for a while.
1191
00:48:03,200 --> 00:48:05,200
And at some point the man needed money
1192
00:48:05,200 --> 00:48:07,200
and the crib boss bought the bass.
1193
00:48:07,200 --> 00:48:09,200
The crib boss gave the bass to his son.
1194
00:48:09,200 --> 00:48:11,200
And that son died in a car accident
1195
00:48:11,200 --> 00:48:13,200
in a student's time.
1196
00:48:13,200 --> 00:48:15,200
That's quite tragic of course.
1197
00:48:15,200 --> 00:48:17,200
He was the brother of that person.
1198
00:48:17,200 --> 00:48:19,200
His wife,
1199
00:48:19,200 --> 00:48:21,200
the man died in a car accident
1200
00:48:21,200 --> 00:48:23,200
and his wife recognized the bass on television.
1201
00:48:23,200 --> 00:48:25,200
So all those things fell a bit together.
1202
00:48:25,200 --> 00:48:27,200
At some point she suddenly stole a 72.
1203
00:48:27,200 --> 00:48:29,200
She knew it was nothing.
1204
00:48:29,200 --> 00:48:31,200
When that woman saw the bass on television
1205
00:48:31,200 --> 00:48:33,200
she was going to bring it back.
1206
00:48:33,200 --> 00:48:35,200
And then she also learned the name of the woman.
1207
00:48:35,200 --> 00:48:37,200
And then he did everything together.
1208
00:48:37,200 --> 00:48:39,200
Because that woman had the name of her man.
1209
00:48:39,200 --> 00:48:41,200
She knew all those names.
1210
00:48:41,200 --> 00:48:43,200
There were no standard names like Jones or Smith
1211
00:48:43,200 --> 00:48:45,200
or maybe there were special names.
1212
00:48:45,200 --> 00:48:47,200
They are now all online to be found.
1213
00:48:47,200 --> 00:48:49,200
But I promised not to go there.
1214
00:48:49,200 --> 00:48:51,200
So she immediately knew that the woman had the name.
1215
00:48:51,200 --> 00:48:53,200
This is also a name that we know.
1216
00:48:53,200 --> 00:48:55,200
So this has to be true.
1217
00:49:13,200 --> 00:49:15,200
Then Tom McCartney
1218
00:49:15,200 --> 00:49:17,200
as a kind of enthusiastic school kid
1219
00:49:17,200 --> 00:49:19,200
called Nick Was.
1220
00:49:19,200 --> 00:49:21,200
And Nick went to England
1221
00:49:21,200 --> 00:49:23,200
with his wife.
1222
00:49:23,200 --> 00:49:25,200
He looked at the bass.
1223
00:49:25,200 --> 00:49:27,200
And that man knows so much
1224
00:49:27,200 --> 00:49:29,200
about the voice buttons that are replaced.
1225
00:49:29,200 --> 00:49:31,200
You can also see all kinds of things.
1226
00:49:31,200 --> 00:49:33,200
From the wooden block.
1227
00:49:33,200 --> 00:49:35,200
From certain notes in the wood.
1228
00:49:35,200 --> 00:49:37,200
From everything that he actually knew immediately.
1229
00:49:37,200 --> 00:49:39,200
This is not someone's fake.
1230
00:49:39,200 --> 00:49:41,200
This is not something rebuilt.
1231
00:49:41,200 --> 00:49:43,200
This is actually the combination
1232
00:49:43,200 --> 00:49:45,200
of the right people with the right names.
1233
00:49:45,200 --> 00:49:47,200
And just the knowledge of Nick Was
1234
00:49:47,200 --> 00:49:49,200
knew immediately that this is him.
1235
00:49:49,200 --> 00:49:53,200
And Nick Was also authorized him officially.
1236
00:49:53,200 --> 00:49:55,200
And how did he react to that bass?
1237
00:49:55,200 --> 00:49:57,200
Because you will say it's bad soon.
1238
00:49:57,200 --> 00:49:59,200
But do you want to repair it?
1239
00:49:59,200 --> 00:50:01,200
The bass went off at the halftime.
1240
00:50:01,200 --> 00:50:03,200
Fjol basses were still
1241
00:50:03,200 --> 00:50:05,200
linked to Beenderleim at the time.
1242
00:50:05,200 --> 00:50:07,200
And I have already sent back the bass
1243
00:50:07,200 --> 00:50:09,200
to track about 80 times.
1244
00:50:09,200 --> 00:50:11,200
That halftime.
1245
00:50:11,200 --> 00:50:13,200
If you buy an old hearth,
1246
00:50:13,200 --> 00:50:15,200
that halftime is very often linked to a new one.
1247
00:50:15,200 --> 00:50:17,200
Or it says
1248
00:50:17,200 --> 00:50:19,200
Schuyn, which is located at the top
1249
00:50:19,200 --> 00:50:21,200
and then you have to leave it yourself
1250
00:50:21,200 --> 00:50:23,200
to let it glue in.
1251
00:50:23,200 --> 00:50:25,200
And here was the bass.
1252
00:50:25,200 --> 00:50:27,200
At the body you were actually
1253
00:50:27,200 --> 00:50:29,200
largely loose.
1254
00:50:29,200 --> 00:50:31,200
But that is overcome.
1255
00:50:31,200 --> 00:50:33,200
So the question of removing, removing, gluing.
1256
00:50:33,200 --> 00:50:35,200
That is for a good guitar builder.
1257
00:50:35,200 --> 00:50:37,200
Is that really a peanut?
1258
00:50:37,200 --> 00:50:39,200
Yes, that is a peanut.
1259
00:50:39,200 --> 00:50:41,200
I think that one of the two elements
1260
00:50:41,200 --> 00:50:43,200
did not work anymore.
1261
00:50:43,200 --> 00:50:45,200
That can be loosened, that can be rewound.
1262
00:50:45,200 --> 00:50:47,200
Those are actually all
1263
00:50:47,200 --> 00:50:49,200
things.
1264
00:50:49,200 --> 00:50:51,200
So what I have understood now is that
1265
00:50:51,200 --> 00:50:53,200
at this point it is really unplayable.
1266
00:50:53,200 --> 00:50:55,200
If you put the nut on and you turn it on,
1267
00:50:55,200 --> 00:50:57,200
then the halftime just falls off.
1268
00:50:57,200 --> 00:50:59,200
It is still stuck, but it would just fall off.
1269
00:50:59,200 --> 00:51:01,200
So a builder has to look at it for a moment.
1270
00:51:01,200 --> 00:51:03,200
He just has to take it off carefully.
1271
00:51:03,200 --> 00:51:05,200
He has to look at it again, in the right corner.
1272
00:51:05,200 --> 00:51:07,200
So it is for a good guitar builder.
1273
00:51:07,200 --> 00:51:09,200
It is a, I say it is a simple color,
1274
00:51:09,200 --> 00:51:11,200
but I almost want to say it is a routine color.
1275
00:51:11,200 --> 00:51:13,200
What I have understood from Nick
1276
00:51:13,200 --> 00:51:15,200
is that Paul McCartney would not like
1277
00:51:15,200 --> 00:51:17,200
him to be made playable
1278
00:51:17,200 --> 00:51:19,200
as he is now.
1279
00:51:19,200 --> 00:51:21,200
So do not remove the new lacquer.
1280
00:51:21,200 --> 00:51:23,200
Make it not completely perfect,
1281
00:51:23,200 --> 00:51:25,200
but just make it playable.
1282
00:51:25,200 --> 00:51:27,200
So just do what you have to do.
1283
00:51:27,200 --> 00:51:29,200
In the car world they call it a
1284
00:51:29,200 --> 00:51:31,200
sympathetic restoration.
1285
00:51:31,200 --> 00:51:33,200
So do not remove the lacquer
1286
00:51:33,200 --> 00:51:35,200
when it has been done.
1287
00:51:35,200 --> 00:51:37,200
No, I don't think so.
1288
00:51:37,200 --> 00:51:39,200
Just remove some new lacquer,
1289
00:51:39,200 --> 00:51:41,200
make it playable
1290
00:51:41,200 --> 00:51:43,200
and put the podium on it.
1291
00:51:43,200 --> 00:51:45,200
Yes, it has a nice gimmick
1292
00:51:45,200 --> 00:51:47,200
for a podium indeed.
1293
00:51:47,200 --> 00:51:49,200
Sell a new record,
1294
00:51:49,200 --> 00:51:51,200
because it will probably be used here.
1295
00:51:51,200 --> 00:51:53,200
And Nick of course hopes that he can do it
1296
00:51:53,200 --> 00:51:55,200
with Huffner.
1297
00:51:55,200 --> 00:51:57,200
And he said, if I can do it,
1298
00:51:57,200 --> 00:51:59,200
then there will be a part 2 of your article.
1299
00:51:59,200 --> 00:52:01,200
Then we are going to make nice pictures of the process.
1300
00:52:01,200 --> 00:52:03,200
Because as far as you know,
1301
00:52:03,200 --> 00:52:05,200
it is not yet in repair,
1302
00:52:05,200 --> 00:52:07,200
so it has to be determined.
1303
00:52:07,200 --> 00:52:09,200
Yes, that's right. As far as I know,
1304
00:52:09,200 --> 00:52:11,200
that's my latest news.
1305
00:52:11,200 --> 00:52:13,200
Well, I think Nick is going to do it.
1306
00:52:13,200 --> 00:52:15,200
If he is already so impressed with
1307
00:52:15,200 --> 00:52:17,200
McCartney Camp
1308
00:52:17,200 --> 00:52:19,200
and has so much understanding of it.
1309
00:52:19,200 --> 00:52:21,200
There is certainly a chance.
1310
00:52:21,200 --> 00:52:23,200
What a nice story,
1311
00:52:23,200 --> 00:52:25,200
you can almost make a kind of mini movie
1312
00:52:25,200 --> 00:52:27,200
or something like that.
1313
00:52:27,200 --> 00:52:29,200
A podcast.
1314
00:52:29,200 --> 00:52:31,200
That woman
1315
00:52:31,200 --> 00:52:33,200
who has brought him back
1316
00:52:33,200 --> 00:52:35,200
has already received money.
1317
00:52:35,200 --> 00:52:37,200
Did we know anything about that?
1318
00:52:37,200 --> 00:52:39,200
I know something about that.
1319
00:52:39,200 --> 00:52:41,200
I also know some background stories
1320
00:52:41,200 --> 00:52:43,200
and that is also a bit with legal issues.
1321
00:52:43,200 --> 00:52:45,200
I can't really say anything about that.
1322
00:52:45,200 --> 00:52:47,200
I know that she
1323
00:52:47,200 --> 00:52:49,200
had a nice contract.
1324
00:52:49,200 --> 00:52:51,200
And I think that PommerCart
1325
00:52:51,200 --> 00:52:53,200
has been looking at that for the last time.
1326
00:52:53,200 --> 00:52:55,200
And a nice contract with PommerCart
1327
00:52:55,200 --> 00:52:57,200
is not 100 euros,
1328
00:52:57,200 --> 00:52:59,200
but it has really been a nice finding.
1329
00:52:59,200 --> 00:53:01,200
Yes, there was no payment
1330
00:53:01,200 --> 00:53:03,200
or anything like that.
1331
00:53:03,200 --> 00:53:05,200
No, there was no contract.
1332
00:53:05,200 --> 00:53:07,200
We wanted the bass back,
1333
00:53:07,200 --> 00:53:09,200
no petition, that was a deal anyway.
1334
00:53:09,200 --> 00:53:11,200
We are not going to make any business of it.
1335
00:53:11,200 --> 00:53:13,200
But there was no contract.
1336
00:53:13,200 --> 00:53:15,200
I think it has become not bad.
1337
00:53:15,200 --> 00:53:17,200
But I know a few things about that
1338
00:53:17,200 --> 00:53:19,200
that I won't tell you.
1339
00:53:19,200 --> 00:53:21,200
What I like to tell you
1340
00:53:21,200 --> 00:53:23,200
is that a few years ago
1341
00:53:23,200 --> 00:53:25,200
a book came out about PommerCartney.
1342
00:53:25,200 --> 00:53:27,200
I think it was about the 70s.
1343
00:53:27,200 --> 00:53:29,200
A time of
1344
00:53:29,200 --> 00:53:31,200
I don't know if it was
1345
00:53:31,200 --> 00:53:33,200
the book about PommerCartney.
1346
00:53:33,200 --> 00:53:35,200
And there was a whole story behind it.
1347
00:53:35,200 --> 00:53:37,200
A bit of a cliffhanger in the book.
1348
00:53:37,200 --> 00:53:39,200
That she maybe knew where the bass
1349
00:53:39,200 --> 00:53:41,200
of PommerCartney was.
1350
00:53:41,200 --> 00:53:43,200
Because there was a man in Canada
1351
00:53:43,200 --> 00:53:45,200
who was called The Hoarder, the collector.
1352
00:53:45,200 --> 00:53:47,200
And he would have that bass.
1353
00:53:47,200 --> 00:53:49,200
There were stories that there was someone in Abu Dhabi
1354
00:53:49,200 --> 00:53:51,200
one of the rich Arab princes
1355
00:53:51,200 --> 00:53:53,200
who would have the bass.
1356
00:53:53,200 --> 00:53:55,200
There were a lot of wild stories around it.
1357
00:53:55,200 --> 00:53:57,200
So even in the search for it
1358
00:53:57,200 --> 00:53:59,200
the question was, are we in Arabia
1359
00:53:59,200 --> 00:54:01,200
to see the bass?
1360
00:54:01,200 --> 00:54:03,200
Or are we in Canada at The Hoarder?
1361
00:54:03,200 --> 00:54:05,200
Or are we in a castle in France
1362
00:54:05,200 --> 00:54:07,200
at one of the rich people?
1363
00:54:07,200 --> 00:54:09,200
And actually that bass
1364
00:54:09,200 --> 00:54:11,200
was just on a solar eclipse in England.
1365
00:54:11,200 --> 00:54:13,200
It's a very nice story
1366
00:54:13,200 --> 00:54:15,200
but it's actually
1367
00:54:15,200 --> 00:54:17,200
all those exotic stories
1368
00:54:17,200 --> 00:54:19,200
that were in books for years.
1369
00:54:19,200 --> 00:54:21,200
That wasn't true at all.
1370
00:54:21,200 --> 00:54:23,200
Do you think that the bass is worth it?
1371
00:54:23,200 --> 00:54:25,200
I think it will never be sold.
1372
00:54:25,200 --> 00:54:27,200
Okay but imagine that it will be sold in the market.
1373
00:54:27,200 --> 00:54:29,200
The British press
1374
00:54:29,200 --> 00:54:31,200
has stolen 10 million pounds.
1375
00:54:31,200 --> 00:54:33,200
I have read a few times about the 10 million bass.
1376
00:54:33,200 --> 00:54:35,200
If you look at what was sold
1377
00:54:35,200 --> 00:54:37,200
in the past years
1378
00:54:37,200 --> 00:54:39,200
from Dave Grohl to Clapton
1379
00:54:39,200 --> 00:54:41,200
to Mark Noffler
1380
00:54:41,200 --> 00:54:43,200
they call it that.
1381
00:54:43,200 --> 00:54:45,200
I don't think that's a good idea.
1382
00:54:45,200 --> 00:54:47,200
But of course the woman didn't get that.
1383
00:54:47,200 --> 00:54:49,200
No, she didn't get that.
1384
00:54:49,200 --> 00:54:51,200
I'm a Beatles fan.
1385
00:54:51,200 --> 00:54:53,200
I have to be honest.
1386
00:54:53,200 --> 00:54:55,200
I was always a The Kings fan.
1387
00:54:55,200 --> 00:54:57,200
I was a The Who fan.
1388
00:54:57,200 --> 00:54:59,200
I was a small phases fan.
1389
00:54:59,200 --> 00:55:01,200
I came to The Beatles quite late
1390
00:55:01,200 --> 00:55:03,200
because of a former friend of mine.
1391
00:55:03,200 --> 00:55:05,200
I bought an air in The Hufferlain bass
1392
00:55:05,200 --> 00:55:07,200
and I was late.
1393
00:55:07,200 --> 00:55:09,200
I was going to throw up.
1394
00:55:09,200 --> 00:55:11,200
But every interview you read
1395
00:55:11,200 --> 00:55:13,200
from American musicians
1396
00:55:13,200 --> 00:55:15,200
and they all say
1397
00:55:15,200 --> 00:55:17,200
when we saw The Beatles at the show
1398
00:55:17,200 --> 00:55:19,200
they made music that changed my life.
1399
00:55:19,200 --> 00:55:21,200
The Beatles have made such an impact.
1400
00:55:21,200 --> 00:55:23,200
Actually the first band
1401
00:55:23,200 --> 00:55:25,200
who wrote their own songs
1402
00:55:25,200 --> 00:55:27,200
on their rap after all styles
1403
00:55:27,200 --> 00:55:29,200
the Beatles are so important
1404
00:55:29,200 --> 00:55:31,200
for the music world.
1405
00:55:31,200 --> 00:55:33,200
It's almost the year 0
1406
00:55:33,200 --> 00:55:35,200
that the Beatles started.
1407
00:55:35,200 --> 00:55:37,200
It's almost the year 0 of pop music.
1408
00:55:37,200 --> 00:55:39,200
You can talk about the blues
1409
00:55:39,200 --> 00:55:41,200
and the Skiffle and everything.
1410
00:55:41,200 --> 00:55:43,200
The Beatles are so important.
1411
00:55:43,200 --> 00:55:45,200
The first bass that Paul McCartney bought
1412
00:55:45,200 --> 00:55:47,200
was the first Beatles record.
1413
00:55:47,200 --> 00:55:49,200
It's a kind of
1414
00:55:49,200 --> 00:55:51,200
I don't want to take it in my mouth
1415
00:55:51,200 --> 00:55:53,200
because I don't want to
1416
00:55:53,200 --> 00:55:55,200
believe in people with it.
1417
00:55:55,200 --> 00:55:57,200
But it's almost like
1418
00:55:57,200 --> 00:55:59,200
the Beatles have said they are bigger than they believe.
1419
00:55:59,200 --> 00:56:01,200
And this is an artifact
1420
00:56:01,200 --> 00:56:03,200
of what the Beatles believe.
1421
00:56:03,200 --> 00:56:05,200
I don't want to say
1422
00:56:05,200 --> 00:56:07,200
what this instrument actually means
1423
00:56:07,200 --> 00:56:09,200
for the pop history.
1424
00:56:09,200 --> 00:56:11,200
Everybody could be a bass.
1425
00:56:11,200 --> 00:56:13,200
It could have been a band
1426
00:56:13,200 --> 00:56:15,200
but it was this one.
1427
00:56:15,200 --> 00:56:17,200
But this was it.
1428
00:56:17,200 --> 00:56:19,200
It makes it special.
1429
00:56:19,200 --> 00:56:21,200
And it was in a bus.
1430
00:56:21,200 --> 00:56:23,200
Exactly.
1431
00:56:23,200 --> 00:56:25,200
They let it out in the morning.
1432
00:56:25,200 --> 00:56:27,200
Historically it wasn't there yet.
1433
00:56:27,200 --> 00:56:29,200
I think it's true.
1434
00:56:29,200 --> 00:56:31,200
I think you know better.
1435
00:56:31,200 --> 00:56:33,200
I think in the 70's
1436
00:56:33,200 --> 00:56:35,200
and maybe even in the early 80's
1437
00:56:35,200 --> 00:56:37,200
the Beatles were
1438
00:56:37,200 --> 00:56:39,200
I don't want to say forgotten.
1439
00:56:39,200 --> 00:56:41,200
But it's true.
1440
00:56:41,200 --> 00:56:43,200
It has become a hit.
1441
00:56:43,200 --> 00:56:45,200
It's not gone anymore.
1442
00:56:45,200 --> 00:56:47,200
The fact that the Carver is closed now
1443
00:56:47,200 --> 00:56:49,200
is that the museum and the Carver Club
1444
00:56:49,200 --> 00:56:51,200
have all come after that time.
1445
00:56:51,200 --> 00:56:53,200
Maybe now we know
1446
00:56:53,200 --> 00:56:55,200
how important it was
1447
00:56:55,200 --> 00:56:57,200
but also how important the instruments were.
1448
00:56:57,200 --> 00:56:59,200
It's a different world.
1449
00:56:59,200 --> 00:57:01,200
This kind of stories
1450
00:57:01,200 --> 00:57:03,200
you can't imagine
1451
00:57:03,200 --> 00:57:05,200
if you live in 1985 or 1979
1452
00:57:05,200 --> 00:57:07,200
or 72.
1453
00:57:07,200 --> 00:57:09,200
It's a completely different time.
1454
00:57:09,200 --> 00:57:11,200
Of course there was one bus
1455
00:57:11,200 --> 00:57:13,200
at George's.
1456
00:57:13,200 --> 00:57:15,200
There were all kinds of guitars
1457
00:57:15,200 --> 00:57:17,200
around.
1458
00:57:17,200 --> 00:57:19,200
At the Ringo's and Trumstelle
1459
00:57:19,200 --> 00:57:21,200
I don't know.
1460
00:57:21,200 --> 00:57:23,200
But that gives it a very iconic character.
1461
00:57:23,200 --> 00:57:25,200
What I also like
1462
00:57:25,200 --> 00:57:27,200
is that the V.L.Bus
1463
00:57:27,200 --> 00:57:29,200
has a very specific form.
1464
00:57:29,200 --> 00:57:31,200
It's actually different than all buses.
1465
00:57:31,200 --> 00:57:33,200
And you can draw on it.
1466
00:57:33,200 --> 00:57:35,200
But it's almost like a sort of
1467
00:57:35,200 --> 00:57:37,200
official logo when you go to a concert
1468
00:57:37,200 --> 00:57:39,200
with a silhouette of something V.L.Bus
1469
00:57:39,200 --> 00:57:41,200
when you come in.
1470
00:57:41,200 --> 00:57:43,200
For me it also sells a chain on its website
1471
00:57:43,200 --> 00:57:45,200
in the form of a V.L.Bus body.
1472
00:57:45,200 --> 00:57:47,200
It's almost like the logo of a Pommelkart.
1473
00:57:47,200 --> 00:57:49,200
You can buy a toy with a Pommelkart
1474
00:57:49,200 --> 00:57:51,200
on the bus.
1475
00:57:51,200 --> 00:57:53,200
It's really a sort of official logo
1476
00:57:53,200 --> 00:57:55,200
of the man.
1477
00:57:55,200 --> 00:57:57,200
The whole Bittelstein game
1478
00:57:57,200 --> 00:57:59,200
with T'Huffendebassen and Rikkenbakker and Fender
1479
00:57:59,200 --> 00:58:01,200
you only saw in the studio.
1480
00:58:01,200 --> 00:58:03,200
What you also say
1481
00:58:03,200 --> 00:58:05,200
about how you deal with concerts
1482
00:58:05,200 --> 00:58:07,200
is that at the end of the concert
1483
00:58:07,200 --> 00:58:09,200
you keep it in one hand high.
1484
00:58:09,200 --> 00:58:[01:04:41.200 --> 01:04:43.200] Via musicmedicines.nl
[01:04:43.200 --> 01:04:45.200] If you have a specific question, you can always mail it
[01:04:45.200 --> 01:04:47.200] via chris.nl
[01:04:47.200 --> 01:04:49.200] I'm always open to give more explanations
[01:04:49.200 --> 01:04:51.200] or to be less short of the corner, so...
[01:04:51.200 --> 01:04:53.200] That's nice.
[01:04:53.200 --> 01:04:55.200] Is there a
[01:04:55.200 --> 01:04:57.200] Paul McCartney bass party
[01:04:57.200 --> 01:04:59.200] from a song by The Beatles
[01:04:59.200 --> 01:05:01.200] or solo that you think, well, there it really is
[01:05:01.200 --> 01:05:03.200] best for both of them.
[01:05:03.200 --> 01:05:05.200] With a Huffner.
[01:05:05.200 --> 01:05:07.200] Oh shit, yes.
[01:05:07.200 --> 01:05:09.200] I'm going to ask something.
[01:05:09.200 --> 01:05:11.200] I believe that George Harrison wasn't so happy
[01:05:11.200 --> 01:05:13.200] that Paul McCartney played that party.
[01:05:13.200 --> 01:05:15.200] Because it's a very nice ballad.
[01:05:15.200 --> 01:05:17.200] And suddenly the owner of McCartney
[01:05:17.200 --> 01:05:19.200] hits the bass on all sides.
[01:05:19.200 --> 01:05:21.200] I think that party is so beautiful.
[01:05:21.200 --> 01:05:23.200] I also know from that party that there is a lot of discussion
[01:05:23.200 --> 01:05:25.200] about which bassist has been recorded.
[01:05:25.200 --> 01:05:27.200] And I think it's Rick and Becker.
[01:05:27.200 --> 01:05:29.200] But for now, we're going to re-enact that doubt.
[01:05:29.200 --> 01:05:31.200] Zayn and I just want to hear something.
[01:05:31.200 --> 01:05:33.200] Just ready.
[01:05:33.200 --> 01:05:35.200] One of the most beautiful bass parties ever.
[01:05:35.200 --> 01:05:37.200] It's not Paul McCartney's life in The Beatles
[01:05:37.200 --> 01:05:39.200] but also in the history of the bass.
[01:05:39.200 --> 01:05:41.200] It's certainly not played on the Huffner.
[01:05:41.200 --> 01:05:43.200] You can hear that.
[01:05:43.200 --> 01:05:45.200] Anyway, let's go with something.
[01:05:45.200 --> 01:05:47.200] Thank you, Chris.
[01:06:03.200 --> 01:06:08.200] Something in the way she moves me
[01:06:10.200 --> 01:06:13.200] I don't want to leave her now
[01:06:14.200 --> 01:06:17.200] You know I believe in how
[01:06:21.200 --> 01:06:26.200] Somewhere in her smile she knows
[01:06:26.200 --> 01:06:33.200] But I don't need no other lover
[01:06:36.200 --> 01:06:41.200] Something in her style that shows me
[01:06:43.200 --> 01:06:46.200] I don't want to leave her now
[01:06:47.200 --> 01:06:50.200] You know I believe in how
[01:06:57.200 --> 01:07:02.200] You're asking me will my love grow
[01:07:03.200 --> 01:07:09.200] I don't know, I don't know
[01:07:12.200 --> 01:07:16.200] You stick around and it may show
[01:07:17.200 --> 01:07:22.200] I don't know, I don't know
[01:07:26.200 --> 01:07:31.200] I don't know, I don't know
[01:07:32.200 --> 01:07:38.200] I don't know, I don't know
[01:07:40.200 --> 01:07:46.200] I don't know, I don't know
[01:07:47.200 --> 01:07:53.200] I don't know, I don't know
[01:07:57.200 --> 01:08:02.200] Something in the way she knows
[01:08:05.200 --> 01:08:10.200] And all I have to do is think of her
[01:08:12.200 --> 01:08:17.200] Something in the things she shows me
[01:08:19.200 --> 01:08:22.200] I don't want to leave her now
[01:08:22.200 --> 01:08:25.200] You know I believe in how
[01:08:52.200 --> 01:08:56.200] And all I have to do is think of her
[01:08:56.200 --> 01:09:00.200] And all I have to do is think of her
[01:09:00.200 --> 01:09:04.200] And all I have to do is think of her
[01:09:04.200 --> 01:09:08.200] And all I have to do is think of her
[01:09:08.200 --> 01:09:12.200] And all I have to do is think of her
[01:09:12.200 --> 01:09:16.200] And all I have to do is think of her
[01:09:16.200 --> 01:09:20.200] And all I have to do is think of her
say Nick was.
1547
01:00:15,200 --> 01:00:17,200
If he has nothing to do
1548
01:00:17,200 --> 01:00:19,200
maybe we should look for the piano.
1549
01:00:19,200 --> 01:00:21,200
Exactly.
1550
01:00:21,200 --> 01:00:23,200
Also German.
1551
01:00:23,200 --> 01:00:25,200
But that's weird.
1552
01:00:25,200 --> 01:00:27,200
There's an iconic piano in Get Back.
1553
01:00:27,200 --> 01:00:29,200
There are all those nice songs
1554
01:00:29,200 --> 01:00:31,200
Lead It Be and Long and Wining Road.
1555
01:00:31,200 --> 01:00:33,200
They were played on that.
1556
01:00:33,200 --> 01:00:35,200
And the thing just went back to the old days.
1557
01:00:35,200 --> 01:00:37,200
How big is the chance
1558
01:00:37,200 --> 01:00:39,200
that such a big piano, such a flute
1559
01:00:39,200 --> 01:00:41,200
is still there?
1560
01:00:41,200 --> 01:00:43,200
Yes, I think that
1561
01:00:43,200 --> 01:00:45,200
you can see that with
1562
01:00:45,200 --> 01:00:47,200
especially in the guitar world
1563
01:00:47,200 --> 01:00:49,200
that there are still a lot of guitars.
1564
01:00:49,200 --> 01:00:51,200
Because they have value.
1565
01:00:51,200 --> 01:00:53,200
A flute can also be very easy to play.
1566
01:00:53,200 --> 01:00:55,200
The question is
1567
01:00:55,200 --> 01:00:57,200
if something is black
1568
01:00:57,200 --> 01:00:59,200
how do you prove
1569
01:00:59,200 --> 01:01:01,200
that it is that flute
1570
01:01:01,200 --> 01:01:03,200
and that it is beautiful with the guitar
1571
01:01:03,200 --> 01:01:05,200
because they usually have that finger print
1572
01:01:05,200 --> 01:01:07,200
as they call it.
1573
01:01:07,200 --> 01:01:09,200
And do they not have a piano?
1574
01:01:09,200 --> 01:01:11,200
They are mostly painted black.
1575
01:01:11,200 --> 01:01:13,200
But also one of the serial numbers
1576
01:01:13,200 --> 01:01:15,200
or something like that.
1577
01:01:15,200 --> 01:01:17,200
I think it is.
1578
01:01:17,200 --> 01:01:19,200
But you should also know
1579
01:01:19,200 --> 01:01:21,200
which serial numbers we used.
1580
01:01:21,200 --> 01:01:23,200
I think it has a step further.
1581
01:01:23,200 --> 01:01:25,200
It is to do.
1582
01:01:25,200 --> 01:01:27,200
It sounds a lot more promising.
1583
01:01:27,200 --> 01:01:29,200
No, it's fun.
1584
01:01:29,200 --> 01:01:31,200
The fact that we still found
1585
01:01:31,200 --> 01:01:33,200
instruments like this one,
1586
01:01:33,200 --> 01:01:35,200
it tells you something.
1587
01:01:35,200 --> 01:01:37,200
I have to say, I really did not expect
1588
01:01:37,200 --> 01:01:39,200
that this bass would still be there.
1589
01:01:39,200 --> 01:01:41,200
It has never been thrown away or burned.
1590
01:01:41,200 --> 01:01:43,200
Or maybe it was broken and you do not recognize it anymore.
1591
01:01:43,200 --> 01:01:45,200
I knew in October
1592
01:01:45,200 --> 01:01:47,200
that it was found back.
1593
01:01:47,200 --> 01:01:49,200
In September I was still on the radio
1594
01:01:49,200 --> 01:01:51,200
and I knew that it was found back.
1595
01:01:51,200 --> 01:01:53,200
I had to keep my mouth shut for four months.
1596
01:01:53,200 --> 01:01:55,200
I had a lot of lollipops
1597
01:01:55,200 --> 01:01:57,200
with every post that was done about it.
1598
01:01:57,200 --> 01:01:59,200
Also by Nick Wars.
1599
01:01:59,200 --> 01:02:01,200
He had to put it on officially
1600
01:02:01,200 --> 01:02:03,200
because no one knew that it was already found.
1601
01:02:03,200 --> 01:02:05,200
With all the posts about the bass being searched
1602
01:02:05,200 --> 01:02:07,200
I put it down. They will never find it again.
1603
01:02:07,200 --> 01:02:09,200
And while I already knew that it was found,
1604
01:02:09,200 --> 01:02:11,200
I was always a little sticky.
1605
01:02:11,200 --> 01:02:13,200
There was a computer behind me
1606
01:02:13,200 --> 01:02:15,200
and there was a person in the discussion
1607
01:02:15,200 --> 01:02:17,200
saying that maybe they will find it.
1608
01:02:17,200 --> 01:02:19,200
While I was taking the pictures on my computer.
1609
01:02:19,200 --> 01:02:21,200
I had to stick them in my underwear
1610
01:02:21,200 --> 01:02:23,200
and then of course Nick was there too.
1611
01:02:23,200 --> 01:02:25,200
But you had to keep it secret
1612
01:02:25,200 --> 01:02:27,200
because the negotiations with the ladies were not yet finished?
1613
01:02:27,200 --> 01:02:29,200
No, that's right.
1614
01:02:29,200 --> 01:02:31,200
What I understood and I do not go further
1615
01:02:31,200 --> 01:02:33,200
is that in the beginning the woman lived in
1616
01:02:33,200 --> 01:02:35,200
and that there was still something for me
1617
01:02:35,200 --> 01:02:37,200
that might have caused a bit of trouble
1618
01:02:37,200 --> 01:02:39,200
or thought that I might have had more money.
1619
01:02:39,200 --> 01:02:41,200
There were some things that happened.
1620
01:02:41,200 --> 01:02:43,200
He really did not have to officially be from Pomenkark
1621
01:02:43,200 --> 01:02:45,200
before all of that was done.
1622
01:02:45,200 --> 01:02:47,200
Is it a yes?
1623
01:02:47,200 --> 01:02:49,200
And is it a yes?
1624
01:02:49,200 --> 01:02:51,200
Is it a yes?
1625
01:02:51,200 --> 01:02:53,200
Do you give him back his will or not?
1626
01:02:53,200 --> 01:02:55,200
What do you talk about?
1627
01:02:55,200 --> 01:02:57,200
That's why Nick was authenticated for the law.
1628
01:02:57,200 --> 01:02:59,200
This is really the bass.
1629
01:02:59,200 --> 01:03:01,200
It all takes a while before you really know what it is.
1630
01:03:01,200 --> 01:03:03,200
He is now really from me.
1631
01:03:03,200 --> 01:03:05,200
It can now really go into the world.
1632
01:03:05,200 --> 01:03:07,200
That takes a while.
1633
01:03:07,200 --> 01:03:09,200
And if I'm not mistaken, Pomenkark
1634
01:03:09,200 --> 01:03:11,200
was on tour in South America in the end of last year.
1635
01:03:11,200 --> 01:03:13,200
I had already heard from Nick
1636
01:03:13,200 --> 01:03:15,200
that he was on tour in South America
1637
01:03:15,200 --> 01:03:17,200
at the end of December.
1638
01:03:17,200 --> 01:03:19,200
So before that time, we did not hear anything.
1639
01:03:19,200 --> 01:03:21,200
Because he is somewhere.
1640
01:03:21,200 --> 01:03:23,200
So there are a lot of things that play with it in the process.
1641
01:03:23,200 --> 01:03:25,200
Nice story.
1642
01:03:25,200 --> 01:03:27,200
It's all good.
1643
01:03:27,200 --> 01:03:29,200
There they are again.
1644
01:03:29,200 --> 01:03:31,200
Yes, he is of course with all the beauties
1645
01:03:31,200 --> 01:03:33,200
when we see Pomenkark on tour.
1646
01:03:33,200 --> 01:03:35,200
And with the first song he comes with the song.
1647
01:03:35,200 --> 01:03:37,200
Yes, I think that will happen.
1648
01:03:37,200 --> 01:03:39,200
Because then we all see him for the first time.
1649
01:03:39,200 --> 01:03:41,200
I think as a podcast at Gibson TV
1650
01:03:41,200 --> 01:03:43,200
it seems to me that Gerrit Zalem, Peter Frampton,
1651
01:03:43,200 --> 01:03:47,200
and his guitar was once in a plane crashed down.
1652
01:03:47,200 --> 01:03:49,200
And one thought that everything was burned out.
1653
01:03:49,200 --> 01:03:51,200
And in the end, the guitar was saved.
1654
01:03:51,200 --> 01:03:53,200
And he turned out to have played for 30 years in Curaçao.
1655
01:03:53,200 --> 01:03:55,200
And he was also found again years later.
1656
01:03:55,200 --> 01:03:57,200
Again through the Netherlands.
1657
01:03:57,200 --> 01:03:59,200
Because Curaçao of course,
1658
01:03:59,200 --> 01:04:01,200
the king actually hears the Dutch.
1659
01:04:01,200 --> 01:04:03,200
There are quite a few of those very beautiful stories
1660
01:04:03,200 --> 01:04:05,200
where you really smile and read how it went.
1661
01:04:05,200 --> 01:04:07,200
Nice.
1662
01:04:07,200 --> 01:04:09,200
Hey Chris, I thought it was a beautiful story.
1663
01:04:09,200 --> 01:04:11,200
About the Huffner bass.
1664
01:04:11,200 --> 01:04:13,200
About the specifications.
1665
01:04:13,200 --> 01:04:15,200
I'm afraid to be too nerdy all the time.
1666
01:04:15,200 --> 01:04:17,200
So I always try to...
1667
01:04:17,200 --> 01:04:19,200
Well, that was also good.
1668
01:04:19,200 --> 01:04:21,200
But I think for our listeners it's really boring.
1669
01:04:21,200 --> 01:04:23,200
Yes, really.
1670
01:04:23,200 --> 01:04:25,200
I do have to give a disclaimer.
1671
01:04:25,200 --> 01:04:27,200
Maybe I'm a little shorter here.
1672
01:04:27,200 --> 01:04:29,200
But otherwise it would take 4 hours for a podcast.
1673
01:04:29,200 --> 01:04:31,200
No, but it was fine.
1674
01:04:31,200 --> 01:04:33,200
And if people have a specific question or want to know something.
1675
01:04:33,200 --> 01:04:35,200
I'm going to make a little advertising.
1676
01:04:35,200 --> 01:04:37,200
The whole story is now in the bassist.
1677
01:04:37,200 --> 01:04:39,200
To get it in stores.
1678
01:04:39,200 --> 01:04:41,200
You can also order it without a license.
1679
01:04:41,200 --> 01:04:43,200
Via musicmedicines.nl
1680
01:04:43,200 --> 01:04:45,200
If you have a specific question, you can always mail it
1681
01:04:45,200 --> 01:04:47,200
via chris.nl
1682
01:04:47,200 --> 01:04:49,200
I'm always open to give more explanations
1683
01:04:49,200 --> 01:04:51,200
or to be less short of the corner, so...
1684
01:04:51,200 --> 01:04:53,200
That's nice.
1685
01:04:53,200 --> 01:04:55,200
Is there a
1686
01:04:55,200 --> 01:04:57,200
Paul McCartney bass party
1687
01:04:57,200 --> 01:04:59,200
from a song by The Beatles
1688
01:04:59,200 --> 01:05:01,200
or solo that you think, well, there it really is
1689
01:05:01,200 --> 01:05:03,200
best for both of them.
1690
01:05:03,200 --> 01:05:05,200
With a Huffner.
1691
01:05:05,200 --> 01:05:07,200
Oh shit, yes.
1692
01:05:07,200 --> 01:05:09,200
I'm going to ask something.
1693
01:05:09,200 --> 01:05:11,200
I believe that George Harrison wasn't so happy
1694
01:05:11,200 --> 01:05:13,200
that Paul McCartney played that party.
1695
01:05:13,200 --> 01:05:15,200
Because it's a very nice ballad.
1696
01:05:15,200 --> 01:05:17,200
And suddenly the owner of McCartney
1697
01:05:17,200 --> 01:05:19,200
hits the bass on all sides.
1698
01:05:19,200 --> 01:05:21,200
I think that party is so beautiful.
1699
01:05:21,200 --> 01:05:23,200
I also know from that party that there is a lot of discussion
1700
01:05:23,200 --> 01:05:25,200
about which bassist has been recorded.
1701
01:05:25,200 --> 01:05:27,200
And I think it's Rick and Becker.
1702
01:05:27,200 --> 01:05:29,200
But for now, we're going to re-enact that doubt.
1703
01:05:29,200 --> 01:05:31,200
Zayn and I just want to hear something.
1704
01:05:31,200 --> 01:05:33,200
Just ready.
1705
01:05:33,200 --> 01:05:35,200
One of the most beautiful bass parties ever.
1706
01:05:35,200 --> 01:05:37,200
It's not Paul McCartney's life in The Beatles
1707
01:05:37,200 --> 01:05:39,200
but also in the history of the bass.
1708
01:05:39,200 --> 01:05:41,200
It's certainly not played on the Huffner.
1709
01:05:41,200 --> 01:05:43,200
You can hear that.
1710
01:05:43,200 --> 01:05:45,200
Anyway, let's go with something.
1711
01:05:45,200 --> 01:05:47,200
Thank you, Chris.
1712
01:06:03,200 --> 01:06:08,200
Something in the way she moves me
1713
01:06:10,200 --> 01:06:13,200
I don't want to leave her now
1714
01:06:14,200 --> 01:06:17,200
You know I believe in how
1715
01:06:21,200 --> 01:06:26,200
Somewhere in her smile she knows
1716
01:06:26,200 --> 01:06:33,200
But I don't need no other lover
1717
01:06:36,200 --> 01:06:41,200
Something in her style that shows me
1718
01:06:43,200 --> 01:06:46,200
I don't want to leave her now
1719
01:06:47,200 --> 01:06:50,200
You know I believe in how
1720
01:06:57,200 --> 01:07:02,200
You're asking me will my love grow
1721
01:07:03,200 --> 01:07:09,200
I don't know, I don't know
1722
01:07:12,200 --> 01:07:16,200
You stick around and it may show
1723
01:07:17,200 --> 01:07:22,200
I don't know, I don't know
1724
01:07:26,200 --> 01:07:31,200
I don't know, I don't know
1725
01:07:32,200 --> 01:07:38,200
I don't know, I don't know
1726
01:07:40,200 --> 01:07:46,200
I don't know, I don't know
1727
01:07:47,200 --> 01:07:53,200
I don't know, I don't know
1728
01:07:57,200 --> 01:08:02,200
Something in the way she knows
1729
01:08:05,200 --> 01:08:10,200
And all I have to do is think of her
1730
01:08:12,200 --> 01:08:17,200
Something in the things she shows me
1731
01:08:19,200 --> 01:08:22,200
I don't want to leave her now
1732
01:08:22,200 --> 01:08:25,200
You know I believe in how
1733
01:08:52,200 --> 01:08:56,200
And all I have to do is think of her
1734
01:08:56,200 --> 01:09:00,200
And all I have to do is think of her
1735
01:09:00,200 --> 01:09:04,200
And all I have to do is think of her
1736
01:09:04,200 --> 01:09:08,200
And all I have to do is think of her
1737
01:09:08,200 --> 01:09:12,200
And all I have to do is think of her
1738
01:09:12,200 --> 01:09:16,200
And all I have to do is think of her
1739
01:09:16,200 --> 01:09:20,200
And all I have to do is think of her