"Tell me what you like, Rosie," and louder to be heard over my moans, "I'll do it just like that," he begs.
What do I like? I like the idea I could never answer him and he might fuck me harder, in some kind of spite filled rage at my silence, and rub his tears to slick my back with as much pain for my inanimacy as I feel.
All Telecasters basically have the same features: single cutaway slab body, 2 chrome knobs, 3 position toggle switch, 3 paired adjustable bridge saddles, strings anchor thru body (except in late 1958 to 1959).
And so I resolved to have it out, to have it all out, in the loose and knotted ties I feel for you, like a pile of overcooked pasta into my lap, overturned by a clumsy waiter. I think, how did all these men in this restaurant, become me? How am I also, this warm and seeping sensation of heat from someone’s cooling half-eaten bussed dishes, and this fumbling apology, and this caught stranger’s hand. Am I made of such embarrassments?
First remove the lid of the video and locate the pinch roller. On the SL-C9 it is necessary to remove the metal head pre-amp can covering the mechanics. This is done simply by removing about three screws and then hinging the can backwards.
It is best to clean the pinch roller by first removing it. If you do not feel up to doing this then it can usually be cleaned fairly well by using alcohol and cotton wool buds directly.
Before removing the pinch roller, first note the position of the spring holding it in place. Now carefully remove the 'C'-clip from on top of the roller. It is best to do this with your fingers if possible as it has a habit of firing out of the machine when a screwdriver is used.
Sherman Oaks Galleria gets remodeled every time I turn a corner, into one of her fake cobble stoned alcoves under towering plastic palm trees overgrowing the wood topped railings of the second floor. Windows smudged with the eager hands of toddlers gloss the poshly blank faces of mannequins between hairspray clouds of wigs, dark and teased. Boys in polos in smiling and flipped hair in charming teeth in desperate cool. The socks of the girls the boys walk backward to speak to are tucked into flats of a tertiary and complementary color. Bright but not too bright, like the off shade of red paint, every convertible in any hot new music video.
Brad approaches me with cloudy and moodless eyes.
In 1937 Gretsch had trademarked the name "BroadKaster" for a line of drums. After advertising the Broadcaster in music trade papers in February 20, 1951, Gretsch took notice and sent Fender a telegram asking them to change their name. Therefore Fender was forced to drop the name Broadcaster. Starting around February 22, 1951, Fender cut the word "Broadcaster" off of their headstock decals. These models (February 1951 to summer 1951) are known as "NoCasters". Starting in the summer of 1951, Fender adopted the name "Telecaster" for this model, and started using new decals after all the old clipped decals were used.
The cool stares of brothers over a long-shared game of chess and who was there to tell me it was not enough, or that it was enough, or ever had been enough, when the long nights ended and I missed you still, like the burying of my hands into a woman’s hair.
This is the part of the video used to transfer drive to the cassette reel spools. It swings from either the supply or take up spool depending on the direction of the tape. It is often prone to seizure causing the tape to jam in the machine or the fast forward and rewind operations to perform badly or not at all. When the unit fails, a complete replacement is needed. It cannot be fixed. The unit is cheap and relatively easy to replace. Unfortunately the part is no longer available from Sony.
We could wander endless, you and me, until I ran out of the words to describe the sound of your steps falling in the echoed chambers I would imagine us to walk. We could wander, and the sound of the word wander is a delicious lie of what I really know to stand in the place of what’s true, which is a sense of obligation to the other, as keepers. But to wander, without purpose, beyond what either of us might know, is the nature of an animal I’ve managed to create in your absence, I think; an animal nature that begs a freedom to run with legs untethered from any earth of understanding or responsibility. Tell me, my love, do you dream of things that wander, so?
Ash body 1.75" thick with Butterscotch Blond finish.
Maple one piece neck, all with truss rods. Sometimes the truss rod plug behind the nut on the peghead face is maple instead of walnut.
Peghead truss rod plug is more rounded.
Neck backshape feel was a large rounded "D" style neck. The fingerboard had a 7.25" fingerboard radius with small (.078" wide) frets (though a 9" radius Broadcaster has been documented).
Round button string tree (1st month models don't have one).
Silver "spaghetti" peghead Fender decal with black trim.
Flat pole pickup in treble position and two wire notches in the black pickup base.
Lead pickup has a tin (or sometimes copper) baseplate used for ground.
A common fault with older machines is lack of reel torque. This can result in the machine shutting down in playback or record modes and the tape not being wound back into the cassette housing after eject. The best cure for this is to replace the reel chassis. However, because of changes during production you may find that some other bits, such as springs, may need replacing as well. Sony also made available a 'motor mod kit' which consists of a .02mm thick piece of plastic which can be fitted in the worn bearing. Alternatively a small ball bearing can be fitted but this may require the rotor to be filed down to ensure the correct gap between rotor and stator coils.
I had occasion, from time to time, to wonder what she saw in him. To some degree, I could make sense of it in the long lines of his beautiful wrists, and the pressing rosebud of his mouth, given generously in bloom when he laughs, and so frequently. But now...now I clamor as ardently for any attention from the places I deem it to lie; in Dean’s softly-parting hands in prayer, in the hollows of Nicholas’ collar, in the soft denseness of Evelyn’s bent knees, in the felicitous unwinding snap of Bonaventure’s wrists.
The bareness of Springwood High School’s linoleum is slick and scuffed and evidentiary of my dreaming state. Wherever I was before, I’m not there now. I look down the barrel of the hall as that of a gun, my certain and narrowing doom. Cornflower blue lockers with still locks in a repetition under the wood panel deplete the idea of any light but that from the long, glaring fluorescents to direct an absent traffic. Whatever breath I had before, I don’t have now. This emptiness in utter confrontation of me, I understand I’m dreaming and clutch my clothes.
Pickup windings cover with white string (which often looks black from the wax pickup potting).
Knurled chrome plated brass knobs with a semi-flat top.
Chrome covered pickup in neck position.
Black vulcanized fiber (often called "bakelite") pickguard, clear coated with lacquer (though one white fiber pickguard Broadcaster is documented).
Four digit serial number on bridge plate, starting with "00" or "0".
Round Dak-a-Ware switch tip.
Two patent number 3-way switch CRL 1452 (2291516, 2291517).
Stackpole pots (manufacturer number 304).
Blend control pickup wiring (no tone control).
Often the rear string ferrels are not aligned.
Steel bridge saddles till November 1950, then brass with flat bottoms.
Body date in neck pocket.
All screws have slot heads (including the truss rod adjuster).
Oblique, I roll to my side and find the bed so empty piercing hard through the mattress something I think must be a knife, of Nicholas’, or the lost hope, of Evelyn. Bonnie’s eyes and mine meet over long exchanges like the unending and averted chuck and scan of green and white alternating printout. Did you...see that? Yesss I...saw that. They go black and lifeless, and mine drop, as we find we can no longer, in indignation or exhaustion, pretend to care.
The cassette carriage can fail to operate. This is caused by breakage of the plastic gears in the side of the mechanism. Often one of the teeth is missing.
When this happens the faulty gears must be replaced and the mechanism correctly realigned so that the left and right side "tray arms" are at the same position relative to the front panel. This is done by releasing the plastic tab on the gear away from the motor side and selecting the correct mesh position with the teeth of the drive cog on rod which connects between both sides of the cassette tray.
With fists full of the top sheet, I brace myself on my tummy with thighs apart for him. He maneuvers his cock awkward and painful into me and I yell short and wordless. He puts weight on me with his hand between my shoulder blades, and I know he's watching his cock pull out of me. He bends to whisper in my ear, pressing my hair with sweat to the side of my face.
For most collectors,pre-1966 Fender vintage guitars and amps are the desirable ones. Although CBS purchased Fender (officially) on January 3rd 1965, it took some time till the guitars changed (though by mid 1964, six months before CBS bought Fender, things were already "on the way down"). By the end of 1965, the general look and feel of the Fender guitars had changed significantly. All collectors feel the quality of their instruments and amps suffered as CBS employed more "mass production" manufacturing processes to the Fender guitars. Many other models suffered the same miserable fate of being over mass-produced and cheapened by corporate zealots. Because of this, Fender's most innocent era of the 1950's is their most collectible. This decade produced guitars with one-piece maple necks, single layer pickguards, thin "spaghetti" logos, and tweed cases that seem to capture collectors the most.
Do not be afraid to have a go at cleaning the rollers, belts and guides. This is best done using some cotton buds soaked in methylated spirits. Belts can be cleaned using an old cloth soaked in methylated spirits. If at all possible, remove the item from the machine to clean it. As a rule of thumb all rubber in the machine will age and will benefit from a clean. At the very least it will get the machine working temporarily until a proper replacement can be obtained. Old or dirty rubber in a machine accounts for the majority of faults in video machines.
Tripping over Brad, I fall to the floor in front of my father, and Brad’s snide and silent laughter chokes in his teenage chest.
“Isaac,” my father’s bark is direct and pointed hard and relentless. “What the hell are you doing?”
“I...I tripped,” I mutter, shoving a swift kick at Brad’s stretched form, arcing our living room floor like the graceful drape of a semi-circle. His smile is passionless and spiteful, his semen dying, now hours old, in my throat, with a longing and questioning, “why is he doing this to me?” I might never understand that boyish thing, made of small and even teeth bitten into soft flesh, but I pressed it into my mouth, all the same. And I wondered, even then, who it was for.
What makes it so special? Well to put it simply it is because the C9 incorporates so many advanced features. Features that even today still put many current video recorders (non Beta included) to shame. From the technical point of view the most amazing achievement of this machine is the tape transport. This uses two separate direct drive dc motors, one for each of the supply and take-up reels. The result is that the tape transport is simply beautiful. The ability to change from normal speed playback to trick speeds of one tenth, a fifth, with near frame accurate advance in both forward and reverse is incredible for a domestic VCR.
The Esquire was Fender's first electric spanish guitar. Originally introduced in June of 1950 as a black (and later blond), one or two pickup model, it was discontinued by Fender's marketing arm in September 1950. Only about 50 of these original Esquires were shipped, though Fender had a backorder of hundreds of units. And many came back to Fender to have the neck (and body!) replaced because of neck warpage, from the lack of a truss rod.
I sob into the receiver, gritty with my fluids, losing hope and understanding and all my care to get them back. He disappears in cold waves to a memory of the warm humanity I always wished to embody.
"I would only kill you... to make you h-happy," he chokes, dismissing everything between us but his dragon and loving heart. What he tells me with every time he tears his eyes away from me, in a shame I can't understand, is that he wants for me a life, any life, my cheeks with happy blood if he has to shed it himself to prove it exists.
Internally the machine is densely packed with sophisticated electronics. At the centre of the control systems are no less than three micro-processors.
I’m in love with you. I’m in love with you, desperately. I only know to tell you that, in the most flushed and desperate ways, my hands removed from my pockets, draping exhilarated at my sides, my hair strewn, the usual order of me, disordered. If I knew how to beg, I would beg. But I tripped, over Brad, and I landed hard, you see, in front of our father, not two hours after he fucked my mouth, the first time, and I became the sort of man, who never begs. I have always been in love with you, but timidly or brazenly, I have no way to recollect.
In October 1950, the Broadcaster replaced the Esquire as their two pickup electric spanish guitar, with a truss rod! The Esquire was re-introduced in early 1951 as a single pickup version of the Broadcaster. The 1951 and later Esquire, because of its single pickup, does not have the value today of its two pickup brother, due to its limited tonal range with one pickup. By February 1951, the Broadcaster was renamed the Telecaster (though the guitars didn't actually have a "Telecaster" decal on them until the summer of 1951), because of a naming conflict with a trademarked Gretsch drum line.
From the consumer point of view the C9 is a stylish front loading machine which has a 9 event 14 day timer, Beta Noise Reduction (BNR), audio dubbing facility, a camera input and perfect picture in pause mode not to mention a real-time counter and APS indexing system. The APS system is a classic example of a feature which was to later find its way on to a rival system. The ES model is also equipped with a stereo / bilingual modulator and was also found in black.
I breathed hard, into your mouth, just before it met yours, and I wondered, if you could taste some part of me, and for how long. I felt you do the same, in the edged moment before we dizzy met, and the span from you to me grew somehow, in a rapid succession of missed opportunities and reasons for not living. Do I search you, now? Do I follow long distances of road to the place you keep your secrets? I have my keys, in my hand. I have my heart, in my teeth.
Beta Noise Reduction was Sony's answer to Dolby's Noise Reduction system. Unlike other noise reduction systems, this improves the signal to noise ratio by dynamically boosting the high sound frequencies at record time and then correspondingly reducing them when the recording is played back.
A nice feature on early Beta decks was the ability to dim the fluorescent display which is particularly nice if you are viewing in dim lighting conditions.