A very early bass guitar, probably close to the end of the prototype stages of development. At upper left, notice the light blue lining of the case as well as the straight headed screws securing the tailpiece to the body. Even more so, notice the lettering on the scratchplate. Seen better in enlarged view, it says 'Dan Armstrong' only - and is not followed by the word Ampeg like on later models. Also notice the unusual looking bridge. Although it is made of rosewood, it is shaped quite differently than on later models, and more similar in shape to the Danelectro^® wooden bridges.

At upper right, notice the odd, and deeper shaped routing of the control cavity. Also noticed the wood grained Formica^®, like that used on the scratchplate and headstock veneer, residing underneath the pickup. Most likely acting as a spacer, meaning the pickup cavity was routed too deeply.

At upper left, another indicator of a very early model, this bass employs the chrome metal pickup plate to help secure the bass pickup to the acrylic body. Notice how the bass pickup is totally encased in resin, even the metal pole piece. Also notice how the scratchplate curls up a touch just before it meets with the chrome plated pickup retaining plate. At upper right, a black plastic thumb rest is used vs. the rosewood thumb rests of later models.

At upper left, the large flared out shoulders of the headstock are quite obvious compared to later models while at upper right, and as seen from the backside, the flared shoulders are even more obvious. Also notice how the low 'E' string tuner has been fitted out with a Grover Rotomatic^® tuner, whereas the rest are probably the original Schaller^® tuners.

At upper left, the same bass in an indoor setting. Notice again - only the name Dan Armstrong on the scratchplate. Notice too, the lack of and beveling in the cutaways like later models feature. At upper right, and seen from the backside, again the Formica material can be seen under the pickup and a smaller type channel has been routed for the ball-end of the strings - another sign of an early bass. Notice again the routing of the control panel and the shielding that has been added behind the scratchplate.

Another very early bass guitar featuring a case with a light blue inner lining. Being a very early bass, notice how the case also features the more squared off handle and leather strap to secure the lid of the pick compartment. At upper right, the chrome metal that makes up the base portion of the squared off handle can be seen as well. Although it is indeed an original case, these features would soon come to give way to a newer style case featuring a more rounded off handle on the outside, and internally, a metal hook would replace the leather strap that secures the pick compartment lid. Lastly, these cases also feature a black inner lining.

Other signs of an early bass such as this can be seen at upper left, with straight headed screws being employed to secure the tailpiece to the acrylic body. At upper right, another strong indicator of an early model, a smaller cavity is routed for the ball-end of the strings to lie into as later models had a much larger cavity.

At upper left, a very early bass that features what Dan called the 'pickup plate' to help hold the bass pickup in place. At upper right, along with the straight headed screws the tailpiece is all chrome, with no sandblasting, while the rosewood bridge lacks a fret going across it.

Upper left, a smooth scratchplate is also seen on these early model instruments. Notice the washer under the input jack covering up the busted area underneath, the result of someone stepping on the guitar's patch cord with it plugged in. Notice the unusual looking scratchplate screws on this instrument. At upper right, another photo of the scratchplate as well as the unusual screws securing it to the acrylic body.

However, the one thing that sets this instrument apart from most any other can be seen at upper left. Instead of the usual round dot type position markers that are normally seen on the side of the neck, this bass instead employs larger rectangular markers. At upper right, the octaves feature two such markers.

The serial number of this bass will most likely remain unknown for certain. As can be seen at upper left, the original serial number had been stamped in at the foot, or base of the tongue (something only seen on the very earliest models) and can be seen ending in 30A. Unfortunately the beginning of the serial number is gone due to a 'U' shaped channel that was routed into the base of the maple tongue for the adjustable nut of a different truss rod that now gets turned at the base of the neck rather than up at the headstock. Notice the red colored epoxy filler behind it all.

At upper right, and from a top down view, the round metal piece in the center of the tongue, which was once the 'stop- piece' of the original truss rod is gone - and in it's place - the new truss rod can be seen through the transparent reddish colored epoxy that is filled in over it. Below the neck, and lying at the rear of the routed neck channel of the acrylic body, notice a brass shim - placed there to tilt the neck for better playing action.