As seen at upper left, the Univox Lucy models employed aluminum knobs that were knurled on the outside for better grip and feature circular matching wooden inserts placed within the top of the knob. Notice too how the Univox Lucy model knobs are fashioned for a fully rounded potentiometer shaft, whereas the Dan Armstrong · Ampeg model knobs seen upper right are made for only ½ of a shaft and therefore have more of a 'D' shape.

The Lucy guitar also features the same volume and tone type controls attached to the Formica scratchplate, as well as a three position switch. However, the switch on the Lucy guitar works differently than on the Dan Armstrong · Ampeg model being it has two pickups on it.

With the switch back, toward the rear of the guitar, the back pickup is activated. Moving the switch to the forward position (the same direction as the headstock) activates the front most pickup, while putting the switch in the middle position activates both pickups simultaneously.

photo courtesy of George Jara

photo courtesy of George Jara

At upper left, the Lucy^® instruments feature a 3-piece laminated neck. Because the Lucy guitar model has two pickups vs. the single pickup system of the Dan Armstrong · Ampeg model, it means more space is required on the body, which in turn means less of the neck is seated within the body.

At upper right, individual layers of maple with grains going in different directions add strength and lessen the chances for warping and twisting of the neck. The three layers are separated from one another by thin strips of walnut.

photo courtesy of George Jara

photo courtesy of George Jara

Upper left, the first fret of the rosewood fingerboard on the Lucy guitar features a positron marker while at upper right the 12^th fret (as well as the 24^th fret) features two of these larger size position markers placed somewhat closely together.

photo courtesy of George Jara

The Univox Lucy® instruments were shipped in a black toylex covered, shaped hard shell case that features crushed yellow velvet inside. Although these cases protect the instrument better than a soft type case, they nevertheless lack the quality and support strength of the ESS&ESS cases that came with the Dan Armstrong · Ampeg cases. However, more than even the strength and support quality, many seem to feel that the real weakness lay in the latches on the case. It is felt that these latches are of insufficient quality for they tend to loosen up with age and not stay latched down properly which can easily send the instrument tumbling to the floor if one is not cautious.

At left, the Univox Lucy bass model no. UHS-1B. Notice how it has all the features of the guitar model, though it lacks the wrap around scratchplate. Also unlike the guitar model, the two pickups are placed farther from one another, which provides a wider tonal variation. Unlike the Dan Armstrong · Ampeg bass, that sports a two octave, 24 fret fingerboard, the Lucy bass only features 20 frets, while other copies only reach as far as 21 frets on their fingerboards. As can be seen below, the bridge on the Lucy bass, as well as most all other copies have a combination bridge and tailpiece that is somewhat different than the Dan Armstrong model. Seen here in enlarged view, it has two large chrome plated machine screws that turn into threaded inserts in the acrylic body, much like a stop tailpiece. Gone is the rosewood bridge, & in its place, a raised, chrome metal piece with notches embedded in it that act as string guides. Unfortunately this design has little more travel adjustment than a wooden bridge has.

Seen above left and in the enlarged view at upper right, notice the dip in the scratchplate as it is styled to fit around the combination bridge/tailpiece unit on these basses - somewhat looking like a last minute alteration on the finishing line. Perhaps it was designed that way and maybe not. But whatever the case, in my opinion it definitely detracts from the looks of the instrument, and makes it rather obvious that Dan had a finer eye for design lines.

The Conrad 'Bumper' guitars were imported to the US by David Wexler & Co. of Chicago, IL. The guitar model #40223 has a 24^7/8" scale length and features 24 frets on a 3 ply hard rock maple neck. The 'ovalled' rosewood fingerboard features smaller dot position markers unlike the Univox Lucy model. But as can be seen at upper left, notice how the Bumper guitar features the same wrap around style scratchplate as the Univox Lucy model. Ironically, 1973 literature on these instruments states that the guitar features "dual volume and tone controls" which would seem to suggest a typo &/or confusion with another of their models. At upper right, the Conrad name is easily seen set against its Gibson styled headstock with the same Formica^® veneer and matching truss rod cover that the Lucy model employs. About the only thing different among many of these copies is, in fact, the brand name on the headstock.

Despite such similarities there are differences however. As seen upper left, the Conrad guitars also employ a Tuno-Matic^® style bridge and stop type tailpiece - something not seen on the Lucy model. Furthermore, the pickups are different than those seen on the Univox model. Whereas the Lucy guitar features pickups more resembling the Dan Armstrong pickups with the full bar magnet, the Conrad guitars are equipped with pickups more closely resembling the Gibson humbucking pickup.

Most of the Japanese manufacturers utilized the Nisshin Onpa^® company who owns the Maxon^® brand as a subcontractor for its pickups back then. Some Maxon pickups have Maxon's 'M' logo stamped on the bottom plate. But again, many players have swapped out the original pickups, usually for something more 'hotter' - for although these appear as humbucking pickups, usually they are single coil that are dressed to appear as a humbucker.

At upper right, the factory routing for the pickups and control cavity can be seen, as well as the post studs for the bridge and tailpiece. Notice the small routed channel going from the nearest tailpiece stud to the control cavity where the grounding wire runs.