Dan Armstrong - Man & Guitars

In January of 1971 Electra introduced their copy of the Dan Armstrong · Ampeg guitar. Known as the 'Phantom' it was available in two different models. The 2246WC model (seen above) - and the 2255WC model. Ironically, with the possible exception of the Ventura V-3000 model, the Electra 2246WC model was the closest copy of the Dan Armstrong · Ampeg model ever produced.

The same guitar as above, but set against a Christmas tree background. On the right, it would appear as though a portion of the acrylic body needs to be buffed out as it looks to be scuffed up a bit. The 2246 models are so close to the original Ampeg model that players would often replace the Electra pickups with Dan Armstrong · Ampeg pickups as they were a perfect fit all around.

At left, viewing down the Electra 2246WC. On the right, the 2246WC in it's case.

Above, the Electra name on the headstock. Notice some blistering of the finish on both sides of the truss rod cover. At right, the backside of the headstock. In the enlarged view - notice the checking in the finish where the neck meets the headstock. But the real treat is the tin sticker, for it reveals the stock number of 2246 - and a serial number of 001. The very first Electra 2246WC to roll off the assembly line.

At left, another Electra 2246WC model, completely original. Like the guitar it's copied after, notice that it features a 24 fret neck, a sweeping scoop in the acrylic body for modular pickups. As mentioned before, and unlike most other copy models, the Electra 2246 model accepts original Dan Armstrong / Ampeg pickups.

But at the right, and unlike the Dan Armstrong model, the acrylic body lacks any bevelling in the cut-away horn section. Notice how the ground wire was routed to the tailpiece, more like that on the actual Dan Armstrong model. Back at the left, this same wire can barely be seen from the front in the enlarged view. At upper right again, notice the larger shim being used on the tongue of the neck.

At upper left and also like the original Dan Armstrong model the Electra features modular pickups that slide into a well in the guitar body and eventually hooks into the guitars circuitry via banana plugs. One person online, looking for additional slide-in pickups for his Electra Dan Armstrong copy mentioned that he contacted Kent Armstrong to see if his Dan Armstrong pickups would fit & work..... stating "I emailed Kent Armstrong a while back about the possibility of using pickups from the Ampeg reissues and he kindly sent me one to try. It fits and works perfectly." which would seem to attest to the fact that the Electra was a pretty closely made copy. That being said, and seen in enlarged view, it would appear that the scratchplate does not quite line up with the pickup and pickup channel, for if you look at the lower right corner of the pickup you will see that the scratchplate forces the pickup upwards on this side so that it sets crooked in the pickup channel. Granted, it's probably a somewhat minor point, but I feel it goes to show the sacrifices that sometimes get made with more economical instruments.

At upper right, and also seen in enlarged view, it would appear that the pickup thumbscrew that secures the pickup to the acrylic body may be a replacement but I cannot be sure. Also, if you look closely at the mini slot in the middle of the tailpiece you will notice a pin residing in this slot. This is the pin protruding down from the middle of the rosewood saddle, to help keep the saddlepiece centered on the tailpiece - just like on the Dan Armstrong models.

Smaller dot position markers adorn a rosewood fingerboard with 24 frets, like a Dan Armstrong model. However these dot markers do not appear like the pearloid markers of the original model and I can only assume that cheaper materials were used. Perhaps it's just the photos I have, I cannot tell for sure. At upper right, and unlike the original Dan Armstrong models, the Electra features a 3-piece laminated neck with a dark wood center laminate.

At left, while many of the copy instruments have some form of blistering on the headstock this is definitely one of the worst I've seen so far, as the Electra name has been completely removed. You can clearly see where it's missing. One has to wonder just what type of material was used to make up the 'Electra' badge name; as mother-of-pearl would almost surely still be there - unaffected by the removal of the high gloss covering seen here - for the pearl type name was inlaid into the veneer enough that there would be tell-tale signs of its existance &/or removal.

Whatever type of material was used for the badge lettering, in the area where it's been removed we are treated to a most interesting sight. Better seen in the enlarged view, one can easily see that the faux-wood veneer of the headstock has a flat texture finish to it (much like the instruments scratchplate) and this makes things most interesting, because if not for the high gloss finish covering the (now-known) flat textured faux-wood veneer on the these instruments - the headstock would totally match the scratchplate, and that would put them one step closer to the very instrument that they were being copied after - which was the entire point all along - and begs the question why the high gloss overlay? If the answer is 'it was a spot to place their badge name' then the next question is 'why not on the scratchplate like the model it's copied after?'.

At right, the Electra headstock seen from the rear. Like many of the copies the original tuners have been replaced with a high quality set of tuners; in this case, a set of Grover Rotomatics. Unlike alot of the badged copies that have had replacement tuners installed - this headstock has had the set-screw holes from the original tuners filled in.

Above left and right, and seen with its all black hardshell case, the Electra guitar looks very close to the original Dan Armstrong model. Seen better in the enlarged views, the hard-shell case bears a very close resemblance to the later (post 1969) Dan Armstrong case.

At upper left, another Electra Phantom 2246WC guitar, but with a few differences. Though few, they are significant. Seen better at right, and instantly obvious is the Electra badge name on the headstock, for it's a radical departure from the pearl inlaid name seen on other models. Not only in regard to the material used - and its color - but even the font style of the letters.

This could go to support the theory - of some - that at one point in their history - Electra was manufactured by nearly every Japanese maker. Also seen here at right, notice how a different type, or shape, of factory tuners are employed, as they have more of a pyramid type shape to them rather than the usual oval appearance seen on many of the other copies. However, I do believe that the pyramid shaped tuners are no different internally, they just have a different external look.

At upper left, if you look closely at the rosewood saddle you will notice that it has a little different look to it. This saddle is seen sporting a small metal strip, or wire across it, much like what Dan did when he placed a fret across his saddlepieces. This wire is much more narrow in width than the fret that Dan used, but the overall concept is the same. Using Dan's own words, it's to help "get a little more 'zing" - or "more treble", as he once told me. Notice how far forward the saddle is compared to some of the other Electra models shown here. Perhaps larger gauge strings are on this instrument, forcing the saddle to be forward more. The chrome plated speed type knobs have knurled sides for better grip and are identical to those found on most other copy brands.

At upper right, and speaking of Dan, this particular instrument is also seen sporting a different pickup in it. At upper right, and seen better in the enlarged view, the letters 'RB' can be seen stamped into the brown resin on the top of the pickup, which is telling us that an original Dan Armstrong · Ampeg pickup was slid into place and being used, which would seem to suggest, as well as verify, what others have claimed, that the original pickups for the Dan Armstrong · Ampeg guitars do indeed - not only fit, but work in the Electra Phantom guitars.

As seen upper left & right, although the Electra 2246WC model supports the original Dan Armstrong · Ampeg guitar pickups - the hole in the acrylic body for the chrome thumb wheel screw does not quite line up. Seen better in enlarged view, it reveals that the machined hole for the pickup set-screw was just slightly enlarged - a little off of center; to allow the thumb screw to be inserted into the Dan Armstrong pickup which is apparently just off by a fraction of an inch .

At left, the Electra's 24 fret rosewood fingerboard can be seen, as can the original Dan Armstrong pickup secured into place. Seen better in the enlarged view, the chrome plated speed type knobs have knurled sides for better grip and are identical to those found on most other copy brands.

At right, and seen from the back, the 3-piece laminated neck can be seen as can the tuner housings. In addition, the tin metal plate is in pristine condition, showing the 2246 stock number and a serial number of 244.

At left, another Electra with larger lettering on the headstock sporting an original Dan Armstrong · Ampeg pickup, in this case an RB pickup which can better be seen in the enlarged view. At right, an Ampeg AMG100 Blonde neck adorns an Electra Phantom acrylic body.

This Electra Phantom 2246WC model has seen a few minor modifications. At upper left, and seen much better in enlarged view, the original rosewood saddle has been replaced with an unusual low profile, gold plated, (maybe brass) framed housing that houses what appears to be six adjustable nylon saddle pieces.

At upper right and also seen better in enlarged view, the pickup is secured to the acrylic body using what appears to be the original pickup thumbscrew. Notice that one of the strap buttons is missing from the body.

At left, a closer look at an interesting, if unusual tunable bridge sitting where the rosewood saddle normally resides. Seen better in enlarged view, I can only assume that the individual nylon saddle pieces slide back & forth inside their metal frame and put into position by hand. I am also guessing that the saddlepieces, and quite likely the entire housing is held in place by string tension.

At right, replacement knobs adorn this Electra as does a replacement switch and output jack. The jack is rather unusual looking and given its large metal surrounding - I cannot help but wonder if there is some scratchplate damage underneath, for it surrounds the jack up to the point that it meets and touches the washer on the selector switch.

At left and in enlarged view, a closer look at the replacement knobs, switch and output jack. The switch looks like it could be a Gibson style (Switchcraft) type switch but is unknown just how it's wired in and how it works. At right, the laminated neck lacks the usual shim that's normally seen on these instruments. Notice too, that a strap peg is missing at the bottom of this guitar.

At left, the Pearloid Electra name can be seen embedded into the faux-wood veneer of the headstock. The truss rod cover is missing on this model, and judging by the looks of it, I'd say the truss rod takes a 4 or 5mm allen wrench for adjustments. On the right, the original tuners have been changed out with a set of Grover Rotomatics. Notice the small holes from the original tuners.

At left, the headstock of this Electra Phantom seems to lack the usual blistering in the high gloss coating over the faux-wood veneer. At right, the metal sticker shows the 2246 model number and in the enlarged view a serial number of 154 can be seen.

This last Electra 2246WC model looks to be totally original - save the rosewood saddlepiece. At upper left, and seen better in enlarged view even the saddle appears to be original, but it also looks to be modified. It would seem that the saddle was cut into two pieces - and apparently positioned on the instrument with one half of the saddle placed behind the other half. The apparent theory.... I presume.... is that this is to help achieve better intonation.

At upper right, and like the original Dan Armstrong models, the single pickup design allows for a longer neck tongue which makes for a more secure neck set which helps stability, specifically - tuning stability.

The headstock on this instrument is not immune to the usual blistering seen in the high gloss finish covering the faux-wood veneer. A massive blister covers virtually the entire upper right corner of the headstock. Unlike some models, it can't be blamed on replacement tuners - for this model has its originals - all intact.

At right, and seen at a distance. With the exception of the name on the headstock it would be hard to tell the difference between the Electra and the Dan Armstrong model that it was copied after.

At left, an Electra 2246 model that's been altered to house a 70^'s Gibson mini humbucker. At right, and seen from the backside, 2 copper washers can be seen helping to support the pickups height.

While I can appreciate the addition of a humbucking pickup over noisey single coil units, I feel that, given this type of guitar that I would have installed a full sized 'hotter' pickup if I were going to mod the instrument like this. But, then, I realize everyones style is different and for those like me it shouldn't be too difficult to change it to whatever type of pickup one wants.

On this model, the original scratchplate has been replaced with a black plastic one that is has been split into two pieces which allows for easy access to the inner control cavity. In the enlarged view you can see the split just forward of the volume control.

This model has been upgraded to Grover tuners. At left, notice the usual blistering of the headstock veneer just forward of the nut on the 6^th string tuner side while at right, a piece of black electrical tape covers the production number of the instrument for whatever reason.

At left, this Electra 2246 model appears to be pretty clean. At right, about all I can detect is the usual shim placed at the tongue of the neck.

At left, the Electra 2246 utilizes 2 banana plugs just like the Dan Armstrong model. So much so, that players often times purchased Dan's pickups and slid them in for a perfect fit. At right, and seen best in the enlarge view, and just like the Ventura copy, the letter 'B' can be seen at the top of the pickup (in this photo... in actuality it's on the bottom of the pickup). The letter signifies that this is the bassy type pickup that came with this guitar (the other was the 'T' or treble pickup). At the bottom of the pickup (again in this photo) notice the word JAPAN.

At left, the headstock looks pretty clean overall but in the enlarged view one can see an issue. At right, a little hint at just how special this particular instrument is. Hint: it's on the metal tag.

At left, and easily seen in the enlarged view, the copy models lack the well engineered ammenities of the original Dan Armstrong · Ampeg instruments. In this case, the tuners are not mounted on the headstock to allow for direct string pull coming off the nut and going to the tuner. This is noticeable on all the strings, but especially on the high E string where it looks as though the string is about to jump out of the nut slot due to the angle.

Ar right and also seen best in enlarge view is some unusual cracking of the finish in and around the area where the neck meets the headstock. But as can be seen, and what makes this instrument special is the serial number on the metal tag. Right below the 2246 model number the serial number reads 001 making it thee first Electra 2246WC model to roll off the production line for retail sale.

At left, an Electra 2246WC model rests in its factory case, looking like it just rolled off the production line. At right, and seen from the backside a shim can be seen almost dead center on the tongue of the neck. Photos are courtesy of Brandon Rowles.

Interesting to this model is seen at left. Up at the top of the headstock the Electra name is once again seen in the pearloid inlay. But the big story is that although the pearloid is like that seen on other models prior, what is different is that the lettering style on this model is identical to the model seen earlier on this page. However, while the style of lettering on that model is identical, it happens to be in an amber-yellow color and not pearloid. So, we now have three different versions of the Electra name seen on the headstocks of various models which is somewhat of an anomaly.

At right, and seen at the back of the headstock, the enlarged view of the aluminum tag shows the 2246 stock number and below it, a serial number of 226 - meaning that somewhere between serial number 001 (seen just prior to this instrument) and this model's serial number of 226 - the tuners and pearloid decorum had changed.

Above left & right, the Electra Phantom 2246 model - much like the others seen prior. At the time of writing this instrument was still for sale online. It appears to be totally stock and in overall good condition, though with a few minor blemishes. One such blemish that's immediately noticable is a missing piece of the scratchplate near the lower cutaway horn.

However, upon closer examination, as well as a different angle - the scratchplate reveals more damage than previously thought. At upper left, and seen better in enlarged view - there is a crack running the entire width of the scratchplate. It's hard to know how such a large break as this would occur, about the only conclusion that I can draw to is that the scratchplate had been removed from the instrument when calamity struck.

At right, and also seen in the enlarged view, the missing piece of the scratchplate can be easily seen. Also noticable is a shim placed between the neck tongue and the acrylic body.

At upper left, a good look at the high gloss finish that most, if not all.... of the copy models have on their headstocks. As usual, notice too, where some of that gloss finish is missing, revealing a dull rosewood looking veneer - which ironically is much closer to what the original Dan Armstrong models have.

At right, the headstock as seen from the rear. The 3-piece laminated neck extends into & through the headstock where additional pieces are added to make up the shape needed. Like most other copies the headstock employs a tin sticker that features the model and serial number of the instrument. From what I can make out the serial number is 125 but I cannot be totally positive of that last digit.

At upper left & right a 2246 model that I named the "Dull-Electra" due to its multitude of scratches and scuffs that has left what was once a beautiful clear acrylic body - with a dull, almost opaque, milky-white appearance to it. Volume & tone knobs not withstanding, the instrument otherwise appears to be totally stock. At upper right, notice the lack of a shim on the bottom tongue of the neck.

Above left the 24 fret rosewood fingerboard can be seen while at right, the 3-piece neck can be seen. Notice however, that the tin metal plate normally seen on the back of these headstocks is missing. Notice anything unusual on this particular model?

At left, the Electra badge name normally seen on these copies is surprisingly missing. At right, notice the tuners - specifically, the placement of them. Notice how the 'D' and 'G' string tuners are way up on the headstock. In fact, when compared to the 2246 model shown above, the overall dimensions of this headstock appears to be quite different compared to the rest, which begs the question why.

As seen above left and right, a somewhat modified Electra 2246WC model. At left, A tuno-matic style bridge has since replaced the original rosewood bridge and tailpiece. Ssen better in the enlarged view, two of the original screw holes that once secured the original tailpiece to the acrylic body can be seen directly behind the tuno-matic bridge. Behind the bridge, notice that some type of chrome bridge cover serves as a tailpiece.

Over on the right, and seen from the back, it appears holes were drilled into the back of this bridge cover so that it could function as a tailpiece. Notice too, a rather odd way of grounding the tailpiece - as the ground wire from the control cavity appears to be wrapped around the high 'E' string. Perhaps it just appears that way in the photo. Also notice how the neck is attached to the acrylic body. Instead of the usual carriage bolts that are normally used, this particular instrument has hex-type heads on them. Together with flat washers, the neck is secured to the body.

Other notable modifications include several screw-sized holes drilled into the body, behind the newly added 'tailpiece'. These holes look to be from the installation of a Bigsby unit or some such unit. The lower left cutaway horn has been drilled into for a strap peg, and two small 'filled' holes in the dark center laminate of the neck where the neck meets the body can be seen. Also another small hole has been drillled into the acrylic body - between the forward two neck bolts. I can't be sure if this was a pilot hole for a strap peg or not however. But notice the two shims under the tongue of the neck. Being there are two such shims, and being placed somewhat farther apart, I suspect that they are not for tilting the neck, but rather for raising it - perhaps due to the bridge alteration on top. Lastly, notice a missing strap button at the bottom of the instrument.

As seen above left, the Electra's headstock sports a set of Grover Rotomatic tuners, while at right, and much like the pickups that also came with the Ventura V-3000 copy, one of the Electra's pickups. Notice the letter 'B' at the top, signifying the bass pickup. The Electra, like the Ventura, came with a treble and a bass type modular pickup.

At left, the Electra is seen in a newer Ampeg TKL reissue type case. Notice the bass type pickup on the table.

At left, a Dan Armstrong guitar and an Electra 2246 model rests up against a Corvette. All of which belonged to an amazing friend and guitarist Mark Severn, April 23, 1956 - July 2, 2006. Rest In Peace my friend.

As seen above left, the Electra Phantom 2255WC model - was another offering by Electra which, according to literature seen in the brochures section, has features more like those seen on other badged copies, such as dual humbucking pickups, a wrap around style scratchplate, tuno-matic style bridge and stop type tailpiece. Seen more easily in the enlarged view, it appears that the pickup selector switch has been replaced. Notice too, a black colored washer supporting the scratchplate around the output jack.

At upper right, although this model has the same features as many of the other badged copies it is also somewhat different than the other badged copies in that the instruments' headstock maintains the look and the lines of the original Dan Armstrong model. In fact the neck, headstock and tuners are identical to the 2246 model with body cavity routing and body hardware appointments being the only difference.

As seen from the back, the neck and headstock is comprised of laminated maple with a mahogany center making up the center laminate. These woods extend upward and through the headstock - just like the 2246 model. At upper right, the tin metal sticker that accompanies these instruments show a model number of 2255, and a serial number of what appears to be 140. Given the curled up edges of the sticker, the shadows surrounding the sticker (suggesting it's edges are raised off the surface of the headstock a bit), add in some leftover glue/adhesive seen just below the sticker and it's safe to say that the sticker has been relocated upwards a bit, more towards the tuners - for whatever reason(s).

zzz
At upper left and right, another Electra 2255WC model. Seen on the left, the tuno-matic style bridge that accompanies this instrument has been replaced with a wooden, non-adjustable type bridge that apparently was designed to rest & reside on the posts for the original tuno-matic bridge. Perhaps this replacement is for a lost or broken original bridge, or perhaps it was installed for the tone that many report wood gives over metal on these instruments, it's difficult to say for certain. The scratchplate looks to be a replacement.

At right, the 2255 seen from the rear. The 3-piece laminated neck reveals a shorter length tongue due to the additional pickup which requires more physical space in the acrylic body. Seen to the upper left of the front pickup is the additional set-screw for the faux-wood scratchplate. Back on the left side, this set-screw can be seen from the front. This 'extra' screw is also seen on virtually all other badged copies that feature two mounted pickups and the wrap around scratchplate. I can only assume that the plate, for whatever reason, tends to bulge or something in this area, and thus, needs additional anchoring.

Upper left, a full sized image of the 2255 model - at right a body shot of the same. The aforementioned scratchplate screw can be seen better in the enlarged views of both photos.

Above left the 24 fret rosewood fingerboard can be seen. Further on up is an interesting discovery for it is another one of the few copy type headstocks that I have seen without any blistering on it.

At right, the 3-piece maple-mahogany-maple neck can be seen. The tin metal plate that is normally seen on the back of the headstocks of these instruments is missing, but it could be that its original placement can somewhat be seen a bit, and is partically noticable on the mahogany laminate.

Above left & right, another Electra Phantom 2255WC model that's shown with a replacement scratchplate. Ironically, in this case, a clear acrylic scratchplate. While some no doubt do this to keep the 'clear' theme going on throughout the instrument, many do it for financial reasons as they had all but destroyed the guitars scratchplate by accidently stepping on their guitar cord. This often puts a downward (rather than outward) force on the cord and scratchplate which results in the latter obtaining damage, sometimes to the point of needing replacement; and factory parts from Japan were next to impossible to obtain. A practical alternative could often be found at the local hardware store where thin sheets of plexiglas could be purchased from which a clear replacement was made.

As seen upper left, the 2255 headstock shows minor blistering in and around the truss rod adjustment area. However in this case It's likely that most, if not all of said blistering could be covered by the actual truss rod cover. On the right, the tin metal sticker clearly shows the 2255 model number but I cannot make out the instruments serial number.

Electra Instruments were imported from Japan by St. Louis Music Supply Co. of St. Louis, MO from 1971-1984 and by Pacific Coast Music in the 1980^'s. Most of these instruments were made by Matsumoku in Matsumoto, Japan. The Electra line replaced SLM's Japanese-made Apollo and US made Custom Kraft lines. The first guitar, called 'The Electra' was a copy of the Dan Armstrong · Ampeg lucite guitar and issued in 1971, followed quickly by a variety of bolt-on neck copies of other brands. By 1981 ties with Matsumoku further solidified and the decision was made to merge SLM's Electra brand with Matsumoku's Westone brand. Some Korean production begins in the early 80^'s. In the fall of 1983 the Electra brand becomes Electra Phoenix. By the beginning of 1984 the brand becomes Electra-Westone and by the end of that same year the Electra brand disappeared altogether with only Westone remaining. Ironically St. Louis Music Supply Co. would come to acquire Ampeg and re-issue the Dan Armstrong · Ampeg instrument line nearly two decades later.