Travis Bean TB-1000A Artist Solid Body Electric Guitar (1978)
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Item # 13639
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Travis Bean TB-1000A Artist Model Solid Body Electric Guitar (1978), made in Sun Valley, CA, serial # 1239, natural lacquer body, Imron neck finish, aluminum neck and centerpiece, Koa wood body, rosewood fingerboard, rigid foam case.
This is a particularly fetching example of the Travis Bean TB1000A "Artist", the high-end model in the company's innovative but short-lived guitar line. It mates their patented raison d'etre aluminum neck/centerpiece with a carved solid body and pearl block inlaid rosewood fingerboard. The company also offered the "Standard" TB1000S Bean model, similar but less deluxe, the budget TB-500 and the eccentrically shaped "Wedge" models. This TB-1000A is considered the "classic" Bean, the most widely recognized and fondly remembered of the bunch.
Former motocross racer and lifelong tinkerer Clifford Travis Bean had two partners initially; guitar tech Marc McElwee and Gary Kramer, who would split off to found his own (for a time) successful guitar operation. The ads claimed their aluminum-necked designs were "the first new development in the electric guitar since the 1930s" although whether they were considering the early cast aluminum Rickenbacker steels is not addressed! The catalog continued "The...lightweight neck and receiver system forms a rigid link between the tuning machines and the bridge. When the strings are attached, a complete vibration connection is achieved. It is this patented chassis that makes the Travis Bean guitar what it is: an instrument that has become the most dramatic breakthrough in electric guitar technology in 50 years."
Bean's patented through-neck/central body core is milled from T6061 aircraft aluminum, extending from headstock to the through-the-body strung six-saddle bridge. Narrow chambers running its length improved resonance and reduced weight, if only slightly. This metal centerpiece is mounted into a slim solid Koa wood body finished in clear lacquer highlighting the elaborate grain pattern. Standard, Artist, and Wedge models mounted the company's proprietary Alnico magnet humbucking pickups with "Travis Bean" engraved on their covers, the only branding on the instrument besides the subtle "T" cut out of the headstock. These in-house pickups offer exceptional power and clarity and have a stellar reputation on their own; they were never used on any other instruments.
Late in 1977 the company shut down temporarily in an attempt to reorganize. When they re-opened in summer of 1978, several production changes were implemented to cut costs and assuage common critiques of the guitars. The cutaway horns were widened and the bodies made almost half an inch thinner to reduce the weight. A coating of Imron paint on the neck was introduced as an option in response to complaints that bare aluminum felt cold. The sprayed coating was designed to feel "warmer", more like a finished wood neck. The fingerboards (which were previously typically a slab over a hollow neck with a support rib down the middle) switched to a two-piece fingerboard supported by a thin piece of aluminum underneath and featured a very slight radius.
This guitar carries serial #1239 stamped into the headstock and bears these newer features, though the 1977-dated pots and the lower serial number place this Bean as a relatively early one to come out after the company's hiatus. The electronics rig lines up with 1977 pots and the original white and yellow striped wire. The pickups, caps and other wiring remain original. The rosewood fingerboard has pearl block inlay and a brass nut. Schaller tuners, a fully adjustable bridge and small aluminum pickguard complete the hardware.
This model retailed originally at $1,395, making it one of the most expensive late-70s solidbody guitars. While not a huge success they were featured by some major artists including various Rolling Stones. Jerry Garcia played both a TB 1000 and a TB 500 for a time, models which many deadheads still revere to this day. The guitars garnered a reputation for very high quality, but many players felt the aluminum neck had a cold and clinical feel. This later Bean is considerably lighter and somewhat handier than the earlier examples, and a very fine player.
More recently, Travis Beans have been gainfully employed by a number of noise-rock players along with many denizens of myriad heavy sub-genres like doom and stoner metal. The Bean sound is powerful and articulate at lover volumes, but winds up magnificently to a shuddering crunch when pushed. This starkly industrial looking ivory-and-ebony Bean would be a spectacular instrument in this context, both in looks and sound! Travis Bean knew he had something great in the mid-1970s; while his vision did not lead to major commercial success at the time he would no doubt be well satisfied by the lasting appeal to players and highly collectible status his creations have earned 45+ years on.
Overall length is 39 1/2 in. (100.3 cm.), 14 1/8 in. (35.9 cm.) wide at lower bout, and 1 3/8 in. (3.5 cm.) in depth, measured at side of rim. Scale length is 24 1/2 in. (622 mm.). Width of nut is 1 11/16 in. (43 mm.).
Having had the pleasure of handling dozens of Beans through the years, we consider this is one of the more beautifully preserved and comfortable to play examples we have held. Even compared to some other '78 and '79 bodies we have had this is a particularly thin and lightweight body; the German carve on the top, a feature that separates the Artist from the Standard TB-1000s, has a more subtle topography particularly on the lower bout. The wood itself is a beautiful and gently rippling wave of naturally finished Koa wood free from any noteworthy dings and scratches.
Overall, this very handsome TB-1000A shows fairly minimal wear, mostly belt buckle scratching to the back into but not through the finish. The hardware has some light scuffing to the plated surfaces. The frets show evidence of light re-crowning but little wear and we would have to rare this as one of the nicest and certainly the handiest Bean we have had. It comes in a light foam case, much more convenient to move around than the typical hardshell. Overall Excellent Condition.
This is a particularly fetching example of the Travis Bean TB1000A "Artist", the high-end model in the company's innovative but short-lived guitar line. It mates their patented raison d'etre aluminum neck/centerpiece with a carved solid body and pearl block inlaid rosewood fingerboard. The company also offered the "Standard" TB1000S Bean model, similar but less deluxe, the budget TB-500 and the eccentrically shaped "Wedge" models. This TB-1000A is considered the "classic" Bean, the most widely recognized and fondly remembered of the bunch.
Former motocross racer and lifelong tinkerer Clifford Travis Bean had two partners initially; guitar tech Marc McElwee and Gary Kramer, who would split off to found his own (for a time) successful guitar operation. The ads claimed their aluminum-necked designs were "the first new development in the electric guitar since the 1930s" although whether they were considering the early cast aluminum Rickenbacker steels is not addressed! The catalog continued "The...lightweight neck and receiver system forms a rigid link between the tuning machines and the bridge. When the strings are attached, a complete vibration connection is achieved. It is this patented chassis that makes the Travis Bean guitar what it is: an instrument that has become the most dramatic breakthrough in electric guitar technology in 50 years."
Bean's patented through-neck/central body core is milled from T6061 aircraft aluminum, extending from headstock to the through-the-body strung six-saddle bridge. Narrow chambers running its length improved resonance and reduced weight, if only slightly. This metal centerpiece is mounted into a slim solid Koa wood body finished in clear lacquer highlighting the elaborate grain pattern. Standard, Artist, and Wedge models mounted the company's proprietary Alnico magnet humbucking pickups with "Travis Bean" engraved on their covers, the only branding on the instrument besides the subtle "T" cut out of the headstock. These in-house pickups offer exceptional power and clarity and have a stellar reputation on their own; they were never used on any other instruments.
Late in 1977 the company shut down temporarily in an attempt to reorganize. When they re-opened in summer of 1978, several production changes were implemented to cut costs and assuage common critiques of the guitars. The cutaway horns were widened and the bodies made almost half an inch thinner to reduce the weight. A coating of Imron paint on the neck was introduced as an option in response to complaints that bare aluminum felt cold. The sprayed coating was designed to feel "warmer", more like a finished wood neck. The fingerboards (which were previously typically a slab over a hollow neck with a support rib down the middle) switched to a two-piece fingerboard supported by a thin piece of aluminum underneath and featured a very slight radius.
This guitar carries serial #1239 stamped into the headstock and bears these newer features, though the 1977-dated pots and the lower serial number place this Bean as a relatively early one to come out after the company's hiatus. The electronics rig lines up with 1977 pots and the original white and yellow striped wire. The pickups, caps and other wiring remain original. The rosewood fingerboard has pearl block inlay and a brass nut. Schaller tuners, a fully adjustable bridge and small aluminum pickguard complete the hardware.
This model retailed originally at $1,395, making it one of the most expensive late-70s solidbody guitars. While not a huge success they were featured by some major artists including various Rolling Stones. Jerry Garcia played both a TB 1000 and a TB 500 for a time, models which many deadheads still revere to this day. The guitars garnered a reputation for very high quality, but many players felt the aluminum neck had a cold and clinical feel. This later Bean is considerably lighter and somewhat handier than the earlier examples, and a very fine player.
More recently, Travis Beans have been gainfully employed by a number of noise-rock players along with many denizens of myriad heavy sub-genres like doom and stoner metal. The Bean sound is powerful and articulate at lover volumes, but winds up magnificently to a shuddering crunch when pushed. This starkly industrial looking ivory-and-ebony Bean would be a spectacular instrument in this context, both in looks and sound! Travis Bean knew he had something great in the mid-1970s; while his vision did not lead to major commercial success at the time he would no doubt be well satisfied by the lasting appeal to players and highly collectible status his creations have earned 45+ years on.
Overall length is 39 1/2 in. (100.3 cm.), 14 1/8 in. (35.9 cm.) wide at lower bout, and 1 3/8 in. (3.5 cm.) in depth, measured at side of rim. Scale length is 24 1/2 in. (622 mm.). Width of nut is 1 11/16 in. (43 mm.).
Having had the pleasure of handling dozens of Beans through the years, we consider this is one of the more beautifully preserved and comfortable to play examples we have held. Even compared to some other '78 and '79 bodies we have had this is a particularly thin and lightweight body; the German carve on the top, a feature that separates the Artist from the Standard TB-1000s, has a more subtle topography particularly on the lower bout. The wood itself is a beautiful and gently rippling wave of naturally finished Koa wood free from any noteworthy dings and scratches.
Overall, this very handsome TB-1000A shows fairly minimal wear, mostly belt buckle scratching to the back into but not through the finish. The hardware has some light scuffing to the plated surfaces. The frets show evidence of light re-crowning but little wear and we would have to rare this as one of the nicest and certainly the handiest Bean we have had. It comes in a light foam case, much more convenient to move around than the typical hardshell. Overall Excellent Condition.