Post by Tony Ravenscroft on Mar 9, 2020 22:22:25 GMT -6
The Washburn BT "Maverick" series guitars are all Gibson-scale (24.75"), as opposed to Fender-scale (25.5"). This means that the strings will feel a little looser, bends will be a little easier. They all have 22 frets, with "offset" marker dots.
General commonalities: 22 frets, tapered asymmetric 3-3 headstock, asymmetric Bantam-type trussrod cover, offset dot inlays. All except the BT-9 had rosewood fretboard and black-painted headstock face. Almost all (but the BT-3 and BT-9) don't have a pickguard (those are also the only two that have three knobs). Almost all (but BT-5 and of course BT-9 ) are known to have mahogany bodies (though whether ALL actually DO is open to argument).
Every BT I've seen has had its serial number (I- prefix) applied in the form of a little strip of white paper (!!) on the back of the headstock. {{16 Sep 23: Actually, twice stuck to the neck just above the heel joint, and once to the heelplate.}} If that's gone, then there's really no way to date your axe, so please don't even ask. The very earliest (~1995-1996) might have a number stamped on the cast heelplate. In either case, the first digit is the 199- year.
Except for the very earliest of the early "BillyT" versions and the BT-M short-scale, every single Maverick comes with factory Grover Rotomatic tuners -- and these are REAL Grovers, not the later half-arsed "licensed" machines. At very least, if you want to swap these out to a guitar you already own, that's worth at least $35 right there.
The stoptails basically gave Washburn ample opportunity to cut into the market for both the SG and the LP, while their better models gave Gib/epi players the opportunity to transition easily to Floyd Rose (e.g. the BT-10)... but, typically, Washburn didn't chase that, seeming to turn any such desire toward the incoming Idol series.
The series could be thought of as having a few stages. They tested the waters; they committed to the mid-market price point; they simplified and streamlined to reach a mass market at the low end; they simultaneously reached up to the high end (to both provide a clear upgrade path for owners, and leave room for pro and semi-pro players to give the BTs some stage presence).
Approximate timeline:
Supposedly, most were made in Korea, but I know that Washburn was experimenting with Red China factories at the time, so I can't (yet) guarantee MIK, especially for later builds of the lower model numbers.
There's the usual whining about the pickups, but I haven't heard an outright bad one yet. Look: what the heck do ya expect for a $100 guitar, anyway?
Please be VERY wary of buying online, especially without good photos: It's not uncommon for someone to foist a "Maverick Series" axe on you that turns out to be the short-scale BT-M. QUICK TIP: if it's a hardtail, it's a Mini. While not a terrible half-pint (certainly better than most Squier minis), it's the only BT without Grover tuners.
Speaking of Grovers...
Before it became the Maverick, it was very briefly the Bantam Series -- which I have guessed may have cut into the contract Washburn had with Grover Jackson -- yes, THAT guy, of Charvel Guitars and Jackson Guitars, and designer of Dimebag Darrell's signature models for Washburn... so what I'm sayin' is the dude had some clout. At the time, Jackson was in charge of the Bantam Series XB basses and, though there were certainly enough similarities of design philosophy to justify unifying the four-string and six-string lines, it is reasonable to assume that Jackson might have felt it would crowd his project without allowing him design control (or even input, as the BTs were already on the market).
Nevertheless, for you collectors, there ARE transitional models around that clearly say "Bantam Series" on the headstock decal. As well, I've seen at least one with only one knob.
And another thing: the ur-BT is still around. If you go digging at The Usual Suspects -- whch are prone to occasional bizarre fits of code-tweaking -- you will have to search not only for BT and Maverick but Billy T. Though the design philosophy is clearly in place, it's not solidified yet at that point, so I've seen fit-and-finish issues, not major but obvious. Also, some have stock Grovers, some have stock diamond-can tuners, so don't assume. The BillyT models appear to date roughly 1994-1995.
Here's enough to get you started, presented in order of relevance.
BT-2, 1997-2002 -- the most common model. Two pickups (h-h), selector switch on the upper horn, one Volume & one Tone knob, stop-tail (non-tremolo) bridge. I have called this "the poor man's improved SG" because the body shape allows it to hang properly (unlike the Gibson). Really, a dirt-common but very cool guitar, built like a tank. A few years ago, you couldn't go to a Music-Go-Round or Guitar Center without seeing a few of these languishing for $50 or less. You WILL see many BT-2 in "Cherry Sunburst," yellow with red edges -- this has been dubbed the "Clown Paint" version, as the colors vary widely from depressingly muted to eye-killing bright, and though once in a while there'll be one done perfectly, you WILL be grateful to occasionally spot one in White (FWIW, also Tiffany Blue, Caribbean Blue, silver flake, blue flake, and of course black; I'm pretty certain there was also red, but can't substantiate it).
BT-2Q, 1998-2002 -- same thing, but with a fancy-looking figured maple top under a transparent Cherry Sunburst finish. DO NOT be fooled by this top, and DO NOT pay a premium price!! It is not wood, not even veneer, but a nice-looking photograph on thin plastic film, which will look flash until a stray chip in the clear finish allows moisture to get in, and then it might start to detach from the wood. (Even the Fender "Foto-Flame" and Epiphone "flame top" guitars have this problem.)
BT-3, 1997-1999 -- with three single-coils and floating trem, an unabashed Gibson-scale "Strat" that is in no way a clone. Not so common as the BT-4 (which cashed in on the early "shred" craze) or BT-2, and also had a much shorter run, so by rights they OUGHT to be worth something closer to SRP, but are usually cheaper than its more-common siblings; recently, GC had a black one for a mere $50. The white or red are less common, I don't think I've seen a CSB {05/08/22: found one!} and blue is likely the least common {08/01/22: and now we've seen a light-blue TIBL; scroll down}.
BT-4, 1997-2002 -- a "Super-Strat" with a shorter scale. Three pickups (h-s-s), "blade" selector switch next to one Volume & one Tone knob, floating (Strat-type) trem. Though black or dark blue were the most common finishes, the TSB was there for the first two years and generally looks good, and the final year featured a metallic red.
BT-4Q, 1998-2002 -- as with the BT-2Q, it's just a BT-4 with fancy colors. However: I have been told, by someone I trust, that he opened up a 4Q, and verified that at least THAT one did actually have a MAPLE veneer on top -- thin, but actual wood. This may have changed over the years, though, so YMMV. Incidentally, the 4Q was also available as the only left-handed Maverick, the BT-4QL.
BT-5, 1996-1997 -- short-lived transitional model to the even-cheaper BT-2, with Washburn's Eliminator pickups (same as the Steve Stevens and Nuno Bettencourt signature models!) and slightly better hardware.
BT-6, 1996-1999 -- h-s-h, licensed Floyd Rose bridge (better than most).
BT-8, 1996-1999 -- slight improvement on the BT-5, with bound top. The trans red are most common, burst and trans purple less so.
BT-9, 1996-1999 -- the "weird uncle" of the family!! First is the maple fretboard, with natural headplate (black decals). The pearloid pickguard carries h-s-s. The hardware is for some reason black (but chrome on at least one pre-BT). And it has an alder body, in trans red or trans blue. In maybe six years of searching, I have seen exactly FOUR up for sale, so let's consider it an official rarity.
BT-10, 1995-1999 -- h-h, very good licensed Rose, selector switch on upper horn. Bound top, bound neck. One Volume and one Tone, but a control-cavity rout clearly intended for at least four full-size potentiometers, so there's LOTS of room for phase/split switching or EMG batteries or onboard effects or whatever suits your whim. One finish option I've seen was "walnut burl" which (as above) is at best a thin veneer or maybe paint -- very nice-looking, but not worth big bucks for "collectibility." (Standard finished trans red or trans blue over a flamed sycamore top.) The BT-10 is likely the first "real" Maverick, and provided the template for both the down-scale commercial models and the up-scale Chicago-made WM models.
Before the BT line formally appeared, they were badged "BillyT" (with the letters smashed together). The story goes that the guitar was somehow due to input from Washburn's production manager of the time, the actual Bill T -- whether he came up with the design, or it started from something that he had requested be made for him is open to debate (and likely lost to time).
A few variants were put out, with some offbeat colors like a sort of salmon metalflake. The only ones I've seen were basically early versions of the BT-2 (H-H). Some had Grovers, some just diamond cans. I only remember "Billy T" ever appearing once on the official price-list. Usually, "BillyT" is engraved into the trussrod cover but I've also seen blank, and I've seen the logo as a decal. Though the BT became the Maverick Series, I've seen two where the decal said they were Bantam Series -- which means they'd line up with the Bantam basses designed by Grover Jackson, but he may have pushed back against that (as encroaching on his contract, basically associating his name with someone else's design).
There are early models of BT (like the BT-5) that didn't last long. In my lost notebook, I remember commenting that one model appeared to have two different versions, but cannot recall details.
The top tier of Maverick was the WM -- a typical Washburn joke, because "Wm." <-> "Bill," right? Anyway, the WM models were USA-made, set-neck, and for no good reason replaced the tapered "snake" headstock (not just distinctive but with string pull straight across the nut) with a fairly standard rectangular 3-3.
Jennifer Batten stuck with Washburn long enough that they created a great s-s-s variant for her, the JB-100 (and the JB-100 MIDI with Roland hex-pickup kit), and the MIK JB-80.
There have been some late oddball Mavericks on the market, which Customer Service said they nicknamed the "Boneyard Series," put together to use up surplus parts that were laying around. I did see what was called a BT-100: Gibson-scale set neck, H-S, pointy 6-in-line headstock, but definitely a BT body.
General commonalities: 22 frets, tapered asymmetric 3-3 headstock, asymmetric Bantam-type trussrod cover, offset dot inlays. All except the BT-9 had rosewood fretboard and black-painted headstock face. Almost all (but the BT-3 and BT-9) don't have a pickguard (those are also the only two that have three knobs). Almost all (but BT-5 and of course BT-9 ) are known to have mahogany bodies (though whether ALL actually DO is open to argument).
Every BT I've seen has had its serial number (I- prefix) applied in the form of a little strip of white paper (!!) on the back of the headstock. {{16 Sep 23: Actually, twice stuck to the neck just above the heel joint, and once to the heelplate.}} If that's gone, then there's really no way to date your axe, so please don't even ask. The very earliest (~1995-1996) might have a number stamped on the cast heelplate. In either case, the first digit is the 199- year.
Except for the very earliest of the early "BillyT" versions and the BT-M short-scale, every single Maverick comes with factory Grover Rotomatic tuners -- and these are REAL Grovers, not the later half-arsed "licensed" machines. At very least, if you want to swap these out to a guitar you already own, that's worth at least $35 right there.
The stoptails basically gave Washburn ample opportunity to cut into the market for both the SG and the LP, while their better models gave Gib/epi players the opportunity to transition easily to Floyd Rose (e.g. the BT-10)... but, typically, Washburn didn't chase that, seeming to turn any such desire toward the incoming Idol series.
The series could be thought of as having a few stages. They tested the waters; they committed to the mid-market price point; they simplified and streamlined to reach a mass market at the low end; they simultaneously reached up to the high end (to both provide a clear upgrade path for owners, and leave room for pro and semi-pro players to give the BTs some stage presence).
Approximate timeline:
- 1993 -- a proposed model, designed partly for fun, but also to maybe fill in for the stumbling Mercury Series (MG) that wasn't as hot as they'd hoped... and the proliferation of models was getting confusing... and the line was stuck at the point of either cutting quality or raising prices, neither being good for sales... and project chief Grover Jackson was getting bored as his Bantam Series (XB) basses were taking off with a lot less hype (the XBs being an upward evolution of the Mercury Bass series, of course). Washburn needed a good solid axe, low on brand-name hardware and high on playability, good for everyone from beginner to pro, with simple slab bodies -- something easily tweaked to reach all levels of skill and price. They settled on 22 frets and 24.75 scale, with one switch and a mere two knobs.
- 1994 -- some versions appear, branded "Billy T" to recognize a Washburn production manager who'd supported this "skunk works" effort. The model doesn't show up in catalogues, and just once in the annual price list, apparently schlepped around to various distributors and retailers to solicit input and maybe sell a few. These were h-h with TOM.
- 1995 -- the BT-10 and BT-5 appear.
- 1996 -- Jennifer Batten plays a BT-10 behind Michael Jackson, and signs up as endorser of "the BT Series" (ads from 1997 don't say Maverick). Same year, the BT-20 goes all-in for hardware on an import, with Schaller trem and Duncan pickups, and is never seen again.
- 1997 -- the USA-made WM-100 and WM-200 appear.
- 1998 -- Jennifer Batten plays a JB-100 while touring with Jeff Beck, who says some nice things to Guitar Player about the guitar. The model and its import version (JB-80) are basically WM, with s-s-s pickups and Rose trem.
- 2000 -- The catalogue for 2001 pits the series against the new WI-64 (soon to become the flagship of the ever-expanding Idol Series), and the entry-level WR-150, and the mid-level WG/RS/CS h-s-h shredders (which look very much like Cort Viva Gold II, right down to two knobs and the hole-in-body jack...). Crammed together are the BT-M, BT-2, BT-2Q, BT-4, and BT-4Q -- incidentally, the ad copy claims that ALL the BTs have "solid alder body."
- 2002 -- Maverick Series ends, by then just the BT-2s, BT-4s, and BT-M. WM sub-series ends. The JB-80 is available into 2004, likely to sell the last few (Batten's contract ends 2003).
Supposedly, most were made in Korea, but I know that Washburn was experimenting with Red China factories at the time, so I can't (yet) guarantee MIK, especially for later builds of the lower model numbers.
There's the usual whining about the pickups, but I haven't heard an outright bad one yet. Look: what the heck do ya expect for a $100 guitar, anyway?
Please be VERY wary of buying online, especially without good photos: It's not uncommon for someone to foist a "Maverick Series" axe on you that turns out to be the short-scale BT-M. QUICK TIP: if it's a hardtail, it's a Mini. While not a terrible half-pint (certainly better than most Squier minis), it's the only BT without Grover tuners.
Speaking of Grovers...
Before it became the Maverick, it was very briefly the Bantam Series -- which I have guessed may have cut into the contract Washburn had with Grover Jackson -- yes, THAT guy, of Charvel Guitars and Jackson Guitars, and designer of Dimebag Darrell's signature models for Washburn... so what I'm sayin' is the dude had some clout. At the time, Jackson was in charge of the Bantam Series XB basses and, though there were certainly enough similarities of design philosophy to justify unifying the four-string and six-string lines, it is reasonable to assume that Jackson might have felt it would crowd his project without allowing him design control (or even input, as the BTs were already on the market).
Nevertheless, for you collectors, there ARE transitional models around that clearly say "Bantam Series" on the headstock decal. As well, I've seen at least one with only one knob.
And another thing: the ur-BT is still around. If you go digging at The Usual Suspects -- whch are prone to occasional bizarre fits of code-tweaking -- you will have to search not only for BT and Maverick but Billy T. Though the design philosophy is clearly in place, it's not solidified yet at that point, so I've seen fit-and-finish issues, not major but obvious. Also, some have stock Grovers, some have stock diamond-can tuners, so don't assume. The BillyT models appear to date roughly 1994-1995.
Here's enough to get you started, presented in order of relevance.
BT-2, 1997-2002 -- the most common model. Two pickups (h-h), selector switch on the upper horn, one Volume & one Tone knob, stop-tail (non-tremolo) bridge. I have called this "the poor man's improved SG" because the body shape allows it to hang properly (unlike the Gibson). Really, a dirt-common but very cool guitar, built like a tank. A few years ago, you couldn't go to a Music-Go-Round or Guitar Center without seeing a few of these languishing for $50 or less. You WILL see many BT-2 in "Cherry Sunburst," yellow with red edges -- this has been dubbed the "Clown Paint" version, as the colors vary widely from depressingly muted to eye-killing bright, and though once in a while there'll be one done perfectly, you WILL be grateful to occasionally spot one in White (FWIW, also Tiffany Blue, Caribbean Blue, silver flake, blue flake, and of course black; I'm pretty certain there was also red, but can't substantiate it).
BT-2Q, 1998-2002 -- same thing, but with a fancy-looking figured maple top under a transparent Cherry Sunburst finish. DO NOT be fooled by this top, and DO NOT pay a premium price!! It is not wood, not even veneer, but a nice-looking photograph on thin plastic film, which will look flash until a stray chip in the clear finish allows moisture to get in, and then it might start to detach from the wood. (Even the Fender "Foto-Flame" and Epiphone "flame top" guitars have this problem.)
BT-3, 1997-1999 -- with three single-coils and floating trem, an unabashed Gibson-scale "Strat" that is in no way a clone. Not so common as the BT-4 (which cashed in on the early "shred" craze) or BT-2, and also had a much shorter run, so by rights they OUGHT to be worth something closer to SRP, but are usually cheaper than its more-common siblings; recently, GC had a black one for a mere $50. The white or red are less common, I don't think I've seen a CSB {05/08/22: found one!} and blue is likely the least common {08/01/22: and now we've seen a light-blue TIBL; scroll down}.
BT-4, 1997-2002 -- a "Super-Strat" with a shorter scale. Three pickups (h-s-s), "blade" selector switch next to one Volume & one Tone knob, floating (Strat-type) trem. Though black or dark blue were the most common finishes, the TSB was there for the first two years and generally looks good, and the final year featured a metallic red.
BT-4Q, 1998-2002 -- as with the BT-2Q, it's just a BT-4 with fancy colors. However: I have been told, by someone I trust, that he opened up a 4Q, and verified that at least THAT one did actually have a MAPLE veneer on top -- thin, but actual wood. This may have changed over the years, though, so YMMV. Incidentally, the 4Q was also available as the only left-handed Maverick, the BT-4QL.
BT-5, 1996-1997 -- short-lived transitional model to the even-cheaper BT-2, with Washburn's Eliminator pickups (same as the Steve Stevens and Nuno Bettencourt signature models!) and slightly better hardware.
BT-6, 1996-1999 -- h-s-h, licensed Floyd Rose bridge (better than most).
BT-8, 1996-1999 -- slight improvement on the BT-5, with bound top. The trans red are most common, burst and trans purple less so.
BT-9, 1996-1999 -- the "weird uncle" of the family!! First is the maple fretboard, with natural headplate (black decals). The pearloid pickguard carries h-s-s. The hardware is for some reason black (but chrome on at least one pre-BT). And it has an alder body, in trans red or trans blue. In maybe six years of searching, I have seen exactly FOUR up for sale, so let's consider it an official rarity.
BT-10, 1995-1999 -- h-h, very good licensed Rose, selector switch on upper horn. Bound top, bound neck. One Volume and one Tone, but a control-cavity rout clearly intended for at least four full-size potentiometers, so there's LOTS of room for phase/split switching or EMG batteries or onboard effects or whatever suits your whim. One finish option I've seen was "walnut burl" which (as above) is at best a thin veneer or maybe paint -- very nice-looking, but not worth big bucks for "collectibility." (Standard finished trans red or trans blue over a flamed sycamore top.) The BT-10 is likely the first "real" Maverick, and provided the template for both the down-scale commercial models and the up-scale Chicago-made WM models.
Before the BT line formally appeared, they were badged "BillyT" (with the letters smashed together). The story goes that the guitar was somehow due to input from Washburn's production manager of the time, the actual Bill T -- whether he came up with the design, or it started from something that he had requested be made for him is open to debate (and likely lost to time).
A few variants were put out, with some offbeat colors like a sort of salmon metalflake. The only ones I've seen were basically early versions of the BT-2 (H-H). Some had Grovers, some just diamond cans. I only remember "Billy T" ever appearing once on the official price-list. Usually, "BillyT" is engraved into the trussrod cover but I've also seen blank, and I've seen the logo as a decal. Though the BT became the Maverick Series, I've seen two where the decal said they were Bantam Series -- which means they'd line up with the Bantam basses designed by Grover Jackson, but he may have pushed back against that (as encroaching on his contract, basically associating his name with someone else's design).
There are early models of BT (like the BT-5) that didn't last long. In my lost notebook, I remember commenting that one model appeared to have two different versions, but cannot recall details.
The top tier of Maverick was the WM -- a typical Washburn joke, because "Wm." <-> "Bill," right? Anyway, the WM models were USA-made, set-neck, and for no good reason replaced the tapered "snake" headstock (not just distinctive but with string pull straight across the nut) with a fairly standard rectangular 3-3.
Jennifer Batten stuck with Washburn long enough that they created a great s-s-s variant for her, the JB-100 (and the JB-100 MIDI with Roland hex-pickup kit), and the MIK JB-80.
There have been some late oddball Mavericks on the market, which Customer Service said they nicknamed the "Boneyard Series," put together to use up surplus parts that were laying around. I did see what was called a BT-100: Gibson-scale set neck, H-S, pointy 6-in-line headstock, but definitely a BT body.