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In honor of our servicemembers, past and present


Updated: TGIF, Oct 21st, 2016

NAVIGATING THIS SITE : If you're not familiar with my site, it's simple, and you'll love it or hate it:   (1) This page has gear that has recently arrived; (2) Links at the bottom of this page take you to most of our gear, logically arranged by manufacturer or type, e.g. Fender, Gibson Effects, Parts, Amps, PRS, etc.  (3) Lastly, my "Semi-Just In" Page (click here), contains a lot of gear that hasn't made it back to the proper pages yet and is sort of in limbo until I move it.  It's not a fancy site but it remains unchanged since '98 and I firmly believe, "if it ain't broke - don't fix it."  All guitars and other gear have pictures.  Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there's a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size. 

JUST IN Section below - see links at the bottom of this page for 1000's more pieces of gear

2015 Fender 60's Classic Jaguar Lacquer w/Upgrades, (front), (back), (headstock), (upgraded bridge/trempost), (extras), (case case2). Nothing takes me back in time like a Jag or Jazzmaster, capturing images of the Beach Boys and surf music from the 60's. As players have discovered though, the Jag is much more than a Surf guitar and they've made their way into some very heavy music since that era. This is a new model from Fender, finished in the classic custom color, Fiesta Red, and it's a proper nitrocellulose lacquer finish on the body and neck. There are a number of upgrades that I'll list but the basic specs are: a pair of single coil American Vintage '65 Jag pickups, shorter 24” scale length, alder body, maple neck with “C” profile, 7.25” radius rosewood fingerboard, 22 vintage-style frets, classic Jaguar “lead”/“rhythm” dual-circuit design, vintage-style bridge with “floating” tremolo tailpiece, synthetic bone nut. This guitar has been upgraded with a much improved Mustang-type bridge with barrel saddles. Original bridges are light, not toneful, and tend to pop out of the slots. It also has an upgraded tremolo post and tremolo arm. The original arms have nothing to hold them in the post and are not a tight fit. Cosmetically, it's been changed from the green pickguard to a white, and the covers have been changed from white to aged yellow. All original parts are included so it will come with an extra bridge, trem post, trem arm, pickguard, and pickup covers - over $100 in spare parts. The shorter 24" scale is a slight adjustment but I find I can get around quicker and bends seem to go up and extra 1/2 step with the same effort. Offered in lovely condition other than some clear coat buckle scratches on the back, with our typical low, comfortable set up. Considering the extra parts, this is a nice value at $779 with deluxe Fender Tolex case as well as tags, manual, etc. Don’t need the case or extra parts? $679 with one set of parts and gigbag and paperwork.

2012 Gibson Les Paul Classic Plus (LPCST6) with 60's Neck,  (front), (back), (headstock),  (case/etc.).   A real beauty in Vintage Sunburst in a mildly figured "Plus" AA maple top that looks more like a real '60 than the custom shop Historic series with the maple-on-steroids look.  The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched.  Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock. Offered in two neck profiles, this one has the slim ’60s neck with a 12-inch fingerboard radius for choke-free string bending. The guitar’s 22-fret fingerboard is made from baked maple, a heat-treated hardwood that offers a clear tone and extreme durability, which is a tight grain like ebony, but brighter sounding. My man Martin's fretboard conditioner gives it a darker appearance and preserves the wood.  Other features include Nashville bridge with stopbar tailpiece, trapezoid fretboard inlays, bound body top and back, bound neck, inlaid headstock logo, and vintage-style tuners with tulip buttons.  Pickups are the 496R in the neck position, wound with 42-AWG wire like a traditional PAF for rich, warm, vocal-like tones, but carries a ceramic magnet for enhanced punch and clarity - plus the 500T in the bridge, wound with finer 43-AWG wire to pack the coils to the max and built with a ceramic magnet for hotter leads, excellent sustain and controllable feedback.  Set up is low and with the frets impeccably finished, this is a very fast feeling neck. These come from the factory without the pickguard installed, leaving it to the customer whether or not they want to use it.  This one does have the pickguard installed but otherwise mint. The Classic Plus sells new for $2199 which makes this a nice deal at $1439.

Don Grosh Pickguard – Electrajet. Dress up your Electrajet with this nice tortoise shell model. Some copper foil on reverse to keep down the hum. If you need one of these from Don, you’ll pay up, but get this one for just $25.

1959 Fender Musicmaster Neck, (date/frets). All original, genuine vintage Musicmaster neck. Original vintage frets in near perfect shape. Had this on a guitar years ago and it set up fantastic; truss works perfectly. No issues and a quality neck for $339. Might have the original tuners if I look around, but ferrules are included regardless.

Musikraft Tele Neck, (pic2). Early model Musikraft with some vintage vibe. Has had two sets of tuners on it, string trees relocated, currently outfitted with Sperzel locking tuners. Quartersawn maple, modern flatter radius, 22 modern jumbo frets, no fret wear. Might be a pro refret. Fretboard edge has a nice round-over. Logo missing part of “Telecaster” but we can relogo on top of finish for $35 if desired. Nice neck for $189, or $139 without tuners.

Marshall MG10CF Combo, (panel). Marshall has mastered the analog tone in all their amps. Even this little MG10CF sounds like a Marshall, with commendable crunch and gain, and a very creamy tone, all out of a little 6.5” speaker. Rated at 10 watts with clean and overdrive channels, with headphone out and MP3/phone/line input for playing along with your tunes. Sells new for $79.99 but this perfect used one’s ½ price at just $39.98.

Lollar Dog-Ear P90 Set, (back). New and never installed 2015 bridge/neck pair. A great upgrade for guitars with a lame tone. These are scatter wound pickups with de-gaussed Alnico 5 bar magnets with a fatter P-90 tone with smoother treble. Sounds like an old P-90 rather than a new pickup that still has some hard edges. Great for fat clean tone or harder driving rock with more grind. Neck and bridge will be equal, or bridge slightly hotter when playing single notes. Online price is $105/each. Get this pair for $139. I also have a clean cream Soapbar set lower on this page.

Jensen P12Q and Celestion G12H-30 12" Speakers, (back). Jensen P12Q is 8 ohms, rated at 40 watts, and comes with the dust bell-cover pictured. It is described as very warm, mid-focused bite with clear bright highs. Presented with overdrive distortion it remains well balanced. The G12H-30 is an 8 ohm, rated at 30 watts. It is loud and proud thanks to its heavy magnet structure, and provides a fusion of the Vintage 30 and the Greenback speakers, producing a thick, warm and syrupy sound while still retaining a tight and focused bottom end. These two speakers pair very well for a more complex tone than you get out of a matched pair of speakers. A new P12Q will run you $138 but you can get this very clean pair for just $12 more. $150 takes the pair. Note: Jensen comes with new pads in the box.

2015 Fender USA Professional Standard Telecaster HS, (front), (back), (headstock). Best I can figure, the USA Professional series replaced the Highway One, remaining the best value in an American Tele. The only structural difference I can see is the gloss finish body on the USA Professional instead of the Highway’s satin body. This one also features the new USA Professional pickups, with a traditional Tele in the neck; humbucker in the bridge. Other features include alder body with gloss finish over crimson red, neck with modern 9.5” radius and 22 medium jumbo frets, 3-way pickup switching, volume, master no-load tone control, new style American bridge with chrome brass saddles, and strings through body. I don’t know what Fender moved on to in ’16 but this model sold for $999 last year, with gigbag. Get this one, in pristine condition for just $679. Includes a nice Fender deluxe gigbag.

1972 Fender Princeton Reverb, (panel), (top), (back), (back panel), (tube chart), (bottom). One of the most popular amps in the blackface/silverface line, right behind the Deluxe Reverb, and with Deluxe’s going through the roof, the Princeton followed suit but remains a more affordable alternative.  The Princeton Reverb was Fender's smallest amp with both tremolo and reverb, which has made this a favorite of studio musician's since the 60's.  With a pair of 6V6's cranking out around 12 watts, this amp is perfect for studio gigs, home recording, or even small stages (preferably mic'd if playing with a loud drummer).  Other tubes include a GZ34 rectifier and in the preamp, two 12AX7's, a 12AT7, and a 7025.  Other than the 3-way ground switch on the back, the circuit of this amp is identical to the blackface Princeton Reverb, which makes these one of the best bargains on the market. Circuit and all components appear original including trannies and choke, with the exception of a 3-prong cord, and quality reverb send/receive cables - but the major mod, which should appeal to players, is a mid control installed in the ext speaker out jack. This is a very useful pot in shaping your tone and should you ever want to put it back to stock it’s easy and won’t leave any evidence of the mod. It also has been upgraded with a Weber Alnico 10”, which is a great improvement over the stock speaker. This amp works perfectly, including trem/rev and with the Alnico and mid control it's a player's dream. Look around and see what these are going for. A perfectly tuned one in nice shape is a sweet deal at $1399.

2001 Martin 000-28H with K&K Pickup, (front herringbone), (back endpin jack), (headstock), (checking), (case). Frequently compared to the Eric Clapton model and it’s virtually identical other than the Clapton’s pre-war modified V neck and signature on the fretboard. The 000-28H has the same woods, bracing pattern, scale, etc., but carries a more player-friendly price. It features the popular 000 size with natural gloss finish, solid rosewood back & sides, solid spruce top with scalloped braces, herringbone top trim, white body binding, tortoise pickguard, modern low profile neck, ebony fretboard, 1-11/16" nut, 24.9", pearl dot inlays, and Martin chrome sealed tuners. Natural gloss finish. Add to that, this one has a quality K&K Pure Mini pickup and endpin jack installed, which sounds very natural. It’s not mint but the worst flaw is some finish checking that’s virtually invisible unless viewed from the right angle. Doesn’t affect the sound and only affects the vibe. Although not a regular production model any longer, dealers still order these as “Custom” guitars but they’re identical to this one. The current models run $2950 but this 15-year-old model has been lovingly broken in with much more soul than a fresh new one. Set up is low and comfortable and this is an excellent sounding flattop. Nice guitar for $1850. Includes Martin thermoplastic hardshell case.

1991 Fender Telecaster Plus - Ebony Frost, (front pic2 detail), (headstock), (back), (PU/bridge/controls), (case pic2).  These original Tele Plus’s with the “Dually” red Lace bridge pickup are really getting hard to come by and add a fairly rare Ebony Frost finish for a very desirable guitar. The finish is called “Ebony Frost” which features a transparent black finish sprayed lightly on the body, feathered in with more coats on the outer edge. It is also shot with a bit of metal flake to make it pop. It’s almost like a flip-flop finish: when viewed from an angle it just looks like nicely figured ash; when viewed straight on it looks like a solid (non-see-through) finish. You can see it in pic1 of the front above, where the camera is looking at the upper bass bout, where it appears opaque, viewing the rest of the body from an angle, which looks transparent/figured. As far as Tele Plus’s go, the later version with a 3 pickup configuration is more common but to collectors and players alike, this original 2 pickup model with the "Dually" is the one to have. The reason is two-fold:  (1) Every Tele collector has got to have one in their collection and, (2), they're great working guitars with a wide assortment of quality tones.  Bottom line is once somebody gets a hold of one--they hang onto it.  These original models were made from '89 to '94 and were outfitted with a dual "Red" Lace Sensor pickup mounted in front of the bridge, with a single Blue Lace in the neck. You can judge players wear by how the lettering on the pickups appears, since it rubs off with minimal use.  The lettering on this one is very intact.  The Tele Plus had some deluxe features as the name suggests, specifically special electronics.  It features the usual 3-way Tele switch but between the volume and TBX knobs you'll notice a mini 3-way switch which lets you vary the tone of the Dually, i.e. back coil, front coil, or both coils.  In all, you get 6 pickup configurations.  The TBX is a stacked pot, detented in the center.  From the center, turning backwards, it acts as a normal tone control.  From the center turning forward it acts as a treble boost, although its a passive system.  Other deluxe features include Strat-style hardtail bridge and Fender/Ping tuners (later versions had Sperzels). Prices on these shot up around a decade ago, due in part to Jonny Greenwood from Radiohead using one as his main guitar and clean examples went up $400 within a year. This is an excellent sounding guitar.  Doesn't nail the vintage Tele tone like a traditional Tele but it comes close and many players greatly prefer the tone of Plus. These Lace Sensors, being non-magnetic, are very quiet and don't have the string pull of a standard pickup with magnetic poles, which allows the strings to vibrate freely and contributes to more sustain.  Set up is very comfortable with clear bends.  Cosmetically, in excellent condition with no noteworthy flaws anywhere. It's not cheap but having just sold a clean and fairly common Red Frost Plus for $1650, this one’s more rare and nicely priced at $1699(HOLD-Spencer B 10/17). Includes 80's Fender case with all latches/hinges/straps intact or if you prefer, a nice early 90’s Fender “red badge” case.

Carr Slant 6V 2X12 Combo, (panel), (top), (back), (back panel/label), (cover). Described by Carr as their most versatile stage amp, the Slant 6V is a dual channel, power switchable (18W/22W/40W) combo with dual channels and quality reverb on both channels. It offers a wide range of American and British tones with remarkable clarity in a hand-built American amp. Its two channels are independent and can be changed via panel or footswitch. Channel One bridges our shimmering clean tone with gutbucket, overdriven blues, while the dual gain settings on Channel Two offer pure tube crunch, soaring sustain and fluid dynamic response. A mini-switch on the front panel engages the boost on Channel Two. On the back panel there's a switch to choose half-power in cathode bias (18W) or half-power in fixed bias mode (22W), for tones similar to early tweed and AC-style combos in cathode mode. There's a punchier, tighter sound in fixed bias mode. In the full power mode (40W), the Slant 6V runs four 6V6 output tubes split in cathode and fixed bias pairs, yielding nearly ever classic tube tone possible. Tube complement includes a quad of 6V6, with four 12AX7’s and two 12AT7’s in the preamp, with a GZ-34 rectifier. It also features a pair of Carr USA Kingpin 60 speakers, an external output jack, and 4-8-16 ohms selectable output. I was totally impressed with the tone and versatility of this amp. I especially like the reverb, which is a throwaway on many amps. It has a very balanced tone with just enough low end, lots of punch, and shimmering highs that were reminiscent of Petty or Byrds. It’s in lovely shape and even includes a custom dust cover handmade by the original owner’s wife. Nice. If you’re looking for an amp that can nail nearly every vintage tone in your head, this one’s big enough to play clubs and built like a tank. Sweet amp for $1799(HOLD-John T 10/13).

Eminence Red Fang Alnico 12” Speaker. Alnico speakers are our customer’s favorite for low-wattage amps, especially those searching for a vintage tone. The Red Fang is a high end speaker in the Red Coat series and compares with the Celestion Alnico Blue, although at a more reasonable price. Rated a 30 watts (60 peak), delivering an 8 ohm load, this is a good choice for anything from blues, to country, to jazz. It’s tone is characterized by warm undertones with plenty of high end sparkle. These are $189 new but this used one works perfectly for ½ price. $95.

TC Electronic Flashback Mini Delay. Another in the new line of Tone Print enabled effects, the Flashback Mini also allows you to easily transfer your favorite delay settings via USB, again, with custom patches by some big name artists. With a delay time up to 7 seconds, this is fairly powerful for a base model delay. It is a mono delay with Feedback, Delay, and FX Level controls to let your sculpt your delay sound just right. It also features true bypass and is around 1/3 the size of your average stomp box, preserving space on your pedal board. Sells new for $99 but this nice used one’s just $65.

1999 Fender Standard Telecaster – Midnight Wine, (front), (back), (headstock). Lovely condition, especially for 17 years old. Good era for the Standard Tele, with good sounding Alnico pickups, string-thru-body bridge, USA pots and switch, and Fender Ping tuners. Midnight Wine was a popular finish back in the day and this one is very well preserved with no deep scratches or finish chips. Set up is superb, with low action and no fret out. Very good sustain and cool, clear Tele tone that’s not too harsh and works great for anything from rock to country. New Standard Teles are $599. This one’s set up and ready to go for $399 WITH gigbag.

Egnator Rebel 20 Head, (panel), (top), (back). Incredible small box head, probably the most amp you can get in this price range, with features you might expect only an expensive boutique amp, and/or not found on any amp that I'm aware of.  At 20-watts, it's a good all around amp, be it studio, backstage, or small clubs, but with the output wattage knob, you can go from 1 to 20 watts, which makes it controllable for guys playing in a condo with thin walls.  Using the watt selection you can adjust the headroom - at "1" you will get output distortion (you know, the "sweet" distortion - not buzzy preamp distortion) and natural tube compression more easily.  At the full "20", the amp will have considerable more output with a clean tone, unless of course you crank the gain up in which case you have that singing sustain that you'll want in a club setting.  The only other amp I've had with this feature was a Maven Peal Tuscadero 1-50, which was over $2K.  Along with the wattage selector, the other extremely unique feature is the power amp section, with a knob that dials in a pair of EL84s, a pair of 6V6's, or any blend in between.  Talk about innovation! I'm sure it's been done before, but in an amp that lists for $849?!  The choice of power tubes gives this baby the ability to completely change its character, and truly versatile for virtually any type of music, from Jazz to Blues, to Hard Rock, or Country.  The font panel features: Tube Selector (EL84 or 6V6), Wattage Selector (1W to 20W), Master Volume, Bass, Middle, Treble, Gain, Bright Switch, and Tight Switch.  The rear of the amp features an effects loop at the back, outputs for 4, 8, or 16 ohm loads.  The amp comes stock with all Groove Tubes with two 6V6s, two EL84s, and threes12AX7s.  The Tight Switch tightens up the bottom end for better note definition and is especially useful at higher gain settings.  For a good demo by Guitar World, click here.  For full specs and clips, click here for Egnator's site. The new Rebel II sells new for $599 but this version 1 is barely used, and just $359(SOLD-Stephen L 10/10). If you need some sort of 1X12 cab for it, just inquire.

1980 Ibanez JP-20 Joe Pass Model, (front pic2), (back), (headstock), (label), (case case2). A truly fine traditional jazz box, this guitar was expertly conceived, finely manufactured, and is hands down a finer guitar than the Gibson Joe Pass that followed after Joe's time with Ibanez was over. It's a full body hollowbody with headstock, neck, and bridge angles which were engineered to get the most out of your playing. It's remarkably sensitive to your playing with a superb dynamic response. Features include: label hand-signed by the man himself; 16" lower bout; 2 3/4" body depth; 25 1/2" scale; 1 3/4" nut; bookmatched spruce top with mildly figured maple back and sides; 3-piece maple neck with ebony fretboard; 22 frets; mother of pearl fretboard and headstock inlay; multi-bound body, headstock and fingerboard; and bound f-holes. It also features gold plated hardware including Velve Tune II sealed tuners with pearloid keys; contoured Macassar ebony tailpiece; adjustable compensated ebony bridge; bound tortoise pickguard; gold Sure Grip II knobs; Ibanez Super 58 humbucker pickup. Joe's career in jazz has influenced as many of today's players as anyone in jazz history. This 1980 model is the first year the JP-20 was produced and, as such, sports the label which was hand-signed by Joe. The model was inspired by Joe's Jimmy D'Aquisto hand-built archtop and used the ES-175 as a starting point. Cosmetically it’s in lovely condition with no actual wear other than a few frets with extremely minimal dishes. It needs no attention anywhere. The only cracks, and it’s nothing really, is the plastic heel cap (shown here). The lacquer on top of the cap isn’t cracked so it’s a total non issue. The fuller scale (25.5") and thinner (2.75") body were used for more snap in the tone as well as increased comfort while playing. This guitar is in 100% original condition and is a very well preserved example as shown in the pics. There is very little fret wear and the guitar is set with extremely low action thanks to a perfectly straight neck. The neck is very thin, front to back, which makes it easy to get around despite its wider nut width. It's strung with medium gauge flat wound strings and is a true joy to play with a full, rich voice with very good clarity on the higher register. At 36 years this is a quality vintage guitar for well under Gibson prices, despite my opinion that it’s a finer guitar. I consider it an excellent value at $1750. Includes original brown case in likewise tidy condition.

1977 Fender Telecaster – Rosewood Fretboard, (front pic2), (back), (headstock), (neck/body markings), (pickups), (pots), (flaws), (case case2). (Note: color most accurately reflect in “pic2” of the front pics). Cleanest vintage Tele I’ve had in 15 years! Judging by the case, which is immaculate, this guitar has not traveled in its life and has seen very little use. All original including hardware, pickups, pots, neck and body finish, frets, etc. The few minor flaws, and this is a very short list for a 40-year-old Tele, are a very small finish chip on the back edge, a slightly red case reaction on the back of the bass side waist, and a little strap discoloration on the bottom edge, all shown in the “flaws” pic above.  Otherwise, the body is perfect, other than a few very shallow clearcoat scratches. Fretboard has no wear, frets are near perfect and have never been dressed. Vintage White finish is only slightly yellowed judging by the color under the pickguard. This is a collectable Fender if I’ve ever had one. It sounds cool and spanky, with plenty of Tele quack, and is set up with very comfortable action with no dead spots. You’re probably thinking…late 70’s, gotta be heavy, huh? Nope. This baby weighs a hair UNDER 7 ½ lbs. Includes original case with original keys and ash tray bridge cover. Look around to see what “player” 77’s are going for. For one of the cleanest late 70’s on the planet, this one’s a steal at $2500.

Digitech RP255 Modeling Guitar Processor and USB Recording Interface, (effects panel), (stock pic), (back).  Full featured guitar multi-effects pedal with USB, 94 Amps, Cabinets, and Effects, USB, Drum Machine, Tuner, Looper, Expression Pedal, and Recording Software... There are a number of YouTube demos - click here for a 6 min. version.  Very good all-in-one processor and a good choice for both stage use or USB recording/editing on your computer. Like the RP-500's I've been selling, it's built like a tank to take lots of abuse on the road. The effects section has a wide variety of vintage and modern effects such as the Clyde McCoy wah, Boss CS-2 compressor and CE-2 chorus, dreadnought acoustic simulator, EH Electric Mistress, and a wide selection of Lexicon reverbs.  Specs include:  20 Second looper • 94 Amps, cabinets, stomp boxes and effects • 24 Amp/Acoustic Types • 15 Cabinet Types • Lexicon Reverbs • 30 Tone and 30 Effects Libraries • 120 presets (60 factory, 60 user) • Up to 5 seconds of delay time • 24-bit 44.1kHz sample rate • 60 High quality drum patterns • 2 x 2 USB audio streaming • USB editing via DigiTech X-Edit • Independent 1/4" Left and Right Outputs • Amp/Mixer switch to engage speaker cabinet model • Stereo 1/8" headphone output • Stereo 1/8" Aux Input • Built-in chromatic tuner • Durable die-cast chassis • Built-in expression pedal • External Power supply included.  With the built in drum machine, it's a great practice tool to work on your chops and/or set down some beats to your recording tracks.  This model sold for new for $149 but for the price of a single effect, you can have this killer all-in-one for just $59(HOLD-Lou F 10/5). Includes original power supply.

2003 Fender Highway One Stratocaster – Honey Blonde, (front), (back), (headstock), (edge wear), (gigbag).  Perfect condition on top, some cool relic back and edge wear. These Highway's are the best value in a USA Strat, favored by many due to their very thin finish and vintage tremolo which does a good job of transferring energy from the strings to the body.  This guitar is more lively than your average American Standard due largely to the thin finish and it sounds very good when strummed acoustically.  These early era Strats have more of a vintage vibe, with the smaller headstock and Pre-CBS spaghetti logo.  This one is also finished in a discontinued finish, Honey Blonde, and like all Highways is a satin Nitrocellulose finish.  Other features include C-shaped neck with 22 jumbo frets, Alnico single coils in the bridge and middle with the middle pickup reverse wound/reverse polarity for noise canceling in positions 2 and 4, synchronized tremolo with bent steel saddles and heavy trem block, and HSS pickup routing on the body.  This guitar has seen very little use and has perfect frets, but it does have some edge wear as shown in the pics above. Because of that it would make an excellent relic project, and these finishes relic much easier than an American Standard. If you’re not into Relics, it looks perfect from the audience perspective.  The Highway Series was discontinued a few years ago in favor of the American Special, nearly the same guitar but with a $999 online price. Get this cool Honey Blonde USA Strat for $539(HOLD-Stephen L 10/5).  Includes a top quality Levys gigbag.

1983 Fender USA Stratocaster,  (front/back), (headstock), (Kahler Pro Trem), (Kahler Nut), (case case2). '83 Strats are frequently maligned, mainly due to the surface-mounted Freeflyte tremolo system that was, admittedly, ill-conceived, plus other cost-saving measures of the era including pickguard-mounted output jack and only one tone knob.  While it took a long time for ‘83s catch on in the vintage market, a dozen years ago they started to take off and now they command prices higher than a new Strat, which indicates folks are appreciating the vintage value.  The bottom line though, is many of these are excellent utility guitars.  Fit and finish on these are actually better than the 70's 3-bolt Strats where "the gap" was commonplace, with a neck that didn't properly fit the body.  Regarding the tremolo, the good news is the Freeflyte trems can be rather easily replaced with a Kahler Pro, as was done on this  guitar.  The Kahler Pro is an excellent system and along with the Floyd Rose, is the choice of top American guitars like Jackson.  The feel isn't as stiff and it stays in tune very well.  Kahler also offered two styles of locking nuts, both used in conjunction with a standard nut.  One requires an Allen wrench to loosen while they also offered this style which loosens with a flick of the thumb.  Overall this one is very clean for 26 years with no major scratches on the body and it's obviously been well cared for.  Frets have been recently dressed and there is plenty of life left in the frets.  One major upgrade is a set of Custom Shop Texas Specials have been installed and they sound great.  It also sports a new pickguard, installed when the pickups were swapped.  At 9 lbs. on the nose, this guitar is medium weight for an '83 - I've had many of them over 10 lbs.  If you're looking for a quality utility Strat that is pretty much impervious to going out of tune, with quality Texas Specials installed, here's a nice buy at $950. Includes a nice tweed case.

Zoom MS-70CDR MultiStomp Chorus/Delay/Reverb, (pic2), (stock pic). The MS70CDR provides the full power of a complicated rack-mounted multi-effect in a simpler small stompbox. A very powerful unit, it contains 86 custom guitar and bass effects, an easy-to-use interface, onboard chromatic tuner and various power options. It comes with 30 presets patches plus it allows for 50 user presets to design your own tones. For many players, all you need is this and an amp, and you’ll get lush, spacious tones right out of the box. For a nice YouTube demo go here. Sells new for $119.99. This one’s clean in the box for $79.

Early 80’s Hondo II Professional Double-Cut, (front), (back), (headstock), (controls). Quality import from the early 80’s made at the Japanese Matsumoku factory. I’m not sure what the pickups are but they’re good sounding and obviously DiMarzio style with the double-cream bobbins. In addition to the 3-way selector there’s also a mini switch by the volume/tone which splits the coils for single coil operation as well. Features a solid body (not plywood) of what appears to be ash and mahogany, with a hardtail bridge and strings-thru-body design. While not a fancy guitar, it’s well made, plays well, and sounds very good. With the prices of vintage Japan electrics always on the rise, this is still a good value at $239.

1984 Marshall JCM-800 Model 4212 2X12 Combo - Master Volume - Channel Switching - Reverb, (back), (top), (panel), (back panel), (sides).  Just back out of the shop with all new filter caps and it’s good to go.  The 4212 is a 50-watter (dual EL34's) with channel switching and reverb.  These Master Volume/Split Channel/Reverb amps came in 4 versions, the 100W head and 2X12 combo (2210 and 4211), and 50W head and 2X12 combo (2205 and 4212).  Michael Doyle, author of "The History of Marshall", holds the 2210 as his personal favorite of the entire JCM800 line (page 48), which is a sentiment that I share.  These were the amps that bridged the old and the new, still with the same basic circuit and quality components of the JMP line, but with all the "modern" features like dual channels, effects loop, D.I. output, and reverb - and all were "new"  to the JCM800 line, i.e. weren't previously in the JMP line-up.  These came in both 6550 for the USA tone and, like this one, EL34's for the UK tone.  The tone is pure Marshall crunch and, typically, not a lot of clean tone on these so your channel switching can be overdrive/move overdrive.  Although they don't get a shimmering clean tone like a Fender, few amps will beat this for creamy and crunchy tones and in this amp you'll hear the tone used on 80% of the rock/metal acts from the 80's and 90's.  Features include a "Normal" channel and "Boost" channel, the former with only gain - bass - treble controls; while the Boost has a red light when engaged, and has the usual bass-mid-treble-volume-gain.  Both channels share a master volume (thus 3 gain stages on the Boost channel - and overdrive ability on the Normal channel - plus a shared Presence control and master Reverb.  The rear panel has an effects loop and D.I. output with level control.  Appears all original other than speakers changed to a quality pair of Eminence G1's with heavy Alnico magnets.  Cosmetically, this amp isn't a near mint museum piece.  It has seen some road use so there are miscellaneous flaws to the covering, stains on both sides, a bit of tape here and there, and a few replaced knobs, but despite cosmetics, there is nothing "tired" about this baby.  They have reissues some of the JCM800 line, with street prices starting around $2K - but I'd never consider any reissue when the real deal is available for less.  This amp is over 30 years old and sounds fantastic.  Everything works properly and it sounds well-tuned and ready to gig.  A killer and complete backline set up for $1199.  I probably have a 2-button footswitch (channel/reverb), possibly a later Marshall with LED indicators.

Mad Professor Golden Cello Overdrive & Delay, (knobs). This one gives you a huge singing overdrive tone, combined with a faithful tape echo type delay. Best of all, it's all combined in a single compact pedal, thus saving valuable real estate on your pedalboard. Volume adjusts the final output level; Tone controls mainly the treble and can be set from soft to sharp, Distortion sets the sustain and distortion level from light to saturated, and Delay sets the level of build in delay. Inside there are also two trimmer pots to set the delay repeat and delay length plus a trimmer for volume into the delay. Here’s a good demo that uses just a guitar/amp and the Golden Cello (link). These sell new for $196 but this one’s barely used and a good deal at $129.

2016 Fender Post Mod Stratocaster Journeyman Relic, (front), (back heel), (headstock), (relic finish back), (case acc.). As new as they come – directly out of the factory box only to shoot pics. If you’ve been lusting after one of these new Postmod Relics, here’s a chance to save some big-time dough. If you’re not familiar with this new model (debuted in ’15), it’s a modern take on an otherwise vintage classic – the 1965 Strat. It features a lightweight ash body with a comfy contoured heel, quartersawn maple neck with a sculpted '60s C-profile, compound-radius (9.5"-12") round-laminated maple fingerboard with 21 6105 frets, staggered height vintage tuners that don’t require a string tree, a trio of Fender Fat '60s single coils (reverse-wound/reverse-polarity middle pickup) with modern five-way switching and a special Tone-Saver treble-bleed network which is designed to prevent any loss of highs when you decrease the volume control. The look and vibe are totally 60’s with a thin lacquer finish with plenty of finish checking, but instead of the usual heavy wear on the edges these only have some small finish chips scattered around. It looks like a fairly well cared for 50-year-old Strat. Other premium features include aged hardware, three-ply parchment pickguard, American Vintage synchronized tremolo, Schaller strap locks and Fender F logo engraved neck plate. These are available in NOS, which looks like a brand new guitar, or the more expensive Relic model. Playability is superb on this guitar, even better than a regular Time Capsule series, due to the many modern enhancements, and tonally it is pure vintage 60’s with the lower output, chimey tone most players are looking for. New cost on this guitar is $3300 and there are virtually none on the secondary market. If you want to save some money, this one is essentially brand new for just $2600(SOLD-10/7). Includes vintage Tolex case with embroidered lid, sealed accessory bag, tags, cloth, tool kit, strap, cable, ash try, etc.

1991 Fender Heartfield Talon, (front), (back), (headstock), (detail), (pickups). Fairly rare model from Fender; don’t think I’ve had once since the late ‘90’s. If you’re a fan of the HM Strat, this is a very comparable model, and since they never gained the popularity of HM’s due to bad timing, they’re around ½ the price. The Talons were Heartfield's most marketed guitar, designed and marketed to compete directly with Ibanez. In fact, these were made at Japan's Fuji-Gen factory, right alongside the Ibanez guitars they were going after. You have to admit, this guitar looks a whole lot like the Ibanez RG-550, including features like HSH pickup configuration, double locking Floyd Rose, large pickguard, flat/wide fretboard, and similar body shape. Unfortunately, like the USA Prodigy, these guitars came on the scene around the same time that metal was dying and grunge was taking off, which led to a quick death. The Talon debuted in '89 and was dropped in '93. This particular one is finished in Frost Red, which has a very slight flip-flop effect depending on the viewing angle. Features include basswood body with sharp horns, sculpted neck joint with bolt-on maple neck, rosewood fretboard with dot inlays, 22 jumbo frets, super flat 17" radius, thin contour U-shaped neck, black hardware, Gotoh tuners, Schaller/Floyd Rose German-made tremolo, 3-ply pickguard with sharp corners, HSH pickup configuration with 5-way switch, volume, and TBX control. I’m not sure which particular model this one is since the pickups have been changed, currently having a Duncan Invader bridge humbucker and a Meanstreet neck humbucker, with an unknown, possibly original single coil in the middle. The tremolo is a top of the line German-made Schaller Floyd Rose which stays in tune perfectly. Playing this guitar is a joy for shred licks, due to the extremely flat fretboard, thin neck, easy upper register access, and low action. The Invader is as hot and fat-bottomed as anyone could want. I’m not well-versed with Meanstreet pickups but I’ve read that they’re supposed to be voiced like an EVH or Axis. I think this guitar compares easily to the countless HM Strats I’ve had with a similar feel, tone, and playability. Best of all, it’s in nice shape overall and just $329 – or for $399 we can upgrade two of the pickups.

2008 Epiphone Sheraton II w/Many Upgrades, (front), (back), (TP-6 tailpiece), (headstock), (label), (case). One of our best selling guitars are Sheratons with upgrades. For players on a budget, even after a $300 pickup upgrade the Sheraton is still less than ¼ the cost of an ES-335. The main upgrade here are pickups, where this has a set of Gibson Classic ‘57’s installed. Even more than Burstbuckers, players with a preference inevitably ask for ‘57’s. Next you’ll notice a genuine Gibson TP-6 tailpiece, as well as Grover Imperial tuners with the classic art deco stairstep design. Lastly, it’s had 60’s style chrome dome knobs installed, as well as metal pointers. Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which was a model unique to that company, rather than an Epi version of a Gibson, which was the fashion in the early Gibson days  Today, models that are unique to the Epiphone line, including the Sheraton, Zephyr, Riviera and Emperor, seem to be built to higher quality standards than their Gibson copy line (Les Paul, SG, Dot, Hummingbird, etc.).  The Sheraton does share design features with the Gibson ES-335, but the cosmetic appointments are much higher on the Sheraton.  The original Sheraton was outfitted with a Frequensator tailpiece but didn't gain much popularity until Epi changed to a stop bar and Tuneomatic bridge, i.e. the Sheraton II.  Like the Gibson ES-335, the Sheraton has a laminated maple body, top, back and sides, which, with its bright tone, works well with the darker tone of PAF humbuckers.  Unlike the Dot's mahogany neck, the Sheraton features a maple neck, for increased stability, capped with a rosewood fretboard.  High-end cosmetics include gold hardware, multi-layer binding on all edges including body, fretboard, neck, and headstock; abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay.  Players as diverse as Oasis guitarist, Noel Gallagher and blues legend John Lee Hooker both have signature model Sheratons, which is testimony to the versatility of these guitars.  It's capable of high gain without feedback, which makes it attractive to rock players, but sounds equally good on more mellow jazz or blues.  Cosmetically, it’s in nice shape other than two small scrapes on the top (shown here), which pose no problem but we can lacquer over if desired. It has a fantastic setup with low action; 2-fret bends ring true all over the neck, it stays in tune perfectly, and with these ‘57’s, you’d be hard-pressed to tell the difference between it and a 335 in a blind listen test. This is a lot of guitar when you consider the upgrades PLUS a clean Epi case. $650(HOLD-John D 10/3) for this killer Sheraton.

Larrivee OM-40 Orchestra Model with Pickup, (front), (back), (headstock), (label),  (pickup), (binding), (output/bottom edge), (case).  Recent model made in Larrivee's latest factory in Oxnard California. The OM-40 is part of Larrivee's nice Legacy Series in the very popular OM-size which has plenty of power plus excellent note definition making it ideal for finger style players. This one also has a wonderful EMG ACS acoustic soundhole pickup, with the body prewired for battery and endpin jack. If you don’t want it, just don’t put it in the soundhole, but it does open the guitar up to more applications. The only control is a volume control wheel mounted to the pickup. Fingerstylists love OMs for their wide string spacing (1 ¾" at the nut) which, on a 25.5" scale, 14-fret neck, means plenty of space for intricate picking, cool chord voicings, and bends. Players with smaller hands may want to try a 1 ¾” nut to see if it fits their hands okay but for most players the extra space is perfect. Based on the headstock shape, herringbone purfling and rosette, and diamond inlay, this model conjures up comparisons to a Martin OM-18, but there are enough subtle differences in woods and finish to make the OM-40 a star in its own right. The OM-40 features all solid wood construction with Sitka spruce top, mahogany back/sides; one-piece mahogany neck; African ebony fretboard, headplate and bridge; maple body binding with bold rope inlay; bold rope rosette; scalloped hybrid bracing; bone nut; bone compensated saddle; mother of pearl headstock logo; composite bridge pins with abalone dots, diamond fretboard inlays, tortoise pickguard, Grover 18:1 open-back tuners; 25.5” scale; 1.75” nut width; 15.25” lower bout; 11.75” upper bout; and satin finish throughout. The OM-40 isn't an overly fancy guitar - it is a beautifully crafted guitar. The focus is on tonewoods and quality construction, rather than excessive ornamentation. It plays wonderfully and is an excellent sounding acoustic. The OM40 sells new for around $1424. Or you can get this OM-40, "as new" and flawless condition for just $999 with the EMG system, or $899 without pickup.  Includes excellent Larrivee case with blue velvet lining.

Floyd Rose Speedloader Tremolo Bridge, (pic2).  Top of the line German-made (Schaller) model and the final upgrade in the Original Floyd Rose line. The SpeedLoader Tremolo offers all the versatility of the original Floyd Rose Tremolo with the ease and performance of the SpeedLoader System. You can still execute the most subtle tremolo or wildest dive-bombing effects and return to perfect tuning every time. The SpeedLoader tremolo also features the new Floyd Rose TremStopper that enables the player to block the tremolo system with a simple turn of a screw.  Here’s a video demo at YouTube.   Box is a bit shop worn but this set-up is new and never installed.  Richie Sambora, CC DeVille, and Brad Whitford are among the many pro players who are now using the Speedloader.  Includes everything: nut, trem arm, studs, screws, and claw – even Speedloader strings. This model sold in stores for $249 but this one's new with all the parts for $159.

Fender Special Edition Jaguar Thinline - Sunburst, (front), (3/4 view), (back), (headstock).  (Black is sold – Sunburst is in stock). Cool take on a Fender classic.  Fenders Special Editions usually are historically accurate classics, with one or two non-standard variations, available only for a brief time.  In the case of the SE Jaguar, it's the Thinline body, offered as a Telecaster but never as a Jaguar...until this model came out.   The thinline body, featuring an ash veneer over alder, is chambered for less weight, and an open, brighter and louder, acoustic response, not unlike a Rickenbacker semi-hollow.  All the other high end features are the same as the stock '66 Jaguar, once the premier high end Fender guitar - plus body binding, not featured on the vintage models.  It also features the shorter 24" scale, which distinguished it from all other Fenders back in the day, in addition to a unique pickup switching system with lead/rhythm preset controls on the upper bass bout.  Once considered an ideal surf guitar, it later gained popularity in pop, alt, and even rock music.  Features include a bound modern “C” shaped maple neck with bone nut, classic Jaguar scale length (24"), 7.25"-radius rosewood fingerboard with 22 vintage-style frets, vintage-style single-coil Jaguar pickups with individual on/off slide switches, two-position tone switch, separate volume and tone controls for both circuits (rhythm and lead), and American vintage-style floating tremolo with lock button.  These are excellent sounding guitars which I like more than the solidbody Jag, and with a detailed set up by Martin, they play superbly.  I have a few of these, unplayed and perfect, in your choice of sunburst or black sunburst only.  As many of you know, the days of cheaper Fender Japan guitars is long gone but the quality of these instruments is easily on par with USA.  The list price on this model is $2149, which includes no case or gigbag, selling for $1499 at discount.  Get this cool sunburst beauty, just $1099 WITH a nice gigbag.

2014 Fender American Standard Telecaster - 3-Tone Sunburst, (front), (back), (headstock back), (case).   Classic 3-tone sunburst with maple board, beautiful condition, and one of the best playing Tele's you'll find.  The set up on this one is low, allowing for a very fast playing neck with superb playability throughout the register.  Getting a great neck that sets up low is only half of the picture.  When you get low action that doesn't fret out during bends, then you've got a truly great player.  Features include alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, Fender staggered cast/sealed tuning machines, new style saddles on chrome-plated brass bridge, volume and tone control - Delta tone "no load" tone circuit.  Stock pickups are quality Custom Shop models with a Twisted Tele in the neck position and Broadcaster at the bridge. Other features include new bent steel saddles with elongated string slots, highly finished frets, detailed nut work, rolled fretboard edges, and new molded Fender/SKB Case with TSA Locks, glass reinforced nylon trigger latches, and form fitted plush interior.  A new American Standard in 3-tone sunburst will run you $1299, and it will probably be a good player.  For $450 less, you can have this barely played example that's guaranteed to be an exceptional player. $850 includes Fender/SKB case with ATA latches.

2010 Fender American Standard Stratocaster with YJM Pickups, (front), (extra covers, backplate), (back), (headstock), (case).  A real beauty, finished in one of our most popular colors, Olympic White, with maple fretboard. The “new” American Standards are excellent guitars in their own right, but many will agree this one is on a different level now with a new set of Seymour Duncan YJM Fury pickups, which is a $255 upgrade in parts alone. Hand made in Santa Barbara, CA the YJM’s use custom alnico 5 rod magnets, 4- conductor lead wire, and wax potting for squeal free performance. They were voiced by Yngwie himself, to provide noiseless Strat single coil tones and give you very articulate and fluid. The other mod is strictly aesthetic: A mint green pickguard has been installed to resemble a pre-CBS Strat. As many of you know, this is one of the “new” American Standards, with some significant improvements including a redesigned bridge, new bent-steel saddles with elongated string slots, hand-rolled fingerboard edges, a thinner undercoat for increased resonance and the neck still has the satin finish which is comfortable to the hand, but they've changed the front of the headstock to a gloss finish for aesthetic reasons.  This guitar is in super clean shape with no scratches or fret wear, with a set up that will beat anything in the stores. Not shown but included is the back plate. It also includes the YJM pickup covers, as well as another set of Seymour Duncan covers installed on the guitar. A new Olympic AmStd Strat is running $1299, around $1600 with these pickups installed. Get this one, set up to perfection and just $929. Includes clean and original Fender/SKB case with ATA latches.

1991 Marshall JCM900 4500 25W/50W Head, (panel), (back), (back panel).  AKA 50W High Gain Dual Reverb.  2nd year example of the JCM900 with 50 watts of bone-crunching Marshall all-tube power and very versatile for a its day, with two independently controlled footswitchable channels, each voiced totally differently.  Just tuned up with zero ours since benched. This amp needs nothing - quiet at idle and all the power you expect from a 50W Marshall.  The JCM900 series replaced the JCM800's and they were still very basic amps compared to recent TSL's, DSL's, Mode 4's, etc., but when it was made in the 90s, it included a lot of features for a Marshall.  I should also offer my opinion that this is a fine sounding amp, head and shoulders above DSL/TSL models.  The JCM900's was well-conceived, incorporating the trend of players modifying their earlier models to achieve more gain.  The 900's not only did this, but they incorporated the tricky part, keeping the noise to a minimum while building in reliability.  In response to Spinal Tap, they also included a Lead Gain knob that went all the way to "20" (if "11" is good, why not go all the way to "20"?).  The two channels are voiced completely differently and in the most basic comparison, Channel A sounds rather Fender-y; Channel B is classic JCM crunch, with the ability to go way over the top of previous JCM's.  This particular model, the 4500, is basically the evolution of the JCM800 2205, although with the enhancements mentioned above.  Other features of this amp include footswitchable channel switch which is also selectable via front panel switch, independent volume-gain-reverb knobs for each channel, shared 4-band EQ knobs, 50W/25W switchable via back panel, effects loop with level control, direct output and recording-compensated outputs.  If you think you need 100 watts to play large clubs...you don't.  This thing is loud enough for any clubs I've played, including 800-seaters.  This is a killer 50-watter in nice shape for $679. I believe I have a dual-switch footswitch for it as well.

2003 Fender Showmaster HH Gold Top, (front front2), (back), (headstock), (binding), (recessed knobs), (pickups).  A Special Edition (model 026-2700-578) from Fender and of the 20 or so Showmasters I've had, this is the first Aztec Gold model I've come across. These are quality guitars with the primary difference from a regular Strat being the set neck construction, an arched top, and no pickguard. This model also has some nice cosmetic features such cream colored top binding, cream neck binding, cream pickups and pickup rings, recessed knobs, graphite nut, and no positions markers other than side dots. Other features include basswood body with carved top, modern C-shaped maple neck, super flat 15.75" radius, 24 jumbo frets, 25.5" scale, 1.625” nut, chrome hardware, cast/Sealed locking tuners, custom 6-Saddle Synchronous tremolo, 5-position blade selector with single and double coil positions, master volume and tone controls. For pickups Fender chose their own Black Canyon humbucker in the neck and an Atomic II in the bridge, pickups which were used on the American HH and custom shop models. Fender paid a licensing fee to DiMarzio to use their double-cream coils (as stated on pickup labels). This guitar is in perfect condition other than a small edge ding (pic) which we’ve lacquered over and is barely noticeable. Although not just a rock/metal guitar, it is set up like a shredder's dream with very low action, jumbo frets, and the flattest fretboard radius Fender has ever used. It's perfect for 2-finger tapping techniques. This is truly a great looking guitar that plays and sounds as good as it looks. A pro quality guitar for just $525 with a nice Fender case (pic) or $459 with Fender deluxe gigbag.

1981 Gibson Les Paul Custom - Wine, (front), (back), (headstock), (case).  If you’re a fan of Tim Shaw pickups, this one’s got ‘em… Absolutely killer playing Custom, even by LP Custom standards.  Nothing sets up like a Custom - the neck angle on these are inevitably perfect - and this one is superb.  Very low action at the nut - all the way up.  Additionally, this is one of the better *sounding* Pauls I've had, with some nice tone wood and a original Tim Shaw humbuckers, believed by some to be the best Gibson has made since the early 60’s.  Excellent sustain, not overly dark sounding, and no "ghost" notes with all notes ringing true without the annoying low harmonic overtones.  Since their debut in 1957, the Custom has been the Cadillac of the Gibson solidbody line, with features like multi-ply body binding, bound neck, multi-ply headstock binding, gold hardware, inlaid logo and split diamond on headstock, and block inlays.  This one has seen some playing time so there are scratches in the clearcoat, moderate gold wear, and a small spot on back that’s worn through the nitro finish. This guitar was built before Gibson hollowed out their bodies but it’s not at all heavy by 80’s standards.  Overall, it's in pretty nice shape for 35 years and with a new Custom running $4799, this is truly a "good one" and an excellent value on a vintage Les Paul at $2500(HOLD-Joe C 10/6).

2007 Charvel USA Custom Shop Standard San Dimas 1HB, (front), (back/plate), (headstock), (neck), (trem), (case).  You might remember this one with a pointy headstock (shown here).  Realizing the most people much prefer the original Stratheads, we got rid of the pointy head and ordered this exact spec neck from Musickraft, featuring correct headstock shape, neck contour, fret size, and skunk stripe.  Once it arrived Martin put the finishing touches on it including a gloss headstock finish, and gun oil finish on the back of the neck, with such details as original unmarked Gotoh tuners with the bottom/left screw pattern and gold finish, and brass block single string tree.  We ordered upgraded wood so there's some nice flame to the front and back.  Charvel was originally a parts supply business, sort of the All-Parts of its era and starting in 1979 they started building their own guitars, essentially parts guitars from various suppliers.  Within a few years they had a thriving business, eventually joining Jackson as "Charvel/Jackson", with Charvel taking care of the bolt-on models and Jackson producing the neck-thru's.   The San Dimas NOS 1HB model features include Alder body, 22 jumbo frets, 25.5" scale, compound neck radius, Seymour Duncan TB-14 Custom 5 Trembucker pickup, "NOS" brass tremolo and black hardware. These guitars are built to the same high quality specifications as the originals, including the famous "broken in" neck feel, with each being hand built using the finest wood, hardware, and pickups, to product a true Hot Rod Guitar at a truly affordable price.  Many NOS (New Old Stock) Charvel parts are used, along with the newest advances in parts technology.  This guitar is among the best playing guitars I've had with super low and even action - and the neck is the best feeling neck you can imagine.  If desired, we can steel wool the gun oil for a truly unfinished feel, while retaining the protection of the sealer coat. Easily rated as excellent condition.  List price for this guitar was $2099 nine years ago, with a street price of around $1550.   With the new Strat headstock, this guitar is now better than new in my opinion, and a killer "vintage" Charvel for just $850.  Includes original G&G case, vintage style trem arm with screw-on brass tip, and paperwork.

1989 Fender HM Strat 1HB – Custom Finish, (front), (back), (headstock), (pickup), (trem), (graphic1 pic2). Another great HM in an even rarer single humbucker configuration. While I’ve had a half-dozen of the HS shown below, I’ve only had two other of this 1HB model. This one has a few mods including replacement Gotoh tuners, chrome Kahler tremolo with black saddle blocks, large Jackson strap pins, metal chrome pickup ring, replacement but very similar knobs and, most notably, a Suhr SSH+ bridge humbucker (link). You’ll also notice some custom graphics. Pro-finished black/yellow checkerboard “pickguard” (which actually is NOT a pickguard), with matching checkerboard in the forearm area, wrapping around to the top/back edge. The graphic is well done and they’ve even done a nice job airbrushing some pickguard screws. All other specs are basically like the HM HS below. The Suhr pickup is a major upgrade over the stock DiMarzio and it’s multi-conductor, wired into the mini 3-way switch for 3 cool tones (single, humbucker series, humbucker parallel). Cosmetically it’s not mint but overall very nice shape and I’m having Martin spend some bench time with it getting it as nice as possible. Set up is low with no issues. This is one of the coolest HM’s I’ve had and I’m happy to offer it for $750 with a later-era Fender hardshell case.

1989 Fender HM Strat HS - Black, (front), (back), (headstock), (pickups).  I get in a bigger selection of HM Strats than anyone I know but few of these Humbucker/Single models. The HM was Fender's entry into the SuperStrat war of the late 80's/early 90's, going up against powerhouse makers with a vast history of building this type of guitar, primarily Kramer, Jackson, and Charvel.  HM’s are great guitars for rock metal guitarists with features such as double-locking tremolos, very flat and wide fretboards which are conducive to finger tapping and ultra-fast runs, and of course a bridge humbucker which completely turned upside down everyone's expectations of a Strat tone. This one is a fairly rare bird. You'll notice that it's "missing" a middle pickup and (gasp) sports a pickguard, and a Tele-style pickguard at that.  You're not missing a lot in the tone selection since this model features a mini-switch for the bridge humbucker which, along with a standard 3-way, gives you a choice of 7 tones.  This guitar hasn't seen a lot of playing time but is probably one more for the player than the collector.  Worst flaw are some minor touch-ups around the edge, but I’m having Martin do a more professional job so it should look nice when he’s done. Otherwise, this guitar is in very clean shape for 25+ years and, most importantly, has great frets and a killer setup.  Unlike the common HM Strats with HSS configuration, Fender used the same DiMarzio Super 3 bridge pickup, but instead of two straight single coils, Fender chose a slanted Fender Lace Sensor (silver) for the neck pickup on this model.  Tonally, it's a much more dramatic change of tones.  In addition to being quieter than the other single coils, the Lace is more articulate and "airy" sounding.  Other than the pickup and pickguard, other features are the same as the more common HSS variety.   If you're looking for a killer gigging guitar, and an HM that's 20X rarer than the standard HM's, this one's yours for $665. Includes later-era Fender hardshell case.

2012 PRS Chris Henderson Single-Cut, (front), (back), (headstock), (case). Although most Hendersons are 3-pickup models, in 2012 they dropped the middle pickup for a classic electronics configuration. This 2-pickup model featured a PRS 250 treble pickup and #7 bass pickup with a volume and tone control for each and 3-way toggle on the upper bout. The one mod this guitar has is the bass pickup has also been changed to a 250 bass so it’s essentially an SC250. It has the usual wood choice of a maple top, mahogany back, mahogany neck, and rosewood fingerboard. If you’re a 3 Doors fans, or are looking for a discontinued PRS SC 250 model, this guitar is of special interest. Other features include PRS Adjustable Stoptail bridge, PRS Low Mass Locking Tuners, Truss Rod Cover engraved with "Chris Henderson", nickel hardware, 22 frets, 25" scale, Pattern neck shape, and bird fretboard inlays. This guitar plays exceedingly nice, even better than the average great playing PRS. Although it’s clean right now, I’m having Martin buff out some minor clear coat impressions and scratches and I anticipate it will be very near mint. For a top of the line PRS I think this guitar provides an exceptional value at $1599(SOLD-Geo M 10/19). Includes clean PRS form fit case.

OFF-HOLD: 2008 Gibson '60 Les Paul Classic, Wine Red, w/Duncans, (front), (back), (headstock), (pickups), (case).  Another cool ’60 Classic with a mildly figured top, loaded with a great pair of Seymour Duncan humbuckers (SH-4 JB in bridge, SH1N ’59 in neck). The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched. Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock.  Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic is outfitted at the factory with ceramic humbuckers.  Just like the Standard it features a mahogany body with maple cap.  The only visual difference, other than the uncovered pickups, is the "Classic" screened logo, “Classic” truss cover, vintage-style inked serial number, and "1960" on the pickguard.  Other features include 12" fretboard radius, light amber top-hat knobs, cream plastic parts, inlaid pearloid logo, and aged-looking trapezoid fretboard inlays. Two minor flaws I need to point out: lines around the tuners where a bigger footprint set of Klusons were once installed (pic), and supposedly there was a hairline crack on the headstock which appears invisible now. It was less than 1” and only on the surface. Otherwise in very nice shape with excellent frets and a comfortable, low set up. If you’re looking for a REAL Les Paul without spending a fortune, get this beauty for $1199.  Includes black Gibson case.

2011 Gibson Joe Bonamassa Les Paul Studio Goldtop, (front), (back), (headstock), (case).  A more affordable Bonamassa produced in a limited run of around 600 pieces.  The Goldtop nitrocellulose finish is complemented by "black-back" sides, back and neck, black plastic trim, mismatched gold and amber "Top Hat" control knobs, and "Joe Bonamassa" engraved in the truss-rod cover. For pickups, they chose BurstBucker humbuckers, with a BB2 in the neck and a hotter BB3 in the bridge. These are Gibson's most accurate recreation of the original PAF of the late '50s and early '60s, with details such as unpolished Alnico II magnets and unequal turns of 42 AWG wire on each bobbin, resulting in the added "bite" found on original PAF's. The neck is well-rounded and fairly chunky neck by modern standards, measuring .838" at the 1st fret and .983" at the 12th. The body is not chambered, thus it's not a lightweight model, but not overly heavy by LP standards.  For complete specs check out Gibson here.  Joe is one of the hottest blues/rock players on the scene today, with a very hectic and successful touring schedule, and a high demand guitarist in the studio.  If you buy this guitar you might be able to play just like him!  The set up is as low as you could possibly want, simply outstanding.  It's offered in beautiful condition with Gibson case for $1279.

2012 Fender American Standard Telecaster with Upgrades, (front), (back), (headstock), (case). Cool looking Tele, finished in Candy Cola. This one has a cool upgrade with a DiMarzio Vintage Minibucker (DP240) in the neck, and a Fender Vintage ’52 in the bridge. The pickguard is a Warmoth, custom cut to fit the mini-hum. The result is a guitar that’s much more versatile than the stock model, especially with the neck humbucker which oozes clarity, dynamics, and sparkle. DiMarzio claims the pickup actually has chime, which is unusual for humbuckers but I have to agree. It excels at clean country sounds, but also sounds good with very high gain with a resistance to any muddy tone. All other features are stock including alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, Fender staggered cast/sealed tuning machines, new style saddles on chrome-plated brass bridge, volume and tone control - Delta tone "no load" tone circuit.  Other features include new bent steel saddles with elongated string slots, highly finished frets, detailed nut work, rolled fretboard edges, and new molded Fender/SKB Case with TSA Locks, glass reinforced nylon trigger latches, and form fitted plush interior. Stock American Standards are running $1299 new. Get this one with a very cool pickup upgrade, killer setup, in beautiful shape, for just $879.

Dr. Z MAZ 38 Senior 1X12 Combo w/Reverb – Blonde with Tilt-back, (back), (top), (spkr/tube chart), (tilt back legs), (chassis).  Another great Z amp, with a hefty 38 watts output, plenty for doing pretty much any stage I've played.  The MAZ 38 is a versatile amp that can fit in with any type of music and style of playing, except metal and it may not have quite the clean headroom for jazz.   I especially like it with a Tele and country leads but it's just as adept at blues, rock, or classic rock.  The MAZ38 gets its output via a quad of EL84's, with a GZ34 rectifier, 12AT7 and four 12AX7's in the preamp.  It produces crystal clear highs, powerful bass, and a punchy midrange. With the Cut control you can vary the high end to sound more Vox-like or more Fendery. Crank it up and it produces a very sweet overdrive like old Clapton, and many players will be happy enough with the amp's tone that they won't feel the need for an OD pedal. The tone controls, unlike some amps like old Fenders and especially Marshalls, have a very pronounced effect on the tone and let you dial in a wide array of tones.  Controls include Volume, Treble, Mid, Bass, Master Volume, Cut, and reverb.  The back panel features an effects loop and has output for 4, 8, and 16 ohms.  It's a fairly hefty amp at around 58 lbs. in a cabinet that's 23" W, 20 1/8" H, 10" D.  One mod to this amp - a pair of Fender legs have been pro installed so you can tilt it back for stage use.  To get an idea of its sonic capabilities, click here for a demo of the MAZ 38 vs. the MAZ 38 NR (non-reverb).  A new one of these will set you back $2249 but this one's in nice shape, performs flawlessly, and is $800 cheaper at $1449.

Dr. Z MAZ 38 Senior 2X10 Combo w/Reverb – Black, (panel), (back), (top), (tubes), (chassis). Same model as above but in black, in a 2X10 format, without added tilt-back legs. Very clean condition, $1449.

Fishman Eclipse Matrix Blend, (stock pic). Great sounding and easy to install acoustic pickup/preamp system. This one combines the world's best-selling under saddle pickup with the Ellipse Blend to give you unparalleled tone and feedback rejection. Features a flexible gooseneck condenser microphone and volume, blend, and phase controls for the sparkling, transparency and control of an Acoustic Matrix pickup with the expressive character of a condenser mic. Installs quickly and easily and after it's installed it's nearly invisible. These come in two widths - this is the wide (1/8") model. Sells new for $259. This system's barely used and $175.

Goodsell Overdrive Pedals.  I thought I was out of these but I just found two more, new in the box with warranty. Quality and versatility in a hand-wired OD, with interactive guitars, much like Goodsell amps.  Can give you a nice clean drive, or plenty of type-type overdrive, especially useful on amps without a master volume or ones that need the front end driven harder to reach their full sweetness.  Richard knows about tone, and the same "magic" he delivers through his amps, has been used on these great OD's.  When these were made in 2013, Richard built every one personally, usually with a wait of a month or so. I don’t know what’s being made now but if G.C. has them, I would imagine it involves places far away. Get one of these for just $89. (Hold 1 for Michael B 9/9)

Mad Professor Bluebird Overdrive & Delay. One of the best touch-sensitive OD’s on the market, and it combines delay to give many players all they need in one compact pedal. It’s designed with an extremely touch-sensitive overdrive that responds very well to playing attack and your guitar’s volume knob and reacts just like a quality amp. In addition to the quality OD there’s also a great sounding delay effect included. Internal trim pots allow you to set the delay time, repeats, and bass boost & cut. The external delay knob controls the mix of the delay. There are a bunch of demo’s on the web. Here’s a pretty good one (link).  This pedal sells new for $224. This one’s barely used, in perfect condition, and $155(SOLD 9/19).

Xotic SP Compressor. I’ve got two of these in stock. Xotic makes some of the best stompbox effects on the market and the SP Compressor is definitely one of the best I've heard. It's quiet, subtle yet effective, and extremely compact (save your pedalboard real estate). It's the choice of Steve Lukather and many other pros. It offers the same OTA (operational transconductance amplifier) technology used in the Ross Compressor, thought by many to be the best vintage comp made. It features a wide variety of compressor tones from vintage to subtle and features a dry blend knob, up to +15dB of boost, as well as an dip switch inside the housing for attack control. It also features true bypass and is built for many years of trouble-free use. Runs on 9V battery or optional 9V adapter. Sells new for $132; this one's mint in the box for $85(HOLD-Pamela 9/14).

Dr. Z Brake-Lite SA Attenuator, (pic2). The Brake-Lite features four attenuation settings between 2dB and 11dB for easy practice settings from at home to band practice, with dual parallel speaker outs. It's compact and although it’s designed as a stand-alone unit (SA), it can easily mount inside your combo with Velcro. Works on any tube amp up to 45 watts, and can be used with 4-8-16 ohm loads. If you want to run your power tubes hot, but keep the volume down, you'll want one of these. Don't bother asking your spouse. They're always happy with the results! Sells new for $239 from Z. This one's mint and $149(SOLD-9/30).

2012 ESP Ltd EC-1000 Deluxe - Upgraded, (front), (back), (headstock), (pickups), (gigbag strap/locks). Perfect condition and upgraded with a pair of EMG James Hetfield humbuckers. Finished in Metallic Gold Sunburst, the EC-1000 is the Cadillac of the ESP Ltd line and one of the most stunning guitars made.  Best of all, it’s a true pro-line instrument with features such as locking tuners, active EMG humbuckers, TonePros locking bridge and tailpiece, set-neck construction, and comfortably contoured body. Visually, it doesn’t get any better than this with a mirror gloss Goldburst finish and loads of binding on all surfaces as well as pearloid inlaid logo and flag fretboard inlays, with the model name at the 12th fret.  This guitar is immaculate with a setup that rivals any ESP I've had. Features mahogany body with mahogany set-in neck, thin U-shaped neck profile, multi-ply body and headstock binding, bound neck, flag fretboard inlays, flat 13.7" radius, 24 extra jumbo frets, 24.75" scale, molded 1.650" nut, Tonepros locking TOM bridge and tailpiece, and locking tuners. This model came stock with EMG’s (85/60 set) but they have been replaced with a new EMG JH set. The JH neck has individual ceramic poles and bobbins that feature a larger core and are taller than the 60 and produces more attack, higher output, and fuller low end. The JH bride uses the same type of core but has steel pole pieces, unlike an 81/85 which use bar magnets. This produces the familiar tight attack with less inductance for a cleaner low end. Even if you’re not an EMG fan you’ll probably like these as they sound closer to a passive pickup than other EMG’s I’ve had. The set sells new for $249 and are finished in black chrome, which matches the tuners and bridge/tailpiece. Other minor upgrades are the Schaller strap pins and House of Blues strap w/straplocks. This model sold new for $899-$1100 which is the same as the new satin finished models. With the upgrades you’d be in well over $1200. Get this one, dead mint, for $649. Includes a quality Levy’s gigbag as well as a House of Blues leather strap and Schaller straplock system.

2006 Gibson Les Paul Studio – Black, (front), (back), (headstock), (case).  Since 1983 Gibson has offered the Studio as an affordable alternative to the Standard, with all the tone and playability, but without the fancy cosmetic appointments.  Although initially it was an all-mahogany body, it soon evolved into the maple cap that made it even closer to the standard.  At one point in the mid-80's they even made a "Studio Standard" which had a bound body and neck, still retaining the dot inlays and screened logo.  A decade or so later Gibson added trapezoid fretboard inlays which makes the guitar look very much like a Standard from the audience perspective.  It remains to this day and excellent and more affordable alternative to players who could care less about binding and inlaid logos. I see numerous performances on TV where the featured artist, or backup guitarist, is playing a Studio. These are guys who can afford high-end instruments, they just apparently prefer the vibe of the Studio. In ’06 these models were not chambered, as recent models are. They of course are weight-relieved, as are all other Les Pauls since 1983. Features include solid mahogany body with maple cap, rounded 50s neck profile, rosewood fretboard, 490R and 498T Alnico II humbuckers, dual volume and tone controls with 3-way selector, Tuneomatic bridge with stop bar tailpiece, Gibson Deluxe tuners, gloss nitrocellulose lacquer finish, and chrome hardware.  Judging by the clean condition of the frets and overall appearance, this guitar has seen very little use. No buckle scrapes, no fret wear, just a few clear coat scratches and dimples. With a new black Studio running $1499 you can save some hard earned cash on this great playing, good looking used model. $850 includes clean Gibson black case.

Nik Huber Orca '59 Brazilian Board, (front), (headstock), (back), (flamed neck), (neck joint), (case).  As most of you know, the USA is not the exclusive builder of world-class hand-made guitars.  Nik Huber and his team of 5 luthiers have been building fine guitars at his shop near Frankfurt German since 1997, currently building around 120 instruments per year.  If you frequent the guitar forums, you know his reputation as a builder is unsurpassed.  I've had a few of his Dolphins, which are as fine a guitar as I've played, and this Orca '59; the best of the best.  Huber's Orca has its roots in the classic '59 'Burst, with some subtle differences and some modern features.  Note that this Orca '59 has the same body thickness as an LP, not the thinner body on most of these.  It also features options such as Brazilian rosewood fretboard, nitrocellulose finish, matching headstock with flamed maple veneer, and sterling silver fretboard inlays. The neck joint is completely reworked, providing unprecedented easy access to the top frets.  The top on this guitar is beautiful with the look of some of the finer vintage 'Bursts I've seen.  Truly uncommon is the flamed mahogany neck which has even bands of flame from the body to the tip of the headstock.  Nik uses  Harry Häussel '59 pickups on this model, as fine as any humbucker I've heard on a vintage style single cut.  Features include Mahogany Body with a carved curly maple cap; mahogany neck with Brazilian rosewood fingerboard; open trapezoid inlays of sterling silver; flamed maple headstock veneer with inlaid whale; 25 “ scale; compound (10" to 14") fretboard radius; 22 medium jumbo extra hard frets; double action truss rod; 1.67" nut width; polished bone nut; Tonepros aluminum tailpiece and Tonepros AVR-2 tuneomatic bridge; Schaller tuners with ebony buttons; ebony truss rod cover; nickel hardware; neck tone pot with push-push feature for single coil tones; knobs recessed into body; flamed mahogany back plates.  As soon as you pick this guitar up you'll sense the elegance and attention to detail, perfect fit and finish.  It is ergonomically precise, feeling great when playing seated or standing, and at just under 9 lbs. it's a nice weight for a non-weight relieved body.  Huber's unique neck joint makes playing in the upper register effortless and the action will go as low as you want it.  For details of the Orca, click here for Huber's site.  This fine guitar was collector owned and is presented in unplayed condition  - with some nice options that make is look as good as it plays and sounds. New cost on this guitar in '09 was $7285 but new Orca's are now running over $9000. For most players this will be the finest LP you've played and it’s priced less than a mass produced Custom Shop. Just $4750 for this one.

Custom Fender Floral Cabronita Telecaster, (front), (back), (headstock pic2), (bridge), (side/jack). This is a very cool axe, combining elements of the ’68 Floral (aka Flower Power) Telecaster, with a Squier Classic Vibe Cabronita. The neck is the original Cabronita neck, with the front of the headstock pro finished in Lake Placid Blue, to match the body, with a vintage logo installed. It is the “modern C” profile with a 9.5” radius with 22 medium jumbo frets. Neck has zero wear and frets have been leveled and filed to allow for the best possible set up. Body is a string-thru, super light weight, made of Empress, in the same foil finish used on the Flower Power Tele, but with a less problematic standard output jack in place of the original cup jack. It has the standard clear pickguard with blue paint feathered in around the neck pickup and along body edges. Pickups are the Cabronita “Fidelitron” humbuckers which sound excellent and provide 3 unique and useable tones. Pots and switch have been upgraded with USA CTS parts. Bridge is a custom stainless steel, cut to fit the pickup, with compensated brass saddles, and it has Dunlop locking strap pins installed. With excellent fret work, this guitar sets up beautifully, with low action and no dead spots. It’s got all the vibe of a Cabronita, plus the vibe of a Floral Tele, plus a whole lot more. One of the lightest Teles you’ll find, at 6 lbs. 0 oz, it’s also one of the coolest. $499(HOLD-Bruce G 9/6) includes a quality gigbag.

1983 Fender Esprit Elite - Green, (front front2), (headstock), (back back2), (binding/inlays).  Fairly rare model, especially in nice colors such as this Candy Green Metallic Burst.  I’m always looking for Esprit/Flame guitars but I only seem to land one or two a year.  The Esprit was the predecessor to the Robben Ford Signature Model, which was basically the same guitar in a custom shop version (pic of Robben with Esprit Ultra).  Fender had been trying to steal a portion of Gibson's market for many years, namely a guitar with dual humbuckers on a double-cutaway body; guitars like the Coronado, Wildwood, Starcaster, etc.  In the mid-80's Fender's effort was the "Master Series", which included the semi-solidbody Flame and Esprit, and the D'Aquisto hollowbodies, with 3 models in each line, priced according to cosmetic appointments.  The Esprit, very similar to the Flame but in a slightly (14" vs. 13") larger body, came in 3 different models:  The top of the line was the Esprit Ultra model which featured a few more upscale cosmetic touches like block fretboard inlays, Ebony tuner buttons, and gold hardware.  This Esprit Elite model also had upscale appointments including multi-layer body binding and headstock binding, bound neck, cross fretboard inlays, inlaid logo and model, and pearloid tuner buttons, clearly placed above the Esprit Standard in cosmetic appointments.  Other features of the Esprit Elite include symmetrical chambered Alder body with Spruce top and set-neck, 3-pc maple neck with rosewood fretboard, 24 3/4" scale (same as Gibson), special Schaller humbuckers and Schaller hardware including roller-saddle bridge, tailpiece with fine tuners, and strap pins.  Electronics are a pair of Schaller humbuckers, controlled by 3-way switch and coil splitter switch to allow choice of humbucker of single coil tones.  The Master Series had a brief run, with the Esprit officially produced from ca. '84 to '86 but actual production run was less than 2 years.  Total production for all Master Series is said to be only around 4,000 units.   Here's a good site for the Master Series (link) with a lot of info on all of the models.  As you can see in the pics, this Elite is in beautiful shape with no glaring flaws anywhere.  This is, without a doubt, as fine a playing guitar as you will find.  If you like low action - THIS IS YOUR GUITAR. It’s almost as if the strings are resting on the frets.  With the strings slotted low at the nut, the action starts out low at the 1st fret and stays low all the way up the neck.  Simply put, this is a good one.  Esprit's have become highly prized guitars due to their rarity and the fact that they're great guitars, and they’ve been going up every year. Priced at $1579, including a hardshell case. The original manual is downloadable at Fender's site here.

1990 Gibson Explorer ’76 Reissue, (front), (back), (headstock), (pickups), (finish cracks in stress areas), (finish checking), (case). Back in 1990, Gibson hadn't made a regular Explorer for over 10 years.  The first reissue earned some popularity among rock and metal players during its run from '76 to '80, but wasn't a big enough success to continue manufacture. There were a number of other models such as the Explorer II, III, Heritage, '83, during the 80's but as far as original '58 spec reissues, nothing from '80 to '89.  In 1990 they decided to test the waters again with this model, the "Explorer '76", which has had enough success that it's being made today, 25+ years and counting.  An interesting bit of trivia about this model:  The headstock on the original '58 was the first appearance of the hockey stick, aka "banana", which was used by Kramer and others in the early to mid 80's on their guitars.  It's unique in that it's pitched, angled, with a 6/side tuners configuration. It would have been a very radical look in '58, but then everything about the Explorer was radical in a world made up largely of single- and double-cut bodies. This finish has always been one of the most popular, whether on a Les Paul Custom or Explorer. Usually referred to as Ivory, it inevitably yellows with age to a color some people refer to as banana. You can get an idea of the unweathered color in the pickup cavities, shown in the pic above. These nitro finish are also prone to checking, and you’ll notice in the pics some body checking, as well as some stress cracks in the stress areas of the headstock and base of the neck. We don’t believe these are actual cracks. The areas are 100% stable (don’t budge with some serious pressure). The pickups are the stock “The Original HB”, which were designed by Bill Lawrence for Gibson. In ’91 Gibson changed to the 490/500 ceramic models. Gibson has gone through many pickup variations since 1990 but I find the Lawrence HB-L and HB-R to be very smooth and creamy sounding in this guitar. Set up is low and comfortable and this is one of the easiest Gibsons made to play into the upper register. Frets are in great shape. As you can see the body has plenty of finish chips and dings but judging from the frets, it was more a careless owner than excessive use. At over 25 years this is now an official vintage guitar and a great buy for the player, in the best color, at $799(SOLD-Rick 9/6). Includes original brown case with pink blanket intact. We will reinstall the combination latch prior to shipping the guitar to you. 

Korg Kross 61-Key Mobile Workstation, (back), (controls-click to enlarge), (some specs).  The latest and greatest from Korg, replacing the popular Korg X50.  I've had around 7-8 of the X50's but this is the first Kross I've come across.  I really enjoyed the X50 but this one promises to be even better.  It has double the amount of wave memory compared to the X50 and offers what the higher-end Krome offers for much less.  The Kross uses the EDS-i sound engine which is warm, bright and wide, and definitely an improvement over the Triton engine used in the X50.  Like the X50, I was able to plug it in and do some pretty incredible stuff without cracking a manual, which is a must for me.  It has even more of combo patches that make you a "one man band".  Just play chords or notes and the board intuitively lays down accompanying drum, instrument, and bass tracks.  While I've had other boards with similar features, this one is the only one that sounded like a real professional recording, rather than some cheesy backing tracks.  Totally compatible for anything from live performance, to computer recording, to conventional recording into a digital or analog deck.  It has a Quick Layer/Split function for on-the-fly versatility, as well as a step sequencer inherited from the famed Korg Electribe, plus MIDI sequencer, drum track, and arpeggiator.  Too many features to list but click here for more info from Korg.  Talk about portable, this thing weighs less than 10 lbs, and has an easy carry handle that's perfectly balanced.  It can run on wall adapter (included) or six AA batteries for busking, or outdoor remote gigs.  All documents and software, including an excellent free Kross DAW editor for programming, is available at bottom of this page.  As it’s a current model there aren’t a lot of these on the used market yet but I was lucky enough to come across this one, in brand new condition.  With new ones selling everywhere for $699, save $220 and get this one for just $479.

2004 Epiphone Goth Les Paul w/Floyd Rose – Upgraded with Duncan’s, (front), (back), (headstock), (Pickups), (Floyd). Quality guitar from the Unsung (Korea) factory. The model features the usual Studio construction of a mahogany set-neck, with mahogany body, plus the huge benefit of a recessed Floyd Rose tremolo. Additional cosmetic appointments include cross headstock emblem and “XII” at the 12th fret, as well as black hardware, all designed to make it look like a deadly rock weapon. The Floyd is a cool feature on a LP, letting you do dive-bombs and other trem tricks, while returning to pitch every time. This one has one huge upgrade: a pair of Seymour Duncan Alnico Pro II pickups (APH-1B and APH-1N). The Alnico Pro II’s have been used by many pro players, like Slash on the Appetite album and tour. They sound great in this guitar. This guitar was owned by a Zakk Wylde fan, thus the Black Label Society stickers and Iron Cross stick on inlays. All stickers will come off if you want it stock, but they look kind of cool. This guitar plays beautifully, and sounds especially nice with these upgraded pickups. It shows some scratches and dings but frets are in great shape and with a $200 pickup upgrade, it’s a nice deal at $375.

2014 EVH Wolfgang WG-T Standard, (front), (back), (headstock). Very good value in this affordable model in the EVH line. The Wolfgang WG-T Standard uses the traditional EVH body made of basswood with a flat top, plus a forearm contour for comfort. A bolt-on maple neck is carved to the Ed’s favorite and is oil-finished for that played-in, comfortable feel. It also features 22 stainless steel frets on compound radius (12” to 16”) fretboard for better string bends without fretting out. Electronics include a set of EVH Direct Mount Wolfgang Humbucking pickups, voiced for the EVH tone a lot of players look for. Like Ed’s pickups have always been, they were approved only after endless experimentation and genuinely sound excellent. Lastly, it includes a 3-way switch, wired backwards of course, plus master volume and tone controls. It comes outfitted with black hardware and adjustable Tuneomatic-style bridge and tailpiece. I’m very impressed with the ease of play with this guitar, as well as the quality tone. Both are well above the $499 price tag this guitar carries when new. Better still, an in-house pro-setup, beautiful condition, and just $339(HOLD-Lou F 8/31). Now that’s a value if you axe me.

Digitech RP155 Guitar Multi-Effect, (back). Yet another RP!  Nice price unit that's great for stage or studio and now includes 20-second looper! The RP155 gives you 83 amps, cabinets, stompboxes, and effects allowing you to get practically any sound you want, in addition to humbucker and single coil sounds out of whatever guitar you're using.  It's also a great practice tool with 60 built-in drum patterns.  With USB streaming audio, the it allows you to easily record directly to your computer's DAW.  Effects include 48 high quality models including genuine Lexicon reverbs, plus Vox Clyde Wah, Boss CS-2 compressor, Arbiter Fuzz Face, Boss CE-2 Chorus, MXR Flanger, Digitech Whammy, Fender Twin amp reverb, digital-analog-tape delays, and much more. Very clean shape and works perfectly. Here’s a good demo: https://www.youtube.com/watch?v=kWVR4edDtlg .  At $49, it's worth it for the price of the looper alone.  Includes power supply. (note: I also have the bass model in stock)

2014 Airline Tuxedo Special - Black, (front), (back), (headstock), (side), (binding). Very good quality recreation from Eastwood that's designed after the Barney Kessel model from the mid 50's and sold under the brands of Kay and Airline. It has the cool vintage look of the raised metal Airline logo, "Coat of Arms" logo on pickguard, and trapeze tailpiece. This is a full hollowbody design, lightweight, build with a maple top over a mahogany sides/back. It's also a couple grand cheaper than an original Barney Kessel! Other features include set neck design, bound maple neck with rosewood fretboard, block inlays, multi-ply body binding, gloss black finish, two custom hi-output P90 pickups, 25.5" scale, 1 11/16" nut, and vintage open-back tuners. Very comfortable to play, especially for long sets while standing, it features a slightly arched top and back, and hangs well around the neck. Tonally it sounds very good and would be a good choice for jazz, rock, or alt music. Set up by and expert – much better than factory – and it plays wonderfully. Love the vibe…love the guitar. With a new cost of $899, this one's in perfect condition and a sweet buy at $629.

1978 Marshall Super Lead, Mod. 1959, (panel), (top), (back), (bottom), (chassis/tubes).  Missing for a long time and just found! Few amps have attained "holy grail" status, and by this I don't mean the rarest of the rare, rather an amp whose reputation is so iconic that it tends to be the most highly sought after for certain seekers of tone. Other amps that fall into this category are the Blackface Deluxe Reverb, Tweed Bassman, Boogie MK IIC+, and some of the truly rare like Dumbles and Trainwrecks. If there is one amp that defined the sound of Rock music, it is the Super Lead, Model 1959.  This model achieved benchmark status beginning with Townsend and Hendrix and carried on through EVH, with a virtual who's-who of rock players since. While the '67-'69 Plexi, with their Plexiglas front panel is the most highly cherished of the 1959's, clean examples of that model sell for as much as a nice car and, quite honestly, it sounds about the same as these later models. With 100 watts of pure Marshall tone, this amp is way loud and when cranked up, you'll not find a more pure rock tone. Inside this amp and it looks 100% Jake, complete with hand-wired circuit and no evidence of replaced components or overheating. As you can see in the pics, this is likely the cleanest examples on the market. The only noteworthy flaw I've noted is slight oxidation to the polished brass handle (shown here). Tubes are all vintage, with a quad of old EI 6550's and Servicemaster 12AX7's in the preamp. This amp is tuned perfectly and needs nothing to create what might be the finest tone you've ever heard. If you've ever heard a 1959SLP, you know that it's an extremely loud amp. If you're going to play in a club, be prepared to use an attenuator. Amps in this condition are quickly fetched up by collectors and are forever removed from circulation. The beaters make the rounds; the keepers get kept. They also don't come cheap, but with a reissue JMP 1959SLP head selling for $2699, wouldn't you rather have this 38 year old beauty for $500 less, and one that sounds as good as it looks. $2199 for this iconic amp that can be the centerpiece of any amp collection, or a killer amp to take on tour if you promise to take care of it, lol.

2008 Ibanez Prestige RGR-1570SDB Suede Black, (front), (back), (headstock), (case/etc.). Superb Japan-made Ibanez and a shredder's dream guitar.   I've had plenty of RG-1570's, but this is the first "RGR" I've had, with the distinction of a reverse headstock.  All other specs are the same as the standard RG model. When Ibanez came out with the Prestige series, many were updated designs of an older model. The RG-1570, for example, is an improved version of the old RG-570, with improved high tech hardware and upgrades, primarily the Wizard Prestige neck, with 5-piece maple/walnut, and the new Edge-Pro tremolo system.  Other specs are Basswood body; maple neck; rosewood fretboard with 24 jumbo frets and pearl dot inlays; pickups direct mounted to body; Cosmo black hardware; HSH pickup configuration with 5-way switch, master volume, master tone; pearl logo inlay, and finished in Suede Black only.  Although we've had a bunch of 1570's with changed pickups, the stock ones sound excellent. The IBZ V7 (Vintage 7) pickup is tight, but bright, very dynamic for chording and rhythm; the S1 single coil is very articulate with especially clear mids; the IBZ V8 (Vintage 8) pickup is a warm and articulate, with enhanced harmonics without excessive brightness.  This guitar sounds superb, due in large part to the satin finish I'm sure.  Excellent condition with no scratches or fret wear, and a nice, low set up. This model debuted at the '07 NAMM show with a list price of $1266.  For a Japan-made RG, a excellent value at $599(HOLD-Michael R 8/19).  Includes form fit Prestige case, tags, trem arm, zipper bag, and tools.

2015 Chapman ML-1 Hot Rod, (front), (back), (headstock back), (case case2). Excited to get another one of these in! Excellent rock/metal axe, superior to the ESP/Kramer Baretta's of the late 80's, at a lower price! Rob Chapman (aka Monkey Lord) will be familiar to some of you. A native of the UK, he’s a web icon based on his informative and humorous YouTube demo’s, reviews, and tuition videos. He’s also performed with major names such as Guthrie Govan, Eddie Kramer, Todd Burke and Nick Tauber. What better position to be in to start your own guitar brand! He chose World Music Instruments in Korea, builder of PRS’s imports, and like the PRS SE line, the quality remains top of the heap. This particular guitar comes with a Ltd Ed certification, numbering #35 of the first 50 ML-1’s imported to USA and unique in that only the first 100 had the Duncan Anniversary JB pickup that this one has. Like the Baretta, it was inspired by the super-Strats of the 80's, with a Strat style swamp ash body for a rich clear tone, with other high end features such as an ebony fretboard, Seymour Duncan Anniversary TB4 JB Trembucker, Grover tuners, and Floyd Rose double locking tremolo. Other features include flat 13 ¾” fretboard radius, 22 extra jumbo frets, 25.5” scale, black hardware, side-mounted jack, and Chapman hardshell case. This guitar was sold to me before it had even arrived so it’s unplayed except for bench time during our set up. I seriously don’t think you can find a better used 1HB metal axe for this money. Just $550 with the case, paperwork, and polishing cloth.

Ernie Ball Musicman Silhouette Special HSS - Black, (front), (back), (headstock), (case).  Beautiful condition; great player.  Musicman necks have a great feel, with a well-rounded profile that's easy to get your hand around.  The body is slightly small and lightweight, with a beautifully sculpted neck joint for easy access to the higher frets.  Features include 25.5" scale with 10" fretboard radius, 1 5/8" nut, Alder body with high gloss poly finish, optional Musicman vintage style tremolo bridge with solid steel saddles, white 3-ply pickguard, maple neck with Gunstock oil and hand-rubbed special wax blend, Schaller locking tuners, Graphite acrylic resin coated body cavity and aluminum lined pickguard to keep things hum-free, 5-way selector with DiMarzio HSS pickup configuration featuring the MusicMan "Silent Circuit", which reduces hum and retains true single coil sound.  I don't know how to date these without calling Ernie Ball but I would guess it's very recent based on looks.  List price as outfitted with tremolo was $2199, selling in stores for around $1499.  This guitar looks like it was played for a few weeks and then put away, no scratches or wear, with perfect frets.  Save a bundle under new cost and get this one for just $850. Includes clean Musicman case and trem arm.

2013 Fender Eric Clapton Signature Stratocaster – Torino Red, (front), (headstock back), (back), (case case2).  Incredibly nice Clapton! Fender's first ever signature model, the Clapton Strat first became available to the public 1988, although prototypes were used by Eric beginning in 1986, including one finished in this same Torino Red (he also used Pewter). This guitar is based loosely on Clapton's original "mutt" nicknamed "Blackie" that he assembled from three mid-50's Strats. This model appears much the same as the original signature model, with the only noteworthy difference being the original Lace Sensors were discontinued in 2000 in favor of these Fender Vintage Noiseless pickups. The guitar uses a lightweight alder body with a polyurethane finish and single-ply white pickguard, plus a soft-V shaped 22-fret maple neck. Other distinct features include a "blocked" American vintage synchronized tremolo, and special electronics circuit that features Fender's TBX pot (middle knob) and an active 25dB midrange boost (bottom knob), which are wired to work on all pickup settings. 25dB is an amazing amount of boost an makes these Noiseless pickups sound so fat, they're very must like humbuckers in their sound and performance. With the mid-boost turned down to "1", it's virtually out of the circuit and sounds like a regular Strat, as you turn it up the pickup gets fatter and fatter, with hotter output. The TBX knob is detented at "5", working like a regular tone control from 1-5, and from 5-10 acts like a treble booster, adding additional sparkle and clarity. Other features include vintage style frets, modern 9.5" radius, black dot inlays, satin urethane neck finish, 1 5/8" nut, Clapton signature on headstock, 4-Bolt neck with Micro-Tilt adjustment, chrome hardware, synthetic bone nut, American Vintage synchronized tremolo, and American Vintage Kluson-style tuners with metal buttons.  This guitar is in beautiful shape and appears to have seen little to no playing time.  It has a great set up with low action and non-problematic string bends.  This is a fantastic Strat in a favorite Clapton color for $1119(Tent. Hold – Steve 9/8).  Includes similarly clean Fender/G&G tweed case with keys, Fender strap, Fender cable, hang tags, and paperwork.

Marshall SL5 Slash Signature 5W/1W 1x12 Combo, (panel), (top), (back), (back panel), (accessories). If you missed getting a new one of these during their brief production period, here’s a second chance. This one is in mint condition, essentially, a brand new amp. Designed by Slash and Marshall, it’s specifically a studio/practice amp using a single EL34 power tube and a trio of ECC83 preamp tubes, for a beautiful 5 watt output, switchable to 1 watt via the back panel. It dual-channel design takes you from a not-excessively clean to Marshall high gain. With a silver panel that resembles Slash’s old 25/50 Anniversary amps, the tone, especially the overdrive, nails the Slash tone. Most of you know that a single EL34 is capable of a lot of volume and the 5W rating is very conservative. Many of you will appreciate the 1W setting for keeping the neighbors happy. For a speaker Slash went with a Celestion Vintage 30, one of his favorites for many years. Other features include custom digital reverb, Green/Red channel status LEDs, full EQ section, Presence control, Hi/Low sensitivity inputs, and dual outputs. Other than a slight tolex scratch on the side (have to angle it to even see it), this amp is like new, with the factory protective plastic still on the corners and includes 2-button footswitch (channel&reverb) and manual. Cool amp for $649.

1972 Gibson SG Deluxe – Walnut, (front), (back), (headstock), (pot dates - pickups), (case case2). 44 year old guitars rarely look this good! This is one of those 10%’ers that has been well cared for its whole life. Oh, it’s been played, but this is how they can look when they’re adult owned and cared for. No breaks or repairs, finish has a nice patina with minimal checking, no overspray or other funny business. Pots are all ’72 and all caps are stock as well. The only change is at some point pickups were swapped out with a ‘79/’80 set of Gibson T-Tops. They probably sounded better than the stock pickups since it would be rare for PAF’s to wear out in 7-8 years. This is, after all, an excellent sounding SG. Finished in Walnut-stained mahogany, it features the Gibson-stamped Bigsby tremolo which works very well and adds a different dimension you don’t get with most Gibsons. Original Grover tuners work perfectly with no slippage. This guitar has a perfectly straight neck and although these aren’t the tallest frets, it sets up very low with no fret outs. I have a buddy that always says “old wood is better wood” and maybe that’s part of the key to this guitars tone. It sounds and feels superb. If you’re thinking about plunking down major cash for a recent SG Standard, why not go for a vintage model that’s probably going to sound better. $1699 takes this beauty. Includes original case and manual/warranty.

Les Paul Electronics. From a ’13 Les Paul Standard Plus and all prewired – just hook up your pickups and output jack. Volume pots have push-pull switching to independently split the coils for single-coil tones, with hum-cancelling performance in the middle position thanks to a reverse-wound/reverse-polarity bridge pickup. You can also pop up the neck pickup' tone control for reverse-phase tones, or lift the bridge pickup' tone knob to tap Gibson' new Pure Bypass setting, which routes that pickup straight through to the output jack, bypassing the volume and tone controls for a hotter, clearer sound. Pretty ingenious. $45.

Gibson Burstbucker Pro Set. From the same ’13 Les Paul Standard Plus. Nickel covers, clean shape and with new ones costing $139/each, get this pair for just $170.

DiMarzio DP193 Air Norton. Excellent choice for your neck position - fat and warm, yet not muddy. It's hot, but not distorted, with very good harmonics. You can even use it with both 250K and 500K pots. Clean shape and just $45.

Ibanez "Metal Mission" Jumpstart Pack, (Ibanez G10 Camo), (pic2), (pic3), (gigbag), (tuner/pouch/manual/strap/cable/shirt), (amp), (headphones).  I hesitate to call this a beginner's kit.  Everything included is far better than the gear I started with beginning with an imminently playable G10, dual humbucker guitar, finished in Camo, with a bound rosewood fretboard.  The GTA15R is the best amp I've ever seen in a prepackaged starter kit and includes gain control to add distortion, bass, mid, treble, volume and *reverb* - with a separate CD input for practice which has its own volume control.  15W amps with these features sell alone for around $99.  All the accessories are included - padded gigbag, digital tuner with carrying pouch, strap, manual, and even a T-shirt.  Like most Package Kits, these come with a mediocre factory setup but ours will receive a pro setup prior to leaving here since the most frustrating factor for a beginning guitarist is a guitar with high action or otherwise is hard to play.  This is definitely a quality setup and an upgrade for many beginners who bought a rock bottom starter kit.  This guitar and amp sound and play good enough to carry a player well into the intermediate phase.  $225 local sale – or approx $269/shipped - includes everything you need to plug in and play.

Schechter JL7FR Jeff Loomis Signature Model - Vampyre Red Satin, (front), (back), (headstock), (case). One of the best shredders of progressive metal players of a generation, Jeff Loomis has garnered top accolades for his work in Nevermore, and later Arch Enemy. Here’s a sample of Jeff playing his signature model (link). The magic happens via 7 strings on a 26.5” scale with a pair of EMG active humbuckers, combined with a set-neck construction, and sweet, sweet swamp ash. A super thin "C" neck profile and extra-jumbo frets make speedy licks easy. The swamp ash body has an arched top, while the 5-ply maple/walnut neck and Maple fingerboard give it plenty of snap while remaining super stable. Available in both hardtail and trem models, this is the Floyd Rose 1500 equipped model, perfect for dive bombs while always coming back to perfect tune. It has cool looks as well, with black metal cross inlays, glow in the dark side markers, and black hardware, including Grover tuners. 9V battery compartment is located on back but these run for many, many gigs before you need to replace a battery. This model sells new for $1199 without case. Get this one, WITH a nice Schechter case, for just $450.

Roland AC-60 Acoustic Chorus Combo Amp, (top), (panel), (back), (case). Pound for pound, this is my favorite acoustic amp. At just 22 lbs. it packs a lot of sound and versatility, and it’s small enough to fit on the floor behind your driver’s seat. The sound is crystal clear on both the vocal channel and guitar channel and the effects sound very natural. It also projects very well. I just used one of these this past weekend and we had a small crowd clamoring for more! It features dual channels (guitar and mic/line with Phantom power), dual 30W channels, 6.5” drivers, onboard digital effects that deliver lush stereo and multiband chorus with newly developed wide chorus and delay/reverb, footswitch control, built-in Auto Anti-Feedback controls allow for maximum volume without feedback, mute switch for silent tuning on stage, and stereo line out for PA and recording; subwoofer output. These are running $599 new but get this very tidy barely used one for $339. Includes a high quality carrying case.

Fender Blues Deluxe Reissue, (top), (panel), (back), (misc.), (paper). Fender's modern take on their classic vintage designs with the look of a 50's combo but a circuit and features that make it a much more modern amp.  Blues Deluxe's are perhaps the best bang-for-the-buck all-tube 1X12 combo's made and along with the Hot Rod Deluxe, are the world's best selling tube amps.  This version has a much cooler vibe than the black tolex with silver and black grill cloth with its 50's vintage tweed covering, wheat grill cloth, and vintage chrome panel with chicken-beak control knobs. Originally released in 1993, the Blues series was an immediate hit, covering the demand for a versatile, all-tube combo, at a reasonable price. It's hard to imagine a reissue of a '93 model but after its initial release, the Blues Deluxe fell away to the Hot Rod Deluxe as tastes changed during the 90s. Now the public is looking for a more traditional tone, rather than screaming high gain; the Blues Deluxe is reborn. It's basic description is a reinterpretation of original 50's tweed Deluxe, and it does a good job of covering that ground, but with modern features such as channel switching and reverb (footswitchable by the way), and a master volume to allow breakup at lower volume. Features include 40 watts via a pair of 6L6's with 3 12AX7's in the preamp, special design 12" Eminence speaker, selectable Normal and Drive channels, independent gain and master volume controls on the Drive channel, Bright switch for the Normal channel, effects loop, tube-driven reverb, and lightweight construction as just 45 lbs. With a new one selling for $769, save $300 on this one at $469(HOLD-Tom H 8/18).

2002 Gibson '60 Les Paul Classic – Lemon Burst, (front), (back), (headstock), (case).  Cool looking ’60 Classic with a nicely figured plain top, if that makes sense. The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched. Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock.  Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers.  Just like the Standard it features a mahogany body with maple cap.  The only visual difference, other than the uncovered pickups, is the "Classic" screened logo, “Classic” truss cover, vintage-style inked serial number, and "1960" on the pickguard.  Other features include 12" fretboard radius, light amber top-hat knobs (also included), cream plastic parts, inlaid pearloid logo, and aged-looking trapezoid fretboard inlays. Other than some minor impressions in the clearcoat, this guitar is in very nice shape with excellent frets and a comfortable, low set up. Noteworthy hardware upgrade: Tonepros locking ABR-1 bridge and locking stop bar tailpiece. This is a very nice Paul for $1399.  Includes black Gibson case.

1991 Fender Standard Stratocaster - Candy Apple Red, (front), (back), (headstock), (bridge), (pots/pocket).  Lovely example of an early Ensenada, Mexico production. Although the Ensenada plant started up in '87, they were primarily producing amps and cabs. I don't believe the first Standard Strat, i.e. silver and black bold logo, began until 1991. Prior to this the Standard was built in Japan in the early 80's, switching to Korea in the late 80's. For a brief period the Mex models were Squiers with all-black logo with "Squier Series" in small font written near the tip of the headstock, followed by the same guitar without the "Squier" moniker, although those guitars are essentially the same, with the same cheap tuners, large cast saddles, and primarily plywood bodies. This '91 is basically the same model that's built today with the Fender/Ping tuners, stamped bridge saddles, and non-laminated body, although it does have ceramic pickups rather than the current Alnico. There was a different tremolo cover plate installed at some point so there are some extra screw holes but they're invisible with the plate on. One upgrade has been done to this guitar - pots upgraded to USA CTS which replace the original small import pots. This guitar has an excellent neck which allows low action and is in super clean condition. With a new stock Standard Strat running $599, this nice early one is an excellent value at $359, set up perfectly and ready to go.

2004 Taylor 414 Grand Auditorium, (front), (side), (back), (headstock), (case). The Grand Auditorium was the first guitar shape designed from scratch by Bob Taylor, combining the width and depth of a dreadnought with a narrower waist.  Its sleek design adds strong treble sizzle across the tonal spectrum adding definition to individual notes.  It is an excellent fingerpicking guitar that also adapts well to medium strumming and mixes well with frequencies in the singing voice range.  The 414 features back and sides of solid ovangkol, an African tonewood similar to Indian Rosewood, that gives it a wonderful, deep tone and its warm brown colors and unique grain are protected with a thin, satin finish.  The spruce top is buffed to a high gloss, and is framed in white binding on the body and neck. Other features include a sleek Ebony fretboard inlaid with pearl dots, Tusq nut, Tusq saddle, and quality Grover tuners.  Nothing sets up like a Taylor and most players who are very comfortable with their electric, are just as comfortable strumming their Taylor.  When we became Taylor dealers at Hotlicks in the late mid-80's, I finally found an acoustic that played as easily as an electric and instantly found my favorite acoustic brand. Tonally, this is a workhorse instrument, with the Ovangkol/Spruce combination perfect for nearly all types of music.  Cosmetically it's in beautiful shape with no noteworthy flaws of any kind, although we did repair a center seam crack (shown here) which is lacquered over and should never pose a problem. The coloring and figuring of this wood was so reminiscent of Koa that we called Taylor to see if they had any info on this guitar which would indicate that it wasn’t the stock Ovangkol. They had no such info so I guess it’s just very colorful ovangkol with lovely bearclaw figuring. It also has a built in passive pickup system with a piezo saddle pickup and body sensor. Don’t know what it is but it works fine for a passive system. Taylor doesn’t make the 414 any longer but a new 414ce will set you back $2K. How about this beauty for $1050.

1981 Fender USA Bullet Standard w/Case, (front), (back), (headstock), (body ser.), (case case2). I’ve always loved these guitars. The ultimate in simplicity, the Bullet is the brainchild of John Page of Custom Shop fame, who was tasked with designing a student model to take the place of the defunct Mustang and Musicmaster models. This first year Bullet was offered in two versions. The first, this Bullet Standard, features the bridge integrated into the metal pickguard while the Bullet Deluxe had a separate plastic pickguard and traditional hardtail bridge. The metal pickguard on this model, in addition to anchoring the bridge, also serves to interrupt interference into the single coil pickups. It features barrel saddles, similar to the Mustang, with 2 height adjustment and one intonation adjustment screws per string. Other features are dual single coil pickups with black plastic covers, 3-way switch, and master volume and tone. The middle position is factory wired out of phase which produces a neat more hollow sound. Other features include slab Tele shaped body, 21-fret maple neck with Tele shaped headstock, 25.5” scale, truss rod control at body end, vintage style tuners, output jack integrated into the pickguard, 7-screw pickguard attachment, and Fender F-plate with plastic neckplate backing. The original USA model was offered in red and white only, with either a white or black pickguard. In ca. ’82 production moved to Japan, with the Bullet being the first guitar manufactured by the new Fender Japan company. This is a beautiful example of this 35-year-old model. It is all original, body serial matches neck, 100% jake, super clean guitar. Although marketed as a student model, with its full scale, easy playability, and cool tone, it can easily find its way into professional use. Quality, affordable vintage at $629. Includes G&G Fender Tolex case.

1997 Fender Deluxe Series Powerhouse Stratocaster, (front), (back), (headstock), (electronics). For fans of the fat powerful tone of a Clapton Strat, here's a more affordable alternative. The Powerhouse features the active 12dB mid-boost for tones so thick they sound almost like humbuckers. It features the ultra-quiet Powerhouse pickup system with Alnico single coils (plus a dummy coil), mid-boost, no-load tone control, and master volume. Other features include poplar body, maple neck with rosewood fretboard, 9.5" radius, 21 medium-jumbo frets, Fender vintage tuners, stamped steel saddles, white shell pickguard, vintage spaghetti logo, and easy access 9V battery door on back of body. Remarkably, although 19 years old, this guitar is virtually unplayed since new. Own it for $100 less than a new Mex Standard Strat at $499. Includes gigbag.

2013 Gibson Les Paul Standard Plus with Fralins, (front), (back), (headstock), (case), (Fralin set or Orig. set).  A real beauty in Honey Burst, virtually unplayed since new. This guitar has also been upgraded with great sounding Lindy Fralin 8K/9K humbucker set as well as return to vintage wiring instead of the circuit board with push-pull pots and Burstbucker Pro pickups. Gibson offered these with option AA tops or AAA tops (Plus or Premium). I thought this was the latter based on the quality of the flame but the pickup cavity reads LPSCA (pic) which seems to be Plus. This guitar has all the specs of the timeless Les Paul Standard, "plus" a beautiful flamed maple top, finished in Honey Burst (pics make it look more red around the edges). This year also features factory locking TonePros Tune-o-Matic bridge and Stopbar tailpiece, plus a set of high-quality locking Grover kidney-button tuners, as well as Gibson's new asymmetrical version of their Slim Taper neck profile with a compound-radius rosewood fingerboard. This top is superior to virtually every other Plus top I’ve seen, with very even flame, side-to-side, top to bottom. It plays with exceptional ease and sounds fantastic and is offered in perfect condition. Own this beauty for $1879(SOLD 9/20), or a little less if you want the stock Burstbuckers. Includes clean Gibson black case.

2010 Fender Artist Series Eric Johnson Stratocaster – 2-tone Sunburst, (front), (back), (headstock back), (case/etc.).  Perfect…as new condition. As I've mentioned many times, and numerous customers have agreed, the Eric Johnson Strats are the best signature models Fender has ever made, including their custom shop models. Each one I've had exhibited commendable acoustic tone, excellent sustain, and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone, and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quartersawn maple neck with vintage tint, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  This is an excellent Strat with excellent sustain and a quality acoustic tone.  This guitar is offered in mint condition with no signs of use other than perhaps a few pickguard scratches. If you're contemplating buying a new original version EJ for $1899 here's one that’s like new for just $1329. Includes blonde EJ case with strap, cable, ash tray, manuals and tags.

Seagull S6 Mahogany – Cedar Top, (front), (back), (headstock), (label). Don’t let the price fool you, this isn’t a beginner’s guitar. The only thing cheap about it is the price. I used a Seagull S6 as my personal acoustic for years back in the 90’s and it performed wonderfully. This era Seagull is a good quality guitar in all regards. It’s made in Canada with solid woods including cedar top and mahogany sides and back, with a solid mahogany neck and rosewood fretboard. As you can see in the pics, it’s been played, resulting in some surface wear but no cracks or loose braces. It just left a local luthier with a $125 charge and a clean bill of health. It has a very comfortable set up and the warmth of the cedar and mahogany makes for a very cozy tone, especially when playing solo in the living room or around a campfire. You won’t find a better value in a North American guitar than the S6. Yours for $265. 

2014 Martin D-16RGT, (front), (back), (label), (binding), (headstock), (case). Mint condition and a surprisingly superb sounding USA Martin for this price range. It’s loud, well-balanced, with excellent clarity and full bass response.  The D-16RGTE offers the vintage look of a gloss finish top, but the back and sides have a satin finish, which is less labor-intensive but is actually conducive to better tone. It’s nicely appointed with multi-ply top binding, back binding, bound neck, and herringbone rosette. Features include dreadnought body shape, solid East Indian rosewood sides and back with solid Sitka spruce top, solid Spanish cedar neck attached with Martin's fine mortise-and-tenon joint, solid Micarta fingerboard and bridge, modified low oval neck shape, D1 bracing pattern, white Corian nut, 25.4" scale, 1-11/16" nut with, pearl dot inlays, tortoise pickguard, chrome enclosed gears, gloss finish top, satin finish body & neck.  I’ve had around 5 of these in the 000 size which are excellent fingerstyle guitars. This one is equally impressive for its bold, powerful strumming tone. I give it a solid 2 thumbs up. Sold new for $1859 ($2299 list) which makes this a nice deal on a clean used one at $1259. Offered in immaculate condition with a superb set up. Includes original Martin case, manual, unsigned warranty, etc.

TC Helicon Harmony-G XT Vocal Harmonizer and Effects, (pic2), (back), (stock pic). I had the earlier model and regretted ever getting rid of it. Just got in two of the XT models and I’ll be keeping one. The cool thing about this unit is it gives you 3-part harmony that’s so intelligent it changes harmonies according to whatever guitar or keyboard chord you’re playing. It’s that easy – just plug your instrument and mic in, and you’re sounding like a great vocal group. There are a lot of demos online, but here’s one I picked just to show the varieties of harmonies possible (link here). The "FX" for each preset can be selected from your choice of categories such as Hall, Room, Echo, Slap, Combi and SFX has three alternates. These are the same effects used in the popular VoiceLive 2. Features: 18 combinations of reverb, delay and mod shared by vocal and guitar input, 20 presets (10 with A/B option for both), harmony interval selection includes 3rds and 5ths above and below, octave up and down, and the unique Bass interval, stereo or mono configurable output, clean, studio quality mic preamp with phantom power and XLR input, guitar signal can be mixed in and share reverb or passed through to separate amplifier, accurate guitar tuner, front-of-house quality reverb algorithm and selection of styles from VoiceLive 2, selection of four overdub-style doubling effects with two more doubling voices available, reworked FX presets offer even more utility across music styles, USB connection for easy software updates, tips, and preset backup using the included VoiceSupport applet, and adaptive harmony gate added to Tone for a cleaner mix. This unit sells new for $197 but get one of mine in nice shape in the box with everything, for $125(HOLD-Scott W 7/21).

2015 Ibanez Soundgear Mikro Bass Short-Scale GSRM20 - Black Satin, (front), (back), (headstock), (op. gigbag).  Perfect condition! Ibanez Soundgear bass quality in a short scale.  Unlike a lot of short scale basses, which are lower quality, if not toys, the Mikro Bass has the same quality and backing as their full scale Soundgrear basses.  With a 28.6" scale, around 5.5" shorter than a full scale, the Mikro is a great choice for younger players or anyone small in stature, or a good transitional instrument for guitarists switching to bass. Features include mahogany body, maple neck with rosewood fretboard, 22 medium frets, pearl dot inlays, high mass B10 bridge with precise intonation and height adjustments, quality sealed tuners, and P/J combination pickups for your choice of the fat P-bass tone - or the mid-range heavy J-bass that really cuts through the mix in the higher bass frequencies.  It also uses a new truss rod cover door that easily slides to the side - no more screw to remove for adjustments.  The body style is the same as other Soundgear series with the elongated upper horn, short lower horn, and deep cutaway for playing the high notes.  It's very well balanced, with a tone that doesn't sound at all "small”.  Offered in superb condition with a great in-house set up.  An excellent buy on a short-scale bass, these sell in stores for $179 without gigbag.  This one’s just $125(SOLD – Ken B 7/22). Add a quality Mikro gigbag for $20 if desired.

Xotic SP Compressor, (pic2). Xotic makes some of the best stompbox effects on the market and the SP Compressor is definitely one of the best I've heard. It's quiet, subtle yet effective, and extremely compact (save your pedalboard real estate). It's the choice of Steve Lukather and many other pros. It offers the same OTA (operational transconductance amplifier) technology used in the Ross Compressor, thought by many to be the best vintage comp made. It features a wide variety of compressor tones from vintage to subtle and features a dry blend knob, up to +15dB of boost, as well as an dip switch inside the housing for attack control. It also features true bypass and is built for many years of trouble-free use. Runs on 9V battery or optional 9V adapter. Sells new for $132; this one's mint in the box for $85(SOLD).

Korg Pandora Stomp.  I've had a number of the various generations of Korg Pandora pedals, dating back to its debut in the '90s.  The Pandora Stomp took all this compact technology and included state of the art technology, and for the first time housed it in a stomp box.  It serves equally well as a practice unit, live stage multi-effect/tuner, and analog or digital studio unit.  Although it looks like a regular stompbox, it's actually a multi-effect unit that contains 158 types of modeling effects; seven of which, you can use simultaneously.  200 preset programs include many well-known signature sounds as well as 100 rhythm patterns. There's also an auto tuner with a large LED meter that’s easy to read. You can also enjoy jam sessions by connecting your MP3 player to the AUX input, which provides a +/-1 octave pitch shift function.  The freely downloadable PC editor/librarian makes it easy to create and manage sounds.  Works great as an all-in-one effect unit, or in conjunction to your existing pedalboard.  Here’s a 20-min. demo from sonic state: https://www.youtube.com/watch?v=hMqkt6_jb1A.   Sells new for $129 but this one's in perfect condition and almost 1/2 price at $69.

Ibanez JS-100 Joe Satriani, (front), (back), (headstock), (detail), (case).  The JS-100 is a super shredding machine with great tone and one of the most comfortable guitars to strap on and play all night. All edges are very well contoured with a deep cutaway and an extremely thin contour in the treble cutaway, with an S-shaped body that’s very thin on the edges.  Features a JS neck with a rounder 12" radius for easy chording in the low register with comfortable bends up top - Lo TRS trem stays in tune very well - quality tone via basswood body and a pair of Axis humbuckers (AH1 and AH2) controlled by 3-way switch and push/pull tone pot for coil splits.  Joe has remained a true guitar hero, over 25 years after Surfing with the Alien, the one where the public took notice of him. This guitar has a fantastic setup, is in beautiful condition (any flaws in pics are reflections), and is a great guitar for $399 – or $449 with Ibanez Professional case. Includes trem arm. Note: We usually have some DiMarzio pickups that we can upgrade for $135/pair, parts and labor.

Lace Drop and Gain Humbucker. Super hot (24K) bridge humbucker designed especially for baritone and drop tuning. New these are $105; this one’s in mint condition and $69.

EMG RTX Tele Bridge Pickup, (back). Recent X series that uses the solderless connection. I’m not including anything but the pickup but, hey, for $65 you can’t go wrong!

2005 Ibanez JEM77B-RMR Bad Horsie, (front front2), (back), (headstock), (binding), (case/etc.). If you’re a Jem collector and you missed the run of these 11 years ago, fear not, this one is as near to pristine as you can imagine. Any minute flaws to the chrome were buffed out by my man Martin so it’s good enough to go in any collection. Most Jems have come in brief runs, this one ran only for a year or so, through part of ’06. The distinguishing—and striking—feature is the immaculately finished chrome body and pickguard. Steve Vai has had a long run of different Jem models and the mirror-fronted 77B RMR was released in 2005 to coincide with Steve’s “Real Illusions: Reflections” album and tour. Features include Prestige 5 piece maple/walnut neck, 24 frets with Warmoth 6105 wire; basswood body with pearl binding, Edge Pro tremolo, DiMarzio pickups with a Breed neck - Custom middle - Breed bridge, chrome hardware, Black Rock Mirror finish.  Needless to say, this is a killer playing guitar that’s as fine a shredder as I’ve had. It carried a $3099.99 price back in ‘05. Get this one for $2399 including original J Craft case, tools/pouch, manual, and all tags.

OFF-HOLD: Valley Arts USA Custom Pro, (front), (back), (controls), (headstock), (pickups), (case).  Swamp Ash finished in Yellow and verified to be the first Swamp Ash ever made by VA.  Custom made to the customer's specs, called a "Custom-Custom" by VA employees, easily recognizable by the customer's name on the neckplate, in this case, one of the VA employees.  Serial 304.  This guitar has a unique neck profile, which is as small as you'll find.  Although the nut is the standard 1 5/8", it's very shallow and has very slight shoulders, meaning a small handed person will find it very easy to get their hand around but some players will find it too slight.  Features of this world-class guitar are swamp ash body with nitro finish, Kahler Pro locking tremolo, original Tom Anderson pickups  (HN2+ and two SK1's) with individual 3-way selectors, each selectable as single coil, off or double coil, which, doing some quick math, is at least 18 combinations.  The last switch is an Anderson-inspired "blow" switch for the bridge humbucker only - going straight to the output jack.  Fans of skinny necks will appreciate this as it has one of the thinnest profiles of any guitar from this era I've ever felt.  I believe the fretboard is probably Brazilian rosewood as shown here.  Overall this VA's in nice shape and hasn't seen a lot of playing time judging by the frets (pic), which are original and undressed.  As this is around a 25-year-old lacquer finish it has developed some finish checking, visible if viewed from certain angles, primarily on the headstock (pic).  There are also a few check lines on the body including a few by the output jack, above the pickguard, etc., as well as a little rash from a guitar stand and light buckle scratches in the clear coat only (all shown here).  This guitar is of definite interest to the collector by virtue of its unique features and early lineage.  Includes original case, Kahler manual, and VA fretboard protector (this idea was later copied by other makers).   An exceptional VA for $1999(HOLD-Eric 10/7) (Letter of authenticity from former Gen. Mgr. of Valley Arts USA included upon request.

Malekko EKKO 616 Dark Analog Delay, (controls). The new 616 is based on Malekko's long-discontinued hand-built ECHO 600 Dark. It provides a rich analog delay of 650ms with heavy overtones. It's a full featured yet compact delay with external modulation controls, an optional buffer, and internal level pot. It is voiced to have delays with the high frequencies rolled off, like a low-pass filter set to about 400Hz, which allows bright guitars to reside over a dark background of morphing overtones (when set to high regeneration amounts), or a super-fat chug sound at less regeneration, shorter delay times. Only hand-picked components of the highest quality are used in construction. Sells new for $150 but frequently out of stock. Get this used one that’s in stock, for $105.

Louis Electric Tremoverb Combo, (back), (top/panel). I've had 3 of Louis' KR-12 models, but this is the first Tremoverb I've had the fortune to acquire. The Tremoverb offers 35 watts of 6L6 power through a single Celestion Alnico Gold speaker, and is voiced for a great vintage tone that will make a lot of players stop their search for the ultimate vintage Fender amp. The Tremoverb is based on a Blackface circuit and is a dual input amp (high/low) with controls for volume, treble, middle, bass, reverb, tremolo speed, and tremolo intensity, Tube complement includes a pair of 6L6GC power tubes, 5AR4 rectifier, and the preamp three 12AX7's and a 12AT7. Louis Electric amps are built with all the care of the vintage models with features such as eyelet terminal board construction, hand Selected caps and resistors, custom designed hand built transformers, Belton tube sockets, Switchcraft and Carling input jacks and switches, high quality machine grade fasteners, and moisture free circuit board. The speaker is housed in a port hole, which gives it an airy, wide open sound. It is mounted in a solid birch cabinet with dovetailed corners. This amp sounds good with just about any guitar, single coil or humbucker, hollowbody or solid. It sounds great clean and has very good headroom, as well as a nice breakup in the midrange, with crisp highs and a tight bottom. It’s perfect for warm, clean, sparkling tones – it’s all in there. It has a very fast percussive attack and a nice sounding reverb and rich tremolo. Here's a demo of a Tele through the Tremoverb but check out YouTube for Gretsch, Gibson, etc. demos. A black Tremoverb sells new for $2895 ($2995 for this custom brown covering). This clean used one has only seen limited home use, never gigged, and is $1100 cheaper. Just $1895(SOLD-Allen S 9/28).

Boss RC-30 Loop Station, (pic2), (patch bay). Boss’ latest and greatest pedal looper, replacing successful the RC-20XL. The RC-30 gives you up to three hours (up from 16 minutes on the 20XL) of onboard stereo recording and loop storage with a new dual-phrase loop feature that lets you create and play two completely independent stereo loops in perfect sync. In addition to studio and performance, it’s also a great practice tool with some cool drum loops built in. Features include: three hours of onboard recording time, powerful DSP from Boss' ESC2 chip, true stereo In/Out, dual-phrase loop feature lets you create and sync two independent stereo loops, 99 memory slots, Loop FX provides real-time loop editing, mic input with phantom power, USB 2.0 port for swapping/managing files with your PC or Mac, Aux in jack, and onboard rhythms including real audio drum loops. There are a load of YouTube demos but here’s one I picked sort of randomly (link). Sells new for $299 but this one’s super clean in the box with everything for $209.

Rockett Pedals Archer Boost Overdrive. Although they can’t advertise it as such, this is Rockett’s answer to the Klon Centaur. If you can’t afford a grand or two for a Centaur, this one sounds as good from my memory…and is affordable. It exhibits remarkable headroom, sounds and “feels” like a tube amp, and is more versatile than 3 knobs usually are. It can be used as both a clean boost with the gain all the way down, or turn up the gain and you’ll find beautiful middle ground until you dial in the sweet overdrive. It operates off a standard BOSS type 9-volt adapter or a single 9-volt battery and operates at 9-18 volts.  Here's a good demo by ProGuitarShopDemos (link). These run $189 new, or you can get this used one for just $129.

2013 Gibson Les Paul Signature T – Wine Red, (front), (back), (headstock), (case).  Lovely guitar in nice shape with a AA flamed maple top, finished in Vintage Sunburst, accented with cream body/neck binding and plastic parts, and chrome hardware.  Two minor mods were done to this guitar, both to give it more of a ’59 Burst appearance: Grover tuners with metal buttons have been swapped out with vintage-style Gibson Deluxe with aged plastic buttons, and "T" truss rod cover replaced with a blank one. The “T” series was in production for only a brief period of time, but in ’14 Gibson switch tuners to the MinETune system, detracting more from its vintage fan appeal.  This model also features the “classic” Swiss cheese weight relief, same as all LP’s from the 80’s and 90’s, rather than the recent “chambered” body. Other features include AA flamed maple top with transparent Vintage Sunburst over a mahogany body, Nitrocellulose gloss finish, 60s slim taper neck, bound Granadillo fretboard, mahogany neck, figured acrylic trapezoid inlays, and chrome hardware. Pickups are '57 Classic Plus bridge and '57 Classic neck humbuckers with push/pull taps on the tone pots to provide 6 tone choices, all of them very useable.  This guitar is in really nice shape, with just a few very minor clear coat flaws. For looks, tone, and feel, this is hard to beat on a traditional Les Paul at $1350. Includes original case, tools, and truss rod wrench.

1997 Gibson Joe Perry Les Paul, (front front2), (back), (headstock), (case). One of the earlier Signature model Les Pauls before Gibson started offering dozens. The Joe Perry model was produced in conjunction with Joe, a 40-year veteran of rock music with Aerosmith (pic of poster). I haven’t had one of these in around 5 years and this is a nice one with just a few clear coat scratches or impressions here and there but overall excellent condition. There are some features on this model that many players would have a hard time parting with, especially the very substantial '59 rounded neck which, before the plethora of Historic models, would be very hard to replace.  If you wanted a large neck you were limited largely to genuine 50's models or the odd early Historic or "pre-Historic".  The neck also features rolled fretboard edges for comfort, giving it the feel of a broken in vintage guitar, as well as some of the nicest looking pearl inlays you'll see on a Paul.  Even more noteworthy for this guitar is the active tone circuit, aka "Wah-Wah" circuit, which is activated via push/pull on one of the tone pots.  Pull it out and you get that cool mid-range honk of a wah pedal resting in the "sweet spot".  Rolling the pot forward or backward adjusts the center frequency, much the same as rocking a way up or down.  This is the coolest feature I've ever seen on a Paul, at least for my taste and style.  Nothing cuts through the mix more than this Perry with this "wah" switch engaged; there simply aren't any instruments that are using these frequencies and every nuance of your playing jumps out of the mix.  It is just too cool to describe.   Much of the tone is due to the excellent stock pickups with a Joe Perry Custom Wound in the bridge with a '57 Classic in the neck - the earliest model I can think of that featured the reissued "PAF" sticker.  The top is nice for a AA. Transparent black on flamed maple is a stunning look.  In addition to the cool looks and features this guitar plays exceptionally well with low action that will please just about anyone. Long write-up on a simple guitar but you probably get the idea:  I love this guitar.  You can love it too ...for $1750. Includes 90’s Gibson brown case pictured.

Fender Squier Vintage Modified Telecaster Custom - Black, (front), (headstock), (back). The classic look and tone of a '72 Tele Custom for a budget price. Fender has a winner with their Classic Vibe and some of the Vintage Modified series and this one proves it. The Tele Custom features a Wide Range humbucker in the neck, with the classic Tele bridge and slanted Duncan-Designed single coil pickup. In looks, this one appears very much like the original vintage model with its Tele body shape with large pickguard and dual volume and tone controls with amp knobs, small Tele headstock, and pickup configuration. We've even added a Fender "ash tray" bridge cover for comfort and vibe. This guitar was a cosmetic factory second, indicated by a “used” stamp on the back of the headstock, but we have no idea what minute flaw caused this. It’s in excellent condition with no issues, plays great, and yields quality tones. Features include basswood body with gloss polyurethane finish, rock maple neck with modern "C" shape, 22 medium jumbo frets, 1 5/8" nut, vintage 7.25" fretboard radius, chrome hardware, vintage-style tuners, synthetic bone nut, engraved neckplate, Seymour Duncan Designed bridge single coil and Wide Range humbucker pickups, 3-way switching, vintage bridge with three stainless steel saddles, strings-thru-body, and 3-ply pickguard.  For vibe, playability, and tone, this guitar is a winner at $275, especially with a pro setup prior to arriving at your home.

1998 Fender Body – American Standard – Candy Apple Red, (back), (pocket). Lovely shape. Swimming pool route is correct for American Strats from ’86 to ’00. If you’re body is beat, or you want a quality alder body for your project, get this one for $229.

Epiphone SG Special Project – Body and Neck, (front), (back), (headstock), (scallop). I’m not sure, but I think this was called a Deluxe Special or something back in the day. The body is nicely figured, finished in cherry sunburst. What’s included is what you see in the pics. Extremely clean and all original other than top 4 frets have been professionally scalloped. The scalloped frets will be darker in appearance once the fretboard is treated, which we’ll do at no expense. If you need them we’ll include a pair of Epi humbuckers for $25 and any hardware for a small fee as well. If you’re into projects, this one’s a lovely Epi and yours for $75.

Charvel Desolation DS-1 ST – Red Flametop, (front), (back), (headstock), (features). One of the best values you’ll find on a good quality neck-thru guitar. Charvel originated the SuperStrat back in the 80’s and this is sort of a modern take on a SuperPaul. It’s designed mainly for the rock/metal player but it’s classic single-cut looks and stunning appointments give it loads of class not normally found on rock guitars. It’s outfitted with a pair of active Seymour Duncan Blackout humbuckers, which are noted for their clarity and punch, with excellent clean tones and not much color added. If you’re playing heavier music, the tone controls seem much more noticeable and provide more range to the color palette. Rolling back the tone gives you more warmth that works well with jazz or any mellow music. These pickups are whisper quiet and work great with digital signal chains where noise tends to be very noticeable. The Charvel compound radius neck has a very thin profile, combined with 24 jumbo frets, to make fretboard pyrotechnics a breeze. The area where the neck enters the body is nicely sculpted, making it much easier to play into the upper register. Features include single-cutaway mahogany body with a carved top and neck-through-body design, oil-finish bound mahogany neck with scalloped heel, compound radius (12"-16") rosewood fingerboard with 24 jumbo frets, “Keystone” abalone inlays, abalone body trim and headstock binding, dual Seymour Duncan Blackout active humbucking pickups with three-way toggle switching, Charvel bridge specially designed for compound-radius fingerboards, black nickel hardware, three-on-a-side locking Charvel tuners, and red flamed maple veneer with matching headstocks. Charvel discontinued this model but they’re still available on Amazon for $1098. This one’s perfect, with a killer pro setup, for just $439.

Jason Lollar P90 Set. Many believe these are the best Soapbar P90’s made. Try this set in your guitar for just $139.

PICS FIXED: 2002 Yamaha Ty Tabor RGX-TT, (front), (back-output jack), (headstock), (case).  One of Yamaha's finest, built in collaboration between Yamaha and Ty Tabor (King's X).  Lightweight, comfortable, and aerodynamically sound - when you strap this guitar on it feels like an extension of your body.  Features include double cutaway Basswood body with extreme contours and a distinctive raised, figured maple center platform.  The body has a "bent" shape, much like a Brian Moore, thin at the edges with a maple ridge in the center.  The contemporary, fast maple neck sports a slick rosewood 22-fret fingerboard and easy-view position markers on the side only, while the truss adjustment is on the side, in the treble cutaway, like a new Warmoth.  The 12-degree angled headstock features a "3D" design with three tuners per side, straight string pull, and black Sperzel Tremlock tuners which are recessed into the headstock.  The RGX-TT also features an excellent choice of electronics with Seymour Duncan Vintage Rail neck and middle pickups, Duncan JB bridge, controlled by a 5-way with a large pushbutton to split the bridge humbucker, yielding 7 quality tones.  Other features include thin beveled neck heel, TT inlay at 12th fret, and Wilkinson VS100 tremolo.  Here's a YouTube demo of a guy noodling on his TT (link).  Excellent condition, with a super comfortable set up.  Yamaha recently discontinued this model but it had a list price of $1599 and was one of the finest guitars Yamaha made. It's one of my favorite guitars currently in stock and an excellent value at $750.  Includes Yamaha case and trem arm.

Dr. Z Maz 8 Head, (back). Dr. Z continues to expand their selections to more refined niches. The Maz 8 is specifically for players who favor the Maz 18 or 38, but need a more manageable volume level, i.e. 8 watts instead of 18 or 38. Having said that, it’s a very loud little beast and while it’s not quite enough to keep up with a rock drummer, it’s perfect for many small gigs, practice, and especially studio work.   There is plenty of volume here for an 8 watt amp, but you'll have a much better time dealing with sound guys, engineers, or your significant others at home with the Maz 8 that you typically will with an 18 or 38. Dr. Z chose a single ended EL84 circuit for the power section that can be run in two modes via a rear panel switch.  Pentode (about 9 or 10 watts) or Triode (about 5 or 6 watts).  The Pentode mode is the typical Maz 18 tone, replete with its chime and smooth low end, with excellent dynamic range for rock or country.  The Triode mode is slightly less than Pentode, with a slightly fatter tone with a vintage feel and tone. It comes standard with an effects loop and footswitchable EQ bypass. Sells new for $1675 but get this one in mint condition for $1175. Pretty good demo here. 

2014 Fender American Vintage ’65 Stratocaster, (front), (back), (headstock), (case candy), (case). Custom color Burgundy Mist Metallic. After over 30 years Fender discontinued the American Vintage '57 and '62, in favor of the '56, '59, and '65 Strats, which made their debut in 2012. I haven't noticed a huge difference, other than the higher price tag on these new models, but it appears the finish is thinner, and even on a new guitar you can see hints of finish sucking and raised grain.  They also tend to be lighter weight than the earlier models. According to Fender, their R&D department dissected many vintage instruments to build guitars which were cosmetically, sonically, and electrically closer than ever to the originals, even going as far as restoring some vintage tooling. The result is a selection of guitars that is closer to the "real thing" than anything Fender has ever offered outside of the Custom Shop. The vintage series feature bone nut, 7.25" fretboard radius, 1.650" nut width, 25.5" scale, 21 vintage-style frets, and alder body. They are designed as vintage NOS (new old stock) with no artificial aging or weathering. Fender even remade paper/oil capacitors, although they come with modern 5-way pickup selectors, although the correct 3-way is included in the case. Pickups are the" new vintage” made to period-correct specs, and based on the sound of the original model. They sound much closer to the genuine vintage models that I've played. Fender has finally tied Gibson's Historic series for massive amounts of case candy and they now include loads of “vintage replica” paperwork for the original model year, as well as a manual, vintage wiring diagrams, as well as a load of other stuff.  This guitar is in unplayed condition, with plastic film still on the pickguard, and we've given it a set up that's better than factory. You can’t get these in Burgundy Mist any longer but you’re going to pay $2299 for sunburst, white, or shorelines gold. Maybe consider this perfect ’14 model for $1550.  Includes G&G/Fender vintage case and the huge assortment of case candy pictured.

2016 Gibson Les Paul Junior – Cherry, (front), (headstock/Gforce), (back), (case case2).  Mint and literally unplayed. Serial says this is a 2017 but Gibson is doing some strange things with serials now so it’s either a ’15 or ’16. The Junior is the original straight ahead rock guitar. With its single P90 pickup, wraparound tailpiece, and slab mahogany body, it was the ultimate in simplicity when it made its debut in ’54.  As the entry level Les Paul, it was aimed at beginners, but as time has proven, they’re built to last and top touring/recording artists have proven that they’re much more than a beginner guitar. This one comes complete with Gibson’s new G-Force tuning system which tunes to perfect pitch automatically, and allows you to quickly switch to alternative tunings (open D, open G, Drop D, etc.) with the touch of a button. If you’re not a fan of technology, we have Gibson Deluxe tuners that we can swap out at no charge. Another innovation is the Zero Fret nut, including an upgraded zero nut in the case. Here’s a link for more info, and another link on the G-Force system. Gibson has offered some budget models in the past decade, primarily with finishes that cheaper to produce, called Satin, Faded, or whatever.  It’s nice to see them building real Juniors with a gloss nitro finish again.  This model features a commemorative hologram of Les on the back of the headstock, as well as “Les Paul 100” headstock screen in honor of Les’s 100th birthday. That’s fine with me, but if you want, we can refinish with a regular Les Paul Junior logo at additional cost. This one plays beautifully, with low action and a nice lively acoustic response. As I mentioned, it’s in immaculate condition with plastic still on the pickguard and scratches or wear of any kind. It is an excellent value in a nitro Junior at $699(SOLD-Jeff T 9/14).  Includes original and cool gold Gibson molded case, power supply, manuals, and all paperwork.

2011 Fender Road Worn 50's Stratocaster w/Hendrix pickguard, (front), (back), (headstock), (neck), (knobs/covers detail).  On parts mod on this one, which is a Hendrix style pickguard which has the bridge pickup flipped from a regular Strat.  The effect is the bass strings are closer to the bridge, giving them a more biting tone, while the treble strings are mellower than a stock Strat.  Pretty cool.  For many players, nothing beats the feel and vibe of a genuine vintage guitar, complete with chips, finish wear, oxidized hardware, and especially a broken in neck.  Fender's Road Worn series is a genuine Fender Relic guitar, but around 1/3 the cost of a Custom Shop model.  These guitars are excellent guitars in their own right and like the Relics; they feature an alder body with nitrocellulose finish with misc. finish wear, dings, dull finish, aged-looking parts, aged pickguard and trem cover, etc.   They also wisely chose to use large 6105 frets (tall/narrow), which are frequently changed on vintage guitars as an improvement over the old small vintage frets, while retaining the vintage 7.25" radius.  The back of the neck has a worn finish for a great broken in feel, and that's what really makes these so nice to play.  The fretboard, which had the factory "close enough" wear spots has been steel wooled clean but it won't be long before your playing style puts wear marks in all the right spots. Additionally, the knobs have been given an additional relic process, giving them a more authentic appearance.  Not just looks alone, these guitars are loaded with quality USA electronics and the quality tremolo with stamped steel saddles and heavy steel trem block.  Pickups are the popular Tex-Mex pickups used in the Jimmy Vaughn Stat.  You might think Fender would use a lower grade of alder on these guitars but it's a nice light weight with a fairly loud acoustic tone and lively response.  With a list price of $1199, this model sells new for $899 which is reasonable considering the additional labor involved in building these.  This one's in perfect condition with a great setup and frets are like new.  Especially with the upgraded pickguard and more realistic knobs, it's a very good value at $679(HOLD-Joe C 6/15).  Includes hang tags and Fender deluxe gigbag.

2001 Danelectro Mod 6, (front), (back), (headstock). Dano's Mod gives you those classic 60's Danelectro tones with its plywood frame body and lipstick pickups, with the modern addition of a humbucker plus more switching options than ever. Dano's Select-O-Matic switching plus a coil tap switch yields eleven distinct tones. You can choose from:  1-Neck/Bridge, 2-Neck, 3-Neck/Middle, 4-middle, 5-Middle/Bridge, 6-Bridge...and the coil tap to choose single or double coil whenever the bridge pickup is engaged. It also includes a "blow" switch which bypasses the rotary switch and turns all 3 pickups on at once in series which is great for leads, providing higher output than any of the two-pickup settings. This model was made in Korea to quality standards, and includes better hardware than the original models or recent Chinese models. Finished in black metal flake, it's offered in flawless condition with an extremely comfortable setup. While the tone may not be best for the heavy metal player, pretty much anything else sounds great through this guitar. This is a fairly rare model, only made for a few years from ca. ‘98 to '02 and is popular among Dano enthusiasts. Super nice Dano for $429. Includes gigbag.

2010 Gibson Les Paul Traditional – Ice Tea, (front), (headstock), (tuners), (back), (case).  Debuting in 2010, the Les Paul Traditional has the look of the vintage 50's Les Paul you know and love, with a gloss lacquer finish all over, ’57 Classic pickups (Classic and Classic Plus), and vintage tuners. It features a non-chambered mahogany body with a thick AA maple cap for the classic blend of warm mahogany and snappiness and clarity of the maple top.  The AA top isn’t like a ’59 Historic, but it’s a cut above a plain top. Like all Les Pauls, it does have the traditional 9-hole relief that Gibson has been using for decades.  The guitar is finished in high-gloss nitrocellulose lacquer for a true traditional looks and feel, while the thin nitro finish allows wood resonate fully.  The neck profile is very much medium, not chunky like a 50’s but not thin like a 60’s. Other features include angled headstock, bound rosewood fretboard, 1.69" nut width, trapezoid inlays, antique binding, Tuneomatic bridge with stop bar tailpiece, Gibson Deluxe tuners with Keystone buttons, amber speed knobs, and period correct cream pickguard and binding.  Another major aspect, which Gibson did for a brief period on their mid to high end Les Pauls, is the fret job, which is leveled perfectly via a Plek machine.  The Plek machine allows for minute differences in fret height or slight inconsistencies to the neck to ensure frets that are perfectly level and allows for the lowest possible setup without any buzz or fretting out. The difference is quite noticeable and this guitar plays superb, clearly a cut above an excellent set up. This one has one upgrade, a set of Ratio locking tuners, which are a direct retrofit for the Gibson Deluxe tuners. They are much better than stock but we can swap them out with stock at no charge if desire. Pickguard and switch tip removed in pics but both are included with the guitar. Offered in immaculate condition with perfect frets, it’s a great choice for the player looking for a Les Paul built with traditional specs. Really nice Paul for $1799(HOLD-Jennifer S 6/18). Includes original case, pickguard, manual, factory checklist and warranty.

Marshall Jubilee 12" Speaker, Hard to find ca. '87 Marshall-labeled Vintage 30, made in UK, taken directly from a Silver Jubilee 25 years ago and stored away.  Very nice shape and if you're restoring a 2554 (or 2558?), this is the exact speaker you need.  $150.  

Orange OR15 Micro Tube Amp. For the players who like a straight ahead, basic tube amp: The OR15 is a single channel, all tube, 15 Watt, class A head. Orange was building Micros from the beginning so it's no surprise that they're ahead of the pack years later. Although it's capable of many tones, basically you just dial in the gain and the master to get your level of saturation, then just dial in the 3-band EQ. It also works very well with your guitar's volume control so when you need to clean up the tone on a dirtier setting, simply back off the guitar. Although just 15 watts, it's a loud little thing and very capable of bothering the neighbors...which is why there's a 1/2 power switch to dial it down to a quieter 7 watts. It uses three ECC83 pre amp tubes and a pair of EL84 output valves, aka the British sound. It also features a quality tube-driven effects loop which is a good thing. As it's well-designed, it takes OD pedals well if you want to use a signature tone you're already familiar with. It does a good job of cleaning up with your guitar's volume control, critical on single-channel amps. Especially well-suited for Rock players, this amp smokes and with a new one going for $699, here's a sweet deal on a mint used one. Just $459 for this baby. Here’s a cool video by Rob Chapman (link).

Blackstar HT Studio 20H Head.  Killer sounding little head, engineered from Blackstar UK and geared toward the rock/metal player.  The HT Studio 20H is a dual channel amp that does offer a clean channel, with simply a tone control, but most of the tweaking, and the secret of this amp, lies in the overdrive channel which features 3 EQ knobs, plus separate gain and volume controls (plus a master!), and a unique ISF control to dial in characteristics of British/Marshall or American (Fender/Boogie/etc.), and anything in-between.  This channel provides more gain than you'll probably ever use, much preferred over amps that don't quite go over the edge.  The clean tone I find very impressive, despite the paucity of control, with a warm, fat tone, and a nice breakup beginning at around 1/3 volume.  It has some nice features including a very good sounding digital reverb, plus an effects loop switchable from +4dB/-10dB, a simulated speaker out, and speaker outs for a single 16 ohm, single 8 ohm, or dual 16 ohms, letting you run a standard 4X12, or a full stack.  For an excellent YouTube demo, click here.  This amp's in mint condition and has seen just a few hours of home use.  These are $499 new but get this nice used one for $339.

Frantone "The Sweet" Germanium Fuzz.  If you're looking for an extremely versatile germanium fuzz, and one that's actually controllable when you want it to be, The Sweet is for you.  Hand-built by Frantone in the USA with the finest components and, of course, true bypass.  Frantone describes this pedal as over the top in every way using the classic tone of germanium transistors and the longest sustaining and smoothest sounding all-transistor fuzztone you will ever own.  Frantone designed many fuzztones, including the 2000 New York City Big Muff for Electro-Harmonix, and Frantone says this is the most extreme one he's ever made.  The full bottom and crisp highs will astound you, and the endless sustain will make you cry like a baby.  Hearing is believing, so Click here for a good YouTube demo.  Sells for $345 direct from Frantone but get this nice used one for $225.  I've had many germanium fuzz units, including nearly every vintage one made.  This is by far the best of the lot.

Carl Martin Contour & Boost. Hand made by East Sound, Denmark - some of the best quality effects on the market today, with top notch components and engineered by real experts in guitar sound.  The C&B is especially designed to boost up, and change the sound (contour) of electric guitar/bass and is best used after any distortion/overdrive effects.  It has a built in power supply so no 9V battery or adapter required.  Sells new everywhere for $222 but this clean used one’s just $139.

ca. '68 Fender Fuzz-Wah, (pic2), (pic3). Possibly the cleanest example of this earliest version of the Fuzz-Wah, ca. 1968. Rocks up and down like a normal wah, plus it swivels left to right for volume control.  It's a very cool sounding wah, and a quality fuzz that isn't overly nasty sounding like a lot of them from this era. All operations - up/down, side/side, on/off switches - work and this pedal performs great.  This is definitely one for the collectors, in beautiful condition and includes hippy-approved box, manual, and schematic.  If price isn't an issue, and you simply want the best example of this cool pedal, this is probably it.  $350.

1994 Taylor 812C with Pickup, (front), (back), (headstock), (Fishman), (case). Really nice higher end Taylor, wonderfully preserved, in the popular Grand Concert (712, 812, 912, etc.) size which is a favorite of finger-style guitarists. The 800-series are near the top of the Taylor line, with choice tonewoods, tasteful cosmetics, and immaculate craftsmanship throughout.  It features all solid woods with Sitka Spruce top, choice Indian Rosewood sides and back, Tropical American Mahogany neck, Ebony fingerboard - as well as Pearl 800-series fretboard inlays, Abalone soundhole rosette, Ebony bridge with Tusq nut and saddle, bound neck, multi-ply body binding, scalloped X-bracing, and gold Grover tuners. This one also features a Fishman Acoustic Matrix “Natural” pickup with end-pin jack. Although not called a “CE”, original owner said that the pickup came installed in the guitar when new so it’s a factory job. Cosmetically it shows little to no player’s wear, however there are a few areas on back of neck and part of headstock where there are traces of wood sealer that have appeared through the finish. This is fairly common for Taylors, I’ve had other 800’s from the early 90’s with the same anomaly. It’s not a big deal and the original owner never even noticed it. The rosewood is some of the finest Indian rosewood I’ve seen, with rich, dark color and lovely bookmatched grain. This is a lovely, well maintained guitar that will provide many years of sweet tones. This is a typically superb playing Taylor, with action that rivals your favorite electric.  It’s a nice buy on an 800-series with pickup at just $1459. Includes original brown Taylor "poodle case" and care/maintenance manuals.

2015 Fender Modern Player Telecaster Plus, (front), (back), (headstock), (flamed neck). One of the most versatile Teles ever produced: humbucker bridge, Strat middle, Tele neck pickups, plus a 5-way switch and mini switch to split the humbucker. Fender uses a pine body for this model, just like the original Teles built by Leo in the late 40’s/early 50’s. The body has a comfortable belly cut, like a Strat, and strings thru body for enhanced transfer of sound from the strings to the body. This one also has a flamed maple neck, front and back, which is strictly a lucky find and not a normal feature of this model. The Modern Player Tele/Strat/Humbucker pickups all sound good and allow you to simulate the tone of both of Fender’s most popular models, plus anything that requires the fatness and sustain of a humbucker. Other features include Strat hardtail bridge with bent steel saddles, C-shaped maple neck, maple fretboard with 9.5" radius, 22 jumbo frets, three-ply pickguard, knurled "chrome-dome" control knobs, vintage-style tuners and nickel/chrome hardware. Martin just did a nice setup and the result was a wonderful playing Tele with low action and no dead spots on the neck. Condition can be described as perfect – no player’s wear anywhere. With a new one running $499, how about this one with a bonus flamed neck and great setup for just $359(HOLD-Wanda 6/3).

Custom Fender 1 Humbucker Strat, (front), (back), (headstock neck), (trem/DiMarzio), (body/pickup).  Cool mid-‘80’s Fender Japan body with a new Allparts neck and early 60’s logo. The metallic red finish has lots of orange peel which indicates it could be refinished but I think it’s just as likely a victim of 30 years and a reaction between the undercoat and final finish. Tremolo is the STC-B model used by Fender Japan during this era and features stamped steel saddles and heavy trem block. The body is factory routed for a single humbucker. Pickup is an old DiMarzio Super Distortion with braided wire, connected to a CTS volume pot and output jack. Simple and it sounds excellent. Using overdriven settings on my amp, I was impressed with the clarity and note definition when I rolled back the volume to a clean level. It’s a good sounding guitar. Neck is a new Allparts, cosmetic 2nd, as seen on the dark irregularity under the logo. Logo, which reads “Stratocaste” (r missing) was done well with multiple nitrocellulose coats on the headstock, underneath and over the logo. Looks factory. It is equipped with vintage frets and Martin rolled the fretboard edges for the ultimate in comfort. Tuners are a NOS set of German Schallers. This is a nice lightweight guitar at just 6 lbs. 14 oz. If your music only needs the fat tone of a humbucker, and/or simplicity is important to you, I would definitely recommend this guitar. $350 includes gigbag.

1997 Fender American Vintage '57 Stratocaster – Sunburst, (front), (back), (headstock/neck), (electronics), (body/neck marking), (case). 19-year-old V57 in beautiful condition and a rare factory refinished body.  The American Vintage '57 has all the original specs and detailing of the original '57, including neck and headstock shapes and body radii and contours.  It comes fitted with American Vintage pickups with cloth wires, original synchronized tremolo, aged lacquer finish neck, nickel silver frets, and other vintage appointments. I sold this guitar before and was happy to get it back in trade, in the same near pristine condition as when I saw it last. Looking under the pickguard, you'll see that this body was originally candy red and then stripped and resprayed sunburst - not all that uncommon but a cool detail to pass along. Please note that if you call a guy at Fender customer service, who probably has never opened up a Strat, he might tell you Fender doesn't repaint bodies. Take it from somebody who has been inside over 1000 Strats - this finish is 100% factory and is not irregular in the least. All dates correct for '97 and 100% original other than 5-way switch installed, although we can install a 3-way if desired.  If you want the ultimate in pickups. A new 2-tone Vintage ’59 is going to run you $2299 but this V57 is beautiful, set up to perfection, and just $1099. Includes very clean Fender center-pocket tweed case and trem arm.

MXR Classic Distortion M86, (pic2). Good choice for a basic and versatile distortion pedal. Features true bypass and simple use via Output volume, Tone, and Distortion amount. Unlike some classic MXR's, like the Distortion+, this pedal doesn't have the piercing highs, rather a softer, smoother overall tone. It's well suited for blues, rock, and even metal. This is an early model M86 and pristine condition. $39.

1996 Fender Telecaster Plus, (front), (headstock), (back), (case case2). Don’t get many Tele Plus models these days. They’re increasingly harder to hard to come by and while black guitars are common, I've had very few Fender Plus models in black. As you can see in the pics, this is the version 2 model with a trio of Lace Sensors (ver. 1 had a dual pickup in bridge and a single in neck). Collectors and players alike want to have one of these because they're great working guitars with a wide assortment of quality tones, and were a perfect blend of the workhorse American Teles, with some modern features. The Version 1 was made from '89 to '94, with the version 2 ’95 to ’97. In ’98 Fender began the Hot Rodded American series, followed by the American Deluxe. This model uses a trio of Gold Lace Sensor pickups, the middle being a Strat Gold, which allows you a good choice of Tele and Strat tones. It also features a 5-way switch plus a mini toggle to bring in the bridge pickup, allowing for neck/bridge together, or all 3 pickups at once, 7 tones all together. Other features include a very attractive bound alder body with belly cut, American Standard bridge, master volume and TBX/tone control, Fender/Ping tuners, pearloid pickguard, and tilt neck adjustment. These Lace Sensors, being non-magnetic, are very quiet and don't have the string pull of a standard pickup with magnetic poles, which allows the strings to vibrate freely and contributes to more sustain.  This guitar is all original other than the fretboard which we refinished in a vintage amber due to the common problem of finish peeling along the edge of the fretboard. Looks perfect now. Set up is very comfortable with clear bends.  Cosmetically, this guitar is definitely in lovely condition with no major scratches anywhere on the body. It’s obviously been well cared for during its 20 year life. Includes original “Plus” case with the missing latch, common flaw, but other 3 work fine. Prices on these continue to rise but this one’s still pretty reasonable at $1350.

Splawn SS Nitro Head & Two 2X12 Cabs, (back), (head), (back panel), (footswitch). One of the premier amp builders in the USA, Scott Splawn is also an accomplished player. Since his early years he has been a seeker of Eddie Van Halen’s famed “brown sound.” He began by modding old and new Marshalls, primarily making them footswitchable, with 3 or 4 tones available at the touch of a button, plus modifying circuits to smooth out rough edges and adding effects loops with gain control. Scott  eventually developed his own circuit based on the Marshall tone and continues building his amps, one at a time, at his Texas shop. The Nitro SS a 22-Watt baby brother to the massive Nitro head. It has the same pounding tone as the Nitro, with more low end, more gain and less mids and is specifically designed for the metal guitarist. Don’t be fooled by the 22 watt rating, this is a loud amp and one that should keep up on smaller stages. It SS features dual channels, clean and overdrive with a shared EQ. Using the footswitch (included), you can easily go from clean/overdrive, 1st Gear/2nd Gear and OD1/OD2. Specs include: 22 watts of dual 6V6 power, Channel 1 (clean)  with Master Volume, Gain Control, Shared EQ; Channel 2 (overdrive) with Nitro OD channel, Master Volume, Gain Control, Shared EQ; Series Effects Loop with true bypass and adjustable +4db/-10db switch; Loop Volume Control for low volume playing; 8/16 ohms impedance selector; and Main Voltage Selector (120, 220, 230V). Included are two Splawn Small Block 2X12 cabs which is cool since you may only want to take one cab to a smaller gig, or both for a larger one. It’s loaded with Small Block 12’s, which are voiced similar to G12M Heritage speakers and rated at 55W/each. This whole set up is in mint condition, having seen very little home used and never removed from a bedroom. It ships in original packing and includes manual and footswitch. New cost is $1399 for head and $1100 for the pair of speakers. Get this whole set up for just $1799.

Ca. 1986 Fender Stratocaster 1967 Reissue, (front), (back), (headstock back), (serial), (inside stamps  body cavity  electronics). Thinest neck profile I’ve seen on a Strat! The look, the vibe, the tone, and superb playability of a Vintage Series, for a lot less.  The finish on these early Fender Japan reissues is actually closer to the actual 60’s finish than the Vintage series, with thin coats of paint and clearcoat. It has the patina of a 50-year old guitar, rather than the 30-year old guitar it really is. Tone and playability are certain excellent, with a nice spanky Strat sound, good sustain, and low, comfortable action. It features '67 specs with proper 3-tone style sunburst with just the right amount of red in the burst (the pics look messed up in comparison to how it really appears). Also features transition logo on large non-bullet headstock, stamped steel saddles with the heavy trem block, 3-ply white pickguard, Kluson style vintage tuners, and dual string trees.  Proper neck/body markings identify this as a '67.  If you’re looking for a shallow neck this is the one for you. It’s also a tiny bit more narrow at the nut, 1 9/32”, which is 1/32” under the usual 1 5/8”. It’s as thin a profile as an Ibanez and very easy to get your hand around. It also has a vintage radius 7/25” and vintage frets. The finish on this body is very thin, looks like nitro but I don’t know, but it does have a very small area on back where it is worn through (pic). Front and the rest of the guitar is very clean. All original other than volume pot replaced with a CTS, but we can change to a MIJ pot if desired. The older MIJ models are commanding higher models than the recent "Crafted" in Japan models, perhaps because they’re 10 years older or if you believe the hype, they’re better guitars.  I don't know that the quality is better on the earlier ones but I do know that this is an exceptional guitar and '67's are very hard to come by.  Considering rarity, quality, and condition, a pretty good buy for $799, Fender case and trem arm included.

Digitech RP255 Modeling Guitar Processor and USB Recording Interface, (effects panel), (stock pic), (back).  Full featured guitar multi-effects pedal with USB, 94 Amps, Cabinets, and Effects, USB, Drum Machine, Tuner, Looper, Expression Pedal, and Recording Software... There are a number of YouTube demos - click here for a 6 min. version.  Very good all-in-one processor and a good choice for both stage use or USB recording/editing on your computer. Like the RP-500's I've been selling, it's built like a tank to take lots of abuse on the road. The effects section has a wide variety of vintage and modern effects such as the Clyde McCoy wah, Boss CS-2 compressor and CE-2 chorus, dreadnought acoustic simulator, EH Electric Mistress, and a wide selection of Lexicon reverbs.  Specs include:  20 Second looper • 94 Amps, cabinets, stomp boxes and effects • 24 Amp/Acoustic Types • 15 Cabinet Types • Lexicon Reverbs • 30 Tone and 30 Effects Libraries • 120 presets (60 factory, 60 user) • Up to 5 seconds of delay time • 24-bit 44.1kHz sample rate • 60 High quality drum patterns • 2 x 2 USB audio streaming • USB editing via DigiTech X-Edit • Independent 1/4" Left and Right Outputs • Amp/Mixer switch to engage speaker cabinet model • Stereo 1/8" headphone output • Stereo 1/8" Aux Input • Built-in chromatic tuner • Durable die-cast chassis • Built-in expression pedal • External Power supply included.  With the built in drum machine, it's a great practice tool to work on your chops and/or set down some beats to your recording tracks.  This model sold for new for $149 but for the price of a single effect, you can have this killer all-in-one.  Just $65.

1972 Guild A-50 Acoustic Archtop, (front), (side), (back), (headstock), (case case2 case candy).  There’s not a lot of info on this model during this era, but this is Guild’s base model acoustic hollowbody archtop, but a high quality guitar nonetheless. It features an all-maple laminated body with binding front and back, mahogany neck, rosewood board with dot inlays, Guild “harp” tailpiece, adjustable rosewood bridge, raised black pickguard with modern Guild logo, dual unbound f-holes, decal gold logo, and Guild open-gear strip tuners. One of my books has this model available only through 1970 but the serial number falls clearly in the 1972 year so it’s definitely a ’72. The top has some figuring, which is certainly more interesting than a plain piece of maple. Judging by the case and accessories included, this guitar hasn’t traveled much and the overall condition tells me it hasn’t seen much playing time. Unlike a lot of old archtops with high action, this guitar plays with ease, as the neck was most likely, and very professionally, reset. This guitar sounds very good for Delta blues playing and it has a full tone for an acoustic archtop. Overall condition is very tidy and it includes some nice case stuff like original packaged Guild polishing cloth, warranty card, and key manila folder. Likewise, original case is in beautiful condition as shown. A sweet buy at $899.

Morley ABC Switcher. Simple solution to a common problem. If your backline uses multiple amps, or if you use multiple guitars during a gig, this ABC lets you stay plugged in and control it from the front of the stage. No more patching your cables between songs! The ABC uses three true-bypass switches, each with an LED indicator, to switch between 3 different guitars, loops, or amps, all at the touch of a footswitch.

Boss DD-6 Digital Delay.  Not just another update in the DD-series, the DD-6 is the first BOSS delay pedal to offer true stereo delay and panning effects. Features include built-in tap tempo capability and a delay/hold time of over 5 seconds (5,200ms).  A new Reverse mode makes it easy to get trippy ‘60s and ‘70s-style effects, while a newly designed Warp mode creates radical delay effects on the fly.  Click here for a brief demo.  Has normal signs of use but works perfectly; Velcro on bottom.  Sold new for $159 but this used one works perfectly and is just $79.

Keeley 4-Knob Compressor. Make no mistake, Keeley is the comp that the pro’s use. Although this model seems like "the new" Keeley comp, it's been around since 2001 and it offers a bit more control than the 2-knob, but the same crystal clear, studio quality tone. Includes box and manual, etc., not pictured. $199 new but this clean one’s $135.

Seymour Duncan Little 59 Tele Bridge Pickup. The warmth and smoothness of a '59 Patent Applied For humbucker, only with Tele twang. The ST59-1 Little 59 lead pickup has a 4-conductor cable for a variety of wiring options. Don’t pay $80 for new when this one’s just $49.

2009 PRS Ted McCarty SC 245 Soapbar - "10" Top and Birds - Amber, (front front-2), (headstock back), (back), (bound neck), (case).  One of the limited run of Ted McCarty's and like the other PAF models we’ve had, it’s truly one fine guitar.  Features include PRS Soapbar pickups, mahogany body with curly maple cap, nitrocellulose topcoat, 24.5" scale, bound neck, and vintage style tuners combine to lend a traditional look, feel, and tone.  The first thing you'll notice is the original PRS headstock (commonly referred to as a Santana headstock) with charcoal flamed maple veneer, which harkens back to the early Annapolis days.  Other features include highly figured maple "10" top, 22 frets, mahogany neck with wide/fat carve, East Indian rosewood fretboard with "pre-2008" style bird inlays, bound neck, stop tail bridge, nickel hardware, 3-way toggle with dual volume/tone controls.  If you're looking for a classic mid-50’s LP tone, for me this guitar is better than a Gibson R4 or R6 goldtop in terms of tone, feel, and looks.  In addition to a comfortable belly cut, the way PRS has contoured the heel makes it much easier to play high in the register and the action is beautifully low, just like any fine PRS.  Previous owner said that it had one small ding in the finish but we can’t find it and the whole guitar buffed out to look as good as a new PRS.  Comparable Ted McCarty DC245's with "10" top sell at deepest discount for $3459.  This one’s $1300 cheaper, just $2159.  Not shown but included is the PRS hang tag, as well as all the PRS documentations, tools, etc.

Fender Fat '50s Strat Pickup Set. Not too long ago only custom shop guitars got these but they were so popular that Fender eventually started offering them as accessories.  They’re calibrated pickups constructed with hand-beveled, staggered Alnico V magnets and Formvar magnet wire. The result is enhanced bass response without the harsh midrange and with the middle pickup reverse wound/reverse polarity you get hum canceling in positions 2 and 4. These are currently OEM on Custom Shop Fender Showmaster series Stratocaster guitars. Sells for $199 from all the major online retailers. This set is brand new, never installed, and just $129.

OFF-HOLD: 2010 Fender American Standard Stratocaster with Pro Graphic Finish, (graphic detail), (front-1 front-2), (back), (headstock), (case case2).  For the collector, player, or art fan, comes this professionally painted American Standard with an underwater scene featuring a mermaid on the lower bout, with various plants and fish on the pickguard, with beams of light streaming across the top of the scene. This is a factory quality job, with excellent detail work, and multiple clear coats applied as a final finish to preserve the paint. This is one of the new American Standards - after the 7-year run of the American Series, the new American Standard, officially released on Jan 1, 2008 has some significant improvements including a redesigned bridge, new bent-steel saddles with elongated string slots, and, most significantly, a new neck and body finish.  The neck still has the satin finish which is comfortable to the hand, but they've changed the front of the headstock to a gloss finish for aesthetic reasons.  This guitar is in very clean shape with no scratches or fret wear, however, it appears to have a seen at least a few minutes of playing time as evidenced by slight wear on the treble ends of the pickup covers.  We can touch up the covers if it's going to be used in a collection, or if you're going to be playing it, that would be a wasted effort. Other than that, this guitar is perfect and of course it’s an excellent player after a fine in-house set up.  I've had plenty of graphic finishes and this one is as fine as I've seen. Whether you want a fine guitar to display in your living room, man cave, or yacht - or if you just want a great playing Strat, this one's less than a stock American Standard and one of the coolest American Strats I've ever had.  I think market value on a paint job like this is $2K+ but we’ll do this one for $1199. Includes Fender/SKB case w/ATA latches, trem arm, Fender cable, serialized hang tag, assorted paperwork.

Ibanez TS9 Tubescreamer. Famous for its ability to sound like an overdriven tube amp and the most popular pedal of that type ever made. Velcro on bottom but otherwise nice shape. $65.

LR Baggs Element Acoustic Pickup System. Like the VTC below, except with volume control only. $95.

LR Baggs Element VTC Acoustic Pickup System . Quality under saddle pickup with endpin jack and preamp, with volume and tone controls that you mount inside the soundhole with double-sided tape. Includes battery holder. This system is noted for its robust, lively, and open sound with great dynamics and a delicate high end. Most of the higher-end Gibsons I've had recently utilized this system and they sounded excellent. $149 online but get this system for $105, with free install if you buy an acoustic guitar from us.

Monty Rockmaster II, (front/back), (headstock), (finish detail), (aluminum case).  Serial #19.  One of the best Junior/Special guitars I've ever played, including many 50's single cuts and other boutique makers.  Among current builders I would rate him as fine as any I've had, and although they're not cheap, they're comparably priced to Historic Series, which is remarkable for a guitar that is 100% hand made.  Everything to do with the body and neck is hand built in his shop - no CNC machines, no "jobbing out" of necks and each neck is hand sanded and shaped to his specs, truss rods and even truss rod nuts are made by hand in his shop.  He still uses Nitro finishes, again sprayed right in his shop.  I can't tell you how many "boutique" builders have had their necks made by La Si Do; send out their bodies for finishing; etc., or are 100% CNC built with little to no craftsmanship built into the guitar.  When you buy a Monty, you're paying for a hand-made guitar.  Monty (site link) build around 9 different models, all of which are classic designs which have stood the test of time.  The Rockmaster, for instance 50's Les Paul Junior and comes in a I or II model, the latter having two pickups.  Specs include: solid Korina body, '59 shape Korina neck with rosewood board, P90 pickups - Peter Florence Voodoo's installed on this one, Tobacco Sunburst nitro finish, Kluson Deluxe style vintage tuners, birch headstock overlay, mother of pearl logo and inlay, 6105 fret wire, 12" fretboard radius, 1 11/16" nut width, CTS 500K linear taper pots, Switchcraft toggle switch and jack, and ABR1 bridge with stop tailpiece.  Look at the finish detail pic above.  It is dead on like an original ca. '57 Junior, totally opaque, with just the right amount feathering and even the tiny brown specs in the yellow.  It looks like a genuine NOS 50s model.  I am a Junior/Special nut and regardless of the model, mahogany and P90s are the perfect marriage of wood and electronics.  I love the warmth, sustain, fatness, and the chameleon-like ability to sound like single coils or humbuckers depending on your playing style.  The only improvement I would make has been taken care of on this model - with its 25.5" scale rather than the usual 24.75"; and I guess Korina would be my choice over Mahogany so that's taken care of as well.  I know it sounds trite, and possibly even hard to understand, but playing this guitar feels like "home."  The vibe, the feel, and especially the tone, I find very relaxing and allow me to express myself completely and quite easily.  The Florence pickups are as good as any I've played.  There are plenty of threads on forums about these fine guitars and here's one from The Gear Page that also includes threads to other discussions of them (link here).  This beautiful Rockmaster has barely been played and is near flawless with no wear of cosmetic issues to speak of.  It's as clean as it looks in the pics.  The last pricing I found on a new Rockmaster II was a 2008 price of $2900 at Destroy All Guitars in NC.  This one’s $1100 less than new.  $1800 includes a LP style tolex case or new flight case pictured, aluminum plush lined with ATA recessed twist lock latches.

Bigsby B6 Vibrato. Designed for use on large hollow body guitars and one of Bigsby's high end Kalamazoo Series. Don't confuse with the cheaper "Bigsby Licensed" models, this one says "Bigsby Patent (number). Made of cast aluminum with a weight of just 11 oz. These run $199 new but this one is super clean and $129.

2014 Fender Ritchie Blackmore Stratocaster, (front), (back), (headstock back), (recessed strap pins), (gigbag/etc).  Artist Series…immaculate condition. Richie Blackmore is one of the true icons of rock guitar. As guitarist ins Deep Purple, Rainbow, and Blackmore's Night, his signature tone has laid the groundwork for countless guitarists who followed. Fender and Richie created this signature model as a nod to his Olympic White ’74 Strat which was Richie’s main guitar beginning in the late ‘70s, complete with graduated scalloped rosewood fretboard and “looks only” middle pickup! Features include alder body, U-shaped maple neck with 7.25" radius, scalloped rosewood board, 21 vintage frets, Seymour Duncan Flat SSL-4 single coil neck and bridge pickups, passive "dummy" middle pickup, 3-position blade selector, vintage style tremolo, Fender/Schaller vintage tuners, 3-ply white pickguard, signature on headstock, flush-mounted Dunlop strap pin holes and Dunlop strap locks, large 70s style headstock, 70s logo, bullet truss rod adjustment, 3-bolt neck with Micro-Tilt adjustment, pearloid dot inlays, synthetic black nut. This guitar plays beautifully and is a wonder in simplicity with its dual single-coil pickups. With different attack and volume settings, you can get a wide variety for either, or both, of the pickups. The scalloped board might seem scary but it’s not as scalloped as most boards like the Malmsteen so it’s an easy adjustment. These sell new for $1199 or you can get this one, in flawless condition with a pro setup, for just $839. Includes Fender deluxe gigbag, Dunlop strap locks, trem arm, manual, polishing cloth, etc.

MXR Analog Chorus, (pic2). Like the analog delay above, MXR also makes a great all-analog chorus for players who treasure the warmth of the chorus’s of the late 70’s and ‘80’s. After DM-2’s and AD9’s players needed an affordable alternative and these are around ½ the price of those vintage pieces. It has the usual rate, level, and depth controls, plus low and high EQ cuts to tailor your tone. Click here for a simple demo from MusicToyz. Like the delay above this one’s super clean with the box and paperwork. Killer chorus for just $69(HOLD-John B 5/11).

2016 Gibson Les Paul Junior – TV Yellow, (front), (headstock  back/Gforce), (back), (case and stuff).  Mint and literally unplayed. Serial says this is a 2017 but Gibson is doing some strange things with serials now so it’s either a ’15 or ’16. The Junior is the original straight ahead rock guitar. With its single P90 pickup, wraparound tailpiece, and slab mahogany body, it was the ultimate in simplicity when it made its debut in ’54.  As the entry level Les Paul, it was aimed at beginners, but as time has proven, they’re built to last and top touring/recording artists have proven that they’re much more than a beginner guitar. This one comes complete with Gibson’s new G-Force tuning system which tunes to perfect pitch automatically, and allows you to quickly switch to alternative tunings (open D, open G, Drop D, etc.) with the touch of a button. If you’re not a fan of technology, we have Gibson Deluxe tuners that we can swap out at no cost. Another innovation is the Zero Fret nut, including an upgraded one in the case. Here’s a link for more info, and another link on the G-Force system. Gibson has offered some budget models in the past decade, primarily with finishes that cheaper to produce, called Satin, Faded, or whatever.  It’s nice to see them building real Juniors like this one again, with a gloss nitro finish.  It does have a commemorative hologram of Les on the back of the headstock, as well as “Les Paul 100” headstock screen in honor of Les’s 100th birthday. That’s fine with me, but if you want, we can refinish with a regular Les Paul Junior logo at additional cost. This one plays beautifully, with low action and a nice lively acoustic response. As I mentioned, it’s in immaculate condition with scratches or wear of any kind and is an excellent value in a nitro Junior at $699(HOLD-Duke T 5/11).  Includes original and cool gold Gibson molded case, power supply, manuals, and all paperwork.

OFF-HOLD: 1995 Gibson Les Paul Standard Plus – Wine Red, (front), (back), (headstock back), (case combo latch).  Early model with “Plus” top, which began with the Classic series with the Plus and Premium Plus. The Plus was just the regular Standard with a AA figured maple top rather than a plain top. The Standard Plus has all the specs of the timeless Les Paul Standard including the figured top. Like the Plus I posted a week or so ago, it's not the maple-on-steroids that you'll see on Historic '59's, but an attractive, modestly figured piece of maple.  The ’94 catalog (don’t have the ’95) described the neck as a ’59 shape, rather than the thin taper of the ’60 Classic, but it’s not nearly as chunky as the modern ’59 profile and just slightly thicker than the ’60 thin taper. In addition to the bookmatched maple top, it features a once-piece mahogany back in a transparent cherry finish. This model was built before Gibson started chambering everything to keep the weight down so it’s a medium weight, in the 9’s. These ‘90’s models don’t have the open, spacious tone of the recent models, but a more focused, fatter tone. Set up is very low with a fast feeling neck. Cosmetically there are some buckle scratches in the clearcoat, primarily on back, and two small finish chips that we’ve touched up on the back of the headstock, but it’s overall very nice with no problems. Frets are in superb condition and the set up is low and comfortable. This era Standard Plus is highly regarded by players, who want a “traditional” Les Paul without the new “Traditional” chambering. Own this one for $1499. Includes Gibson black case with protective shroud, with combo latch not working but otherwise excellent protection.

2015 Jackson DK2MQ Pro Series Dinky, (front), (back), (headstock back), (Floyd), (offset rounded heel). As new condition! This is the first of the new Mexican factory Jacksons I’ve had and I’m very impressed. The DK-2 gives you everything you like about the DK-1 at way under ½ the price. You’ll immediately appreciate the night lightweight alder body as you strap this baby on…and then the super fast neck with the classic played-in feel of the oil finish neck. Sublime. Finished in Chlorine over a beautifully 4A quilted maple top this guitar looks as nice as it plays. The bound neck has Jackson’s compound radius which goes from 12” at the first fret to 16” in the upper register. 24 jumbo frets are perfectly finished and perfect for speed licks, sweeping arpeggios, etc. The offset narrow heel is perhaps the most comfortable I’ve come across and makes playing the uppermost licks very easy. Jackson didn’t scrimp on pickups either, with a pair of Seymour Duncan zebra humbuckers (JB TB4 and ’59 SH1N) direct mounted to the body. And of course you need a decent Floyd Rose tremolo and this baby has the FRT-2000 double-locking trem that works perfectly and impossible to shake out of tune. Appears to have seen zero playing time and with a new one selling discounted for $899, this is a sweet buy at $599. Includes warranty, manual, and all paperwork.

1979 Martin HD-28, (front/back), (headstock), (case).  Off hold, after a year and a half…  Man, what a beauty. Insanely clean condition. One of those "under the bed" guitars that was played sparingly throughout the years and was likely put away for a long time.  All original finish and no repairs, other than the typical small crack caused by pickguard shrinkage (pictured here) which Martin fixed and then installed a new pickguard to prevent any future problems.  One other mod, which will be a plus for anyone who might be using this for stage use - it has a Martin saddle pickup installed.  It's a passive system so there is no 9V battery; just the strap pin changed to an end-pin output jack.  If you don't need to amplify the guitar, we'll be happy to remove it and return it to a stock strap pin.  I sometimes come across vintage guitars that weren't played very much because they don't sound good.  That is not the case with this one.  It sounds wonderful - very loud with lots of bottom end but not overly boomy.  Definitely one of the nicer sounding old 28’s I've had.  The top has aged nicely and has a nice orange hue.  Specs of this model include all solid woods with Indian Rosewood Sides and back, Sitka Spruce top, white body binding, herringbone top trim, scalloped braces, maple bridge plate, and Ebony fretboard with white pearl dot markers.  A new HD-28 is going to set you back $3059 ($3899 list) and I'm pricing this beautifully preserved, superb sounding vintage model for $600 less, PLUS it includes a saddle transducer. Just $2359.  Includes original Martin plastic case which DOES have the Martin badge on the front. If interested in preamps, inquire about a Fishman or Baggs system if you want something a bit more sophisticated than a passive system.

2014 Gibson J-45 Koa Elite, (front), (back), (side), (headstock back), (label cert.), (case case2).  Gibson’s “Workhorse” acoustic in a fine Custom Shop edition. The J-45 has been Gibson’s best selling acoustic since the 40’s but the folks at the custom shop decided to try an upscale model and produce a small run (65 worldwide). The finish is Montana Sunsetburst, which for some reason looks less than stellar in my pics (sorry). This guitar is in impeccable condition and could be sold as new. This model was built with very choice woods: Adirondack Red Spruce top and tropical Koa back & sides, rather than the usual Sitka spruce and mahogany back/sides. Koa is prized both for its beauty and tonal properties. It has the brightness and a faster attack like maple, with a warmer sound overall with more mids than most mahogany. This one also has a very solid bass response, similar to what you’d expect from rosewood. Koa wood, imported almost exclusively from Hawaii, is not at all plentiful and has become a very expensive wood, especially over the past decade. Adirondack is a very stiff top wood and is the spruce one associates with the great guitars of yesteryear. This model also has a quality built in pickup/preamp with the LR Baggs Element VTC system which includes endpin jack and preamp, with volume and tone controls just inside the bass side of the soundhole. Finished in a this glossy nitro lacquer finish, the Koa Elite also features gold open-back Grover tuners, vintage style “script” logo with custom shop seal on headstock, and tortoise shell pickguard. It plays with exceptional ease and is one of the best sounding non-vintage 45’s I’ve ever had. Included are original plush-lined case with certificate, Gibson key ring, picks, and assorted paperwork. The new Koa Elite is running $3665 ($4300 list) but you can have this one, absolutely perfect, for $1265 cheaper. You can own this beauty for the same price as a stock J-45 Standard, just $2399(HOLD-Roger D 5/16) for this wonderful J-45.

'78 K. Yairi DY 85 Solid Spruce - Burled Mahogany, (front), (back w/flash), (side), (headstock back), (label), (appointments appt2 appt3 appt4). A real beauty that plays and sounds as nice as it looks. Most of you know this but don't confuse Kazuo Yairi guitars with the "Alvarez" brand.  Alvarez are generally decent utility guitars made in Korea or China, but there is no comparison to genuine Yairi's.  Kazuo Yairi built lifetime guitars in a dedicated factory in Japan. The K Yairi company has a history of guitar making that goes back to 1935.  Kazuo passed away 2 years ago but he took over the company from his father in 1963 after spending three years in the USA learning how the Americans were constructing & voicing their guitars.  He personally directed around 30 guitar makers in his workshop and their yearly output is in the region of a modest 4000 guitars, setting the highest standards of construction and for the timber they uses. All woods were naturally seasoned (no kiln dried woods).  Other than the sawmill, no machinery was used in the manufacture of the guitars; no CNC machines or UV spray booths to speed up the process.  Many guitars were made by a single craftsman; others are made by a team of 3 or 4 makers. This kind of attention to detail results in guitars that, much like the USA's Martin guitars, are heirlooms which can be handed down through generations. The DY85 was near the upper end of the Yairi market with beautifully figured burled mahogany, solid spruce, and loads of abalone inlay that put it on par with the Martin D-41.  The 3-piece back also features a wedge of Jacaranda, which closely resembles Brazilian rosewood. There are strips of abalone, layered in black and white bands of piping, adorning the top, back, sides (top and bottom), and on both sides of the center wedge on back, as well as the 41-style fretboard inlays. All edges are also bound including top, back, sides, neck, and headstock. The burled mahogany is perfectly bookmatched as to form a large “heart” shape on the back. The same quality mahogany was used on the sides and headstock. This guitar has a great set up and there’s a full saddle to work with should it ever need the action lowered in years to come (pic). Tonally, this guitar is warm and well-balanced and sounds articulate enough for finger style with excellent projection during harder strumming. The old lacquer finish is in nice shape and cosmetically it’s in excellent condition with no breaks, repairs, or issues. If you’re looking for a fine guitar for yourself, that you can also pass along to your kids, this is an excellent choice. It’s also priced at a fraction of a similarly appointed 70’s Martin, although many would say this Yairi is the finer guitar. $1250(HOLD-David C 5/9) for this wonderful dreadnought. Includes Canadian wood/tolex case.

2007 Charvel USA Custom Shop Warren DeMartini – Blood and Skulls, (front), (back plate), (headstock back), (tag case). For the serious DeMartini fan who wants the best! Don't confuse this with the similar looking import Charvel Pro Mod DeMartini Blood&Skulls. This is a bonefide USA Custom Shop piece with Warren’s actual signature on the headstock, Original Floyd Rose, Duncan Custom Warren DeMartini pickup, USA neckplate and logo, etc., and the quality you would expect from Charvel Custom Shop. Charvel released 3 different DeMartini graphics in ’07, with this one being the iconic design Warren used in the “Round and Round” (link) video. Features include alder body, quartersawn maple neck with sealer coat only (back neck shape and finish are like the original San Dimas models), compound fretboard radius, 22 jumbo frets, black dot inlays, 25.5" scale, single pickup with Seymour Duncan Custom Design Warren DeMartini humbucker, volume control only, black hardware including Floyd Rose Original Double Locking 2-Point Tremolo and Gotoh tuners. Body and hardware on this guitar are perfect, neck has very slight discoloration as these necks quickly attain. We can clean it if desired but many players feel the darker the better so we’ll wait for your decision. Includes original G&G tolex case, trem arm, and hang tag. Before you spend $1299 or more on a MIJ Pro Mod, how about this one for just a few hundred more. $1679(HOLD-Shawn T 10/18) takes it. (RIP Doc, you would have loved it.)

2015 Fender Telecaster American Elite – Ash Body, (front), (side), (pickups), (back), (headstock back), (case case2). One of the best sounding modern Teles I’ve ever come across. Usually I’m not a big fan of the S-1 switching, take it or leave it, but this is such a good sounding instrument that it brings out all the nuances in the massive tone selections via the S-1. Probably comes down to a really nice piece of ash, which is a $100 upcharge on this Tobacco Sunburst or Blonde. Again, Fender pulls out all the stops on this, their top of the line non-custom shop Tele with features such as locking tuners, body binding, 4th Generation Noiseless pickups, and compound radius neck that goes from 9.5”-14” AND from a modern “C”-shape at the nut, while morphing into a modern “D” as you move up the neck. Too cool. Also features raised chrome logo, new truss rod adjustment wheel at the base of the neck, medium jumbo frets, master no-load tone control, and chrome brass saddles. It also features an updated heel that’s the most comfortable I’ve played and a more deluxe case, finished in flat black with a more plush gray interior. This guitar was just ordered from Zzounds, at a price of $1899, and appears to have seen little to no playing time…perfect. Instead of buying another new one, why not get one that’s guaranteed to be a great sounding example for less. Get this one for just $1329(HOLD-Mike G 4/28). Includes case, strap, cable, tags, strap locks, and assorted paperwork. You will love this Tele!

2000 Fender Hot Rod Precision with ’05 Fretless Tony Franklin Neck, (front), (back), (headstock back), (pickups), (inside neck), (sad case). In one of the best finishes, Sunset Orange Transparent Ash! Very cool player’s bass that joins an American Hot Rodded Pbass ash body with a USA Tony Franklin fretless neck. The body has been upgraded with a new set of pickups: DiMarzio Model J in the bridge, with a Model P in the neck. The Model J is especially well-suited for fretless basses and both are very quiet pickups. Controls are Vol-Vol-Tone, so you can blend in any amount of each pickup, or select either one alone. The body is also outfitted with a Badass III bridge, best you can get. The neck and tuners are stock USA Tony Franklin fretless, which includes a Fender/Hipshot Drop-D tuner for the low E, allowing drop tuning with the flick of a switch, and return to exact pitch by flipping it back. I used one in the 80’s and they’re great for the few songs you do each night in Drop-D. The neck is set up perfect with low action, no buzzy spots, and plenty of fretless growl that a good fretless is noted for. A new Tony Franklin is going to set you back $1699. This one has a better bridge, better pickups, and an ash body. It’s in extremely clean condition and an exceptional value at $999. Includes a rather beat case, but I can substitute a nice current model SKB/Fender at $1075.

1990 Charvel 475 Deluxe with Model 1 Neck, (front), (back), (headstock back), (Floyd), (case case2). Just put this one together. It’s a 1990 Charvel 475 Deluxe finished in Blue Pearl, joined with an ’86 Charvel Model 1 Neck. The neck is stock, with a traditional nut rather than the Floyd nut. Still, if you use tremolo, this is a good one: German-made Jackson/Schaller Floyd Rose licensed. It uses an active circuit with J-50BC in the bridge and a pair of J200’s with a JE-1200 mid-boost circuit so when you want fat mids, this baby delivers like few others. The middle/neck pickups are bi-level humbuckers with split coils so you get pretty good Stratty tones in position 2 and 4. Other controls are a 5-way blade with master volume and tone. Cosmetically, both body and neck are in lovely condition. It’s missing the back trem cover but ½ of you remove that anyhow. Tuners are Gotoh, rather than the stock Jackson tuners. What sets this apart is an incredible set up which is especially low and buzz-free. It’s also capable of a wide variety of quality tones. Includes Charvel chainsaw case with the typical one latch busted; other 3 are fine, as well as trem arm. Even though this is a mutt, it’s a nice one and a good value I feel at $399(HOLD-Chris R 4/26).

2015 Yamaha Pacifica PAC611 Black, (front), (back), (headstock back), (pickups), (optional case case2). Available for a few years in Japan and Taiwan, but just now coming to the North American market. The PAC611 is in sufficient demand that some dealers have them on back order only. The PAC611 sits at the top of Yamaha’s popular Pacifica line, which has been a favorite of Rock/Fusion players such Jeff Kollman, Mike Stern and Michael Lee Firkins. It obviously borrowed elements from the Strat with its design, alder body, and 6/side headstock, but the tone is far from Strat-like. Excellent electronics suite with a Seymour Duncan Custom 5 (higher output version of the ’59), a Duncan SP90 in the neck, with a push/pull coil tap for the Custom 5 to choose single coil or humbucker. Other high end features include Graph Tech string saver saddles, Graph Tech Tusq nut, Grover locking tuners, and Yamaha’s exclusive steel bridge. The neck is a gloss finish but doesn’t feel at all sticky or slow in any way. This guitar has a very good acoustic tone, not lifeless like many electrics. Plugged in, you’ll find excellent versatility with this pickup combination. P90 fans will love this SP90, which is excellent for Jazz or Blues, while the Duncan Custom 5 excels at fatter rock tones, or even thinner expressive tones in the single coil mode. Both pickups sound well under low or high gain applications. Aided by the Hardtail Bridge, the Custom 5 excels at lead tones, but also cleans up nicely by back off the volume control slightly. In all, we were extremely impressed with this guitar, and thought that it was priced at 1/3 of its actual quality/value. The front pic looks messed up but in person the guitar is in impeccable condition. The cream P90 cover is stock, but I also have one in black if you prefer that look. Sells new for $599 but this one’s perfect and just $419. It’s an incredible value and I hope a serious player decides to jump on it. A new optional hardshell case available for $49 if desired.

Larrivee D-03R acoustic guitar - Rosewood Standard w/Pickup, (front), (back), (headstock back fretboard), (preamp control), (label), (case). Really nice dreadnought from Larrivee, Canada, featuring all solid woods: Canadian Sitka spruce top, Indian rosewood sides and back, one-piece S. American Mahogany neck, and African ebony fretboard and bridge. Other features include Canadian maple body binding, multi-strip rosette, symmetrical X-bracing, Dovetail neck joint, white wood fiber inlaid logo, ivroid neck binding, microdot fretboard inlays, Tortis pickguard, Tusq nut and saddle, 16” lower bout, 5” depth, 25.5” scale, 1 11/16” nut width, nickel/silver frets, and satin sheen Urethane finish. Very comfortable neck, not thick or thin, with a compound radius that goes from 17” to 21” in the upper register. This one also has an added Baggs Element pickup (active) with a volume control concealed just inside the soundhole and battery at the neck block. Otherwise all original other than a strap pin was installed at the base of the neck, treble side. We can reinstall the strap pin if desired. Larrivee doesn’t post a serial number scheme but this one seems to fall in approx. the ’07 era. It’s in superb condition with a very balanced acoustic tone and low action. The Baggs pickup is simple and natural sounding. With a list of $1775, these sell for $1131 new and that doesn’t include a pickup. Grab this barely played used one, with a nice Baggs Element, for $759(HOLD-Bill W 4/26). Includes original case.

Zoom R16 16-Track SD Recorder (pic2) (pic3) (stock pic) and M-Audio Fast Track Ultra High-Speed 8x8 USB Interface (pic2). The R16 gives everything you need for on-the-go 16-track SD recording (8 tracks simultaneously) plus built-in stereo condenser microphones for a one-button recording solution, USB connectivity for file transfer or for straight-to-computer recording, eight XLR microphone inputs so you can record an entire band, loads of built-in effects and guitar amp/effects models for polishing tracks. It also doubles as a hands-on control surface so you can mix down tracks after recording. It is Mac or PC compatible and comes in original box with software, manual, and power supply. The accompanying M-Audio Fast Track Ultra features 8 channels in/out, 4 quality preamps, onboard DSP, and 24-bit/96KHZ processing. Fast Track sells new for $199; the Zoom R16 for $399. Get them both, barely used, for just $379.

2007 PRS Artist Package McCarty Soapbar – Solid Rosewood Neck, (front), (side), (back), (headstock back neck), (case case2).  A stunning PRS with the upscale Artist Package which includes a bunch of options such as Artist Grade top, gold hardware, colorful Paua shell inlays, Paua inlaid logo, and solid rosewood neck.  Other features include solid mahogany body with maple top, Phase II locking tuners and PRS stoptail.  This is a good example of "guitars as art", where each one is unique and true works of beauty.  Finished in Sunburst, with a beautifully bookmatched maple top that looks great from any angle.  This guitar is immaculate, not a scratch anywhere, with perfect frets and the gold hardware has no wear or pitting.  I don’t believe the Indian Rosewood neck was stock on a McCarty Artist in ’07 and, if so, this had an even higher retail price than a “normally expensive” Artist model. Set up and tone are on par with typically superior PRS standards. You can get a new McCarty Artist for around $4400, with a regular mahogany neck, or better yet consider this beauty with the Rosewood neck for around ½ that at $2200.  Includes Artist case with double security locks and black velvet interior as well as factory hang tag, and other paperwork.

DigiTech RP500 Guitar Multi Effects Pedal, (back), (optional case).  Wildly popular, this is around the 15th RP500 I've had and they continue to be good sellers. The RP500 was the latest and greatest from Digitech's RP series and now that new prices have dropped from $299 to $199, they’re a better deal than ever.  More than just an extremely powerful modeler and multi-effect, the RP500 has an exclusive "pedalboard mode" which changes it into 5 individual stomp boxes and effects.  Your first impression will be that this thing is built for years of use and road abuse with metal housing and steel parts, plus it has a simple layout that allows it to be used as a simple pedalboard if desired.   Features include:  Amp/Cabinet Bypass defeats internal amp and cabinet effects in all presets, 40 Tone and 40 Effects Libraries, 200 presets (100 factory, 100 user), Over 125 effects including stompboxes, choruses, delays, amps and cabinets, 5 seconds of delay time, 24-bit 44.1kHz sample rate, Heavy-duty metal switches for stompbox response, Bright LEDs display program status and effect on/off, Large 10 character LED display for preset name-bank name-tuner, Built-in chromatic Tuner, Independent XLR Left and Right Outputs with ground lift Independent 1/4" Left and Right Outputs, Amp/Mixer switch to engage speaker cabinet, Stereo 1/8" headphone output, Stereo 1/8" CD/MP3 Input, Built-in expression pedal controls the RP500’s internal wahs, volume, Whammy and other parameters, All metal construction, 2 x 2 USB audio streaming.  This is a great unit for live playing, but you can also run it on Cubase LE other software and use the USB output in the studio.  Get this one for just $129(Hold Brad H 4/27) or add an excellent quality Cordura gigbag ($39 online), for just $20.  Includes original power supply.

1995 PRS Custom 22 – Royal Blue w/Birds and Gold, (front), (back), (headstock back), (signature), (case).   Beautiful older PRS in the lovely Royal Blue flamed top with gold hardware and original style bird inlays.  This one is extra cool in that Paul signed the control cover and simply said “Best Wishes”, which is much better than something like, “Rock on Dave” (unless you’re name is Dave…). Note: flaws you see in pics of the top are merely reflections. If you think this looks like a nice 10 top, I agree. I’ve seen lesser tops make the grade, but PRS was pretty strict 20 years ago and not many made the grade. The flame is consistent and covers the entire top, but I think the flame was just too tight.  Regardless, it's a stunner and in beautiful shape as well.  Features include wide-thin neck, Dragon pickups, PRS stop tailpiece, volume-tone-rotary 5-way switch and Phase I locking tuners. This one also has the optional gold hardware and bird inlays ($840 list price) which look great on Royal Blue. '95 was a transition year for PRS and this guitar features the earlier mother of pearl Bird inlays, which PRS fans find more desirable than the later abalam Birds.  This guitar has a typical superb PRS set up with very low action and no dead spots on the 22-fret neck, with excellent sustain and a great selection on single-coil and humbucker tones via the 5-way selector.  PRS had a very small catalog in the mid-90's, with only around 8 models, and these were some of the finest guitars that left the factory.  Beautifully cared for and barely played in its 21 years, this one is one is in superb condition. For a generically signed Custom with killer looks, fantastic playability, sweet tone, this one's hard to beat at $1850.

Jason Lollar Strat Pickup Assembly, (pic2). Drop in ready, just hook up the ground wire and output jack. Includes pickguard, knobs, tip, 3 caps, and USA pots and switch. Lollar are well-respected and clearly some of the elite pickups on the market. These flat-pole pickups emulate the Pre-CBS 60s Strat-style wind with a classic Strat tone with full body and punch and a prominent midrange, clear treble and a full bass for a piano like attack. They are scatter wound wax potted coils with Alnico 5 magnets with the middle for humbucking operation in positions 2 and 4. These pots are solid shaft, so if you want plastic Strat knobs they’ll need to be changed to split shaft. For just the pickups, you’re looking at $285 from Lollar, or easily over $350 if you get one built up complete. Get this set, drop in ready, for just $229(HOLD-Kurt K 5/6).

2005 Fender Limited Edition Precision Bass, (front), (back), (headstock back), (controls). Your basic Standard Precision Bass with an ash body, finished in Natural gloss, with a white pickguard. It very much has an early 70’s look where the majority of P-basses were Natural. This was a Factory Special Run (FSR) model in 2005 due to the ash body and Natural finish, while other specs appear stock. It does have USA pots which is a good thing. Cosmetically, nice shape other than a few finish check lines, visible on the pic of the “back” above. Also features the maple neck with rosewood board and dot inlays, as well as Dunlop locking strap pins. This bass is set up well, sounds good, and with a new Alder body P-Bass selling for $599, perhaps you’d rather have an ash, normally a $75 upcharge, for $200 less. $399 and I’ll include a free gigbag. 

WITH THANKS TO UPS this is a repost with a new, better neck: Charvel Style Strat 2H – Camo Finish with Stripes, (front), (back), (headstock back neck fretboard), (trem). We don’t know anything about the origins of this body other than what you see. After it was originally posted and quickly sold two weeks ago, we installed a quality used neck from Musikraft, thanks to some heavy handling by the folks at UPS. It has an extremely cool pro finish with a camouflage gloss finish, with black EVH style stripes. The finish is perfect – you can’t feel any lines where the finish overlaps and lines are crisp. Pickups are Ibanez V7 and V8 which sound excellent. Tremolo is a licensed double-locking Floyd Rose that stays in tune well. Charvel logo is above the finish but we can lacquer over it for a fee if desired. It has a 22-fret maple neck with a dark rosewood fretboard with jumbo frets and it plays nicely. Also includes Allen key and mount on back of headstock. I considered building this body into something high end but time doesn’t allow. If you’re in the market for a rock/metal guitar with a great look, it’s hard to beat this for $379.

OFF-HOLD: 1978 Gibson Les Paul Deluxe - Incredibly Clean, (front-1 front-2 front-3), (headstock/neck) (h/s-2), (back), (fretboard), (control cavity), (case).  A beautiful, investment quality Les Paul that, at 35 years, is a true closet classic.  My local seller bought it from the original owner's family and apparently after a year or so of use, it was stored in the closet where it remained until his estate was being liquidated.  Although there are a few signs of light use (a few errant scratches on back--but no buckle rash, and a few minor dings on the edge), and the finish can shine like new with no finish checking anywhere.  Hardware is clean.  Frets are near perfect, there's no wear to the fretboard, no wear on the common wear areas such as edge of fretboard and back of neck.  Speaking of the neck, it has a very thin profile neck (side view) for a 70's, which, when combine with the low/wide frets, makes for very fast play up and down the neck.  Features of the Deluxe were basically identical to the Standard except for pickups, where the Deluxe used the mini-humbuckers and the Standard used the PAF style humbuckers.  A number of players prefer the mini-hums for their brighter tone; they fall between a PAF and a P90 to my ears.  With a perfect neck angle and straight neck, this guitar sets up with low action.  Look around the web and you'll see '70's Deluxes going at $3K in rather rough shape.  Clean vintage Pauls don't come along often and I think this one is a steal at $2700(HOLD-Mark M 8/29).  Includes original Gibson Protector case. 

Furman M-8 SP Power Conditioner, (back). Customized with an easily removable Jeep logo; otherwise in perfect condition. It has eight switched AC outlets in the rear panel which power up with the flick of one switch and protect all your audio equipment up to a 15-amp load. Features The convenient master switch for the rear outlets glows when the power is on. For safety, a circuit breaker is provided on the front panel. If the total load on the Power Distributor exceeds the 15A (or 1800 watt limit), the circuit breaker will trip and can be easily reset by pushing in the button. If you don’t have one in your rack, own this one for just $35.

2007 Taylor GC-7 Grand Concert, (front), (back), (headstock back), (label), (appointments appt2 appt3), (case case2). Fantastic smaller body Taylor with surprising volume and an excellent choice for the fingerstyle player. One of the first things you’ll notice is the slotted headstock with the shorter scale (24 7/8-inch) the GC-7 delivers a more “woody” tone and an easier feel on the fretboard. With its solid cedar top, this one has the mellow tone that sounds older than the guitar. The Grand Concert is the smallest of Taylor’s full-size body shapes which makes it extremely comfortable to play, especially seated, with a more intimate feel and tone. The smaller size reduces undesired overtones and allows a more focused, articulate sound. Perfect for recording and stage work. Features include Western Red Cedar top, Indian Rosewood sides/back, Tropical Mahogany neck with Ebony fretboard, Tusq nut and saddle, Indian Rosewood headstock veneer, Rosewood truss rod cover, Taylor slotted headstock with gloss finish, gloss finish body on all sides, satin finish neck, gold tuners, abalone dot inlays, ebony bridge pins with abalone dots,  24 7/8" scale, 15" lower bout, 4 3/8" body depth, 1 3/4" nut width, bracing: forward shifted pattern with relief route, mother of pearl logo, and abalone rosette. The slightly wider neck allows for faster, wider fingering and the shorter scale contributes lighter tension and, thus, slightly slinkier feel on the strings. It’s well-appointed for a Taylor: nothing gaudy, but very nice, with multiple ply body binding, cream neck binding, and just enough abalone trim to make you take notice. With a list price of $2995, this one’s in exceptionally nice condition and a fantastic Grand Concert for $1499.

Dr. Z Carmen Ghia Head, (back), (tubes).  Note: red combo shell has sold – this listing is the white head only. This is a cute little amp but don't let the size fool you - this hand built amp contains some of the most original designs ever used in a guitar amp.  From its unique single tone control, which makes finding the sweet spot for any guitar a snap, to its Conjuctive Filter and fixed DC biased phase inverter, you won't see many of these features in other amps.  Rated at 18 watts, it's plenty of enough umph to play clubs (trust me on that), courtesy of a pair of EL84's, with a 5751 and a 12ax7 in the preamp, and a 5Y3 rectifier - on a hand-wired, point to point chassis.  While it appears to be the ultimate in simplicity, tonally clean notes come out with a warmth, complexity, and sustain unmatched in such a small amp. Every note has a hugeness to it that seems far beyond an 18 watt head.  All this comes before the amp really starts to sing.  As you turn the Volume clockwise, the fun factor increases.  The big clean notes get even BIGGER than they were before and sustain becomes as smooth and musical as perhaps anything you've ever heard; notes seem to sing forever.  The Carmen Ghia interacts with the player because the player can feel the power tube distortion.  A favorite in recording studios everywhere, it's also a great little amp for small clubs.  While many other small amps don't through the mix and a farty bottom end, the Ghia will cut through the mix, always tightly and musically. The Carman Ghia head sells for $1249. Get this one, in excellent condition, for just $849.

Fuchs Lucky 7 Head - Black, (panel), (back).  Low powered hand-wired amps remain hot on the market, as more and more players are becoming informed about tube amps.  Quite simply, a tube amp that's cranked, with the power tubes running hot sounds a lot better than a higher powered amp running at lower volume, getting the preamp distortion by cranking up the gain.  More players are doing studio work out of the home and who needs a 50-watt tube amp alerting the entire neighborhood that you're recording a new track.  The Lucky 7 is the perfect amp for studios, back stage, or even clubs if mic'd and run through the house system.  The output is a very nice, and deceptively loud, 7 watts via a single EL34 tube - or change to a 6V6 (no user biasing required) to lower it to 5 watts.  The Lucky 7 has the high build quality and awesome tone of Fuchs' bigger amps, although in a more affordable price range.   It's based on a dual 12AX7 preamp stage and a unique single ended 7-watt EL-34 fixed bias output stage.  The Lucky 7 also has a full complement of flexible tone controls to tweak your tone.   This amp has a remarkable amount of clean headroom before distorting into a sweet, decidedly rock, overdrive.  Voiced like its bigger siblings the Train 45 and Blackjack 21, the Lucky 7 has a classic rock voice similar to a vintage Marshall or Trainwreck, with a cutting rock edge that's filled with harmonic richness and chime. The circuit design also is attenuator friendly - it has a preamp stage designed to allow clean-to-mean from the guitar volume control.  The chassis is aircraft grade aluminum with an internal construction of mixed PC board and hard wired.  The preamp tubes and power supply circuitry are on the circuit card, while the power tubes and transformer are mounted direct to the chassis.  Single point grounding keeps it free of hum at all levels.  Other features include:  ¾ solid wood cabinet with durable tolex covering, anodized aluminum chassis with long-lasting silk screened labeling, heavy duty Cliff brand jacks, solid metal shaft Alpha potentiometers ultra-long-life neon pilot lamp and heavy duty AC power switch, and simple user adjustable fixed bias.   Again, output is 7 or 5 watts (EL34 of 6V6), into 4 or 8 ohms.  This original model isn't available any more, only the more complex Lucky 7 Mk II, which costs $1595. If you want just the tone, without the features of the MK II, get this one for less than 1/2 that price, barely used and in beautiful condition. $749. (See my amps page for the same amp with purple covering).

1999 Gibson Les Paul ’60 Classic – Honey Burst, (front), (back), (headstock back), (case). One of our most popular Pauls, the 1960 Classic has all the features of an old ‘burst, plus the thin taper ’60 neck, at a price way below a Custom Shop ’60 Historic. This is a lovely Les Paul with a glossy Honey Burst finish, and just a slight hint of aging taking place. You’ll also see a short scratch on the back that we’ve stained and relacquered so it’s not as noticeable. The nickel plating has started to dull, there are some clear coat dings on the back, and the “1960” writing on the pickguard is largely worn away. Having said this, the frets are in great shape so it hasn’t seen all that much playing time. The '60 Classic has all the features you know and love including '60 slip taper neck, one-piece mahogany body with maple cap, bound body and neck, inlaid pearloid logo, and hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched.  Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock.  Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers.  The only visual difference, other than the uncovered pickups (which has had covers installed on this guitar), is the "Classic" screened logo and truss cover, vintage-style inked serial number, and "1960" on the pickguard.  Other features include flat 12" fretboard radius, light amber top-hat knobs, cream plastic parts, and aged-looking trapezoid fretboard inlays.  Other than some light scratches in the clearcoat only, this guitar is in very nice shape with excellent frets and a comfortable, low set up. It’s a nice weight for this era at 9 lb. 3 oz. Currently outfitted with Dunlop locking strap pins but we can replace with stock Gibson if desired. Also, missing case latch in pic has replaced it with one of the same type so the case is 100%. Get the look and tone everybody wants in a Paul for just $1499(HOLD-Greg D 8/12).

2007 ESP Signature Series Michael Wilton, (front), (back), (headstock back), (Floyd), (case/etc.). Here’s a very rare *real* ESP Signature Series. Michael Wilton, guitarist and co-founder of Queensryche, has been an ESP endorser since 1998. Although it's only made as the lower end Ltd series now, originally this made its debut as this signature series, produced only in Japan. Like all Standard/Signature series, it’s a finely made guitar with quality electronics and hardware, finished to perfection. Features include alder body, black finish with green glow in dark skull graphics, 25.5" scale neck with 22 xtra jumbo frets and Diamond inlays, maple cap neck, Floyd Rose double-locking tremolo, Sperzel locking tuners, Seymour Duncan JB bridge humbucker with ESP SS-120 neck and middle pickups, vol-vol-tone controls. It currently has a Duncan Lil' '59 in the neck but original pickup is in case and is included. I think you can still get this guitar from ESP Japan only, not available in the USA, at a cost of over $3000. Or you can get this one, in excellent condition, for just $1499. Includes original case, certificate, and original paperwork. (Note: 4th string saddle which is discolored in the pics, is being replaced with a clean one.

1996 Fender Standard Strat – Black – with Warmoth Neck, (front), (back), (headstock back heel) (neck detail). We had this ’96 Standard Strat in nice shape, with a neck that would only set up with mediocre action which, around here, means “off with the neck”. I had this Warmoth neck among my spares that’s a converted 22-fret, now a 21 fret. Martin did a nice job, better than in the neck detail pic above, to make it look regular. It had a small wood ship next to the heel that he filled and judging by the frets, it’s seen very little use. It’s a great feeling neck with only a sealer coat on back so it’s as sleek as it comes, with much the same feel as a USA Charvel. Additionally, Martin rolled the fret ends with hemi ends, which feels great, installed a bone nut, and did a pro install of a vintage Fender logo, with lacquer over and under the logo. He also buffed each fret which gives it a very glassy feel on string bends. If you’re not a big fan of the 1 5/8” nut, note that this one has the wider 1 11/16” and it’s a slender D-shape with pearl dot inlays. We installed a set of Fender USA tuners so it holds tune very well. Nice. It has slightly tarnished Fender-stamped steel saddles and the knobs have lightly “greened out” which gives it a vintage vibe. Pickups are vintage-style stag pole. It plays super nice and 100% solid Strat that’s better than stock. Nice guitar for $359, including gigbag.

2002 Gibson Les Paul Standard Plus – Honey Burst, (front), (back), (headstock back), (case).  A real beauty in Honey Burst, played sparingly since new.  The Standard Plus has all the specs of the timeless Les Paul Standard, "plus" an upgraded figured maple top.  It's not the maple-on-steroids that you'll see on Historic '59's, but a more authentic depiction of most of the "real" '59 Bursts.  This one has the thin taper 60's neck with excellent sounding 490R/498T pickups. In addition to the bookmatched maple top, it features a once-piece mahogany back in a transparent cherry finish. This model was built before Gibson started chambering everything to keep the weight down so it’s not a lightweight (over 10 lbs.). However, if you place a higher importance on tone, it’s worth the bit of extra effort. It’s not going to have the open, spacious tone of the recent models, but a more focused, fatter tone. Set up is very low with a fast feeling neck. Other than knobs changed to gold chrome domes (we can install amber top hats if desired) this guitar is all stock with original solder joints. Overall it’s in beautiful shape with only a few small scratches in the clearcoat, and very slight discoloration to the nickel plating. This era Standard Plus is highly regarded by players, who want a “traditional” Les Paul without the new “Traditional” chambering. Own this beauty for $1850. Includes Gibson black case.

OFF-HOLD: 2015 Taylor GS Mini Acoustic-Electric, (front), (headstock back), (back), (ES controls), (label), (docs gigbag).  First one of these I’ve had with the Taylor ES-T system installed. The ES-T is a single-source, under saddle transducer with individual elements for each string and it features an onboard preamp and the same active controls found on the full ES as well as a battery indicator. Also has a phase switch located on the preamp board inside the soundhole. The GS Mini takes the travel guitar to a new level, with a full tone that can keep up with dreadnoughts and an unprecedented better balanced tone.  The ES-T brings the same tone to a wider audience with an amplified tone for your guitar amp, mixer, or mixing desk. The GS Mini achieved instant respect, from the time it was introduced at NAMM.  Rave reviews started streaming in and stores cannot keep them in stock.  This is a short scale guitar with Taylor's popular Grand Symphony body in a smaller size. Although it's slightly scaled down, it has a full body depth and regular nut width, which set it apart from other guitars of this type. Features include solid spruce top with varnish finish, layered rosewood back/sides, ebony fretboard, Lexan headstock overlay, lacquer finished neck, 1 11/16" nut, 20 frets, 36 5/8" length, 23 1/2" scale, 17 5/8" body length, 14 3/8" body width; 4 7/16" body depth, NuBone nut and saddle, ebony bridge, plastic bridge pins, mini-GS shaped tortoise pickguard, 3-ring rosette and 3-ring purfling. There are a bunch of demos on YouTube, including one which compares it favorably to a Taylor 110, which is a full size dreadnought.  Taylor already made a fine gigbag for their Baby and Big Bay, but their new "hard bag", supplied with this model is even better, with reinforced sides and a neck support block.  Not a lot of this model on the used market so I was happy to find this one, in dead mint condition, without as much as a pickguard scratch. Martin is an expert at setting up Taylor so you’ll be getting the best playing Mini GS possible. Really nice guitar for $439(HOLD-Tom W 4/13).

2009 Fender Classic Vibe 60's Squier Stratocaster – Sunburst – WITH Fender Case, (front), (headstock back neck), (back), (case).  Top of the line Squier with classic looks, excellent playability, and quality tone.  This Classic Vibe replaced the earlier Vintage Modified in 2009 but they had a brief run. This model has the proper alder body rather than the Indian red cedar used on the Vintage Modifieds.  Other features include rosewood fingerboard; 21-fret, vintage-tint gloss maple neck, gloss finished body, vintage style tuners, 9.5" neck radius, 21 medium-jumbo frets, and a custom set of Alnico V single coil pickups with a quick attack plus a bridge pickup with more midrange presence - custom staggered pole pieces provide improved string-to-string balance.  I know the specs don't call for it, but the neck on this one has a little flame, always a nice thing.  This guitar is in unplayed condition without a hint of wear, and the only flaw is some tarnish on the output jack and neckplate, caused by using the wrong cleaning compound. It also is beautifully grained for alder, and the straight grain lines make it look like an ash body.  I'm very impressed with this guitar and the quality brings to mind the early Squiers of the early 80's. I actually think these are better quality than comparable Mex Standard Strats. A new one will run you $399, with a mediocre setup and no case of any kind. For less money you can get this one with a proper set up for excellent playability right out of the box, AND a nice Fender/SKB case with ATA latches. $379(HOLD-Mike G 6/16) includes case.

1991 Gibson Custom ES-335 Dot, (front pic2 pic3), (back pic2), (headstock back), (case). Excellent era for Gibson and this one’s in exceptional condition. ’91 was also the first full year of production using the “new” Classic '57 pickups, favored by most over many later models. Finished in Heritage Cherry over a laminated curly maple body, this guitar has seen very little use in the 25 years since new. Worst flaw is a little nickel plating is worn on the edges of the pickup covers. It’s just an incredible example of a Dot reissue. It's also an outstanding sounding Dot with a quality acoustic tone and low action that’s a joy to play. When introduced in 1958, the ES-335 was the perfect marriage of the traditional hollowbody, and modern solidbody.  It underwent some changes, both cosmetic (block inlays) and design (the trapeze tailpiece) but in 1981 Gibson got it "right" with the first official "Dot" Reissue.  Using specs from the original '58 model, the guitar featured Dot inlays on a bound neck, with a stopbar/Tuneomatic bridge, and the specs have remained pretty much identical since then, with the reissues running for 35 years - and nearly 60 years since the guitar was first released.  Features include all-maple body with semi-hollowbody design, center block for increased sustain and reduced feedback, dual Classic ’57 PAF humbuckers, thin tapered 60's neck, body and neck binding, and Grover tuners.  I have had a number of 335’s from this century and it’s my strong opinion that they’re not the same; the ‘90’s was a superior era. For a quality Dot in this condition, this is a nice buy at $2150(HOLD-Greg D 9/22). Includes a quality Canadian TKL case, plush lined, tolex over wood.

Sabine FBX Solo SL-820 Digital Feedback Eliminator, (close-up  back).  Attention solo performance artists: You've tried the rest - now try the best - at least in the sub-$400 price range.  Designed for single channels, the 820 offers 8 patented FBX Filters, 20-bit digital resolution and increased headroom.  The 820 outshines virtually all other feedback controllers in accurately controlling feedback during live performances.  Equally at home when hooked up to an acoustic/electric guitar, wired mics, wireless mics, monitors, harmonica mics, and multi-mic locations.  It automatically senses feedback and quickly places a narrow 1/10-octave adaptive digital filter directly on the resonating frequency. Each of its FBX filters are 10 times narrower than 1/3-octave graphic EQ filters (which are actually one full octave wide, spaced out on 1/3-octave centers), so the FBX provides more gain before feedback without a loss in sound quality.  In fact, the FBX gives back more than 90 percent of the power lost with using a graphic EQ to control feedback. This unit sold new for $299 ($369 list) but this one is "as new" in the box for just $99. 

12” Guitar Speakers – Celestions and Vintage Jensen Alnico, (Celestion G12H-30), (Celestion British 25W Greenback), (1966 Jensen). Select from a recent G12H-30 70 Anniversary Celestion, 30W, 16 ohms; or UK-made Celestion 25W Greenback 8 ohms; or vintage (4th week, 1966) Jensen 8 ohm Alnico which has zero hours on a pro recone. Priced at $100/each.

Jet City Jettenuator Power Amp Attenuator, (back). Most versatility you’ll find in an attenuator for the cost. Anyone who has tried to get a quality tube tone out of a higher powered amp knows that a master volume control only allows you to over drive the 12AX7’s in the preamp. These units are a must for players with higher powered amps who want to hear the singing quality of their tube amp at lower volume levels. You can run your power tubes hot, like up to 5 or 10, and not be too loud for the room. It’s equally effective live and in the studio. Unlike a lot of others, this one accommodates amp inputs at 4, 8, or 16-ohms while a separate line-level output is included with its own level control. Use this to connect Jettenuator to an external power amplifier, or effects processors in professional applications. It also features a MicSim output which is a balanced, XLR output that simulates a microphone in front of a speaker. You can attenuate your amp while simultaneously sending a quality “mic” feed to the FOH or mixing deck.  New cost was $239 but this one's mint in the box for $159(HOLD-Joe C 4/4).

Fulltone Full-Drive 2, (label). Made in 1997 - First version Full-Drive.  The FD2 is perhaps the finest overdrive pedal on the market and, in fact, was voted by GP Mag as one of the top 50 effects of all time.  This third version of the FD2 has the push/pull pot for Comp Cut in place of the later mini-toggle.  The "CompCut" feature removes the bounding from the feedback loop allowing for Monster Clean Boost tones and some rougher OD sounds with the OD and Boost knfobs turned up.  Features separate on/off and boost switches, with a green and red LED indicator, respectively.  Beautiful condition for a 19-year-old pedal.  $115. (note: I also have an ’01 model with "FM" (flat mids) version).

Neumann KMS 105 Condenser Mic, (close-up).  Best known for their world class studio condensers like the U87 and U47, Neumann makes truly fine stage mics as well, clearly in their own class.  While the KSM 105 is fine for the studio, it was specifically engineered for the stage environment with rugged construction and superb gain before feedback.  The frequency response of the mic is wide and clean, clearly balanced for close-mic applications and with a high-end brightness which works well on vocals but it's sufficiently neutral in its characteristics to provide excellent reproduction on a wide range of acoustic or amplified instruments.  For full specs click here for Neumann.  If you're looking for perhaps the best stage mic you've ever heard, that can double as your best vocal mic in your home studio, try the KMS 105.  If you're hesitant to try a new one for $699, this one's in very clean shape and just $459.

PVX Double-Cutaway PRS Style, (front), (back), (headstock back), (jack), (pickups/bridge), (“binding”). PVX has a good idea: build a quality USA body and neck kit that the user can complete with their choice of electronics, hardware, and finish. Sure they have some options: this one has abalone side dots, abalone dot inlays, silver fret wire installed, and figured maple top, but still the base price is under $700 shipped. After that you just need to route/drill for bridge and add pickups, pots, switch, knobs, bridge, tuners, strap pins, and nut, and then stain and clearcoat in your choice of colors. It may not be a job for a first time builder but isn’t all that complicated. This one came to us with a professional finish job with a purple stain and multiple coats of clear. They took it a step further than most with the purple stain extending around the edge of the top, and then the unstained binding. It is all, however, part of a full-depth maple cap. This one isn’t mint and you can see misc. clear coat dents and scratches, as well as evidence of other tuners before the current Grovers. Frets are clean though so it hasn’t actually seen much playing time. We personally upgraded the pickups to a PRS Mcarty Bass and Treble, and the guitar sounds fantastic. Playability is likewise excellent and I can’t say a bad thing about this guitar. If you want to complete one yourself you’re looking at close to $1000 above the price of the guitar for parts and finish work – or you can get this one, set up perfectly, for just $850, including hardshell case.

2013 Gretsch G5120T Electromatic Center-Block Semi-Hollowbody, (front), (back), (headstock back), (label), (pickups).  Beautiful condition and an absolutely killer player.  I've had over a dozen of these Korean Gretsch archtops and, without exception, we have been very impressed with the consistent quality and perfect neck angle that allows for a perfect setup.  I expected the rather dead sound of an unamplfied archtop but instead, this guitar has a nice sustain and a rather full tone - not the mid-range tone you frequently get out of these when played acoustically. Amplified, the magic comes from a quality set of pickups with a Dual-coil Super HiLo'Tron in the neck, with a "Black Top" Filter'Tron in the bridge. These pickups deliver a commendable job of delivering that classic Gretsch tone. The G5120T is a semi-hollow with a center block of solid spruce, which is less prone to feedback than a fully hollowbody. Other features include Five-ply maple body construction, 1-¾"-deep thinline-style body, bbound "cat's eye" sound holes and a bound maple neck, flat 12.5" radius rosewood fingerboard, 22 medium jumbo frets, Neo-Classic "thumbnail" inlays, 3-way pickup selector, Five "G-arrow" control knobs, single-ply black pickguard with Gretsch logo, anchored Adjusto-Matic bridge with flat-handle Bigsby-licensed B70 vibrato, Grover tuners, and knurled strap retainer knobs. This model sells new for $849. Get this clean used one for $595. Add a very Gretsch-looking Gator case ($119 everywhere) for $85 more. (casepic casepic2).

2001 Hamer Artist Korina (ARTK), (front), (back), (side), (headstock), (neck joint), (case).  Fantastic Artist in immaculate condition, built with all solid white Korina (Limba), top, body, and neck, with gloss finish.  Compared to a mahogany body/maple top, Korina has a warmer sound that I find much more fulfilling for jamming by myself, but it also fills a lot more space in a band setting.  Hamer made their name building classic Gibson styles...but better.  They soon started incorporating some unique characteristics such as their Artist model with semi-hollow design and single F-hole.  Although it's roughly a Les Paul double-cut  in appearance, this model competes with Gibson ES-330's, Guild Starfire P90, etc., and with Seymour Duncan P90 pickups and thinline chambered body with F-hole, the tone lends itself to many different styles, from rock to jazz to blues.  Other features include labor-intensive hand-carved 5/8" maple top, precision routed semi-solid Korina body, vintage round neck carve (.900), wide oval frets, bone nut 1.65", 24 3/4" scale, flat 14.5" radius, 14 coats of hand-buffed lacquer, Dunlop locking strap pins, and Schaller hardware.  Hamer guitars are among the best American guitars in their price range.  Like PRS, I can't ever remember getting a bad one, which I definitely couldn't say about Fender or Gibson.  Their woods are properly seasoned, so all the shrinkage occurs before the guitar is built.  If you've never tried a Hamer, I highly recommend you give one a try.  For more info, click here for Hamer Guitars.  While not cheap, considering the labor-intensive cost of a carved top and expense of Korina woods, it carried a reasonable list price of $3800, discounted to around $2600.  This one is barely played, with a superb set-up and less than 1/2 than it sold for new at just $1199. Case is era-correct Hamer but appears to be slightly large, with 1” of “play” on the lower bout.

2015 Taylor 312ce Grand Concert with Expression System, (front), (back), (headstock back), (detail/controls), (case).  Taylor's most popular grand concert - where quality tonewoods and fine craftsmanship combine with a modest price, at least for a Taylor.  Taylor's 100- and 200-series are good guitar for the money but the USA-made 300-series is really in a different class and in my opinion, the best value in their line.  For amplified tones it uses Taylor's Expression System, the improved 9V system, which uses a behind-the-saddle pickup, featuring three uniquely positioned and individually calibrated pickup sensors. The different locations of these sensors delivers a wider dynamic range of acoustic tones. When combined with Taylor’s custom-designed “professional audio” grade preamp, this guitar is capable of exception reproduction of its acoustic tone and superb responsiveness. The 312 features all solid woods including solid Spruce top with a gloss top and satin-finished Sapele back and sides.  Sapele is an excellent tone wood with characteristics similar to mahogany, very warm and cozy sounding which, although slightly smaller than a dreadnought, fills the room with sound.  Other features include black-bound 20-fret ebony fingerboard, 5-ply B-W-B-W-B binding,14-fret mahogany neck, pearl dot inlays, 1-3/4" nut width, 25-1/2" scale, ebony bridge, tortoise plastic pickguard, and chrome Taylor tuners.  This model is a great choice for fingerstyle work but it projects enough to hold its own for loud strumming.  Offered in perfect condition with typically superb Taylor action.  If you're looking for a quality smaller body size, don’t pay $1799 for a new one when you can have this immaculate ’15 model for just $1199.

1994 Martin M-38 Acoustic, (front), (back), (side), (headstock), (rosette), (case).  Fairly rare model; I believe this is only the 2nd M-series I've had.  The M body can be described as a 0000 size, basically a jumbo body shape and the body is nearly identical to Martin's J-series.  The 16" body is wider than Martin's Dreadnought-size, but at 4 1/8", it's slightly less deep than the D, and the overall tone is a bit bassier than a dread.  The M-series was born in the late 70's, as a result of luthiers being asked to convert pre-war F-series archtops to flattops.  The earliest models had the 35-style 3-piece back, later changed to the standard 2-piece found on this one.  In early advertising, Martin touted their tone as being perfect for sound system and recording studio use.  It has the unusual combination of an ebony fretboard, with a rosewood bridge, as well as an unusual connecting link of inlay and binding adjacent to the heel of the neck.  A slim mahogany neck joins the body at the 14th fret.  The 38 cosmetic appointments fall between the 35 and 41, and include abalone soundhole rosette, 7-ply top binding with 3-ply back binding, white/black fretboard and headstock binding, and white bridge pins with black dots.  Other features include low-profile neck, pre-war style scalloped braces, solid spruce top with aging toner, solid rosewood sides & back, gloss lacquer finish, diamond volute, tortoise pickguard, low profile neck, standard 1-11/16 " nut width & 25.4" scale, and chrome Martin tuners.  This guitar has seen plenty of use and the tone has obviously benefited as it has a very open, airy sound, clear mid-range, and plenty of bass.  Cosmetically, there are a number of minor issues such as impressions on the headstock from a tuner, some wear around the soundhole (pic), light scratches and dings, etc.  Nothing horrible.  We found and repaired 3 small cracks in the side, and my man Martin repaired one top crack along the center seam (pic), but it’s a totally solid guitar with a strong, perfect voice, whether it be finger style in the studio, or hard strumming in a circle jam.  The action, especially by Martin standards, is excellent; low and buzz free.  If you're not afraid of some honest wear from 20 years of use, this is a wonderful sounding, great playing Martin for $1750. Includes Martin thermoplastic case in good shape other than logo plate is missing. If you prefer, we can use the TKL wood/tolex case pictured above.

2013 Gibson Les Paul Studio 50's Tribute Goldtop with Upgrades, (front), (back), (headstock back), (rosewood board), (case case2). Hey P90 fans!  Finally you don't have to pony up the big bucks for a '56 Historic Les Paul if you just want a traditional Les Paul with P90's.  The 50's Tribute the same basic features - carved bookmatched maple top on a mahogany body, Tuneomatic bridge and stoptail, dual volume and tone controls - plus a pair of smoking Gibson P90 pickups.  Additionally, this one has been turned into more of a ’56 model by buffing out the top to a gloss finish, adding a cream pickguard, selector ring and tip, plain 3-ply truss rod cover, and changing the knobs to the proper gold “chrome dome” type. Here’s a look at how it looked stock (pic). Many of us find the P90 as the perfect pickup.  It has the clarity and articulation of a single coil, but has a higher output and sounds much fatter - like a humbucker, without the low end muddiness.  The P-90 was the standard pickup on all Gibson guitars in the late 1940s, through 1956, popularized by its crisp, bright tone and sizzling, slightly gritty midrange roar. The one-piece mahogany neck has a rather chunky neck. It’s Gibson's traditional rounded profile, similar to the Standards of the late 1950s, complete with rosewood fingerboard and trapezoid inlays as found on the original models. Gibson's 12-inch fretboard radius allows smooth note bending, without any fret buzz or choking out during up-bends.  It also features a chambered body which meets the public's demand for lightweight LP's, but also increases tonal complexity, while also increasing acoustic volume and sustain.  Gibson used a thin nitro lacquer "aged" finish to lend that broken in feel that many players prefer.  In reality, it's less labor intensive than a gloss finish and that translates into a more affordable guitar.  Other features include silk-screened Gibson Logo and Les Paul Model, rosewood fretboard, Corian nut, figured acrylic trapezoid inlays, Grover Kluson style green keys, Gibson P90 pickups with cream covers and cream pickguard, cream chrome dome top hat knobs, Tune-o-matic (Nashville style) bridge and stopbar tailpiece.  This guitar has super nice action and plays with ease and is offered in excellent condition. Additionally, a hardshell case replaces the gigbag if desired. Nice deal on a thoughtful, slightly modded 50s at $850 with case, or $799(HOLD…again-Mike H 3/31) with original Gibson gigbag.

THD Hot Plate 8 Ohms Attenuator, (back).  Hotplates have been our most popular attenuator thanks to THD's top-notch engineering and superb USA build quality.  The advantage of using an attenuator is that it allows you to run your tube amp at full output distortion, at a lower volume level, while preserving the singing tone of your cranked amp. This one is built for an 8 Ohm load and works best for amps with an 8 ohm output and 8-ohm speaker load (including 16 ohm combo with 16 ohm extension cab - or an 8 ohm combo or head).  Features Bright and Deep switches for tailoring your sound - Bright switch gives you two different high frequency levels to compensate for an overly bright, or dull speaker cabinet while the Deep switch offers two distinct bass settings to help you fill out the bottom end, or reduce the bass in a cabinet with too much low end.  Has built in noise reduction up to 10dB, line out, and a fan to keep it cool.  Nice used condition and works flawlessly. Sold for $329 new but this used one’s just $199.

Weber Micro Mass Attenuator, (back). Excellent choice for low powered amps, the Micro Mass is rated at 15 watts, rated at 8 ohm output, and can be used on 4, 8, and 16 ohm amplifiers. Features two power level controls: one for bass-mid frequencies and one for the upper mids-treble frequencies. The attenuation is continuously adjustable from zero to over -50db using the attenuation controls and includes MASS bypass, and line out. An inexpensive but effect solution to achieving that full output tone at a volume that won’t bother the neighbors. $65(HOLD-Pamela 3/18).

2013 Ibanez AS153 Artstar Semi-Hollowbody, (front front2), (back), (headstock back), (label), (case case2). Like the AS103 we sold a few weeks ago, this is the most stunningly appointed semi-hollow ever made at a price that won't break the bank, and nicely constructed all around. You'll be immediately taken with the AS153's stunning flamed-maple top, back and sides finished in high gloss “Tequila Sunburst”, accented with a matching flamed maple pickguard, and wood truss rod cover, features normally found on guitars costing 6X the price. Built with a semi-hollow body for feedback resistance and sustain, further enhanced by mounting the pickups directly on the wood sustain block. This eliminates the possibility of crazy interference experienced by some archtops and allows more gain before feedback, enabling the guitar to cover more aggressive types of music.  Other features include slim 5-piece Artcore Maple/Walnut set-in neck, hand-rolled frets for improved playability, Super 58 Custom Alnico pickups (engraved on cover), flamed maple top/back/sides, medium frets, multi-ply bound headstock with rosewood overlay, inlaid logo and headstock emblem, bound Rosewood fretboard with Artstar Custom fretboard inlays, top of fretboard white trim, Sure Grip knobs, ART1 tuneomatic bridge, gold hardware, 15-7/8" lower bout, and 2 5/8” body depth. The set up on this guitar is absolutely perfect and with the Super 58’s with coil splitter, it’s capable of doing many styles of music. Low action fans will delight in the set up. Remarkably, the AS153 carries a low list price of $1377, selling new for $999 without case. We’re offering this one, in immaculate condition, WITH Ibanez case for $769. We feel this is a great guitar and one that easily competes with the AS-120 Artstar from the ‘90’s. Includes nice Ibanez case, original strap pins, and Schaller locking strap pins and locks.

2003 Tacoma JK28C Koa Jumbo Acoustic, (front), (back), (headstock), (side), (case case2). Beautiful flamed koa in this powerful 28-series jumbo built from all solid woods. Tacoma built quality guitars in their shop in Tacoma Washington starting in the late ‘90’s, and ending shortly after their sale to Fender in ’04. Fans of Tacoma swear by them and, personally, I’m always on the lookout for them, especially their higher end models like this koa jumbo. This one is stamped Used, which is done to void any warranty repairs for obvious reasons. It has developed Tacomaitis, which is a bit of separation between the clear coat and the wood (as shown here, here, and here). I’ve yet to see a Tacoma with finish peeling, just this milkiness in the clear coat. It is so common that I don’t recall ever having a Tacoma without this ailment and it does little to detract from the obvious value in these fine acoustics. They are one of the best playing, and best sounding, American acoustics ever made. For folks who buy a jumbo for their bass response you won’t be disappointed. This one sounds absolutely huge in the bottom end. It’s also punchy in the mids and crisp on the high end making it fairly well balanced for a jumbo, with superb projection. In addition to being a great sounding, great playing guitar, this flamed Koa is stunning, even more impressive knowing that it’s not just a veneer.  Another thing that sets it apart from most jumbo's is the cutaway, which makes it a guitar that's useful into the upper register.  Features include: hand rubbed UV gloss finish, solid Sitka spruce top, solid Koa sides and back, Ebony fretboard, Ebony bridge, gold Tacoma tuning machines, 25.5" scale, 1.687" nut width, Abalone rosette, Abalone logo, and Abalone Ginko-leaf fretboard inlays.  This guitar is a joy to play, very comfortable action and a tone that fills up the room.  These were not cheap guitars as list price on the JK28C was $2132, which was actually very reasonable for a USA solid wood jumbo. If you can live with some inconsequential minor finish issues, I consider this an excellent value on a guitar of this quality for $879.  Includes original Canadian hardshell case.  We can install a quality saddle pickup if desired, just ask.

Mesa/Boogie Studio .22+ Combo, (panel), (top), (back), (back panel).   Great sounding little Boogie in lovely condition.  Especially geared to the studio musician but is especially well-suited for club gigs with plenty of power and the harder you drive it, the better it sounds.  You’ll see these in regular and Plus models.  The "+" part of model name refers to an improved circuit design.  Boogie still does Plus upgrades to any non-Plus model for a couple hundred bucks.  The Studio .22+ cranks out a very loud 22 watts via a pair of EL84s in a Class A design through a Boogie 50W Black Shadow 12" speaker, with 5 12AX7's in the preamp which control master/gain/lead/Effect Loop and reverb.  It is a very versatile amp that can cover virtually any style of music quite nicely, due in part to Boogie's Dynawatt-design in the power amp.  Distortion goes from mild crunch, light blues distortion to rock/metal distortion.  Driving the power stage, the clean channel distorts nicely with the Master cranked up and in this manner your guitar's volume control allows you to go from clean to distortion.  The front panel has all the gain/level controls, tone knobs, and graphic EQ.  On the back panel you'll find features geared to the studio like D.I. out with level control and effects loop as well as outputs for 8 ohms or a pair of 4 ohm.  It has a very good sounding 3-spring Accutronics reverb tank.  You can read all the specs or download manual at this link at Boogie.  There are a bunch of YouTube demo's and here are a few (rock/metal,  clean).  This amp is in very clean condition, sounds perfect, and for players who have to play a lot of styles it could be the perfect gigging amp, all for $579.  Includes Boogie Lead/Rhythm footswitch.

2008 Fender American Select FSR Stratocaster HSS - Mahogany, (front), (back), (headstock back). If you like the features of an American Deluxe Strat, but want to try the a darker, richer tone, this FSR (Factory Special Run) is the guitar for you. It has all the features of the American Deluxe model, but instead of alder or ash, Fender did a small run of these in red-stained mahogany. All the regular features include HSS pickup configuration with a Diamondback humbucker and two custom-staggered Tex-Mex single-coils, 5-way blade and S-1 pickup switching for an amazing number of tone selections, staggered height locking tuners, LSR nut, American 2-point synchronized tremolo with stainless steel saddles, 22 medium jumbo frets, 9.5” radius rosewood fretboard, modern C-shaped neck, raised chrome headstock logo, and black headstock. This guitar is in beautiful shape, near flawless in appearance and even better in terms of playability. Set up is fantastic. Fender is building this guitar again, now as a “Limited Edition” American Deluxe, which sells for $1799. If you don’t mind one that’s very slightly used, get this one for much less. $1050 includes clean Fender molded case and trem arm.

2003 Gibson Flying V Standard Figured Top, (front), (back), (headstock back), (bound body/neck), (case case2 cert).  The guy I got this from called me with a correction – this is a 2003, not a 2013 as originally listed. Pot codes agree, 22nd week of ’03. This is one of 50 of these made by the custom shop creating the unique marriage of a Flying V and ’59 Les Paul Standard. Les Paul features include the flamed maple top/mahogany back body, bound neck/body, trapezoid inlays, control knob layout with dual volume/tone controls and LP selector ring, and bell-shaped truss rod cover. This is about as breathtaking as it gets for a Flying V and to entice you even further, it weighs in at under 6 lbs. 9 oz.! Features include Washed Cherry Sunburst flamed maple top with 2-piece mahogany back, single ply cream binding on body and neck, Nickel hardware with ABR-1 bridge, 1-piece mahogany neck with rosewood fretboard and trapezoid inlays, early 50’s rounded neck, vintage tulip tip tuners, Burst Bucker ½ pickups, dual volume and tone controls with 3-way selector, inlaid Gibson logo with Flying V screened on headstock. This model went into regular custom shop production in 2015, identical except for the “Flying V” name is no longer screened on the headstock. It’s in exceptional condition other than two slightly faded spots on headstock (as shown here) from a guitar hanger. List on the current model is $7449 and you’ll see them at American’s favorite online non-chain store discounted to $5299. That’s expensive, we agree, so how about $2000 cheaper for the first run model, just $3299 for this beauty.  Nice!

1995 Seymour Duncan JB/SSL2 HSS Set, (pic2). 20 years old and removed from an old Zion Strat. Old style labels, with the date engraved in the single coil bobbins. $99 takes all 3.

EMG 85/60A Black Humbucker Set. Same as above but with black covers. $75/set(HOLD-Jeff T 3/3).

Ibanez V7/V8 Humbucker Set. Stock pickups for many of the Japan Ibanez from the 90’s. V7 neck humbucker is dynamic and great for chording; V8 bridge is brighter than a V2 with great overtones, 4-conductor wiring for mix of single/humbucker tones, clean shape with excellent lettering, $65/pair.

Fujigen Alnico 8 Humbucker Set, (pic2). Removed from a Japan ESP/Edwards Les Paul shortly after purchase so they’re in very clean condition. 4-conductor for multiple wiring applications. Quality pickups for just $85/pair.

Bad Cat Cougar 5 All-Tube 1X12” Combo, (back). Leave it to Bad Cat to do things right, even as they enter the competitive world of 5-watt Class-A combo’s. They’ve included nice touches such as a genuine plywood cabinet, a *good* speaker (Celestion Vintage 30), effects loop, and impedance selector, good for 4-8-16 ohms use. With an EL84 power tube and a pair of 12AX7’s in the preamp, this is a very pure sounding amp with little in the way of your guitar and the speaker. It doesn’t appear that they’ve cut any corners with the construction as it is built as flawlessly as their $2500 amps, including a high quality covering, leather handle, and perfect seams. With just a Master, Volume, and Tone you can create any number of quality tones, and it works interactively with your guitar’s volume control very well. These are selling for $743 new. Get this one in perfect condition for around half; just $375. Includes original glossy manual.

2003 Fender American Deluxe Fat Stratocaster - Ash, (front), (headstock), (back), (Deluxe features), (case/acc.).  Super clean American Deluxe finished in desirable cherry sunburst over ash, which was a $150 upcharge back in '03.  Unlike the Strat Plus that preceded this model, the American Deluxe had more upscale features that distinguished it from the stock Strat.  Starting with pickups, a pair of Vintage Noiseless singles and a Fender DH-1 humbucker, controlled with a 5-way switch that provides the same classic Strat tones in positions 1-4, but a full-on humbucker tone in position 5.  Because of the Noiseless pickups, all settings are quiet while retaining the classic Strat tone.   Other deluxe features include polished chrome locking tuners, LSR roller nut, polished chrome tremolo with pop-in trem arm, abalone dot inlays, rounded heel for comfort in the upper register, and raised chrome logo.   Lovely condition with no noteworthy wear or scratches, extremely comfortable set-up, and a wide selection of tones you can only get from an HSS model.  You don't see very many of these in cherry sunburst and it's indeed a lovely color for a Strat.  Very tidy Deluxe for $1079(HOLD-Wanda 2/20).  Includes original case, straplocks, tools, factory hang tags, and manual.

2012 Fender 50th Anniversary American Vintage Jaguar, (front), (back), (headstock back), (neckplate), (case case2). Made only in 2012 and finished in custom color, Burgundy Mist, the American Vintage 50th Anniversary Jaguar commemorates the guitar that was the Cadillac of the Fender line during the 60’s. This particular model appears much the same as a ca. ’66 with block inlays instead of dots, fretboard binding, and the bolt transition logo. This limited edition guitar is finished in the very rare burgundy mist finish and it combines all of the classic 60s Jaguar features with a few modern improvements. Highly distinctive features include the classic 24” scale length, a new one-degree neck-angle-pocket cut that improves pitch, a re-positioned tremolo plate that increases bridge break angle and sustain, and specially designed hot Jaguar single-coil neck and bridge pickups that deliver fatter tone and more output, but still framed by the Jag’s classic notched metal “claws”; a hum-reducing innovation only found on the Jaguar). Other features include nitro lacquer finish; modern 9.5” fretboard radius, engraved 50th Anniv. Neckplate, vintage tuners, and 3 ply green pickguard. This one is in dead mint condition, other than one finish ding on the front edge of the belly cut visible in the pics. Set up is as fine as you will find on a Jag. It’s a great guitar. An American Vintage '65 Jag will set you back $2299. Why not get this one for $1050 cheaper; $1250(HOLD-Barry S 10/20) takes it. Includes original brown case, leather strap, vintage cable, new pack of strings, tags, manuals, etc.

2012 Gibson Midtown Custom, (front), (back), (headstock back), (case pic2).  The Midtown Custom is marketed as a cross between an ES-335 and a Les Paul, with a slimmed-down body and very comfortable neck, plus the ability to cover a very wide array of music. Cosmetically, you’ll notice the similarity to a Les Paul Custom, with its multi-ply bound body and headstock, as well as bound neck, split diamond headstock inlay, and block fretboard inlays.  It is indeed an elegant looking guitar. The body, which is slimmer than an ES-335 but wider than a Les Paul, is made from mahogany and is specifically chambered for optimized tone and weight distribution; well balanced and lighter weight than a Dot. With a scaled down body, it gives a tighter sound, allowing anything from jazz to biting rock tones. With dual Burstbucker pickups you’ll notice you can get a nice Les Paul or SG tone with the gain cranked on your amp especially. It features a Nitrocellulose gloss finish for a real vintage look and better tone. Cosmetically, the top is very clean while the back has some finish impressions on the upper horn but no buckle rash pattern in the middle of the back. It presents nicely from the audience perspective. It has a fantastic setup and is a good sounding guitar for everything except super high gain metal tones. Great looks, tone, and playability at a nice price. $1150(HOLD-Ross L 3/1) includes original case and paperwork.

Vintage Fender Precision/Jazz Bass Case, (inside), (latch). We just came across some NOS Cheney latch hasps which is allowing us to repair a few old Fender cases which had broken or missing hasps. These are the same brand and type used back in the day and they work perfectly. Cosmetically, this one is just average. It was covered with stickers which I removed but didn’t clean it as some players don’t like the clean Armoral look. Structurally though it’s all there with all latches and hinges working and all original except for both end hasps as shown. Logo is the chrome metal Fender without tail, with the registered “R”, which dates it from ’72 through the mid-70’s.  Isn’t your old Fender bass worth $175 for a proper home?

Gibson Les Paul Standard 2014 with Min-ETune, (front), (back), (headstock back), (case case2). Beautiful AAA maple top finished in “Ocean Water Perimeter”.  In addition to stunning looks, Gibson used their state of the art Min-ETune automatic tuning system, and 4 push-pull pots for the widest variety of tones ever from a Paul. With the standard Burstbucker 1+2 humbuckers, you can select coil taps, phase changing and Pure Bypass. It also has an asymmetrical 60's slim taper neck with compound radius fingerboard that feels great and plays with incredible ease. The compound rosewood fingerboard has undercut frets over the binding for extra playing surface. Other features include abalone 120th Anniversary banner at the 12th fret, TonePros locking tune-o-matic bridge and tailpiece, black Graph Tech nut, gold Speed Knobs, reverse polarity rear pickup for authentic single coil combinations, max grip speed knobs, extra large strap buttons, and cryogenic treated fret wire for longer life and corrosion resistance. Lastly, it has has acclaimed Min-ETune automatic tuning system which tunes your guitar quickly and perfectly, and isn’t even noticeable from the front of the guitar. You can still adjust the tuning pegs manually or turn on the Min-ETune to choose from 12 popular tunings or program six of your own. This is offered in immaculate condition with an absolutely perfect set up. One of the nicest flametop Pauls, in one of the coolest colors, for just $1750(HOLD-John A 2/25). Includes the excellent brown case that Gibson seems to be bringing back.

Gibson 2016 J-35 Slope Shoulder Dreadnought Acoustic-Electric, (front), (back), (headstock back), (label), (case case2 candy). Handcrafted entirely of solid tonewoods, Sitka spruce and mahogany, and outfitted with an L.R. Baggs VTC pickup with controls located in the soundhole. This model also benefits from Plek technology for the finest playing guitar possible. It is hand-finished for a finer feel and finished in Antique Natural with a hand-rubbed and oil finished fretboard. It features vintage 1930's advanced X- bracing pattern. Although the serial number is from ’15, this model is called the “2016 J-35” with a special 2016 truss rod cover. Gibson calls this the modern equivalent of the original round-shoulder flat-top that’s historically celebrated for its full-bodied acoustic tone. The Baggs system is simple but very effective in delivering a faithful acoustic tone to your amp. Volume and tone controls are easily available at the edge of the soundhole. Acoustic tone is very full-bodied, with an excellent bass response and excellent projection. Strings have a very tight feel, which I appreciate and noticed immediately. Set up is low and buzz free thanks the the Plek, which dresses each fret to make up for minute differences in fret height or slight inconsistencies to the neck to ensure frets that are perfectly level and allows for the lowest possible setup. Cosmetically, they don’t come any cleaner. This guitar appears unplayed and comes in original Gibson shipping box. Sells new everywhere for $1849 but this one’s “as new” for just $1299(HOLD-Steve G 2/22). Includes case, warranty, keychain, strings, picks, etc.

Loop-Master 6-Looper w/Tuner out (staggered switches), (back). Loop-Master specializes in building loop/switcher pedals and they do a great job. With a compact design, this can make your pedalboard much easier to navigate. This pedal is for players looking to use multiple effects or banks of effects and want to play through ONLY ONE effect or bank at any time, with an additional output to your tuner. Features include true bypass, aluminum enclosure, (4) 3PDT switches, 22 Gauge Silver Plated Military Spec. Wiring, Switchcraft jacks, and colored LED's. Requires a 9V AC adapter with a Boss/Ibanez style 2.1mm barrel plug. Sells new for $165; this one’s perfect and just $99. Note: I also have the 3-looper with tuner and bypass buttons in stock.

Pigtronix Philosopher’s Tone Compressor. Pigtronix claims this pedal offers more sustain and less noise than other compressors which inevitably use outdated CA3080 chip technology. It also offers lots of control: Grit mixes in a smooth layer of distortion into the effect; Sustain sets the threshold for the compressor; Blend determines the mix of effected and dry signal; Treble cuts or boosts frequencies at 2k; and Volume sets the overall output (when engaged). It operates on an 18VDC power supply. Sells new for $185; this nice used one’s just $99, including power supply.

1972 Gibson Embossed Humbucker, (back). Rare ’72 model with the “Gibson” embossed cover, offered only in ’72 from my recollection. Used on Les Pauls, SG’s, and ES’s, these pickups are T-tops with an Embossed chrome cover and Patent Number sticker on the bottom, with 2-conductor plastic coated wires. Appears to be all original, full length wire that will reach to the neck cavity, and a nice vintage output at 7.43K. If you need this to restore a 40+ year old Gibson, this isn’t too painful at $225.

Vox 1X12 “Extension Cabinet” with Celestion Alnico Blue, (top), (back), (speaker). Originally a hand-wired AC-15 combo, this one has the amp removed with a flat panel installed for stacking purposes. Stock 25W Greenback has been replaced with a UK-made 12” Celestion Alnico Blue 25W, 15 ohm. This would make an excellent choice for players wanting more dispersion from their 1X12 Vox combo, players wanting to change their head or combo to a cool Fawn model, or anyone needing a low-power cab loaded with the best speaker on the market. These speakers sell new for $271. Get this whole set up for just $365, including the Blue!

2004 Fender Custom Classic Player Stratocaster V-Neck, (front), (back), (headstock back), (neck back), (anodized guard), (case/acc. case2 cert).   Beautiful condition, great color, excellent tone and superb playability – and this one has one of the nicest figured maple necks you’ll find on this model.  One of the early mainstays of the Custom Shop, the Custom Classic Player was their Super Strat, but with a vintage vibe.  Unlike the American Classic, which was basically an American Standard with a custom shop seal on the headstock, the Classic Player provided real upgrades, similar to what a player might do to customize their favorite gigging guitar, plus more choice woods.  This model was the first, from my recollection, that featured vintage steel saddles on a two-point synchronized tremolo, which Fender eventually adapted as the stock trem on the new American Standard in 2008.  It's the perfect blend of function and tone.  Tuners are Sperzel Trim-lok, which, along with the trem, maintains excellent tuning stability when using the wiggle stick.  Pickups are Custom Shop Vintage Noiseless", with a Hot Noiseless in the bridge.  Other features include V-neck with a 9.5" modern radius with 22 medium-jumbo frets, 2-tone sunburst swamp ash body, gold anodized pickguard, figured maple neck with a soft-V profile, staggered height Sperzel locking tuners, single string tree, and vintage logo.  This is one beautiful body with a nicely grained swamp ash with a nitro finish. Weight is 8 lb. 2 oz., medium weight. This guitar is in beautiful condition with no noteworthy flaws and no fret wear. It does have a little bit of “finish suck” where the lacquer is drawn into the wood but no finish checking thus far. Saddles had some dust on them when pics were shot but they're in clean shape. A lot of players want the quality of a custom shop Strat but want something with modern features not found on a Time Capsule series. This is the ticket.  For the same price as a new American Deluxe, you can own this Custom Shop beauty.  $1850 includes custom shop case with broidered inside lid, certificate, custom shop strap, custom shop cable, Schaller straplock system, and assorted paperwork.

Ampeg BA-108 Bass Combo, (top), (back). Good sounding little practice bass amp with classic Ampeg bass tone that doesn't fart out as bad as a lot of these little buggers. Features 20 watts through a custom 8" speaker with volume, bass, mid, treble, and Aux volume control. Aux Input allows you to play along with a smartphone or IPod, plus there's a headphone out for silent practice. It also features a separate input with a -15dB pad for using active basses. Durable genuine Tolex covering, all steel amp chassis, and metal corners make this a durable bass, built for years of use. If you’re looking for a good sounding practice amp, or something to use with an acoustic guitar jam, this one’s hard to beat at $65(HOLD-Tom D 7/21).

2004 Gibson ES-333 with Upgrades, (front/back), (headstock), (3/4 view), (Epi case).  This guitar is so much nicer than a stock ES-333.  As shown in this comparison pic, the satin finish body has been buffed out to a gloss finish, a 335 pickguard has been added, Tonepros bridge and tailpiece replace generic stock parts and, most importantly, a pair of Jason Lollar humbuckers replace the original 490R/498T pickups.  The appearance of the body is now more like an ES-335 and the tone is superb.  One final upgrade is a nice Epi hardshell case replaces the stock gigbag.  The ES-333, from Gibson Memphis, was designed to be a more affordable version of the 335.  It shares the same woods and semi-hollowbody design, with bound body and bound neck but cost savings were accomplished by using a thin satin finish rather than the ES-335's thicker full gloss finish.  From a tone standpoint, the thin satin finish is actually a better design has it allows the wood to vibrate more freely.  When buffed out, as this one was done, it has the appearance of the lacquer finish but still retains the improved tonal properties of a satin finish.  Other differences include silkscreen Gibson logo on the 333 and no flower pot headstock inlay, and cheaper 490R/498T pickups instead of the 335's '57 Classic's.  The last change is the back of the body, which has an access cover for the electronics, as used on the BB King Signature Model.  It is so much easier to work on these guitars with a back plate and the tonal implication is negligible; I doubt anyone could hear any difference.  It makes a huge difference should you ever need to clean the pots, replace the switch, or try different pickups.  The 333 wasn't an overwhelming success for Gibson.  Introduced in 2002, it was dropped from the catalog after several years, although they continued with a Tom Delonge signature 333 with a custom paint job.   With the Lollars, case, and cosmetic upgrades, this guitar is almost as nice as a Dot reissue, and it plays and sounds as good or better - but the price under 1/2 the cost of used 335 at $1250(HOLD-Brian N 2/5).

2012 Gibson Les Paul Traditional - Black, (front), (headstock back), (back), (Plek sticker), (case case2).  Debuting in 2010, the Les Paul Traditional has the look of the vintage 50's Les Paul you know and love, with a gloss lacquer finish all over, ’57 Classic pickups (Classic and Classic Plus), and vintage tuners. It features a non-chambered mahogany body with a thick maple cap for the classic blend of warm mahogany and snappiness and clarity of the maple top.  Like all Les Pauls, it does have the traditional 9-hole relief that Gibson has been using for decades.  The guitar is finished in high-gloss nitrocellulose lacquer for a true traditional looks and feel, while the thin nitro finish allows wood resonate fully.  The neck profile is very much medium, not chunky like a 50’s but not thin like a 60’s. Other features include angled headstock, bound rosewood fretboard, 1.69" nut width, trapezoid inlays, antique binding, Tuneomatic bridge with stop bar tailpiece, Gibson Deluxe tuners with Keystone buttons, Top Hat knobs, and period correct cream pickguard and binding.  Another major aspect, which Gibson did for a brief period on their mid to high end Les Pauls, is the fret job, which is leveled perfectly via a Plek machine.  The Plek machine allows for minute differences in fret height or slight inconsistencies to the neck to ensure frets that are perfectly level and allows for the lowest possible setup without any buzz or fretting out. The difference is quite noticeable and this guitar plays superb, clearly better than your average excellent set up. Offered in excellent condition with perfect frets, it’s a great choice for the player looking for a Les Paul built with traditional specs. Really nice Paul for $1399(HOLD-Jennifer S 4/8+90). 

2013 Fender American Standard Stratocaster – Sunburst w/Maple Board, (front), (back), (headstock back), (case case2).   Classic look: 3-tone sunburst with a maple fretboard, everybody’s favorite! Add to this the parchment pickguard and vintage tinted knobs and covers and you have an axe that looks very close to a vintage ’57 Strat. One upgrade to this one is the bridge pickup has been changed to a Seymour Duncan Hot Rails, which offers both humbucker and single coil tones. Original Fat 50’s pickup will be included should you ever want to go with the stock set up. For the rock player though, the humbucker opens up a wider range of tones to harder, in your face rock, while retaining the classic Strat tones in the other 4 positions. I'm a big fan of the new Strats - after the 7-year run of the American Series, the new American Standard, officially released on Jan 1, 2008 has some significant improvements including a redesigned bridge with 100% metal copper-infused block, new bent-steel saddles with elongated string slots, a Fender-exclusive high-tech molded case and, most significantly, a new neck and body finish, which appears to be very thin and high gloss, very close to nitro in appearance. With a new American Strat selling for $1299 everywhere, this one has in-house set-up that's better than anything from the superstores, in beautiful shape, with more tonal variety, all for just $899.  Includes the new style Fender/SKB case with ATA latches, with trem arm, tools, and misc. paperwork.

2014 Fender American Standard Telecaster – Natural Ash w/upgraded Case and Tuners, (front), (back), (headstock back tuners), (case case2).  The vibe of a USA Vintage ’52 at a much nicer price! This American Standard has a natural ash body with black pickguard and maple fretboard, very close to a V52 in appearance. This is one of the "new" American Standards that replaced the American Series, which replaced the "old" American Standard.  Can't keep up?  Suffice it to say that at every step Fender has made a number of minor improvements which, collectively, combine to make a better Tele.   This one also has a quality set of locking tuners and Fender’s better case, the vintage style Tolex with chrome badge and dual storage compartments. Tuners are pro-installed Hipshot locking. Original tuner holes have been filled and are barely visible. Features of this model includes ash body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, new style saddles on chrome-plated brass bridge, volume and tone control - Delta tone "no load" tone circuit.   Other features include new bent steel saddles with elongated string slots, highly finished frets, detailed nut work, and rolled fretboard edges.  A new American Standard in ash will run you $1449, and it will probably be a good player.  For $400 less, you can have this barely played beauty set up to perfection, PLUS has better tuners and case.  $1049 includes the Fender Tolex case as well as locking tuners installed.

Carvin LB70 Neck-Thru 4-String Bass, (front), (back), (headstock back), (case). Typically great playing, excellent sounding Carvin which remains the best value on the market for USA basses, each one is essentially a custom shop piece.  Upcharge features on this one include tung-oil maple neck  through with mahogany sides, mid-range boost, black chrome plated hardware, and Dunlop strap locks. This is a one-owner bass that has been babied since new so there are no flaws to speak of. Other features include Carvin premium tuners, 24-fret fretboard, dual J-style Carvin pickups, and high mass bridge with brass saddles. This is a nice, resonant bass that’s a nice light weight and easy to get around on. It has an excellent set up and is a good price for a pro-quality bass. $550 includes original Carvin molded case and Dunlop straplock system.

2006 Gibson Faded Flying V, (front), (headstock back), (back), (case case2).  Enjoy the vibe and tone of the famed '67 model in a more affordable faded finish.  This cherry nitro finish has the look and feel of a well-worn guitar and is actually a sonically superior since the finish actually contributes to increased resonance.  The Faded V features an all-mahogany body and neck, with a sleek ebony fretboard with dot inlays, Gibson Deluxe tuners, tuneomatic bridge/stopbar tailpiece, plus 496R and 500T humbuckers controlled by individual volume controls, with a master tone.  It is the best value in a USA Gibson V with a minimum of fanciness while retaining the look, playability, and tone.  There’s some buckle wear on back and some finish dings here and there, but these finishes tend to wear quickly, but that adds to the vibe.  Frets are near perfect so this guitar needs nothing to start gigging tonight.  With a killer in-house setup, this is an excellent value at $599, including choice of Epiphone case pictured, or original Gibson gigbag.

Custom Strat – Green Quilt over Ash with Gonco Alves neck, (front), (back), (headstock back neck neck2), (neck specs headstock). Here’s one we just built up with all an all new body and neck. Body is a 10-year-old Mighty Mite, solid ash with a quilted maple top. Neck is one of the Musikraft (New Jersey) exotic neck made of Gonco Alves, with a Kingwood fretboard. The body is a gloss finish; neck has a thin sealer coat of lacquer although it has nearly an unfinished feel to it. We’ve outfitted it with pickups from an American Deluxe Strat, Schaller tuners, Wilkinson chrome/gold tremolo, and USA pots/switch. It has a small to medium neck, very much the size of an American Standard, with the same nut width and medium frets. Excellent choice for players who want a little more versatility than a traditional Strat as the humbucker is very fat and high output. We can install a logo, upon request, for $20 to $75, depending on type of finish on headstock desired. This is a beautiful Strat that should appeal to anyone who appreciates the value of custom guitar. It is in immaculate condition. $799 includes gigbag.

Line 6 MM4 Modulation Modeler, (pic2). Hugely popular, the line of Line 6 modeling processors ruled the world a decade or so ago. This one is their modulation modeler, with a vast array of time domain effects including tremolos, phasers, Uni-Vibe, rotary’s, flangers, chorus’s including Dimension, vibrato, ring modulator, and panning. It includes 16 quality modulation effects in all including Phase 90, Leslie, CE-1 Chorus Ensemble, MXR Flanger, Dimension D Chorus. It has 20 factory presets, plus 4 user-programmable presets and features true bypass switching, expression-pedal input, and stereo inputs and outputs. Simple to use, controls include Effect Selector, Speed, Depth, Tweak, Tweez, and Mix. Manual is available online. Very powerful effect for $99.

Boss CS-2 Compression Sustainer, (back). Thought by many to be the best, these MIJ black label compressors have been the workhorse of touring musicians for 30+ years and their performance and durability have stood the test of time. This one’s in nice shape as these go. $115. I also have the original compact sustainer, the CS-1 if you’re interested.

2013 Taylor 414 Grand Auditorium, (front), (back), (side), (headstock back), (appointments), (case). The X-14 (Grand Auditorium) is Taylor's most versatile and popular body shapes with its defined mids with clear and balanced overall tone. Excellent for fingerstyle work but holds up well to hard strumming. It is their "do it all" model. Taylor's 400-series are certainly pro-quality instruments and while you can pay a lot more for dramatic cosmetic features of the higher series, the craftsmanship and design on this 414CE are as good on this as on a 900-series, at three times the price.  The 414 features back and sides of solid ovangkol, an African tonewood similar to Indian Rosewood, with a fuller midrange and bright treble resembling koa. Its warm brown colors and unique grain are protected with a thin, satin finish while the solid spruce top is buffed to a high gloss. Nicely appointed with dot and oval inlays with the entire guitar framed in white binding on the body and neck. Other features include a sleek Ebony fretboard, Tusq nut, Tusq saddle, and quality Taylor tuners.  Nothing sets up like a Taylor and they gained a reputation in the 80's for building acoustics that played as easy as electrics. If you're tired of messing around mediocre playing, lifeless acoustics, give Taylor a try. They've been a favorite of mine since '84 and although they were discontinued last year in favor of the 414CE, they remain an excellent value in an American flattop. It’s rare that I get in a “traditional” Taylor, without electronics or cutaway, and I’m pleased to have this one, offered in perfect condition with a superb set up.  The 414CE sells new online for $1849 ($2468 List) but this used one is in nice shape and a sweet deal at $1099.  Includes Taylor case.

2014 Gibson ES-335 Studio with TV Jones Pickups, (front), (back), (headstock back), (pickups boxes), (label), (certificate case case2). Looking for a quality semi-hollow Gibson with a bit of Gretsch vibe? This 335 Studio has a pickup upgrade with a pair of TV Jones, the favorite of Gretsch fans. The TV Jones Classic Neck and Bridge pickups deliver the vintage twang and growl of a vintage Gretsch Filter'Tron. Extremely versatile, they’re a great choice for rock, rockabilly, blues, and country. Along with the TV Jones the circuit has been upgraded to independent USA pots, along with the original Orange Drop capacitor; removed were the stock circuit board pots. The 335 Studio gives you all you need in a Dot, without the high price tag. While the Studio doesn’t have the bound body and bound f-holes, and inlaid headstock logo, the same basic construction applies including gloss lacquer finish, Tonepros bridge and 4 studs, real F-holes, and Gibson stud tailpiece. You can’t see it because it’s black, but the neck is actually bound like the Dot reissue. Gibson has done a nice rolled edge to the body so it’s very comfortable to play. Overall in nice shape, there are some clear coat scratches on the back but nothing through the finish, while frets exhibit little to no wear and the set up is fantastic. If you prefer the stock Classic ’57 and Super ’57, we can re-install them, just ask. Includes original certificate and case. Very nice value in a 335 at $1150(Tent. Hold – Terence T 3/10)

1987 Fender American Standard Stratocaster – Warmoth Boat Neck, (orig neck pic2 pic3), (front), (back), (pickguard ass.), (Warmoth-neck pic2 pic3), (headstock back), (case pic2). Hard to believe that ‘80’s Strats are technically vintage now but the fact is ’87 was the first full year of the American Standard, having debuted in the fall of ’86. Like a lot of ‘80’s and ‘90’s Fenders, the neck wasn’t the greatest. We get in plenty of these with the truss all the way tight, or all the way loose, leaving no room for adjustment should it need it in the future. This one set up good with the truss rod all the way tight, but, again, should it ever need tightening it’s going to turn into a major repair. Rather than ship out a guitar that’s going to be a potential problem with just replaced the neck…with a great Warmoth Boat neck. These necks are so fat at the first fret, .992”, that it actually gets smaller as it goes up the neck (.971” at the 12th fret). The neck has jumbo frets, nitro finished headstock, unfinished fretboard, and a special finish Martin invented made of poly and natural oils. It feels very sleek and fast. We installed a vintage logo and used the original Fender/Schaller tuners on the neck. The rest of the guitar is 100% original and nobody had ever been “inside” prior to arriving here. Many people love the way these early American Standards sound and it indeed does have the spanky sound you want in a Strat, with a good crisp lead pickup and cool hollow tones in position 2 and 4. My favorite is the neck pickup which has a fat tone with excellent sustain. The guitar sounds good acoustically as well. Included is the original case and trem bar. Cosmetically, it’s in very nice shape for 25+ years with just some clear coat scratches and impressions, nothing bad. I’ll include the original neck with the guitar and if you don’t need the lowest action, you might be fine with it for years, but the Warmoth plays so much finer. $1150 includes installed Warmoth neck, original neck, original case, and trem bar.

Keeley 2-Knob Compressor.  This has got to be THE best or at least one of the best, compressors of all time.  Metal film resistors and capacitors ensure the cleanest compressor on the market.  Hand-matched transistors to less than 1% tolerance ensures you get a perfectly compressed signal with no chance for unwanted distortions.  Also features an internal attack control which lets you use it for high-output basses, live or in the studio.  Try it on keyboards, drum machines, or even for mastering.  This thing does it all and is very transparent sounding, all with 2 knobs and 2 internal trim pots. There are a bunch of demos online, here’s one with some country licks.  Sold new for $229 but this perfect used one’s just $159.

Radial Tonebone Plexitube. Still made in Canada, Radial/Tonebone makes some of the most versatile pedals on the market. From their various overdrives, to switchers, to loopers, they always do a lot more than you expect. The Plexitube is no different. Utilizing a 12AX7 tube to add warmth, and true bypass to avoid signal degradation, the Plexitube produces four generations of Marshall Plexi tones. It features two distinct distortion channels for quick switching between rhythm and lead settings with Channel 1 optimized for chunky rhythm tones and scooped mids and Channel 2 is voiced for solos with fat mids and great sustain. It also features an effects loop that can automatically turn your delay, i.e. no tap dancing. Sells new for $299 but get this clean used one for just $169 which includes power supply.

Morley Mark Tremonti Power Wah, (pic2).  Excellent design by Morley for the signature “Creed” tone. Morley uses a switchless design where you simply step on it to engage the wah, or step off for bypass. The tone is a hybrid of traditional and modern wah voicings with a Boost knob which adds up to 20dB of wah gain. It features an Electro-optical design with no pots to wear out and a “Clear-Tone" buffer circuit to ensure pure guitar tone and maintain the signal level in bypass and Wah mode. Sells new for $139; this one's in nice shape and around 1/2 price at $79.

2014 Gretsch G5655T-CB Electromatic Center-Block - Rosa Red, (front), (back), (headstock back), (pickups-origs on right pic2), (case1 case2). Quality upgrades and a fantastic Korean Gretsch that’s very reminiscent of the old Firejet I had many moons ago. We're offering this guitar upgraded with a pair of TV Jones pickups (Power ‘Tron Plus bridge and TV-HT neck), as well as an optional Gretsch case, and Gretsch Bigsby Rocker bridge (GR-BBRB). The stock pickups are a special pair of mini hums, which give an extra-wide and very dynamic tone range. The Blacktop Filter'Tron bridge pickup has the punch and twang that make it very well suited for rockabilly and Blues guitarists, while the sparkling clean Super HiLo'Tron dual-coil neck pickup delivers warmth, a fat bottom, and plenty of clarity. Yes, the stock pickups are good, but these TV Jones are clearly a cut above and are the choice by more pro players than any other aftermarket Gretsch pickup. The body features a long spruce center block which runs the full length of the body. This center bock eliminates the resonant-frequency feedback found in most purely hollowbody guitars and allows you to dial in much more gain before feedback. The maple body adds some nice high end snap and as it's connected to the spruce center block you'll find better note definition and, again, clarity. Outfitted with nice hardware including Grover tuners, knurled knobs and strap pins, and a Bigsby tremolo, which allows a very easy and fluid bending of notes. It has also been upgraded with a Gretsch bar compensated bridge, but we will switch back to the Tuneomatic at no cost if desired. Other features included set-in maple neck, bound maple body, bound neck, neo-classical thumbnail inlays, inlaid logo, rosewood fretboard, 24.5" scale, and synthetic bone nut. A new one of these will set you back $839 but here’s the deal: Get this Gretsch with the TV Jones ($257 plus labor), Rocker Bridge ($35) and Gretsch case ($139) all for free – for less than the price of a stock model. Smoking deal at $799.

Gibson Les Paul Wiring Harness. Removed from 2011 50’s Tribute Les Paul and includes all 4 USA pots, factory wired together. $20.

PRS USA Tremolo Bridge, (pic2). Part no. ACC-4007, used but nice shape for a used bridge and saddles aren’t worn thru to the brass.  Fits all US-made models. Includes tremolo bridge, saddles, and springs. Sells new for $309 with trem arm; this one doesn’t have trem arm but it’s just $175.

2007 Fender Geddy Lee Signature Model Jazz, (front), (back), (headstock back), (serial), .  From the Artist Series  - a Fender Japan product, in nice condition and a great playing, excellent sounding Jazz.  This is a replica of the 1972 Jazz that Geddy Lee (of "Rush" fame) bought in a pawn shop that he continues to use to this day for both recording and performing, with the same black finish and maple fretboard.  Features 70's appointments including alder body, maple neck with slim profile (front to back) that feels different from other Jazz's I've played, maple fingerboard with black block inlays, 34" scale, 20 medium jumbo frets, black fingerboard binding, vintage tuners, and factory outfitted with a pair of USA Jazz pickups and a Leo Quann Badass II bridge.  Overall it's in beautiful shape, although the pics may show some reflections.  No issues whatsoever, great neck, very comfortable setup.  Sells everywhere for $899-$999 but if you don't mind one that's been played a few times, this one is set up better than anything from the super stores and a nice buy at $629. Includes original Fender deluxe gigbag. For the hardcore Rush fan I also have this mint American Precision with airbrushed graphic from the “Grace Under Pressure” album (pic1 pic2).

1984 Fender Esprit Standard – Cherry Burst, (front), (headstock back), (back), (catalog).  Master Series are all fairly rare, and especially scarce in recent years.  Finished in Cherry Sunburst, which is less common than the Autumn Burst (sort of a Sienna Sunburst).  I'm always actively searching for these but as prices are constantly rising, I’m getting less and less every year. The Esprit was the predecessor to the Robben Ford Signature Model, which was basically the same guitar in a custom shop version (pic of Robben with Esprit Ultra).  When this was made, Fender had been trying to steal a portion of Gibson's market for many years, namely a guitar with dual humbuckers on a double-cutaway body; guitars like the Coronado, Wildwood, Starcaster, etc.  In the mid-80's Fender's effort was this "Master Series", which included the semi-solidbody Flame and Esprit models, as well as the D'Aquisto hollowbodies. The Esprit, Flame, and D’Aquisto all had 3 models, differing by hardware and cosmetic appointments.  The Esprit, was basically identical to the Flame but in a slightly (14" vs. 13") larger symmetrical body (Flame was slightly asymmetrical).  The Standard was the base model with single ply body binding, neck and headstock binding, simple Les Paul style controls (dual hums, dual Vol-tone, 3-way), dot inlays, rosewood fretboard, metal tuner buttons, and an excellent "three-axis" (including side-to-side spacing) Schaller tuneomatic bridge and stopbar tailpiece.  Other features of the Esprit Standard include tone-chambered Alder body with carved maple top and set-neck, 3-pc maple neck with rosewood fretboard, 24 3/4" scale (same as Gibson), flat 12" radius, an special Schaller humbuckers.  The tone chambered body was credited with the Esprit's traditional archtop top, with none of the feedback problems of F-hole type guitars, but the same resonance and sustain--and fuller, rounder tone. The Schaller humbuckers are very highly regarded and are found only on this series. They're splitable, should you ever wish to add a switch or push-pull pot, and feature different spacing for neck and bridge, plus a extra windings on the bridge pickup for a "hotter, mellower sound", while the neck pickup was designed with a higher resonant frequency for clear, lush, rhythm sounds.  The Master Series had a brief run, with the Esprit officially produced from ca. '84 to '86 but actual production run was less than 2 years.  Total production for this model is said to be only around 4,000 units. Here's a good site for the Master Series - http://www.masterseriesguitars.com - with a lot of info on all of the models.  As you can see in the pics, this guitar has been very well cared for, played sparingly, and is in beautiful condition.  If you like low action - this is your guitar.  With the strings slotted low at the nut, the action starts out low at the 1st fret and stays low all the way up the neck.  It is, simply put, a phenomenal playing guitar.  Esprit's have become highly prized due to their rarity and the fact that they're simply great guitars. Clean examples going $1500 and up, and a lot of guys trying to get that for well-worn examples at auction.  For $1399 you're getting a guitar that plays exceptionally well, sounds excellent, and looks beautiful. I think I have a hardshell case to fit it so figure one will be included at that price. The original manual is downloadable at Fender's site: http:/support.fender.com/manuals/instruments/Esprit_(Japan1984)_manual.pdf.

1997 Gibson Explorer – Ebony Finish, (back), (front), (headstock back), (case).  AKA '67 Reissue.  Gibson made another Explorer in this era but unlike the '67, it had the knobs in a triangle pattern, and no pickguard.  The Explorer became a true classic from Gibson ...eventually. It was one of the failed futuristic guitars that Gibson unveiled in the late 50's, which were discontinued until the timing was right, and they reissued them briefly in ca. '67.  It reappeared in '76-'80, and then again in the '90's, which is the era for this one, and has remained in the catalog since that time.  Like the Flying V, and ill-fated Moderne, the Explorer features set-neck construction, with a mahogany neck set in to a mahogany body, nitrocellulose high gloss finish, dual humbuckers (496-R and 500-T) and unbound body and neck.  It has an exaggerated "Z" shaped body, vol-vol-tone knobs in line, with a 3-way selector on the upper treble bout, and the original "hockey stick" headstock with 6/line Grover tuners.  Interestingly, the headstock on the original '58 was the first appearance of the hockey stick, aka "banana" headstock, which was used by Kramer and others in the early to mid 80's on their rock/metal axes.   It's especially unique for a Gibson in that it's pitched and angled, with a 6/side tuners configuration.  This is a cool guitar for the Metallica/Skynard/etc. fan, or anybody who wants to delve into one of the original metal axes, designed 30 years before metal was even invented.  For players who do a lot of lead work on the low strings in the upper register, no guitar provides easier access.  Set up with low action with a fat, warm tone that will fit any type of music.  Cosmetically it’s in beautiful shape – pics were shot before we buffed out the smears. Frets are in excellent condition and it has a super nice setup.  Today's Explorer with weight-relieved body doesn’t compare to the quality of these 90’s models.  If you're looking for an Explorer built in the traditional way, this one's an excellent player that sounds superb, and is nicely priced at $899(HOLD-Cesar 6/1).  Includes original brown case with pink lining and shroud.

Ca. ’79-’82 Fender Jazzmaster/Jaguar Case, (inside), (feet). Need a case for your vintage Jag or Jazzmaster? These early molded case, easily identified by their 4 latch closure and interior compartment door, are hard to come, especially in nice shape. These cases are infamous for having missing latches, loose hinges, and pushed in feet. This one has none of those ailments and is in very tidy condition. $139.

Vox Heritage AC15HTVH Head and V112HTV Cabinet, (head/cab-back), (head), (top), (panel), (back), (cab  cab-back). Built only in 2007 to commemorate 50 years of Vox amps, the AC15HTVH is a hand-wired amp that combines classic AC tone with modern tone-shaping for one of finest Vox amplifiers in their history. It combines the prized EF86 preamp channel of 1958 with the legendary 1963 Top Boost channel for the best of two great tones. It features a tube complement of 1 x EF86, 3 x ECC83/12AX7, 2 x EL84 (power), and 1 x EZ81 (rectifier). Channel 1 is the EF86 Preamp channel with two inputs wired traditionally to provide a 6dB gain difference between them. It also has a two-position Bass Shift switch with position 1 voiced to the original vintage-correct bass response and position 2 with a tigher bass response to reduce any muddiness common in high volume use. A three-position Brilliance switch provides flat response when in the off position. Position 1 is a new position voiced like the early AC30 "Treble" amps, while position 2 is the original brilliance circuit, which acts as a dramatic bass cut. The EF86 Mode switch re-configures the EF86 valve from Pentode mode to Triode mode. Triode mode will give a lower gain tone with higher headroom. Pentode mode is the famed original mode and has a very sweet high gain tone with less headroom. Channel 2 is the Top Boost preamp channel with two inputs wired with a 6dB gain difference. The Treble and Bass controls are from the 1963 Top Boost circuit and are very interactive. With only minor adjustments of these controls you’ll find dramatic changes in tone. The Top Cut control, which cuts high from either channel end as it's turned up, thus the famed Top Boost name. An O/P Switch adds more flexibility as it changes the power tubes from Pentode mode to Triode mode, cutting the output power to 7.5 watts while adding smoother tonal characteristics. The V112HTV cabinet uses a Vox Celestion Blue Alnico 12” speaker, perfectly matched for this 15W amp. It’s truly an excellent sounding setup that should please most Vox fans. With just a bit of home use, this set is in excellent condition and even includes a clean pair of thick Tuki covers (pic2 pic2) over $100 additional value. For a hand-wired head this is nice deal at $1399 which includes head, cab, and some nice covers. Here’s a pretty good demo by ProGuitarShop: https://www.youtube.com/watch?v=vCj6Vvjk7fM.

1996 Fender Standard Strat w/upgraded neck, (front), (back), (headstock back), (neck pic2). Excellent quality Mex Strat from mid-90’s featuring a solid alder body and a quality replacement neck. I’ve had this neck 10-15 years and it’s a great neck. It had a small, non-problematic chip (shown here) which we’ve filled, which is a total non-issue. With no fret wear, I’d guess that it had seen little playing time but Martin re-worked it starting with a vintage logo with top coats of nitro lacquer. He then rolled the fretboard edges for a great feel in the palm, dressed the fret ends with a hemisphere (ball) technique, polished the frets so they feel like silk, applied an oil finish to the back, and installed a bone nut. I believe the neck is an old Boogies neck but it’s unmarked so I can’t be sure. It has a thick rosewood board and real pearl dot inlays. Fender used USA pots (CTS) and switches during this era, and it features original ceramic single coils that sound very good. Cosmetically it’s in lovely shape plays exceptionally well. With a quality neck that’s had around $150 worth of luthier work done it feels like something from a high-end boutique guitar, making this an excellent value at $379, including gigbag.

RELISTED – WITH LOGO: Valley Arts Standard Pro Custom Built 7/8, (front-1 front-2), (back), (now: headstock  back), (before: headstock  back), (tuners/serial), (body stamp), (electronics).  UPDATE: Just pro-installed a VA Custom Pro logo, with multiple coats of nitro on the headstock, back of neck is still sleek satin finish… I’ve had this genuine 80’s Valley Arts USA neck in stock for many, many years.  It’s new, old stock, Serial #0770, and had never been drilled for tuners or neck screws.  As it’s a Gibson scale I patiently waited for the perfect 7/8 body, hopefully a quality, lightweight body that was as clean as the neck.  Finally got in this Warmoth 7/8 body with factory Candy Apple Red finish in immaculate condition.  For pickups we have a pair of old Bill Lawrence, an L-500 bridge humbucker with an L-250 single coil in the neck, keeping in mind that VA offered Lawrence pickups on their guitars back in the day.  Hardware includes German-made Schaller tuners and strap pins, Gotoh vintage tremolo with heavy steel block, and a Wilkinson roller nut.  Controls are simply a 3-way switch and Volume control, but the volume is a push-pull to split the humbucker, yielding 5 tonal choices.  The neck was raw wood so I had Martin finish it with a vintage orange tint nitro lacquer.  This guitar is a joy to play; low action, fast feel, and it weighs just 6 ¾ lbs.  Other than some pitting on the neck plate (I was in too much of a hurry to order a new one), this guitar is in showroom condition.  Just a super nice Strat that’s especially nice for players who prefer the shorter 24.75” scale.  Martin did a really nice job on this guitar and I think it’s a nice value for $850 with gigbag; $899 with a hardshell case.

Epiphone G-400 Gothic Series SG, (front/back), (headstock).  I have a few of these in stock and they’re the best value in a set-neck, all-mahogany SG.  Based upon Gibson's very successful "Gothic" line, the Epiphone Goth Collection features the same Satin-Black finish and Black hardware for a look that's obviously aimed at the rock/metal player.  Features include Grover tuners, Ebony fretboard with side markers, black chrome hardware, Roman numeral "XII" inlay on the 12th fret, a Celtic Cross on the headstock, and Epi ''57 Classic Alnico-V exposed-coil humbuckers.  These guitars are stamped to indicate cosmetic 2nd for reasons we cannot discern - they're totally flawless.  These had a list price of $499, on sale here at $249, including a pro-setup that makes them play better than anything you'll find in the super stores.   Some players want specific pickups in their Epi’s, which we can do, generally $100 parts and labor for a set of Duncans, DiMarzios or EMG’s from our stock.

Morley ABY Box, Simple but versatile ABY selector/combiner. You can choose between two inputs/one output, or one input/two outputs such as to run a signal to a pair of amps for true stereo effect; switch between two amps for dirty/clean tones; bypass a noisy boutique stomp box or your entire pedal setup altogether; and simultaneously run a keyboard and guitar through your effects chain. You can both select which output and/or combine the outputs. Simple but a perfect solution for many players. Made of rolled steel and heavy switches for years of road use. $39.

Keeley Java Boost. Keeley’s take on the Dallas Rangemaster treble booster, one of the iconic tones of the 60’s, with a tone that’s not too far over the top. It emulates the tones used in early Badfinger and Mott the Hoople as heard in this demo (Click here for a good demo from ProGuitarShop). It uses a single germanium transistor, a NOS Mullard OC44 to be exact. In addition to the Tone and Level it features a 3-way mini-toggle, each voiced differently. New cost is $169, or get this clean used one for $109.

Jetter JetDrive. Organic…transparent… Jetter builds good stuff. The Jet Drive is their dual-OD and boost, emulating a tube amp on the edge of breakup. With two low-gain channels, each having three controls: the Volume and Drive and a third one labeled “Lean” (counterclockwise) and “Rich” on the clockwise end. The controls have been finely tuned to a specific range of frequencies that have been optimized for maximum impact and the rich/lean controls are very interactive when the channels are cascaded. The “lean” end has the mids seemed de-accentuated for a flatter tone, more of an even tone across the frequency spectrum. The two channels are voiced differently, with the “Blue” having a more American sound while the “Green” has a more British tone. Here’s a good demo of this version from ProGuitarShop: https://www.youtube.com/watch?v=ZB1Uk9pPD3k. With a new V3 Jet Drive running $259, why not grab this one for $100 less. $159(HOLD-Kevin H 12/31).

Boss FDR-1 '65 Fender Deluxe Reverb Pedal, (stock pic). With tones based on arguably the most desirable amp in history, 1965-era Deluxe Reverb with it's classic clean, superb overdirve, and lush effects. In conjunction with Fender, BOSS designed this stompbox to re-create that legendary tone. Features include the same controls found on the original Deluxe Reverb: Level, Gain, Treble, Bass, Vibrato, and Reverb. It also works great as a pre-gain pedal in front of your overdriven amp to add the tone character of the Deluxe Reverb. One of the cool things about the Vibrato is a tap-tempo feature that lets you speed up the sweep with a few taps of the pedal. In a stage setting, the Vibrato sounds authentic, and combined with the vintage-sounding reverb, this pedal is very good at recreating a tone for around $2K less than the real thing. Boss discontinued these for some reason. I think it’s a very good value for what it does and at $75(HOLD-Norm H 12/29), it won’t break the bank. Here’s a good demo from boss: http://www.bossus.com/products/fdr-1/

Bell & Howell Fleetwood Amps, (back). Ca. 1950’s. I don’t know anything about these but I understand that they were originally amps for movie projectors and that they make very good guitar amps. With dual 6V6 power tubes (plus a third 6V6 for another function) I would guess it cranks around 20 watts of sound. All tubes are old USA and all other components are USA as well. Outwardly looks to be complete other than one 6V6 missing. No way to test so selling “as is”. If you need dual-6V6 trannies, or perhaps some cool old tubes, it’s worth the price in components alone.  One sold, one remaining for $60(SORRY, sold out).

2004 Epiphone Les Paul Classic Birdseye, (front/back), (headstock).  Quality Korean-made model with extremely cool looks with an amber maple top, loaded with birdseye.  Mahogany body is chambered to keep the weight at a very nice 7.8 lbs., a pound or more less than the non-chambered models.  Has all the normal LP Classic features including dual humbuckers without covers, bound body and neck, mahogany body with a maple top, mahogany neck with rosewood fretboard and trapezoid inlays, black headstock veneer with inlaid Epiphone logo, tuneomatic bridge with stop bar tailpiece, and 3-way selector with dual volume and tone controls.  This one has had the pickguard removed to better show off the top.  I think it looks better this way but if desired we can order a pickguard for it.  Just a few minor cosmetic flaws but pretty nice used condition overall. Martin did his magic on this guitar with some minor fret work and it now plays very nicely.  Good deal on a good playing, cool looking MIK Les Paul at $375.

Marshall VS112 1X12 Extension Cabinet, (back), (top), (badge). Good sounding, affordable extension cab for your 1X12 combo or Marshall head. I have a 100W Marshall Valvestate head to pair with this if interested. I haven’t been inside yet but it’s rated at 80W, 8 ohms, and I think it’s a stock Eminence 12” speaker, and sounds good. Plenty of nicks in the covering but no structural issues and at $175(HOLD-Scott D, local 1/15), you can’t complain. We can swap out to an EV Force, JBL E120, or other speaker for an upcharge.

EV Force 12” Speaker and JBL E120-8, (back). Great choice of 12” 8 ohm speakers for your combo or cab. $75 for the Force; $125(HOLD-Dennis K) for the JBL. The JBL, one of the favorite guitar speakers, is rated at 300W so it’s not going to blow in a guitar application. Likewise, the EV at 150W is a great choice for high volume applications. Install either in the Marshall cab above for $25 less, with trade in of old speaker.

2013 Fender American Special Telecaster with American Standard ROSEWOOD board, (front), (back), (headstock back), (case case2). Looking for a rosewood board on your American Special? Here you go! Stock neck on this model is a satin finish maple board. I got this from a player who wanted this model, but with a rosewood fretboard. He ordered a Genuine Fender Parts neck, which is an American Standard neck, packaged by itself. He added another upgraded, a set of Fender locking tuners. The American Special is a recent model that offers the best value in a gloss finish American Tele.  This is my favorite of these models.  Fender chose some great pickups for this model, the custom shop Texas Special, formerly reserved for only high end models.  While I wouldn’t say they’re historically accurate in tone, for most players they will be the perfect choice.  If you play modern country, you’ll probably love these.  They have the Tele twang, but are fatter sounding and, of course, quiet.  Controls are 3-way switch with master volume and "greasebucket" tone circuit which allows roll-off of the tone control without adding bass.  Other features include alder body with Gloss urethane finish, maple neck with modern C-shape profile and ca. ‘59 spaghetti logo, vintage style Tele bridge with 3 brass saddles, modern 9.5" radius, 25.5" scale, 22 jumbo frets, and 3-ply black pickguard. This is an impressive guitar for the money.  The finish is impeccable, quality tone, and a great neck that sets up with nice low action. Offered in immaculate condition. New ones are going for $999 with a gigbag but you can get this beauty, with an SKB case with ATA latches, plus the upgraded neck and tuners, for much less. $850(HOLD-Steve G 1/21) takes this great Tele.

Electroharmonix Satisfaction Fuzz. Keith Richards’s guitar tone on “Satisfaction” is an iconic tone that’s rarely been replicated. From my memory, it’s one of the first instances where a fuzz box was used on a hit recording. You can get this tone, and even gnarlier tones out of the little box. Best of all, it’s only $39, mint in the box.

Boss PH-3 Phase Shifter.  The most versatile Boss has ever made.  Allows for vintage Up and Down effects as well as new Rise and Fall effects, plus 4, 8, 10, and 12 Stage Phasers, plus a Step effect.  With a $208 list, the PH-3 sells for $129 online but this nice used one's just for just $59.

MXR M-102 Dyna Comp, (pic2). Reissue of the legendary compressor from the 70's. The Dyna Comp Pedal creates infinitely clean sustain using a signal-limiting processor that varies its gain so that the output signal stays constant, even when you’re picking attack may vary. Useful to smooth out your leads or as an effect, especially in country music.  Features Output and Sensitivity knobs plus an LED light. The side is signed and dated, and there’s a steer head painted on the bottom so this might be a mod, don’t know, but it sounds great and ½ the price of new at $39.

Fulltone MDV Mini-Deja'Vibe. Without a doubt one of the closest clone ever made. If you’re looking for a 60’s Hendrix/Univibe tone this chorus/vibrato pedal has all the tones nailed down, and is quiet to boot. Finished in Vintage Cream powdercoated finish with oxblood lettering and an LED that throbs to the beat of its asymmetrical rhythm with a pot that gives you access to all speeds from slowest to fastest, all with a perfect sweep and no abrupt speed changes.  The large knob is easy to change speeds on the fly simply by turning it with your toe. It's true bypass and works with the supplied 9V DC adapter or any pedalboard power supply on the market. It has a little Velcro on the bottom but since it's probably going on a pedalboard, I'll leave that on. Overall, as clean as a new floor model. This isn’t the cheaper black model that Fulltone made later. You can still find this cream model new for $249 but get this clean used one for just $159. Includes original box and power supply and paperwork. For a good demo checkout ProGuitarShop: https://www.youtube.com/watch?v=_Nh2Nrn5WaE.

2014 Ibanez Prestige RG652FX - Galaxy Black, (front), (back), (headstock/neck), (bridge), (pickup chart), (case/etc.).  Top of the RG line, Ibanez Prestige are made in Japan and are some of the finest production guitars made today.  The 652FX is somewhat of a departure for Ibanez in that it's a non-tremolo model.  Most Ibanez guitars feature locking tremolos but for players who don't need trems, hardtails offer better sustain and more consistent tuning stability.  Features of this model include nicely sculpted and well-balanced basswood, very fast Super Wizard HP Prestige neck, 5-piece maple/wenge neck construction, rosewood fretboard with 24 jumbo frets and pearl dot inlays, DiMarzio Air Norton and Tone Zone pickups, Gotoh Magnum Lock tuners, and Gibraltar Standard II fixed bridge/tailpiece.  DiMarzio pickups give you a good selection of tone, 5 in all, including inside single coils, and neck humbucker in either parallel or series. The finish is called Galaxy Black which has a lot of silver flake to provide pop under stage lights.  This guitar has seen only a few hours playing time and it's offered in mint condition.  New price on these is $999, or you can get this "as new" beauty, set up to perfection, for just $699.  Includes original case, manual, etc., and a cool roadie tool (pic) for making adjustments to your guitar.

1973 Norman B-30 Acoustic Dreadnought, (front), (back), (side), (headstock), (neck block/label), (case).  Back in the 70's Norman, under the ownership of the revered Norman Boucher, was one of the premier guitar builders in Canada and THE guitar if you were part of the major music scene in Quebec.  They were building up to 5000 guitars at year at their peak.  In 1982 they were bought by LaSiDo (Godin, Seagull, Simon&Patrick, Art&Lutherie).  The design of the instruments in the beginning was based on a Martin model with it’s X bracing and the dreadnought body shape.  One of design features was the unique neck joint, bolted to the body with no heel.  It also features a much smaller, curved neck block (shown here), similar to a classical guitar, that has less mass and, thus, lets the top vibrate more freely.  The B-30 features a dreadnought body, with many cosmetic elements that resemble a Martin at fast glance.  There is conflicting info on the web regarding the body wood.  It definitely has a solid spruce top but depending on the site, sides and back are made of either birch or with maple, but they're in the same family and have similar tonal properties.  Other features include maple neck with rosewood fretboard, mahogany headstock overlay, mother of pearl dot inlays, quality black and chrome sealed tuners, black teardrop pickguard, 3-ring rosette, and black binding on the top.  Overall in wonderful shape for its age but as it has a thin lacquer finish, there is a little wear (shown here) on the sides of the neck and on the back side, waist area.  There are no issues such as cracks, repaired or otherwise, bridge lifting, belly problems, or any other detractors.  At over 40 years the sound has opened up nicely and it has a wonderful tone.  For a few online samples, check out a few YouTube samples here and here. Norman has a loyal following who seek out the older B-series. What can you get for under $430 these days?  Well, around 1/4th of a '70's Martin D-18, 1/2 of a 70's Guild D-25, or a new Korean/Chinese import with plenty of cosmetic appeal but zero tone character...or this nice Canadian Norman B-30.  I consider this an excellent value in a guitar that will be around for decades to come.  $429 includes ultralight case pictured.

2010 Gibson Les Paul Standard Traditional Plus - Heritage Cherry Sunburst, (front), (back), (headstock back), (case). Mint as they come... The Traditional Plus has the construction quality, performance, and great sound offered by the Standard models from the 1980s and '90s, with the added eye appeal of a AA, upgraded maple top. The Traditional Plus features a non-chambered, weight relieved Grade-A mahogany body with a thick "Plus" maple cap for the classic blend of warm mahogany and snappiness and clarity of the maple top. The flame on this one, although not breathtaking as on many custom shop guitars, is the desirable wide flame, and runs consistently across the top, from the lower bout to the upper bout. Gibson's weight relieved body, which has actually been used by Gibson on Les Pauls since 1983, features nine strategically placed traditional weight-relief holes for a beefy tone that maintains the resonance of modern Les Pauls, while losing part of the weight. As a result, this guitar has an excellent acoustic tone, and plugged in it has a more "open" sound with remarkable fullness and sustain. For pickups Gibson chose a '57 Classics which are preferred over Burstbuckers by many of our customers. Other features include gloss lacquer finish front and back, rounded (but not overly chunky) 50's Neck Profile; angled headstock, bound rosewood fretboard, 1.69" nut width, trapezoid inlays, antique binding, Nashville Tuneomatic bridge with stop bar tailpiece, Tonepros Kluson style tuners with a higher gear ratio than traditional tuners, gold Speed knobs, and period correct cream pickguard. Another major aspect which is Gibson did to their higher end guitars in ‘10 is the fret job, which is leveled perfectly via a Plek machine. The Plek machine allows for minute differences in fret height or slight inconsistencies to the neck to ensure frets that are perfectly level and allows for the lowest possible setup without any buzz or fretting out.  They soon found out that it slowed up production and now they only Plek cut the nut on regular production guitars. This guitar had a $3449 list and is one of the nicer traditional guitars Gibson has produced in this century. Offered in brand new condition for $1850. Includes similarly nice case and all paperwork.

Electroharmonix Soul Food, (pic2). Can’t afford $1800 for a Klon Centaur? Mike Matthews designed the Soul Food to yield the same transparent overdrive with the great touch and response. Its circuitry features boosted power rails which give a lot more headroom and increased definition plus selectable true bypass or buffered bypass modes. Mint in the box for $55(HOLD-Greg C 12/14).

Ibanez TS-808 Overdrive Pro. Reissue of what many consider to be the finest overdrive ever made and certainly the most cloned OD of all time. Famous for yielding a smooth overdrive, much like the tone of overdriven tube amp. Tone, overdrive, and level controls, allow you to tweak your tone. Includes adapter to fit Boss type barrel 9V adapters and power supplies. Don’t pay $179 when you can get this clean one for $115 in the box with paperwork.

Square Reader Credit Card Swipe and PayPal Swipe. Get one of each for $25, including Priority Mail shipping. I got a deal on 3 sets and just want to keep one of each. $25/shipped gets a Square Reader PLUS a PayPal.

1979 Fender Deluxe Reverb 1X12, (panel), (top), (covering), (back), (back panel), (tube chart).  Long regarded as the ultimate club amp by virtue of its small & lightweight size, quality reverb and vibrato effects, and club-friendly power rating.  At 20 watts, you can crank these amps up all the way to hit that sweet singing sustain, but still have the volume low enough that you can run some of your tone through the house mix.  This unit is super clean as the tolex covering has been changed to a durable fabric type, black tweed (shown here and here).  It's a pro job with no sags or bubbles and perfect seams.  Grill cloth is very clean and the panel is in nice shape.  Worst cosmetic flaw are the top straps which have typical corrosion of a 30-year-old amp but I have a new pair we can swap out with if desired.  The speaker is Fender/Eminence, but I believe it's more recent than the amp.  Front panel features a Normal channel with Vol-Treb-Bass; Vibrato channel features volume with pull boost (actually sounds okay if you turn down the treble), treble, bass, reverb, and Vibrato speed and intensity.  The back panel features speaker out, extension speaker out, Line/Recording out, and vibrato/reverb jacks for a foot pedal.  Tube compliment includes a GT 5U4 rectifier, a pair of GT 6V6 power, with six preamp tubes, all old USA tubes, with a mix of 12AT7, 12AX7, 7025.  This amp is the last generation of the silverface era.  In 1980 the blackface with silver grill became an option and by '82 the Deluxe Reverb II blackface style replaced this model.  The Deluxe Reverb II was a hot rodded amp designed by Rivera, and was a completely different animal.  Prior to that big switch, Deluxe Reverb had a very long run with only minor changes to the circuit, which makes any of these amps highly prized.  With blackface models commanding $2500 and up for clean examples, you can get a silverface model that is nearly identical in tone, for less than 1/2.  If you're one of those guys or gals who likes clean gear, this amp is in great shape but for the player, it sounds fantastic, like a Deluxe should.  It's quiet at idle, and has no crackle or pop, and Martin just cleaned all the pots and jacks.  This amp is ready to gig right out of the box.  A killer deal on a killer amp at just $950.

Way Huge Aqua-Puss MKII Analog Delay, (pic2). For slapback repeats and thick delay, this pedal is hard to beat for the price. It has the warmoth and subtle warble of the classic analog delays and is probably much more reliable than an old DM-2 or AD9. Like those pedals, it features the same limited delay time of 300ms but with increased repeats and depth you can do a lot with it. Offered mint in the box for $105.

Keeley Modded Ibanez AD9 Analog Delay, (front), (bottom), (circuit), (markings). Older model AD9, Japan black label, in great condition. Keeley does some radical mods now, with dual expression pedals, but this has his basic mod from years ago. Namely, an improved bass response, upgrades to metal film caps and a new Burr Brown IC.  Keeley also adds an additional on/off switch on top to make it a true by-pass. The stock footswitch no longer engages the pedal; indeed it puts the pedal instantly into infinite repeats. You can do some pretty cool effects with infinite repeats! Has some Velcro on the bottom but the label is still intact under the Velcro. Ibanez discontinued the AD9 but if you want the Maxon AD9 you’re looking at $285. How about one that probably sounds better for $145(HOLD-David S 12/10).

Ayers O-03C Orchestra Cutaway, (front inlay), (back), (headstock back), (label), (binding), (case #2).  We were blown away with the construction quality of this Ayers. We’re not USA/European guitar snobs as we’ve encountered some fine guitars now coming out of Southeast Asia. Gone are the days when you could easily tell where a guitar is from a quick look and strum. The finish, tonewoods, and fine attention to detail on this Ayers holds up to North American guitars costing 2X or 3X the price. The main savings in hand-building guitars comes from labor and because of that the consumer really benefits. Ayers has been building since 1989, with a strong market in Europe, Asia, and Australia, but recently they’ve been distributed out of Salt Lake City UT and are starting to come on the secondary market. For players who like the warm, mellow tone of mahogany, this O-03C easily fills the bill. Features include O-size cutaway body with top/back/sides of African mahogany, dovetail neck joint, 1-pc African mahogany neck with East Indian rosewood overlay, East Indian rosewood fretboard, Gotoh 301 tuners, East Indian rosewood bridge, ebony bridge pins with abalone dots, maple body binding, maple purfling, maple/mahogany/rosewood rosette, Viet Nam rosewood sun inlay in top, gloss finish body with satin finish neck. Set up is very comfortable and it’s a guitar that feels like a quality guitar the moment you pick it up. Online price on this one is $1199; or you can get this immaculate one for around ½ price, just $639. Includes original Ayers gigbag, excellent protection with plastic handle and tuck-away shoulder straps on back.

2001 Epiphone ’56 Les Paul Goldtop – Many Upgrades, (front), (back), (headstock back (Sperzel/Ltd Seal), (ding), (case #2). Very cool guitar made with all the upgrades that make this a professional quality instrument. This guitar is basically just the stock wood, with virtually every piece of hardware and electronics upgraded. The main feature are a pair of Shed (made in UK link) Vintage P90 Soapbars with coils wound from old stock black 42 AWG plain enamel. Shed’s are up there with the top of the heap of boutique pickup builders and where Spence has had some problems with timely shipping it’s universally agreed that he builds fine pickups when you can get them. Additionally, all pots have been changed to USA CTS. ABR-1 bridge and stopbar tailpiece have both been changed to Callaham, built with cold rolled steel for improved sustain and reliability. Sperzels locking tuners were installed for improved tuning. Lastly, it has been pro refretted with jumbo frets, dressed to perfection for low action and true string bends. This guitar sings like a mid-50’s Paul and plays beautifully. We’re just super pleased to offer this quality at less than 1/3 of a Gibson R6. Cosmetically, it’s in pretty nice shape, other than a small ding shown in the pic above. No biggie. As you might guess, the upgrades cost far more than the guitar itself, totaling well over $800 in upgrades alone. Get the whole guitar, along with an older Ibanez case, for just $699, or $650 with gigbag.

1957 Gretsch 6150 Compact Combo, (front/side), (back), (top), (speaker), (serial). Remarkably and clean and all original. I love this amp. Love, love, love this amp. I thought it sounded great when I was playing it like a Tweed Champ, going for a smooth overdrive tone. With the hot P90 pickup I was using it was only clean to around “1”, and became more saturated the more I turned it up. Beautiful. Then today (12/4/15) one of upstate’s hottest Tele players, Ian S from Woodstock, stopped by and just as he was leaving I suggested he give me his opinion. Playing a Tele loaded with low output custom wound pickups it sounded completely different. The guitar, combined with his soft fingerstyle comping, yielded some of the smoothest, sweetest tones you’d want to hear. No distortion at all, even with the amp cranked to 8. He put it succinctly, stating that it was the best small combo he’d ever heard, and that it would be a perfect studio amp. Specifically, he said that it’s combination of warmth, fatness, and clarity were rare in a small amp and, more, that it actually sounded like it had a touch of reverb. I agreed, and think that we meant that the tone was so liquid and fat, there was no sterility to the amp and that notes blended together in a wonderful way. Okay, that’s my story and I’m sticking to it. This Valco-made 6150 had several cosmetic changes after ’57 but I think this is the coolest, with its wraparound grill, spotted gray and white covering, and gold piping. As you might know, Valco built amps for other companies, including Supro. These Gretsch versions are said to have nicer cabinets and hardware than the Supros but they have the same circuits and speakers, which makes Gretsch an excellent value, considering Supros cost 2-3 times as much as a Gretsch. Jimmy Page favored the Supro 1606 Super, which I believe is essentially the same amp as the Gretsch Compact. This amp uses a single 6V6 power tube, a 12AX7 preamp, and a 5Y3 rectifier, to deliver around 5 watts to the original Rola speaker, which is dated 45th week '56. All tubes are RCA, might even be original. I found a schematic online (link) should it ever need servicing. You can see from the pics that it’s in very tidy condition with no horrible flaws anywhere. We have not deep cleaned anything on it to preserve the vintage patina to the covering, grill, and panel. I’ve seen beaters of this example, with replaced speaker, going for $550 and it’s probably worth it. For a clean one like this I think it’s a bargain at $750(Tent. Hold – John B 7/18).

Teese RMC5 Real McCoy Wizard Wah, (bottom). Geoffrey Teese's wah pedals are perhaps the most highly regarded on the market, use by countless pro's on stage and in the studio. The Wizard is a chameleon, part RMC1 and part Picture Wah, the Wizard Wah sounds like nothing else, with extended sweep range, rich, tight lows, smooth mids, a natural sounding top end, and a slight overall boost. It is slightly darker than a "normal" wah. The top end gets only a little brighter than the actual guitar sound and it has a very smooth overall sound - the low has close to the same signal strength as the mid and the top. Unlike the RMC1, the Wizard is designed to work with most any pickup configuration and any amp gain structure. Like all RMC's, it is developed and built by Geoffrey Teese and includes true-bypass and AC adapter jack.  Beautiful condition and a nice buy for an RMC at $150.

Diamond TRM-1 Tremolo. At the heart of the Diamond Tremolo is a 100% analog signal path utilizing an optoisolator like vintage tube amps of the 60’s. The analog signal path is combined with a microprocessor controller to provide a host of cool features including tap tempo and footswitchable double speed mode, user selectable waveforms (sharkfin, sinewave, square wave and ‘chop’), timing accents (3/4, 6/8, 2/4 and 4/4), rhythmic trem mode, 'Chaotic’ mode – random speeds with any waveform, and TapView which allows the player to visually see the tempo and tap speed while tapping a new setting. At no point is your instrument signal converted to digital so everything you hear is completely analog. It provides true vintage sounds, but with modern flexibility. Here’s a great ProGuitarShop demo: https://www.youtube.com/watch?v=PtY7gYzt7EI. Sells new for $249 but this one’s barely used in the box and just $175(HOLD-Dave B local 2/17).

Paul Cochrane Timmy Boost/Overdrive, (pic2). Another one, this one’s mint in the box. The Timmy pedal features separate Bass (pre-distortion) and Treble (post-distortion) cut knobs, a Gain knob to control amount of clipping, and a Volume/Boost to control output gain. With an earned reputation as a truly transparent signal, the Timmy serves as a top-notch clean boost as well as an Overdrive. Bass and Treble cut knobs are extremely effective in tweaking your tone for one of the best OD's ever made. Dano even copied the circuit their Cool Cat Transparent Overdrive that had been selling for $85-$100! Here you can get the real thing for just $99(HOLD-Tim K 12/1).

Fulltone FB-3 Fat Boost. The FB-3 is a discrete, Class-A, FET (Field-Effect-Transistor) guitar pedal with up to 35dB of non-distorted gain while retaining your original sound (if that’s what you want it to do). You can fatten/distort your tone, brighten or mellow it out, add or subtract bass, and even add harmonics. This is the latest and definitely best of Fulltone's Fat Boost line, curing Version 1’s huge bass increase and dull high-end issues. It brings back the 11-step detented Gain control that was missing from Version 2 with an additional stage of FET. It features an extra octave of bass coverage, giving a natural sound to your guitar. This Fulltone Guitar Pedal makes you comfortable on your pedal board, and its large Volume and Drive knobs provide easy adjustment onstage. Don’t pay $95 for a new one when this one’s like new for just $65(HOLD-Duke T 1/21).

Line 6 FBV Express MKII Floorboard.  Unleash the full power of your Line 6 amp or POD and get hands-free control over your presets, tap-tempo your time based effects, activate the chromatic tuners, and enjoy one of the best wah-wah and volume controllers you'll find.  It's built for many years of road use but small enough to fit into a briefcase.  It also controls the 14-second Quick Loop on most Spider amps.  Easily toggle the rocker pedal between volume and wah (with associated LED indicator) via a toe switch.  Easy-to-read LCD shows tap tempo, active channel and chromatic tuner (when activated).  FBV Control software allows unlimited mapping of FBV controls via USB and connects via RJ-45 cable or USB.  This unit is self-powered and includes a very long stage cable to run from  the front of the stage to your backline.  Barely used and includes manual and other docs, as well as original box. Full details and software updates are available at Line 6's site: http://line6.com/footcontrollers/fbvexpressmkii.html . If you use your Line 6 gear live, you need this unit and it’s just $59. Note: I also have one mint in box for $69 (pic).

Top Hat Club Royale 2X12 Combo, (top), (panel), (back), (chassis switches), (tube chart). This is possibly the ultimate for AC-15/AC-30 tones. At 20 watts it falls right between the two models but in tone, many think it’s superior to the original 60’s classics. It's a Class A amp with a warm, nicely compressed Vox tone. It has a softer attack than most Class A/B amps, with a lovely bloom after the attack. Driven to distortion it delivers what I feel is a smoother sound than the Vox models. It’s capable of higher gain than the old Vox’s but it’s not what I’d call a gain monster like Marshall or Boogie. With that said, it excels at Rock and Blues and is easily capable of a long, singing sustain when cranked up a bit. Controls include Master Volume, Cut (sort of the opposite of a Presence control to cut the highs), Bass, Mid, Treble, and Volume. Purists might thumb their nose at the separate Volume control but it actually sounds very warm and natural with the Volume overdriving the Master, as natural as any amp I’ve had. There’s also a 3-way tone switch for Fat/Off/Bright to further dial in the Boost. The Bright delivers a really nice high end sparkle that should be great in playing in larger groups or bands with a keyboard player. The Fat boosts the amps midrange that will thicken up a Strat nicely, but many will find that’s the sound that they want, regardless of guitar used. On the chassis there’s also a Soft/Normal switch to change the solid state rectifier’s response with the “soft” being saggier, like a tube rectifier, and the Normal having the feel of a SS rectifier. For players who feel that a single-12 combo bottoms out on the low end, this baby is no problem, with a pair of quality 12’s to keep it solid in the bass. Installed are a great combination of Vox Blue Alnico and Celestion G12H-30. The new model Club Royale 2X12 will set you back $2200. You can have this clean, used one with home use only, for $1399. Oh, it’s a lightweight amp as 2X12’s go but you’ll be happy to see it has a set of quality casters installed.

1967 Epiphone Riviera E360TD “Wayne”, (front), (back), (headstock back), (finish checking), (label), (case), (Wayne inlay). Excellent quality Gibson-made Epi from the Kalamazoo MI factory. During the 60’s Epiphones were made by Gibson through 1970, when production shifted to Japan. Most Epi’s have a similar Gibson counterpoint and in the case of the E360TD, it is the Gibson ES-335TD, with the same woods, dimensions, finishes, etc., with the most outward difference being the parallelogram inlays on the Epi, while Gibson used blocks on the late 60’s ES-335. Additionally, the Gibson used PAF size humbuckers, while the Epi used the newer Mini-humbuckers, which in this case have the PAF sticker on the underside. Last owner, who had this guitar for 10 years, never noticed this but it has an old headstock repair (with flash without flash), which we spotted only after viewing a pic with a flash which upon closer inspection was a very clean crack repair. It was a good job both cosmetically and integrally, and does not pose an issue. In addition, looks like a SSN engraved at the base of the neck (pic). This is a lightweight guitar that plays easily and sounds very good, even with some higher amp gain. It is a single-bound, 16” wide, 1 ¾” thick laminated maple body with a maple center block. The one-piece mahogany neck has a nut width of 1 9/16”, with a standard Gibson 24 3/4” scale length and a comfortable medium neck profile. It has the black-faced 'long' headstock with overlay and inlaid pearl "Epiphone" script logo and pearl vertical 'cloud' inlay. Serial number "89516" is stamped in black on the label. Kluson-style no-line tuners with keystone plastic buttons appear to be replacements. Also, I’ve seen a number of these with Bigsby vibrolas but I don’t think any left the factory that way so it’s likely a replacement as well. Originally it probably had the trapeze tailpiece. The cherry finish is very vibrant with minimal fading. Included is a quality Canadian TKL case with arched top. The most unique aspect of this guitar, of course, is the name “Wayne” professionally engraved on the upper treble bout. I don’t have a pickguard for the guitar but an OEM model would cover most of it. Better yet, let the world know you are the owner of Wayne and display it proudly. Clean original examples of this guitar are going $3K-$4K but if you’re a player looking for a solid, nice gigging axe with a cool vibe, I think $1700 is a great price for a ’67 Riviera.

Dean Deluxe V Case DHS-V, (pic2), (tag). Excellent quality protection for your Flying V. If you’re looking for a lightweight case…this ain’t it. It’s heavy and will protect your guitar very well. Available online for $119-$139. This one’s like new and $79. Includes key.

1960’s Gibson SG Case, (pic2). Pretty nice shape for 50 years old. This is the chipboard case usually sold with SG Juniors and features the black stitched exterior and brown mouse fuzz interior with gold Gibson logo on the compartment door. Handle, latches, and hinges are all intact. Looking for the proper home for your old Junior? Get this one for $65.

Blackstar ID:Core Stereo 10 Portable Combo, (controls). Excellent portable amp with a huge sounding, wide stereo field. I rate this amp as high as the Yamaha THR series, but at a much better price. It has two 5-watt amps, each through a full-range 3" speaker, providing true stereo output. Features include 6 guitar amp voicings, from squeaky clean to full on metal, and built-in effects including modulation, reverb, and delay effects. The patented ISF tone shaping lets you choose tones of  American amps, British amps, or a blend of both. It features a built-in Aux input for jamming with an MP3 player and has USB connectivity for easy recording directly to your computer and editing sounds with downloadable software for tweaking custom sounds speaker-emulated line output. This line output allows you to record straight to your recorder or audio interface for silent recording. Offered in immaculate condition and an incredible deal for $65.

1989 Fender HM Strat - Blackstone, (front), (back), (headstock back), (contoured heel), (case case2).  Super clean guitar and case – collector’s condition. Another killer HM Strat in one of the coolest finishes, "Blackstone".  Blackstone has the look of marble with a black finish and hundreds of fine lines that create a marble effect.  To repeat my opinion made countless times, HM Strats, from my experience, are the most consistent SuperStrats from the 80's when metal reigned supreme and locking trems, jumbo frets, flat fretboards, and at least one bridge humbucker, on a Strat-shaped body, were requirements.  Compare these guitars to Jackson, Charvel, Rich, Hamer, Kramer, etc., and the HM's consistently have the best necks and, almost without exception, set up with the best action.  Although there is virtually no difference in quality between the USA and MIJ models, I believe this one to be a USA model, by virtue of the DiMarzio Super 3 (hex pole) and American Standard neck/middle pickups with both MBX and TBX tone controls; I think the Japan models have ceramic neck/middle with black/white wires, and they do have the DiMarzio Super Distortion with combination slotted/solid poles, plus tone pot and TBX.  Features of this model include HSS pickup arrangement with a DiMarzio Super 3 and two single coil USA Strats in the middle and neck.  With the 5-way switch and coil split mini-switch, this guitar does all of the classic Strat tones plus the hot&fat humbucker tones that were popular in music of the day.  Other features include a Kahler Spyder double-locking tremolo (licensed by Floyd oddly enough), quality Gotoh tuners, Kahler locking nut only (rather than the locking nut behind the standard nut found on the Kahler Pro, flat fretboard (17" radius) with 24 jumbo frets, shorter 25" scale, Strat shaped body with the cutaways and heel beveled to provide maximum ease in playing in the upper register.  This guitar is all original and in exceptionally clean condition. The only real wear is the low-E fine tuner, worn to the brass (typically, most or all have some wear).  Body is super clean as is the frets and fretboard, tuners have none of the pitting common on these, and the neckplate, usually with half of the black plating worn away, is in perfect condition.  The set up is very low and buzz free. Well worn HM's are going over $600 but this is one of the nicest I’ve had, in a cool finish, for  $749.  Includes a very clean original Fender case with all latches and hinges intact.

2007 Gibson SG-3 Prototype – 3PU SG Standard - Heritage Cherry, (front), (back), (headstock back), (case). Stunning triple PAF SG Standard in classic Heritage Cherry lacquer finish! In ca. ’61 Gibson changed the Les Paul to the SG body style and the Les Paul/SG Custom had this same 3 pickup layout. The feature was resurrected several times since then, more often on the single cut Les Paul than the SG. Here’s the story on this guitar: Vince Wynne of Gibson customer service verified that this is a limited edition precursor to the better known SG3 that was one of the guitar of the month models in 2007. The primary difference was the GOM model had only 3 controls (volume, tone, rotary selector) while this has the usual SG layout of dual volume and tone controls.  Additionally, this guitar differs in that it has chrome/nickel hardware instead of gold. Pickups are Burstbucker Pro Lead in the bridge and middle, with a BB Pro Rhythm in the neck (note: he said it originally would have had Classic ‘57’s so they’re probably changed). All other aspects are original and it’s very much the same guitar as the recent SG Standard with the ’61 style small pickguard, neck binding, trapezoid inlays, inlaid logo and crown emblem on headstock, and gloss lacquer finish over heritage cherry mahogany. Cosmetically, it’s in nice shape even with some clear coat buckle scratches on back; frets are in excellent condition; great set up. If you’re looking for the vibe of a 3PU SG, there aren’t many to choose from, especially if you don’t want to pony up a few grand for a historic LP/SG Custom.  This one’s just $1150(Hold - Brian G, local 11/14) and it’s indeed a nice guitar and a rare guitar. Includes original black case.

Digitech RP155 Guitar Multi-Effect, (back).  Nice price unit that's great for stage or studio and now includes 20-second looper! The RP155 gives you 83 amps, cabinets, stompboxes, and effects allowing you to get practically any sound you want, in addition to humbucker and single coil sounds out of whatever guitar you're using.  It's also a great practice tool with 60 built-in drum patterns.  With USB streaming audio, the it allows you to easily record directly to your computer's DAW.  Effects include 48 high quality models including genuine Lexicon reverbs, plus Vox Clyde Wah, Boss CS-2 compressor, Arbiter Fuzz Face, Boss CE-2 Chorus, MXR Flanger, Digitech Whammy, Fender Twin amp reverb, digital-analog-tape delays, and much more. Very clean shape and works perfectly. Here’s a good demo: https://www.youtube.com/watch?v=kWVR4edDtlg .  At $65, it's worth it for the price of the looper alone.  Includes power supply. (note: I also have the bass model in stock)

OFF-HOLD: 2010 Fender Artist Series Eric Johnson Stratocaster - White Blonde "light relic", (front), (back), (headstock back), (neck markings), (case/etc.).  After some debate we decided to refinish the neck on this guitar. Original owner wanted a more natural feel and removed the lacquer from the front/back of the neck as shown here and here and slightly boogered the logo.  We went ahead and restored the neck to the vintage tint nitro lacquer, installing a new proper logo along the way. We didn’t do the body, which would have been cost prohibitive, including some wear around the forearm, some fine finish checking, minor scratches, and a few pickguard chip cracks/chips.  It does have a more broken in feel now.  The Eric Johnson is our best selling Strat and they're impossible to keep in stock.  As I've mentioned many times, it's my opinion that Eric Johnson Strats are the best signature models Fender has ever made, including their custom shop models.  Each one I've had exhibited commendable acoustic tone, excellent sustain, and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone, and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quartersawn maple neck with vintage tint, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  This is an excellent Strat with a sweet resonant body and an excellent setup and it’s seen actual little playing time so the frets are near perfect.  If you're contemplating buying a new one for $1899 ($2599 list) here's one with a little accelerated mojo, set up to perfection, for much less.  $1150(HOLD-Steve G 1/20) includes blonde EJ case with various case candy.  

AKG SR40 Instrument Wireless, (back). Includes PT40 Instrument pack and power supply. This is a perfect unit for club musicians wanting a reliable wireless system without spending a fortune. I used a similar UHF unit back in the 80’s and never had a single occurrence of drop outs or interference. Back then though, it cost $300! The SR40 features adjustable squelch for noise-free reception, folding front-panel antenna for easy rack-mounted use, frequency color code, and an RF LED to indicate signal reception status. The adjustable squelch and output level control permit optimum signal matching to your amp or mixer while professional outputs include a XLR and 1/4" jack. It's housed in a metal half-rack case for standalone or rackmounted operation. Nice reliable unit for $59.

2015 Fender Eric Clapton Signature Stratocaster - Vintage White, (front), (back), (headstock back), (case). This beauty is in fresh out of the box condition, virtually unplayed. With a beautiful set up it deserves to be picked up and enjoyed. The Clapton was Fender's first ever signature model, becoming available to the public 1988, and other than a few different model pickups, is virtually unchanged since '88. The model is based loosely on Clapton's original "mutt" nicknamed "Blackie" that he assembled from three mid-50's Strats. This model appears much the same as Clapton's prototype guitars. The guitar uses a lightweight alder body with a polyurethane finish and single-ply white pickguard, plus a soft-V shaped 22-fret maple neck. Other distinct features include a "blocked" American vintage synchronized tremolo, and special electronics circuit that features Fender's TBX pot (middle knob) and an active 25dB midrange boost (bottom knob), which are wired to work on all pickup settings. 25dB is an amazing amount of boost and makes these Noiseless pickups sound so fat, they're very must like humbuckers in their sound and performance. With the mid-boost turned down to "1", it's virtually out of the circuit and sounds like a regular Strat, as you turn it up the pickup gets fatter and fatter, with hotter output. The TBX knob is detented at "5", working like a regular tone control from 1-5, and from 5-10 acts like a treble booster, adding additional sparkle and clarity. Other features include vintage style frets, modern 9.5" radius, black dot inlays, satin urethane neck finish, 1 5/8" nut, Clapton signature on headstock, 4-Bolt neck with Micro-Tilt adjustment, chrome hardware, synthetic bone nut, American Vintage synchronized tremolo, and American Vintage Kluson-style tuners with metal buttons.  Includes a Fender tweed case as clean as the guitar, as well as cable, strap, tags, and assorted paperwork. With a new one running $1599, why not get this “as new” 2015 model for less. Just $1150(HOLD-John G 12/1) for this great Clapton.

2008 ESP LTD Deluxe MH-1000 - Snow White, (front), (back), (headstock back), (abalone pic2), (case pic2). This is one beautiful guitar. Check out the loads of abalone inlay, adorning the entire body, edges of the fretboard, and around the headstock. It also has abalone offset block inlays and a pearloid inlaid logo, with black nickel hardware. Absolutely stunning. ESP recently discontinued this model in favor of the cheaper M-1000, although it's still the same $879 price. The M-1000 has none of the stunning cosmetic appointments of the MH-1000, specifically no abalone inlays anywhere and a plain, painted logo. Oh well; that's business. Features of the MH-1000 include Floyd Rose 1000 double-locking tremolo, EMG 81/85 active pickups, carved top mahogany body with "set-thru" maple neck, rosewood fretboard, thin U-shaped neck, 24 extra jumbo frets, grover tuners and, again, abalone trim all around. This one had one minor finish repair to the tip of the headstock. (before) and (after) pics show where Martin sealed it up with glue and then refinished it lightly in white. It’s not cosmetically perfect but structurally it was never an issue. Otherwise, very clean with just two very faint check lines on front and some very minor clear coat scratches on back. If you’re an EMG fan you’ll love the clear, powerful tone of the 85/81 combination, which is favored by Zaak Wylde and many others. The set up is very low, which makes this an extremely fast neck. Nice. This model sold new for $879 without a case or gigbag. This one INCLUDES a form fit ESP case and if you don't mind a minor finish repair on the tip, is an excellent bargain at $649 with case or, with a gigbag, $569.

BOSS AW-3 Dynamic Wah. Gives you classic-style wah effects and more. Choose between fixed and auto wah, or add an optional expression pedal. You also get a 'humanizer' function that lets you create wild, human-voice type sounds! This pedal can be controlled automatically via a tempo control, or externally using an expression pedal. Also, it's not just for guitarists, being a Dynamic Wah it has separate inputs for both guitar AND bass. It's easy to use and with a new one selling for $119, save on this clean used one for $75.

Boss CE-5 Chorus Ensemble is an excellent chorus pedal and the 4th pedal in Boss Chorus Ensemble line, going back to the famed CE-2 and the original CE-1. The CE-5 added a level control and a high and low filter control and has been in production for over 20 years, which is far longer than any other chorus in the CE series. Overall nice shape other than label came off the bottom with some Velcro.  With new ones going for $99 this is a nice buy at $49.

VFE Pedals Fiery Red Horse Fuzz.  VFE hand makes quality boutique pedals in their shop in Puyallup, WA.   The Fiery Red Horse is a versatile pedal that goes from standard overdrive or it can shift the midrange to get very throaty, or nasally, as desired.  It's often described as similar to the triangle-era Big Muff.  Dial in the Sustain and Tone knobs to set your rough tone, then tweak it with the voltage starve mini knob or mid-range mini knob to bump or scoop the mids.  The mini toggle switch adjusts clipping with a choice of Symmetrical, single-sided germanium, and 3mm LED.  They change the clip in different ways plus changing the level and gain so you'll likely need to tweak the Level control at times.  An additional internal trim pot adjusts the brightness of the pedal’s LED.  VFE's true bypass switch uses an optical relay, which prevents the common ‘popping’ when switching.  They’re building the FRH Version 2 now but these ran $149 new.  This one’s in perfect condition for $85.

Jet City Afterburner Dual-Stage Overdrive. Clean Boost and OD in one! The first stage is a straight-up overdrive for adding gain to the front-end of a tube amp. The second stage is a "clean" boost to punch up your level for solos, etc. It features an independent control of overdrive and "afterburner" boost stage. The volume controls the overall output level, and the tone controls the tone definition. You can dial in quality tones - blues, funk, or rock, and it’s built with Jet City’s boutique-quality materials, spec’d by Jet City Amplification. These are $89 new, or you can get this one, “as new”, for just $59.

Focusrite iTrack Professional Dock, (back), (lit up), (misc.). Note: Unit is for users who want to record strictly on an iPad (4th Gen)/iPad Air/iPad mini/iPad mini with retina display - with official Apple approved "Made for iPad" status). The sleek Focusrite industrial design provides the perfect platform to dock, charge and record music with the new generation of iPads with Lightning connectors. It is the best sounding iPad-based workstation, featuring premium Focusrite A-D/D-A conversion with over 105dB dynamic range and the ability to record at up to 24bit, 96kHz sample rates. It uses Two Focusrite Mic preamps, as featured in the Scarlett range of USB audio interfaces, including 48V Phantom power for use with condenser microphones and unique gain halos to easily set the input gain. It also provides a guitar input with plenty of clean, clear headroom to capture both quiet and loud guitars with remarkable clarity. It also has a USB MIDI port for class compliant MIDI controller connectivity (MIDI + power) - perfect for connecting a controller like the Novation Launch key or Launch key Mini. This unit is mint in the box with registration code, manual, power supply. Sells new for $199; get this one for just $135.

2009 Fender Custom Shop '62 Stratocaster Heavy Relic, (front), (back), (headstock back), (wear1  #2  #3), (case etc.).  Very cool custom shop model in Candy Tangerine, which looks close to Candy Red. In addition to the tangerine color, it has a silver undercoat, with a white “Fullerplast” under the silver, while a Candy Red uses gold, then white. Lots of heavy wear to the body on this one, which a lot of you guys and gals love; they beat the living crap out of the body with plenty of areas worn through some, or all, coats, and most of the back of the neck taken down to wood. Likewise, the hardware is heavily discolored, and the pickup covers have rounded worn edges, again rendering the appearance of a guitar that’s spent most of its life on stage. In truth, it’s seen scant actual use which means the frets are perfect and it plays as good as the day it left the factory 6 years ago. Like a lot of Relics, Fender listened to customer feedback and used the modern large frets and flatter 9.5” fretboard radius, which means it plays just like your favorite modern Strat. At 7 lbs. 13 oz., it’s lightweight and very resonant; nice loud acoustic tone.  The body is swap ash, and I think Fender was using “Custom Shop Strat” pickups in ’09, which sound very good and, of course, have rusty pole pieces. This is a great Strat at great price, $2250(HOLD-Kevin F 11/12). Includes ’62 style brown case, certificate, cable, cloth, strap, paperwork, and back cover (which we can install upon request).

2011 ESP Eclipse I CTM PL, (front), (back), (headstock back), (case case2). Quality Japan-made Standard series, before the wacky E-II or the model with the big “Standard” as part of the logo. Real ESPs, such as this Eclipse Standard I are quality guitars that hold their own against any USA builder. I’m not sure what changes they’ve undergone but ESP has really mixed up the market with their ’13 logo (pic) and more recent ESP-II logo (pic), the latter also including a significant price drop. Personally, I’ll take the Eclipse I any day, since they’re great guitars, no questions asked. This model came in a “regular” style with belly cut and thinner body, and this CTM style with a thicker body and no belly cut, more like a traditional LP. Other features include a solid mahogany body with maple top, set in mahogany neck, 22 extra jumbo frets on ebony fretboard, 24.75" scale, flag inlays on fretboard, EMG 60 and EMG 81 humbuckers, 3-way toggle, dual volume and tone controls, Gotoh Tune-O-Matic bridge and Gotoh auto-block tuners. Cosmetically it’s in beautiful shape, with a set up as low as you want. Just a really nice rock guitar in all regards.  Priced at $1050(HOLD-Delano H 12/15) including the good ESP case with leatherette ends and white piping, form fit to body.

1986 Gibson SG Standard – white w/Kahler, (front), (back), (headstock back (serial), (Kahler/black covers), (case). Unique SG Standard from the 80’s with features such as large headstock, small ’61 style pickguard, pickup selector located above control knobs, black hardware, and factory-installed Kahler tremolo with locking nut. Tuners are the black Kluson-style with keystone buttons, marked “Gibson Deluxe”. Pickup covers are sort of smoked black but like everything else, all looks stock other than an extra strap pin located on upper horn on back. All original electronics including pots from late ’85 (pic), and patent-engraved on back of pickups, which a lot of people refer to as “Shaw” pickups, which did run into ’86 but I can’t say that they’re Shaws. This model also has the side output with factory barrel jack, which Gibson had been using since the early 80’s. Worst flaw are a few finish chips on side, not visible from front (pic). Like most Standards, it has higher end features like inlaid logo and flower pot on headstock, black headstock veneer, bound neck, and pearloid trapezoid inlays. You can see how yellowed the finish is in this pic of the (pickup cavity). All original electronics including pots from late ’85 (pic). Very comfortable set up with the classic SG tone made famous by Angus, Trucks, and Clapton/Harrison back in the day. White finish is highly desirable and the yellowing is thought by most to be a cool thing. Nice guitar all around including original Protector case. Yours for $1150.

2007 Gibson Custom 1959 Les Paul Reissue R9 – “Aged”, (front1 front2), (back), (headstock back), (cavity/caps), (pickups), (checking1 #2), (wear1 #2 #3), (case case2).   Gibson's cream of the crop; '59 Historic 'Burst, with an amateur relic job. Good news for the player – this one’s a fraction of a pristine example.  Beautiful flamed maple that goes all the way to the edges and into both sides of the upper bout unlike some other finishes which have a wide band of dark stain around the edge. As you can see in the pics, original owner wanted an aged relic and somehow did some decent finish checking, but also put some wear on the top in the forearm area and a few lesser areas of wear here and there. Additionally, the back of the neck is partly “worn”, as is a small area on the edge of headstock, shown in the pic above. I’m not sure of the significance, but “E.M.” and “Duane” are etched at the base of the neck. The good news is this guitar has no structural issues such as breaks or repairs, the frets are in great shape. Pickups are Burstbucker 1 and 2. The R9 is the Big Daddy of the Historic line with Gibson's finest woods, superb craftsmanship, and features that are historically accurate for the true holy grail of electric guitars.  As with the originals, desirability on the reissues is based in large part on the quality of the figuring and with this in mind Gibson saves their finest woods for the R9.  As the original 1959 'Burst is the most expensive guitar on the vintage market, the reissues, are priced accordingly, with a list price of $12,200.   The original Les Paul "Burst", with varying degrees of figuring, was introduced in '58.  Historically, there wasn't much of a change between the '58 and '59 model, other than jumbo frets on the '59, but as it turned out, that was hugely significant, and the improved ability to do string bends made the "'Burst" the choice of late 60's icons such as Page, Clapton, Bloomfield, and Peter Green, leading to its eventual holy grail status. Oddly enough, the term "Les Paul Standard" wasn't used until after this model was phased out. At 8 lbs. 14 oz. it's an medium weight for an original spec Les Paul, keeping in mind that this is a solid, un-chambered body. Current list on this model is $12,200, discounted to $8599.  While this one isn't cheap, it’s way under ½ the price of a new one, yours for $3299.  This guitar sounds fantastic with a killer set up throughout the neck. Includes original clean Lifton style case, certificate, and various case candy.

LR Baggs Anthem Tru-Mic Acoustic Pickup System, (pic2), (installed). Baggs has always been at the forefront of acoustic amplification and the Anthem is the latest in a long line of quality systems. The Anthem is a dual system, combining a proprietary condenser microphone with Baggs fantastic Element pickup to deliver the warmth and fidelity of a studio-mic’d guitar live on stage, or in the studio. Their Tru-Mic technology features a noise-canceling mic with very high gain before feedback. It allows you to adjust a full blend between the Element undersaddle pickup and microphone. The controller rests inside top of soundhole and the mic housing mounts to the bridge plate with the capsule hovering 3mm above its surface. Sells new for $299 but this one’s barely used and a great system for $199.

Keeley Luna Overdrive. The Luna Overdrive combines OP-amp clipping with tube-like JFET gain stages to provide an ultra-smooth overdrive tone. From subtle overdrive to "Marshall on 11", the Luna is delivers classic tube amp tone on all settings. Keeley uses a Classic/Modded switch to provide a lower or higher gain structure. Uniquely, Keeley also uses a Baxandall EQ, which traditionally is popular among music producers and engineers as it's EQ curve boosts and cuts frequencies in a smoother, more effective way. 100% built in the USA with top components and true bypass, the Luna is built for decades of heavy road use. New cost is $229; this perfect used one’s just $159.

Fuchs Plush Extreme Cream OD. Fuchs products are known for superb build quality with a case made of powder coated cast aluminum, high grade electronics, and Switchcraft jacks that should last forever. Other components include Cliff switches, Neutrik connectors, Metal shaft controls, and Mil spec fiberglass two-sided circuit board construction. It has 3 knobs per channel with heavy duty foot switches and considering it's a dual-channel, it doesn't take up much room on your pedalboard. A 9v jack is provided for power supply (or you can use the 9v battery and the pedal) and comes built with true bypass. Its two channels of  are called Warm and Hot. The Hot channel is identical to the single channel Plush Cream while the Warm channel has a slightly different voice and clipping structure. A very cool feature of this pedal is the LED annunciation with both channels having a corresponding LED which is lit to let you know which channel you are using. When you hit the on/off switch (i.e. not using the pedal) the LED of the channel that you were using blinks. Very useful so you don't forget which channel you were in. Fans of the Tube Scream will love this pedal, only more than the TS. These were $250 new; this one’s mint in the box for $175(HOLD-Billy C 2/12).

Fulltone Full-Drive 2. Earlier version Full-Drive, from 2001.  The FD2 is perhaps the finest overdrive pedal on the market and, in fact, was voted by GP Mag as one of the top 50 effects of all time.  This third version of the FD2 has the push/pull pot for Comp Cut in place of the later mini-toggle.  Written on the back is "FM" which indicates it has the flat mid voicing, offering a more natural sound.  The "CompCut" feature removes the bounding from the feedback loop allowing for Monster Clean Boost tones and some rougher OD sounds with the OD and Boost knfobs turned up.  Features separate on/off and boost switches, with a green and red LED indicator, respectively.  Pretty nice shape for an 14-year-old pedal, works perfectly, sounds great.  $115

Wampler Faux Spring Reverb. Original model with silver case. If you have a reverb-less amp, or an amp with fake sounding digital reverb, try this. A lot more compact that a Fender tube reverb unit that’s as big as an amp head, but still provides the fat, wet sound of spring reverb. Hand made in the USA, the Faux Spring Reverb uses Level, Tone and Depth controls to provide much more control than an amp’s single reverb knob. Wampler uses high grade film capacitors and resistors hand-picked for superior tone and, of course, true bypass. Max reverb time is nearly 3 seconds, which is plenty. It’s powered by a 9V battery or by a Boss-type barrel plug. Sells new for $228. This clean used one is $159.

Wampler Tweed ’57 Vintage Overdrive. After he created the Black ’65 (below), the next logical project would be to go further back in time to capture the classic Tweed tone of the 50’s Fender amps. Soon after the Black ’65, Brian ventured into this pedal, creating the raw, driven sounds found on countless studio recordings. With a full three-band EQ voiced to give you huge range of tones, the Tweed 57 is not limited to a single good tone, and with it’s Input Simulator switch, you have the additional flexibility and control found on the original amps with a Normal, Bright, and Linked (i.e. “daisy chained” inputs) inputs that work in concert with EQ and gain knobs. It's hand made in the U.S.A. and features true bypass and is powered by 9V battery or by a Boss-type barrel plug. Sells new for $199. This clean used one is $139.

Guyatone VT-X Tube Tremolo. Called by some the “Cadillac of tremolos”, the Guyatone recreates all the greatest tube-amp tremolo tones in a single stompbox. It was created from painstaking analysis of vintage tube amplifiers, the VT-X holds its own and even surpasses many of the old amp tremolos. It comes housed in a rugged 1/16"-thick steel chassis and is built to handle a lifetime of use and abuse. With a single, shock-mounted 12AX7WA, it draws power from a 12V DC power adapter (included), eliminating transformer hum and grounding problems, keeping down any noise issues. It has an effect LED indicator and electronic silent switching. With warm, throbbing tremolo, it has a sound that non-tube circuits can't match. Features include Variable Speed, Intensity, and Tone controls, combine to allow the user complete control over the degree of tremolo effect, with everything from slower-than-slow, faster spongy pulses, to vibrant, shimmering warbles. It also features dual outputs for true stereo imaging by panning the tremolo effect between two amplifiers. Sells new for $225 but this one’s perfect and just $155(HOLD-Jim 3/16).

T-Rex Alberta II Dual Overdrive. The original single-channel Alberta overdrive was popular with guitarists as a great sounding, easy to use OD. T-Rex built on that success by offering the Alberta II, with two OD’s, one for creamy rhythm sounds and the other for a cutting solo sound. On popular demand from guitarists around the world, T-Rex has developed the Alberta II. You can now dial in a good clean sound on your amp, and set the pedal on the edge of overdrive, one channel, with a harder rock sound from the other channel. You can also go from a medium boost to a fat, clean-ish boost to push the front end of your amp. If you need a low-end boost just flip a switch for an even thicker tone on either channel, expanding the tonal range even further. T-Rex has given channel 2 a slightly more open and punchy sound, for a little more pick attack and push, but with the same voice as channel 1. The tone knobs light up to let you know if you’re on 1 or 2! A good video review by Guitar Player mag: https://www.youtube.com/watch?v=a4ZVEWggqXo. With a list price of $369 the Alberta II sells new for $209 on sale to $269 at discount. Or get this clean used one for $149.

Budda Budwah. The BudWah boasts a tight and focused range for a real vocal-like sweep throughout the range with none of the piercing highs that many vintage pedals are prone to. Built with boutique-quality components with true-bypass, it is very heavy and built for years of road use. If you’re a player who doesn’t want all the bells and whistles found on many current wahs, preferring the simplicity of the original 60’s models, you’ll no doubt like this one. New ones are $169. This perfect used one's just $119(HOLD-Jim 1/18).

Option 5 Destination Rotation Single - Leslie Simulator. Made with 100% analog circuit with very low noise to capture the essence of the big old Leslie that touring groups used to truck into gigs in days past. It is 100% hand-built and built like a tank with top quality components with lead-free soldering, utilizing a super-solid, double sided, plate through lead-free PC board. All this is housed in a die-cast aluminum box which will never rust. It is truly built to last. Features include level trimmer, top mounted trimmers for slow and fast speed, microphone placement control for effect depth, realistic speed up/down ramping effect, 9 volt operation, and true bypass. For more info check out this typically great demo from ProGuitarShop: https://www.youtube.com/watch?v=KP4e7E8_WkE. Sells new for $299 but this one’s perfect in the box for $199.

Bob Burt Clean Boost. Bob designed one of the finest clean boosts made, specifically to boost your guitar signal without adding overtones and overdrive to the tone. This pedal is noted for incredible transparency and clarity, with 20+ db boost without distortion. Bob uses audiophile quality parts and a unique design and his pedal works great with single coil and humbucker pickups. It increases the volume of your amp without causing it to go into overdrive or get dirty. If you’re serious about tone you already know about the benefits of a quality clean boost. Get one of the best right here. Made in 2009 and signed/dated on the exterior of the bottom plate by Bob in silver pen. These are $250 new but other than one or two dings on the edge, is in very clean condition and a killer boost for $170.

Lee Jackson DG-1 Metaltronix. The DG-1 is handbuilt and uses a 100 % Analog Circuitry to achieve a true amp-style tube distortion. With its two foot switches it serves as two complete pedals in one and has an active gain booster built in and features true bypass. It allows the full frequency of your instrument to pass through, which is why it sounds more like amp distortion, with the warmest and smoothest distortion possible.  Using the Distortion, Tone and Master, it will improve virtually any amp and it also has a Sag control to set the bias of the tube emulation circuit, just like the power amp in a tube amp. Sells new for $350 but this one’s perfect in the box for $245.

Lee Jackson FuzzyFinger Fuzz. High quality handmade fuzz with a lot more features than most fuzz pedals.  The FuzzyFinger was designed to be as transparent as possible, retaining as much of the original signal as possible.  This circuit enhances your signal with more clarity and definition and can clean up to a sparkling clean tone simply by turning the volume of your guitar down. It also enhances your rhythm sound without losing your low end.  FuzzyFingers uses a completely discrete Germanium transistors as well as a True Bypass design. It also has switches to adjust the tone on the input or Pre Fuzz, or Post after Fuzz. The Touch control sets the sensitivity with your playing style, allowing you to tweak your sound perfectly.  Shown in the pic, it does have a little finish lift spot to the left of the switch. Sells new for $250 but this one’s barely used and in the box for $165.

Xotic Effects X-Blender.  Another great USA boutique builder, I've had several of the Xotic boost pedals before but this X-Blender isn't as much as an effect as it is an effect controller, much like a very sophisticated direct box.  A unique tool for the modern guitar/ bass player, it's a switch-able series-parallel loop unit.  A parallel effects loop allows you to mix or blend the effects with a dry signal (unaffected signal), creating a far more complex tone from your guitar.  This is especially useful in the demo below using a wah pedal.  Instead of getting a wash of wah effect, you can blend it with a straight guitar signal and get just the right amount of note definition.  After hearing it, you'll realize that some of your favorite artists have been using effects in this manner for years.  Rather than explain all the features here, click here for some good product video demo's Xotic.com.  Sells for $176 new but why not get this clean used one for $50 cheaper at just $125.

Eminence Delta 12-A 400W Speaker, (front), (side). This 400W, 8 Ohm driver is built for years of flawless performance and like all of the USA Standard series, it features Eminence's rugged stamped steel chassis. Works equally well for guitar (compare it to the EVM -12), bass, keyboards, or pro-sound house/monitor systems. It’s in brand new condition in the box and the best speaker I can offer for $65.

1962 Gibson GA-5 Skylark Combo, (panel), (top), (back), (tube chart). Another one…and just like the other one, super clean shape, save for a small nick on the top left (pic). More importantly, it sounds perfect, with zero hours on a new set of filter caps – no hum, just tone. Like my other one with vintage GE tubes, this one appears to have all vintage Raytheon tubes and it sounds absolutely perfect. Appears all original other than 3-prong cable and the caps. Original Gibson 10” Alnico speaker sounds great. Circuit has none of the snap-crackle-pop frequently found on old amps and the tone is extremely sweet. It reminds me sort of like an old Fender Champ, with except in addition to a smooth overdrive when cranked, it has a sweet, lush sound at around ½ volume and back AND sounds great with humbuckers or single coils. At 5-10 watts it’s not going to play a club, but for practice or studio, it’s perfect for a beautifully pure tube amp tone. These ’62 brown Crestlines have a great reputation, especially the GA-5. In this condition it’s an especially nice deal at $339(HOLD-Christopher A 1/13). Includes schematic.

Ampeg SVT Direct Injection D.I., (front), (back). Pro’s choice for studio bass recording. The Ampeg SVT utilizes a preamp tube to pass the best possible instrument sound to your recording deck or front of house system in a live setting. It has ¼” connections for input and through, as well as an XLR for balanced out. It also has push buttons for input pad (primarily for active/passive choice of basses), a ground lift, as well as for choosing between tube and direct. Although it was geared toward bass, it can work fine for any instrument where you want a warmer, thicker sound.  If you look around you’ll see well worn examples without the case or manual selling for $350. This one is in super clean shape with case, cable, and manual, for just $399. (If you want something a little cheaper, I have some new dBX units for $69).

Warmoth Custom Bent-T Telecaster – Flamed maple body and neck, (front front2), (back), (headstock back neck), (body/neck markings), (case). This is perhaps the most striking Warmoth Tele we’ve ever had. No expense was spared in parts and all work is first rate. Although we didn’t build this one here, Martin went over it and said that the work was first rate, and it has only a few hours of playing time since new – offered in “as new” condition. The Warmoth body is one-piece swamp ash with a flamed maple “bent” top (maple cap follows forearm contour).  It is finished in a PRS-style tiger eye, while the back is finished in walnut.  Body weight is a scant 3 lbs., 7 oz. and is loaded with a pair of Lace Tele pickups (T-150 and TN-100) with dual volume and tone controls and a 3-way selector. Warmoth neck is exceptionally flamed maple and like the top, was initially stained with a dark opaque stain, sanded down, and then finished in a translucent finish. Unlike a Fender scale, which is 25.5”, this neck/body is a Gibson 24.75” conversion scale.  Other features include rosewood fretboard, vintage tint gloss, bone nut with 1-11/16" width, standard thin back contour, 6100 stainless steel jumbo frets, 10-16" compound radius, cream face dots, white side dots, and Sperzel Soundlock locking tuners with ivory tips.  Headstock was pro finished in root beer metallic color with gold pinstripes applied prior to final top coats. The neck has the Gotoh truss rod adjustment, near the base of the neck, which we really like. Set up is very low and comfortable, and I especially like the shorter scale and wider nut width for my long/thick fingers. The Lace pickups, which are similar to the Laces on the older Tele Plus models, retain a vintage tone and are near impervious to hum. Just a great guitar in all regards. The neck specs out at $502 for a finished 3A flame, while the body with finish and flamed top specs out at $747. Add to this Sperzel Soundlock tuners for $75, Lace pickups at $160, and $100 pro finishing the headstock and pin striping, and another $75 in misc. parts and you’ve got a guitar that’s around $1650 – and that’s not including pro assembly, set up, and a case.  Get this one, fully assembled and set up properly, with a new MTS molded case, for just $1250. Again, this is virtually a new guitar that easily compares to Fenders at over $2000.

Fender American Series Precision Bass - Sunburst, (front), (back), (headstock), (body/neck), (bridge), (case).  Beautiful condition, killer player, classic fat-bottom tone.  The P-bass defined the tone of electric bass on virtually all recordings in the 50's, 60's, and 70's, and it remains the most popular bass in the current era.  This bass is actually a marriage of an ‘07American Standard body in 3-tone sunburst, with a '99 American Standard neck.  Previous owner wanted to keep the rosewood neck that was on it and swapped it out with another American neck.  In the process, tuners were upgraded to a set of Fender “Deluxe Lightweight” from an American Deluxe, in place of the regular open-gear vintage tuners.  It also features the new-style bridge that allows for string-thru-body or top loading.  Bottom line is this is a quality American P-bass that sets up with super nice action, and has that room shaking tone that we seek in a P-bass.  With new American Series going for $1349, here's an great playing, great looking used model for $550 less - just $799(Tent. HOLD-Mike W 10/30).  Includes original case and ‘99 case candy, including serialized hang tag. 

1976 Fender Precision Bass – Mocha w/Rosewood Board, (front), (pickups), (headstock), (back), (neck markings), (case). 1976, last year for the neck plate serial number and a rare year for a rosewood board. Perhaps 1 in 8 of P-basses were rosewood in the 70’s. Finish is the common Mocha Brown, probably the second most common finish after Natural. The story of this bass is that it isn’t really a collector and has undergone a few mods over the years. Original electronics changed to EMG active pickups and 25 ohm pots; control cavity was slightly enlarged at one point (pic) to accommodate a preamp that’s no longer installed; there are 3 extra holes where strap pins were once installed (pic); and at one time the frets were removed to make it a fretless – and later installed to make it stock. Lastly, the neck had a common ailment of tipping up after the neck joint so Martin installed two small carbon fiber reinforcement rods (pic) to stabilize it. It now plays good and would make a decent utility bass for any vintage P-Bass fan on a budget.  Most mid-late 70’s Fender bases are over 10 lbs. but this one is a lightweight at 8 lbs, 2 oz; easy on the shoulder. It’s an excellent sounding bass with good sustain and the typical fat P-bass bottom end. If you’re looking for a clean vintage collectable for $2K and up, move on. If you’re looking for a vintage P with a cool vibe and nice tone for under $1K, here you go. Just $1050 takes it. Includes original Tolex case with silver badge with plenty of stickers. Two end latches were replaced with genuine OEM parts after pics were shot. It closes closes fully now.

Baggs M1 Acoustic Pickup (Passive). Excellent sounding acoustic pickup - installs in 10 minutes and since it's an endpin system, no annoying cable coming from the soundhole. With its passive operation; the M1's dual-coil design employs L.R. Baggs' exclusive TriAxial Dynamic Technology to produce clear, rich tones that are resistant to feedback, noise and hum, with string and body sound all in one. Forget about tradeoff between ease and performance - this thing sounds great and its soundhole design and end-pin jack install in minutes. Bagg's TriAxial Dynamic Technology allows the pickup to respond to the guitar's string and body vibrations. Individual pole pieces are adjustable for string-to-string balance. Unlike most stacked humbuckers, where lower coil cancels hum but doesn't contribute anything sonically other than adding "mud" to the sound, the M1 unlocks the second coil and allows it to make a positive sonic contribution while maintaining the pure open sound of a single coil. The hum-canceling coil is suspended under the main coil by a tuned support that allows it to move in three dimensions. The primary coil moves with the guitar top and creates a body signal in the suspended secondary coil. This brings the M1 to life, with string and body sound all in one. It's like having a dual pickup system in your soundhole - and it's all passive! With a list price of $199, this is a killer pickup at the right price - just $89, or $110/installed on any acoustic in stock. Includes box, manual, endpin jack, etc.

1970's Ibanez 2355M ES-175 Lawsuit Copy, (front), (back), (headstock), (detail/binding), (case/pickguard).  Stunning flamed maple in a very desirable vintage archtop from Ibanez's golden era.  This fantastic jazz box easily compares to '70's Gibsons and is a dead knockoff, including the open-book headstock, which was the main point of contention that stopped these fine imports from entering the USA.  1975 was the last year it was used on this model.  Additionally, it lacks a serial number which is proper for guitars built prior to '75.  This one also has the flower pot headstock inlay, split parallelogram fretboard inlays, multi-layer binding, black witch-hat knobs, rosewood bridge, and trapeze tailpiece.  Exceptionally well-crafted, this guitar has held up better than most Gibson jazz boxes from the same era.  Original neck set is solid and dead on.  Overall this guitar is in exceptional condition, worthy of any collection, both due to rarity and condition.  Finish is superb with a high gloss and little to no finish checking, no major scratches or dings, binding and purfling are in great shape.  Like the Gibson ES-175, the 2355 is all laminated wood, with figured maple top, back, and sides, in the more desirable Natural finish.  Set up is very comfortable, frets don't have any deep groves anywhere, and the tone is full and rich.  Appears to be 100% original based on catalogs I've looked at and the few I've had in the past.  Vintage Ibanez has been climbing in value as there are more people collecting them - and more and more players are seeking them out.  This one is the desirable "M" (maple) top model, which makes it the same specs as the Gibson ES-175, rather than the regular 2355 which came with a spruce top.  These compared with the USA equivalents, are generally as good or even better, at around 1/2 the price.  This is an exceptional guitar for the collector, and at $1499, within the price range of working musicians.  Includes original case and pickguard, removed purely for aesthetic reasons.

Korg KES-101 Ext Selector. I usually have around 50+ of the Korg PME-40X pedals in stock but some, like the KES-101, only come in occasionally. The KES-101 is used to link two PME console units together, or to add a separate effects loop to your PME console, such as a rack effect or other brand’s stomp boxes. $65.

Boss AC-2 Acoustic Simulator, (power supply). Perhaps the best acoustic pedal ever made.  Much more versatile than a Fishman bridge - and cheaper too.  Nice shape. $55 or $65 with Boss power supply that powers many pedals simultaneously.

1960’s Andre Solidbody, (front), (back), (headstock back). Now THIS is like my first guitar, which was branded “Prestige” but was otherwise a very similar model, complete with “steel reinforced neck” sticker on the back of the headstock. Features a slightly asymmetrical double cutaway body, 19-fret rosewood fretboard, and unlike the Kay below, features a slightly short 23.5” scale length. It’s easy to get around on, plays very well, and doesn’t sound heinous. Would be a good choice for a alt guitarist looking for their own tone and vibe. A lot of Japan-made guitars from this era are still around so they must be pretty well made. Worst flaw is one of the tuners is slightly bent but still works fine. It has a very playable set up and for the price is a cooler alternative to a new Chinese or Indonesian copy. $159 for this beauty.

1962 Kay Vanguard Mod. 102, (catalog), (front), (back), (headstock), (bridge/cover), (controls), (pot codes), (case). How many of you had a first guitar like this? It’s actually better than my first, which was a MIJ model with ¾” action and horrible tone. Made in Chicago IL during Kay’s golden era, this is a well made guitar much like Valco of the era. Although it’s a 19-fret neck, this isn’t a short scale and measures 24.75”, Gibson scale. It’s a good sounding guitar with good quality pickups and quality CTS pots, all dated mid ’62. For 50+ years old, it’s in really nice shape. Very nice little kit with original 2-tone case and white leather strap. As you can see in the controls pic, a small portion of the pickguard is missing and the screw was relocated to the nearest corner; no biggie. Other than that, this guitar is 100% and in very nice vintage condition. It benefitted from a few hours of bench time to get the action to its current comfortable height and it’s plays nicely for both cowboy chords and barre chords. With case and strap it sold for $99 in ’62, which equates to $781 in 2015 dollars, very reasonable actually. If you’re a collector of second-tier American brands from the 60’s, this would certainly be a nice addition. $429 includes original case and leather strap.

2007 Fender American Vintage '70s Stratocaster - Olympic White, (front), (headstock), (back), (case).  Some of you may not be aware, but for a brief period in the mid-2000's, Fender added a new model to the American Vintage (AV) Series, joining the '57 and '62 Strat which had been around since '82.  The American Vintage '70's, is a hybrid that's described as a "best of the '70s" Stratocaster and features all of the best elements of the classic models from that decade, including alder body, U-shaped maple neck with improved three-bolt neck and Micro-Tilt neck adjustment, vintage-style bridge, "F" tuners, specially voiced pickups, large headstock with '70s-style decal, and bullet truss rod adjustment nut.  The single string tree and stamped steel saddles are features found on early 70's Strats so I'm not quite sure why the model name was ambiguous, i.e. why they didn't just call this a Vintage '72 model?  Regardless, it's a quality made American Vintage that conjures up images of Yngwie, Mick Mars, and Judas Priest, all of whom played white 70's Strats.  At least one dealer has ordered a supply of FSR (factory special run) '70s Strats ($1599 street) but I'm sure the specs aren't the same as this American Vintage model since Fender's current AV Strats ( '56, '59, and '65) all sell for $2199.  If you're nostalgic about the 70's, this guitar is in superb condition with a great set up and quality tone, for $1250.  Includes '70s style G&G/Fender case with strap and unopened goodie bag including paperwork, polishing cloth, bridge cover, 5-way switch, etc.

80's Jackson Style Guitar, (front), (back), (headstock), (red trim), (pickup/bridge), (identifying features). Just upgraded with a Duncan Invader! We don't know anything about this guitar other than it's obviously an import and we're guessing 1980's.  The identifying features include long control cavity plate with a unique screw pattern, narrow/long neckplate, black body with red trim on neck and body, painted neck, Gotoh tremolo, black hardware, and speed knobs with recessed grip edges.  This thing was nearly unplayable when it came in but a few hours and a lot of fret work later, it now is a decent player and a good choice for a beginner who wants a very cool looking guitar.  It has a very thin finish, which is a good thing, and it looks a lot like the black Gibson finishes in the 80's with raised grain visible.  The Invader pickups is very high output, recommended for punk, thrash, metal, etc., and features hex poles to easily adjust pole height to taste. Considering the bench time we have into it, selling below cost at $175. 

Matchless Independence 35 Head, (top), (back), (tube chart). Matchless has always been top of the heap when it comes to handwired boutique amps; in a class by themselves. The Independence 35 is their first 35 watt 3 channel guitar amplifier ever. Always featuring a cool signature backlit nameplate, the three channels light up red, white, and blue. The power section of the Independence starts with a 5AR4 rectifier tube and the 35 watt output is powered by two EL34s, which are cathode self biasing. A 3 position rotary switch allows for 4, 8, & 16 ohm output. The channels are switched through a Matchless footswitch (included). This amp features a very useable Clean channel with bassy tones and an incredible amount of head room. It has plenty of punch and very nice natural tube saturation. For more hair you can go to the Middle channel with its Marshall type crunch with remarkable touch sensitivity. The White channel (next step up in gain) has this a cool multi-amp effect, meaning that it sounds like you’ve got a clean amp and a distorted amp running simultaneously. The Red channel is the hottest and is smooth and creamy with all the gain you could want. It is basically the White channel with even more gain layered on top of it. This amp is way overbuilt and like most Matchless, is very heavy. All components are built to last a lifetime in my opinion. It has never been roaded and is mint, save for one small tolex dent on the back edge which occurred in transit to me. This amp was over $3000 new but yours today for $1999(HOLD-Matt S 3/29). Includes 2-button Matchless footswitch.

Line 6 Spider IV 15 Combo, (panel), (back). Excellent practice amp at a very modest price. The Spider IV has 4 onboard amp models, and countless others you can tweak yourself. You can choose from shimmering clean tones, a classic crunch inspired by a 100-watt Marshall Plexi, and a punchy high-gain inspired by a Mesa/Boogie Dual Rectifier. Line 6's award-winning effects include a tap tempo function that allows you to sync up your effects with on-board Tap Tempo. With two pushes of the Tap Tempo button, all of your time-based effects precisely fall in with the beat. The peaks of your Tremolo will match the feedback of your Sweep Echo, etc. In all the Spider IV 15 features 6 Smart FX including a Chorus/Flange, Phaser, Tremolo, Sweep Echo, Tape Echo, and Reverb. After your choose your amp and effects you can create up to four custom-made presets you can save each to a Channel memory and recall it instantly with the touch of a button. You can recall instantly via pushbuttons, or connect an FBV Express MkII or FBV2. Other features include built-in tuner, 1/4-inch input; 1/4-inch headphone/direct output; 1/8-inch CD/MP3 input; and FBV jack. The amp’s ¾ closed back is tighter, with more punch, compared to an open back design. This is a lot of amp for $55.

Road Case for Small Box Head, (inside). Solid protection for your expensive small box head. Carpet interior. Solid condition. Interior approx. 22”L X 10”W X 10.5”H. You know these are $100+ new but get this one for $45(Tent Hold – Charlie 1/7).

Small Box Head Enclosure, (top), (back). Don’t know what it was but it’s solid, ready for your project amp. $25.

Vox AC-30 Circuit Board, (pic2), (pic3). Appears to be complete other than trannies and tubes. Don’t know if it works but have no reason to believe it doesn’t. If you need any parts for your AC-30, or want to build your own clone, this will save you many hours building and/or assembling parts. $49.

1980's ESP "The Hybrid" II Tele Style, (front), (side), (back), (headstock), (Flickr Trem), (pickups), (neck marking), (case). I was very excited to come across another “real” ESP, and this one’s a fairly rare Hybrid II from the ‘80’s. During this era ESP was building quality Strat- and Tele-style guitars, and for a time, a mixture of the two, called the Hybrid.  The Hybrid I featured a Strat body with Tele appointments, while this Hybrid II features a single-cut Tele body and plate-mounted controls, but with the belly cut, tremolo, and pickup layout of a Strat. This one has just a bit of custom work done to the pickguard/assembly. Body is factory routed for 3 pickups (pic), but the neck pickup cavity has been enlarged to accommodate the mini-hum.  Pickups are DiMarzio with a DP240 Vintage Minibucker in the neck and a DP189 Tone Zone Strat in the bridge. Middle coil is a dummy, preferred by the studio musician we got it from but we can replace it with a pickup of your choice if desired.  Neck is marked "NY-424" so it may be a 48th St. Customs.  Tremolo is the original Flickr trem, which commands serious money on the used parts market. Cosmetically, it's in very clean shape for its age, but there are typical tiny lacquer cracks and a small rub on the upper horn, shown here.  It has a bit of “finish suck” that’s typical on older finishes. This guitar has the vibe of a 60’s Tele Custom with its bound body and Seafoam Green finish. The quality is undeniable and it’s easily on par with anything Fender was building in the ‘80’s. Just a super nice guitar that plays with ease and sounds fantastic. Ron Wood was playing a similar ESP Tele style 20 years ago and with the neck humbucker, it’s similar to the current ESP Signature Model. Includes an old Fender export case in serviceable condition other than the top part of a latch is missing. Nice deal on a vintage ESP at $650.

1999 Fender 50's Classic Strat - Surf Green - with Upgrades, (front), (back), (headstock), (pickups), (nut), (case).   Very clean reissue of a true classic from Fender, in the coolest of custom colors, with upgraded electronics and an Earvana nut installed by Martin.  Bridge and middle pickup are custom shop Texas Specials, with a DiMarzio True Velvet DP175W in the neck.  We broke up the Fender set since I think the DP175W sounds better in the neck than a Texas Special.  It’s sweeter, with more clarity, basically what players want when they go to the neck pickup.  All pickups have the vintage style cloth wiring and we used USA pots and switch.  This mod transformed this guitar into one that you can play at a gig and get compliments from guitarists on your tone, something that’s not as likely with the stock no-name Alnico’s Fender installed.  The stock nut had a bad slot in it so we replaced it with an Earvan compensated nut, which improves intonation and sounds good.  Features of the 50's Classic include vintage tinted neck with a soft-V profile, deep vintage body contours, single ply pickguard, vintage tremolo with bent saddles and heavy tremolo block.   Also worth mentioning, this guitar is an excellent  player with 5 pickup settings that sound radically different.  On some Strats, like this one, the neck pickup is so sweet you never want to try anything else; on other ones you'll never want to use it.   It also has a fatter bottom end than most Strat which I attribute to the tone wood of the body.  If you like vintage Strats but aren't a fan of the medium action that they usually have, you'll find this one is exceptional, with very comfortable action despite the vintage radius.  A new 50's Classic will run you $799 with gigbag and it might play okay if the factory set-up holds up - but why not get one with a pro set-up on the day it ships out, plus an upgraded Fender hardshell case, upgraded pickups and nut, and a nice weight at just over 7.5  lbs.  All this for $200 less, with deluxe gigbag…just $599.  Upgrade to Fender case pictured for $679. 

1967 Yairi B2 Classical, (front), (headstock), (back).  Excellent value in a solid top classical.  Our tech, Martin, has taken classical lessons for years and I always turn to him for opinions on nylon string guitars.  He says this one sounds very good, with excellent action.  It features a solid spruce top, which is critical in classical/flamenco style.  I'm not an authority on the Yairi name, other than all of them are quality Japan-made guitars.  From what I read on the web K. Yairi and Sadao/Sada. Yairi both learned guitar making from S's uncle, also named Sadao.  I believe this one to be built by S. Yairi, who built guitars under the names Sadao Yairi, Yairi Gakki, S. Yairi, and Sada Guitar.  Cosmetically, it has a number of minor flaws but no cracks or structural issues and is in nice shape for 45+ years.  For a solid top Japan classical that's good enough for the intermediate player it’s a nice value at $250.

2009 Fender Custom Shop '69 Stratocaster NOS, (front), (back), (headstock  back), (Abby ’69 PU’s), (neck  body markings), (cert.), (case/etc.).  From the Custom Shop comes one of the most iconic Strats in their illustrious history – a custom color Black Strat with rosewood board.  As part of the Time Machine series (Relic, Closet Classic, and NOS), the NOS (New, Old Stock) is a model built to exact specs of the era, but is in brand new condition, as if you stepped back in time 40 years, bought a guitar, and stepped back to 2009.  This one of course has the Jimi appeal since he was noted for playing Strats from this era with the 4-bolt neck and large headstock with “synchronized tremolo” logo.  I don't know what it is, but whenever I pick one of these up I start playing every lick from "Are You Experienced" and somehow I play them better.  Perhaps it's the killer setup on this guitar or maybe just that it's a '69.  This year was a pivotal period for the Strat, featuring the large headstock and the bold "Synchronized Tremolo" logo which was only used '69/'70, while the round fingerboard ushered in a new neck style which included this "U" shape.  It also features special '69s pickups, wound by legendary Abigail Yberra herself, which are good at delivering the Hendrix tone, especially if you have those kind of chops.  Offered in near pristine condition with no fret wear and no discernible wear anywhere.  All original other than plastic parts which have been changed to Fender “green” guard and “aged” plastic covers, knobs, and tip.  Includes certificate, both 3-way and 5-way switches, polishing cloth, original hang tags and assorted paperwork.  The '69 NOS sold for $3199 but this barely played beauty is just $1999(HOLD-Geoff F (again) 11/2/15).

2003 Parker P-38, (front), (headstock back), (back). Slightly modified but an excellent value on a value-priced Parker. The P-38 was made in Korea, no biggie as we know now, and that allowed Parker to price them at an unprecedented price point for a Parker. Features include an ash body, maple neck with rosewood fretboard, HSS configuration with a replacement Seymour Duncan Trembucker in the bridge and original Parker single coils in the middle and neck controlled by a 5-way switch. Electronics in the stock Fishman acoustic tremolo bridge was malfunctioning but we can install a new one for $80 if desired. I just figured ½ of the players wouldn’t use the acoustic settings so we left it alone. Parkers are very comfortable to play and this one is no exception with a nice weight, good balance when strapped on, and equally comfortable to stand or sit while playing. The Duncan adds a nice versatility for playing harder edged music but it’s capable of Strat type tones on the middle and neck. All in all, a very nice value for $379 with gigbag.

Companion FY-2 Fuzz by Pidgeon FX, (pic2), (pic3). The old Shin-ei Companion Fuzz's are popular but in short demand and frequently are largely unusable due to many decades of neglect and abuse. Pidgeon FX cloned this great pedal, using the proper PCB and the original C536 transistors, making this the nearest thing to original Shin-ei Companion fuzz available. Don't spend $400 or more on a beat 60's model when you can get the proper sound and exact vibe with this baby for just $150. It is mint in the box with manual.

Line 6 Amplifi 75 Bluetooth Guitar Amp, (top), (back). One of the coolest amps I’ve had, the Amplifi 75 delivers 75W through a revolutionary 5-speaker stereo design giving you powerful, detailed tones that regular amps simply can’t produce. Just as cool, it’s an actual Bluetooth system that lets you play back songs from your smart phone/computer (iOS, Android, Mac, or PC), and use the free amp to easily edit amp choice, speaker cabinet, EQ, effects, etc., and store the combinations on the cloud, locally, or on the amp for future access.  Ingenius. Features include 75 watts of power through a 5-speaker stereo design, Bluetooth streaming audio, AMPLIFi Remote app for iOS or Android — share, rate and store tones, 200 amps and effects, Wireless control every aspect of your guitar “rig”, automatic tone matching — instantly jam with your music library, 1/4" Guitar input and 1/8" Stereo Aux input, 1/4" Headphone output, Tap tempo/tuner, 4 onboard presets (access unlimited presets via app), Stereo wet/dry effects for immersive sound, compatible with Line 6 FBV MkII foot controllers, USB connection, 8" custom Celestion speaker for low end with two mid-frequency drivers and two high-frequency drivers. I’ve had the Yamaha THR combo’s and this thing blows them away in versatility, volume, and especially tone. For more info check out Line 6 here and a quick overview here. Here’s a cool features and performance video (link). Sells new for $399 but this one’s mint, out of the box, and yours for $279. Includes original manual.

Mesa-Boogie MK IV Combo, (pdf), (panel), (back panel), (back), (cover/fs). Versatile, powerful, and compact, the MK IV was Boogie's do-it-all amp back in the 90's, continuing through 2008, and they're built so well that most are in service today. Handcrafted in Petaluma, California, these were expensive amps so they're not as plentiful as many comparable import amps. Released in a head, 1x12 wide cabinet, or like this one, 1x12 narrow cabinet, the MK IV delivers 85 Watts of Simul-Class Power via a quad of 6L6 tubes, with five 12AX7's in the preamp. Features (of this Ver. 2) include: Fixed Bias for Consistent, Maintenance Free Performance, 3 Channels w/Independent Gain & Master Controls (Rhythm I, Rhythm II & Lead), Independent Treble & Presence Controls for Rhythm I & II (Bass & Mid combined), Fully Independent EQ for Lead Channel (Bass, Mid, Treble & Presence), Multi-Stage “Cascading Gain” Lead Channel (Lead Gain + Lead Drive), Lead Voicing Switch (Mid Gain/Harmonics), Pull Fat (Rhythm II & Lead Channel), Pull Bright (Rhythm I & Lead), Pull Shift Presence Controls (Rhythm II & Lead), Assignable 5 Band Graphic EQ, Assignable FX Loop, Slave Out w/Level Control, Spring Reverb, Output Level Control (over all channels), Full Power/Tweed “Variac” Switch, Simul-Class/Class A Switch, Pentode/Triode Switch, Record Out w/Level Control, Silent Record Mute Switch (Pull Output Level), Fan Cooling, External Switching Input, and 6 Button Footswitch (Rhythm I, Rhythm II, Lead, Lead+EQ, EQ (Graphic) & FX Loop). Includes original slip cover, heavy duty casters, and footswitch. You can view/download manual at Boogie here. This amp works perfectly and sounds absolutely awesome. It’s well suited for virtually any size stage and appears to have seen little to no road use – it’s in lovely condition. Only issue worth mentioning is one of the screw sockets to attach the footswitch to the back of the amp for transport is missing, but it still fits in there fine. For a clean Mark IV, nicely priced at $1150.

Line 6 Amplifi 75 Bluetooth Guitar Amp, (top), (back). One of the coolest amps I’ve had, the Amplifi 75 delivers 75W through a revolutionary 5-speaker stereo design giving you powerful, detailed tones that regular amps simply can’t produce. Just as cool, it’s an actual Bluetooth system that lets you play back songs from your smart phone/computer (iOS, Android, Mac, or PC), and use the free amp to easily edit amp choice, speaker cabinet, EQ, effects, etc., and store the combinations on the cloud, locally, or on the amp for future access.  Ingenius. Features include 75 watts of power through a 5-speaker stereo design, Bluetooth streaming audio, AMPLIFi Remote app for iOS or Android — share, rate and store tones, 200 amps and effects, Wireless control every aspect of your guitar “rig”, automatic tone matching — instantly jam with your music library, 1/4" Guitar input and 1/8" Stereo Aux input, 1/4" Headphone output, Tap tempo/tuner, 4 onboard presets (access unlimited presets via app), Stereo wet/dry effects for immersive sound, compatible with Line 6 FBV MkII foot controllers, USB connection, 8" custom Celestion speaker for low end with two mid-frequency drivers and two high-frequency drivers. I’ve had the Yamaha THR combo’s and this thing blows them away in versatility, volume, and especially tone. For more info check out Line 6 here and a quick overview here. Here’s a cool features and performance video (link). Sells new for $399 but this one’s mint, out of the box, and yours for $279.

1983 Fender Flame Standard, (front), (headstock), (back), (bound body/neck), (case), (case2).  Just had the sister Fender “Esprit” and like that one this is a fairly rare model, especially scarce in recent years.  Finished in "Autumn Burst", this is a one-owner guitar since new and offered in lovely condition.  Although I'm always actively searching for these, I've only had around 9 Elite/Flame models in the past 12 years.  The Esprit/Flame was the predecessor to the Robben Ford Signature Model, which was basically the same guitar in a custom shop version.  Fender had been trying to steal a portion of Gibson's market for many years, namely a guitar with dual humbuckers on a double-cutaway body, and among Fender’s attempts were guitars like the Coronado, Wildwood, and Starcaster.  In the mid-80's Fender's effort was the "Master Series", which included the semi-solidbody Flame and Esprit , and the D'Aquisto hollowbodies, all having with 3 models in each line (Standard, Elite, & Ultra), differing by hardware and cosmetic appointments.  The Flame, was basically identical to the Esprit but in a smaller (13" vs. 14") symmetrical body, plus the Flame is slightly asymmetrical.  The Standard was the base model with single ply body binding, neck and headstock binding, simple Les Paul style controls (dual hums, dual Vol-tone, 3-way), dot inlays, rosewood fretboard, metal tuner buttons, and Schaller bridge and stopbar tailpiece.  Other features of the Flame Standard include tone-chambered Alder body with carved maple top and set-neck, 3-pc maple neck with rosewood fretboard, 24 3/4" scale (same as Gibson), flat 12" radius, 3/side Fender/Schaller tuners, Schaller strap pins, and special Schaller humbuckers.  The tone chambered body was credited with the Flame’s traditional archtop top, with none of the feedback problems of F-hole type guitars, but the same resonance and sustain--and fuller, rounder tone.  The Schaller humbuckers are very highly regarded and are found only on this series.  They're splitable, should you ever wish to add a switch or push-pull pot, and feature different spacing for neck and bridge, plus a extra windings on the bridge pickup for a "hotter, mellower sound", while the neck pickup was designed with a higher resonant frequency for clear, lush, rhythm sounds.  The Master Series had a brief run, with the Flame officially produced from ca. '84 to '86 but actual production run was less than 2 years.  Total production for all models of the Master Series was under 4,000 units, which leads me to believe that the run of Flame Standards was considerably less than 1000.   Here's a good site for the Master Series - http://www.masterseriesguitars.com - with a lot of info on all of the models.  As you can see in the pics this guitar is stunning condition, with only a few clear coat impressions on back and very moderate fret wear. It was a one-owner guitar that was very well cared for.  No Fender has ever set up as well as these Master series and if you like low action - this is your guitar.  With the strings slotted low at the nut, the action starts out low at the 1st fret and stays low all the way up the neck.  It is, simply put, a phenomenal playing guitar.  Master Series have become highly prized guitars, due to their rarity and the fact that they're great guitars, with clean examples going $1500 and up, and some guys trying to get that for well-worn examples on Ebay.  I consider this one of the nicer ones on the market and a good value at $1450(HOLD-Phil J 9/18), which includes a clean non-original hardshell case. (The original manual is downloadable at Fender's site here.)

1997 Gibson Explorer - Ebony Fretboard, (front), (headstock), (back), (case), (fretboard).  AKA '67 Reissue in Wine finish with rare ebony fretboard.  Ebony boards was hit or miss during this era, and rare on an Explorer, and some guitars that weren't spec'd for ebony would somehow end up with an ebony board.  Gibson made another Explorer in this era but unlike the '67, it had the knobs in a triangle pattern, and no pickguard.  The Explorer became a true classic from Gibson ...eventually. It was one of the failed futuristic guitars that Gibson unveiled in the late 50's, which were discontinued until the timing was right, and they reissued them briefly in ca. '67.  It reappeared in '76-'80, and then again in the '90's, which is the era for this one, and has remained in the catalog since that time.  Like the Flying V, and ill-fated Moderne, the Explorer features set-neck construction, with a mahogany neck set in to a mahogany body, with dual humbuckers (496-R and 500-T) and unbound body and neck.  It has an exaggerated "Z" shaped body, vol-vol-tone knobs in line, with a 3-way selector on the upper treble bout, and the original "hockey stick" headstock with 6/line Grover tuners.  Interestingly, the headstock on the original '58 was the first appearance of the hockey stick, aka "banana" headstock, which was used by Kramer and others in the early to mid 80's on their rock/metal axes.   It's especially unique for a Gibson in that it's pitched and angled, with a 6/side tuners configuration.  This is a cool guitar for the Metallica/Skynard/etc. fan, or anybody who wants to delve into one of the original metal axes, designed 30 years before metal was even invented.  For players who do a lot of lead work on the low strings in the upper register, no guitar provides easier access.  Set up with low action with a fat, warm tone that will fit any type of music.  Cosmetically it has normal dings and scratches for a guitar that's been used on and off for 15+ years but no structural issues and the frets are in excellent condition.  Today's Explorer with weight-relived body and "fretboard of the week" woods don't compare to the quality of older models.  If you're looking for an Explorer built in the traditional way, this one's an excellent player that sounds superb, priced at $899(Tent. Hold – Charlie 6/29).  Includes original brown case with pink lining and shroud.  Leather handle is a replacement and it’s missing 1/2 of middle latch but structurally 100%. 

Yamaha RGX320FZ – upgraded w/EMG’s, (front), (headstock back), (back), (case). Brand new set of EMG 81/85 humbuckers in this baby. Super clean shape – looks like a new floor model. The RGX320FZ is a fairly innovative guitar with some distinct design features not found on other solidbody electrics. For starters, it is Yamaha’s first affordable set-neck double-cutaway model and I was amazed to find these guitars with a retail price under $500. It features a mahogany body and set mahogany neck, a classic combination since the 50’s. It has the Yamaha tuneomatic bridge with the strings thru body and each block behind the string hole individually screwed into the body. The headstock is a unique feature, with the treble side beveled and tuners recessed into the body to provide a consistent break angle for each string as well as alignment that allows for a straight string pull. The finely sculpted body provides both comfort and a sexy kind of appeal – and is also nicely cut in back to allow for maximum comfort against the body. Neck is fully bound, frets are finished nicely, and the covered truss rod access at the upper fret shows additional attention to detail. The real selling point on this guitar is the pickups, and anybody looking for a mahogany guitar with active EMG’s will find this to be as affordable as they come, especially considering that it includes and older Yamaha case made for one of their high end models. Very nice deal for $259.

2011 Fender '69 Telecaster Thinline - Sunburst Ash, (front), (headstock back), (back). My favorite of the Classic Series, the '69 Thinline is, outwardly, identical to the one Fender made in 1969. The Thinline is made with the traditional Tele silhouette, but in a more lightweight package. A solid ash body without the chamber would make it 8-9 lbs; with the chamber it’s 2 lbs less. In fact, this hollowbody design was originally developed as a solution to Fender's dwindling supply of lightweight ash and mahogany back in the 60's. Features include lightweight semi-hollow ash body, 1-pc U-shaped maple neck with 7.25" radius and 21 vintage-style frets, two vintage-style single-coil Alnico pickups, vintage-style 3-saddle strings thru-body Tele bridge, 3-way pickup switch with master volume and tone, Fender/Schaller vintage F-tuners, 4-ply white pearloid pickguard, Top hat blade switch tip, '60's style black/gold logo, single string tree, and Synthetic bone nut. Has an excellent set up with low action and overall extremely clean other than some barely visible discoloration to the treble side of the fretboard. If you’re a fan of the Tele twang but want a bit of relief for your shoulder, give a Thinline a try. Sold new for $899; this one is just $629 including Fender deluxe gigbag, or $669 with a hardshell case.

2000 Fender Eric Clapton Signature Stratocaster - Pewter, (front), (headstock), (back), (tweed case).  (On hold for past 4+ months, fell through the cracks, now available). This beauty is in under-the-bed condition, pretty much unplayed by appearance, and the last year for Fender Lace Sensors in this model.  The Clapton was Fender's first ever signature model, becoming available to the public 1988, although prototypes were used by Eric beginning in 1986, most finished in the same Pewter. This model is based loosely on Clapton's original "mutt" nicknamed "Blackie" that he assembled from three mid-50's Strats. This model appears much the same as Clapton's prototype guitars. The guitar uses a lightweight alder body with a polyurethane finish and single-ply white pickguard, plus a soft-V shaped 22-fret maple neck. Other distinct features include a "blocked" American vintage synchronized tremolo, and special electronics circuit that features Fender's TBX pot (middle knob) and an active 25dB midrange boost (bottom knob), which are wired to work on all pickup settings. 25dB is an amazing amount of boost an makes these Noiseless pickups sound so fat, they're very must like humbuckers in their sound and performance. With the mid-boost turned down to "1", it's virtually out of the circuit and sounds like a regular Strat, as you turn it up the pickup gets fatter and fatter, with hotter output. The TBX knob is detented at "5", working like a regular tone control from 1-5, and from 5-10 acts like a treble booster, adding additional sparkle and clarity. Other features include vintage style frets, modern 9.5" radius, black dot inlays, satin urethane neck finish, 1 5/8" nut, Clapton signature on headstock, 4-Bolt neck with Micro-Tilt adjustment, chrome hardware, synthetic bone nut, American Vintage synchronized tremolo, and American Vintage Kluson-style tuners with metal buttons.  This guitar is in beautiful shape and appears to have seen little to no playing time, evidenced by perfect frets (pic) and writing unworn on the pickups (pic).  It has a great set up with low action and non-problematic string bends.  This is as fine a Clapton you'll find and in one of the all-time cool colors, for just $1099(HOLD-Mike R 9/11).  Includes Fender/G&G tweed case and trem arm.

2007 Fender Custom Shop '56 Relic Stratocaster - Blonde, (front), (headstock), (back back2), (case/acc.).  "As new" in "Relic Mint" condition, with zero players’ wear and zero non-factory flaws.  A lightweight 7.8 lbs., this guitar has more of a "real" vibe than the average Relic I've seen.  Finished is lightly checked all over, and the grail lift due to the nitro finish suck, gives it the appearance of a finish that's been curing for many decades.  It's not one of the heaviest relics I've seen, but the moderate fretboard wear matches the light wear on the body with more careless dings around the edges than heavy buckle rash, arm wear, and belly wear.  Go to a guitar show and you'll see 10X more genuine 50's like this than you'll see in the heavy wear category.  Likewise, the hardware realistically aged, but not totally rusted out as some of these are.  Frets are like new but the fretboard is worn through the clear coat over most of the frets, worn through to the wood primarily in frets 1-5, again, very realistic for a genuine 50+ year old guitar.  The set up on this guitar is phenomenal.  Very few vintage radius guitars will allow low action without choking out on bends but this one, no problem.  Neck is the 10/56 neck which is large, but actually less chunky than some other necks.  The ash body has lovely grain, easily visible under the translucent blonde finish.  One of the nicest pieces of ash I've had on one of these.  It's also one of the more resonant bodies I've had, with a very loud acoustic tone and a very even response when plugged in.  A new team built '56 Relic runs $3760 but this one's mint and $1300 cheaper at $2460.  Includes Fender/G&G tweed case, leather strap, cable, factory hang tag, ash tray, custom care folder, certificate, and other documents.

2003 Fender American Series Telecaster – Black, (front), (back), (headstock back), (case). I haven’t mentioned this in a while but…black is the most popular electric guitar based on new guitar sales, and has retained a slight edge over sunburst for many years. Just an interesting fact to start this listing. I’ve written so many of these that I know most of the info is repetition. The American Series made its debut in 2000 and had a handful of improvements over the ’87-’99 American Standard. Bottom line is it’s a quality guitar with classic Tele twang that’s easy to play. Overall very nice shape for 12 years old with the worst flaw being a scratch in the clear coat on back (shown here). It hasn’t been played much so the frets are in beautiful shape and it needs nothing to take to a gig tonight. Nice value for $875 and includes clean original case.

T-Rex Crunchy Frog Overdrive/Boost. Rich, warm tube overdrive tone with blend control to mix with your amp tone and a separate boost control whenever you need to jump out of the mix a bit more. T-Rex makes good stuff and other than a few small scratches on the right side, this one’s mint for $65.

1969 Gibson Super 400CES, (No hype - simply the best quilt ever).  One-owner guitar, uncirculated, and a desirable pre-'70 Super.  The Super 400CES was Gibson's top of the line archtop and this one has the finest quilted maple I've ever seen on this model. As soon as I opened the case and flipped it over, I heard Martin catch his breath.  It was for him, quite literally, breath-taking.   (front/back/side), (headstock/flamed neck), (flamed neck), (serial/label).  This is one of those finds that collectors wait for - a one owner guitar, bought new in 1969, and rarely saw the light of day since new.  It has never been circulated and is being sold only because of the owner's inability to play any longer. I've only owned a few Super 400's, but I've seen plenty and this is the finest of the fine.  The worst flaw is very typical - deterioration of the pickguard.  High quality repro's are available from a number of sources but the original is included, along with the bracket.  Other flaws on this guitar are minimal (picture) and include light wear to some of the gold plating on pickups and tailpiece, and very minor rubs on edge of headstock.  You have to look hard to find any flaws on this guitar but held in perfect light, you can see a slight clear-coat impression on the back where the guitar rested on the pickguard inside the case (pic) but, again, it must be viewed at the perfect angle, and very closely, to see.  Includes original case with accessories - hang tag, manual, strap, cable, pickguard and bracket.  There are no loose braces or other detractors that require maintenance.  It's hard to place a value on a guitar like this.  If an example with typically "good" flame is worth $X, how much more for perhaps the nicest quilt imaginable.  To a collector looking for the finest uncirculated example I've personally seen, I consider this one very reasonably priced at $10,000.  This is the most incredible Gibson archtop I've ever held and I'm sure the new owner will feel likewise.  

Budda Superdrive 18 1x12 Combo, (panel), (top), (back), (back panel), (footswitch). Early model Series II - the 386th ever built! Of all the Budda's I've had, this is the only Superdrive Series II I’ve ever had in stock. All I can say is it's a great amp, with tone that's on par with the earlier hand-wired Series I and while there's a certain elitist appeal to a hand-wired amp, tonally, circuit boards seem to sound just as good. Budda has specialized in club amps going back to Jeff Bober's first hand-wired amps such as the Twinmaster and Verbmaster, both of which were dual EL84 powered with a 5U4 rectifier and a trio of preamp tubes. The Superdrive shares a lot in common with these early amps, but they've been re-engineered to be more versatile, with the ability to play harder-edged music, when desired. It's one of the best amps for getting a quality tone with preamp distortion, but when you crank up the master this baby really delivers. At 18 watts it's a perfect club amp. Features of the Superdrive 18 combo are: 18 Watt Class A/B with dual EL84 power; 5U4 Tube Rectifier; three 12AX7 Preamp Tubes; Treble, Mid, and Bass Controls; Rhythm Volume; Master Volume; Pull Bright on Rhythm Volume; Drive Control; 2 Channels - Rhythm and Hi Gain; Effects Loop; Slave Out; Pull/Modern Mid Function; Custom Wound Transformer with 4-8-16 Ohm Switch; and Custom Designed Budda Phat 12 Speaker. For full specs visit Budda here and click here for a bunch of YouTube demo's. This model achieved a commendable 9.6 in tone and 9.6 overall in Harmony-Central reviews. While these may be circuit board amps, so are 98% of the amps sold in America and unlike most of the competition, these amps weren't built on the cheap and they feature a thick circuit board with top notch components all around. A few rubs on the tolex covering but overall this amp is in nice shape for a used amp and sounds absolutely perfect. This is the first Budda I've been able to put out at under a grand and for $879(HOLD-Pete M 12/30), it's hard to beat. Includes original footswitch and perhaps a purple Budda cable if you remind me to look for it.

Fender/G&G Strat/Tele Tweed Case, (pic2). Top of the line G&G case and top-notch protection for your valuable Fender guitar. Traditional styling with locking latch, protective “leather” ends with white piping, accessory compartment, padded plush interior, and Fender logo. These are $159 new but this one’s perfect and just $129/shipped to your door.

Fender Pro Series Black Tolex Case, (pic2). Similar specs to the G&G but priced just under them. Features two smaller compartments, chrome Logo as used ca. ’69 thru late 70’s. Quality protection for $99/shipped to your door.

80’s Ibanez Case, (pic2). Gray exterior chainsaw case with gold painted logo and eggshell foam interior. Should fit Ibanez RG, Roadstar, and Sabre series, and other Strat style guitars. Remarkably nice shape as these go. Interior foam, latches, hinges, handle, all intact and nice. Got an old Ibanez you love? Give it a happy home. $119/shipped to your door.

Epiphone Dot/ES-335 Case. Nice shape, plush interior. $65.

Seymour Duncan Custom Shop BG-1400 Tele Pickup, (pic2). An amazing 30.5K out of this Duncan Tele Lead Stack bridge pickup. If you’re looking for the hottest possible, this has gotta be it. This pickup is also known as a Pearly Gates Tele and features Alnico 5 magnets and 4-conductor wiring for a variety of single coil and humbucker applications. Since this is stacked pickup, you’ll need a route of .83” clearance. Duncan sells this model direct through his site for $150, or get this one for just $99.

Seymour Duncan SH4 SH1N Set with Nickel Covers. Duncan’s popular combo with a “JB” bridge, and ’59 neck. The JB is the most popular humbucker ever made, making its name in heavy blues, rock, and heavy metal, designed with 4-conductor wiring for coil split applications. The ’59 is a 2-conductor, traditional vintage style, and provides the smooth sustain players seek in their neck pickup. New these are $187/pair but get this set for just $99.

Seymour Duncan Pearly Gates SH-PG1B - White. The original Pearly Gates was wound for Billy Gibbons famous ’59 ‘Burst and they were later turned into a regular production model. Very popular in Les Pauls but also used on Fender Big Apple, Lonestar, and other Strats throughout the years. These typically develop fine cracks between the poles which have never been problematic on ones we’ve had. Sounded great on the Strat it came out of and priced around ½ of a new one at $49.

Fender Stratocaster Vintage Noiseless Set. Famous for delivering classic Fender single coil tone – without the hum. Special beveled poles and enamel-coated magnet wire produce the brilliant clarity, definition and harmonic tones without the annoying hum of vintage single coils. These were OEM on American Deluxe and many Custom Shop Stratocasters. $199 a set new or get this used set for just $109. We can also wire it up to a pickguard, “drop in ready”, for $159 including guard, knobs, tip, pots, and switch.

Fender SCN Stratocaster Set, (pic2). These Samarium Cobalt Noiseless (SCN) Mod Shop pickups were been designed from the ground up by Bill Lawrence and tweaked by the Fender R&D department. Bill claims that Rare Earth alloys, like samarium cobalt, are used to produce permanent magnets five times stronger than any other material. These were stock in American Deluxe and Custom Shop guitars in the ‘00’s and offer a good Strat tone without the hum. Get this set for less than $35/each - $99 takes the set.

DiMarzio HS-3 Strat Humbucker DP117. The choice by Yngwie and used in his signature Strat for many years. Not overly hot but very sweet sounding and the choice for classic metal players since the 80’s. $45.

2010 Fender American Standard Stratocaster “Blackie”, (front), (back), (headstock back), (case).  Our most popular model, black with a maple board! Beautiful condition – barely played and not a scratch on body or neck. This is one of the “new spec” American Standards with the fretboard polished to a high gloss for beauty and comfort; a new copper-infused, high-mass, 100% metal bridge for better sustain;  neck now has gloss finish on the front, satin on the back to allow your hands to slide easily up and down the scales; Delta Tone system: a no-load tone control for middle and bridge pickups, taking the tone control out of the circuit when turned all the way up while also providing a tone control to the bridge pickup.  Other features include new American Standard bent steel bridge saddles, staggered tuning keys, and a thinner undercoat for better body resonance.  Black and maple is a classic look, going back to the original custom color days of the late 50's and most prominently featured in Clapton’s original “Blackie” and the later signature model that beared the same name.  These are going for $1299 new but this one's perfect and includes Fender case, strap, trem arm and paperwork for just $850. Plus…like all our guitars it’s pro set up with low action and no buzz. Nice!

Marshall Haze 15 MHZ15 Tube Guitar Head, (panel), (back), (footswitch). The Haze 15 combines classic tube tone, with modern day digital effects, the best of both worlds. For players who like to keep things simple, with this baby there's no more hooking up a bunch of stomp boxes - you've got emulated spring Reverb, as well as Echo, Chorus, and Vibrato. With a 12AX7 to warm up the preamp, and a 6V6 cranking out 15 watts of tube power, this amp has the warm, natural sound of a tube amp. It's diminutive size, just 19.5" wide, makes it more desirable for players who don't want the look of a full stage rig, but the vintage styling is straight out of the 60's. Designed in the same style as the big Marshalls, the 2 distinctive footswitchable channels of the Haze offers a variety of tonal possibilities. The Normal mode provides a rich and organic clean sound with loads of headroom, while the Overdrive channel delivers a warm overdriven tone, with a separate Gain control to dial in as little, or as much, grit as you want in your tone. A Bright switch is shared between both channels - when engaged it adds extra bite and sparkle. Both channels also share a shared 3-band EQ. Channel effects are remembered when you return to the channel, meaning you can set up your clean and overdrive sounds and return to them over and over again without having to readjust your settings. The warm emulated spring reverb has its own independent control, allowing you to add as much reverb as required, and it also has a positive off (click) position when you want it out of the circuit completely. Click here for a good YouTube demo from Nevada Music (UK). Includes 1-botton footswitch for free or substitute for an optional Marshall PEDL10049 4-button (Channel Select, OD Boost, Reverb, and Effect with LEDs) for $65. This amp sold new for $599 but this one is in perfect shape other than one scratch on the faceplate, and is just $350.

SKB 2U Space Roto Molded Rack, (inside). New redesigned SKB Roto Racks have a new exterior design that includes a recognizable bar design that signifys the rack size on the front and rear covers with interlocking capabilities for a secure stack with Roto Racks and the new Roto Shallow Racks. Features recessed steel, Mil-Spec black twist latches, and new heavy-duty flush handles, front and rear rack rails with a rack depth of 17.6" so gear can now be mounted front and rear. List price is $189 but this clean used one is just $55.

2001 Jerry Jones "Neptune" Longhorn Bass, (front), (back), (headstock back), (inside label), (relic-wear1 #2 #3), (case). In the coolest finish, Copper Burst. Jerry Jones built the best Dano reproductions on the market, better than the original 50’s models in fact. While the Korean models offer a good guitar for the money, Jerry Jones made pro quality instruments in his Nashville TN shop. The Neptune Longhorn is based on the Danelectro model from the 50's and features excellent balance, superb playability, and fantastic tone in a 30" short-scale. It's light weight and 30" scale make it a dream to play during long gigs, and the tone is rich enough that you can use it throughout the night, rather than pulling it out for a few songs. Other features include hollowbody construction, Indian Rosewood fretboard with 1 5/8” nut width, 14.5" radius, truss rod at the heel, quality Gotoh tuners, 4-way rotary pickup switching with hum-cancelling wiring, Gotoh bridge with adjustable steel saddles and, most notably, Jerry Jones own lipstick tube pickups, widely acclaimed as the best lipsticks on the market. As Jerry once said, “the Neptune has a punchy percussive tone that can really cut through the mix. String this one with flat-wounds and leave your upright at home.” Jerry retired 5 years ago and sold off all of his machinery and parts. Since that time they have continued to appreciate on the used market. This one has some vintage vibe (relic look), especially around the edges, which make it look very close to an original 50’s model. There might be a cleaner one somewhere, but none cooler. Plays great with no fret wear and fairly lively for the Dano body style. Yours for $1150, including a slightly rough hardshell case.

PICS FIXED, RELISTED: 1996 Zion Custom Quilt Top, (front1 front2), (back), (headstock neck), (neck pocket markings), (case). It doesn't get much better than this for a perfectly bookmatched, breathtaking quilted maple top. This stunning Zion is a Hoover-era Custom, based on Ken's original body style, the Radicaster. Zion's were very high end guitars during this era, and add in options like the AAAA quilt top, German carved top, figured neck with vintage tint, and gold hardware, and it was a very expensive guitar. The body is shaped roughly like a Strat, although less clunky with a slightly smaller size, smaller and deeper cut horns, and nicely rounded body edges. Not just great looks, Zions are noted for being immaculately constructed guitars with excellent seasoned tonewoods and meticulous attention to detail. Other features include desirable Mann-Made bridge, beveled heel (shown here), Schaller locking strap pins, and HSS pickup configuration with 5-way and master volume and tone. I'm awaiting info on the pickups, which I'll post within 24 hours. I think the originals were a set of Duncans (shown here), but these look like Zions so they may be the original ones. Guitar will be offered with your choice or, for $100 more, I'll swap out with this set of 90's Zions (shown here). I can't find a serial scheme for Zions but there's a body date of '96 and pots are dated '96 so I'm calling it a '96. Overall excellent condition with only some minor dings and some gold wear. At $1499(HOLD-Kevin K 1/22), you won't find a better USA guitar for looks, tone, and playability. Includes original Zion tweed case.

1995 Gibson Les Paul Special, (front), (back), (headstock/binding back), (case).  With its roots in the original 50's Les Paul Special, this mid-90's model actually has more in common with the ca. '77 LP-55 (as shown here) than the original 50's single cut Special due to the Tuneomatic bridge on this model but for the player that's a good thing if you want perfect intonation.   One other departure from the originals, this model features P100 (stacked P90) soapbar pickups, which retain the tone of the P90, without the extreme hum associated with the P90s.  This model is far superior guitar to more recent attempts such as the Faded series, Junior Specials, and the Specials with the mini-trapezoid inlays; this guitar has the proper neck heel and tenon, bound neck, and the color and gloss lacquer finish are dead on.  Specs include Mahogany body and mahogany neck, both with translucent cherry finish, Grover tuners, inlaid Gibson logo with screen "Les Paul Special" logo, no volute, bound neck, stopbar tailpiece with Tuneomatic bridge, black bonnet knobs with metal pointers, and 3-ply pickguard.  Pretty nice shape overall with the only exception being a little finish milking on the headstock overlay (pic) which is non-problematic and not as stark looking in person. Many people, me among them, believe the 90's were a very good era for Gibson, sort of a post-60’s Golden Era.  Own this modern golden era Special for $899(HOLD-Larry L 8/11), including a nice arched top case.

2006 PRS Singlecut Emerald Green Flametop with Birds, (front), (back), (headstock back), (bird inlays), (case). Just got the right case for this one so I’m relisting it: Lovely Emerald Green with a nicely flamed maple top and the older, colorful bird inlays. At the risk of sounding like a geezer, I’ve never warmed up to the newer “open” bird inlays, seeing them as a cheaper manufacturing technique. Singlecuts are great guitars, much like the Custom 22 except in a more timeless body shape with a slightly thicker mahogany back, but the features are undeniably PRS including the flamed maple "binding" where PRS leaves the maple unstained and bookmatched maple top over mahogany body and neck.  Features include dual volume and tone, selector on the upper bout, and stoptail tailpiece, PRS-7 Treble and Bass pickups, 25" scale, 10" radius, vintage tuners, and wide-fat neck which isn't as chunky as the name might suggest - for many it's the perfect size, and just slightly thicker than their wide-thin profile.  Cosmetically it’s in excellent condition, with the exception of a few tiny finish impressions next to 3 of the knobs, shown here.  Frets are near perfect, like a 2-month old guitar and it has no buckle wear nor dings on the headstock points.  Set up is very low with no buzz, a real delight to play. If you're looking for a nice alternative to a Les Paul, we love this model and with the bird inlays, a nice deal at $1599. Includes original case and PRS paperwork.

Epiphone E-Series Bully SG, (front), (headstock back), (back). I had to steal the bridge off of this around 8 years ago so it’s been in stock a long time. Recently found and a proper bridge and stopbar installed, set up fantastically, and ready to rock. The Epi E-series was short-lived in the early 00’s and the Bully is basically an SG Special with slim taper neck, upgraded E-series open coil humbuckers, and E-Dovewing headstock and logo. I had this one priced for $165 on an archived page from 2005 and am blowing it out today for $115. If you’re looking for an excellent choice for a beginner and want something that plays a lot better than the new Epi Junior at your local store, you can’t go wrong with this one with a proper set up.

Custom Warmoth/Musikraft Strat/Tele Relic, (back back2), (front front2), (checking/wear pic2 pic3), (headstock back), (neckplate). Fantastic relic job by local finish expert Geo M on this Olympic White Warmoth body. Perfect finish checking throughout, authentic looking dings, overall appearance of a heavily played guitar that’s done at least as good as Fender Custom Shop. All good parts here including Callaham bridge, Gotoh HAP locking vintage tuners, DiMarzio Area pickups, Dunlop strap pins, and exact replica Fender F-plate with serial number. Now for the unusual part – this great body is paired with a great neck, a Tele neck no less. Yep, it’s a quality Musikraft neck made of quartersawn maple, with an appropriate “Fender Custom” decal professionally installed. It’s definitely a chunky neck, along the lines of a Fender ’56 “Boat” neck, so if you favor American Standard or Vintage ‘52/’62 profiles, you probably want to pass on this one. I debated installing a Strat neck on this guitar but it occurred to me that a few players ever year tell me that they’re building Strat/Tele hybrid guitars which tells me this might actually be more desirable to a number of our customers. We can install a Strat neck, but let’s try this unique look first. I know a bit about the relic process used on this body and it has at least 30 hours of labor involved. You can try it yourself but you’ll go through a number of bodies before you get anything close to this. The set up is quite low, with no buzz, and these DiMarzio’s are one of my favorites for an authentic Strat tone without the noise. What a great guitar for just $999(HOLD-Steve, local 1/7).

1984 Gibson SG Standard, (front front2), (headstock back), (back back2), (pickup), (case case2). Fairly rare 80’s model, considering all the stopping and starting Gibson did with the SG during this era. The Standard was discontinued in ’81, returned in ’83, discontinued again ’87, and brought back in ’89 before being discontinued in ’90. Specs were pretty much identical to the recent SG Standard other than the ’84 having a larger headstock, block inlays instead of trapezoids, “Posi-Lok” strap buttons which only lasted around 2 years, and the pickups, which are the stock Gibson “Super Humbucking” with factory epoxy bottoms. Other features have remained including unchambered mahogany body with beveled edges, tuneomatic bridge with stopbar tailpiece, dual volume/tone knobs with 3 way switch located above/between knobs, flower pot headstock inlay and inlaid logo, bound neck, and side output jack. Very well preserved with a very clean top, neck and headstock, and just some minor very light scratches in the clearcoat on back. It has a fantastic straight neck which allows a low set up without buzz, despite the frets which have been freshly dressed (pic) giving it the feel of an old Les Paul Fretless Wonder. If you like the light touch of lower frets, you’ll love the feel – if you like meaty frets, you probably will want a refret. Other than tuners, which have been replaced with similar Gibson tuners, it’s all original. Now at over 30 years this is officially a vintage guitar, in a condition that isn’t often seen in a guitar of this age. I consider it an excellent buy at $1150(SOLD-Glyn K 9/29), including original Gibson Protector case with all latches and hinges intact.

Lab Series L5 100W Combo Without Speakers, (panel), (back/side), (top), (back panel), (BB King ad). Amp works A-Okay, and we just removed the chassis and cleaned all the pots and connections - but it's being sold without speakers. A great example of solid state amps done right - good enough in fact that the L5 was used by Allan Holdsworth on his first few albums, as well as Ty Tabor on the early King's X albums and its most noteworthy user, B.B. King found his signature tone in an L5 in the late 70's and continued to use them through the end of his career. B.B. became an official endorser in 1981 but was already a devoted user by then. If most people listen to any of these recordings they'd likely assume they were hearing a tube amp. The dynamic range and touch sensitivity - and Allan and Ty's pure sounding crunch, don't share much with other solid state amps of the day. Lab series are frequently thought to be "Gibson" amps, but Gibson was just sort of an in-law to the Lab company. Gibson's only relation was distribution of the Labs, and the fact that both companies were owned by Norlin. The actual credit for design and manufacture goes to Moog, of analog synth fame. Although the L5 is the most noted of this series, there were several others in the line including the L7 and L9 which were identical amps but with a different speaker configuration. These are loud amps, rated at 100W RMS and unlike most solid state amps where 100 watts was roughly the equivalent of a 35 watt tube amp, this was a loud 100 watts. Specs and features include: 100 watts through 2X12" speakers; dual channels; channel one is a basic Fender-style layout with Bright switch and Vol-Bass-Mid-Treb knobs. Channel 2 features a lot more control. In addition to the Bright switch, Volume, Bass, and Treble, it features an active type EQ with a semi-parametric midrange control with mid frequency adjustable from 100Hz to 6400Hz along with a corresponding cut/boost knob. It also features a Multifilter knob, essentially a 6-band EQ with fixed settings (centers at 1000Hz, 1370Hz, 1900Hz, 2630Hz, 3630Hz and 5000 Hz.), where you control only how much of the signal thru it gets mixed back with the main signal - sort of like a flanger's comb filter with the sweep set to zero. It also features a good sounding reverb and an onboard compressor that's a personal favorite, with a knob to control the amount of compression with a corresponding LED that lights up when the compressor kicks in. Lastly, a Master Volume knob lets you overdrive the preamp circuit while keeping the output level down. On the back of the amp you have a footswitch input for reverb on/off, effects loop, and an unusual on/off switch that locks in to prevent inadvertent shut down. There are a few Lab Series sites on the web including DIYGuitarist. Again, this amp does not include speakers. It had a pair of early Celestions that were worth almost as much as the amp and they were sold separately. Speakers shown are just to highlight speaker alignment and are not included. Overall it's in decent used condition but far from collector's grade. Buy it because it's a good sounding amp - not because it's a lovely example. If you haven't heard one of these, you're likely in for a treat and at $299, a good buy on a powerful 2X12 combo.

2007 Fender Highway One Stratocaster - Sunburst, (front), (back), (headstock back).  Best value in an American Strat. Lovely Version 2 Highway that combines a vintage vibe with the large headstock with vintage logo and vintage tremolo - plus modern features such as jumbo frets, modern C-shape with modern 9.5" fretboard radius, and a master "Greasebucket" Tone Circuit that rolls off highs without adding bass.  Add to this a very thin Nitrocellulose finish and you have a body that resonates better than the poly finishes and rather easily attains an honest "relic" appearance, much like a vintage Strat.  Pickups are original Fender Hot Single Coils (Alnico 3) with the middle being reverse wound/reverse polarity, for traditional Strat tones.  Two minor mods, including upgraded bent steel saddles, thicker than stock ones, and a mini switch to turn on the bridge pickup which allows neck/bridge combination, and all 3 pickups simultaneously. If you don’t use it, just keep it in the up position and it’s like a regular Strat. This guitar is in excellent condition with perfect frets and a super comfortable set up. I've said before, Fender could have made a few minor changes and called this a USA Vintage Series but instead they used this model to hit a price point slightly below the American Series, providing an excellent value for the money.  They sold new in ’07 for $899 and have since been discontinued. This nice used one is a good buy at $599, with deluxe gigbag. Remind me, and we’ll install a back tremolo cover if desired.

2008 Fender American Standard Telecaster w/many upgrades, (front), (back), (headstock tuners), (upgraded pu’s and bridge), (Fender 60’s Tolex case). An excellent guitar…made better. This one has received all the player upgrades which are frequently requesting including a pair of Texas Special pickups, Callaham bridge and compensated brass saddles, locking tuners, and a genuine Fender 60’s style Tolex case. The Callaham bridge ($125) is twice as thick as the stock Tele bridge, increasing sustain, volume, and unwanted feedback, Texas Special pickups ($159) offer increased output with increased mids and presence on the bridge, and warm clear tone on the neck – while the Fender locking tuners ($62) maintain better tuning stability without modification to the guitar. Fender Pro Series case ($119) provides excellent protection and is just plain cooler than plastic. This is one of the "new" American Standards that replaced the American Series, which replaced the "old" American Standard. At every step in its evolution, Fender has made a number of minor improvements to the Tele which, collectively, combine to make a better guitar. Features include alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, volume and tone control - Delta tone "no load" tone circuit. Other features include highly finished frets, detailed nut work, and rolled fretboard edges. A new American Standard in 3-tone sunburst will run you $1299, and it will probably be a good player. For less money, you can have this one in perfect condition, with $465 worth of upgrades and it’s guaranteed to be an excellent player. Just $1199 as outfitted with all upgrades or, if you prefer, we can return to stock parts (pic) and drop the price a few hundred.

1996 Fender Stratocaster Plus “Blackie”, (front), (pickups), (back), (headstock back). Very close in specs to a Eric Clapton signature model “Blackie” except with the Plus features including locking tuners and LSR roller nut, without the 18dB mid boost circuit of the Clapton. Also, while the Blackie models from the 90’s used 3 gold Laces Sensors, this one has the hotter Red bridge pickup installed for increased output, sounding closer to a humbucker than the Gold. The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard, replaced by the American Series, with the "American Deluxe" replacing the Strat Plus as Fender's premium production model.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  The “new” Lace Sensor pickups provided a vintage tone without the annoying noise associated with standard Strat pickups - and no magnetic string pull to kill the sustain of the strings.  I'm a big fan of these pickups as they're the best I've found for zero hum while retaining that vintage Strat tone.  The Plus also features precision locking tuners and LSR roller nut (or Wilkinson cam nut on early models), enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This one's in very nice overall condition with just some clear coat scratches and a little fretboard edge wear that the 90’s maple boards are prone to developing. It has a nice set up.  If you’re looking for the vibe of a Blackie at many $100’s less, check this one out for $899. Includes Fender case and trem arm.  

2010 PRS 25th Anniversary McCarty Narrowfield LTD, (front2 front2 flash), (headstock back), (back back2), (bound neck), (case case2). The original PRS factory in Annapolis started up in 1985, which made 2010 the 25th anniversary of this instant classic brand. To honor Paul’s design mentor, Ted McCarty, PRS released the 25th Ted McCarty Narrowfield LTD which combines all the traditional features of the original and adds cutting edge pickups. Passive PRS Narrowfield pickups shrink the sensory field detecting the string much like a single-coil but are hum canceling, resulting in a new sounding pickup that combines features of single-coil, soapbar and humbucking pickups. Other features include mahogany body with carved figured maple top, Nitro topcoat, mahogany neck, 25" scale, wide fat neck shape, bound rosewood fretboard, 22 frets, 25th Anniversary shadow bird inlays, Eagle headstock inlay, PRS 14:1 Phase II low-mass locking tuners, McCarty truss rod cover, PRS stoptail bridge, 57/08 Narrowfield Treble and Bass pickups, volume and tone control with 3-way toggle pickup selector. I didn’t have great lighting on the pics but the actual Sapphire Smokeburst color is richer than the first two pics, but not quite as bright as the flash pic above. The flame is excellent, and even side to side, top to bottom. This guitar comes housed in a lovely white 25th Anniversary case and includes factory tag and paperwork. Martin buffed out the finish and it looks as clean as a new one hanging in a store. A great PRS for just $1899(HOLD-Mike R 12/4).

Electro-Harmonix Memory Toy Nano Analog Delay. Sounds much like the old Boss DM units with almost twice the delay time (550ms) plus a selectable modulation switch. Advertised as a close cousin to the old Memory Man, it’s lush and natural sounding. Add in the modulation for a touch of chorus to further thicken your tone. Best of all, it’s a Nano, which takes up less than ½ the space of most EH effects. Sells new for $120; this one’s perfect in the box for $84.

Korg KFB-001 Spacer. Made for the popular 80’s Korg PME40X pedalboard, the KFB does nothing other than occupy an empty space on your board. It’s only the 2nd one I’ve had in 20 years so it’s probably pretty rare. $39.

1996 Gibson Nighthawk Special 3 Pickup (DSN3), (front), (back), (headstock back), (case case2).  I haven’t had one of these in over 5 years and this is the cool one with 3 pickups with push/pull tone pot that yields 10(!) tonal choices. Here’s a pic of the configuration. Weighing in at just 7 lbs. 1.4 oz., the diminutive body and lightweight construction make the Nighthawk a pleasure to play for extended periods. Add to this the tonal variety of tones and you have a guitar that would excel for cover band guitarists or anyone who needs a wide variety of character out of their guitar. The Nighthawk was designed with a stylized take on a scaled down Les Paul body with a deeper cutaway and ribcage cutout for comfort. Features include mahogany body with mahogany neck, body binding, longer 25.5” scale, pearl dot inlays, inlaid headstock logo, gold hardware, hardtail bridge with thru-body stringing, Gibson Deluxe tuners. Pickups are a M-series mini-humbucker in the neck, NSX single coil in the middle, and a slanted M-series humbucker in the bridge, controlled by a 5-way switch and push/pull tone pot. If you’re a Fender player who could never get used to the shorter Gibson scale you should be able to get around fine on this guitar, plus it’s capable of some Fender-y tones with some of the single coil settings and Tele style bridge design. It’s in beautiful shape with very little gold wear and an excellent set up. $875(HOLD-Geo M 12/10) includes clean Gibson brown case with intact shroud and plush pink lining, or $799 if you’d prefer a Gibson gigbag. Nice guitar!

1952 Gibson ES-125 Hollowbody Archtop, (front front2), (back), (back-2), (headstock back), (side), (case case2).  ’52 must have been a big year as I recently got in this ES-150, and ES-125, and Fender Deluxe 8-string, all from 1952. This ES-150 is in beautiful shape, with no issues or excuses, and all original other than replacement Gibson tuners. The ES-150 was clearly above the ES-125 during this era, with a wider 17” body, bound neck, trapezoid inlays, and multi-layer pickguard. By appointments, it was close to an ES-175, except for headstock ornamentation.  Specs include laminated 17” body, 3.5” deep, with maple top and mahogany back and sides, with mahogany neck and Brazilian fretboard and bridge, finished in nitrocellulose lacquer, 24.75" scale, single P90 pickup in neck position with volume and tone controls, multi-layer black pickguard, nickel trapeze tailpiece, bound body top and back, pearloid trapazoid fingerboard inlays, bound neck, silkscreen logo, Sunburst finish only.  Early features include half-clear/half-gold knobs, and rounded P90 cover.  The pickup has 6 adjustable poles between two Alnico 5 bar magnets, which is fairly mellow, not as harsh as some P90's were in the 50's.  The tone is well suited for Jazz, or even Delta blues.  Cosmetically, it's in beautiful shape with minimal finish checking, little to no player's wear, no cracks or repairs; just a very nice example of this model.  Set up is low and comfortable.  These have gone up considerably over the past 15 years but this one is still and excellent buy for an early 50's in this condition.  $2100 includes a quality hardshell case. 

DigiTech RP500 Guitar Multi Effects Pedal with Case, (close-up), (panel), (back).  This is around the 14th RP500 I've had and they've proven to be my hottest selling floor multi-effect around here. The RP500 was the latest and greatest from Digitech's RP series.  More than just an extremely powerful modeler and multi-effect, the RP500 has an exclusive "pedalboard mode" which changes it into 5 individual stomp boxes and effects.  Your first impression will be that this thing is built for years of use and road abuse with metal housing and steel parts, plus it has a simple layout that allows it to be used as a simple pedalboard if desired.   Features include:  Amp/Cabinet Bypass defeats internal amp and cabinet effects in all presets, 40 Tone and 40 Effects Libraries, 200 presets (100 factory, 100 user), Over 125 effects including stompboxes, choruses, delays, amps and cabinets, 5 seconds of delay time, 24-bit 44.1kHz sample rate, Heavy-duty metal switches for stompbox response, Bright LEDs display program status and effect on/off, Large 10 character LED display for preset name-bank name-tuner, Built-in chromatic Tuner, Independent XLR Left and Right Outputs with ground lift Independent 1/4" Left and Right Outputs, Amp/Mixer switch to engage speaker cabinet, Stereo 1/8" headphone output, Stereo 1/8" CD/MP3 Input, Built-in expression pedal controls the RP500’s internal wahs, volume, Whammy and other parameters, All metal construction, 2 x 2 USB audio streaming.  This is a great unit for live playing, but you can also run it on Cubase LE (software included) and use the USB output in the studio.  For full specs and samples, click here for Digitech or click here for some YouTube demo's.  Get this one for just $149 with an excellent quality Cordura gigbag (pic), which sells online for $39.  Includes original power supply and Cubase LE5 music production software.  

ESP Ltd EC-10 w/upgraded Pickups, (front), (headstock back), (back). Finished in Black Satin; original owner had headstock pro refinished matching color to obliterate the Ltd logo and Indoneasian manufacturing info on back. Work is first rate and looks factory though. At the same time, pickups were replaced with a pair of Dragonfly Phat Screamers (link), which sound very good on this guitar. Features a nicely sculpted single-cutaway basswood body, dual humbuckers, 3-way toggle, tuneomatic bridge with stopbar tailpiece. Bolt-on maple neck has a thin, U-shaped profile that feels very fast, especially on the 24-3/4" Gibson scale rosewood fretboard. Also features 24 Xtra jumbo frets. This guitar is very clean and with a good pair of pickups is a good extra guitar, or a great guitar for the beginner, at just $75(SOLD-Mike 9/20).

Steinberg UR28M USB 2.0 Audio Interface, (back). Simple desktop unit that lets you record direct to your digital device or broadcast on the web. Top of the line converters provide a max sampling rate of 192K, 24 bit. You can connect with an IPad or countless iOS apps and is compatible with all the major production software. It offers an easy way of streaming performances live to the internet, with incoming audio signals merged to the playback signal from Cubase or other DAWs inside the computer. It offers Phantom power as well as a 5 V DC port is to supply sufficient power when using it with an iPad. A standard USB power adaptor or an external USB battery can be connected to guarantee power stability. Sells new for $99 but this one’s mint for just $59.

Phantom Guitar (MK VI style), (front), (headstock back), (back), (gigbag).   Make no mistake about it, Phantom Guitar Works is the only company authorized to build genuine Phantom, made by Vox in the 60’s, and reissued in the 90’s. Oddly enough, Vox, the original builder in the 60’s, isn’t allowed to use the name. They currently have a similar looking guitar but it’s simply another of the Indonesian ilk, and is strictly a beginner guitar. Phantom Guitar Works are excellent replicas of the old Vox guitars from the 60's, namely the Phantom, Teardrop, and MandoGuitar. They are hand-assembled in the USA of foreign and domestic parts.  This model is a reissue of the famed Vox MK VI, originally made in England and Italy. The original model earned notoriety as a primary axe of Brian Jones of The Rolling Stones and a little known fact, also used by Drake Levin of "Paul Revere and the Raiders" on their daily TV show, "Where the Action Is".  Every day after school I'd love watching the Raiders, not for the crazy antics or funny costumes, but to drool over the entire line of Vox gear that the manufacturer kept them supplied with.  From what I've read, Phantom got their start after buying up a large quantity, all the remaining stock, of vintage Eko/Vox parts.  I haven’t had one of these in years, although I had around a half a dozen of the USA Vox's when they suddenly reappeared around 1998.  This Phantom compares very favorably with those recent Vox's in all regards and I actually like the tone a bit better.  Features include solid mahogany body, maple neck, Indian rosewood fingerboard, signature Phantom vintage style single coil pickups, vintage vibrola tailpiece, Phantom roller nut and bridge, 25.5" Scale length, 1 11/16" nut, 3 single coil pickups with 5-way switch, vol-tone-tone, and vintage style tuners. The three single coil pickups have a character of their own.  Not really Stratty, as they’re a bit more mellow, with increased warmth and fatness.  This is a very well made guitar with excellent tone and a wonderful setup, and a distinct vibe.  Just as no other hollowbody has the vibe of a Gretsch; no other solidbody has the vibe of a Vox.  Phantom only sells direct to the public and this model starts at $859. This one has a few factory custom options including the gold pearl pickguard and chrome pickup covers. It’s in dead mint condition, plays great, sounds great, and is possibly the coolest 60s vibe you can get for $599. Includes well-padded Phantom gigbag.

T-Rex SpinDoctor Version 1, (front), (side). One of the best tube overdrives in recent history. This is the original Spin Doctor, which uses two tubes to achieve it’s warm tube overdrive, unlike the second version which was built with just a single tube. This is a programmable device with actual motorized knobs, i.e. they move automatically, like flying faders on an automated mixer. Pretty cool. It also has Midi in, so you can control the presets and parameters via external Midi devices. Rather than write a long description of features, let me point you to a few online demos. There are plenty of online but my favorite is on Vimeo (link), although not in English unfortunately. For a good English demo, here’s a good quick one (link) from ProGuitarShops. For comparison to the Version 2, I think you can hear the increased warmth of the Version 1 in this side-by-side comparison (link). Although original manual is included, you can check out all the features online at T-Rex here. The new Version 2 with one tube sells for $520 but I think this is a better sounding unit, super clean in the box, and just $299.

2007 Fender Road Worn 50’s Stratocaster – Black, (front front2), (back back2), (headstock back). For many players, nothing beats the feel and vibe of a genuine vintage guitar, complete with chips, finish wear, oxidized hardware, and a broken in neck.  Speaking of neck, this one came in with a neck that set up well but only with the truss rod all the way tight, i.e. no where to go if it ever needed less relief (shown here w/orig. neck). We solved this by installing an identical ’02 Fender 50’s Classic neck, adding some neck wear front and back, and, voila, as good or better, since Martin also rolled the fretboard edges and fret ends. Fender's Road Worn series is a genuine Fender Relic guitar, but around 1/3 the cost of a Custom Shop model.  These guitars are excellent guitars in their own right and like the Relics, they feature an alder body with nitrocellulose finish with misc. finish wear, chips, dull finish, aged-looking hardware, and aged pickguard.   Not just looks alone, these guitars are loaded with Tex-Mex single coil pickups, quality USA electronics, nickel vintage tuners, and the quality tremolo with stamped steel saddles and heavy steel trem block.  Click here for Fender’s spec page. This model sells new for $899 but this one is set up to perfection with custom detailing on the neck and an excellent set up, for just $599(HOLD-Brian N 10/5). Includes deluxe gigbag.

RMC Wizard Wah, (pic2), (pic3). Geoffrey Teese's wah pedals are perhaps the most highly regarded on the market, use by countless pro's on stage and in the studio. The Wizard is a chameleon, part RMC1 and part Picture Wah, the Wizard Wah sounds like nothing else, with extended sweep range, rich, tight lows, smooth mids, a natural sounding top end, and a slight overall boost. It is slightly darker than a "normal" wah. The top end gets only a little brighter than the actual guitar sound and it has a very smooth overall sound - the low has close to the same signal strength as the mid and the top. Unlike the RMC1, the Wizard is designed to work with most any pickup configuration and any amp gain structure. Like all RMC's, it is developed and built by Geoffrey Teese and includes true-bypass and AC adapter jack.  Beautiful condition and a nice buy for an RMC at $165. 

Martin Nylon Backpacker Travel Guitar, (back), (side), (gigbag). The Backpacker is a cool little travel guitar that easily fits in the overhead compartment on flights and at a weight of less than 3 lbs. isn’t much to lug around. Unlike some other diminutive guitars, the Backpacker is solidly built and plays like a regular guitar with a full 24” scale. Features include a solid spruce top, solid mahogany sides and back, bridge accepts either ball-end strings or standard tie-off classical, and chrome enclosed tuners. If you’re looking for a classical guitar to play at the beach, camping, or strumming in the living room, this baby doesn’t take up much space and has decent projection for such a small body. Nice deal at $119. Includes Martin gigbag.

Gibson Humbucker Pair – 496R and 498T w/Nickel Covers, (back). Clean shape and much cheaper than new. $129/pair.

Boss CH-1 Super Chorus, classic Boss chorus with added benefit of tone pot.  A lot of CE-2 fans have switched over to this pedal. Velcro on bottom; mint in original box, $55.

Danelectro Corned Beef Reverb. Cool little reverb pedal for cheap and especially nice for amps without reverb. For a demo, click here. Not demonstrated, but it does a killer 50’s slapback echo as well. $25.

Danelectro Pepperoni Phaser. You don’t need a vintage Phase 90 to get a cool phase sound. Like the old MXR’s, just one knob to adjust the speed. For a demo, click here and here for a cool little EVH demo. $19.

Samson S-Patch Plus 48-point Patch Bay, (detail), (back). I used these back when my stage racks were taller than I was but even if you’ve only got several outboard units, it’s a lot easier than going around back into each unit. The S-Patch Plus is a fully balanced 48-point patch bay which allows you to change your effects from the front panel with a flip of a switch. 3-way front panel mode switches lets you choose Normal, Half-normal and Through Mode operation. It features ¼” TRS connectors, 19” rackmount chassis, and is built to last. New cost is $119 ($207 list) but this one is dead mint for just $65.

1968 Martin 00-18C, (front), (back), (headstock back), (side), (serial), (top grain), (case). [ Where have all the flowers gone…” One of the coolest folk guitars you can own and just a few chords conjurs up the era of Peter, Paul, and Mary. This wouldn’t be my top recommendation for a serious classical player looking for a Ramirez type guitar, but for a player or collector who wants that distinctive folk music tone, few could be better. It has a very big bass for a small mahogany body, and fills the room with smooth tones. Specs of the 00-18C include: double-bound 14 1/8" 00-size body, spruce top, mahogany back, mahogany sides, 12-fret mahogany neck, Brazilian rosewood fretboard - bridge - headstock overlay, slotted headstock, dot inlays, 19 fret, rosewood bridge, 3-on-a-plate tuners, and 2" nut. For nearly 50 years old this guitar is in amazingly clean condition. Just a few check lines on top but no other significant flaws or wear anywhere on this guitar. Playabilty is what you’d expect on a classical and there’s plenty of saddle to work with. If you’re a Martin collector, someone who wants to relive the glorious 60’s, or just a player wanting an old Martin in beautiful condition, you want this guitar. $1299. Includes an old hardshell case that fits the guitar perfectly.

Custom Fender ’69 Telecaster Thinline – Flamed Mahogany!, (front), (back), (headstock back flamed-board), (pickup1 pickup2 elec. neck pocket), (flamed neck), (case case2), (neck1 neck2 neck-specs). These pics are poor, only the pic of the guitar in the case shows the actual quality of this flamed mahogany. I will reshoot if I get a chance. I’ve been holding onto this body for around 7 years. Flamed mahogany is very rare and this is the finest I’ve ever come across. Remarkably, it’s from a 2004 Fender Classic Series ’69 Tele, not a rare guitar but the body is 1 in 10,000…probably more. We finally got around to building it up into a guitar and we’ve spared little expense. For the neck we chose a new Musikraft USA mahogany neck with flamed cherry fingerboard. It’s slightly wide at 1 11/16” nut, and a very chunky (Fat C) .98” X .99” at the 1st and 12th frets respectively, modern 9.5” radius, 6105 medium frets. Martin finished the neck in a nitro lacquer, gloss front/satin back and installed is a vintage Fender logo with nitro lacquer under and over the logo with sufficient coats that the outside line of the logo is obliterated – looks totally factory. Installed on it is an Earvana compensated nut to improve intonation as well as a new set of Hipshot locking tuners, for increased tuning stability. For pickups we chose a Rio Grande Vintage Tallboy neck and Seymour Duncan Antiquity in bridge with CTS pots and switch. Bridge is the original Fender vintage style stainless and we installed compensated brass saddles for tone enhancement. I’m out of new plain neckplates so we used a Fender with tilt-adjust hole, which of course doesn’t belong on a ’69 Tele so we’ll install a plain chrome when they arrive, if desired. Lastly, I’m including a vintage-style Fender/G&G brown case in nice shape other than a little black pen on the edge. The guitar itself is immaculate, despite what the pics look like, and has a fabulous, low set up and classic thinline tone – very open sounding but with a definite Tele quack. This is one of the coolest builds we’ve done here and considering the sheer beauty, quality of components, tone, and playability, I think it’s a real value at $1199(HOLD-Joe R 11/12).

Tech 21 MidiMoose, (pic2). Controller for the G-Major 2 below or any other midi device. Need a simple Midi switcher; here you go. It features Up and Down footswitches to select groupings of 5 preset programs. Individual silent-switching, custom actuators instantly engage each program change directly within the selected grouping. It can be powered by a standard 9V adaptor, 9V battery (200 hours!), or phantom power via Midi cable. New cost is $179 but this one’s mint in the box for $119. Manual online here.

Tech 21 MidiMouse, (pic2). Controller for the G-Major 2 below or any other midi device. Need a simple Midi switcher; here you go. The Tech 21 MIDI Mouse is a compact, portable, and exceptionally user-friendly 3-button MIDI foot controller that transmits up to 128 patches on 16 selectable MIDI channels. It can be powered by a standard 9V adaptor, 9V battery, or phantom power via Midi cable. New cost is $109 but this one’s mint in the box for $75.

T.C. Electronics G-Major 2 Guitar Multi-Effects Processor with rack, (rack), (front), (back), (powered up).  Well-cared for, barely used, with plastic film still on front panel.  Includes a great padded 2-space rack with carrying handle and shoulder strap. As TCE says, "made by guitarists for guitarists." This multi-effects processor sounds magical and is an incredibly powerful unit, a single rack space, plus it's very affordable, especially by TC Electronic standards. You get studio-quality sounds combined with stompbox simplicity in a unit that's geared for demanding and diverse performances. Not another modeling processor, but pure undiluted TC Electronic effects in a league of their own. The G-Major 2 offers easy integration with your current setup and pain-free on-the-fly editing - or use a MIDI interface for more dedicated patch programming using the included PC/Mac editor. G-Major 2 processor houses all the classic TC Electronic effects that made the original G-Major a favorite among passionate hobby musicians and pros alike. It adds a wide range of guitar effects and features based on feedback and requests from dedicated users of the G-Major platform. From the delays, reverbs and modulation effects that helped define the industry and new daring sounds such as Tri-Chorus, Through-Zero langer, modulated delays, and Univibe, everything is done with impeccable TC Electronic quality.   There are a number of good demo's online, here's one on YouTube.  Click here for full specs at TC's site.  Sold new for $499, plus around $59 for the rack. Get this one in perfect condition WITH a 2-space padded rack, for just $349. (Note: I also have a Tech 21 Midi Moose or Midi Mouse if you need a control pedal.)

2002 Martin 000C-16RGTE Acoustic-Electric, (front), (back), (preamp), (appointments), (headstock/neck), (case/etc.).   Surprisingly exquisite finger style guitar for this price range - action is as low as a Taylor, with a very balanced tone, both acoustically and amplified.  This is the fifth one of these I've had with the 000C body and holds its own with orchestra models at twice the price.  The 000C-16RGTE offers the vintage look of a gloss finish top, but the back and sides have a satin finish, which is less labor-intensive but is actually conducive to better tone.  It also features an excellent preamp system for stage work and cutaway rosewood body which is better for finger style playing.  The preamp is the Fishman Onboard Blender which utilizes a condenser mic, suspended inside the body, combined with an under-saddle Piezo.  Using the Blend control you can dial in just the right amount of body and mix it with the sound of the top for a tone that matches your personal playing style.  You get a very natural tone and plenty of control and maximum volume before feedback.  It has remained one of the best amplification systems ever made in my opinion.  Features include the popular 000-size cutaway body that's great for finger style playing and blues, solid East Indian rosewood with solid Sitka spruce top, solid Spanish cedar neck attached with Martin's fine mortise-and-tenon joint, solid Micarta fingerboard, modified low oval neck shape, scalloped braces, herringbone rosette, bound neck, bound body front and back, white Corian nut, 25.4" scale, 1-11/16" nut width, pearl dot inlays, tortoise pickguard, chrome enclosed gears, gloss finish top, satin finish body & neck.  Recently discontinued, this model sold new for $1749 ($2349 list), a remarkable price for a Martin of this quality.  Better yet, this used one's in very nice shape with no repaired cracks or other issues and, again, as fine a player as you could ever hope to find.  $1050 includes Martin hardshell case, manuals, and warranty.

Korg PME-40X with Effects, (pic2). Some of the cleanest PME stuff I’ve had and includes the original box for the base unit - and manuals with warranty cards - for the base unit, analog delay, chorus, and ext. selector. The PME40X (Professional Modular Effects) was a cool idea from Korg which ran from '84 to '85, serving as a pedalboard with power supply, on/off switches for each effect, and master bypass - with choice of mono or stereo outputs to accommodate those effects which are stereo. It can be loaded with any 4 effects and put them in the order that sounds best to you. This one includes the Extension Selector, which lets you chain two PME40’s together, like an effects loop. The effects lock in place but each can also be secured with a single screw in the bottom of the unit for semi-permanent installation. Korg made a total of 14 effects in this series, of which I usually have 12 different models in stock. Included with this lot include: KAD-301 Stereo Analog Delay, KDI-101 Distortion, KCH-301 Analog Chorus, and KES-101 Ext Selector, along with the base unit. I can substitute as desired with other effects. Get the whole lot, with 4 of the manuals and box, for $375. If you don’t want them this clean with manuals, I can offer less expensive pieces.

2000 Parker Fly Stealth, (front), (back), (headstock pic2), (bridge/pickup), (case). Very cool guitar, marking Parker’s brief foray into the hard rock market at the turn of the decade. The Stealth features a basswood body and fixed bridge to accommodate heavier string gauges and increased sustain. Assisted by the textured glass/carbon fiber exoskeleton for strength, the Stealth weighs in at only 5 lbs. and is a joy to play for an extended gig. This one also features a few cool mods including a killswitch (aka stutter or mute) which is a momentary switch wired to ground which mutes the signal and can be a cool effect with a lot of distortion, delay, or other effect. It also has a tap tempo and extra output jack on the side: just run a regular cable from the guitar to your favorite time-based effect and press the switch in time with the beat and your effect will change tempo (such as delay time, or sweep rate on a chorus/phaser). If you don’t want to use it, simply ignore it. Lastly, it features a mid-boost system, which is the same one used by James Tyler on his $5K SuperStrats. The mid-boost is controlled by a knob and on-off switch. The final mod is purely cosmetic – dot inlays on the fretboard, which are countersunk and look totally factory. Stock features of the Stealth include slim basswood neck; slim contoured body; patented neck-through design; textured glass/carbon fiber exoskeleton; two custom-wound DiMarzio humbucking pickups; hardtail bridge; carbon fiber fingerboard, Sperzel locking tuners, and 24 stainless steel frets. Offered in excellent condition with a fantastic low set up. One mod is the strap button was moved at some point from the back of the horn to the side. Both holes have been finished over but we will install your choice of plain, Schaller, or Dunlop strap pins at no cost. If you haven’t played one, you’ll be surprised how “heavy” a 5-pound guitar can sound. It can keep up with any regular guitar made. You can also play in drop tuning with heavier strings. A fairly rare model at a great price. $1350 includes original case.

2004 Fender 50th Anniversary American Deluxe Stratocaster, (front), (back), (headstock pic2), (heel/plate), (case).  Haven’t had one of these in years. In 2004 Fender celebrated the 50th anniversary of the original 1954 Strat with several commemorative models, including this lovely American Deluxe. It has all the usual deluxe features plus commemorative features, unique to the anniversary model:  Classic 2-tone sunburst (stock finish in '05 was 3-tone), gold hardware, single-ply beveled pickguard, anniversary badge engraved on pickguard, 50th anniversary neckplate, and G&G/Fender case with 50th Anniversary logo embroidered inside.  In addition, it has all the Deluxe features including Samarium Cobalt Noiseless (SCN) pickups with S-1 switching, Sperzel locking tuners, 1-pc maple neck with Abalone dot inlays, contoured neck heel, raised chrome logo, 2-point fulcrum tremolo with unthreaded ("pop-in") trem bar insert, and aged plastic parts.  Many players love the SCN/S-1 combination which yields all the traditional Strat tones you know and love, although in a hum-free output, plus a choice of other meatier tones not normally associated with a Fender.  Click here for a full rundown of all 10 pickup settings with the SSS pickup configuration.  This is a fantastic playing Strat and cosmetically in perfect condition; frets are like new.  A new American Deluxe is going to run $1699, but it won't have gold hardware, and won't be a 50th Anniversary model.  Why not consider this rather rare model, with a set-up that's guaranteed to delight, for $1350.  Includes original case with anniversary embroidered inside lid, strap, Schaller strap locks, sealed Fender polishing kit, and assorted paperwork and tags.

OFF-HOLD: DiPinto Galaxie 4, (front), (headstock pic2), (back), (neck). Looking for cool vibe in a nice guitar? Check out the DiPinto Galaxie 4 (4 as in four, count ‘em four, pickups!). It combines the vibe of a Jaguar/Jazzmaster with a 60’s Italian MOTS. The Jazzmaster comparison goes further, as this guitar makes and excellent choice for surf music, as well as jazz, rockabilly, or country. The drastically angled headstock has a profile that’s almost a dead knockoff of the original Paul Bigsby headstock, which was “borrowed” by Leo Fender when he designed the Stratocaster. You might notice that this guitar is in a flat black finish, which wasn’t offered by the factory. A previous owner took the liberty of spraying over the original silver flake finish. It was sprayed right over the original finish and if you want to take the time, I think the black could be removed fairly easily. Features include mahogany body, maple neck with rosewood fretboard, 25.5" scale, 10" fretboard radius, four DiPinto single coil pickups controlled by individual rocker on/off switches, master volume and tone controls, tuneomatic bridge, floating Jaguar-style tremolo, enclosed gear tuners with pearl buttons, headstock finished to match pickguard. The angled headstock helps maintain tension across the nut without the use of string trees which is extremely helpful in helping the tremolo stay in tune. The trem has that nice spongy feel of a Bigsby or, more specifically, like an old Fender floating trem. This Jaguar-style tremolo is designed to maintain tuning; bending one string doesn't throw the others out of tune, and the guitar sustains well. There are a lot of cool pickup combinations. The bridge pickup provides a nice twang but also has enough midrange to sound good distorted. Pickup 2 offers a fine funk tone, while the neck pickup, the hottest of the four, has plenty of warmth for jazz, with enough bite for blues. The middle two have a unique sound, like a single-coil neck/middle combo but with more mids. Hearing is believing – click here for a great demo. Los Straitjackets (pic) have been playing these guitars for years and definitely good enough for the pro guitarist. With a list price of $916, if you don’t mind a semi-pro black refinish you can save big bucks on this barely played used one. Very cool guitar for just $389.

Weber Classic British C1225 Speaker Quad for 4X12.  Weber's take on the classic 25W Greenback and this set of 16 Ohm 12's will let you nail the tone of a vintage 100W Marshall cab.  As many of you know, part of the "magic" of guitar tone involves overdriving not just the amp, but the speakers as well.  With a 100 watt cab you'll be able to achieve this overdrive, something not possible with a 280W or 300W cab.  These use 30oz ceramic magnets with a 1-3/4" voice coil, with a British Kurt-Mueller aged and treated ribbed cone.  It's tone is aggressive, yet has a smoother overdrive distortion characteristic with good detail and midrange complexity.  It has more headroom and sounds less compressed than the AlNiCo 1225.  For players wanting to upgrade any of the budget Chinese amps that use 16 ohms, just one of these and you’re sounding 30% better. These will run you $114/each direct from Weber (link for price/specs), but this set of 4 have seen just a few hours of bedroom use and are in mint condition.  These are mint in box for $75/ea. Buy the set of 4 and get free shipping.  

OFF-HOLD: 1980's B.C. Rich USA Warslinger, (front), (headstock), (back/neck joint/neckplate), (Rich/Floyd), (case).  I had this posted as a Warlock but a knowledgeable Rich fan emailed to tell me it was in face a "Warslinger", which is actually a fairly rare model, that's basically their ST-3 Strat - maple neck, reverse headstock and H/S pickups and offset neck pocket - but with a Warlock body.  Metal axes are back.  It's been a slow climb, but a new generation is showing an affinity for the shred days of old, and many players who couldn't afford an $850 guitar 25 years ago are now renewing their interest in the dream guitars they lusted after during their younger years.  Few guitars speak metal like Rich's, and the Warlock is sort of the epitome of the Rich vibe back then.  It's impossible to picture CC DeVille without a Warlock slung around his neck.  This one has a cool combination of a slanted humbucker in the bridge (Duncan JB), and a DiMarzio Fast Track humbucker in the neck.  It features a BC Rich stamped Floyd Rose, identical to the regular Floyd rose, and keeps the guitar in tune under extensive dive bombing.  Best of all it's a maple board, which is the neck we all lust after, and a revere headstock to boot.  Also features Grover tuner, Dunlop strap lock pins, and black hardware.  It's hard dating Richs through all eras.   It's before Bernie sold to Class Axe which is why I'm just calling it an '80's.  Candy Apple Red finish is in beautiful shape with and the guitar presents itself very well - one o the nicer examples I've had.  Includes a Tolex case that fits the Warlock body perfect so I'm guessing it's probably original, although non-logo'd.  At $750 it's a great guitar for the player or collector.  

Fender Classic 50’s Stratocaster Neck, (back), (headstock back). Good choice if you’re building up a 50’s maple board Strat. A tiny bit of fretboard edge wear but otherwise very clean and frets are near perfect. Includes vintage style tuners, string tree, and nut – just bolt it on. Maple boards are easy to relic if you want to go for a vintage vibe. These guitars are running $799 so a complete neck is a good deal at $259.

2012 Ibanez RG3XXV 25th Anniversary, (front), (back), (headstock back), (case). Seems like the RG, originally “Roadstar Guitar” has been around forever doesn’t it? The RG3XXV marks the 25th anniversary of the RG, although the earlier, non-pointy headstock Roadstars started in the early 80’s. The RG quickly became THE metal guitar of Mike Varney’s stable of shredders on the Shrapnel records, virtually every hot name during the height of metal. This model pays homage to the glory days with its shredder-approved Wizard III neck, solid Basswood body, dual DiMarzio humbuckers and Edge Zero II dual-locking tremolo. They also outfitted these with matching headstock and fretboard inlays. For pickups Ibanez chose a DiMarzio Air Norton S in the neck which is hot but not distorted, noted for warmth and articulation. For the bridge pickup they chose the high-output DiMarzio D Activator. The Edge Zero II vibrato bridge with Zero Point System and stud lock function is versatile and stays in tune beautifully, even through extensive, heavy use. This guitar is flawless and plays effortlessly, with low action, no issues. It sells new for $699 without case but get this one, WITH a hardshell case, for just $550.

1988 Fender American Standard Stratocaster – Blackie, (front), (back), (headstock back), (electronics), (neck and body marking), (case). 2ND Full year for the American Standard was 1988 and this one is a bit unique in that it was at least partially built by John Cruz. John went on to become one of the top custom shop luthiers and became a master builder in 2003. With the glossy black body and maple fretboard this guitar has the Clapton “Blackie” vibe that a lot of players love. Action is very comfortable and it’s a typically very good sounding Strat. At 24 years this is considered a vintage guitar and certainly clean enough for the collector but priced lower than a new one if you want to gig with it. $1099 includes original case with latches and hinges intact. This is a nice Strat.

Shadow MK40 Head, (top), (back), (ser.). The MK40 utilizes four EL84 power tubes in a class A/B design to provide pure tube tone, variable from from 1 to 40 watts via a Wattage control on the front panel. Simple in design, the only other controls are Volume, Tone, and a Bright switch. The back panel features both 8 and 16 ohm outputs. EL84’s seem to conjure up the chimey tones of a Vox AC, which this amp can do, but it’s more ballsy, best described as a Vox-Plexi mix. Check out some demo’s online: a decent one from Wild West Guitars (link), and one with Steve Smith discussing features (link). For more info click here for Shadow. As touted on their site, the cleans on the MK40 are extremely nice, and it’s noted for being very accommodating to pedals. The saturation point is very versatile. You can keep the neighbors happy – or play clubs – with equal overdrive, by utilizing the Wattage control. This feature also keeps the amp in bias and also keeps the tone consistent through the full range of 1 to 40 watts. This amp sold new for nearly $1800 new but offered in perfect used condition for just $1150.

1987 Fender American Standard Stratocaster – White, (front), (back), (headstock back), (body/electronics), (candy), (case case2). First full year for the American Standard, in the most desirable color, Arctic White, which has faded to a nicely yellowed Vintage White, as shown in this pic under the pickguard compared to the exposed areas. The American Standard made its debut at the Summer ’86 NAMM Show and while a few were shipped in ’86, of the 100’s of 80’s Strats I’ve had, only one was dated 1986 and most people consider an ’87 as a first year model. I shot the neck date on this one but lost the pic, I think it was 8/17/87 or so. This guitar has seen very little playing time and exhibits only a few very minor clear coat impressions, most would rate it a 9.5 I’d guess. Considering it comes with all the case candy including Fender cable, strap, strap locks, hang tag, manual, etc., it’s definitely one for the collection. It’s got a great neck with no fret wear to speak of so it’s set up low and fast. The vibe on a faded white finish has always been a favorite of players, looking very much like an old Olympic White finish. This guitar is a real winner and for a first year example, a nice buy at $1250. I’ll post the neck date pic shortly. Pots are all ’87 and all original solder joints.

2011 Fender Road Worn Player Stratocaster, (front), (front - with HSS pickguard), (back), (headstock/neck), (pickups/trem), (ex. of wear).  I'm a big fan of factory aged guitars, especially the Mex Road Worn series which offer a similar vibe of the custom shop relics at 1/3 the price.  The Road Worn Player took it a step higher by offering these with a gloss finish, which looks much more like a vintage guitar than a satin finish, plus Texas Special pickups, once reserved for custom shop guitars.  They use similar wear found on the earlier Road Worn including body wear along the edges, fretboard and back of neck sanded down, and light aging of the pickups and hardware.  It also has the features that player love including a modern, flatter radius, and medium jumbo frets.  Features include alder body with 2-tone sunburst finish, modern "C" shape maple neck, distressed urethane neck finish, 9.5" fretboard radius, 21 medium jumbo frets, synthetic bone nut, 3 Texas Special single coil pickups with cloth wires, Road Worn cast/sealed tuners, vintage style Synchronized tremolo, and 3-ply black pickguard.  Click here for full specs on the Road Worn series.  The set up on this guitar is spectacular - none better in this price range - and it has excellent sustain, easily noticeable when played acoustically.  With a list price of $1199, this is a good deal on a "worn mint" example (no non-factory flaws) with Texas Specials at $639 including Fender deluxe gigbag. At your option, we have a Fender HSS pickguard assembly we can swap out at no charge if you want a humbucker in the bridge.

1970’s Gibson G-35 Combo, (panel), (back), (back panel). Pretty good sounding solid state model from Gibson. Although I’ve read 30 watts online, I would rate it significantly lower but it’s plenty loud for practice or studio work. It has very good sounding reverb and vibrato, the latter of which can be heard on this so-so YouTube demo. Appears to be all original including Gibson orange-label 12” speaker. Features include single channel with low-hi inputs, volume, treb, bass, reverb, vibrato intensity and speed, with ¼” jack for effects on/off on the back. Very nice condition for its age and a good sounding example of 70’s solid state. $199.

1962 Gibson GA-5 Skylark Combo, (panel), (back), (chassis), (“manual”). As clean as they come and sounds as perfect as it looks. What surprised me about this amp was that all tubes appear to be original GE and it sounds absolutely perfect. It has none of the snap-crackle-pop frequently found on old amps and the tone is extremely sweet. It reminds me sort of like an old Fender Champ, with except in addition to a smooth overdrive when cranked, it has a sweet, lush sound at around ½ volume and back AND sounds great with humbuckers or single coils. At 5 watts it’s not going to play a club, but for practice or studio, it’s perfect for a beautifully pure tube amp tone. I uploaded a demo here, a rough first take. These ’62 brown Gibsons have a great reputation, especially the GA-5. In collector’s condition, a nice deal at $439. Includes original “manual” which is essentially a schematic; still very cool vintage paperwork.

T-Rex Twister 2 Chorus/Flanger, (pic2).  T-Rex Engineering, the Danish pedal manufacturer, has a real winner with the Twister 2. With the simple tap of a button, the Twister can produce either a chorusing effect OR a flanging effect, both from the same basic circuit, with some of the lushest analog tones you've heard. The "2" model covers a wider tonal range than the original Twister. By adjusting Depth, Tone and Rate, you can make Twister II deliver both old-fashioned vintage sound as well as a more modern chorus sound.  This thing delivers a beautiful, natural sounding chorus and while flanging isn’t my thing, I guess this one sounds okay as well. Click here for a demo (there are numerous other ones on YouTube).  The Twister 2 lists for $369; this one's mint in the box for just $169. 

Babicz Tele Bridge – Full Contact Hardware, (pic2). Bridges can have a huge impact on your tone and feel and Full Contact is one of the most innovative designs ever for a Tele. Click here for more info. Mint condition and just $99.

Highlander iP-1 Acoustic Pickup w/Volume Control, (pic2), (vol control). Like the Fishman Matrix, the Highlander iP-1 is another "all in one" active system, with the preamp built into the elongated output jack and no major modification is required to your guitar, simply a very small hole under the saddle for the transducer wire and feed the preamp through the endpin hole. This is a rare model that also includes a factory volume control which can be installed in several fashions, including drilling a hole in the top or side, or simply tape mounting it.  The iP-1 is an excellent design and there are loads of accolades on their site. The iP-1 "hears" the tonal properties of the wood and design, not just the dry sound of pressure against the thin transducer under the saddle.  Check out Highlander's site here and the iP-1 here.   This one's just $109, or $135/installed on any guitar in stock.  

2012 PRS Blistertone 50 2X12 Combo w/Reverb (top), (back panel), (side), (back). From PRS Custom Shop comes this superb Blistertone 50, outfitted with Paisley covering and a pair of Celestion Vintage 30’s. This is one of the coolest fabric coverings I’ve seen and PRS did a perfect job building an amp that sounds as killer as it looks. If you’ve lusted after a Blistertone since they first appeared in ’08, you’ve no doubt know that this one is a rare bird. Trying to find another 2X12 combo, most are heads or 1X12’s, and then try to find one in Paisley. This combo blew me away with it’s very organic sounding overdrive, spongy feel, and its ability to clean up with my guitar’s volume control. It has loads of gain, and gets very crunchy before master and volume are at around 4 – and just more singing sustain the further over 5 you go. It does have a decent clean tone at lower volume levels, but don’t buy it for it’s versatility as I wouldn’t rate it as an exceptional amp for both crunch and clean. The reverb is excellent. Paul enlisted Doug Sewell to head up his CAD (Custom Amp Designs) and the Blistertone is a continuation of the same basic model Doug built under his own “Sewell” designs 10 years earlier. It’s tone stack is unique and can tailor your sound exceptionally well for a straight-ahead, 6-knob combo. Tubes are a pair of 6L6 power, three ECC83’s in the preamp, with a 12AT7 reverb driver. The rear panel features bias test points and an adjustment pot, as well as 4 and 8 ohm jacks (each with parallel extension jacks), and a 6 ohm output jack. Cosmetically, it’s in lovely shape with no noteworthy flaws other than it’s missing a little “Custom” badge in the lower right corner. There’s a decent little demo on PRS’s site here. Apparently I forgot to shoot a pic of the back but will post one soon. This amp cost around $3300 new and is an exceptional value in a custom shop 2X12 at just $1999.

1980’s Zion Radicaster, (front), (back), (headstock), (flamed neck), (push/pull knob), (bridge/stud reinforce), (neck marking).  Back in 1980, when Zion started building guitars, they were among an elite group of boutique guitar builders, each one made to order. While the Radicaster is their most basic style, it was one of the finest SuperStrats from the era when Stratmania had taken over. Body appears to be basswood, which was very popular on rock guitars, with a flamed maple neck, rosewood fretboard, and medium frets. The action is comfortably low and it plays very fast. Pickups are both embossed “Zion” covers, both humbuckers, with a splitter built into the volume control for 6 tonal variations. Body and neck are both marked “Made in Canada” and were made by LaSiDo, which made tons of high end guitar parts for many builders including Valley Arts during this era. The Kahler tremolo was a 2700 but it was missing some parts and rather than spend $60 on overpriced Kahler parts, we just installed a chrome Kahler I had in stock. One of the things I noted when I got this one in were the “rings” around the tremolo studs which Martin told me were often walnut or other hardwood inserts to provide added stability to the area and keep the studs from stripping. It is obviously factory, since it’s original finish and there are no paint lines in the area. If you’re looking for a cool piece of rock history from the golden era of SuperStrats, this one’s easy on the wallet at just $750, probably ½ of what it cost 30 years ago.

2005 Breedlove Custom Shop SD25-Focus/R, (front/back), (preamp), (appointments), (case case2).  Simply a wonderful acoustic and the more Breedloves I get, the more convinced I am that they are the best handmade acoustics on the market for the money; reminds me of Taylor in their early days before all the "improvements".  This rosewood beauty has rarely been played and is one of the best acoustics I've had in years.  Breedlove's Focus line is one of their most versatile instruments, equally at home in the studio, on stage, or in the living room.  I called Breedlove regarding this guitar and was informed that it was a special order, with appointments from the Focus series, but with the SD-25 (Dreadnought) body.  Features of this model include:  Sitka Spruce body with soft Venetian cutaway and custom depth, Breedlove's Signature Voicing System, select Indian Rosewood back and sides, Mahogany neck, S-class appointments with upgraded Ivoroid binding, Abalone ring soundhole rosette, the Focus style fretboard inlay, S-Series Ivoroid decorative BWB purfling and a gloss finish.   Also features the LR Baggs Dual Element Electronics, with small controls for Volume and Mix accessible on the inside edge of the sound hole.  Breedlove said that list price on this model was $3999 which is very reasonable for a custom shop acoustic of this quality.  This guitar is in perfect condition, is an exceptional player with beautiful tone, and a nice deal at $2350 with OEM Breedlove case.

Here are a few pickups for today.

Sheptone Tribute (bridge) humbucker, (pic2). Sheptone are getting some great reviews for their PAF’s. See their site here for all the skinny. This one’s never been installed and just $75(HOLD-Brian N 4/15).

Gibson ’57 Classic and ‘57+ Set, (pic2). Most of the players we talk to prefer these, 10 to 1, over the Burstbuckers. Don’t pay $159/each for a new when this clean set is just $199.

Gibson Burstbucker 3, (pic2). Slightly overwound for bridge position. $129 new; this one’s just $85.

Seymour Duncan Mini-Humbucker (bridge). $87 new, this one’s just $59.

Seymour Duncan 50th Anniversary Humbucker Set, (pic2). Sold in sets only in 2005, these are Alnico 2’s, without outputs in mid 7K (neck) and low 8K (bridge). Individually numbered and signed by Seymour. Installed but removed right after installation thus immaculate condition. $199/set (Hold – Jimmy 6/29).

Seymour Duncan Little ’59 Tele Bridge. Similar to a ’59 PAF humbucker tone for your Tele…only twangier. 4-conductor for single/double coil wiring schemes. $49.

Fender Texas Special Tele Set, (pic2). Removed from an American Special Tele, clean shape. Not the cloth wires used on most custom shop but still the same pickup and just $69/pair.

FOUND (somebody inquired a few weeks ago…): USA Customs Strat with Fishman Mann-Made bridge, (pic2 - back pic taken with flash to show color), (neck pic - shows orangish vintage tint).   For those of you who aren't familiar with USA Customs, they've built a solid following, initially via Ebay sales and more recently directly from their web site, usacustomguitars.com, offering quality guitar parts and completed guitars, made to order.  I've had 2 of them in the past, both excellent guitars, but it worked out such that I needed to part them out rather than sell them whole.  I'm going to give this one a try as a complete guitar and begin by stating that the quality is at least as good as USA Fender, definitely pro quality in all regards.  Starting with an Alder body that's a nice light/medium weight, with a pearloid pickguard loaded with Fender Vintage Noiseless pickups - with CTS pots and switch.  You might recognize the bridge (pic here) as being identical to a PRS bridge and you're correct - It's a "Mann Made", the same suppliers for PRS bridges from ’85 thru 00’s.  This particular bridge is the Fishman VMV Mann-made, which has piezo saddles which offer a pretty nice acoustic tone out of an electric guitar.  The output jack is a stereo jack and with a Y-cable, which can be included, you can send your electric tones  to one amp; your acoustic tones to an acoustic amp or mixing board.  There are also a number of wiring options which can be used but for now it's wired in the most basic layout.  This guitar has seen very little playing time and is in really nice shape.  Last owner paid $1200, which is reasonable for a quality USA guitar with these features.  If you want some great Strat tones, with the flexibility of an acoustic bridge, here's a really nice way to go - just $850 with case.  Note: Fender vintage logo can be installed for $25 to $50 (including parts & labor), depending on the style of installation.  This is a very nice Strat and...did I mention...just 7.2 lbs.

2011 Fender Classic Series ’72 Telecaster Deluxe, (front), (back), (headstock back). Back in ’72 Fender made 3 distinct Tele’s including the original-style Telecaster with dual single coils, the Tele Custom which had a original-style Tele bridge/pickup assembly and a humbucker in the neck, and this model, which featured dual humbuckers, with a Strat style bridge and contoured body as well as the larger Strat headstock. Tonally, it really wasn’t a Tele, but these were times when Fender was trying to steal a share of the Gibson market which had always been driven by dual humbucker guitars. Like a Gibson, the Deluxe also featured dual volume and tone knobs, controlled by a 3-way switch. The original model was only around from ’72 to ca. ’82, with Japan reissues following in the late 80’s, and the Classic Series beginning around a decade after that. Although I wouldn’t recommend this model to seekers of Tele tone, it has a quality tone in its own right, with a pair of Fender Wide Range humbuckers, which are based on the original design produced by none other than Seth Lover (of Gibson fame). These reissue Deluxe pickups are updated from the original Seth Lover design, with more output and clarity than most vintage humbuckers. It has the smooth tone of a vintage humbucker, and I feel better clarity, more in line with a Fender tone. Body is the traditional solid alder, with a maple neck which features Fender's "C" shape, a flatter fingerboard radius of 12 inches, usual 25.5” radius, and 21 vintage sized frets. Other features include a synthetic bone 1.65 wide, 3-bolt Micro-Tilt neck design, 6-saddle vintage-style tremolo bridge, chrome-plated hardware, vintage Fender Schaller-style "F" tuners, 3-ply black pickguard, and skirted amp control knobs. Cosmetically, this guitar is in perfect shape and will come with a pro set up that’s sure to please anyone. Sells everywhere for $799 but this barely played used one is the deal at just $569(HOLD-Scott A 1/25). Includes gigbag and trem arm.

1982 Yamaha SA800 Semi-Hollowbody, (front), (back), (headstock back), (serial), (bound body/neck), (DiMarzios). These old Japan-era Super Axe series have achieved near legendary status. Built in Japan with fine craftsmanship and quality materials, the SA800 is probably the closest copy that Yamaha made to the ES-335 Dot. Unlike the higher end models like the SA2500, SA1100, etc., the SA800 didn’t sport any fancy cosmetics or extra switching options, just like the original Dot model. Construction is also the same with a laminated maple body with center block, mahogany neck, rosewood fretboard, and dual humbuckers controlled by 3-way selector with dual volume and tone controls. The neck is similar to Gibson’s current ’60 thin taper, not at all chunky. It has received two upgrades, with a old pair of DiMarzio humbuckers and upgraded Schaller tuners. I’m guessing on the Schallers since there’s no telltale evidence such as extra holes, but I don’t think Yamaha used them. Cosmetically it’s in very nice shape for 30+ years with just some surface scratches and a few light dings. It’s a loud body acoustically, with very low action and a very easy playing guitar. For a Japan-made Yamaha, this is a nice axe for $799 with gigbag, or a bit more if I have a hardshell case to fit it.

Germino Lead 55 Head, (panel), (top), (back), (serial), (stock pic of chassis and circuit).  If you missed the Germino Club 40 a few weeks ago, here's another fantastic Germino, again in "as new" condition.  One of the finest boutique makers of fine amplification, Greg Germino builds his amps one at a time, with top notch construction, the best components and materials, and engineered to deliver, arguably, the best Marshall Plexi tone available.  A basic description includes:  classic dual EL-34 output section with a GZ34 rectifier and three 12 AX7’s and the preamp.  Goes from a slightly crunchy clean to a thick smooth lead tone with just a twist of the guitar's volume control.  Output transformer is a Drake 784-139 replica with 3.3K primary impedance. Original style laminate is used with correct slotted steel and correct “cheese head” screws. Primary and secondary windings are interleaved as originals.  Choke is Dagnall replica C 1999.  All other components are top notch as well; spot welded aluminum chassis, hand drilled tag board, carbon film and NOS carbon comp resistors, 2 watt Mil spec PEC potentiometers, period correct round black bat switches from the UK , BCR and F&T filter capacitors.  Sozo brand "mustard" coupling caps all hand wired and assembled to perfection!   Stock tubes are winged "C" Svetlana EL-34's and Tung Sol 12AX7's.   At 50 watts output this is a very gigable amp in medium sized rooms but I'd highly recommend and attenuator if you're going to be playing at home or in smaller clubs.  Noted for taking pedals extremely well.  As with all Germino products,  this amp is entirely hand assembled and hand wired .  From incredible clean tones to classic fat EL-34 overdriven tones with a deafening British crunch the Lead 55 delivers the goods live or recording.  This one has one option, a rectifier switch, which is a $100 upcharge. The Lead 55 sells for $2400 (with rectifier switch) when you can find one but they're frequently out of stock.  This one is in beautiful condition, having seen limited home use only, and is perhaps the ultimate Plexi for just $1650.    

2010 Epiphone Wildkat Archtop Hollowbody, (front), (back), (headstock back), (optional case pic2). I've always appreciated the Wildkats which have a definite retro vibe with features like Bigsby-licensed tremolo tailpiece, dual Alnico V P90 pickups, and a master volume on the upper bout. To top it off, beautiful flamed maple on this one which is very nice all over - from the lower bout all the way up into the upper horns. Other features include bound body, bound neck, bound f-holes, mahogany body with maple top and set-in maple neck, vintage tin overlaid logo, semi-hollow body with center block, dual volume and master tone plus a master volume on the treble upper bout, and good Gotoh/Epi tuners. Thinline body design is very comfortable for stage use and this guitar is one of the cooler retro designs to come out in years. This guitar has an excellent setup, is in immaculate condition, and has a quality tone with these P90's. With a list price of $665, get this “as new” example for better than 50% off at $319, and this includes a set up that’s much better than factory. Add proper Epi case shown above for $59 more.

2013 Ibanez “Iron Label” RGIR20FE-White, (front), (headstock back), (back), (EMG’s/bridge), (docs/tools/acc.).  Killer 6-string with low action and killer tone via a pair of active EMG’s: EMG60 in the neck with an EMG81 in the bridge, controlled by a 5-way switch and single volume control. Features include basswood RG body, super fast Nitro Wizard neck with bound rosewood fingerboard and 24 jumbo frets, 5-way blade pickup selector plus a "kill" switch, and a Gibraltar Standard fixed bridge. Customers frequently pay $200 for us to upgrade to a pair of EMG humbuckers so with the factory installed EMG’s, it’s already a good value on the used market. When I say “used”, I mean barely. This thing appears to have seen zero playing time and could easily be sold as new. With a new one going for $599, how but one that’s like new for just $399. Includes hangtag, manual, tools, and all the other factory stuff. One of the best playing rock guitars we’ve had in this price range.

Peavey Classic 30 Combo w/Weber Blue Dog, (panel - click to enlarge), (top), (back), (tubes), (spkr). Small all-tube combo with a vintage looking tweed covering, chrome panel, and chicken head knobs - and better than new with the recent installation of a new Weber Blue Dog Classic British ($110/direct), defined by its warm, clear, loud, detailed high end that doesn't get hard or harsh at high volumes, aggressive, big low end, more headroom than the AlNiCo version. The Classic 30 offers incredible value for a quality American made tube amp. It's an excellent club amp with enough power to play larger sized rooms. I frequently compare them to Fender's Tube Series and, quite honestly, when I've had these set up at shows next to comparable Fenders like the Blues or Hot Rod Deluxe, the Classic 30 was almost universally chosen for superior tone - and the Peavey is USA made!. Features an all-tube circuit with a matched quad of JJ EL84's cranking out 30 watts through 16 ohms - with three 12AX7's in the preamp. Nice sounding EQ that really does something, and very versatile with a crisp clean tone with plenty of headroom - and enough gain to satisfy nearly every rock player. Features two channels plus boost for 3 distinct tones, selectable via switches on panel or via optional footswitch. Pre- and post-gain controls on lead channel; Normal volume control on clean channel. It also features a footswitchable spring reverb that sounds very good, very vintage, and an effects loop. Full specs, manual, and sound clips, check out Peavey's Site here. Click here for a good demo from Peavey but keep in mind that this is the stock speaker and it sounds even better with this Weber Blue Dog. There are a bunch of YouTube demo's, here's one and here. Optional footswitch, which uses a stereo 1/4" jack, not included but I may have a 2-button switch for $25 if desired. These were discontinued but they sold new for $649. This one's in immaculate condition and even with the new Blue Dog, value priced at $499.

OFF-HOLD (1/15): 2009 Hamer Newport Pro USA Custom Order w/ Brazilian Board and more (NEWPRO), (front/back), (headstock), (Braz. board), (heel), (cert./specs), (case/acc.).   For the discriminating collector of dead mint and one-off examples I am pleased to offer this fine custom order Newport Pro.  Custom features of this guitar include tobacco sunburst body with satin finish, no fretboard inlays (side markers only), ebony pickguard (spec is no pickguard), "modern" neck profile, Dunlop 6100 frets (i.e. huge), and most noteworthy, a Brazilian rosewood fretboard that is some of the finest you'll see with minimal streaks and no inconsistencies to the color.  The satin finish is very much a player preference but it is an upcharge at Hamer and to me it gives the guitar more of a vintage look than a high gloss finish.  The Newport debuted in 1999 as a traditional hollow body guitar with a hand-carved solid Spruce top with dual  f-holes Honduras Mahogany neck and body.  Stock features of this fine guitar include Seymour Duncan Seth Lover humbuckers, arched top made of 5/8" hand-carved spruce, dual F-holes, Mahogany body with 17.6" lower bout, bound body, bound headstock with pearloid inlay, bound neck, mahogany neck with vintage rounded profile .900" to .960" thickness, fingerboard radius of 14.5", 24 3/4" scale, 1.65" nut width, Schaller Super Rotomatic (stair-step) tuners, Tonepros System II bridge and Tonepros tailpiece.  A STOCK Newport Pro retails for $3900 and sells at discount for $2999; add on the 5 custom specs and you're up to a guitar that sold a year ago for $3500.  This one is "as new", not a hint of use, and priced $1100 less than new - $600 less than even a stock Newport Pro - at just $2399.  I've hyped the quality of Hamers for many years and this one is no exception - tone and playability are top-notch and better than comparable brands that have been around or over a century.

1999 Fender American Standard Stratocaster - Black, Rosewood Board, (front), (headstock), (back), (body/neck), (electronics), (case).  Last full year American Standard, in very nice shape.  These guitars are the modern day workhorse instruments for countless professional and semi-pro guitarists and other than Fender returning to the spaghetti logo in the early 90's, is nearly identical to the original American Standard that made its debut at the Fall '86 NAMM show.  I've sold 100's of these over the years and it remains, for us, the top selling guitar in any price range.  I've written so many descriptions of these that I'll skip the details, other than to say this guitar is 100% original, other than the serial number inexplicably removed.  We dated the guitar by various dates on the body, neck, and electronics.  Nothing inside has been messed with and I feel safe in saying that this is an all-original '99, last full year for the first version American Standard.  One thing Martin noticed, is that this guitar has much more of the Strat "quack" in positions 2 and 4 than your average American Standard.  Too often attributed simply to pickups, it is more often a characteristic of the tone woods and obviously not every piece of alder sounds the same.  Tonally, this one is clearly a cut above, with a nice low set up which will combine to make this your "go to" Strat.  Cosmetically it's in clean shape with no scratches through the clear coat and frets are excellent as well.  With new Strats running $1299, how about a nice '99 model for almost half that, just $679.  Includes case and paperwork.  

1987 Charvel Model 6 – Cobalt Blue, (front), (headstock back), (back), (serial), (case).  Neck-thru SuperStrat in very tidy shape.  Back in the early 80's of Charvel/Jackson, Charvels were the bolt-on models while the Jackson side produced the neck-thru's.  When Charvel/Jackson revamped the line in the mid 80's, they made both bolt-on's and neck-thru's under both names.  The Model 6 was the Charvel version of the Jackson Soloist Custom (fancy inlays and neck/headstock binding) and features Poplar body with maple neck-thru and quartersawn rosewood fretboard, Jackson JT-6 tremolo, Jackson SG38-06 tuners, Jackson J-50BC bridge humbucker, two J-200 stacked humbuckers, JE-1200 active low impedance mid-boost circuit, volume and tone.  Pickups have individual mini-toggles to select any combination, including neck and bridge, or all three.  Upscale cosmetic features include bound neck, bound headstock, and sharktooth inlays.  I've yet to come across a model 5 or 6 that failed to set up with very low action and this one is no exception; a true joy to play for shredders.  '87 was the first year for the Jackson JT-6 Floyd-licensed tremolo and locking nut, which replaced the Kahler, used in '86 only.  I love the way the JT-6 feels, at least a properly set up one. It’s tight, responsive, and does great trills when you tap on it. Overall this guitar is in lovely shape, better than the pics. No cracks of any kind, no checking, electronics are original and work perfectly.  The frets are in excellent condition and the set up is impeccable.  Although Charvel was the more "affordable" line for Charvel/Jackson, this guitar retailed for $1149, at a time when a lot of retailers did not discount (we sold them at Hotlicks for $849 25 years ago). In all, a super guitar for $799 including original Charvel chainsaw case with all latches and hinges intact. Includes trem arm.

1991 Gibson Chet Atkins SST, (front), (back), (headstock back), (controls), (gigbag). These are getting hard to find. The SST was one of the first solidbody acoustic models, designed especially for stage use, i.e. to allow for higher volume before feedback.  First introduced as a nylon string model (Chet Atkins CE or CEC) in 1981, the steel string SST joined the line in 1987, gaining instant popularity among pro players such as Dave Matthews who played an SST as his main stage guitar from '92 to '99.  The SST was a simple but very well designed guitar.  It features a solid Spruce top, Mahogany back with Chromyte (as used on ES-335's) reinforcement, Ebony bridge, and Mahogany slim-taper neck with Ebony fretboard.  Cosmetic appointments include inlaid logo and star inlay, star fretboard markers, bridge with star inlays and Ebony pins with pearloid dots, multi-ply body binding, and gold hardware.  Electronics are simple and are located, unobtrusively, on the side of the bass upper bout and include volume, bass, and treble.  Again, this model is very resistant to feedback and these simple controls seem to handle it well.  This guitar features a long 25.5" scale (3/4" longer than normal Gibson scale), 1 11/16” nut, and 21 medium jumbo frets.  Cosmetically, you can see that this one has been lovingly played for years, exhibiting a fingernail wear spot on the treble side and a few minor dings near the bass edge. It exhibits some fret wear but nothing that interferes with a very comfortable set up with no string buzz. The back is in much cleaner shape and there are no structural issues such as cracks or repairs. For all the spec's on this model check out Gibson's site here.  After a long run of 19 years, the SST was discontinued in '06 and considering the popularity of this guitar they have become harder to find as the years go by.   If you're looking for an excellent stage guitar, there are few better in terms of comfort, tone, and playability than the SST and at $799, it's truly a pro model for a modest price.  Includes well padded Levys gigbag.  

Ernie Ball Music Man Stingray 5 HH, (front), (back), (headstock back), (case).  Very clean Stingray that’s an excellent player.  A list of Stingray players is a virtual who's-who of the best bassists on the scene over the past 20 years.  It's hard to picture "Flea" without seeing him slinging a Stingray.  By virtue of it's utter simplicity, comfort, ease of play, and most of all tone, the Stingray became an immediate classic when first introduced in the 70's.  With its characteristic large pickguard and oversize pickups, the Stingray is immediately recognizable as a veritable funk/rock machine.  Although simple in looks, it's deceptively versatile by virtue of its dual humbucker design, combined with a 5-way selector and 3-band active EQ (bass-mid-treb), each with a center-detented cut/boost knob.  With the 5-way selector you can get the classic Stingray humbucker sound, two single coils together (like a Jazz bass), both humbuckers together or individual neck or bridge pickups.  This bass is very clean all around, well cared for since new 2 years ago. The set up is fantastic and it has one of the most comfortable necks you'll find on a 5-string with sufficient string spacing that even large hands can get around easily.  For full specs, click here for Musicman's site.  A new one in Natural lists at $2800, selling new for $1960, but you can get this clean used one for just $1175.  Includes original Musicman case.  I have another in Sunburst for a little more if interested (pic).

1998 ESP Custom Vintage Plus Strat Style, (front), (back), (headstock), (heel), (electronics), (body/neck markings), (case).  ESP no longer builds these "S" models as a gloss finish model, only the distressed model in their Standard series (as shown here).  This is a USA model, built in the custom shop in Los Angeles, after the NYC 48th St shop closed down.  I recall that during this era the Custom models were only made to order, i.e. they didn't build any guitars without a specific buyer.  Although there were general specs, you could order your choice of hardware, electronics or woods.  I've had over a dozen ESP Customs over the years and each has been a fine guitar, easily Fender custom shop quality.  Don't believe it, just ask Ronnie Wood.  This one is a pretty straight ahead Strat style with some nice features including quarter-sawn maple neck, light alder body, Sperzel locking tuners, modern profile C-shaped neck, medium frets, abalone mini dot inlays with "ESP" inlay at the 12th fret, ESP vintage tremolo, Graph-tech nut, pearloid pickguard, and DiMarzio "Virtual Vintage" humbuckers with a DP402, DP401, and DP403 (Heavy Blues, Blues, and Original) in the neck, middle, bridge, respectively.  These are excellent sounding pickups for the player who wants a truly vintage tone, with a lower vintage output, without the hum.  This guitar plays fantastic, with low action and no dead spots.  These were expensive guitars, even in the 90's, selling for $1500 or so back in the day.  This one has seen very little playing time, is in beautiful condition, and is a nice buy on a USA ESP Custom at just $850(HOLD-Loren 1/7).  Includes original wood/tolex case with metal badge. 

Hosa 8-Track Recording Snake RCA to XLR, 8’ High Def. I just took two of these in trade (other one looks identical). Dude said he paid $139/each at Sweetwater. I just want to get the traded value - $100 takes the pair. Nice shape.

Custom Strat – Silver Sparkle, (front), (finish detail), (back), (headstock back), (neck depth), (custom plate), (cavity/electronics). Like chunky necks? Here’s a nice 50’s style Musikraft USA neck mounted on a body I bought back in the 90’s and kept in the box until Martin built this guitar recently. It’s a Mighty Mite body with a super nice factory silver flake finish, with some gold accents. Looks great under spot lighting. Neck was a new Musikraft. Based in Pennsylvania, they build some of the finest replacement parts in USA and we’ve been using them almost exclusively for the past few years. The neck has a vintage logo installed with many coats of nitro finish on the headstock so there are no visible lines on the edge of the vintage logo. It’s a substantial girth, recommended for players who like the feel of a ’58 rounded neck. We have also installed an Earvana nut for improved intonation and vintage style Ping tuners. For electronics we used pickups out of an American Fat Strat with a Fender Atomic humbucker and a pair of American Standard single coils wired to a new USA 5-way switch and new CTS pots. Electronics cavity has shielding paint to cut down on hum and is routed HSH should you ever wish to change the layout. We also used a custom Fender Limited Edition neckplate. Set up is superb and the tone and liveliness is what you want in a Strat. The 5-way is wired to sound like a tradition Strat in 4 positions, with a straight humbucker tone in the 5th. For a custom made Strat that’s well-thought out and professionally built, it’s a sweet deal at $799 with hardshell case.

1989 Zion Radicaster - Wayne Jarrett Finish, (front), (back), (headstock), (Floyd).  This “fell off” the site sometime within the past year: Super cool Radicaster, finished by graphic artist extraordinaire, Wayne Jarrett.  Wayne has gained fame throughout the past 30 years, initially painting show bikes and cars, and later guitars beginning in the late 80's.  His lists of guitarist clients is a who's-who of some of the hottest players in the past 3 decades.  It's signed "Jarrett '88" neck to the neck plate (pic).  The Radicaster is the one that started it all for Zion, dating back to the early 80's, throughout the hair-metal craze, all the way to today.  Zion was one of the first boutique builders and their guitars have always placed them in a league of their own.  The finish on this one is a purple/black leaf pattern, with matching headstock, and early Zion logo.  It features the original EMG humbucker and two single coils, all of which are totally quiet, even through a high gain amp.  It features a 5-way switch for some cool pseudo Strat-style tones as well as fat but crisp humbucker tones.  A sleek 22-fret Ebony fretboard with jumbo frets is made for shredding with low action and no buzz.  Original Floyd Rose works great, with the usual amount of finish off the fine tuners, exposing some brass in a few places.  Cosmetically, very nice for its age with no major flaw and near perfect frets.  This guitar is very lightweight and provides very easy access to the upper frets with its deep cutaway.  Zions have never been cheap but this one, in a custom finish, is much cheaper than it was 23 years ago at just $1399.  Includes a nice vintage-style tolex hardshell case and trem arm.  See elsewhere on my site for some other nice Zions.  

60’s Dallas Arbiter Wah Face. Classic Jen, Italian-made wah built for Sound City/Dallas Arbiter. Sounds like the classic 60’s chicka-chicka or very good for a honking in-between sound. Average condition, works well. Usually pretty pricy but this one’s just $175.

AVAILABLE: 2000 Jackson Soloist SL-2H - Black Flametop, (front), (headstock), (back) (case).  Finished in the popular premium finish, "Transparent Black", which shows off the flamed maple beautifully.  The Soloist is probably the all-time SuperStrat.  It came on the scene during Stratmania in the 80's and has remained in the catalog since that time.  I can't think of another brand and model that has been around that long.  Simply put, the USA Soloist is the best shredding Strat you can get.  Back in the 80's this model was called the "Soloist Custom", to distinguish it from the cheaper "Soloist Student", which didn't have neck and headstock binding, rosewood board instead of ebony, plain white logo instead of inlaid MOP, and dot inlays instead of shark fin.  Features include quarter-sawn maple neck-thru with alder wings, Seymour Duncan humbuckers with a JB TB4 in the bridge and SH1N in the neck, Original Floyd Rose trem, ebony fingerboard, with mother-of-pearl shark fin inlays, MOP headstock logo, bound neck and headstock, 24 jumbo frets, 3-way pickup selector.  It also has Jackson's compound-radius fingerboard with a more dramatic curve at the nut for easy chording and flattens out as it approaches the neck joint for low-action bends without fretting out - the best of both worlds.  A new SL2H in transparent finish lists at $3749 and sells at discount for $2699.  This one isn't new but it's in impeccable condition and you wouldn't think twice if it were hanging new in a store.  The setup is low and fast, perfect for speed licks.  Who doesn't like a new Jackson, but who can afford $2699.  How about $1100 off the new cost for this barely touched beauty; just $1499.  Includes Jackson case, trem arm, and warranty card.  (Note: I have a matching USA Kelly KE2 in stock if you want a pair).

2014 Epiphone Prophecy Plus EX Les Paul Custom, (front), (back), (headstock back), (fretboard), (case case2). The new top of the line Custom from Epiphone featuring killer looks, quality electronics, and superb playability. This guitar has seen perhaps 2 hours use and offered in “as new” condition. The Prophecy Plus was offered in an SX model with passive pickups and this EX model, which features active EMG pickups. Features include features a mahogany body with a stunning quilt maple veneer in dark blue finish, very fast mahogany neck with a SpeedTaper D-profile with a sleek satin finish, 24.75" scale, rosewood fingerboard, 24 jumbo frets, 14" radius, 1.68" graphite nut, and beautiful mother-of-pearl and abalone block and triangle inlays on the 1, 3, 5, 7, 9, 12, and 15th frets, alternating with mother-of-pearl block inlays on frets 17, 19, 21, and 24. Body features the Custom’s 5-ply black/white binding with the headstock has 5-ply white and black binding with a mother of pearl "stickpin" design on the headstock face and Prophecy Les Paul Custom Plus GX on the bell-shaped truss rod cover. Pickups are the most popular EMG’s, the EMG 81/85 set as used by Zakk Wyde and many others. This model also includes the Epiphone strap lock system, which is an effective way to keep your guitar strap from ever coming off the strap pin. With a list price of $1165, this model sells new for $699, or you can get this one for much less. With an in-house set up that’s better than factory, you can have this “as new” beauty for just $499. Includes Epiphone case, manual, poster, and strap locks.

Roland S550 Rackmount Sampler, (back). Another piece found in storage, this one “lost” for 12 years. Although considered low-fi by today’s standards, back in the 90’s this, and the keyboard version the S-50, were killer samplers, state of the art for the era. This S-550 actually had enhancements over the S-50 keyboard, namely double the sample memory (1.5 Mb) and real-time filters (called time-variant filters) derived from LAS-type synthesizers like the D-50. Uses 3.5” floppy discs, both RAM and ROM, readily available on the used market. I might even have a library of them among my many, many, old software libraries. Nice shape and a cool retro unit for $175.

SWR Workingman’s 2004 Bass Head, (back). From the room of gear recently found in Maryland comes this new, old stock 2004 head, never been retailed and only on the floor for a few weeks. These are excellent amps for small-medium clubs and studio work. I used to gig large clubs with a 140W Carvin or 120W Peavey back in the day and I know that the 2004’s 200 watts is plenty of volume for a good sized stage and venue, with plenty of tone-shaping to tweak the perfect tone. One of the cool things about it is a removable 1U spacer below the amp in which you can install your favorite outboard piece of gear such as a bass multi-effect, studio compressor, etc. It also features both passive and active inputs, an XLR balanced DI output, tuner out, and clipping indictor light. Tone controls include gain, aural enhancer, bass, mid-level and mid-freq, treble, transparency, effects blend knob, limiter with a “pull defeat”, master volume, and headphone out, and speaker on/off switch. It has a rugged carpet covering with thick plastic corners and side handle. Was a $599 retail back in the day and this is a sweet deal on a NOS example that sounds great for $249.

2005 Martin 000C-16RGTE Aura, (front), (back), (side), (label), (preamp), (headstock back), (case).   Surprisingly exquisite finger style guitar for this price range.  I've had around 5 of these and they quickly found new homes.  The 000C-16RGTE Aura offers the vintage look of a gloss finish top, but the back and sides have a satin finish, which is less labor-intensive but is actually conducive to better tone.  It also features an exceptional preamp system for stage work and cutaway rosewood body which is better for finger style playing.  The Fishman Onboard Aura EQ/Sound Imaging system is revolutionary, transforming transducer signals to excellent microphonic sound, i.e. it emulates sound of some of the best studio microphones in history - without needing the microphone and eliminating the inherent feedback problems with a mic'd guitar.  It features a knob for 6 customized Sound Images, derived from actual studio recordings of the 000.  This sound can be blended with the resonant output of the Martin Gold+Plus Natural pickup signal for previously unattainable hi-fidelity reproduction of the acoustic tone. Other electronic features include a fully programmable digital EQ, feedback control, and a chromatic tuner.   It features the popular 000-size cutaway body that's great for finger style playing and blues, solid East Indian rosewood with solid Sitka spruce top, solid Spanish cedar neck attached with Martin's fine mortise-and-tenon joint, solid Micarta fingerboard, modified low oval neck shape, scalloped braces, herringbone rosette, bound neck and body, white Corian nut, 25.4" scale, 1-11/16" nut with, pearl dot inlays, tortoise pickguard, chrome enclosed gears, gloss finish top, satin finish body & neck.  Sold new for $1749 ($2349 list) which makes this a nice deal on a clean used one at $1099.  Includes original Martin case.

1995 Washburn D-25S Jumbo Acoustic, (front), (detail), (back), (headstock back), (stamp). From the same storage room as the Alvarez below, this one was just discovered and it’s a lovely southern jumbo style with round shouldered body, featuring a solid spruce top, tortoise pickguard, 3-stripe purfling/rosette, mahogany back/sides, rosewood fretboard, and bound body and neck. Set up is low and comfortable, and it has a wonderful set up with a nice solid bass response. It has just enough age that it has a vintage patina, with a sound that has opened up nicely. List price was $630 over 15 years ago and it’s a nice value today at just $275.

Neck – GPC “Joe Queer Model”, (back), (headstock), (sample cert.). Not many people are familiar with GPC guitars, but it was a fairly small company founded by Flav Giorgini that built guitars ’99 through ’04. Flav specialized in signature models for independent artists with a loyal following. Joe Queer has been a noted punk guitarist for The Queers, and Drunken Cholos. Other artists in the stable of signature models included Ben Weasel (Screeching Weasel, The Riverdales), Matt Skiba (Alkaline Trio), Dan Andriano (Alkaline Trio), and Jesse Michaels (Operation Ivy, Common Rider, Classics of Love). The Joe Queer model was apparently a limited run of 50, going by the certificate image I found on the web and was apparently a Strat style (example shown). More info is available on the GPC Facebook page here. This neck is in clean shape with no fret wear and should set up very well on a body; even has some moderate flame in back. Joe Queer fans will delight in this neck that’s only $179.

Ovation Elite LEFTY - Model L718, (front), (headstock/neck), (back), (sound holes), (preamp), (label), (case).  Quality American Ovation for the lefty player.  The L718 features Ovation's 22-soundhole "epaulettes" made of a variety of exotic woods, as well as a solid Sitka spruce top, a 5-piece mahogany/maple neck, Lyrachord body, rosewood fretboard with wooden triangle inlays, rosewood bridge, 22 frets, gold Schaller tuners, 25-1/4" scale, and 1-11/16" nut width.  Preamp is Ovations OP-24 which features battery test switch and LED, volume knob, and sliders for bass/mid/treb.  Other than a minor ding on the top of the headstock it's in lovely condition and it plays exceptionally nice.  List price back in '90 was $1499, which makes it an excellent buy today at just $599.  Includes form fit SKB case.  

Dirtyboy Buzzy Boy Pedal. Probably the best fuzz pedal I’ve ever had, the Buzzy Boy isn’t buzzy at all, and is very controllable, depending on what tone you dial in. Here’s a great demo (link) from Blues Saracino, playing a $99 Squier Strat (and a LP), through the Buzzy Boy. Sells new for $424. This used one works perfectly, and is just $275(HOLD-Harry in CA 2/19). Try it. I can almost guarantee you’ll like it!

Keeley Fuzz Head. Out of production as of last month, the Fuzz Head is a combination overdrive/fuzz box. It’s designed to work like the classic Fuzz Face, which is frequently used as simply a cool lead boost. Unlike the original Fuzz Face, the Fuzz Head isn’t muddy, has excellent note definition, and better sustain. Similarly it’s more transparent than most OD’s with a better frequency response. Was $209 during production; this one’s $145.

TC Electronic Arena Reverb Pedal, (back). A take on TC’s successful TC Electronic Hall of Fame Reverb, featuring four exclusive toneprints that were custom-modeled after classic reverbs, including TC’s Cathedral, Hall, Room and Spring Reverbs. Each customized toneprint captures the original’s spaciousness, boldness, versatility, dynamics, and creaminess. Has 10 reverb types with stereo in/out, true bypass, analog dry-through for maximum tonal integrity and clarity, intuitive Decay, Tone & Level controls, small footprint, high-quality components, and rugged, road-ready design. $149 new; this clean used one’s just $99(Tent. Hold – 2/19).

Vox Satchuator Distortion. If you like the tone of Joe Satriani, this pedal will make you sound just like him, and possibly play better too. Features controls for Gain, Tone and Volume; 'More' gain boost switch enables two footswitchable distortion sounds in one pedal. This gain boost is dramatic when gain knob is set low, and is a subtle solo boost when gain knob is set to maximum. It also features a 'Pad' switch pads down input to allow for high gain pedals (such as modern wahs) placed before Satchurator. Clean shape in the box for just $69.

Loop-Master ABC Loop Switcher w/Master Bypass and Tuner Out, (back). Loop-Master specializes in building loop/switcher pedals and they do a great job. At a size that’s just 10”X2.2”X1.6”, this can make your pedalboard much easier to navigate. This pedal is for players looking to use three effects or three banks of effects and want to play through ONLY ONE effect or bank at any time, while stepping on bypass puts you straight to your amp again. Features include true bypass, aluminum enclosure, (4) 3PDT switches, 22 Gauge Silver Plated Military Spec. Wiring, Switchcraft jacks, and colored LED's. Requires a 9V AC adapter with a Boss/Ibanez style 2.1mm barrel plug. Click here for more info. Sells new for $130; this one’s perfect and just $89.

Vox AD50VT XL “Extreme Lead” 2X12 Combo, (top), (panel), (back), (back panel), (opt. footswitch/manual). Last of the famed Valvetronix series, introduced in 2007 with a 12AX7/solid state hybrid circuit, and designed especially for more aggressive, high gain metal applications. It features 11 amp models, 11 effect models, and a 2-channel digital programmer. An optional VFS2 floor pedal allows for remote access to stored programs. It allows for connection of extension 8 ohm cabinets. One of the cool features includes a power amp level control on the back panel to allow output from 0 to 50 watts. There are a bunch of Youtube demo’s for this model, but here’s a good one from Guitar World (link). With a list of $670 in 2007, these sold new for $479. This one is in new condition and ½ price at just $239 WITH optional footswitch and manual.

Vox V112TV 12” Extension Cabinet, (back). Excellent mate for Vox’s AC4TV head or combo. Has the vintage Vox look with its light tan vinyl covering, diamond grill cloth, and raised Vox handle. Rated at 30 watts, 16 ohms, with a Celestion designed special 12” VX12 speaker made expressly for this model cabinet. Offered in immaculate condition for just $119(HOLD-Ian S 2/19).

Digitech RP355 Guitar Multi-Effect, (back), (stock pic). Excellent mid-line unit from DigiTech, perfect for stage performance or as a great practice tool. This unit contins 126 great amps, cabinets, and effects into a compact metal chassis, allowing USB recording or run straight to your live rig. In addition to its 34 amp/acoustic models, the RP355 includes 18 different cabinet types, 30 tone/30 effects libraries, genuine onboard Lexicon reverbs, a 20-second looper, and 140 presets (half of which are user-programmable). An Amp/Mixer switch lets you easily engage cabinet models. You also get a built-in drum machine, a tuner, a phrase trainer, an expression pedal, and an auxiliary input. Effects are courtesy of Lexicon and it has both XLR and ¼” stereo outputs. Runs on 9V adapter which is included. Sold new for $199 but this clean used one’s just $129.

2012 Fender Custom Shop Telecaster Pro Closet Classic, (front), (back), (headstock), (checking), (case/etc.).  Immaculate condition.  The Tele Pro Closet Classic is a blend of vintage styling, with modern enhancements like a cutaway heel for ease of play, 6-saddle bridge, and hotter, brighter tone.  At its heart, it's a very traditional Tele with a light swamp ash body (7.2 lb. guitar) with a lacquer finish for enhanced tone, plus the finish checking that gives a vibe of an old 50's model.  The finish is called "Nocaster Blonde" which is the same blonde used for Nocaster models.  It also has a quartersawn maple neck (shown in headstock pic above), for strength and liveliness.  The neck shape is a special "10/56" V neck, an iconic profile favored by players who like a lot of meat in the neck.  Killer Tele tone is courtesy of a pair of Twisted Tele single coils, which give a hotter, brighter output than standard Tele pickups, plus a Greasebucket tone circuit that lets you roll of high frequencies without the resonance bump of standard tone circuits.  This is a superb playing guitar with a very resonant body, low action, and a very comfortable bridge for palm muting.  There are no scratches or other signs of wear, other than the factory finish checking and oxidization on the neck plate.  List price in ’12 was $4600, selling at discount for $3679 (link).  Get this one in immaculate condition for $1300 less, just $2379.  Includes custom shop case with embroidered lid, leather custom shop strap, cable, cloth, picks, and assorted paperwork.  

EVEN MORE GUITAR SYNTH SPECIALS (See a few items lower for Roland GR synth units to go with the guitars).

2013 Godin LGX-SA with Synth Access – Blue Flametop, (front), (side), (back), (headstock), (Hex bridge/output jacks), (electronics), (deluxe gigbag).  The LGX-SA provides incredible power in a finely made solidbody guitar.  Referred to as a "three-voice" guitar as it features electric and acoustic guitar sounds, plus the infinite possibilities provided by synth access.  The output from the bridge transducer system produces six separate signals—one for each string. This divided signal is called hexaphonic and is used to drive guitar synths.  The LGX-SA is perhaps the best synth driver made as in addition to the electronic modifications, the guitar itself was altered in order to achieve the best possible synth performance.  A visible difference between the a standard guitar like the LGX and the LGX-SA is in the ebony fingerboard, which greatly improves synth tracking.  Some of you are only familiar with guitar synths which were technically complicated and required radical changes in playing technique.  The LGX-SA/Roland GR-synth combination represents a new standard in user friendliness and performance.  This is truly a 'plug in and play' system.  Without cracking a manual, I hooked this guitar up to a GR30 and was playing guitar/synth patches in 30 seconds.  Controls are simple, with the acoustic controls on the upper bout, consisting of sliders for volume, bass, mid, and treb.  The magnetic pickups, Seymour Duncans, feature a 5-way switch for single coil and humbucker tones, a master volume, and master tone.  There is a separate volume for the synth sound.  A 3-way mini switch (engaged only when using 13-pin connection) selects acoustic/electric, acoustic/electric+synth, or synth only.  The other mini-switch is a momentary which can be preset to do a number of functions, but most will use it for patch changes (up or down) to the synth.  The three output jacks include separate magnetic and acoustic outputs (to run your signal into your Marshall stack and your SWR acoustic amp), or use only output 3 for both magnetic and acoustic outputs going to the same amp, plus a 13-pin RMC jack which carries all three (acoustic, magnetic, and synth) voices to a GR series synth or other RMC equipped unit.  Features of this fine guitar include:  solid mahogany body with highly figured maple top, mahogany neck, ebony fingerboard, 16" fretboard radius, 25.5" scale, 1 11/16" nut width, GraphTech Tusq nut, high-ratio front-loaded Godin Locking Tuners, double-action truss rod, Schaller locking type strap pins, Seymour Duncan Custom Humbuckers with a SH III Jazz neck and Custom III bridge, 5-Way switch, guitar volume and tone, synth volume, program up/down, 3-mini switch, separate outputs for magnetic - acoustic - synth sounds, RMC transducer saddles. custom pre-Amp EQ for: Acoustic Volume, Treble, Mid-Range and Bass controls, and trans blue finish.  This is an excellent sounding guitar with a perfect low set up.  A new one will set you back $1750 but get this one, in "as new" condition, for just $1050(HOLD-Ken H 1/13 +90).

MORE ROLAND GUITAR SYNTH GEAR – I have several guitars with the compatible RMC technology built in including Brian Moore, Godins (both nylon and steel string models), and perhaps a Strat, or buy the optional GK3 pickup and convert any guitar to synth-ready.

Roland GR-30 Guitar Synth, (patch bay), (manual).  I've had around 6 different Roland guitar synths and for me this is the best.  The sounds are superb, the tracking fast and accurate, and most of all, it's simple to get around on.  Simple one-cable hook-up from a GR-equipped guitar like the Godin ACS below and you have all your acoustic, electric, and synth tones working, going through a single amp.  There are a bunch of YouTube demo's to check out, here's one.  I will include a 20' RMC cable, plus manual and power supply. Nice unit for just $229.

Roland GR-20 Guitar Synthesizer, (GR-20 Close-up), (GR-20 back panel), (stock pic).  Like the GR-30 above, the GR-20 combines analog-digital converter, synth, and effects, all in one unit.  It's extremely easy to use.  I opened the manual only to see which jack to plug the guitar into and I was up and running - just select a sound category ((Strings, Organ, Brass, etc.).  As I noted a string that required a more precise pick attack than the others I opened the manual and quickly found out how to set each string's signal strength, boosted that signal, and everything was perfect.  This unit is much better than the earlier GR-30 and similar to the GR-33, except with less tweaking ability on the patches. Some of the advanced features might require more reading but if you just want to play guitar and synth patches, you'll have everything set up in minutes.  With 469 built-in sounds, you'll find the right sound for each song, and the tracking is far superior to anything I've ever used before.  For once, I can't play faster than the synth.  Rather than write a long description, click here for Roland's site.  Here's a good overview of the unit on YouTube (link).  Originally sold for $729, bundled with the GK pickup.  I can't imagine anything that will give you more power and versatility, while sounding great, for just $279.  Includes manual, power supply, and GR cable that connects the GR to your guitar.

Roland GK3 Synth Pickup. For use with any Roland GR system such as the GR-20 and GR-30 above. Exceptional tracking, easy mounting. Includes all accessories shown. $99(Tent Hold – Charlie 1/7).

Marshall JCM2000 Dual Super Lead DSL100, (panel), (top), (back), (back panel). 2009 model, offered in pristine condition. This one was built when they were made in England as part of the JCM2000 series. 100 watts of all-tube Marshall bone-crunching watts, and all the versatility of DSL offers.  The DSL (Dual Super Lead) has load of gain and creamy tone that Marshall is famous for, plus two footswitchable channels - Classic and Ultra.  Each of these channels boasts two modes: the Classic channel offers a Clean / Crunch option while the Ultra offers Lead 1 or Lead 2.  Instead of merely offering a variation in gain level to the two channels, each one of these four modes has been individually voiced as an amp in its own right.  Lead 1 is similar to the classic JCM800 while Lead 2 adds more gain and compression.  Each channel has its own independent reverb.  Loads of more features and for more info you can check out Marshall's site.  The DSL was the culmination of 35 years of R&D at Marshall and is just a great amp...period.  This head was never gigged and appears to have seen no use since new.  With a list of $1900, these sell everywhere for $1349 but this one's perfect and only $699(Tent. Hold – Dain 4/21).   

Suzuki Model 70 Classical, (front), (back), (headstock back). Good quality ca. 60’s classical from Japan. I can’t find a lot of info about this model other than one site said the 10-numbered series were named according to price, i.e. Model 30 was 30,000 yen, Model 70 was 70,000 yen, etc. Has some nice touches like parquet strip and double-carved headstock tip. Top appears to be spruce with a vintage tint, back and sides appear to be nato, with a mahogany neck and rosewood fingerboard. Just set up with a new set of stings and playing very nicely. If you’re looking at Indonesian or Chinese classical, I think this is a much better guitar at a comparable price that’s obviously built to last. Excellent choice for a beginner classical at $175. Include a new Fender deluxe classical gigbag for $29 if desired.

Ibanez TS7 Tubescreamer, (pic2). The Ibanez Tone-Lok Series wasn’t a huge success but they had some cool ideas and they’re a bargain on the used market. All of them feature standard knob layouts, with an extra switch included which in the case of the TS7 activates a hotter output, making the ‘Screamer really scream. Good sounding pedal that emulates the tone of a vintage tube amp fairly well, plus a lot more gain in the hot mode. Like all Tone-Lok’s, knobs can be recessed to keep them out of the way – just set them and press them into the pedal casing. Nice shape in the box and just $35.

Zoom 505 II Guitar Multi-Effect, (pic2). These were wildly popular, offering a wide array of overdrive/dist/fuzz tones, plus all the time domain effects like delay, reverb, chorus, flange, etc. Also has a very accurate tuner built in as well as compressor, wah, and EQ. You can edit and save your own settings, up to 36 patches in total, or restore all factory settings with ease. Here’s a demo that runs you through a bunch of different tones, showing the versatility of this pedal (link). Comes with manual and box. A powerful little unit that’s priced what you’ll pay for a tuner alone at $39.

Seymour Duncan SH-13 Dimebucker. Made especially for bridge position for hard rock and metal, the SH-13 features powerful ceramic magnet coupled and stainless steel blades. Built with a small amount of metal mass in the core which contributes to its high output, 16.86k. Dimebag Darrel used this pickup along with a ’59 in the neck, which we can also provide. These run $95 new, or get this one for $59.

Seymour Duncan SHR-1n Vintage Rails. Newer model with circuit board on bottom. Made for middle/neck position of a Strat with a high output of 10.65k so it can also be used in the bridge if you want something tamer than the Hot Rails. 4-conductor wiring which lets you retain 4 vintage single coil tones with one humbucker tone. $45.

Seymour Duncan Dual Rail – Strat, (bottom). Excellent humbucker for the bridge position of a Strat, with a super hot 16.80k output and 4-conductor wiring to keep positions 1-4 vintage Strat sounding. This is an early model with just a “B” on the label, probably called the Hot Rail today. Nice and easy upgrade for your Strat for $45.

2012 PRS SE Nick Catanese Model, (front-1) (front-2), (back), (headstock), (pickups/bridge), (gigbag).  Nick Catanese of Black Label Society was known as the "Evil Twin" by virtue of his ability to keep up with band leader Zakk Wylde.  In order to accomplish this, PRS and Nick renovated his signature SE, retaining a straightforward, sleek look, but with the chameleon tone of a set of EMG81/85 humbuckers.  The Catanese model features an extra thick mahogany body, with a figured maple veneer, Scarlet Red finish, black binding, 22-fret Wide/Fat maple neck, ebony fingerboard with no inlays (side dots only), Tone Pros adjustable stoptail bridge, 25" scale length, PRS tuners, master volume and tone controls with a 3-way selector on the upper bout.  Pickups are active EMG 81/85 combination with brushed chrome covers.  This new model doesn't have the dark look of his earlier signature model with the black finish and silver Evil Twin logo but it has all the sustain and superb playability you would want in a LP type guitar  Nick's previous contract with Washburn ended in '09 and having played both guitars, I think this one is a hands-down winner by comparison.  A new Catanese sold for $843 but this one is perfect condition, set up to perfection, and just $599.  Includes red PRS gigbag that's one of the best made, unsigned warranty, cable, etc.  

MXL V63M Large Diaphragm Condenser Mics, (pic2). From my “forgotten storeroom” in Maryland I came across three of these. If you do any recording, the #2 item, after buying your recording deck, is a large diaphragm condenser. The V63M is perfect for the home studio enthusiast as it handles vocals and ambient acoustic sounds very well, at a fraction of the cost of Neumann, AKG, and Sennheiser. It features a 1" diameter/6-micron-thick diaphragm that delivers commendable high sensitivity and detail. It’s wired with Mogami wire adding improved clarity and has a balanced, transformerless output for lower noise. It features the standard cardioids pickup pattern with a 30Hz-20Hz response and is encased in a heavy brass enclosure. It requires phantom power, but 98% of recording/pa decks that have that built in. For an insanely high retail price of $299, these are good values at $65. Includes stand mount pictured.

1996 Taylor 410K Koa Dreadnought, (front), (headstock back), (back), (side), (case label). Enjoy the beautiful tone of koa and spruce for around the same price as a saple. Taylors were the first acoustics that were made to play as easily as electrics, with low action and a thinner profile neck that hadn’t previously been used on flattops.  The 410K is appointed with bound body, multi-piece soundhole rosette, inlaid logo, Koa back and sides, spruce top, ebony fretboard, and tone enhancing satin finish throughout.  Koa wood is prized both for it’s beauty and tonal properties, which has the brightness and fast attack of maple, with a warmer sound overall. This one also has a very solid bass response, similar to what you’d expect from rosewood. Being a older model, this one doesn't have the NT finger joint near the headstock and the neck and headstock are from one piece of wood.  Original case for this guitar would have been the molded plastic case that Taylor tried for 2 years but you’ll be happy to know it’s been upgraded to the pink-lined luggage (aka “poodle”) case that most players feel is the best case Taylor ever used. This is an exceptionally nice sounding guitar with a fantastic set up and the best value I’ve seen on a koa Taylor. $1099 includes luggage case pictured.

1967 Fender Mustang, (front front2), (headstock back), (back), (serial), (neck date neck pocket pot codes), (case case2). Fender’s higher end student model in the 60’s, the Mustang later became a favorite of grunge players, following the lead of Curt Cobain. Personally, a Mustang was the first “real” guitar I owned, after going through a handful of cheap Japan Teisco’s and various Fender copies. Although it was a compromise to the Strat I lusted after, at ½ the price it fit my budget and was a fine guitar in its own right. These are quality guitars in their own right, built by the same luthiers who built Strats, Teles, and P-Basses. The Mustang switching system allows a good variety of tones and although it only has two single coil pickups, each selector has a phase position which allows 6 tonal selections. This guitar is 100% stock with original solder joints and all parts original to the guitar. I’ve dated it as a ’67, using the latest date on the guitar; one of the pots is from early ’67. The other pot is a ’66, with a neck date also ’66. It’s an excellent player in lovely condition for 48 years. Body finish is near perfect, with only 3-4 small finish chips that show the white undercoat. Original silver case is in rougher shape, but all latches and hinges work and it protects the guitar well. These have gone up in price over the years but for a vintage Fender in this condition it’s still a nice buy at $1499.

Simple Amps Traveler 6LA, (top), (back), (panel), (chassis).  Joel Jones is one of the fine new builder of boutique amps, out of Orange County, Calif.  The Traveler series is a new model in his arsenal which combines top-notch components in a portable powerhouse of an amp.  His amps are hand-wired, premium grade parts such as Sozo capacitors, Mercury Magnetics transformers and custom made carbon film resistors.  With the Tavelers Joel has managed a very affordable price point, coming in at 2/3 the price of  his "Big Iron" series of amps. A simple two stage preamp and pair of output tubes drive a Jensen 10" MOD speaker mounted in a 9 Ply (1/2) Baltic birch cabinet with a heavy duty "ruggedized" finish.  Although the size is diminutive, the tone is anything but small, cranking out 40 watt via a single EH 12AX7 into a pair of EH 6L6's.  If simplicity is your thing, and everybody should have at least one pure amp, the 6LA is for you with just high and low gain inputs, volume, and tone - nothing extraneous in the circuit to detract from its pure tone.  Other features include all Mercury transformers including Power, Output, and Choke; All aluminum enclosure; Fully Shielded; Hand wired board construction; Star ground configuration; Sozo caps; Custom made carbon film resistors; 9-Ply (1/2") Baltic Birch cabinet; Locking miter joint construction; Aluminum speaker baffles; Heavy Duty Finish; 15"x17"x8" size.  Click here for a brief demo, another one here.   Note the Big Iron and the Traveler use the same basic circuit.  There's also a brief review here, which mentions a comparison to the old Valco/Supro amps of the '50's, a comparison that's repeated in other reviews.  Sells new for $1150 but this one's dead mint and ships in original factory packing, for just $799.  If you're looking for a lot of vintage tone in a small package, I can easily recommend this amp.

Ibanez Bass Hardshell Case. Had an EDB Ergodyne series in it but fits most Ibanez basses. Nice shape with all latches, hinges, feet intact. Soft, plush velvety lining, includes key. These are around $139 new. Get this one for $69(HOLD-John O 1/14).

2001 PRS Santana SE – Emerald Green – Upgraded, (front), (back), (headstock back), (pickups cavity).   We’re proud to present for the pro player, or any seeker of tone, this modified first year, first version Santana SE. We have made it, essentially, a PRS Standard, by installing PRS HFS and Vintage Bass pickups, plus a PRS 5-way Rotary switch. With the mahogany body and neck, it very much has the tone of a Standard, at around 1/3 the cost. This first version features Santana “slash” inlays on an unbound mahogany neck with a wide fat neck carve. Other features include rosewood fretboard, 22 medium frets, 25" scale, PRS SE tremolo, and PRS SE tuners.  Like all of the SE series, they're some of the best Korean imports made, truly in a class by themselves.  I've only had around 20 or so SE models, with around 5 currently in stock, and have yet to encounter one that failed to set up perfectly while the overall build quality is impeccable.  Cosmetically, this guitar has some clear coat dings and scratches, but no issues such as cracks or finish missing. If you’re looking for a guitar with tone and playability that are good enough for a 4-hour gig, but want to keep the budget under $500, there aren’t many options. This is definitely one of those rare opportunities. $479 includes a quality gigbag. I’ll also include Martin’s personal “seal of approval”.

Korg PME40 Effects. Just got in a few that I always seem to be running out of including the KDD-501 Stereo Digital Delay $79; KDW-301 Distortion Wah (fairly rare effect) $149; KPH-401 Phaser $75, and KDC-601 Digital Chorus $69.

Korg PME40 Effects w/modded input jack. This one was pro modded for the stage with a heavy duty input box added to the right side. Effects include Compressor, Analog Delay, Overdrive, and Chorus. $299 takes it all, but you can substitute effects for a higher or lower price depending on what you need.

Hughes & Kettner Tube Rotosphere MK II, (top), (back). One of the best Leslie simulators - for guitar or keyboard.  If you're not capable of lifting 200 lbs. and don't have enough room in the van for a real Leslie, the Rotosphere Mk II very closely nails the tone at a fraction of the size and weight of the real thing.  Very highly regarded by guitarists and keyboardists, this unit features a warm and natural sounding stereo rotary cabinet with tube saturation in one pedal.  It features two rotation speeds and authentic sounding deceleration & acceleration effects with a spectrum ranging from clean to sizzling rock scream when you burn in the 12AX7 tube.  Its stereo mode isn't required but when used it really shines, emulating the dynamics of a real Leslie.  Effects are simply Rotary and Drive, with Bypass (true bypass by the way), Breaker (slowly locks into "stop" mode, always returning to the same "spot"), Slow-Fast Mode, and switch for guitar/keys.  Click here for a guitar demo, and here for a quickie organ demo.  Includes original box,  power supply and manual.   The MK II sold at discount for $589 but this one's barely used and $240 cheaper at $349. 

1998 Ibanez RG-470 – Cherry Fudge, (front), (headstock back), (back).  Another fantastic Japan-made RG, in great condition. The RG series is Ibanez' most successful rock/metal guitar and the RG-470 dates back to '92-'94 with the original Japan manufacture, followed by Korean (Cort) manufacture from '94 to '99, which overlapped with the 2nd series Japan, like this one, built from '98 to '04.  Stock features of this era include Wizard II neck with 24 jumbo frets, Basswood body, Lo TRS tremolo that's recessed for maximum up-pull, all-access neck joint, and black headstock with chrome logo.  Pickups are the stock HSH configuration with an Ibanez V7 (Vintage 7), S1 (Single 1), and V8, controlled by a 5-way selector for an excellent choice of single coil and humbucker tones as shown here.  The V7 is a ceramic humbucker, that's tight, but bright for a neck humbucker and very dynamic for chording and rhythm; V8 is an Alnico humbucker that's a warm yet articulate lead pickup with enhanced overtones and good harmonics without excessive brightness; the S1 is a traditional sounding, yet high output single coil with Alnico 5 pole pieces for even string output. It's designed to work with humbuckers in the split position.  It has an extremely thin and wide neck - shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  For more great info check out info at Ibanez Rules, the best Ibanez site on the web.  This is an absolutely killer playing guitar that exhibits no player's wear other than one small finish chip (pic) that’s been touched up (pic) – looks even better than the pic as it was shot before we built up the area with clear coat, even with the rest of the finish. No fret wear or buckle wear or scratches, any irregularities in the pics are just reflections.  If you want this quality today you’re looking at an MIJ Prestige model at around a grand. This is a much better value at just $375.  Add a nice SKB case (pic) for just $49 more.

96 Fender Squier Protone Neck and Squier Body w/upgrades, (front), (headstock back serial), (back). We had a recent Squier with a mediocre playing neck so we replaced it with a ’96 Squier ProTone neck. Now we’ve got a much better playing guitar and cool looks to boot. Few changes we made included a GFS Dual Rail bridge humbucker, to allow a fat dual coil tone in addition to the usual Strat tones, Gotoh black nickel tuners, and black plastic parts on a white pickguard. Nice playing guitar and with just some clear coat flaws, overall nice shape. $249 includes gigbag.

2000 Ibanez Japan Soundgear SR800 Bass – Gray Nickel, (front), (headstock back serial), (back), (controls), (pickups), (case).  Starting in ’91 the SR800 served as one of Ibanez Soundgear’s finest basses. Superbly designed and crafted in Japan, it provides the ultimate in tone and comfort.  Features include basswood body, Accucast B20 bridge, 24-fret fingerboard, and active electronics. During the later years, as on the 2000 model, Ibanez upgraded their pickups to AFR active pickups and electronics, including the P/J pickup set, volume, pickup blend, bass cut/boost, treble cut/boost, and a parametric mid with frequency control/cut-boost. With this electronics suite you’re capable of dialing in virtually any tone that you want. Ibanez' popular Soundgear line has been around since '87 and their nicer ones, such as this Japanese SR800, are the choice of many pro players, musicians who can afford to play any bass they choose.  With the low impedance P/J combination and excellent sounding EQ, this bass can do the fat P-bass tone, the J-bass tone that jumps out of the mix, with great power and no noise.  Cosmetically it’s in excellent condition with an excellent setup and quality tone and resonance.  This was a fairly high end bass, with the last list price of $900.  I consider it a pro quality bass for the price of a beginner/intermediate at just $379 with gigbag, or substitute the SKB Freedom case pictured for $45 more.

2003 Gibson SG Special Limited Edition, (front), (headstock), (back), (gigbag).    Very unique SG - Limited Edition Platinum with all chrome/platinum parts (pic here) including body, plastic, and hardware.  All mahogany construction gives it that classic warm SG tone that has helped define the sound of rock, most notably with Angus Young.  This model also features an Ebony fretboard, usually reserved for higher-end models, which gives it a little more snap on the attack than rosewood.  Pickups are 490R/498T Alnico II humbuckers.  You Fallout Boy fans might remember front man and guitarist Patrick Stump playing this model when they were becoming huge, before his jump to Gretsch.  If you like low action - you'll love this guitar.  It's got a great neck which allowed us to set the action very low.  The neck's a tad on the chunky side, much closer to a 50's rounded neck than a 60's thin taper.   Don't confuse this with the faded series.  This is the gloss finish model and it sold in stores for $1049 during its last year of production 6 years ago.  This one is pretty much immaculate - no scratches, dings, or fret wear, an easy 9.8 - and wouldn't look out of place hanging with brand new guitars in your local store.  Just a super gloss-finished SG that plays as nice as it looks.  $799 includes original gigbag.

Takamine C128 Classical, (front), (headstock), (back), (label/serial), (case).  Nice playing, inexpensive classical. Martin just spent around 4 hours on this one has transformed it from a typical mediocre playing nylon string, to something much nicer. Japan-made Takamine's are among the best acoustic guitars you can get for the money  The C128 is Japan-made Takamine's entry level classical but the quality is better than high-end models from other Asian manufacturers, and much better than Tak's non-Japanese classicals such as the G-Series.  Features include 14-1/2" body, spruce top, rosewood back and sides, 5-stripe bound body, wooden Marquettery rosette, 12-fret mahogany neck with rosewood fretboard, no fret markers, 12/19 frets, 25.5" scale, 3-on-a-plate gold tuners with white pearloid buttons, and 2" nut width.  This one is marked "second" on the label, probably due to some milky finish at the neck joint (shown here), which is strictly cosmetic and doesn't affect the tone in the least.  The guitar is extremely clean and appears to have seen very little use.  The C128 had a very long run for Tak but was discontinued in '03 with a list price of $700.  This used one's in nice shape, although it was a cosmetic second for unknown reasons. It has no issues and is an excellent value on a beginner/intermediate classical at $299.  Includes semi-hard case shown.

Ernie Ball Musicman Axis Super Sport HH with match headstock and tremolo, (front), (back/neck), (headstock), (case inside-pic w/different Axis).  Beautiful Orange Quilt with matching headstock, optional vintage tremolo, and lightly figured maple neck.  Many of you young players will say "that looks like a Wolfgang" but the roots of this model, the EBMM EVH, preceded the Wolfgang by around 8 years.  When Ernie Ball's contract with Ed was over they had to rename the model and although there have been several improvements since the EVH days, outwardly it is the same guitar.  Set up is perfect and Musicman's custom wound DiMarzio's sound fantastic.  Spec's of this model include Basswood body with a slab of bookmatched, figured maple on top, Maple neck with 5-bolt neck joint, Maple fretboard, 22 high profile, medium width frets, 2 custom DiMarzio humbuckers, Music Man tremolo, Schaller M6LA tuners with pearl buttons, Graphite acrylic resin-coated body cavity and aluminum-lined control cover, volume and tone controls with 3-way pickup selector, Cream body binding, 25-1/2" scale, 10" fretboard radius, and 1-5/8" nut width.   This baby is in beautiful shape with no flaws to speak of.  This model lists at $2475, selling online for $1732 but this great used one is just $999(HOLD-Ken H 11/7+60-90) with gigbag, or include the flight case pictured for $56 more.

Fender Esprit/Flame Pickup Set, (back). Fairly rare pickups, used only on the short-lived Fender Master Series Esprit and Flame guitars. One other model, the Contemporary Strat Deluxe (shown here) which came as both an HH and HSS model, also used these pickups. Nice shape with screws, shafts, and springs, and full length leads. If you need a pair of these two restore your $1500 ‘85/’86 Esprit or Flame, they can be hard to find as I once discovered. I found a guy who had some of them when I needed one a few years ago. I offered him $100 and kept upping the offer, before backing out at $175 for just one pickup. You can have this pair for the same price. $175/pair.

1997 Washburn J9 "Washington" G Thinline Hollowbody, (front), (back), (headstock), (side), (appointments), Just back from a minor finish repair job. This is a fairly rare model, produced only from '97-'99 in the "G"" model, i.e. Gold hardware.  Washburn builds some very good quality archtops and these older Korean models are superior to current models and blow away any of the plethora of Chinese guitars on the market today.  Quality hardware, good electronics, and remarkably nice fit and finish make this one of the best values I've come across recently.  Features include single rounded cutaway hollowbody, arched maple top, bound body two f-holes, maple back/sides, maple neck, 20-fret bound rosewood fingerboard with split rectangle abalone inlay, adjustable tune-o-matic bridge/metal ´W´ trapeze tailpiece, bound blackface peghead with abalone diamond/W/logo inlay, 3-per-side Grover tuners, raised black pickguard, two humbucker pickups, dual volume and tone controls,  three-position switch, and gold hardware.  The design is somewhere between a hollowbody and a semi-hollow, as it does have a block under the bridge, but it doesn't run the entire length of the body, but it's enough to eliminate the feedback problems most hollowbodies have.  Here are some reviews at Harmony-Central (4 of 5 stars); and some video's on YouTube (link), (link) and this one, restaurata e settata da Luigi Buono liutaio presso Centro Chitarre Napoli.   Overall this guitar is in very nice shape, other than moderate some wear to the gold hardware and has seen very little use in nearly 15 years.  It did experience a boo-boo in the finish on the bottom side, which Martin has stabilized (shown here). Not a $200 job but it was just chipped finish so it’s not going to be an issue. This guitar has a very solid feel, fingers effortlessly, an would make an excellent choice for jazz, Rockabilly, or Standards - pretty much whatever you use a Gretsch Chet Atkins for.  This was a pricey model, listing for $1050 in late 90's dollars, and that's without the optional case.  This beauty plays fantastic, sounds great, even with the stock pickups, and is one lovely thinline - all for $399, which is $200 less than it sold for before the little finish ding. You can include a proper Washburn case (pic) for just $59.

·       Complete Danelectro Pedalboard with 5 EffectsChoose any one for a stocking stuffer, or an entire pedalboard for under the tree. What guitarist doesn't like some new tones to play with!  Here's five very cool effects, complete with power supply and case, so you'll never have to mess with hooking them up every time you want to jam.  These Dano mini effects are excellent sounding units and provide more bang for the buck than any other brand.   Description:  Travel Case/Pedalboard loaded with FIVE Dano effects, new in the box and includes hard case, power supply, daisy chain to power pedals, connecting cords and 5 effects: Slap Echo/Delay (BLT), Tremolo (Tuna Melt), Chorus (Milkshake), Overdrive (Pastrami), and Chromatic Tuner.  Any of you last minute Santa's looking for a cool gift - you can even individually wrap the pedals for stocking stuffers!  List price was $254 but save on the package deal - just $125 for the complete package - and free shipping within 48 states.  With the case/power supply, this works out to under $21 per piece.  If you only want a pedal or two, just $25/each, plus $5 Pri Mail shipping.

·       dbx DB12 Active Direct Box, (pic2). What player doesn’t want a quality direct box? When it comes to DI's, don't buy the cheapest one you can find; there IS a difference.  The DB12 employs custom dbx mu-metal-shielded audio transformers, Gold-plated Neutrik XLR Connector connectors, and low-noise circuitry to provide a transparent, strong signal to your amp or mixing/recording deck.  A 20/40dB pad switch accommodates instrument, line, and even speaker level signals.  It also has a polarity invert switch to set the phase relationship between the direct and mic'd sound, LED power light, flat/high cut filter switch, 48V phantom power direct from your mixer, and unique design to allow stacking units on top of each other.  Don't confuse this with the DB10, which is dbx's passive DI, the DB12 lists for $179 and sells online for $99.  Our special price is $69, including shipping. 

·       Electro-voice EV PL44 Vocal Mics (click to enlarge)All I want for Christmas is a vocal mic… EV's PL series has been around a long time.  The PL80 and 88 were some of our best selling mics back in my retail days in the 80's.  These PL44's are better than the 80's of yesteryear and are some of the best vocal mic's on the market for the money.  They feature supercardioid pattern with excellent feedback rejection and deliver a tight low end, smooth mid range, and crisp highs that are usually reserved for condenser models.  Compare this to mics at 2X the cost and chances are the PL44 will win almost every comparison.  With a list of $165, these are available on Amazon for $108.95, but these are new in the box and a nice deal at $69.99, including shipping.  Includes mic clip and case. 

·       Electro-Voice EV PLDK5 Drum Pack, (EV PL33), (EV PL35).  You don't have to spend a fortune piecing together pro quality mics for a drum kit. This EV kit can mic just about any drum kit and provide quality sound that won't drive your sound tech crazy trying to EQ out feedback caused by mics with a low gain before feedback or an unfriendly frequency response.  This kit contains one PL33 dynamic supercardoid kick drum mic and four PL35 dynamic supercardioid tom/snare mics, complete with a quality, firm-exterior 600 Denier nylon gig bag with shoulder strap. The EV Gig Bag is firm and durable with 600 Denier nylon exterior Form cutouts for up to 10 PL drum mics, padded handle and shoulder strap,  zippered rear compartment for sheet music, sticks, and accessories.  This set has received great reviews in various publications and sites, such as this one on epinions.com.  With a list price of $775, these sold for $322-$459.  If you're looking for EV quality at a no-name price here's a nice savings on this bundle, just $225 for the pack, including shipping.

Ca. 1966 Magnatone Custom M15 Stereo Combo, (side), (back), (panel), (panel-detail). These are great sounding amps and real sleepers on the vintage market in my opinion. After decades of being ignored, non-Fender amps finally started appreciating around a decade ago and while a Gibson, Magnatone, Valco, etc., may never get the money of a blackface Fender from the same era, they're so undervalued that most vintage experts know that most have definite growth potential. More importantly, amps like this sound great, and can be had for a price that doesn't hurt. The Custom M15 is one of the cooler amps of this era, built when companies weren't afraid to try anything, like this “Royalite” thermoplastic case. Unlike Fender, which has never made a true vibrato (pitch shifting) amp, Magnatone built amps with real vibrato and the effect is stunning. Additionally, the M15, is a true stereo amplifier, with dual output transformers and twin 8" Alnico speakers, four 7189As power tubes (two matched sets), and two phase inverter 12AU7A tubes. It is equipped with stereo output channels (not just two input channels). Each input channel has its own pre-amp, and both of these signals are equally mixed together on both output sections. There is Stereo vibrato, but it only applies to the signal from Channel No.1 input. That signal is send to two different vibrato units, which each go to one of the two output sections. Confused? The Stereo vibrato switch, in mono mode makes the two vibrato units modulate at the same frequency, and in "out of phase" frequencies in stereo mode. If vibrato was simply ON or OFF, the two vibratos, in stereo mode, might cancel each other out, however herein lies the magic. The Magnatone vibrato is the varistor. These magic varistors rise and fall at a much slow rate, so the rise and falls of the two output of phase vibratos never match up perfectly enough to cause complete cancellation. This unique vibrato circuit was used by Magnatone, who called it "Stereo F.M. Vibrato." Controls are (L to R): two sets inputs with a stereo input jack between them, each input with volume, treble, and bass controls, a contour switch and a pair of input jacks. Next is the four control vibrato section and foot switch jack, followed by a single reverb control and foot switch jack. At the far right is the power switch and output speaker switch with left and right speaker output jacks. Power output is listed as 2X38 watts “peak”, which probably equates to around 12-15 watts X2. This amp uses a bunch of tubes, around 13 total including four 7189A power, three 12AX7 preamp, two 6GW8 reverb, three 12AU7 and a 12DW7 vibrato, two 12AU7 phase inverters. There were several design changes that took place on these amps between ’63 and ’65. I’ve done my best to accurately reflect the design aspects of this amp but apologize in advance if there are any inaccuracies. Most of the information above came from a fantastic vintage Magnatone site, MagnatoneAmps.com. This is a very good sounding amp with some of the coolest effects I’ve heard on an old tube amp. It works well, although could probably use some minor tweaking/cleaning. It was last gone over by Jeff Bober, who owned Budda at the time, back in ’95 (see the “JB” in the pic of the back). It’s a heavy amp and I’d estimate shipping to be around $75. I will guarantee that you’ll be the only kid in the band with this baby and probably have a blast playing it. I think it’s a steal at $650.

Dr Z Z Wreck Head & Cab, (back), (panel), (speakers), (covers), (serial/date). (nothing is wrong with the Z logo on the cab—in person it looks chrome, identical to the Z on the head). Check out this cool Quantum Silver matched set - Z Wreck 30-watt head and 2X12 cab with Celestion Alnico Blue and Alnico Gold speakers. This is a production model of a prototype that was originally a collaboration between Brad Paisley, Dr. Z, and the premier amp guru, Ken Fisher of Trainwreck. Sadly, Ken passed away in 2006, but his genius in circuit design lives on through the Z Wreck and various clones by some top builders. All Z amps are built with the utmost attention to detail and top quality components. One of the things that set this one apart is the output transformer, which was designed by Ken Fisher. A unique aspect of the tranny is that it incorporates a multi-tap secondary that offers 2 different plate voltage settings, labeled "Comfort/Speed", accessible via a switch on the back. "Speed" yields a strong attack with increased clarity and dynamic headroom, while "Comfort" drops the plate voltage down for a vintage feel with a softer response and more overall sweetness. For players who look for touch-sensitivity, you’ll find none better. Using just your volume control you can go from shimmering clean to full growl, no pedals needed, but it’s worth noting that this amp takes pedals exceedingly well. It’s powered by four NOS Russian 6P14P-EV EL84 EL84’s, putting out 30 watts, with a trio of 12AX7 preamp tubes, and a 5AR4 tube rectifier. Like many overbuilt amps, this is a loud 30 watts, plenty for medium size stages and able to keep up with a loud drum set. The circuit is basic and simple: a Cut control, similar to a Vox AC Top-Boost in cutting mids, Bass, Treble, and Volume. This matched set of Quantum Silver covering includes a nicely flamed stained maple front panels. Like the hand-wired, point-to-point circuit, the boxes are exceptionally well built and finely finished. There are a bunch of YouTube demo’s online; here’s a pretty good one from Greg V (link). This set up has seen only limited home use and is in perfect condition. You can get a new one for $3699, or save $1000 and get this pair for $2699. Includes well-padded Studio Slips embroidered covers for head and cab.

Fernandes FR-40 – Green Flame, (front), (headstock back), (back), (bound body), (case case2). Recent model “SuperStrat” with upscale cosmetics such as body binding and flamed maple veneer. I don’t know a lot about this model other than it’s a super easy playing guitar with good tone and a good variety of tones. Features include HSS Alnico pickups ( two Fernandes VS500 and one VH500), 5-way pickup selector with master volume/tone controls, alder body with flamed maple veneer, "original" vintage style tremolo, 24 fret rosewood fretboard with pearloid dot inlays, 25.5" scale, and a beveled heel area with a step down to make it easy to get your hand around the neck when reaching for the highest notes. This is a nice looking axe that would make a good take-along guitar for practice or excellent beginner/intermediate guitar for players looking for tone and playability without spending a fortune. Includes Fernandes hardshell case for $279.

1999 Ibanez AX7521 7-String, (front/back), (headstock).  Don’t confuse this with the Chinese AX7221, this AX7521 is a top of the line, made in Japan model.  The 7521 is a fairly rare bird, only made for around a year before shifting production to China and renamed AX7221. The AX series derived from the AR (Artist) series except gear more toward rock guitar, just shy of being a shred machine, and designed for cutting edge rhythm work and a powerful lead tone.  Features a gloss “Cherry Fudge” finish, solid mahogany body, AANJ (All Access Neck Joint) with cutaways deep and beveled to allow easy access to the top frets, fixed bridge with strings thru body, V7-7 and V8-7 humbuckers with 3-way switch and individual volume/tone controls, thin profile maple neck with bubinga strip for added stability, rosewood fretboard, 22 jumbo frets.  Many players of heavier rock prefer a 7-string for the thunderous bottom end but it has also been used by jazz players as a way to do impressive runs with less movement up and down the neck.  Overall extremely clean condition other than a few minor touchups (pic), closely color-matched, visible from the back only.  If you've been wanting to try out a 7-string, this is a nice Japan model and easy on the wallet. Like all Japan Ibanez, it carried a high list price, $799 back in ’99. Get this one now, set up beautifully and just $339.  

Carl Martin Plexitone, 3-channel overdrive that does it all - crunch channel, high gain channel, and a 20dB clean boost channel for just about any tone you could ever want.  Go from light overdrive, super crunch, high-gain thrash, or bass-heavy grunge.  Features built-in power supply (no batteries!) that's regulated and gives you all the headroom you'll need.  Carl Martin's are extremely well built in Denmark and widely acclaimed for good reason - they all sound great.  Even if you only need one of the channels on this pedal, it's worth the money.  These sell new for $258 but this one’s in nice used condition and is just $175.

Fender Vintage Style Tele Neck, (pic2). 50’s style with silver spaghetti logo and maple fretboard, with modern 9.5” radius and truss adjustment on headstock end, C-shape but very small shoulders sort of like a V, gloss finished throughout. This went to a Special Edition Tele, although I don’t know what the specs of the guitar were. Frets are perfect; nice neck. $175 for neck or $199 with original tuners.

2006 Ibanez Joe Satriani JS-1000 Black Pearl, (front), (headstock back), (back), (Beveled heel), (case case2). NOS condition, looks to have seen zero playing time. Ibanez makes various models in the JS range with this being one of the higher end Japanese models from Team J-Craft.  It’s nearly identical to the JS-1200, with the only difference being body color and neck pickup. Features include Joe's choice of DiMarzio's with a "PAF Pro" in the neck and a "Fred" in the bridge, each with a push/pull pot to split the coils.  Other features are Edge Pro tremolo, 25.5" scale, Ibanez' own Aerofoil body design, 1-piece maple JS Prestige neck with tall and narrow 6105 frets and a slightly flat (around 10") fretboard radius, Abalone dot inlays, and Basswood body which falls right between Alder and Mahogany tonally for a nice mix of warmth and clarity.  The Precision-sculpted body is light on the shoulder with otherworldly looks; less than 1" thick at the edge, contoured to a full depth in the middle, borrowing from the original Saber body.  It has a sculpted cutaway and beveled heel for great high-fret access and, frankly, it has some of the sexiest curves you find on a solidbody.  For me, this guitar represents the pinnacle of Ibanez manufacture.  I've had plenty of other higher end models like Anniversary Jems and other signature models, but for pure playability and tone, I haven't found anything that beats it in Ibanez' current lineup.  The Edge Pro is one of the best locking systems I've used.  Very comfortable on the heel of my right hand, very accurate, and impervious to string slippage.  Original owner claimed he never played this and I believe him. Even the case is in pristine condition. For full specs click here for Ibanez' site.  Includes original Ibanez Prestige case, manual, trem arm, tools, and zippered bag.  They’ve discontinued the JS1000 in favor of the nearly identical 1200 model which sells for $2199 ($2933 list), If you want Black Pearl instead of the 1200’s Candy Red, here you go. “As new" condition and a great value for the player at $1250.  Note: I also have JS-1200 and JS-1600 models in stock.

1997 Parker Nitefly NFV2, (front), (back), (headstock back), (bridge/controls).  Beautiful USA Nitefly with many of the benefits found on the high-end Fly Classic, but with a maple body and bolt-on neck.  Other features include: Custom DiMarzio pickups in HSS configuration, basswood neck, 22 stainless steel frets, 25.5” scale, Sperzel tuners, and aluminum vibrato bridge with stainless steel saddles, Fishman passive Piezo system for acoustic tones.  Uses a Y-cord to run acoustic and electric pickups to separate amps, or just run a standard cable for electric tones only.  Parkers are known as one of the best ergonomically-designed guitars ever with design features that were decades ahead of their time and it's an extremely comfortable guitar to strap on and play.   Controls include a 3-way to switch between Piezo out, magnetic pickups out, or blend.  Has separate knobs for magnetic volume, magnetic tone, and Piezo volume.  All original other than neck pickup upgraded to DiMarzio Area ’67. Excellent set-up and quality electric tones via the DiMario’s; fairly authentic acoustic tones via the Fishman system. Overall very clean shape and a good value on an American Parker at $739. Includes a quality gigbag and trem arm.

2004 Gibson SG Standard - Ebony, (front), (headstock back), (fretboard), (back), (case case2). I haven’t had one of these in Ebony (Black) in a while and this one’s a killer player, with some moderate honest flaws on it. Nothing horrible, just some dings in the clear coat and buckle scratches in the clear coat on the back. The SG silhouette is one of the most recognizable guitars of all time and has remained largely unchanged since 1961, when it was released as the "new" Les Paul style.  It has been in production continuously since that year, the longest running solid body model in Gibson history.   Features include all-mahogany construction finished in gloss Ebony lacquer, solid quarter-sawn mahogany neck, rosewood fretboard with 12" radius, trapezoid inlays, Corian nut, 1 11/16" nut width, bound fretboard, 22 medium jumbo frets, Gibson Deluxe tuners with Keystone buttons, holly headstock overlay with mother-of-pearl inlaid logo and crown inlays, black top hat knobs with silver inserts, Tuneomatic ABR-1 bridge and Gibson's most popular pickups, the 490R/498T Alnico humbuckers.  The SG Standard's remarkable sustain is due largely to two unique features:  the mortis & tenon neck joint which binds the neck to body so that the two pieces form one solid unit, employing the long tenon found on earlier SGs - plus the traditional 17 degree headstock angle, which increases pressure on the strings which maximizes string vibration between the nut and the tuners.  It features the neck profile of the mid-60's, not at all chunky as the 50's style, but nicely rounded.  Famous players of the SG Standard is a who's-who of rock music greats including Clapton during the "Cream" era, Tony Iommi and Angus Young both users for over 30 years, and Derek Trucks, who also uses extensive slide work in his playing.  This one has an absolutely killer low setup, nice sustain, and a warm, fat tone. A new '13 SG Standard is running $1499 ($2498 list) but if you don’t mind some light cosmetic flaws, get this one for just $929(HOLD-Rick 10/18).  Includes a quality SKB case that hugs the body and supports the neck the entire length.   

2002 Fender Deluxe Nashville Power Telecaster, (front), (back), (headstock back), (bridge/etc.), (gigbag). Looks like your stock Tele with Nashville (3 pickup) set up, but it’s so much more. The “Power” lies in its ability to do Tele tones, Strat tone, and an excellent acoustic tone. This is done with the addition of the Fender/Fishman Power Bridge, which features six piezo transducer bridge pickups to produce shimmering acoustic sounds. It’s also built with a stereo jack so with the addition of a stereo Y-cable you can send your electric pickups to your guitar amp, while sending your piezo/bridge pickup to your acoustic amp or mixer. It also works fine with a mono cable and you can select either tone, or easily blend your two tones for some cool combinations. For years session players in Nashville had been modding their Tele’s with a Strat pickup added in the middle position and substituting a 5-way switch to allow any pickup by itself, or blending neck/middle or bridge middle. Fender kept the outward appearance unmodified by substituting a stacked knob for the electric pickup volume and tone, while the back knob is wired as volume control for the Fishman bridge. Very simple. Other features include gloss-finish alder body, Fender Tex-Mex Tele single-coil pickups in the bridge and neck positions with a Tex-Mex Strat pickup in the middle position, modern C-shaped neck with rosewood fretboard, 9.5” radius, medium jumbo frets, synthetic bone nut, vintage-style tuners, and easy access 9V battery door on back. Click here for all the specs from Fender. Click here for a Russian demo, with acoustic tones starting around 4:35. With a list of $1229, the Nashville Power Tele sells new for $979. This one is in absolutely perfect condition, with a superb low set up, and yours for $350 less than new, just $629.

Top Hat King Royale Head & 2X12 Cab, (back), (head), (back), (top), (panel), (cabinet cab-back). Don’t confuse this with the Club Royale, this is the top of the line “King” Royal, selling for over $1000 more than the Club series. For players looking for the perfect British sound, and there are plenty of players trying to capture the tone of The Beatles, Brian May, Mike Campbell & Tom Petty, The Edge, The Shadows, and countless others, this may be the ultimate amp in your search for the perfect Class-A British tone. One of the premier builders over the past few decades, Top Hat Amps are hand built with a point-to-point circuit, for the ultimate in performance and tone. They are virtually bullet-proof and made in America with pride and old-school craftsmanship. This is an early model, ca. ’99, although I don’t know that the specs changed over the past 15 years. Read reviews around the web and you’ll see players who prefer this over the Matchless DC30, as the Top Hat is thought to be truer to the Vox AC30 tone. It cranks out around 35 watts through a quad of EL84 power tubes, with 3 12AX7’s in the preamp, and a 5AR4 rectifier. It features two channels featuring high and low inputs with the first channel having simple volume and tone controls, and is derived from a classic Vox AC-30. The second channel comes from the classic Vox AC-30 "Top Boost" and features Volume, Treble, Mid, Bass, Master Volume. It also features a Cut control, which reduces high frequencies in both channels. It also features two mini switches: a “Boost” control with three positions, Fat-Off-Bright, which varies the gain in the pre-amp section with "Off" and "Bright" having a lower gain structure than the "Fat" mode. The second switch is labeled "Clean" also has three positions, Channel I-Normal-Channel II, which allows you to clean up either channel of the amp. A mention up front: If one of the tones you seek is metal, this ain’t your amp. While you might do fine with a metal pedal, it specifically isn’t voiced for that kind of tone. What it is voiced for is an extremely warm tone and the ultimate in chime. With the preamp options you have a good variety of tones. The overdrive on channel two is very fairly creamy and warm when you set the volume higher than the master volume. It has very useable overdrive tones, going from a Marshall JTM 45 with the volume and tone cranked on channel two, to a Fender type sound with the tone controls dialed back, becoming more Vox-like with the tones mid way up. As far as applications go, this amp can get plenty loud, easily cutting through the mix to be heard over drums and perfect for a small/medium venue. Like the head, the 2X12 cabinet is hand-crafted, with box and baffle made of 11-ply Baltic birch. It is loaded with original G12H-30 Celestions, best described as a fusion of the Vintage 30, and original 25W Greenback. For full specs check out the head on Top Hat here, and here for the cabinet. Cosmetically, it has a few rubs in the covering but overall is in nice shape for a used amp. An exceptional value on a true high-end set up at $1750(HOLD-Wanda 11/24).

1986 Kramer American Pacer Custom – DiMarzio HSH - Flip Flop Red, (full), (front), (back), (headstock back), (color/shades), (pickups/routing), (case).   Another cool Pacer in Flip-Flop Red, which, depending on the viewing angle, can appear red, purple, or pink, visible in the pics above.  This one has had a few pro mods, done to the highest degree of expertise: Neck pickup was routed to accommodate a humbucker which you can see is as neat as factory routing. Pickups have been changed to DiMarzio humbuckers with a DP163 “Bluesbucker” in the bridge, a Zebra DP156 “Humbucker from Hell” in the neck, with the original Duncan Vintage Staggered in the middle. The DP163 (link) sells new for $96 and is designed to have the tone of a P90, but without the hum of a single coil while the DP156 ($70) provides a more glassy tone in the neck position than any humbucker, having characteristics of a Strat. Lastly, the body has been routed to recess the Original Floyd Rose, allowing more up pull on the trem bar. Other features include Jackson-style sharp body edges, cannon output jack, black hardware, Schaller tuners, droopy/pointy headstock, angled bridge pickup, and 3-pc. maple neck with rosewood board.  Controls are simply on/off switches for each pickup, with a master volume control; pretty much the simplicity of a Baretta in a 3-pickup version.  Kramer Americans were my dream guitars back in the day but, alas, I was making $3.25/hr. and we sold these new in '86 for $799, basically around $2K by today's standards.  Cosmetically it’s in very nice shape for almost 30 years. A few finish impressions here and there, but nothing through the clear coat and no heavy wear anywhere. Cool looks aside, this baby has a great setup with very comfortable action, no problem bends, and the Floyd stays in tune well.   If you want to try a Pacer with a different selection of tones than the stock version, this is a nice axe for $650. Includes SKB molded case and trem arm.  

Schroeder Adjustable Stoptail Bridge and Top-Adjust Locking Studs.  Schroeder uses top quality construction: lightweight aluminum body, stainless steel screws and clips, and brass saddles, to produce one of the best aftermarket bridges made.  With 3 1/4” stud spacing and custom styling, the Schroeder Stoptail is an excellent replacement for LP Junior, PRS and Tone-Pros stoptails or for use on custom instruments.  The back contour is very comfortable for resting your palm and the design provides several advantages over other adjustable stoptails.  It comes with an 11" radius, but easily adapts to a 10” or 12” radius by fine tuning the saddles during setup.  String loading is easy with a solid underside (as opposed to other brands that have holes in the bottom of the string guide) which also prevents the string ends from coming through the bottom of the bridge and scratching the finish.  Includes Schroeder studs which are milled in the USA from high quality brass. Schroeder studs lock and are also adjustable from the top. They were designed so a player can use common tools for adjusting.  New cost is $155 (includes $40 studs), but get this used set for just $85(HOLD-Jim L 12/11).  

Vintage Star Guitars Brass Bridge.  Quality high-end bridge from the 70's and 80's, used Alembic and other high end guitars, or as upgrades for Gibson Tune-o-matic and similar.  These are genuine machined brass, not the cheaper cast, and they don't suffer from saddle movement and contribute to improved sustain and accurate intonation.  This one has the saddle slots already professionally filed so it's drop in ready.  These can sell for over $100 (Ebay ex.), frequently in lesser condition.  Note many around and this one's complete and in nice shape for $79. 

Lace Alumitone "Deathbucker" Set.  Using Lace's own "current driven" technology, the Deathbucker was designed for high output with a heavy metal drive.  Extreme output with thunderous bottom end, yet crisp highs allow the player the most versatile of high output pickups.  The passive design yields active pickup performance with zero noise and no battery needed.  Even In split mode, the unique Alumitone design is dead quiet with full range sound.  Additionally, there is no volume drop in split mode and working as a single coil; noise is virtually eliminated in comparison to standard split-coil pickups.  They're an easy drop in replacement and the 4 conductor design needs only 250k pots.  It is excellent for any playing situation from live to direct to board recording.  For full specs and clips click here for Lace's site.  Sells new for $105/each.  Get this pair in perfect condition for $129.  

2008 Gretsch Electromatic Corvette G5135, (front), (back), (headstock), (gigbag).  It took quite a few years, but Gretsch finally reissued the Corvette, one of the popular models from the 60's.  This style solidbody model made its debut in '61, although Gretsch made a completely different animal, the Corvette hollowbody, in the 50's.  The original solidbody model features a slab body, soon replaced with this 2nd generation model with sculpted edges.  It was in a price range that was intended to grab some of the Fender business but never grabbed much of the market, at least compared to Fender.  Variations of the Corvette were the Princess, a more elegant looking model aimed at female players, the Silver Duke, a limited run model for a Calif. dealership, and the Twist, a red/white peppermint-painted guitar.  The one that most resembles this reissue model was the '68-'70 Corvette with sculpted edges and a Bigsby tremolo as seen on this guitar.  This '08 model is very true to the late 70's model and as I've had some of the originals, I can opine that it's as good of a guitar.  This one features the newly-designed Mega'Tron pickups that resemble the Filter 'Trons and are hot ceramics, same type of magnets found on many '90's Filter 'Trons.  Features of the Corvette include a solid mahogany body and a mahogany set-neck, gloss-finished cherry finish, anchored Adjusto-Matic bridge, chrome-plated vintage-style double-line tuners, Bigsby B50 Tailpiece, 24.6" Scale length, 3-position pickup selector, bridge and neck volume controls, master tone control, and rosewood fretboard.  This is a very cool guitar, lightweight and fun to play, with a very cool vintage vibe.  Cosmetically it's super clean, other than 4-5 clear coat scratches on back.  Don't pay $629 ($900 list) for a new one when you can get this one, set up better than factory, including a nice Dickies gigbag, for just $399(HOLD-Keith L 3/16).   

2009 Gretsch Country Club G6196 TSP Bamboo Yellow, (front), (headstock), (back), (side), (docs & case).  Fairly rare and finely made hollowbody from Gretsch.  I've had dozens of Tennessean models since Gretsch started back up in the late 90's, but this is the first every Country Club I've had, aside from a few vintage models.  One of the coolest aspect I love about this model is the two-tone finish, Bamboo Yellow top, with a Copper Mist back/sides.  I had a 60's Country Club in this combination and it's been stuck in my head since I sold it 15 years ago.  One upgrade to this guitar: Tru-Arc ST120 "Rocking" Bar bridge (link), replacing the Gretsch Synchro-Sonic (aka Melita) bridge.  The USA-made Tru-Arc is solid stainless steel and is touted by many players as the ultimate in tone enhancement and it's designed to match the spacing of the Bigsby, with the same radius as the fretboard so string height is perfectly consistent across all six strings.  If you prefer a Synchro-Sonic, Space Control, or other bridge, we will swap out at no cost.  Features of the Country Club include solid spruce arched top, laminated maple back and sides, 17" lower bout, 2 3/4" deep, vintage-style parallel tone bar bracing with sound post, maple neck with tapered heel, bound rosewood fingerboard with vintage-style pearloid hump block inlays, dual DynaSonic single-coil pickups, bound oversized f holes, arrow control knobs, copper mist plexi pickguard, bound headstock with pearloid Gretsch logo inlay, Grover Imperial tuners, and Bigsby B6C tailpiece.  Electronics are fairly simple by Gretsch standards. There's a volume for each pickup, master tone, and a master volume on the upper treble bout.  The only switch is a pickup selector, located on the upper bass bout.  These Dyna's are very responsive pickups.  Play softly and they're very smooth, but dig into it and this guitar growls like a rockabilly beast.  Set up is low and impeccable, currently set up with a quality light gauge flatwound set.  This model sells new for $2959 ($4100 list) but this one is barely played with no scratches or wear of any kind, nicely priced at $1999.  Includes Gretsch case and all the stuff.  

2011 Gretsch G5120 Electromatic Hollowbody - Orange, (front), (back), (headstock), (label).  Very cool archtop in the coolest color; nothing beats a trans orange Gretsch for vintage looks.  It's in perfect condition and fans of low action will be thrilled with this one.  Spectacular!  I've had around a dozen of these Korean Hollowbody's and, without exception, have been very impressed with the consistent quality and perfect neck angle that allows for a perfect setup.  I expected the rather dead sound of an unamplfied archtop but instead, this guitar has a nice sustain and a rather full tone - not the mid-range tone you frequently get out of these when played acoustically.  Other features include high-gloss urethane finish, very good sounding Gretsch dual-coil pickups, laminated maple neck with rosewood fingerboard and Neo-Classical "thumbnail" markers, 24.6" scale, anchored Adjusto-matic bridge, genuine Bigsby B60 Vibrato tailpiece, Black Headstock Overlay, Pearloid Gretsch and Electromatic Headstock Inlays, Bound Fingerboard, Double Bound Laminated Maple Body, clear plexi pickguard, Knurled Strap Retainer Knobs, 16" lower bout and 2.5" body depth.  This guitar is all original other than one minor mod (shown here) - we installed an output jack plate which strethens the area.  It wasn't cracked or problematic, but this is just a wise mod for this model as they're prone to cracking if the output cable is stressed. The quality of Gretsch's Korean imports has been highly touted at various forums on the web.  I think some of these were built in China but this one is a Korean made, and carried the higher $1200 list price when new.  I feel that this is an exceptional hollowbody for the money at $579.  

SolidSound Multi-Effect Gigbag, (pic2).  Well padded, with exterior compartment.  Interior approx. 10" X 24".  Can also be used for a small midi keyboard.  $22.  

Gibson Burstbucker 1 Humbucker.  Historically accurate "Patent Applied For" replica with airy tone and unbalanced coils.  Slightly underwound with a 7.48K output.  Alnico II magnets with 2-conductor shielded cable.  Although made for use in either position, many players prefer this in the neck, with a higher output in the bridge.  Cover removed but we can install one if desired.  These are $130-$140 new.  This one's just $69 or $79(HOLD-Brian N 6/10) with cover installed. Note: We have some well worn nickel and gold covers if you want a vintage appearance.  

Seymour Duncan Red&Black JB Bridge Pickup.  Rare SH-4 JB with black and red bobbins.  All specs are the same as a regular JB, which is Duncan's most popular bridge humbucker.  Nice shape, 4-conductor wire for split coil operation, $59. 

DiMarzio Soapbar P90 Set.  Excellent vintage tone, mid 7K's, with pronounced mids and highs, with a little less bass.  Includes cream covers, black foam spacers, and mounting screws.  Removed from a $2K Grosh and is a nice upgrade for most guitars for just $99/pair (HOLD-Greg C 11/25).

Xotic RC Booster.  From Xotic Effects USA, comes one of the best boosters on the market, touted for its having NO character at all.  Their ads in Vintage Guitar magazine has quotes from some of the foremost players who use this unit including Brad Paisley, Scott Henderson, Johnny A, and Greg Howe, with many of these guys leaving video comments (click here) for the RC Booster.  Its bass and treble controls make it more versatile than most boosters but it's claim to fame is a lot fatter tone without getting gained out.  A few minor rubs and velcro on bottom but overall nice shape.  These are $168 new; this one's $115.  

Boss TU-3 Tuner and Power SupplyPowers 7 Boss pedals with a Boss PCS-20A cable.  The TU-3 replaces Boss's TU-2 as the most popular guitar tuner with new enhancements making it better than ever.  For the price, you can't get a better stage tuner - very easy to read and inconspicuously located in your pedalboard so you can tune while facing the audience.  It features a smooth 21-segment LED meter with a High-Brightness mode to use during outdoor glare.  You can choose between Chromatic or Guitar/Bass tuning modes, now with 7-string guitar and 6-string bass Note Name Indicator that can display notes of 7-string guitars and 6-string basses, while the Flat-Tuning mode can support up to six half-steps.  Click here for specs from BossUS.  In typical used condition with velcro on bottom, works perfectly, and 1/2 price of a new one at $49. 

60's Vox V-846 Wah-Wah - Italy, (side/front), (circuit), (case).  Very desirable late 60's Thomas Organ "Made in Italy" model with the "tin can" (aka trash can) inductor.  Has a small rubber pad on top of the inductor that can be removed, as well as some silicone around the inductor but circuit is original other than one diode replaced and sounds perfect.  Hendrix originally used the Clyde McCoy but later switched to the V846 with the tin can inductor; Clapton also used this model.  Their tone has that great nasal quality and does vowel sounds that can emulate a talk box.  Has some corrosion on the chrome but overall is at least average condition and pot isn't scratchy - perfect performance.  Includes Vox carrying case.  $350

1967 Fender Price List.  June '67, 8 pages.  All Fender products.  Strat was $259 for a hardtail, $299 with trem (wish I'd bought a few dozen when I was a kid).  Nice shape.  $45(HOLD-John G 12/1). 

1956 Fretted Instrument News, (pic2).  20 pages.  Trade magazine which came out every other month and specializes in guitars and other stringed instruments.  Plenty of articles and interviews but I love these for the old ads.  Nice shape.  $24.

1965 Fretts Magazine, (pic2).  Notice this is "Fretts", with two S's - not the same as the Frets mag that was popular in the 70's and beyond.  Lots of cool old ads, Fender's "new" Electric 12 appears in industry news section.  20 pages, nice shape other than a little pencil writing on front cover.  Inside subscription card still intact.  $24.  

RJM Effects Rat Clone, (pic2).  Don't know a lot about this pedal other than it was a custom build by RJM USA Effects to deliver the tone of an old Proco Rat and uses the same LM 308N chip as the Rat.  I don't have a Rat to compare it to but it goes from very mellow to a harsh MXR Super Dist.  Well built for the road.  $49.  

Boss DS-1 Distortion w/Mod.  This has the very basic diode clip mod, which any DIY'er can do.  Makes it a better pedal as it adds volume and removes the harshness that these tend to have.  Nice shape.  $35.  

1960's Fender Telecaster Body ??, (back), (front side), (orig. blonde cavity), (routing), (compare '67 "Smuggler" Tele).  I've been hanging onto this body for a long time.  I bought it at the Philly guitar show in the late 90's and at the time it was a complete guitar, with a Fender neck with trans logo, one original pickup, and replaced pots.  I needed the neck for another guitar and the other parts have since been used, sold, or lost.  What remains is this Dakota Red refinished body, complete with a huge route under the pickguard, much like the rare '67 Tele's known as "smugglers" due to the extra "storage" area under the pickguard.  Some say it got the name because guys used to smuggle pot in the route, but the bottom line was Fender tried this as a means of weight relieving and/or tonal differences of chambering.  It was originally a blonde finish, as shown in the bridge pickup cavity but at some point received a pro refinish in Dakota.  It hasn't been wrapped up so there might be some light shop scratches but is overall in very clean condition.  If you want to put together a 60's vintage Tele without spending $3K on a clean original body, this one will do nicely...and you'll have space to smuggle some stuff.  $399 for this one.  

Mooer ShimVerb reverb pedal, (pic2).  Anybody who's built up a pedalboard knows how critical the real estate becomes, and any time you can save some space it's a very good thing.  Mooer pedals are just 1 1/2" wide but have all the tone and features of larger pedals.  They're built with a full metal shell, have true bypass, and run on standard 9V power supplies.  The Shimverb features three reverb types, Room, Spring, and Shimmer.  Room goes from room to hall, spring emulates the classic 60's spring reverb, and shimmer adds a rich overtone to the reverb, for a spacy, smooth and shining tone.  Here's a YouTube demo (link).  Sells new for $88 but this one's "as new" in the box for $59(HOLD-Brian N 12/4).  

Mooer Trelicopter tremolo pedal, (pic2).  Same basic specs as the ShimVerb pedal above.  The Trelicopter is a classic optical tremolo with huge range of speeds and depths; bias knob brings various color of the tremolo sound.  Here's a YouTube demo (link).  Sells new for $88 but this one's "as new" in the box for $59.  

Johnson J-Station, (pic2),  (detail - illuminated front panel). Once upon a time, Johnson and Line 6 (POD) were battling it out - along the lines of VHS and Betamax - each with it's own strengths but largely, both excellent sounding units. In the end, Johnson lost, but I'll hold the J-Station up to a POD any day. Largely the same selection of effects and amp modeling, but on the J-Station I much prefer the built-in acoustic simulator and the 12-string simulator. All the other effects are a toss-up in my opinion - they're both very good. Bottom line: This is very nice unit that can do it all in the studio or it also is excellent for stage use - and is very easy to get around on. For the price of a single stop box, you can have 'em all.  $69 includes box, manual, and power supply.  

Vintage Harmony Lap Steel H1 Copper, (sides/back), (bridge/electronics), (case).  Cool old Harmony and all original, including '66 Stackpole 25K pots, cloth wiring, and same "Hershey Bar" pickup they used on their Stratotone guitar and others.  Description from the old Harmony catalog, "Modern "Steel" or Hawaiian Electric Guitar. Designed for the enjoyment of "steel guitar" by the advanced player or the student. Made of solid hardwood, durably finished in copper bronze lacquer. 23 in. scale. The design of the fret and position markers, repeated in ach octave, aid the player in finding the proper position for the "bar"  6-in-line tuning keys.  Responsive built-in pickup has tone and volume controls."  This is a good sounding steel with a strong pickup and perfect working pots and tuners.  Check out more at Harmony-Demont, the best resource for Harmony's on the web.  The site lists this model without pickup cover as an early 70's, but the '66 pots and knobs, to me, indicate an earlier production.  Regardless, a cool lap steel for just $229(HOLD-Tom D 7/20), including original blue-lined chipboard case.  Was restrung after pics were shot.  Remind me and I'll include a nice glass slide. 

Acoustic AG120S or AG60 Acoustic Amps, (tilt back), (panel), (effects), (top), (back  back panel).  Features of these two amps are the same, with the only difference being the AG120S is a stereo amp with two 60-watt amps while the AG60 is mono with just a single 60-watt amp.  Made specifically for solo artists and groups, these are dual-purpose, amplifying both your instrument and voice.  They're two-channel preamps with both channels having dual inputs (4 inputs total), all of which are "combo" jacks -- each jack accepts both 1/4'" and XLR balanced input.  You can plug your guitar(s) into one channel and mic(s) into the other.  You have individual channel volume controls so you can set a different level for up to four mics/guitars.  In addition, you get peak indicator lights that warn you when your signal is too hot.  Each channel has a 3-band EQs with a sweepable mid which is crucial to eliminating mid-range howl some acoustic guitars are prone to.  Each channel also has its own selectable effects unit with 16 stereo effects, including reverbs, delays and choruses, and each with its own effects level control, to dial in just the right amount.  You might want, for instance, just a little chorus/reverb on your guitar, and a lot of digital delay on your voice.  There is also a master volume to control the overall output of amp.  In addition, there is an Aux input for plugging in an MP3 or CD player (has its own Volume control), as well as a headphone out for private practice (speakers are disengaged when used).  The rear panel features an effects loop for adding external effects -- with or without engaging the amps, as well as stereo line outs, both XLR and 1/4", to send your sound directly to the mixing board.  Its wedge shaped design allows you to project the sound upwards toward your head, or tilt it up for normal straight projection.  Mounted in the tuned cabinet are a pair of 8" coaxial speakers have built in tweeters for excellent mid- and low-frequency response as well as sparkling highs.  Manuals are viewable at Acoustic's site here (60) and here (120S).  Both of these are new-old-stock, but only the AG60 comes in original box.  Recently discontinued, the list price on the AG60 was $699, while the AG120S was $999.  If you're looking for a good sounding all-in-one PA system, these are hard to beat at better than 55% off list.  Just $299 for the AG60, $399 for the AG120S.  

2012 Gibson Les Paul Traditional Pro - Black, (front-1  front-2), (headstock), (back), (case).  New for 2010, the Traditional Pro has the look of the vintage 50's Les Paul you know and love, with modern enhancements in the electronics and hardware.  The Traditional Pro features a non-chambered mahogany body with a thick maple cap for the classic blend of warm mahogany and snappiness and clarity of the maple top.  It does have the traditional  9-hole relief that Gibson has been using for decades.  The top is finished in high-gloss nitrocellulose lacquer, while the back, sides, and neck have a very sleek satin nitro finish that feels great and lets the wood resonate fully.  Something I just learned is that a satin finish is applied the same as a gloss finish, but some "dust" is mixed in the finish to give it a less glossy look.  This is why if it's buffed out it will develop a high gloss, which you may have noticed on satin finished fronts which develop glossy spots where your shirt rubs against the top and develops glossy spots.  For pickups Gibson chose a Zebra '57 classic in the neck with a Zebra Burstbucker 3 in the bridge, each wired for coil splitting via push/pull volume pots.  Other features include the thin 60's Neck Profile; angled headstock, bound rosewood fretboard, 1.69" nut width, trapezoid inlays, antique binding, Tuneomatic bridge with stop bar tailpiece, locking chrome-plated Grover tuners with Keystone buttons, Top Hat knobs, and period correct cream pickguard.  Another major aspect, which Gibson did briefly in their mid-line Les Pauls, is the fret job, which is leveled perfectly via a Plek machine.  The Plek machine allows for minute differences in fret height or slight inconsistencies to the neck to ensure frets that are perfectly level and allows for the lowest possible setup without any buzz or fretting out.  After a year or so Gibson discontinued the Plek process on these guitars, although the nut is still cut by Plek.  These days only the high end models such as the Historics have the benefit of a Plek job.   The difference is quite noticeable and this guitar plays superb, clearly better than your average excellent set up.  Cosmetically, the top is perfect but the back shows lots of buckle wear but the frets are perfect so it's more a case of careless, rather than extensive, use.  For loads of information on this guitar, click here for Gibson's site.  With a $3399 list, this model sold nicely discounted at $1999.   A sweet deal for the player at $1299(HOLD-Steve S 10/10). 

OFF-HOLD:  BACK WITH A REFRET (shown here):  1979 Fender Stratocaster - Black w/Maple Board, (front), (back), (headstock), (chunky neck), (neck/body markings), (body), (pickguard), (honest Relic wear), (case).  '79 Strats are now 35 years old?  Man, if that doesn't make you feel old...  You might remember this from a year ago when it was a nice player, but with low frets.  I finally bit the bullet and had it refretted with new medium jumbo frets.  Fretboard was left with original finish, and fret ends are dressed perfectly.  It's as cool as before, and now imminently playable.  70's were often maligned in the early years of the vintage guitar market.  Sure, some had necks that were slightly smaller than the neck pocket but these were the days before CNC's and exact measurements were non-existent.  Even more, these were slagged because of the 3-screw neck attachment (1971 - 1982) but from my experience, this is perfectly stable and even the great Leo Fender used this same system on G&L's, who continue to use 3-screw attachment today.  This guitar is original, other than one of the pickups which we replaced from another '79, but it's an identical spec gray-bottom.  Serial number on the pickguard matches the guitar's serial; pots are 79; bridge has proper numbers and is original, tuners have never been off-on an are original, other than frets all original finish with no overspray, body has no additional routes and cavities have the white dust you want to see on these, cover, knobs, and tip are original.  This guitar hasn't sat in the case it's entire life so there is finish wear around the edges, some finish checking.  It's a good sounding Strat with a nice vintage medium output and excellent sounding pickups, especially the neck pickup which has a wonderful growl when the gain is cranked up.  Since the refret it's an excellent player with a neck that's fairly chunky for this era and frets you can really dig into.  With the price of pre-'71 4-bolt Strats over $5K, and '72-'74 stag poles near $3K, these later 3-bolts are the only affordable vintage Strats.  This one has a killer vibe, which is much more evident in person, and a nice value today at $1499(HOLD-Pete M 10/20).  Original case (included) for this era was this molded case that was only made for 2 years, easily identifiable by its thickness which is around an inch thicker than the later molded case, 4-latches instead of 3, and a door on the storage compartment.  

HAO Rumble Mod Overdrive/Boost.  Another great overdrive from one of the best builders on the scene.  Hand-selected components provide pure, smooth, and very thick overdrive.  The Rumble's input and output buffers provide proper impedance matching (a problem with most overdrive units), allowing its circuitry to focus purely on generating the fattest overdrive possible.  The Rumble's two modes - Clean Boost and Overdrive - allow a good variety of  tonal options.  The "Color" control works opposite of regular tone control and acts as a type of filter control on significant frequency ranges.  These sell new for $243 but this perfect used one's just $165(HOLD-Bob N 10/2). 

2008 PRS Custom 22 Soapbar - 10-top & Birds, (front), (back), (headstock), (birds), (tag), (case).  Very rare model from PRS, available since '98 but, oddly, not appearing in many of the catalogs.  Of all the PRS's I've had over the years, this is only the fourth one I've had.  Cosmetically perfect, with no scratches or indications of player wear, and a lovely flamed maple "10" top with flame that extends to the tip of the horns.  The CU22 Soapbar is not your traditional Custom, due mainly to the trio of Seymour Duncan Soapbar pickups rather than the dual humbuckers found on the regular Custom.  It also features a 5-way blade selector instead of the usual rotary selector since the single coil Soapbars don't allow splitting of coils.  The 5-way is set up slightly different from a Strat.  While 1, 2, 4, and 5 are the same as a Strat layout, with 4 being noise-canceling, position 3 is the neck and bridge in combination (also noise-canceling), rather than the middle pickup alone.  It makes sense to me.  I never use the middle pickup on a Strat, but I use the other 4 settings.  Having the neck/bridge gives me 5 useful tones instead of 4.  The neck carve would be considered a "narrow/thin", measuring 1 5/8" (20/32"), compared to a wide/thin which is 1 25/32".  The front to back depth is actually more tad more shallow (.05") than a wide-thin.  It feels like a soft-V in the lower register, becoming a C-shape as you go up the neck.  Other features are the same as the regular Custom 22 including Phase II locking tuners, PRS tremolo, mahogany back with contoured maple top with unstained edge for maple "binding".  Options include a "10" maple top and bird inlays of the new "outline birds" of pau shell.  If you're a PRS fan and/or Soapbar fan, you get the best of both worlds with this guitar.  With around $1000 in options, this is a nice buy at $2099.  Includes similarly nice PRS case, hang tag, etc.  

2009 Fender Standard Stratocaster - "Blackie", (front), (back), (headstock), (trem block), (case).  Popular, timeless "Blackie" look - black body with maple fretboard.  Fender's best selling "real" Strat with the most bang for the buck you'll get in a gloss finish Strat.  Features include lightweight alder body with three-ply white pickguard and shielded body cavities, vintage style tremolo with high mass bridge block, three standard, single coil Strat pickups, maple neck and fingerboard with modern "C" shape, Fender/Ping sealed tuners, 21 medium jumbo frets, modern 9.5" radius, and tinted satin urethane finish.  Most people are surprised to hear that black is the most popular color for electric guitars, comprising around 30% of all new guitars sold, and even more desirable with a maple fretboard.  This guitar is in beautiful condition with no pick scratches, buckle scratches, or fret wear, with a great set up and classic Strat tone.   Sells new in black online for $499 but pick up this barely used one for just $350. Add a Fender/SKB molded case with ATA latches (shown here) for $100 more.  

Boss DR-202 Dr. Groove, (back). The DR-202 is a compact, easy-to-use rhythm machine developed exclusively for groove/dance music production: hip-hop, techno, jungle, drum ‘n’ bass, trip hop, Latin and more. It features 24-voice polyphony, 256 drum and bass sounds, 128 preset drum kits, 400 preset patterns, 64 user drum kits, 100 user patterns. Among them you'll find classic Roland TR-808, TR-909 and TB-303 sounds, vinyl sounds, Lo-Fi drum samples, various synth basses, sound effects and more. It has a 3-track sequencer: rhythm track, bass track, external source track for sampler or other MIDI device; Rhythm Mute function for break-downs and drop-outs; Reverb / Delay and Flanger knobs for realtime effects control cutoff, Resonance and Decay knobs for instant tweaking of individual instrument sounds; Tap Tempo control for realtime BPM adjustment; built-in Low Boost/Low Cut control. Control changes can be output via MIDI; can also be used as 24-voice MIDI sound module and uses battery or AC power (power supply included).  Knowing that most of our customers are guitarists, let me point out that one of the most useful purposes for this unit is producing good sounding back tracks you can practice leads and rhythm over.  Just set up your drum beat and bass lines and jam to your heart's content.  Whether you use presets, or lay down your own tracks, it's great for upping the tempo in small increments, until you're playing at your goal speed.  There are loads of YouTube demos and performances, click here for one.  For full specs check out BossUS here.  Manual is available online at links such as this one.  It had a $500 list price back when it was in production and these sounds never seem to get old.  Works perfectly and a cool unit for practice, DJ work, or the studio for $125.  Includes Boss power supply.  

2011 Fender Reggie Hamilton Standard Jazz Bass, (front), (electronics), (back), (headstock), (Hipshot), (gigbag/etc.).  Built to specs for the virtuoso R&B bassist, Reggie Hamilton, with a vintage vibe plus updated electronics which allow it to be one of the most versatile basses in Fender's line up.  For electronics Fender chose an American Series Precision Bass neck pickup and a custom Noiseless Jazz Bass bridge pickup, controlled with an active/passive switch, pickup pan control, and three-band active EQ (Treble Boost/Cut, Bass Boost/Cut and Mid Boost/Cut).  Other distinct features include side output jack, '70s stamped open-gear tuners and a Hipshot Bass Xtender drop-D tuner on the E string.  With so many songs going down to a low-D, the Hipshot makes it quick, easy, and exact, and switch back to an E with the flip of your thumb.  The active/passive switch is a welcome addition that will let you play with the response and tone of a vintage bass, or the fast attack and punch of the active circuit.  The satin finished neck feels great to the hands, and is a very comfortable C-shape with vintage frets and modern 9.5" radius.  Early 60 styling include vintage logo (with artist signature on back of headstock), 3-tone sunburst finish over alder body, 4-ply tortoise shell pickguard, white dot inlays, and 4-saddle American Vintage bridge and saddles.  A new one will set you back $899 but this one is immaculate and just  $599 including gigbag, hang tags, manual, etc.  

BACK IN STOCK:  This is a great Strat but the guy who bought it needed money more than a guitar so I bought it back:  2011 Fender American Deluxe Stratocaster V-Neck 2-Tone Sunburst with Jumbo Frets, (front), (back), (headstock), (deluxe features), (trem), (case).  Mint condition - in nicely figured 2-tone Sunburst and for players who like more meat on their frets than the stock a Fender there's slightly larger fret wire (106X47), which are lower and wider than the usual tall/skinny jumbo's used on many refrets.  When we got this in it was in immaculate condition, but the original owner liked the feel of a Gibson fretless wonder Les Paul and had the frets filed down considerably.  Since we couldn't get our typically superb setup with the frets that low Martin just went ahead and refretted the entire neck.  It now plays fantastic and will appeal to more players.  This is only the second of the new American Deluxe's I've had, now with the new SCN N3 pickups, and I'm impressed.  The V-Neck has less shoulders than the regular C-shape, much more like mid-late 50's model.  In addition to the N3's, other deluxe appointments include Fender locking tuners, abalone dot inlays, raised chrome logo, rounded heel for easy access to the top frets, polished chrome bridge with "pop-in" trem arm, and S-1 switch (switching options).  Another new feature is the compound radius fretboard which goes from 9.5" at the first fret to a flatter 14" at the top fret, which lets you form chords easily on the steeper curve of the lower frets, while the flatter upper frets are perfect for shredding, bending, and or soloing in general.  The Deluxe comes equipped with SCN N3 pickups are the latest and greatest from Fender for creating warm tone and responsive bite, a genuine vintage tone, but without the noise.  Other than the original owner's odd choice on the frets it looks like he never played this guitar and the factory plastic is even on the pickguard.  With a new one selling for $1699, why not save $550 and get this flawless beauty for just $1149.  Includes Fender case with ATA latches, trem bar, Fender strap, and Fender cable.

2013 Carvin Allan Holdsworth HH2, (front), (back - full), (back), (headstock/bridge), (gigbag and box).   "As new", unplayed condition.  For years a Carvin endorser with his own H2 and HF2 signature models, Allan challenged the custom shop at Carvin to built him a more compact version, something that would fit in the overhead compartment.  The result was this new HH2 headless model.  Headless guitars, made famous by Steinberger, have been around since the 80's but this model was engineered by Carvin from the ground up and unlike the original Steinbergers, it's made of real wood, not composites, so it sounds like a traditional guitar.  They use a chambered alder body made from alder, with a premium white birch cap, which combine for a nice tone, plus a nice light weight (5.1 lbs.).  The neck is made from Eastern hardrock maple, with an ebony fretboard, super flat 20" radius, in a 25.5" scale with 24 stainless steel frets which last forever.   Carvin's "Rapid Play" low action neck assures effortless playability throughout the entire fingerboard, while the lower cutaway and minimal neck heel allows easy access all the way up to the 24th fret.  The JCustom Headless Research hardtail bridge with knob tuners is finished in matte black, for classic looks and ease of care.  It features a strap button on the back of the neck, and two lower strap buttons, allowing the guitar to stand safely leaned against an amp.  An innovative combination headpiece allows you to use double-ball end strings, or your favorite conventional strings, unlike Steinbergers, which are limited to only double-ball strings.  Pickups are the stock Holdsworth H22 humbuckers which use vintage plain enamel magnet wire and seasoned Alnico-5 magnets to achieve Allan's tone.  Each coil has 11 pole pieces, all of which are fully adjustable to customize individual string volumes.  The H22N neck pickup is rated at 7.3k ohms, and produces fantastic singing characteristics, while the bridge position H22T, rated at 8.6k ohms, produces smooth sustain.  When you compare this guitar to similar USA Steinbergers, I believe it's a much better value at just $950(Tent. Hold - Terrence T HK 9/25).  Ships in original Carvin box and includes Carvin gigbag and strap.  

1972 Gretsch 7660 Chet Atkins Nashville, (front/back), (headstock), (side), (bridge/pickup), (case).  Looking for an absolutely killer playing Nashville with a perfect, original neck set?  Look no further.  I've been saying that the recent Japan Gretsch's all play better than all the old USA ones but this is an exception.  The action is low at the nut and stays low all the way up the fretboard and no fretting out on bends.  You might remember this guitar.  After selling it back to the previous owner 4 years ago, I was happy to buy it back when I had the chance.  Overall this Chet is in very nice condition with a clean, original finish, moderate fret wear, and all original except original owner flashed it up a bit by painting the pickguard black with a red racing stripe and putting a matching red cap on the knobs, click here for a comparison pic.  One of the common Gretsch problems, cracks in binding are non existent (pic) and the only hint of deterioration is a small spot on the heel shown here.  Features of the Chet Atkins 7660 include: laminated maple body with 2 real f-holes, body 16" wide - 2.5" deep; ebony fretboard, fully bound including body, neck, fretboard and f-holes; adjustable truss rod with gear box at base of neck (that's a truss rod cover on back of body); 25.5" scale joined at the 18th fret; ebonized headstock overlay; inlaid neo-classic thumbnail inlays; adjustamatic bridge with adjustable saddles; gold hardware; Gretsch/Bigsby tailpiece (nickel).  This guitar is a pickguard and 3 knobs away from being a very clean original Chet Atkins but more importantly, is one of the best playing vintage Gretsch's I've ever played and at 40+ years old, it's priced less than the new Japan models sell for at just $1750.  Includes original Gretsch case.  

2011 Fender Special Edition Custom Spalted Maple HH Telecaster, (front  front-2), (headstock), (back), (set neck).  I was a big fan of the set neck Telecaster Custom (example) that Fender built for a few years in the mid 00's.  After dropping that guitar from the catalog, it reemerged as a special edition model with a striking spalted maple top, with pretty much identical features to the previous model.  It features the same set neck construction, slim "bent" body, flat fretboard, top-notch pickups, and hardtail bridge with strings through body.  For pickups Fender chose a Seymour Duncan SHPGP-1B Pearly Gates Plus Pickup in the bridge and a SH-1N RP '59 Reverse Polarity Pickup in the neck with a 3-way a push-pull tone pot to offer 6 quality tone choices.  The reverse polarity '59 gives you hum-free tone when you're running both pickups in the single-coil mode.  Other features include mahogany with a bound top, 1-piece mahogany neck with slim C-shape, neck binding, super flat 15.75" fretboard radius, 22 jumbo frets, 25.5" scale, 1.625" nut width and hardtail bridge.  This guitar is a joy to play.  The body is contoured to around 1 3/8" at the edge which, combined with a sculpted neck joint and fantastic low set up, combine to make this guitar a joy to play.  The ultimate in tone and comfort in its price range.  With a list price of $1029, the Spalted HH Tele sells new for $819.  This one is mint and an excellent value for $499. 

2003 Parker Nitefly Standard SA USA, (front), (back),  (headstock), (controls/new saddles).  One of the most versatile, and comfortable, guitars on the market.   Don't confuse with the cheaper P-38 imports (I have a near-identical P-38 to post soon) - this is the USA Nitefly that has many of the features in the high-end Fly Classic, but with a swamp ash ("SA") body and bolt-on neck.  Features of this Nitefly include: DiMarzio pickups in HSS configuration, mahogany neck, stainless steel frets, Sperzel tuners, and Fishman/Piezo bridge for acoustic tones.  It features a stereo output jack to run into separate acoustic and electric amps if desired - or you can use a mono cable and simply use one amp for both pickup systems.  Parkers are known as one of the best ergonomically-designed guitars ever with design features that were decades ahead of their time and it's an extremely comfortable guitar to strap on and play.  Controls, shown in pic above, include a 3-way to switch between Piezo out, magnetic pickups out, or both - plus a standard 5-way to select bridge, middle, neck, or combinations.  Knobs are the stock layout with a volume and tone for the magnetic pickups, plus a separate volume for the Piezo system.  Cosmetically, it has a few dings and scratches but it's in nice enough shape for a used guitar.  The Swamp Ash used on this model is light weight and is some of the nicest figuring you'll see on an ash body.  When we got this guitar a few of the acoustic saddles had lower output so we installed a brand new set of "Ghost" saddles by Graphtech (pic) which sound very balanced, an provide a full-bodied acoustic tone that isn't possible with metal saddles.  Each saddle has its own piezo crystal installed and they're factory set to be balanced and robust.  In addition, like all Graphtech products they reduce string breakage.  We also added a set of Schaller locking strap pins (strap locks included).  Pickups are all DiMarzio, with a pair of single coils in the neck and middle, plus a "Crunch Lab" humbucker in the neck.  The Crunch Lab has a straight bar on one side, and hex poles on the other, and is the model used on the Music Man John Petrucci.  I don't think anyone would be disappointed with the tone.  From metal to fusion to country, this guitar can do it all and it plays so easily you can gig all night without fatigue to your hands or shoulder.  The fret work has a satin feel and bends feel like glass.  The neck is just slightly chunky, with little deviation as you go up the neck and features side markers only - no fretboard inlays.  Here's a good link for specs and a GP mag. review on this model.  I don't have the '03 price list, but back in '97 this model listed for $1349.  Excellent Parker for around the price of an American Standard Strat, just $850 with gigbag; or $69 more for a new Parker case (pic).  Includes original trem arm.

Kaces KPFE07 Boutique Line Polyfoam Electric Guitar Case, (back side), (storage).  Kaces best Polyfoam case that provides excellent protection for your guitar while weighing around 5 lbs. lighter than your average hardshell.  Enjoy the protection of a hardshell with the weight and ease of transport of a gigbag, including choice of hardshell-type handle or back straps.  Plenty of storage with two interior doors and three zippered compartments on the outside.  Shoulder straps neatly tuck into a hideaway sleeve on the back of the case.  Lists at $144 and sells at Amazon (link) for $117 but this one's in excellent condition and just $69. 

Gator Lightweight SG Case, (pic2).  Same idea as the Kaces case above, with all the benefits of a rigid case, with the light weight for easy transport.  Exterior has several zippered compartments plus and interior compartment with "door."  Similar models sell at Sweetwater for $95 ($149 list), but this one's in excellent condition and just $59.

Epiphone Les Paul Case.  Plush-lined with the leather-looking slick covering.  Excellent condition and a perfect fit for your prized Les Paul.  $69.  Buy any Epi Les Paul in stock and pay just $55.  

PIC FIXED: 1981 Gibson Les Paul Deluxe - Cherry Sunburst, (front-1 front-2), (headstock), (back), (case).  Another sweet vintage Deluxe, much like the '78 I put up recently except this one's Cherry Sunburst, instead of Tobacco.  Overall lovely condition and at 33 years, is a true closet classic.  The Cherry Sunburst finish retains strong color, rather than the faded red frequently found on old Pauls.  Only light wear exhibited - just check out the pics.  The worst flaws are two lacquer cracks in the top (shown here with flash) which are in the finish only.  Features of the Deluxe were basically identical to the Standard except for pickups, where the Deluxe used the mini-humbuckers and the Standard used the PAF style humbuckers.  A number of players prefer the mini-hums for their brighter tone; they fall between a PAF and a P90 to my ears.  With a perfect neck angle and straight neck, this guitar sets up with low action.  Look around the vintage sites and you'll see few Deluxe's going under $3K, and those that are seem to be in rough shape or not original.  This is an excellent player with low action, nice sustain, and sweet, creamy tone.  Like my buddy Ed says, "old wood sounds better" and judging by this guitar, a new one just doesn't have creamy tone.  Clean vintage Pauls don't come along often and I think this one is a sweet deal at $2100, Includes original Protector case with all latches and hinges intact. 

1995 Ovation Custom Legend 1769, (front), (headstock), (back), (appointments), (preamp/outputs), (case).  Arguably, Ovation's loveliest guitar, the 1869 is loaded with high end features.  From the AAA Sitka spruce top, to the loads of hand-laid Abalone, to the sleek ebony fretboard, the Custom Legend remains near the top of the Ovation range.  Ornamentation includes abalone inlays which adorn the entire soundboard, plus abalone fretboard inlays, and wide Abalone soundhole Rosette, intricately carved walnut bridge, and gold Schaller tuners with pearloid buttons.  Other features include rounded cutaway, green burst finish, mid-depth bowl, 5-piece mahogany/maple neck, white-bound 20-fret ebony fingerboard, pearl diamond inlays, 1-11/16" nut width, 25-1/2" scale, pinless bridge, white-bound top, factory Optima pickup and preamp system with both Low-Z and Hi-Z outputs.  Features an Ovation Optima preamp that sounds excellent and includes a built in chromatic tuner.  This model listed for $1799 in 1995, which was a ton of money nearly 20 years ago.  This model was also the basis for the Al DiMeola model (1769 AD-II) which sells for $3K.  If you want essentially the same guitar, this one's less than 1/2 of a new DiMeola and is in beautiful shape, plays incredibly easy, and sounds excellent.  $1399 includes original Ovation case.  

2004 Gibson Hound Dog 60 Square Neck Dobro - with pickup, (front/back), (headstock/serial), (sides), (case).  Don't confuse with the newer import line - this is the real deal USA model made in Nashville, and while it's understandably not as cheap as the import, it's the best bang for the buck to ever come from Gibson or Dobro.  Being a square neck, this guitar is made strictly for slide play, and nothing sounds like a good old spider cone played slide style.  A cousin to Gibson's Model 60 D Classic Dobro, the Hound Dog, aka Model 60 S, features a square neck with 12 frets clear of the body and a high nut for slide-style playing as well as two sound holes to enhance clarity and projection.  The body is made of nicely figured laminated Maple, with the original style spider bridge and 10 1/2 in. resonator.  Other features include hand-rubbed vintage brown finish, black binding on top and back, slotted headstock, fan cover plate, Spider resonator, nickel plated hardware, and Fishman resonator pickup with end-pin output jack.  For specs, pics, and press release, click here for Gibson's site.  This is an very good sounding resonator guitar for the money and is in very near mint 9.8 condition with no player's wear whatsoever.  Discontinued a number of years ago, but sold originally at Zzounds for $1377 with *gigbag* but this one's $500 less AND includes a quality *Dobro case*.  $877(HOLD-Bob D 9/5) for this one. 

Eventide PitchFactor Harmonizer Delay, (top), (back/side), (stock pic).  Eventide has been building time-domain effects for decades, inevitably, very expensive units.  With the Pitchfactor you can recreate the classic Eventide effects like choruses, harmonizers, and synth-like effects, plus trigger and manipulate very complex arpeggios.  With this unit you get 4 voices of pitch shifting, with expression pedal control of any combination of parameters, full MIDI control, instrument or line-level ins and outs, true bypass, and a built-in tuner.  In all, there's ten onboard effects including: Diatonic, PitchFlex, Quadravox, Octaver, HarModulator, Crystals, MicroPitch, HarPeggiator, H910/H949, and Synchronizer, with up to four voices of diatonic pitch shifting and up to 1.5 seconds of stereo delay, memory for storing 100 user presets, downloadable new patches from Eventide installed via its USB.  Click here for a good rock/metal performance demo and here for a good 15-min. overview by Gearwire.  For full details click here for Eventide's site.  The Pitchfactor sells new everywhere for $499.  This one's in clean shape and includes quick start guide and power supply (full manual downloadable online).  Nice unit for $349(HOLD-Phil B 3/19).  

Added mini-switch:  1985 Custom Ibanez with Custom Neck and EMG's, (front), (back), (headstock), (custom neck), (vintage trem/Pro Rok'r trem).  I have been hanging onto this as a personal guitar but it's time to let some go.  I play this guitar around 10 times a day and it's an excellent playing Strat style and highly recommended for fans of thin profile necks like the Wizard.  This guitar started out its life as a black 1985 Ibanez Roadstar but the body is about all that's left and even the body has undergone modification.  The tremolo area has been enlarged to accommodate a Gotoh vintage style trem with heavy steel block, which replaced the original "Pro Rok'r" locking tremolo.  A small brass plate covers the remains of the Ibanez tremolo route.  The top of the body has been refinished in 3-tone sunburst, and it's not a spray can job, but a pro refinish with nitrocellulose lacquer; the back remains original black. Pickups are an old set of EMG SA's, wired to a volume and tone control, with a mini switch that brings in/out the bridge pickup (positions 1/2) or neck pickup (pos. 4/5), allowing the standard combinations via the 5-way switch, plus neck and bridge only, or all three pickups.  The big mystery of this guitar is the neck.  We have no idea what kind of neck it is and suspect that it's quite possibly a custom built neck due to the unique 3-piece wood pattern visible on the back of the headstock, and the asymmetrical routing of the truss rod hole (we will add a truss rod cover at no expense).  The front of the headstock has a flamed maple veneer and the neck has around a 20 degree angled headstock.  Fretboard is some quality ebony with 22 jumbo frets.   It also has been pro finished in nitro and there is some discoloration under the clearcoat that indicates it might have been black, or simply hand oils had penetrated the wood prior to finishing.  The main thing you'll notice about the neck, however, is the thin profile.  It's at least as thin as an Ibanez Wizard, perhaps thinner.  Somebody sunk quite a bit of time into the finish on this guitar and it does have a vintage vibe.  If you're a fan of thin necks, ebony fretboards, and EMG pickups, this is a good buy at just $349. 

1993 Gibson SG Special, (front/back), (headstock/fretboard), (edge wear).  Road warrior but frets are in excellent shape and a killer playing SG.  All the specs you know and love - gloss lacquer finish, lightweight, all Mahogany, Gibson 490R/490T Alnico humbuckers, and this one even has the very desirable Ebony fretboard!  Has it's share of bumps and scrapes including some paint scraped off the bottom edge.  There's also a crack by the controls which isn't a problem and, having sold this guitar many years ago, I know it's been like this for over 10 years without growing or causing any problem.  "Player's Price", just $450(Hold - Tom H 8/19) with choice of hardshell case or Gibson gigbag.  Again, great player from a good era in a desirable color, and all original.   

Head Covers by Studio Slips #1, (#2).  Originally built to fit Frenzel heads, Hotbox and Deluxe Plus.  Nicely padded and a nice deal for $35/pair.  

Studio Slips 1X12 Covers.  Selling a pair of these used for Avatar 112 cabinets but should fit most 1X12 combo's as well.  Approx 21.5" wide, 18" tall, 12" deep.  Selling the pair for $35.  

NOW UPGRADED:  2003 Fender Esquire Celtic, (front), (headstock), (back), (neck joint), (Celtic cross), (touch-ups), (gigbag).  Now features a Seymour Duncan JB pickup, push/pull volume control to split the pickup, and Chris's Guitars gigbag.  Cool silver finish, arched top, set neck, and just 6 lbs.—what could be cooler?  Although we recently sold a Strat style (Showmaster) Celtic, I haven't had one of these Esquires in around 5 years but they're very cool guitars and a favorite of Martin and me.  About all they share with the original Esquire is the fact that it's a single cutaway with a single pickup, but it has a coolness that's a mixture of modern and vintage.  It's beautifully simple, with just a volume control and single pickup.  Other features include mahogany body and set mahogany neck with rosewood fretboard, 6-saddle string-thru-body hardtail bridge which enhances resonance and longer sustain, arched top, rounded body contours and comfortable belly contour, Celtic cross inlay on fretboard, smoked chrome hardware, raised chrome logo, and a super flat 15.75" radius.  Although the frets are perfect, which indicates it hasn't been played much, there are a number of finish touch-ups on the edges, shown in pic above.  The JB pickup has a fatter sound than the stock Fender Atomic II, plus with the push-pull pot, you get some more Fendery single coil tones to boot.  This model had a run of under 2 years so it's fairly rare.  With a great setup and weighing in at just 6 lbs., this guitar will let you breeze through long gigs effortlessly.  It originally sold in stores for $629 but this is a great guitar for the player and with these upgrades, a nice buy at $375(HOLD-Tom H 5/20).  

Carvin 16-space Touring Rack, (pic2), (pic3), (pic4).  Top of the line touring rack with all the options including foam padding and heavy duty casters.  This is Brian's rack and since he's moving to a smaller place he needs the space.  It's never been outside of his home so it's in perfect condition.  He paid $650 (including $100 shipping from Carvin).  If you're local, it's a heck of a deal for $300.  

2000 Peavey EVH Wolfgang Special TR FMT, (front), (back),  (headstock), (trem/D-tuna), (case candy), (case).  (Note: I also have two of this model in Amber and one in rare Black opaque). The USA Special FMT is my personal favorite of the Wolfgang series and 10X more rare than flametop Standards. This Special TR (tremolo) FMT (flamed maple top) is the model that most closely resembles the Musicman EVH from which it was derived - with a flat figured maple top with maple binding rather than the carved top of the Standard.  Same USA quality and the flame on these Specials is usually more consistent than the average Standard.  This one's in beautiful condition, around a 9.7 on a 10 scale.  Frets are perfect and, of course, it's a killer player with low action, no fret out, and trem stays in tune through heavy dive bombs.  Prices on Wolfgangs began to rise as soon as Ed's contract with Peavey ended and many original owners have sold them for more than they cost new.  I've predicted in the past that these particular Wolfgangs are going to be the hottest ticket in years to come. Throughout the years I've gotten in around a dozen Standards for every Special Flametop.  This one is $999 which is lower than a Standard, although it's much more rare. Includes clean Peavey case, manual, and factory checklist. Not shown in the picture of the case, the original fretboard protector, which folks are parting out on Ebay for $40-$60, is included.  

1996 Gibson ES-175, (front) (front-2), (back), (back-2), (headstock), (features), (new price tag), (case).  This is one beautiful archtop with lovely flamed maple on all sides, finished in the desirable Antique Natural, aka "Blond".  This was a one-owner guitar, bought new from Elderly Guitars back in '96 for $2678, the equivalent of $4086 in '14 dollars according to the bls.gov currency converter.  The ES-175 is a beautifully appointed guitar with a very long production run.  Starting in 1949, where it was first released as a single pickup (P90) guitar, with the dual pickup model (ES-175D) following in 1953.  Later that decade it was the very first Gibson model to feature Gibson's new "humbucking" pickup, with a single PAF model in early '57 pre-dating the first Les Paul Standard Goldtop with PAF's, followed by the dual-pickup (175D) version.  It is a smaller bodied archtop by Gibson standards, measuring just 16" at the lower bout (compared to 18" for the Super 400 and 17" for the L-5CES, ES-5 and ES-350).  It has the short Gibson scale (24 3/4"), which makes it especially adept for jazz chordings.  Other features include double bound 16" laminated maple, highly figured body, mahogany neck with bound rosewood fretboard, split parallelogram inlays, single Florentine cutaway, maple top, dual f-holes, 20 frets, 2 humbucking pickups, ABR1 tune-o-matic bridge on rosewood base, b-w-b-w pickguard, headstock overlay with crown and logo inlays, vintage style tuners, 1-11/16" nut.  The 175 has been used by a diverse group of players, from Steve Howe (Yes), to Izzy Stradlin, to Billy Joe Armstrong.  As I've said many times, I believe the 90's is an excellent era for Gibsons, benefiting from production numbers which were much lower than today's, and a strong economy that allowed manufacturing look to excellence more than the bottom line.  Cosmetically, it's in beautiful shape with only minor imperfections in the clear coat and typical discoloration to the nickel hardware.  Keeping in mind that it's nearly 20 years old, I'm sure the new owner will be pleased.  Set up is as good as any jazz box I've had, with a perfect neck angle which allows low, even action from the first fret - to the top fret.  Gibson has discontinued the "regular" 175 (I'm sure it'll return) from their catalog, in favor of the '59/'60 Historic models, which sell for $5200-$5500, but being historically accurate, they feature plain maple, not the more expensive flamed maple of this model.  I think this guitar is as good or better, and a whole lot more player friendly at $2399(HOLD-Skip 8/19).  

ESP Ltd Kirk Hammett Signature KH-DC, (front) (front-2), (back), (headstock), (features).  One of the new higher end models from ESP, the KH-DC combines great looks, playing comfort, and high end features to offer a great guitar at a great price.  Like the EC-1000, it’s a true pro-line instrument with features such as locking tuners, active EMG humbuckers, TonePros locking bridge and tailpiece, set-neck construction, and comfortably contoured body. Features include set-neck construction with mahogany body topped with flamed maple, mahogany neck, rosewood fretboard, 13.77" fretboard radius, 1.65" nut width, 25.5" scale, thin U-shaped neck, 22 extra jumbo frets, gold hardware, locking tuners, Tonepros locking TOM bridge and tailpiece, EMG 60/81 humbucker pickups with active electronics, vol-vol-tone controls, 3-way toggle switch.  One modification involves relocation of one strap pin, moved from the top of the neck to the upper horn to eliminate "dive bombing" of the neck.  Thus, the only flaw is an extraneous strap pin hole (shown here) which we can fill with an additional strap pin if desired.  Otherwise, this guitar is in factory fresh condition; flawless.  The KH-DC sells new everywhere for $999 ($1427 list), which is reasonable for a neck-thru with quality hardware and electronics.  Better yet, save $400 and get this beauty for just $599.  Ships in original factory box.  

1952 Gibson ES-125 Hollowbody Archtop, (front) (front-2), (back), (back-2), (headstock), (tailpiece), (case).  From Gibson's Golden and lovely condition, especially for 60+ years old.  The ES-125's were near the bottom of the price list for Gibson archtops of this era, but that only means minimal cosmetics appointments.  It received the same care in manufacture as the higher end models.  The 125 has a laminated 16 1/4" body with maple top and mahogany back and sides, with mahogany neck and Brazilian fretboard (pic) and bridge, finished in nitrocellulose lacquer.  Although they made a thinner version (125T), this is the original full depth model, 3.5" deep.  Other features include 24.75" scale, single P90 pickup in neck position with volume and tone controls, tortoise grain pickguard, Kluson strip tuners, nickel trapeze tailpiece, bound body top and back, pearloid dot fingerboard inlays, silkscreen logo, Sunburst finish only.  Early features (pic) include half-clear/half-gold knobs, and rounded P90 cover.  The pickup has 6 adjustable poles between two Alnico 5 bar magnets, which is fairly mellow, not as harsh as some P90's were in the 50's.  The tone is well suited for Jazz, or even Delta blues.  Cosmetically, it's in beautiful shape with minimal finish checking, little to no player's wear, no cracks or repairs; just a very nice example of this model.  Only noteworthy flaw is a bit of finish peeling on the back, bottom edge (pic), probably from a wooden stand.  The set up is low and comfortable.  These have gone up considerably over the past 15 years but this one is still and excellent buy for an early 50's in this condition.  $1699 includes a quality hardshell case. 

2012 Fender American Standard Stratocaster - Olympic White, (front), (back), (headstock), (case).  Unplayed condition and other than plastic film removed, appears untouched.  This one has the latest specs from Fender including Custom Shop Fat '50s pickups, the best stock pickups Fender has used in the American Standard/Series.  Additional updates of this model include fretboard polished to a high gloss for beauty and comfort; a new copper-infused, high-mass, 100% metal bridge for better sustain;  neck now has gloss finish on the front, satin on the back to allow your hands to slide easily up and down the scales; Delta Tone system: a no-load tone control for middle and bridge pickups, taking the tone control out of the circuit when turned all the way up while also providing a tone control to the bridge pickup.  Other features include new American Standard bent steel bridge saddles, staggered tuning keys, and a thinner undercoat for better body resonance.  Olympic White is a classic look, going back to the original custom color days of the late 50's.  These are going for $1299 new but this one's perfect and includes all the stuff; Fender case, strap, cable, polishing cloth, tags, etc., and is just $875(HOLD-Steve 9/15).  

2008 Ibanez RG770DX Prestige Limited Reissue, (front), (back), (headstock), (trem) (case).  Killer Prestige in near mint condition.  It's hard to believe it, but the RG line has been in production for over 25 years now and in 2008 Ibanez released this 20th Anniversary model.  Ibanez is one company with a finger on the pulse of their users and wisely reissued this model as a limited run in the summer of '08.  Offered in Laser Blue and this Ruby Red, as part of their esteemed Prestige series from Japan, this guitar features an original Edge tremolo, DiMarzio/IBZ pickups, colored sharktooth inlays and Wizard necks with original 1987 dimensions.  The neck of the reissue is actually a little better than the original with the same profile but now with a 5-piece maple/walnut combination.  Other features include Basswood body, jumbo frets, bound neck, IBZ/DiMarzio F4/C3/F2 pickups, and black hardware.  There are two flaws (shown here), which we can touch up if desired, both are small finish chips on the back side edge, not visible from the front.  Other than that, it looks like this guitar was hardly touched, with no scratches or dings, perfect frets, etc.  They sold for $1299 new ($1733 list) but this one is hardly played, with a killer in-house setup prior to shipping, and just $799.  Includes Prestige case, clear tool pouch, and tools.   

2002 Fender American Deluxe Fat Stratocaster - Black w/Maple Board, (front), (headstock), (back), (features), (case/etc.).  Nice early model American Deluxe in lovely condition.  Unlike the Strat Plus that preceded this model, the American Deluxe had more upscale features that distinguished it from the stock Strat.  Pickups were Fender's Vintage Noiseless, which were Fender's premium pickups for the era and still preferred over many players today due to their traditional tone, but without the hum of vintage single coils - plus this HSS model had Fender's "new" DH-1 "Enforcer" humbucker in the bridge for the best of both worlds.  Other deluxe features include polished chrome locking tuners, polished chrome bridge and saddles with pop-in trem arm, abalone dot inlays, fret and nut work that's even more detailed than the regular American Series, LSR roller nut, and raised chrome logo.  Back in the "Fat" model listed $100 over the standard (SSS) American Deluxe; today they sell $50 higher at $1599.  This second year model is in excellent condition, plays great, and is much cheaper at $1050.  Includes Fender molded case, trem arm, manual, and assorted paperwork. 

Ibanez CD10 Delay Champ.  Quality analog delay from the 80's Master Series that sounds every bit as good as the earlier AD9.  Has all the warmth you'd expect from an analog with delay times ranging from slapback to doubling, to medium repeat, up to 300ms delay time, plus a great sounding bucket brigade.  Considering what AD9's and Boss DM's are going for, these are comparable in sound and a real sleeper on the analog market.  It  works perfectly and is all original except for replacement knobs.  Don't pay $150+ for a vintage AD9 or DM3 when this one sounds as good and is just $79.

Fender Bass and Amp Package, (P-Bass), (front), (back), (headstock), (amp), (tilted), (panel).  Looking for something a cut above a beginner package with a 15-watt amp?  This Fender Rumble 75 with special design 12" speaker will shake your pant legs and can actually keep up with a drummer.  It features a full-feature preamp, a vented cabinet for enhanced bass response, and tilt back design which lets you choose to "aim" your sound straight out, or up toward your head.  It also has a good sounding overdrive effect via gain and blend controls (footswitchable or manual), designed specifically for bass register. The Punch and Scoop preset EQ shapes can be dialed in for finger and slap style tones while a 4-band active EQ with delta comp compression circuitry smoothes out your tone.  A line out is included  for direct recording or live use, and it also features a headphone jack for silent jamming and practicing.  You can practice to CD/MP3 music, tape or drum machines, via the Aux in jack.  The bass is Fender's Squier Affinity, finished in Baltic Blue, which looks almost black in lower lighting.  Martin did a spectacular set up on the bass and it plays as good as most USA models.  For the cost of many entry level starter kits, you can get this set up, plus I'll throw in strap, cable, pics, and a new stand.  All for $275.  

Fender 60's Classic Vibe Strat Neck, (pic2).  Rave reviews for these Classic Vibe series, much of which because of the feel and set up of these necks.  Neck has a tinted gloss finish all over, 21 vintage frets, 9.5" radius, single string tree, modern C-shape profile, synthetic bone nut and white dot inlays.  It's in immaculate condition, set up perfectly on a guitar, and a quality neck for $150 without tuners, $179(HOLD-Ed L 3/10) with tuners.  

L.R. Baggs M80 Active Acoustic Soundhole Pickup, (pic2).  The latest in the evolution of Baggs pickup technology.  Comes complete with everything, including quick install cable from pickup to endpin, jack, extra pole pieces to use in 1st/2nd string if desired, Allen wrench, manual, etc.  The M80 has enhanced 3D body vibration sensors where the pickup responds to the string vibrations through the electromagnetic field along with the body & neck vibrations in all three dimensions, yielding a full feedback resistant acoustic sound that even responds effectively to body & neck tapping.  If you play guitar in a percussive manner, it amplifies that sound accurately.  Other features include an active - passive mode switch, adjustable pole pieces, battery check light, built in gold plated 1/8" jack, pre-wired 1/4" strapjack (which installs in the endblock) with 1/8" plug to connect to the pickup.  You can switch to lefty by reversing the pole pieces.  Note: soundhole must be at least 3.5" in diameter.  Runs on included 3V lithium battery.  Note that the B and high E-string pole pieces aren't shown in the pic but are included.  Depending on your playing style and guitar, you may want to use these or may choose to leave them out, per Baggs recommendation.  Volume control is located on the edge of the pickup.  Easy to install:  Just replace your endpin with the endpin output jack, clamp down the pickup, and you're ready to go.  Click here for a review by Premier Guitar and here for Acoustic Guitar.  The M80 sells new for $249.  Get this one for just $169(HOLD-Jim H 7/10), mint in the box, with free installation, should you buy and acoustic guitar from us. 

Engl Fireball 60 Head E625, (panel), (top), (back), (back panel).  New amp - used only several hours; ships in original box.  This is a killer amp for the rock guitarist and although I don't think it's marketed as such, it's probably one of the best metal amps in production.  The Fireball 60 is an all-tube head (dual 6L6 power, 4 ECC83 preamp), 2 channel, 2 master volumes and adjustable effects loop, Thomann preamp section, 3 band equalizer, Bright and Deep switches, Presence control, Master A/B, with 60 watts of power.  It a heavy hitting amp with enough punch for larger clubs, cranking out as much hi-gain lead sound as anyone could want, as well as a crisp clean tone.  As far as gain goes, this amps beats just about everything out there.  It delivers a tight bottom end, smooth top end, with punch that'll hit you in the chest if you want.  It has some trademark ENGL features like a second master volume, electronic power amp monitoring, and a variable FX loop.  For a good YouTube demo, click here and for manual and features, click here for Engl's site.  At $1843 list, it's very reasonable priced for an amp of this quality, especially considering that's made in Germany.  With a new street price of $1474, save some serious beans and get this "as new" one for $929(HOLD-Gilbert 12/17).  

2012 Fender Custom Shop '56 Stratocaster NOS - Mary Kaye, (front), (headstock), (back), (inside pic), (case/acc.).  Although not officially named, this one is essentially a Mary Kaye Strat with a transparent white blonde ash body and gold hardware.  In 1987 Fender's very first run in their new custom shop was an identical looking Mary Kaye Strat, based on Mary's original 1956 as featured in Fender advertising back in the era.  Neck is rather substantial, the 10/'56 V-shaped "Boat" neck, which is rather deep, with a soft-v profile.  One departure from an original '56 - this model features medium jumbo frets.  Fender finally got hip to the fact that pretty much nobody likes tiny vintage frets.  Features of the '56 NOS include premium ash body, trans ebony burst finish (nitro lacquer), 10/56 Boat neck (nitro finish) with modern 9.5" radius, medium jumbo frets, Custom Shop 50's single coil pickups, vintage Strat controls with 3-way switch, American Vintage synchronized tremolo, Fender/Gotoh Vintage Tuning Machines, Nickel/Chrome hardware, single-ply white pickguard - 8 hole, and bone nut.  Cosmetically there aren't any scratches from playing, and frets are perfect, but there are two small areas where the finish has chipped off (pic) which we have touched up (pic).  This model is available new online for $3600 but save some dough and get one that's guaranteed to be lightweight (7.7 lbs.), resonant, set up exceptionally well.   Almost 1/2 the price of a new one at $1950(HOLD-Brian C 2/28).   

2004 Fender American Deluxe Stratocaster HSS LT, (front), (back), (headstock), (bridge), (case/etc.).  (This has been on hold since January - Joe alerted me that it's still in stock and he has first dibs on it).  Fairly rare model from Fender with its defining features being a Floyd Rose "Locking Tremolo" or "LT", along with some finishes that weren't found on other models like this Amber with 4-ply Brown Shell pickguard.  2004 was the first year for the HSS LT, although the locking trem was available as a $100 option on earlier years.  Features include: Select alder body, modern "C" shaped neck, rosewood fretboard with abalone dot inlays, 22 medium jumbo frets, Hot Samarium Cobalt Noiseless Strat pickups in neck and middle, Fender Enforcer bridge humbucker, master volume with S-1 switch, tone (neck pickup), tone (neck/middle/bridge depending on setting), deluxe Fender/Floyd Rose locking bridge with pop-in trem arm, Fender staggered/locking tuners, 4-ply shell pickguard and trem cover, LSR roller nut, highly detailed fret work, aged knobs and switch tip, standard molded case.  For details on switching options of the S-1 switch, click here. With the locking tuners, roller nut, and locking tremolo, this guitar is especially recommended for players who use a lot of tremolo.  It stays in tune very well.  Overall in stunning, immaculate condition, other than a small finish issue on the side (pic) that Martin spot finished so it's barely noticeable.  Otherwise, it looks like a new floor model, rarely played.  It has an excellent set up and the HSS configuration, along with the S-1 switch, makes this as versatile a Strat as you'll ever find.  The Amber finish is reminiscent to the Natural finish popularized in the 70's.  A great guitar in all regards and with a new Deluxe HSS running $1699, get the added benefit of a locking trem for just $999.  Includes original molded case, Fender leather strap, all paperwork including serialized hang tag.  

2002 Gibson '60 Les Paul Classic - Ebony, (front), (back), (headstock), (case).  A striking looking Paul with a high gloss Ebony finish, accented with gold hardware.  The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched.  Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock.  Mars Music (RIP) did a special run of around 500 pieces of the '60 Classic in an Ebony (black) finish which is a solid (non-transparent) finish.   Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers.  Just like the Standard it features a mahogany body with maple cap.  The only visual difference, other than the uncovered pickups, is the "Classic" screened logo and truss cover, vintage-style inked serial number, and "1960" on the pickguard.  It also features 12" fretboard radius, light amber top-hat knobs, cream plastic parts, inlaid pearloid logo, and aged-looking trapezoid fretboard inlays.  Other than some light scratches in the clearcoat only, this guitar is in very nice shape with excellent frets and a comfortable, low set up.  Gold hardware exhibits little to no wear.  All original other than Schaller locking strap system (strap end included).  A nice Paul for $1499(HOLD-Ian C 6/29).  Includes original black case in nice shape. 

Roland FS-1 Footswitch.  One of the best single-button switches ever, unchanged since it was first released in the 80's.  Works every time and lasts for decades.  Perfect for guitar amps or effects with external 1/4" jack functions.  Nice shape, $19.

Custom "Relic" Strat - Ice Blue - Flamed Neck and EMG's, (front), (headstock), (neck1 neck2), (back), (vintage routes), (electronics), (trem).  Cool looking, excellent playing Strat with some vintage appeal but modern sound, courtesy of EMG SA active pickups with the quick-disconnect wires.  It's a pro-refinished body, the origins are unknown.  Likewise, the neck had no distinctive markings other than a smeared red stamp near the butt.  It's obviously a quality neck regardless, with very nice flame on the fretboard, back of the neck, and headstock.  Tuners are DiMarzio, vintage style with nickel buttons and one string tree.  Good quality tremolo with cast steel saddles and heavy trem block.  It's blocked in the pic but we've removed the wood so it works normally now.  The original builder used some odd fretboard "wear" so we went ahead and put wear marks in the normal spots so it looks more realistic.  The body has a few minor flaws but hasn't been aged to any degree.  With a new Roadworn going for $900, this one is as good for 1/2 the price.  $450 includes quality gigbag.  

Line 6 DL4 Delay Modeler - batteries only, (close-up), (selector), (back).  The most popular effect ever made by Line 6 and the choice of countless touring artists.  It's almost impossible to find a pro floorboard without one of these in it.  The sheer power and versatility took guitar world by storm from its first release in '99.  It is, quite frankly, the ultimate stompbox delay, more like 18 delays with 18 presets with classic sounds of a Tube Complex, Roland Space Echo, EH Memory Man, and much more.  In addition, you can store 3 of your settings as presets, recalled at the touch of a button.  One of the coolest things is the looping feature and with 14 seconds of looping, with our without sound-on-sound, you can do some incredible "The Edge" type layering, and call it back on demand.  It also has tap tempo and external expression pedal input.  There's too much to list here but for full specs, click here for Line 6 or for dozens of demo's and lessons click here for YouTube.   Runs on AA batteries.  The AC jack isn't working and rather than having a tech go over it I'm selling it as is.  Nice buy at $79(HOLD-Jacob 6/25). 

Orange Tiny Terror and PPC108 Cabinet, (head), (back), (cab), (boxes), (carry case/box).   Killer little amp - 15/7 watt switchable.  In '04 Orange came out with their Rocker series and their Tiny Terror amps, which are very popular due to their simplicity and excellent tone.  The Tiny Terror is an all-tube, 15 watter that's extremely lightweight and portable.  It even includes a padded carrying case that you can carry over your shoulder.  It features a two stage pre-amp which has a wide tonal range, especially considering it just has volume-tone-gain controls. When you drive this amp it just screams, in a good way that is.  Although moderately priced for a tube head, this amp might make you laugh at the price tags of some of the high-priced boutique Class A heads.  From clean crunch to full on overdrive, this amp sounds great.  At mid gain settings it has loads of vintage British character and is built to the same rugged specs as the bigger Orange amps.  The Tiny Terror switches from 15 to 7 watts for studio use and recording.  If you need portability and quality tone for small gigs or especially studio work, this one beats just about everything that's anywhere near the price.  Also included is an Orange PPC108 extension speaker that's and 8 ohm 20 watt closed back cab with an 8" custom designed speaker.  Although it's made more for the Junior Tiny Terror, at 20 ohms it will work fine, especially if space is a consideration.  The head alone sells for $599 new but this one's flawless AND includes a free cabinet, new in the box.  All this for just $499.  

2012 Gibson SG Standard - Heritage Cherry, (front), (headstock), (back), (case).  The SG silhouette is one of the most recognizable guitars of all time and has remained largely unchanged since 1961, when it was released as the "new" Les Paul style.  It has been in production continuously since that year, the longest running solid body model in Gibson history.   Features include all-mahogany construction finished in gloss Heritage Cherry lacquer, solid quarter-sawn mahogany neck, rosewood fretboard with 12" radius, trapezoid inlays, Corian nut, 1 11/16" nut width, bound fretboard, 22 medium jumbo frets, Gibson Deluxe tuners with Keystone buttons, holly headstock overlay with mother-of-pearl inlaid logo and crown inlays, black top hat knobs with silver inserts, Tuneomatic ABR-1 bridge and Gibson's most popular pickups, the 490R/498T Alnico humbuckers.  The SG Standard's remarkable sustain is due largely to two unique features:  the mortis & tenon neck joint which binds the neck to body so that the two pieces form one solid unit, employing the long tenon found on earlier SGs - plus the traditional 17 degree headstock angle, which increases pressure on the strings which maximizes string vibration between the nut and the tuners.  It features a medium neck profile of the mid-60's, not at all chunky as the 50's style, but nicely rounded.  Famous players of the SG Standard is a who's-who of rock music greats including Clapton during the "Cream" era, Tony Iommi and Angus Young both users for over 30 years, and Derek Trucks, who also uses extensive slide work in his playing.  An impeccable setup and excellent condition with just some scratches in the clear coat only.  A new '13/'14 SG Standard is running $1499 ($2498 list) but this beautiful Heritage Cherry model is the right color, set up to perfection, and just $950.  Includes original case and all paperwork.  

Way Huge Fat Sandwich Distortion, (pic2).  Way Huge had been the brand that only pro's new about but 20 years after he began building pedals, Jeorge Tripps, the original "Swollen Pickle" dude, teamed up with Dunlop and ramped up production. They're still superbly engineered, built with high-grade circuitry, and built for years of road use. The Fat Sandwich Distortion achieves beautiful crunch via an innovative multi-stage clipping circuit with a passive tone stack that was tuned to bring out the sweet spot of any guitar/amp combination. It's tweakable with two internal mini controls including a Curve knob that lets the user fine-tune the corner frequency of the overdrive filtering and a Sustain control that adjusts the gain of the final distortion stage. It also has a vast amount of output volume which allows it to exceed the headroom of virtually any tube amp. Each pedal is tested prior to shipping to make sure you won't have any problems for years to come. Features true bypass, heavy duty switch, blue LED, 2.1mm power jack with AC protection, easy access battery door, Cliff jacks, Military spec Teflon wire, heavy duty .09 aluminum anodized chassis and high grade components throughout. With a list price of $298, this is a sweet deal, new in the box for $99.  Includes manual and two cool pins for your jean jacket. 

Dean 79 V Screaming Yellow - Signature Pickups, (front/back), (headstock), (Floyd), (pickups/braided wiring), (case).  You're not going to find any info at Dean's site about this model.  This was a special run of 24 pieces commissioned by Funky Munky Music (YouTube demo here).  Made in the same factory as Dean's Razorback lines, it's definitely a quality import with set neck design, quality hardware and upscale pickups (DiMarzio's or EMG's are standard).  This one, however, was owned by a Dean endorser and had the stock pickups replaced with two of the new USA Signature Model pickups (link), with a Leslie West "Mountain of Tone" in the bridge and a Michael Schenker "Lights Out" in the neck, both are vintage style with braided wires.  These are hot pickups, with outputs of 16K-17K and make this guitar especially well suited for hard rock/metal, which only makes sense since not many jazz players are going to be looking for a Floyd Rose guitar.  Other features include all mahogany construction, V-profile neck that will appeal to guys who like more of a vintage feel, black headstock binding, black headstock binding, black body binding, black chrome hardware, and Ping licensed Floyd Rose double-locking tremolo.   The finish "Screaming Yellow" is very reminiscent of "Stryper Yellow" and with some black tape you could easily make a cool tribute model.  Funky Munky sold these at $999 for the guitar or $1099 with case.  This one is in immaculate condition with a fine setup and killer rock tone - less than for 1/2 price.  Just $399 for the guitar; $465 with Dean case.  

Dr. Z Route 66 Head, (top), (back), (tube layout).  An original Dr. Z designed, based on the KT-66 tube originally built by Genelex which generates the "Milkshake Thick" tones as heard on John Mayall's "Bluesbreaker" album featuring Eric Clapton.  Not that the Route 66 is not a duplicate of the Marshall JTM-45, but completely original spin with new tonal end results.  It has an EF-86 front-end, which is a 9 pin pentode, offering incredible gain and input dynamics. It is normally used in high-end stereos, by virtue of its accurate transfer of input signal, balance, and headroom.  It features a deceptively simple tone stack, consisting of Volume, Bass, and Treble, which feeds a non-negative feedback Phase Inverter, for true harmonic content and full output tube dynamics - with a GZ-34 Tube Rectifier to complete the round enveloped tone.  The total result of Z's engineering is a piano-like clarity with endless sustain, even at low volumes.  At a club-size 32 watts, you can really open it up and it sings when driven hard, in a focused, thick distortion, with a remarkably tight bass response.  It has outputs for 4, 8, or 16 ohms.  Power tubes have been upgraded to Tung Sol and it sounds perfectly perfect and has never been gigged outside the home.  For sound clips and reviews you can check out Dr Z's site.  Don't pay $1799 for new when this beautiful used on is just $1250. 

1987 Peavey Nitro III, (front), (back), (trem), (headstock), (case).  Finally broke down and ordered some Kahler parts ($ouch) so the trem is complete on this guitar now.  The Nitro III was one of several of Peavey's forays into the HM SuperStrat guitar market and featured the obligatory locking tremolo system as well as HSS pickup configuration and no pickguard.  While they weren't terribly successful in competing against Jackson, Kramer, Charvel, and even Fender and Gibson, they did make a good quality utility guitar that provides an excellent value in an 80's American made guitar.  Features include high output Alnico humbucker and two single coils, mini switches for pickup on/off (single/off/humbucker for the bridge position) which allow for 7 pickup combinations, bilaminated maple neck with rosewood fretboard, flat 12" fretboard radius, 22 nickel-silver frets, 5 degree tilted headstock, neck angle adjustment via tilt-adjust hole in the neckplate, and Kahler USA fulcrum tremolo with both graphite nut and locking nut.  Cosmetically this guitar is in very clean shape other than the very thin finish has rubbed off a small area on back and edge.  Judging by the lack of fret wear I would guess this guitar has seen very little use but it's an excellent playing guitar with quality tone that could easily find a home with a pro rock guitarist.  With the original Peavey molded case included, this is a nice by on an American shed-era axe at just $249.  

Boss PH-3 Phase Shifter.  The most versatile Boss has ever made.  Allows for vintage Up and Down effects as well as new Rise and Fall effects, plus 4, 8, 10, and 12 Stage Phasers, plus a Step effect.  With a $208 list, the PH03 sells for $129 online but this nice used one's just for just $69. 

Peavey Automixer Footswitch, Labeled "Selector" (channel select) and "Combiner" (both channels), but should work on any Peavey that uses two button switches with the multi-pin connector (i.e. not 1/4" jack).  This one's $25.  (note: I usually have the Peavey 3-button with LED's, slightly higher.)

MXL V63M Large Diaphragm Condenser Mic, (pic2).  The V63M breaks the price barrier in studio condensers.  For less than $100 you get remarkable clarity and a fine presence. A fully-balanced transformerless output produces a rich sound, yielding very good transparency and warmth.  For full specs click here for MXL and here for a Youtube demo.  Mint in the box with mic clip, $50, or $59 with new 20' cable. 

Yamaha CG-150CA Classical, (pic2), (front), (back), (case), (label).  Yamaha's Taiwan-built guitars are believed by many to be the best of the Asian imports, with quality above Korea and well ahead of China and Indonesia.  This is an excellent classical for the money, especially for a solid cedar top.  Other woods Ovangkol sides and back, mahogany neck, rosewood fretboard and bridge - with wide 2-1/16" nut width, wood body bindings, wood rosette, rosewood headstock overlay, and gold tuners.  Martin has done a super set up on this guitar that came in with typically high classical action.  Now it plays with ease, all over the neck.  This guitar is exceptionally clean and sounds very nice.  If you need a classical and you're on a budget - don't buy a new junker when this nice one's just $299, which includes a top quality ($129 new) SKB formfit case.

Line 6 Spider II 150W Head and Controller, (panel), (top), (back), (FBV shortboard).  Update of the original Spider head producing 150 (75/side) watts of real stereo sound.  The Spider II features 12 unique amp models made from some of the true classic amps of all time, from Tweed to Blackface to Boogie tones.  It also features 7 different effect types, 3 simultaneous, including Chorus/Flanger, Phaser, Tremolo, Digital Delay, Tape Echo, and Sweep Echo.  All effects can be easily tweaked using Smart FX, and delay times can be adjusted using Tap Tempo. Other features include a front panel tuner, Spring or Room Reverb, and a headphone out. The delay knob gives you a trio of delay effect choices: a standard delay, tape echo, and a sweep echo. The modulation effect knob lets you choose between chorus/flange, phaser, and tremolo, and you can adjust the amount of effect you want. While turning the knob, Spider II adjusts all the individual aspects of the effect automatically to give you the range of sounds you're looking for, without having to mess with multiple knobs and switches to get your tone.  The FBV floorboard unleashes much of the amp's versatility in live situations with switches to access any of your four presets, go up or down through the complete sound bank presets, activate effects loop, turn on chromatic tuner, and utilize the expression pedal as a wah or volume pedal, or change sweep speeds on modulation effects, delay, etc.  A tap tempo button to sync your effects with the song in real time in addition to accessing Distortion Boost and a Noise Gate.  It can also be used like a stomp box to turn on/off your modulation (chorus, flange, phase, etc.), delay, and reverb.  Includes a long connecting cable that easily runs from the front of the stage to your backline amp.  Manual is online here.  If you're tired of not being heard, and want a load of hands-free control over your tone, try 150 watts on for size.  It's not the latest generation but none of the sounds are dated and at $239 for the head and controller, it's easy on the budge.  

2005 Tacoma DR14C Rosewood Dreadnought Cutaway, (front), (back), (side), (headstock), (case).  Since I got my first Tacoma, many years ago, I've said the are the best value in American acoustics.  For many years before they built their first guitar, Tacoma was a wood supplier in the great Northwest so when they began building, they were already experts on developing fine tonewoods.  The DR14C is one of their higher end models featuring all solid woods including a Sitka spruce top, rosewood back and sides, and mahogany neck.  Other features include ebony fingerboard, ebony bridge, abalone dot inlays, abalone logo, abalone rosette, Ivoroid binding (top/back), Ivoroid inlay logo, chrome tuners, hand rubbed UV gloss top finish with satin back, sides and neck, 25.5" scale, 1 11/16" nut.  It's very nicely appointed without being over the top, with the visual appeal of a gloss top and headstock, and the tonal appeal of a thin satin finish on the back.  There's a very active Tacoma Forum (link) if you'd care to sign up.  Fender bought the Tacoma company in '05, presumably prior to production of this guitar since they dropped all the "roundhole models and scaled back the line to just the "EM" series.  Fender discontinued production completely in 2009.  This one appears to have seen no playing time but it is marked "used" indicating a factory second, due to some milky finish spots on the back which aren't uncommon on Tacoma's and don't pose a problem now, or in the future.  This model listed for $1665 in their '05 price list, selling on the street for $1249.  If you don't mind some tiny spots on an otherwise immaculate back, this guitar is perfect, sounds beautiful, plays with ease, and is an excellent value at just $679.  Includes hardshell case. 

Peavey PVM 80 Unidirectional Neo-Dynamic Mic, (pic2).  Excellent sounding vocal mic using Neodymium technology, same type element used on EV's N/Dym series.  Excellent gain before feedback, strong presence boost, and very hot output.  We used these PVM's in my sound company in the 80's and they're extremely road-worthy and consistently sound great, night after night.  Some guys actually choose these for drums and they seem to perform well for them.  Comes with a nice aluminum case and mic clip.  I'll also include a Stageworks UM-66 (pic2), which is a good budget vocal mic.  Buy the PVM for $45 and I'll include the Stageworks for free.  

Korg DTR-2 Rackmount Tuner.  If you own a rack system you should have one of these.  Very accurate, fast, and easily visible from the front of the stage.  Features include single space rackmount, brushed chrome front, LED display imitates a needle, has 7-octave range, 1/4" input and output, mute jack on back and front, 1/4" input and mute jack, mute switch, calibrate switch, hardwired AC cable.  Control the mute function remotely with any standard on/off footswitch with 1/4" jack.  Nice shape, $89.  

2010 Gibson Explorer, (headstock), (back), (gigbag).   Excellent playing gloss finish Explorer that shows no player's wear but has a finish touch-up on the back of the lower horn and on the end of the long point (both shown here). These in-store dings are the only signs of use on a guitar that is otherwise perfect with no pick or button scratches, frets like new, etc.  The Explorer became a true classic from Gibson...eventually. It was one of the failed futuristic guitars that Gibson unveiled in the late 50's, which were discontinued until the timing was right, and they started reissuing them around ca. '67.  Like the Flying V, and ill-fated Moderne, the Explorer features set-neck construction, with a mahogany neck set in to a mahogany body, with dual humbuckers (496R and 500T) and unbound body and neck.  It has an exaggerated "Z" shaped body, the original "hockey stick" headstock with 6/line Grover mini tuners, vol-vol-tone knobs in line, with a 3-way selector on the upper treble bout.  A cool guitar for the Metallica/Skynard/etc. fan, or anybody who wants to delve into one of the original metal axes, designed nearly 20 years before metal was even invented.  For players who do a lot of lead work on the low strings in the upper register, no guitar provides easier access.  Set up with super low action and a fat, warm tone.  If you don't mind 2 touch-ups on a guitar that's barely been played, this one's $550 less than a new one ($1399 new) at $850.  Includes quality gigbag.   

AKG Perception 200 (pic2) with shock mount and case.  I know a lot of you have home studios and you want the best sound for the money.  One "must-have" is a quality large diaphragm condenser mic and this one's hard to beat for the price.  It has excellent reviews and blows away virtually everything in the under $400 list price range.   Has Switchable 20 dB preattenuation pad and bass cut filter.  Features:  Capsule: 1-inch Large-diaphragm true condenser; Polar Pattern: Cardioid; Frequency Range: 20 - 20,000 Hz; Sensitivity:18 mA; Preattenuation Pad: 0 dB , -20 dB; Bass-cut Filter: 12 dB/octave at 300 Hz; Maximum SPL for 0.5% THD: 135 dB / 155 dB (0 / -20 dB); Impedance: <200 ohms; Recommended Load Impedance: >1,000 ohms; Powering: 48 V phantom power; Current Consumption: < 2 mA; Output Connector: Gold-plated 3-pin XLR-type; Finish: Metallic blue.  Click here for details from AKG's site.  Lists for $349, online priced 179 up to $299.  This one is in perfect condition and will allow you to move up a notch on the quality of your studio recordings - for $139.  

TC Electronic Shaker Vibrato, (pic2).  TCE has built top quality effects for years and recently their Tone Print series brings you the great TCE quality at a more friendly price.  Via a simple USB-connection, TonePrint allows you to download custom tunings made by your favorite guitarists straight into your pedal, easy, free and fast, with new downloads coming in regularly.  You can skip this write-up and get a better overview at this great demo on YouTube.  The Shaker features two types of vibrato: a classic true pitch vibrato and 'latch mode' where the effect is only active when you press and hold the switch.  This allows for subtle vibrato and faux-whammy bar effects without you having to tap dance all night.  The Shaker Vibrato has a true bypass design and features Speed, Depth, Tone and Rise Time controls.  Finally, this pedal sports an easy-access battery hatch, the highest-grade components and a footprint that's smaller than a Boss.  It sports an ultra-tough metal chassis and should endure years of road abuse very well.  Sells new for $129 but this one's mint in the box for $89(HOLD-Travis 5/30).  

Korg Nano Slimline USB Keyboard, (front), (side). Korg's smallest controller ever.  So small you can put it atop your workstation, in front of your laptop, on a recording console or anywhere else you need versatile control over your DAW, virtual instrument/effect or DJ software.  It includes a download code for the full version of Korg's M1Le, which faithfully recreates the legendary Korg M1 workstation.  For more info here's a review at Musicradar (here) and a video demo (here).  Sold new for a remarkable $49 but this one's mint with box, manual, software key, for $29.  

1985 Ibanez Roadstar RS410 - Single Humbucker, (front), (back), (headstock), (pickup).  First one of these I've ever had from my recollection.  I've had plenty of the RS440 (Hum-Sing-Hum) and RS430 (dual hums) but this single humbucker model would appear to be fairly rare.  The pickup has been upgraded to a Duncan '59 (SH-1) but it retains the original push-push volume pot for choosing humbucker or single coil.  Excellent quality hardware with Ibanez "Smooth II Tuners", "Boomerang" strap pins and the "Pro Rok'R locking tremolo system.  Note that the locking nut, which on Roadstars was located on the headstock above a regular nut, has been removed.  These aren't exactly Floyds when it comes to staying in tune and the locking nuts were a large reason for this.  With just the standard nut it stays in tune better than a vintage tremolo.  Excellent feeling neck with a flat radius, and a little chunkier than the thin necks Ibanez was later famous for.  I think this model was possibly Ibanez's answer to the Baretta as it shares many design features such as the single humbucker, single knob, no pickguard, and side-mounted output jack.  Cosmetically it's in decent shape for  used guitar with a few finish chips but frets are near perfect and I'd guess it's seen very little playing time.  The white finish has faded to a nicely yellowed vintage white.  Plays great and with this Duncan, has a great rock sound, all in all a quality Japan Ibanez for $279.  

Acoustic Image Focus 1, Series III Amp, (back), (case/acc.).  A super compact amp with a ton of clean power, weighing in at under 5 lbs., perfect for players who don't like lugging a 60 lb. head around.  As incredible as it sounds, this little powerhouse delivers 1000 watts through 2 ohms, via one or two Speakon speaker outputs.  A lot of jazz players have discovered this as the perfect amp and it does double duty as a great bass amp.  The Focus does not color your tone like most amps - what goes in is what comes out - it accentuates the *acoustic* tone of your instrument rather than the pickups.  For bass, it's equally at home with electric or upright basses.  Features include extended frequency range, high fidelity sound via Class D (PWM), unique slanted front chassis with built-in handles on side rails, combo jack input (either 1/4" or XLR), phantom power on XLR input, 3-band EQ preamp (±15 dB @ 60 Hz, 650 HZ, ±15 dB @ 650 Hz, ±25 dB @ 10 kHz), Notch Filter (-18 dB sweepable from 30 to 800 Hz), Low Cut Filter (-12 dB/octave sweepable from 30 to 800 Hz), parallel effects loop with return level control, EQ post/pre switch, separate input and master level controls, quality XLR D.I. output, ground lift switch, mute switch, light weight (5 lbs), small size (10.2 x 8.2 x 3.5).  1000W through 2 ohms, 800W through 4 ohms, 450W through 8 ohms.  Acoustic Image owners swear by these amps for the sound quality, build quality, and lifetime warranty that's transferable to new owners.  From what I've read on the web, in the rare case it develops any problems, just ship it back for repair (and frequently upgrade to current specs) and it'll be fixed for free, including return freight.  You can't get better than that.  For more info click here and read specs on the Focus 1 here and here.  Sells new for $1179 but this clean used one's a great deal at just $650.  Includes well-padded gigbag and Speakon speaker cable.

Zvex Box of Metal Hand-Painted Distortion Pedal.  Zvex is truly an innovator in guitar effects and this awesome hand-painted BOM is a good example.  A very aggressive high-gain pedal with, and this is an important feature in high gain tone, a highly effective built-in switchable gate, which dramatically reduces noise and unwanted feedback.  Its gain and tonal characteristics are somewhat similar to high-gain tube amplifiers that have been the staple of hard rock and metal sounds since the 80s; the Boogie MK series comes to mind.  On the right, there is a true-bypass switch with an indicator LED to bypass the entire effect. On the left is a gate switch which is only effective when the pedal is on. (The gate cannot be used separately.)  When the gate's LED (on the left side of the pedal) is ON, the gate will be active whenever the pedal is turned on. The gate is very useful for cleaning up any noise between palm-muted chords and lead phrases, but may be switched off to initiate feedback or to stretch out soloed notes that are fading into noise. Switching off and on the gate is silent so the gating action of the pedal can instantly be changed during any part of the performance to fluidly integrate soloing and palm-muted chords. For more on the Box of Metal, click here for some video clips. Zvex's hand-painted stuff sells at a premium over their straight production pedals.  The hand-painted model sells new for $359 but this one's in nice shape in original box with manual for $110 less, just $249. 

Maxon CP101 Compressor.  For a lot of players, this is the 2nd pedal you get for your pedalboard, after your favorite overdrive/boost pedal.  Compression is that critical.   It can be used to increase sustain or to limit signal peaks for a smooth, even output, or even as a radical sounding effect, adding a percussive sound.  One of the main complaints about most compressors is that it raises the noise significantly in your signal chain.  The CP101 is one of the most quiet comp's on the market and unlike other compressors, it doesn't alter your guitar's attack characteristics, providing a more natural response. It's equally at home for guitar, bass, or acoustic.  Maxon isn't cheap stuff and these are running $171 new.  This clean used one's a better deal at $115.  

Fender Princeton Recording Amp, (panel), (top), (back/panel), (footswitch.), (speaker/label).   From Fender's Pro Tube Series comes a new take on one of the true quintessential studio recording amps.  Based on the blackface '65 Princeton Reverb, the Princeton Recording offers the great tone and dynamics of the original model, but with some modern features made specifically for the studio.   The all-tube circuit and reverb circuitry is based on the '65 Princeton Reverb, but with 20 watts through a pair of 6V6's, and a 10" Jensen C10R, it gives you Fender's vintage tone with enough output for small gigs and rehearsals.  The trans-impedance power attenuator lets you crank up the amp for full output tube overdrive and set the speaker volume as low as you want - all the way down to zero for headphone use.  Other features include two classic onboard "stomp box" effects (overdrive and compression), genuine tube-driven Fender spring reverb by Accutronics, headphone output, speaker emulated XLR line output with level control and ground lift, speaker output jack (internal speaker may be disconnected for use with other 8-ohm enclosures), professional FX loop, and four-button footswitch.  Effects are true bypass.  The 4-button footswitch controls Overdrive, Compressor, Effects Loop, and Reverb.  When you break this amp down, it's a dead-on blackface Princeton Reverb circuit and top row of controls.  If that's the only sound you're looking for you'll be happy with it without even venturing below, to the second panel.  It's this second panel that really provides a lot of versatility.  This is a great sounding compressor that's also fairly quiet, that you'll want to use on country licks, jazz, and fusion.  The 3-knob distortion covers a very wide range and easily pushes the amp into rock and metal tones.  The attenuator is good for any style of music.  If you want a classic blackface tone with the power tubes running full up but want more of  bedroom volume, you've got it.  All in all, I am totally impressed by this amp.  Here's a pretty good demo from Ballew's Music (link) and click here for full spec's from Fender.  This amp is in super clean condition; don't see a flaw anywhere.  Recently discontinued, this amp listed for $1750, selling new for $1399 but this one's in perfect condition and just $750. Includes footswitch. 

Line 6 Pod Plus Floor Multi-Effect, (close-up), (controls), (patch bay).  An incredible deal on a very powerful unit with expression pedal.  Get all the great sounds of the POD 2.0 plus some extra essential effects in a more gig-friendly floor pedal with real time foot controls.  The Pod Plus has 32 amp models that you can mix and match with 16 cab models, 6 delay models, full-time compressor, and 20 other effects (including choruses, flangers, reverbs, sub-octave, synth, etc.).  Equally at home on stage or in the studio.  It's easy to tweak all the settings for your amp and effect models and save them to a user bank, and then instantly recall them instantly via 7 onboard footswitches plus the built in wah/volume pedal.  Features include 120 presets, onboard tuner, stereo 1/4" outs, Tap Tempo, CD/MP3 input, headphone out, MIDI in/out, and much more.  You also get access to Line 6's Custom Tone online patch library, which includes literally thousands of tones matched to some of the greatest guitarists and songs of all time.  Here's a very good, in-depth review at Music Radar (UK) (link).  Here's a good overview of some of the presets (link), and a more in-depth demo on setting up individual patches here.  Perhaps most remarkably, this unit which combines a POD 2.0, expression pedal, and FV floor unit into one unit, sells for less than the original POD 2.0.  Recently discontinued, these sold new for $299 but this used one is perfect in the box with manual for just $125. 

1989 Fender Stratocaster Plus - Sunburst w/Maple Board, (front), (back), (headstock), (case).  Lovely early model Plus in classic 3-tone sunburst with maple fretboard.   The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard series.  In '00 Fender debuted their new "American Series" (i.e. renamed from the "American Standard").  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups.  The Gold Laces (50's Strat sound) on this model are the same pickups used on the Clapton and Buddy Guy signature models and both player toured with their stock pickups for many years.  The Plus also features Sperzel locking tuners as well as a Wilkinson roller nut, both enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  Depending on the year Fender also employed a "Tremsetter" by Hipshot in the tremolo cavity, which returns the tremolo bridge to the "zero" position when not in use.  This guitar did not come from the factory with a Tremsetter but we can install one for $35 parts/labor if desired.  Cosmetically it's in beautiful shape for 20+ years, with just several light imperfections in the clearcoat only and moderate divots in some of the frets.  It's a great player with low action and no fretting out on bends and if you've never heard these gold Lace Sensors before you're in for a treat.  I've mentioned  before that prices on these early silver-logo American Strats have been on a consistent upswing for the past few years and they're just on the cusp vintage.  For $100's less than a new American Deluxe Strat you can get this nice 23-year-old example, well on its way to becoming a full fledge vintage Strat.  $1099 includes original case, trem arm, original manual...and original bill of sale!

LEFTY 2007 Ibanez Prestige RG-1570L Textured Black, (front), (finish detail), (complete trem system  Edge Pro), (headstock/neck), (plastic/knobs/etc.), (case).   Just add pickups and assemble!  A superb Japan-made Prestige and a shredder's dream guitar for the home tech or tinkerer.  Every piece is here, other than electronics so you can use whatever pickups you like, or we can install prior to shipping.  The guitar is super clean, zero fret wear, nice case, etc., although the past owner did a textured refinish that you may love or hate.  The finish is a nice job with the only flaws being non-textured spots on the bottom edge from sitting in a stand before the finish was dry.  The Prestige series by "Team J-Craft" are some of the nicest guitars coming out of Japan.  The RG-1570 is an new version of the old RG-570, although with improved high tech hardware, better Wizard Prestige neck, with 5-piece maple/walnut, and the new Edge-Pro tremolo system.  Other specs are Basswood body; maple neck; rosewood fretboard with 24 jumbo frets and pearl dot inlays; pickups direct mounted to body; Cosmo black hardware; HSH pickup configuration with 5-way switch, master volume, master tone; pearl logo inlay, and finished in Suede Black only.  For additional cost I can supply pickup sets like Duncans, DiMarzios, EMGs, and probably even an Ibanez V7-S1-V8, which were stock for this guitar.  The IBZ V7 (Vintage 7) pickup is tight, but bright, very dynamic for chording and rhythm; the S1 single coil is very articulate with especially clear mids; the IBZ V8 (Vintage 8) pickup is a warm and articulate, with enhanced harmonics without excessive brightness.  The RG-1570 Prestige currently runs $1199 at Zzounds; don't know if there's an upcharge for lefty.  With less than two hours of bench time you can do final assembly on this one and come in way under 1/2 that price.  $450 includes nice form fit Prestige case, factory hang tags, wrenches, and everything needed to complete the guitar.  If you want pickups installed, choose from ones we have in stock and you're looking at $675 with Duncans/DiMarzio/EMG/etc.   

1972 Gibson SG I, (front), (back), (headstock/neck), (optional case).  In the early 70's Gibson built a number of moderately priced SG's.  General construction and fit/finish was on par with their higher end models but they kept down cost with unbound necks, screened logos, front-mounted controls, dot inlays, and plain bridges/tailpieces.  Even the high end models like the Custom, Deluxe, and Pro sported front-mounted controls and jack, mounted on a plastic plate, rather than the traditional method of routing the back and avoiding the need for a control plate.  The budget models came in one or two pickups, beginning in '71 with the SG 100, SG 200, and SG 250, all with single coil pickups.  In '72 Gibson came out with the SG I, II, and III, all with mini humbuckers.  These were short-lived models, introduced in 1972 and discontinued in 1974.  The I was available in Cherry or Walnut finishes with a single mini-humbucker; the II was the same guitar but with an additional mini humbucker; the III same as the II but in Cherry Sunburst finish.  While the earlier 100-series used a crude newly-designed bridge with a sheet metal cover, the I-series resorted to the 50's tried and true wraparound stud tailpiece, compensated for better intonation.  This SG I features the beveled edges and silhouette that define the SG, but body is made of walnut rather than the traditional mahogany; necks is mahogany.  Tuners are Kluson "Gibson Deluxe" 3/strip with metal Keystone buttons.  Other features include raised black pickguard, black teardrop control plate with volume/tone controls and output jack, witch hat knobs, adjustable mini humbucker with black cover, and black headstock face with gold screened logo.  For 40+ years this guitar is in nice shape with some clearcoat scratches or dings but no cracks or finish checking.  As is typical, the cherry finish has faded on top and is much more vibrant on the back.  Set up is comfortable and it has a fairly loud acoustic tone.  For players who like simplicity, nothing beats a single pickup and wraparound tailpiece.  I also find string muting extremely easy with the wraparound bridge.  Appears all original including electronics, with pots 29th week of '71 (pic).  I got this without a case but I'm offering it with one of my spare vintage SG cases, pictured above, for $850, or with a gigbag for $750.  

Wampler Tweed '57, (pic2).  Inspired by the magical tweed Fender amps, the Tweed '57 offers a wide palette of sounds and includes high-end features common to Wampler, as well as a few surprises.  It's not limited to a single tone - thanks to the “Input Simulator” switch, you’ve got the flexibility and control found on amps from that period, with Normal, Bright, and Linked input options which interact with the EQ and gain adjustments to give you loads of control.  Sometimes overlooked by novice pedal fans, this pedal excels at dynamic response, while the overdriven tone is amazing.  It has a vintage tone that's as unapologetically raw as anything made.  Hand made in the USA, it features completely true bypass, Boss-type barrel plug, powder coated durable finish, and features completely original circuitry.  Check out YouTube demo's and more info at Wampler here.  Don't pay $199 for a new one when you can get one "as new" for just $139(HOLD-Scott T 5/28).  

1994 Park G10R Combo, (panel), (back).  Park was a rare brand made by Marshall back in the 60's and a few decades later someone resurrected the name.  Designed by Marshall and, in fact, sounds very much like the cool 80's Marshall 3005 "Lead 12" amps, but with reverb and more tone shaping controls.  To dial in clean, crunch, or over the top distortion, it offers 2 gain controls and a master volume, plus it has separate bass-mid-treble controls and spring reverb.  Also features a headphone out for silent practice or direct out to a mixing board or another amp.  This baby gets enough gain to please any metal head, but has enough power to provide a strong clean tone.  Martin just benched it so all the solder connections are solid and all pots are cleaned.  20 years old and sounds fantastic.  $75.  

Presonus BlueTube DP V2 Mic/Inst Preamp, (front), (back).  Excellent 2-channel mic preamp and DI.  If you do any recording you need a quality preamp to prevent your vocals and instruments from having a sterile tone.  It's very versatile as well, with two channels, offering Class A solid-state preamps for a clean and clear sound, plus parallel 12AX7-driven tube preamps lets you blend in tube saturation to warm up your tone.  Other features include 48V phantom power, concentric hi-Z instrument inputs on both channels to plug in your guitar or bass, 80Hz highpass filters to roll off troublesome low frequencies, 20dB pads to control extra hot sound sources, signal levels, and active pickups, polarity-reverse switch lets you fix phase issues at the source, backlit VU meters with LED clip indicators make it easy to keep an eye on your levels, and rackmountable 1/2U chassis which is also built for tabletop use.  Some solo artist gig with these in place of a mixer, plugging their mic into one channel, their guitar into the other.  These sell for $229 new but this one's mint in the box and just $150.  

Shure SM57 Unidyne III.  I've got two of these in stock now.  This is the most desirable of the SM57 line, the Unidyne III is the original model, going back to '65.  I've seen total beaters sell for over $150 but this one's in decent condition, works perfectly, and is just $109. 

Burns Club Series "Cobra" Strat Style, (front), (