In support of our troops…

IN WONDERFUL ALBANY, NY, USA

UPDATED:  Thurs, May 17th, 2012 

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 bottom of page for 1000's more pieces of gear.  

Fender Hot Rod Deluxe - USA made - With EV Speaker, (back), (top), (control panel), (EV SRO 12L), (footswitch).  Older model, back when they were made in USA, and upgraded with an Electovoice SRO 12L.  The Hot Rod Deluxe is one of the most popular all-tube club amps, capable of a wide range of applications for a Fender.  The unique blend of vintage and modern tones, combined with Fender's classic narrow panel styling, made the Hot Rod Deluxe a classic almost from the day it was released.  It does the Fender clean very well with natural sounding tube-driven reverb, but has lot more gain than your average Fender and does the Rock/Metal tones very well.  At 40 watts, it's perfect for medium/large clubs and 3 selectable channels (Clean - Drive - More Drive) give you a good selection of tones selectable via included footswitch - and perhaps best of all, at 45 lbs., you can tote it from home to a gig with ease.   Click here for Fender's info and here for a brief demo on YouTube.  The Hot Rod Deluxe II, made in Mexico, sells new for $729; this older USA model is in beautiful condition with a top quality speaker that makes a marked improvement in tone, and is just $550.  Includes footswitch and cover (not shown). 

EMG DG-20 David Gilmour Assembly, (back).  Pre-wired pickguard assembly that comes complete with a pearl white pickguard loaded with a trio of EMG-SA pickups (ivory), SPC Presence knob (don't confuse with "Presence" on an amp), and EXG Guitar Expander knob, volume control, and 5-way switch.  These are excellent pickups by themselves, but add in the active SPC/EXG preamps (shown here) and you've got a load of power in your hands.  The SPC actually performs like a mid-boost and makes single coils sound very fat, like humbuckers, while the EXG conversely scoops the mids and boosts the bass and treble frequencies. Click here for some good reviews on the DG-20 at UltimateGuitar.  The DG-20 guard sells for $299; this one is mint and just $215.  

Seymour Duncan Hot Rails & Cool Rails Pair, Get a fat humbucker tone out of your Strat or other single coil routed guitar.  These stacked humbuckers feature 4-conductor wiring for single/humbucker wiring options and combinations, and install without modifications.  Hot SHR-1B (link) bridge is a hot one, measuring 16.75K and matching SCR-1N (link) which produces a clearer, brighter, and more dynamic sound.  These sell for $152/pair ($76/ea.) in the stores but get this clean used pair for just $109. 

Ibanez CS9 Stereo Chorus Reissue, (pic2). Prompted by the demand of vintage 9-series pedals, and the escalating prices, Ibanez smartly reissued some of their classic pedals, including the popular CS9 which uses the same circuitry, for the same lush chorus, found on the original. Mint in the box with $79. 

Rockman Model IIB, (Back/Rockadapter), (panel).  ca. 1982, AKA "Original" Rockman.  Patent Pending model IIB, which is essentially identical to the X-100, features two clean settings, two overdrive settings, chorus, and echo, as 3 output level settings.  These units, designed by guitar wiz Tom Scholz of "Boston" who was a genius at guitar tone engineering.  There's a lot of stuff going on behind the scenes including noise gating, compression, and speaker cabinet simulation.  With its wide choice of tones plus chorus and echo, this unit is THE unit you want for that "Boston" sound, whether at home in the studio, live, or headphone use.  This unit is tuned up, all switches and jacks working properly, and ready to rock.  We sold these for $199 back in the early 80's and it's an excellent sounding unit, nicely priced today, at $139(HOLD-Jim, local) with the Rockadapter, or $25 less without (uses eight AA batteries).  

Visual Sound H2O Liquid Chorus and Echo, (pic2).  There's a reason this was a Guitar Player's Editors' Pick!  It's one of the best sounding analog units on the market, at a reasonable price.  You get liquid analog chorus via the rare NOS BBD chip which is shaped by Speed, Width, and Delay Time controls for everything from subtle to lush to underwater. The echo channel offers up to 800ms of analog-voiced digital echo. You can change echo time on the fly. Controls include Echo Time, Repeats, and Effect Level. A second output jack lets you send a dry signal to a second amp. The pedal is easily modified to send an effected signal to a second amp.  Effect channels can be used separately or together.  This unit was recently modded by Zac from Visual Sound for a warmer chorus, which sounds closer to a Boss CE-2 to my ears.  He included some paperwork and a CD of artist demo's and interviews.  VS only builds the cheaper V2 model now but this original model sold new for $189 and is a killer unit for just $115.  Also includes original box and manual.  

early '90's Mesa Boogie .50 Caliber Plus, (panel - click to expand), (top), (back/panel), (tube chart), (footswitch.).  Great sounding Boogie in fantastic condition.  One of the more versatile amps Boogie has made, capable of handing virtually any style of music.  Metalheads will like it, as will jazzers and country pickers, which also makes it an ideal amp for guitarists in Top-40 bands.  In addition to loads of EQ options, it has plenty of gain control which is key to its versatility.  Between the Gain, Master, and Lead Master, you can dial in squeaky clean tones, crunch, or classic Boogie steroidal overdrive.  It's a two channel amp, using a single input, with the lead channel accessible via push/pull gain knob or via footswitch (included).  If you're playing heavy tunes you can dial in a dirty clean channel by cranking the gain allowing you to go from overdrive to super overdrive and used in conjunction with the footswitchable Graphic EQ, you can really get a radical change in tone by changing the channel and EQ "In" simultaneously.  Like most Boogies, this is an all-tube amp, with 50 watts via a pair of 6L6's, with five 12AX7's in the preamp.  The tubes appear to be original but this amp has obviously seen little use and probably have plenty of use before they need replacing.  The back panel features an effects loop, Graphic EQ footswitch jack, and a Direct Out with level control for plugging into your mixing console or recorder.  Speaker is a Celestion Vintage 30, rated at 90 watts, and can handle anything this amp puts out.  If you want to read up, click here to read a PDF file of the manual.   Hearing is believing and here are a few YouTube clips using the .50 Caliber.  None are actually product demonstrations but they will give you an idea of some of the tones:   (metal), (rock/blues/metal).  I don't have a price list from this era but looking around the web, most new .50 Cal's were going for $1099 in the early 90's.  An extremely clean, great sounding Boogie that will do it all, for $679(HOLD-Scott D local).  Includes original footswitch. 

2011 Fender American Special Stratocaster - Candy Apple Red,  (front), (back), (headstock), (flamed neck), (trem), (gigbag/acc.).  Dead mint condition.  New model for Fender offering the best value in a gloss finish American Strat.  Fender chose some great pickups for this model, Texas Special single coils, which have been used on deluxe models and custom shops historically.  Controls are master volume, neck pickup tone, and a departure for a Strat, a bridge tone.  Other features include alder body with Gloss urethane finish, 70's style large headstock maple neck with modern C-shape profile and CBS-era logo, rosewood fretboard with dot inlays, modern 9.5" radius, 25.5" scale, 22 jumbo frets, vintage-style synchronized tremolo, Fender standard cast/sealed tuners, 3-ply pickguard, and all parchment plastic parts. This is an impressive guitar for the money.  The finish is impeccable, quality tone, and a great neck that sets up with great action.  New ones are going for $899 which is an unprecedented price point for a gloss finish USA Strat - and this one even has some nice flame on the neck, front and back. This one is set up to perfection and an excellent value on an "as new" model at $699.  Includes original deluxe gigbag and all accessories.  

Johnson J-Station, (close-up), (detail), (back).  Cleanest one of these I've had in years.  For you youngsters, 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 strong spots and weak spots.  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.  Also, it's so easy to use you really don't need a manual. 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.  For full info and manual download, click here for Johnson's site.  Incredibly clean condition with original box and power supply, for $99.  .

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 - for 1/2 price.  Just $399 for the guitar; $450 with Dean case.  

'82-'84 Floyd Rose Tremolo - Museum Condition.  Top quality German-made Schaller unit and the model used on ESP-made Kramer Focus, ca. '82-'84. The unit has all the features of the Floyd Rose with fine tuners, without the fine tuners.  Because of this, it's very tricky to use this effectively with a locking nut.  Once you lock down the nut, the only way to fine tune your strings is to loosen the lock nut.  With that said, it is an excellent quality unit and can be used effectively with a standard nut, since tuning will be done via the guitar's tuners.  If you're restoring an early import Kramer, or you simply want  great non-locking tremolo, this one is as clean as you'll find anywhere on the planet and priced at $75.  

Ibanez LF7 Lo-Fi Filter, (pic2).  Although marketed primarily for guitar, it also works well with vocals, drum machines, or any mix-down content. The LF7 creates lo-fi tones that used to require ancient analog gear; especially good at creating transistor radio and megaphone lo-fi sounds! It also performs well with vocals, drum machines, or in any mix-down context. Like all the Tone-Lok series, it features a solid metal housing, knobs that recess when not in use to prevent breakage, and a "Mode" switch, which for this pedal selects "guitar", "drums", or "mic". Click here for an excellent demo of this pedal.  You can see by tweaking it, it's capable of producing some radical sounds.  I don't know that many players will use this on every song, but it's great at creating unique textures that will stand out in the mix.  Mint in the box with manual for just $45.  

MXR Micro Flanger.  Recent Dunlop pedal that's a stripped down version of the Mod 117, with just rate and regeneration knobs.  This pedal is simpler to use which will appeal to many players who want a fixed Width.  Unlike the original Micro, this unit features true bypass to preserve your tone when disengaged.  Compact size saves real estate on your pedalboard.  Super clean.  $59(HOLD-Scott D local).  

MXR Micro Chorus.  Excellent sounding analog chorus with MXR's ultimate simplicity - just a single knob, just like the Phase 90, Micro Amp, and Dyna Comp.  MXR engineered the perfect amount of mix and gain into their pedals so a single knob is really all you need.  For the Micro Chorus, it changes the sweep rate, changing its lush textures from sparkly shimmering water to intense rotating speaker simulation.  It's true bypass and features an LED indicator and heavy duty construction, just like the MXR's from the 70's.  Super clean condition, doesn't take up much space on your pedalboard, and just $49(HOLD-Scott D local).   

MXR Doubleshot Distortion. MXR produced one of the classic Distortions of all time, the Distortion+. The M-151 Double-Shot Distortion is the evolution of MXR's original classic designs, engineered with today's tones and much quieter than the vintage pedals. It features two distinct channel that let you dial in blues-approved grind or thick, old-school lead tones. With the touch of a button, you can select another channel for fat bottom modern metal sounds or radically-EQ’ed fuzz ones. This pedal features independent gain and EQ controls give you complete control over both sides of this pedal’s split personality. You can set up the Double-Shot to go from an in-the-pocket chord part to an over-the-top lead line. Or toggle between two unique solo tones. Or switch between two drastically different rhythm tones. Get all your gain from the pedal or use its massive output to get screaming overdrive from your amp. And no matter how dirty you run the Double-Shot, all the subtle details and dynamics of your playing will come through.  Activating the Focus control alters the “Q” (bandwidth) of the bass filter, creating a slightly emphasized low-end and a mild midrange cut.  This subtle, yet effective tonal shift lets you tailor the pedal for a variety of amp, guitar, and speaker combinations.  Other features include glow in the dark labels and easy to read pointers for use on dark stages.  Click here for an in-depth review at GP magazine.  List price when new was $189, $119 street price, but this one's in perfect condition for just $75.  

Visual Sound Route 66 V2 Overdrive and Compressor, (pic2).   Visual Sound builds some quality pedals and this first version Route 66 is a good example.  Good sounding OD or Boost plus a compressor that can be used as a subtle spice or as a more radical effect.  The OD emulates the old TS808 and features Drive, Tone, and Volume, as well as a Bass Boost switch; the Comp features Comp, Tone, and Gain, as well as a Tone Bypass switch.  Here's a good 3-minute demo on Youtube (link).  Pédale double proposant une compression fiable aux réglages fins et précis couplée avec une overdrive souple et veloutée, Youtube demo here.  Note that this is a V2 model, with new style knobs that are easier to read on a dark stage.  It's mint in the box - for just $89.  Note:  I just had a great experience with Zac at Visual Sound, who I think is the moderator of their blog (link).  If you have a VS pedal in need of repair, don't throw it out or auction it as a non-working pedal for 1/4 value.  Zac repaired my H20 chorus cheaply and quickly.  You can contact him at zac@visualsound.net.  

Boss DD-3 Digital Delay, 4 delay ranges including "Hold" feature that acts as a short phrase sampler.  Delay times from 12ms to 800ms.  One of the most popular pedals in Boss's illustrious history for the normal reason - they sound great.  Velcro covers original bottom label but it can be removed if desired.  A classic, good sounding DD for $69.  

Keeley Boss SD-1 Super Overdrive.  Another fine modified pedal by Robert Keeley, king of the pedal mods.  Take a good old SD-1, a classic one-trick pony, modify the circuit, add a 2-way switch for your choice of germanium or silicone diode, and you've got more tonal choices and overall much fatter, cleaner, more defined, and with loads more gain than a stock SD-1.  Rather than adding a long description, click here for Keeley's site.  Great sounding Keeley OD for $89.  

1979 Electroharmonix LPB-2, (circuit). Linear Power Booster.  It's as if you had 20 sets of pick-ups all in one guitar...can make your amplifier TEN times louder...  These are the claims used in advertising on the LPB's back in the 70's (see ad here).  While these might be an exaggeration, the LPB-2 can be used effectively to overdrive the front end of your amp, giving it thicker, hotter tone, or as a boost pedal for leads.  This is one of the cleaner examples of a 70's LPB I've had and a very useable pedal, even for today's guitar rigs, for $79.  

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 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 $239-$258 but this clean used one's just $179.

Barber LTD Low Gain Overdrive, (pic2).  The LTD dishes out some of the sweetest clearest overdrive you'll hear, with remarkable chord clarity with excellent harmonic content. Hand made, one at a time, and signed by the craftsman, the LTD features precision matched components-using proprietary specifications to ensure symmetrical clipping and reduced intermodulation distortion. It features true bypass switching with led indicator using an extremely high grade switch, in addendum Solid 20 gauge copper hookup wire is used between the jacks and switching to create the most transparent bypass yet. Extreme volume knob response circuitry for an amazing variety of shades and textures just by adjusting your volume knob. The cast aluminum enclosure is incredibly durable and will last decades. Ready for 18 volt operation-The LTD operates from 9 volts to 18 volts, this allows use of higher voltage converters and supplies, for players who want to try higher voltage tweaks.  Sells new for $139 but this one's mint in the box with manual for $99.  

2001 PRS Santana SE - Royal Blue, (front), (back), (headstock), (trem), (gigbag).  Discontinued model but these were very nice guitars.  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 a dozen or so SE models but have yet to encounter one that failed to set up perfectly and the overall fit/finish was impeccable.  The Santana SE is an all mahogany model with a mahogany slab body, finished in transparent blue, with a mahogany set neck with rosewood fretboard, 22 medium frets, wide-fat neck carve, 25" scale, PRS tremolo, PRS tuners, and white pearloid Santana SE inlays.  It shows only light players wear but is overall in nice used condition with no major flaws anywhere.  It sold new for $499 11 years ago and is an excellent value on a first-year Santana SE at just $339.  Includes Levy's EM7S gigbag, very thick and sturdy with several storage compartments.  

Line 6 POD X3 Guitar and Vocal Modeler, (stock pic), (SKB case), (complete).  The latest and greatest in the iconic kidney bean POD's.  Works great for guitars and vocals, whether in the studio or live.  The X3 has too many upgrades over the earlier versions, including the ability to run two complete guitar rigs simultaneously.  There are too many features to list but here are a few: 78 guitar amp models, 24 guitar cab models, 98 stompbox and studio effects, 28 bass amp models, 22 bass cab models, 6 vocal preamp models, A.I.R.™ II cab/mic modeling with 4 mic options each, 1/4-inch Instrument Input, XLR Microphone Input (w/ Trim Adjust), USB 2.0 for computer recording, S/PDIF Stereo Digital Audio output, Stereo 1/4-inch TRS Balanced Line outputs, 1/4-inch Stereo Headphones output, FBV Connector for optional pedal controller, Massive model set for guitar, bass & vocals. Its larger backlit LCD screen contains plenty of information, without being cluttered, and it's a fairly easy unit to get around on. The sounds are the best ever on a POS unit and it contains numerous songs that actually list the artist; names like "Sweet Child 'O Mine", "Teen Spirit", "Purple Haze", "Strat Cat Strut", "Sultans of Swing", EVH, The Edge, SRV, Rush, etc.  This unit was just discontinued but you can still find a few new ones online for $399 ($559 list).  This one also includes a top quality SKB case that uses the same hardware as their guitar cases and sells new for $59.  With the case it's a $458 value...all for just $299!  Includes POD, USB cable, power supply, manual, and case. 

Blackstar HT Studio 20H Head, (panel), (top), (back), (acc.).  Killer sounding little head, engineered from Blackstar UK, 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 ships in original box with manual and footswitch.  These are $499 new but this one's "as new" for $359(SOLD).  

Washburn WD420SCE Acoustic Electric, (front), (back), (headstock), (preamp/output jacks), (appointments).  Brian continues to find guitars that have never been on the web site.  This one is actually a new, old stock model from 2005.  It is unplayed and immaculate.  We'll, of course, install a new set of strings and do a proper setup on it before shipping out but other than that, it's straight out of the factory container.  The WD420SCE is a fancier version of Washburn's popular D10 series.  It retains the same solid spruce top and mahogany back and sides, but adds some dressed up cosmetics as well as a cutaway and onboard preamp.  It features the Equis Crystal preamp with a notch filter control, volume knob, and 4-band eq (Bass, Mid, Treb, Pres) and battery low indicator, as well as easy access door to change the 9V battery.  The preamp is wired to both a standard 1/4" jack plus a low-Z XLR jack for running straight into a mixer, snake, or acoustic amp.  The benefit of a low-z cable is you can use very long cables without any loss in signal, whereas a standard guitar cable picks up more noise and suffers signal loss over 20 ft. or so.  The solid spruce top yields a sound with much more clarity and sustain, plus the entire body utilized Washburn's "Veil Process" finish that is applied very thin, allowing the wood to breath and age quicker than a normal finish that leads to a fuller, richer sound.  Cosmetic appointments include bound body and neck, intricate soundhole rosette, snowflake inlays, and diamond-pattern back stripe.  Set up is very comfortable which, along with the solid top and good electronics system, makes this an excellent value on an acoustic/electric at just $299.  Add a nice hardshell case for $65.  

1984 Ibanez RS-440WH Roadstar II - White, (front), (back), (headstock), (trem - push/push knob/etc.).  Unlike the Royal Violet 440 I have in stock, this one definitely isn't a museum piece.  It's a guitar that's been enjoyed most of its 28 years and played enough that it earned itself a pro refret along the way.  As you can see in the pics, the neck was sanded down to bare wood, removing the logo, and treated with just a sealer coat.  It feels much better than the stock poly finish.  The body has a few noteworthy check lines, shown in the front/back pics above.  In addition there are a few other changes including replaced knobs, Grover tuners installed, locking strap pins installed, locking string retainer removed and a Tusq nut installed, and pickup ring changed to white.  These are all cosmetic changes so for the player, it's a non-issue.  It has all the other stock features including Ibanez Super 7 single coils in neck and middle, and Ibanez blade V5 humbucker in the bridge, which, along with the push/push tone pot aka "Duo Sound System", produces either humbuckers or single coil tones for a total of seven tone settings.  It has the original "Pro Rok'R" tremolo with fine tuners, which stays in tune better than a vintage style trem and without the locking string retainer, I think stays in tune better than stock.  Other features include matte black pickguard with chrome hardware, "side-mounted output jack, and easy string change system. The refret was an excellent job and there's just slight wear on the new frets.  This guitar plays great, sounds excellent, and one of the best values in a quality Japanese Ibanez guitar at $299.

Valvetrain Concord 6W 1X12 Combo, (panel), (top), (back), (chassis).  Killer sounding little 6-watt Class A combo...top quality construction...built in Mount Dora FL.  The Concord is hand-wired with point-to-point eyelet board, with single 6V6 power and a 12AX7 dual-triode in the preamp.  It features your basic Volume, Treble, Bass controls, cathode bias power amp, all American parts including high grade aluminum chassis, heavy transformers, and birch cabinet.  Responds very well to a player's touch and especially the guitar's volume control.  It has an excellent clean sound, getting very fat around "5", with a smooth breakup beginning at "7", with more and more saturation from 7-10.  It features two 4 ohm and one 8 ohm speaker jacks for a variety of speaker loads.  Speaker is a USA Real Vintage 12" which I think is an upgrade from the Eminence 12".  These sell new for $799, which is very reasonable for a point-to-point American amp with quality components.  This one's in mint condition and a sweet little combo for $569(HOLD-Brad T 5/5).  For more on Valvetrain, click here.  

2007 Fender American Deluxe Stratocaster HSS QMT, (front/back), (headstock), (features), (case/acc.).   One word to describe this guitar:  stunning.  If you ignore the $6K Master Built models, the American Deluxe Stratocaster QMT HSS guitar is perhaps the most elegant looking production guitar in their history.   The craftsmanship is impeccable and the top isn't a 1/64" veneer like most of their figured tops, but a beautiful 1/8” slab of solid quilted maple, hand-bent to the top of the alder body.  No pickguard is used on this model, so as to completely display the top.  Other makers like Don Grosh have been building these kind of bent-top Strats for years, but they're around twice the price and when all is said and done, they're not Strats.  Other features of this model include tobacco sunburst finish, modern C-shaped maple neck with ebony fingerboard, deluxe polished  two-point synchronized tremolo with pop-in arm, abalone inlays, 22 medium jumbo frets, LSR roller nut, locking tuners, and rounded heel and neckplate for comfortable access to the upper frets.  Electronics include a Fender DH-1 humbucking pickup with two Samarium Cobalt Noiseless pickups - al controlled by Fender's S-1 switching system (click here for info) for 10 great tone choices - via the 5-way blade and push control in the center of the volume knob.  For the full skinny, click here for Fender's site.   Includes Fender's deluxe brown hardshell case by G&G, itself too cool for words, as well as leather Fender strap with straplocks installed, all tags, manual, S-1 instructions, and tools.  Sells new for $1919 ($2400 list) but when you buy online you never know what you're going to get.  Here's a sample of two others from the web, with this one to the far right.  Assuming their using at least an average top for their web description, this one is clearly one of the nicer ones you'll find.  More importantly, this baby plays as nice as it looks, and a sweet deal at just $1299.  

1995 Marshall JTM60 1X12 Combo, (back/panel), (front panel), (top).  All-tube, feature packed combo that was introduced in 1995 and combined Marshall's classic sounds with many modern features.  The JTM60 (changed to JTM600 in '97) came in four  models:  This JTM612 with 1X12; JTM610 with 3X10's; JTM622 with 2X12's, and the JTM615 with 1X15.  All were loaded with special designed Celestion Heritage speakers.  This line was aimed at the amateur, semi-pro, and pro player, with features that made it equally well suited for the stage, practice room, or studio.  Each channel has its own 3-band EQ plus its own reverb, a deep and natural spring reverb, so you can dial in the right amount for your clean or overdrive settings.  In the rear this amp features both series AND parallel effects loops, extension speaker outs, a Master Presence control, and DI output utilizing Marshall's acclaimed speaker emulation.  The Normal channel is not your regular Marshall clean, which was pretty much "less overdrive" and actually delivers a nice glassy tone that's great for blues, or cranked up, a nice Bluesbreaker tone.  Many players will find every tone they need on the Clean channel and when pegged out, the tone is rather close to a Deluxe Reverb.  The Boost channel is loaded with the vintage drive that Marshall is famous for, and even more gain than vintage Marshalls.  It cranks out 60 watts through either 8 or 16 ohms, which means you can run this with a 16 ohm cab and get the same power output as with the internal Heritage G12 only.  Click here for a YouTube demo - it's the 3X10 version but it'll give you an idea of the range of clean and overdrive tones.  This amp is in beautiful shape; appears to have never seen a gig or logged any club hours.  The tubes, a pair of EL34's and four ECC83's, sound fine and this amp needs nothing.  For tone and features, this is a hard Marshall to beat for $599.

2004 Fender Floyd Rose Standard Stratocaster - Olympic White,  (front), (back), (headstock), (Floyd).  Higher end member of the Fender Standard Series, with all the features of a Standard PLUS factory Floyd Rose double locking tremolo and Floyd Rose locking nut.  Other specs include Alder body, modern C-shaped neck, Fender Ping tuners, and neck tilt adjustment via neckplate.  Olympic White finish is immaculate except for one tiny  touch-up on the back edge of the belly contour (shown here) and the normal small lacquer crack in the cutaway, worth mentioning only because this Strat is otherwise extremely clean.  There is also a light spot on the pickguard where the factory sticker once was.  This model features an excellent quality Floyd Rose, made by Ping (specs here), which is identical to the Original Floyd in specs and the only licensed model which is allowed to carry the Floyd Rose logo.  This guitar has an excellent setup with a classic Strat tone, plus the Atomic humbucker makes it especially good at rock/metal.  This model sells new for $699 but this one's barely played, has a great setup, and is just $499.  

1989 Zion Radicaster - Wayne Jarrett Finish, (front), (back), (headstock), (Floyd).  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 tolex hardshell case and trem arm.  See elsewhere on my site for 3-4 other nice Zions.  

Truetone M7 Acoustic Pickup System, (pic2).  Looking for a quality pickup system for your prized acoustic that won't require any permanent mods?  The Truetone M7, made in USA, is highly regarded by acoustic players, and can be installed with non-invasive Velcro.  Truetone is no longer in business but has amassed a large following of fans who were fortunate enough to acquire one of these before production was stopped.  The M7 is a 3-way system with a bridge Piezo 'pickup' which mounts on the bridge plate, plus "Hi" and "Low" mics which you place in the upper and lower bouts, respectively.  They're all mixed at the preamp which has dials for high mic, low mic, and master volume, as well as knobs for bridge plate volume and bridge plate tone.  It comes complete with everything you need to install.  Rather than a metal end-pin tube, it comes with a standard-looking endpin that houses an 1/8" jack, which you can connect to a short adapter cable that takes it to a standard 1/4" cable.  Click here for reviews on Harmony-Central.  There are very few of these in circulation and users swear by them.  Sold for $400 new, but this one's complete and a quality unit for $225. 

1996 Ibanez RG-570 - Black Pearl, (front), (back), (headstock/neck), (trem/color detail), (case).  A fine Japanese RG in collector's condition - with a quality pickup upgrade - Duncan Custom-Custom in the bridge and a '59 in the neck.  After a 12-year run beginning around 1990, Ibanez discontinued the 570, only to rename it the RG-2570 when they began production on the Prestige series.  The two models are one in the same.  Impeccably maintained for 15 years, this guitar is in definitely collector's condition with a similarly clean case, with manual, warranty, and trem bar.   The only hint of use is very slight discoloration to the bass side of the tremolo.  The Black Pearl finish is immaculate and it has a lot more "pop" than most black finishes I've seen, due to a hint of silver flake  The 570 features the same specs as the 550, with the 550 being the model with a pickguard rather than the sleeker look of the 570.  Features Basswood body, Edge tremolo, IBZ USA pickups with V7-S1-V8, jumbo frets, and a nice beveled area around the cutaway which makes playing up high a breeze.  Extremely thin and wide Wizard neck, maple with bubinga strips is a shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  If you prefer the V7/V8 humbuckers, we will swap them out at no cost, but for your Duncan fans this upgrade will save you around $200 if  you were to get a pro installation on a stock model.  Whether you're a collector or player, you'll be thrilled with the playability and condition of this one.  A true pro quality Ibanez for $550.  Includes original case in similarly clean condition, manual, warranty, and trem arm.  Note:  I have around 3 cheaper 570's in stock. 

ISP Decimator G-String Noise Reduction.  Features the great noise reduction of the regular Decimator below, PLUS has separate jacks to allow gating through your effects loop and guitar at the same time (regular Decimator is one or the other).  Running before the amp input will kill feedback and any noise from your earlier pedals while a running in the effects loop will kill noise from the amp itself, as well as any FX in the loop before the gate.  It's designed for high-gain amps so it's especially well-suited for taming Boogies and the like.  Dimensions are the same as a Boss pedal so it will work in existing Boss pedalboard.  For full specs click here; for manual click here; here's a good video demo (link) from an excellent player named Peter Glavanov.  Sells new for $219-$234 but this beautiful used one's just $149(SOLD-Nathan E 4/30).

ISP Decimator Noise Reduction, (pic2).  Many players agree this is the "Best Gate Ever" for guitar.  For a stark demo of why YOU NEED this unit, click here for a YouTube demo.  It's not in English but you only need to listen to the guitar.  The Decimator, developed by ex-employees of Hush Technologies, features the latest generation of noise reduction technology, 60dB of noise reduction, Time Vector processing, Transparent operation that will not affect guitar tone, Dynamically tracks the input signal. This thing is built for the road with a heavy polished chrome chassis, almost identical to Boss size.  If you use high gain devices such as most OD/Dist boxes, you need this unit.  Even if you have a gate built into your unit, it's not as good or transparent as this unit.  Dimensions are the same as a Boss pedal so it will work in existing Boss pedalboard.  Sells new for $129-$138 but this one's as new in the box for just $95(SOLD-Gary M 4/30).

Dunlop Uni-Vibe with Controller, (pic2).  UV-1 and UV-1FC as new condition in boxes.  The legendary chorus/vibrato and a Hendrix favorite back in the 60's.  The unique, airy rotating speaker sound of the Uni-Vibe incorporates the original circuit design using a pair of hand-matched photo resistors. Durable stainless steel housing protects the control knobs, and a silent switching system is exceptionally reliable.  Features renowned chorus and vibrato modes and a trio of knob sets for sweep speed, volume and intensity that let you tweak your sound for lush or radical effects.  The optional controller, INCLUDED as a package deal, pedal is a faithful replication of the original vintage Uni-Vibe foot controller and allows you to transfer the Speed and Effect/Bypass controls from the main unit to the foot controller. When the pedal is plugged into the Pedal Jack on the UV-1's back panel, rocking all the way back sets the Uni-Vibe to bypass (no effect). Rocking forwards turns the effect on and increases the speed.  Click here for a good YouTube demo.  The Uni-Vibe sells at discount for $229; the controller an additional $69.  Both of these are mind in the box with manuals and paperwork, power supply, and stereo connecting cable.  You can get the pair for less than the UV-1 alone.  $215 SOLD, BUT I HAVE ANOTHER COMPLETE SET IN STOCK.  

Jackson USA Select Randy Rhoads RR1 - Hot Rod Flames, (front), (back), (headstock), (Floyd), (case).  "Like new" RR1 in one of the coolest premium finishes, Hot Rod Flames, which is a rare color on a Rhoads.  The Rhoads is THE iconic Jackson.  Strats and Dinky's are much more common, but they look like 90% of the other guitars from the 80's, when Jackson was just emerging.  When you see the Rhoads, with its signature long upper horn, short lower horn, it's unmistakably a Jackson, and its lineage is tied to perhaps the era's greatest guitarist (okay, Randy and EVH).  It was Randy Rhoads' popularity with this model that, essentially, was the reason behind Jackson's success.  Randy's' first Jackson prototype was the famous white pinstriped, asymmetrical Flying V built by Grover Jackson and the boys at Charvel Guitars.  It features most of the same specs as today's model other than medium frets and a Strat style trem.  This prototype from Charvel was the first guitar labeled "Jackson".  It was originally called "The Original SIN" before Randy renamed it the "Concord", after the "new" supersonic jet.  Randy re-designed the body shape, not finding it distinctive enough from the Flying V, so he had Jackson elongate the upper horn to have more resemblance to a shark's fin.  There were several more prototypes made but not completed prior to Randy's untimely accidental death.  The last of these prototypes were the first guitars released to the public and they were named...the Randy Rhoads model.  The RR1  is the current version of the Rhoads Custom, including higher end appointments like real mother of pearl sharktooth inlays, inlaid pearloid logo, bound neck and headstock.  Other features include maple neck-thru construction with alder wings, top of the line Floyd Rose tremolo, sleek ebony fingerboard, sharp "V" shaped body, and quarter-sawn maple neck with a compound neck radius that gets flatter as you go up the neck.  Pickups have been changed to a new set of Seymour Duncan Blackouts (link), which are an improved EMG type active pickup.  Read more at Jacksonguitars.com.  This HRF finish, which has been discontinued, is very time-intensive, requiring taping off the pin-striping by hand and shooting separate coats of black, white, blue, orange, and yellow.  This guitar was collector owned and immaculate condition.  All 3 points are clean (pic), no buckle rash or pick scratches, perfect frets; just a really nice Rhoads all in all.  We have found USA Jacksons without exception, great playing guitars and this one's no exception, with low action, made to shred.  With a list of $3866 in a premium finish, the discount price on a new one is $2899 but this one's perfect and priced $1100 less at just $1799.  Includes original case with some scuffs on the outside - not as clean as the guitar. 

Jackson USA Select Kelly KE-2 - Trans Black Flametop, (front), (back), (headstock), (Floyd/Blackouts), (case).  From the same collector as the Rhoads, another fine USA Select Series, this one a beautiful Kelly finished in transparent black with flamed maple top.  For players who like the vibe of an Explorer, but find it somewhat ungainly to play, the Kelly could be just what you're looking for.  The Kelly was designed in the mid-80's as a sleeker version of an Explorer.  It was initially a custom order for Bradford Kelly of the Australian metal band "Heaven", who designed the guitar with the help of Mike Shannon from the Custom Shop.  It was, however, Marty Friedman ( Megadeath) and his signature model KE-1 who brought this model to prominence as his main stage and studio guitar.  The KE-2 has much the same features as the Rhoads including higher end appointments like real mother of pearl sharktooth inlays, inlaid pearloid logo, bound neck and headstock.  Other features include maple neck-thru construction with poplar wings, top of the line Floyd Rose tremolo, sleek ebony fingerboard, modified Explorer style body, and quarter-sawn maple neck with a compound neck radius that gets flatter as you go up the neck.  Pickups have been changed to a new set of Seymour Duncan Blackouts (link), which are an improved EMG type active pickup.  Read more at Jacksonguitars.com.  I'm usually ambivalent about a trans black finish but with nice flame, on an Explorer-ish body with chrome hardware, I find this rather striking and "right" looking.  Collector owned and in perfect condition, with no buckle rash or pick scratches, perfect frets; and a super nice Kelly.  We have found USA Jacksons without exception, great playing guitars and this one's no exception, with low action, made to shred.  This model lists at $3866 in premium finish, but for some reason the discount price is higher than a Rhoads, $3099 at online sites.  If you're into saving money you can get this beauty for way less, just $1799(SOLD).  Includes original case with some scuffs on the outside - not as clean as the guitar. 

2010 ESP Ltd EC-1000T Deluxe, (front), (back), (headstock), (features), (abalone trim).  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-85 and EMG-60 humbuckers, TonePros locking bridge and tailpiece, set-neck construction, and comfortably contoured body.  You'll note that this is the new "T" model, which offers a more traditional look and feel to the classic single-cutaway body shape with a thicker body, no waist cut, and a 22 extra-jumbo fret neck (as opposed to the 24 frets on most EC models), which combine to give it the look and feel of the 'Burst you know and love.  Visually, it doesn’t get any better than this with a mirror gloss black finish and more Abalone trim than on any other model I've seen - Abalone adorns every edge of the top including body, neck, neck joint, and headstock.  Abalone flag fretboard inlays with the model name at the 12^th fret.  This guitar is immaculate with a setup that rivals any ESP I've had.  With a list of $1285 these sell in stores for $849--without case--which is a bargain for a guitar of this quality.  Better still, one that is dead mint, for just $699 AND it includes a new SKB-56 case with TSA latched shown here which sells new for $139.  

Budda BudWah.  Custom conductor inspired by the vintage Fasel inductor producing the midrange honk of vintage wahs without the top-end harshness.  At bass settings, the tone is thick and honky while retaining clarity. Even when you accentuate the highs, its roll-off frequency ensures the tone isn't piercing like many wahs. A tight and focused tone sweep produces an outstanding vocal-like quality. Circuitry features a hard-wire bypass; custom coil inductor; full-ground plane board for noiseless operation; and a beefy, reliable switch.  No box but immaculate condition with plastic still on the bottom plate.  Killer wah for $119(SOLD-Gary M). 

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(HOLD-Eric in NO 4/430).

AKG M80 MK II Semi-Open Studio Headphones, (stock pic).  New in the box.  The AKG circumaural M 80 MkII headphones are a semi-open circumaural design with a 1.57” driver. Features an adjustable headband, leatherette ear pads, and single-sided cable. 18Hz-20kHz frequency response offers deep bass and sparkling transients - excellent choice for home studio on a budget.  With a $179 list price, these are a good buy at $49.99.  

1997 Gibson ES-335 Dot Figured Top Gloss Finish, (front1  front2), (back1  back2), (headstock), (case).  Exceptionally nice flamed maple on this one - very consistent across the top and back - plus top and back are matched perfectly.  Figuring looks great from all angles.  Perhaps more importantly, this is one of the best sounding Dot's we've ever had.  Acoustically, it just sings and, the biggest test of all, Martin says he would buy this if it fit into his budget, and there's very few guitars that impress him this much.  When it was 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 near 30 years - and 50 years since the guitar was first released.  Features include semi-hollowbody design with center block for increased sustain and reduced feedback, dual '57 humbuckers, thin tapered 60's neck, body and neck binding, and Grover tuners.  Gibson has produced several models the past few years but the figured top with gloss finish is at the top of the price list - with an even higher price for blonde finishes.   For years blonde finish (aka Antique Natural) has been an upcharge as they tend to use choice woods for this color.  Current list on a blonde aka "Antique Natural" Dot is $5292, (over $1K higher than Heritage Cherry or Sunburst) discounted to $3399, and if you look around the web, you'll see some rather unimpressive maple on some Dots.  Collector owned since new, very near mint condition, zero fret wear and a perfect set-up and a fine tone with very good sustain.  This one is clearly a cut above average, from a great era from Gibson, and $1100 less than a new one at just $2299(HOLD-Mark T 4/29).  Martin says it better sell quick, or he's going to find a way to finance it!   Includes original brown case with pink lining.  

L.R. Baggs Element Active Pickup System, (stock pic).  Simple active under-saddle system with preamp built into the end-pin jack and a volume control which you can locate inside the edge of the soundhole.  Its broad surface contact area gets the most out of your acoustic. Its Class A endpin-mounted preamp has plug-in-and-play convenience, so you never have to fumble around for the on/off switch as it turns "on" as soon as you plug it in.  Installs quickly and easily and doesn’t require modification to your guitar.  Includes battery bag which is mounted with Velcro or double-sided tape (included).  Quick and easy, sounds great, and just $89.  Free installation on some of our acoustic guitars...inquire.  

D-TAR "Solstice" Two-Channel Preamp/Mixer, (pic2), (close-up front/back).  D-TAR are experts at acoustic amplification.  D-TAR stands for Duncan-Turner Acoustic Research, and marks the union of Seymour Duncan with noted luthier and acoustic amplification expert, Rick Turner.  The Solstice is a combination two channel preamp and mixer designed to handle a variety of inputs.  It offers 1/4" and XLR connectors on both channels, plus you can use both channels together for stereo operation. It can boost a signal up to 24dB, and includes a phase reverse switch, mute switch, tuner output (not affected by the mute switch), and an effects loop for inserting external processing or just taking an independent output.  You can use it with whatever pickup/sensor system you're using or D-TAR also makes a fine under-saddle pickup which is very nice.  The Solstice won Guitar Player's "Pick Award" - for a GP mag review, click here - or for D-TAR's site, click here.  This unit sells new for $329 but this one's in perfect condition in the box with manual and power supply for just $250.  

D-TAR Timber-Line 18V Acoustic Pickup, (stock pic).  Timber-line is a piezo cable pickup coupled to an 18 volt, low-noise, high input impedance preamp with twice the dynamic range of 9-volt preamps. The increased dynamic range and adjustable bass trim pot gives musicians a more natural and full sound. Timber-line is the perfect piezo pickup system for musicians who want a more complex signature from their acoustic guitar.  The Timberline was DTAR's first design in the highly competitive under saddle pickup race, and it was recognized as not being just another saddle transducer/preamp. The coaxial element is of the same family as the Highlander IP1, sensing not just the pressure of the saddle but also the vibration of the whole bridge. This results in a truly complex tone. DTAR's 18-volt preamp first saw wide acclaim with this model and it's used in some high end guitars such as the Renaissance RS6. If you're looking for rich, dynamic tone, you should love the Timber-line. For all the technical info that explains why this is a great system, click here for Duncan-Tuner's site.  Easy installation with velcro-attached 9V batteries; set in the element, insert the end-pin/preamp, and you're up and running.  This is a fairly rare model and a excellent sounding unit for $79.  

1984 Kramer Pacer Special - Candy Apple Red, (front1  front2), (headstock/profile), (back), (Floyd/controls), ('84 features).  Simply beautiful late model Chicken Beak headstock in a rare single-humbucker Pacer (Special).  It has all the correct early '84 features including truss rod notch on body, barrel output jack, Schaller nickel tuners, large flat strap pins, C-serial "Made in USA" neckplate, original model Floyd Rose, and satin-finished neck with plain "Kramer" logo.  Pickup is an early white-label Duncan Distortion and very versatile for a since humbucker, with a 3-way switch to chose regular humbucker in series, single coil, and humbucker in parallel.  The difference in the two humbucker settings is subtle, but it's there.  Stock pickup on this guitar would have been a Schaller and if you want it swapped out, I have some in stock and will swap at no charge.  Neck is the satin finish that Kramer used a small number of '84's with the corresponding logo with simply "Kramer" and no model or patent number.  If you're looking for a wide neck, this is one of Kramer's 1 3/4" nuts (pic), as wide as they come, but it's a shallow neck with a flat back so its not excessively "large."  As shown in this pic, it has a nicely figured rosewood fretboard with polished frets.  This Pacer is in beautiful shape with no scratches or buckle wear, very clean Floyd, and perfect frets - this guitar has seen very little playing time.  There are only a few flaws worth mentioning - the usual discoloration to the maple neck which has a sealer coat only, but since most players prefer the feel with some natural oils in the wood we'll only clean it upon request.  It also has one finish check on the front of the body, visible from certain angles.  It was hard to get it to show in pics but here's the best I could do (pic).  The trem cover has two cracked corners but these are readily available on Ebay or through the Kramer Forums.  By the way, by far, the best site for detailed info on old Kramers is VintageKramer.com.  For cases, I will ship in an old black Tolex case, much like an 80's Kramer, or a new brown case with crushed gold lining (shown here).  Also includes trem arm. Nice early Pacer for $699.

1985 Kramer Vanguard, (front/back), (headstock), (pickups), (Floyd Rose), (Schaller PU's), (original case).   This is an absolutely *killer* playing guitar and like the Pacer above, definitely clean enough for a vintage Kramer collection.  Originally released in 1981 as a Flying V shaped body, thus the "V"anguard name, in 1985 it was changed to the popular half-V shape popularized by Randy Rhoads and his signature Jackson model - while the headstock changed from the chicken-beak, AKA "Classic" to the more popular hockey stick seen on this model.  I believe this to be the most desirable year with all the best features, i.e. Rhoads shape with hockey stick, dual hums, and Floyd - and '85 was the only year it came with these features.  In '86, its last year, it was produced with the pointy headstock.  Finished in Metallic Blue with a gloss finish that still shines like new, it's also equipped with the original Gotoh tuners with the set screw at 6 o'clock angle.  Other notable features:  headstock has the brown stain around the edge, found on around 1/2 of the necks from the hockey-stick era; Floyd is in very clean shape; Schaller pickups which I believe are "Golden 50's", sound excellent; frets are in great shape and action is low from the first to the top fret.  Worst flaw (shown here) is a rub on the end of the headstock, not visible from the front, only worth mentioning because the guitar is otherwise in spectacular shape.  Even the points, notorious for having finish chips even on a lightly played example, are in clean shape (shown here).   Overall, in extremely clean shape, around an 8.5 or a 9+ on a vintage scale, with action as nice as any Kramer you've seen.  I've seen people asking crazy money for this era Kramer but this one is priced within the range of more players and it would be great to see this fall into the hands of a working guitarist, someone who can appreciate it night after night.   For a vintage Vanguard in this condition, a very nice buy at $699.  Includes original case, trem arm, and warranty card.

1997 Budda Stringmaster 30W 4X10 Combo, (front panel), (back), (top), (back panel), (chassis), (acc.).  I have a good selection of early hand-wired Budda's in stock including a Verbmaster 18 4X10 combo, rare 6L6-powered 30W Verbmaster 2X12 combo, early hand-wired Superdrive I 30W head with 2X12 cab from 2000, and now this very rare Stringmaster.  I am fairly certain that this is the first Stringmaster I've ever had.  This one is serial SMC-0038, the 38th built, which is written on the back of the chassis. You'll notice some other writing there, under the footswitch inputs, "Jeff Bober 2010", which Jeff wrote when he gave this amp a full tune up less than 2 years ago.  A little history on these great amps:  Back in the day Jeff Bober had a small company that did repairs and mods, and in the mid-90's started building his own killer little amps called Budda, all hand-wired and built in small numbers.  His first model, the Twinmaster Ten, a screaming little 18-watter, is credited with starting the low power craze.  Players realized that a low power amp running wide open, has much better tone than a 50W model turned down.  Jeff eventually sold his company, but stayed on at the Maryland factory, building both his original designs plus the new "Superdrive" series, which were great amps but not hand-wired.  The hand-wired series, which offered little profit margin, soon fell victim to corporate thinking and were discontinued.  The Stringmaster was a fairly complex amp for Budda, which made its name with just 3 knobs and no frills.  The Stringmaster was a true 2-channel amp, a first for Budda, with a volume control for the clean channel, plus volume and level for the high gain channel, with 2 boost positions for even higher gain.  The two channels shared Bass and Treble controls, as well as a front panel Effects Mix knob, which makes a lot more sense than putting it in the customary spot next to the effects loop on the back panel.  Tube complement includes 4 EL-84s, 3 12AX7s, and a 5U4 rectifier tube.  The back panel features 2 effects loops, an active loop with separate send and return level controls, as well as a passive loop, as well as a Slave output with its own level control.   It also features main and aux speaker outputs, and here's the great part, which are *footswitchable* via the 3-button footswitch.  If you want a 2X10 open back and a 1X12 closed back, you can switch cabs while you're playing to select your choice of cabinets.  Both speaker outputs have switches to choose 4-8-16 ohms.  This normal channel has sufficient headroom to get a loud clean tone, but it's still very expressive and responds to touch very well.  The Hi-Gain channel breaks up much earlier and although it doesn't go into Boogie territory, has more than enough gain for most players. It's a very sweet distortion which will lend itself to most playing styles.  I always warn customers about the power of Budda amps:  their 18W sound like most 40-50 watters; their 30W sound like a 75-100 watts.   It's a quality made amp, very neat inside with a lightweight birch cabinet.  Cosmetically it's in beautiful shape for 15 years; tolex, front/back panel, grill, are all in clean shape. Worst flaw is one of the chassis screws in the top is non-original.  Budda hand-wired amps were always fairly pricey and this model sold for around $1800 in the late 90's.  For many players, this will be the ultimate in combo amps and a very nice price for an amp of this quality at $1299.  Includes manual, footswitch, and footswitch cable.  

Fender Geddy Lee Signature Model Jazz, (front), (back), (headstock), (features), (straplocks), (deluxe gigbag).  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.  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, 34" scale, 20 medium jumbo frets with 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 other than the neckplate being slightly bent (shown here) from over-tightening and it looks like somebody wore a buckle perhaps once or twice while playing it.  No issues whatsoever, great neck, very comfortable setup.  With a $1399 list, you'll see these everywhere for $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 $649.  Includes Kaces deluxe gigbag with two storage compartments and wide, well-padded shoulder straps.  

Daisy Rock Tom Boy,  (front/back), (headstock), (thin, rounded heel).  Never retailed, unplayed, immaculate.  Don't let the name fool you.  Daisy Rocks were originally aimed for the "girl" market but there's particularly girlish about this guitar.  The Tom Boy closely resembles a Tele Custom in style and function with a traditional Tele pickup and bridge plate plus a PAF style humbucker in the neck.  This model has more sonic versatility though as both are humbuckers with single coil capability, each with a slider switches for choice of humbucker, single coil, or off.  Pickups are very good quality Duncan Designed Alnico humbuckers.  Other features include a thin and lightweight agathis body, maple neck and fretboard, 24-3/4" (Gibson scale) with a slightly narrow neck make it easier for smaller hands to get around on.  Also features string-thru body construction, Grover tuners, plus dual volume controls and master tone.  These pickups do a good job with a wide range of tones, from crunchy and heavy to clean and twangy.  With a list of $499 the Tom Boy sells in stores for $349.  This one's new, old stock, and comes with a real set-up for just $279. 

Egnater Tweaker 15W All Tube Head, (top), (back), (tweaker switches).  Don't let the 15 watts fool you, this little booger is loud.  Very compact and extremely versatile, this head is engineered to own it's model name.  With 5 mini switches to change the character of the amp, in addition to Gain/Master and EQ knobs, this baby is a tweaker's delight letting you dial in anything from a smooth jazz tone, to smooth overdrive, to all-out saturated metal.  The Tight and Bright switches shape the low and high end from soft and smooth to in-your-face aggressive. The Gain switch goes squeaky clean into Boogie territory.  The 3-way EQ switch selects sparkling American to classic British to the Vox AC tone.  The Classic/Modern voicing selects either soft and smooth or hard-edged.  With dual 6V6 power and a trio of 12AX7, this amp is tube all the way, and responds to your touch in a way only a tube amp can.  Other features include buffered effects loop, international power switch, 4-8-16 ohm jacks, and dual output jacks.  Other than a tolex crack on the bottom corner, this amp is in perfect condition and a sweet little monster for just $275(SOLD-Martin).  

2004 Ibanez SZR520QM - Dark Honeyburst, (maple "binding" & cap), (front), (headstock), (back), (pickups/bridge).  Mint condition and a great value in a set neck Ibanez with a full maple cap.  These earlier Korean SZR's are some of the best values in the Ibanez line.  While they continue to build decent guitars in China and Indonesia, close inspection will show the superiority of this guitar when compared to newer models.  The SZR520 features a set-neck design with a mahogany neck and mahogany body with quilted maple top.  Unlike most guitars in this price range, the SZR520QM has a real maple cap (shown here) that's around the same thickness as a Les Paul in the center, with the edge of the body left unstained, like a PRS, for maple binding.  The body is slightly thicker than other Ibanez models and it's a tad heavier, but still falls easily in the medium weight range.  Other features include a simple fixed Gibraltar bridge strung through the body, unstained edge body binding, bound neck, bound headstock, nickel hardware, SZ special fretboard inlay, pearloid logo, and a 25.1 scale rather than the 25.5 found on most Ibanez.   On this year Ibanez used Duncan/Ibanez pickups with the neck an Alnico V bar magnet with 8.13K output topped off with Nickel Slotted Screws and Nickel Studs - and the bridge a Ceramic bar magnet with 17.08K output and Trembucker spacing topped off with Nickel Slotted Screws and Nickel Allen Screws.  They're wired with the middle position using only the inside coils, for a pseudo-Strat tone, with the normal bridge only and neck only in the other two positions.  With a list of $732, these sold in stores around $499.  This one is immaculate, set up to perfection, and a simply beautiful guitar for just $339.  

2007 Crafter SA-QMOS Slimline Acoustic Electric with Upgrades, (front  front2), (back), (headstock), (upgrades), (bound body/neck), (case).  Very highly regarded copy of the Taylor T5 with playability on par with the best T5's I've had - plus mods to the electronics that make it much more versatile than a stock model.  As shown in this comparison pic, the stock model has only a neck lipstick pickup and saddle piezo pickup, with preamp controls on the top/side of the guitar.  We have added a bridge pickup, plus volume, tone, and 3-way switch (up=neck, middle=both, down=bridge) for the magnetic pickups - and incorporated this into the preamp so when you slide it toward the "Lipstick" setting, you can use any combination of the two pickups with its own control for level and tone.  The result is a guitar that's twice as versatile as the stock model.  The stock electronics are quality stuff with a L.R. Baggs Element saddle transducer, Kent Armstrong lipstick neck pickup, and a blend fader to mix the acoustic and electric tones.  The original output jack has been bypassed and plugged, with a better quality jack handling all the sound output.  The preamp also includes controls for volume, mute, phase, bass, middle, and treble. Other features include finely quilted maple veneer top finished orange sunburst, solid back and sides, sound chambered body with dual bound f-holes, mahogany neck, Indian rosewood fretboard with mother of pearl inlays, 1 11/16" nut, 25 1/2" scale, 18:1 deluxe tuners, Indian rosewood bridge, gloss finish, and dovetail neck joint.  This guitar isn't mint, but the worst flaw is just some buckle scratches on the back (shown here), with no cracks or structural issues.  Frets are perfect so I don't think it's seen much actual playing time, just a careless owner.  This guitar sounds fantastic with quality acoustic tones from the Baggs Element and electric tones from a Tele style lipstick pickup that's great for country or jazz, and a GFS Dream 180 (link) that can handle your harder rock tones.  There isn't any feedback issues with the magnetic pickups except in extremely high gain settings.  Overall, this guitar performs flawlessly.  Most remarkable is the setup Martin put on this guitar.  The action is as low as it gets with no dead spots anywhere.  This is a great neck.  A stock SA-QMOS will run you $839 ($1199 list) and while this one definitely doesn't look new, we put around 4 hours of bench time in outfitting it with mods that will make it more desirable to the pro player and I can guarantee you won't find a better playing one.  I consider it an exceptional buy at $639.  Includes a clean original brown case.  

PRS Limited Edition SC-J Thinline, (front  front2), (back), (headstock), (3/4 view), (side), (case).  A real stunner and probably the best thinline semi-hollowbody I've had in stock.  Called the "Single-Cut Jazz", which is somewhat of a misnomer since the guitar is easily at home playing rock, country, or rockabilly, it's a limited model with only 300 made, of which only 200 were produced for the USA.  Stunning features include gold hardware, Madagascar ebony fingerboard and headstock veneer, gold mother-of-pearl "New" bird inlays, classy trapeze-style tailpiece, and select maple top and back.  It sounds almost perfunctory, but, honestly, the pics do not do this guitar justice.  Features include highly figured select-grade maple top and back with a mahogany middle, mahogany neck with a Wide Fat carve and 10" radius, 25.12" scale length, Madagascar ebony fretboard with Gold MOP "New" birds, PRS signature headstock inlay, gold hardware, ebony trapeze style tailpiece, Grover Imperial tuners, special Archtop Treble and Bass pickups, and simple electronics with a 3-way - volume - and tone. For a few sample of the tone check out this one with an overdriven amp, this one layered over a clean loop, and this one for a rockabilly sample.  With a list price of $8000, the best new price on these is $5200.  This one's dead mint - not a hint of use - and just $3800(SOLD).  Includes original case and all the case stuff.  

NOTE: This DOES include the footswitch and manual:  Bogner Alchemist 212 Combo, (panel & effects), (back), (speakers) (footswitch).  Bogner brings their innovative engineering and tone to the masses with a combo that lists for an un-Bogner-like $1950 retail.  An absolutely killer sounding all-tube combo and a quality studio/club amp with 20/40 watts through a great choice of Celestions, a G12M 25W Greenback and a G12M 30W Heritage.  This amp is capable of producing a wide array of tones and is especially good at rock/metal.  It's not limited to that genre, but there's plenty of onboard tweaking for higher gain tones.  Called a modern take on a vintage design, it does produce sparkling and articulate cleans that will work for jazzy tones and 50's rock.  It also excels at touch sensitivity as well as bright and colorful crunch.  It achieves this tone via a 6L6 class-AB power section with five-12AX7 preamp tubes and a pair of premium Celestion speakers.  It's a Alchemist has a 2-channel design, each channel with its own voice and identity.  Beginning clean and fast, featuring an open top-end and tight bottom-end, Channel 1 opens gradually to present simmering blues tone.  Advancing toward saturation, Crunch mode adds the perfect touch of nastiness with added pick response and increased tonal complexity. Channel 2, achieves critical mass with the famous white-hot Bogner gain that's creamy, modern and screaming with sustain, with everything from Brit rock to modern metal. Plus, with variable Bright settings, each channel can be customized to match the tone of your guitar and rig.  Its selectable power section, from 40 to 20 watts doesn't simply cut the power, and the two settings have their own unique voice.  The 20 watt is called the "Variac" setting, where the amp changes its harmonic complexity and feel to capture the EVH Brown sound.  It also features onboard digital reverb and delay, each with a 3-position switch to select 3 unique effect voicings.  There are a bunch of YouTube demo's; here's a good one from Gearwire (link).  This amp is "as new" and has seen less than an hour's use.  With a list price of $1959, it's a killer amp for $850 or, of course, guitar trades.  Ships in original box and packing with manual, footswitch, and cable..  

1984 Takamine GX-100TB Explorer Style, (front/back), (recessed knobs), (headstock), (trem), (beveled edges), (neck-thru heel).  Fairly rare bird, only the 2nd one I've had and like the last one it has a great neck that sets up with action that's so low the strings can almost rest on the frets, and no fretting out on bends anywhere.  Little info is available on Tak's electrics other than they produced a line of electrics briefly in the 80's, consisting of guitars with body shapes that were based loosely on an SG, Melody Maker, Strat, Destroyer, and a crazy shaped, highly modified explorer style of their own design.  This GX-100 is obviously based on the Gibson Explorer, although with a more comfortable beveled edge and a slightly scaled down body size.  These were built in Japan's Matsumoku factory with typically superb 80's Japan quality.  It's your basic dual humbucker with a 3-way, volume, and tone, and sounds very good with nice sustain and a fairly beefy tone.  I don't know what the body wood is but it's an extremely light guitar so I doubt that it's mahogany.  Cosmetically it has plenty of dings in the body but no cracks or structural issues.  If you're looking for a comfortable explorer style with quality construction - or a fan of 80's Japan guitars - this is one phenomenal player for $299.  

1997 Hamer Sunburst Flat Top, (front), (back), (headstock), (short heel), (barrel jack).  Excellent example of the older Korean Hamers, which were leading the pack in the 90's in building nicely built set-necks that played as well as their expensive USA counterparts.  Hamer moved this series to China in the 00's but if you can find these older models, you're going to be getting a much better guitar.  The set up on this guitar is phenomenal and the stock Duncan Designed humbuckers, which are likely HB103 treb and bass, do not need upgrading to play a pro gig.  Cosmetically, it's not a near mint piece with light scratches, a small paint chip on the headstock shown above, and strap pin is currently located at the end of the upper horn but we can change to one of two previous locations, which have been plugged and lightly finished, if desired  (pic here).  For a player on a budget, if you don't mind a guitar with a few cosmetic flaws, I guarantee you'll love the tone, feel, and playability.  Includes excellent quality Canadian PRS-style case (shown here) for $319 or $269 for the guitar alone.  

M-Audio Keystation Pro 88 - click pic to enlarge, (detail-1), (detail-2), (detail-3), (box/acc.).  Gone are the days where you had to spend $3K for an 88-note mother board with semi-weighted piano action.  There are a number of inexpensive alternatives on the market now with this M-Audio model giving you the best bang-for-the-buck of any controller I've seen.  For performance, use it as a mother board to drive your sound modules or smaller performance boards; in the studio, this is all you need to create an incredible sound palette.  It includes Ableton Live Lite music production software, so you can make music right away.  Description:  USB Bus-Powered Master MIDI Controller with 88-note hammer-action keyboard, 59 MIDI-assignable controllers - 4 zones, USB bus powered and class compliant, multiple dynamic velocity curves.  This is the first USB master MIDI controller designed specifically to let you perform, program and mix music directly with your computer.  Regardless of whether you’re a pro or hobbyist, you'll appreciate the expressiveness of the 88-key hammer action - and the complement of and incredible 59(!) assignable controls delivers more than enough tactile command over your favorite soft synths and digital audio sequencers like Reason and Live.  This bus-powered master controller unifies everything you need to experience the full potential of today’s virtual studios—and at the right price.  M-Audio discontinued this model but the new "Oxygen" model which replaced it no longer has the LCD window and less controls, sells new for $599 - check out comparison pic here, with the new model on the bottom.  This board is "as new" with perhaps 5 hours use, and priced at and a killer deal on an 88-note controller with semi-weighted keys at $289.  Ships in original box with manual and software.  

Line 6 POD XT Live Gigbag.  Also fits the X3 Live.  Heavy duty bag that features a heavily padded compartment for your POD and a front pocket with plenty of room for your power supply and cables.  Rip resistant, water resistant fabric has an embroidered Line 6 logo on the front pocket, an easy-to-carry handle, and an adjustable, removable shoulder strap.  Can also be used to transport a rack preamp such as the T.C. Electronics G-Major (in stock).  It's basically new, purchased just prior to trading in and offered in mint condition.  New cost is $69 but this one is "as new" and just $39.  

2005 PRS SE Standard - Flat Black, (front), (back), (headstock), (gigbag).  I've mentioned it many times, but PRS's import line, the SE, is as fine as they come, with quality control that exceeds some USA brands.  The SE Standard is a no-frills double-cutaway that's comfortable to play with clean lines that are unmistakable PRS.  Features include set mahogany neck with rosewood fretboard and moon inlays, wide-fat neck carve, PRS wraparound bridge, PRS non-locking tuners, 25" scale; PRS design treble and bass humbucking pickups, volume and tone knobs, three-way pickup switch, finished in in Flat Black.  This model was only made for around 3 years, '05-'07, and came in matte finishes only.  At $638, it retailed for $40 more than the original SE Soapbar.  Other than a glossy area under the pickups from hand contact it's in very clean shape and has a low setup that will beat just about anything in this price range.  With the super quality PRS gigbag it's a nice guitar for the intermediate player at $339(HOLD-Bill H 4/19).  

2007 Martin Custom 000, (front), (back), (headstock), (detail), (case).  Gloss finish body.  These "Custom" Martins can be somewhat of a mystery.  Some are simply one-offs, where a customer orders a specific guitar, spec'd out to their wishes.  Others are small runs for individual dealerships, where they might order a few dozen or more, of a specific model.  The most obvious difference between this guitar and the regular 000-15M is the finish, where the regular 15M features a satin finish, rather than the gloss lacquer on this guitar.  On the last Custom I had, an OMC Custom, the gloss finish was an $800 add-on, although it appears as though Martin has dropped the cost significantly.  In addition to the gloss finish, however, this guitar also has a one-piece back, usually an expensive upgrade, which I haven't seen on any other of the 000 Customs.  In addition, it looks as though it's never had a pickguard installed.  Like the regular 000-15M, it  features all mahogany construction.  Mahogany is a great wood for just sitting around playing by yourself.  It's a warm, cozy tone that covers lows-mids-highs without discrimination; very well balanced and an excellent strumming guitar.  While this wouldn't be the best for fingerstyle, the smaller body seems to contribute to better note definition than a mahogany in a dreadnought size.  Other features include 000 size body of all solid mahogany, neck meets body at 14th fret, 1-11/16" nut width, 25.4" scale length, raised gold-leaf logo, dot inlays, herringbone rosette, sealed Martin tuners, gloss finish top/back/sides.  Cosmetically, nice shape with just light players wear but we'll buff it out at no charge.  The set up is great, with very comfortable action up and down the neck.  With a stock Satin finish 000-15M running $1149, here's a nice Custom model with gloss finish for less.  Just $899(HOLD-Matt 4/24) with Martin wood/Tolex case with green lining.  

ANOTHER ONE!  Dean Markley RM-40-DR Rackmount Head, (panel), (back).  Just like the RM amp I sold last week, but this is the 40W version with dual channels with two rows of controls, as well as FET/Tube preamp switching.  The RM-40-DR is a fairly versatile and, in the 80's, fairly innovative amp by virtue of it's 19" 2-space rackmount construction.  The amp is fully self-contained, including preamp, power amp, and reverb.  If you're building a rack system, just add this as the heart of the system, and if you want to use any outboard effects just run them through the effects loop.  The amp features dual channels, each with Preamp, Master, Bass, Mid, Treb, Presence, and Reverb.  Each channel also features the preamp (gain) switchable between a single 12AX7 tube (warmer tone) and and FET, which allows it to go from clean to cream to crunch via its valve and FET pre-amp circuits.  EQ is active so every knob has a very pronounced effect on the tone with even a slight tweak.  Front panel controls also include Channel select switch (also selectable via footswitch) and Standby switch, which is unusual on a solid state amp.  The back panel features an effects loop and Power Amp-In and Preamp-Out jacks, plus footswitch jack for a 2-button footswitch to control channel and reverb.  Built in the 80's, this amp is referred to as a hybrid, since it uses a 12AX7 in the preamp, and is actually a good sounding amp with an excellent clean sound with plenty of headroom, decent sounding reverb with as much "wash" as you'd care to have, and an overdrive channel that's not unlike a tube tone, especially as you crank the volume level.  The EQ controls are very strong and can give you as much mids as you need, and the ability to give you too much bass, should you like that sound.  For a solid state power amp, these 40 watts are not overrated and it can keep up with a drummer's volume.  It's very lightweight at just 10 lbs. and any easy solution for replacing a dead amp in a combo, as long as there's 2U space available, or as a standalone head or, of course, as part of a rackmount setup.  Priced with original 2-button footswitch (shown here) at $129(SOLD-Rob W 4/15).  

2011 Taylor Doyle Dykes Signature Model (DDSM), (front), (back), (headstock), (sides), (preamp/saddles), (appointments), (case) and (box).  Really stunning Taylor in dead mint condition.  Signature model for one of the best finger-style guitarists of our time, Doyle Dykes.  The DDSM features solid Sitka Spruce top with highly figured big-leaf maple sides and back, in a Grand Auditorium size with a slightly shorter scale, 24 7/8", better suited for finger-style playing.  Entire soundboard and soundhole is adorned with colorful Abalone inlay, in addition to pearl/abalone white rose peghead inlay that's very striking and really sets this guitar off.  Equally breathtaking, is the inlaid DDSM rose which adorns he headstock, with rich, vibrant color.  Paying homage to Doyle's hero, his guitar is outfitted with mother-of-pearl "Chet" style thumbprint fretboard inlays on an ebony fretboard.  Preamp is the L.R. Baggs Doyle Dykes Signature System with individual transducers, one for each string, which provides an excellent tone through acoustic amp or straight into the board.  These come in various colors, many in black, but if you're going to pay this much for a guitar, why not get a color that shows off the beautifully figured maple?  This is one of the finer Taylors I've had--and I've had many fine ones.  For full specs click here for Taylor.  Whether you're a collector, or a finger style player looking for one of the ultimate working guitars, you can't go wrong with this one.  List on new is $4998, discounted to $3748-$3829.  This one is in untouched condition, with unsigned warranty, luggage case, and all paperwork, for $1000 less than new, just $2748.

Quinn Amp Fuzz Petal Fuzz.  Here's a great, no-frills, song demo with the Fuzz Petal (link), using just the guitar's volume control for the cleaner passages.  I think it does a great mellow Eric Johnson type fuzz but depending on your touch, can be much grittier if desired.  Click here for Quinnamps, for specs and demo's.  Especially on boutique pedals, don't buy new at $179 when you can have this super clean used one for $125.  

RFX PEDALS:  

• RFX Twin Spin Dual Chorus RFX962, (pic2).  One of the coolest chorus pedals I've had, and this is only the 2nd one in 17 years.  The Twin Spin features dual chorus engines, each with its own Rate control.  Dual pedals are used to engage your choice of Speed-1 or Speed-2 as a simple on/off or, and here's the really cool part, switch from Speed-1 to Speed-2, which, depending on how they're set, does a great Leslie emulation. Like a Leslie, the change isn't instantaneous and takes a few seconds.  While the it's a good sounding chorus pedal in its own right, it's also the best deal in a Leslie rotating speaker type effect.  RFX pedals are made in the USA. They all have a specially designed output that will drive standard pair of headphones for personal monitoring as well as FET Clickless switching, heavy gauge steel chassis, dual operation, LED status indication, and easy access battery compartment. Mint in the box with manual for $75(Tent. Hold - Scott D, local).  Oddly enough, this, the coolest of the RFX pedals, has been discontinued.  

• RFX Phase O'Vibe RFX920, (pic2).  Another dual-purpose pedal, the RFX920 features a six-stage regeneration circuit for a rich, full sounding phaser effect, and with the touch of a switch, it becomes a smooth, classic vibrato effect.  RFX pedals are made in the USA. They all have a specially designed output that will drive standard pair of headphones for personal monitoring as well as FET Clickless switching, heavy gauge steel chassis, dual operation, LED status indication, and easy access battery compartment.  .Mint in the box with manual for $55.  

• RFX Shockwave Guitar Preamp RFX950, (pic2).  The RFX950 is a preamp that can be used directly to a recording device or mixing board, or through any standard guitar amplifier. The Shockwave has dual in-line gain stages, with the first channel cascading into the second.  Each channel has its own Drive and Output level, with shared Edge and Presence controls.  Build in speaker emulation switch lets you chose 10", 12", or 15" speaker emulation.  RFX pedals are made in the USA. They all have a specially designed output that will drive standard pair of headphones for personal monitoring as well as FET Clickless switching, heavy gauge steel chassis, dual operation, LED status indication, and easy access battery compartment.  Mint in the box with manual for $55.  

• RFX970 Vibraflange Dual Operation Flanger, (pic2).  The RFX970 is a dual operation flanger with one mode as a standard flanger effect and the other having the dry signal removed. This provides a more dramatic, detuning effect useful for setting your sound apart in a mix. The 970 also sports an internal noise gate for eliminating any noise created before the unit.  RFX pedals are made in the USA. They all have a specially designed output that will drive standard pair of headphones for personal monitoring as well as FET Clickless switching, heavy gauge steel chassis, dual operation, LED status indication, and easy access battery compartment.  Mint in the box with manual for $55(Tent. Hold - Rick S 4/25).  

A Few Pickups:

• Joe Barden Bridge and Duncan Vintage Stack Tele STK-T3B.  Vintage voiced but hum canceling.  Specs here.  This pickup runs $72.99 new - get this clean one  for just $49.99 (does not include bridge).

• Joe Barden Tele Bridge.  Chime with compensated brass saddles.  Includes 4 mounting screws.  Click here for specs.  $45 (does not include pickup). 

• DiMarzio DP417 Area T Neck.  A quiet, stacked humbucker, for your Tele neck position.  Click here for specs.  Clean shape, $55.  

• DiMarzio DP223FCR PAF 36th Anniv. F-Space.  Custom made as a Les Paul replacement.  4-conductor for multiple switching options.  Alnico 5 magnets, vintage output of 8.6K.  Specs here.  Mint in box for $46. 

• SEYMOUR DUNCANS - I have a lot of clean used ones in stock, many aren't on the site.  Inquire if you don't see it.  

• Seymour Duncan '59 Bridge.  Late 50's vintage tone.  Click here for specs.  $83 new, this clean used one's $25 cheaper - $58.  

• Seymour Duncan '59 Bridge and Jazz Neck.  Click here  and here for specs.  $ $156 new, this clean used pair is $109/pair.  

• Seymour Duncan Stag-Mag Zebra.  Duncan Pro Shop model.  Click here for specs.  $73 new, this clean used one's $49. 

• Seymour Duncan Classic Stack Plus - Strat Bridge.  $77 new, this clean used one's $49. 

• Kramer Pacer Humbucker Set.  Very clean set of Schaller for your American-made pre-'85 Kramer Pacers, Vanguards, Condors, and Voyagers.  Includes pickup rings and height screws.  Tone is said to resemble a Duncan Custom, characterized by a very 'brown" sound.  Pole pieces on these are notorious for rusting but these are clean all over.  $175/pair. 

• Gibson Burstbucker Pro Set - Gold.  Removed from guitar shortly after purchase so nearly no playing time.  Shown in P94 boxes but pickups are Burstbucker Pros.  These are $360 set new but this used set is perfect and just $234/pair.  

Dr. Z Monza 1X10 Combo - Surf Green with Brake Lite, (panel), (top), (back), (chassis), (optional cover).   2010 model in mint condition.  The ultimate "grab and go" combo that's small in size; huge in tone.  In typical Z fashion, the Monza is a beautifully simple, with a minimal circuit so nothing extra is in your signal path except pure tone.  Hand-wired circuit and obviously overbuilt, using the best quality components, the Monza was presented as "Billy in a Box", referring to the very Reverend Billy Gibbons whose pinch harmonics and violin-like sustain are cornerstones for this amp.  This amp is indeed geared toward rock music and in addition to nailing ZZ Top tones, it nails old AC/DC, Santana, Allman Brothers, or other classic/hard rock tones.  Although the back panel reads "30W RMS...4 ohms", from my experience the Monza's are all 20 watts so the 30 rating is a mystery.  The Monza features simply Volume, Drive, and Tone knobs, but in the hands of an experienced player, you can coax many tones out of it, except perhaps a Fender shimmering clean.  It features two EL84's cathode based output tubes, a pair of 12AX7's in the preamp, and a 5AR4 rectifier.  Like all Z amp, the output rating is deceptive.  This amp is very loud and the installed Brake Lite attenuator, a $149 option, tames it for smaller club gigs.  It responds very well to your guitar's volume control and even with your picking style, you can go from clean to overdrive without a major jump in overall volume.  For a speaker Dr Z chose the Red Fang Alnico 10 made by Eminence.  For video's of both humbucker and single coil guitars, click here for Dr. Z.  (Note:  if you want to have some fun, play both demo's simultaneously.  It reminds me of two guys jamming "together" at a guitar show).  The optional attenuator is turned off for the demo's.  Stock colors for this amp are red, blonde, and black, but this optional surf green definitely has the cool factor.  Although it possesses a huge tone, this is a little booger, at just 17 1/2” W, 17” H, 10” D, weighing in at 37 lbs., and will easily fit on the passenger seat of a compact car.  With the optional Brake Lite, D2F padded cover, and optional surf green covering, this is a great buy on a Monza that appears to have never left the bedroom at just $1150.  

2001 PRS Singlecut - Vintage Yellow Flametop with Birds, (front), (back), (headstock), (case).  Second year Singlecut with a lovely flamed top and very intricate and colorful bird inlays.  Some refer to this model as a "pre-lawsuit" Singlecut after Gibson sent PRS a cease and desist order (late March '00) based on their belief that it caused confusion among the public that might lead them to believe they're buying a Les Paul.  Sounds silly?  Yes, it was.  Paul, rightfully so, ignored Gibson's letter which prompted Gibson to follow up with an official lawsuit in November.  It wasn't until July 2nd 2004 that a judge ordered PRS to cease production.  Around a year later, upon appeal, another judge threw out the case, ruling in PRS's favor and they were allowed to start producing the model again but with the model back ordered, they didn't start shipping them out until March/April 2006.  As I predicted on these pages back in '05, the earlier models would be hyped as "pre-lawsuit" and some folks asking a premium with claims that they are superior to the guitars built after production returned.  The bottom line:  they're all great guitars.  Many of the newer ones are lighter but I wouldn't go chasing down one simply based on weight.  The best sounding ones I've had were heavy.   Singlecuts are excellent guitars, much like the Custom 22 except in a more timeless body shape with a slightly thicker mahogany back, but retaining the flamed maple "binding" where the edge of the maple is left unstained.  Not counting the Santana II, the Singlecut was the most expensive model in the PRS catalog during this era.  These early models, '00 to '02, were more like an LP with dual volume and tone, selector on the upper bout, and stoptail tailpiece, plus PRS-7 pickups.  Other features include 25" scale, 10" radius, 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.  This lovely top, finished in Vintage Yellow,  isn't graded a "10", although I'm guessing it will say "possible 10" in the pickup cavity as I'm sure it just missed the cut for a 10.  It also has beautifully colorful bird inlays that look so much better than the new outline inlays used today.  Cosmetically it's in superb condition with no scratches and appears to have seen very little playing time.  If you're looking for a nice early model Singlecut, this is one of the best sounding ones I've had, it's in super clean shape, priced at $1599(SOLD).   

Dean Markley RM-80-SR Combo w/Weber Speaker, (panel), (top), (back), (Weber), (back panel).  Nice looking, lightweight (40 lbs.), 1X12 combo in blonde tolex.  The RM-80-SR is a versatile and innovative combo by virtue of it's 19" 2-space rackmount construction.  You can quickly and easily change amps simply by removing 4 rackmount screws in the front, disconnecting the speaker jack, and sliding out the amp (which also has the reverb tank internally mounted).  For practical purposes, this will let you install a plain old power amp and turn it into a powered extension cab (like the Line 6 Power Engine).  Another option is installing a single space power amp along with a single preamp or multi-effect.  The blonde cabinet is in great shape and has been upgraded with a $110 Weber 12M Classic British (link), similar to the Celestion G12M-70 Modern Lead, noted for its classic British midrange punch and smooth, warmer high end.  The amp features dual channels, with shared EQ controls.  EQ is active so every knob has a very pronounced effect on the tone with even a slight tweak.  Clean channel features a Volume control while the Overdrive Channel features an LED when engaged, with separate Drive and Master controls, letting you dial in the desired amount of overdrive and then setting the output level.  Other front panel controls are Bass, Midrange, Treble, Presence, Master, and Reverb controls, plus a Standby switch, which is unusual on a solid state amp.  Channel is switchable via the front panel switch or remotely via a footswitch.  The back panel features an effects loop and Power Amp-In and Preamp-Out jacks, plus footswitch jack for a 2-button footswitch to control channel and reverb.  Built in the 80's, this amp is referred to as a hybrid, since it uses a 12AX7 in the preamp, and is actually a good sounding amp with power to spare.  It has an excellent clean sound with plenty of headroom, decent sounding reverb with as much "wash" as you'd care to have, and an overdrive channel that's not unlike a tube tone, especially as you crank the volume level.  The EQ controls are very strong and can give you as much mids as you need, and the ability to give you too much bass, should you like that sound.  For a solid state power amp, these 80 watts are not overrated and it's indeed a powerful little booger.  We can also build this up into various configuration such as Rockman combo with Sustainer/Chorus-Delay paired with a Carver power amp, or something current such as a TC Electronics G-Major.  Realizing that some of you want only the amp - or only the loaded cab, it's priced at $79(HOLD-Chip 4/10) for the rackmount RM-80-SR head (with reverb), and $139(HOLD Cab/Speaker only -Larry H local 4/9) for the blonde cab with the Weber.  

1996 Epiphone Dot MIK with Upgrades, (front), (back), (headstock), (upgrades), (case/etc.).  My last two 90's Epi Dots went in a hurry so you may want to jump on this one.  Another excellent quality Korean-made archtop.  In all fairness, Gibson lowered the list price of the Dot when production was moved to China a few years ago, but these older Korean models are better guitars have become sought after by players on a moderate budget.  The fretwork is more precise, the binding and inlay work is top notch, and the tonewoods are better and probably better seasoned.  I'm not taking anything away from the Chinese Dots.  For $399, I think they're an excellent value, but the MIK models are a better value.  Although the stock pickups on these guitars are good, we get a lot of requests to do upgrades on Epi's, primarily changing the pickups.  This one has received such an upgrade with a pair of Seymour Duncans - JB bridge an Jazz neck - as well as a Switchcraft 3-way switch and Gibson chrome dome knobs.  The pickup upgrade for an archtop like this runs over $200, parts and labor - in addition to a Switchcraft jack and other electronics checks for $95 (receipt in case).  Pickguard was removed and is MIA but included are the original pickups, jack, and knobs, which you can keep for a project or put up for auction.  Cosmetically, it's in beautiful shape other than a small finish chip on the corner of the headstock that's been touched-up.  The Epi Dot features the same laminated maple body with white binding, gloss finish, and set maple neck as the Gibson 335, but at a more wallet-friendly price.  Other authentic touches include the stop tailpiece and Tuneomatic bridge, black bonnet knobs, and orange oval sticker visible through the upper f-hole.  This is a well made guitar in beautiful condition.  With medium sized frets, comfortably low action, and thin neck, this one's a joy to play.  The body design with its center block inside the body, lends itself to many styles of play, from jazz to jump, country, blues, or rock - pretty much anything but hard rock and metal.   Also includes a new archtop Epi case (receipt for $95 included in case).  If you're looking for a quality semi-hollowbody with, conservatively, $330 in upgrades/accessories, and a desirable MIK model, this one's an easy recommendation for $499.  Includes new Epi case, original pickups, knobs, and switch. 

1994 Fender (Mex) Squier Stratocaster - White, (front), (headstock), (back).  Fairly rare Squier from the Encino Mexico factory, built at the same time Fender was building the Standard Strat.  There are a few noticeable differences, namely the black logo, but also the single ply pickguard, and cast saddles.  An interesting fact from my retail days, for year or so, identical Strats came into our store, except the "Squier Series" was missing from the headstock.  These were priced and sold as Standard Strats.  There's a lot of web lore about these guitars regarding the belief that they were USA bodies and necks finished in Mexico, but I don't have any info to support that and the neck shape doesn't quite conform to American Standards from the era.  This is, however, an excellent playing guitar and in beautiful condition.  Worst flaw are scratches on the neckplate and a small lighter spot under the neckplate (shown here) where we removed a small address label i.d.  The Artic White finish has faded to a nice yellowish hue, while the pickup covers, knobs, and tip have yellowed, giving it the look of a 60's Classic series; frets show no wear.  A new Chinese Squier runs $229 but this 18-year-old Mex is barely played and just $199 (SOLD).

E-Mu Orbit 9090 Dance Planet Rackmount, (LCD dispay).  E-MU's classic 90's rackmount dance module, strictly engineered for the techno artist. It has 8 MB of samples of all the great vintage analog sounds plus many familiar and typical sounds used in house, hip hop, trance, and techno. It includes an essential digital VCF-like filter that is (on many presets) usually controlled from the modulation wheel on your keyboard controller. It's great for filling tracks with lush sweeping pads, or trancing along a 303 bassline pattern and filtering away. It is a beautiful golden single-space rack unit with a big easy to read LCD. Used by techno artists like Todd Terry, Roni Size, ATB, and Orbital.   Click here for an audio demo of some of its sounds.  There are a number of YouTube demo's, here's one done entirely on the 9090.  For specs, other audio samples, and downloadable manual check out VintageSynth here.  A replaced knob but nice shape and a killer sounding dance unit for $199.  

Jay Turser JT-Hawk12 12-string Electric, (front), (headstock), (back), (case).  Want a *great* playing electric 12 but you're not a famous rock star?  With some of Martin's TLC, this Turser plays as good as most Rick 12's at around 1/4 the price.  Finished in a black semi-gloss finish, it features a pair of good sounding humbuckers PLUS it has a 3-way coil tap/phase switch to give you loads of choices for your tonal palette.  This was a cosmetic 2nd as evidenced by a "2" on the back of the headstock for reasons unknown.  It's in excellent condition with no noteworthy flaws anywhere.  Small body is very comfortable; 24-fret neck has a very deep cutaway to allow easy access to the upper register.  It's easy to find a cheap electric 12 but finding a cheap one that plays like an expensive one...now there's the rub.  What good is any guitar if the action is so high that you can only make it 1/2 way through a song before your hand cramps up?  This one will not disappoint and sounds good enough that even a pro player can whip it out for those few Byrds, Petty, or Beatles songs in your set.  A good value in an imminently playable 12-string at $225 including hardshell case, $185 with gigbag.  

Peavey Vypyr 75 Combo, (panel), (top), (back).  I love this amp.  For the money I haven't come across anything that can touch it in terms of tone and features, and its also easy to get around on.  I like the continuous rotating knobs (no stopping point), and the multi-colored LEDs on each knob that lets you know your settings, whether performing or editing.  A brief overview:  24 amp channel models -- both the clean and distorted channels of 12 popular amps for the first time anywhere -- plus 11 editable preamp "stomp box" effects and 11 editable post-amp "rack" effects with dual-parameter control.  You can use up to five effects simultaneously.  With the optional Peavey Sanpera foot controller, you have 400 programmable presets, with an on-board looper and more. The Vypyr also acts as its own computer audio interface, with a built-in studio-quality USB 2.0 output on most models that is recognized by computers as an audio device.  32-bit floating point Sharc processor.  Studio quality headphone out.  MIDI in/out.  MP3/CD/Aux input.  Also features the easy-to-use Peavey WYSIWYG (What You See Is What You Get) interface.  Another one of the things I appreciate is the weight - just 38 lbs. - which is extremely light for a 75W 1X12 combo.  I really recommend you check you some of the YouTube demo's.  For your ease, click here for a really good one by Nevada Music UK;  click here for a performance review by Guitar World.  For all the info on this amp, click here and here for Peavey.com.  This amp sells for $299 new, which is an incredible deal in my opinion.  Has seen just few hours of home use and a lot of amp for just $229(HOLD-Kerry M 4/16).  Includes factory CD with manual.  

Catalinbread Perseus Sub-Octave Fuzz.  Same company as the Catlinbread echo above.  The Perseus isn't a one-trick pony like most fuzz or octave fuzz pedals, with a wider variety of radical tones than others on the market.  The Perseus is named after the Perseus cluster, where the lowest note in the universe emanates from a black hole. What’s happening out there is that intergalactic gas has concentrated around a cluster of galaxies, forming a cloud. A massive black hole is sending out jets of particles that crash into the cloud, causing pressure waves to ripple outward. Some astronomers interpret these as sound waves. Of course, even if you call it sound, it’s too low for anyone to hear. They estimate the note to be a “B flat,” about fifty-seven octaves lower than middle C. While the Perseus won’t give you 57 octaves below, it is the coolest analog octave-down fuzz available.  It allows you to select either one or two octaves down mixed with a fuzz sound that you can blend to any mix of the two you want, including just the fuzz or just the sub-octave. The Perseus can track the sub-octave note accurately no matter where on the neck you are playing!  It's a cool unit for bass players looking for a radical tone as well.  Click here for full specs and a video demo at their site, and there are others on YouTube (link).  Sells new for $159; this one's mint for $115.

1990 Greco RG-750 Rickenbacker 325 Copy, (front1  front2), (headstock), (back), (Toaster pu's).  Note: This is not a genuine Rick, unless somebody swapped the R tailpiece out with a G, swapped the serialized output jack with a non-serialized one, and stamped a serial number on the headstock.  Not likely, so we can safely assume this is a fantastic copy made by Greco in 1990, that some enterprising soul invested in a real Rick headstock plate and replaced the original, which would have looked like this.  The only real telltale sign that this is a copy of the "G" tailpiece (shown with R here).  Note that this is the short-scale version, not the 350 style with full scale.  I'm going to go out on a limb here and say that this guitar is as good as a real Rick.  Construction, fit/finish is first rate, it plays fantastic, and these Toaster pickups sound just like a Rick to me.  They made a number of 325-ish copies over the years and from what I read this one is held in highest esteem.  It's the short scale, like John Lennon played, with nickel hardware, bi-level pickguard, 60's style knobs, and Toaster pickups that were dead-on copies, while some others were a compromised version.  I'm not certain as to whether it's Japan or Korean made.  The guy I got it from said it was Korean but I searched far and wide on the web, never coming up with a definitive answer.  All I read was that it was a moot point and that both factories built fine guitars.  This was an expensive guitar 20+ years ago at 75,000 Yen - the same '89 catalog (pic) had dead-on copies of the Tele Deluxe or Tele Custom at 33% less, 50,000 Yen.  If you're looking for a John Lennon vibe short scale, this one's less than 1/2 the price of the real thing and, again, a top quality copy that looks dead on.  $750(HOLD-Frank C 4/12) will include a hardshell case.  

2008 Fender American Deluxe Ash Telecaster - "Tuxedo Black", (front1  front2), (back), (headstock), (case & sealed acc. bag).  Okay, Tuxedo isn't a real color but folks use it to describe black guitars with white trim - and to top it off, the flat black pickguard on this one looks just like a satin lapel.  This is Fender's top of the line production American Tele with high end features and premium tone woods.  Features include solid alder body, Fender's ingenious S-1 switching with a push-button switch built into the volume control along with a 4-way pickup selector for 6 tone selections, modern C-shaped maple neck with a thin satin polyurethane finish, SCN (Samarium Cobalt Noiseless) pickups for classic Tele twang without the hum, one-piece maple neck with an amber vintage tint, abalone dot inlays, 22 medium-jumbo frets, and a modern chrome stainless steel Tele bridge with chrome-plated solid brass saddles.  For a full rundown of the pickup selections, Click here.  This is a great playing Tele, medium weight and as twangy as you want to get.  The Tele Deluxe sells new for $1699 ($2199 list) but this one is immaculate and just $1179.  Includes Fender case and sealed accessory bag with Fender cable, Schaller strap locks, tags, manual, etc.  

OFF-HOLD:  Arturia Analog Factory Experience, (pic2), (pic3), (pic4).  Not into point and click synth playing?  The Analog Factory is a hybrid synth, software and hardware, that combines 3500 synth sounds with an easy to use controller.  It offers the immediacy of a hardware synthesizer combined with the flexibility of a software based solution.  The Analog Factory Experience is a unique combination of a software synthesizer that brings 3500 sounds, along with a high quality dedicated hardware controller.  Once the Software is started, you can put your mouse away, all functions can be activated from within the keyboard controller: select a sound to play, modify this sound, recall snapshots - a true hands-on experience that's simple, straightforward, and fun.  Features include:  3500 analog synthesizers sounds that have defined the sound of modern music.  All presets are carefully selected from the Arturia Classic Synths (minimoog V, Moog Modular V, CS-80V, ARP 2600 V, Prophet V, Prophet VS and Jupiter-8V). These TAE powered sounds offer unparalleled audio quality.  Fast filter the presets to your requirements: by Instrument, by Type (Bass, Pads, Leads…) and/or by Characteristics (hard, soft, complex, simple, short, long…), and find presets according to these filtered choices.  Organize Presets view by Name, Instrument, Type, CPU usage, Favorites, or User Presets.  Straight forward Editing, with the most essential parameters for personalizing presets: (Filter and LFO sections, 4 Key Parameters differing for each preset, Chorus & Delay mix, ADSR envelope), and more.  Hardware includes 32-key keyboard with velocity; controllers include 1 clickable encoder, 10 encoders, 4 sliders, 11 switches, 1 modulation wheel, 1 pitch bend wheel; Connectors include Hold, Sustain, and Expression.   Click here for some good video demo's and other details at the Arturia site and here for some YouTube videos.  Sells new for $299 but this unit is virtually un-used and a load of power for just $179.  Add  (optional Steinberg key) for $20.  

2009 PRS McCarty Smokeburst - bird inlays,  (front), (headstock), (back), (Case/etc.).   The McCarty, which is our favorite model, left the catalog an we feared the guitar was gone forever, until they reintroduced the guitar last year with the "Smokeburst" model, which is a double sunburst, finished in nitrocellulose for the ultimate in vintage looks and tone.  Now more than ever PRS is a company that combines the old and the new.  You'll notice the beautiful maple top on this one.  It's not rated a "10", but looking around the web, it's the nicest by far that I've seen - compare here with other samples on the web.  The flame on this one is consistent side to side, top to bottom, with evenly-spaced bands of flame.  This model features the classic mahogany body with maple cap, a marriage of tonewoods that was made in heaven.  This wood combination, along with PRS's new '57/'08 pickups gives this guitar the ultimate in late 50's vintage humbucker tone.  Other features include McCarty switching with a 3-way selector - plus coil-split push/pull tone pot for 6 excellent choices of tones.  Other features include 25" scale, nickel hardware, mahogany neck with East Indian rosewood fretboard, bird inlays, wide-fat neck carve, stoptail bridge, vintage style tuners, and McCarty truss rod logo.  For this info and more, Click here for PRS specs.  This guitar is in beautiful condition, very resonate sounding with typically fantastic PRS playability.  Online price and in stores you'll pay $2995 and up ($5057 list) but why buy a mediocre one when you can have one of the finest - for just $2099.

Budda Verbmaster 30 2X12 Combo, (panel), (top), (back), (tubes), (footswitch/manual), (chassis).  Rare 30W model with 6L6 power!  Serial number VG3-018, this is one of the early 30-watters from Jeff Bober and Budda.  Before he sold Budda, Jeff had a small company that did some of my repairs and built some killer little amps called Budda, all hand-wired and built in small numbers.  After gaining a reputation as the amp guru of the Baltimore area, doing Marshall mods and various repairs and hot-rodding, his extensive knowledge went into designing some of the best boutique amps ever made.  After Jeff sold his company, he stayed on at the Maryland factory, aka "Budda East", building both his original designs plus the new "Superdrive" series, which initially were still hand-wired.   The hand-wired series, which offered little profit margin, soon fell victim to corporate thinking and was discontinued in favor of the "Superdrive II", which were strictly circuit board designs.  The 30-watt Verbmaster was one of Jeff's hand-wired prior to the sale (this one's a 2001 model).  Most of these featured a quad of EL84's but a few, like this one, were built with a pair of 6L6's.  This amp delivers complex tone characteristics, rich in harmonic structure and organic in nature.  The tone can be described as a cross between a Deluxe and an AC30, with the aggressive attack of a Plexi.  It's a fairly complex amp for Budda, which generally featured 3 knobs and no frills, not even an fx loop.  The Verbmaster features an excellent sounding reverb with two distinct sounds, "sand" and "surf"; Hi-gain and Normal inputs, each voiced differently; and the usual bass - treble - volume controls.  The high-gain input adds a tube stage to overdrive the normal input's gain stage, which in turn drives the unique tone-control stack.  The back panel features an effects loop; slave output with level control; parallel speaker outs with a 4/8/16 ohm switch.  Tubes are a pair of Russian EH 6L6's power tubes, Russian Sovtek 5AR4 rectifier, with two 12AX7s, a 12AT7, and 12AU7 in the preamp/reverb.  The dual reverb circuit features a darker sound with high-end roll off in the "Sand" setting, with "Surf" being a more over the top brighter tone.  This amp breaks up very early and isn't recommended for anyone looking for clean headroom - but for a non-master volume high-gain amp, you get a beautiful tube breakup at a relatively low volume.  For many players, this will be the perfect amp for larger clubs.  In typical Budda fashion there's nothing conservative about the wattage rating.  This amp will stand up against many other tube amps rated at 50 watts or more.  Here's a sample of the versatility of the smaller 18W Verbmaster (1X12), using only a guitar's volume control (no effects were used), click here for a YouTube demo.  Budda is know as much for their touch sensitivity and players who appreciate this characteristic will especially love this amp.  OEM speakers are made by Eminence for Budda and sound very good.  Budda hand-wired amps remain some of the best values on the market, and one of the few that weren't clones of Fender or Marshall.  I read where Budda is starting up their hand-wired series again, including a Verbmaster.  I don't have any reports on them yet but I can't imagine sounding any better than this original model, built by the master himself.  A killer amp for $1499.  (See my amps page for a hand-wired Series I head and cab, a Verbmaster 18, and a Superdrive 18).  

2002 Ibanez AS73-BS - Brown Sunburst, (front), (back/side), (headstock).  Excellent value in a quality "Dot" copy.  This is the 4th one of these I've had recently and I can safely say that they're exceptionally nice guitars, the best in their price point.  Since their imitation years of the 60's and 70's, when they were building great quality Gibson and Fender copies, Ibanez has made it on their own designs, eventually becoming the most innovative Asian builder. A few models have stayed in their catalog since their "copy days", such as their ES-335 style, now known as the AS73 from their extremely popular Artcore line. It retains the basic design of the 335 including semi-hollow body with center block, laminated maple top/back/sides, set in mahogany neck with rosewood fretboard, bound body and neck, dual chrome-covered humbuckers with 3-way switch and dual volume/tone controls, 3+3 tuners, 24 3/4" scale, tuneomatic bridge with stop bar tailpiece, and of course the "Dot" inlays. Ibanez used the ACH1 and ACH2 humbuckers for this model, which are clean sounding, with a slight overdrive. The pickups are mounted into a sustain block for increased sustain and feedback elimination. It also features a 17th fret joint for more comfortable access to higher notes.  This is a very comfortable neck, that's thin and fast, with a flat 12" fretboard and medium frets.  It plays beautifully from the first fret to the top, and has a quality tone that can go from jazz to blues, to rock.  These are made in China now but from my observations the better Chinese factories are on par with the Korean guitars in past years.  The gloss finish is applied perfectly, binding is done beautifully, and the overall fit and finish is on par with the best Korean guitars.  Just a reminder that it's not the country that builds the guitars, rather, it's the quality control used within the factory to ensure only good guitars leave the plant.  This one's in beautiful condition, set up to perfection, and a bang-for-the-buck winner for semi-hollow thinlines at $339.  

2011 Gibson SG Special '60s Tribute - White, (front), (back), (headstock), (gigbag).  Very affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  Finished in Worn White, which in the vintage world is referred to as TV White, which has always commanded a premium over the usual cherry finish.  This guitar's thin solid mahogany body offers a very lightweight package with a tone that's both subtle and aggressive, depending on your playing style.  It has a rich resonance with lots of harmonic depth and sparkle.  The solid mahogany neck is carved to a fast Slim Taper profile similar to SGs from the '60s, with a glued in deep-set, long-tenon neck/body joint and 17-degree back angled headstock, combine for a superior transfer of resonance from the neck to the body.  Two Gibson P-90 single-coil pickups with Alnico V magnets are among the finest reproductions of vintage P-90s currently available producing warm, vocal neck tones to loads of snarl from the bridge position, with rounder, funkier tones in between.  Gibson uses a PLEK-cut Corian nut to ensure maximum resonance and sustain.  This guitar is finished in a thin nitrocellulose satin finish, which protects the wood while contributing to a more lively response.  It will "age" rather fast and soon develop the look of a well-played vintage guitar.  It's set up with low action and the ease of play, combined with the light weight, make this a great guitar to play, set after set.  Offered in mint condition for $650.

2004 Guild GAD-40C with Fishman AG Series Pickup, (front), (back), (side), (headstock), (inlays/binding), (Fishman), (case).  Guild's GAD line offers a real quality guitar, for a very reasonable cost and, remarkably, all solid woods.  The few GAD's we've had were all top-notch in quality, tone, and playability and this one is no exception.  If you need a good stage guitar, we've got you covered.  This one has a new Fishman AG 94 passive saddle transducer and endpin jack installed.  The GAD-40C has a dreadnought body size with a solid spruce top, solid mahogany back and sides, rosewood fingerboard and bridge, bone nut and saddle, mahogany neck, classic pearl fretboard inlays, 12" radius, 1 11/16" nut, scalloped bracing, high-gloss poly finish, Grover tuners, dovetail neck joint, abalone side dots, mother of pearl logo and chesterfield emblem, clear pickguard, and attractive maple binding with white/black strip on either side of the binding.  Cosmetically there are a few dings in the top, but no cracks anywhere on the guitar, so consider it more of a player than a pristine collectable.  List price on this model was $1399, selling heavily discounted for $799 - over $100 more with a Fishman installed.  If you don't mind a few non-problematic finish flaws, this is an excellent buy in a solid-wood acoustic at just $550.  Includes original case with a missing latch hook and new handle installed since pic was taken.  

Peavey Classic 20 Tweed Combo, (panel), (top), (back), (tubes).   I've had these combo's before but this is the first one I've had in the head version.  The Classic 20 offers incredible value for a quality American made tube amp.  Despite its diminutive size, it's can definitely cut it as club amp, especially if you pair it with an extension cab.  I frequently compare the Classic Series to Fender's Tube Series and, quite honestly, when I've had these set up at shows next to the comparable Fender, the Blues Junior, the Classic 20 was almost universally chosen for superior tone.  Features an all-tube circuit with a matched pair of EL84's cranking out around 15 watts through a 16 ohm 10" speaker, plus three 12AX7's in the preamp.  Nice sounding EQ that really does something, and very versatile with a crisp clean tone and more headroom than comparable brands - and enough gain to satisfy nearly every rock player.  Features a single channel, with a Boost switch to kick you into high gear, primarily by fattening the mids.  With the separate Volume and Master control you can get a pretty good sounding overdrive at bedroom levels.  The overdriven preamp doesn't sound as brittle as most.   Other features include Treb-Mid-Bass controls and on the back, ext. speaker out and headphone out.  Full specs you can check out or download the manual at  Peavey's Site here.   These amps hold their value very well and for good reason - they're good amps for the money.  This one's in very clean used condition and just $229.  

Fender Squier Classic Vibe & Vintage Modified Guitars and Basses - Please read:  Completely gone over by Martin so they're better than new.  Both of these series offer incredible band for the buck so I always pick up a load when they're available.  I have to point out that they're factory seconds so there's a light used stamp (pic) on the back of the headstock and the serial number is partially obliterated, which is done to negate factory warranty, which is almost worthless anyhow.  The good news is the only guitars we get are cosmetically flawless so whatever imperfection they may have had is invisible and they're essentially brand new guitars...but after we're done they're better than new.  First off, we grind and hand polish all the frets (as shown on this Classic Vibe Tele) to make them silky smooth on bends and eliminate any "buzz saw" fret ends.  If you've ever played one of these, the fret work is definitely the weak area on the guitar, with a lot of friction on bends and buzz-saw fret ends.  Also, the solder work isn't the best so we go over it (such as this Vintage Mod HSS Strat), eliminating extraneous buzzing and scratchy switch or pots.  We also lubricate the fretboard (as shown on this Vintage Mod HSS) which is part of our normal setup but especially important on guitars that left the factory a year or two ago.  The stock strings have crazy harmonics and unstable tuning so we also change all the strings to the quality S.I.T. Nickel Wound we use on 90% of our guitars.  This is in addition to our normal setup which includes detailed nut work when needed, truss rod adjustment, bridge height and intonation, and little things like machine head adjustment and strap pin tightening, when needed.  

• Squier Classic Vibe '50s Telecaster - Vintage Blonde, (front), (headstock/neck), (back), (bridge/controls).  Like Leo's original Tele, the 50's Classic Vibe is made with a solid pine white blonde body with single-ply black pickguard.  Other features include high gloss polyester finish, 1-piece maple with modern "C" shape, 21 medium jumbo frets, 1 5/8" nut, chrome hardware, vintage style tuners, vintage-style string-thru Tele bridge with three brass barrel saddles, knurled chrome knobs, original barrel switch tip, synthetic bone nut, engraved neckplate, and Alnico III pickups.  Read the lead paragraph above, consider what you're getting, and I think it's a great value at $339(HOLD-Jeff S local 5/3).  

• Squier Classic Vibe Thinline Telecaster - Natural Mahogany, (front), (headstock/neck), (back), (bridge/controls).  Like the original 60's Tele thinline, the Classic Vibe Thinline features a natural mahogany chambered body with single F-hole and standard Tele pickups and bridge plate,  Other features include high gloss polyester finish, 1-piece maple with modern "C" shape, 21 medium jumbo frets, 1 5/8" nut, chrome hardware, vintage style tuners, vintage-style string-thru Tele bridge with three chrome barrel saddles, large pearloid pickguard, knurled chrome knobs, original barrel switch tip, synthetic bone nut, engraved neckplate, and Alnico V pickups.  Read the lead paragraph above, consider what you're getting, and I think it's a great value at $359. (One remaining - Hold one for Walt A)

• Squier Vintage Modified Jaguar Bass Special HB - Black, (front), (headstock), (back), (bridge/controls).  Fender's Vintage Modified Squiers take a classic model and make some radical changes, such as a Fender bass, with a Jaguar style body.  The Vintage Mod Jaguar bass came in two different pickup configurations and the Jag Bass HB, new for 2011, has a sleek offset-waist body, ultra-slim fast-action neck, powerful high-output humbucking pickup and a three-band active tone circuit that delivers a versatile wealth of tonal options just right for any bass sound and style.  Features include Agathis body, high gloss polyurethane finish, maple C-shaped neck, 20 medium jumbo frets, high output humbucker in the bridge with active 3-band EQ, vintage style 4-saddle bridge, synthetic bone nut, vintage open gear tuners, chrome hardware, engraved neckplate, 3-ply pickguard, 34" scale, and 1 1/2" nut.   Read the lead paragraph above, consider what you're getting, and I think it's a great value at $179.  

• Squier Vintage Modified '70's Jazz Bass - Natural, (front), (headstock), (back).   Unlike most of the Vintage Modified, the '70's Jazz isn't really a "modified" model.  Other than the modern 9.5" radius this bass has the basic look and specs the original 70's Jazz basses.  One of the things I really like about this bass is the center seam construction.  Most of these, and many USA models, feature an offset seam and in the case of Squiers, multiple offset seams. With a center seam it just looks better and more like a one-piece body from the front. This bass features the bound neck with black block inlays found on the original 70's Jazz basses.  Features include maple body with a crisp high end and tight lows, glossy polyurethane finish, maple C-shaped neck, 20 medium jumbo frets, 9.5" radius, black block position inlays, black neck binding, Duncan Designed JB101 single coil bridge and neck pickups, volume-volume-tone controls with knurled chrome dome knobs, synthetic bone nut, vintage style 4-saddle bridge, vintage open gear tuners, chrome hardware, engraved neckplate, 3-ply pickguard, 34" scale, and 1 1/2" nut. Read the lead paragraph above, consider what you're getting, and I think it's a great value at $285.  

• Squier Vintage Modified Jazzmaster - Butterscotch Blonde, (front), (headstock), (back), (stacked knobs).  The Vintage Mod Jazzmaster has the same silhouette offset waist and body contours of the original vintage model but with some major changes that are major departures from the past.  It features a unique top-loading hardtail bridge features string saddles which are cast at different heights so it follows the fretboard's 9.5" radius when sitting flat on the bridge plate.  Lastly, it has concentric volume/tone controls, in the style of a '62 Jazz, with the outside rings having 11 stops rather than a smooth rotary style, giving you many more tonal choices than the regular linear pots which generally have only 2 or 3 distinct settings.  For pickups Fender stayed true to the original look with a custom set of Duncan Designed single coils with a smoother neck pickup and hotter output bridge pickup.  Other features include alder body with see-thru butterscotch blonde polyester finish, 1-piece maple with modern "C" shape, 21 medium jumbo frets, 1 5/8" nut, 9.5" fretboard radius, chrome hardware, vintage style tuners, knurled chrome knobs, synthetic bone nut, engraved neckplate, top-loader fixed bridge with 9.5" saddle radius, 3-position pickup selector, and Duncan Designed JM-101B and JM-101N single-coil Jazzmaster pickups with AlNiCo V magnets. Read the lead paragraph above, consider what you're getting, and I think it's a great value at $269.  

• Squier Vintage Modified Stratocaster HSS - Gun Metal Gray, (front), (headstock), (back), (pickups), (fretboard).  The Vintage Mod Strat HSS is very much the tried and true Strat that dates back to '54 with the primary exception are pickups, where Fender went with a trio of humbuckers rather than the traditional single coils, and a modern 9.5" fretboard radius.  Other features include red cedar (Cedro) body with glossy polyester finish, 1-piece maple with modern "C" shape, dark rosewood fretboard, 21 medium jumbo frets, 1 5/8" nut, 9.5" fretboard radius, chrome hardware, die cast tuners, synthetic bone nut, engraved neckplate, vintage style tremolo with stamped saddles, volume-tone-tone controls, 3-ply pickguard, Seymour Duncan Designed humbuckers with a HG-112 full size humbucker in the bridge and Vintage Stack SC-102 in the middle and neck, and 5-way switch in the standard Strat configuration.  Read the lead paragraph above, consider what you're getting, and I think it's a great value at $239.  

• Squier Vintage Modified Telecaster Custom II - Black, (front), (headstock), (back).  Super lightweight - only 6 1/2 lbs.  The Vintage Mod Tele Custom II looks very much like the original vintage model with it's Tele body shape with large pickguard and dual volume and tone controls with amp knobs.  Unlike the vintage Custom (2nd version) which had a regular Tele bridge plate and pickup with a humbucker in the neck, this one features a hardtail Strat-style bridge (like the old Tele Deluxe), with a pair of P90's.  I've had a number of these before and it's a very hot seller for us.   Features include agathis body with gloss polyurethane finish, maple with modern "C" shape, dark rosewood fretboard, 22 medium jumbo frets, 1 5/8" nut, vintage 7.25" fretboard radius, chrome hardware, die cast tuners, synthetic bone nut, engraved neckplate, 2 Seymour Duncan Designed P90-2 pickups with AlNiCo 5 magnets and 3-way switching, 6-saddle bridge with strings-thru-body hardtail Strat-style bridge, 3-ply pickguard.  Read the lead paragraph above, consider what you're getting, and I think it's a great value at $249(HOLD-Karen 4/20).  

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 a fantastic 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.  Recently discontinued but these sold new for $649.  This one's in immaculate condition and even with the new Blue Dog, priced at $559.

Warwick Blue Cab 15.1 Bass Combo, (tilted back).  The smallest and lightest member of Warwick's combo's, the Blue Cab 15.1 is a great sounding practice amp with a very loud 15 watts output through a special designed 8" speaker. Its bass reflex housing, pull-out tilt back legs for practical angling and new adaptive volume control (AVC), set it apart from virtually all of the competition. The AVC allows you to set the gain higher without causing any clipping to the amp as the built-in compressor kicks in earlier, preventing clipping. Warwick's earlier models could not utilize the amp's full power easily, without clipping. Features include 15 - 20 watts; 75Hz-6000Hz frequency range; Volume, Bass, Mid, Treble controls; FX-Loop; headphone jack; bass reflex housing; rear stand for a 45° operation; weighs around 24 lbs and sized around 12"X16"X9".  For more info check out Warwick here.  This amp has a lot of punch for such a small amp, and even with the bass knob cranked up, it refused to fart out and has quite a deep, "big amp" sound.  Offered in flawless condition for $149.  

No-Name Acoustic Dreadnought, (front), (headstock), (back), (sides).  I got this guitar at a Philly Show around 6 years ago and Brian just found it during inventory, the 3rd one he's found so far that's not on the site.  It was sold to me as a "kit" guitar but Martin and I aren't sure, primarily due to the finish which looks to professional to be non-factory, and all aspects of construction are very neat, inside and out.  It is a rather thin finish though and not the thick poly finishes used on many of the cheaper guitars.  It does feature a solid spruce top, Martin tuners, rosewood headstock veneer, laminated rosewood sides and back, mahogany neck, bound body and neck, and square Martin-style headstock.  Right after I shot the pics Martin installed a new set of strings and did a nice setup.  The result is a guitar that's very easy to play and a guitar that's very loud with an overall balanced tone.  Not heavy on the bass, very even mids, and perhaps a little bright on the highs.  It's a guitar that will be heard in a jam, especially if there isn't a mandolin player, where the sparkle will make it stand out.  For a solid top acoustic with this kind of play and projection, I think it's a good value at $239.  

Behringer FCB-1010 Midi Foot Controller.  For stage use, it's easy enough to go back to your amp and turn a dial on your preamp but to get the most out of multi-effect in a live situation, you might want something a little more powerful, with an expression pedal or two.  This unit works well with the GSP1101 or GT-8 listed below, or any other midi-capable unit.  For full specs and info click here for Behringer's site.  Very clean shape and just $99.   

Digitech GSP1101 Guitar Multi-Effect, (front/back), (detail), (back).  Digitech's premier effect made for the live player, with USB and software to translate it to your recording.  Contains 40 great amp models, 40 effects loops, with amp knobs on the front to quickly tweak your tone, plus a very active online community with 100K hits a month to quickly download a patch for countless signature guitar tones like "Eruption", "Crazy Train", etc., which you can just drag and drop into the unit and it's there until you overwrite the space.  If you've used other units like the RP500 with the DNA2 chip, this unit has TWO DNA2 chips, so you can imagine the power this baby has.   A few of the features include: over 120 amp, cabinet, preamp and effects models including vintage stompboxes and pickup modeling; stereo effects loop; 40 Tone and 40 Effect Chain Libraries - 1600 exclusive DigiTech combinations; Global EQ to allow quick setup for a particular venue; balanced stereo XLR and 1/4" outputs; chromatic tuner; USB with audio streaming Editor/Librarian software included; MIDI In/Thru; internal power supply (no wall wart!); front panel guitar input and headphone output; footswitch and expression inputs; and seamless preset changes.  Digitech makes a "Control2" foot controller for this unit for $299 but the FCB-1010 above will do the job quite nicely at 1/3 the cost.  For a quick rundown on some of the factory presets, click here for the first 33.  Sells new for $499 but this one's mint in the box with everything and just $350. 

Boss GT-8 Guitar Effects Processor, (close-up - click to enlarge).  (Note: This has been on hold for "Jim" for over a year...I guess he changed his mind and forgot to tell me...).  The latest and greatest from the #1 producer of guitar effects.  Just when you think Boss has produced the best multi-effect possible, they come out with a new one, better than the last.  There are too many features to list here (click here for Boss) but as a brief description:  The GT-8 features a revolutionary dynamic sensitivity switching mode that switches between two effects. You can play in one amp model/effects patch when picking lightly and automatically switch into another configuration when you pick hard. Dual modeling engines let you layer and pan different amp models together. Seamless program change lets delays and 'verbs decay naturally when you switch channels.  Features 46 amp models each have a solo mode for instant access to an optimized hi-gain soloing sound, 200 preset patches and 140 user patches with an intuitive layout to make it easy to get around on, 44 effects types include compressors, reverbs, choruses, EQs, wah models, noise gates, synth waves, sitar, acoustic models, and much, much more.  Fully programmable routing lets you connect all 13 simultaneous effects in any order you wish.  Also features in incredible THIRTY Overdrive/Distortion models and expansive I/O options include an external effects loop that enables you to add in your effect that you can't quite nail on the GT-8.  Click here for a good overview demo.  There are also dozens of tutorials so you'll never even to read the manual, such as this one on expression pedal (link).  This unit is flawless condition and comes in original inner/outer boxes with manual and power supply.  The GT-8, recently replaced by the GT-10, listed for $695 and this "as new" example is as good as getting an NOS model for just $319.  It's an exceptional sounding unit and could be the last guitar effect you'll ever need.

Genz Benz Shenandoah 60 Stereo Acoustic Combo, (panel), (bottom), (acc.).  Like the Marshall MG4 below, as new in the box.  The Shenandoah 60 is a compact stereo amp that cranks out 60 watts from a pair of 6.5" woofers and a pair of tweeters.  It can double as an acoustic guitar amp or portable PA system with both an XLR (with phantom power) and 1/4" input on channel one and dual channels, each with a 3-band EQ with sweepable mid-range.  The cab design uses a stage monitor shape for added flexibility during performances, allowing the amp to stand upright or tilt back at a 30° angle.  The tilt-back helps reduce feedback on the low frequencies without massive EQ'ing.  It also has a sleeve for pole-mounting if desired.  While some amps have a few cheesy sounding effects, this baby has a quality Alesis processor built in which offers 16 quality preset effects.  Other features include headphone jack, effects level on each channel, master level control for effects, gain control on each channel, and master volume.  Listing at $729, this amp is essentially brand new and a feature-packed, great sounding acoustic amp for just $389(SOLD-Local).  Ships in original box with cover, manual, cable, and paperwork. 

THANKS to the 2 dozen people correcting me about Steve Jones - nice to know you're reading closely!  1984 Bond Electraglide, (front), (headstock), (back), ("frets"), (LED window), (power box), (tools), (case/acc.).  Rare bird that made quite a stir when it debuted at the '84 NAMM show.  Despite the media hype and extensive advertising, the Electraglide was finished in '86, less than 2 years in production with shipping totals under 1000 guitars.  The Bond "Electraglide", was made in Scotland UK by Scottish luthier Andrew Bond, and featured a ground-breaking combination of innovative features such as carbon-fiber construction, high-tech electronics, a digital display and a fingerboard that featured a height-adjustable nut and utilized saw-toothed shaped steps instead of conventional frets.  Pickups/tones were selected via five pushbuttons; volume, treble and bass were incremented numerically via digital rocker switches, confirmed by a three-color LED readout, angled upward to make it visible to the player only (shown here).  With 7 possible pickup combinations plus phase in/out for each, there are 13 pickup combination in total (matrix here).  Other features include 3 single coil pickups with "Bond" embossed pickup covers, Schaller bridge and tailpiece, Schaller tuners, chrome hardware, metal height adjustable nut, 25.5" scale, 1-5/8" nut width, and weight of around 8 lbs.  Everything works properly on this guitar other than one segment of the middle LED is intermittent and works, for instance, on a "0" but one segment might be out on a "6" for instance.  Although not wildly successful in their day, the Electraglide has become very collectable due to their rarity and innovation.  There have been several famous users including Mick Jones, guitarist for "The Clash", is known to have used one with his band Big Audio Dynamite in the mid 1980s. The Edge used his extensively on The Joshua Tree, including the solo on “One Tree Hill”, as well as on “Exit,” and “Mothers of the Disappeared”.  Will Sargeant from Echo and The Bunnymen was also an Electraglide user.  This is one of the most complete packages I've seen and in addition to the original case with keys it includes original manual, an extra fret nut, a Schaller "kit" screwdriver, original power supply (many have an aftermarket), and Allen wrenches.  It's probably the nature of this guitar that they all play well but it plays great and I would guess that the setup would last indefinitely, unless you wanted to change it to higher action at the bridge or nut.  The attack and sustain are pretty much the same as a good sounding wooden guitar.  The neck is a C-shape and a medium depth.  It's in excellent condition and highly recommended for collectors since it does represent one of the more innovative guitars of the 80's.  Really nice example of a rare guitar for $1250.  

 Ferrington Guitars Book and CD (shown with and without dust cover), (inside pages).  All you wanted to know about the innovative guitars of Danny Ferrington, written by Danny, Nancy Skolos, and Thomas Wedell.  Includes book and CD (artists).  More than 150 photographs in this hardcover edition with unique shape (top of book a few inches longer than bottom) of thirty guitars and the celebrity musicians that own them--as well as an original CD--highlight the work of one of America's premier creators of handmade, one-of-a-kind guitars that are prized by musicians the world over.  CD is seated in the top cover.  Dust sleeve a little worn around the edges but book itself is perfect.  $18 include postal shipping.   

2003 Gibson '54 Historic Les Paul Oxblood - Brazilian Board, (front), (headstock), (back), (pickups/bridge).   Note:  I'd like to thank one of my customers who pointed out the fact that this guitar had a set of Grovers on it at some point and the extra holes aren't factory as found on the later official Jeff Beck model).  In 2003 that was called the "JB Les Paul" or "Unofficial Jeff Beck Model" -  a faithful, albeit not relic'd, copy of Jeff's famed refinished Les Paul, shown on his "Blow By Blow" and "Wired" albums (pic from Bacon&Day LP Book).  As most of you are aware, Gibson stopped using Brazilian rosewood all together in April of 2003, so there are only a handful of Historics which are genuinely true to the original.  Prices on early 2003's, be they R4, R6, R7, R8, or R9, have continued to climb every year since '05 and if you want a Braz board, be ready to pay up - I paid $2K more for this than my last R4 Oxblood, which was a non-Brazilian.  About this model:  To stay true to the Beck guitar, this beauty features Schaller tuners (later ones featured Schallers with the" Gibson" stamp), open coil pickups with tan rings, and no writing on pickup selector.  It also uses my personal favorite tailpiece with just a single wraparound bridge/tailpiece for the ultimate in simplicity and nothing is more comfortable or effective for palm muting.  While the finish looks black, in bright light you can see that it's actually a very dark Oxblood.  Other distinguishing features of the R4 Oxblood are a very substantial neck and an extremely thin finish which is very tone-friendly.  Pickups are excellent sounding Burstbucker 2 and 3.  Accessories include custom shop case with certificate, serialized hangtag and all the other loads of vintage paperwork, polishing cloth, braided cable, etc.  This is a rare guitar, only the 4th one I've ever had and only the 2nd Brazilian, and is truly an exceptional player, medium weight, and very resonant.  Collector owned and used very sparingly - perfect appearance other than the tuners and one tiny pin prick in the clear coat.  I don't think Gibson is offering the R4 Oxblood or any other R4's any longer, so whatever is circulating is all there is.  If you look around the web, this one is priced cheap for a Brazilian, now just $4500.   Note:  Gibson took it down from their site, but here's a screenshot of the 2003 Brazilian matrix that I downloaded 7 years ago (link).  This one's #095; the Brazilian run on R4's went up to #150.  

Reverend Drivetrain II.  The Drivetrain II has followed in the steps of the "original" Drivetrain, and has discontinued.  Reverend describes this as "a vintage Tube Screamer* on steroids". It's all-analog design by Bob Weil and Joe Naylor uses the JRC4558 IC chip to deliver tube-sounding overdrive with more available clean boost, more transparent midrange and perfectly voiced treble and bass controls. Goes from a bluesy boost up to classic crunch and singing sustain without masking the character of your guitar or amp. And I love this: controls, switches and hand-wired jacks are mounted directly to a heavy steel chassis for maximum durability and years of no-hassle road use. A few improvements over the original Drivetrain include 1) Increased output volume - With the drive set all the way off the pedal is still capable of substantial boosting by turning up the volume control which allows a cleaner boost for fattening up the sound, pushing a tube amp over the edge or for simply changing the EQ of your sound; wider range treble control which allows more aggressive sounds and more tonal control which is especially useful with dark sounding humbucker equipped guitars; and 3) Neutral bypass - This buffered bypass does not alter tone when the pedal is bypassed and does not pop loud like common true bypass switches, and because it is buffered it prevents signal and treble loss when using long cables or multiple pedals placed after the unit - superior to standard true bypass switching.  Here's one of many YouTube clips using mainly lower gain settings (link).   In receiving their Guitar One Award, the magazine cited, "Playing through this pedal is like being plugged into an expensive boutique amplifier - for pennies on the dollar."  An excellent sounding OD in excellent condition for $115(HOLD-Steve 3/29).

Tech 21 NYC Sans Amp GT-2, one of the best, most versatile pedals ever.  With the GT2 you can create your own rig in seconds. Easily achieve the most sought-after tube amp sounds, and entirely new ones as well. Choose amplifier type, modification and speaker cabinet/mic placement configurations. You can easily mix and match specific sound characteristics instantly, without buying a few dozen rigs to achieve the tone. The GT2 is a truckload of great amps in a single, simple pedal.  A little known secret is running the GT2 directly into your mixing board.  Our guitarist used to carry one of these as a backup to his amp and it was called into service on several occasions.  The result was a guitar tone that was better than his usual backline set up.  There are a bunch of YouTube demo's - here's a good example (link).  These are available directly from Tech 21 for $189 but this used one's in nice shape, works perfectly, and is a great pedal for $109.  

Samson Airline 77 UHF TD Wireless with AG1 Guitar Transmitter, (front/back), (illuminated), (transmitter).  Tired of your belt pack transmitter with cumbersome cable running into your jack, plus a separate antenna cable?  Samson offers the Concert Airline 77 UHF system with several transmitters but the best system is the AG1 transmitter which has the transmitter built into the jack!  The AG1 is around the size of your thumb and features on/off switch and a 15dB pad for use with both passive and active guitars.  It also runs on a single AAA battery with battery life of 12 hours.  The CR77 is a true diversity half-rack receiver and features both 1/4" unbalanced and XLR balanced outputs, volume and squelch knobs, and LED displays including Antenna A/B (Green) - Power On (Red) - Peak (Yellow) and RF Level (5 pc ladder).  Operates on Samson Channel N1 (642.375 MHz).  This unit sounds very natural without additional compression noted and no drop outs when I walked upstairs, out the door, and onto the sidewalk.  Sells new for $249 but this used one's in clean shape and is an excellent system for just $165.  

Frenzel FM-5E3 Deluxe Plus III Head, (panel), (top), (back).  Frenzels are possibly the best kept secret in hand-wired, point-to-point, American made amps and at prices under 1/2 of most the competition, with some great design innovations and sweet tones, I predict the word is quickly spreading.  The FM-5E3 DP3 has received rave reviews all over the world. It was *inspired* by the 50's Fender Deluxe 5E3, but it is a much more than a clone.  Frenzel added a Marshall JTM45 channel and replaced the 6V6''s with 6L6's and boosted the power to 25 watts with a 4-8-16 ohm speaker selector.  The voice is controlled by a three band tone stack accentuated by a Bassman Presence control with an "Edge" switch to remove the negative feedback and a Master control which allows you to control and shape the preamp and output stage overdrive tones.  The F and M channels have separate input jacks and gain controls which allows you to use an AB/Y switch to select one channel for clean and one for boost - or blend them together for unique soaring dynamic tones.  When playing clean, this amp will faithfully reproduce what you put into it, and when you stomp on it, it will produce tones you have never heard before!  The amp comes with 3 - 12AX7, 2 - 6L6, 1 - 5U4, but you can substitute 12AT7's or 12AU7's in the preamp and driver for different tones and less preamp overdrive.  You can also substitute 5881's, KT66's, KT88's, 6550's, or EL34's and KT77's (when using EL34's or KT77's they will be running in Class B bias mode).  You can also use JJ 6V6's or similar new manufacture tubes that will take 400 volts on the plates, but please note the power output will be reduced to about 15 watts.  It works great with guitar, mandolin, bass, organ, piano, harp and strings. Think of it as a 5E3 on steroids!  It is small in size (and just 17 lbs), but huge in tone.  For a full run down of features check out Frenzel's site here.  There are also a bunch you YouTube demo's available (click here).   Frenzel offers a few options and this one has two:  the steel cage ($100) and cathode/fixed bias switch ($50).  Even with these options, this amp sells direct for just $645.  Some of you are saying, yeah, I've tried some of the budget amps before and they sound like crap.  Not so with the Frenzels.  They have quality tone that you would expect from the expensive boutique builders.  This is a versatile and fine sounding amp and at $479(HOLD-Wade 3/26), the best value I've seen in a point-to-point 25-watt amp. (Note:  I also have the Frenzel HBX - WC30 "Hot Box Wild Cat 30" Head lower on this page)

1962 Gibson Melody Maker, (front), (headstock  neck), (back), (sides), (pot code), (finish checking), (bridge), (case).  An early Gibson student model, the Melody Maker first appeared in '59 as a single cut, much like a Junior except with a thinner body.  In '61 they changed to this double cutaway style, keeping in line with the Les Paul which also changed to a double cut SG style.  Beautifully simple with a single single-coil bridge pickup, volume and tone, the Melody Maker has a thin slab mahogany body and a one-piece mahogany neck with all electronics assembled on a pickguard and installed in a front-routed body.  The pickup is low to medium output and truly has its own voice.  You can draw little comparison to a Fender single coil, largely due to the all-mahogany construction which yields a warmer, mellower tone than either ash or alder.  Overall in lovely shape, although it appears that it was oversprayed, but not refinished, at some point.  The sunburst finish is original with moderate finish checking on the front but overall it's extremely clean other than some finish dings on the sides shown in side pic above.  Electronics are all original with original solder joints and pots dated 15th week of '62.  The only non-original parts are tuners and a Jason Schroeder stoptail bridge (link), a lightweight aluminum bridge which is will intonate fully and can be adjusted for different fretboard radii.  I have a '65 Gibson compensated wraparound that we can swap out at no cost if desired.  Tuners are OEM style Kluson Deluxe which replaced the worn original Klusons.  The neck is slightly chunky but not a baseball bat like most 50's models.  Neck angle is very good which allows for a comfortable setup.  Super lightweight at just 5.2 lbs. and with the standard Gibson scale of 24 3/4" (Gibson also made a short scale MM for younger players).  Gibson has done several iterations of a reissue in the 80's, 90's, and 00's but none were as accurate as the most recent, made only in '07-'08 (see my Gibson page for two of these with upgraded electronics).  Although a lot of players started out on a Melody Maker, none have earned it the fame as Joan Jett, who played it extensively in "The Blackhearts" and Gibson honored her with a signature model a few years ago.  If you want a guitar that's extremely fun to play, with the tone that only 40-year-old mahogany can produce, this one's in beautiful shape and just $850(Hold - Michael C, local 5/1).  Includes non-original hardshell case.  

Marshall MG2FX Combo, (close-up), (back), (top).  New in the box.  You have to hand it to Marshall.  They can design a little 2-watt solid state combo, and somehow give it the unmistakable classic Marshall tone.  The 6 1/2" speaker sounds more like a 12, turned down to practice level.  The MG2FX is the little brother in the MG4 series and runs on your choice of AC power, or 6 C-cell batteries, for use at the beach, camp site, subway, etc.  For a little combo it's jammed with features and a great selection of tones via four dual-function (push-push) knobs, a Tap/Shift button, and a single-character LED display to provide 
instant access to ten distinct gain stage settings, five digital effects, a two-band EQ, and a tuner.  The Gain and Volume knobs—along with the ten-position mode knob—provide plenty of tonal options, including a shimmering clean tone, the famous Marshall "crunch," and all the overdrive needed for an over-the-top lead.  Digital reverb and delay are built-in, with a tap button for setting the delay time (holding down the Tap/Shift button also activates the onboard tuner). In addition, a chorus, phasing or flanging effect provide that extra texture you'll want for many songs.  It also includes an MP3/line input for jamming along to any audio source plus a headphone output allows for private practice, which also serves as a line output for recording or for connection to a larger sound system.  In typical Marshall fashion, this thing sounds much louder than it's 2-watt rating and will hold its own with other famous 10-watters.  I couldn't find a good online demo in English, but here's a good overview of the tones (link) and check some great shredding, with some good clean tones starting at 5:48 (link).  Add up the features and tone and this amp justifies the $205 list price.  I have some of them new in the box for $79.99.  For a grab and go amp with built-in effects, it's the best I've heard in this price range.  

Zoom Fire 7010 Guitar Multi-Effect with Speaker, (pic2), (controls), (edit controls).  One of the coolest units ever, the 7010 was a very innovative unit when it debuted in 1983.   It borrowed a lot from the wildly popular 9000-series compact multi-effect processors but also housed a pop-up speaker. Capable of generating a multitude of effects and generating an impressive sounding tone its speaker, the 7010 grabbed headlines with its all-in-one, composite characteristics and proved to be one of the biggest successes from Zoom.  In fact, it is considered a pioneer in the currently popular area of Modeling Guitar Amps.  The speaker is rated at "10 watts peak", which is probably around 2 watts.  It features 28 built-in effects with up to 7 at a time which can be combined as one of 64 patches in memory (24 user defined and 40 preset).  It also features an onboard chromatic tuner, rich sounding analog distortion, easy to read LCD display, stereo mix input to play along with CD/IPod, etc., and runs on 4 AA batteries or optional power supply which is included.  It is compatible with Zoom's FC02 foot controller.  Here's a good demo (link) with a song by the great Gary Moore or check out any of the links here by BigMikeGuitar, all of which were recorded with the 7010.  You will be pleasantly surprised how easy it is to get around on this unit, running through patches, editing, and saving.  Its sounds hold up great, 30 years later, and is one of the few units that do a good "Rockman" sound, in addition to virtually any other 80's tone, clean or distorted.  This unit works perfectly, is in great condition, and collector ready with original box, manual, and power supply.  Nice piece for $99(SOLD-Josh 3/29).  

Solid Sound Electric Case, I don't know anything about this case except that its well made and a cool idea.  Half case - half gigbag, it features a plush lining with heavy canvas sides, with a plastic top and back, and heavy duty zipper closing.  Fits a Strat or Tele and probably many other models.  Features a heavy duty plastic handle or has hooks to strap it over your back.  Especially recommended if you're looking for better protection than a gigbag but want something light weight for traveling such as players who take the subway to gigs.  $39.  

1999 ESP Ltd M-107 7-String, (front), (headstock), (back), (string-thru-body).  Want to try switching to a 7-string without paying a big chunk of change?  This M-107 is an exceptionally nice player with quality tone out of these LTD 7 humbuckers.  This one was obviously a closet queen that looks like it was played for a few weeks and then stashed away for 13 years.  Made only one year, which the Bluebook says was 2000 but the serial on this one is '99.  It also feature a black gloss finish which I think is unusual since most of these were satin finishes.  Features include offset double cutaway basswood body, bolt-on maple neck, 22 extra-jumbo frets, rosewood fingerboard, dot inlays, model name at the 12th fret, reverse headstock, hardtail bridge, strings thru body for enhanced sustain, dual humbucker LTD 7 pickups, volume-tone knobs, three-way switch, and black hardware. 7-Strings were once the choice of many jazz players but in recent years they have become the choice guitar by some of the heaviest music ever created.  Beginning in the early 90's, led by Steve Vai and following shortly the "Korn" sound became synonymous with the low, huge sound of the 7-string.  Numerous other bands and players like Avenged Sevenfold, Limp Bizkit, John Petrucci, Jeff Loomis, etc., have made the 7 the defining tone of their band's sound.  This model carried a list price of $499 over a decade a ago and in exceptionally nice condition with a killer setup, is an excellent value on a well-made 7-string at just $279.  

Lefty Hofner H500/1-CT Contemporary Series Violin Bass, (front), (headstock), (back), (side), (features), (case).  Speaking of the Beatles and '65 Casino below, here's one for you McCartney fans.  The Contemporary Series hold its place between the basic Icon series and the expensive German-made models.  This contemporary series has the look of a V 63 German made bass at less than 1/2 the cost.  It's a beautiful instrument with a high gloss finish over a select German spruce top and laminated maple back with perfectly bookmatched flame.  Body and neck are both bound and it has the original style gold decal logo.  Other features include Hofner 511B 'Staple' humbucking pickups - same ones used on the $2K German model; rosewood fretboard; Maple-beech-maple set neck; 1-5/8" nut width; Ebony bridge with movable metal saddles for perfect intonation and string spacing; nickel-plated brass trapeze tailpiece; Control panel with boost and individual on and off switches and boost; Nickel-plated hardware; mother of pearl inlay dots. If Beatle basses sound too thin for your taste, the Contemporary has an internal sustain block that creates a more modern, deep-resonating sound.  This bass is a joy to play; feather weight and a narrow 1 5/8" nut combine with a short 30" scale to make it very easy to get around on, with a biting tone that won't get lost in the mix.  Action is very low all the way up the neck.  It's never had a pickguard installed and is offered in mint condition with hardshell case with combination lock.  Nice deal on a mid-line Hofner at just $579.  (Note:  I also have a Lefty Hofner Icon Bass (shown here) in stock for $349 with hardshell case)

2006 Epiphone 1965 Elitist Casino, (front), (headstock), (back), (Beatles), (case), (specs).  Simply as fine as it gets for a current Gibson/Epi hollowbody, and if you're a Bigsby fan (as shown by John, Paul, and George above), this one has had a genuine Bigsby added (original tailpiece included).  I've had 5 of the USA Lennon signature Casino's and, quite honestly, this Japan models a better guitar.  Of the 4 different Elitist models I've had, each one was a superb guitar and their quality control for the Elitist series seems to be above the Gibson plants.  They are advertised as "instruments that approach custom shop perfection" but in my opinion, they *are* custom shop quality.  As you may know, Epi's archtops paralleled Gibsons during the 60's and the Casino was Epi's version of the Gibson ES-330.  Features include an all-maple laminated body, fully hollowbody (no center block) thinline, which give it improved acoustic properties compared to an ES-335 Dot which has a center block in the body, although the Casino is may feedback more in excessively high gain situations.  Crafted with premium woods, fitted with American pickups and circuitry - even USA toggle switches and Grover tuners - they're made at a special factory devoted specifically to their manufacture where they are much more "hand built" than most of the Gibson counterparts.  The Elite 1965 Casino is true to the original made famous by The Beatles, mostly closely associated with John's, which started out sunburst and ended up Natural, after he stripped it.  Specs include a great sounding pair of USA P90's with chrome covers, nickel hardware, 5-ply maple top/back/sides, neck set at 16th fret, Bone nut, trapeze tailpiece with tuneomatic bridge, pearloid parallelogram inlays, and multi-ply pickguard.  This one is in truly immaculate condition, other than a small lacquer crack behind the nut (shown here), which is 100% guaranteed to be lacquer only and not in the wood.  It has seen very little living room use only, and has zero signs of actual play.  With a list of $2498, these sell new for $1799, and if you want a Bigsby added, you're looking closer to $2K.  Save a short lacquer check, this one is flawless, and a great guitar for the fan of collector, at just $1299(HOLD-Mark P 3/30).   Includes Elitist case, warranty, manual, tools, and original trapeze tailpiece.  

Kendrick K-Spot Combo, (panel), (top), (back), (tube reverb), (Celestion Alnico Gold), (acc.).  From one of the all-time amp guru's, Gerald Weber, and hand built in Texas, the home of great tone.  The K-Spot is Kendrick's most popular point to point handwired amp, known for it's phenomenal tone, it's aged pine cabinet, and its feather weight 35 lbs.  The prominent ‘K’ on the front of the cab (K stands for "Killer").  Well, it's there for a reason; high frequencies come from the center of a speaker, whereas the mids and lows come from the sides and so having what is effectively a baffle over the center of the speaker means that the sound output is more balanced, wherever you are in the room.  The K-Spot is all about simplicity and quality tube tone, specifically a wonderful bell-like chime.  Just three knobs on the panel - plus another 3 inside the cabinet for the tube reverb.  You don't have to spend a lot of time dialing in your tone.  At a Volume setting of 3 or even less, it’s loud and clean enough for jazz gigs.  At around 5, it’s perfect for hard-driving blues or rockabilly. From 5 on up the K Spot delivers throaty distortion as you go from there, losing its tweed character and assuming a more aggressive, Marshall-like response.  Its 4 inputs are eached voiced differently with with #1 being the brightest, #2 slightly less bright, and so on.  If you’re into riding your guitar volume to morph between rhythm and lead, this is the amp for you.  No matter how hard you’re running it, though, the K Spot always cleans up well when you turn your guitar down, and it stays crisp and articulate. This amp isn't capable of bad tones so all you need to do is tweak the bass and treble to your guitar and the room.  The reverb is noteworthy and in the style of the old Fender outboard reverbs features Dwell, Mix, and Tone.  It is the most natural sounding reverb you'll find on a combo.  It reacts to your pick attack as well as anything I've played.  With a soft attack it's crystal clear; pick a little harder and you'll hear some hair around the edges; harder yet and it'll snarl at you; but lay in to that pick attack and she will break into a controlled feedback sustain.  Best of all, is the huge sound this baby delivers and you didn't have to lug around a 60 pounder to get it.  The K Spot is built with ultra lightweight 100-year-old pine.  This one also features an upgraded Celestion G12 Alnico Gold 12" speaker!  Although rated at 35 watts don't be fooled.  It really cuts through a mix and hold its own with amplifiers rated at 100 watts.  For more info, visit Kendrick here.  There are some glowing reviews on Harmony-Central (link) where it received almost all 5 stars in every area.  The K-Spot sells new for $2895 with a wait time of a month or two - or you can get this one, in mint condition, for just $1999.  

Gibson SG Standard VOS (Les Paul/SG) Faded Cherry, (front), (back), (Maestro/Lyre), (headstock), (case/acc.).   I've said it before but...I love these VOS models.  They're not only built to the exact spec's of the original model but they also have the patina of a 45-year-old guitar and aged hardware.  Even the finish, called "Faded Cherry" (not to be confused with Gibson's lower-line "faded" satin finishes), has the look of a faded Heritage Cherry finish.  You get the vibe of playing a clean vintage instrument rather than a shiny new guitar that obvious just rolled off the assembly line.  This model has the specs of a 1961, a pivotal year for the Les Paul.  Gone was the single cutaway model that had been around since the early 50's - and which was less than an overwhelming success - replaced by the new all-mahogany double-cut body with beveled edges, which eventually was renamed the "SG" for Spanish Guitar.   Everything was different about this "new" model Les Paul and for the player, access to the upper frets was markedly improved which along with the new lightweight design, made this guitar a joy to play.  Unlike the original Les Paul model, which disappeared from '61 to '67, the SG design has stayed in the Gibson line for 48 straight years.  Spec's of this model include Mahogany body, Set one-piece mahogany neck with long tenon, 22-fret rosewood fretboard, Burstbucker 1 & 2 humbucking pickups, Maestro Lyre vibrola with ABR-1 bridge, 24-3/4" scale length, and wide 1-11/16" nut width.  Presented in VOS mint condition, this guitar appears to have seen zero playing time and has a killer setup, nice sustain, and the cool Angus vibe with the Lyre tailpiece.  This model, properly called a "Les Paul"  on the truss rod cover, as well as the serialized hang tag and warranty (shown here) is described as merely "SG Standard" on the custom shop certificate.  The one on Gibson's site has a blank truss rod cover (specs here) but it's just another example of Gibson's inconsistency in model names.   This model sells new for $3199 ($4821 list) but this one is perfect, pro setup, and just $2250(HOLD-Mike W 3/23).  (Note:  I also have the stoptail model in white in stock (shown here) on my Gibson page.)

Valley Arts USA Custom Pro, (front), (back), (controls), (headstock), 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 was recently sold.  The customer loved the guitar but had to return it due to the 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 $2099 (Letter of authenticity from former Gen. Mgr. of Valley Arts USA included upon request.

2011 Fender Road Worn 50's Telecaster - Black Guard, (front), (back), (headstock/neck), (factory wear  wear2), (pickups), (gigbag).  The cool look of a worn vintage Tele and better than new with a Fender black guard installed in place of the factory white one (who wants a white guard on a blonde 50s?!!).  This one is a excellent sounding, great playing Tele and it weighs in at just 6.9 lbs.  The Road Worn has a blonde ash body, finished in nitrocellulose finish and shows heavy body wear, primarily around the edges, buckle area, and neck, as well as oxidized hardware and dull finish.  I've had plenty of these as well as the custom shop models and in my opinion the wear is 90% as authentic as the custom shop Teles costing 3 times the price.  Features include ash body with transparent blonde finish, vintage U-shaped maple neck with heavily worn urethane finish, maple fretboard with 7 1/4" radius and medium-jumbo frets, worn 3-saddle bridge with strings-thru-body, Tex Mex Tele single-coil pickups, 3-way switching, aged knurled knobs, synthetic Bone nut, Fender vintage-style tuners, and deluxe gig bag.  This is a very cool looking guitar indeed, but more importantly, it sounds great and has the low action you would expect on an American Deluxe or Custom Shop model.  With new ones selling for $899, why not consider this one with a much cooler black pickguard and super lightweight, barely played and zero non-factory wear, for just $699(Tent. Hold - Michael C 3/28).  Includes original deluxe gigbag sealed documentation package, and factory hang tags.  

Tokai Love Rock '59 Les Paul Style, (front/back), (headstock).  2003 model which I believe is an ALS70.  Although crafted in Korea, the quality is unmistakable, much like the famed lawsuit "Love Rock" model of the 70's.  Very attractive flamed maple cap with just enough figuring to be a real example of a 50's, finished in dark burst.  Specs during this era called for solid Alder rather than mahogany but looking inside the cavity, this one appears to be mahogany, with a mahogany set neck.  Quality fretboard inlays that look much more like the originals than most Epi's or other imports.  All stock except upgraded with a Duncan Zebra JB in the bridge.  A especially nice player with a classic Paul tone and I actually slightly prefer the stock neck humbucker to the JB, as it has a very full tone with a singing quality that makes the guitar sound huge.  Neck profile is not a thin taper like a '60 Classic and is slightly more substantial than a Les Paul Standard.  This is a very clean guitar, with a killer setup and tone, and an excellent value at $545 with used tolex hardshell case or $499 with gigbag.

1971 Gibson Les Paul Deluxe w/P90s, (front), (headstock), (back), ("sandwich" line), (orig. parts), (neck & profile), (finish wear), (case).  For you P90 fans and/or mini-hum haters, a fantastic playing 41-year-old Deluxe with the P90 look of a '69 Standard and greened-out vibe you want in an old goldtop.  Originally this guitar had mini-humbuckers installed, and would have looked like this '71 (shown here).  The way this guitar is set up with the P90s, it has the look of a '56 Goldtop (as shown here), or if we put the original knobs back on, a '69 Standard (shown here).  The green wear around the edges and knobs is a chemical reaction between the player's skin oils a perspiration, and the metallic finish.  The best guitars don't sit in the case and it's obvious that this one has spent most of its life as a workingman's guitar.  Likewise, the binding, which is in great structural condition, has developed an amber hue all over.  It has a fresh refret job, and a great one at that, so it plays as nicely as the day it left the factory.  The fret job is as nice as I've seen.  Fret are dressed perfectly, fret ends are angled perfectly, the same on every fret, and level-and-dressed to achieve perfect action up and down the neck.  It has also had a set of Duncan P90's installed in place of the original Mini-hums.  No modification was required so a pair of Mini-hums can easily be reinstalled.  Original '71 pots have been replaced but the originals, in working condition, are in the case.  Likewise it has had a Tonepros locking Tuneomatic bridge installed but the original Tuneomatic is fully functional and included in the case.  It has speed knobs installed for the '56 look but original chrome dome gold knobs are in good shape and included in the case.  Even the original frets are included.  All that's not included are the mini-hums and original tuners, which were changed a long time ago to Grovers, which have a vintage nickel patina that matches the guitar.  Strap pins are Dunlops, but I have a set of Gibson which we can swap out.  Gibson serial numbers on 60's/early 70's are ambiguous, usually narrowing a guitar down to a choice of several years or year ranges.  In the case of a guitar in the 600,000 range, it can be '70 to '72, or '74 and '75.  You then have to use features to narrow it down.  The "sandwich" body (see below) was used '69 to '73; and in '74 they changed to a three-piece maple neck.  This means this guitar with a sandwich body and 3-piece mahogany neck would be '69 to '73.  The early Deluxe's were still using bodies from '69 Standards and are identifiable by the lack of "goof rings" around the pickups, which would have left 4 small holes around each pickup to hold the rings in place.  Since the original pots are coded 1971 I feel comfortable calling it a '71.  The "sandwich" body used in this era consisted of a maple top with twin layers of mahogany underneath.  Gibson cited that this method added strength and prevented cracking and checking.  It was a more expensive method, contrary to what you might read at some sites on the web.  Cosmetically this guitar is strictly a road warrior, as you can see in the pics.  Personally I love this look, which is near impossible to replicate in the custom shop or via home "remedies".  As shown here, there have been several output jack plates and there's a small ding, back of headstock that we can easily fill, plus a hole on the treble side of the bridge pickup where it looks like a pickguard may have been flush mounted briefly.  There are no structural issues or repairs and the guitar plays superbly, with low action, easy bends, and no fretting out thanks to the new medium jumbo frets which are like new.  This guitar isn't cheap but I paid up for it, trading in a very clean cherry sunburst '72 Deluxe but I thought the vintage goldtop patina and P90's made it a way cooler Paul.  If you consider comparables being a '69 Standard or even a '56 Historic, this guitar is cheap by comparison.  $2499(HOLD-Gary M 3/19) includes original case as well as original knobs, pots, bridge, and frets in the case.  Vibe and playability aside, this is an excellent sounding Les Paul with a very fat tone and one that isn't as piercing as most P90 Gibsons.  This Goldtop is ready to gig and will likely be somebody's go-to Les Paul for another 40 years.  

1989 Fender American Standard Telecaster, (front1  front2), (back), (headstock), (case).  I'm not getting in nearly as many of these as in years past.  Most 80's Fenders are either in the hands of collectors, or as these were workhorse guitars, heavily worn and barely worth utility value.  An American Standard that made it through the 90's and 00's with only light occasional use simply doesn't come in every week.  I've listed the specs of this guitar so often that I won't waste the space, other than mentioning this is a medium weight, Alder body, in original condition.  Overall this guitar is in beautiful shape with minimal scratches in the clear coat, excellent frets, clean fretboard, bright hardware, etc.  Only noteworthy flaw is a small area on the back edge (shown here) where the finish is a little lighter.  Overall, exceptionally nice for 20+ years.  80's Fenders have taken off on the vintage market, commanding prices $100's higher than comparable 90's models but they're still within easy reach of players and collectors on a budget.  This nice example is just $899 with Fender "red badge" molded case.  

Ernie Ball Musicman Axis, (front), (back), (neck), (headstock), (case).  Stunning quilt top in Translucent Gold.  I've had over a dozen Axis' and, this is one of the more attractive ones I've had - very consistent quilt, side to side, top to bottom.  Looks aside, Musicman's have perfect necks which inevitably allow an impeccable setup with action as low as you want.  Most players love these necks, it's nicely rounded and not at all chunky.  The texture is also remarkable.  Using gunstock oil and hand-rubbed special wax blend, these necks feel very natural and are very fast.  The down side, of course, is they discolor easily and while we cleaned this one up, they don't stay clean very long.  The profile feels the same as the earlier EVH model which was this guitar's model name before Ed left Musicman for Peavey (and later Fender).  Features include custom DiMarzio pickups, EBMM Floyd Rose double-locking tremolo, Schaller tuners, cream body binding, 1 5/8" nut, 10" radius, matching headstock option, and nicely figured maple neck.  If you buy one of these online it's a crap shoot as to whether you'll get a mediocre top - or a nice one.  With this one there's no guessing - it's a nice one.  Offered in beautiful condition for $1250.   Includes upgraded case - G&G wood/Tolex, same type used on the EBMM EVH.  

1978 Fender Telecaster - Blonde!, (front), (back), (finish-detail), (headstock), (case).  Looking for a great vintage Tele without paying $3K for an early 70's?  This one has the most desirable features of an early 70's - namely a Blonde finish and light weight - for around 1/2 the price.  If you want your Tele with vintage vibe, you don't want the common late 70's colors like Mocha, Trans Red, Natural, Black, or yellowed out Artic White...you transparent Blonde ash.  Unfortunately Blonde is very rare on anything after '75 or so.  Also rare in a late 70's is a 7.9 pounder like this one.  This era is notorious for having extremely heavy Strats and Teles, with some into the 12-pound range, and an average weight of around 9.5 lbs.  Personally, I'd want to swap it over to a white guard for an even more vintage look and if you agree, we can do that.  This is a very nice looking piece of Ash, with very distinct grain lines running parallel the length of the body.  Neck shapes during the 70's come in a wide variety of profiles.  This one is definitely on the chunky side with a soft v profile.  This baby's original including finish with no overspray, with very little checking.  Frets are in great shape and it's a very nice player with very comfortable action and plenty of that classic Tele quack you know and love.  Very clean shape for 34 years.  Front and back are very clean.  Elsewhere there are just some minor dings and misc. finish chips primarily around the back edge (as shown here).  If you're looking for an early 70's in the $3K-$4K price range, I would argue that everything you're looking for can probably be found in this guitar....for a lot less.  $1800(Tent. Hold - Ben G) includes a nice original case.  

2009 PRS Custom 22 12-string w/Gold Hardware, (front), (side), (back), (tag), (headstock), (case).  Platinum Metallic with Gold Hardware option in dead mint condition!  Only the second PRS 12-string I've had and as you might suspect, the finest electric 12 I've had of any maker.  Features of the CU22-12 are mainly the same as a CU22 including mahogany body with a maple cap.  Looking at the flame on the side "binding", I have to wonder why they made this an opaque finish.  Regardless, Platinum with gold is a stunning look.  Other features include moon inlays, 12-string Bass and Treble humbuckers with a Lindy Fralin 12 in the center, 14:1 Phase II low mass tuners, push/pull tone pot splits the bridge pickup to single and activates the Fralin, 3-way selector, volume and tone.  This guitar has seen virtually zero playing time and is offered in "as new" condition.  I know a CU22-12 without options sells new for $2999 which makes this beauty, with the gold hardware option, a good buy at $2099(HOLD-Bob H AU 3/27).  Includes PRS case and all the paperwork.  

2005 Fender American Deluxe Stratocaster - Vintage White!, (front), (back), (headstock), (deluxe features), (case  acc. bag).  Probably our most requested color for Strats, Vintage White, and it's extremely rare for a 2000's USA Strat.  I'm not sure why it's so popular, perhaps it's the Yngwie appeal, or the fact that it looks "old", very much like an Olympic White that's yellowed with age.  It has all the usual deluxe features including select Alder body, Samarium Cobalt Noiseless (SCN) pickups with S-1 switching, Sperzel locking tuners, 1-pc maple neck with Abalone dot inlays, contoured neck heel with rounded neckplate, raised chrome logo, 2-point fulcrum tremolo with unthreaded ("pop-in") trem bar insert, and aged plastic parts.  Many players are loving the SCN/S-1 combination which yields all the traditional Strat tones you know and love, and hum-free to boot, plus a choice of other meatier tones not normally found on a Fender.  For those who haven't used this innovative system, it features a pushbutton in the middle of the volume knob to access many of its tones.  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 immaculate condition; not a scratch or any wear at all. The guitar came stock with the white pearl pickguard and backplate, which looks better than a parchment with the Vintage White finish.  A customer told me that these were a FSR (Factory Special Run), which is likely since Vintage White doesn't appear as a finish option in the 04-05 or 06 catalog.  A new American Deluxe is going to run $1600, but good luck finding Vintage White, which is among the most rare of Fender colors in recent years.  This Strat plays phenomenally, has a very lively body, and is a sweet deluxe for $1150(SOLD-Jack C 3/23).  Includes original case, strap, and trem arm, plus factory sealed accessory bag with Fender cable, polishing cloth and mist, hang tags, strap locks, and assorted paperwork and tags. 

2005 Martin 000C-16RGTE Aura, (front), (back), (side), (bottom), (preamp), (headstock), (case/etc.).   Surprisingly exquisite finger style guitar for this price range.  I've had 3 others recently and they quickly found new homes.  Unlike the last few, this one isn't quite mint.  Although it has virtually no playing wear it did have a very fine back crack that had been improperly touched up, but later properly repaired by my man Martin.  The crack is invisible other than a dark band in the wood (shown here) where Sweetwater attempted a sloppy repair prior to selling it to my customer.  The 00C-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.  Sells new for $1749 ($2349 list) but this one is in overall beautiful shape, and priced to sell at just $1129.  Includes Martin hardshell case, manuals, warranty, and a Aura software with Fishman’s Aura Image Gallery, an application that allows users to access Images for hundreds of guitar makes and models through Fishman’s free Aura Image library. The software also allows Aura Images to be sorted, managed, and grouped right on your computer. Users can then take advantage of the preamp’s open architecture by loading Aura Images via a USB cable.

1984 Hamer Cruise Bass, (front), (back), (bridge/pickup), (headstock), (case.)  Beautiful sounding, good playing vintage Hamer.  There's something magical with the tone of an all-mahogany bass.  It's very warm and thick sounding, great for holding down the bottom but sometimes lacking in note clarity.  This Cruise has it covered with a P/J set of Duncan pickups with 3 DIP switches to dial in the perfect response for any body type.  It's nothing you have to mess with.  Just find the best setting and set it and forget it.  Hamer was building fine guitars and basses from the start, generally upscale versions of vintage Fender and Gibson products.  The Cruisebass was their take on the Jazz, except with a P-bass pickup set in place of the 2nd Jazz pickup, which allows you to cover much more tonal territory.  Hamer used all quality parts and construction - quality tonewoods, set-neck construction, DiMarzio or Duncan pickups, Schaller tuners, and Schaller bridge.  It also has an added Schaller/Hipshot D-Tuners on the E-string to drop it down to a D at the flick of the thumb.  The body feels slightly smaller than a Jazz, hangs perfectly, and would be a very comfortable bass for long gigs.  Cosmetically it's in pretty nice shape for its age, with just some minor dings and rubs, but no heavy buckle rash or pick scratch areas.  Previous owner removed the pickguard which is MIA.   For a quality USA bass that's obviously a pro quality instrument, it's priced around the same as a new upscale bolt-on import.   It's hard to beat for $499(HOLD-Mister W 3/16), including original hardshell case. 

2008 Gibson SG Diablo - Metallic Red, (front) front-2), (side), (back), (headstock), (case).  I had a number of these NOS in silver, but this is the first I've had in Red Metallic with gold hardware, which is a very elegant look to me.  One of 1000 made for Gibson's "Guitar of the Month" series in 2008.  Upon quick inspection looks like a '62 SG in a custom color, but up close you can see the very unique body cut that makes this truly a unique SG.  Both the top and back have a German carve, rather than the slab top of a standard SG.  This technique provides an attractive 3D effect to the guitar, while reducing weight and making it more comfortable to play.  A few other changes you'll notice include a matching headstock, a simple 2-knob layout with the volume knob being closer to allow volume swells with your pinky finger, and most importantly, a 24-fret neck rather than the usual 22 frets.  Features include: Burstbucker Pro 1 (neck) and Pro 2 (bridge) humbuckers, hand-carved mahogany body, mahogany neck with rounded profile, 1.687" fret width, 12" fretboard radius, Nashville bridge, Grover tuners, gold hardware, and Grover tuners. Lastly, this model features a nitrocellulose finish, which is an expensive process due to the hand work required and the very long drying time between coats. Nitro is a very thin finish and one which Gibson has been employing since the 1800's. It allows the guitar to resonate more freely than a thick poly finish, which is one of the reasons that old Gibsons sound so good.  Likewise, the paint on this guitar is very thin, and you can easily see the mahogany grain.  My personal opinion of this model - some of the best sounding SG's that I've played with the fatness you want from a dual humbucker guitar, while retaining excellent not clarity and plenty of top end.  The middle of the body is actually thicker than an SG Standard which gives it a neck that is much more stable than the floppy SG.  Presented in collector's condition with no scratches and just a very tiny ding on the back (shown here).  It's all original except for stock cheap-o Tuneomatic has been swapped out with a German Schaller.  The last time I recall Gibson doing monthly limited editions was the Showcase Editions in 1988 (link here).  These guitars have proven to be very good investment pieces, fetching 50% or more over comparable regular production models from the same year.  Click here for a bizarre demo from GearWire.  The Diablo listed at $3249, selling in stores and online at discount for $2119.  If you missed one of these during their run in '08, here another chance to get one, in beautiful shape with as nice a setup as you'll play in an SG.  Just $1499(HOLD-Scott 3/20). 

1999 DeArmond M-75T Bluesbird Copy, (front), (back), (headstock), (case).  Bang for the buck winner for anyone lusting after a Bluesbird, for around 1/3 the price.  At the time, these were some of the best Korean imports made and they're quality control was clearly well above other brands.  After Guild was purchased by Fender in the mid '90s, they set about reissuing some classic Guild electrics, opting to set up shop in Korea under the DeArmond name, which Fender also owned the rights to.  Models included the Starfire, Bluesbird, Polara, and Pilot Bass Series.  The headstock logo said DeArmond, with a truss rod cover reading "By Guild", but they were dead-on copies of the original Guild models.   The DeArmond brand was discontinued by 2002, with web rumors, as usual, that their sales were cutting into sales of the expensive Guild brand.  The same lore has been spread with many other guitars and I highly doubt that someone who shells out $2000 for a Guild, would be swayed by a $700 import.  I think it's more likely that they became victim to the onslaught of Chinese guitars which were proliferating the market and manufacture in Korea just couldn't compete at the same price point and while the M-75T was much cheaper than a Bluesbird, it was pricey for an import.  The M-75T features a solid mahogany body with set-in Mahogany neck, rosewood fretboard, 22 jumbo frets, dual USA DeArmond 2K single coil pickups, dual volume and tone controls with a 3-way switch, block inlays, Guild style "hump" headstock, 24 3/4" scale, DeArmond Bigsby-style tremolo, tuneomatic bridge, raised black pickguard, chrome dome knobs with "D" logo caps, and Teal Sparkle finish.  The DeArmond single coils sound great, very chimey, clear, and strong and the DeArmond Bigsby tremolo stays in tune wonderfully.  Set up with very low action, this guitar plays with the ease of its more expensive big brother  The M-75T shared the top of DeArmond's price list at $1000 in '01 and is an excellent value today at $479(HOLD-John P) including a *quality* DeArmond hardshell case that's a few pounds heavier than most of the cases sold today.  

2002 (DeArmond) Fender Squier S-73 Polara Copy, (Guild comparison pic).  as new, excellent Korean model and DeArmond's (read on) last tribute to the Guild line, namely the Guild S-100 Polara, Guild's answer to the Gibson SG.  Although most of the Korean set neck DeArmonds, as well as the bolt-on Indonesia models, were discontinued by 2002, the S-73 lived on a few more years, although rebranded with the Squier brand.  Since Fender owned both names, I guess it only make sense to rebrand it rather than have a DeArmond catalog with only one line in it.  It was made in the same factory, by the same people, as the DeArmonds which preceded it, it just has a different name.  As with the Guild it copied, the S-73 is a double cutaway "solid premium mahogany" guitar with a slightly asymmetrical double-cutaway design, and set mahogany neck.  The rosewood fingerboard has jumbo nickel silver frets and newly designed block inlays, and a 24 3/4" scale length.  This guitar features two very good sounding Seymour Duncan-designed humbuckers, which are among the best import pickups I've heard.  List price on these was $726.99 but this one is dead mint with plastic still on the pickguard and back plate and nicely priced for a quality Korean "DeArmond" at just $279(HOLD-John P).  We possibly have a pair of chrome covers we can install for $30 total, if you want more of a Polara look.  Add a nice tolex hardshell case for $65.  

1999 Epiphone ES-295, (close-up), (headstock), (side/back), (case).  Fairly rare model that's been discontinued...beautiful condition...excellent archtop in all regards.  The original ES-295 ('52-'58) had a short but distinguished history.  First released by Gibson in '52 with the "matching" Les Paul Model, which was also gold with cream parts, although it was originally an "all-gold" model, fitted with gold hardware.  Once considered the ultimate rockabilly guitar, thanks to the 295 being the guitar of choice by the great Scotty Moore (Elvis' guitarist) and because of him the model received a lot of high profile visibility on TV shows and concerts.  In '57 it received the "new" humbucking pickups but was discontinued a year later.  The Gibson model was resurrected in 1990 as part of the "Reissue" series, later called "historic".  Likewise, the Epiphone version was extremely short-lived, running from 1998 to 2000.  Features include Metallic Gold finish, laminated maple body with Florentine cutaway,  mahogany neck (set neck), Alnico V P90 pickups, Tuneomatic bridge with rosewood base, rosewood fretboard with split-parallelogram inlays, nickel-plated Epiphone/Bigsby tremolo, dual f-hole, bound body and neck, gloss black headstock with logo and crown inlays, Kluson-style vintage tuners, cream plastic parts, screened floral pattern on pickguard, 1 11/16" nut, 24 3/4" scale.  This guitar receives great reviews on Harmony-Central (link), with a 9.6 overall rating.  A few H-C reviewers claim that it was a Japan-made model but I can't find anything to substantiate that, other than the serial number which lists the specific factory, followed by the serial number.  In this case it is an "R", which indicates the Peerless plant in Korea, followed by the year "99", followed by an "F", which in normal nomenclature indicates the FujiGen factory in Japan.  Perhaps this was a joint venture, such as Fender's California Series (Mexico/USA), or perhaps the "F" has nothing to do with the factory and is just a serial system I'm not familiar with.  Regardless of its origin, it's a quality instrument with a fantastic setup, quality tone, and beautiful condition no flaws to speak of, 9.9 condition.  The last retail price when discontinued in 2000 was $1499, and Epi's are generally priced without case.  With an original Epiphone case, this is a smoking deal on a fantastic and rare Epi, just $739.  

1989 Fender HM Strat - Dual Humbuckers!, (front), (side1  side2), (back), (headstock), (pickups), (case).  Note:  I finally created a page about first version HM Strats to help keep this page shorter.  Please click this link for more info.  Super rare dual humbucker model, finished in Blackstone (close-up), which is a black finish with random gold lines in it, giving the appearance of a piece of stone.  From my experience the HSS models make up over 90% of HM's, with the single humbucker, HS, and HH models making up the remaining 10%, with the HH being the most rare.  I don't remember when--or if--I had one of these in stock.  Looking at my archive pics, in the past 6 years I've had around 30 HM's, and of these only one was an HS, one single humbucker, and zero HH's until this one.  These guitars are highly regarded primarily because of their superb playability and killer rock tone.  Unlike the HSS models, this model can't nail a traditional Strat tone as well, but with the 3-way switching and coil split switch that works on both pickups, these DiMarzio Super 3's produce 3 very useable single coil tones, as well as 3 choices of fat humbucker tones.  Cosmetically it's in nice shape for a used guitar with some clear coat scratches and 3 very small finish touch-ups on the edge, but Martin buffed it out to a nice gloss and it looks great.  Likewise the setup is excellent with low action all the way up the neck.  If you're a player who needs dual hums to get the job done, here's a rare chance to get a dual hum HM Strat, in a cool color to boot.  $899 includes older Gator molded case and trem arm.  If you miss this one, it will likely be a decade before I get another one in.  

1988 Fender HM Strat - Bright White, (front), (back), (headstock), (case).  Note:  I finally created a page about first version HM Strats to help keep this page shorter.  Please click this link for more info.  Finished in Bright White, with the color still very strong and little to no yellowing of the finish, and one of the cleaner HM's you'll come across.  Only flaws are a few dings and scratches in the clear coat only (shown here) but overall it's incredibly clean and judging by the perfect frets, has seen very little playing time.  For those familiar with this model you know that the powder coated neckplate quickly becomes worn around the top edge, eventually the entire plate.  The neckplate on this one is near pristine (pic), with no signs of wear.  Also, tuners and the tremolo exhibit very little discoloration.  Again, this guitar has been played very little, which is a shame since it's such a fantastic player.  I got this without a case but will include an early 90's gray Tolex case from a Strat Ultra for $779, or a Fender gigbag or totally beat Fender case for $669(HOLD-Richard L 3/16).  This is one nice HM.  

1970 Gibson EB-0, (front), (headstock), (control cavity), (back), (checking), (bridge/tuner), (case).  Here's the bottom-end brother to the '70 SG, with the same Walnut finish, no volute, and one of the cool slot-headstock models.  Gibson has always chased Fender in bass guitars, never gaining the popularity of the P or J basses, but they have a cool tone and these EB-0's with their short scale and narrow neck width are great for guitarists making the change to bass.  When I was a youngster an EB was my dream bass, probably because Jack Bruce was never seen without one.  Other than the bridge, 100% original with no touch-ups or overspray on the finish, and all original solder joints.  Other than finish checking this bass is in remarkably nice shape and hasn't seen a lot of playing time.  Worst flaws are bridge has been changed to a Fender style and a cap for one of the tuners is missing.  The stud inserts are still in the body and original studs are included so if you want to chase down an original bridge it would be an easy install and cover up any holes from the current bridge.   It has a nice set up and like the SG, the kind of tone that is sweeter by virtue of 40 year old wood.  At $1299, it's priced less than a new SG bass and I'll guarantee that it sounds much better.  And when it comes down to it, I can't imagine buying a new instrument when you can get a comparable vintage model at a comparable price.  Includes original blue-lined case with a nice 70's painting of a Pieces symbol.  Hey, that's my sign.  Am I supposed to keep this?  Hmmm...

Ibanez EDB400 Ergodyne Bass, (pic2).  Looks blue in the pics but the color is actually dark purple.  The Ergodyne series has long been one of the best selling basses on my site.  They set up extremely well and, as the name would imply, they are designed with ergonomics in mind.  One of the most comfortable basses to strap on and play.  Has a very deep belly cut (pic) and all the body contours are designed for comfort and easy access to the fretboard.  Features include slender 2-octave maple neck offers fast and easy fretwork, strong passive pickups and active PHAT tone circuitry with one-knob control to boost the perfect balance of highs and lows, Basswood body with Maple neck.  For the money, you're not going to beat this bass.  Forget about a P or a J, unless you like one tone - this one does a lot more.  Just $279, set up to perfection and ready to rumble.  

2009 Epiphone Thunderbird Pro IV Bass, (front), (back), (headstock/neck), (case).  One of the coolest body shapes of all time, based on the 60's classic Gibson model, complete with reverse body styling.  The Thunderbird Pro IV in Natural Oil finish has the looks and features of a high end bass including 7-piece walnut/maple neck with through-body construction for increased sustain.  It also features Epiphone T-Pro humbucking pickups with custom active electronics consisting of volume, pickup pan, bass cut/boost, and treble cut/boost, which let you dial in a wide variety of tones to suit the song, the room, or your personal taste.   Other features include black hardware, high mass bridge, classic 'T-bird insignia on pickguard, and upgraded locking Schaller strap pins.  This bass is setup with great action and it plays and sounds like a much more expensive bass.  Barely played and in flawless condition, this bass sells new for $588 with optional $89 Epi case.  If you're looking for one of the definitive rock basses here's a nice one for just $439 including case.  

1983 Carvin LB40 Bass, (front), (back), (headstock), (pickup/controls), (case).  Collector's note - an honest to goodness time capsule piece.  Looks like someone bought it around 30 years ago, played it for a few weeks, and back in the case for the next three decades.  There is zero player's wear, no scratches, no hardware pitting, no finish checking, frets look new.  The only noteworthy flaw is a miniscule finish fleck on the back, smaller than a pin head, shown in the "back' picture above.  This is, essentially, a new bass.  Features include Eastern hardrock maple body and hardrock maple neck contoured into body, ebony fretboard, full 34" scale, copper shielded control cavity and control cover, Schaller tuners, solid brass nut, nickel-silver frets, and amp type knobs.  Pickup is the original M22B which was introduced in 1978, running through 1986, featuring two rows of 11 pole pieces which are adjustable with an allen wrench, controlled by single/humbucker switch, volume, and tone knobs with bead markers inlaid into body.  This is a very comfortable bass to play - nicely balanced, low action, nice weight for an all-maple bass, and it hangs perfectly when strapped on.  It has a deep mellow sound, but with a bright treble attack thanks to the maple, with a nice snap from the ebony board.  It's a tone that won't get lost in the mix the way many mid-mounted pickups do.  This bass should appeal to collector's looking for only the cleanest examples possible, specifically, Carvin collectors, bass collectors, or white guitar collectors.  The price, however, should also appeal to players.  You're going to pay $579 for a new Mex P-bass, and around $125 for a case.  For less money you can have this  with case, you can have this beautiful 28-year-old USA set-neck bass.  Just $599, which includes original Tolex case with key, in similarly nice shape.  

2006 USA Fender Precision with Graphics, (front), (back), (detail), (headstock).  Hey Rush Fans - check out this beauty.  The artwork was inspired by the Album Cover to Rush's 1984 LP "Grace Under Pressure".   It's a total pro airbrushed graphic - as good as any graphic finishes I've had.  Entire body is sealed in a professionally applied poly clearcoat (same as they use at the factory only several coats thicker) so it will be just as durable if not more durable as any new Fender.  It was taken all the way down to 2000 grit for a finish that is like glass.  The graphic is front and back, and even wraps around the front and back (pic here).  This was purchased new for the express purpose of applying the graphic finish so it is a brand new bass, never been played, and the custom job was just done so its a virgin finish with no nicks or dings,  It comes with our great in-house setup that inevitably plays better than factory.  The graphic was hand-painted by Shadoe McKee at Beyond Custom Guitars .  Shadow's artwork has appeared on guitars by countless musicians worldwide. This is the current model Highway 1 P-Bass with CBS era logo, factory Badass II bridge, and 60th Anniversary badge on the back of he headstock.  Included is a new SKB case that fits perfectly as well as a nice Sure-Lock strap with Sure-Locks that work on virtually any existing strap pin.  If you're looking for something truly unique and beautiful, this one's priced around what you'll pay for a stock Highway 1 w/case, which is an incredible deal for a graphic of this quality.  Just $799(HOLD-Bill P 3/30) with case.  

Samick FB-15 P-Bass Style, (front/back).  I've had this bass since '06 and during inventory Brian discovered it had never had the benefit of being on the web site.  This goes a long way to explaining why it's still here!  This is a nice playing, good sounding bass with the feel and tone of the venerable Precision Bass, with the natural wood look of a real player's bass.  With a great in-house setup, this is a great way to get started - or add a P-bass to your on-stage tone - for just $129.  

1979 Fender Silver Anniversary Stratocaster, (front), (back), (headstock), ("inside"), (case).  Rare lightweight Silver Anniversary and a great sounding Strat!  If you don't have one of these in your Strat collection - you don't have a real collection.  As many of you know, the first 500 or so were produced with a white finish that cracked badly and most were sent back to the factory for refinishing.  During the interim Fender decided to go with a silver finish (in Porsche automotive paint) which makes a lot more sense in light of the fact that 1979 was the 25th (i.e. "Silver") anniversary of the Strat, having been originally released in 1954.  Exact production number is unknown, although it is under 10,000 total pieces.  These were originally issued with a "Certificate of Merit" but of the dozen or so I've had, none have had such a piece of paper, as shown in this original ad from 1979.  Aside from any collector's perspective, these were good Strats in my opinion.  This model featured a return to 4-bolt neck attachment, with truss adjustment at the butt end (with tilt adjustment) as well as the introduction of Fender-branded Sperzel tuners, which were to be featured on Fender's higher end models in decades to come.  This guitar is 100% original.  A look under the guard reveals 100% original - no messing with the pickup cavities, original solder joints, original gray-bottom flat-pole pickups, original pots and switch.  Overall it's in very nice shape from the front and back, with very clean hardware (tremolo), and just some minor flaws (shown here) including to large finish check lines in both cutaways, 2 smaller check lines on the top, and a few very minor finish rubs on the back edge.  Overall though, this is a very presentable piece and remarkable for its color which has retained the silver color rather than "greening out" like most of these have done.  More importantly is the tone and playability.  Many of the Silver Anniversary models I've had were dogs, very much lifeless tone and almost without exception, extremely heavy.  This is a fine sounding Strat by any comparison - by far the best sounding 25th, but better than the average Strat from any USA series; any years.  The action is low and comfortable with clear bends and it has a rather unique V-shaped neck (pic) that's fairly deep but because of the small shoulders, easy to get your hand around.  For a very collectable Strat, an imminently playable Strat that could very likely be your favorite player, very affordable for a vintage piece at $1950(HOLD-Craig C 3/15).  Includes era correct tolex case with blue lining, referred to an "export" case for Strats shipped primarily to Canada.  

Ernie Ball Musicman Axis Super Sport HH - Matching Headstock, (front), (back), (headstock), (neck), (case).  Beautiful Transparent Gold quilt top with matching headstock, and nicely figured maple neck.  As you probably know, this model was essentially the EVH model, after Ed's contract with Ernie Ball ended.  There have been some improvements to the guitar since the EVH days but by appearances it's much the same.  Many of you will say "that looks like a Wolfgang" but the roots of this model, the EBMM EVH, preceded the Wolfgang by around 8 years.  Set up is perfect and Musicman's custom wound DiMarzio's sound fantastic.  Spec's of this model include Basswood body with bookmatched, figured maple top, Maple neck with 5-bolt neck joint, Maple fretboard, 22 high profile, medium width frets, 2 custom DiMarzio humbuckers, Schaller M6LA locking tuners with pearl buttons, Graphite acrylic resin-coated body cavity and aluminum-lined control cover, volume and tone controls with 5-way pickup selector, Cream body binding, 25-1/2" scale, 10" fretboard radius, and 1-5/8" nut width.  Offered in immaculate condition with a fantastic setup and equally clean Musicman case.  An absolutely killer player and a simply stunning Axis for $1199(HOLD-Frank 3/12).   

1997 Fender Jerry Donahue Telecaster, (front), (back), (headstock), (neck pocket), (bridge).  I have to begin by saying this is one of the finest sounding Teles I've had, around 1 in 30 sounds this fine.  Very good sustain and sweet harmonics; no low harmonic "ghost notes" when you play double-stops through a high gain amp.  The "JD" Tele is a fairly rare and one of the more desirable models from Fender Japan.  But...after trying everything to get a low set up with this one we finally gave up and changed necks, using one of the best Mex necks I've had, from a '69 Classic Tele Thinline.  The original neck (shown here) has the truss rod tightened all the way and the action is medium at best.  The JD is everything you want in a Tele - killer looks, great tone, versatility, superb action, and a featherweight, especially for a bound Tele, at 7.2 lbs.  Basically this model is loosely based on a 50's Custom Tele, which at that time merely meant "bound body" and the original neck is a 50's soft-V profile.  I say loosely because it has features that weren't used in the 50's including basswood body and 3-ply BWB pickguard.  Let's not get picky though - this really isn't a reissue.  Tonally versatile with Custom pickups made for this model with a Strat in the neck position and 5-way switching as follows - Position 1) bridge PU alone delivering a classic 1952 vintage sound. Position 2) The bridge PU and the neck PU out-of-phase delivering a Strat tone similar to position 4 on a Strat.   Position 3) The bridge PU and the neck PU in parallel, creating a sweet fat tone for rhythm.   Position 4) Neck PU alone for a classic 1957 vintage Strat sound ran through the tone control.  Position 5) neck PU completely bypasses the tone control - straight to the jack - for the additional punch of this vintage Strat tone.  Although simple, this can be a useful feature such that - you may have the neck tone rolled off a little and when you're ready to jump into a more searing lead tone just flip the switch up one notch.  This guitar was collector owned and offered in very near mint condition, with the only flaws being several very tiny scratches in the clear coat on back.  The action is superb all the way up the neck, no choking out on bends, and tonally, it's like having a quality sounding Strat and Tele in one guitar - all for $699.  Includes deluxe Fender gigbag or rough shape Fender case.

2011 Fender FSR Standard Stratocaster HSS - Sunfire Orange Flake w/upgrades, (front), (back), (headstock), (pickups), (Fender case).  A real head turner in a Factory Special Run (FSR) Sunfire Orange Flake finish.  A few upgrades on this guitar including original "Standard" humbucker swapped out with a DiMarzio Virtual PAF which captures the finest qualities of 50s tone while Alnico 5 magnets are used to generate the same low string-pull that an Alnico 2 or 3 produces, and combine to produce low note clarity and high note warmth.  The stock ceramic "Standard" single coils have been replaced with Fender Alnico stag pole pickups to produce a smoother, non-harsh tone.  Lastly, the stock pickguard (which will be included) has been replaced with a white pearloid that looks much better with the flake finish.  Specs for this model are basically the same as the Standard Strat, but Fender shielded the body cavities on this model, which reduce hum and give you a quieter operation on the single coil settings.  If you want a killer looking Strat, with a few upgrades that make it better than stock--plus a Fender case in place of a gigbag--this is a great playing, great sounding axe for $599(HOLD-Darren W 3/14).  

1988 Charvel Model 3A - Electric Blue, (front), (back), (headstock), (neckplate), (case).  Museum condition, no scratches or wear, with an original Charvel "Safecase" as clean as the guitar.   Back in the early 80's, after Jackson acquired Charvel to form 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 3 was the equivalent to the Jackson Strat, and featured a Strat-style basswood body, bolt-on maple neck, 22-fret rosewood fingerboard with pearl dot inlays, six-on-one-side tuners, Jackson  JT-6 tremolo, and Jackson SG38-06 tuners.  It also features a pair of USA Jackson J-80C humbuckers, same pickups used on the neck-thru Model 5, controlled by a JE-0005 5-way switch.  Tremolo is the Jackson JT-6, licensed by Floyd, which actually had a lot of design innovations that were very effective.  Like all Charvel/Jacksons in this era, it's all about the neck and this is one killer playing neck thanks in part to the "conical fretboard" (as Charvel called it, with a radius from 12" at the nut to 16" at the 21st fret, which keeps the strings the same height all the way up the fretboard.  Under the fretboard you'll find a double-expanding truss rod.  Includes original silver case in likewise museum condition with perfect latches, all the metal feet intact, and no cracks.  This is the cleanest chainsaw case I've seen in 10 years.   List price on this guitar back in '88 was $599, around the same as an American Strat.  In 2012 dollars, that's a bargain in a guitar that's been under the bed for 24 years.  $599 (HOLD?**) for this museum piece.  (**Note:  I put this on hold for somebody who called or emailed, but I forgot to write down a name)

IBANEZ DAYS...   

2009 Ibanez AS73-TCR Transparent Cherry w/Case, (front), (back), (side), (headstock), (features), (case).  Excellent value in a quality "Dot" copy.  Since their imitation years of the 60's and 70's, when they were building great quality Gibson and Fender copies, Ibanez has made it on their own designs, eventually becoming the most innovative Asian builder. A few models have stayed in their catalog since their "copy days", such as their ES-335 style, now known as the AS73 from their extremely popular Artcore line. It retains the basic design of the 335 including semi-hollow body with center block, laminated maple top/back/sides, set in mahogany neck with rosewood fretboard, bound body and neck, dual chrome-covered humbuckers with 3-way switch and dual volume/tone controls, 3+3 tuners, 24 3/4" scale, tuneomatic bridge with stop bar tailpiece, and of course the "Dot" inlays. Ibanez used the ACH1 and ACH2 humbuckers for this model, which clean sounding, with a slight overdrive. The pickups are mounted into a sustain block for increased sustain and feedback elimination. It also features a 17th fret joint for more comfortable access to higher notes.  This is a very comfortable neck, that's thin and fast, with a flat 12" fretboard and medium frets.  It plays beautifully from the first fret to the top, and has a quality tone that can go from jazz to blues, to rock.  These are made in China now but from my observations the better Chinese factories are on par with the Korean guitars 10 years ago.  The gloss finish is applied perfectly, binding is done beautifully, and the overall fit and finish is on par with the best Korean guitars.  Just a reminder that it's not the country that builds the guitars, rather, it's the quality control used within the factory to ensure only good guitars leave the plant.  These sell new for $399; $498 with Ibanez case.  This one is "as new" and set up to perfection, for just $375(HOLD-Dick 3/18).  This is a bang-for-the-buck winner for semi-hollow thinlines.  

1989 Ibanez S540 Desert Yellow- USA H&S Production, (front), (back), (headstock), (neckplate), (trem), (pickups).   Killer player and a fairly rare USA model in the rare an highly desirable Desert Yellow finish.  H&S was Ibanez' USA counterpart for custom shop guitars and artist endorsers - and Ibanez had loads of endorsers in this era, virtually every hot shredder; everybody on Shrapnel records.  Originally founded in Bensalem PA, the shop moved all the way across the country, to North Hollywood CA, in early 1990.  The serial and neckplate date this one to '89 with 7101 Case Ave. North Hollywood production.  For the whole H&S story, click here for jemsite.com.  The S540 features the Sabre body, which is probably the thinnest body ever made, measuring less than an inch or so at the edge (shown here).  Neck and body are properly as well as the H&S stamp on the trem block.  Pickups are the stock Ibanez USA C2 in the neck and middle, with the F2 in the bridge.  I wish knew more about the history of this guitar.  Was it built for one of Ibanez' large stable of endorsers?  Looking back at their Guitar Player Mag ads, they had just about everybody signed.  Somebody might have records and if you're ambitious, give Ibanez a call with the serial number, just let me know what you find.  Better yet, buy the guitar and just imagine that it was one of Vai's studio axes.  Whoever owned it, apparently never played it.  This one is as clean as it comes, virtually flawless in appearance and fantastic set up as well.  If you want to own one of Ibanez finest, this H&S is a little piece of Ibanez history and one fine axe indeed.  Priced at $899 with hardshell case.  

2008 Ibanez RG2570EVSL Prestige - Vital Silver, (front), (back), (headstock), (ZR Trem), (case).  Things frequently come in bunches, which is the case with RG750's, with 5 of them arriving in the past few weeks.  This RG2570E represents the latest evolution of the 570.  It retains the RG body shape, which is hard to improve upon, as well as basswood used for its light weight, and well-balanced tone, falling between alder and mahogany in sound character with a good balance of highs and lows. Finished in a Prestige Vital Silver finish, a "textured" finish, and trimmed with Cosmo Black hardware, with the finely sculpted body, with a thin, fast, and flat five piece maple/walnut Wizard Prestige neck.  Rather than the dot inlays of the earlier 570's, the 2570 has wedge sharktooth inlays, with cosmo black hardware, as well as a colorful pearloid logo which appears to be shell.  It retains the trio of DiMarzio pickups in the versatile H-S-H configuration.  The tremolo is a vast departure from the earlier Edge trem's - the new ZR (Zero Resistance) trem offers a number of improvements from the Original Floyd Rose; it contains a heavy sustain block, a pop-in arm and most importantly, a ball bearing-based pivot point and a removable stop-bar, also known as the Zero Point System (more info here).   Near flawless in appearance, other than a little wear around the treble side of the pickups, with a killer set up that's shredder approved.  This model listed at $1333 and while I don't have the original case it's a nice buy at $639 with a hardshell Gator case.  

1990 Ibanez RG-570 - Black, (front), (back), (headstock).  Killer 2nd year Japanese RG-570 in original condition.  The RG series was first introduced in '87, paralleling the style of the Steve Vai Gem model, with the 570 begging in '89.  The series was developed specifically for shredders, namely the stable of young guns from Mike Varney's "Shrapnel" records, many of whom had been assembling their own customer guitars since nobody was building what they needed, namely a STABLE neck that was very thin, and very flat, and a body with deeper cutaways.  After a 12-year run Ibanez discontinued the 570, only to rename it the RG-2570 when they reintroduced it, '04-'07, as one of the Prestige series.  The two models are basically one in the same.  Features include Basswood body, Edge tremolo, IBZ USA pickups with V7-S1-V8, 24 jumbo frets, black hardware, matching headstock finish, Gotoh tuners, and a beveled heel to allow easier access to the upper frets.  Extremely thin and wide one-piece Wizard neck is a shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  Overall nice shape for a used guitar with just a few small finish touch-ups on the edge and the typical discoloration on the neckplate; front and back are overall very clean.  Frets are in great shape and this guitar plays beautifully.  There aren't many pro quality axes you can get for under $500; this one's $399.  Includes gigbag and trem arm. 

2000 Ibanez RG-570 - Gray Nickel, (front), (back), (headstock), (Edge trem).  Same guitar as the 570 above, except 10 years later.  Features are the same as the 570 above except the neck has the thick skunk stripe down the back, and it features the "all-access" neck attachment instead of a neckplate.  Cosmetically, it looks perfect from the front with just a small finish impression on the lower horn.  Likewise, back is in nice shape but it does have some finish chips on the edge, shown here, which aren't visible from the audience.  I wouldn't recommend this one for the cosmetically-concerned collector, but for the player it's an excellent player and a good value in a Japan RG at just $350.  Includes gigbag and trem arm. 

1983 Ibanez DT-155 X-Series Destroyer - Rockinger Trem - Maserati Blue, (front), (back), (headstock), (trem), (neckplate), (case).  Very cool Destroyer made even cooler with a pro refinish and a rare Rockinger tremolo.  Many people refer to this generically as a Phil Collen (Def Leppard) Model, although he was known for playing the higher end DT-555 with upscale cosmetics, set neck, and a wacky Ibanez locking tremolo.  These Japan-era Destroyers are amazing quality as most people know.  As you may know, in '83 these only came in red but this one has had a pro refinish (i.e. factory quality) in genuine Maserati Blue.  One other mod is the installation of a Rockinger tremolo which includes the proper locking nut and tremolo arm.  The Rockinger is often referred to as the "Eddie Van Halen" tremolo and was one of the first locking trems on the market in '81 and was used on the early Kramers one of which was Ed's guitar (shown here manual here).  Made in Germany, the Rockinger is the first locking system I can think of that had fine tuners.  Setup is low and very comfortable with a scorching tone from Ibanez V2 humbucker, boomerang strap pins, basswood/birch body, maple 1-pc neck, 25.5" scale, single volume and tone with Sure Grip II knobs, Smooth Tune II tuners, red finish only.  While the DT-555 featured the Pro Rok'r tremolo, the DT-155 came stock with a vintage style Gotoh tremolo.  On later models, probably beginning in '85 models they used the floating PowerRocker tremolo.  As you might guess, this guitar is in beautiful condition with almost no playing time since refinished.  Frets are in great shape and this medium profile neck with jut a sealer coat feels very fast and comfortable.  The Rockinger is in museum condition and can be easily swapped out with a vintage trem should you need the Rockinger on a vintage Kramer.  This is a very nice early-model X-Series DT-150, whether you're a collector or player and a fabulous guitar for $499.  Includes original case.  (Click here for catalog from Ibanezrules.com, the best Ibanez site on the web).  

Cool Story:  We got a call Friday from "The Palace" in Albany for a quick-turnaround repair on a P-Bass.  I knew that Jane's Addiction was playing there that night so it was kind of cool, within an hour, to receive bassist's Chris Chaney's Custom Shop Relic Precision (pic1 pic2).  The roadie/associate dropped it off and in about an hour picked it up, set up, new pickups, ready to go, and the bass was used at the show just a few hours after Martin worked on it.  Kudos to Martin for doing his usual fine, fast work.  Had I been thinking, I would have offered a no-charge repair for a group pic signed by the boys, or at least a solo shot by Dave Navarro.  Anyhow, just a little insight into our often exciting world.  

60's Tokyo Guitar Company Strat Style, (front), (front2), (back), (24.75" scale), (headstock), (acc.), (gigbag/acc), (lining).  Museum condition with original case and accessories.  Looking for a lightweight full scale guitar?  This one is...4.8 lbs.!  Although there's no brand on the headstock it's most likely identical to a Guyatone or Kent model, which were also made by Tokyo Guitar Co.   This pic shows a Guyatone along side this guitar where the only difference is the Guyatone-branded one has dot inlays, smaller bridge/cover, and non-painted headstock.  Tokyo Guitars were one of the very first guitar builders in Japan, and this one was probably made in the early 60's.  Overall insanely clean condition for 45 years, absolutely flawless other than very minor buckle scratches in the clear coat only.  No finish flaws anywhere else, chrome hardware isn't pitted, no checking on the lacquer finish, simply gorgeous from headstock to strap pin.  This is a full scale at 24.75", same as a Gibson.  The overall vibe is not unlike an early Jag with an exaggerated Fender headstock, two tall single coil pickups, dual 3-position rocker switches, and an anodized metal pickguard.  Other features include string-retainer tailpiece, plastic intonated fixed bridge, thumbprint inlays, dual single coil pickups, dual volume and master tone, large bar string retainer on headstock, sunburst finish including back of neck. This guitar plays great and, remarkably, the electronics work fine.  I think the rocker switches are:  off, on in-phase, on out-of-phase.  It has a very cool tone and is very quiet.  It has an extremely thin lacquer finish which we're guessing is nitrocellulose.  A great guitar if you're looking for a David Lindley type tone or Teisco Del Ray vibe.  Just a very lovely guitar that's totally playable and a good example of a very early Japan electric.  This one reads "made by Tokyo Sound for General Electric".  I had an identical guitar 3 years ago which said simply "Made by Tokyo Sound", without the GE wording.  I have no idea what this means.  Includes what we're guessing are the original flatwound strings, original vinyl strap, clear vinyl strap case, an extra pack of Tokyo Sound strings, still sealed, and original vinyl gigbag with felt interior.  This is one for the collector but at this price, would make a cool gigging guitar.  All this for $279(HOLD-Bob C, local 3/27).  

EV 12-2A Wedge Monitors, (90 or 60 degree angle), (standing), (stacked), (top), (xover), (spec sheet).  Compact and robust, these Electro-voice EV12-2A's are some of the best stage monitors I've used, in fact, these are leftover from my gigging days so I know them very well.  I always took care of my gear so they're in nice shape and work perfectly.  Guitarists may want to buy these simply for the 12" drivers, which are the famed EVM-12L used in finer guitar amps and cabs.  They also have an EV T35 tweeter, internally crossed over at 5K.  They're rather compact, measuring 15"X13"X21" and fairly efficient with an output of 115dB at 4' with 100W input.  They're designed to work at 3 different angles (90 or 60 degrees, or stand up for side-fills, with rubber feet on 3 "bottom sides").  Solid and made for the road, they have aluminum reinforcement on all the edges.  These are conservatively rated at 100 watts, but I know the EVM's are rated at 200W should you want to swap these out for your guitar amp.  Worth the price for the speakers alone at $300/pair.  

1967 Martin D12-35, (close-up), (headstock), (back), (sides), (bottom edge).  Nothing beats Brazilian rosewood for tone.  Since importation of Brazilian was halted in 1969, recent models made of this cherished wood are inevitably limited editions or custom orders, which fetch 3X the price of comparable Indian Rosewood.  Prior to 1970, however, Martin built nearly all of their finer Rosewood models out of this wood, most notably the D-28, D-35, and D-45.  Martin also built 12-string models which correspond to cosmetic and structural specs of the 6-string models, such as the D12-28 and this D12-35.  Many of them have been converted into 6-strings, either permanently, or by simply stringing them up as a 6.  This 1967 example is one of the nicer ones I've had in terms of condition, tone, and especially nice playability for a Martin 12.  Specs include; spruce top, Brazilian rosewood sides and 3-piece back, 12-fret mahogany neck with slotted headstock, white-bound 19-fret ebony fingerboard, dot inlays, 1-7/8'' nut, 24.9'' scale, ebony bridge, black pickguard, and white-bound body.  It would hardly be an old Martin if it didn't have a repair of some sort and this guitar is no exception - there's a pro-repaired side crack on the treble side, virtually invisible from a foot or so away which has been cleated  (shown here) and is a totally pro repair, both cosmetically and structurally.  There were a few very light cracks on the back which we glued and are invisible.  A Martin acoustic with an original finish sounds like no other at 45 years old.  It is full, rich, and clear, with a projection that fills the room with sound.  You might think the body looks too clean to be an original finish but it is original, simply buffed out.  The old blue Martin cases frequently cause a finish reaction which looks like a powder on the sides and back.  The only way to guarantee that it won't come back was to buff out finish (top wasn't affected and not buffed out).  For this reason I'm recommending this guitar be kept in this Martin Geib case (shown here), or you can choose the blue Martin case with purple lining (shown here), against my judgment.  At Gbase prices this would be a $3500-$4000 guitar.  This one is a smoking deal on an original finish, lovely Brazilian Martin at just $2600(HOLD-Mike W 3/5).  

Limited Edition 50th Anniversary 1961 Epiphone Casino TDV (E230TD) with Tremtone Vibrola, (front), (back), (side), (headstock), (Tremtone), (case/acc. poster).  Rare Ltd Ed model - only 1,961 of these were made - certificate of authenticity included.  The Casino will always be associated with the Beatles.  George and Paul both played Casinos, with Bigsby's, at various times. As you may know, Epi's archtops paralleled Gibsons during the 60's and the Casino was Epi's version of the Gibson ES-330.  Features include an all-maple laminated body, fully hollowbody (no center block) thinline, which give it improved acoustic properties compared to an ES-335 Dot with a center block in the body, although more prone to feedback using higher gain settings.  Other features include double cutaway body of 5 layers of laminated maple/birch, mahogany neck, set neck - joins body at 16th fret, slim taper neck, 22 medium jumbo frets, 1.68" nut, rosewood fretboard with pearloid dot inlays, bound neck and body, Gibson USA P90 pickups, Wilkinson vintage-style tuners, Switchcraft 3-way switch with dual volume and tone controls, tuneomatic bridge, and Tremtone tremolo with walnut accents.  This guitar comes with the nicest Epi case I've seen, very solidly built gray tolex over wood.  Also includes book-style certificate of authenticity, cable, manual, assorted paperwork, and a full-size poster with the Casino on one side and Epi's entire archtop lineup on the reverse.  An especially nice setup and classic Casino P90 tone.  For more info, check out Gibson here and Epiphone here.  This model is offered in either a trapeze tailpiece or for an $83 upcharge, this Tremtone vibrola.  With a $1415 list price, this is an exceptional value on a collector's model in unplayed condition.  Just $699 for this beauty.  

OFF-HOLD:  ca. '69 Yamaha SA-50 Archtop, (front), (front/back), (headstock), (closed f-holes), (features), (tuners/pickguard), (case).  A fantastic player in nice vintage condition.  If you're a fan of low action, like the 60's Gibson archtops, you'll love this guitar.  Action is cut very low at the nut and stays parallel with the fretboard all the way to the top fret.  Appears to be loosely based on an ES-335, although perhaps an inch smaller in the lower bout.  Features include:  semi-hollow slim body, double cutaway, double f-holes with factory "dampers" installed; multi-ply body binding; bound neck; bound f-holes; bound headstock;  real mother of pearl fretboard inlays; Yamaha proprietary tremolo with a fully-adjustable roller bridge; two small humbuckers; three-way switch; volume-tone-balance pots; mono output; zero fret, 22-fret set-in neck; single truss rod; thin profile neck shape; rosewood fretboard; bone nut; Yamaha non-locking tuners (replaced with Kluson style); and 24 3/4" scale.  The way the balancer control seems to be designed to blend in the bridge pickup, effective with the 3-way in the middle position, which lets you balance the neck pickup with any amount of the bridge.  Depending on where you have the 3-way set, it can zero the output so I've found it best to simply keep it set in the middle which allows the 3-way to act as a normal 3-way.  This guitar has a nice mellow tone which would lend itself especially to jazz players.  The f-hole covers are recessed and I'm assuming were designed to cut back on feedback that many hollow or semi-hollow body guitars are prone to.  Yamaha archive pages have production of this guitar from '67 to 72 and from others that I've seen, I'm guessing it's serial, 1561, places it around '69.  Japan-made Yamaha's are among the best imports made and Nippon Gakki was a premier builder during this era.  For a guitar of this obvious quality and superb playability, a nice buy at $899.  Includes heavy-duty original case in  nice shape.  

Boss RT-20 Rotary Sound Processor, (stock pic), (back panel).  I think these are the best rotary speaker simulators on the market - as good as Hughes and Kettner's Rotosphere, but more versatile.   Sounds equally good on guitar or keyboards where, like a Leslie, you can go from a slow rotary to fast at the touch of a button.  You can adjust the mix between bass rotor and horn rotor, set the speed for both fast and slow settings, adjust the speed in which the rotary rises, add some natural sounding Leslie overdrive, with 4 types of sounds including standard rotary speaker effects, rock-oriented tones, UNI-V, and more.  Has the coolest multi-color visual display you'll ever see on a stomp box and once you get used to it, actually helps in dialing in your settings.  For full specs click here for Boss' site.  For YouTube demo's click here for keyboard - or click here for a great guitar demo by the Boss demo guy.  Operates on 6 AA batteries or optional power supply.   $219 on a new one but this one's in excellent condition in original box with manual and paperwork for $159(HOLD-Mike W 3/1).  (Note: I also have the Boss RE-20 Space Echo for the same price plus free shipping if you buy a pair).   

2005 PRS EG SE, (front), (headstock), (back), (gigbag).   Since their initial release in 2000, I've said that PRS did their imports right, with quality electronics and hardware, but even more, a fit and finish rivals nearly every USA maker.  The history of the EG goes back to around '90 with the original USA model, the EG I, which from my recollection was the first PRS guitar to feature a pickguard.  The SE EG, which was PRS's version of a Strat, was recently discontinued after a fairly short run, with this black sunburst only a year or so according to the Blue Book.  Unlike a Fender, this guitar features a set neck and, just as importantly, a mahogany body and neck, which gives it s much fatter and warmer tone than the Alder/Ash bodies normally found on Strats.  They used a tremolo which was very much like the USA PRS model, and paired with stock quality tuners, it stays in tune very well.  These were offered in an SSS or, like this one, an HSS format.  The HSS gives you the best of both worlds and expands the capabilities from metal to country.  These are all quality pickups and most players would have no reason to upgrade them.  This guitar is in excellent condition with a typically great PRS setup.  The neck is slightly chunky - a bit bigger than your average Strat and it's a joy to play with very comfortable action and bends effortless with no dead spots.  PRS's quality control is top notch, be it in their USA models or their Korean imports, and this guitar will hold its own with most USA Strats costing 3X the price.  Compare this to a Mex Standard Strat at $499, and this guitar will bury it in an A/B comparison - and it's just $329(HOLD-Eric C NOR) with the PRS gigbag, one of the heaviest gigbags made. 

1985 Fender Japan Neck - 70's Reissue, (pic2), (pic3).  Nice shape with somewhat rare rosewood fretboard.  Not nearly as many of these as the small headstock 50's and 60's reissues and these are much more in demand.  Frets are in nice shape and it sets up very well.  $235 with original Fender/Gotoh tuners or $199 without.   

1983 Fender Telecaster Elite - Candy Apple Red,  (front), (headstock), (back), (case).  Beautiful custom color Elite!  100% original, shines like new with no finish checking.  Having had dozens and having seen hundreds, by far the most common colors for these are the six standard finishes (Black, Pewter, Natural, Artic White, and Brown or Sienna Sunburst).  The custom colors only make up for around 10% of these and include this Candy Red, as well as Lake Placid Blue, Candy Apple Green, Aztec Gold, Emerald Green, Wild Cherry, and the ultra-rare "Stratoburst" airbrushed finish.  As you can see in the pics, this guitar is extremely clean with no buckle rash or heavy wear anywhere.  The only noteworthy flaw is a small finish chip near the strap pin (shown here).  Hardware is in nice shape, lettering on the knobs is very intact, and the fretboard, is in clean shape.  It has some minor scratches and dings in the clear coat, but nothing through to the wood.  Of all the Elites I've had, it's easily in the top 15%.  For some history of these unique guitars I've created a page (link here).  The Elite Telecaster, specifically, was designed to entice Gibson players as admitted by Dan Smith as he was trying to "pick up some of the Gibson players, hence the Les Paul type switch and the humbucking pickups."  The Elite Tele was designed as a "balls-out" loud guitar fitted with dual humbuckers four controls, 3-way switch, and white body binding.  Other Elite features include a Biflex truss rod, flatter (12") fretboard radius, jumbo frets, heavy cast bridge with drop-in string loading, "Ezy-Glyder" string trees, rubberized knobs with "F" caps, owner-installed pickguard, barrel style output jack, and active electronics with a special tone circuit using the TBX and MDX (Tone bass expander and mid boost control) which change the tone of the guitar while also functioning as part of a noise reduction system.  Battery is accessed via a separate cover plate on the back of the guitar.  The dual noise-canceling Alnico II pickups are described in the '83 catalog as "preserving the unique Telecaster tone..." but, in reality, the tone doesn't really have that Tele twang, but nonetheless, it's a quality tone, unique to this model and for my tastes, a fantastic tone that stands on its own.  Like the features on this model, the price was also "elite".  At a time when the regular American Strat retailed for $550, the Elite was $895, which was a lot of cash nearly 30 years ago.  Early 80's is officially "vintage" now but these are still a good buy on the vintage market.  With very well worn examples with replaced parts going $1K, why not get one of the cleaner examples you'll find, and a custom color to boot.  Even at $1399, it's cheap enough to take to a gig and like all vintage Fenders, guaranteed to go up as the years go by.  Includes original case with all latches and hinges intact. 

1986 Fender Stratocaster XII, (front1  front2), (back), (headstock).  Rare model from Fender Japan - only the 4th one I've ever had - and the very desirable Made in Japan (not Crafted) - from the mid-80's.  The history of this model begins in the mid-60's with a Fender model call the "Electric XII", with sort of a Jaguar-shaped body and an innovative 12-saddle bridge, designed for precise adjustments of individual string heights and intonation, with strings-thru body design for increased sustain.  The 12-string craze of the 1960's was very short-lived, and the Electric XII was discontinued in 1969.  Jump ahead around a decade and a half and we have this model - a twelve-string Strat, the Strat XII, which was introduced by Fender Japan in 1985.   This model has 22 frets and, rather unusual, a Gibson scale length of 24.75 inches.  This model was discontinued in 1993 and was forgotten until the Crafted in Japan models came out in around '08.  This guitar is in beautiful shape, buffed out to a mirror gloss finish with no major flaws.  Fender Japan has become proven lower-end investment pieces but, more importantly, this one's a really great player, with low action and a distinct chimey tone that can do a pseudo-Byrds/Petty impression or a huge sounding Strat.  An excellent value on a 26-year-old Fender Japan collectable guitar at $750.  Includes hardshell case.  

2008 LaPatrie Concert CW QI - Cutaway Acoustic/Electric Classical, (front), (back), (headstock), (electronics), (appointments), (case).  In my opinion, the best under-$1000 classical acoustic/electric you can get.  If you're not aware, LaPatrie guitars are made in a small village, LaPatrie, in Quebec Canada, by the Godin company.  The Concert CW is their top of the line model, featuring a high-gloss, custom polished finished and, remarkably, all solid woods.  The sides and back are solid mahogany; the top is solid pressure-tested cedar.  Canada is a great place for guitar building.  They have an abundance of old-growth trees.  LaPatrie guitars feature select pressure tested solid cedar tops. Graded and tested for their excellence and structural integrity, this method of pressure testing each solid top ensures the highest levels of stiffness and rigidity along with maximum harmonic vibration.  The wood used in these tops can be found only in previously fallen cedar trees that have an average age of about 800 years...800 years!  This wood features a tight straight grain, which produces greater rigidity while at the same time is flexible across the grain lines. LaPatrie also uses a Custom Polished finish, which is reminiscent of the French polish of the 19th Century and, as opposed to "thick" polyester finishes, it allows the top not only to be protected but also to breathe and vibrate freely allowing the effective and very important “aging” process to take its course.  This “aging” process means that this guitar will actually sound better and better the more it’s played over time. The neck is carved from Honduras mahogany and features an innovative double-function truss rod system which allows the profile of the neck to be reduced, producing a neck of extraordinary comfort, while increasing stability.  Other features of this fine instrument includes a Tusq nut, fully compensated Graphtech saddle, intricate soundhole rosette, cream binding on the top/back/headstock, rosewood fingerboard and bridge, 2" nut width, 25.66" scale length, gold "lyre" style tuners with pearloid buttons, and deep treble cutaway to allow unprecedented easy access to the upper frets.  Electronics consist of  an EPM Quantum 1 (QI) preamp with easy-access 9V door on the back edge near the end pin jack.  Cosmetically there's some light player's wear primarily fingernail wear around the 1st string, but overall is in excellent condition.  No breaks, repairs or issues of any kind.  As nice as this guitar sounds, what really impressed me about it is the playability.  Classical are usually noted for having a neck angle that results in high action, especially in the middle and upper register.  This guitar has very comfortable action all over the neck, as good as the high-end Taylor classical that this was traded for.  It's truly a joy to play.  LaPatrie's line of classicals consist of 8 different models, but only the Concert CW features a solid wood body, cutaway, gloss finish, and optional Quantum I electronics.  You'll likely have a hard time finding one of these in stock.  If you're looking for a truly impressive classical for a reasonable price, I think this one is impossible to beat at $550(HOLD-Bob C 3/1) with hardshell case.  For more info on these great guitars click here.

Fender Squier Strat - Black - Upgraded Pickups, (front), (back), (headstock).  Nice playing Chinese import Affinity Squier with a cool look and quality tone.  Fender is producing some very good quality guitars from their China factory.  They're playability is vastly superior to the older Korean Squiers and they don't use plywood as they did on the early MIK models.  Generally speaking, they necks are consistently excellent, which allows for a setup that usually rivals the USA models.  This one has had a few upgrades including an authentic looking 60's Trans logo installed, all the plastic has been switched out to black, including pickguard, knobs, covers, and backplate, but more importantly, the stock ceramic pickups have been swapped out with an Alnico HSS set from MightyMite.  The body is factory routed for a humbucker so no routing was required.  You can get these MightyMite guards, complete, for around $120 and it will improve the tone of any budget model Strat 100%.  The humbucker tone is fat and totally quiet, while the single coils are hotter than the stock ceramics with more articulation, more of the "Texas" tone that most players prefer.  Cosmetically it has it's share of scratches and dings but nothing horrible, and the frets are in perfect shape so I doubt that it's actually been played very much.  If you're looking for an inexpensive Strat with "the look", quality tone, and nice setup, this one will get you there for just $179.  

1969 Fender Princeton Amp, (panel), (top), (back), (label/speaker).  Highly regarded AA964 model, this 43-year old Princeton in beautiful vintage condition and sounds like a Princeton should.  Dating Fenders during this era isn't precise, but the AA964 circuit was used from '64 to '70 (AB1270 from '71 onwards) so the lack of a chrome drip edge makes it a '69//'70.  Since the transformers are dated mid-'69, I'll call it a '69.  At about 12 watts these are very popular studio amps but you can also place it on a bar stool and mic it through the house PA, and you've got a great club amp.  The AA964 is an all-tube circuit with three 12AX7's in the preamp, dual 6V6 power, and a GZ34 rectifier.  If you're looking for more of the Fender clean tone, the Princeton has more of it than the Princeton Reverb and it stays clean until around 7-8, where it goes into a very smooth overdrive.  Everything sounds perfect - it's quiet at idle, even when turned up all the way, bass and treble knobs are strong as is the Vibrato speed and intensity.  All original other than 3-prong cord and speaker changed out with a Weber C10Q.  The Weber C10Q is felt by many to be the perfect replacement speaker that sounds better than stock.  This amp is in lovely vintage condition with no noteworthy flaws and a nice buy in a very useable vintage amp at $750.  (Note: I also have a nice blackface AA964 for $879 on my amps page).  

2003 Fender FrankenStraTele, (front), (back), (side), (headstock), ("inside" pics), (Strat bridge and jack).  This is a unique, custom built guitar.  It features a 2003 Fender Special Edition Standard Strat neck on a Strat/Tele hybrid body.  The only thing Tele about the body is the body shape.  It features a belly cut and arm contour of a Strat, a Strat output jack, and Strat hardtail bridge and, oddly enough, a Strat pickguard that somehow follows the lines of the body very well.  I was told by the customer the body is from one of the USA body/neck builders; my guess would be Musickraft.  It was factory routed for the Strat output jack and never had the standard Tele jack hole on the side.  Pickup routes are HSS so if a single humbucker isn't your thing you can go to an SSS, HSS, HS, or SS.  Nice looking piece of solid alder with a sealer coat applied.  The pickup installed is the Fender Atomic II, as used on the American Deluxe HSS and others.   This is an excellent playing guitar that should appeal to a player looking for something a little different and at $299(HOLD-Robert Nor... 3/16), it's a few hundred less than a new Mex Tele but sure to turn a lot more heads.  

Marshall Slash Signature AFD100 Appetite for Destruction Head, (panel), (top), (back), (back panel), (box/acc.).  As new in the box!  Whether you're GNR/Slash fan, or just a player who appreciates a great rock tone, you'll appreciate this amp which nails a tone that is widely believed to be one of the best Marshall tones of all time. The AFD100 head, made in England, captures a true classic tone, namely, Slash’s guitar tone on Guns ‘N’ Roses legendary, Appetite for Destruction (AFD) which was released in 1987, sold over18 million copies and counting, and is the best selling debut album of all time. Using the original AFD master recordings, Slash and Marshall painstakingly worked together to replicate his AFD sound. This amp actually captures two of Slash's signature tones. The first is based on the modified JCM800 2203 he’s used since the late ‘80s. The amp had a number “34” stenciled on the side, hence the “#34” name of one of the two modes. The second is the main "Appetite" amp, believed to be a modified 70s model 1959 Super Tremolo. You can switch between the two modes, as well as engage/disengage the effects loop, via two mini switches on the front panel or via the (included) footswitch. This amp has a number of cool features such as built-in power attenuation, allowing the output power to be modified without affecting the tone. Unlike external passive attenuators, this feature electronically modifies power amplifier parameters, working together with an auto-biasing circuitry, allowing you to go from the full 100W down to 1/10th of a watt just by turning a knob on the front panel - and it sounds pure JCM800 at any setting. On top of this, the Auto Biasing feature means that you can ensure your amp is tuned up whenever you play. Features of this fine amp include high and low sensitivity inputs, Mid-'70s vintage finish, silver signature Slash panel, 100W - adjustable down to 1/10th of a watt, 5 ECC83 preamp tubes, 4 - 6550 power tubes, series FX loop with Return Level control, Auto-Bias & Bias Current Trimmer to ensure correct power valve biasing and optimal valve life and function, and speaker outputs of 2 - 4Ω, 2 - 8Ω;, 1 - 16Ω. The built in electronic power attenuation is controlled by a front-panel knob and allows you to adjust the amp’s output from 100% to 0.01%, and anywhere in-between, without sacrificing the tone and feel of those all-important power tubes. It also has tube fault indicator, meaning that if one of the output tube develops a fault, a visual indicator on the rear of the amplifier shows which one is working incorrectly. This will save your roadies a lot of time should one of your power tubes fail during a gig.  For all the skinny, click here for Marshallamps.com, here for some Harmony-Central reviews. There's a bunch of YouTube reviews but here's a good one (link)  (at 4:22 you'll hear a dramatic difference between the "34" mode and the AFD mode).  I understand these were a limited run of 500 pieces in the USA so most of them are gone.  This one is here and appears to have never been out of the box.  If you can find a new one, it's going to run you $1999 - or you can get this one, "as new" in the original box for just $1399(HOLD-Joe C 2/27).  Includes all accessories including T-shirt, amp cover, footswitch, speaker cable, and power cable.  In closing I'd like to say this is one fine, kick-ass amp.  

2005 Epiphone Gothic Les Paul Studio - Floyd Rose - Seymour Duncan Upgrade, (front), (back), (headstock), (pickups), (Floyd).  Excellent quality import from the Unsung (Korean) factory.  The Gothic Les Paul Studio is a barebones rock/metal axe, offered in either a stop tail or, this version, with a quality Floyd Rose trem.  This is a very good quality Floyd, and appears to be identical to the "Original Floyd Rose", although stamped with the "Epiphone" brand.  There have been a few changes to this guitar, most importantly, the generic non-covered black humbuckers have been replaced with a great sounding pair of Seymour Duncans - the Alnico Pro II Bridge and Alnico Pro II Neck - as used by "Slash" and many other top name players.  Cosmetically, some stick on fretboard cross inlays have been added, and "BLS" (Black Label Society) stickers added to the front and back.  I think they look pretty cool but we can remove prior to shipping if desired.  Also, it's been buffed out nicely, so it looks more like a gloss finish than the factory satin finish.  This guitar is like the original 50's Black Beauty Les Pauls in that it's 100% mahogany, with a carved mahogany top.  It's fatter sounding than the maple top versions and with these Duncans, has a classic 'Burst tone which lets your playing style shine through rather than a scorching high-output sound.  The set up is super comfortable, the Floyd stays in tune especially well, and it's an excellent guitar, especially in this price range.  With around a $200 pickup upgrade, a super nice buy on a Korean LP at $399 with gigbag.  

1995 Fender '72 Reissue Stratocaster - Japan, (front), (back), (headstock/neck), (bridge/neckplate), (neck/body markings).  Another quality Made in Japan model.  As I've mentioned before, I think the hype of the Made in Japan vs. Crafted in Japan is web hype, and just another case of the older is better mentality.  The newer "Crafted" models, in my opinion, are of similar quality.  Like most of the Fender Japan reissues, this '72 is an excellent quality guitar with quality tone, very good fit and finish, and fantastic playability.  This model has all the features of an original '72, except during this period Fender was using the Gotoh tuners, which are actually better tuners than the F-tuners which followed a few years later.  Features of the '72 Strat include ash body with clear finish, 1-piece maple neck with large headstock and "bullet" truss rod adjustment, CBS era black/gold logo, cast block saddles with heavy tremolo block, 5-way pickup selector, and 3-bolt neck attachment with "micro-tilt" adjustment.  The body on this one is some of the nicer figured ash I've seen on this model.  Neck profile is just slightly chunky, a little more substantial than an American Series or Standard Strat, and it has medium frets.  Cosmetically this guitar is in nice shape for a used guitar with just some finish impressions here and there but no major issues.  At 8.4 lbs., this is a nice medium weight, hanging perfectly balanced when strapped on.  Set up is low and bends ring true.  If you're contemplating shelling out $799 (with gigbag) for a new Mex 70's Classic, I think this is a better guitar, at $150 less.  $649 includes gigbag or Fender-spec SKB case (shown here) for $699(HOLD-Rob C 3/21).  

1962 Gibson GA-19RVT Falcon, (panel), (back), (chassis), (Jensen C12R).   On the heels of my beautiful '64 Gibson GA-25RVT 1X15 Combo, here's an even cleaner combo.  For the discriminating collector who only wants the cleanest examples possible here's a stunning first year "Crestline" model with the smooth brown covering.  This has got to be the cleanest example of this model on the planet - looks as clean as the pics.  Panel is immaculate with no pitting or rust; brown covering has no scratches and even the corners are free from the nicks usually found on these brown amps; grill cloth is un-faded and flawless; even the chassis has little to no oxidation.  Imagine an amp that was bought 46 years ago, played for a month, and then kept in a climate controlled closet until yesterday.  Such is the appearance of this amp.  Note the mid-90's Mojotone speaker is installed but original Jensen is in similarly clean shape and works perfectly.  Cosmetics aside, this is a fantastic sounding amp with a nice clean tone, with just enough headroom to squeak by at low volume, but crank it up and you get a wonderful breakup starting at around 4 and increasing with each minute turn of the dial.  I believe it was rated at 19 watts, thus the "GA-19..." designation, with a pair of 6V6 for power, 5Y3 rectifier, and three 6EU7's and a 6C4 in the preamp.  For many players, it's loud enough for club gigs, depending on the volume of your drummer, but again keep in mind that you're getting some nice saturated tones at higher volumes and if you need lots of clean volume, this isn't the best choice.  To my ears the amp sounds wonderful.  Every bit as good as comparable Fenders and the effects are even better than Fender, especially the reverb, which is the most lush sounding I've heard in a combo, capable of a subtle background to completely washing the tone.  Likewise, the Vibrato is very pounced and the speed allows it a proper range from very slow to very fast.  Both effects can be turned on/off via original footswitch that's included.  The two inputs are voice differently and you'll get an earlier breakup and more volume on #1, while #2 is a little bassier and breaks up at a higher volume but when turned up fully, I think you're getting around the same apparent volume out of either input.  The third input is a line out.  The tone control is very strong and takes you from a very bassy tone - to a very bright tone, without being overly harsh.  The tone is especially useful with the volume turned up and it changes the character of your overdriven tone much like a quality overdrive pedal.  If you're looking for a good amp, these are perhaps the best value on the vintage market and you can frequently pick them up in decent condition for under $450.  If you're the type of player, or specifically collector, for whom condition is paramount, you'll appreciate the fact that a '62 in this condition may come around but once every few years and with this in mind it's worth the extra funds.  Vintage aspect aside, for a hand-wired club amp with reverb and tremolo in such stunning condition, a nice find at $750(HOLD-Brad T 2/26), including original and Mojo speakers.   In over 20 reviews on Harmony-Central it scored an incredible 9.6 overall rating; 9.7 on tone.  

ESP LTD JH-200 Jeff Hanneman Signature Series - Digital Camo, (front), (headstock), (back), (Kahler X), (heel).  "As New" condition! For you "Slayer" fans, or any rocker looking for a great playing axe with the soft touch of a Kahler Pro tremolo. The JH-200 is a joint venture between ESP and Slayer's speed metal axemaster Jeff Hanneman, who has played ESP's for years. This one is finished in a cool digital camouflage finish, which is similar to a regular desert camouflage except the colors are linear and not blended in. Features of this model include a basswood body, "extra-thin" maple U neck contour with rosewood board, 24 extra jumbo frets, 25-1/2"-scale, 1 5/8" nut, ESP LH-301 pickups, black nickel hardware - and nicely appointed with matching headstock, bound neck, bound headstock, and H-dagger fretboard inlays. Tremolo is the new Kahler X-tremolo, which is only available on ESP and BC Rich guitars (not sold as an accessory), and includes fine tuners and 6-way adjustable saddles: side to side for perfect string spacing; front to back for accurate intonation and up or down for ultimate action and radius matching. The trem arm has a threaded metal tip.  If you're not a fan of the firm feel of a Floyd, this Kahler should feel great.  It has a much softer touch and it's slightly spongy, with a feel somewhere between a Bigsby and a Floyd.  This model lists at $713 and is a great guitar in that price point.  Better yet, this one is set up to perfection and offered in immaculate condition for just $350. 

Ibanez Soundgear Mikro Bass Short-Scale GSRM20 - Purple Metallic,  (front), (back), (headstock/truss cover).  As new condition.  I've had these in black before but this Violet Metallic finish really pops.  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 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", and has a very comfortable set up.  Offered in mint condition and ships, double-boxed, with original box.  With a $257 list, an excellent buy on a quality short scale at $129.   

Seymour Little '59 Middle/Neck. P.A.F.-voiced single-coil-sized humbucker that's great for all styles of music.  Specs here.  Clean shape, full leads, original box.  $49.

Seymour Duncan Pearly Gates Bridge.  The original custom Pearly Gates pickups were wound for Billy Gibbons '59 Les Paul Standard for the raw sound of Texas blues rock.  Essentially a variation on the PAF sound, it's sweet, but slightly rude.  Specs here.  Clean shape, leads cut for bridge position, original box.  $59. 

Schaller Floyd Rose Tremolo - Black.  Identical to the original Floyd Rose.  Made in Germany by Schaller.  Has the larger 42mm block for non-recessed trem cavities.  Super clean shape and perfect restoration for your rusty or worn out Floyd.  Includes trem pictured and springs only for $99 (SOLD) with trem arm.  

1999 Fender Standard Telecaster - Electric Blue, (front/back), (headstock).  Very nice shape other than a few finish touch-ups on the back edge (as shown here) which were color matched nicely.  Fender's original electric, the Tele has remained virtually unchanged since 1952.  The original workhorse guitar, the Tele doesn't feature the sexy curves of a Strat, with it's signature single-cutaway slab body, string-thru-body bridge, dual pickups with master volume and tone, and small headstock.  With that said, there's nothing that has the twang of a Tele, which makes it a favorite of country artists but it also fits very well into rock and blues.  Roy Buchannon, Danny Gatton, Keith Richards, Brent Mason, and my favorite, Brad Paisley, are but a few of the great guitarists who built their signature tone with a Tele.  The Standard Tele is the bang-for-the-buck winner in the Fender stable and features pickups which look identical to the American Standard, USA pots and switch, and Fender/Ping tuners.  Great setup; frets are in excellent shape and it hasn't seen a lot of playing time.  With a new Standard Tele going for $499, here's one in a popular discontinued color, set up better than factory, for just $339.  Includes Fender gigbag.  

80's Korg PME-40X.  I try to keep a lot of the PME effects in stock (sample inventory).  Every now and then I get in an especially clean unit like this one, complete with Graphic EQ, Phaser, Distortion, and Compressor.  The PME40X (Professional Modular Effects) was a cool idea from Korg which ran only 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 of of the 14 effects from the series, and allowed the user to load the unit with any 4 effects and put them in the order that sounds best to you.  At $229, which works out to around $45 per piece) nicely priced for a clean example of these unique effects.  

Weber 10F150-T 10" Speaker.  Weber Ferromax, huge 40 oz. magent, 16 ohm 25 watt ceramic.  I think these were clones of the 60's ceramic Oxford ceramic 10 or Jensen C10Q and are considered by many to be the best replacement speaker for blackface/silverface Fenders such as the Princeton, Vibrolux, Super, etc, with a tight low end an lot of punch.  You'll notice that they're more efficient than many others so your amp will be louder.  Keep in mind though that this is a 16 ohm model, which won't hurt your amp but won't be as loud on an amp that's rated at 8 ohms.  Nice shape and just $59.  

Museum Quality Case - Fender Mustang/Lead I/II/III, (back).  Ca. late '70s/early 80's tolex case with black tolex, maroon interior, headstock retainer strap, silver logo.  Made for a student model, the quality is the same as a Strat/Tele case, but was designed with no storage compartment.  This fits a Lead or Mustang properly, but you can also squeeze a Tele into it although its very tight on the side of the body.  I sold a nice one of these last week but this one is as clean as it comes.  If you have a Fender student model in museum condition, here is a fitting home for it.  $129.   

1990 Hamer Californian Custom Set-Neck (Model GCAC), (front1) (front2), (back1) (back2), (headstock/neck), (trem), (case).  These guitars are few and far between on the market.  You don't see many of the original USA Californians....but when's the last time you saw one of the top of the line Custom set-neck models?  How about one finished in "Iridescent"?  This is definitely a rare guitar and quite possibly the best of the lot as far as Superstrats from the days when metal ruled the world.  The Californian Custom was Hamer's finest from the era, a hot-rodded version of the Chaparral, with 7/8 size mahogany body with the same contoured offset double-cutaway profile.  It featured a unique 27-fret neck and to increase access up the neck, the cutaways were scalloped, pretty innovative for the era.  The extended 27-fret fingerboard retained the Fender-style 25 1/2" scale and features the obligatory jumbo frets.  It is outfitted with a Duncan Trembucker with staple poles in the bridge and a slanted Duncan Vintage Stack humbucker in the neck.  Controls were simply a volume control, set far enough away that you wouldn't accidentally hit it, and a blade 3-way, located down where the trem arm usually hangs.  Tremolo is the top of the line Schaller/German-made Floyd Rose, stamped "Hamer".  The finish on this guitar is beautiful, nearly identical to a "foil" finish as it's called by some companies.  The entire guitar, front-back-neck-headstock, is finished.  Other features include solid ultra-lightweight mahogany body, maple set neck with ebony fingerboard, neck binding, boomerang fretboard inlays.  The original owner had a distinct playing style, aggressively picking just forward of the bridge pickup, which worn the finish off this area (shown here) but that's somewhat of an oddity since the rest of the guitar is in nice shape.  One of the reasons you don't see many of these is the cost - this was a $2K guitar back in '90, which would have bought you around 3 American Standard Strats, for comparison.  This guitar plays great, is insanely lightweight, and has a thick tone that's great for rock or metal.  Bolt-on models in any color are going for around $1K, which makes this set-neck in the coolest color a nice buy at $1250(SOLD).  Includes trem bar and original case.  

2001 Hamer Artist Korina (ARTK),  (front1) (front2), (back), (headstock), (case).  Another fine Artist in showroom condition, built with all solid white Korina (Limba):  top, body, and neck.  The top on this one has a nicely figured chevron pattern, made with a thick piece of solid Korina (shown here).  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", 23 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 carries 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 the price of a new one at just $1199.  Includes form-fit SKB molded case that supports the neck nearly the entire length.  This is one fantastic guitar for $1199(HOLD-Tom IR 2/27).  

1989 Fender HM Strat - Flash Pink with Maple Board, (front), (back), (headstock), (heel/cutaways), (trem/controls), (case).  HM's have become super hot for us.  During a 3-week period recently we moved out 6 of them, nearly depleting our stock.  I was really jazzed to come across this one in Flash Pink with the more rare maple fretboard.  I don't know what the stat's are specifically, but for us, only around 15% of these have maple boards.  They are prone to developing discoloration from perspiration, but they feel great and look extremely cool.  A lot of folks mistakenly call the Razz Berry finish "pink" but as you can see in this comparison pic and as listed in the '88-'89 catalog, they're distinct colors and the Razz Berry on left is much redder.  Flash Pink is prone to fading, and the backs are usually a stronger pink than the fronts.  This one hasn't faded as much as most, but you will notice a slight difference.  Features include HSS pickup configuration with a DiMarzio Super Distortion 3 bridge humbucker (hex poles) and a pair of American Standard Strat pickups in the middle and neck, controlled by Strat 5-way with an additional mini-switch to split the bridge humbucker which gives you all the vintage Strat choices, plus two humbucker choices.  Controls are volume, tone, and TBX.  Other features include Kahler Spyder double-locking tremolo (licensed by Floyd Rose), 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, 25" scale, Strat shaped body with the cutaways and heel beveled to provide maximum ease in playing in the upper register.  The necks on these is very thin and wide, with only a sealer coat which provides a very natural feel and doesn't stick to your hand.  Cosmetically it's in lovely shape.  Other than scratches on the back plates, there are little to no buckle scratches or pick scratches, hardware is nice shape, frets are in great shape.  There is one very small clear coat ding on the top which shows as a small dark spot in the arm rest area.  This is a great playing guitar that hasn't seen much playing time and it's a Flash Pink with maple board - it doesn't get any more desirable.  Beater HM's are going over $500 but you can have a really nice one for $759.  Includes trem arm and a recent Fender molded case from my spares, or a new Tolex/wood case as shown above. 

Ernie Ball Musicman Sterling JP50 John Petrucci, (front), (headstock), (back), (trem stop), (pickups), (features).   Great feeling guitar with quality tone, Petrucci vibe, with a few mods.  The first thing you'll notice is the finish.  The logo has been removed from the headstock - the body, which is factory satin finish, has been lightly buffed out to a semi-gloss finish (compare to headstock in first pic above).  Don't let the logo scare you though, this guitar is guaranteed to be 100% first quality JP50.  The neck pickup has been replaced with a DiMarzio "Humbucker from Hell", which is bright and glassy sounding, along the lines of a Strat, with a vintage, medium output.  It's paired perfectly with the stock G&B bridge humbucker as both have similar output while being distinctly different in tone.  G&B are Korean pickups and the choice of the better imports such as PRS SE's.  A trem stop has been installed, allowing for down pressure only, EVH style, with advantages such as tuning stability during string bends and string breakage.  It can be preset for zero up-pull, 1/2 step, whole step, etc., or easily removed if you're not into it.  The JP-50 is a rather unique, we made guitar,  The neck and headstock (picture) are one, meaning no scarf joint, which is more expensive to manufacture but adds stability and avoids potential separation.  This guitar has a great feeling 24-fret neck that's thin with very sight shoulders, very easy to get your hand around.  Stock features include Basswood body with custom deep forearm contour, maple neck with rosewood fingerboard and custom Sterling Petrucci Neck carve, reverse controls (3-way closest to your picking hand), Locking Tuners, 24 medium-jumbo frets, Sterling Modern Recess Tremolo with a really solid block, 25.5" scale, 5-bolt Music Man-designed neck joint, 1.65" (42mm) nut width, and Spoke wheel truss rod adjustment.  A stock JP50 is running $545 and it's one of the better Asian guitars at that price.  If you can live without a Sterling logo, this has some tasteful upgrades and superb playability, in excellent condition, all for $350.  Includes gigbag. 

Fulltone MDV2 Mini-Deja'Vibe 2, (close-up). The "Mini" name is somewhat of a misnomer. The MDV2 is bigger than the original DejaVibe, but it's considerably smaller than the original Univibe, which used a separate effect box and rocker pedal. Probably the closest clone ever made, the Fulltone didn't compromise in the most important aspect - thus they designed the perfect custom-made photocells for 100% faithful 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 a blue LED that throbs to the beat of its asymmetrical rhythm with a dual pot that gives you access to all speeds from slowest to fastest, all with a perfect sweep and no abrupt speed changes.  It's easy to change speeds on the fly simply by moving the rocker with your foot and, like the original, there's an "off" switch when you press with your heel all the way back.  It's true bypass, of course, and works with the supplied 9V DC adapter or any pedalboard power supply on the market. It has Velcro on the bottom but since it's probably going on a pedalboard, I'll leave that one. Click here for a good overview demo from ProGuitarShop.  Overall excellent condition and with a new one running $250, a nice value at $175. Includes original box and power supply. 

1991 ESP Horizon Custom - Eagle Graphics, (front)  (front2), (headstock/neck), (back) (pickups) (Floyd),  (case candy) (catalog), (case/acc.)..  Here's one for the collector!  Stunning one-off with killer factory graphics on front, back, and headstock, with an eagle in flight covering most of the top with blue sky and white clouds surrounding it on the back and headstock.  This immaculately finished axe was used at the ESP booth at trade shows.  The paint job goes through the pickups without interruption (pic) and when viewed from the front it's hard to tell that the guitar even has pickups.  This guitar is in collector's condition with scratches on the body, hardware has no pitting -recessed Floyd Rose trem has no pitting or discoloration.  What a wonderful guitar for the collection; a real stunner, and it plays as nice as it looks.  I haven't been inside to see what the pickups are but they're both humbuckers and it sounds excellent.  Features a carved top Horizon body with deep cut, beveled treble cutaway for easy access to the top frets.  Neck is a medium profile with ebony fretboard, 24 jumbo frets, cream binding on headstock and neck, black oblong side markers, Gotoh tuners, and Schaller strap pins.  Some of you might remember this guitar - I actually owned it in 2006.  After the sale my customer received a letter from ESP as well as the original ESP catalog.  It's been very lightly played since that time but remains in very near mint condition.  If the guitar isn't cool enough, this one includes some exciting case candy including original ESP 3-page fold out ESP Custom catalog with this guitar on the cover, a letter of certification from ESP, ESP bumper sticker, and George Lynch postcard and sticker. Also included is the G&G tweed case in excellent condition other than a very light discolored spot on the top.  When I last posted it, new Custom Horizons with flamed tops listed for $4500, selling discounted to $3300.  This doesn't have a flame top but it has a top that's 10X more stunning, and at $2099 you'll have a piece of ESP history that would be the centerpiece of your ESP, or graphic guitars, collection - but it's priced well enough that you can make this one killer gigging axe.  Just be gentle with it is all I ask.  

Catalog Day - these are all original/vintage pieces distributed to authorized dealers - much more to come:  

• 1970 Gibson Booklet Set, (example1), (example2).  Set of 8 multi-page booklets including flattops, electric acoustics, jumbo flattops, thinline electrics, archtop electric and acoustic, 12-string flattops, mandolins, and classical.  $15/each or set of 8 for $80.  

• 1956 Gibson Price List Booklet, (pic2).  Guitars and amps.  Les Paul Goldtop for $235!  Very near mint.  8 page. $39

• 1957 Gibson Price List Booklet, (pic2).  Guitars and amps.  Les Paul Junior for $120!   Truly mint condition.  8 page. $45.

• 1961 Gibson Catalog, (pic2), (pic3). Not only guitars and amps but banjos, ukes, and mando's.  A few pencil markings.  47 pages.  $65(SOLD-Woodchuck)

• 1966 Gibson Catalog, (pic2), (pic3), (pic4).  48 pages, extra nice condition.  Includes all types of guitars and basses plus amps, tenors, banjos, mando's, steels, etc.  Has some full page color pics suitable for framing.  I have 5 of these ranging from very good to near mint.  $49-$69.  

• 1975 Gibson 4-ring Binder Catalog, (pic2), (pic3), (pic4).  For store use only, this was an expensive book to produce.  Bound in "pleather" cover with raised letters, 3-ring binder, this is a large catalog (around twice the size of magazine).  See pic4 for all products listed.  Includes full page pics of some guitar heroes playing their Gibson.  These are rare and hard to find.  Some loose pages but it's all there.  $95(SOLD-Woodchuck).  

• 1966 Guild Catalog, (pic2), (pic3).  16 pages, full size.  You can see from the cover that Guilds are for jazzers, blues players, cowboys, and young hipsters.  Hard to find Guild literature.  $45. 

• 1980 Ovation Catalog, (pic2), (pic3).  Guitars and parts.  Very attractive layout. 3-hole punched but very nice.  Large 44 page.  $50

• 1960 Kay Catalog, (pic2), (pic3), (pic4).  16 pages including acoustic flattops, acoustic archtops, electric guitars, mando's, banjos, amps, steel and lap steel.  Hard to find Kay literature.  $55.  

Crown 140MAx Pack Power Amp and JBL Monitors, (back), (remote/antenna/cables), (speaker mounts), (box).   Around a year ago I bought this for our shop to run our Sirius satellite sound through it.  I just went to install it and after reading the manual I found out that it's compatible with XM only.  While it can still function as a small PA system (XLR input) and stereo mixer (RCA inputs) (close-up), I'm going to order something that's made specifically for Sirius.  It has never been plugged in and was removed from the box only to shot pics.  It includes the Crown 140MAx tuner/mixer/amp, a pair of JBL Control 1S 2-way speakers, 25' speaker cables, XM antenna, remote control, and speaker mounts.  Rated at 40 watts, this set up is recommended for commercial use such as restaurants, retail shops, offices, and of course home.  For more info click here for Crown.com.  These list at $699 and sell just about everywhere for $399.  Get this set, new in the box, for $179, including UPS shipping to most places.  

Soundcraft Notepad 124 and 124FX Mixers, (124), (124FX), (stock pic), (124/124FX Comparison).  Soundcraft from England has been one of the most respected names in professional live and studio decks for decades.  With their new Notepad series you get the sound quality and engineering you've come to expect from Soundcraft.  What sets them apart from the proliferation of budget mixers currently on the market is the quality of their components such as the acclaimed British GB30 mic preamps and GB30 3-band EQ technology.  Unlike most other brands, they're not built with the cheapest parts on the market.  The two models are basically identical except the 124FX has built-in digital effects which has a feed from every input and over 100 effects, including a pink noise and test setting. The FX control can also be used to set delay tap tempo, a feature not found in many mixers in this class.  On the Notepad 124, the FX send is replaced by a standard AUX send with a dedicated output.  Both models provide a recording output of the mix on RCA/Phono connectors as well as a stereo input for CD playback etc.  Rather than list all the specs here, just check out Soundcraft.com - click here for the 124 and here for the 124FX.  For the quality of these mixers, you can't beat them, new in the box, at $129 for the 124; just $25 more for the digital effects - $154 for the 124FX.  

MI Audio Crunch Box Distortion.  The Crunch Box has become the best selling boutique distortion, due in part to a reasonable price but mostly because it's an excellent sounding pedal.  You can get a variety of sounds out of it but it really nails the tone of a cranked Marshall, with plenty of mids and it has excellent clarity with no muddiness in the bass.  I guess this one is a version 2 because it does have an internal trim pot.  The trim pot allows you to better match the pedal to a particular amp adding/removing treble frequencies if needed.  It's true bypass, built very well with jacks mounted to the case and housed in a steel case.  Immaculate condition and just $99.  

Ovation Celebrity Deluxe Long Neck DCS247S, (front), (headstock), (back)  (side/preamp).  If you're an acoustic player looking to play in dropped tuning, there aren't many options, other than using heavy strings on your dreadnought and putting up with flopping strings and inaccurate intonation.  The DCS-247S is made for dropped tuning, anything from a whole step "D" tuning, down to Baritone, a fifth below standard tuning.  With it's longer, 28 1/3", scale length, it's made for lower tuning so you can still get a much firmer response out of your strings.   It features a solid spruce top, five-piece maple and mahogany neck with rosewood fretboard,  gold-plated hardware, MOP inlays, Thinline pickup with OP-24+ preamp.  The OP-24+ (link) was Ovation's top of the line preamp back in the day.  Features include a Mid-Shift control for selecting a midrange center frequency of either 400 Hz or 1 kHz, a Pre-Shape circuit for boosting bass and treble response while cutting rumble-prone frequencies below 40 Hz, a battery status light, and easy access battery door. To provide complete control over the high-output preamp signal, the OP-24+ has a custom-taper volume slider.  If you've never seen one of these, neither have I.  They were made only 3 years, 2000-02 with a retail price of $799.  This one's in excellent condition and includes a nice thick gigbag, all for $465(HOLD-Curtis K 3/6).  Includes custom set up.  Just let us know how you'll be tuning and we'll install an optimum set and set up for that tuning.  

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.  

Empress Effects ParaEQ, (pic2).  If you're using a graphic EQ in your pedalboard and think you've got it covered, this thing makes a GE-7 look like a single tone knob.  Empress Effects builds some of the finest engineered effects on the market today.  I had their Super Delay a few months ago and it blew me away, simply amazing pedal, and I was thrilled to get in 2 more of their effects.  The Empress ParaEq w/Boost was designed as a very musical, high quality EQ in a conveniently small package. The signal path of the ParaEq w/Boost is comprised of the highest quality components chosen for their transparency, powerful tone shaping capabilities, and low operating noise.  It's an ultra transparent, sweet sounding EQ that doesn't mask the tone of your instrument; features lots of control - with switchable "Q', fully over-lapping sweepable frequency selection, and 15dB of cut and boost; it's ultra-quiet  - put this at the front of your chain and boost a bit you’ll also cut down on the noise your other pedals are introducing; it has loads of headroom - internally switchable to run off 9/12/18V power supplies; it features an incredible 30dB of Boost which make it perfect before long effects chains and overdriving tube amps; it has a pristine clean sound – distortion has been measured at under 0.03%...amazing; true bypass = a must; it's the perfect Size and there are a bunch of demo's on YouTube; here's one from ProGuitarShop - check out the audio and video's at Empress for full details.  Sells new for $249.99 but this one's perfect in the box and just $175(SOLD 3/14).  

Empress Effects Compressor, (pic2).  The Empress Compressor has all the controls available in top end studio compressors; ranges from truly transparent compression for dynamic control to over the top squishing. They've also included a wet/dry mix knob that allows parallel compression for increased transparency and dynamics. It features an all-analog signal path; extremely transparent - add dynamic control without altering your original tone; features three compression ratios - 2:1, 4:1 and 10:1 for loads of flexibility; Attack and Release Control - allows ultimate control; Mix control blends uncompressed signal in with the compressed signal for parallel compression; with the LED meter you can monitor either gain reduction, input, or both; works great on bass or guitar; features true bypass;  just 4.5" by 3.5" by 1.5" it's incredibly small considering all the features it has packed in.  Runs off power supply only - no batteries - but it uses the standard Boss type so nearly all pedalboard's power will work.  Click here for a good demo from ProGutiarShop and check out the audio and video's at Empress for full details.  Sells new for $249.99 but this one's perfect in the box and just $175(SOLD-Jaan T 2/21).  

Lovepedal Pickle Vibe.  Another tiny Lovepedal with a huge sound.  Delivers on thick, lush vibe sounds straight out of the 60's and although it's not just another Uni-Vibe circuit, the application is pretty much the same.  Extremely simple to use with only a speed control on the outside, complete with a large knob that can be turned with your foot.  There is, however, an intensity trim pot on the inside.  The trim is a very sensitive adjustment, but once you get it dialed in to taste, it's set it and forget it.  A pair of LED's let you know when it's turned on, with the second LED keeping time with the sweep, making it easy to sync with beat.  The small footprint is useful on pedalboards, where real estate is at a premium.  A video is worth a thousand words; click here for a good demo.  Excellent sounding Vibe, and just $99 SOLD.

1998 Breedlove SJ25/W Jumbo Cutaway with Fishman Blender, (front), (headstock), (back)  (back-close-up), (Fishman), (case).  Breedloves are finely crafted instruments, built in Central Oregon's high desert, a perfect climate for instrument building. Breedlove's designers have consistently been pioneers in combining traditional techniques with new ideas and their master luthier skills combine to build instruments with unsurpassed tone, feel, and striking visual appeal. While the prices on their American-built guitars might be higher than some of their competition, I think if you were to A/B them with a similar Taylor, for instance, you will see that the price is worth it. Breedlove's "S" Series (Performance) is considered their "hot rod" line, with bold performance, but understated aesthetics. They come in SC, SD, and SJ deep body styles which are their Grand Concert, Dreadnought, and Jumbo, respectively, each offered with either a "20" (non-cutaway) or "25" (soft cutaway). Thus this SJ25/W is a deep-bodied Jumbo with a soft cutaway. Unlike some other brands which can be somewhat ungainly to hold, Breedlove jumbos are very comfortable, with a shape that places much of the body volume below the waist of the instrument. This SJ25/W pairs a spruce top with a body of beautiful walnut, all gloss finished, for a tone with a strong, focused bass and a warm, prominent midrange. Its sides are bound in black plastic, the neck is build of one piece of carved mahogany, while the pointy headstock has and ebony overlay with the “flying B” logo, in the older style with "& Co.". The ebony fingerboard, is bound in polished ebony with an art deco inlay pattern of small mother of pearl dot marker inlays – 5 on the bass side of the board and 4 on the treble. It features a pinless bridge, 25.5' scale, wide 1.75' nut width, jumbo 17" lower bout, 3 5/8" to 4 5/8" body depth, lovely abalone soundhole rosette, and chrome Grover mini-Rotomatic tuners. This SJ25/W is in beautiful condition, having been adult-owned and maintained since new. The walnut used on this guitar is beautiful, with streaks of red, tan, light brown, and dark brown.  Installed on this guitar is a fine amplification system - a Fishman Rare Earth Blender ($266 new), which features a Rare Earth magnetic soundhole pickup - combined with a condenser mic suspended inside the guitar's body.   The system combines the percussive attack and controlled sustain of the magnetic pickup with the resonant, ambient qualities captured by the condenser.  They combine for a 3-diminsional sound that's not possible with a simple soundhole or piezo system.  You can vary by a "Mix" by means of a small thumbwheel extending just slightly from the soundhole.  It's not a permanent modification so if you want it stock, it's a simple job, with no leftover evidence.  The guitar has the full tone and big bottom of a jumbo, but is overall well balanced which, along with the wide string spacing at the saddle and nut, makes it an excellent choice for fingerstylists. I also appreciated the amazing open-string bass response as well as lush sound with dropped tuning. The tone does compress with heavy picking so it's probably not the best choice for bluegrass, but for medium strumming and finger style, it's a total winner.  If you're looking for a great sounding jumbo with the comfort of a cutaway, here's your guitar.  For a Breedlove SJ, nicely priced at $1850 with the Fishman system if you want a straight acoustic, $1799 for the guitar without the Fishman.  Includes original case, warranty sheet, Breedlove polishing cloth, and manual.  Note: Want a dreadnought?  I also have the Breedlove Custom Shop SD25-Focus/R in stock at $2250.

Epiphone Triggerman 100DSP Head and 280 watt 4X12 Cab, (head), (fr/bk panels), (cab).  This is a full size 1/2 stack and would make an awesome looking backline setup on stage and, considering the price, a very good sounding amp with quality effects and loads of volume if you want it, but gets a good tone at lower volume as well.  Head has dual channels with 16 DSP effects plus separate DSP Reverb so you can use, for example, chorus and reverb simultaneously.  Cabinet is stereo with cool wiring that lets you run it at 8 ohms/side, or mono you can run either 4 or 16 ohms.  Channel switching and effects on/off are selectable via optional footswitch (I might have a generic that will work).  Epi apparently put some considerable time into the circuit design of this setup.  It simply sounds better than most other high-powered head/cab units that I've heard.  Hopefully this will sell locally since shipping it will largely negate the good deal - just $275  for the whole setup - or local trade for Mex Strat or Tele, or other comparable guitar or boutique effect.  

1990 Fender American Standard Telecaster with V52 Pickups - Gunmetal Blue, (front), (headstock), (back), (pickups), (body/neck date).  These early model American Standards are becoming increasingly hard to come by, especially in beautiful condition like this one.  Finished in Gunmetal Blue, one of the classic colors from the 80's, when Fender only offered 8 finishes, around half of today's color palette.  The American Standard had a long run, '87 being the first full year, through '99, with few changes in between, other than the spaghetti logo which replaced this bold silver logo ca. '94.  Some of the features first appeared in 1983 with the Elite series.  These included a new style (single) string tree (two were used on the Strat), Schaller locking strap pins, bi-flex truss rod, and TBX control pot, as well as other new features such as a return to string-thru body, a new type of Fender/Ping tuners which closely resemble the Schallers used on Elites, 22-fret neck with medium frets, rounder C-shaped maple neck with skunk stripe, and a more comfortable bridge that's nearly flush with the body with new block saddles.  You'll note the "E9" serial prefix, which means '89 in Fender nomenclature, however there's a lot of overlap with Fender's serials and the E9 wasn't used until around Dec '89, running through ca. Sep '90.  In fact, due to a printing error, around half of the 1990 Fenders have an "N9" prefix which is supposed to represent 1999, i.e. 9 years *after* the guitars were built.  This guitar has a few tasteful modifications:  pickups have been changed to U.S. Vintage '52 with cloth wires, a white pearloid pickguard has been installed for a little more "pop" in appearance, and knobs have been changed to early 50's style chrome domes.  Stock pickups sound good but definitely don't have the twang of the V52 pickups.  If you like the stock ones, let me know and we'll install a set.  This guitar is in beautiful condition, looks more like a year old than 22.  There's a small square light spot on the back of the headstock where a dealer sticker had once been applied but no biggie.  Other than that, it's just super clean and with a comfortable low setup and medium weight 8 1/2 lbs., it's very comfortable to play.  If you're looking for one of the cleaner Gunmetal Tele's around, this one's $899 and includes a later Fender case.  

1992 Fender Telecaster Plus - Frost Red, (front)  (front2), (headstock), (back),  (body/neck markings), (case/acc.).  These are really getting hard to come by.  You might remember a later model Version 2 (shown here)  I sold a few weeks ago, but as far as the Version 1 with the "Dually" Lace pickup in the bridge, this is the first one I've had since 2008.  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 (Ver. 1) 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.  The later Version 2 ('95-'97) features a Nashville type configuration, bridge/middle/neck, and also had a belly cut and bound top.  These Ver. 1's also had a "Plus Deluxe" model, which had a tremolo bridge, locking tuners, and Wilkinson roller nut.  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 (in-depth article) 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.  I had one of these as my personal guitar, also in Frost Red, which I bought new in 1990 and sold in 2002.  Prices on these shot up around 8 years ago, due largely to Jonny from Radiohead using one as his main guitar and clean examples went up $400 within a year.  Tele Plus's are known for being on the hefty side and this one is no exception.  At 9.8 lbs. it weighs as much as an 80's Les Paul, but if tone is what you seek, it's worth the weight (pun intended).  This is a fantastic sounding guitar.  Doesn't nail the vintage Tele tone like a traditional Tele but it comes close and 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 impeccable.  This is an extremely clean guitar, definitely collector's quality, with no noteworthy flaws.  Exhibits none (as shown here) of the early signs of wear such as lettering on pickups wearing off and metal parts oxidizing or rusting.   Included in the clean Red Badge case are the original manuals, strap with Schaller strap locks installed, polishing cloth, Fender cable, and Lace Sensor manual.  It's not cheap but considering condition, color, and relative rarity on the market, a nice Plus at $1299(HOLD-Jim G 2/22).  

 2009 Gibson Custom '68 Les Paul Custom VOS - Ebony, (front), (headstock), (back), (case).  First one of these I've had...great Custom!  I've had some of the '68 Historic Figured Top, but that's a reissue of a guitar that was never made.  These don't come around often and they only do sporadic small runs every now and then.  I didn't have any luck finding it on Gibson's web site.  This guitar has the vibe, an incredible vibe, of an original '68 Black Beauty, which Gibson resurrected after being discontinued in 1960.  Original '68/'69 Les Pauls, whether they're Goldtops or Black Beauty's, have gone the way of the 50's models and prices have started nearing the ozone level, commanding prices in the $30K's for clean models last I heard.  Unlike the "regular" Les Paul Custom, which is weight relieved and has a short neck tenon, the '68 VOS is built like the original with a long neck tenon and not weight relived.  At 9.8 lbs., it's reasonable for a Custom, especially considering that I've had 70's Customs over 13 lbs.  Gibson's VOS treatment was designed to offer a new guitar that didn't "feel" new, appealing to players who want a guitar with more character than a pristine, immaculate, green-wood looking axe.  The body and neck have the dulled appearance of a well-cared for vintage instrument, slightly cloudy, perhaps with a few very minor swirls or scratches, using a proprietary process for staining, wet-sanding, and hand-rubbing the finish.  The hardware is tarnished, sometimes slightly pitted with perhaps even a little rust on some screws  When you pick up a VOS guitar, you feel like you're holding a guitar that's worth more than your annual salary.  More than just vibe, Gibson went to great lengths to ensure your VOS will play like few others.  They employ precise fret work and a perfectly cut nut on every guitar. Frets are leveled, shaped, and crowned to perfection, and will extend a bit further towards the binding, giving you more surface area.  The nut is carefully hand-shaped to give it a more rounded, vintage look. The neck on this model is chunky, much like the 50's rounded style rather than the 60's slim taper.  It features Classic '57 humbuckers, by far the preferred pickup by those of our customers who have a preference.  Unlike the all-mahogany '57 Custom, the '68 features a one-piece mahogany body, with a maple cap - plus an Ebony fretboard - providing the classic combination of warmth, definition, and articulation.  It also features a no-wire ABR-1 bridge, big frets, chrome dome knobs, Grover tuners with kidney bean buttons, nickel hardware, and one-piece mahogany neck.  This guitar has seen little home use only and is beautiful condition, with a very low setup that only Customs seem to maintain.  All original other than Schaller locking strap pins installed, but originals (pic) are in case.  Many believe this is the best value on a VOS model, selling new for $3899 ($5504 list).   Better yet, you can own this beauty for $1100 cheaper...just $2799(HOLD-Bill B 2/13).  Gibson doesn't provide the mess of case candy with this model but it has the certificate, warranty, manual, etc.  If you're looking for a great Black Beauty, here you go.  We can buff out to a high gloss finish for a moderate price if desired  

2009 Ibanez Artcore AF75TDG-BK Hollowbody, (front), (headstock), (back).  Ibanez has a long history of building quality archtops and the newer Artcore series continue that tradition with prices that are unprecedented in name brand archtops.  The AF75TDG features all-maple body with mahogany neck in a set-neck design, ACH-1 and ACH-2 humbucker pickups, gold hardware, rosewood fretboard with large frets and excellent quality pearloid inlays, multi-ply bound body, bound neck, bound headstock, bound f-holes, pearloid headstock logo, VBF70 Bigsby-style vintage vibrato, and ART2 roller bridge.  The fit and finish on this guitar are excellent, on par with guitars at twice the price.  From the perfectly applied gloss black finish, to the binding, to the immaculately inlaid pearl block fretboard inlays, this guitar shows remarkable quality for the money.  The IBZ ACH pickups were designed specifically for their archtop models and are very good at reducing feedback and allowing higher gain than many stock pickups.  These guitars list at $730 and sell online for $529, but this one's in beautiful shape, with a setup that's inevitably better than factory, for just $369(HOLD-Chris 2/22).  Add plush-lined Canadian TKL Ibanez case for $65.  

Line 6 Variax and POD XT Live Package.  Now includes Digital Interface cable ($39), XT Live gigbag ($49), 1/4" stereo guitar cable and USB cable.  When you combine a Variax with a POD XT Live, you have one of the most powerful backline or studio setups imaginable.  Save big time on this setup - $898 takes it all.  Here's what you get:  Line 6 Variax 600 Modeling Guitar - Black, (front), (headstock), (back), (features), (gigbag).   Before Fender's VG Strat there was the Variax which beats the VG in terms of versatility and a rather convincing modeling tone but the Variax takes it 10 steps further with loads more guitar models and tuning options.  It's like having 25 guitars in one!  For a complete listing, click here for Line 6 site.  For many of us setting up for a gig means lugging at least two electrics and probably a 12-string and an acoustic.  Imagine a single guitar that plays fantastically, that can cover all the bases.  Ladies and Gents, the Variax.  With a seeming endless variety of sounds from classic acoustic and electric tones all the way to sitar and banjo - plus without magnetic pickups, your notes come out crystal clear without any noise whatsoever. Variax also allows you to plug into a computer and customize your tone or apply alternate tunings to any of the 25 presets.  Line 6's exclusive Variax Workbench software lets you fine-tune all the details of each tone, or change your tuning to Open G, DADGAD, D-MODAL, Drop-D, or any tuning you can imagine, without ever needing a tuner.  It also integrates seamlessly with POD XT Live and Vetta II - not only powering the guitar but also letting you control the entire signal chain right at your feet (also runs on batteries or optional phantom adapter).  Other features include Comfort-contoured basswood body, one piece maple neck, 22 medium profile frets, 25 1/2" scale, 9.5" fingerboard radius, custom L.R. Baggs tremolo bridge, standard 1/4" guitar output jack plus digital I/O jack for PODXT Live, POD X3 Live, Vetta II, and Workbench connectivity, volume and tone controls.  This is a very impressive sounding guitar, especially at an $1119 list price.  This used one is in beautiful condition and is the original Korean model (later models were Chinese).  It plays exceptionally well, and incredibly powerful guitar.  Includes one of the best gigbags made.   Also with this package you get the Line 6 POD XT Live with XT Live gigbag.  Works great with any guitar and especially the Variax where it unleashes all the power and convenience.  There are so many features on this unit, I won't even try, but tour the POD XT Live page (click here) to get a full rundown on this amazing unit.  It's an uncomplicated, gig-ready tone machine that’s portable and adaptable to different real world stage and recording environments.  Can be used as the ultimate multi-effects pedal in front of any guitar amp, as a complete direct PA solution, or as the world-standard guitar recording workhorse in the studio.  Includes 84 "must have" stomp box and studio effects models, 36 amp models, 24 cabinet models, and loads more features.  Click here to read or download manual.  Again, this package includes all required and optional cables, POD power supply, copies of manuals, gigbag for each, plus a quality leather strap, all for $898.  

2004 G&L Asat Super, Ltd. Ed., (front), (headstock/neck), (back), (rounded neck), (build ledger), (case/etc.).  Custom Creations comes this limited edition model with the main feature being a chambered mahogany body, plus substantially more girth to the bridge pickup for overdriven tones, while maintaining the characteristic sparkle of the ASAT Magnetic Field Design pickups and good balance between the output levels of the two pickups.  The Asat Super shares neck pickup specifications with the G&L 20th Anniversary model, while the bridge pickup is more heavily wound with lighter gauge wire.  To offset the increased impedance of the pickups and maximize available brightness, the tone control was altered so that the capacitor would be effectively out of the circuit when the pot is wide-open.  Other features include saddle-Lock bridge was chosen to maximize power, sustain and comfort; mahogany neck with ebony fretboard; very dark tobacco sunburst gloss finish; 1 5/8" nut; 12" radius; G&L MFD overwound pickups; Schaller tuners; 3-ply tortoise pickguard; master volume and tone controls with knurled knobs; LP style pickup switching.  I don't know the total production of this model, but as of April '07, 74 had been produced - this one is the 32nd, shipped to National Speaker Company on 6/3/04.  Tonally, this guitar sounds rather like a LP Special, which is understandable considering it's all-mahogany construction and overwound pickups, with a bit more clarity in the tone however, and more of an acoustic presence.  It plays beautifully and is in 9.8, very near mint condition, with just a few minute flaws.  Really nice rare G&L for $1299.

Scholz SR&D Rockman Products.  I always have a good selection of these in stock including the "Original Rockman" - which was renamed Rockman X-100 (ranging from $139+), Rockman Soloist ($89+), Bass Rockman ($139+), as well as the recent Guitar Ace and Bass Ace ($45).  I also have a limited number of Rockadapters and Rockman Wall-wart type power supply's.  Some are in original box, some with original headphones, some in collector's condition with box, manual, and headphones.  If you ever want to get that "Boston" tone, think of me and I'll have what you need.  

'80 MXR Distortion+.  One of the most popular distortions of the golden era of rock.  This is the model used by Randy Rhoads, an original early block logo unit, without LED or 9V adapter jack (which began in mid '81).  Nice shape as these go for a 30+ year-old pedal and perfect performance. The Distortion Plus was much more than a "distortion" pedal. The tone is more like an overdrive-type of sound ranging from low-volume mild distortion, to a warmer tube-like overdrive, to a very crunchy fuzztone when you peg both knobs, with loads of sustain.  For a 2-knob pedal, it's capable of capturing many different tones which allows it to be used in a variety of music styles. Pots dated very early '80 and all original except for battery clip appears to be replacement.  Nice MXR for $110.   

Signed Megadeth Poster, (pic2).  Signed by all four members.  20"X14" matte poster stock of album, "United Abominations".   This is the real deal, acquired by a friend of mine who's a long time employee of Pepsi Arena/Times Union Center.  This is a unique piece, never marketed as a limited edition, but reserved for use as  a thank you gift by the band.  Great gift for the Mustane or Megadeth fan.  Got a birthday coming up, or want to get ahead of this year's Holiday shopping?  Nice deal on a unique poster for $99(HOLD-David G 2/8). 

2000 Godin Radiator w/Upgrade, (front), (back), (headstock), (electronics upgrade).  Godin's offer top quality guitars at remarkably reasonable prices.  Known primarily for their acoustic models, they also build some fine solidbodies such as this Radiator.  It has some of the vibe of a 60's Italian-made guitar with the black pearl MOTS top. Click here for a review by GuitarOne.com and here for Ultimate Guitar where it received a 9.4 overall.  One of my personal gripes with the stock Radiator is the lack of a pickup selector.  Godin opts to skip the 3-way switch relying instead on individual volume knobs but if you want to go from bridge to neck quickly, forget it, you have to turn down the bridge knob and then turn up the neck knob.  This guitar now has a CTS 3-way switch installed.  More noteworthy, it has the entire electronics package from a Clapton/Buddy Guy Strat installed:  volume, TBX control, and mid-boost knob - plus the circuit board.  The 12dB TBX boost makes the pickups sound more like humbuckers, while the mid-boost (25dB!) adds a thick, rich tone that makes the guitar stand out in the mix.  Cosmetically, knobs have been changed to a larger amp style knob, more accurate for fine-tuning settings, and the automotive type logo has been removed from the body.  Stock features include chambered Silver Leaf Maple body, rock maple neck with maple fretboard, flat 12" radius, shorter 24 3/4" scale, 24 medium jumbo frets, 1 11/16" nut width, Low-Noise Godin-Design single-coil pickups, Black Onyx finish.  The single coil pickups sound very good and they're fairly quiet (Godin calls them "low noise") but keep in mind if you use the mid-boost they're not going to be as quiet if you use a higher gain amp setting.  If you boost the mids by 12dB, keep in mind that you're also boosting the noise by 12dB.  If you want the stock sound of the guitar, just put the TBX in the middle (center is detented) and roll the mid-boost knob all the way back.  You probably won't use the mid boost all the time but it's easy to get hooked on the fat, harmonically rich sound and may find yourself using at least some boost on all your songs.  Set up on this guitar is fantastic, with low action and no fret out on bends anywhere on the neck.  This guitar is 3X more versatile than a stock model and it's easily good enough for professional use.  It's rare that you come across a proline guitar for $449.  

Casio PG-380 Synth Guitar, (front1  front2), (back1  back2), (headstock), (controls), (trem/Midi pickup), (Midi switches/serial plate), (acc.), (case).   Museum condition - the cleanest one I've seen!  An incredible piece of technology, entirely self-contained Midi guitar, and an excellent quality guitar made by Fuji Gen Gakki (Japan), who also built the Roland and Ibanez Midi guitars.  Unlike the Roland unit of its day, the PG-380 is fully self-contained, meaning it has the D/A converter, synth, and power supply onboard.  Nothing to hook up but a standard guitar cable.  To get an idea of the possibilities, click here and here for YouTube demo's and here's one using just the straight synth sound.  I have created a page for this guitar - click here for the Casio PG-380.   Whether you're a collector of all things cool - or just a player looking for a ready-to-go synth unit, it's hard to beat, in collector's condition, for $850. 

Fernandes Japan Tele Neck, (frets).  Removed from a brand new TE-1 Tele, thus zero wear.  Perfectly straight with a perfect set-up on the guitar it came off of.  It is in mint condition other than one small in-shop ding (shown here).  For a quality MIJ neck, nicely priced at $169 or $139 without tuners.  

Fishman Aura Sixteen, (pic2).  Expand the sound palette of your acoustic/electric guitar, especially guitars with a simple soundhole or under-saddle transducer.  The Aura 16 is a compact yet powerful stompbox featuring award-winning Aura Acoustic Imaging technology that restores a studio-mic'd sound to your under saddle or soundhole pickup.  Super easy to set up and use - just plug it in and turn the dial - the Aura Sixteen eliminates intrusive stage noise and expensive, complicated microphone setups while providing the most realistic acoustic sound available for stage or studio.  You can also connect via USB, additional images from Fishman's library.  The images were recorded using primarily rosewood back and sides (#11 is mahogany, #14 is composite), using a variety of quality mics such as the Neumann U87, AKG C414, and Neumann KM84.  Please note that this unit is made for dreadnought guitars specifically.  Click here to read/download manual.  This is a very powerful tool that can transform your mediocre tone into a quality tone for much cheaper than modifying your guitar. Sells new for $219 but this clean used one is just $139(HOLD-Eddie).  

TC-Helicon Voicetone Create Vocal Effects Processor, (close-up), (side).   Put your vocal effects on the floor...what a great idea!  TC Electronics Voicetone gives the singer complete control over their mix, no more relying on the soundman or walking over to the mixer to tweak or change effects.  The Voicetone features XLR In/Out jacks in mono or stereo, has 99 effects patches, loads of Reverb algorithms (plate, spring, ambient, etc.), loads of Delay types (tap-tempo, ping-pong, slaps, taps, etc.), Transducer effects (distortion, telephone, megaphone, filters, etc.), 5 "favorite" performances, each with A/B switching via footswitch, studio quality mic preamp with phantom power, and much more.  From an audiophile perspective, it exceeds the specs of many high end studio units as far as noise floor, harmonic distortion, and frequency response.  To read the manual click here.  Click here for a quick demo on YouTube.  TC has come out with an updated XT version but the sounds and ease of use are the same on both units but do you want to pay $249 for the XT when you can get one that sounds the same for just $139.  

Hush Two-Channel Pedal, (pic2).  Get the superb noise reduction of a Hush unit in a dual-channel pedal.  It has independent threshold controls to control the level at which the noise reduction kicks in.  One switch changes from channel A to B, while another switch turns off the unit.  Runs off a 9V batter or external power supply.  You see some regular Hush pedals around but you'll probably never see another one of these.  As new, flawless condition, $85.  

Digitech Metal Master X-Series, (pic2).  Get 3 quality distortions built into one stomp box.  With the Morph knob you can morph between a smooth high gain tone, to a scooped midrange sound, all the way to a punchy mid range heavy metal sound that will cut through any mix.  Super heavy metal chassis will sustain years of road use.  Sells new for $89 but this clean used one's just $55.  

DOD FX40 Equalizer, (pic2).  1980's guitar EQ in mint condition.  As far as value, this sounds as good as a Boss and it's even a USA-made pedal, for less than a Taiwan Boss GE-7.  Mint in the box for $45(SOLD-4/27).  

1996 Taylor 450 12-string Dreadnought w/Fishman, (front), (back), (headstock), (preamp), (case).  For players looking for a 12-string that plays as easily as a 6, I always recommend Taylor.  They have the playability and the sound quality that processionals demand.  Taylors were the first acoustics that were made that played as easily as your favorite electric, with low action and a thinner profile neck that one normally associates with an electric guitar.  Although 16 years old, this one has seen limited use so it's in lovely condition.  Features of the 450 include bound mahogany body, solid Sitka spruce top, mahogany neck, multi-piece soundhole rosette, rosewood headstock overlay, ebony fretboard, Grover mini tuners, and satin finish.  Mahogany is a wonderful wood for 12 strings, sounding very good with the wide frequency response occurring when you strum chords.  It's so thick and lush, it sounds like a symphony.  Nothing is better for solo jamming as it fills the room with sound.  This one is also outfitted with a Fishman Acoustic Matrix Natural preamp, saddle transducer, and end-pin jack, which required no major modification other than the 9V battery clip being screwed into the neck block.  As the name suggests, it's a "natural" sound and needs very little EQ'ing to get the sound you want.  This one was built well before Taylor switched to the "NT" finger joint, which allowed Taylor to build the neck and headstock out of separate pieces of wood and save money on construction.  On this model the neck and headstock are constructed from one a single piece of mahogany.  You're going to pay $1800 for a new 300-series (sapele) 12-string CE but for $700 less you can have this lovely 400-series from, arguably, a better era for Taylors.  $1099(SOLD-Gary M) includes the coveted early model luggage case, aka "pink poodle", with brown covering, the best case Taylor has ever used.  

2002 Danelectro '56 U-2 LEFTY - Limo Black, (front), (back), (headstock).  Lefty Dano's go fast so righty's, tell your wrong-handed friends! Finished in the most popular Dano color, Limo Black, probably due to Jimmy Page's DC being black.  Dano discontinued this model many years ago, and opted to build only one model at a time, with a run of a year or two.  After several 60's models, they're building a '56 again, but they're Chinese made and there are various feature changes, and they don't do the dual lipstick pickups with a Coke bottle headstock.  The last generation models had only single volume and tone, rather than stacked pots, and other models went to steel saddles rather than the original rosewood bridge, which makes these early Korean models the most historically accurate reissues ever built. These Dano's are every bit as good as the original 50's Dano/Silvertone models and one of the best values on the market, used by garage bands and even pro's like Dave Matthews.  Nothing sounds like them and once Martin gets them on his bench, they play with the ease of very expensive guitars - his setups on Dano's is simply incredible.  Cosmetically, nice shape overall other than a shallow crack where the controls took a bump (shown here), but Martin glued it so it poses no problem.  There aren't many professional guitars you can get for under $500.  Own this one for $279.  If desired, add a Dano faux tweed gigbag (pic) for $29.  

1972 Fender Bassman 50 2X15 Cabinet,  (Cab-1), (Cab-2).  Note: Head and cab are both sold.  ca. 1972 Bassman 2X15 cab, which is a more reasonable size than the earlier models.  4 ohm load.  At 30"X28"X12", it's much easier to fit into the back seat of your car than the huge earlier models.  Casters are included for portability and also features handles on both sides of the cab.  This cab is extremely clean.  You'll notice a fairly typical discoloration to the grill cloth but it's otherwise very clean with no snags or holes, with nice Tolex covering, very tight seams, etc.  This is a nice cab for the collector but priced within reach of the working player.  Probably looking at around $450.  

OFF-HOLD:  Carvin V3 All-Tube 100W Head, (panel), (top), (back), (back panel).  100% tube signal path delivers pure tone from warm to shimmering to infinite sustain and crunch.  Three channels offer expanded tone circuits and overdrives, covering everything from Blues to Metal.  Channels 1 and 2 are identical overdrive channels, however, since each offers 3 different Drive settings and EQX Expanded Tone Circuits, you'll be able to dial in numerous variations on each channel.  The 3rd channel is the clean channel, but with its own Drive control and 3 position switch, for players who don't use clean, you'll be able to use this as an additional distortion channel.  The Volume Boost is ideal for leads and solos, kick it in when you need to cut through. Two Smart Loops offer assignable effects to your channels:  simply select your channel and select your Smart Loop.  The assignment is saved and recalled when you play through that channel.  MIDI offers storage of channel switching, Volume Boost On/Off and Smart Loop On/Off.  This thing is built like a tank, with real plywood, rather than the particle board used on many amps, and it's even made in San Diego Calif.  The Master section's controls affect all 3 channels.  The Master volume: controls overall output; Boost control adds up to 9 dB of volume boost and is switchable via optional footswitch or MIDI; Bright control boosts highs starting at 5kHz for added clarity; Mid Cut: dials in a master scooped tone from mild to extreme; Deep: adds low frequencies at the sub-harmonic level; and Smart Loops give you total control of your effects and remembers your effects loop settings for each channel.  Just assign a loop(s) to the current channel and Smart Loop permanently saves it until you change it.  This amp can run on EL34's or 5881/6L6's, with a bias switch on the back panel to change between the two.  It can also run 50W or 100W, again, via the back panel.  It has dual speaker outs and can run at 4-8-16 ohms.  Tonally, this amp has a huge variety of tones in it.  The a 3-way mode switch on the OD channels changes the color of the tone dramatically.  Add in the EQX switch and the tonal range is expanded another 10-fold.  For you metal heads who want your pant legs to shake, this thing has more bottom end than you'll probably use.  It also has a tone of gain to give you as much distortion as you'll ever need.  It might seem to be too many tweaking capabilities but the bottom line is it's easy to dial in your favorite tones and you'll never have to mess with it again.  If, on the other hand, you like tweaking your tone, you'll never run out of variations.  This amp sold new for $1099 factory direct, although Carvin is currently selling V3's at $949 after rebate.  This one is in beautiful shape with very little home use and $350 cheaper at $599.  

2001 Samick Greg Bennett Design D-9 Dreadnought with Baggs pickup, (front), (headstock), (back), (pickup/endpin jack), (case).  Samick "Imperial Series" maple dreadnought equipped with a Baggs M1 soundhole pickup ($139 new) connected to an endpin jack.  The M1 clamps down without alteration to the guitar so it's easily removable if you don't want it for some reason.  It's a passive pickup so no battery is required, and the pole pieces are individually adjustable to match your guitar's frequency response.  For a passive system it has very good volume and works great plugged into a hi-z input on your amp.  I find it much more warmer and more natural than a saddle Piezo system.  The D-9 is one of the acclaimed Greg Bennett designs.  Although Samick is the largest manufacturer in the world, their own brand was lagging behind until they brought Greg onboard and he has turned the company around with the Samick-branded instruments. The D-9 features a solid spruce top with laminated maple sides and back, with a maple neck.   It's nicely appointed, with abalone trim along the entire soundboard edge, as well as an abalone rosette, cross inlays, and Grover tuners.  Tonally the solid spruce contributes to a lively sounding tone.  It's also fairly warm sounding for maple, not too far from mahogany to my ears.  Set up is very comfortable throughout the register.  Cosmetically it's in very nice shape with the only flaw being a 1/4" crack (shown here) in the sound hole that we've glued and will never be a problem.  They only made this model from '01 to '03 so there aren't a lot of them out there.  For a nicely appointed solid spruce dreadnought with the Baggs M-1 and a hardshell case, this is an excellent value at $329(HOLD-Mark D 2/2) or if you just want the guitar without a case or pickup, $215.  

1964 Gibson GA-25RVT Hawk 1X15 Combo, (panel), (top), (back), (spkr/footswitch), (tube location).  A little known secret in the world of vintage amps.  These brown-era, aka "Crestline", are some of the best sounding amps from that era, sounding as good or better than comparable Fenders.  The 1X15 Hawk is one of those amps.  Even at low volume, it's a thick sounding amp, and you don't have to crank it to enjoy the tone.  When you hit the sweet spot, at around 6-7, it really sings with a sweet sustain and rich harmonic content, which increases the more you crank it.  There have been few 15" guitar amps so that alone makes it a rare item.  It's Jensen C15R is from the 16th week of '64 and sounds perfect, although I would recommend setting it aside for fear of blowing an expensive vintage speaker.  It's a point-to-point circuit of course, and all tube with four 6EU7 and a 12AU7 in the preamp, a pair of 6V6GT's for power, and a 5Y3 rectifier.  The tubes, speaker, and everything about this amp sounds perfect.  It is as loud as it's supposed to be, quiet at idle with no extraneous noise, and no floppy sound from the speaker.  It is a perfectly tuned amp that's ready for a gig right now.  The effects, reverb and tremolo, sound great.  There is one peculiarity, and I think it's then nature of the beast, in that there is bleed over from the effects channel to the regular channel but from a practical standpoint that just means you can have effects from either channel.  With 4 inputs you'll find some of the sweetest tones are found by jumping the two channels with a short cable and then using the individual volume controls to blend the tone to your liking.  It works equally well with single coils and humbuckers, which frequently isn't the case with Fender amps.  This model features a single tone control, later models featured a separate bass and treble, as well as a 2X10 speaker configuration, but that model is a different circuit and isn't nearly as highly regarded, i.e. it's "just another Gibson amp".  This amp, however, is regarded by many to be one of the greats from the early 60's and, best of al, less than 1/2 the cost of a comparable Fender.  As you can see in the pics, this amp is beautifully preserved for an amp that's nearly 50 years old and would be right at home in a collection or museum, but it sounds so good I hope it goes to an owner that will enjoy the tone regularly.  In my opinion, it's a super buy at $750(HOLD-Phil H 2/10).  

2004 Fender Squier Affinity Strat and Fender Frontman 15G Amp, (front), (back), (headstock), (amp panel and back).  Excellent outfit for the beginner or the player getting back into guitar after an extended break.  You can't go wrong buying a real deal Fender, regardless of the series.  Stores who push cheaper Fender copies always say that you're paying extra for the Fender name but having had an assortment of copies and plenty of Fender Squiers I can say that the real Fender models are consistently better guitars.  Finished in Candy Apple Red, this guitar looks and sounds like the Strats you've known and loved all your life with 5 distinct classic Strat tones including the searing bridge (lead tone), smooth and jazzy neck tone, and hollow "Sultans of Swing" tones in positions 2 and 4.  The Candy Red finish with rosewood fretboard and large headstock gives this guitar the look of a 60's custom color Strat and this baby's in beautiful condition having spent nearly all of it's 8 years sitting in the box.  Along with this guitar I'm including the Fender Frontman 15G amp, complete with classic "blackface" panel cosmetics and silver grill cloth.  This is far from a base model amp with the kind of features normally found on amps at 3X the price.  It features dual channels, "Normal" and "Drive", selectable via a pushbutton switch.  The Normal channel has a sparkling clean tone, the type of tone that made Fender amps the choice of pro's since the 50's, while the Drive channel is perfect for hard rock and metal tones.  With a separate Volume and Gain controls you can get maximum distortion, when desired, without having to turn the amp up to a disturbing volume.  Rather than a simple "tone" control found on many small amps, the 15G features a 3-band EQ so you can dial in your preference of Bass, Mids, and Treble.  It also features an "Aux In" stereo input to practice along with CD, tape, IPod, etc., as well as a "Headphone" output for private practice.  Both guitar and amp are in excellent condition and in the case of the Strat, better than new with an in-house setup that's guaranteed to be better than anything handing new in a store.  This is important, especially to beginners, since a guitar that doesn't play easily discourages practice and frequently causes frustration and giving up on a potentially rewarding hobby.  Here's the deal:  Squier Affinity Strat sells new for $179 everywhere but buy this one at $179, and I'll throw in the Frontman 15G for free, as well as include a strap, cable, picks, and starter digital tuner.  Back in the 60's this is what I paid for my no-name guitar and amp, neither of which was near the quality of this outfit.  

Charvel Body - San Dimas Style 1 HH Pro Mod with 80's Neckplate, (back), (plate).  Mint condition 2010 body.  Customer bought from Ebay last year for $299 for a project that never came together.  Disassembled part from a new guitar thus immaculate condition.  Alder body finished in "Snow White" factory routed for dual humbuckers, Original Floyd Rose trem, volume control, 3-way switch.  Includes back plates and mid-80s Charvel neckplate.  $175. 

ca. 1985 Zion Powerglide, (front1  front2), (body contour), (headstock), (back), (heel), (pickups/Floyd), (under the "hood"), (case).  Very rare Zion for the collector or player looking for an extremely well-built 80's metal axe.  When everybody else was building a SuperStrat, Zion comes out with a "SuperTele", and a top quality one at that, built in their shop in North Carolina.  Ken Hoover is considered one of the great guitar builders from the modern era From what I've read only around 300 of these were built during their entire run from '83 to '87 (this one has pots 6th week of '85).  Zions in those days was a true boutique guitar, built to order rather than mass produced.  The customer would use an order form such as this one, and choosing the specs they wanted on their guitar.  Their guitar models were limited to the Turbo, Powerglide, and Synth.  One of the co-designers, John Mark Hampton who started up Zion with Ken in 1980, has returned to this design on a guitar he calls the Zadok (link) which, like this Powerglide, was built with a nod toward the Telecaster.  It shares the same single-cutaway design but other than that it's radically different.  Most notably, the Powerglide features a set neck, with a very comfortable neck joint with a sleek contour and very deep cutaway to allow easier access to the top frets.  There are a number of threads on the web about this rare guitars and here's one that includes a pic of Phil Keaggy playing his back in the day.  Zion was getting a lot of press during this era, including GP mag covers, and they were indeed one of the darlings of the elite during this era.  Very few people could afford them but it worked out fine since Ken and the gang were never about big numbers.  They were about fine craftsmanship and making a statement with their guitars.  I haven't had any luck finding specs on this guitar but it's a set neck that looks like a neck-thru, finished in candy apple red with matching headstock, very comfortable body contours with  large beveled area where your arm comes across the top and a comfortable belly cut in the back.  It features the Original Floyd Rose non-recessed tremolo, with standard Floyd nut with screws in the back.  Tuners are Gotoh, same design and buttons as used on the original San Dimas Charvels and some early Kramers.  One of the unique design features that I haven't seen on any other guitar is the pickguard (shown here) which is recessed so it's flush with the top of the body.  I think these only came in an HSS pickup configuration, but apparently there were several types of pickups used, primarily EMG's or Duncans.  This guitar has the Duncans with a Classic Stack in the neck, Vintage Rails in the middle, and a Live Wire in the bridge.  Zion used a variety of Duncans in their early guitars but I don't think the Live Wires was being made in the mid-80's.  I have some early/mid '80's Duncans and I swap out with an Alnico Pro upon request.  All of the pickups are 4-conductor so you get a good mix of single- and double-coil tones from the 5-way switch.  The way Harmony-Central is set up now, it's hard to find a single page with links to reviews, but here are a few I cam across -  here and here.  I got this from a guy who owned the guitar for the past 24 years and he obviously took exceptional care of it and played it very little.  It's a museum piece that can be the center piece of your 80s metal axe collection or Zion collection.  For guitar of this quality, in this near pristine condition, it's an exceptional buy at $1099(HOLD-Cale 3/15) which is probably around 1/2 of what it sold for nearly 30 years ago.  Includes what I believe to be the original "Pro" case.  Oh, it's an excellent sounding guitar that plays extremely well.  

Vintage Fender Case - Mustang/Lead I/II/III.  Ca. late '70s/early 80's tolex case with black tolex, maroon interior, headstock retainer strap, silver logo.  Made for a student model, the quality is the same as a Strat/Tele case, but was designed with no storage compartment.  This fits a Lead or Mustang properly, but you can also squeeze a Tele into it although its very tight on the side of the body.  A few small tolex chips around the edge but overall beautiful shape for 30+ years.  $125 sale $50(SOLD).  

60's Harmony Sovereign 5-String Banjo, (front), (back), (side), (headstock 5th string peg), (case).  I'm far from an expert on banjos.  I mainly know that they sound very annoying in the hands of a non-player (like myself), but like guitars you can gauge the quality by appointments and hardware.  This one definitely isn't  base model and it has some nice appointments such as mother of pearl block inlays, good quality friction tuners, bound neck, closed back body, arm rest, 30 rim brackets, and nickel plated hardware.  Appears to be all original other than, perhaps, the 5th string tuner which has a pearloid button instead of black.  It fingers with very comfortable action and we'll set it up with a fresh set of strings prior to shipping.  It "feels" like a quality banjo to me for what that's worth, and is probably a good buy at $250.  Includes an old chipboard 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 PL33 kick drum mic delivers tight, low-end and punctuation for kick drums and low frequency instruments, and the PL35 dynamic supercardioid tom and snare microphone, with its unique body design, integrated swivel and drum rim clamp is voiced for exceptionally natural tom and snare drum sounds.  Its unique body design with the shaft at an angle eliminates the need for right-angle XLR connectors and minimizes cable clutter over the drum and under cymbals.  Each one includes a DRC-1 snap-on drum rim clamp that mounts the mic directly to just about any brand drum rim.  They're voiced for exceptionally natural tom and snare content, with superior isolation and a frequency response - 50 Hz - 16 kHz.  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 sell online (Google) 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, which equates to just $45 per mic AND I'll also include five 20' cables.  

(EV PL33) or (EV PL35).  I can break up a set if desired, feel free to inquire.  

MXL 603S Condenser Mic.  I only have one of these left, but it if you need an overhead mic to go with the EV Pack above, this will do the job quite nicely.  In reviews it was compared as being almost identical to the popular Oktava MC012 in sound, with a wide cardioid pattern, almost approaching omni.  Runs on Phantom power only so you need a phantom-equipped mixer or external power supply.  $129 list; this last one's new in the box for $69.  

Shure Beta 58A Vocal Mic, (close).  The latest and greatest from the premier mic manufacturer in the world.  Shure has owned the performance mic market for over 35 years, primarily with the venerable SM57 and SM58 mics.  Although they still make the 57/58, for more than a decade most pro's have switched to the Beta 58, with its powerful Neodymium magnets and better all around performance.  You can't watch a concert on TV without seeing most of the vocalists now using the Beta series, easily identifiable by the thin blue band around the grill.  The 58A sells new for $159 and never goes on sale.  This one's in excellent condition in the box with case, clip, and all paperwork, and just $110(SOLD). (Add a new 20' cable, if desired, for $8.99) 

Shure 588SDX Vocal Mic.  Excellent vocal mic that will give the Beta a run for its money.  Like the Bet it features Neodymium magnet for high sensitivity (6 dB improvement over previous 588SD).  Also has on/off switch and lock, plus it's easily switchable from Hi to Low-Z.   For full specs click here for Shure.  Clean shape in box with case and paperwork.  Sells new for $73.99 but this one's super clean in original box and just $45.  (Add a new 20' cable, if desired, for $8.99) 

Shure 585SA Dynamic Mic.  Good quality vintage Dynamic Hi-Impedance Mic.  Best used for vocals and harp which earned it the name "James Cotton Model", so named as it was the mic of choice by the harp legend.  These mics have a much wider frequency range than the Controlled Magnetic or Controlled Reluctance elements, which cut off pretty sharply at about 7-8000 Hz, while the 585 goes up to 13,000 Hz.  Includes old-style cable with screw on connector to 1/4" jack.  SSN is lightly etched in case but otherwise nice vintage condition.  $55.  (Add a new 20' cable, if desired, for $8.99) 

Shure SM48 Vocal Mic, (close).  Good alternative to the SM58 for musicians on a budget.  It costs 50% less but sounds 90% as good.  For full specs click here for Shure.  Clean shape in box with case and paperwork.  $35.  (Add a new 20' cable, if desired, for $8.99) 

Behringer Super XM2000 Vocal Mic.  For the musician on a really tight budget, this isn't a bad sounding mic at all and while it wouldn't be my first choice for my lead vocalist, its a suitable choose for backup vocals.  Nice solid feel with cast metal frame, steel mesh screen, matte black finish.  $15.  (Add a new 20' cable, if desired, for $8.99) 

Mic Line Matching Transformer aka "Adapter" with cable, (pic2).  Transformer includes hi/low impedance switch.  Includes quality Rapco mic cable with 1/4" RTS jack to XLR jack.  Both mint condition.  $22. 

2010 Marshall MG50FX 1X12 Combo - upgraded speaker.  One year newer but otherwise identical to the one below including speaker upgraded with a Celestion Rocket 50.  Super clean condition other than an MDF dent on the back corner (shown here).  We will do a cosmetic repair with epoxy upon request but there's no issue with structural integrity.  Would make a killer stereo set up if you want to buy the pair.  So many rock/metal players go chasing tube amps and the fact is, for many of them a well engineered solid state model like this is probably just the tone their looking for.  It also has a much better clean channel than tube Marshalls.  When Marshall says 50 watts it ain't no joke - this thing is loud...plenty of power to play any average size club, for just $219.  

2009 Marshall MG50FX 1X12 Combo - upgraded speaker, (panel), (top), (back), (speaker), (footswitch).  Includes footswitch and speaker upgraded to Celestion Rocket 50 (G12E50).  Marshall's latest in the highly successful MG4 line which has taken solid state to an even higher plane and, in fact, many players will prefer the tone and response of this MG50FX over their tube models.  This amp has about everything you could want in a 50-watt combo, including 4 channels (Clean, Crunch, Overdrive 1, and Overdrive 2), and lets you quickly and easily dial in your favorite settings and save them, plus the front panel is outfitted with 8 LED's so you can see you're settings at a glance.  It also features onboard digital effects including Chorus, Phaser, Flanger, Delay, and Reverb. The settings for each channel can be customized to your liking—with effects if desired—and saved for instant recall.  It features one 12" speaker, an external effects loop, power amp damping which is a subtle but very impressive feature, a headphone/line out jack with speaker emulation, a line in for an MP3 player, and a two-button footswitch which lets you access all 4 channels.  There's plenty of info online about this amp and for a good video overview, click here for Guitar World's demo and Click here for full specs and more at Marshall.   Marshall has always been conservative with their wattage ratings and this 50 watts sounds louder than competing brands 100-120 watts.  With a list price of $580, this is an incredible value on a 50-watt combo with this much power and versatility at just $239(HOLD-Larry F 3/2).  Includes Marshall footswitch in box.

Marshall MG50FX 12" Speakers.  Pair available.  Removed from above pair of MG50FX combo's when new thus mint condition.  $25/each. $45/pair.  

2007 Gibson Les Paul Custom - Ebony, (front), (headstock), (back), (case).  First year this model was named "Custom Les Paul Custom" as it was now a custom shop instrument, which, I suppose, was necessary to substantiate the hefty list price tag, which is currently $5504.  From all I can see, it's the same quality as the '06 and earlier "regular" Les Paul Custom which is to say it's a fine Les Paul.  Since the 50's the Custom has been the Cadillac of Les Pauls.  From the multi-ply binding around the body and headstock, to the multi-ply pickguard, large block inlays, split diamond headstock inlay, gold hardware, and dark ebony fretboard, this guitar has all of Gibson's high-end appointments.  With its roots in the mid-50's "Black Beauty" Custom, it's crafted with a hand-carved maple top atop a solid piece of mahogany.  The 24 ¾ scale neck, also made from a solid piece of mahogany, is topped by a 22-fret ebony fingerboard outfitted with figured acrylic block inlays with Gibson’s traditional rounded profile. The pickups are Gibson’s 490R in the neck position, which offers the tonal characteristics of the original PAFs, and the 498T in the bridge position, which swaps the 490R’s Alnico II magnet for an Alnico V, resulting in a markedly hotter output with increased mids and highs.  Other appointments include a Nashville Tune-o-matic bridge and stopbar tailpiece, metal tulip tuners, multi-ply white and black binding on both the top and back, gold hardware, 1 11/16” nut width, and custom shop seal on back of headstock.  Excellent condition with just minor flaws in the clear coat, most of which will go away when Martin does a nice buffing job.  Frets are in great shape and the gold has only minor gold wear.  Like you would expect in a Custom, the playability is superb with excellent sustain and a very fat tone, with a little extra "snap" with the ebony fretboard.  This model currently sells new discounted to $3899.  I'm happy to offer this fine Custom for $1700 less than new, just $2199(HOLD-Adam C 2/11).  

Z-Vox Box of Rock, (pic2).  Z.Vex Effect's first "distortion" pedal, highly specialized to simulate the "everything on 10" sound of a classic Marshall JTM45 non-master-volume amplifier. You may use the Box of Rock effectively with many any amplifiers, but it's especially great on a Marshal.  It's both a boost and distortion pedal with separate on/off switches, which gives you 4 tone selections (bypassed, boost only, distortion only, distortion with boost).  One of the best pedals made for using your guitar's volume control to adjust for the exact amount of distortion you need, all the way down to very clean and clear with most drive settings.  Z.Vex is noted for some of the coolest pedals on the market and this distortion is way cool indeed.  Click here for YouTube demo and a few comparisons to other boutique pedals and here for Zvex's demo.  Don't pay $199 for a new one when you can have this nice used one for $129(Tent Hold - Steve S 1/27).

1998 Epiphone Dot - Ltd. Ed - Blonde & Gold, (front), (headstock/neck), (back), (gigbag).  Another fine Korean Epi.  If you're budget doesn't quite fit into the '82 Dot Reissue below, these Korean models are very well made guitars that set up nicely and sound good.  This was a Limited Edition model in '98, which I believe was the natural finish ("blonde" in Gibson parlance) with gold hardware.  In all fairness, Gibson lowered the list price of the Dot when production was moved from Korea to China, but these older Korean models are better guitars have become highly sought after by many players, including working musicians.  Compared to the current China models, on this guitar the fretwork is more precise, the binding and inlay work is top notch, and the tonewoods are better and probably better seasoned.  I'm not taking anything away from the Chinese Dots.  For $399, I think they're an excellent value, but the MIK models are a better value.  The Epi Dot features the same laminated maple body with white binding, gloss finish, and set maple neck as the Gibson 335, but at a more wallet-friendly price.  Other authentic touches include the stop tailpiece and Tuneomatic bridge, gold tophat knobs, and orange oval sticker visible through the upper f-hole.  This is a well made guitar in very nice condition.  With medium sized frets, comfortably low action, and thin neck, it's a pleasure to play and the body design with its center block inside the body, lends itself to many styles of play, from jazz to jump, country, blues, or rock - pretty much anything but hard rock and metal.   If you're looking for a quality semi-hollowbody and want something that's a step up from the current model, this one's just $379(HOLD-David D 1/27) and includes a very well padded gigbag made specifically for a thinline archtop.  

1982 Gibson ES-335 Dot Reissue, (front), (headstock), (back), (label), (case).  One of the earliest Dot reissue I've had, from Jun 15, 1982, Nashville Plant.  Although a few Dots were shipped in '81, 1982 was the first full year for the Dot Reissue and they're highly regarded by players.  I recall the '82/'83 models selling for a premium as far back as my first guitar show in '94.  I'm not sure if they're significantly better than the later models, or if it's a case of "older is better".  One thing you can't deny, production numbers were way lower 30 years ago which could indicate overall higher quality control and better selection/seasoning of woods.  It's in nice vintage condition, all original (original bridge in case), with no cracks or other issues, little to no checking, and just light scratches in the clear coat, although it does have a small finish chip on the back (shown here).  One thing is certain, this is a wonderful sounding Dot perhaps due to the age and in part to the quality pickups which I think are the Shaw PAF's.  I'll verify if necessary.  I got this from a player who puts jumbo frets on his guitars so it has been refretted with jumbos (see pic).  Its a top notch, pro job, factory quality and the frets are in great shape.  It has a super nice setup and at 30 years the maple has developed a voice that you won't find in a new one off the rack.  For the player looking for a Dot that's *almost* as good as a '59, especially a player who wants jumbos, you'll save the $200 refret charge and take this one right to a gig.  Own this great Dot for $2450.  

1988 Fender American Vintage '62 Stratocaster - Olympic White, (front), (headstock), (back), (neck name/date), (case).   Incredibly clean V62, especially for 21 years with no buckle wear and a very nice 8.5 condition plus a nice weight at 7.6 lbs.  It has a few minor finish chips (shown here) but has been well cared for its entire life so there's no buckle wear or other wear patterns anywhere on the body or neck.  The body has yellowed to almost a vintage white and the neck has turned a lovely vintage orange from the nitro lacquer aging.  If you want to get careless with it, it's just 50 gigs away from having the appearance of a custom shop relic.  An interesting aspect as this one has John Cruz's stamp (pic) which was obviously before his Master Builder status.  This is a super nice player with a resonant Alder body.  I got this from a player who puts jumbo frets on his guitars so it has been refretted with jumbos (see pic) and you'll also note in the pic the fretboard is the darkest rosewood you'll find - looks like ebony.  The refret is a top notch, pro job, factory quality and the frets are in great shape.  80's Fenders, especially the higher end American Vintage series, have been going up the past few years, at a time when older vintage has stalled.  At $1150(SOLD-Woodchuck), it's a nicer guitar than the current models and if you're not a fan of vintage frets used on these, you're already $175 up on a fret job!  Includes original tweed case in decent shape although the original handle has some tape reinforcing it.  

Peters Hell Cat, (front1  front2), (headstock), (back), (side), (features/appointments), (case).  Perfect example of "guitars as art", with the beauty of fine exotic woods, gorgeous curves and angles, mixed in woods and metals.  When I opened the case it took my breath away for a moment.  This guitar brings to mind some of the early Warrior guitars but even those were largely, albeit loosely, based on a Strat, Paul, PRS, etc.  This guitar was based on nothing other than an artist's conception.  Shad Peters is a true artisan, hand-crafting guitars one at a time, and each one is virtually a one-off.  He does offer some basic styles, some of which are merely sketches until a customer elects to have it built (link to sketchbook).  There are numerous unique aspects to this guitar such as the acoustic archtop style tailpiece, elevated wooden bridge with gold saddles, wooden pickup covers, copper inlay used in the logo and around the fretboard inlays, and the burled buckeye top with intricate figuring you can get lost in.  A close inspection of this guitar reveals the hand-built aspect - hand tool tolerances aren't as tight as on a CNC machine so you might see uneven gaps around the pickups and in fact a small notch in the corner of the bridge pickup but nothing that detracts from the overall beauty and wonderful tone you can coax out of this guitar.  Features of this beauty include 25" scale, curly eastern black walnut neck, with a 2-way adjustable truss rod. copper wire inlay logo, buckeye burl veneer on the front and back, East Indian rosewood fretboard, neck and headstock bound with curly maple, back has a soft maple core with eastern black walnut wings, abalone set in copper inlays, abalone side dots, tailpiece-bridge-pickup covers-control knobs are Claro walnut burl, electronics cavities shielded and grounded with conductive paint, vintage jumbo fret wire of standard nickel/silver.  I think the pickups are DiMarzio Virtual Vintage, but I'll check on that.  Each pickup has a 3 way mini toggle that allows you to do split coil/ parallel / series, wired to a master volume and tone.  You would think a guitar like this would be heavy but, in fact, it's not at all heavy, and it's very well balanced.  Please note one change to this guitar.  Original owner didn't know how to work the locking, found them hard to work with, and had them replaced.  I have the originals and will re-install without expense, with no visual sign that they had ever been changed.  Check out Shad Peters site here, where this very guitar is featured on the main page, with detailed info and pics here.  Peters posted more pics at Flickr (link).  This guitar has seen very little playing time since new and has no player's wear.  The new cost was $2850 including a custom-fitted case ($250) that hugs the body on all sides and is actually heavier than the guitar.  It is remarkable guitar at that price considering all the hand-craftsmanship involved.  If you're looking for something truly unique--and a work of art--this guitar plays and sounds as good as it looks and is nice buy at $2099.  

Rahbek COS-T, (front), (headstock), (back), (heel/cutaway), (frets), (Vintage Rails/bridge), (Fralin pickup), (case).  Peter Rahbek builds fine guitars in his native Denmark, where Rahbeck guitars are the choice of pros from his country.  From what I gather, his shop can be considered sort of the Tom Anderson of Denmark, in fact his new headstock resembles Anderson, and Suhr for that matter.  He offers three standard models, with enough custom options to make every guitar as unique as you'd like it to be.  He offers this COS-T, (short for "Cozmic" Tele), as well a Standard (Strat) and Classic.  His guitars aren't cheap but considering that they're *genuinely* hand-made, informed players won't feel like they're over priced.  One look at this one and you think "Esquire", but it's so much more.  One thing that really sets it apart from traditional Fenders is Rahbek's neck joint which is considerably deeper than a Fender and beveled to be very thin where your hand comes around.  You won't find a Tele that's easier to play in the upper register.  Also, they went with neck screws recessed into the body, rather than through a neckplate, with a greater distance between the screws to increase stability.  One of my favorite features as far as maintenance is concerned, is the truss rod adjustment, a wheel style located at the base of the neck (Musicman style) which adjusts with any small bar or steel pin and doesn't require you to gash up the body trying to squeeze and Allen wrench into the adjustment screw.  Features include lightweight swamp ash body, quartersawn maple neck with medium depth, nicely rounded in back with a 9.5" radius, stainless steel frets, and staggered Gotoh locking tuners that retain the vintage look from the front.  Switching is currently set up vintage style:  (1) tone control out of circuit, (2) tone control adjustable, and (3) tone control turned all the way back, utilizing 3 capacitors for a dark (aka mud) tone.  The installed Duncan is a 4-conductor so it can be wired single coil-humbucker-out of phase.  Stock pickup is a Lindy Fralin Blues Special, which is included in the case, as well as a Duncan Vintage Rails humbucker currently installed.  This guitar hasn't seen much playing time, fret are near perfect and cosmetically it's in excellent condition with only very minor flaws.  It has had the bridge replaced which left three small holes barely visible (see here).  Some builders don't favor the vintage bridge, believing that it makes the pickup more harmonic and prone to squealing.  The Wilkinson bridge that's installed is a good compromise between vintage and modern. It retains the back half of the traditional bridge but doesn't surround the pickup, therefore eliminating the shortcomings of the vintage bridge.  The brass saddles are compensated for more accurate intonation.  If you want a vintage style bridge and/or want to cover up the holes, we can swap out the bridge to a Fender-stamped or identical vintage aftermarket bridge.  Click here for links to in-depth reviews by Vintage Guitar and other magazines.  As I mentioned, Rahbeks aren't cheap and their line runs around $2700 to $3500, but compared to other small companies with very little hand-craftsmanship, they're worth the money.  This guitar is a fantastic player with a well-chosen resonant piece of ash, perfectly dressed and seated frets, and immaculately constructed.  I feel it's an excellent *value* for $1599.  

Keeley Boss BD-2 Blues Driver Phat Mod.  Used by players in groups from Steely Dan to Brad Paisley and even "The Edge" uses one. The BD-2 Phat Mod is a Transparent Overdrive with Full Range sound, which lets your guitar tone shine through regardless of how you set it. It's not simply a distortion pedal but rather a tone tool that adds to your guitar tone, supplying really nice lows, crystal clear high frequency, great picking response and detail. It differs from, say, a TS9, by its full-range sound, which is much more transparent and, when cranked, it offers a grittier/more-edgy tone. It's extremely dynamic and works wonders using your guitar's volume control to dial in the amount of drive you want. It is perfect for Hendrix to Country. It's also noted for having that cranked Fender Super amplifier sound. The "Phat switch" to allows even more of your natural low end through for those times when you need a little more beef. It's also noted for having tremendous volume output and can be used as a clean boost, driving your amp into natural sounding overdrive.  New these are $199 from Keeley.  This one's in clean shape and just $125(HOLD-Donald 1/26).  (Note: for box fans, I have one mint in the box for $139). 

Gibson Burstbucker Pro (Nickel) Set.  Rhythm Pro and Lead Pro set in nice shape.  Excellent choice for modern rock tones while retaining much of the vintage sound.  These are running $196/each in stores but here's a clean set for $175/pair.  

Gibson Burstbucker Pro (Zebra) Set.  Rhythm Pro and Lead Pro set in nice shape.  Excellent choice for modern rock tones while retaining much of the vintage sound.  Zebra coils for that Jimmy Page/Peter Green look.  Nice shape, $175/pair.  

Gibson '57 Classic (Nickel) Set.  Nice shape.  Favored by many players over the BB Pros for players who are looking for that genuine vintage tone.  $150/pair. 

ca. '60-'62 Fender Concert Brownface - LOT!!!.  (Sold as a lot of 5 only).  Four years ago I bought these from a collector in Maryland.  Yet another year has passed and I've never had the spare time to go through each one and sort out the specifics as far as replaced components and performance.  I tested each one when I bought them and all of them do work.  A few sounded great, while others sounded like they needed filter caps or other minor tune-ups.  You can expect a range of originality and condition, for example, one of them is missing the back panel, replaced with a piece of uncovered plywood.  Another one has two added switches for speaker select (all 4 speakers, 2 speakers, or one speaker).  Some have replaced speakers.  I am NOT looking to sell any of these individually as it could be another 4 years before I dedicate a half a day to go through them.  I AM looking for a collector or dealer who wants a cool brownface Concert collection. Maybe ask a few buddies if they want to team up for a group purchase.  If I were to list these individually they would be $1300 to $2300, I'm guessing with very little bench time required to get them all up to spec.  Here's the deal:  $1300/each X 5 = $6500 takes 'em all.  Price takes into account the range of condition and performance so I'm not open to dropping the price.  Since 5 large amps are involved, it should be worth the time for you to make the drive which is desirable since I'm not looking to ship them.   In closing I'd like to say that I'm not selling them individually.  Also, I am looking for a local pickup by the buyers or a freight company who can safely transport them.  Did I mention that I'm only selling them as a lot...

Frenzel HBX - WC30 "Hot Box Wild Cat 30" Head, (panel), (top), (back).  Same deal as the FM-5E3 above, hand-wired, point-to-point, American made, and this one is one of Frenzels higher-end models.  This design was *inspired* by the classic Matchless Hot Box and the Hot Cat 30.  The preamps have three stages of high gain and are modeled after the classic Hot Box preamp.  Frenzel added separate HI - LO inputs, gain controls, tone stacks, and master level controls to give you maximum tone control.  This allows you to set each channel for the exact tones and overdrive you want, and then to select or blend both channels with an AB/Y footswitch. The output stage uses a pair of cathode biased Class A EL34's that will give you 30 watts of pure sound reproduction. And to finish things off they added a custom Presence control with an Edge pull switch to contour the sound.  This amp is truly a "wild cat" and will drive you crazy with all the tonal variations possible, some which you have never heard before!  It features a 5U4EH heavy duty rectifier for optimum pick attack and sag selection - or you can use a 5AR4, or SS plug-in for different amounts of sag.  It uses 4 12AX7's in the preamp and a pair of EL34's in the power section.  For a full run down of features check out Frenzel's site here.  Frenzel offers a few options and this one has two:  the steel cage ($100) and effects loop ($50).  Even with these options, this amp sells direct for just $845.  Better yet, this one has seen very little home use and is just $629.   (Note:  I have a variety of cabs, including some Avatar 1X12's below). 

Avatar 1X12 with Celestion Alnico Gold, (back), (side), (top), (speaker).  Avatar has earned a reputation as one of the premier builders of fine speaker cabinets.  This 1X12 is built with high quality 18mm  voidless 13-ply Baltic Birch plywood, with  rabbet and dado interlocking side joints for extreme strength.  The grill is secured by screws, not cheap velcro, and has two 1/4 inch in/out jacks (for daisy chaining with another speaker cab) mounted on the steel input panel. It  has protective nickel corners,  and large rubber feet. The dimensions are22"W x 18"H x 12"D.  The 50 watt Celestion Alnico Gold would be the ultimate speaker for this cab.  It is voiced similarly to the 15 watt Alnico Blue with wonderful creamy chime tone but has a higher power capacity. The precisely tuned midrange and crisp defined highs give an aggressive crunch sound that punches through the mix while the mid-range warmth and detail give weight and depth to single notes.  With the oval open back panel, you get plenty of mids coming off of the back of the cone and radiating out into the room.  It is rear loaded with T Nuts which makes it easy to swap out speakers for tone experimenting.  Sells new from Avatar for $439 (+$45 ship).  This one's in perfect condition and a quality cab for just $299(HOLD-Rob 1/23).  

Avatar 1X12 with Celestion G12-65, (back), (side), (top).  The G12-65's were originally created as a higher-power handling variant of the G12M Greenback.  Their fast attack and tightly controlled low-end, attained legend status in the ’80s with hard rock players.  With the closed back panel, you get a very focused sound coming off of the front of the speaker cones but with a strong bass.  Other specs are the same as the oval back Alnico Gold-loaded cab above.   Sells new from Avatar for $359  (+$45 ship).  This one's in perfect condition and a quality cab for just $250(HOLD-Rob 1/23).

2003 Gretsch G6120DSW Chet Atkins Hollowbody, (front), (headstock/neck), (back), (case).  Nothing says "Gretsch" vibe like a G-branded 50's Chet Atkins.   From the early days of the "vintage" guitar market, the G-Brand 6120 was the *only* Gretsch than many dealers would buy.  They remain the most highly cherished model to this day.  This 2003 reissue pays tribute to the early Chet Hollow Body models of the mid-'50s featuring full western appointments such as the iconic G-brand on the upper bout,  and a steer's head headstock inlay. and western-engraved fingerboard inlays (cactus, steer head, fences).  Other features include a 2-3/4"-deep laminated maple body with arched top 16" lower bout, 3-piece maple neck, 22 fret rosewood fretboard w/aged vintage wide-block inlays, aged fretboard & headstock binding, 24.6" scale, bound oversized F-holes, dual DynaSonic single-coil pickups, polished Bigsby vibrato tailpiece with vintage flat handle, Grover Sta-Tite tuners, arrow knobs, aged binding, gold hardware, orange stained finish, 2 volume controls (1 for each pickup), 1 master volume & 1 master tone controls, 3-way toggle switch, rosewood based Bigsby compensated bridge, polished aluminum B6 Bigsby tailpiece, gold "Nashville" pickguard, and knurled strap buttons.  This is a fantastic playing guitar in excellent condition.  These Japanese reissues are very well crafted guitars and, although time will tell, I'm certain that they will hold up better over time than the originals.  2003 is an especially desirable year for Gretsch - they were allowed to use Chet's name on the guitars and this year also featured CTS pots and Switchcraft switches and jack.  With a new one running $2325, this one's an excellent value at just $1525(SOLD-Robert D).  

1998 Fred Stuart Prototype of the Ltd Ed 1950 Dual-Pickup Esquire, (front), (headstock/neck), (back), (back-2), (control plate), (bridge), (heel markings), (case).   (Fretted Americana Documentation and Web Site Form).   A piece of Fender history, built solely by Master Builder Fred Stuart himself.  It was recently purchased from Fretted Americana, who acquired it from the family of Master Builder John English (RIP John).  In addition to being one of the finest sounding, very resonant Teles I've had, it has the chunkiest neck I've ever seen on a Fender at 1.06" to 1.10", which I'm sure was necessary to compensate for the lack of a truss rod.  Most of the information that follows was taken from their web site and documentation included from the store.  In order to keep this page brief I've created a page (click here) that has details on this fine, unique instrument.  Fretted Americana sold this guitar to a collector friend of mine for $5700/shipped, and saw perhaps 5 hours of use under his ownership.  It's hard to put a price on a prototype but based on it being a Fred Stuart Master Built guitar, it's an exceptional deal at $3500. 

2001 Larrivee P01W Parlor Guitar - Walnut, (front), (headstock/fretboard), (back), (side), (case.).  All solid woods, with a solid Sitka spruce top, solid walnut sides, solid walnut back, plus an ebony fretboard, ebony bridge and headstock veneer, and solid South American Mahogany Dovetail Neck.  Everybody who owns more than 2-3 guitars should have a parlor size in their collection.  It's the perfect guitar to keep in the family room or den, keep one in the office, take it camping, etc., and makes a very good recording guitar.  It's smaller size travels well but the tone definitely isn't small.  Larrivee made a brief run of these P01's in '01-'02, with a variety of body woods including mahogany, rosewood, flamed maple, koa, and walnut.  Among the 5 models, walnut is the most rare and generally believed to be the most desirable of tonewoods.  For a parlor size, typically lacking low end, it has surprisingly balanced bass, and has a very rich tone for its diminutive size.  It's wide nut and slightly shorter scale make it a nice guitar for finger style work.  Other features include forward shifted X-bracing, hand fitted dovetail neck joint, all solid wood construction, bound neck, satin finish, dovetail neck joint, Godin/Ping mini tuners 18:1 ratio, clear pickguard, Tusq nut and saddle, and compound radius neck (16" to 21"). Body size is Lower Bout: 13.125"; Upper Bout: 9.125"; Waist: 7.875"; Depth: 4"; Scale Length: 24"; Nut Width: 1-3/4.  Exceptionally clean condition, with the only flaw being a tiny rub on the edge of the headstock (pic).  These came stock with a gigbag but this one comes with a perfect fitting high quality hardshell case.  An exceptional buy from an exceptional maker - just $650(HOLD-Tom H 1/23) including case.  

Headstrong Lil' King-S 1X12 Combo, (panel), (top), (back), (speaker), (tube chart).  A truly fine hand-wired amp made by one of the premier boutique builders of our day, Wayne Jones.  His fine reputation has been earned by building the best Fender replicas possible.  Each Headstrong Amplifier chassis is hand wired by Wayne using the best parts on the market:  transformers are made by Heyboer using original data sheets on replica amps, and custom-wound interleaved transformers on original designs; Sprague and JJ Electrolytic capacitors; Carbon Composition resistors; 150 Series coupling caps; and solid steel chassis. Cabinets are hand built by Wayne's brother Jesse in Concord, NC using solid finger-jointed pine for the shells and void-free birch plywood for the baffles and back panels. All covering and finish work is also done by Jesse.  Before they leave the factory, every amp is put through a strenuous quality control process to ensure years of care free service.  Weighing just 35 lbs. this is a deceptively small powerhouse of an amp.  Wayne's idea in designing the Lil King-S was to create an amp that Fender never made during the 60's, a 25-30 watt amp between a Deluxe Reverb and a Vibrolux Reverb but not as bulky or heavy as either. The other idea was to take a stock Lil' King, which was based on the Princeton circuit, change it to 6L6 power, and see how far he could push it without changing the inefficient Phase Inverter found in the original circuit.  The overall goal: to create a higher powered version with more headroom and bottom end definition, but when overdriven would retain some of the classic small amp character.  It cranks around 30 watts of pure tonal heaven through a 12" Weber Ferromax Vintage Series, using a pair of 6L6 power tubes (upgraded to Tung Sol on this one), with four 12AX7's in the preamp, and a GZ34 rectifier.  It features tube driven reverb and tremolo with the front panel controls - Hi/Lo inputs, Volume-Treble-Bass, Reverb, Tremolo Speed, and Tremolo Intensity.  The back panel features and easy access bias pot, standby switch, 8 ohm speaker jack, 8 ohm ext. jack, footswitch jacks for both reverb and tremolo, Reverb Out and Reverb In.  This amp goes from sweet, clear tones at lower levels, through a seductive subtle chiming effect that sounds great with warm jazz humbuckers, to a wonderfully responsive Texas- approved crunch with the volume peaked.  With humbuckers and you can nail those early ZZ Top licks - swap to a Strat or Tele and it can ooze Danny Gatton type licks.   Buddy Whittington or Danny Gatton-style riffs; it's a very rewarding experience and the Weber Alnico classic's exceptionally rich tones complement the amp perfectly.  It's 30 watt output is the perfect amount of power and headroom for the average unmic'd gig. Also, this era Lil' King-S, although not guaranteed, should work on a pair of 6V6's.  The Lil' King-S lists for $2100 and sells at minimal discount, perhaps $1950 if you shop around.  This one has seen very little use, in the home only, and is in beautiful shape, for just $1350 SOLD.

WD Exotic Tele Neck - Birdseye/Pao Ferro, (headstock).  Birdseye/flamed Maple with Pao Ferro Fretboard, medium jumbo frets, 9.5” radius, 1 11/16" nut width. New, never installed.  Pro installed logo with multiple coats of nitro clear coat front headstock; rest of neck has a sealer coat only, like an old Charvel or Jackson.  I had around a dozen of these 8 years ago when they had a list of $375.  We jut found this one and it's ready to complete your Tele project for $245(HOLD-Geo M, local 1/27).

Carr Hammerhead 2X10 Combo, (top), (panel), (back), (cover).  The Hammerhead is hand-built and truly point-to-point wiring, no PCB used, with only the best components and masterful cabinetry which makes it lightweight and durable.  It's a Class A amp, dual EL34 powered, modestly rated at 28 watts, with a pair of 12AX7's in the preamp driving a pair of Carr/Eminence Kingpin 10" speakers.  This amp is made for the player who appreciates a super simple signal path, thus there's no bells and whistles such as push/pulls, extra switches, and a long row of dials.  The stripped down signal means more pure tone and it shines at anything from semi-clean to singing, sweet overdrive.  Rather than the usual bass-mid-treb-pres, Carr used parallel tone controls, labeled "Impact" and Grip.  It may seem foreign but you'll get used to it in an hour and will quickly find the sweet spot for your humbucker, P90, or Fender single coil guitars.  The "Impact" control is interactive with the Volume and has the most effect with the Volume at "3" and below.  The 4 stops are:  (1) flat response; (2) high treble like a Blackface; (3) high treble and upper midrange like and early 70's metal-face British amp; (4) high treble and full midrange like a late 60's British amp.  The "Grip" control is another 4-position rotary with increasing amounts of preamp gain and drive from "1" to "3", while "4" maintains the gain of position "3" while adding more focused response to the leading edge of notes.  The Master controls the overall output, i.e. strength of signal to the output tubes and as Carr recommends, a setting of "10" or more yields the best tone.  They recommend setting the Master very high, and then bringing the Volume up to set the overall loudness.  What they're saying, again, is this amp is meant to be driven hard.  There's not a lot of info on the web about this original model, which I gather was made for around 3 years.  Carr has a manual for the later model MK II which added a tone control, but otherwise all the info you need is contained in a .pdf manual online at this link.   The retro styling reminds me of a 50's Gretsch combo.  This amp has seen very limited home use and is offered in near perfect condition, other than a slight rub of the black spots on the lower left side.   There are a number of YouTube clips for the MK II with tone control - check them out and you'll have an idea of how great this amp sounds.  Steve Carr builds all his amps at his shop in North Carolina and he's come on strong the past few years, due largely to a lot of word-of-mouth advertising and more recently some cool press ads.  The Hammerhead was one of Carr's earliest models and to me it's hard to imagine a better straight ahead rock/blues combo.  At $999  it's amazingly affordable for a true hand-wired of this quality and in this condition.  Check my amps page for another Hammerhead in a 1X12 format.

Rocktron Banshee Talk Box, (front), (side).  A modern version of a classic 60's/70's guitar effect.  The talk box really came to fame with Peter Frampton's "Frampton Comes Alive" with songs like "Show Me The Way" and "Do You Feel Like We Do".  Other great songs that used the effect are Aerosmith on "Sweet Emotion", Joe Walsh on "Country Mountain Way", and "Livin' on a Prayer" plus recently, "It's My Life", by Bon Jovi.  A talk box is basically a small guitar amp in stomp box form with a small speaker that's connected to a rubber tube which, when put in the guitarist's mouth, allows the guitar to "speak" words.  The tube is usually run up a mic stand, ending in the vicinity of a microphone and as the sound comes out of the mouth, it's picked up by the mic and sent to the PA system.  This Banshee unit sounds as good as any of the ones I've heard on the hits mentioned above.  It produces a wide range of clean and dirty preamp tones that can be dialed in with plenty of saturation for high gain sounds.  In addition to the talkbox mode, it includes an extra jack for hookup with an extension speaker to allow the Banshee to act as a practice amp.  These run around $169 new but this used one's in nice shape and comes with manual, tube, and power supply, for $115(HOLD-Mike W 1/19).  If you've always wanted to try one of these, here's your chance.  

2006 Ibanez SZ720FM With PRS Pickups, (PRS Eagle/Santana II pickups), (front), (headstock), (back), (abalone trim), (rounded heel).  This is one gorgeous guitar and another good example of the quality of Ibanez's Korean manufacture.  While they continue to build decent guitars in China and Indonesia, close inspection will show the superiority of this guitar when compared to newer models.  The SZ720FM DAS, finished in dark amber sunburst, features a set-neck design with a mahogany neck and mahogany body with flamed maple top.  It is truly a thing of beauty with the body abalone purfling surrounding the entire top, as well as the edge of the headstock.  Acoustic guitar companies like Taylor would add a $1500 upcharge for these abalone appointment.  Looks aside, this is a killer playing guitar, with some quality pickups installed to make it sound as good as it looks.  A PRS Eagle pickup in the neck, and a PRS Santana II pickup in the bridge.  To my knowledge PRS has never offered the Santana pickup as an accessory.  The only way to get one is to remove it from a Santana.  Carlos' early tone was coaxed from a mahogany Ibanez and, indeed, you can get some fine early Santana tones from this baby.  The 720 body is slightly thicker than other Ibanez models and it's a tad heavier, but still falls easily in the medium weight range.  Likewise, the neck is slightly thicker than the Wizard neck, but it's still on the thin side.  Other features include a simple fixed Gibraltar III bridge strung through the body, bound neck, bound headstock with abalone trim, nickel hardware, SZ flame fretboard inlays, pearloid logo, and a 25.1 scale rather than the 25.5 found on most Ibanez.   With a list of $867, these sold in stores around $599.  This one is beautiful shape, set up to perfection, and with these pickups you get the superb tone of a $1000 guitar for a fraction of the price.   $439(HOLD-Johnny, local 1/20). 

2008 Gibson Les Paul Standard Plus 60's Neck - Florence Pickups - Tonepros Tuners, (front), (headstock), (back), (Tonepros Tuners), (pickups), (case.).  Very attractive AA flamed top that, to many players, is more desirable than the maple on steroids look of a Class 5 or Historic '59.  This one, finished in a Cherry Sunburst, has wide flame that goes up to the edge of the upper bout.  Stock pickups on this model are BurstBucker Pro's.  The Burstbucker Pro's aren't appreciated by a number of players and I frequently get requests to swap them out, with various boutique sets or even Classic '57's.  This guitar has been upgraded with what many on various Les Paul Forums believe to be the ultimate in genuine 'Burst tone, a set of Peter Florence '59 Voodoo with an Alnico 3 in the neck (7.80K) and an Alnico 5 in the bridge (8.34K).  For details and sound clips, here's Peter's '59 page.  At $300/pair, they have saved many owners from getting rid of an otherwise fine Les Paul.  It also has a set of Tonepros Klusons installed, which are much higher quality than the Asian Gibson Deluxe.  Lastly, Dunlop locking strap pins were installed.  Don't confuse this with the Traditional Pro, which shares less similarities to the original LP models.  As shown in the pickup cavity (shown here), this has the LP6+, which identifies it as a Standard Plus, as well as the vintage style wiring/cavity, rather than the new quick disconnect pickups and circuit board.  This one has all the regular Les Paul specs including gloss lacquered Mahogany body with maple cap, chambered body - weighing in at just 7 1/2 lbs., maple neck with rosewood fretboard, tapered peghead, aged tuning keys, and nickel hardware.  Also, in a nod toward the vintage look, Gibson doesn't include the "Standard" truss rod cover, opting for the vintage style plain cover.  Cosmetically, it's not the cleanest Paul I've had but it's in nice shape for a used guitar with just some clear coat dings and scratches.  Frets are in very nice shape.  The set up, aided by Gibson's Plek machine, is fantastic, and with these Florence '59's, this baby sings like a fine Historic model.  This model lists at $3448 in '08 and with these killer pickups and quality tuners, a nice buy at $1599(HOLD-Robert B in NE).  Includes SKB case with ATA latches.  

Gibson Deluxe Tuners.  From the '08 Standard Plus above, nickel with aged Keystone buttons.  Work properly and a nice upgrade for your Epiphone or other 3+3 headstock.  Includes screws. $35.   (note: these are sold but I have other Gibson Deluxe sets in stock). 

ca. 1998 Fender Tele Jr., (front), (headstock), (back), (case).  I haven't had one of these in years, and if you're talking ones with the "Tele Jr" logo, it's been around 10 years.  From my experience, these are the most rare, and all of them have been tobacco sunburst.  Some of you will remember a shoreline gold Jr. I had some years back that was from a small run in that color, and there were a number of small runs in various colors, as well as a bunch that were called the "Set Neck Telecaster", but this is THE one as far as I'm concerned.  It's the only one where Fender was bold enough to call it a Junior right on the headstock, with the woods and finish of a Junior.  What might be obvious is the fact that  many of its construction and electronic features, like the all-mahogany construction, set-in neck, tortoise guard glued to the body, and P-90-style pickups, are more similar to those of a Gibson Les Paul Junior (hence the name) or LP Special.  If you're a Junior/Special fan you'll appreciate this guitar, which holds its own with Gibsons versions.  Here's a comparison pic to one of the many Ltd Ed runs, which looks much more like a Tele and less like a Jr, with larger screw on pickguard, painted finish, and plain Fender logo.  This guitar has a searing tone, fatter than a Tele tone but not unlike a Tele in its articulation and clarity.  Cosmetically, it's very near mint.  The only flaw I see is a miniscule finish impression 1/2 the size of a grain of rice on the top, in the clear coat only.  No scratches or wear otherwise.  The setup is fantastic and with its light weight, it's a very comfortable guitar to play.  No certificate with this one but at least you know on a set neck that it's not a Parts-O-Caster.  A super nice Custom Shop for $1750.  

1991 Fender '62 Reissue Telecaster - MIJ, (front), (headstock), (back), (neck ID), (body/control/pickup), (relic look).  This is an "honest" reclic, a guitar that has earned the name through years of use playing in clubs - just check out the vibe of the bridge/pickup (here).  Finished in what appears to be Artic White, you can see how the body is lighter under the protection of the pickguard in the body pic above.  Body has misc dings and scratches, with a few small finish chips around the edge, hardware is discolored, and it has a real cigarette burn mark on the headstock.  Serial number is on the bridge plate, A0-5 digits, but Fender Japan used pencil dates on the neck during this era which shows it's a '91.  Body has the proper routing with a channel between the neck pickup and control cavity with string-thru body and brass saddles.  This guitar sounds fantastic, thanks to a pickup upgrade to a set of Custom Shop Texas Specials.  The only other non-original aspect are Schaller locking strap pins.  It has some fret wear but unless you like super low action, doesn't need fret work yet, although I'll probably have Martin crown the frets if it doesn't turn into a complete level and dress.  This guitar has very good sustain and plenty of Tele quack, Tele fans won't be disappointed.  For around 1/3 the price of a factory Relic, you can get the real thing and a quality Fender Japan guitar.  Just $649(HOLD-Reg S 2/2) with gigbag; $699 with a new hardshell case.  

1998 Jackson Soloist SL-1, (front1  front2), (neck/headstock), (back) (case/etc.).  Finished in the popular premium finish, "Eerie Dess".  The Soloist is probably the all-time SuperStrat.  It came on the scene during Stratomania 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, 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 Classic Stacks in the middle and neck, Original Floyd Rose trem, ebony fingerboard, with mother-of-pearl shark fin inlays, MOP headstock logo, bound neck and headstock, 24 jumbo frets, 5-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 SL-1 in Eerie Dess lists at $3099 and sells at discount for $2349 (this one sold for $2020...in the 90's!).  This one's 14 years old 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 $2349.  How about $1000 off the new cost for this barely touched beauty; just $1349.   Includes Jackson case and stuff. 

2011 Gibson SG Special '60s Tribute - Natural, (front), (back), (headstock), (gigbag).  Very affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  Finished in Worn Natural, which has the appearance of either a faded Walnut, or even some Cherry finishes, which had all the color fade.  This guitar's thin solid mahogany body offers a very lightweight package with a tone that's both subtle and aggressive, depending on your playing style.  It has a rich resonance with lots of harmonic depth and sparkle.  The solid mahogany neck is carved to a fast Slim Taper profile similar to SGs from the '60s, with a glued in deep-set, long-tenon neck/body joint and 17-degree back angled headstock, combine for a superior transfer of resonance from the neck to the body.  Two Gibson P-90 single-coil pickups with Alnico V magnets are among the finest reproductions of vintage P-90s currently available producing warm, vocal neck tones to loads of snarl from the bridge position, with rounder, funkier tones in between.  Gibson uses a PLEK-cut Corian nut to ensure maximum resonance and sustain.  This guitar is finished in a thin nitrocellulose satin finish, which protects the wood while contributing to a more lively response.  It will "age" rather fast and soon develop the look of a well-played vintage guitar.  It's set up with low action and the ease of play, combined with the light weight, make this a great guitar to play, set after set.  Offered in mint condition for $650, including original Gibson deluxe gigbag. 

1986 Kramer American Pacer Custom - Flip Flop Red, (front), (back), (headstock), (color/shades), (case).   Another beautiful Pacer in time capsule condition.  I just sold the flip-flop blue '86 and right on the heels comes this one in Flip-Flop Red, which, depending on the viewing angle, can appear red, purple, or pink, clearly visible in the pics above.   This is a true "under the bed" guitar with virtually no player's wear, and the only flaw are a few very minor impressions, the worst of which is (shown here), which are only visible from the right angle.  No buckle/button scratches or pick scratches, frets are clean, headstock is clean, just a near perfect example of an ESP-era Kramer American.  Features include non-recessed original Floyd Rose, Jackson-style sharp body edges, cannon output jack, Gotoh tuners with set screws straight down the side (never had any other tuners installed), droopy/pointy headstock, and 3-pc. maple neck with rosewood board.  Pickups are an angled Duncan JB in the bridge with Duncan Vintage Staggered in the middle and neck, controlled by three mini on/off switches and a single volume knob, pretty much the simplicity of a Baretta in a 3-pickup version.  This was one of 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.  Not just great looks, this baby has a great setup with very comfortable action, no problem bends, and the Floyd stays in tune perfectly.   In this condition and this color, this is an excellent buy for the collector, or player, for $699.  Includes new TKL case  that's the same model as the mid-line Kramer case from the 80's.  

1998 Epiphone Dot MIK with Upgrades, (front), (back), (headstock), (upgrades), (case).  In desirable Natural ("blond" in vintage terminology) finish and a better quality Korean made archtop.  In all fairness, Gibson lowered the list price of the Dot when production was moved to China, but these older Korean models are better guitars have become highly sought after by players on a moderate budget.  The fretwork is more precise, the binding and inlay work is top notch, and the tonewoods are better and probably better seasoned.  I'm not taking anything away from the Chinese Dots.  For $399, I think they're an excellent value, but the MIK models are a better value.  Although the stock pickups on these guitars are good, we get a lot of requests to do upgrades on Epi's, primarily changing the pickups.  This one has received such an upgrade just 3 months ago with a pair of Seymour Duncans - a '59 Neck and '59 Bridge, as well as a USA 3-way switch and Gibson chrome dome knobs.  The pickup upgrade for an archtop like this runs over $200, parts and labor - in addition to an Earvana nut, which runs $65/installed.  Earvana nuts (details here), eliminate the intonation problems inherent with fretted instruments, so when you tune your guitar to open cowboy cords, it'll still be in tune when you play barre chords.  The Epi Dot features the same laminated maple body with white binding, gloss finish, and set maple neck as the Gibson 335, but at a more wallet-friendly price.  Other authentic touches include the stop tailpiece and Tuneomatic bridge, black bonnet knobs, and orange oval sticker visible through the upper f-hole.  This is a well made guitar in beautiful condition.  With medium sized frets, comfortably low action, and thin neck, this one's a joy to play.  The body design with its center block inside the body, lends itself to many styles of play, from jazz to jump, country, blues, or rock - pretty much anything but hard rock and metal.   If you're looking for a quality semi-hollowbody with around $300 in upgrades, and a desirable MIK model, this one's an easy recommendation for $459 - or $499(HOLD-Stan W 1/20) with a quality TKL case.  

2011 Gretsch Tennessee Rose G6119-1962HT, (front), (headstock), (back), (case).  If the Tenn. Rose with Filter 'Trons and real F-holes (posted last week) isn't for you, here's a cool 1962 model.  Beatles fans will note that this one will take you back to 60's Shea Stadium, one of the most recognizable icons of '60s Pop.  With its vintage Hilo'Tron single coil pickups, "Rocking" bar bridge, Gretsch by Bigsby B6C Vibrato tailpiece, and simulated F holes, this quality thinline has all the features of the original 60's model.  Other specs include single cutaway hollow body with burgundy stain finish, 16" lower bout, 2" body depth, arched laminated maple top with multiple binding, laminated maple back and sides, 3-piece maple neck, black headstock overlay, rosewood fingerboard, neo-classic "Thumbnail" inlays, 22 frets, 12" radius, 25.5" scale length, 1-11/16" nut width, zero nut, 2 Hi Lo 'Tron pickups, 3-way pickup selector switch, stand-by switch, neck volume - bridge volume - master volume knobs, 3-position master tone switch, chrome hardware, Knurled Strap Retainer Knobs, silver plexi pickguard with embossed "Chet Atkins" signature.   In fact, all the cool features and all the vibe of the 60's model, but none of the problems - these are, quite simply, better guitars than the originals.   For full specs click here for Gretsch.  List price on this guitar is $3025, selling new for $2124.  This is in unplayed condition, with plastic still on the pickguard, plus a killer set up and Gretsch vibe thrown in for free.  $1550(SOLD-Gary S 1/26) includes original Gretsch case.  

2007 Taylor 420CE SL Dreadnought Cutaway - Spring Limited Edition, (front), (headstock), (back), (appointments), (ES), (case/acc.).   For around a decade, Taylor has been offering Fall (and later Spring) Limited Edition guitars with appointments and tonewoods not normally found in a particular series.  Historically, they have offered an incredible value, such as guitars in the 400-series with features approaching that of an 800-series.  In the spring of '07 they offered this lovely 420CE SL (Spring Limited), with the primary feature being the woods.  Instead of the 410CE's spruce top with ovangkol back and sides, the 420CE features beautiful Hawaiian Koa, top-back-sides.  Also, this LTD model features diamond inlays instead of dots.  The difference between an  X10 and X20 is the X20's have the same wood on top as used on the back/sides and it's not a different body size as found on the X12, X14, and X55.  The 420CE is nicely appointed with multi-ply cream body binding, cream  neck binding, multi-piece soundhole rosette, Ebony fretboard, and gloss finish on the solid Koa top.  With a Venetian cutaway and Taylor's Expression System electronics, this dreadnought has a focused, assertive, tone with lots of presence.  The 420CE acoustic-electric has a lustrous gloss finished top, while the back and sides have a textured satin finish.  The ultraviolet cured finish developed by Taylor is durable, resistant to cold-checking, and is more environmentally friendly than traditional lacquer finishes.  This guitar uses Taylor's Expression Electronics System for an unrivaled, natural live sound and this one feaures the improved 9V system rather than the AA batteries.  Onboard tone controls provide added flavor, or set flat for an uncolored, exceptionally-clean amplified sound.  Other features include Tusq nut and saddle, 25-1/2" scale, 1 3/4" nut width, 20 frets, 15" fretboard radius, 16" body width, and 4 5/8 body depth.  Koa is expensive and Taylor usually gets a premium for any guitars built with this very desirable tone wood.  The 420CE SL offers a chance to have a Koa Taylor at a price within the range of many working musicians.  This one is in beautiful shape.  Other than pickguard scratches, I can't see any noteworthy flaws anywhere, with a typical low Taylor setup, and a beautiful Taylor for just $1599(HOLD-Chris C 1/18).  

2009 Fender Custom Shop '56 Relic Stratocaster, (front), (headstock/fretboard), (back), (detail-checking), (case/acc.).  "As new" in "Relic Mint" condition, with zero player's wear and zero non-factory flaws, in fact, this guitar has never been retailed.  A lightweight 7.6 lbs., this guitar has a much more "real" vibe than many other Relics.  Finished is lightly checked all over, with realistic forearm  and belly cut wear, through the paint at the sharp line over the lower edge of the belly contour, just like one that's been played for 55 years.  It also has Realistic buckle rash and light finish chips around the edges, plus hardware realistically aged, but not totally rusted out as some of these are.  Fretboard has wear in all the proper spots, but frets are like new.  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 not overly chunky.  A new '56 is going to set you back $2950 and, who knows, it might have the right look, right weight, and be an insanely great player.  For $950 less you can get this one, guaranteed to be one of the best.  $1999 includes factory sealed accessory bag, leather strap, cable, factory hang tag, ash tray, factory-sealed custom care folder, certificate, and Fender/G&G tweed case.

Shure PG-58 Vocal Mic.  Good utility mic without forking out $100 for an SM58. The PG58 uses a Neodymium magnet produces high output and crisp vocals. It has an Internal shockmount to minimize handling noise and a good quality pop filter to reduce distortion on "p's" and "t's". Used but in clean shape and includes a new 20' XLR cable. $39. 

Samson SR-22 Wireless Mic with Shure SM58 Element, (mic), (receiver).  Samson Channel 1.  When it comes down to vocal wireless you have to start with quality mic.  Many of the budget units on the market today might have clarity and good noise reduction, but ask yourself, would I choose THIS mic if I were going to use a cable mic?  Don't buy a no-name wireless set when you can get a fantastic Shure SM58 mic for less.  The SM58 has been the industry standard vocal mic for 4 decades.  The Samson SR-22 operates within the VHF-FM band, with very little chance of interference from other devices.  It's True Diversity system, with A/B channels - if it detects a weak signal, it switches to the other antenna.  It has good a good quality noise reduction system, dbx, and has a standard 1/4" instrument cable output jack..  Bottom of the mic has a "Mute" switch to turn off the signal, plus an "On/Off" switch to turn off the mic, with a red LED to let you know it's on.  Comes in original plastic case, in fair condition, with foam padding.  This system works perfectly, sounds great, and for an SM58 wireless, nicely priced at $175.   

Samson SR-2 Wireless Mic with EV BK-1 Element, (mic).  Samson Channel 4.  Similar specs to the SR-22 above, except with a single antenna receiver - but again with a killer microphone - the Electrovoice BK-1 Condenser mic.  During much of my music career I used a wired BK-1.  It was crisp and clear, and powerful enough to pick up the subtle nuances of my high falsetto backup vocals.  My only issue with the cabled version was that it took a very expensive camera battery that cost 4X the price of a 9V.    The SR-2 receiver has the same features (same VHF-FM band, dbx noise reduction, level control knob, 1/4" output jack) as the SR-22, but it's not dual diversity, meaning it only has one antenna.  Is that a drawback?  Technically I guess it is, but the fact is I've never used a dual diversity system and I've never had any drop-outs or interference with a Samson system.  The SR-2 will do quite well, no worries.  For

Shure TG-4 Guitar Wireless, (receiver), (transmitter), (case).  Wow, a made in USA wireless!  Shure knows how to do wireless.  I used a Shure starting in '84 and had zero problems with it gig after gig, year after year.  The TG system is more sophisticated but I'm sure the reliability is still there.  It gives you a 300 foot range, dual diversity receiver to eliminate dropouts, and operates for 18 hours in a single alkaline battery.  The T-Series receivers use a noise squelch circuit which analyzes signal quality instead of signal strength to eliminate the possibility of annoying burst of noise coming through the receiver.  The T1G transmitter uses a standard 1/4" guitar cable, which is a great improvement over hard-wired units.  On those, when the cable wears out you can throw the transmitter away, instead of simply buying a new cable.  This unit sold new for $259.  This used one's in nice condition and a great performing wireless for $139 SOLD.  Includes transmitter, receiver, carrying case,  power supply, and 1/4" 3' cable to connect receiver to your amp. 

2010 Fender Custom Shop '52 Esquire/Tele Relic, (front-1  front-2), (back-full), (back), (headstock), (case/acc.).  Custom order guitar - click here for build sheet PDF file.  Take your pick - Esquire or Tele!  Fender uses Tele bodies for their Esquires so, with no routing required, original owner added a neck pickup and Tele pickguard - or if desired, we can remove the neck pickup and swap back to Esquire pickguard.  Either way, you're getting one killer Tele.  The way it's currently set up, it has a Duncan Alnico II Pro Tele (link) pickup in the neck, with the original relic Broadcaster pickup in the bridge.  Fairly heavy factory relic process with major buckle wear on the back, arm wear, and numerous dings and chips in the finish, with a neck that looks like it's had 1000's of hours of use.  Very lightweight at 7.1 lbs with a very loud acoustic sound and excellent sustain.  It has a  '52 U-shaped neck that's absolutely huge at the first fret, and retains pretty much the same thickness all the way up the neck.  Nicely figured ash body with blonde nitro finish, and nitro-finished neck with back wear and fretboard wear in all the right spots.  Most of you will be happy to note that this has the modern 9.5" radius and jumbo frets. If you want something with more of a signature tone, we can sell it with a DiMarzio Area T bridge pickup (link) instead of the Broadcaster - your choice - same price.  It's got the tone you want in a vintage Tele, without the hum.  Collector owned and barely played, the accessory bag hasn't even been opened.  Includes ash tray, polishing cloth, serialized hang tag and other tags and paperwork, COA, two pickguards, and Fender center pocket tweed case.  Take your choice - Tele or Esquire - at just $1999 including parts to switch it over should you ever change your mind.  

PEDAL DAY! 

• HAO Rust Driver, (pic2).  Recreates the classic sound of a late 60's Marshall Plexi running at full bore grind. Carefully selected components perform faithfully with any amplifier at any volume resulting in a tight, thick bottom and extremely high signal to noise ratio. A single knob controls output level and gain while three switchable EQ curves maximize tonal options without compromising your guitar sound. True "Plexi Sound" at around $1500 less than a Plexi.  Normal – Bright – Warm switch, LED indicator light, and of course true bypass.  New these are $149 but this clean used one's just , very clean in the box for just $99(HOLD-Selmer 3/7). 

• HAO Sole Pressure, (pic2).  If the Rust Driver's Marshall tone isn't your thing, the Sole Pressure recreates the sounds of another holy grail, the legendary ’59 Tweed Bassman 4x10 combo. HAO's carefully selected components allow you to dial in the smooth, creamy overdrive of this classic amp, right down to the characteristic low-end sag found on the combo version.  Dual knobs control Output and Drive levels while three switchable EQ curves offer lots of tonal options without sucking the life out of your guitar's unique character.  The dual control also allows it to be used as a great semi-clean booster to coax more character out of your amp.  Want the classic Fender amp tone that defined a generation?  The Sole Pressure will deliver it with any guitar and amp in any playing situation, at a fraction of the cost of a vintage Tweed Bassman.  New these are $157 but this one's in perfect condition and just $115(HOLD-Selmer 3/7).  Box includes and HAO polishing cloth. 

• 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-Selmer 3/7).  

• Ibanez SD9 Sonic Distortion.  Early 80's Japan; preferred by many over the more poplar TS9.  It doesn't have the mid-range hump of the TS9 with more bottom and upper ends, sort of the "smile" shape on your graphic EQ which makes it an excellent choice for metal players.   Click here for a bunch of Harmony Central reviews where it scored very high; 9.2 out of 10 on sound quality and overall rating.  Extremely nice vintage condition, all original, and works perfectly.  The reissue costs $157 and will be worth $110 next week.  Why not get the real thing, that only goes up in value for the same price.  $155. 

• 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 a real sleeper on the analog market.  This one works perfectly but has replaced knobs and some Velcro on the bottom.  Great sounding delay for $99.  

• Keeley Boss MT-2 with Twilight Zone Switch, (pic2).  Mint in the Box.  Complete Hi-fidelity upgrade! Nothing like a heavy distortion channel that is produced well! Keeley designed this mod to have an Aural exciter built in for increased fidelity leads to better bass response and less harsh upper high-frequency. He eliminated every harsh sounding cap and replaced it with audiophile grade parts that let the midrange sparkle and breathe, with an increase in presence to take your tone over the edge. Integral to this mod is the 3-Way Toggle Switch to give you a sweet volume boost and a fatter tube like circuit designed into it. The toggle switch gives you three different distortion types. He created two different tube amp characteristics (switch to the right and to the center) has tube amp characteristics: huge power, increased harmonics, and better transparency. Lastly, the LED is changed to a cool blue color.  Keeley describes the stock MT-2 as sounding like "putting a blanket over your speaker cabinet", i.e. a dull, lifeless tone.  Click here for a YouTube demo where the difference is clear.  New these are $199 from Keeley.  I have a few in stock but only one that's mint in the box and this one's $139(HOLD-Jeff M 2/12).

• Keeley Boss BD-2 Blues Driver Phat Mod, (pic2).    Used by players in groups from Steely Dan to Brad Paisley and even "The Edge" uses one. The BD-2 Phat Mod is a Transparent Overdrive with Full Range sound, which lets your guitar tone shine through regardless of how you set it. It's not simply a distortion pedal but rather a tone tool that adds to your guitar tone, supplying really nice lows, crystal clear high frequency, great picking response and detail. It differs from, say, a TS9, by its full-range sound, which is much more transparent and, when cranked, it offers a grittier/more-edgy tone. It's extremely dynamic and works wonders using your guitar's volume control to dial in the amount of drive you want. It is perfect for Hendrix to Country. It's also noted for having that cranked Fender Super amplifier sound. The "Phat switch" to allows even more of your natural low end through for those times when you need a little more beef. It's also noted for having tremendous volume output and can be used as a clean boost, driving your amp into natural sounding overdrive.  New these are $199 from Keeley.  I have a few in stock but only one that's mint in the box and this one's $139.

• Tech 21 American Woman Overdrive, (pic2).  Although it may not be the most famous, certainly one of the most recognizable tones in rock history was Randy Bachman's solo on BTO's "American Woman."  Initially they had a tone on the Sans Amp that was dedicated to this signature tone but later Bachman worked closely with Tech 21 to design a single pedal he could use with any amp.  After having captured the sound of an entire chain of Bachman's '59 Les Paul going through amps, mikes, compressors and tape compression in one preset of the SansAmp PSA-1, the electronics were reconfigured into a single overdrive pedal.  With just the right balance of odd and even harmonics, the American Woman re-creates the cascading effect of 2 different amplifiers, including pre-amp and power amp stages. This effect is typically only achieved by running 2 guitar amplifiers into each other. For versatility, the American Woman pedal can also be cleaned up for semi-dirty and warm blues sounds.  It has a built-in gate to reduce hiss and noise when you're not playing.  The Tone shifts the high cut from 10kHz to 1kHz, allowing you to remove the high end without losing mids or getting muddy.  With an extremely high output of up to 10dB, this will drive any lame amp into overdrive and give it the gain it's not capable of producing on its own.  New these are $109 but this clean used one has barely been used and is just $75.  

• MXR M-134 Stereo Chorus Pedal, (pic2). One of the great chorus units of all time, the MXR M-134, is recreated with the same lush analog tone, plus more tone shaping than the 3- knob original pedals. In addition to the usual Intensity (depth) and Rate (speed of sweep), plus a Width control to set the limit of the sweep. It also adds Bass and Treble EQ knobs which help make the effected sound stand out. If the EQ setting is identical on the effected tone as the straight signal, much of the effect gets lost in the mix. The one also includes a Bass Filter button that applies effect to the high frequency effect only, i.e. doesn't mess with your low end so your guitar retains its fat sound. You can run it mono, or if you really want to be blown away, use the stereo outputs for an absolutely huge tone. 

• Seymour Duncan SFX-03 Twin Tube Classic.  Excellent sounding dual-channel tube preamp from the guru of tone, Seymour Duncan.   Uses two 6021 tubes to give you the warm tone of a tube preamp with dual channels, which you can set up like clean and drive channels - perfect for older single channel amps.  The 6021 is a military grade tube that's known for extremely long life, and capable of running at a very hot plate voltage.  This unit has excellent dynamic range and clarity that lets your guitar shine through, unlike some units where you can't hear the difference between your neck and bridge pickups, or even between a Strat and a Les Paul.  For a good video demo, click here for ProGuitarShop.com on YouTube.  I recommend these for anyone with a single channel amp, an amp with a solid state front end, or anyone who just doesn't like the sound of their preamp.  These sell new everywhere for $219 but I have a number of them, new in the box, for just $140.  

• 70's Thomas Organ Crybaby Mod. 95-910511, (pic2).  The original Sepulveda Calif. model.  Original TDK 5103 inductor is noted for having a human voice like quality.  It's a good sounding wah and very much the whacka-whacka sound heard in scores of 70's R&B and rock songs.  Nice shape for its age, no scratchiness in the pot and a nice price for a vintage Thomas Organ at $115.  

• Morley Little Alligator Volume Pedal.  A better volume pedal, built to Steve Vai's specs, and he's a master at volume swells and playing in general.  If you're tired of moving electronic parts wearing out, relax, this has Morley's electro-optical circuitry to ensure noise-free, super-dependable operation.  The consistently smooth audio taper is steady and predictable plus a "minimum volume" knob is provided for setting a smooth transition between rhythm and lead volumes.  Also features easy-access battery compartment and 'gator green LED indicator.  Sells new for $85; this one works perfectly for $50.  

• Line 6 POD 2.0.  The most influential multi-effect on stage and in the studio of all time.  I've written so much about these over the years that you'd have to be a cave dweller to not be familiar with them.  This one isn't for the collectors but it works perfectly and just $99 with power supply.  

• Novation NSP-1 Momentary On/Off Switch.  I have a few of these, new in the box.  It has rubber pads on the bottom and top to keep it from sliding when you stomp on it, plus a polarity switch which enables it to work with any 1/4" jack.  These are great for keyboard damper pedals - buy three if your keyboard is set up like a real grand piano.  It's also perfect for recording punch in/out, doing overdubs.  You can also use it as an amp/effect footswitch if you don't want the effect to stay on, since it will engage only as long as your foot is pressing down.  

1998 Epiphone Les Paul Signature Model (semi-hollow), (front), (headstock), (back), (side), (pickups/inlays), (case).  Very rare model and a fine example of Korean craftsmanship.  Built only from '98 to '00, this is reissue of Gibson's version from the 70's.  As far as I know, neither Gibson nor Epiphone has built any of this model since this one was discontinued.  One of the unique aspects of this model is the asymmetrical cutaways and offset waist, generally a Fender design feature.  Features include offset double cutaway laminated maple semi-hollow body, laminated maple top, raised creme pickguard, set-in maple neck, 24.75 in. scale, 22-fret bound rosewood fingerboard with trapezoid fingerboard inlay, tune-o-matic bridge/stop tailpiece, Kluson-style tuners with keystone buttons, chrome hardware, 2 low impedance humbuckers, volume/tone controls, 3-way pickup selector, Vari-gain selector switch, Phase switch, and finished in Ebony, Metallic Gold, or Vintage Sunburst. Pickups are Electar JCB-1 low impedance Alnico VII, routed through a unique transformer circuit. There's a good selection of tones with the 3-way switch, in/out of phase selector, and Vari-gain switch which is centered at 50Hz, 250HZ, and 500Hz. As you might expect, the 50 Hz causes only has a negligible, if any, difference. It's in beautiful condition with no scratches, dings, or wear, with a perfectly applied gold finish, front and back, very neat binding, and immaculately seated white pearloid inlays. It's a perfect example of the quality of Korean manufacture, which is clearly well above Epi's Chinese guitars.  Comes complete with original clean Epi hardshell case and a rare, and very nice semi-hollow for $679(HOLD-Barry C/H).  

Charvel San Dimas Pro-Mod Limited Wild Card #7, (front), (headstock), (back), (Floyd), (box and case).  "Primer Scream" was chosen as the finish for the 7th in the Pro-Mod Wild Card series.  The Wild Cards aren't regular production but guitars with features, options and configurations that change every three months; when they're gone, they're gone.  This Wild Card 7 is a rock 'n roll animal, finished in a gray primer color, with a great pair of Duncan pickups, JB in the bridge; Classic Stack (stacked humbucker) in the neck - controlled by a simple 3-way switch and volume control - with a great feeling ebony fretboard with yellow dot inlays.  The new Pro Mod series replaced the USA Production Series San Dimas models.  Now made in Japan, but with the same quality you've come to know from the short run of the USA models, and now featuring the great new SKB case instead of a gigbag.  Charvel is known as the original "hot rod" guitar brand and this series are killer rock/metal axes in the Charvel tradition.  They are tooled and built with the same specs as the originals including little touches like the recessed back plates and top of the line electronics and hardware.  Features include Alder Body, 1-Piece Maple Neck, original-style San Dimas neckplate, Compound Radius neck 12" to 16", wide neck - 1 11/16" at the nut, genuine Floyd Rose Tremolo, Dunlop strap pins, Grover Mini Rotomatic Tuners, black hardware.  Pickups are Seymour Duncans with a JB in the bridge and STK4 Classic Stack humbucker in the neck, direct mounted to the body. To me, San Dimas Charvels have always had one defining feature - the gunstock oil neck.  As soon as you run your hand down it, it feels like the neck you've been looking for your whole life - and it's just as friendly to sweaty palms as it doesn't "stick" the way lacquer does.  Click here for all specs on the Pro Mod Series.  This Wild Card models sell new for just $999, which is a great price for a quality Japan-made guitar, where labor cost is as high as in the USA.  If you've found factory setups on these guitars to be lackluster or fret ends a little sharp, rest assured that this one plays better than anything hanging in a store, thanks to a proper set up by Martin.  Other than a small shiny spot under the pickups, this guitar is in unplayed condition with immaculate frets and not a scratch.  It even comes with the original box.  It's a great guitar for $775(HOLD-Richard 1/19).  Includes Charvel/SKB case with ATA latches, original box, Dunlop strap pins and locks, Allen wrench holder (installs with one screw) and Allen wrenches, and trem arm. 

2008 LTD 1959 Stratocaster Relic w/Braz Board Dealer Select Wildwood "10",  (front), (headstock), (back), (neck), (checking), (relic wear), (case/acc.).  Brand New Condition - collector owned and, apparently, not played.  Now this is a fine Strat.  Wildwood Guitars, the largest dealer of Custom Shop in the country, commissioned Fender to do a boat load of Strats and Teles, from various years.  Some of their features include Brazilian rosewood fretboards; lightweight hand-selected tone woods; NOS, Relic or Heavy Relic “faded” thin nitrocellulose finishes available in multiple colors; custom-voiced pickups; customized neck shapes, a 10" radius and 6105 frets—a unique pairing of vintage collectibility and modern playability.  They also come with either a straight-grain maple, quartersawn maple and AA flame maple necks.  For an upcharge, guitars like this one were available with AAA flamed maple necks.  Looking around their site, I don't see any of them that approach the figuring of this maple neck.  Other features include select lightweight alder body with nitrocellulose lacquer finish, bone nut, Brazilian rosewood fretboard, 21 Dunlop 6105 narrow Jumbo frets, 10" fretboard radius, nitrocellulose neck finish, 1.6875" nut width, serialized neck plate, John Cruz Master Built Strat pickups, and Deluxe Limited Edition Black Hardshell Case with Black Crushed Velvet Interior and Embroidered Limited Edition Logo. The Relic treatment on this one is medium, with plenty of body checking, an authentic yellowed look to the finish, mint pickguard aged perfectly - yellowed near the edge, back cover aged, hardware oxidized or rusty, pickups covers properly rounded over on the edge with pole pieces properly corroded, moderate arm wear, and miscellaneous dings and finish chips on the body.  Weighs in a 7.7 lbs.  The neck on this is extremely chunky  (profile) so I'm guessing it's the Nocaster U neck.  It almost feels deeper at the first fret than at the 12th.  I'll have Martin put the calipers on it to get the exact measurement.  This is probably the best non-Master Built Strat I've had yet in terms of authentic look and overall build quality.  It's a lively body acoustically and has commendable sustain when plugged in.  The setup is spectacular, probably too low for most players.  What really blows me away is the neck.  I've had special order Strats before with upgraded neck wood but none approach the look of this one.  Suffice it to say that in the Fender Custom Shop world, it rarely gets any better than this, unless you're talking Master Built at a few grand higher.  For full specs on the Wildwood 10, click here for Fender's site and for a great selection of new guitars, click here for Wildwood's selection of  1959 Strat "10s".  They *start* at $4K and this one was $4800 new.  If you want a world class Strat with a total vintage vibe, but with some modern playability enhancements, this is a smoking deal at just $3200(HOLD-Kenny M 1/10).   Includes LTD case with embroidered lid, strap, hang tags, LTD certificate, and factory sealed accessory bag with custom shop picks, bridge cover, cable, switch, polishing cloth, etc.  

2005 Gretsch Tennessee Rose G6119-TR, (front), (headstock), (back), (case).  Nothing says 60's and rockabilly vibe like a Gretsch.  I remember George Harrison's 6119 and "The Monkees" playing various Gretsch's (hey, I was just a kid) and they became my dream guitar.  Sadly, I had to settle on a Teisco.  Who knows where I'd be if I had access to a quality axe when I was nine.  Let me get back on track...  The 6119TR differs from the 6119-1962 (listed lower on this page) in a many ways, major and minor.  Technically they're both TR models, but this one has real F-holes, which give it a more open tone and louder acoustically, and this one also has "High Sensitive" Filter 'Trons humbuckers instead of the Hi Lo 'Trons single coils.  The Hi Lo's have the jangly Gretsch sound but that seems to be limited by what amp you're playing through.  The Filtertrons can sound very much like a Hi Lo, are much quieter, and they sound good through any amp, plus they're more powerful.  In addition, the Adjusto-Matic bridge intonates where the straight bar on the '62 doesn't, the Grover Rotomatics stay in tune better, the HT has a much nicer ebony fretboard, and the zero-fret of the '62 is somewhat off-putting.  Other features of this fine guitar include single cutaway hollow body with deep cherry stain finish, 16" lower bout, 2.5" body depth, arched laminated maple top with multiple binding, real f-holes, laminated maple back and sides, 3-piece maple neck, black headstock overlay, Bigsby B6C Vibrato tailpiece, Ebony fingerboard, neo-classic "Thumbnail" inlays, 22 frets, 12" radius, 25.5" scale length, 1-11/16" nut width, synthetic bone nut, 2 High Sensitive Filter 'Tron pickups, Adjusto-Matic Bridge with Ebony base, 3-way pickup selector switch, stand-by switch, neck volume - bridge volume - master volume knobs, 3-position master tone switch, chrome hardware, Knurled Strap Retainer Knobs, silver plexi pickguard with embossed logo and model.  These reissues have all the cool features and all the vibe of the 60's models, but none of the problems.  Quite likely, they'll stand the test of time much better than the original Gretsch's.  They are, quite simply, better guitars than the originals.   For full specs click here for Gretsch.  List price on this guitar is $2950; this one is in immaculate condition, with quality tone and a pro setup, for just $1450.  Includes original Gretsch case.  

2009 Fender Standard Strat - Black Pearl Guard with Single Humbucker, (front), (back), (headstock), (gigbag).  Tired of the same old Standard Strats, with SSS, HH, or HSS pickups?  Do you want something with the simplicity and tone more like a Baretta, or the single humbucker Contemporary Strats of the 80's?  This one has been modified by a black pearl pickguard housing a single Seymour Duncan JB Trembucker, and single volume knob.  Specs include solid Alder body with maple neck and fretboard, 21 medium jumbo frets, 9.5" radius, vintage synchronized tremolo with stamped steel saddles, Fender/Ping tuners, gloss urethane body, satin urethane neck, and large headstock with CBS black/gold logo.  This guitar plays fantastic, and this JB lends itself to many types of music.  It's high enough output that you can use the volume control to switch from a clean to overdrive tone.  It's in immaculate condition and a striking looking Strat for $350(HOLD-Ron M 1/9).  Includes very thick Fender gigbag and trem arm.  Note:  If you also want single coil tones, we can change to a push/pull pot - or add a mini 2-way switch, to split the pickup and have the choice of a more traditional Strat tone - for $35 parts/labor.  

2011 Fender Highway One HSS Stratocaster w/accessories, (front), (back), (headstock), (accessories), (gigbag).  Barely touched, just a few hours of use, and great playing Strat.  Highway One's offer the best value in a USA Strat featuring a nitrocellulose lacquer finish on the body, preferred by many players, but due to the satin lacquer finish, they're cheaper to manufacture and than a standard urethane gloss finish.  Other than the satin finish, and a gigbag instead of a hardshell, the quality of the Highway series is the same as the American Standard, but priced around 25% less.   Specs include:  Alder body with black nitro finish, maple neck with modern "C" Shape profile, rosewood fingerboard with modern 9.5" Radius, 22 Jumbo Frets, '70s style large headstock; vintage tremolo with stamped steel saddles; Hot Single-Coil pickups with Alnico 3 magnets in the neck and middle positions with a Fender Atomic humbucker in the bridge; master volume; tone 1 = neck pickup with "greasebucket" (rolls of highs without adding bass) tone circuit; tone 2 = bridge pickup with "greasebucket"; Fender Ping tuners.  The thin nitrocellulose lacquer finish lets the body wood's natural tone shine through.  Although it doesn't require the buffing of a poly finish, nitro is a rather expensive finish to manufacture, mainly due to its long drying time and it's rarely found on a guitar in this price range.  The top on this one has been lightly buffed out to have more of the gloss of a vintage Strat and it's in immaculate condition other than two minute impressions above the pickguard, no button scratches, pick scratches or wear of any kind and it, of course, has our usual in-house setup that's always better than factory.  In addition to the Fender deluxe gigbag and trem arm, this one also came in with some accessories in the pouch which will be included:  bottleneck slide, extra D'Addario 10 ga. strings, and a Planet Waves NS aluminum capo.   All in all, a super nice package for $599.  (Note: I have a mint HSS in sunburst (pic) on my Fender page for the same price).

2010 Fender American Deluxe Strat HSS - Tungsten,  (front-1 front-2), (back), (headstock), (controls), (deluxe features), (case/acc.).  Mint condition - in new finish "Tungsten", which is a cross between Pewter and Inca Silver.  It looks great with the black & chrome hardware and plastic.  This is the first of the new American Deluxes I've had, now with the new SCN N3 pickups, and I'm impressed.  Other deluxe appointments include Fender locking tuners, pearl dot inlays, raised chrome logo, Wilkinson roller nut, rounded heel for easy access to the top frets, polished chrome bridge with "pop-in" trem arm, and S-1 switch (switching options) plus a small pushbutton called the "Passing Lane" switch, which bypasses the tone circuit completely.  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 HSS comes equipped with an Atomic Humbucker at the bridge, for an incredibly beefy tone loaded with harmonics.  The new 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.  In addition to a classic 5-way switch, it also includes a newly designed S-1 switch. This all-new "passing-lane" configuration cuts out the tone knob and instantly routs your output straight to the bridge, giving you a super-hot tone with great harmonics, which is perfect for kicking it into overdrive for solos.   With a list of $2099, you're going to pay $1549 for a new one in Tungsten, but this one is flawless, with an incredible setup and excellent sustain, for $1050(HOLD-Jeff F 1/31).  Includes Fender case with ATA latches, Fender strap - cable - polishing cloth, Schaller strap locks, trem arm, serialized inspection tag, and various other paperwork.  

Dekley SD-12 Pedal Steel, (back), (top), (sides), (case), (label/no.).  Bear with me as I'm not an expert at pedal steels.  It has Schaller tuners, of that I'm sure, and a soapbar pickup.  It has a steel and wood frame, with 5 foot pedals and 4 knee levers.  I'm guessing on the model number, but it appears to be the same as this one advertised on PedalSteelGuitars.org.  Although mine only has 4 knee levers, it's the SD-12 is the only model I've found with 5 foot pedals.  I don't know where the serial number is on this unit, but I only looked briefly.  From what I read on the web, it's late 70s/early 80s.  There is a protruding number on the underside, as well as an Ampeg label, but I think that's a part number for the chassis.  Dekley was carried in the Ampeg catalog, at least for a period in their history.   Martin, who took some pedal steel lessons many years ago, says this is a good sounding steel, in nice shape, with everything working properly.  A 10-string with 3 pedals just sold at auction for $1001 w/shipping (link) in VG condition.  This one easily qualifies at Excellent Condition and is a good value on a 12-string and a rather inexpensive way to get into a good quality pedal steel at just $1150.   Manual is downloadable at:  www.steelguitar.com/manuals/Dekley_OwnersManual.pdf.

1983 Fender USA Stratocaster - black w/mirror pickguard,  (front-1 front-2), (back), (headstock), (tremolo).  Black body with maple board and mirror guard gives this the vibe of an Iron Maiden signature model - say the word and we'll switch the covers and knobs to black (no charge) for an even more authentic version.  '83 Strats are frequently maligned for several reasons, some of which aren't deserved.  By reputation, they're among the heaviest Strats Fender has made but this one's just 7.6 lbs.  The 2-knob (only one tone control) wasn't well-received; personally, I like having a single master tone which also provides tone control for the bridge pickup.  Lastly, the surface-mounted Freeflyte tremolo system that wasn't Fender's best tremolo, but doesn't require the body to be routed all the way through and its design allows for more contact from tremolo to body, which is a sustain-enhancing design.  When set up properly, the stay in tune almost as well as a vintage tremolo.  Most of these detractors have been overlooked in recent years - while it took a long time for these to catch on in the vintage market, a few years ago they started to take off and now they command prices higher than a new Strat, i.e. they're now commanding vintage value at 29 years.  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.  Overall this one is very clean for 28 years, buffed out to a bright luster and other than one finish chip, the only flaws are in the clear coat, and the common edge of the fretboard (shown here). The finish chip (shown here), can be touched up easily if desired, for $25.  It appears to have had a pro refret so the frets are in good shape.  A 7.6 lb. '83 is almost unheard of, plus this one plays nice and has quality tone, one of the best Strats I've heard with these early American Standard pickups.  Other than the pickguard, this baby's all original an one of the best '83's I've had.  If you want a vintage Strat with a cool look, that would make a great utility guitar, this one's a nice buy at $850.  Includes hardshell case, either a rough original or a nice aftermarket. 

2007 Taylor 614-CE Grand Auditorium Cutaway Acoustic-Electric, (front), (back), (headstock), (top repair), (case).  For you players who want a higher-end Taylor, but are working on a lower-end budget.  Most Taylors I get in are meticulously presented, purchased, it appears, to reside in a museum.  Unfortunately, their price tag reflects the pristine condition.  Every now and then I get in one with a little honest wear and, gasp, a repaired top crack.  Anyone who's ever had a repaired center seam can tell you that it doesn't affect the tone or structural integrity.  Such is the case with this one.  About this model:  with the Taylor 614-CE's bold sounds of big leaf maple and Sitka spruce are enhanced by the Grand Auditorium body design. Together the woods create a bright, crystalline timbre with outstanding projection and warm overtones. Also, the Grand Auditorium cutaway body yields a strong treble zing across the tonal spectrum and sharpens the definition of individual notes. Aided by a wide 1 3/4" nut, it's a superb fingerpicking guitar that also adapts well to medium strumming.  This is a newer model employing Taylor's acclaimed Expression System (ES), which replaced various Fishman units used during the 90's and early 00's.  The ES utilizes patented Dynamic Sensors to capture top and string vibration like no other. Created in partnership with renowned audio pioneer, Rupert Neve, the Taylor ES is seamlessly integrated into the design of the guitar from the ground up. Onboard tone controls provide added flavor or set flat for an uncolored, exceptionally clean amplified sound.  Features of the 614CE include Grand Auditorium body with Venetian cutaway, Big leaf maple back and sides, Sitka spruce top, Hard rock maple neck, Taylor Expression System electronics, Ebony headstock overlay, Ebony fretboard, Pearl Leaf pattern fretboard inlay, Abalone soundhole rosette, Ebony bridge, Tusq nut and saddle, three-stripe white body binding, white neck binding, Gold-plated Taylor tuners, 25-1/2" scale, 1-3/4" width at nut, 20 frets, Scalloped X-bracing, and Gloss finish.  If you're looking for a great playing, great sounding 614CE and aren't afraid of a little honest wear and a non-problematic repaired seam, you can save big on this one.  You're looking at $2950 on a new one, but if you're a working musician on a limited budget, this one's less than 1/2 the cost of new.  Just $1429(HOLD-Bill P 1/23) for this one; includes Taylor luggage case.   end xxxx

Email Me:  chrisgtr@nycap.rr.com

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Chris' Guitars, specializing in semi-vintage and clean utility guitars and basses within the price range of working musicians.  My inventory generally leans toward Fender and Gibson, though I usually have a supply of PRS, Gretsch, Guild, Martin, Taylor, Jackson, etc., as well as an assortment of moderately priced--but very playable--less famous brands. I also have 100's of effects, tons of amps, PA/recording gear, and even some keyboard gear.  Our price system is designed to keep prices below book value, rather than amassing a huge collection of full retail priced merchandise.  On Vintage gear and higher end items, I tend to deal in all-original pieces but do my best to identify questionable features so there are no surprises when your new guitar arrives at your home. I’m always looking for trades.  Thanks for checking out my web site  and if you have any questions, please click on my email address above or at the top of any of the pages.....I'd like to take a moment to thank all of my customers who have made my humble little site such a phenomenal success, especially my valued regular customers—you are the greatest...  Regards, Chris Grimmett, Owner

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