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IN WONDERFUL ALBANY, NY, USA

UPDATED:  Thurs, Sep 2nd, 2010  

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

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; click the picture and it may expand the pic, depending on the resolution. 

2005 Taylor 314 Grand Auditorium Cutaway, (front), (back), (headstock), (case).   Taylor's most popular grand auditorium - where quality tonewoods and fine craftsmanship combine with a modest price, at least by Taylor standards.  Taylor's 100- and 200-series are good guitar for the money but the 300-series is really in a different class and in my opinion, the best value in their line.  The 314 features all solid woods including solid Spruce top with a gloss top and satin-finished Sapele back and sides.  Sapele is an excellent tone wood with characteristics similar to mahogany, very warm and cozy sounding which, although slightly smaller than a dreadnought, fills the room with sound.  Other features include 5-ply B-W-B-W-B binding,14-fret mahogany neck, black-bound 20-fret ebony fingerboard, pearl dot inlays, 1-3/4" nut width, 25-1/2" scale, ebony bridge, tortoise plastic pickguard, and chrome Taylor tuners.  A great choice for fingerstyle work but it projects enough to hold its own for loud strumming.  Offered in superb condition with typically superb Taylor action.  If you're looking for a quality Auditorium size, this one's an easy recommendation at just slightly more than a 200-series, $899.  Includes Taylor case.  

ca. '99 Danelectro '56 U-2, (front), (back), (headstock).   Finished in desirable Limo Black and if you don't count the number of cutaways, this is like the one that Page used to use.  The single coil lipstick pickups are controlled by the regular 3-way switch and, unlike the recent Chinese models which have but a single volume and tone, these older Korean models feature the stacked volume/tone knobs to give full control to both pickups - just like the original 50's model.  Recently this model has become a top choice for garage band players, thanks to its low-fi tone, achieved by its hollowbody design, lipstick pickups, aluminum nut, and wooden slab bridge.  This guitar is in beautiful shape with no noteworthy flaws, perfect frets, and taped binding tight and clean.  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.  Nearly every guitarist can use one of these in their stage set-up.  You'll even see players like Dave Matthews pull out a U-2 for a few songs during a gig.  Nothing sounds like them and once Martin gets a hold of them, nothing plays like them; his setups on Dano's is simply incredible.  If you're looking for a great U-2, here's a really nice one for $299.  

Carver PM-120 Studio Reference Amp, (back).   Carver has always been synonymous with quality sound.  Before the days of "who can build the cheapest Asian pro sound gear", American companies like Carver built top quality gear that's built to last for many decades.  The PM-120 is a great choice for anyone looking for studio reference quality sound, where accuracy is paramount.  It also has reliable protection circuits for both the amp and your speakers.  At 120W in bridged mono, 60W per side stereo at 4 ohms, it's a good choice for near-field monitors but it's studio quality specs aren't limited to recording, the same quality specs make it a good stage amp for low-medium power applications for keys, guitars, or high frequency horns in a bi- or tri-amp setup.  If you want full specs or a manual, click here or a free download.  This amp is in great shape and will likely be around for many more decades.  This model cost over $500 almost 20 years ago when it was new and is still a good buy on a real quality reference amp at $179.  

Igniter II Humbucker.  Somebody called me a few months ago to purchase this, stating that it was a prototype EMG pickup and less than 100 were ever made.  I don't know anything about it other than I've had it for 10+ years and I don't know what this came out of.  I couldn't find it at the time but it has since turned up, located in a mis-labeled box.  Priority goes to whoever called about it 3 months ago.  $45.  

2004 Gibson '60 Les Paul Classic - John Sykes Style, (front), (back), (headstock), (chrome parts), (case).  Your basic stock Les Paul Classic in somewhat rare ebony finish, with all parts switched over to chrome.  It's basically a Standard version of the John Sykes Les Paul Custom (comparison pic), without the factory added wear.  Sure, it lacks the Custom's cosmetic appointments but the vibe is still there and the overall look is very cool.  Changes include chrome Grovers replace the Gibson Deluxe tuners, chrome pickguard, chrome pickup selector ring, chrome output jack plate, chrome top dome knobs, chrome Schaller locking strap pins, and chrome pickup rings.  Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers.  Just like the Standard it features a mahogany body with maple cap.  The only visual difference, other than the uncovered pickups, is the "Classic" screened logo and truss cover, vintage-style inked serial number, "1960" on the pickguard, plus light amber top-hat knobs, cream plastic parts, '60s slim-tapered neck, and aged-looking trapezoid fretboard inlays.  Cosmetically this guitar is very clean with no major scratches or fret wear, just some very light player's wear.   Here's a link to John's site which details his extensive use of his heavily played black/chrome Les Paul.   If you're a John Sykes fan, or just a player who wants a more unique looking Les Paul Classic, this is a very nice one with classic fat Les Paul tone and very nice action.  Includes the great quality Canadian TKL case that Gibson used before switching to the cheaper white-lined cases.  Nice Paul for $1499(HOLD-Alexander 8/31).  

2010 Ibanez Mikro Bass GSRM20,  (front), (back), (headstock), (gigbag).  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.  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 "short", and has a very comfortable set up.  Offered in beautiful condition with no noteworthy flaws and with a $242 list, an excellent buy on a quality short scale at $125.  Includes a well padded Ibanez gigbag made specifically for the Mikro series.   

1998 Jackson USA King V KV-2, (front), (back), (headstock), (case).  Very clean condition, neck-thru beauty, USA Select Series.  The King V has an interesting history, first called a "Double Rhodes" and soon as made with smaller wings by request of Robbin Crosby of "Ratt", whose nickname, "King", brought about it's final moniker.  This came in two models, the "Student" with dot inlays, no binding, and plain white logo.  The KV-2 is the fancy King V, with 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, Seymour Duncan JB neck and bridge pickups, top of the line Floyd Rose tremolo,  Ebony fingerboard, sharp "V" shaped body, and quarter-sawn maple neck with ebony fretboard and compound neck radius that gets flatter as you go up the neck.  Very clean condition with no noteworthy flaws other than two very minor touchups to the points which are nearly invisible.   No buckle scratches, fret wear, etc., a very clean guitar indeed.  Web discounted price in black is $1999 ($2799 list) but why by new when this one is super clean and just $1339.  Includes Jackson case, not as clean as the guitar with lots of stickers.  

Peavey T-15 Guitar with "Electric Case",  (front/back), (headstock), (case), (amp).  Another one from the early days of Hartley Peavey and a quality USA guitar in all regards.  Tone is excellent, playability superb, and it's simply insanely clean for 27 years; a true "under the bed" find.  Features include quality Kluson Deluxe tuners with nickel plating; bi-laminated (two-piece) maple neck for "unmatched rigidity and freedom from warping"; special 23.5" scale (1" shorter than Gibson) give you incredible string bends - 4 half-stops is a breeze; "finest hardwood" body (looks to be Alder) that's comfortably contoured at the arm and belly area; single-rail pickups don't have pole pieces, don't need to align with strings, and don't fade out during bends; "tone compensating" volume control minimizes high freq loss when rolled back a bit; massive die-cast alloy bridge impervious to corrosion and allows for perfect intonation and action; and neck-tilt adjustment at the neckplate, which is much easier than removing the neck.  Like most Peavey's from this era, the neck has very little "shoulders" meaning it's easy to get your hand around and, thus, along with the slightly shorter scale, is a great choice for small hands or younger players.  Included with this guitar is the original Peavey "Electric Case", which is also in nice shape other than some foam in the interior of the lid.  Rated at 10 watts, the amp features high and low gain inputs, volume control, gain control for some pretty cool distortion at low volume levels and an active tone control that can add lows or highs, or relatively uncolored at zero setting.  You can read/download the manual for this guitar/amp here.  One day these early Peavey's are going to take off, until then, they provide an exceptional value for the player or collector.  Some of you have begun collecting T-series, which is smart in my opinion.  You can assemble the entire collection of every model for under $2K and have some excellent guitars to play with.  One day they will take off on the vintage market and will likely double in value in a year, much the same as the little Supro 2-bolt Juniors did 10 years ago.   For a vintage USA guitar that plays and sounds great - in definite collector's grade - it's a good buy for $399 and it includes the cool amp in the case. 

2007 G&L Asat Classic Tribute, (front), (back), (headstock), (pickups/bridge), (Deluxe Gigbag).   I think G&L's Tributes are the best quality imported traditional guitars (i.e. guitars with their roots in the 50's/60's), on the market today.  Companies like Fender and Epiphone produce some good quality imports but they make a major compromise on pickups, for which their tone falls short.  The only exception I can think of are Japan-made Fender and Epi Elitist, but these are guitars that cost almost as much as their USA counterparts.  G&L's Tribute series, on the other hand, use the same USA pickups and some of the hardware as their American lines.  Quality parts alone mean little without quality control on the overall product and the Tribute series has that under control as well.  In my opinion, these guitars are 75% as nice as the USA models at under 50% of the price.  The G&L Tribute ASAT Classic has a toneful swamp ash body and features G&L Magnetic Field Design single coil pickups with the bridge pickup mounted in a traditional boxed steel bridge.   Other features include Hard Rock Maple with Maple fingerboard, 9" modern fretboard radius, 1 5/8" nut width, and traditional T-style control plate with 3-way, volume, and tone.  This is a remarkable guitar at its price point.  At $599 street price ($859 list), it already has quality pickups, which is the most common upgrade we do on imports.  This one is in flawless condition and one nice playing, excellent sounding Tele style for just $449.  Includes G&L gigbag, one of the best gigbags on the market.  

Fulltone OCD.  Like the classic amps of yesteryears such as the Marshall 18 watt, a VOX AC15, and JTM45 - cranked full blast - the OCD gives you incredible harmonics, but at any volume. With the OCD you not only get the fundamental note but you get 4, 5, even 6 additional overtones ringing into a feedback, the tones you've heard in Led Zeppelin's "Ocean" and "Custard Pie", as well as classic tones including James Gang, the Beatles, AC/DC, FREE., etc Back off the guitar's volume and there are a dozen great other sounds at your fingertips - Clean, spanky sounds, with all the highs and lows still intact. Best of all, it doesn't hijack your guitar's tone so your Tele still sounds like a Tele, your Paul a Paul. This pedal can compensate for amps that fail to deliver the overtones you're looking for but regardless of your amp set up, you'll love the variety of tones available.  Flawless cosmetic shape and a killer pedal for $99(SOLD-Wood Chuck).  

"Vintage" Seymour Duncan Distortion Black/Red Humbucker.  This is an old model, probably 80's, with rare black/red bobbins.  Leads are cut for the bridge position on a Strat but we can pro splice to longer length if needed.  Not cheap but find another one.  $99(SOLD-Wood Chuck).

Gibson Melody Maker Pickup.  Good sounding single coil taken out of a Melody Maker reissue.  I have at least a pair of these, priced at $29/each.  

1996 Hamer USA Special P90 - Vintage Cherry, (front), (headstock), (back), (heel), (case).  Another one, just like the other one.  On the heels of a nice '93 model comes another great P90 Special.   These are super guitars with the vintage feel, playability, and tone of an old Gibson, and the best value in an American Hamer.  The necks on these are a thin taper, like a '60 Special, rather than the chunky 50's style Juniors and Specials - and like the originals, the double-cut style allows you to play up in the register with ease.  Features include one-piece Honduras mahogany body, 3-piece stressed mahogany neck with mother of pearl dot inlays, flat 14.5" fretboard radius, 24.75" (Gibson) scale, quarter-sawn east Indian rosewood fretboard, oversized hand-fitted dovetail neck joint, 22 medium oval frets, tuneomatic bridge, Lubritrak nut, and Seymour Duncan P90 pickups with standard 3-way selector dual volume and master tone.  Also outfitted with Dunlop locking strap pins.  There's something magical about the tone of P90's and mahogany and this guitar has it, with a warm tone, but one that cuts through the mix and blends perfectly with the rest of the band.   Super clean shape, looks like 4 months old rather than 14 years, no major flaws and a great setup.  I think these are better than Gibsons, at $100's less than a production model Gibson.  There aren't many pro quality guitars you can get for this model and I think it's a super buy at $699(HOLD-Ray C 8/30).  (Note: I also have a '93 in nice shape for $650 listed below).  

1976 Gibson Les Paul Custom, (front), (back), (pickups/pots), (headstock), (case).  Great playing Custom built during America's Bicentennial year which I can't believe was 34 years ago.  It's not a closet queen and has seen some use over the years but it doesn't appear to have been a regular workingman's guitar since these develop finish wear through to the wood rather easily, typically on the back and sides of the neck, buckle area, and above the pickups from pick scratches.  This one has only has superficial wear, scratches and dings in the finish, and no breaks or repairs.  Appears all original other than pickup covers removed, tuners changed to Grovers, and original plastic output jack, which is almost always broken on these has been changed to brass.   At one time it had different pickups but original T-tops have been reinstalled.  All 70's Customs are heavy guitars and this one is typical weight.  Martin crowned and leveled the frets so they're now in great shape.  The action is incredibly low at the nut and stays nice all the way up the neck.  Binding has the perfect yellowed patina (pic).  We don't buff out vintage guitars unless requested, but this one will buff out to a high gloss if desired.  A '76-'79 would be priced $3500-$4500 on Gbase.  This one is an excellent player, sounds great, and an excellent value in a vintage Gibson at $2499(SOLD-Wood Chuck).  We installed a new original style brass latch on the case so it now has 3 of the 5 latches functional and it's otherwise in nice vintage condition.

2009 Epiphone Les Paul Standard Plus, (front), (back), (headstock).  Excellent value in a gloss finish Les Paul with a figured finish.  All the vibe and playability of a Gibson flame top Paul at around 1/5 the price.  I've also noted the quality control on Epi's is as good or better than their more expensive USA counterparts.  Frets are well dressed and with few exceptions they set up perfectly.  This one has low action and notes ring true during bends.  A pair of Alnico Classic humbuckers give you the fat, warm tones you want in a Paul.  The mahogany body with carved top and flame maple veneer gives you remarkable warmth - and great looks with a perfectly bookmatched top.  The slim-tapered neck profile is the choice of most players and is very easy to get around on.  A new Standard Plus is running $549.  This one is "as new" with the plastic still on the pickguard and no player's wear anywhere, and a sweet deal at $399(HOLD-Alex O 8/30 w/bag).  Add the new "tuxedo" model Gibson gigbag (black with white trim and white interior) for $25 if desired (pic here).  

Digitech JamMan Looper/Phrase Sampler, (close-up), (back).  Man, how far we've come.  It only seems like a few years ago that the Digitech PDS8000, a very similar looking blue stomp box, was all the rave with an unprecedented 8 whole seconds of sampling time!  For those of us used to Boss's 800ms (that's just under a second) or perhaps a Digitech RDS rackmount with 3.6 seconds, 8 seconds seemed like more loop time than you could possibly need.  Fast forward 2 decades and Digitech's latest, the JamMan, can store and loop 24 MINUTES of CD-quality sampled riffs or vocals - or expand to the 2GB card and it stores 6.5 HOURS of samples.  It's almost a moot point since it connects to your PC via USB so you can easily transfer your samples to your computer's hard drive and then download back to your JamMan when you want them.  In a live setting, guys like "The Edge" showed us what you can really do with a looper and his layered sounds make U2 sound like a large band instead of a 3-piece combo.  Rather than writing a book on the features of this unit - for all specs and a video demo, click here for Digitech's site.  What I found out was that I didn't have to crack a manual to do some basic functions, the sound quality is such that you can't tell the playback tone from the live tone, and that it does some cool stuff for vocals such as vocal eliminator on songs with vocals panned left and right as they normally are - instant karaoke machine!  Digitech has it going on these days.  They're X-Series are the best stomp boxes made for the money and with innovative tools like the JamMan, they're not sitting back and trying to create a better TS808.  This one has barely been used, in perfect condition with 1 MB card, PDF manual, and power supply - and with a new one running $299, a nice price at $199(HOLD-Lance B 8/27). 

Tascam MP-GT1 MP3 Guitar Trainer, (close-up).   This is the first MP3 player designed for musicians. Based on the award-winning CD-GT1mkII, this fun mobile guitar trainer includes enough memory to store up to 240 songs and contains some very good tones for your guitars including quality effects to emulate the recorded tracks. Guitar parts can be slowed down, looped and you can even remove the lead guitar from tracks, letting YOU play lead for any of your favorite groups. It lets you play back MP3s using Variable Speed Audition, which slows down the speed without changing the pitch, and sections can be seamlessly looped to help you practice difficult passages. One of the main frustrations, re-tuning slightly on every song, is also eliminated - with the MP-GT1 your songs can be pitched up or down to match the tuning of your guitar. You can charge the unit right off your computer via USB and it holds a charge for around 9 hours.  Click here for a brief YouTube overview or Sa c'est un pré ampli de guit (here).  Lists at $269 but this one's "as new" at 60% off list at just $107(HOLD-Lance B 8/27). 

Fernandes Dragonfly Elite, (close-up), (headstock), (Floyd/controls), (back neck joint), (case).  A superbly built, high end Fernandes with loads of features, most notably the Sustainer system.  Don't confuse this with recent Korean models, which I'm sure are good guitars, but you can't beat Japan for design and craftsmanship - easily on par with USA models, in some cases better.  For instance, it features a 5-bolt neck attachment with a long neck tenon that extends well into the body, past the neck pickup, in a design that's very much like the PRS EG bolt-on's.  The fit and finish are top notch; quality hardware with very smooth Gotoh tuners, Gotoh locking nut, and FRT-5Pro-TRS which is a licensed Floyd Rose Pro, made by Takeuchi.  The guitar stays in tune perfectly, with any amount of dive bombing I threw at it.  There were two quality mods to this guitar:  a Duncan JB replaces the original Fernandes humbucker and a corresponding 3-way switch was added for in-phase hum/single coil/out-of-phase hum.  Additional electronics include a neck single coil that doubles as the Sustainer drive, middle single coil, 5-way blade for the usual selection of neck/neck + mid/mid/mid + bridge/bridge.  If you're not familiar with the Sustainer (neck pickup), it is powered by a 9V battery and when turned on it vibrates the strings, much the same as the sound waves from a cranked up amplifier, providing vibration to the strings, sustaining notes infinitely.  When not activated, this pickup performs simply as a single coil pickup.  I'll also mention that when it is activated, the signal goes to the bridge pickup only so the 5-way pickup selector is out of the circuit.  The Sustainer controlled via two mini-toggle switches:  One is an on/off for Sustainer power; the other is a 3-way with three mods of sustain - Standard Mode, which vibrates the note(s) played only, Harmonic Mode, which sustains the fifth harmonic, much like the pinched harmonic you do with your guitar pick; a and Mix Mode, which blends the two modes.  Unlike the old-time "E-Bow", which only works on one string at a time, the Sustainer works on all strings and single notes or chords.  It has a master volume and master tone, while the 3rd knob is a Sustainer intensity control and is detented in the center position.  This may sound a bit complicated but it's very simple once you play with it for a few minutes.  Other features of this fine guitar include mahogany body 1 3/4" thick, maple neck, 25.5" scale, 1 5/8" nut, flat 14" radius, rosewood fretboard with 24 jumbo frets, angled back headstock, total access neck joint, finished in Blue Metallic gloss.  There are plenty of YouTube demo's if you search for "Fernandes Sustainer"; here's one I liked (link), where the guy uses the Sustainer tastefully, not going for full out insanity and another one with a little more power on the Sustainer.  Click here for Harmony-Central reviews, where it scored a 9.4 overall.   This guitar is in excellent condition with perfect frets and a great set-up.  I know guys who have all of their guitars, regardless of brands, retrofitted with a Sustainer pickup, which will run you over $500 parts and labor.  Once it becomes part of your style, you won't want to play without it.  For a Japan-made Dragonfly Elite, this is an exceptional guitar for $529(HOLD-Ken, Rick, in order).  Includes quality tolex case in used condition.  

2006 Fender 60th Anniversary Stratocaster with '09 American Standard Neck, (front), (headstock), (back), (acc.).  Fender doesn't miss a chance to commemorate an Anniversary!  The American Series 60th Anniversary Strat guitar represents 60 years of innovation dating back to Leo's start in the MI industry, years before his first electric guitar was produced.   The 60th Strat is a limited edition, finished in Three-color Sunburst over a swamp ash body, with a trio of American Vintage ’57 Strat single-coil pickups (middle pickup is reverse wound/reverse polarity to cancel hum when combined with another pickup), an American two-point synchronized tremolo with polished stainless base and steel saddles, Delta Tone circuit, commemorative neckplate, and parchment knobs and pickup covers.  This guitar had a bad truss rod and under warranty repair (repair ticket), Fender supplied a new neck, which is why it has the '09 American Standard neck.  This one is "untouched" condition, absolutely pristine, and set up to perfection as well - for just $.  I sold the anniversary case, before I got the guitar actually, but will come with a hardshell case and all the original paperwork.  For an ash body American, with a brand new American Standard neck, a sweet deal at $799.  Oh, did I mention it's only 7.4 lbs.?

2003 Taylor 110-GB Dreadnought, (front), (headstock), (back), (gigbag).   Excellent playing Taylor and although the lowest number series in the Taylor line, this is still a quality American-made Taylor, with the tone, quality, and playability you would expect from a Taylor.  The 110 is a dreadnought with tone-friendly satin finish with a solid spruce top, laminated Sapele back and sides, ebony fretboard, black plastic body binding, wood fiber rosette, 1-11/16" nut width - and made in Taylor's El Cajon Calif. factory.   Note that Martin is Taylor's licensed rep for factory authorized repairs and he can set up a 110 to play as well as Taylors costing 3X the price.  This guitar has been played but no cracks or major issues, just some wear around the sound hole and a buckle scratch pattern on back (shown here).  A new 110 is made in Mexico and sells for $599.  This older USA model, is just $399 and includes deluxe Taylor gigbag, a quality corduroy strap and Keyser capo.    

2003 Gibson SG Special Limited Edition, (front), (headstock), (back), (gigbag).    Very unique SG - Limited Edition Platinum with all chrome/platinum parts (pic here) including body, plastic, and hardware.  All mahogany construction gives it that classic warm SG tone that has helped define the sound of rock, most notably with Angus Young.  This model also features an Ebony fretboard, usually reserved for higher-end models, which gives it a little more snap on the attack than rosewood.  Pickups are 490R/498T Alnico II humbuckers.  You Fallout Boy fans might remember front man and guitarist Patrick Stump playing this model when they were becoming huge, before his jump to Gretsch.  If you like low action - you'll love this guitar.  It's got a great neck which allowed us to set the action very low.  The neck's a tad on the chunky side, much closer to a 50's rounded neck than a 60's thin taper.   Don't confuse this with the faded series.  This is the gloss finish model and it sold in stores for $1049 during its last year of production 6 years ago.  This one is pretty much immaculate - no scratches, dings, or fret wear, an easy 9.8 - and wouldn't look out of place hanging with brand new guitars in your local store.  A new Special in black or cherry is going to set you back $999 but for $200 less you can have this beautiful and rare Ltd Ed Platinum model.  $799  includes original gigbag.

2005 Fender Squier Deluxe Active Jazz Bass V, (front), (back), (headstock).  Looking for an inexpensive Squier 5-string that plays like an American Standard?  The Deluxe Active Jazz V is loaded with tone-shaping capabilities and some of them will even set up with fantastic action.  This is one of those few.  Instead of the normal Vol-Vol-Tone used on a Jazz Standard, the Deluxe Active has active electronics as the name suggests, and features a Volume control, Blend control to select one or any mix of the two pickups, 3-band EQ for bass-mid-treb including a stacked pot, and a mini-toggle "slap" control.  This bass is also in mint condition with plastic still on the pickups and back covers.  If you're looking to step up to a 5-string without spending a fortune yet - or you want to add a 5 string for a few of your songs, this one is an easy recommendation for me.  It plays great, is in immaculate condition, and can dial in countless cool tones.  New cost is $329; this one is "as new" and just $250. 

1994 Fender Stratocaster Plus - Torino Red, (front), (back), (headstock), (pickup), (tremsetter), (case).  The cleanest of the clean.  Actual NOS condition in a 16-year old Strat, much the same as the '91 Black Pearl I posted a few days ago...except this one still has the factory plastic film on the pickguard and back cover!  A true collector's piece - not a scratch, ding, or sign of player's wear other than plastic removed from the pickguard and there are, literally, only several pickguard scratches.  The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard series.  In '00 Fender debuted their new "American Series" (i.e. renamed from the "American Standard").  The Plus was replaced by the American Deluxe which was basically the same idea, e.g. upgraded pickups, locking tuners, and some non-standard finishes.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups - and no magnetic string pull to kill the sustain of the strings.  The Gold Laces (50's Strat sound) on this model are the same pickups used on the Clapton and Buddy Guy signature models and both player toured with their stock pickups for many years.  The Plus also features precision locking tuners as well as a LSR nut, both enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This model year Fender also employed a "Tremsetter" by Hipshot in the tremolo cavity, which further contributes to tuning stability, returning the trem to the "zero" position when not in use.  You can play right-hand bridge harmonics, aggressive rhythm, palm mute the strings, or do bends without the other strings going out of tune and the bridge stays put.   I predicted that these early silver-logo American Standards would be the next Fender to take off on the vintage market and they've been on a consistent upswing for the past few years.  This beauty is 16 years old and as clean as a brand new floor model in your local store.  At $1499, it's the same price as a new American Deluxe Strat which puts in in the price range of working musicians - but for collectors, looking for the cleanest examples on the planet, this one's a rare find.  If that's not enough, it's an excellent playing guitar with very good sustain and 7.6 lbs., very lightweight for an American Standard era Strat.  Includes original "Plus" case, which has a different badge plus upgraded latches, case key, serialized factory hang tag, manuals, hang tags, etc. 

2003 Gretsch Tennessean, (front), (headstock), (back), (case),  Model G6119-1962HT.  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.  This one's fairly rare in that it sports the "Tennessean" name, rather than the "Tennessee Rose" which followed later.  It appears as though, due to a dispute with Chet Atkins, the Tennessean name could no longer be used.  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.  In fact, all the cool features and all the vibe but none of the problems; these are, quite simply, better guitars than the originals.   Other features are all maple body, neo-classic thumbnail fretboard inlays, ebony fretboard, Grover open-back tuners, and bound body and neck.  List price on this guitar is $3025.  This is in showroom condition, with a killer set up and Gretsch vibe thrown in as a bonus.  $1499(Tent. Hold-Rob C 8/21) with deluxe Gretsch case.  

2007 Breedlove AC25/SR Plus, (front), (back), (preamp/side), (headstock), (appointments), (case).  Top shelf appointments and Breedlove quality now affordable to the masses.  Leave it to Breedlove, makers of some of the finest boutique acoustics in the world, to come up with a premier import acoustic.  This model combines Breedlove design elements and balanced tonal signature with the highest quality manufacturing practices in the world to bring you Breedlove quality at an affordable price.  Superbly built, flawless attention to detail - many players would never guess that they're playing an Atlas series that costs around 1/4 of their USA models.  The AC25/SR is an acoustic/electric in the popular concert cutaway body style with solid Sitka spruce top and solid rosewood back.  It has the signature soft cutaway that provides easy access into the upper register.  A Fishman Classic 4T preamp system brings this excellent tone to your amp, making it an excellent stage guitar and includes a quality chromatic tuner.   Features include:   Concert body style with soft cutaway, Solid Sitka spruce top, Solid rosewood back, rosewood sides, rosewood fretboard, Fishman Classic IV pickup, Breedlove bracing system, JLD Bridge Truss system, Tortoise bound body with 5-layer purfling, Abalone rosette with black border, Abalone Ellipse fingerboard inlays, Glossy finish, Rosewood bridge, Hand-rubbed neck for very sleek feel, 1 11/16" nut, 15 1/4" lower bout, Dovetail neck joint, Dual-action truss rod, Gold Grover tuners.  Designed by Kim Breedlove - crafted in Korea with quality assured in Bend, Oregon, USA.   Action is superb - condition is perfect.  This model has been discontinued, but carried a list price of $1339, street priced at $999.  This one has barely been played and is in superb condition for just $699(Tentative hold - Johnny/Dave, local) AND includes quality Breedlove hardshell case. 

Boss ME-50 Guitar Multi-Effects, (back), (stock pic), (acc.).  One of the recent all-in-one floor effect from Boss.  For you guys and gals who prefer the simplicity of stomp boxes--over menus and backlit LCD screens--you'll love the ME-50.  Just reach down and dial in a little more of this, a little less of that, the same as you do with a floorboard full of Boss pedals.  It's so much better than a row of stomp boxes though, as it remembers all your settings.  You want one of your tones to be a mid-scoop tone with a slow sweep flange, heavy compression, and a hint of reverb?  Just dial it in and save the patch. Expression pedal lets you change sweep rates, depth, etc., on the fly.  For an overview, the ME-30 is a floor-based multi-effects processor with BOSS' most intuitive interface ever. 30 Preset Patches including delay, modulation, reverb, compressor and more; Killer COSM overdrive/distortion effects including dedicated knobs for each effect section—no menus to navigate. Tone Modify function offers Preset EQ settings for quick tone editing. 3 footswitches for switching effects on and off with a single stomp. Onboard expression pedal pre-routed to 6 modulation options or volume. Rugged metal case with clear panel layout. For full specs check out BossUS here.  This unit sells in stores for $295, which is lot cheaper than buying all these Boss pedals individually.  This one's barely used and just $199.  Includes power supply and original manual. 

Acoustic Image Clarus Mod. 300IA, (side), (case).  A super compact (compare to soda can) amp that a ton of clean power, weighing in at under 5 lbs., perfect for players who don't like lugging a 60 lb. head around.  As incredible as it sounds, this little powerhouse delivers 300 watts through 2 ohms, via one or two Speakon speaker outputs.  A lot of jazz players have discovered this as the perfect amp and it does double duty as a great bass amp.  The Clarus does not color your tone like most amps - what goes in is what comes out - it accentuates the *acoustic* tone of your instrument rather than the pickups.  For bass, it's equally at home with electric or upright basses.  While it has a full array of tone controls, these are more to accommodate for room acoustics rather than shaping your tone radically.  It has a high and low input to accommodate active electronics (if you use two instruments you can even leave them both plugged in - even play them both simultaneously if you'd like). Other features include a quality XLR D.I. output for running to the house mixer or recording board, effects loop, and a gain switch for the high-gain input that switches from 1/10 megaohm impedance.  If you're running a 4 ohm load the output is lowered to about 200W, but that's still plenty for most players who are into this type of gear, i.e. not hard rock musicians.   The current model Clarus 1 is running $749 with the output up to 400W but save on this earlier model.  It's in clean shape and just $379.  Includes well-padded gigbag and speaker cable (Speakon to 1/4").  

DiMarzio EJ Custom DP211/DP212 Set.  These pickups came about as a result of Eric asking DiMarzio if they could build a pickup to make his '59 Les Paul Reissue sound like an old Gretsch Country Gent.  No problem.  The DP211/212 set does indeed have a Gretschy tone, much more articulate than a standard PAF with more highs, much like a single coil, while the bass response is comparable to most PAF's.  With an output of around 7.8K and 7K (bridge and neck), they have a relatively low output, just like a vintage PAF.  The bridge is F-spaced and both are 4-conductor to give you a variety of wiring options.  For more opinions, check out Harmony-Central (15 reviews here).  These are recommended for anyone looking for a brighter sound out of their dual-humbucker guitar or a major upgrade for most imports.  Perfect shape with full leads and just $95 for the pair.  

2004 PRS Custom 22 Artist Quilt - Matteo Blue, (close-up), (back), (headstock), (fretboard).    Stunning PRS.  Artist Package with Matteo Blue and gold hardware plus colorful Paua shell inlays, oh man, what a combination.  This one features the wide-fat neck carve, which is kind of a misnomer since it's only 1/16" thicker at the nut than their wide-thin, but should appeal to players who don't like skinny necks.  The Artist package includes the top quality figured tops, termed "artist grade" by PRS, extremely colorful Paua bird inlays, rosewood headstock overlay with inlaid colorful Paua shell inlaid logo, gold hardware including low mass locking tuners and PRS tremolo.  These guitars are a good example of "guitars as art" and each are unique and works of beauty.  Finished in Matteo Blue, which has always been my hottest seller with a great quilted maple top that looks great from any angle.   This guitar is immaculate, not a scratch anywhere, with perfect frets and the gold hardware (pic here), has no discoloration whatsoever.  With a quilt top and Artist upgrade, this guitar lists at over $5200, selling at discount at the best priced stores for more than $3600.  I got this without a case of any kind but will include a new TKL (Canadian) deluxe tolex case (pic), and non-original gold trem arm.  At $2195(Tent Hold - Rob L 8/23), it's still a killer deal for an Artist Quilt, as clean as the new guitars hanging in your local super store. 

1987 Rockmount RM-10 and Scholz SR&D Rockman X-100, (back), (X-100), (panel), (manual).  If you want that ultra-cool "Boston" tone, I have found no amp settings that can nail like a real Rockman. The X-100 is a complex piece of gear that incorporates 2 clean settings, 2 distortion settings, chorus and echo, as well as a compressor and noise gate.  Designed originally as a headphone amp and studio preamp, it soon found countless players using it in their stage rig.   My guitarist used one on very song, only changing the clean-distortion switch depending on the song.  We sold a ton of the X-100's at Hotlicks in the mid-80's for $199 which was a lot of money 25 years ago.  It doesn't matter what guitar you use, what amp you use, your tone will sound killer.  The only down side, if you want to call it that, it can't sound like anything else.  Shortly after the Rockman came along, Four Designs Co. recognized the shortcomings of the Rockman, primarily that there wasn't safe & stable way of using it during a performance (I used to slide the belt tab under the handle of my amp), plus it provided power for the Rockman which ate up 8 AA batteries in a single gig, and added a mix control and signal routing in the standard 1/4" jacks.  So many guys were using racks by the late 80's, it was worth the price just for the rackmount option alone.  The unit works with any of the original SD&R units including the X-100's little brother the Soloist and the Bass Rockman.  All of the original SD&R and associated gear has gone crazy on the vintage market, commanding prices twice as high as 5 years ago.  For just the Rockmount, without any effect, some are going for $200 (link).  Get this one, along with a clean X-100, for $239(HOLD-Scott L).  Includes 2-page manual. 

1991 Fender Stratocaster Plus - "Black Pearl Dust", (front), (back), (headstock), (detail-color), (case).  A true collector's piece - not a scratch, ding, or sign of player's wear other than plastic removed from the pickguard and there are, literally, only several pickguard scratches.  The back cover is pristine as is the back finish without even a fine button scratch.   Sometimes referred to as "Silverburst", the official name for this finish is actually Black Pearl Dust and it's one of the coolest finishes Fender had - during an era filled with cool finishes.  Between the "Stone" finishes (Blackstone, Bluestone, Redstone), "Frost" (Blue Frost, Red Frost), "Pearl Dust" (Black Pearl, Blue Pearl), old custom colors (Lake Placid, Caribbean Mist), and contemporary finishes (Torino Red, Black, Artic White, Electric Blue, etc), Fender had more color options available than any time in their history.  To me, the Pearl Dust stands out as one of the best ever, just under the "Stratoburst" finishes of the early 80's.  The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard series.  In '00 Fender debuted their new "American Series" (i.e. renamed from the "American Standard").  The Plus was replaced by the American Deluxe which was basically the same idea with upgraded pickups, locking tuners, and some non-standard finishes.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups.  The Gold Laces (50's Strat sound) on this model are the same pickups used on the Clapton and Buddy Guy signature models and both player toured with their stock pickups for many years.  The Plus also features precision locking tuners as well as a Wilkinson roller nut, both enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  Lastly, depending on the year Fender also employed a "Tremsetter" by Hipshot in the tremolo cavity, which further contributes to tuning stability, returning the trem to the "zero" position when not in use.  You can play right-hand bridge harmonics, aggressive rhythm, palm mute the strings, or do bends without the other strings going out of tune and the bridge stays put.   I predicted that these early silver-logo American Standards would be the next Fender to take off on the vintage market and they've been on a consistent upswing for the past few years.  This beauty will be 20 years old next year and as clean as a brand new floor model in your local store.  At $1499(Tentative Hold 8/23), it's the same price as a new American Deluxe Strat which puts in in the price range of working musicians - but for collectors, looking for the cleanest example of this era, and in the coolest color, it's a real find.  Oh, did I mention that it's a great sounding Strat with excellent sustain and super nice action?   Includes original case, the molded case with twist lock latches, which was only produced from ca. '90-'92, plus serialized factory hang tag, manuals, all hang tags, etc.  

Dunlop Rackmount Crybaby DCR-1S, (back), (acc.).  The wah solution for players with a rack setup.  With the Rackmount Crybaby you can have *every* effect in your rack and this one even features inputs for 4 separate controllers, which lets you put the pedal at, for instance, stage left and stage right.  Features include LED's for input signal, output signals wet and dry, and clipping; Volume control; push-buttons for bypass, switches to emphasize Hi-Mid-Low frequencies; 2-band EQ with on/off switch; and power LED indicator.  This is the  model that Slash used in the Guns 'N Roses era and was somewhat akin to a custom shop model back when this was made so you'll find very few "DCR-1S" models on the market.  This model has some empty slots on the back, perhaps in anticipation of future modifications but the DCR-1SR followed this model had basically the same back panel, without the holes.  The "1SR" also feature more EQ knobs and did away with the push-buttons.  The current model is the DCR-2SR sells for $599 and it's equipped with more EQ'ing and variable Q, but if you just want a quality rackmount wah, this one is beautiful shape - looks like it was used once or twice -  for just $319.  Includes control pedal with LED's, 30' Planet Waves gold-tip cable that easily reaches from the front of the stage to your backline, and original power supply.  

Dunlop Crybaby GCB95.  The classic wah, built like a tank and the basic design is unchanged since the Crybaby's of the 60's.  In addition to the usual wacka-wacka wah sounds, the coolest trick on this is find a sweet spot and leave it there during a lead or rhythm break.  I have a bunch of these in stock.  This one's in clean shape and $45.  

Electro-Harmonix Smallstone Phase Shifter - Russian.  These are good sounding units and simple to use with just a color switch and rate to create a fairly wide variety of Phase tones.  Like all the Russian stuff, built like a Russian tank.  Runs on 9V battery or external power supply.  Very nice shape in original wooden box.  $45. 

EMG 85 Set - White.  Includes EMG's Quik-Connect cables, pre-wired split shat volume and tone pots, output jacks, battery clip sets, screws and springs.   These would look especially cool on a black or white guitar.  Sells new for $105/ea but these are new in the box for $79/each(SOLD-Owen).  

First Act MA104, (close-up).  I get in some strange gear.  This isn't as bad as it looks and actually sounds good for its size, much more like a real amp than the little battery powered Fender/Marshall/Vox/etc.  Has a decent clean sound and a cool buzzy overdrive.  Includes power supply.  Mint in original box for $18.  

JBL 2226H 15" High Power Low Frequency Drivers (stock pic).  This cab (picture) is available on my Prosound page but If you just need the 2 low frequency drivers, I'll be happy to part it out.  Each are rated at 600W RMS, 8 Ohms, down to 40 Hz.  These would be a major upgraded to 1X15 PA cabs with cheaper speakers, likely having a deeper, clearer low end, and more volume.  I used the earlier version 2225's in my bass rig at one time and it sounded great so these should also work well for bassists, primarily in a Bi-Amp setup.  They sold  new at US Speaker for $365 and these are barely used for $250/each.  I can also part out the 2447J 1.5" throat driver with or without horn, and the crossover.  If you want the whole cab, the new discount price was $1799 - available here for $799.  

2004 Steinberger Spirit GU Deluxe - upgraded, (front/back), (R-Trem), (case), (pickups).  Imported version of the expensive USA GM model and a very good quality import it is, made in the Unsung factory in Korea, which used to make many of the higher end Epi's, before most of the production was shifted to China.  It has all the vibe and ergonomic advantages (balance and light weight) of the USA model, at around 1/4th the cost.  Don't get me wrong, I'm not saying the GU should be compared to a GM4S or T, which is like comparing a Squier to a Custom Shop, but for the money it's a very cool guitar and a well made import.  This guitar has two major upgrades:  Pickups and a quality hardshell case.  The stock pickups on this model are (passive) EMG Selects, which are decent pickups but not quite a pro quality tone.  This guitar has been upgraded to a DiMarzio "Tone Zone" and DiMarzio "Joe", while the middle pickup remains the original single coil.  The stock gigbag, which is rather limp, has been replaced with a top quality Steinberger hardshell case, same model used on the USA models.  The DiMarzio's transform this guitar from an intermediate instrument to a guitar with tone that's good enough for club use.  We can also swap out the single coil if desired but the DiMarzio's are both 4-conductor so you get the either the single coil or humbucker tone in 4 of the 5 selector positions.  One of the cool feature of this guitar is the R-Trem which is basically a traditional knife-edge tremolo, but with the flick of a lever you can turn it into a fixed bridge, which is desirable if you use heavy palm muting and/or simply don't use the tremolo.  Other features include maple body, hard maple neck with rosewood fretboard, flat 14" radius, 25.5" scale, 24 frets, 1 5/8" nut width, 40:1 fine tuners, 30 1/4" long, finished in white only.   If you've wanted to try out a great sounding headless guitar without spending an arm and a leg, here you go.  With around $250 in upgrades between the pickups and case, this is a sweet deal at $399, set up to perfection and in immaculate condition.  

Audio-Technica Condenser Mic, (pic2).  From AT's Artist Series, this is one nice condenser.  With all the budget Chinese mics on the market a good quality condenser can get lost in the shuffle but if you do an A/B comparison with MXL's, CAD, etc., the difference is clear:  The Japan-made ATM33a is more accurate, with no audible distortion, and less handling noise.  Recommended for acoustic guitar, percussion, overheads, and vocals, and equally at home in both studio and stage applications.  It has outstanding linearity both on- and off-axis and handles high sound pressure levels superbly for mics in its class.  It operates on both phantom power or via internal AA battery (no searching around for a whacko $8 battery from the photo store).  Appears to have seen very little use with no scratches or wear and ships in original box with windscreen and manual.  Sells new or $199 but his nice used one's just $115. 

Dunlop Rotovibe JH-4S.  Owing its model name to Jimi Hendrix, who used the Uni-Vibe to great success.  Unlike the Uni-Vibe which needs a separate rocker pedal to control the sweep rate, with the Rotovibe it's built in.  Does a great Leslie emulation and you can go from a slow rotation to a fast one the fly - just like a real Leslie.   In addition to rotating speaker effect it has Vibrato plus Chorus.  Separate yellow/red LED's tell you which mode you're in, and they flash at the modulation speed which let you zero in and get in sync with the beat.  Also features Intensity knob to control the strength of effect, from subtle to in your face.  Apparently the association with the Hendrix folks has discontinued so the current model is now called the JD-4S but it's basically the same pedal.  Nice used condition and with the new JD4S at $179, a much better buy at $99(SOLD-Todd M).  This is one very cool pedal.  (note: I have ones that are even cleaner for $109 and $119 on my effects page.)

Rockman Bass Ace Headphone Amp.  With its roots in the 80's Bass Rockman the Bass Ace offers the same convenience and versatility at around 1/3 the price.  Great for personal practicing - or equally at home routing it directly to a mixer for recording.  Features built-in compression, volume control, auxiliary stereo input/output, and selectable treble/mid boost.  Sells new for $79 but this nice used one's just $45.  

Akai U40 Riff-O-Matic Phrase Recorder, (close-up).  Digital phrase sampler that records up to 27 seconds, plays back at full, 2/3 or 1/2 speed without changing pitch, transposes and loops, input and output volume controls, line in, line out and headphone jacks.  With the push of a button you can change speed as well as the EQ, accentuating the lows for bass notes - the highs for guitars and drums - or just like the original sample.  You can also change the pitch in tones or semi-tones so you don't have to keep re-tuning your guitar.  Here's a demo to show how easy it is to get around (link) and a good review at LoopersDelight.com (link).   Includes manual, but you'll barely need it, and power supply.  Sold new for $149 - this one's in excellent condition for $75.  

Digitech BP200 Bass Multi-Effect, (detail-effects).  For stage, studio, or practice tool, the BP200 has just about any effect you'll need to get the sound you want - plus a built-in drum machine for use as a practice tool.  Description: 16 bass amp and stompbox models and a host of other effects (22 total) for creating your own signature sound. The built-in expression pedal can be assigned to control your choice of parameters in real time. Each effect includes up to 3 adjustable parameters giving you the flexibility to create the exact sound you are looking for. The 6 character alphanumeric display and 3-knob matrix based user interface provide simple, straight forward editing functions. The Rhythm Trainer is a great tool for polishing up your timing with your choice of different patterns, tempo, and adjustable volume level. A chromatic tuner lets you quickly check or tune your instrument to 1 of 4 different tuning references.  Here's a brief demo that runs through a few cool patches (link) and here's a bunch of Harmony-Central reviews. Sells new for $149 but this one's in nice shape for just $79.  

BBE Acoustimax Acoustic Instrument Preamp, (close-up), (back panel).  Excellent studio or stage tool to tweak your acoustic tone, while providing BBE processing to your tone.  I could write a 500-word essay trying to describe the BBE process but just know that it makes your guitar sound crisper, cleaner, with each note sounding more distinct, while making your guitar "jump" out of the mix if desired.  Here's a simple video recorded direct, and with the BBE on, using no EQ'ing, just the BBE.  The Acoustimax has a 3-band recording-console-quality EQ with sweepable mid and low frequency notch filter, as well as phase reversal, ground lift, line level out, dedicated tuner out, TRS effects loop, and a pre/post switchable DI output with pad.  This adds up to a unit that shines in both the studio or stage.  This unit lists for $392, selling well discounted to $199.  This one's mint in the box for $125. 

Boss CE-20 Chorus Ensemble, (close-up).  From the new “Twin Pedal” line of quality Boss products, offers the most flexibility ever from a Boss chorus including a host of Boss’ all-time favorites.  Good for bass or guitar.  Captures the sound of revered effects like the CE-1 and SDD-320 - and jumps into the future with entirely new chorus effects, including chorus developed specifically for bass and acoustic guitar, PLUS 4 new chorus effects you've never heard before, "Brilliance" and "Ambience" controls let you tweak and add extra spice to your overall tone.  Here's a YouTube demo done by a regular guy, and here for an in-depth demo of its features (playing begins around 1/2 way through).  This is THE definitive Boss chorus pedal and with a list price of $249, this one is immaculate with box and manual for just $119(SOLD-Lance B 8/20).  It could be the last chorus pedal you ever buy. 

1983 Boss CE-2 Chorus - Japan.  If you're the kind of player who only wants one chorus sound, to many players (me included), this is THE definitive chorus pedal.  Very warm and lush, simple to use, lasts forever.  Desirable black label Japan model.  These just keep going up every year but here's one that's in pretty nice shape for $125(SOLD-John, local).  

Boss TR-2 Tremolo, I don't get many of these in, excellent sounding trem.  For full details click here for Boss.  These are $89 new but this nice used one is just $59.  

Reverend Kingsnake 20/60, (front panel), (top), (back), (speaker), (cover).   I've had a few of the Hellhound combo's before, but unlike the 60-watt Hellhound, which is 40/60 watts switchable, the Kingsnake goes down to 20 watts, which is right around blackface Deluxe output.  These are still one of the best bang for the buck winners in an all-tube combo.  After the Kingsnake was discontinued world got around about what great amps they were and prices on the used market rose above what had been the new cost.   Designed by Dennis Kager (of Ampeg fame) and Joe Naylor, the Kingsnake delivers high-end “boutique amp” performance at a working man’s price.  Features such as chassis-mounted/hand-wired ceramic tube sockets, jacks, and switches clearly set it apart from comparable combo's in the same price range.  One of the cool features is a 3-way switch for US Mode/UK Mode/Lo-Fi Mode with the US sounding the most Fender, the UK sounding more Marshall with higher gain and more mids, and the Lo-Fi which is supposed to emulate an old Supro.  Tubes include a matched 6L6s power tubes and three 12AX7s in the preamp with the option of swapping one for a 12AT7 for more clean headroom.   Other features include switchable output wattage from 20/60 watts;  Electro-Harmonix tubes; controls for gain, volume, treble, middle, bass, presence, reverb; effects loop; great-sounding Jensen Neo 12" speaker; selectable-ohm speaker outputs (4-8-16); dual-bobbin transformers; and very light weight, due in part to the lightweight Neo speaker which is less than 1/2 the weight of a ceramic magnet speaker.  For reviews at Harmony-Central, where it scores a 9.7 overall from 25+ reviews, click here.   This isn't a super high gain amp, rather one with lots of clean headroom and the overall tone and performance is very "Fendery", such as a Pro Reverb.  Collector owned, mint condition, and one of the best tube combo's I've ever had for $699(HOLD-Joe R 8/21).  Includes Reverend cover.  

2003 PRS Singlecut - CSB Quilt Top, (front), (back), (headstock), (pickup options), (case).  Cherry Sunburst beauty with an absolutely stunning quilted maple top.  Although not rated a "10", the figuring is quite nice, extending out to the edge and all the way into the upper bout.  Offered with your choice of the original PRS-6 uncovered zebra coils, or PRS's new 57/08 pickups which are very hard to find since they're not being sold through the PRS parts supply chain.  The only way you can get them is to buy a guitar such as limited runs Anniversary models, Ted McCarty SC,  DC 245, 22 Semi-Hollow - or the new McCarty Smokeburst.  As I predicted years ago, people now refer to these as "Pre-Lawsuit" models and feel that they're somehow better than the ones made after the 3-year discontinuation of the guitar.  Personally, I think the 2nd series are just as good and it's simply another example of the "older is better" hype that frequently has little to do with reality.  Singlecuts are great guitars, much like the Custom 22 except in a more timeless body shape, slightly thicker mahogany back, but the features are undeniably PRS including the flamed maple "binding" where PRS leaves the maple unstained, bookmatched maple top over mahogany body and neck, and PRS locking tuners.  Not counting the Santana II, the Singlecut was the most expensive model in the PRS catalog during this era.  This is the first year for this type of Singlecut, i.e. with just one volume and tone, PRS-6 pickups, pickup selector on the lower bout, and PRS tremolo.  The earlier 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.  Cosmetically it has some scratches and dings, but we've touched up and re-lacquered a few finish rubs so it's very presentable.  Frets are in very good shape and the set up is typically superb.  If you're finding it hard to find a Singlecut with trem, here's a great player that looks good for $1750 with the 57/08 pickups or $1599 with the stock pickups installed.  

SDG Vintage '64 Vibroverb, (panel-click pic to enlarge), (top), (back), (inside).  This one's been on hold since January but now available.  SDG Vintage builds vintage amps the old-school way, all hand-wired, point-to-point, with exact detail and top quality components:  Mercury transformers; carbon comp resistors (Allen Bradley or other vintage carbon comp resistors) in the tone circuits and metal film or metal oxide resistors in the high voltage areas of the amp; solid core Teflon covered wire; and Carling brand switches.  For this model, the AB763 Vibroverb, they use actual vintage JBL D130 15" speakers, reconed by Weber.  This one also has a Mercury Bassman output transformer, which is an upgrade.  The Vibroverb is the holy grail of Fender blackfaces, in production for only a year or so.  I was fortunate enough to have an original one around a year ago and it blew me away.  This amp blows me away in much the same way.  The same classic Fender tone, 40 watts of vintage tone heaven, and the best sounding reverb and vibrato you can imagine.  Classic Fender clean tone with plenty of headroom, but you do get a nice, smooth breakup when cranked. The tone controls, unlike many vintage Fenders, are very pronounced and you can dial in a sparkly clean tone for country licks or steel guitar - or a darker, meatier tone.   Click here for more info from SDG Vintage and here for a thread from a steel guitar forum.  I don't see this model on their site but as they do custom orders I'm guessing you could order a new one.  New pricing for the Vibroverb starts at $2400 but this one looks like it's never left the living room and is dead mint for $1000 less, $1399(HOLD-Stephen F 8/19). 

HEY MAN, IT'S THE FUZZ!...

Analogman-mod Arbiter England Fuzz Face Reissue, (close-up).  Close to the real deal original Fuzz Face which was a Dallas-Arbiter classic from the 60's.  Limited edition run of ? pieces, this one's #233.  Hand-built in the UK, just like the originals and with the Analogman mod (link), one of the best germanium fuzz's you can get.  Click here for Harmony-Central reviews on a stock Arbiter Reissue; here for 2 reviews on the Analogman mod, which runs $75+, depending on what you have done.  What was done to this one?  I don't know.  I only know it sounds great, and more musical than a stock Fuzz Face.  Offered in pristine collector's condition in the original box for $199(HOLD-Dan C).  

Dunlop Fuzz Face Reissue, (close-up).  Built to the specifications of the Original Dallas-Arbiter Fuzz Face, ruggedly constructed to the original germanium PNP transistor design and vintage specs. This is the tone that Jimi Hendrix and countless other rockers of the 60's and 70's made famous.  Sells new for $124 but this one's mint in the box for $85.  

Fulltone '69 With Power Supply, (close-up), (power supply).  This is how you wished your Fuzzface sounded...  Fat and Harmonic. And it cleans up like a vintage Fender amp when you turn down your guitar's volume control.  Users include the Stones, Eric Johnson, Black Crowes, Satriani, and Trower.  Wow, what a list.  Prices on these continue to climb since Mike Fuller discontinued them in June '06, due to, according to Mike, the unavailability of decent sounding transistors - going for $250-$300 in clean shape.  This one's in excellent condition with no finish chips with original box and manual AND includes the optional Fulltone power supply for $275. 

Fulltone Custom Shop Full-Drive 2, (close-up), (bottom).  From 2003 limited run of Ferrari Yellow.  Aside from its limited edition appeal, this is perhaps the finest overdrive pedals on the market and, in fact, was voted by GP Mag as one of the top 50 effects of all time.  This is one of the earlier models that incorporated the mini-toggle in place of the push/pull pot. "Vintage" for old-style Fd2 mid-heavy tones that cut through the mix, "FM" stands for "flat-mids" offering a more natural sound but I've enhanced this mode for even more transparency, it sounds great on a Strat's Neck Pickup; and "CompCut" feature removes the bounding from the feedback loop allowing for Monster Clean Boost tones and some rougher OD sounds with the OD and Boost knobs turned up. Probably not the best choice for gigging as you're paying a lot for a color, but for the collector, a good deal on a discontinued run pedal, in collector's condition, for $239.  Includes box, manual, sticker.  (Note:  I also have the "Ferrari Red" on my effects page). 

Not a fuzz, but my favorite distortion of all time:  1987 Proco Rat, typical used condition but a lot cleaner than the last rust bucket I had, regardless, Rats are built like a tank and they just don't quit.  Sounds incredible and this has got to be the most versatile 3-knob distortion ever made - you can't get a bad sound out of it.  Does everything from a clean boost to over the top scooped mids to pure creamy butter.  These used to be cheap until the entire guitar playing world figured out that they can sound as good as a TS808, or crank up the gain and make your amp sound like a Boogie.  Just an absolutely incredible pedal in all regards and at 23 years old, it will likely be in service 50 years from now.  $125(HOLD-GeraldF 8/16)

OFF-HOLD:  1999 Fender American Standard Strat (Ash) with American Deluxe upgrades, (close-up), (headstock), (Noiseless new in box), (case & strap).  Take a mint '99 American Standard Ash and upgrade it with a new set of Vintage Noiseless pickups (with new pots), Fender locking tuners, and aged plastic parts, with a mint green guard, and you've got a great sounding Strat with a 60's vintage vibe.  The flawless body, finished in transparent blonde with very nice figuring, is solid swamp ash, lightweight, very resonant and comes with the original neck with rosewood fretboard.  This guitar has seen very little playing time so the frets are clean and the setup is immaculate.  With the blonde body, green guard with age-tinted parts, and rosewood board, this guitar has the looks of a custom color early 60's Fender, but the electronics makes it like a wolf in sheep's clothing.  You'll get tones that are faithful to a vintage model, without the noise.  The guitar plays wonderfully, is very lively sounding acoustically, and is guaranteed to be "one of the good ones" for just $1050 and includes upgraded '69 Custom Shop Fender/G&G 60's case, Fender tweed strap with strap locks, and misc. case stuff.  

2009 Fender 50's Classic Stratocaster - Surf Green, (front/back), (headstock/neck), (gigbag).  Get the feel, vibe, and tone of the real thing for around 2% of the price in one of the coolest of vintage Custom colors, Surf Green.  Features of the 50's Classic include alder body, vintage tinted one-piece neck with a soft-V profile, 7.25" radius with vintage frets, deep vintage body contours, "aged" plastic parts, staggered pole Alnico pickups, Fender/Ping vintage tuners, vintage tremolo with heavy block, and single ply guard.   Also worth mentioning, this guitar is an exceptional player.  If you like vintage Strats but aren't a fan of the medium action that they usually have, you'll find this one is plays much better than anything hanging in the super stores.  For all specs and info, click here for Fender.com.  Includes the new style Fender deluxe gigbag.   Don't pay $699 ($999 list) for a new one when this one is in dead mint condition, set up to perfection, and just $529(HOLD-Gregg C 8/25). 

2002 Fender 50's Classic Stratocaster - Surf Green, (front), (back), (headstock), (gigbag).  Same model as above, also in dead mint condition except for two finish touch-ups by the neck pocket (shown here).  Color match is pretty good but not perfect but it looks mint from the audience and like the one above, is a very nice player.  Appears that original owner never played this guitar as it has no extraneous scratches on the body or neck, frets and fretboard are immaculate.  If you want a nice Strat but don't mind a two minor finish imperfections, this one's for you.  $449(HOLD-8/22) and includes original Fender deluxe gigbag and trem arm.  

1997 Gibson SG Standard - Heritage Cherry, (front), (back), (headstock), (case).   Nice used condition, no issues, fantastic playing SG.  The SG silhouette is one of the most recognizable guitars of all time, from Pete Townsend in the 60's to Angus Young from the 70's until...forever, it is truly a rock and roll icon.  Starting in 1961, when it was the "new" Les Paul style, it has been in production continuously since that year which I believe makes it the longest running solid body model in Gibson history as well as the best selling Gibson.  Basic features have changed very little over the years - high gloss nitrocellulose lacquer finish, all Mahogany construction with featherweight thin body with sleek, sculpted edges, and deep cutaways to allow very easy access to the upper frets, and a very thin mahogany neck that's one of the fastest playing necks made, chrome hardware, Tuneomatic ABR-1 bridge and 490R/498T Alnico humbuckers.  Cosmetically it features Gibson's higher end appointments including antique cream neck binding with acrylic trapezoid inlays, holly headstock veneer with mother of pearl logo and "crest" (aka "flower pot").  All original except for Dunlop strap lock pins.  This guitar hasn't spent its life in the case and there is average player's wear  (as shown here):  some buckle rash in the clear coat only, minor dings in the clear coat, a few finish touch-ups to the top of the headstock with a proper Gibson touch-up pen, and the bottom of the truss rod cover has a minor chip.  On the plus side, no breaks or repairs, no cosmetic flaws down to the wood, frets are in excellent shape (shown here), and it has the killer set up these guitars are noted for.  Even more importantly, the 90's were an excellent era for Gibson, producing some of the best guitars from the prior 20 years.  I would take this over a recent model any time.  For full specs on the SG Standard, as well as audio and video clips, click here for Gibson's Site.  Gibson dropped the street price on this model over $200 around year ago, now heavily discounted at $1199.  If you're a player who's not concerned with a little honest wear this is an even better deal at $799(HOLD-Mark S 8/19).  Includes original brown case with the locking latch missing but otherwise totally serviceable.  

1997 Gibson Les Paul Studio - Wine & Chrome, (front), (back), (headstock).  Sort of the LP mate to the SG above, also finished in transparent red and from the same '97 production year, a quality era for Gibson.   You might remember this guitar, which was originally listed as a great player but in rough condition (before-1,  before-2 and before-3) with miscellaneous finish chips and wear around the edges, but no structural issues.  Martin touched up the rough areas with some "Wine" stain, lacquer over the areas, and buffed out the body.  While it's certainly not mint, it is a very presentable guitar.   The Studio's remain the best value in the "real" Les Paul line, i.e. gloss finish, carved maple cap over mahogany body, trapezoid inlays, 490R and 498T Alnico humbucker, Gibson deluxe tuners, etc.  Basic construction is the same as the Standard with the exception of cosmetic appointments such as body and neck binding.  The original Studio's, back in the early 80's, were a more distinct model, with an all mahogany body and dot inlays.  Following that came the "Studio Standard" with binding, dots, and maple cap - and finally in the late 80's this model.   It's a great playing Paul with very minor fret wear (pic) and no structural issues, no cracks, etc., and for a lacquer finish Studio a nice buy, especially for the many players who are looking for a non-chambered Studio, which are becoming harder to find.  Just $839 with Gibson deluxe gigbag or $899 with a new wood/Tolex hardshell case. 

1998 Gibson '57 Historic Les Paul Junior, (front), (headstock), (back), (detail).   My favorite model Historic, virtually unchanged from the mid-50's Juniors that started it all.   To me this is the ultimate - Classic Vintage Sunburst finish on an all-mahogany guitar, wraparound tailpiece, single P90, and volume/tone.   The single-cutaway Junior, which debuted in '54, was changed to a double-cutaway body shape in '58 and the stock finish changed from Vintage Sunburst to a Vintage Cherry finish, eventually changing body shapes one more time in '62 and renamed the SG Junior.  For me the Junior is perhaps the ultimate rock guitar.  People have asked if P90's are good for rock music and my reply?  Just listed to Leslie West on his old "Mountain" albums for one of the definitive rock guitar tones of all time...done on a 50's Les Paul Junior.  Mick Jones of the Clash, Frampton, and Bob Marley are a few others who chose these as a main axe but nearly every top artist has used one on their recordings.  My man Martin was extremely impressed with this particular Junior, citing a great tone and remarkable resonance.  When he was doing set-up and buffing it out, he also hand-polished the frets so bends are as smooth as glass.  At 7.2 lbs., it's the perfect weight for one of these.  Be warned, this have the baseball bat necks so if you like the 60's thin taper, you might want to pass on this one.  They don't make the single-cut '57 any longer but the double-cut '58 is selling new for $2799.  This one's in beautiful shape, one of the best one's I've had, and $1100 cheaper than a new Junior double-cut at $1699(HOLD-Ian S 8/30).  Includes custom shop case that fits perfectly except for the neck angle and requires a little padding under the body for the neck to rest against both neck supports. 

Klon Centaur Professional Overdrive Pedal, (back).  The Centaur is one of those pedals which, almost instantly, achieved legendary status.  In fact, they've created a cottage industry where customers order a pedal simply for resale as they command twice the new cost or more on the used market.  These pedals are hand made, one at a time, which inevitably creates a back order which grows ever longer.  After 15 years of production this large box model was discontinued (in Dec '09) and they'll continue to rise in price I would guess.  Simply put, the Centaur is perhaps the best overdrive pedal ever produced.  Many would argue that TS808 is the best but I've had both and this one wins.  It can also be set to perform as the best sounding clean boost you've heard.  Like the old Dumble amps, Klon's circuit is covered in epoxy (shown here) to prevent anyone from stealing their mojo.  Rather than go into a long description,  click here for a page of reviews from some major reviewers.  While this is not a cheap pedal, it is made of pure unobtainium and is cheaper than many you'll see on Ebay.  $575(HOLD-Dan C 8/14).   

2001 Danelectro Hodad, (front), (headstock), (back), (detail).   Finished in Black Gold....super duper clean shape.  One of the coolest guitars from Dano and its retro vibe and TONE make it a favorite of surf players.  Recently this model has become a top choice for garage band players, thanks to its low-fi tone   The Hodad features not one, not two, but FOUR lipstick tube pickups (with original formula 50's style Alnico magnets) which are wired for both humbucker tones and single coil tones.  Dano's most versatile guitar, the Hodad includes out~of~phase and coil-tap on each pickup set via push-pull tone knobs, for an amazing, 12--count 'em--12  cool tone variations.  The body shape is unique, not unlike an old Mosrite, which is roughly a Strat flipped upside-down.  Other features include hardboard top and back with Dano's classic tape "binding" (which actually isn't necessary any longer since they don't use the "sandwich" body), dual Tone and Volume Controls, a Hard Maple Neck with Rosewood Fingerboard, 25" scale, 21 medium frets, excellent quality bridge with individual string intonation adjustments, super smooth Gotoh tuners, and Dano's version of the Bigsby tremolo.  Dano no longer makes this model and I don't get them in very often these days.  This one is in beautiful shape and Martin is an expert at setting up Dano's so you can count on superb action.  Currently set up with flat-wound strings for maximum tone, but just ask and we can set up with lighter gauge round wounds.  You'll see many name artists playing these import Dano's - players who can afford any guitar they want - but nothing has the vibe and tone of a real Dano.  This is an excellent value in a totally cool and versatile guitar at $289.  

Collings 360 Quilt Top, (front), (headstock), (back), (detail), (case/etc.).  One of the nicest quilted maple tops you'll ever see.  A new model from Collings, the 360 is offered in plain tops - or flamed/quilted maple at an upcharge.  Looking at samples around the web, this has got to be as nice as it gets.  Perfectly bookmatched, and consistently figured top to bottom, side to side.  The silhouette on the 360 looks somewhat like a droopy Les Paul, except with a much deeper cutaway to allow easy access to the upper frets.  For pickups Collings chose Jason Lollar mini-hums, which is a nice departure from the usual PAF style used by just about every other builder.  The Lollars sound great and provide more range in tone than PAF's.  In addition to searing rock leads, this guitar doesn't sound out of place doing country licks.  It's slightly thinner than an LP and at 7 lbs., non-chambered, it's definitely a pleasure to strap on and play.  Features include One-Piece Solid Honduran Mahogany Body, fully carved maple top with optional flamed or quilted maple, High Gloss Nitrocellulose Lacquer Finish, East Indian Rosewood Fingerboard, Ebony Peghead Veneer, Amber Top Hat Knobs recessed into the body, Custom Mini-Humbuckers by Jason Lollar, Hand Set Mortise and Tenon Neck Joint, 24 7/8" Scale Length, 50's Style Wiring, 12" Fingerboard Radius, 1 11/16" nut, Tone Pros Bridge and Tailpiece, and Sperzel tuners with Vintage-Style Buttons. For a glowing review by Premier Guitar with a video demo, click here and here for one by Gear Vault.  This is a very lively guitar with remarkable resonance, and excellent acoustic tone, and very comfortable to play with low action and a neck that's just right, slightly chunky but not a baseball bat like a '58 LP.  Cosmetically it's in beautiful shape with perhaps several minute flaws.  With the quilt top option this guitar lists at $3900, selling at discount for around $3510.  If you're thinking about getting one of these, you'll have a hard time finding one as visually stunning as this one, plus it's $1100 cheaper at $2399.  Includes original Ameritage case.  

Epiphone Hummingbird, (full length), I have several of these earlier Korean-made Hummingbirds in stock which supposedly had cosmetic flaws but appear flawless now.  Features solid spruce top and mahogany back/sides, basically the mahogany equivalent of the Epi Doves on my acoustics page.  Like the Dove, the Hummingbird is a recreation of the Gibson classic with the looks and tone of a vintage classic.  Nicely appointed with multi-layer bound body, bound neck, dual parallelogram fretboard inlays.  The list price on these when they were Korean made was $665 and as with most Epi's, they fairly dropped the list to $582  when production was moved to China.  I have a few of these  for less than the new Chinese models; $325.  If you need amplification, we can send you one with a Fishman Acoustic Matrix (pic2) saddle transducer installed for $99 more (sells new for $129, not counting installation).  The Matrix is designed for a slight boost in the bass range which, on a full size dreadnought like the Hummingbird, gives it incredible bottom end, but clear note definition throughout.  The cool thing about these units is the entire preamp is built into the elongated output jack, rather than having a separate preamp stuck to the back or side of the guitar.  Runs on 9V battery with a battery life of over 6,000 hours.   Whether you choose an acoustic, or with the Fishman upgrade, it will be better than the current Chinese model plus it will receive Martin's personal setup which guarantees it will play easily and the frets properly dressed.  

OFF-HOLD:  ca. '75 Ampeg Little Stud Bass, (front/back), (headstock/neck), (bridge/pickup), (case).  You may have not seen this model before.  In the mid-70's Ampeg began importing their Stud line from Japan, with the Big and Little Stud basses based on the Fender P/J basses.  Basically the body is like a P-bass body shape with similar pickguard and bridge/pickup covers, while the neck was like a J-bass with a bound neck and pearloid block inlays.  This is a medium scale bass, around an inch short of a full scale, and is an excellent player with a nice deep tone that's slightly brighter than a P, but slightly fatter than a J.  By the time this was built, Japan had been building good quality guitars for over a while.  Gone were the days in the early-mid 60's when "Jap junk" was a catch phrase, with action that was 1/2" high.  This bass has a comfortable setup, sounds good, and is in nice shape for 35 years.  The only mod I've noted is an extra strap pin hole on the lower horn, apparently used by a lefty at some point.  A good value for a utility bass at $399.  Includes 70's era hardshell case.  

T.C. Electronics G-Major AND G-Minor Guitar Effects Processor, (back), (large LCD Display), (stock pic),  (original box), (T.C. Electronics G-Minor).   Both G-Major and G-Minor are mint condition in the box.  T.C. Electronics builds some of the finest guitar effects in the world.  Their tone is legendary, some of the best engineered guitar gear ever made.  The G-Major was engineered in the TC tradition, with superb tone as the central theme.  There have been, literally, 100's of guitar multi-effect devices manufactured since they first came on the scene in the 80's but there have been few with true quality tone.  What good is a unit that has 100 effects, 25 simultaneously, if it sounds like crap and you can't hear the guitar?  The G-Major is an effect that sounds great, and your guitar tone doesn't get lost in the mix.  This isn't to say that this isn't a powerful unit; it is.  It doesn't try to do it all - it's an effects unit only, not a preamp, you can run a simple setup with just your amp's preamp and you'll have all you'll need.  There are too many features to list here but as a brief into - you can route your effects series, semi-parallel, or parallel.  You can even "lock" the unit so all patches will follow the same routing.   Effect include noise gate, compressor, chorus, flange, resonance filter, vibrato, tremolo, panner, phaser, reverb, de-tune, pitch shifter, delay, ping pong, dynamic delay, dual delay, *channel switching*, modifiers, and chromatic tuner.  There are 100 preset patches and 100 more user-defined.  This unit is in "as new" condition and works perfectly.  The G-Minor is a triple footswitch and the perfect companion piece to the G-Major.  For all the features and full description, click here for TC's Site.   New cost on these was $399 for the G-Major; $129 on the G-Minor = $528.   Get this pair in "as new" condition for $200 less - $328 takes the pair.  

1978 Gibson Les Paul Standard - Cherry Sunburst, (front), (back) (headstock), (controls/cover), (pickups), (trem block) (case).  Great playing Les Paul Standard with a vibrant cherry sunburst top in original condition.  No breaks or repairs; never messed around with.  Other than the plastic output jackplate replaced with a steel one, replaced pickguard, and Schaller straplocks, this guitar is 100% original including original pots and solder joints and original patent-stamped humbuckers, dated '78.  Neck has a very thin profile, probably a tad thinner than a '60 classic, with very low action that rivals most Les Paul Customs.  It's in average condition for 32 years - neck is worn through in spots and typical cracks in the binding (both shown here), plus normal players wear such as buckle rash in the finish only, and some wear on spots around the back edge.  Finish has minimal checking.  Tone is fat but not as dark sounding as many Pauls; these pickups put out plenty of highs without sounding overly brittle.  For an unmolested original 70's Paul, especially a cherry sunburst in great player's condition, a nice buy at $2200.  Includes later brown Gibson case that's missing the combo latch but all other latches are present.  

1991 Fender '54 Stratocaster Reissue - Fender Japan, (front), (back) (headstock), (body/neck markings), (upgraded electronics), (trem block).  Throughout much of the past few decades Fender Japan has done dozens of reissues.  While Fenders in this country are only reissued in several model years, off the top of my head I recall having Fender Japan Stat reissues of around 8 different years and if you look at the current Fender Japan catalog, they probably make around 30 different Strats.   The differences may be minor as is the case with the '54, which is basically the same as the '57 except for a different neck profile.  The '56 is slightly chunkier, i.e. more shoulders, with a softer V shape than the '57's hard V.  This picture shows that the neck was lightly sanded and with some additional playing wear, it's worn down to the natural wood in spots and in the days when some players weren't proud to be playing a Japan Strat, someone sanded off the serial and "Made in Japan" at the base of the neck.  Having looked inside of 100 Japan Strats I can say with certainty that this is an original MIJ '54 with all original hardware.  The one change, and it's a good one for seekers of vintage tone, all electronics have been upgraded - a set of Fender Custom Shop Fat 50's pickups with cloth wires as well as CTS Pots and switch.  The only other cosmetic flaws are a few very minor dings on the body (shown here).  Other features include Kluson-style vintage tuners, single string tree (original round tree installed upon request), early body contours, maple neck with black dots, first-style Spaghetti logo, Fender 50's Classic big block trem, white single ply 8-screw pickguard with white parts, and truss rod adjustment on butt end.  Frets have been lightly dressed allowing a nice set up and at a lightweight 7 1/2 lbs., it's a joy to play.  Fender Japan are highly regarded guitars, and these older models, even more so.  For $699, it's an excellent value, especially with these Custom Shop pickups.  Includes form fit SKB molded case.  

1989 Fender Squier Stratocaster Project, (upgrades), (front), (headstock), (back), (pickguard assembly).  Here's one for the DIY'ers, or just somebody who needs some quality parts.  Normally we would just complete this here at the shop but with dozens of projects waiting in the wings, it could be years before we get around to it.  This has some high-end upgrades:  A trio of Rio Grande pickups - the "Muy Macho" set (Muy Grande in neck and middle with an STelly in the bridge); CTS USA electronics; an early model Original Floyd Rose with wood screws into the body rather than the later inserts; and Sperzel locking tuners.  Made at the Young Chang plant in Korea in 1989, as a guitar, it's a solid, clean piece with a good neck and overall in nice shape.  The string trees have been removed and plugged, in favor of a bar-type string tree.  With quality tuners like the Sperzels you can get away with some fairly heavy tremolo use but for extensive dive-bombing you'd want to go with a locking nut.  The pickguard will have to be cut slightly to accommodate the Floyd (overlap), which is slightly wider than the original vintage style trem.  Rio Grande sells this prewired pickup assembly for $326 (link).   I'm selling this whole project the for just $24 more than the cost of the prewired pickup assembly, $350.

2005 Fender USA Highway One Stratocaster - Daphne Blue, (front), (back) (headstock), (Relic look), (Deluxe Gigbag).  Lots of cool vibe with this one.  First off it's a Daphne finish which, if buffed out like this one, looks like an expensive custom color vintage guitar since it's a nitro finish.  When we got it in it had a spot of arm wear, which is inexplicable since the rest of the guitar was super clean.  We debated doing a total relic job to the body but decided to leave that up to the discretion of the buyer.  We did add honestly aged pickguard and back plate screws, an aged bridge and saddles, and, best of all, knobs which have that green patina that can only be obtained through honest use.  The Highway remains 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 gloss finish.  Other than that, the quality is the same as the American Standard.   Specs include:  Alder body,  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; 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 do, mainly because of its long drying time - it's rarely found on a guitar in this price range.  We offer a buffing upgrade Highways for as little as $50, which gives the guitar a high gloss finish and with the thin Nitro finish, more of a vintage look, as shown here, side by side.   With a list price of $999, these sell new for $699, very fair for an American Strat.  I think this one is much cooler and with a few hundred hours of use will look like an honest vintage guitar - or Relic it now if you prefer.  Regardless, it's an excellent playing Strat, nice weight at 7.6 lbs., and already buffed out for you.  All for $550(HOLD-Gregg C 8/11). 

ESP George Lynch M-1 Tiger, (close-up), (back), (headstock), (Floyd), (case).  Brand new condition!  The real deal Lynch model, from the Japan Custom Shop which matches the quality of the guitar that George himself actually plays.  Features of the Kamikaze 3 include George Lynch U neck contoured maple neck with maple fretboard, Maple body, Seymour Duncan George Lynch Screamin' Demon humbucker controlled by only a volume control, Original Floyd Rose tremolo, and XJ frets.  Unlike a lot of Floyd Rose guitars, the neck on this baby is rather substantial, wide at the nut and rather thick, definitely not something for guys who like the slim profile necks.  If you're a fan of the ultimate in simplicity, basically a Kramer Baretta fan, this guitar is for you.  It's better than any Baretta I've played and with the price of the best Baretta's soaring, probably around the same price.  The setup is impeccable with low action that's perfectly even up the neck and immaculately finished frets.  As the Custom Shop gets more and more backed up, the prices keep going up and this model now has a list price of $3699 selling at discount for $2779.  Save a bunch of your hard earned money.  This Lynch is virtually new, doesn't look like it's ever been out of the case, and is $1000 cheaper at $1779(HOLD-Johnnie W 8/9).  

Jackson DK10D Dinky, (front), (back), (headstock), (trem).   An excellent quality shred guitar from Jackson's Japan manufacturing plant.  It features the looks and comfort as the USA DK-1, as well as a quality tone and a Jackson Floyd Rose that stays in tune perfectly.  Features include Basswood body with flamed maple veneer, Bolt-on maple neck with scarf joint headstock, Ivoroid binding on neck and headstock, Compound radius rosewood fingerboard with flat 12"-16" radius, 24 jumbo frets, MOTO shark fin inlays, Duncan Designed HB-103B and HB-103N pickups, Standard Dinky electronics with 3-position pickup switch - Master volume - Master tone, Floyd Rose Licensed Jackson low profile JT580 LP double-locking 2-point tremolo, Chrome hardware, Jackson Sealed die-cast tuners.  These DD pickups are among the best imports on the market and are made with the same quality as regular Duncans, but benefit from lower-cost Asian manufacture.  The HB103 set, for instance, is the DD version of the SH-6 Duncan Distortion set, with ceramic magnets and powerful coil windings to deliver a high output tone and lots of crunch and harmonics.  The bridge pickup is Trembucker-spaced for a perfect magnetic field.  This guitar is in immaculate condition and better than new since Martin did a level and dress on the frets to get the best possible set up.  The flame top models sell new for $529, which is cheap for a Japan-made guitar.  This one's just $359 with gigbag or substitute a plush-lined Coffin Case ($109 new)  for just $50 more.  

1980 Fender Lead II, (front), (back), (headstock), (case).   Fender's Lead Series had a very short run, from 1979 to 1982, but they're excellent utility guitars, built by the same craftsmen who built the Strats and Teles from that era.  With the I, II, an III, the Leads were offered in 3 pickup configurations.  The I featured a single humbucker; this II featured dual single coils; the III featured dual humbuckers.   After initially using the gray fiber bottom Strat pickups on the early models, Fender used their new "X-1" single coils, as found on this guitar.  These ceramic pickups are hotter (7.5K) and have earned certain notoriety as the bridge pickup on the highly-regarded "Smith Strat" so-named in honor of Dan Smith who got Fender back on track in the early 80's.  In fact, several features of this guitar (smaller vintage style headstock, truss adjust at the butt, and 4-screw neck) make the Lead, essentially, the bridge between the earlier Strat and the Smith Strat.  These features appeared on the Lead in '79, which preceded the Smith Strat by 2 years.  While two single coils might seem to have limited tonal options it's wiring design gives an excellent variety of tones.  There is a 3-way coil selector switch (back single coil, both coils, front single coil) - and a separate 2-way switch which is engaged when the selector switch is in middle position, to select the two pickups in-phase or out-of-phase.  While the single coil tones position 1 and 3, are very Strat sounding, the middle position in-phase is the fatter humbucker tone, while the out of phase is a more hollow, airy tone.  This transparent red model features an ash body (alder on opaque finishes), as well as a maple neck with rosewood fretboard, string-thru-body hardtail bridge, truss rod adjusts at the heel, Fender F-tuners, soft-C neck with vintage 7.25" radius, 25.5 full scale, and 21 medium jumbo frets.  Clapton's Wine Red Lead II (pic) was the reportedly the first guitar ever displayed in a Hard Rock Cafe.  Other players who were more associated with the model include Bono, Eliott Easton, and Steve Morse.  I remember Fender had a very aggressive ad campaign in Guitar Player mag when these were being produced and I was one of the 1,000's who were taken with this "poor man's Strat".  I played my Lead II for around 5 years and this guitar reminds me of what great guitars they are.  Sets up fantastic with low action and clean original frets (pic here) which indicates it has hasn't seen much playing time.  Fender used a polyurethane finish which is brittle and prone to cracking.  This one has the typical finish cracking, but only around the edge (shown here) with one small area where it has flaked off.  If desired, we can overspray the edge and stabilize it if desired. This is another example of affordable vintage, an American guitar that's 30 years old that sells for less than a new model would sell for today, had they continued making them of course.  A totally gig-worthy American Fender, with clean original molded case, for $550(HOLD-Zac 8/11).  I also have Fender's premium case for this model (pic) which you can substitute for $50 more.  

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 by a mediocre one when you can have one of the finest - for just $2099.  

2004 Fender 50^th Anniversary Golden Stratocaster, (front), (headstock), (back), (50th gigbag).   All Gold Beauty - cosmetically identical to the Homer Haynes Limited Edition (HLE Strat) (shown here), which was the custom shop's first shot at a limited edition model back in '89.   This 50th Anniversary model celebrates the Strat's legacy the cornerstone of rock 'n' roll, and a universal guitar standard.  Only shipped during the tail-end of 2004, this righteously gilded guitar has all the standard appointments of a classic '50s Strat - classically contoured alder body, a vintage-tint maple neck with soft V profile, a smooth maple fretboard, and Alnico stag-pole pickups.  This only flaws are a tiny finish ding by the output jack, and some gold wear to the bridge and output jack (as shown here).  Otherwise, this guitar is extremely clean with no scratches, perfect frets, a really nice setup, and a nice weight at just 7.8 lbs.  These guitars had a very brief run, almost like an afterthought by Fender, so there are few on the market.  It sold for $699 back in '04 but this one is in beautiful condition and just $575.  If  you really want the ultimate in vintage tone, upgrade to a brand new set of Custom Shop '54 pickups (pic), which sell for $169, and have this fine Strats with 54's installed for just $725 (including trade in of old pickups).  

Ampeg SVP-BSP Billy Sheehan Preamp, (front panel), (back panel), (manual).  For players who prefer a rack system, the SVP-BSP has all the tone-shaping of the SVT Pro heads.  This is a tube-driven preamp that features 2 channels, each with full equalization that can be switched or combined to create Billy's original dual SVT sound.  Each channel has a separate transformer, balanced XLR line outputs, and discrete effects loops.  Each also features 3 tone controls with sweepable mids on the Overdrive channel, push/pull on the Bass control to activate "Ultra" bass, push/pull on Volume to activate compressor, push/pull on Overdrive channel gain control to activate boost mode for a really cool bass distortion.  Other features include input pad and mute switches, channel select and mute switches, LED indicator (green/red) for selected channel, noise gate.  Rear panel has tuner out, footswitch jack for channel select/combine, preamp out (overdrive and clean/mix), 2 effects loops - one for each channel, transformer balanced XLR outputs for each channel with level controls and pre/post switch on the clean channel.  For a single rack space this unit is loaded with features and it really sounds killer for everything from fusion, to classic rock, to slap, and just plain old straight ahead clean bass tones.  Here's a good review at sputnik (link) and a brief YouTube demo showing it's overdrive tone.   Sold new for $550 but this used one's in nice shape, works perfectly and is probably the best bass preamp I've had in stock  $365(HOLD-Darren W 8/12).  Includes original manual.  

1965 Fender Princeton with 6L6 Power, (top), (panel), (back), (chassis).   Great sounding 45-year-old Princeton in very clean vintage condition.  One major mod on this amp - it's been converted to 6L6 power.  I got this from an employee at a major boutique amp company and I'm not sure what the mod involved but it sounds great and is cranks out all clean headroom.  Just a hint of breakup at 9-10 but just barely.  Even though it's dual-6L6 powered, this amp isn't overly loud an sounds to me like 20 watts, sort of like a low-power blackface Pro.   Everything sounds perfect - it's quiet at idle when turned up all the way, bass and treble knobs are strong as is the Vibrato speed and intensity.  Two other minor mods include Vibrato jack has been changed from RCA to 1/4" and speaker changed to a Mojotone 10".   If you're a purist looking for a Princeton tone, this amp isn't for you, but if you're looking for something a little bit louder, that oozes the classic Fender clean tone, you should enjoy it.  It's clean enough that you might want to restore it to original but it has a nice voice of its own that some of you will love just the way it is.  $850.  

ca. '88 Aria Pro II XRB-2A Bass, (front), (headstock), (back), (gigbag).  In one of the cool 80's finishes, blue crackle.  This bass has two major mods - a partial Billy Sheehan inspired fretboard scallop, and a pickup upgrade with a Bartolini J pickup an Jackson P pickup.  Fretboard is scalloped fully at the 12th and 19th to 22nd frets; scalloped under D/G strings only at the 15th and 17th frets.  Electronics are pretty cool.  It has a standard 3-way to select neck-both-bridge pickups plus a mini-switch to select passive or active mode.  The volume controls works in both modes but in the passive mode, the middle knob is a master tone while the 3rd knob is out of the circuit.  In the Active mode, the middle knob is out of the circuit while the 3rd knob is center detented and acts as a treble boost as you turn it forward, bass boost as you turn it backward.  Finish is nice shape, back has no heavy buckle rash and it has a separate control plate for the controls and the 9V battery.  Overall this bass is in pretty nice shape for a used bass, has a nice set up, and with these pickups and scallop job, could make an interesting gigging bass.  Set up with a new set of flat wounds that feel great and sound good.  Whether your a semi-pro or a beginner and you want to get the most bang for the buck - this used bass is $100 cheaper than a new Squier Standard Jazz.  $169.  Includes for free a well-padded gigbag that's been re-stitched up the side but, hey, it's free.  

Rockman Soloist WITH Power Supply, (panel).   Looking for the Tom Scholz "Boston" tone?  Here you go.  This is the original 80’s model, which was a more affordable alternative to the X-100.  We're not talking Guitar Ace, which came out a decade later, without the technology that made the originals instant classics.  The Soloist sounds much like the X-100 except has one less tone selections and doesn't have echo.  It does have distortion-edge-clean settings and a lush stereo chorus.  Works great through your amp, straight into the recording/live console, or as a practice amp through headphones.  Runs on a bunch of AA batteries or external Rockman power supply which was an optional accessory back in the 80's.  A warning to anyone looking for old Scholz/SR&D products, many of the X-100's and Soloists have issues with switches and jacks, so be careful when purchasing one.  I have 3 in stock that are good for little more than spare parts.  We cleaned all switches and inputs on this one and it works perfectly.  Priced at $109 - which *includes* original SR&D power supply, which I've seen selling for $40-$50 - or if you don't need the power supply, $85.  

Rockman Wah-Wah RW-1.  First one of these I've ever had.  Uses optical sensor instead of a pot so no scratchy pot to replace and years of hassle-free use.  Decent used condition; works perfectly.  $65.  

Lindy Fralin 8K/9K Nickel Humbucker Set.  One of the best pickups made for the classic 'Burst tone.  Has Gibson leads and as the name suggests, a true vintage output of 8K (neck) and 9K (bridge).  New these are $280.  This set is clean baby, with screws and springs, in Fralin boxes, and just $190.  

DiMarzio DP169 Virtual Vintage P90 and DP154 Deluxe Plus Humbucker Soapbar.  Take you pick - a pair of DP169 and/or a DP154.  The DP169 Virtual Vintage P90 has the classic P90 tone, without the noise, thanks to Virtual Vintage technology.  The two coils are tuned to different frequency ranges and output voltages, so tone and balance can be tuned by adjusting pole piece heights - almost the same effect as adjustable high-fidelity speaker crossovers.  The Deluxe Plus is actually a humbucker, but is built to fit in a standard Soapbar body route.  Low notes are fat but not muddy and it sounds very meaty all the way up the neck.  We've had these in a Les Paul before and they sounded fantastic - better than mini-hums in my opinion.  New cost on a pair of DP154's  is $139.98 (69.99/each) - but buy this pair for less and get the DP169 for free.  That's right, all 3 for $139(SOLD-Robert N 8/19).   

Strat Pickguard - Birdseye Maple finish.  11-screw for '62 Strat, American Standard, etc.  Would look really cool on a natural finish.  Clean shape, $25 including shipping. 

Fender Jazz Bass Pickguard WBW.  Fender American Standard.  Clean shape, $22 includes shipping.  

Fender '52 Tele Pickguard.  Single-ply black, 5-hole.  New.  $35 includes shipping. 

Tele pickguard - Confederate Flag.  8-hole.  Clean shape, $21 includes shipping.  

Celestion G12EVH 20-watt. Collaboration between Celestion and Mr. EVH to recreate the classic 60's speaker, the 20-watt "Blackback".  $149 everywhere but this one is new, never installed, and just $110.  

1986 Jackson Strat, (front), (headstock), (back), (neck), (trem/controls), (neckplate), (neck/body stamps), (case).  Fantastic older Custom Shop Jackson from early Ontario production - San Dimas neckplate, the body still has the smaller San Dimas control route on back and the finish has the white undercoat that all the old Charvels and Jacksons had - but as I've mentioned before, actual San Dimas production stopped at serial 1505.  The finish is a yellow "diamond dust" as it used to be called with flakes that are slightly more visible than pearl but not as large as a metallic or flake.  Body and neck order numbers are matching and the neck stamp also shows that it was built by the famed Mike Eldred who was Grover Jackson's first employee (ca. 78) and after some great days at Charvel/Jackson went on to become the current Custom Shop manager at Fender.  Here's a cool interview with Mike about the early days at Grover's factory (link).  Pickups are an early Duncan JB in the bridge and a pair of Jackson J-100s in the middle and neck (pic here).  The bridge is the German-made Schaller-licensed Floyd Rose, also in nice shape.  Strap pins are the Schaller locking type.  This guitar features black hardware, but the base of the Floyd nut is chrome.  Since these were custom ordered guitars it could have been ordered with a chrome nut but, regardless, we can probably swap it out with a black one if desired.  The only noteworthy flaws on this guitar are two small finish chips on the bottom edge and typical lacquer cracks in the cutaways (shown here).  Overall though, this guitar is extremely clean and absolutely killer in terms of playability.  Has the fantastic older style unfinished neck with the typical discoloration that these get with any real playing time.  We can clean the neck if desired but most of you will want it just the way it is.  At 24 years, this guitar is remarkably well preserved and especially with the older style body, it's much more of a "vintage" Jackson than guitars that followed.  Whether you're a collector or player, you can't go wrong with this one.  $1199 includes era-correct Charvel chainsaw case with all latches(!) or a recent Jackson case. 

Aphex Acoustic Xciter, (pic2).  Excellent sounding acoustic preamp and DI.  Doesn't have quite as many features as the Baggs I posted last week but is much more compact and the fidelity is just as good.  Features built-in Aphex Aural Exciter with "Big Bottom" technology.  Active/Passive switch, Lo Tune - Lo Blend - Hi Tune - Hi Blend controls, 1/4" or XLR outputs.  Like other Aphex units, your acoustic voicing will be clean and open, with better articulation, clarity, and projection with the feeling of a fuller reach to the lowest notes.  This will probably go to a guitarist but please note that it's made for ANY acoustic instrument including violin, cellos, saxophones, flutes, accordions, xylophones, and keyboards.  In Harmony-Central reviews (link), scored a 9.2 overall, 9.4 on sound quality.  Click here for a YouTube demo by Tom Bresh on how he sets his Xciter.  Perfect condition, not a scratch, but it does have two strips of Velcro on the bottom.  Very nice unit for the money, $99.  

Xotic Effects AC Plus, (front/back).  Perhaps the coolest boost/overdrive pedal on the market with dual channels and a seeming endless supply of tonal options.  Like all Xotic pedals, the build quality is top-notch, hand-wired, true bypass, etc., and built for decades of use.  Rather than reinventing the wheel I'd like to direct you to Xotic's site where they have the coolest interactive demo I've seen on any guitar product (Click here).  There's also an unbiased 5-pick review from Premier Guitar, with the only slights being price and value, which is understandable since it's not a cheap pedal.  Sells new for $224 but this one's mint in the box for $175.  

2008 Gibson Custom Shop 1967 Flying V w/Maestro, (front), (headstock), (back), (case/acc.).  The Flying V has an interesting history. Initially released in '58 as one of Gibson's radical new designs which included the Explorer (aka Futura) and the mysterious Moderne, these guitars, all made of Korina, were a big flop and all were dropped the following year. Fast forward to 1966 and the V reemerged, although with some noteworthy differences including a larger pickguard, triangular knob configuration, shorter headstock, short Maestro vibrola used on some, and perhaps most importantly, a mahogany body.   The model remains part of the Gibson catalog with largely a rock/metal following, due largely to Michael Schenker and KK Downing, as well as Hendrix, although the mahogany/PAF combination which is great for blues and you'll even see some country artists such as John Rich (Big & Rich) using them.  The late 60's V's are felt by many to be the pinnacle of this model thus the Custom Shop has reissued this model, true to the original, all the way down to the Maestro vibrola. Finished in "Faded Cherry", which doesn't imply the cheaper satin finish but a gloss lacquer finish with the look of an old Heritage Cherry that has faded with time. The guitar isn't intended to be a "relic", only the lighter finish to more accurately replicate the color an original '67 would look like today. Features include: Solid mahogany body, Nickel hardware, Abr-1 bridge, Maestro tailpiece, 1-piece mahogany neck, 22 fret rosewood fingerboard, Pearloid dot inlays, Rounded neck profile, 24 3/4" scale length, 1 9/16" nut width, Kluson-style double-line/double ring tuners, BurstBucker 2 & 3 pickups, 2 volume, 1 tone, and 3-way selector switch.  This model lists $3824, which is low for a Custom Shop guitar.  As you would expect, and the quality is top notch with superb playability thanks to Plek technology, and light weight with excellent sustain thanks to choice tone woods.  Offered in mint condition with certificate, the usual huge assortment of vintage paperwork, and custom shop case, for $1999, shipping included.  

Mackie SR1530 Active 3-Way Powered Speakers, (front/back), (trap. shape).  For sale/trade locally only - UPS would undoubtedly find a way to destroy these if shipped.  Great for bands or DJ's.  For the ultimate in simplicity you can't beat powered 3-way speakers.  No power amps to lug around and hook up, no subs-woofers needed, just plug in your mixer and you're up and running.  Rated at 500W with 300W going to the 15" low frequency driver, 100W to the 6" mid-frequency horn, and 100W to the 1" throat high-frequency horn with internal crossovers at 700Hz and 3000Hz.  The wattage rating is deceptive, the 123dB (long term) sound pressure level (SPL) really tells the story.  I've played with tri-amped systems of 1500W that weren't nearly as efficient and sounded no louder than the SR1530's.  The trapezoidal shape helps ensure a wide (90°) side dispersion which is great for a square room.  These are very well made cabs, built for years of use.  Rather than particle board or MDF, these are constructed of solid birch plywood, with rugged molded resin caps on the top and bottom edges.  They're built to work night after night with massive heat sinks to keep the amps cool, and has an auto shut down and auto restart in the rare case of high temp shutdowns.  At 44" high, they're tall enough that they barley need elevation; perhaps place them on the stage high if you have a packed crowd.  They weigh 100 lbs. each but they're actually lighter, and smaller, than toting around subs, high packs, and power amps.  The fidelity on these things is incredible.  With nothing other than a 6-channel Behringer mixer with no EQ'ing used, and an I-Pod, I was impressed with the exceptional clarity and balanced frequency.  The bass hits very heavy which DJ's will love.  For full specs click here for Mackie's site.  These were recently discontinued but sold new for $999/each, although there are some stores that still sell them at $1099/each.  These are in nice shape and just $1099 for the pair.  Better yet, if you have a extra guitar but need some nice PA gear, we can hook up on a trade.  Again, I will not ship these.  

2006 PRS SE Soapbar II Maple, (front), (headstock), (back/side), (detail).   Attractive flamed maple over mahogany, excellent tone and comfortable low action make this a great guitar for a very reasonable price.  As I’ve mentioned many times, PRS imports are the highest quality Korean’s I’ve seen and I’ve yet to come across any that were not top quality instruments.  This light-weight Soapbar II, finished in transparent green features all-mahogany construction, body (maple veneer top) and neck, and a great sounding pair of Duncan designed P90 pickups.  Fans of chunky necks will appreciate the substantial feel of this wide/fat neck carve.  Wraparound tailpiece is beautifully simple, intonates well, transfers the tone to the body extremely well, and is the best setup I’ve seen for hand muting the strings.  3-way switch is hum canceling in the middle position and you get a quality tone with either—or both—pickups.  Winner of the Guitar Player mag "Editor's Pick" for 35 guitars under $500 (link).  Setup is incredible and this is actually good enough for the advanced player.  Includes an extremely well-padded gigbag and just a killer guitar in all regards, especially for the P90 fan, at just $379.  

2007 Ibanez SRX650 Bass, (front), (headstock), (back/side), (detail).   Super comfort, stunning looks, and a very good variety of quality tones make this one of the best values in an active-EQ bass.  Finished in Bright Blue with nicely figured ash with white binding, matching flamed maple headstock, and gold hardware, it's indeed a beautiful bass.  For comfort and ease of play it has a long belly cut and an extended horn on the bass side which puts much of the weight in the center and makes it hang at the proper position, neither neck heavy or body heavy.  One of my favorite features, and it's a very simple ergonomic design, are the small cutouts on each of the pickups which are made for resting your thumb - they keep your right hand in a precise playing position and are much more comfortable than resting your thumb on the sharp top edge of a normal pickup.  Tonally, this bass has passive pickups, but an active EQ circuit (Bass and Treble cut/boost) which lets you dial in many more tones than a passive "tone" control.  The bass is equally at home playing slap/funk or metal, and everything in between.  Features include a light ash body, bound neck and headstock, 2-band EQB-IIDX EQ active preamp, 3-piece SRX4 neck, 24 Medium frets, PFR (passive, full range) high output pickups with a PFR-AL4N (neck) and PFR-AL4B (bridge), large mass Accu-cast B200 bridge, and easy access 9V battery door on back.  Recently discontinued, this model sold for $549 ($733 list), which is a beginner/intermediate price, but this bass is seriously nice enough for pro gigs.  Super clean shape, extremely comfortable setup, and a value leader at $379.  

2008 Epiphone Jack Casady Signature Bass, (front), (headstock), (back), (case).  Many of you may have not heard of Jack Casady, but he was one of the premier bassists back in the 60's and 70's, and his signature tone was a large part of The Jefferson Airplane and Hot Tuna.  Working closely with Gibson and Epiphone, they created a very cool signature model that has similarities to his vintage 1972 Gibson Les Paul Signature bass, that he discovered in a New York instrument shop in the mid '80s.  Jack spent a lot of time working with a pickup designer from Epiphone putting together a new humbucker for his signature model. Together they decided on a passive pickup and control section that delivered a very natural tone. The pickup is a special low-impedance model (the JCB-1), which produces a bass sound high impedance pickups and active electronics can't match.  This bass isn't  exactly a semi-hollow or hollow body, but a hybrid of the two designs. Under the bridge is a mahogany center block that adds sustain and helps to fight feedback and there are also maple slabs attached to the top and back, but not a solid piece as found on a semi-hollow. This construction allows the top to vibrate more freely, providing a more natural, woody tone.  Features include Maple body with maple center strips inside of body, Mahogany block under bridge, Set maple neck, Rosewood fretboard, Low-impedance JCB-1 humbucker, VariTone control, EB-style vintage bridge with 3-point attachment, Volume and tone knobs, Pearloid trapezoid inlays, Body binding, and Jack Casady headstock signature.  This bass has a very comfortable set up and a unique tone that is full and natural sounding.  It sells new for $799 without case but this one is in super clean condition AND includes Epiphone case for $659(HOLD-J Scott 8/5).  

2007 1957 Les Paul Custom VOS - Faded Cherry (LPB-7), (front), (headstock), (back), (case/acc.).  A superb recreation of the '57 Les Paul Custom, which was a milestone year in that it introduced the PAF humbuckers for the first time.  Then, as now, the Custom has been the hallmark of the Les Paul line, with premier appointments like multi-ply body binding, bound neck, gold hardware, mother of pearl logo and split-diamond headstock inlays, Ebony fretboard and pearl block fretboard inlays.  Above all, the Custom plays like no other.  As fine as the Historic LP Standards are, I've never had one that set up like a Custom.  The necks are incredibly stable and the neck angle almost seems to be a degree greater, allowing the strings to be cut deep in the nut and the lowest possible action from the first fret to the 22nd.  Now that Gibson is using a Plek machine on their higher end guitars, they're playability is better than ever, but the Custom still remains a cut above.  Likewise, the sleek feel of an Ebony fretboard lends itself to more fluid playing and a crisper attack.  Aside from their cosmetic differences, the primary difference between the Custom and Standard is the Custom's all-mahogany body, whereas the Standard features a maple cap over mahogany.  The mahogany cap doesn't have the snap of maple but it does have more warmth and fatness, which many players prefer.  Features of this fine guitar include carved mahogany top, one-piece solid mahogany back, historically accurate neck tenon for superior sustain, Bumblebee capacitors and period-correct routing, historically accurate reproductions of original PAF humbuckers (Burstbucker 1/2), Tortoise dot markers on the side of the neck, ABR-1 bridge and lightweight aluminum stopbar tailpiece, Holly headstock veneer, period-correct stain and filler, one-piece Mahogany neck with long neck tenon, Ebony fingerboard, Pearl block inlays, single-ply white binding, early 50s rounded neck profile, 24.75" scale, 1-11/16-inch nut, vintage tulip tuners and 100% nitro-cellulose lacquer finishes with no added plasticizers.  This VOS model features lightly aged hardware which gives it more of a broken in feel, and this model is offered with either an aged finish or a full gloss, and comes in a choice of Black (Ebony) or Faded Cherry.  This guitar has the full gloss finish and is in pristine condition - could be sold as new.  The only nitpick flaw I could find is factory, where if viewed from a certain angle you can see lines where the "wings" are attached to the headstock (picture).  For more info check out Gibson.com.  With a list price of $6351, the LPB-7 currently sells for $4499.  For the same money you can have this immaculate R7 Custom, and have $1700 left over to buy a fine boutique combo.  Just $2799(SOLD-Rob C 8/21) for this beauty.  

1988 Martin D-16M, (front), (headstock), (back/side), (Fishman), (case).  This is somewhat of a rare bird, made by Martin for just 5 years.  This series consisted of five guitars, the D-16M, H, A, K, and W (Mahogany, herringbone, ash, koa), and walnut, respectively.   Don't confuse this with the recent D-16, which is part of the "16-Series", good guitars for the money clearly not in the same class as the traditional "Standard Series".  Specifically, the recent D-16's are heavy and built with the cheaper mortise and tenon neck joint and A-bracing.  This era D-16 is lightweight guitar, with forward-shifted, scalloped X-bracing and dovetail neck joint, a truly traditional Martin in all sense of the word.  From what I've read, this guitar was essentially a Vintage Series D-18V, a decade or so before they started building the 18V.  It definitely sounds and plays as well as the 18V's that I've had, with excellent projection and plenty of low end.  Features include gloss natural finish, spruce top with aging toner and scalloped bracing (X-brace and tone bars scalloped after construction), mahogany back and sides, 14-fret mahogany neck, 20-fret rosewood fingerboard with white dot inlays, 1-11/16" nut width, 25.4" scale, rosewood bridge, rosewood peghead overlay, black-bound body, chrome Grover Rotomatic tuners.  From what I've read, the original pickguard was tortoise but has been changed to black.  This one also has a Fishman Acoustic Matrix Natural (Active) pickup (link), with the preamp built into the endpin jack, but we can remove it if not desired.  This guitar is in beautiful shape, with a very comfortable set up, and sounds superior to most D-18's I've had.  Considering what this guitar actually is, I think it's one of the real sleepers in the Martin world and a excellent value at $1299 or if you don't need the pickup, $1250(SOLD-Chris J).  Includes original case.

1981 Fender Stratocaster - Brown Sunburst - Rosewood Board, (front), (headstock/neck), (back), (body/electronics), (case).  Here's one for the collector of the cleanest possible examples on the market.  Locally purchased, uncirculated, and appears to have spent its entire life under the bed.  The only flaws on this guitar is a tiny finish chip on the back edge, and a few finish check lines that go over the logo only (both shown here).  No other checking on this guitar and no scratches on the body or neck.  Even the pickguard is nearly scratch-free and like the body, has the luster of a new guitar.  100% original and I'm fairly certain that we were the first people who peered inside this guitar.  Pickguard has the serial sticker on the underside - all solder joints intact, pickups dated '81 and still have factory masking tape in the proper two spots; pots are 9th week of '81.  The pickup selector switch has the stiff feel of a new guitar; likewise the knobs have the tight feel of new pots.  Frets are perfect (pic) and the rosewood fretboard is so dark it almost looks like Ebony.  I keep mentioning the relative rarity of rosewood boards on 70's/early 80's Fenders which makes it astronomical that all 4 I've posted this weekend were rosewood.  Equally rare, is this brown sunburst finish, built during an era when 75% were black or natural, and nearly all of the remaining standard colors were artic white, sienna sunburst of mocha.  This brown sunburst is probably one in 50 - and with a rosewood board, probably one in 150.  '81 was the last year for the 70's features like the large "bullet" headstock, 3-bolt neck, and black plastic parts.  The following year the "Smith Strat" made its debut with the small headstock with heel truss adjustment, 4-bolt neck, and white plastic.  This era is somewhat of a transition model though, as it has the Smith-era X-1 pickups with back plastic bobbins rather than the gray fiber found on earlier models.  As I frequently mention, the "S9" serial number more often than not does not mean 1979, and runs the range from late '78 to early '81 (Fender link).  This one, in the 96,000's, is the highest S9 I recall having.  Strats from the mid 70's to mid 80's are notorious for being excessively heavy but this one, at around 8 1/2 lbs., is very light, especially for an ash body.  The neck is on the shallow side, with very small shoulders, and could best be described as a soft V shape, very close to the Vintage '57 which followed a year later.  Although some consider it almost a moot point when discussing guitars in this condition, it is one of the best sounding Strats from this era I've had and imminently playable.  Original case for this year is a 4-latch molded case with compartment cover that's longer and thicker than the 3-latch molded cases with open compartment that followed in ca. '83.  The case for this one is isn't as clean as the guitar but is in nice vintage condition with the only flaw being a small crack on the front side (pic).  Original trem bar not pictured but will be dropped off this week.  It's hard for me to believe, but next year this guitar will be 30 years old.  It is one of the cleanest CBS-era Strat I've had and the fact that it's a Brown Sunburst with Rosewood is just icing on the cake.  It's not cheap but, then again, guitars of this age and condition are extremely rare and as time has always proved, condition is paramount for investment guitars.  $1850.  

Digitech Brian May Red Special Signature Pedal, (bag/pick/power supply), (box).  One of the newer pedals in Digitech's Signature line, the Brian May Red Special, with 7 of his signature models with 14 distinctive tones.  Tones include Red Special Guitar, Treble Booster, Deacy Amp, Vox AC30, Foxx Foot Phaser, Pickup Configurations, Delay, Reverb, Flanger, Acoustic, Tele, etc.  If you want to nail the tone of, say, Bohemian Rhapsody or We Will Rock You, this is the ticket.  Rather than writing a book, Click here for a good review by Guitar World magazine.  This thing really sounds authentic and click here for proof - a YouTube demo done by an amateur beginner through a 15W Crate amp.   This pedal listed for $299 but I have a few, new in the box, for just $139.  

2004 Gibson "Custom" Les Paul Custom - Alpine White, (front/back), (headstock), (case).  The Cadillac of Les Pauls, the Custom, now made in the Custom Shop, has a look that just oozes class.  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.  This guitar is in beautiful condition, with little to no player's wear but it does have several minute flaws 2 lacquer cracks and a paint chip (pic1 pic2) and a few miniscule scratches on the back in the clearcoat -  but overall the finish is otherwise perfect.  This guitar has seen very, very little playing time.  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 lists at $5504, discounted to $3899.  For me, white has been the most popular color for the Custom, probably due to the Randy Rhoads (RIP) association, and I'm pleased too offer this beauty at $1700 less than new, just 2199.  

1983 Fender Telecaster Elite - Brown Sunburst - Rosewood Board,  (front), (headstock/neck), (back), (features), (case).  100% original, beautiful condition, shines like new with no finish checking.      Yet another rosewood fretboard vintage Fender, right after the '74 Strat and '78 P-Bass.  Probably one in five have the rosewood board.  Similarly rare is the Brown Sunburst finish, not to be confused with Sienna Sunburst which was also used on this model.  From my experience, having had dozens and having seen hundreds, by far the most common color for these is Black and Pewter, followed by Sienna Sunburst and Artic White, with Natural and Brown Sunburst being the most rare.   As you can see in the pics, this guitar is extremely clean with no buckle rash or heavy wear anywhere.  The only noteworthy flaws are 4 small finish chips on the edge (shown here), which we can touch up as to be nearly invisible if desired, and typical light corrosion to the chrome plating on the bridge.  Very minor fret wear (shown here) - pic also shows some of the darkest rosewood you'll find and it almost looks like Ebony.   A little history, since I haven't posted one of these in a while:  The Elite Series started out on the drawing board in 1981 and spent 18 months in design, with 1983 being the first year of production and was gone by the end of 1984.  It was an ambitious attempt to blend the traditional Tele with upgraded features such as electronics, better neck adjustment, and more functional hardware.  Some of the innovations on this model took hold and were incorporated into the American Standard that followed 3 years later.  The overall goal was to make a more flexible instrument with a modern look and feel.  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 27 years ago.  Early 80's is officially "vintage" now and 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 rare color/fretboard to boot - even has a little flame in the neck.  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.  

1984 Fender Telecaster Gold Elite - Black - Rosewood Board, (front), (headstock/neck), (back), (neck stamps), (electronics).  God bless Martin.  When this Tele came in I gasped.  I knew it wasn't going to be a particularly clean Tele, it was supposed to be an excellent player.  With action 2X Fender spec and still choking out on bends, I was sure it was a bad neck.  I was wrong.  It's a very good neck that was severely out of adjustment and now is an excellent player.  For detailed specs on this model, see the listing above.  One deviation for this particular model - it is the "Gold Elite", which differed only in that it had gold-plated hardware and came stock with a brown ATA-approved plastic flight case.  Unlike the Brown Sunburst model, this one is tailor made for the player.  As you can see in the pics, the neck has been sanded down, a string tree moved, and headstock re-logo'd.  I have no doubt though that it's an original Elite neck - the "J Torres" stamp tells me it's a USA and the 10 Jan 84 falls in the range for this model as does the tilt-adjustment plate which was not used on the Vintage Reissue (not to mention the V-series didn't come in rosewood).  The neck has replaced tuners "K High Quality", which I'm not familiar with but seem to be excellent quality.  The body is actually in pretty nice shape other than a finish chip on the side/back edge (shown here), and the battery cover being a homemade replacement (shown here).  We can touch up the finish chip if desired, and build a better control plate, although you can likely order one from one of the pickguard specialists cheaper.  The only other non-original features are the strap pins, which are chrome, and the knobs, which are Fender amp type as used on the ca. '72 Tele Custom and look good on a black guitar.  The electronics are all stock, with original TBX and MBX, original pots and orange drop cap, and everything works perfectly.  If you're a fan of the Elite but aren't looking for a museum piece, but still a very presentable guitar, this one plays and sounds great and at $950, priced for the player.  

THD UniValve, (panel), (top), (tube types), (back), (Yellowjacket).  One of the most ingenious and best sounding amps of all time.  Although there are a few imitators on the market, THD was the first and remains the best, and the one that's overbuilt like no other.  The Uni-Valve has the capability to run on almost any tube including 6L6, EL34, 6550, 7027, KT90, KT88, KT77 and KT66 – all providing unique tones without the need for rebiasing when you change them.  This one even includes optional THD Yellowjacket which lets you use an EL84, which can lower the output to 4 watts.  Likewise, the two preamp tubes can be any combination of 12AX7, 12AT7, 12AU7, 12AY7 or 12AZ7. The UniValve delivers tones from smooth and clear to very aggressive overdrive and is easily capable of driving a 4 x 12" cabinet, yet quite small and light.  It has a built-in Hot Plate Power Attenuator that allows for full output distortion at almost any volume.  Totally handbuilt, the Univalve is a 15W Class A amplifier in a Single-ended Class A circuit.  It features 2 inputs: one for high gain and one for low gain, with Volume, Treble, Bass, as well as Attitude control knob which adds more harmonics and treble for a more edgy sound, while turning it down gives you a sweeter and warmer tone even when over-driven.  A switch selects full power or attenuator, which, when activated, kicks in a built-in Hot Plate output attenuator which is also sold separately by THD and is one of the best attenuators made and features a hard bypass.  Unique noise reduction circuit which uses a yellow light bulb that glows brightly during play (on/off switch included to turn off the bulb). This noise reduction circuit and the transformer-isolated line output make this amp perfect for driving other larger guitar amps or power amps without that overly harsh tone you hear from most guitar line outputs. Although it's only 15 watts, it's a very LOUD 15, comparable to other amps rated at 2 to 3 times the wattage. The low wattage, especially with the attenuator, makes it a great amp for any application and it will sound as good in your bedroom studio as it does in a 200-seat club.  The Transformer-isolated line out has adjustable level control and a built-in dummy load if you only want to hear the tone in your headphones. It features line or instrument level output, allowing you to run into another amp's guitar input, power amp in, mixing console, etc. Output can be 2, 4, 8, or 16 ohms.   Click here for a good YouTube video with several guitars and amp settings; check out the clean to dirty via the guitar's volume knob at 5:00 minutes.  Here's a good site with full specs and some technical info (link) and overall 100 reviews at Harmony Central where it scored all 9's or better (link).  Personally, I love these amps and it is one of the definitive studio amps, that's easily adaptable to any stage setting.  These sell new for $999, inexpensive for a handmade amp with these features.  This one is dead mint, and even with the optional Yellowjacket, $300 cheaper at $699.  (Note:  If you need more output, I have the THD Bi-Valve, with twice the power, available for $950 on my amps page).  

1978 Fender Precision Bass - Black, Rosewood Board, (front), (headstock), (back), (pots).  Extremely nice P-Bass in one of the coolest looks - all black, including the more rare rosewood fretboard.  Stunning cosmetic condition but unlike some very clean examples which simply weren't good players, this baby plays fantastic.  Frets are near perfect, action is low with no dead spots, and it's not at all heavy.  Other than the pickup, which was changed to a Duncan SPB-1 Vintage P-Bass pickup (link), this bass is 100% original down to the pickguard screws. I had a late 70's pickup set somewhere around here and if they turn up I'll offer it for $100 if desired.  Cosmetically, this bass looks like an '08, not a '78.  Finish shines like glass with no touch-ups, overspray and little to no check lines.  Back finishes during this era were black sprayed over a thick clearcoat bass and they tend to wear easily, especially in the arm area and the back contour.  The only wear spot on this one is a skinny 2" line along the back contour.  Pots are 10th week '78, as well as original cap, jack, and wiring; original pickguard is in beautiful shape with no cracks or gouges and only light scratches; tuners are clean and work smoothly; bridge isn't corroded and saddle screws all turn easily.  Even the case, which is the proper black Tolex with maroon lining, is in very tidy shape.  I don't know what else to say...this P-Bass is a total winner.  For condition, playability, and tone, you won't find a better 70's Precision for $1599(SOLD-Wood Chuck)  

1974 Fender Stratocaster - Sunburst, Rosewood Board, (front1  front2), (back), (headstock), ("inside"), (trem cavity), (case).  Looking for a relic that's got the vibe?  This thing is loaded with voodoo vibe, plays great, and screams SRV tone.  Original stag-pole pickups have been rewound extra hot:  13.75K, 10.15K, and 23.10K, neck to bridge.  Now that's one hot Strat!  This guitar hasn't been boogered with other than it appears to be a converted hardtail.  The tremolo route is a pro job, including the thin lip at the top, but as there's no finish inside of it we're fairly sure it's been added.  It does have the proper era-correct tremolo system installed.  Otherwise, there are just a few distracters:  original pickguard has a small crack by one of the screws and is missing the pointy tip, pots were changed years ago, and tuners were off and on - only visible signs are two small holes which have been plugged.  The case I received with it is a center-pocket black tolex that is likely an aftermarket with a vintage logo added.  On the plus side, I'm sure this isn't a parted together guitar and other than the pots, which were likely changed out of necessity, better tuners installed at some point (originals were in case), and the tremolo route, I think this guitar appears as it left the factory in '74.  Pickups are all '74, neck is dated '74, body markings and routing is correct for '74 and earlier.  Rosewood fretboards are fairly rare during this era, I'd say around 15% at most - just check Gbase and you'll likely find a dozen '74 Sunburst, all with maple boards.  Even cooler, this is some of the darkest rosewood you'll ever see; has the appearance of ebony it's so dark.  Original frets have average wear but not in need of a refrets, neck is in clean shape without any area worn down to the wood, and this guitar has a very comfortable setup.  Cosmetically, it's a vintage beauty:  the patina is beautiful, just slightly faded and slightly dull, with all the right wear in the right spots, and the headstock and neck nicely aged as well.  If you're looking for a real deal stag-pole Strat with loads of *honest* wear, this is an excellent choice - and it's guaranteed to be the *hottest* vintage Strat on the market.   Hard to beat this one for $2200.  

1999 Gibson ES-135 Limited Edition, (front), (headstock), (back/side), (case).  First one of these I've had in the Limited Edition "Blonde" finish with gold hardware, trapeze tailpiece, '57 Classic humbuckers, and Grover tuners.  The stock model for this year had P100 pickups and Gibson Deluxe tuners with chrome hardware.  Throughout the run of the 135 it came in a number of iterations, most of which were outfitted with P100 soapbar pickups while other differences included tailpiece (trapeze, Bigsby, or Tuneomatic/Stopbar), pickups (P100, P90, and PAF), full back/back with control plate, F-holes or no F-holes, and center block (Chromyte and Balsa).  This particular model features the best of all features in my opinion, and is closest to the 60's ES-125TDC which it is generally patterned after, although the 135 has a slightly thicker body and is a semi-hollow while the 125TDC is a full hollowbody.  It has the same Florentine cutaway, white body binding, screened logo, and dot inlays.  The later models with the control plate on back, solid top (i.e. no f-holes), and Balsa wood center block was an attempt to keep the cost down on a guitar that wasn't exactly flying off the shelves.  This model, however, is a stellar semi-hollow and stands up against the old ES-125TDC's that I've had.  It plays wonderfully, sounds rich, and is resistant to feedback.  Cosmetically the guitar is in stunning condition overall, with jut some very slight gold wear and two very small finish chips on the headstock.  In my opinion, it's much closer to a "real" Gibson than any of the others and an excellent value at $1299.  Includes similarly clean Gibson brown case.  

2005 Reverend Jetstream HB-FM w/Tremolo, (front), (headstock), (trem), (side/back), (case).  Reverend has built great guitars for around a decade and like their entire line of guitars, amps, and effects, they have been one company that has proven that great gear need not cost great money.  It's hard to find fault with their gear and the only problem they've ever had were periods where dealers were out of stock.  The Jetstream HB-FM (humbuckers, flamed maple) is a good example:  immaculately constructed, superb playability, and quality tone.  It features a solid Mahogany body with a real maple cap, covered with a flamed maple veneer.  The tone of the Korina and maple is warm, with a nice high end snap on the attack.  Other features include:  body binding, dual Reverend humbuckers with output/tone calibrated for each position, maple neck with amber tint, dual action truss rod, bound rosewood fretboard, 25.5" scale, flat 12" radius, 22 jumbo frets, medium oval neck shape, 1 21/32" graphite nut, Wilkinson tremolo, custom volume and tone pots with Reverend's "contour" control.  The contour control allows you to add bass for fatter tones, or back it off for twangy tones which resemble single coils.  Click here for a YouTube demo by Guitar World and here for a demo that focuses on the contour control.  Reverend is a little known secret, although highly cherished by a cadre of Reverend fanatics who know what great products they are.  This guitar is in beautiful condition, with virtually no wear at all, and plays superbly.  If you haven't tried a Reverend, I can highly recommend this one - or a Manta-Ray HB-FM (semi-hollow) that I also have in stock.  I don't think Reverend offers the trem any longer on this model but the Wilkinson stays in tune very well and makes it more appealing to many players.  $650 for this one.  Includes a nice Ultra-lite case which has the stiffness of a hardshell but the convenience of a gigbag with both shoulder strap and handle straps.  

2005 Fender American Series Telecaster - Natural Ash, (front/back), (headstock), (case).   Our most popular Tele - Natural Ash body with maple fretboard.  Probably it's the vintage vibe, as this model most closely resembles a 50's white-guard Butterscotch Tele.  100% stock and very nice shape with the only flaws being some light buckle scratches on the back in the clearcoat only.  Frets are like new.  Medium weight at 8.5 lbs., reasonable for an ash body.  Excellent set up and these stock Tele pickups sound excellent and are fairly quiet for single coils.  New American Teles in Natural ash are running $1149 but If you're ready to get your twang on, step up to the plate and grab this beauty for just $829.  Includes clean original case.  (Note:  Upgrade to custom shop NoCaster pickups for $129, parts/labor, with original pickups included in the case.)

Boss PW-10 V-Wah.  Tired of your same old wah pedal?  Even if you have a variable Q, it's still a single wah...a stupid wah.  Welcome to the V-Wah...and intelligent wah...and it even has a boost function so when you kick into your wah-enhanced lead, the boost is there.  Features include: COSM modeling with 6 classic and modern wahs; Noise-free operation with advanced infrared pedal detection; 8 onboard Overdrive/Distortion effects to perfectly complement the wah sounds; New Voice mode simulates talking vowel sounds; New Double Resonance mode creates analog synth-type sounds; Uni-V effects produces vintage swirling rotary sounds; 3 digital memories for saving customized wah sounds for instant recall; Wah range knob allows users to customize the filtering range instantly.  Clean shape, includes power supply, (download manual here), and just $79. 

Behringer Eurorack MX802A Ultra-Low Noise Design, 8-Channel Mic/Line Mixer, (close-up).  One of the best sounding compact mixers I've heard.  Excellent quality mic preamps and many more features than other compact mixers in this price range.  I hooked this up to my Mackie powered full range speakers and even at near full volume, the mixer added no discernable extra noise.  With features such as dual Aux sends, phantom power, 8 channels (4 XLR), low cut filters on 4 channels, and dual stereo aux returns, this can certainly cut it as a small band mixer in a live setting but it also has many features geared to the studio.  For full specs and manual download click here for Behringer's site.  This model has been discontinued in favor of a smaller MX602, which has less features and sells for $79.  For less money, you can get this one in perfect shape with manual and power supply (pic).  $59(SOLD-J. Scott 7/28). 

Faber TPWC Compensated Wraparound Tailpiece.  Lightweight, strong, tone-enhancing substitute for your old Junior or Special.  Includes Studs.  Very clean shape, $65.  

Fishman Acoustic Matrix Natural I, As the name implies, a very natural sounding pickup for your acoustic guitar.  Made primarily for concert or auditorium size (steel or nylon) guitars, with its slight bass boost in the preamp, it will also work in dreadnoughts and jumbo's, especially at low to medium stage volume.  Installs easily with just a small hole under the saddle for the cable to pass through - signal goes from the saddle transducer to the long end-pin jack which also houses the preamp.  9V batter clip included and is generally mounted on the neck block.  Recently discontinued, with a list price of $159, this one is complete and just $79.  

1977 Gibson Les Paul 55-77 aka LP-55, (front), (headstock), (back), (case).  I haven't had one of these in years.  A fairly rare model made in the mid-70's, the LP-55 was one of the first reissues that Gibson produced.  Since that time, just about everything has been reissued, as either a limited edition model or a permanent fixture in the Gibson catalog.  Like most of the early reissues, historical accuracy wasn't a major focus.  The LP-55 was a reissue of a '55 LP Special but it features a Tuneomatic/stopbar combination rather than the wraparound tailpiece used on the original and for some reason Gibson chose to use a "Les Paul Model" signature rather than "Les Paul Special.  These two differences aside, it is very much the same guitar with a slab mahogany body finished in tobacco sunburst, dual P90 soapbars, dual volume and tone controls with the selector on the upper bass bout, body-mounted 4-ply pickguard, bound neck, plain "bell" truss rod cover, and black headstock veneer with inlaid pearl logo and screened model.  This guitar plays wonderfully, with a great neck that allows very comfortable action.  Martin is crowning and polishing the frets so it will feel like glass on string bends.  Very nice shape, especially for 33 years with no major gouges, cracks, or repairs.  Worst flaw is just some buckle wear.  No overspray or touch-ups, and no non-original parts, definitely collection worthy.  A good example of affordable vintage, this is a good buy on a clean vintage Les Paul at $1499(HOLD-Robert N 7/27).  Includes Gibson Protector case with all latches and hinges intact.  

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

L.R. Baggs Venue Preamp/D.I.,  (close-up), (back), (sides).  Baggs is all about acoustic guitar amplification.  That's all they do and they do it well.  On the heels of the extremely successful Para Acoustic D.I. comes the Venus, which puts the unit on the floor and includes some useful enhancements such as more EQ control.   With the unit now on the floor Baggs has added a boost footswitch, great for leads or switching between two guitars, plus a footswitch for tuner, which automatically kills the output signal for silent tuning, and has a very big color display that's much easier to read than most stomp box tuners (pic here).  A 5-band EQ, with sweep controls for the problematic midrange (100-500Hz low mid, 500-2.5K hi mid) plus a notch filter to eliminate feedback, allows your guitar tone to be as natural as possible while making allowances for room acoustics.  Other features include high-end audio transformer coupled XLR for full immunity from ground loops, adjustable gain to handle most passive and active inputs, Garret Null notch filter to non-destructively handle feedback, and 4-segment battery status gauge.  The back panel features a series effects loop, level control for the boost function, ground lift switch, and balanced XLR D.I. output.  Read more at Baggs site here, including some good reviews and a video demo by Acoustic Guitar mag, (click here).  This unit works well with any active or passive pickup and is especially useful for a passive unit like the Baggs M1 below.  Sells new for $299 but this one's mint in the box for $209.  

Baggs M1 Acoustic Pickup (Passive), (pic2).  Completely passive operation; the M1's dual-coil design employs L.R. Baggs' exclusive TriAxial Dynamic Technology to produce clear, rich tones that are resistant to feedback, noise and hum, with string and body sound all in one. Forget about trade off between ease and performance - this thing sounds great and its soundhole design and end-pin jack install in minutes. Bagg's TriAxial Dynamic Technology allows the pickup to respond to the guitar's string and body vibrations. Unlike most stacked humbuckers, where lower coil cancels hum but doesn't contribute anything sonically other than adding "mud" to the sound, the M1 unlocks the second coil and allows it to make a positive sonic contribution while maintaining the pure open sound of a single coil. The hum-canceling coil is suspended under the main coil by a tuned support that allows it to move in three dimensions. The primary coil moves with the guitar top and creates a body signal in the suspended secondary coil. This brings the M1 to life, with string and body sound all in one. It's like having a dual pickup system in your soundhole. And it's all passive!  With a list price of $199, this is a killer pickup at the right price - just $99 - offered "as new" in the box.  

2006 Fender 60th Anniversary Standard Stratocaster, (front), (headstock/neck), (trem/block), (electronics), (Anniv. gigbag).  Fender marked the 60's anniversary of their famed '54 Strat with several commemorative models, including this 60th Standard Strat.  It has many of the Standard Series features but incorporates several distinct features including over-wound high-output Tex-Mex Strat pickups (same as on the Jimmy Vaughan Strat), a distinctive Blizzard Pearl finish, engraved 60th Anniversary neck plate, and a special anniversary gig bag.  It also features USA electronics with CTS pots and switch, as well as the heavy tremolo block and stainless saddles which appear to be the same tremolo used on the USA vintage series.  The Blizzard Pearl looks just like Inca Silver from 5 feet away but close inspection reveals a pearlescent finish rather than metal flake.  Features include: Alder body, Maple neck with modern C shape, Maple fretboard, Fender/Ping cast/sealed tuners, Vintage-style synchronized tremolo, 3 Tex-Mex single-coil Strat pickups, 5-way pickup switching with master volume/neck tone/middle tone, 3-ply parchment pickguard, Engraved 60th Anniversary neck plate, Satin tinted neck, and 60th Anniversary gig bag. Finished in Blizzard Pearl only.  Other than minor pickguard scratches, this guitar is perfect, not a scratch anywhere.  This guitar plays wonderfully, with very comfortable action and a quality hot Strat tone that's reminiscent of SRV or Buddy Guy.  This model is a step up from a regular production Standard Strat but priced $50 less at $449(HOLD-Jay, local 7/27), and includes a killer set up by Martin, the man, the legend.  

FINAL CHAPTER:  I had a few folks waiting for this one to one to be ready for sale again.  Briefly, the story is:   I originally sold this as a "mint" '60 Relic (picture) in Olympic White...sold it to a regular customer who proceeded to strip the body (picture) completely...he traded it in one week later....and now it's been refinished in the original Olympic White (picture), although more of a Closet Classic with a mint body but aged hardware.  John Fischer, our new local refin guy, did a nice job on the refinish, using original spec automotive Olympic White.  I debated finishing it in Daphne or Fiesta, which seem to be my hottest sellers, but I finally decided to stick with the original color so the serial number will match Fender's database and once it gets a bunch of gigs under its belt it will indeed be a relic once again.  Here are current pics and description:  2006 Fender '60 Stratocaster - Olympic White, (front), (back), (headstock/neck), (case/acc.).  1960 was a pivotal year for the Strat.  Gone was the maple fretboard, replaced with a rosewood "slab" fretboard, clay dot inlays, and a smaller C-shaped profile, and larger truss rod.  For many players this is the perfect choice from the current line up of Relics which include the '56, '69, and this '60.  The '60 has the pre-CBS vibe with the spaghetti logo and green pickguard, but it's the only one with the popular C-profile.  Hardware is oxidized nicely, with just a little bit of rust.  Other features include 2-piece Alder body with proper tooling marks, 7.25" vintage radius, Custom 60's single coil pickups, cloth wiring, Fender/Gotoh vintage tuners, American Vintage tremolo system, nickel-plated hardware, and aged plastic parts.   This is a very resonant guitar, even after the refin, and a nice medium weight at 8 lbs., with the classic bell-like tone and very good acoustic tone.   The set up is fantastic with low action you would expect on a modern radius but even with this vintage radius, no fretting out on bends and all strings ring true.  Original cost on this guitar when it was a Relic was over $3K but if you're one of those folks who doesn't like the factory wear but still want the vibe of a old Strat, the finish on this one is immaculate and just $1799.  Includes original brown case, certificate, and misc. case candy (note: "Mist and Wipe" kit not included).  Note:  If you have a body that needs refinishing, we can now do pretty much any stock Fender color, just email for details and pricing.  

1962 Gibson SG Special, (front), (headstock/neck/frets), (back), (controls), (finish checking), (cosmetic flaws), (headstock repair).  For the player who likes 48-year-old Specials but doesn't have $6K to spare, the best value is a headstock or heel repair.  If done correctly these are excellent utility guitars whose playability and tone are unaffected.  Many times you'll see repaired Gibsons which have been cannibalized of pickups, pots, bridges, knobs, etc. but this one hasn't been raped and features all original electronics with factory solder joints, original pickups, original nickel compensated bridge, and knobs.  The tuners were changed but that was done as a practical upgrade to a set of Grovers that stay in tune perfectly, rather than ancient Klusons.  This came in with a very solid repair, but the area hadn't been finished cosmetically.  Martin did a superb job of finishing the repair with the proper Gibson stain and multiple coats of nitro lacquer over the repaired area.  The result is a repair that most people would never spot unless they were looking for it.  I'm not real clear on why these were never called a "Les Paul Special", since other same-year models with the SG body shape were called "Les Paul Junior" or "Les Paul Custom" but the fact is these are correctly called SG and not LP/SG.  The Special was more than a 2-pickup Junior and had upscale features such as a bound neck and inlaid mother of pearl logo rather than a decal.  As you can see in the pics, the color is very strong, a very vibrant red rather than the faded cherry or almost walnut look that these guitars frequently develop.  Overall it's in very clean shape, other than some rubs around the edge shown in the pic above.  The body is checked front and back but not excessively.  Original frets are in great shape, fretboard doesn't have any deep gouges, and the action is low and very comfortable.  This guitar has a very thin neck, a tad thinner than, say, a '60 Classic or "thin taper".  Under a blacklight, the guitar has a strong glow other than the repaired area (shown here).  The tone of these P90's, combined with very well aged Mahogany, produces a warm, very fat tone, that's tailor made for rock music - Pete Townsend was one of the famous players of the Special back in the 60s - but anybody who likes the P90 tone will love this guitar.  No wood sounds like old wood.  If you're a working guitarist, or a collector who doesn't ignore value-priced classic guitars, this is one great Special.  At $2250(HOLD-Chris H 7/25) it's well under 50% of a comparable condition Special without a headstock fix and it undoubtedly plays and sounds at least as nice.  Included will be your choice of a recent model Gibson brown case or an aftermarket high quality black tolex case  

1997 Guild X-170 Manhattan, (front), (headstock/neck), (case), (back).  Collector's condition - excellent quality hollowbody archtop from the Westerly RI factory.  The X-170 is very versatile and like the ES-335, can be used for anything from jazz to blues to rock.  It has an American Vintage vibe in the impeccable binding, inlays, and finish - and Old World style cutaway.  Features highly figured maple - sunburst finish - with rounded cutaway, maple hollow body with f-holes, 3-piece neck of maple with mahogany strip, white-bound 20-fret rosewood fretboard with pearloid block inlays, adjustable rosewood bridge, engraved "harp" tailpiece, 2 Guild SD-1 humbucking pickups controlled by the usual 3-way toggle with dual volume and tone controls.  Other features include BWBW pickguard, WBWBW double-bound body, black peghead overlay with pearloid "Guild" and "Chesterfield" inlays, Grover Rotomatic tuners, gold hardware.   Dimensional specs include 16-5/8" lower bout, 24-3/4" scale, 1-11/16" nut width, 2-1/2" body depth.  Other than very slight wear to some of the gold this guitar is perfect, sounds fantastic, and has superb action - lower than factory spec. The flamed maple is very nice on the body and neck and actually looks even better in person.  Nobody is building affordable American archtops right now and for a Westerly-era Guild of this quality, it's an especially nice value at $1350(SOLD).  Includes similarly nice Guild plush-lined case.  

1999 Schecter A-7+ (Avenger) 7-String, (front/back), (headstock), (bridge), There is a growing following for 7-string guitars.  Once the choice of many jazz players, 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, "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 a huge part of their band's sound.  The A-7 features some very unique contours and a distinct headstock which give this guitar a look all its own. Unlike most of the Diamond Series line, which is built in Korea, I read that this model was built in Mexico, with final inspection and setup done in the USA.  The quality control on this line is undoubtedly high as I've had dozens of Diamond Series, usually the Classic or "C" series, and every one set up extremely well with zero issues.  The A-7 Plus features a mahogany body for a warm & fat tone, complimented perfectly by a set of Duncan Designed pickups which were custom-wound to fit this model.  I've been very impressed with the Duncan-Designed HB-103 pickups used on most 6-strings and these appear to be of equal quality.  Other features include 6/1 headstock, maple neck with rosewood board, diamond inlays, 25.5" scale, 24 extra jumbo frets, licensed low-profile Floyd Rose built to specs of the Floyd Rose Pro, Grover tuners, black hardware, 3-way selector with master volume and tone with large radio-style knobs.  Although discontinued, the retail price on this model was $899 but this one is immaculate with plastic still on the back plates and could be sold as new - for $350.  Add a quality Schecter wedge-shaped gigbag for $22 (pic) if desired.

2006 Ibanez GAX75GP, (front), (back), (headstock), (bridge&downshifter).  Drop-D players?   Finished in Gray Pewter and one of the better budget models on the market.  The GAX75 features the styling of the Artist series body, which allows easy access to the upper frets.  It has the warm tone of an agathis body, outfitted with PSND1 and PSND2 humbuckers, medium frets, GAX neck shape, and maple neck with rosewood fretboard.  One of the coolest things about this guitar is the hardware.  The Short Stop II bridge is a simple wraparound but unlike most of this type which may be compensated or perhaps have the 2/3 strings intonatable, each saddle moves on this one for perfect intonation - plus the "Downshifter" allows you to drop the low string to a "D" at the flick of the finger, much the same as a D-Tuna on a Floyd bridge.  Neck is very comfortable with only a sealer coat, with a thin profile that makes speed playing a breeze.  Very nice setup and these PSND pickup sound very good.  This model achieved an 8.8 overall on Harmony-Central reviews, which is remarkable for a lower-priced guitar.  Offered in "as new" condition in original box and a nice Ibanez for just $185.  

1988 Fender HM Strat 1HB - Ice Blue, (front), (headstock), (detail), (back).  Stunning condition...rare...killer player...and just 6.9 lbs.  I've been straining my brain but I think this is the first one of these I've ever had - a single humbucker HM Strat.  If that's not cool or rare enough, this one's in super clean condition other than black finish wear on the neckplate which is inevitable on the HM's.  Over the relatively brief run of the HM's, some were made in USA, some in Japan, and some in Japan of USA parts.  They're all excellent quality guitars but this one is a USA model.  I've seen these single humbucker HM's called an "HM Power Strats" on a few sites but I'm not sure where that term came from and Fender didn't distinguish them in this manner in the '88 Price List.  As shown here, the price list shows listings for HM Strats with 1 HB and 2 Singles (listed separately as rosewood and maple boards) - and a separate listing for HM Strat with 1 HB.  The 1 HB Strat was priced at $589 (less case), which was actually $40 higher than the American Standard Strat at $649 since the HM would be $689 with the optional plastic case listed at $100.  I'm going to go out on a limb and inform the public that all the HM's that are called Seafoam or Surf Green are actually Ice Blue.  In none of my '88-'89 price lists do they list these colors as an option and Ice Blue is the only blue or green color listed among the 5 color choices (others are Black, Bright White, Flash Pink, and Razz Berry).  I can see where the confusion comes from.  In this pic of two '88 HM's (2 shades of Ice Blue) you'll see how the finish turns from a blue (pictured back) to more of a green (pictured in front).  The "blue-er" one sat in its case out of the elements while the greener one was played regularly and lived outside of the case.  Since nobody has ever given these guitars the respect they deserve, nobody has ever done truly extensive research.  There are a few good sites that focus on or discuss HM's and I appreciate them, but they also contain a great deal of misinformation, much of it submitted by casual users.  This guitar is all stock, except knobs replaced with regular Strat knobs and the pickup changed to a Duncan JB in place of the DiMarzio.  We can change the pickup back to an original DiMarzio if that's your preference but the Duncan sounds fatter than the stock pickup.  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.  Fender chose to include a tone control with this model, which is a welcomed addition over guitars like the Baretta that featured a volume control only.  It also features a coil splitter mini-toggle, giving you two distinct tones  Like most HM's, the fretboard is a very dark rosewood, very tight grained, that looks almost like ebony.  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.  Both of the pots have a very even taper and gradually roll off the volume, or tone, evenly from "10" to "1".  Cosmetically it's in beautiful shape with no finish chips anywhere, no buckle rash or heavy pick scratch pattern - only some small finish impressions here and there that are only visible upon close inspection.  Frets are in excellent shape and the set up is fantastic.  I didn't intend to write a whole web page on this guitar but, for me, it's a very exciting find and for a rare 1 HB model in such nice condition, a good buy at $750(SOLD-Greg L).  Includes choice of later model Fender case or an 80's case in rough shape, plus trem arm.  

1987 Fender American Standard Stratocaster - Black w/Rosewood, (front), (headstock), (back), (case etc.), (neck).  Still a good buy on the semi-vintage market, the early American Standards are now over 20 years old and sell right around the price of a new Strat, depending on condition.  The American Standards debuted at the Summer '86 NAMM show but only a few were shipped in the fall of '86 so this '87 model is from the first full year of production.  I've addressed Fender's "E4" serial numbers numerous times, but the bottom line is most are '87 or '88, a few are '86, none are '85 or '84.  This is an exciting guitar.  Not only because it plays superbly with very good sustain, but because it's insanely clean.  It looks like somebody bough it 23 years ago, played it for a month, and put it in the closet until now.  There aren't any scratches or dings anywhere.  Worst flaws are natural aging with some very light lines in the body, visible only if viewed at a perfect angle - will probably become finish check lines in another decade.  Hardware is shiny without any discoloration or pitting.  Frets are near immaculate, 99%.  White plastic parts exhibit little to no yellowing.  These isn't a cheap guitar but given the fact that less 1%, by my estimation, of early American Standards are in true collector's condition, it's one of the few that are guaranteed to be investment quality.  Simply put, an extra $400 now, over the price of an average condition model, will probably equate to 2X the value when these guitars take off in coming years, much the same as a super clean '60 Strat going for $35K when average condition might only bring $20K.  Potential future value aside, this isn't a huge investment and you may just want to make it your favorite gigging guitar.  At $1199, you can't go wrong either way.  Includes original case, manual, hang tag, and a letter from Fender (March '88), answering an inquiry from the original owner.  Case isn't as clean as the guitar but all latches and hinges work, which is remarkable for this model case.  

1967 Gibson B-25N, (front/back), (headstock).   Made during the peak of the folk boom in the 60's, the B-25 is much the same as the Gibson LG-2, which overlapped production of this model.  I'm sure somebody can tell me why them made both models but I don't have a clue.  It's finished in the considerably more rare Natural (the "N" in B-25N") finish and although the more common sunburst finish required more finishing work, the Natural finish models sold for slightly more since they required nicer woods; i.e. any flaws wouldn't be masked by paint.  This is a nice old small bodied (14 1/4") Gibson flattop, with a solid Spruce top, solid mahogany back, and laminated sides.  Other features include multi-ply binding on top, bound back, adjustable rosewood bridge, long tortoise pickguard, thin 1.5" nut width, and Kluson tuners.  These adjustable bridges are frequently maligned as tone suckers but I honestly can't tell the difference and I love the idea of not having to use trial and error shims.  The small body and small neck on this guitar make it popular among players with smaller hands, although it is a full 24.75" Gibson scale so its not the best choice for a very young beginner.  This one hasn't actually seen a lot of actual playing time but does indeed look like a 40-year-old guitar with plenty of finish checking (as shown here) all over the top and back - but no top or back cracks.  It did have a small repair of a finish impression on the side near the neck joint, as well as an extra strap pin hole, both pictured here but it was re-lacquered and barely noticeable.  The tone is just what you'd expect from a small Mahogany body - very warm tone with plenty of mid-range - very much the Delta blues tone like the L-00.  Its a fun guitar to play, especially comfortable when sitting around the living room and like an old parlor guitar, doesn't look out of place with the decor.  This guitar has a good neck angle and a straight neck so the set up is very comfortable for playing all up the neck.  Considering the prices of the reissued L-00, here's a genuine vintage guitar that's priced considerably less and all but guaranteed to go up as the years pass.  Just $879(SOLD-Wood C) for this one and includes original semi-hard Gibson case.  

1998 Epiphone Zephyr Regent, (front), (headstock), (back), (case).  It's hard to find fault with this Epi and or a lower priced archtop hollowbody it's hard to beat for the money with typical latter day Korean construction, made in the Peerless factory, and an excellent setup that rivals guitars at 4X the cost.  The Zephyr Regent never made it to Chinese production as it was discontinued before they moved their man manufacturing to that country.  Features include laminated maple top in the Epi/Gibson tradition, with mahogany body, set maple neck, gold hardware, trapeze tailpiece, bound body and neck, vintage style tuners with aged Keystone buttons, single Alnico humbucker in the neck position, Tuneomatic bridge with rosewood base, Florentine cutaway, 16" lower bout, and 24.75" scale, although Epi's site says it's a 25.5" scale.   With its relatively short scale and single humbucker near the neck it's much like the original Joe Pass model and great for walking bass lines and intricate melody lines with chord accompaniment.  Other than some possible slight tarnish to gold on the pickup and tailpiece (we can polish most of it away), this guitar is in beautiful condition.  Ever since the majority of Epi's started coming from China, folks seem to have a definite preference for the earlier Korean models and from their solidbody models to the archtops, they have been excellent guitars from our experience.  If you're looking for an excellent playing full-depth hollowbody with a very nice tone, this one's hard to beat for $499 with original case.  

1966 Gibson GA-20 RVT "Minuteman", (panel), (top), (back), (footswitch).  This amp has been in stock for around 2 years and I finally got it out to our tech to get it sounding "right".  I thought about posting it as it came in - an okay sounding amp that could benefit from some tweaking.  I'm glad I decided to wait to get it benched so I can offer it as an excellent sounding amp with a fairly crisp clean tone and an excellent breakup at low volume that should appeal to blues players.  Everybody loves vintage Fenders and during this era the comparable model would have been a blackface Deluxe Reverb.  I honestly don't know why Fenders are so expensive compared to Gibsons.  Both are very solidly constructed with comparable transformers and other components and point-to-point soldering.  Fender smartly stuck with generally the same models from year to year while Gibson tended to turn out different models every few years.  Most of these were good designs but the market never got familiar enough with any of them before a new line was released.  The GA-20RVT is a low wattage amp, perhaps 8-12 watts but, regardless, not the 20 that the model suggests, with reverb (RV) and Tremolo (T).  Most American amps, and British for that matter, weren't using Fender's 6L6 or 6V6 power tubes and this model uses a pair of 6BQ5S power tubes 5 preamp tubes (3 12AU7 and 2 6EU7).  It's  2-channel amp with Volume, Treb, Bass on Ch-1; Loudness, Treb, Bass, Reverb, Tremolo Depth, and Tremolo Speed on Ch-2.  Effects are footswitchable via a 2-button footswitch (included) with a long cord attached to the amp.  All components are original; trannies dated 1966, CTS 12" speaker dated '66, original 2-prong power cord.  Cosmetically the panels and covering are in good shape and the worst flaws are some rust on the centers of the knobs and on the handle, plus one of the back panels is missing.  If you're looking for a quality tone in a hand-wired USA amp, for around 1/3 the cost of a Fender, this might just be the ticket.  In fact this amp scored an overall "10" on Harmony-Central (link).  Everything was just tweaked and the amp works perfectly.  A good value at $499.  Includes schematic and original footswitch.  

1993 Mesa/Boogie Studio .22+ w/EQ, (panel), (top), (back), (footswitch).   Great sounding little Boogie in lovely condition.  Especially geared to the studio musician but is especially well-suited for club gigs with plenty of power and the harder you drive it, the better it sounds.  This was one of the last Studio .22+ models made and, in fact, I saw a serial range on the web that listed the production run from Dec '88, with the last one made in Aug 93, serial FP28,560 - this one is 19 higher than the "last" one, FP28,579, so it must be one of the last ones Boogie made.  The "+" part of model name refers not to the optional EQ as many people think, but an improved circuit design.  Boogie still does + upgrades to any non-+ model for a couple hundred bucks.  The Studio .22+ cranks out a very loud 22 watts via a pair of EL84s in a Class A design through a Boogie 50W Black Shadow 12" speaker, with 5 12AX7's in the preamp which control master/gain/lead/Effect Loop and reverb.  It is a very versatile amp that can cover virtually any style of music quite nicely, due in part to Boogie's Dynawatt-design in the power amp.  Distortion goes from mild crunch, light blues distortion to rock/metal distortion.  Driving the power stage, the clean channel distorts nicely with the Master cranked up and in this manner your guitar's volume control allows you to go from clean to distortion.  The front panel has all the gain/level controls, tone knobs, and graphic EQ.  On the back panel you'll find features geared to the studio like D.I. out with level control and effects loop as well as outputs for 8 ohms or a pair of 4 ohm.  There is also a graphic EQ input for plugging in the optional EQ on/off footswitch.  The EQ selector on the front panel features EQ Auto, EQ Out,  and EQ In.  In the Auto position, the EQ is automatically engaged when you switch to the Lead mode; off when you switch back to Rhythm.  This gives you a separate tone preset for your Lead tones, such as boosted mids.  In EQ Off, the EQ is disengaged unless turned on via optional EQ footswitch which plugs into the jack in the back.  EQ In has the EQ on whether in the Rhythm or Lead modes.  It has a very good sounding 3-spring Accutronics reverb tank.  You can read all the specs or download manual at this link at Boogie.  There are a bunch of YouTube demo's and here are a few (rock distortion), (metal), and (clean).  This amp is in very clean condition, sounds perfect, and for players who have to play a lot of styles it could be the perfect gigging amp, all for $579(Tent. Hold - Joe C 7/27).  Includes Clean/Rhythm footswitch.  If you need footswitchable EQ, I probably have an extra Boogie pedal among my spares for $30.  

2004 Gibson Les Paul Studio - Wine & Gold, (front), (headstock), (back), (case).  Since the early 80's the Studio has remained the best value in the "real" Les Paul line, i.e. carved maple cap over mahogany body, gloss finish, trapezoid inlays, 490R and 498T Alnico humbucker, and Gibson Deluxe tuners.  Other than a few cosmetic appointments, this model is identical to the Standard but it's stripped down cosmetics means around a 40% savings compared to the Standard.  The original Studio's, back in the early 80's, were a more distinct model, with a carved top all mahogany body and dot inlays.  In the mid-80's they changed to a maple cap, but still with dot inlays - until they changed to the current specs with trapezoid inlays in the late 80's.  I'm seeing more and more "stars" playing Studio's on TV, and these are guys who can have any Gibson they want.  This guitar appears to have seen no playing time.  Not a scratch anywhere, frets are like new, and not a hint of discoloration to the gold hardware as shown here.  There has been a lot of grumbling in the Les Paul community with many folks turning their backs on the recent model Studio's with "weight relieved", i.e. Swiss cheese, bodies.  You can google "Les Paul Swiss Cheese" and find pics of an x-rayed model which has numerous large holes in the mahogany.  This guitar has an excellent setup, and at 9.4 lbs. a nice weight for a non-weight-relived body, with a classic fat Paul tone, with a very hot bridge pickup and a mellow neck pickup.  With a list of $2169, gloss finish Studio's with "weight-relived" bodies are now running $1319 but this one's like new and a solid wood model - for $1079(HOLD-Mitch 8/19).   Includes original top quality Canadian TKL case with plush lining and protective shroud. 

Fender Princeton Recording Amp, (panel), (top), (back/panel/label), (acc.), (speaker).   "As new" condition.  From Fender's Pro Tube Series comes a new take on one of the true quintessential studio recording amps.  Based on the blackface '65 Princeton Reverb, the Princeton Recording offers the great tone and dynamics of the original model, but with some modern features made specifically for the studio.   The all-tube circuit and reverb circuitry is based on the '65 Princeton Reverb, but with 20 watts through a pair of 6V6's, and a 10" Jensen C10R, it gives you Fender's vintage tone with enough output for small gigs and rehearsals.  The trans-impedance power attenuator lets you crank up the amp for full output tube overdrive and set the speaker volume as low as you want - all the way down to zero for headphone use.  Other features include two classic onboard "stomp box" effects (overdrive and compression), genuine tube-driven Fender spring reverb by Accutronics, headphone output, speaker emulated XLR line output with level control and ground lift, speaker output jack (internal speaker may be disconnected for use with other 8-ohm enclosures), professional FX loop, and four-button footswitch.  Effects are true bypass.  A 4-button footswitch controls Overdrive, Compressor, Effects Loop, and Reverb.  Here's a pretty good demo from Ballew's Music (link) and click here for full spec's from Fender.  This amp is in flawless condition - footswitch still factory sealed - and includes manual - plus I think I have a proper fitting Fender cover.  This amp lists for $1750, selling at discount for $1399 but why buy new when this one's just $950.  

Several pics are "before/after", explained later.  1994 Fender 1954 Reissue - 40th Anniversary Stratocaster, (front), (back), (headstock), ("under the hold").   I originally sold this guitar a few years ago and, small world, it made its way back to me.  It's still in beautiful shape but for some unknown reason, the previous owner had the vintage tinted neck stripped and refinished with a clear lacquer.  They were smart enough to tape off the logo and the number on the back and while it may have lost some of its collector's appeal, it's still a great American Strat.  First off, don't confuse this with the 10,000's of the so-called 40th Anniversary Strats produced in 1994, i.e. the ones with the only distinction being a red/white/blue headstock emblem and commemorative neckplate - some people call them limited editions but the fact is every American Standard Strat Fender shipped in 1994 had the commemorative badge and neckplate.  This is the official 40th Anniversary model, made to 1954 specs, with total production numbering only 1,954 pieces (this one's #1916).   As the specs are based on a '54 it was produced only in 2-tone sunburst swamp ash body, boat neck (I'd call it a soft V) nitrocellulose lacquer, single ply 8-screw guard, and with a nod to the original '54 Strat, "1954" is engraved in the back cover, just as serial numbers were engraved during that era.  This guitar is lightweight (less than 7 3/4 lbs.) and resonant, with a real singing quality.  Beautiful condition and could nearly pass as a new floor model, even though it's 13 years old.  With less than 2,000 of these made and most in the hands of collectors, there aren't many of these circulating and it's just the second (and "third") one I've ever had.  It is 100% original other than the neck finish and killer player with easy and clear bends and nice action - plus a very lively body.  If you're looking for a killer Strat with '54 specs this one is around 1/2 of a Time Machine series at $1199(HOLD-Mike W 7/24).  Accessories include tags, manuals, ash tray, cloth, trem arm, etc., plus Fender center-pocket tweed case in likewise beautiful condition - one of the best cases made as it provides support the entire length of the neck.  This is one lovely Strat with some of the nicest flamed ash I've seen on a Fender. 

OFF-HOLD: 1993 Martin D-1 Dreadnought, (front/back), (headstock), (case).  If you don't count the 1980's Shenandoah series, which were a Japan/USA co-op, the D-1 was the original affordable Martin guitar.  This was back in the early 90's and the company was building guitars at a fraction of the rate of today.  The serial number of this one is in the 500,000's while today they're well over a million.  Few corners were cut with this guitar and its much the same as a D-18, except for laminated mahogany sides - top is solid Spruce; back is solid Mahogany - and it has a gloss lacquer finish.  It was discontinued later in the 90's when Martin came out with cheaper guitars such as the DM and X-series which are made from artificial wood.  Several years later they ushered in the return of  D-1, hyping it as an improved model with all solid woods, but the fact is they're now done with a satin finish, and a gloss finish is an $800 upcharge from Martin, and Sapele has replaced Mahogany.  In a shootout with any affordable Martin built today, this D-1 will blow it away.  In a blind test I would easily mistake it for a D-18.  Simple truth. Its a great guitar.  I would urge anyone who's getting ready to spend $899 for the satin finish Sapele models to seek out one of these original D-1s.  They're simply a much better guitar at a better price.  This one has a few light cosmetic flaws, some dings and scratches in the clear coat only, but nothing through to the wood (shown here).  It will likely be in service for many decades.  It is a real Martin.  For a gloss finish Martin with solid top and back, very reasonably priced at $679 with original case. 

1997 Gibson Les Paul Studio Limited Edition P-94 Wine & Gold, (front), (headstock), (back), (P-94 close-up), (case).  Very nice Ltd. model Studio, built only in '97 I believe and finished in Wine Red with gold hardware and cream parts and, most notably, P-94 pickups.  For those of you who aren't aware of these great pickups, they're P-90 single coils, but rather than the normal soapbar, they're built in a regular PAF frame.   It features uses the same enamel coated vintage wire and Alnico V magnets as the P-90 and comes in calibrated neck and bridge models for balanced output.  Compared to other single coils, it has higher output and sustaining qualities that give it plenty of bite when needed, with enough responsiveness to allow subtle nuances for enhanced dynamics.  Another advantage - if you want a chameleon type Paul, you can change one out with a PAF and have the best of both worlds.  As far as looks, tone, and features, this model is, essentially, the same as the Gem Series, except with P-94's instead of P-90's.   It is an excellent choice for a working guitarist on a budget who is looking for a carved top Les Paul with P90s, as an alternative to the '56 Historic Goldtop, which has P90's and Tuneomatic bridge.  Features include mahogany body with carved maple cap, gold hardware, dual Gibson P94 pickups, pearloid trapezoid inlays, and cream plastic parts.  One aimed at the pro player - the stock Gibson Deluxe tuners have been changed to locking Sperzels.  Original set screw holes have been filled as to be fairly unnoticeable.  This is an excellent player with no issues other than some very light cosmetic flaws in the clear coat and with a clean '56 Historic going for around $2500, this guitar provides the same tone and feel, at almost 1/3 the price - $1079.  Includes a very tidy original Gibson brown case with pink lining.  

2009 Fender Vintage Modified Squier Strat SSS, (front), (headstock), (back).  Top of the line Squier with classic looks, excellent playability, and nice tone.  This one is a vintage modified "Vintage Modified", with the red MOTO pickguard and stark white plastic parts replaced with a parchment pickguard and parchment parts (stock look vs. upgraded look).  Now this Vintage Modified more closely resembles a vintage model.  The body is Indian red cedar, which is a departure from the usual alder, ash, or occasional mahogany, but is a good sounding wood in its own right.  A trio of Duncan Designed Alnico V single coils sound very good.  22-frets maple neck with a rosewood board has a modern 9.5" radius that plays very well and doesn't fret out on bends.  It has good quality hardware with die-cast chrome tuners and a vintage style tremolo with stamped saddles.  This model sells new for $349.  With all parchment parts, this guitar looks better than stock, is in super clean condition, and $100 cheaper at $249.  

2006 Fender Squier Master Series Telecaster Thinline, (front), (headstock), (side/back).   This was one of my favorite of the higher end Squiers.  Borrowing a general vibe from the ca. '72 Tele Thinline with a single f-hole, dual humbuckers, and the same electronics, it adds modern features such as set-neck construction, no pickguard, back-mounted controls, 22 frets, and medium-jumbo frets - plus a very un-Fender spec, a 24 3/4" scale which makes 3-fret bends a breeze.   Features include a bound alder body, as found on a Tele Custom; gloss finish in "Natural" with matching headstock; dual Duncan-Designed humbuckers, hardtail bridge with strings-thru-body; die-cast tuners and maple neck with rosewood fretboard.  The semi-hollow design o the thinline yields a slightly more "open" tone which isn't quite as responsive but is a fuller and warmer tone.  The DD pickups from my experience are some of the best you'll find on imports and they sound great on this model; plenty of fatness with good note clarity.  Don't buy this guitar if you're looking for a Tele tone, but if you like the style and feel of a Tele '72 Thinline, and you're looking for a lightweight guitar you can play all night long, this is a good choice.  It's in perfect condition with a great setup and a great buy in a set-neck Tele at $249(SOLD-Paul F 8/13).  

1972 Fender Telecaster, (front), (headstock), (back), (neck/pocket), (pickups), (case).  If you've been looking for a vintage Tele but don't want to pay vintage prices and/or don't want humbucker routes, replaced pickups and guard, refin body, etc., here's your guitar.  Looking around Gbase, some of the dealers think that any '72 Tele is worth $2500 even with routes, replaced pickups and pickguard.  This one is all straight, except for pots, and is an excellent player with classic Tele twang from two strong original pickups.  It's got all the right wear in the right spots and has been well cared for it's entire life.  Swamp ash body with original blonde finish that's turned to a nice yellow color, while the neck and headstock have that natural orange tint that comes with age.  Body has that yellowed patina that give these old Tele's all that vibe (compared to under guard).  Overall very nice shape for 40+ years with only some edge wear (shown here) and only moderate finish checking (pic) front and back.  All original except for replaced pots, no over-spray, routes, or gouges anywhere in the body.  If Fender made a '72 Relic Tele it would look like this and cost around $3200.  Here's the real deal in nice shape for just $2700.  Includes original case in nice vintage condition AND original ash tray is in the case. 

1996 Fender Custom Shop 1960 Stratocaster - Fiesta Red, (front/back), (headstock/neck), (pickguard ass.), (body/neck detail), (case/acc.).  Beautiful Custom Shop Strat from the John Page era.  Finished in the coolest of custom colors, Fiesta Red, and if that's not enough, how about some gold hardware and a beautifully flamed maple neck.  Gold hardware is pretty rare on custom shop Strats but this was a custom order.  I called Fender to verify this guitar since Fiesta wasn't a stock color for this era.  They verified that the serial number on the certificate applied to a custom order '60 Fiesta Red with gold hardware.  The only unusual aspect of this guitar is that it has a blank gold neck plate but since it was a custom order it could have easily been ordered that way.  I've been through this guitar and it is all original and built to vintage specs including a rather thin D-shaped neck with 7.25" fretboard radius rosewood slab board, vintage frets, spaghetti logo with no patents, single string tree, Kluson style tuners, D-shaped neck profile, clay dot inlays, alder body with vintage contours, synchronized tremolo with bent steel saddles and heavy trem block, and 11-screw 3-ply green guard.   One departure from original specs is the shielding paint in the cavities, used on most custom shop bodies, which cuts down on pickup hum.  As with most C/S Strats from this era, pickups are Texas Specials, which deliver a nice mid range bump and crisp highs, same pickups currently used on the SRV Strat if that gives you an idea.  Center pickup is RWRP so you get noise canceling in positions 2 and 4.  This guitar is a medium-light weight at 8 lbs. with a great setup and a nice acoustic tone.  Cosmetically it's in excellent condition, including gold plating.  If Fiesta and gold are one of your favorites, you're going to pay around $3K to order one to spec - or get this beautiful used one for just $1850.  Includes '60 era reissue Fender/G&G case, gold ash tray, certificate, etc.  

Carr Hammerhead 1X12 Combo, (top), (panel), (back), (cover).  Early model (#47 from 2001) in "living room" condition and a killer sounding rock amp.  This amp is geared toward the club player as it doesn't have switchable power and wasn't engineered to have a pseudo overdrive sound in the preamp so it's not going to get crunchy at bedroom levels.  In fact, if you crank the Volume and keep the Master low it sounds like crap, as it's supposed to.  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 Carr/Eminence Kingpin 60 12" speaker.  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 perfect condition.   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 $1050 it's amazingly affordable for a true hand-wired of this quality and in this condition.  Included is a quality padded cover ($65), free of charge 

Hughes & Kettner Rotosphere MK II, (top/back), (lit up). One of the best Leslie simulators - for guitar or keyboard.  If you're not capable of lifting 200 lbs. and don't have enough room in the van for a real Leslie, the Rotosphere Mk II very closely nails the tone at a fraction of the size and weight of the real thing.  Very highly regarded by guitarists and keyboardists, this unit features a warm and natural sounding stereo rotary cabinet with tube saturation in one pedal.  It features two rotation speeds and authentic sounding deceleration & acceleration effects with a spectrum ranging from clean to sizzling rock scream when you burn in the 12AX7 tube.  It's stereo mode isn't required but when used it really shines, emulating the dynamics of a real Leslie.  Effects are simply Rotary and Drive, with Bypass (true bypass by the way), Breaker (locks the pedal in "stop" mode, always returning to the same "spot"), Slow-Fast Mode, and switch for guitar/keys.  Includes original power supply and manual is downloadable here.  The MK II sells at discount for $589 but this one's in nice shape, works perfectly, and is $224 cheaper at $365(HOLD-Scott T 7/10).  

2007 Buddy Blaze Shredder Polka Dot (aka Nightswan), (front), (headstock/neck), (back/Vivian sig.), (Floyd), (inlays), (case).  For you Kramer/Nightswan/Vivian Campbell fans, this has gotta be the ultimate - an original Buddy Blaze Shredder with Polka Dot finish front AND back, signed by Vivian on the back of the body and by Buddy on the back of the headstock.  If you're not aware of Buddy Blaze, he builds some of the finest hand-built rock guitars on the market at his shop in Hawaii.  Perhaps more notably, he was the designer and builder of the original Vivian Campbell guitar in ca. '87, which was named the Shredder.  We're talking Vivian's "Whitesnake" days here, when the band was on top of the hair metal heap.  Shortly thereafter Kramer struck a deal with Buddy to have him build the same guitar, labeled as the "Kramer Nightswan", known as the Vivian Campbell model   This was one of the few actual USA guitars that Kramer marketed during the "Kramer American" run in the late 80's, when nearly the entire line was built by ESP in Japan.  Funky Munky Music, one of the few Buddy Blaze dealers, took this to a Def Leppard concert and had it signed by Vivian. Features of this model include a Honduras mahogany body, unusual for a Floyd guitar; lightly flamed scarf-joint maple neck with Ebony fretboard; "Ping Pong" fretboard inlays; 10" to 16" compound radius, 1 5/8" nut; 24 5/8" scale; all black hardware; Original Floyd Rose trem; Grover tuners; Schaller straplocks; and reverse headstock.  This model is offered with your choice of dual PAF size humbuckers, or a PAF and stacked/slanted humbucker in the neck like this one.  Stock pickups are Seymour Duncan Full Shred and Lil' '59 on this model but the bridge has been changed to a Custom-Custom as a preference by the original owner.   The graphic finishes are the same as offered in the Kramer era, namely a Polka Dot or a Lightning Storm, both of which are hand-painted by Buddy himself.  I received an email from Joyce at Buddy Blaze where she stated the current price is $3249 for a Shredder Polka Dot "Blazeburst" but that's for top graphics only - they no longer do this graphic front and back, which makes this guitar even more desirable.  Click here for more info on Buddy's site.  Overall this guitar is extremely clean with the worst flaw on the guitar is a small finish impression beside the humbucker (shown here) but otherwise this guitar is an easy 9.8, very near mint. It plays...perfect - as nice as any I have in stock.  If Buddy still did a full Polka Dot, front and back, it would cost over $3500, you'd have to wait to have it built, and it wouldn't be signed by Vivian (unless you manage to get a back stage pass).  This one is in stock and ready to ship and one of the most exciting guitars I've had in a while.  For a signed, full graphic Buddy Blaze, a steal at $2399.  

Parker Nitefly Standard SA, (front/back), (headstock), 1997, USA.  Don't confuse with the cheaper P-38 imports - this is the USA Nitfefly that has many of the features in the high-end Fly Classic, but with a swamp ash body and bolt-on neck.  Other features include: DiMarzio pickups in HSS configuration, Carbon neck, stainless steel frets, Sperzel tuners, and Fishman/Piezo bridge for acoustic tones.  It features a stereo output jack to run into separate acoustic and electric amps if desired - or you can use a mono cable and simply use one amp for both pickup systems.  Parkers are known as one of the best ergonomically-designed guitars ever with design features that were decades ahead of their time and it's an extremely comfortable guitar to strap on and play.   There are a few mods (pic here):  Between the bridge and humbucker there were four pickguard  holes which held a synth pickup, now are filled and are barely noticeable.  Also you'll notice separate mini-toggle switches were installed for each pickup.  The 5-way still works as normal but you can also use the mini switches to get neck and bridge or all three pickups. Other controls are stock including a 3-way selector switch to select which signal goes to the output jack (Piezo out, magnetic pickups out, or both).  Knobs are the stock layout with a magnetic volume and tone - plus a separate volume for the Piezo system.  This one also has the push-button which allows you to run both signals through the same output, or in the depressed mode, it changes the output to stereo.  These guitars are great for players who have to cover a lot of ground with their tone such as cover bands where you might need a Gibson, Fender, and acoustic.  Overall very clean shape for a used guitar and a good value on an American Parker at $729(Hold - Zac 7/12).   Includes original super thick Parker/TKL gigbag. Here's a good link for specs on this model.  

2007 Fender Time Machine Series '60 Relic Stratocaster- Inca Silver, (front), (headstock/neck), (back), (finish detail), (factory marking), (pickguard),  (case/acc.), (cert).  Superb Relic on one of the holy grail custom colors of the 60's, Inca Silver.  This one took a little detective work on my part.  The certificate is labeled "NOS" rather than "Relic" but the finish and relic wear definitely looked factory, all the inside markings were correct for a Relic, and the serial matched the cert.  I called Fender and they said that it was a special order for a customer at Midtown Music in Atlanta GA. I go to their site only to find out that they've retired after 22 years.  Fortunately they were kind enough to interrupt their retirement for my inquiry and they confirmed that, yes, it was a special order Relic (Inca Silver finish) and that it came from the factory with the mislabeled certificate.  This is important info since you'll have a hard time finding anyone at Fender confirming that this ever happens yet I've had them before and Midtown confirmed that they had 4-5 over the years that came from the factory with mislabeled cert's.  Okay now that that's out of the way a little about the guitar.  The '60 Relic is a historically correct of the '60 Strat, which was a landmark year with the introduction of the "slab board" rosewood fretboard .  Other period features are nitro lacquer over Alder body, '60's C-shaped maple neck with clay dot inlays, green guard, and smaller truss rod.  Pickups are "Custom 60's", which are true to the originals with respect to materials and windings, producing the classic smooth, glassy tone.  The relic wear on this guitar is quite authentic with the nitro lacquer checked all over, oxidized and/or slightly rusty hardware, arm wear, back of neck wear, and plenty of dings around the headstock and body edges.  This guitar appears to have seen very little use and has no fret wear and apparently no non-factory flaws.  The set up is impeccable, as you would expect in a custom shop model, with low action and no fretting out on bends.  Included is the gray tweed case, 5-way switch (3-way installed), strap, tremolo cover (not pictured), cleaning kit, factory hang tag, and other stuff.  New '60 Relics are now going for $3700, but you can't get them in Inca unless custom ordered like this one.  Best of all, it's $1500 cheaper at $2200.  

1993 Hamer USA Special P90 - Vintage Cherry, (front), (headstock), (back/heel), (extra covers), (case).  Fantastic playing Special with a vintage feel and playability and the best value in an American Hamer.  The necks on these are a thin taper, like a '60 Special, rather than the chunky 50's style Juniors and Specials - and like the originals, the double-cut style allows you to play up in the register with ease.  Features include one-piece Honduras mahogany body, 3-piece stressed mahogany neck with mother of pearl dot inlays, flat 14.5" fretboard radius, 24.75" (Gibson) scale, quarter-sawn east Indian rosewood fretboard, oversized hand-fitted dovetail neck joint, 22 medium oval frets - factory dressed for a perfect setup, tuneomatic bridge, Lubritrak nut, and Seymour Duncan P90 pickups with standard 3-way selector dual volume and master tone.  Original owner thought the guitar would look better with cream pickup covers but the original black ones are in the case if you want to change them back.  One other modification - tuners have been changed to Grover locking type with almost no sign of modification unless you look very closely where you'll see the original set screw whole partially visible.  There's something magical about the tone of P90's and mahogany and this guitar has it, with a warm tone, but one that cuts through the mix and blends perfectly with the rest of the band.  Very nice shape with no major flaws and a great setup makes this an excellent buy for the pro player on a budget.  $650  includes original Hamer/TKL case in nice shape, truss rod tool w/bag and original hang tag.   

2006 Fender Standard Stratocaster - Black w/Maple Board, (front/back), (headstock), (pickup/pots), (case).  To many this is *the* look in an Strat, black with a maple fretboard, favored largely due to the Clapton "Blackie" vibe.  I just posted an identical American model last week but here's one that's just as nice but more affordable.  As we always have plenty of spare pickups laying around we did one nice upgrade, changing the bridge pickup to a Custom Shop 50's with cloth wires.  Since a lot of players use the bridge pickup 90% of the time I figured this one pickup would give the most bang for the buck.  It also features USA pots and switch so you're guaranteed no hassle with the electronics for a long time.  Included is the original pickup and a new trem bar (pic here).  Standard Strats are very good quality and I've seen quite a few guys in bar bands earning money playing their Mex Strats.  This one is in beautiful shape with no noteworthy flaws and one of the best setups you'll find with low action all the way up the neck as shown here at the 12th fret.  Great setup, nice tone, beautiful shape and even with the Custom 50's, priced less than a new stock one at just $429 with gigbag.  

1999 B.C. Rich Mockingbird Archtop Supreme (Custom Shop), (front), (headstock), (arched top), (back), (case).  Collector owned and preserved in investment condition which was a good move especially since the company was sold to HHI the following year.  More importantly, this is one of the last guitars that was signed by Bernie Sr. as he passed away later this same year.  His signature is on the back of the headstock and was signed before the clear coat was applied, preserving the signature for a lifetime.  Rich gained wide popularity during the 80's and 90's among hard rock and metal players, mainly due to their radical designs, and of course the fact that their USA neck-through were impeccably built guitars.  They had a full stable of big name players including Slash, Joe Perry, C. C. DeVille (Poison), Rick Derringer, Kerry King (Slayer), James Hetfield, Mick Mars, George Lynch, Dave Mustaine, Vivian Campbell, and dozens of others.  There were a number of options available, such as Floyd Rose or tuneomatic/stop bar, standard 3-way switch and Vol-Vol-tone or their full electronics suite with a huge mass of switches, knobs, and Varitone selector.  This one is built for simplicity with the Tuneomatic and simple 3-way selector, V-V-T knobs.  Features of the Archtop Supreme include maple neck-thru with a thick AAAA maple top, mahogany back, and walnut stringers, ebony fretboard with abalone cloud inlays, bound body - neck - and headstock, walnut headstock veneer with inlaid "R" logo, Seymour Duncan Alnico Pro humbuckers, Grover Imperial tuners, 24 3/4" scale, and 24 medium jumbo frets.  This guitar plays amazingly with very low action with a thin neck profile (pic here) - and a thick tone with plenty of clarity on the high end.  The design allows playing in the upper register a breeze.   It is obviously a beauty but if you're looking for a killer guitar to gig with, this one's going to be hard to beat and you'll have the distinction of owning a guitar signed by Bernie Sr. and built before the company sale.  You might see similar signed models (like this Eagle Supreme) on the web for $3995 but this one, offered in 9.9 condition with zero player's wear for $1999.  

 2004 Taylor W-14-CE Grand Auditorium, (front), (headstock), (cosmetic appts.), (back/sides), (case).   Special order with Engelmann Spruce top, hand-picked flamed Claro Walnut sides and back, 900-series bridge inlay, ebony tuner buttons and slightly more narrow nut, 1 11/16".  The Grand Auditorium slightly smaller than a dreadnought and is one of the best for finger style work while still having the depth to project well for strumming.  The Venetian cutaway allows easy access to the entire fretboard while the slightly smaller body enhances articulation - the tone is very crisp and well defined.  The Walnuts were near the top of the line for Taylor and with limited supplies of seasoned woods their production numbers were fairly low, with the line discontinued by Taylor last year.  Walnut is a like the best of both worlds in comparison to mahogany and rosewood. Its rich and complex tone has the color and fullness of rosewood and the "snappiness" of mahogany.  Players often think that the walnut seems to have a better response than rosewood, similar to maple. All in all, it offers a truly unique sound, suitable for all styles.  Engelmann Spruce is a premium top wood.  Even Taylor's esteemed 900-series discontinued it around '07 and switched to the cheaper Sitka spruce.  The combination of an Engelmann Spruce top and Walnut body makes this guitar sound like a symphony, covering the entire frequency spectrum.  It is an extremely warm and comforting sound that begs you to pick it up and play, and with a tone that's so thick, it's almost like having a whole band playing with you.  By the same token it may not be an ideal choice in an acoustic band situation where you want your instrument to cut through the mix.  Specs include: solid Engelmann spruce top, flamed Claro walnut back, flamed Claro walnut sides, Abalone Soundhole Rosette , Tropical American Mahogany neck, Ebony fretboard, "Celtic" fretboard inlay, Ebony headstock overlay, multi-layer Ivoroid binding,  Ebony bridge with 900-series inlay, Tusq nut and saddle, gold-plated Taylor tuners, 1 11/16"  nut, Scalloped bracing - X-Brace, gloss finish, and Taylor's Expression System for amplification.  The W14CE last listed for $4448, selling at discount for $3113, without any options.  As outfitted, especially with the Engelmann, it's around $4k on a special order.  This guitar was collector owned and offered in flawless condition.  If you appreciate the sonic quality of Engelmann, the beauty of flame walnut or aren't a fan of the wide 1 3/4" nut, this is a nice buy at $2799. 

Tokai Super Edition Strathead Neck.  Very nice 80's Tokai Super Edition Model 45 neck which wasn't made for export to the USA so it's a dead-on Strat headstock.  It had a Kahler-style locking nut (as shown here) that we've removed and plugged the holes.  Likewise, previous holes for the tuners have been filled and we installed a quality set of Carvin tuners.  The holes are noticeable upon close inspection but look fine from a few feet away and certainly don't pose any problem with the integrity of the neck.  The neck has a vintage feel, a little more chunky than a Standard Strat neck in the bottom register, and maintains the same thickness up the neck rather than getting thicker like a Standard.  Frets are in excellent shape (pic here) and it has a slab of quality rosewood.  These Strathead Toaki's are highly regarded guitars and go for good money.  Whether you're restoring an original Tokai or simply want a nice neck for your project Strat, this is a nice one.  It sets up very well with no issues.  Priced at $175(SOLD-Geo M) with tuners; $145 without tuners.  

1985 Tokai JSX-75 Super Edition Jackson Style, (front), (headstock), (trem), (back).  Great playing Japan-made Tokai with the flavor of an '85 San Dimas era Jackson including small control cavity.  Finished head to toe in pearl pink, it's an outstanding player and the stock pickups sound good.  Features include 2-piece contoured alder body, one-piece hard rock maple neck with rosewood fretboard, 25.5" scale, 22 wide frets, Tokai neck contour which is a well-rounded C-shape with small shoulders, 2 single coil and 1 humbucker T.A.R. (Tokai Advanced Reproduction) pickups without exposed poles on the single coils, 3 mini pickup switches which allow any combination, no pickguard, Ayers Rocker III tremolo with fine tuners, lightning bolt fretboard inlays with black side markers, pink pearl finish with matching neck and headstock, Tokai deluxe vintage tuners, black hardware, football output jack, pointy non-angled headstock, and San Dimas style control route with shielded control cover (pic here).  Overall this guitar is in in nice shape for its age with no cracks or serious issues and just some minor flaws including shown here - a small finish touch-up near the output jack, some light clearcoat scratches on back, a small rub on the headstock tip, and other very minor finish imperfections.  Not clean enough for the collector types but for a player - this thing plays great, with low action and no fret outs on bends.  Although it's missing parts in the locking nut, it's a rather primitive system and would better be used like a vintage tremolo, i.e. without a locking device on the headstock.  It stays in tune very well when used like a vintage Strat with down push; doesn't stay in tune as well with up-pull.  These Japan made Tokai's are very highly regarded and are excellent utility instruments.  For tone and playability, it's hard to beat at $339(Tent Hold - Stephen L 7/6). 

Fender 40th Anniversary Vintage Reissue '65 Twin Reverb Reissue, (panel), (back), (side), (top), (back panel), (acc.).   85 watts of classic Fender tone in a fantastic recreation of one of the best amps in Fender history, the '65 Twin Reverb.  To commemorate the 40th anniversary of this amp, they made a limited edition model finished in blonde tolex with a commemorative badge on the back and amber jewel light.  The Twin has been used for all styles of music - from jazz to country to classic rock.  It's noted for one of the best clean tones ever, and a great overdriven tone if you're in large enough venue to handle the power.  This is an American made amp and features include all tube circuit, 2 channel (Normal and Vibrato), tube vibrato, tube spring reverb, tilt-back legs, Blackface cosmetics, 2 12" Special Design speakers by Eminence, and *real wood* cabinet with Baltic birch plywood.   Tube Complement is a quad of 6L6 Groove Tubes power tubes, four 12AX7's and two 12AT7 with a solid state rectifier.  Footswitch (included) turns on/off reverb and vibrato.  This amp has only seen limited home use and is in flawless condition.  List price $1949 and sells new for $1399.  Packing a 65 lb. amp isn't one of my favorite things so I would love to sell this locally.   With a new '65 Twin running $1399 here's a chance to get a barely used Limited Edition blonde model for just $999(HOLD-Mike W 7/4) - or  trade for USA Fender, Gibson, PRS of comparable value.  Includes all the stuff including cover, footswitch, hang tags, and manual. 

2002 Zwengel Banshee 50 Head, (panel), (circuit), (top), (back), (back panel), (used gear review).  Many of you have never heard of Carl Zwengel who ran another one of the boutique companies that fell by the wayside after manufacturing some truly fine amps.  Like most the American boutique makers Zwengel hand-wired his amps--and with some of the neatest work you'll see--and used only the finest components, all of which he insisted be USA made.  What made him unique though was his Banshee, the flagship of his line, wasn't just a re-labeled Bassman, Plexi, AC-30, etc., but truly his own design.  He was the first, and possibly only one, to make a hand-wired high gain amp, and if this isn't enough, he included an equally impressive vintage channel.  Via the front panel switch or with a footswitch, you can go from a "Vintage" (think tweed-era Fender clean) channel and "Modern", which is his high-gain channel that sounds like a hot-rodded Marshall to me.  Part o his goal on the Modern channel was to create an amp that was engineered specifically for modern playing such as dropped tuning and 7-string guitars.  Another thing that's important about this amp:  It is very loud.  Although rated at 50 watts, it compares to an 85 watt Twin or 75 watt Boogie.  Both channels have a gain/master setup so you can get a decent sound at lower volumes but a fine tube amp is really all about burning the power tubes so I always recommend playing in large venues - or getting an attenuator if you really want to hear what an amp is all about, but at a lower volume.  Some of the features include custom-manufactured massive transformers rated at twice the amp's output (note: this is a heavy amp); 16 ga. steel powder coated cold-rolled steel chassis with welded seams and ground smooth; military grade switches and jacks by C&K, Switchcraft, and Carling; precision mil-spec Ohmite and Phillips/ECG high voltage resisters; high tolerance CDE silver mica, Sprague "orange drop, and Atom capacitors; all components hand-wired to mil-spec 1/8" fiberglass/epoxy board; tube-buffered parallel effects loop with send level and mix controls; selectable 4/8/16 ohm output; and a top quality cabinet by Jeff Suites made of 3/4" pine with dovetail corners.  Controls are very straight-forward with a Gain and Level control for each of the channels with a channel selector switch; Bright and Mid switches that have a very pronounced affect; shared EQ controls for Bass-Mid-Treb-Pres.  On the back panel are outputs for 16 ohm - 4 ohm X 2 - 8 ohm X 2; Effects loop with Mix and Level controls; footswitch jack to switch between channels (same effect at the front panel switch).  Lastly, there is a variable "Damping" control to better match the amp to the enclosure you're using and adjust it for the responsiveness that feels right.  This amp, #18, was built in 2002, which I believe was the first year of production.  For a brief bio about Zwengel click here for the forum at vintageamps.com and go to the bottom of the page.   Click here for Harmony Central, where it scored a fantastic 9.6 overall, despite a minor gripe with not having reverb.  This one is in very nice shape except for a few minor tolex rubs on the right side of the panel (pic here).  It was recently tuned up and sounds fantastic.  These amps were only in production for a few years but they sold for $1700 and up, very reasonable for a hand-wired amp of this quality.  It's probably the only hand-built 50 watter I'll ever have near this price - $1099.  

G&L Bound Asat Classic, (front/back), (headstock), (3/4 view), (neck), (case).  Another fine Asat from Leo's "newer company" with the classic look and tone of a Tele Custom.  Options on this one include premium finish - orange stained gloss finished swamp ash body, natural wood binding, pearloid pickguard, and birdseye maple neck.  I don't know how you date these other than removing the neck but the pots are '99 so I would say it's a '99/'00 model.  I owned this guitar before and the customer sold it back to me very reluctantly, stating it was the "best guitar I ever played" - and this from a guy who I know has probably owned more than 50 guitars.  It is in beautiful condition with zero noteworthy flaws, clean frets, with a fantastic set up and the same twang as the Tele's from yesteryear.  Just a total winning guitar in all regards.  The bound body, reminiscent of a Tele Custom, is finished in "Gretsch Orange" which gives it a definite vintage vibe.  With these options this guitar sells at discount for $1875 and is this condition, a nice buy at just $999(HOLD-Chris H).  Includes G&L case.  

Vinetto Artifact SC 50 BG, (front), (headstock/neck), (back), (front-detail), (case).  "Relic Mint" condition.  From the man behind Fender's original Relic series, Vince Cunetto, comes this fantastic Vinetto Artifact.  You possibly remember Cunetto as the original "Relic Master" for Fender.  After seeing his amazing aging process, Fender started their Relic series, outsourcing them to Vince.   They would ship him raw bodies, necks, hardware, and pickguards and he would paint and "age" them, prior to returning the parts to the Fender factory for assembly.  These early model "Cunetto Relics", as they're called, are so highly regarded that they're selling for twice the price of later models, and many have sold for $4K to $5K.  His relationship with Fender ran from '95 to '99 before Fender decided to do the work in-house to increase production an save manufacturing costs.  For a very informative page concerning the Cunetto/Relic history, click here for TheFellowshipOfAcoustics web site.  Vince is a premier luthier, with talents well above the perfect relic process and his own line of Vinetto guitars he offers to the public master-built quality guitars with tasteful improvements on classic designs.  Only 7.2 lbs. and as fine a Tele style as you can possibly find.  If you haven't played one of these, you're missing out on what is described as "the best modern take on the Telecaster on the planet."   Like all Vinetto's, the SC 50 BG has an all nitro-cellulose lacquer finish, body and neck, which gives it a vintage look and is much more tone-friendly than a thick poly finish.  The Relic job is uncanny, better than his Fender-era guitars.  The bakelite pickguard is extremely realistic--way better than plastic--and the body and neck are dead on.  The body and neck wear isn't extreme, rather it's like one-owner guitar that's been in the family for 45 years.  Other than finish checking all over the body it exhibits only wear around the edges, some fretboard wear, and oxidized hardware.  Features include butterscotch blonde finish over lightweight (guitar weighs 7.2 lbs.) swap ash; quartersawn neck with very chunky U-shape; 9.5" fretboard radius; FWSS6105 fret wire which is a vintage width but tall, black Bakelite pickguard; Jason Lollar "Vintage T" pickups; aged nickel hardware, Glendale vintage style bridge with brass compensated saddles, bone nut, vintage Broadcaster knurled knobs, and aged/checked finish.   The hand-made aspect of this guitar is obvious as soon as you see it up close and holding it, you'll sense the quality immediately.  It's easily one of the best T-style guitars I've ever played, which is echoed in Harmony-Central reviews (link - click on columns on right for other reviews).   This one is in dead mint condition, i.e. no non-factory wear with perfect frets.  It is, in my opinion, Master Built quality at less than 1/2 the cost.   This is serial number 0023 for those who care about low serials.   It's very hard to find a new one of these but if you do, they're going for $2895.  It's more likely that you'll have to order one and wait to have it built.  If you want one now--and a guaranteed great one--this one's available and $1999.  Includes a quality velvet-lined G&G tweed case, build sheet, certificate of authenticity, etc.  

2005 Epiphone Sheraton II VS with Upgrades, (front), (headstock), (back), (upgrades).    Sheraton II's are excellent quality guitars for the money and this one is even greater with lots of upgraded parts, both cosmetic and tone-enhancing.   First and foremost, the pickups have been changed to a set of DiMarzio Virtual Vintage (reverse zebra) which scored a remarkable 9.5 overall among 34 reviewers at Harmony-Central (link).  Next, the bridge and tailpiece have been changed to Tonepros locking type with gold plating (link), which have been proven to be a definite enhancement to sustain and overall tone.  Cosmetically, the plain bonnet knobs have been changed to ca. '65 style reflector knobs with metal pointers; strap pins changed to Dunlop locking type.  The main request we get on Epi's is a pickup upgrade.  The reason isn't that the original pickups are bad, rather, they're excellent quality guitars and many professional players play them on stage.  For them, a $200 pickup upgrade is peanuts considering a comparable Gibson would be 3X the price, even with the upgrade.  The Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which was Epi's version of the ES-335.  Originally outfit with a Frequensator tailpiece, the model was much better received when they changed to a stop bar and Tuneomatic bridge, i.e. the Sheraton II.  The Sheraton combines great looks, quality tone, versatility, and excellent playability.  It represents a real Cadillac among Epi archtops with high end features abounding and, like the original models, features laminated maple body with a set-in 3-piece maple neck.  High-end cosmetics include gold hardware, multi-layer binding on body, fretboard, neck, pickguard and headstock, Abalone block & triangle inlays, headstock overlay with inlaid logo and vine inlay, 6-layer tortoise shell pickguard.  Players as diverse as Oasis guitarist, Noel Gallagher and blues legend John Lee Hooker both have signature model Sheratons, which is testimony to the versatility of these guitars.  Like the ES-335, they're capable of high gain without feedback, but sound equally good on more mellow jazz or blues settings.  This guitar is in beautiful condition with no obvious players wear or other issues and a quality Korean model from the Saein factory.  The Sheraton II currently sells for $599 ($1042 list) without case.   This one is barely played, with around over $400 in upgrades, including costly labor for swapping out pickups in an archtop.  For just slightly more than a stock Sheraton, you can have this one that's pro-modified and ready for the stage; $650(HOLD-John C 7/2).  These come stock without any type of case but included is a free gigbag or a nice Epi hardshell case for $59 if desired.    

2009 Fender Custom Shop Custom Deluxe Telecaster - Violin Burst w/Rosewood Board , (front), (headstock/neck), (back), (case/acc.).   Just on the heels of a Blonde 2010 model comes this Violin Burst model, also in mint condition.  Other than the body color and rosewood fretboard, the only difference between the two guitars is the neck.  This one has a substantial neck but it's a '57 soft V while the Blonde 2010 has a huge baseball bat U-shape.  Other than plastic removed from the pickguard and perhaps a few pickguard scratches, this guitar is dead mint and ships in original box from the custom shop.  This model is a marriage of the old and new with modern features such as large frets, flatter radius, and comfortable chrome plated modern bridge but it has a definite vintage vibe with the mint green pickguard, 50's knurled knobs, and huge neck shape.  Features include Premium Ash body with Thin nitrocellulose lacquer finish; figured maple neck with a chunky "U" shape (also tinted nitrocellulose lacquer) with clay dot inlays; 9.5" fingerboard radius; Dunlop 6105 narrow-jumbo frets; Custom Shop "Twisted" Tele single-coil (neck) and Custom Shop Hot NoCaster single-coil (bridge) with the standard Master Volume and Master Tone with 3-way switching; custom chrome-plated steel Tele bridge plate with plated solid brass saddles; Fender/Schaller staggered cast/sealed tuners (no string tree required); 3-ply mint green; 1.6875" nut width; NoCaster chrome dome control knobs; rolled fingerboard edges; "Top Hat" switch tip; and bone nut.  Premium swap ash body has a nice grain pattern, and it's a very nice weight at 7.9 lbs.  An excellent player with very low action without fretting out, and remarkable sustain.  This model sells new for $3099 to $3300 but if you don't mind one that's been played for a few hours, save well over $1000 and get this beauty for just $1899.   Includes custom shop case with embroidered lid, certificate, leather strap, cable, and serialized hangtag and other paperwork.  Ships double-boxed for safety and to protect original shipping container. 

2004 Martin 000-18, (front/back), (headstock), (case).  One addition to yesterday's "Acoustic Guitar Bonanza"...  Wonderful OM-sized Martin in mint condition.  The 000-18 is basically the D-18, with the same woods and appointments, in a slightly smaller body style.  The difference in body size between the 000 and D (pic here) is a bit tighter in the waist and more rounded in both the upper and lower bout.  Also, the 000 is slightly (less than 1") less wide in the lower bout and body depth.  Most people find the 000 size more comfortable to play, especially while seated and tonally, it's not quite as boomy as a dreadnought and better balanced throughout the frequency spectrum, making it more suitable for fingerstyle work.  As part of the Standard Series which comprises all of Martin's classic models (D-18, HD-28, D-35, D-45, etc.), it features all solid woods with a Sitka spruce top and genuine mahogany sides and back, with a mahogany neck, all with polished gloss finish.  Other features include Mahogany Block/Dovetail Neck Joint; 20 frets - 14 Frets clear; Style 28 rosette; non-Scalloped 5/16'' top braces; Style 18 back purfling; Black Boltaron end piece; Black Boltaron binding; Black/White multi-ply body binding; Low Profile neck shape; Standard Taper headstock; headstock veneer - Solid East Indian Rosewood with raised gold foil logo; Solid East Indian Rosewood heel cap; Solid East Indian Rosewood fingerboard; 24.9" scale length; 1 11/16'' nut width; Style 28 position inlays; Solid East Indian Rosewood bridge; 16'' Radius/Compensated/Bone saddle; Gotoh Chrome tuners with large knobs; Black w/white dots bridge/endpins; and black pickguard.  This is a very loud guitar for an 000 and compared to my D-18 has less low end, less highs, but overall is warmer sounding.  I don't automatically think of a mahogany guitar for fingerstyle work but this one can easily cover that ground, and in an acoustic jam the remarkable volume will keep it from being buried under the dread's and jumbos.  This model sells new for $2099 ($2799 list) but this one is in immaculate condition for $1479.  Includes original case and paperwork.  

2009 Gibson LG-2 3/4 Arlo Guthrie, (front), (headstock), (back), (with pickguard), (case).  Very nice small-bodied short scale that's based on the guitar that the legendary Woody Guthrie gave to Arlo back in the 50's.  In 2002 Arlo gave it to Gibson for repairs and after finishing the project they agreed upon an LG-2 3/4 as part of their Signature Series.  There are very few high-quality small-body short-scale guitars on the market so this model fills a much needed niche in the market.  Features of this guitar include:  solid AA Sitka spruce top, solid Honduran mahogany back and sides, Hand-scalloped, radiused bracing, rounded fretboard edges for a comfortable feel, 1.575" nut width, 22 3/4" scale (2" shorter than standard Gibson), V-shaped neck profile, Nickel Gotoh white button tuners, top quality rosewood fretboard, mother of pearl dot inlays, 3-ply binding single-ring rosette, and teardrop tortoise style pickguard.  Gibson used a ladder bracing pattern which was what they used on early 19th century acoustics and is responsible for delivering a broad range of tight, balanced dynamics and bright, ringing tones.  It's gives this guitar that classic small-body Americana sound that most of us know and love.  If you're a player with small hands you'll especially like the narrow nut, and the diminutive size makes it a very fun guitar to play.  The set up is very comfortable and it's very clean with no issues other than the pickguard was removed by original owner for cosmetic preference but we will reinstall at no cost if desired.  Includes original case that's very heavy and provides excellent protection.  This model sells discounted for $1999 but this nice used one is just $1350(HOLD-Steve B (6/25).  If you don't have an L-00 size guitar in your collection, this would be a great one to add.  

1996 Collings 0001,  (front/back), (headstock), (case).   Another great OM-size acoustic, which have become my most popular models in the past few years.  This one is a 1996 model, serial 2217, in lovely condition and a truly fine guitar.  Collings, from Austin Texas, has been one of the premier boutique builders of acoustic guitars for around 35 years but he builds in such low numbers (avg. less than 1000/year) that there are very few on the used market.  Every one I've had has been a premier in its class, as is the case with this 000-size.  Collings 0001 has the same width and depth as the OM, but a longer body which typically produces more bass and overall volume. This makes the Collings 000 ideal for string-band purists or anyone looking for maximum power from a comfortably-sized guitar with an elegant, old-time appearance. To me, this 0001 had an uncanny vibe to an old Martin 000, with a similar sweet, open voice.  Body is 20 1/4" long, 4 1/8" deep, 15" lower bout. Features include select Sitka spruce top, Honduran mahogany back & sides, tortoise-style binding, pre-war scalloped bracing, black/white wood nitrate strip rosette, beveled tortoise-style pickguard, high gloss nitrocellulose lacquer finish, Honduran Mahogany Neck, ebony fingerboard, ebony pyramid bridge, optional solid peghead with (Brazilian? ) rosewood overlay, 25 1/2" scale, mother-of-pearl Collings logo, pearl dot fingerboard markers, fully adjustable truss rod, bone nut and drop-in saddle, ebony bridge pins and end pin, nickel Waverly slot-head tuners.  The fretboard is very wide, measuring 1 13/16" at the nut, which is very comfortable for fingerstyle work or for players with big hands.  The tone is wonderfully rich with more clarity than normally found on a spruce/rosewood guitar and it can definitely be a great fingerstyle guitar.  Projection is excellent for a smaller body, slightly less than their D-size but surprisingly loud for an orchestra model.  If you're a Collings fan, or you've heard the buzz and want to try one out, this one's much cheaper than new and in lovely condition.  Current list price on this model is $4150, plus $50 for the non-slotted headstock, selling at discount for around $3550.  This one is in beautiful condition, plays superbly, and a nice savings at $1300 less, $2250.   Includes Collings hardshell case with arched lid and crushed velvet green lining.  For full specs and info, click here for Collings site.  

2006 Bourgeois Custom JOMC - Redwood & Figured Walnut, Celtic Style, (back/sides), (headstock/neck binding), (cosmetic appts.), (case), (site specs).  2006 Custom order with specs the same as the CS-JOMC (Celtic Style jumbo OM cutaway) - I'll call Dana to determine if was spec'd to premium woods only.  Dana Bougeois builds guitars in very low numbers, carefully crafting each guitar with perfection that few builders can match.  In 1990 he went to work at PRS, designing a PRS acoustic line that never went into full production.  When the PRS project was finally cancelled after 11 prototypes, he went on to open Bourgeois Guitars in Lewiston Maine in 1993, with the JOCM, first developed in the late 80s, as the centerpiece of his line.  With the JOMC Dana's goal was to design a mid-sized guitar, with the balance and clarity of an OM, but with a bigger voice.  Dana took the outline of  an OM, enlarged it a bit, changed the curves and deepened the sides.  The result, the JOMC, has a deceptively small feel, but delivers excellent projection with a wide dynamic range.  Body size, of course, only accounts for part of a guitar's voice.  Much of the magic comes from the tonewoods.  Redwood produces lush, dark tones full of complexity and richness.  It's similar to Cedar, but with a slightly darker tone.  It lends itself very well to fingerstyle because it responds well to a light touch, and has a quick decay that allows for better definition from note to note.  Unlike the major manufacturers, Dana takes it a step further by tap tuning every top, which allows for subtle tonal differences from one piece of wood to the next.  Walnut is a wonderful wood for an acoustic body, warm with solid, snappy low end and a nice midrange that is more complex than mahogany and the top end is bright, but very smooth.  Walnut is also noted for its dramatic figuring and the figuring on this JOMC is especially nice with a perfectly bookmatched back and some very consistent flame on the back and sides.  This guitar is beautifully appointed with it's Celtic fretboard inlay, and flamed maple adorn all edges including soundboard, back, neck, and headstock.  The top, back, neck, and headstock also feature multi-ply binding along side the maple binding.  An attractive 3-ring abalone rosette adorns the soundhole; walnut neck has walnut headstock veneer with mother of pearl inlaid logo and gold Waverly tuners with butterbean buttons.  Other features include 25.5" scale, 15-5/8" lower bout, rounded cutaway, gloss natural finish, 20-fret ebony fingerboard with 14 frets clear, 1-3/4" nut width, ebony bridge, and clear plastic pickguard.  For more info on Bourgeois, click here for their site, pantheonguitars.com.  This Celtic JOCM currently lists for $5795 and stores that discount them only knock off 10%, $5199.  This guitar is immaculate and $2000 less than a new one.  Just $3199 including a fine original case.   (Note: I also have a fine Breedlove CM/W Master Class in Walnut, but with a cedar top, on my acoustics page). 

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2008 Fender Artist Series Eric Johnson Stratocaster, (front/back), (headstock/cross-section), (case/acc.).  Beautiful EJ in white blonde in immaculate condition.  I've had just about every USA Artist Series Fender has made.  It's my opinion that the Eric Johnson Strats are the best of the bunch with better sustain and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, one-piece quaratersawn maple neck with vintage tint that's one of the chunkiest in the Fender line up, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  These guitars inevitably set up incredibly and this one is no exception, with very low action and no fretting out on 3-fret up-bends.  Accessories include vintage style G&G/Fender white case, vintage strap, ash tray, care kit, tags, manuals, etc.  If you want Fender's finest Artist series, go with an EJ, and get a great one like this.  $1599, with a setup that's better than factory. 

1980's S&T Workshop St. Blues Bluesmaster, (front/back), (headstock), (orig. parts - now installed), (case).  (Note: original pickups, bridge, and controls were reinstalled after pics were taken but we discovered bridge pickup is only working in the tapped position so we're having it re-wound.  At the buyer's discretion, we can substitute a set of Fender Nocaster pickups with stock Tele wiring.).  Description:  Long before the import St. Blues, which have proliferated in the past few years, "Strings and Things" music store in Memphis built their own line of guitars, beginning in 1984 and running through 1989.  These guitars were made in their Memphis shop with their most famous model, the Bluesmaster, being sort of a stout body Tele.  I get in an original S&T perhaps every 5 years but of the 3 I've had, 2 were Kahler tremolo models which don't have the vibe of the Bluesmaster.  Built with excellent tonewoods, quality hardware and electronics, and excellent craftsmanship, these guitars rare and not very well known by most players.  As mentioned in a brief history (link) at SaintBlues.com, their guitars made their way into the hands of pro's such as Eric Clapton, Bono, Albert King, Elliot Easton, Marshall Crenshaw, Glen Frey, Billy Gibbons, and many more.   When you build guitars in Memphis, you're bound to get a lot of big names passing through.  As I mentioned, the Bluesmaster is basically a Tele Custom, with the vintage style bridge, single cutaway, bound ash body, vintage control plate, and similar headstock and pickguard, it's not hard to see where their inspiration came from.  One enhancement from a Tele though - the pickups are 3-conductor which allows for coil tapping and, thus, it has push-pull pot on both the volume and tone knobs.  The tone is very much Tele like, although the pickups can sound a little fatter.  I don't know how many original S&T guitars were built -  this one's serial 3655 but not knowing what number they started with that's not much help in determining production numbers.  The overall quality is definitely better than Fender was building at the time.  This guitar came in with upgraded pickups and hardware but in the interest of preserving a piece of real Americana, we've restored it to stock so it's 100% factory original.  If you're a collector looking for a very cool and fairly rare American guitar, here's a nice one.  $850 includes era-correct hardshell case, black tolex with burgundy lining.  

2003 Fender American Series Stratocaster, (front), (headstock), (back), (case).  The classic look in an American Strat, black with a maple fretboard, for the Clapton "Blackie" vibe.  I've posted 100's of USA Strats over the years and most of you know all about them.  Prior to the satin finished Highway Series, these were the best value in an American Strat and remain largely unchanged since their debut in the fall of '86.  In '00 Fender re-named them, going from American "Standard" to American "Series" and incorporated a few changes, doing away with the "swimming pool" pickup route, incorporating more detailed fret and nut work, hand-rolling fretboard edges, pickups became staggered pole, and new staggered-height tuners which eliminated one of the string trees.  Whether it's the 80's/90's Standards, the '00-'07 Series, or the current Standard (again), these guitars represent the evolution of the original Strat created in 1954.  Fender has made some stumbles along the way but they definitely were back on track when the American Standard was released.  This one is in beautiful shape with no noteworthy flaws and has seen very little playing time.  Great setup, nice weight, an a lovely American Series for $775. 

2006 Taylor GS Rosewood, (front), (front/back), (headstock), (case).  One of our favorite models - Indian Rosewood and Western Red Cedar, AKA the G7 or GSRC (rosewood/cedar).  Considering all the Taylors I get in, it's remarkable that this is only the third of Taylor's "new" GS-series that I've had.  From the first strum my first impression of the Grand Symphony (GS) was a perfect marriage of Taylor and Martin.  It has the thin neck and low action of a Taylor, but the tone is much more like Martin, with a very open sound and excellent projection.  For players who only considered Taylors for finger-style work, this guitar is equally at home as a hard strummer.  The cedar top adds more warmth than spruce, and blends perfectly with the bold tone of the rosewood body giving it a very fluid, clear tone with a well-defined bass.  It also has a unique body shape, with a raised, narrow waist that's very comfortable to play, and a wide lower bout that's almost as big as a jumbo.  Features include: solid Western Cedar top, Solid Indian rosewood back and sides, Mahogany neck, Ebony fretboard, Ebony bridge, Abalone rosette, Abalone dots inlays, Ivoroid binding, Gold-plated Taylor tuners and strap pin, Scalloped X bracing, wide 1 3/4" nut width, 25-1/2" scale, 16-1/4" body width, 20" body length and 4-5/8" body depth.  For a good review of this "new" model, click here for AcousticFingerStyle.com.  This model sells new online for $2099 to $2249, moderately priced for an impeccably built Taylor with these features.  This one is in immaculate condition and superbly set up by the area's licensed Taylor tech, for just $1649. 

2006 Fender American Deluxe V-Neck Stratocaster - 2SB Ash, (close-up), (headstock), (back), (case).   Finished in 2-tone sunburst over ash with a maple board, this model is a marriage of old and new.  It has the look and feel of a 50's Fender including a the 50's V-neck profile, but loaded with modern features including  modern radius and large frets.  A closer look reveals all the deluxe features including Samarium Cobalt Noiseless pickups with S-1 switching, Fender locking tuners, 1-pc maple neck with Abalone dot inlays, contoured neck heel, raised chrome logo, polished chrome steel saddles and tremolo with "pop-in" trem arm, aged plastic parts and premium ash body on the 2-tone sunburst models.  One minor feature of note on the V-Neck American Deluxe:  it was the only model that came with the single-ply pickguard, adding more of 50's appeal.  Many players are falling big time for the new SCN/S-1 combination which yields all the traditional Strat tones you know and love, although in a hum-free output, plus a choice of other meatier tones not normally associated with a Fender.  Click here for a full rundown of all 10 pickup settings with the SSS pickup configuration.  This beauty has seen very little use and is in near flawless condition other than two brown marks on the headstock that are under the finish and appear to be factory original.  With a new American Deluxe V-neck going for $1499 ($1999 list), here's one that's barely played and set-up to perfection, for a nice $1079.   Includes Fender case, factory hang tag, manual, cloth, etc.  

Eastwood GP, (front), (headstock), (bridge/pickups), (back), (multi-ply binding).  Eastwood has come on strong in a relatively short period of time, resurrecting classic models from past decades, but not your Gibsons and Fenders, but models by Harmony, Supro, Airlines, etc., basically cool American guitars which were always B-level on the vintage guitar market.  The GP is a recreation of the very rare Ovation Ultra GP, first released in 1984.  Only 400 of the original Ultra GP were ever produced before being discontinued, primarily due to the price which was higher than a Gibson Les Paul from the same year.  This model was made in Korea and is an excellent quality import.  Features include Mahogany body with a flamed maple veneer and contoured top, mahogany set-neck, rosewood fretboard with block markers, 24 3/4", 1 11/16", dual Super-2 humbuckers (patterned after DiMarzio Super-2), unique 5-way adjustable wraparound bridge, and multi-ply binding on the body, neck, and headstock.  Click here for around 25 reviews where the GP scored a remarkable 9.7 overall at Harmony-Central.  If you can't afford (or find) and original Ultra GP at $3K and up, here's an excellent alternative.  These are $699 new but this one's flawless and nicely priced at $499.  

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1987 Charvel Model 6 - Cobalt Blue, (front),  (headstock), (back), (Trem/controls), (case). Neck-thru beauty.  Back in the early 80's of Charvel/Jackson, Charvels were the bolt-on models while the Jackson side produced the neck-thru's.  When Charvel/Jackson revamped the line in the mid 80's, they made both bolt-on's and neck-thru's under both names.  The Model 6 was the Charvel version of the Jackson Soloist and features the Kahler Pro tremolo - much more desirable than the Jackson JT-6 trem -  Jackson J-50BC bridge humbucker, two J-200 stacked humbuckers, JE-1200 active low impedance mid-boost circuit, volume and tone.  Pickups have individual mini-toggles to select any combination, including neck and bridge, or all three.  Upscale cosmetic features include bound neck, bound headstock, and sharktooth inlays.  I've yet to come across a model 5 or 6 that failed to set up with insanely low action and this one is no exception; a true joy to play for shredders.  Although Charvel was the more "affordable" line for Charvel/Jackson, this guitar retailed for $1149, at a time when a lot of retailers did not discount (we sold them at Hotlicks for $849).  It's in beautiful shape with no discernable flaws anywhere on the guitar, an easy 9.8 condition, and when's the last time you saw the original tweed case with one of these?   In all, a killer guitar for $679(Tent. Hold - Brian K, local). 

2009 Fender Squier Deluxe Strat with Upgrades - Daphne Blue, (front), (detail), (headstock), (back), (gigbag), (pickguard ass.).  Top of the Squier Standard line, the Deluxe Strat is a very good quality import for less than $3 bills, with more upscale pickups and plastic parts.  This one is even cooler by virtue of some nice upgrades, including USA Highway One electronics, white pearloid pickguard and back plate, custom chrome knobs with pearloid caps, chrome switch tip, and even a vintage logo.  The upgrade was done by local legend, George Martin who builds some fine higher end guitars and can even turn a Squier into a thing of beauty that sounds and plays as good as guitars at 3X the price.  The pickups and wiring harness are out of a 2007 Highway One HSS Strat which includes Hot Single-Coil pickups with Alnico 3 magnets in the neck and middle positions with a Fender Atomic humbucker in the bridge, with original CTS pots and switch.  Tremolo is the two-point pivot type with block saddles, used on the American Standards; tuners are good quality sealed cast tuners that keep it in tune very well.  The set up on this guitar is fantastic with very low action and no fret outs on bends - and no shim was used to achieve this action. The logo job is top notch as well, with a thin satin over coat to match the satin-finished headstock and neck.  The body is gloss finished in Daphne Blue, which looks great with the white pearl parts, and overall the guitar is in exceptional condition with no scratches or wear anywhere.  For the same price as a stock Deluxe Squier you can have this stunner with some great upgrades and a vintage logo that you'll be proud to play in the clubs.  Just $279(HOLD-Dave H 6/22).  

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Loaded Strat pickguard - Duncan Antiquities, (back).  These are Seymour's best for Strat, built an wound the emulate a vintage Strat in both sound and appearance.  From the beveled pole pieces, to the fibre bottoms and cloth wire to the type of magnets and wire windings, these things look real and sound real.  Even the pickup covers have the vintage look (pic here), with nicely rounded edges.  Each pickup is hand-wound to exact specs and individually numbered and signed by Seymour.  They come in very cool packing with a nice little fabric dust-cover bag for each pickup.  Marketing aside, these have been some of my favorite pickups installed on a Strat.  This pickguard is complete - prewired and drop-in ready - just solder in the ground wire and jack and you're up and running.  All top components including Fender pickguard, knobs, and switch tip (not shown), with CTS 250K pots and switch, 100% cloth wire, and Orange Drop capacitor.  You're going to pay around $350 for this particular set from any of the "drop-in" pickguard sites.  This one is pretty much mint and just $225(SOLD).  

Xotic Effects X-Blender.  Another great USA boutique builder, I've had several of the Xotic boost pedals before but this X-Blender isn't as much as an effect as it is an effect controller, much like a very sophisticated direct box.  A unique tool for the modern guitar/ bass player, it's a switch-able series-parallel loop unit.  A parallel effects loop allows you to mix or blend the effects with a dry signal (unaffected signal), creating a far more complex tone from your guitar.  This is especially useful in the demo below using a wah pedal.  Instead of getting a wash of wah effect, you can blend it with a straight guitar signal and get just the right amount of note definition.  After hearing it, you'll realize that some of your favorite artists have been using effects in this manner for years.  Rather than explain all the features here, click here for some good product video demo's Xotic.com.  Sells for $176 new, not a scratch on this one, and $50 cheaper at just $126.  

Maxon AD9Pro Analog Delay.  Made in Japan. Top of the line analog unit that takes the classic AD9 a step further.  Tone is pure and crystal-clear via 4 Maxon BBD IC (MC4107D) chips which provide up to 450ms delay time, 50% more than the AD9. This unit has the world’s first RMS level sensor and noise reduction system, which provide unsurpassed transparency for a stompbox.   With the AD9Pro, typical aliasing (original and delayed signal become indistinguishable) and clock noises in analog delay are minimized and the dynamic range was improved by 18dB and maximum input level by 12dB, compared with AD9.  Improved low range sounds bolder and an excellent balance between low and high range while retaining the warmth of analog.  Single Head/Dual Head Mode is switchable with newly added tape echo multi-head simulation function. In Dual Head Mode, midstream delay signal (which is taken from the middle of BBD delay circuit) is added into normal delay signal. This feature provides extensive delay effects such as tape echo multi-head simulation and ambience effect of a concert hall.  Features True Bypass Switching on both outputs and two-way power operation, using 9V battery or optional AC adaptor.  Sells new for $337 but this one is "as new" in the box for just $239(HOLD-Mike, local 6/30).  

Divided by 13 "Lift" boost pedal.  The Lift is a clean, linear, adjustable 9db boost with buffered Low Imp Output. Whether you need a number or two more clean headroom - or to go from 4 to 8 on the volume knob - or 6 to over-the-top compressed, sustaining overdrive - all is available with the Lift.  Sells new for $175.  This one is mint for $125(SOLD). 

2003 Taylor 214 Grand Concert,  (front), (headstock).  Get Taylor's superb playability and sweet tone for a sweet price.  This is one of Taylor's early 200-series, made in USA, featuring all solid woods with a spruce top with some bear claw figuring, sapele back and sides, mahogany neck, and ebony fretboard.  Other features include satin natural finish, 20-fret neck with 14 frets clear of the body, dot inlays, 15-3/4" lower bout, 3-5/8" to 4-3/8" body depth, 1-11/16" nut width, 25-1/2" scale, tortoise plastic pickguard, black-bound body, white/black purfling and chrome sealed tuners.  Cosmetically (click here) there is some pick wear on the treble side of the sound hole and below the pickguard but no structural issues and overall very nice with a comfortable set up.  With a new one going for $750, this used one is a sweet deal on a 214 at just $499(SOLD), and includes a very cool Levy's woven gigbag (pic here) with extremely thick padding including very thick side padding.  

2006 Ibanez Prestige RGA-121NTF w/DiMarzio's, (front), (headstock), (pickup option), (maple cap), (back), (case).   These are some of the most popular Ibanez' that I get in stock.  They're extremely comfortable to play but, most importantly, the design appeals to players who don't necessarily want a tremolo.   Just as important is the thick maple cap on this model which, at .63", is thicker than either a Les Paul or PRS maple top.  It's this marriage of maple top and mahogany back that gives these guitars "that sound", a sound that was first discovered with the 1952 LP Goldtop.  You get the brightness and snap of the maple, with the warmth and richness of mahogany.  Perfection that will likely never been improved upon...even when we're making carbon fiber bodies with a thin titanium top.  This guitar will come with your choice of pickups - currently outfitted with a pro-upgraded pair of DiMarzio's with a Tone Zone in the bridge and a PAF Joe in the neck - which is over a $200 upgrade, parts&labor.  Or, if you prefer, we can re-install a set of IBZ/DiMarzio V7 and V8, which is original for this model.  Finely crafted in Japan, the upscale Prestige series is the evolution of the RG series, featuring an extremely thin, flat, and fast Prestige Wizard neck, high output IBZ V7/V8 by DiMarzio pickups, and the massive new Gibraltar Plus fixed bridge.  The brilliant highs and lows of the RGA's arched 16mm maple over mahogany body produce a classic tone that's been one of the ultimate tones since the 50's.  Finished in "Natural Flat", it features a 5-piece maple/walnut neck with 24 jumbo frets, rosewood headstock veneer with inlaid mother of pearl logo, quality Gotoh tuners, graphite nut, and pickups screwed directly into body rather than suspended from pickup rings.  The stock V7/V8 humbuckers provide a quality tone capable of searing leads or warm rhythm tones but many players will prefer the TZ/Joe.  This guitar is extremely clean overall.  Everything is immaculate other than some scratches on the back (shown here), that you have to tilt the guitar to even see, and some slight discoloration on the bridge.  Frets are perfect and the setup is fantastic.  For less than the new cost back in '06 you can have this one with the Tone Zone/Joe upgrade for $799 - or stock pickups for $719.  Includes J-Team Prestige case, tool case, factory check-list tag, other hangtags, and a very comprehensive manual. 

2007 Ibanez Prestige RGA-121VLF w/Duncans, (front), (headstock), (pickup option), (maple cap example), (back), (case).  Same guitar as above except finished in "Violin Flat" and offered with your choice of original V7/V8 pickups - or Seymour Duncans pictured with a Duncan Distortion bridge and '59 neck.  These pickups are $146, parts alone and easily $225 parts & labor.  Both are 4-conductor so the 5-way selector still give you a good choice of humbucker and single coil tones.  Dead mint condition with plastic still on the backplates and not a scratch or hint of use.  For less than the new cost back in '06 you can have this one with the Duncan upgrade for $849 - or stock pickups for $739.  Includes J-Team Prestige case, tool case, factory check-list tag, other hangtags, and a very comprehensive manual. 

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.  This one is "as new" and ships in original box/packing, for just $229(HOLD-Allan W 6/26) *including* shipping to most places.  Includes factory CD with manual.  

Ibanez TB15R Toneblaster Amp, (panel), (back).   Nice little practice/beginner combo with 15 watts through an 8" speaker.  Features include dual channels (clean/overdrive), with separate level controls for each - plus the overdrive channel has a gain knob to add the desired amount of distortion.  3-Band EQ is active with center-detented knobs and +/- 12dB of cut/boost.  Good sounding spring reverb.  As a practice tool it includes a CD input to play along with you're CD player, IPod, etc., and Headphone jack for private playing.  This is the last generation TB15R, the new one has a parametric Mid control but for $59, it's an inexpensive choice for a beginner or backstage/home practice amp.  

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1995 Ovation Standard Balladeer Mod. 1711, (front/back), (headstock), (preamp), (case).   Finished in Cadillac Green.  Long recognized as a great stage guitar that's nearly impervious to feedback, these deep bowl Ovations have a quality acoustic tone that's frequently overlooked.  The 1711 was expertly engineered by Kaman and built with quality construction in their New Hartford CT factory.  It and features a solid Sitka spruce soundboard mated to deep bowl back, A-bracing, attractive black&white oak leaf cluster rosette, walnut bridge, 1 7/8" nut width, 25.5" scale.   Two pieces of mahogany set with the grain in opposing directions make the neck naturally stable. The Kaman Bar reinforcement makes the neck virtually unwarpable and provides a precise and solid joint with the body.  The rosewood fingerboard is a radiused 10" and has 20 hand-finished frets.  The OP-24+ preamp was top of the line for this era with a 3-band EQ with 400Hz/1kHz center frequency shift on the mid control, EQ bypass, a preshape circuit that lifts the bass and treble and reduces frequencies below 40Hz, and an battery on/off switch.  Changing batteries is a breeze with access via a sliding door next to the preamp.  This guitar has a very nice setup, quality tone both acoustically and plugged in, and overall beautiful shape except for a 2 very minor clear coat cracks around 1" long on the top.  It carried a list price of $949 when discontinued 11 years ago and is a great value for an American acoustic at just $550.   Includes original case.  

2005 Gibson '60 Historic Les Paul Standard Plain Top w/Aged Hardware, (front/back), (headstock), (case/accessories), (Burstbuckers/cavity).  If you want to talk about realistic looking 'Bursts, nothing looks closer than this Lemonburst with a plain top.  Most of the real '60's I've seen have faded to a closer very close to this and many were very plain maple, much like this one  To add to the look, Gibson used aged hardware (shown here), much like nickel plating that's been exposed to the elements for a few decades.  The one-piece mahogany neck is topped with a lovely rosewood fretboard outfitted with acrylic trapezoid inlays with shape and color true to the original.   Pickups are BurstBucker 1 and 2, which are medium output, just under 8K, like the original PAF's.  In addition to the carved maple top, this model features a one-piece mahogany back finished in cherry.  The cherry finish on the neck has bled into the binding and I see so many of these that I tend to believe it's a factory thing, designed to add to the vintage appeal.  This model is a Guitar Center/M.F. exclusive, identified with the "G" prefix in the serial number, and was originally a run of a few hundred pieces.  I don't believe a certificate was issued with the first run, although it appears that their current run includes one.  Cosmetically, this guitar hasn't seen a lot of playing time but there are enough cosmetic issues that collectors may want to pass on it.  There are tiny specs on the finish, over the top and headstock which are visible only on close inspection from the right angle (shown here from two angles).   There's also a long scratch, in the clearcoat only, on the back (shown here) and a few minor finish impressions here and there.  Frets are in great shape which tells me this guitar wasn't played as much as it simply had a careless owner.  The set-up is fantastic with low action and no buzz - and the tone is fat and wonderful.  G.C. and M.F. still sell this model for $3699 ($5174 list) - or, if you like large necks you can get a '58 Plain Top VOS at any Gibson dealer for the same price.  Or, better yet, this one has a little extra vintage vibe for $1200 less at just $2499(HOLD-Rob C 7/27).  Includes custom shop case, manual, etc.  

2010 Fender Custom Shop Custom Deluxe Telecaster - Blonde, (front), (headstock), (back/grain), (cert.), (case), (box).   Just left the factory, 5/11/10, and sold to me as soon as it arrived.  This is, essentially, a never-owned guitar, unplayed until it arrived here.  Plastic is still on the pickguard, all accessories included, including factory-sealed accessory bag.  This model is a marriage of the old and new with modern features such as large frets, flatter radius, and comfortable chrome plated modern bridge but it has a definite vintage vibe with the mint green pickguard, 50's knurled knobs, and huge neck shape.  Features include Premium Ash body with Thin nitrocellulose lacquer finish; lightly figured maple neck with an absoutely huge "U" shape (also tinted nitrocellulose lacquer); 9.5" fingerboard radius; Dunlop 6105 narrow-jumbo frets; Custom Shop "Twisted" Tele single-coil (neck) and Custom Shop Hot NoCaster single-coil (bridge) with the standard Master Volume and Master Tone with 3-way switching; custom chrome-plated steel Tele bridge plate with plated solid brass saddles; Fender staggered cast/sealed tuners (no string tree required); 3-ply mint green; 1.6875" nut width; NoCaster chrome dome control knobs; rolled fingerboard edges; "Top Hat" switch tip; and bone nut.  Premium swap ash body has a lovely grain pattern, easily visible under the thin blonde finish and it's a very nice weight at 7.4 lbs.  Action is very low without fretting out and the sustain is superb.  My 10 min. test drive turned into 45 minutes as I had a hard time putting it down; it just played and sounded so fine.  This model sells new for $3099 to $3300 but if you don't mind one that's been played for an hour or so, save over $1000 and get this beauty for just $1999.   Includes custom shop case with embroidered lid, sealed accessory bag, certificate, strap, cable, etc.  Ships double-boxed for safety and to protect original shipping container. 

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1992 Alvarez 6502 Summit, (close-up), (headstock), (side/back), (detail), (case), (preamp).  Superb quality, extremely rare Japanese Alvarez.  The ultimate simplicity in an acoustic stage guitar.  No controls, not even a volume control, on this beauty, but the sound somehow is perfect.  I played this straight into an electric amp and the EQ was perfect, better than most acoustic-electrics with a complex preamp system.  The 6502 Summit uses an EMG system with a saddle pickup going to a preamp, accessible via a back control panel.  It does have an adjustable gain control but it's a set it and forget it control.  Something struck me about the appearance of this guitar, like, I've seen this before, and then Martin pointed out, "looks like Taylor borrowed some ideas when they built their T-5".  Here's a comparison pic, with the T-5 on the left.  Tone aside, this is one beautiful guitar with a quilted maple top and matching headstock, multiple body binding, mother of pearl and abalone block/triangle inlays, gold hardware, bound neck, bound headstock, and two unique f-holes.  It's extremely comfortable to play, has a very solid feel, and comfortable action.  Worst flaw are some hairline cracks by the strap pins (shown here:  (1) top, (2) with flash, (3) without flash).  Martin shot some glue in there and buffed it out; it's noticeable but guaranteed non-problematic.  Otherwise, cosmetically, it has a few finish cracks around the strap pin, a bit of buckle rash, and a few dings here and there but is overall in nice enough shape for a used guitar.  There is very little info on the web regarding this model but I did manage to find two reviews (link link) where apparently it sold for $1295 back in '93, which is reasonable for a Japan-made Alvarez of this quality.  Simplicity, beauty, comfort, and quality tone make this a great choice for a stage guitar.  I can only imagine how it would sound through an acoustic amp or PA system but, again, I think very little EQ'ing is required.  I wouldn't recommend it for the collector type looking for near mint examples but for a player, it's hard to beat at $650(HOLD-George 6/16).  Includes original case that's fully functional but has a piece of covering missing.  

1995 Jackson USA SDK-1 Super Dinky, (front), (headstock/neck), (back), (case).  Ever see one of these before?  Don't feel bad if not; they were only made in '94 and '95.  I blame it on the headstock.  Rock/metal players like their headstocks pointy (check) - but they like all the tuners on one side (whoops).  Yep, it just came down to the 3+3 headstock.  It's the same headstock that was used on the Jackson AT-1Archtop, which also had a very brief run.  Sure, there are some other differences from the very popular Dinky:  smaller body, slightly thicker neck profile (21mm vs. 19.25mm at the first fret), smaller fret wire, and HSH pickup configuration.  Now that I think about it, there are as many differences as similarities.  Bottom line though - it's a great USA Jackson and where it counts, super low action and a top of the line Floyd, this guitar is superb.  Finished in Dark Candy Apple Red, it features a poplar body, maple neck w/rosewood board, Original Floyd Rose, 25.5" scale, 22 medium frets, and Kent Armstrong designed pickups (JP11, JS4, JP10).  Like all American Jacksons, the quality is top notch.  I don't think I've ever had a less than stellar neck on one so they all set up great, but this is one of those that sets up with action as low as you want, nearly resting on the strings if that's your thing.  Another small thing that I enjoyed is the taper on the pots.  The volume control drops off evenly all the way back, rather than dropping off suddenly when you turn it back 1/8th of a turn.  Another thing is that great feeling Jackson neck, with just a thin sealer coat that feels broken in already even though this guitar hasn't seen much actual use.  Worst flaw was a small finish chip on the tip of the headstock (pic here) which we color matched very well as to be barely noticeable - and the case has a crack on the bottom (pic), but is otherwise in nice shape.  Otherwise this guitar is in lovely shape and has no evidence of long-term use.  If you're looking for a fantastic playing shredder guitar but don't mind a non-Jackson looking headstock, this one's a great value for $659.  

T.C. Electronics G-Major 2 Guitar Effects Processor, (stock-close-up), (back).   "As new" in the box.  T.C. Electronics builds some of the finest guitar effects in the world and many of their older stomp boxes are among the most sought after effects on the used market.  Likewise, their later rackmount effects are superb, among the best engineered guitar effects ever made.  There have been, literally, 100's of guitar multi-effect devices designed and manufactured since they first came on the scene in the 80's but there have been few with true quality tone.  What good is a unit that has 100 effects, 25 simultaneously, if it sounds like crap and you can't hear the guitar?  The G-Major 2 is an effect that sounds great, and your guitar tone doesn't get lost in the mix.  The original G-Major was TC’s most successful rack guitar effects processor but the G-Major 2 made a great unit even greater, with a completely redesigned user interface (including two encoders) and a complete update to the effects algorithms.  The G-Major 2 offers studio quality sounds combined with stompbox simplicity - not a modeling unit but pure undiluted TC Electronic effects which puts this in a league of its own.  Easy integration in your current set-up and pain free editing on the fly or more dedicated patch programming through PC/Mac editing.  There's way too much to list here in the way of features but click here for all the skinny from TC, including a good video demo by Søren Andersen.  There are a load of good demo's on YouTube including (this) and (this), which shows off the intelligent pitch shifter.  This unit was just purchased at G.C. last month for $499 and appears as new with plastic film still on the screen and not a hint of use.  A super cool effects unit for the rack-inclined for just $319(SOLD-Andrew M).  P.S. If you only want the time domain effects, and/or non-rack unit, I have the TC Nova on my effects page for $165.  

ADDITION TO DESCRIPTION:  Splawn Super Comp Head & Cab, (enlarged), (panel), (back), (back panel), (top), (cab top), (footswitch).  (Note: After posting this amp I started messing around with it more and discovered one very important feature - the "Loop Master" on the back acts as some sort of attenuator.  When I first played it I wasn't using anything in the loop so I didn't touch this knob.  During the course of my further trial revealed this thing acts as some sort of attenuator when not using anything in the loop.  You can peg all of your gain/volume knobs but keep the output volume at bedroom levels, with all the crunch and huge sound you could want.  Also, the resonance control really rocks.  I've never heard a resonance control with so much effect.  Turn it up and you get that huge sound, especially on chunk-a-chunk rhythm parts, that makes the attack jump out at you and the overall tone resonating like a full stack inside an arena.  Back to my original description...).  Ser. 509924, Dead mint - ships in original Splawn containers.  I've had 2 of the Splawn-mod'ed Marshall Super Leads before and they were, to me, the ultimate 1959SLP.  A few years ago Splawns business was strictly focused on rebuilding these Marshalls but around two years ago, production ceased on the mod'ed Marshalls and Splawn started their own line, each hand-built in their shop in Dallas, NC.  His own line is going strong, with 8 unique models with the Super Comp being the Single Channel (Overdrive) version of the Nitro.  Although it's a single channel amp, it features 3 modes:  Overdrive 1, Overdrive 2, and Solo Boost.  Like an old Marshall, it doesn't really have a good clean sound, get the Nitro if you want that, but for a balls-out rock amp, like the Marshalls of yesteryear, you'll love it.  This is the 50W version with dual EL34 (Svetlana) power tubes.  Other features include Heyboer power transformer, Series effects loop with true bypass switch and +4dB/-10dB switch, 4/8/16 ohms selector.  This one was ordered with the Nitro (i.e. JMP style) head box rather than the unique looking Super Comp style.  It's also the recent model with knobs widely spaced on the front panel and "Loop Master" (controls overall level) on back panel, which looks different from the older style on the Splawn site (link).   Splawn also has some video and sound clips at this link.  Splawn's 2X12 cabinet is built with 3/4" Baltic birch plywood with recessed handles and connector plate with 1/4" and locking 1/4" jacks, rubber feet, rear loaded, closed back, with quality casters, and measures 20" X 29.5 X 14".  It is loaded with Spawn's own Splawn Block speakers.  This amp and cab have seen only a few hours of home use and is offer in "as new condition" and ships in original boxes.  It's a killer setup and for the Marshall fan, $1599(HOLD-Dave, local 7/2) is way less than you'll pay for a 1959SLP reissue without a cabinet.  Includes hardwired footswitch with dual TRS jack with LED indicators.  

1982 Marshall 4010 Master Lead JCM800 Combo, (panel), (top/bottom), (back), (labels).  True "time capsule" condition.  The 4010, aka 50-watt Master Volume 1X12 combo, is the combo version (also came in a 2X12 Mod. 4104) of the famed 2204 head with vertical inputs.  The circuit is identical and the tone pure tube and very creamy sounding.  This JCM800 circuit is identical to the earlier JMP's but as Rose-Morris had the remaining stock of JMP's with the old cosmetics, Mr. Marshall came out with this bolder look in order to differentiate it from the Rose-Morris inventory of leftover JMP's.  The 800-series was discontinued around 1990 as tastes changed and all the new shredders had to have channel switching thus they gave way to the 900-series. This 50-watt Master Volume circuit remained virtually unchanged from '75 through '90, a remarkably long run in the amp world where updated models are generally released every few years.  After going through the JCM900 and JCM2000, Marshall has reissued some of the JCM800's.  Frills aside, it seems that good tone is good tone.  This is the example was made for USA consumption, set up with 6550 power tubes, but has been converted to the UK EL34 version.  For some players this is better than the head version since you only have to lug the combo to small gigs or practice - and then use it with one or two 4X12's for your large gigs.  Original Rola Celestion G12-65 sounds great.  This amp is a true museum piece - panel, cover, grill are all flawless, with the worst flaw being some pitting to the gold in the handle.  For the discriminating collector of the finest amps - in the finest condition - this one is priced $300 less than a new TSL combo at just $1249.  

Germino Lead Masonette 25 Head, (panel), (top), (back), (stock pic of chassis and circuit), (cover).  I've had a number of Germinos the pat few years including Club 40, LV55, Lead 55, Classic 45, and Club 40.  This is the first lower powered model I've had but at 25 watts it packs plenty of power for clubs.  One of the finest boutique makers of fine amplification, Greg Germino builds his amps one at a time, with top notch construction, the best components and materials, and engineered to deliver, arguably, the best Marshall Plexi's available.  The mid- to late-60's Marshalls are the most sought after tones of all time and they virtually defined the sound of rock by a list of who's who of guitar heroes such as Hendrix, Van Halen and Eric Johnson.  This amp seeps the richness of the old Marshalls, responding extremely well to touch and producing the so-called dark, "brown" sound.   The only problem is, to make these vintage amps or replicas sing, we've got 45 watts, 100 watts, or even 200 watts (Marshall Major) which is overkill for most gigs and virtually un-useable in the home.  Enter the Masonette 25 which, at 25 watts, breaks up much earlier than Greg's higher-wattage amps and is easily coaxed into endless sustain and feedback at relatively low sound levels.  With two channels you can get the thick low gain tone or on the high gain, the classic cranked Marshall tone - and both are remarkably touch sensitive.  Powered by a pair of 6V6's, it also features 3 12AX7s and a GZ-34 tube rectifier.  If you're seeking the classic overdrive and responsiveness of a 60's Marshall top, but at a much more reasonable volume, this is your amp.  With its mil-spec build, it's not going to be prone to failure and Germino offers a lifetime warranty.  Click here for some great reviews from Harmony-Central where is scored an incredible 10.0 on sound quality and customer support.  Nobody has these in stock any longer so if you're looking for a new one, I think you're out of luck.  This one is perfect, except for some discoloration to the plating on the handle strap and strap caps.  At $1299, its very reasonable for a completely hand-built, mil-spec head of this quality.  Includes custom-ordered cover from LeCover.com.  

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ca. 1983 Carvin DC-150 Stereo, (front), (headstock), (bridge/controls), (back/neck joint).  Outstanding condition - great playing vintage Carvin.  Once the flagship of the Carvin line when it made its debut in 1975, although a number of fancier models subsequently were made before it was discontinued in 1991.  After a decade break, the DC-150 was resurrected in 2001, although with a modified body shape (shown here on left) that isn't as good in my opinion.  I dated by the rough serial scheme on Carvin's site, as well as the pickguard, and the fine-tuner bridge which was used from '83 to '87.  The DC-150 is made of all maple construction with Eastern hard rock maple neck glued and contoured into maple body, which yields a clear tone with exceptional sustain.  Other features include Carvin FTB6 bridge with fine tuners and brass saddles, M22 humbucker pickups, mother of pearl headstock inlay, ebony fretboard with mother of pearl dots, triple chrome plated hardware, Schaller's finest - M6 mini-tuners, solid brass nut, 24 jumbo nickel-silver frets, 15" fretboard radius, 1 3/4" body thickness, 1 5/8" nut, 24 3/4" scale, and, as Carvin guaranteed, "guaranteed to play with all strings less than 1/16" away from the 24th fret without any buzzing frets."  Controls are your standard dual volume and tone controls with a 3-way selector - plus mini toggles for coil taps and phase, which makes for wide range of tone choices.  This model also has stereo output jacks, one for each pickup, which can yield some complex tones with, for instance, pickup tapped with tone rolled off and full humbucker with tone fully bright.  If used in a stereo stage setup or, especially, on recording, it can add some real thickness to your tone without having to double track your guitar parts.  This guitar received a remarkable 10.0 on reliability/durability and a 9.4 overall in Harmony-Central reviews (link).  I've always said that Carvins are the best used value in an quality American guitar.  Even one like this in exceptional condition, just $550(HOLD-Jeff A 6/14), including gigbag.  

ca. 1986 Carvin DC-150 Stereo, (front), (headstock), (bridge/controls), (back).  As above except optional black hardware and black pickups.  Also factory spec was no pickguard and graphite nut.  Not nearly as clean as the ca '83 model above, but average shape for a 25-year-old guitar and it's more careless dings and scrapes (as shown here) more than actual player's wear.  There is also a very small hole in the center of the headstock, possibly holding a push-pin ornament or something.  It plays fabulously and if you don't mind some cosmetic flaws, a great value for the player at $450(HOLD-Jeff A 6/25), including gigbag.  

Mesa/Boogie Recto Recording Preamp, (top), (panel), (back), (acc.). If you've tried all the modeling amps and none of them capture the authentic tone and responsiveness of a real guitar amp you're not alone.  Mesa/Boogie recognized this need and created the ultimate genuine tube preamp, based on their Rectifier amp, the flagship of the Boogie line.  This model works great for stage use but its real benefit is in the studio.  Without lugging in a huge amp and trying out different rooms, different mics, different mic'ing techniques, etc., with the Recto Preamp you just plug in one cable and start jamming.  It features two channels and six modes of pure tube tone:   Channel 1 gives you Clean, Fat, or Brit tones, with Channel 2 being the "dirty" channel for Raw, Vintage High Gain, or Modern High Gain sounds.  A Live Bright/Warm Record voice switch gives you added tweaking, and an effects loop is available for plugging in all of your stop boxes or rackmount effects.  Handbuilt in Petaluma, California, the Recto Recording features pure analog "Recto Direct" recording circuitry with six, count 'em six, 12AX7 tubes. Each channel has independent controls for Gain, Treble, Mid, Bass, Presence & Master with Bright Switch and Pad Switch on Channel 1, and Live Bright/Warm Record voice switch on Channel 2. It also has Record Output level control over all channels, Solo Level control, Parallel FX Loop w/stereo returns & mix control, Smart Power function trigger (Controls Smart Power Modes — "Deep, Half Drive or Modern"), independent stereo main & recording outputs, external Switching Inputs, and 2-button Footswitch (Channel 1/2 and Solo).   There are a few YouTube video's (here's one) but I couldn't find a comprehensive demo.  During my live test I ran it through a solid state power amp and it still sounded like a quality tube combo.  Click here for full info from Boogie.  If you're going back to a rack setup for you live rig, or simply want a "real" guitar tone in your studio setup - without having to disturb your neighbors - this will quite possibly be your dream come true.  Offered in truly mint condition with just a few hours use and has never been racked, its a sweet deal at $850 or of course guitar trade.  Includes footswitch with bag and original manual.  

Samick Royale RL5 Archtop, (front), (headstock), (back/side), (case).  (note: I forgot to mention that all pots have been upgraded to Gibson-branded 500K)  A fine Greg Bennett design for Samick, built with top-notch quality in their Korean factory.  Samick made their best move ever in taking on Greg Bennett as their lead designer and have since been designing some of the best quality guitars in the company's history.  Samick is probably the biggest manufacturer in the world, building guitars for Epiphone, Schecter, ESP, and many other companies, basically any of your Korean imports with an "S" serial number are made by Samick.  The RL5 is very reminiscent of an ES-175, although in a slightly smaller body, with a thinline design.  From a design perspective, it's extremely well thought out and addresses the performance shortcomings of the thinline hollowbody design as the sides and the center block are made from one piece of wood, rather than two sides and the center block.  This creates a more rigid structure to mount the neck, top, and back, resulting in much greater attack and sustain, without sacrificing the rich, full tone.   It's performance characteristics are more like a solid body, with warmth and fullness of an archtop.  The more compact size reduces the tendency to resonate and suck energy from the strings.  A pair of Seymour Duncan Designed  pickups, my favorite imports, ensure proper balance of tone, clarity, and power.  I wouldn't recommend changing these pickups until you play it - it sounds great.  Features include: Single cutaway semi-hollow body with arched top, body binding, select Spruce top, bound mahogany set neck, rosewood fretboard with split parallelogram inlays, neck binding, gold hardware, Grover tuners, Rosewood bridge, jazz style tailpiece.  This guitar plays superbly, with action that rivals most Gibsons.  If you think Epi's are great guitars for the money, I think this Greg Bennett RL5 is even better.  Sells new everywhere for $678 but this one is pretty much immaculate WITH Samick hardshell case, for just $479.  In case I wasn't clear...I really like this guitar.  

SWR Bass 350 Head - CNB Padded Rack - Gries 1X15 Cabinet, (SWR panel), (back features), (CNB Rack), (Gries Cab).   Dollar for dollar, nothing beats SWR for bass amplification in my opinion.  While it's fairly expensive, it's still within the range of most players and the tone can't be beat at any price.  This Bass 350 is a good example.  This model ran from '92 to '02, usually with a red panel which changed to this chrome panel the last few years.  It's straight ahead, without  load of switches or graphic EQ that largely duplicates the active EQ pots, but you can dial in a great tone with any bass and make adjustments to suit any song or venue.  I used the Basic 350 for a few years with nothing but a 2X10 cabinet and the tone was outstanding.   Features include 350 watts RMS @ 4 ohms, 450 watts RMS @ 2 ohms, active and passive inputs, a very effective Aural Enhancer to add "air" and "space" to your toe, 3-ban EQ with variable mid-range EQ, sidechain mono effects loop, effects blend control, built in limiter with LED indicator, limiter defeat switch, cooling fan, fan defeat switch, XLR balanced record out, line/direct out switch, tuner send, dual 1/4" or Speakon output jacks, 2-space rack mountable.  Manual is downloadable here.  The 1X15 cabinet is made by Gries, a small company in Mass.  It's an extremely well made cab, built for years of use.  No MDF here, it's built entirely of 3/4" plywood with a 3/4" baffle.  It's covered in black tolex with metal corners, black basket weave grill cloth, rear ported, and weighs in at just 40 lbs.  Speaker is an Eminence cast frame 300 watt 8 ohm with neodymium magnet.  Size is around 21X21X16, big enough to give you loads of bottom end and thump.  Rack is a CNB 2-space padded, very solidly built with compartments for cables, pedals, etc.  The Bass 350 retailed for $999, cheap in high-end bass terms, in 2002.  This makes great-sounding portable rig and you can own the whole set-up for $679 - or $650 without the rack.  

1970 Martin D-12-35, (close-up), (headstock), (back), (sides), (docs), (case).  Slope-shouldered, wonderful sounding 12-string dreadnought and although Brazilian was officially no longer imported after 1969, Martin used some bits and pieces during 1970; this one featuring a Brazilian center piece, saddle, and we're fairly certain it has Brazilian sides as well.   This was a two-owner guitar, with the last owner acquiring it in 1985 and it appears that it was very well taken care of during its 40-year life.  No cracks, not even the typical cracks from pickguard shrinkage (pic here). All original condition, including a great original neck set that needs no attention as this guitar has very comfortable action.  Specs include slope-shouldered dreadnought body, Sitka spruce top, East Indian/Brazilian rosewood sides and 3-piece back, Ebony fretboard, 12-fret mahogany neck, slotted headstock with rosewood veneer, bound fingerboard with dot inlays, 1-7/8" nut width, 24.9" scale, ebony bridge, black pickguard, and white-bound body.  This guitar has been lovingly cared for its entire life so it has no cracks or repairs, which is rather rare for a Martin of this vintage.  All we had to do was a partial level and dress on the frets (frets are still tall and need no attention) to get the action very comfortable, without any string buzz.  It has some scratches in the clearcoat here and there but nothing through the wood and no major scratch patterns.  It has a wonderfully complex tone with good projection and holds up well to strong strumming.  Includes original Victoria case, letter personally signed by C.F. Martin, and original hang tag, priced at $525.  This is an excellent value in the vintage market, especially considering that at 40 years old it's priced well below what a new example would cost if this guitar were still manufactured.  If you're thinking about plunking down $2200 for a new D-12-28, why not spend less on a beautiful vintage model that's had almost 4 decades to develop its beautiful voice.  Own this one for just $1799(HOLD-Ray C).  

2004 Taylor 710CE L9, (front/back/side), (headstock/neck), (detail), (case).   Taylors have really become hot and are currently the hardest acoustic for me to keep in stock.   This is the third one of these I've had; same specs as the 710CE, except in a slightly shorter scale, 24 7/8", as found on the Doyle Dykes model.  The 710CE is noted for brilliant, focused sound with powerful bass.  Venetian cutaway provides access to the upper frets and even easier access due to the closer fret spacing on a shorter scale.  The result is unparalleled playability and an even richer tone, amplified wonderfully with Taylor's Expression System.  Warm, responsive tone of Engelmann spruce enhances the rich, full overtones of the rich Indian rosewood.  Taylor dreadnought combines classic dreadnought volume and bass response with the definitive Taylor sound:  clear trebles and an open, a airy midrange that Bob Taylor's signature design accentuates plus greater bass and volume after Taylor revoiced their guitars several years ago.  The ultra violet-cured finish used to create this guitar's lustrous gloss was developed at Taylor for maximum durability and resistance to cold-checking.  It's also more environmentally friendly than traditional lacquer finishes.  This guitar is an excellent choice for flatpicking, light-to-heavy strumming, and its articulation makes it a perfect choice for finger style; a go-to guitar for all around use.  Nicely appointed with Ebony fretboard with snowflake inlays, Hawaiian Koa soundhole rosette, Indian Rosewood headstock veneer, Ebony & Rosewood binding, gold hardware, Tusq nut and saddle, and comfortable spacing with 1 3/4" at the nut.  Click here for a review at Acoustic Guitar mag.  This fine Taylor is in beautiful condition with no noteworthy flaws and a typically fantastic Taylor set-up.  The L9 was a limited run but they sold in superstores for $2549; this one's almost $1000 cheaper than it sold for new at just $1599(HOLD-Carlos 8/1).  Includes the famed brown Taylor luggage case, one of the best cases ever made.  

LEFTY - 1983 Fender Stratocaster Elite, (close-up), (headstock), (back), (frets/fretboard), (hardware), (case).  Rare Lefty version of this model.  Rather than using long descriptions, click here for a page I've created which outlines features of this innovative model.   This guitar is all original and overall pretty nice shape for its age with the worst flaws being tarnished or pitted hardware (bridge, neckplate, fine-tune nut) and wear along the edge of the fretboard, primarily in the lower register.  Unlike many of the Elite models I've had, this guitar has been played rather than spending its life in the case.   There are normal scratches in the clear coat, not through the finish, and actually only moderate fret wear but with a nice set-up this is a good choice for the player who doesn't want to pay top dollar for a pristine model that's too clean to take to a gig.  It's noteworthy that this guitar still has the fine-tune nut, which were frequently never installed, or removed and lost.  Lefty Elites are few and far between and if you're looking for a killer player that works perfectly and plays superbly, this one's just $1299.   Includes original lefty Fender case but not original trem arm.   

2009 Fender USA Highway One Stratocaster HSS - 3-Tone Sunburst, (front/back), (headstock/neck), (Deluxe Gigbag).   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 gloss finish.  Other than that, the quality is the same as the American Standard.   Specs include:  Alder body with 3-color sunburst 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 do, mainly because of its long drying time - it's rarely found on a guitar in this price range.  One upgrade we offer on Highways is a buffed out finish, which gives the guitar a high gloss finish and with the thin Nitro finish, more of a vintage look, as shown here, side by side.   With a list price of $999, these sell new for $699, very fair for an American Strat, but this one is immaculate other than a few pickguard scratches, set up better than factory, and just $529(HOLD-Brian T 8/30).  Includes new style Fender Deluxe gigbag with 3 storage compartments. 

1978 Ibanez Model 2680 Bob Weir, (close-up), (headstock), (back/binding), (gold hardware), (fretboard), (case).   A vintage Artist Autograph Model is always an exciting find for me.  ANY 70's Ibanez gets me jazzed up and to get a nice Bob Weir in this kind of shape really makes my month.  Although not tricked out like the fancier 2681, the basic construction, electronics, and hardware are identical and make it one of the best guitars in Ibanez' line-up.   Features include a killer pair of Super 80 pickups with engraved covers;  Velve-Tune machine heads which have virtually no lash or play and can be adjusted via thumbwheel from easy to firm action; Gibraltar bridge and tailpiece can be locked-down after set-up to hold perfect intonation plus there's in integral sustain block inlaid into the body for increased sustain; Velve-touch frets made of an extra hard allow to ensure long life and ringing tone; Sure-grip knobs have a great feel and are comfortable to the touch.   Other features include all-ash construction with a sculpted edge that's much like a German carve; smooth-contoured "heel-less" set-neck design; multi-ply body binding; sleek Ebony fretboard with abalone dot inlays; bound neck; scroll headstock that's unique to the Weir model and features detented cuts around the edge; gloss black headstock face with pearl inlaid logo; brass plate recessed into neck that's integral to the nut.  This guitar was a cosmetic second, marked by a small "2" on the back of the headstock.  People frequently ask me how this affects the value.  If we're talking vintage guitars or any guitar that's less than dead mint, the answer is zero, I buy and sell them the same as a guitar that doesn't have a small "2".  It's virtually impossible to spot the original cosmetic flaw once a guitar is played for a while and develops its own share of dings and scratches.  This guitar is in beautiful shape for 32 years and, most noteworthy, the gold hardware is well preserved with less discoloration and pitting than I've ever had on a vintage Ibanez.  The neck is perfect; set-up sublime.  Just a total winner in every regard.  I haven't had one of these in around 10 years and I'm happy to offer such a nice example for $1499.  Includes original green-lined, arched-top Tolex case in similarly nice shape.  

Digitech RP255 Modeling Guitar Processor and USB Recording Interface, (effects panel), (close-up), (back).  AKA Guitar Multi-effects Pedal with USB, 94 Amps, Cabinets, and Effects, USB, Drum Machine, Tuner, Looper, Expression Pedal, and Recording Software...WOW.  Excellent quality all-in-one processor and a good choice for both stage use or USB recording/editing on your computer.  Like the RP-500's I've been selling, it's built like a tank to take lots of abuse on the road.  You can have loads of The effects section has a wide variety of vintage and modern effects such as the Clyde McCoy wah, Boss CS-2 compressor and CE-2 chorus, dreadnought acoustic simulator, EH Electric Mistress, and a wide selection of Lexicon reverbs.  Specs include:  20 Second looper • 94 Amps, cabinets, stomp boxes and effects • 24 Amp/Acoustic Types • 15 Cabinet Types • Lexicon Reverbs • 30 Tone and 30 Effects Libraries • 120 presets (60 factory, 60 user) • Up to 5 seconds of delay time • 24-bit 44.1kHz sample rate • 60 High quality drum patterns • 2 x 2 USB audio streaming • USB editing via DigiTech X-Edit • Independent 1/4" Left and Right Outputs • Amp/Mixer switch to engage speaker cabinet model • Stereo 1/8" headphone output • Stereo 1/8" Aux Input • Built-in chromatic tuner • Durable die-cast chassis • Built-in expression pedal • External Power supply included as well as the Cubase LE4 software.  There are a number of YouTube demo's - click here for a 6 min. version.  Sells for $149 but this one's perfect and just $99.

OFF-HOLD:  Ca. 1990 Valley Arts USA Custom Pro Bent T, (front/back), (headstock), (neck).  Trans red flame top that looks much more stunning in person and is better shown in these close-up pics (neck pocket) and (pickup cavity).  My man Martin says this is a Pre-Samick model (serial 2029), despite the 3/31/93 neck date.  It's signed by Mike McGuire on the neck and body/neck/neckplate serials all match.  The Bent T (as in "Tele") is a Gibson scale with a 7/8 size body and a joy to play.  With the small body and featherweight  6 1/2 pounds, there's absolutely no fatigue during long nights of gigging.  Features include nitro-finish Alder body with a nicely figured maple top that's "bent" on the corner for comfort, exceptionally figured birdseye maple neck with a thinner profile than most VA's plus a sleek Ebony fretboard.   Other features are Seymour Duncan pickups and gold hardware.  Overall condition is nice, a solid 8+, and the set-up is unbelievable.  There are a few scratches, not through the lacquer and as with all of these gold-logo over red headstocks, the lettering has bled into the finish - it's inevitable.  This is an exceptional guitar and, unlike later models, is truly hand-made.  Priced at just $1350 with case, well below what it sold for new nearly 20 years ago .  Letter of authenticity from former Gen. Mgr. of Valley Arts USA included upon request.

Surprise Sound Lab Rock Block Amp, (close-up), (back), (cool blue lights).  There are more and more players looking or low-powered amps for the home and studio - and for many of you 1 watt is all you need.   When I got my first Carr Mercury, which goes down to 1/8th of a watt, I realized the value of micro-output amps and just how loud 1 watt really is.  SSL builds just to products, both USA made, with their flagship being the Rock Block, which functions as both an amplifier and as a distortion pedal.  It produces real tube overdrive because it is actually a tube amp.  The variety of sounds this thing is capable of is amazing, plus the tubes are interchangeable which provides even more variety.  Maximum output (1.5W max/.012W clean)  is achieved with an optional ECC99 (included).  I found that by dialing in various amounts of gain and adjusting the 3-way switches for "boost" and "bass", this amp had and seeming endless number of characters.  It can drive loads of 4-16 ohms and has an "output to amp" jack to drive a bigger power amp.  For audio clips, video clips, and reviews, click here for SSL's site and here for an overview.  Click here for Harmony-Central reviews, where it receives high scores across the board.  There are a bunch of demo's of this amp on YouTube but here's a good performance (link) at a lower gain setting, higher gain (link) and comparing it to the ZVex Nano Tube (link). I think the ZVex sounds buzzy by comparison, with the Rock Block sounding thicker and more like a "big" amp.  Here's another dude's demo playing some heavier rock (link).  If you're looking for fun and great-sounding amp that sounds great in the bedroom or home studio - or in your effects pedalboard - it's hard to beat.  This amp is mint in the box with power supply also mint in the box, preamp tube, power tube, and optional ECC99 power tube - all for $299(HOLD-EV 6/7).  

2009 Gibson J-45 Standard w/Baggs Element PLUS Fishman Aura Spectrum DI/Acoustic Pedal, (front/back), (headstock), (electronics), (fretboard), (case) (case mod).   Rightly called a "workhorse" guitar, the J-45 traditionally has been rather plain in appearance, but the playability and rich tone have made it the choice of countless working guitarists since its inception in 1942.  It plain cosmetics, round-shouldered dreadnought shape and vintage sunburst finish give it a vintage vibe that few other guitars have.   A fine acoustic on its own with strong bass, good balance, and excellent projection, this model also features the L.R. Baggs Element Active Acoustic Pickup System.  A simple but effective unit, it consists of a small volume knob adjacent to the sound hole, preamp fitted inside a "battery Bagg" at the base of the neck, and end-pin output jack produces its tone very faithfully, making it equally at home for acoustic strumming, studio work, or on stage.  Baggs' low-profile under saddle transducer is more stable and durable than other ribbon-type pickups and the "invisible" preamp produces a robust, lively, and natural acoustic sound with excellent dynamics and delicate high end.  Other features include: Vintage Sunburst Finish, Nickel Grover Rotomatic Tuners, AA-grade Sitka spruce top, Pattern grade Honduras mahogany back and sides, Plain tortoise tear drop pickguard, Single-ring rosette consisting of three-ply binding, Rosewood Fingerboard with Rolled Edges, Mother of Pearl Dot Inlays, L.R. Baggs Element Active Acoustic Pickup System, Hand-scalloped & radiused top bracing, Gibson inlaid Logo, Tapered Dovetail Neck Joint, Radius Top, Nitrocellulose Finish, and Body Binding.  This guitar is in excellent condition with excellent setup.   Includes original case in nice shape, although the compartment has been modified with three openings to allow humidifier air flow.  Also included with this deal...

is a Fishman Aura Spectrum DI/Acoustic Pedal, (close-up), (sides), (bottom).   To call this a D.I. is an understatement.  Sure, it does D.I. duties but just about everything else you want for your acoustic amplification including 3-band EQ, one-knob compressor, automatic feedback suppression with up to 3 notches, chromatic tuner, effects loop, and, yes, a high quality XLR D.I.   It also features 128 pre-loaded "images" (nylon, jumbo, 12-string, OM, etc.) with 16 user-defined locations.  It also features a USB interface for Image downloading from Aura Image Gallery (software included).  If you have 8 minutes to spare, here's a great demo (link) on YouTube.  This unit is in mint condition other the Velcro on the bottom which I can remove - and comes with rubber feet which have never been installed.  Sells for $329 new - with the J-45 Standard going for $2399.  For a package deal on one of the best acoustic systems you've ever heard, get the pair for just $1899.  I think you'll be blown away by the guitar and the Aura Spectrum, icing on the cake, will amaze you.  

1976 Gibson Les Paul Deluxe, (front), (back), (headstock), (electronics), (sandwich body), (case).  Fairly rare bird in beautiful shape.  According to Gibson shipping totals, only 14 Deluxes in Wine Red (previously called "Cherry") were shipped in '76 (only 142 in all colors) - compared to 1973 where there were over 10,000 Deluxes shipped.  It has the "sandwich" body used in this era, which was a layer of maple sandwiched between the mahogany back and maple/mahogany top.  Features of the Deluxe were basically identical to the Standard except for pickups, where the Deluxe used the mini-humbuckers and the Standard used the PAF style humbuckers.  A number of players prefer the mini-hums for their brighter tone; they fall between a PAF and a P90 to my ears.  Cosmetically this guitar presents itself extremely well.  The finish shines like new with the only real flaws on the top being a few very minor dings (shown here), and on the back there are some small finish chips in impressions (shown here).  Keeping in mind that this guitar is 33 years old, its extremely clean and definitely one of the cleanest 70's Pauls I've had in years.   Tuners have been replaced with recent Gibson Deluxe, which are identical to the original Kluson with the exact same footprint should you ever want to switch back to some bad tuners.  I've seen both speed knobs and the metal cap dome knobs on this model, although most of my books show the speed knobs so knobs may or may not be original.  Frets are in excellent shape and this guitar is set up very well with low action and no issues anywhere on the neck.  Look around the web and you'll see '76 Deluxes going at $3K in rather rough shape.  This nice one is a steal at $2100(HOLD-Spencer B 6/9), with trades very much desired.  

80's Washburn A-SC7 Stereo Chorus.  This has got to be one of the best values in an analog chorus.  Solidly built with metal casing.  To my ears it sounds almost as good as the Boss CE-2, one of my best sellers, although at 3X the price, plus this model is stereo.  It is lush and warm, with none of the tone clipping at the end of the sweep, which is what I love about the CE-2.  Works perfectly except for LED thus $35 as is - or $49 with new LED installed.   

2002 Fender American Series Stratocaster, (front/back), (headstock/neck), (case).  One of the best sellers, your basic American Series in black with a maple board.  It's probably the Clapton "Blackie" vibe.  100% stock and it hasn't seen much playing time judging by the very little fret wear, clean fretboard and no wear on the fretboard edge (see headstock pic above).  Worst flaws (shown here), some minor finish impressions the worst being is a ding behind the bridge and some light scratches on the back that are only in the finish.  This guitar plays great, sounds great, and is recommended for anyone looking for the Blackie look at around 1/2 the price of a Clapton model.  $679 includes original Fender case.  

Zvex Box of Metal Hand-Painted Distortion Pedal.  Zvex is truly an innovator in guitar effects and this awesome hand-painted BOM is a good example.  A very aggressive high-gain pedal with, and this is an important feature in high gain tone, a highly effective built-in switchable gate, which dramatically reduces noise and unwanted feedback.  Its gain and tonal characteristics are somewhat similar to high-gain tube amplifiers that have been the staple of hard rock and metal sounds since the 80s; the Boogie MK series comes to mind.  On the right, there is a true-bypass switch with an indicator LED to bypass the entire effect. On the left is a gate switch which is only effective when the pedal is on. (The gate cannot be used separately.)  When the gate's LED (on the left side of the pedal) is ON, the gate will be active whenever the pedal is turned on. The gate is very useful for cleaning up any noise between palm-muted chords and lead phrases, but may be switched off to initiate feedback or to stretch out soloed notes that are fading into noise. Switching off and on the gate is silent so the gating action of the pedal can instantly be changed during any part of the performance to fluidly integrate soloing and palm-muted chords. For more on the Box of Metal, click here for some video clips. Zvex's hand-painted stuff sells at a premium over their straight production pedals.  The hand-painted model sells new for $359 but this one's in nice shape in original box for $110 less, just $249(HOLD-Frankie 8/14).  

2001 PRS McCarty Model with 10-top and Birds, (close-up), (headstock), (back/tag), (case).  Stunning, perfectly bookmatched top finished in Teal Black "10" top with colorful bird inlays.  The McCarty was briefly discontinued after being in production for 14 years, but now has returned.  This is one of the original models with several unique features for a PRS, most notably a mahogany body that's 1/8" thicker than other PRS's, a headstock that's slightly thinner, and vintage style non-locking tuners, all of which are a nod to the 50's guitar that Ted McCarty designed for Gibson.  Other features include wide-fat neck, McCarty Treble and Bass pickups with 3-way switching and push/pull coil tap, compensated wraparound stoptail bridge, silver-nickel pickup covers, and mahogany body with a thick maple cap.  This was a one-owner guitar, very well maintained, and is in beautiful shape other than typical slight discoloration to the nickel hardware.  The set up is typically phenomenal, much better than your average Paul.  It's rare to find McCarty's with a 10 top and birds and for the player who wants PRS playability, with a 50's LP vibe, this is a great find - especially at $1850(HOLD-Brian S 6/11).   Includes PRS case and paperwork. 

OFF-HOLD:  2003 Suhr Carved Archtop Standard - solid Brazilian Neck, (sheer beauty), (front/back), (headstock), (neck), (solid carved maple top).  One of a kind Brazilian neck - with no plans to ever produce another.  Perhaps the must visually stunning Strat style I've ever had but it's so much more than looks.  This guitar has remarkable sustain and it's so lively, you'll feel almost like you're playing a thinline acoustic.  As I've mentioned before, I consider Suhr guitars on par with Fender Masterbuilt with impeccable craftsmanship and tone woods that are always top notch.  I've yet to have a Suhr that I considered only an "excellent" guitar; they're simply in another league when compared with regular custom shop and most other makers.  Looks and craftsmanship aside, there is still one aspect that sets this guitar apart from any other Suhr ever built:  the neck is solid Brazilian rosewood.  Confirmed with John Suhr that this is the ONLY solid Brazilian neck he ever made and, further, there are no plans to attempt another.  Initially 3 were built but the other two never made it out of the shop for unknown reasons.  Brazilian is a fine tonewood, but importing ceased in 1969...forever.  How much difference does it make in tone?  I personally think that it's a negligible difference, at least to my ears but the vibe of this wood is undeniable.  Complete specs are here but, briefly, they include mahogany body with incredibly flamed maple carved top in aged cherry burst finish, 1-piece Brazilian neck with 60's C-shape profile and heavy frets, 1.650" nut width, 10" to 14" compound radius, standard tremolo with steel block, gold hardware including Sperzel tuners, no pickguard - rear mounted controls, volume - tone - 3-way selector, side-mounted output jack, Suhr DSV humbuckers (cream and zebra), scraped binding, f-hole, abalone inlay on face and side dots, and abalone headstock logo.  Includes G&G custom form-fit case that hugs the body and support the neck the entire length, dual combo locks, plus fretboard protector, dealer order form, and manual.  This guitar is of interest to the discriminating collector with a fancy for one-of-a-kinds and, equally, guitars with exceptional tone and playability. Again, this is the only Brazilian neck Suhr in existence and appears to be the only one he will ever have made.  As outfitted with these options, this one-off is priced LESS than what you will pay for a new Carved Top Standard with Brazilian fretboard only.  Yours for $3800.  

Ibanez Universe UV777P-BK Steve Vai Signature 7-String, (close-up), (headstock), (binding), (back), (case/acc.), (Vai pyramid logo).  I love the Ibanez Prestige series and this UV777 is the first Prestige 7-string I've had.  Ibanez' latest version of Steve Vai's 777 Universe, first introduced in 1987 but now with even more stunning cosmetic appeal.  A black finish that shines like glass is outfitted with a mirror pickguard while the body edge features black pearloid binding, with neck and headstock binding to match.  The neck also features Abalone disappearing pyramid fret marker inlays and Vai's "Light without Heat" pyramid logo appears on the top of the body, just below the bridge.   It's fitted with a double-locking Ibanez Lo-Pro Edge 7 recessed tremolo, allowing unlimited tremolo use with perfect tuning and intonation.  The Edge PRO features a unique Sound Metal Chip on each saddle which help increase sustain right at the most critical area, the intonation point.  To avoid the problem of string holder blocks getting lost during string changes, the Edge PRO's sliding string holders are actually part of the bridge and won't drop from the saddle unit - plus it's design doesn't require cutting off the ball of your strings during string change.  Much of the tone is courtesy of a pair of DiMarzio Blaze humbucker pickups at the neck and bridge with a chunky rhythm and dense lead tones while a Blaze single coil in the middle provides brighter, edgier highlights.  This guitars features a comfortable contoured Basswood body with a Quartersawn maple neck and rosewood fingerboard.  This 24-fret Prestige JEM neck provides easy access to all registers and is thin but extremely stable under the extra tension of 7 strings.  With a list price of $3333, you'll see these selling at discount from $2333 or as low as $1999.  This one was collector owned and in exceptionally clean shape for just $1299(HOLD-Johnnie W 6/4).  Includes Prestige case, manual, tags, and tools.  If you're on a tighter budget or want something more basic, I have a Japanese AX7521 for $350, I also have one or two Japanese Ibanez 7-strings in stock.  

2007 Ibanez Steve Vai JEM 20th Anniversary, (front/back), (body "lit up"), (headstock), (inlay), (case inside - outside), (accessories).  The ultimate Steve Vai Jem - Limited Edition with only 200 distributed in the US; 500 world-wide. Features include Handcrafted Acrylic Body with Three-Dimensional JEM Multi-color Internal Design, Clear Pickguard (plastic film still on pickguard), Vai's signature "Monkey Grip" Cut-Out in body and "Lion's Claw" Tremolo Cavity, Five Piece Laminated Flamed Maple/Walnut Neck with JEM "Prestige" profile, 24 Dunlop 6105 Frets, Pearl/Abalone Vine Inlays on Rosewood Fingerboard, Scalloped Fretboard Under 21st - 24th frets, Ibanez/Gotoh Tuning Machines with JEM Acrylic Buttons, Ibanez Edge Pro Tremolo, DiMarzio Trans JEM Humbucking Pickup in Neck Position and Bridge with a JEM single in the middle; Five Position Pickup Selector with Coil Tapping, Green LED's light up the body and run on One 9 Volt Battery; Push-Pull On/Off Switch for LED's on Tone Control. Accessories include Ibanez JEM 20th Road Case, Owner's Manual, Tools and tool pouch, and an excellent book, "Ibanez, the Untold Story". This guitar listed for $6,666.65 and sold online for $5299. This one has never been retailed and is perfect, collector approved with all the stuff including original shipping box (pic).  You can sometimes pick one of these up on Ebay for $5250 (link), but usually sellers are holding out for $5999.  This one isn't $5999, or $4999, or even $3999.  You can own this ultimate Jem, in museum condition, for just $3899.  If it doesn't sell quickly, I'll just throw it up on Ebay for $5250.  

2009 EVH Wolfgang Guitar - Vintage White - Serial 109, (close-up), (headstock), (back/neck), (trem), (case1 case2 box).  Not many of these on the used market yet and I'm happy to have two of them in stock, both in collector's condition with original box.  This one is dated Dec 08 on the hang tag, shipped in 2009.  All I can say is, wow, it's not just hype.  I figured this was just going to be another EBMM or Peavey with a different headstock and fancy binding, but all the refinements that EVH made combine to produce a truly superior guitar.  The main thing I noticed was markedly increased sustain plus more note clarity than the Peavey model.  The distinctive double-cutaway body with a 1/2" maple top on a lightweight 1 1/2" basswood back, a quartersawn single-piece AA figured maple neck fitted with stainless steel frets, double-potted custom-wound guitar pickups, five-piece binding on the matching body and headstock, custom-made signature tuning machines, Floyd Rose double-locking trem with the patented EVH D-Tuna drop-D tuning system, and Bourns low-friction pots.  Other features include 25-1/2"-scale length, Compound fingerboard radius 12"-16", 22 vintage-size stainless steel frets, Floyd Rose R2 locking nut, 1-5/8" nut width, Chrome hardware, EVH-branded chrome Gotoh tuners with pearloid buttons, EVH-branded Floyd Rose locking tremolo, EVH humbuckers (neck and bridge), 3-way pickup toggle (reverse wired), Master Volume and Tone Controls.  It also includes a great case which is a huge improvement over the Peavey case - it is very thick, with strong hinges and latches and internal contours that hug the body on all sides.  The new EVH Wolfgang sells everywhere for $2999 but this one is immaculate with no pick scratches or buckle scratches, and a killer EVH for $2299.  Ships with original factory box and, by the way, this one is serial 109.  

2009 EVH Wolfgang Guitar - Black - Serial 323, (front/back), (headstock), (trem), (case1 case2 box).  All features as above, very near mint with plastic still on back covers, no pick scratches or buckle scratches, and nicely priced at $2150(SOLD-Mark J 8/5).  Ships with original factory box and another very low serial number, 323. 

1990's Budda Twinmaster Ten Head, (back), (top), (front panel), (back panel).  Another one of the fine early Budda's, built in Jeff Bober's small shop in Maryland when his amps were all hand-wired and built in small numbers.  Jeff gained fame doing Marshall mods or many of the touring acts like the local band "Kix."  His extensive knowledge went into designing some of the best boutique amps ever made.  Eventually Jeff sold his company but still runs production at the Maryland facility.  Sadly, the hand-wired series were soon phased out in favor of the "Superdrive" Series, which are good amps but are strictly circuit board, although the early Superdrive I's were still hand-wired.  The Twinmaster Ten is wonderfully simple with just 3 knobs - the only bells and whistles are a high/low gain channels which are voiced completely different, effects loop and DI output.  It's a Class A circuit with a pair of EL84’s (Tesla's) cranking out 18 watts, but you’re going to swear it’s 35, with a 5U4 GE rectifier and a pair of 12AX7’s in the preamp.  Extremely lightweight with real Birch construction.  The tone is best described as a cross between a baby Plexi and an AC30 with a more complex and touch sensitive gain structure.  The High Gain input has almost no headroom with a nice break up starting at around 2 while the Normal channel has clean headroom to around 12 o'clock before it starts breaking up.  My personal favorite overdrive tone is on the clean channel, cranked way up.  Operates at 4 or 8 ohms for a good choice of cabinets - even a 16 ohm 4X12  Beautiful condition with no noteworthy flaws anywhere  For a point-to-point quality head, this amp is very reasonably priced at just $1050, less than the old dealer when it was still in production.    

Tascam 004 Digital Recorder, (side views).  If you find the ultra-compact digital recorders too menu-intensive and/or too limiting, here's a cool little unit from Tascam that will probably be the ticket.  Especially good for users who came up using a Tascam analog cassette, the layout of the 004 is very similar.  Unlike the old analog units though, you can do unlimited track bouncing with no sound degradation (remember the hiss you would get at around the 3rd bounce?).  It uses the small SD cards for data storage (comes with a 1 gig but can take a 16 I understand) - plus USB connection to your computer for unlimited storage.  Rather than go into great detail, click here for al the skinny from Tascam.  There are a bunch of YouTube video's for this model including a number of tutorials (sample), reviews, and an overview from the NAMM show (overview).  Runs on batteries (4XAA) or external power supply.  New cost is $179 but buy used and save - just $115 or add a power supply (pic) for $125 total.  

2000 Godin LGX “Two-Voice”, (close-up), (headstock/neck), (controls), (bridge/block), (back).   The LGX, predecessor to the current LGX-T and LGX-SA, is a distinctive guitar that combines comfort, tone, and versatility in one finely crafted guitar.  Godin guitars, whether their acoustic line or hybrids such as the LGX, are made in USA from quality Canadian parts.  The LGX combines a quality electric guitar, with a fairly authentic sounding acoustic guitar:  For its electric tones the LGX uses a pair of Seymour Duncans (Custom-Custom Bridge and Jazz neck) with 5-way switching for a good selection of fat humbucker - or articulate single coil - tones.   For its acoustic tones the LGX employs quality L.R. Baggs transducer saddles with a custom preamp located on the upper bout with EQ for acoustic volume, treble, mid-range, and bass controls.  The LGX is designed to instantly switch to—or blend in—crystal clear acoustic sounds with your electric tone, and you have not just two but three or four instruments combined in one remarkable  guitar.  It also features very comfortable body contours, plus very easy access to the upper frets in an attractive Dark Red transparent AA maple cap w/maple binding attached to a mahogany body, matching quilted maple headstock, locking tuners with ebony buttons, mahogany neck, rosewood fretboard, very flat 16" fretboard radius, 25.5" scale, 1 11/16" nut, and controls for guitar volume, acoustic/electric blend pot, tone, and 3-way selector for acoustic-electric-both.  It features three separate 1/4"outputs for acoustic, electric, and blend.  For the ultimate in flexibility, use separate outputs to go to separate channels on your amp - or better yet a separate acoustic and electric amp.  For ease of use though, the blended output sounds fine and you can still enjoy the great flexibility of this fine guitar.  It can cover anything from country to jazz to rock to fusion and isn't any more prone to feedback than a Les Paul.  Lastly, this guitar records very well and sounds great on stage, making it one of the most flexible guitars you can own.  For around 50 reviews, where it scored a 9.2 overall, click here for Harmony-Central or go to YouTube for a number of demo's (here's a Santana song).   These sold new in '00 for $1200 with case but this one is pretty much flawless and just $750.  

1983 Boss SD-1 Super Over Drive.  One of the most popular OD's of all time, this one's a 3rd year of production.  These Japan-made SD-1's are much more highly regarded and are definitely made with higher quality components.  Here's a cool site (pedalarea.com) for everything you want to know about SD-1's and more, including sound comparisons between the original Japan and the current Taiwan models.  These have been used by scores of big name players, from Jimmy Page to Zakk Wylde.  This one's in typical used condition but at 27 years, it still works perfectly and will probably be in use 27 years from now.  $85(HOLD).  

Boss SD-1 w/"Brown" Mod, called the "SD-808", it changes the somewhat harsh SD-1 to a more vintage sound, basically a TS-808 clone.  For details of the SD-808 mods click here for Monte Allums' site.  He has updated this mod to a "GT" mod but this one sounds great.  This mod originally sold for $21.99 for DIY'ers.  If you're not handy with soldering irons, here's one that's been freshly done - in dead mint condition - with everything done for you and no labor charge.  $62 (HOLD-Gavin T).  Includes box, manual, etc.  

2002 Gibson Les Paul Standard DC Plus, (close-up), (headstock), (back/heel), (case).  In somewhat rare Translucent Black - most of these I've had were blue, red, and especially amber.  These were very unique guitars in the Les Paul line, with the tone and feel of a Les Paul, but with the added benefit of deep cutaways on the bass and treble sides - plus 24 frets.  Extremely lightweight, in the 7 lb. range, and a beautiful AAA flamed maple top in transparent black.  The body is lightweight via tone-chambers to keep it comfortable for an entire night of playing, something many Les Paul Standards aren't really cut out for.  Features include 490R/498T Alnico humbuckers, chambered mahogany body with maple cap, mahogany neck, gold hardware, rosewood fretboard with trapezoid pearl inlays, pearl headstock logo, 60's slim taper neck, bound body and neck, and Grover Kidney tuners.  This guitar is extremely clean and seems to have seen very little playing time; plastic film is still on the back cover.  Even the gold plating, which is the first signs of age for Gibsons, is pretty much immaculate except for some slight wear on the top of the Tuneomatic bridge.   This model was discontinued, but carried a list price of $2398 and sells at discount for $1669.  This one has one of the nicest tops, with consistent flame top to bottom, side to side.  If you're a Les Paul fan but want a guitar that's easier to play, lighter weight and beautiful looking, this beauty is just $1199(HOLD-Robert N 6/1).  Includes original brown case with plush pink lining and "pig blanket".  

B.C. Rich Mockingbird Exotic Classic Neck-Thru with Upgrades, (close-up), (headstock), (beveled edges/sculpted cutaway), (back/5-pc neck).  Mint Condition.  This is one beautiful guitar that does a nice job of recreating BC Rich's handmade classics of the 70's and 80's.  These come from the factory beautifully constructed with the only weakness being hardware and pickups/electronics.  This problem has been solved with a new set of Grover tuners and a new EMG Zakk Wylde pickup set, including EMG81/85 humbuckers, quick connect cables, and 2.25K pots - plus top of the line Grover tuners and Schaller locking pins.  The guitar already had excellent sustain but now it sustains a better tone.  The upgrades were professionally done and the only signs are 6 small holes on the back of the headstock from the original tuners.  We can plug these if the customer desires.  Features of this model include highly figured spalted maple over nato wings, ebony fretboard, 5-piece maple/bubinga neck thru body, Tuneomatic bridge, cream binding on neck, cloud fretboard inlays, beveled body edges, classic Rich headstock shape - matching spalted maple veneer and chrome logo, gloss finish body and neck, 24 jumbo frets, 24 5/8" scale, two volume - one tone control, and dual strap pins on the lower bout.   This model lists at a reasonable $1150 and although it was recently discontinued but there are still new ones available from a few stores like Sam Ash where it sells for $699.  For pro the pro upgrades this guitar has, it's a smoking deal at just $579(HOLD-Lance B 5/28) with free gigbag - or I might have a coffin case to fit for $75 more.  

1992 Fender Squier Stratocaster, (front/back), (headstock).  Fender's Squier series have been made everywhere from Japan, to Korea, to Mexico, to China, to Indonesia (am I missing any?).  Some are highly cherished, such as the early 80's JV and to a lesser degree SQ series, which were made in Japan.  Other than the Fender Bullet, which isn't really a Strat as much as a "Strat-shaped guitar", Squiers are good quality utility guitars, primarily for beginners.  During the late 80's and 90's, Fender chose Korean factories for their manufacture, using facilities by Samick, Sunghan, Sung-Eum, and, like this one, Cort.  With proper quality control, these companies can churn out a good quality product at a significantly lower cost than a USA plant, primarily due to the decreased labor cost.  This one has a straight neck with well-seated frets, nicely dressed on the ends, so the set up is very comfortable.  The stock ceramic single coils sound like a Strat, but are a bit harsher than Alnico pickups, which actually isn't necessarily a bad thing if you're looking for an SRV type toe.  Overall this one's in pretty nice shape for an 18-year-old used guitar with the worst flaws, shown here, being an extra strap hole on the back side, near the original strap pin, and a small finish ding on the forearm area.  Korean Squiers seem to have a bit of a fan base and I used to have a customer who bought virtually every one I got in.  For a nice playing Strat in presentable condition, $150(HOLD-Jimmy R 5/26), which includes a gigbag.  

2006 Fender Classic Player 60's Stratocaster, (front/back), (headstock/trem), (Abby pickups/body), (gigbag), in 3-tone sunburst.  Designed by Fender Master Builder Greg Fessler and features a blend of the old and the new, something Fender has been featuring throughout much of their line the past 2 years.  The 60's Classic Player, has some unique features (pic4), most notably 3 USA gray-bottom Custom '69 pickups signed by Abigail Ybarra herself, and Fender's new vintage-style 2-point fulcrum bridge that has never been offered outside of the custom shop.  Other features include very thin poly gloss sunburst finish alder body, maple "C" shape neck with and even flatter 12"  radius, rosewood fingerboard, 21 medium jumbo frets, 5 way pickup selector, chrome hardware with Gotoh vintage style locking tuning machines, "Custom Shop designed" engraved neck plate, and aged plastic parts.  Most of these have the '69 gray bottom pickups but I think this is the first one that were built and signed by the legendary Abby herself.  With a list of $1099, this model sells everywhere for $799 and it's a great guitar for this price range.  Better yet, this one is this immaculate used one priced at just $629(HOLD-Shawn T 7/28) and set-up better than factory specs.  Not bad for a guitar that is quite honestly a pro quality instrument that anybody looking for serious vintage tone but with the modern features everybody likes.  Includes high quality Roadrunner gigbag. 

Bellari MP105 Tube Mic Preamp, (pic2).  A actual piece of pro sound gear that was made in the USA.  Many of you know the benefits of using a tube mic preamp for a warm, smooth, analog sound, which is more important than ever in these days of digital recording and its inherent sterile sound.  Even on analog tape decks, the built-in preamps are ineffective and are frequently the weak link in your recording chain.  Not just for mic's, a tube preamp can improve the sound of other instruments, especially keyboards.  The Bellari 105, made by Rolls, features both XLR and 1/4" inputs and outputs with a 37 dB Pad on the XLR input, 48 Volt Phantom Power, and a Phase Reversal switches, with LED indicators for phantom power on, clipping, and power on/off.  Here's a comprehensive review from SoundOnSound.com (link).  These are discontinued and the few remaining NOS models are selling at the $150 list price rather than the old $99 discount price.  If you've invested in a good digital studio and it still doesn't sound right, chances are this will help you greatly.  At $65 it's a small investment.  Includes power supply...but wait, act now and I'll include a plastic mic box with foam padding that fits the unit an power supply perfectly.  

Chandler Tube Driver Real Tube Overdrive, early rackmount model by Chandler Industries, San Francisco.  An 80's classic, built when racks were king but unlike the ADA MP-1, the Chandler unit is more of an overdrive than a distortion and much better suited for early 70's/early 80's classic rock than later heavy metal.  The rackmount has more features than the stomp box model.  Uses 12AX7, 12AU7, 12AT7 (interchangeable to taste) to provide a warmer, less sterile tone, than most OD units and from my memory, was the first model to incorporate a preamp tube.  In addition to Drive, Master Volume, and 3-band EQ, it has Contour and Bias knob, plus a Boost circuit that is switchable via front panel, or with a standard 1/4" jack on/off pedal.  On the back panel you have the Boost jack as well as Bypass (also footswitch controlled) - plus both line-level in/out (for running in an effects loop, and instrument-level in/out (for running direct from your guitar to your amp input).  You can run direct into the unit, like a stop box, or use the line level jacks for your effects loop.  Here's a YouTube demo using a simple Blackface Princeton on a clean setting, i.e. all the overdrive is coming from the Real Tube.  It received a 9.1 overall on Harmony Central (link), although that includes reviews for all models, including the stop box versions.  $159(SOLD-Dave C 5/25). 

Chandler Tube Driver Real Tube Overdrive, as above but slightly later, perhaps the following year, with the model name on the top as well as on the front panel, otherwise all features are identical.  $159(HOLD-Rich F 6/2).  

1983 Peavey T-40 Bass, (close-up), (headstock), (back), (case).  As I've mentioned before, Hartley Peavey revolutionized the guitar building industry with the introduction of CNC (computer numerical control) routers and the T-40 was the world's first CNC-manufactured bass.  Due in large part to this technology, Peavey was able to sell their instruments considerably lower than other major companies.  Today all the major manufacturers, and most of the small ones, use CNC routing rather than the manually-controlled jig saw of the old days.  Irrespective of any technologic advantage, Peavey has *always* represented top quality gear at the lowest price, making it the best value in USA guitars and basses in my opinion.  The T-40 is a heavy bass, built during the era when mass was thought to equal tone, thus the large, heavy ash body and massive metal parts including bridge, pickups, and knobs.  The tuners, oddly enough, are fairly lightweight Grover style which are the same one used on Fender "Plus P and J basses.  Features include Ash body with thin satin finish, brass nut, large sustain block bridge with strings thru body and saddles adjustable for intonation-height-slant, truss rod adjustment on headstock end, 20 frets, dual volume and tone controls, 3-way pickup selector, phase switch, huge 3-ply pickguard with 18 screws, two dual-blade pickups (humbucker/single coil depending on settings), tilt-neck adjustment on neckplate, 20 medium frets, and 34" scale.  The neck on this model is gloss finished with bilaminate construction - (two pieces of opposing grain - which produces superior stability.  The neck/fingerboard is one piece of maple, rather than a maple cap, and has the feel of a Fender P-bass.  One of the cool innovations of the T-40 (and T-60 guitar) is the circuit design - the pickups change from humbucker to single coils via the tone knob - at "7" and above they're single coil; below 7 they're humbuckers.  The bass is truly a tone chameleon and can closely emulate the sound of a P-bass, Jazz, or just about anything else, depending on how you dial it in.  Overall this bass is in nice shape for bass that has been used periodically for the past 27 years with the worst flaws being a ding on the headstock edge, some buckle scratches on back, and wear on the fretboard edge in the lower register (all shown here).  I wouldn't recommend this bass to anyone for whom light weight is consideration but if you're a manly-man, it's an excellent playing bass with good sustain and a great selection of tones.  One day, and I don't know when, the T-series will certainly take off on the vintage market and more than any other American brand, their growth potential is considerable.  Until that time, it's an excellent utility bass with a character all its own and nicely priced at $399.  Includes original case with plush brown lining.  For complete specs, Peavey has a copy of the original manual here.  

1986 Boss CS-2 Compression Sustainer.  Made in Japan.  Incredibly nice shape for 24 years and considered by many players to be the best stomp box compressor ever made.  Like all Boss pedals from this era, built for decades of hassle free use and this pedal will likely be in use 24 years from now.  It has a few minor finish chips but overall very clean shape, with original box, and priced just slightly higher than a beater at $125.  

1983 Boss CS-2 Compression Sustainer.  Made in Japan.  Typically well-used CS-2 with plenty of finish chips but that means little with these things.  It works and sounds as good as a museum condition CS-2.   Good value for the player at $79.  

OFF-HOLD:  1990 Fender HM Strat, (close-up), (headstock-dark fretboard), (back), (back w/flash), (body/neck markings).  Not one for the collector of museum quality guitars.  There are finish cracks shown in the pic of the back, which are more apparent when I photographed with a flash, plenty of dings, headstock finish touch-up, plus two large finish chips (pic here) which have been color matched pretty well but still quite visible.  The cracks on the back are definitely cracks in the finish only and not wood cracks so the integrity and tone are unaffected.   As I've mentioned many times, it doesn't matter whether these guitars are USA or Japan they are, across the board, some of the best built metal axes ever made.  Although the neckplate says "Fender USA", this models with Strat headstock and "digital" logo were assembled in Japan.  The main difference on this model, compared to the USA HM with the larger "Strat" logo is the tremolo, which is an "Original Floyd Rose" rather than the Kahler found on the USA's and a Floyd nut with screws through the neck.  Despite it's nickname, "HM", they're not strictly for heavy metal and on the single coil settings, this guitar sounds just like the vintage-style Strat you know and love, mainly because the single coil pickups are American Standard.  The bridge humbucker in the stock DiMarzio.  The fretboard on this guitar is some of the darkest rosewood I've seen and I first thought it was ebony before I had a closer look at the grain.  There are two mods on this guitar.  The Japan tuners have been upgraded to nickel German Schallers (exact replacement-no extra holes) and strap pins upgraded to Dunlop locking type - both ends are included  If you're not scared off but a few finish cracks and a finish that's rough around the edges, this guitar is an excellent value for the player and worth the money in parts alone.  This guitar limped in as a basket case, although with all original parts.  We've done a good job making it a guitar that plays well, sounds excellent, and stays in perfect tune  $450 includes new Fender gigbag, trem arm, and black strap with Dunlop strap locks.    

2002 PRS Custom 22 with 10-top and Birds, (front/back), (headstock), (tag), (case).  A real beauty with Teal "10" top with matching back/neck/headstock and colorful bird inlays.   Features of this great CU22 include wide-fat neck profile, which is just slightly thicker (1/16") than a wide-thin; PRS locking tuners; PRS tremolo; Dragon II Treble and Bass pickups with nickel covers; 5-way rotary selector with a combination of humbucker and single coil tones; and a perfectly bookmatched flamed maple top over mahogany body.  PRS are perhaps most noted for their superb playability and this one's no exception.  Frets are in great shape and the setup is low and even all the way up the neck.  It has a very lively body with excellent sustain and overall very clean shape for a lightly used guitar with no noteworthy flaws anywhere.  The new list on an '09 Custom with these options is $5689, discounted to $3894, which makes nice used one, especially in this color, the best value ever at around 1/2 the current new cost.  $1850(SOLD-Jay, local). 

Dean Cadillac Select - upgraded, (pickups), (close-up), (back/side), (headstock).  A top quality Korean import made even better by a pro upgraded of  pair of Seymour Duncans with an Invader in the bridge, Full Shred in the neck.  The Cadillac was truly the "Cadillac" of the Dean line; their equivalent to Gibson's Les Paul Custom, with features like multi-ply body binding, multi-ply headstock binding, pearloid block inlays, carved top, one-piece mahogany neck, and gold hardware.  It's silhouette, however, is far from a Les Paul.  It's actually a Les Paul lower bout, Explorer upper bout, and Flying V headstock.  Another thing that makes it unique are comfort features like beveled contours around the neck joint and soft belly contour.  The Caddy was created in 1980, with elegance in mind, so 2010 marks the 20th anniversary of this unique model.  I don't know if the current models feature this but upon close inspection, this guitar doesn't have merely a maple veneer but an actual maple top that's slightly thicker than the binding.  It is the marriage between mahogany and maple that gives a guitar the warmth, resonance and plenty of bottom end - with the high end snap and articulation of the maple.  A guitar with only a maple veneer is essentially a mahogany body and it will not have this tone.   This guitar is immaculate, except some very slight pitting to the bridge and tailpiece.  The original owner paid the store's pro luthier $225 for the pickup upgrade and by doing so he transformed this from a guitar that's at home in a garage band - to a guitar that's at home on a club stage.  I wouldn't hesitate to recommend it to semi-pro players as a main axe, especially considering the set-up is exceptional; very low action and no fret outs on bends.  Even without the pickup upgrade I would rate this model above the current Chinese Epi Les Paul Customs, which are selling for $699.  With the Duncans, it's hard to beat for tone, beauty, and playability, for just $479. 

2002 Custom NAMM Esquire - Sonic Blue, (front/back), (headstock), (neck), (flight case), (suede gigbag), (cert).  Back in 2002 Fender had this amazing display of Esquires at their NAMM booth (picture).  From what I've heard they had around 20 pieces total, each in a different color, and as you can see in the pic, each one has a "sold" tag on it.  I was fortunate to get one of the cooler colors--Sonic Blue--in trade, and it's definitely one fine guitar.  Built with 50's specs:  5-screw single-ply guard, knurled knobs, Pat. Pending 3-saddle bridge with brass saddles, single round string tree, deep - soft V shaped neck with vintage frets.  Two departures from a 50's model is the neck radius, which is the modern 9.5", much preferred by players, and the 3-way switch eliminates the "mud" position with one and 3 both bypassing the tone pot and the middle position the tone control is in the circuit.  Other specs included highly figured necks and a very cool combination of an SKB flight case--that's almost twice as thick as a standard case--with internal foam padding, and a very thick suede gigbag, which together offer the best protection you can imagine.  At 7.3 lbs. it's very lightweight and it has a very low set-up with no fretting out anywhere.  One of the nicest playing Tele/Esquire guitars I've had.  There isn't a lot of info on the web about this model, but that's common for a guitar with a run of perhaps 20 pieces.  There was some discussion on the Tele forum though at this link and this link.  This guitar is in beautiful condition, with just a few very light marks in the clearcoat on the back and the typical 1/4" lacquer crack in the neck pocket on one side only.  This is one fine--and rare--Esquire for $1999.  

Beyer TGX-580 Vocal Mic, (pic2).  Top quality performance mic.   When most manufactures have switched manufacture to China, Germany has a long reputation of building excellent mics for various manufacturers.  I don't know how many of the Chinese capsules will still be working with a few decades of road use behind them, probably not many.  The TG (for Touring Group) series are made for the road and will sustain the serious abuses of energetic live performances.  The TGX-580 is a Beyer equivalent of the SM58, although Beyer fans will argue that it's better than the 58.  It excels in gain before feedback, especially nice if you don't like feedback in your monitor mix and has a soft lacquer covering which is comfortable and resistant to scratches.  Although designed as a vocal mic (Adam Duritz of  "Counting Crows" among its past users), it also sounds very good for acoustic instruments, which condenser mics may not be practical and Celine Dion's touring group uses them for their guitar amps.  Technical info includes:  Hypercardioid pattern, frequency response of 30Hz to 18K Hz, with a sensitivity of 3.2 mV/Pa.  Beyer mics are top shelf stuff, with many of their performance mics selling in the $300's.  Although they make the TXG58, the TGX-580 is no longer made but if you're looking for an excellent handheld that will deliver night after night, here's a nice one for $79. 

2002 Breedlove SN20 Classical (SN20A2/Mh),  (front/back), (headstock), (case).  From the USA Breedlove Premier Nylon Series, a finely crafted classical guitar in the Breedlove tradition.  Breedlove employs skilled luthiers who take the time to build guitars in the old tradition – one at a time, by hand. Tone woods are chosen from around the world for their ability to amplify a string’s voice and color tone are naturally aged, not kiln dried.  Each guitar is intonated individually, with meticulous attention paid to every step, from the shaping of the body to the polishing of the finish, all which ensures an instrument whose sound is as beautiful as its appearance.  The Nylon series employs a slender neck and radiused fretboard, which allow a steel string player to make the transfer to classical much easier.  Standard neck profile includes a 1 7/8" nut width and a 14 fret neck.  The SN20 also features Mahogany back and sides, Western Red Cedar top, Brazilian rosewood bridge, tortoise binding, narrow abalone rosette, and an ebony fretboard and peghead overlay.  This guitar sells at discount for $1919 ($2399 list), very reasonable for an American Premier series.  An typically superb Breedlove in excellent condition for just $1250.  Includes a top quality Breedlove case. 

2006 PRS SE Custom 24 - Cherry Sunburst Flame with coil splitter, (close-up), (back/edge), (headstock).   As I've said many times, you don't have to pay $700 for a great playing, great sounding electric.  PRS are quite possibly the best quality Korean imports on the market.  Unlike 95% of the other companies, they don't use Cort or Samick factories but instead chose "World Musical Instruments", which also builds the Line 6 Variax, a fine guitar in its own right.  The SE CU24 has an impeccable fit and finish, with excellent pickups and electronics, and very good quality hardware. Most of all, I'm impressed with the fact that they have great necks that set up well as your average USA Fender or Gibson. The Custom 24 is a relatively recent model to the SE line, but now only available as the 25th Anniv. Edition. This guitar really impressed me away in terms of looks, tone, and feel.  The 24-fret wide-thin neck is a joy to play with low action, easy and smooth string bends, with quality tone and very good sustain.  Unlike most imports which use only a maple veneer over mahogany, PRS chose to use an actual maple slab mounted to the mahogany body, and then put the flamed maple veneer on top of the maple cap.  It is the marriage between mahogany and maple that gives guitars like Les Pauls, and this PRS, their throat.  This classic blend produces gives the warmth and resonance with excellent bottom end - with plenty of high end snap.   A guitar with only a maple veneer will not have this tone.   The PRS-designed humbuckers sound excellent and touches like the moon fretboard inlays, headstock shape, nickel hardware, PRS tuners, PRS tremolo, 25" PRS scale, 1 11/16" nut, and natural maple top binding make this look like it's USA brother but at around 1/4 the cost.  The use of PRS tuners and tremolo means this guitar actually stays in tune when you use the whammy bar.  This guitar has one simple but important upgrade - a push/pull tone pot has been added to allow a choice of single coil or humbuckers which makes this a more versatile guitar than stock.  This model sold in the super stores for $539 here's a real beauty with a killer set up and pro-modded coil splitter for just $399(HOLD-John F, local 5/29).  Includes a super thick CTM gigbag, one of the best padded bags I've seen.  

Speaker: Eminence Kappa Pro 15LF, (pic2).  15" low frequency driver, 600 watts (1200W program), 8 ohms.  Quality USA Eminence especially designed with extended Xmax to deliver more bass than standard models and provide 'a true woofer' for 3-way applications.  Engineered to give a clean extended bass response in ported cabinets of approx. 4 cubic ft.).  Ideal speaker for portable high power P.A. and club music systems but can also work in bass guitar amplification.  Sells new for $149 but this one is brand new, never installed, and is just $99.  

Speaker: Eminence Patriot "Blue Tick Hound.  12" guitar speaker, 75 watts (150 program), 8 ohms.  Quality USA Eminence that was marketed for rock, metal, and grunge in a 1X12 or 2X12 open back cabinet design.  Eminence also recommends it as a replacement for the following Fenders - Black/Silverface Bandmasters, Princeton 112 Plus/Princeton 65, Pro Reverb Blackface, Ultimate Chorus, '61-'64 Vibrolux Brown/Blackface - as well as some Ampegs and Crates.  Guitar Player review:  "The Blue Tick Hound possesses a remarkably smooth frequency response, with a slight bump in the bass, and a moderate rise in the treble. It has a compressed attack and the lowest output per-watt of  the Patriot series. Its bottom sounds full and round, the lower mids are thick and chunky, and the highs are smooth and pleasant. Warm and relaxed with an early breakup, the Blue Tick Hound would be a great companion for a low-volume recording amp.  Mint condition and was used only briefly in a 12W amp so it's never been pushed.  Nice speaker for $45.  

Speakers:  Peavey Sheffield Triple XXX Pair, (pic2).  12" guitar speakers, 50 watts (200W Peak, 100W Program, 16 ohms.  USA made and the model used in Peavey's popular JSX (Joe Satriani) series and with their chrome plating, some of the coolest looking speakers ever.   Especially good speakers for harder-edged music; rock or metal.  These sound great in a 4X12 cab or wire them up for an 8 ohm load in your combo or 2X12 cabinet.  A new pair is $160; get this pair for $99.  

Speaker: Peavey Blue Marvel 12".  12" guitar speakers, 75 watts (300W Peak, 150W Program, 8 ohms. A popular model in many of Peavey's amps, especially their Classic series.  Especially well voiced for Blues or rock.  In clean cosmetic shape other than a very small ding on the edge that we filled and doesn't present a problem (see arrow in pic).  Sells new for $70; this one's $39. 

RELIST, Now with Milan Ford Collectors quartz pocket watch (shown here):   2007 Fender "Ford" Sonoran SCE, (front/back), (headstock/v-neck), (side/preamp).  The Collector's Edition watch by Milan, sells for $49--free with this guitar--and features a "Ford Tough" metal casing, Japan quartz movement, and steel belt loop with leather conecting strap.  Whether you're a Toby Keith fan, Ford fan, or just a player looking for a nice acoustic/electric, the Sonoran SCE is a good value for the money.  Part of Fender's "California Series", which are reissues, based on acoustic models that Fender built in the late 60's/early 70's.  The most distinctive aspect then - and now - is Fender's Strat headstock shape and 6/side tuners.  The Sonoran SCE features a solid spruce top, laminated mahogany sides and back, dreadnought body shape, V-shaped mahogany neck with rosewood fretboard, onboard Fender CE-300 preamp with a separate easy access 9V battery compartment, checkerboard soundhole rosette, rosewood bridge with compensated saddle, multiple body binding, and vintage style tuners.  This particular model is a limited run issued to Ford dealers to coincide with Toby Keith's advertising campaign where he played this model.  I've seen these Ford Limiteds selling for $499, which reflects the usual upcharge for a limited edition model.  This one is in pristine condition and plays better than anything hanging in the stores.  If you're a Ford nut who plays guitar, this is one of the coolest things you can add to your collection...for just $379.  

2001 PRS Santana III, (close-up), (headstock), (back/side), (case).  I haven't had one of these in around 4 years.  The Santana III was created as more of a workhorse Santana model, considering the II models sell for twice the price, primarily due to cosmetic appointments.  With the III you give up some Abalone inlay, a Brazilian fretboard, and rosewood headstock veneer, plus the tops aren't as breathtaking as the II models.  As far as tone and feel, you're getting basically the same guitar, but a guitar you can take to gigs rather than keep in a glass case.  This one has a very nicely figured Cherry Sunburst finish that should appeal to players who aren't looking for the glitz of steroid-enhanced maple top - and some very colorful bird inlays.  Features of the Santana III include mahogany back, carved maple top, 24 frets, 24 1/2” scale, 10” radius, East Indian rosewood fretboard, abalone bird inlays, Santana wide fat neck carve, PRS Tremolo, PRS locking tuners, electronics and tremolo cavity cover, Santana pickups with covers, 3 way toggle pickup selector, Volume control, Tone control.  This guitar is in excellent condition with no noteworthy flaws on the finish, with the worst flaws being the nickel plating is slightly discolored and/or pitted (pic here).   A lovely example of a recently discontinued model for $1850.  Includes PRS case.

2007 Martin OMC-15E Custom, (front/back), (headstock), (upgraded pickguard), (side/preamp), (Geib case).   Here's one for the pro player with an eye for value - a load of upgrades that most pro's would appreciate.  This was a custom order from Martin, thus the "Custom" above the serial number in place of the model name.  The only factory option on this guitar was a gloss finish, which was an $800 *dealer* cost upgrade over a stock satin finish model.  Additional upgrades after it left the factory include:  Martin Geib style case $245 (stock case is $95); Fishman Prefix Premium Blend preamp $399 ($110 upcharge over the stock $289 Fishman Prefix Plus); Gotoh 510 black-button tuners $98; vintage style Tor-tise pickguard with beveled edge $27; Pearse rosewood arm rest $35.  Advantages on these upgrades include a case that provide far better protection; a top of the line preamp that blends the saddle transducer with a condenser mic that's suspended inside the body - plus an onboard chromatic tuner; increased tuning stability via the 510's - strum as hard as you want, it won't come out of tune; the Tor-tise pickguard just plain looks better, like a vintage Martin; and the Pearse arm rest which allows more comfort but actually allows the top to vibrate more freely since your arm isn't deadening the vibration on the lower bout.  Other specs on this guitar include:  000 size, solid Honduran Mahogany (Sapele on some models) back sides & top, gold herringbone decal rosette, tortoise pickguard, Low oval profile neck, rosewood fretboard, wide 1-3/4" nut width, standard 25.4" scale, and rosewood headstock veneer with gold decal logo.  Although this is overall a lovely guitar, close examination shows some slight impressions in the finish here and there, impressions on the back of the headstock from a clothespin style capo, light fret wear, and set screw holes from the original tuners are visible.  If you're a player, you'll probably appreciate the fact that it isn't a pri$tine instrument.  Tonally this is a wonderful sounding acoustic - very warm as you would expect from a mahogany body, but it has excellent note definition--every note rings clear when chording--plus very good volume for a smaller body acoustic.  The action is very comfortable, surprisingly low for a Martin.  Original cost on this guitar was $2050 (receipt), which was a buddy deal where the dealer didn't upcharge the $800 premium for the gloss finish.  Over and above the $2050 are $804 in additional upgrades for parts alone, not including shipping or labor.  Original owner had over $2800 invested, although he recouped a few $100 selling off the old parts, but this could be your dream guitar for almost 1/2 of the original investment.  Just $1450.

2005 Fender American Vintage '52 Telecaster with Humbucker, (close-up), (back/headstock/neck), (case).  Want the Keith Richards vibe in a real V52 Tele?  Save yourself $200 (receipt) and consider this one that was pro routed (body and pickguard) for a neck humbucker - a Duncan Seth Lover.  This one sounds great acoustically, very loud with nice sustain.  Plugged in, it has that Tele twang that these V52's are noted for in the bridge but that very thick but crisp tone of a humbucker in an ash body in the neck position.  In production since ca. '82, the USA V52 Tele has remained one of the most desirable Tele's to collectors and players alike and is definitely a "workhorse" Tele, one to be played at gigs and not sit in a glass case like many of the Custom Shop models seem to do.  ... and this one does have some honest players wear (pic) such as arm wear on the top edge, buckle rash in the clear coat, and moderate fret wear (pic) but it has a very straight neck that sets up well so fret work isn't yet required.  Spec's have remained virtually unchanged for the past 25 years including: premium ash body, one piece U-shaped maple neck, 21 vintage frets, vintage hardware, brass 3-barrel bridge, V52 single coils w/cloth wire, 3 way toggle, volume and tone, single-ply black pickguard, and butterscotch blonde finish.   If you're a fan of the neck humbucker tone in a Tele, this one is priced like a stock used V52 Tele and you'll save the cost of a pro conversion.  $1150 includes original Fender/G&G tweed case in clean shape.  

Barber Trifecta Fuzz, (pic2).  Hey fuzz freaks, here's a cool one.  The Trifecta, so named because of its 3-way switch, has 3 distinct fuzz tones (based on the triangle style Big Muff Pi sound, the jumbo Tone Bender and the Suppa Fuzz) with, with plenty of control to tweak each one to your taste.  It also has Barber's exclusive "Sludge" control  to work perfectly with all types of pickups (humbuckers, single coils, active).  The Sludge is specifically a pre-fuzz bass control circuit to allow you to adjust exactly how much bass gets pushed through the fuzz circuit.  The Trifecta's variable tone control is also a push/pull type switch which lets you go from classic scooped to boutique strong fundamental flat style EQ.  You'll find a world of sounds in this pedal so it's far from your one-trick pony.  With new ones running $149, this one's perfect and just $99(SOLD-Brian 5/18).  Includes box and manual.  Click here for a video demo of the Trifecta in action.  

1995 Fender "90's Telecaster Custom", (front/back/side), (headstock).  It's may seem like a contradiction to mention classy and Tele in the same sentence.  The Tele has traditionally been a utility guitar, workhorse of the Fender line, with none of the sexiness of a Strat.  The 90's Tele Custom is a departure and were some of the classiest Tele's ever produced.  Made in Japan in the mid-90's, the 90's Tele Custom came in 2 finishes - black with double white pearl binding, or white with black pearl binding, both featured matching headstock with raised gold logo.  Combine this with gold hardware and pearloid pickguard and you've got one stunning looking Tele.  Beneath it all though, it's got the Tele twang that you know and love.  Features include double-bound basswood body, oval shaped maple neck with rosewood fretboard and vintage 7.25" radius, two vintage style Tele pickups, 6-saddle AmStd type bridge, and strings through body.  This one also has the 40th Anniversary seal on the back of the headstock which Fender used for most of '94/'95.  This guitar is in exceptionally clean condition with the only noteworthy flaw being wear to the gold plating, which tends to rub off quickly if metal polish is used.  The set up is excellent and the tone is classic Tele quack.  This is one of the older "Made" in Japan models which have become very collectable in comparison to the more recent "Crafted" in Japan models, but it's still very affordable and priced the same as a new Mex 60's Classic at just $699(HOLD-Kevin K 5/17).  Includes Fender deluxe gigbag. 

2006 Fender Classic Series '72 Telecaster Thinline, (close-up), (headstock), (back), (gigbag).  Natural Ash finish.  Classic Tele looks--with a humbucker tone--in a lightweight package, in the popular Natural ash finish.  The semi-hollow ash body makes it easy on the shoulder while a pair of Fender humbuckers give it a tone that doesn't have a lot to do with a Tele - but a cool and distinct sound in its own right and a tone that has found a place among side men of many current touring acts.  It has the thick tone of a humbucker but much more clarity, especially noticeable when strumming chords where you can hear each note distinctly, rather than primarily the A-E-D strings.  The original model, introduced in 1969, was designed by German luthier Roger Rossmeisl of Rickenbacker fame.  This hollowbody design was originally a solution to Fender's dwindling supply of lightweight ash but it found enough popularity to have an initial run of 12 years ('69-'81) and was reissued in the late 90's as an American Standard model, with this Classic Series making its debut in '04.  Very true to the original design with vintage features that include Schaller F tuners, nickel silver frets, semi-hollow Ash body with a single F-hole, vintage Tele humbuckers with domino pole pieces, 6-saddle string-thru-body bridge, vintage 3-bolt neck attachment with tilt adjust, bullet truss rod, and an authentic '72-style pickguard.  High gloss ash finish is flawless and this guitar is absolutely perfect in all regards - as clean as a new floor model hanging in stores with a setup that's better than factory.  Sells for $799 ($1099 list) everywhere but this one's perfect and just $579(HOLD-John B 7/28). Includes Fender deluxe bag.  

2003 Fender Standard Precision Bass - Midnight Wine, (front/back), (headstock), (gigbag).  Beautiful condition - barely played, excellent player.  Over the past 15 years the line has really been blurred between the Standard and American Standard series.  These Standard series are 90% as good, for 50% of the price, and I think most players in a blind test couldn't tell the difference and I see more and more bassists in club bands playing Standard series Fenders.  When you're talking P-bass you're talking fat bottom and this one does that very well.  Features include: solid Alder body with gloss finish, maple neck with modern C shape and satin urethane finish, rosewood fretboard, modern 9.5" fretboard radius, 20 medium jumbo frets, Standard Precision Bass split single-coil pickup, Volume and Tone controls with vintage knurled chrome knobs, vintage style with single groove saddles, vintage style open machine heads, chrome-plated hardware, 3-ply pickguard, 34" scale, and 1 5/8"nut.  With a list price of $779 this model sells new for $549 with the standard gigbag.  This one is in perfect condition, with a very comfortable setup, for $379(HOLD-Ted/Dhyan 5/17) and includes a Windsor Deluxe gigbag.  Note:  I also have a matching '04 Standard Tele in Midnight Wine if you want a matched guitar/bass set.  

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 $699.  

2005 Baker B1 Supreme 24, (close-up), (headstock), (push/pull pots), (back), (straplocks), (long neck tenon/pu's), (case).   Killer looks and superb playability are the hallmarks of this Baker Supreme.  With its arched maple top, perfectly bookmatched flamed maple, and gold hardware, this thing is a real head-turner.  This is the first Baker I've had in stock and there isn't a lot of info available on them other than Ed Roman's hype (link here), but as the sold distributor, he might be a bit biased.  I got this guitar from the original owner, who asked the question at the top of the page, asking about the country of origin.  His question was never actually answered but from my experience I'm certain that this guitar was crafted in Korea, but I will add that it's as fine a Korean import as I've had.  A comparison to PRS isn't out of line as both guitars have a similar look, feel, and vibe.  It was recently removed from the "in stock" section (link) but it sold for $1395 some months back.  Features of this Supreme 24 include flamed maple top, mahogany back, ebony fingerboard, bound body and neck, matching flamed headstock, full crown inlays, Black Magic Pickups with vintage-style braided wires, gold hardware, Dunlop strap locks (we added), push-pull coil taps for each pickup, Tusq nut, and precut for Buzz Feiten system (I'm not sure what that means).  It also features a long neck tenon, with the neck extending nearly to the end of the neck pickup.  This beautiful baker came to us in immaculate condition, except for a 1" finish chip on the back edge.  Martin filled it and buffed it out so you can't feel it and can barely see it (picture here).  Other than this small issue, the guitar is immaculate.  The only two faults I can find with this guitar are (1) the beautiful gold top-hat knobs are very difficult to pull in the "out" position and, (2) the $1395 ($1895 List) price is way to high for a Korean import.  I would rate this guitar higher than imports by PRS, Brian Moore, Schecter, Epi, and others, but many of them are 90% as good for 50% of the price.  We can replace the knobs with gold dome knobs if desired for nominal fee.  If you've been thinking of trying out one of these, save $600 and get this beautiful used one.  Just $799 and it includes a top quality silver case, original for this model.  

1996 Zion Classic Maple - AAAA Quilt, (front/back/side), (headstock), (beveled heel), (hand contours), (case).  What a stunner!  Ken Hoover has been hand-crafting guitars in Greensboro NC since 1980 and they are some of the finest you'll find.  Ken has a reputation for building classic designs, but with an elegance and quality that exceeds the models they're based on, easily on par with the early Valley Arts, Tom Andersons, and Suhrs.  If you missed my Zion Radicaster a few weeks ago, here's one that's even more beautiful, and with its Kahler/Floyd double-locking tremolo, virtually impervious to going out of tune and useful in more styles of music, from country to metal.  Features include carved maple top over a basswood body, maple neck with ebony fretboard, matching/figured headstock, HSS pickup configuration with 5-way switch, master volume and tone, gold hardware, Kahler/Floyd Rose double-locking & recessed tremolo, Sperzel tuners, deep cut treble horn for easy access to the top notes, 1 5/8" nut, 25 1/2" scale, and 22 medium jumbo frets.  The tremolo appears to be the Kahler 2760 Steeler, USA made, and nearly identical to an Original Floyd.  There's a lot of hand crafting in this guitar, evident by the gentile, sloping carved top - especially on both the horns - while the pickup cavities and tremolo are nicely rounded rather than straight cut.  Even the headstock, rather than a straight cut, is nicely rounded on the edge with a bevel on the treble side.  This craftsmanship is evident from the moment you pick this guitar up.   These Zion pickups were designed and from what I hear, quite possibly made, by pickup building icon Bill Lawrence.  They are mounted directly to the body, which lets you "hear" the wood and not just the pickups.  It is a superb sounding guitar with excellent sustain and note definition.  This model received an overall 9.9 from 8 users at Harmony-Central.   This was a one-owner guitar, purchased new in '96 and lovingly cared for during the past 14 years.  It's in excellent condition with no fret wear and no noteworthy flaws, easily 9.5 condition.  With upcharges for the AAAA quilt top and gold hardware, this model sold for around $2K 14 years ago.  One of the comparable models I found on the web lists for $3370 and sold for $2699, but that was with flame instead of quilt, and a non-locking tremolo.  In addition to being a wonderful guitar, it's a lovely work of art and a lot of guitar for $1150(HOLD-Brian 5/21).  

1989 Yamaha Image Custom, (close-up), (headstock), (side/maple cap), (fret lights/low action), (back/jack cutout/lightswitch), (detail), (case).  Extremely rare and very highly regarded guitar.  The Image/MSG line, consisting of the Standard, Deluxe, and the top-of-the-line Custom, was offered from '89 to '92, and was designed and developed by the great Martyn Booth, (MartinBoothGuitars.com) who plied his skills at Gibson UK, then Yamaha UK, before setting up his own shop in Suffolk UK in 1991.  There isn't a lot of info on the web about these guitars and at least two sources indicated only several hundred were built, but I did find a copy of the MSG catalog (link), and after considerable research, I have determined that the MSG and Image are identical guitars with the same Standard, Deluxe, and Custom lines, but my guess is one was intended for the domestic market, the other for export.  This is a quality guitar in all regards.  As soon as you pick it up you'll know that you're playing one finely crafted and meticulously designed guitars.  Features include double cutaway mahogany body with carved arched top maple cap (not a veneer) with premium flame, one-piece set mahogany neck, white bound Brazilian rosewood fingerboard with 14" radius, abalone dot inlays with curlicue inlay at 12th fret, abalone logo and headstock inlay, red LED lights at edge of fingerboard, LED on/off switch on side of body, 22 jumbo frets, locking Yamaha tuners, Yamaha H.I.P.S. (Hybrid Integrated Pickup System) pickups, active circuit with volume, midrange boost, passive tone, 3-way pickup selector, active/passive switch, and 2 coil-tap switches, Vintage Pro tremolo tailpiece, gold hardware, graphite nut, 25" scale, 1 11/16" nut, and 14" lower bout.  It has a quality tone and with the choice of active or passive and Alnico V humbuckers, you can play many styles of music.  The LED markers might be more of a marketing hype, but many players will find this useful in playing on a dark stage.  The thin taper neck is extremely comfortable with action as low as I can imagine anyone wanting, with the strings nearly resting on the frets - and the fretwork is so fine that it's playable with this type of setup.  Cosmetically it's a real stunner.  The finish shines like new with no flaws other than a few light scratches in the clearcoat.  Gold hardware is still in great shape; frets are barely worn.  The only flaw, and I've heard this is common, is a little cloudiness around the edge of the headstock face - not any lifting to the finish, just a lighter shade of black.  There's a site devoted to the MSG and Image guitars at this link and here.  If you're a fan of high-end Yamaha's, here's one that doesn't come along every day and could be the centerpiece of your collection.  Just a super nice, extremely rare Yamaha, for $1350(HOLD-Terrence 5/24).  Includes quality plush-lined tolex case.  

Reinhardt SV18 Head with Power Scaling, (panel), (top), (back).   Based on one of the most popular low-powered amps of all time, the 1960's Marshall 1974X.  This design has been wildly popular, with most boutique makers marketing their own version and even a popular web site, www.18watt.com devoted only to this type of amp, including DIY information to try your hand at building your own.  Following the success of other builders, Marshall jumped on the bandwagon and reissued this amp as one of their hand-wired series, in a version that was much the same as the original.  Other makers such as Reinhardt used the original Class A design as a starting point only and, many feel, ended up with an amp that's better than the original.  Reinhardt's SV18 (Scaled Valve 18) retains one of the definitive aspects, touch dynamics at lower volumes, which they call "Scaled Valve Technology", which Reinhardt offers as an $80 option.  Using the same tube complement; three 12AX7s, EZ81 rectifier, and twin EL84 power tubes, the SV18 shares a number of design aspects including a bottom-mounted chassis, gold control panel and back panel, gold-topped knobs, and identical handle - but the look is much cooler with an art-deco  logo and unique two-tone tolex covering.  Reinhardt's Scaled Valve Technology cranks out everything from clean, hollow and chimey new country sounds - to crunchy 70's British rock with a turn of your guitar’s volume knob.  This design uses the amp’s Level control to reduce the voltage delivered to the power section of the tubes, ""tricking" them into behaving like lower output tubes.   "Gain" controls the first preamp stage and "Drive" is basically the second preamp stage.  The three controls in conjunction – Level, Drive and Gain – allow this amp to deliver legitimate pushed pre and power amp flavors at surprisingly reasonable volume levels and, unlike many other tube amps, it has much more of a "pushed" tone at lower volume levels, and I'm not talking about the brittle preamp overdrive that some brands consider overdrive.  Channel 2 gives you a very basic circuit of just a single Tone and Drive layout.  Tonally, Channel 2 delivers more warmth and less sizzle than Channel 1, and is a more simple, organic tone.  Don't let the simplicity fool you though, the tone control on Channel 2 runs a wide range and has more than just one sweet spot.  Working with the Drive control, there are a lot of cool tones that come out of this simple circuit.  This amp will especially appeal to hardcore Marshall fans as well as hot country pickers.  As I've mentioned on other 18-watters recently, such as the Budda Verbmaster, don't be fooled into thinking 18 watts is a bedroom amp.  When cranked up, and that's where any tube amp sounds best, it will easily cover a club situation, especially with a 2X12 or 4X12 cabinet.  For video and sound clips, check out Reinhardt's site here and a YouTube demo on the 18 here.  This amp will run $1775 new but this one looks brand new, ships in original box, and is a killer 18 for $1275(HOLD-Travis T 8/7).  

2001 PRS Santana SE - Aqua Metallic, (front/back), (headstock).  Looking for an absolutely killer player for well under $400?  Look no further - this has action like the USA models and around 1/5 the price of the average US model.  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 Aqua Metallic, 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.  This era also featured a bound neck and bound headstock which are nice cosmetic touches.  This model was offered in a hardtail or a nickel-plated tremolo model, which is identical to the USA tremolo, except made in Korea.  Although frets are barely worn, there are a few careless cosmetic flaws (shown here), but no cracks or other issues.  We can color match the finish and touch these up if desired but if you're a player, it probably isn't an issue for an otherwise very presentable guitar. We get some requests to upgrade pickups on SE models but, quite honestly, they're among the best import pickups made and I don't recommend upgrading until you hear the guitar.  If you're looking for an absolutely killer player that sounds very good, this is an easy recommendation, especially at $339(SOLD-Ed G).  Includes a gigbag and non-original trem arm.  

1999 PRS McCarty (aka "Maple Top"), (close-up), (headstock), (back), (straplocks), (bridge), (case).  Previously discontinued, the maple-capped "McCarty Model" (not to be confused with the all-mahogany McCarty Standard) has been added back into PRS's line up, renamed the McCarty II.  This '99 model is a lovely example of this great guitar, which was designed with the assistance of Ted McCarty himself, who was a close friend of Paul.  It differs slightly from their Custom line with more of a vintage flavor with features like the Kluson-style vintage tuners, nickel-covered humbuckers, increased headstock angle, slightly thicker mahogany back, and wide-fat neck which is more reminiscent of a 50's Gibson.  Although certainly not a "10" top, this one has very nice figuring with nice wide flame, finished in tobacco sunburst.   I've inadvertently converted many lifelong Les Paul players who wanted to try a PRS as an alternative to their Pauls.  Many of them bonded with the PRS immediately and are now diehard PRS players.  Although they stand as fine guitars in their own right, the maple-topped McCarty models are a perfect combination of PRS and LP elements, and the McCarty is fits the body better, and is much easier to play in the upper register.  Other than a few very light clearcoat scratches and discoloration to the nickel covers, this is a very clean guitar with near perfect frets and a typically superb PRS set up.  The only real flaw is a small ding in the binding, (shown here).  One upgrade has been made to this guitar with a nice Tonepros adjustable bridge replacing the stock non-adjustable fixed bridge.  It was a simple but important modification in obtaining perfect intonation.  List price on a base model McCarty II is $3477, selling discounted at $2375, which makes this wide-flame beauty with an upgraded bridge a nice buy at $1499.  Include original case and, oh, Paul signed the control cavity cover as he frequently does at clinics.  

1965 Ampeg Jet J-12D, (top), (back), (circuit), (orig. spkr), (back panel/schematic), (tube chart/warranty card).  Great sounding little combo - works perfectly - clean shape with original Ampeg tubes!  These Jets aren't as popular as other amps from this era like Princetons and Falcons, but they have a quality tone that is warm and round sounding, not overly bright like some of the old Fenders.   Much of this has to do with the tube choice for this model, which is comprised of two 7591 power tubes and two 68K11 preamp tubes.  These can be retrofitted for 6V6's if you want more of a Fender tone.  Nice shape for an amp of its age:  the vintage diamond tolex is in good shape, grill is tight with no holes, original leather handle shows no signs of splitting, and lettering on the panel is still clear, although it has typical pitting on the chrome.  Unlike some other Jets that I've had, this one breaks up fairly early, at around 1/2 volume, and has a very good overdriven sound, getting more power tube saturation as you turn up the volume.  Harp players like these amps and this one with a nice breakup would be especially desirable.  Only mod that I'm aware of is the speaker - it has a new Eminence "Blue Tick Hound" which probably isn't the best match since it's designed for a "scooped mids" tone, but it still sounds fine in this amp.  The original CTS speaker still works fine but was removed to prevent wear and tear, something I usually recommend if you're going to be using your vintage amps regularly.  For a dozen reviews, click here for Harmony Central and click here for a brief YouTube demo that shows the mellow tone but, regretfully, doesn't show the amp driven into distortion or the great sounding tremolo.   If someone were to reissue this as a hand-wired 12" combo today, it would easily be $1K.  This one sounds great, is in nice shape, and quality vintage amp for $399(HOLD-Roy H 5/12).  

2004 Fender Light Ash Stratocaster, (front/back), (headstock), (fretboard), (deluxe gigbag).  Beautiful shape!  This model has the late 70's look with an ash body in Natural finish with all black plastic parts.  The Light Ash Strat is an excellent mid-line Strat with upscale features previously found only Fenders at twice the price.  The Light Ash features, not surprisingly, a lightweight ash body (guitar weighs under 8 lbs.), extremely figured birdseye maple fretboard,  American Standard type 2-point fulcrum tremolo, Abalone dot inlays, and most importantly, a trio of real Seymour Duncan Alnico Pro pickups. Other distinctive features include all black plastic parts, oversized strap buttons, shielding paint in body cavities to reduce hum, and brass tremolo block.  Sold new in stores everywhere at $629 but this guitar is as clean as a new floor model, at just $489.  Includes Fender Deluxe gigbag and trem arm. 

Kramer Baretta Neck - Complete, (back).  From World Class Guitars, Ed Roman's company in CT before he moved his business out west.   I don't know if this is an original or repro but it's the skinnier banana headstock, era correct for an 84/85.  Includes era correct Schaller tuners, truss rod cover, and Floyd nut - neck screws are already drilled so it's ready to screw down, string up, and play.  This came off a mid-80's Candy Apple Blue Baretta and it set up perfectly on that guitar.  Note: If you need a different truss rod cover, I probably have it in stock as I have a number of original 80's covers.  $275/complete, or $199(SOLD-Rickey 8/12) neck only.  

2003 Gibson '60 Les Paul Classic, (front/back), (headstock.   Offered in your choice - upgraded or stock...  I hadn't had one of these in years until recently.  I sold this guitar as pictured, and it was recently traded in with numerous changes, with an eye toward making it look like a 40th Anniversary, which was a model built in '94 featuring a black finish, gold hardware, and cream plastic, including cream P100 pickups.  While this one didn't get the P100s, it did get a pair of cream DiMarzio EJ (Eric Johnson) Customs (15 reviews here), which tone guru spec'd to sound more articulate than most PAF style pickups, almost Gretsch like in their tone.  Upgrades to this guitar included:  Gibson gold bridge, Gibson gold tailpiece, Tonepros/Kluson gold locking tuners, Graphtech string-saver saddles (original gold ones included), gold jack plate, gold pickguard bracket, gold Schaller straplocks (strap portion is included), dark amber knobs, and the cream-cream EJ pickups.  The way the guitar appears now:  (full length), (front), (headstock), (upgraded parts), (case).  About the guitar:  Mars Music (RIP) did a special run of around 500 pieces of the '60 Classic in an Ebony (black) finish which is a solid (non-transparent) finish.   Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers.  Just like the Standard it features a mahogany body with maple cap.  The only visual difference, other than the uncovered pickups, is the "Classic" screened logo and truss cover, vintage-style inked serial number, and "1960" on the pickguard.  It also features light amber top-hat knobs, cream plastic parts, '60s slim-tapered neck, and aged-looking trapezoid fretboard inlays.  Other than some light scratches (as seen here) that are in the clearcoat only, this guitar is in nice shape for a used guitar, with no fret wear at all, and a fantastic low setup.   If you like the look of a black Paul and don't mind one that's not a museum piece, this one is really sweet and a nice weight, for $1379 with all original parts restored (none of the upgrades required modification).  Or, if, like Willis you like the look of a 40th Anniversary and, especially, the tone of the EJ's, you can have the black&gold modified model, with close to $300 in upgrades, for $1499(SOLD-Geo M).  Includes original black case in nice shape. 

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

2006 Fender Custom Shop '69 Stratocaster NOS,  (front/back), (headstock), (2 Neckplates), (case/etc.).  From the Custom Shop comes one of the most iconic Strats in their illustrious history - an Olympic White '69 with maple board.  As part of the Time Machine series (Relic, Closet Classic, and NOS), the NOS (New, Old Stock) is a model built to exact specs of the era, but is in brand new condition, as if you stepped back in time 40 years, bought a guitar, and stepped back to 2010.  This one of course has the Jimi appeal and, in fact, I'm including a commemorative Hendrix tribute neck plate, along with the original "R" plate of course.  I don't know what it is, but whenever I pick one of these up I start playing every lick from "Are You Experienced" and somehow I play them better.  Perhaps it's the killer setup on this guitar or maybe just that it's an Olympic '69.  This year was a pivotal period for the Strat, featuring the large headstock and the bold "Synchronized Tremolo" logo which was only used '69/'70, while the round lam fingerboard ushered in a new neck style which included this "U" shape.  It also features special wound '60s pickups which are good at delivering the Hendrix tone, especially if you have those kind of chops.  Offered in near pristine condition with no fret wear and no discernable other than a few extremely light scratches in the clear coat on the back of the body if viewed very closely.  Includes certificate, cable, strap, ash tray, 3-way switch (5-way is installed), polishing cloth, original hang tags and assorted paperwork.  The '69 NOS is now running $3199 online and in the super stores.  This barely played beauty, with the ultra-cool Hendrix plate included, is a full $1200 less at just $1999(HOLD-Gavin 5/12).  

1974 Fender Stratocaster, (front), (headstock), (back/plate), (fretboard/edges), (neck marking), (pickguard/body), (case), (knobs).   One of the cleanest '74's I've ever seen but player priced by virtue of a 4-bolt neck conversion (now changed back to 3), and pickup cavities deepened around 1/4".  Everything on this guitar is original and the near pristine condition of the body, neck, pickguard - even the case - matches, so this is a guitar that has obviously seen little playing time in its 36 years.  There was a negative connotation associated with 3-bolt necks in years past and a number of Fenders were changed to 4-bolt, thinking that it would make it a better guitar.  Having had plenty of 3- and 4-bolts I can honestly say that there is no substantive difference and the fact that G&L, Leo's "new" company, continues to use 3 bolts is evidence that it's a totally sound construction technique.  In fact, the neck-tilt used with the 3-bolt made it an easier guitar to set up than the 4-bolts that preceded it.  Why the pickup cavities were slightly deepened is a mystery.  The pickguard is all original so if someone had deeper pickups in it, they must have swapped out the entire pickguard assembly.  Everything on this guitar is straight including dated gray bottom pickups, pot codes, neck date, trem block and saddles, F-tuners, pickguard, knobs (which are nicely greened out), and original neck plate.  The body is incredibly clean with no scratches to speak of, and definitely no finish chips or gouges.  The neck has original frets and exhibits no fret wear or wear on the edge of the fretboard.  Aside from the near pristine cosmetic condition, this Strat plays exceptionally well, and this is from an era when these necks were very much hit or miss.  Tonally, it sounds great, with the classic Strat chime, a beautifully fat neck pickup and a hot, well-defined bridge pickup.  If you're looking for one of the cleanest '74's imaginable, but want to keep the price under $3K, this is an excellent choice.  Just $1950(HOLD-EV 5/7), or if you don't care about a beautiful original case, $1800.  

Budda Verbmaster 18 1X12 Combo, (panel), (top), (back), (back panel), (footswitch), (chassis).  90's model - Serial VMG-0089, built in the early days of Budda when Jeff Bober had a small company that did some of my repairs and built some killer little amps called Budda, all hand-wired and produced 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.  Jeff eventually sold his company, but stayed on at the Maryland factory, building a few of his original designs, but largely the new "Superdrive" series, which due to their printed circuit boards, were much cheaper to manufacture.  The hand-wired series, which offered little profit margin, soon fell victim to corporate thinking and were discontinued.  They came out with a 10th Anniversary hand-wired but at $5K list, the amp was essentially a Twinmaster with a commemorative badge.  The Verbmaster was a fairly complex amp for Budda, which traditionally featured just 3 knobs and an effects 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 ohm switch.  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 club or practice amp.  Although 18 watts may seem rather tame, this is a deceptively loud amp.  For a good example of the versatility of the Verbmaster (1X12), using only a guitar's volume control (no effects were used), click here for a YouTube demo.  Other than the Anniversary model, which is great but overpriced, 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.  Dealer cost on these was over $1500 on the last price list that offered the hand-wired series.  It's an excellent amp, in nice shape, for $1350.  Currently upgraded with a British Celestion Vintage 30, but I actually have an NOS Mojotone speaker that was original equipment for this model.  I will change it out at no cost but, frankly, the V30 is a much better speaker.  

1962 Kay Speed Demon Double-Cut - Flamed Maple Body, (front/back/side), (headstock).  Some beautiful flamed maple on the top and back on this one and a totally playable old Kay.  These guitars have their own sort of tone but to my ears it sounds like a cross between a Rick 330 and Gibson ES-330, although without the hot P90's of the ES.  The action is comfortable with no dead spots anywhere.  I'm no expert on old Kays and the "Speed Demon" model is but an educated guess (check out kingofkays here) as these guitars can in various shapes and woods.  This one is has some upscale appointments including multi-ply body binding, bound neck, dual F-holes, "guitar pick" fretboard inlays, and nicely figured maple.  A few changes that I noted were changed tailpiece, possibly changed knobs, and pickguard is missing but it would be a shame to cover up any of this top so even if I had one I'd leave it off.  Finish has a vintage dull patina with fine checking all over.  Overall I'd say it's in nice shape for an old Kay, although it does have repaired cracks in the neck pocket and missing a small piece of binding on the horn (as shown here) but otherwise the binding is in nice shape.   The cracks are definitely non-problematic.  I don't what they call these original pickups but they sound very good, although they were wound to be lower output, most likely to prevent distortion and feedback.  Every one of these pickups I've had was a lower output and I've found they benefit greatly with either a clean boost pedal or using an amp with a gain control.  Also features original Kluson Deluxe tuners, around $100 on the parts market, in great vintage condition.  These old USA models by Kay, Valco, Magnatone, Custom Kraft, etc., finally caught on some years back, with many garage bands scarfing them up and Jack White really drove many of the prices up.  Still, for a 40-year-old USA guitar that's imminently playable, it's a nice value at $350(HOLD-David G 5/13).  

2008 PRS Mira - Vintage Cherry, (front/back), (headstock), (case/etc.).  The Mira (Latin for "wonderful") made its debut just 3 years ago, and while they've been able to price it very reasonably for an American PRS, the PRS quality is evident in all aspects.  Although PRS are clearly modern guitars, the Mira has a definite vintage vibe with its slightly thinner mahogany slab body and simple wraparound tailpiece.  Even the color, Vintage Cherry, looks very much like an early 60's Les Paul/SG whose vibrant cherry finish has faded to a browner hue.  From the few we've had it's my opinion that this model is one of the better sounding PRS's you'll hear.  Although tone is very subjective, the guitar is very warm sounding and the notes "bloom" wonderfully.   With your amp at high gain settings, most notes slide into a singing harmonic sustain without effort.  A slight departure for PRS, the Mira is largely a flat top, although it does have a wide arm contour and nicely beveled edges.  Features include a thinner, solid mahogany body, 24-fret neck, matching pickguard and truss rod cover, Mira Treble and Bass pickups, three-way pickup selector and a mini toggle coil splitter - which combine to lend a new voice to the PRS lineup and allows 6 great tones.  Other features include PRS Stoptail bridge that intonates beautifully, top-notch Phase II locking tuners, wide-thin carve neck, and gloss finish.  Click here for full specs from PRS and here for a good YouTube demo of the guitar.  This guitar is in immaculate condition and should appeal to players who want an excellent working guitar, especially those who like the overall tone and vibe of an old SG.   At an amazingly light 6.2 lbs., you can play this guitar all night long with zero shoulder fatigue.  For a guitar of this quality, it's hard to beat at $1259(HOLD-Matt K 5/3). 

Kawai ES1 88-Note with Weighted Keys, (function keys), (back), (patch bay).  My personal choice for the best bang for the buck in an 88-note portable keyboard.  I liked this board so much that I bought my wife a new one, and then I got my mom a nice used one.  The sounds are excellent but the primary reason I'm so high on this model is the feel.  The action (i.e. "Advanced Hammer Action II) feels more like genuine grand piano than anything else in this price range.  Players like my mom, for whom simplicity is key, will like the fact that it has built-in speakers, so there's no external power amps or speaker cabinets to hook up (unless you need it for venues larger than your living room), just plug it in, power it up, and start playing.  At 14 watts RMS, there's plenty of volume, enough for restaurant gigs.  It's onboard sounds include Classic Grand, Modern Piano, Electric Piano, Organ, Harpsichord, Vibraphone, Strings, and Choir/Pad - and with the ability to choose two simultaneously you have 16 total variations.  My personal favorites include Grand and Strings together, which sounds almost like a symphony.  Other features include 32 note polyphony; 4 types of touch sensitivity (Normal, Light, Heavy, Off); onboard effects including Chorus, Reverb (Room, Stage, Hall), and EQ (3 Types); 3-Song, 2-Part, 1800 Note recorder; metronome with temp