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Updated: Sat., Oct 25th, 2014

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

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

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

2010 PRS Starla X - Sepia Burst, (front), (back), (headstock), ("inside"), (case/etc.).   Only the second one of these I've had and an excellent PRS for a modest price.  The Starla X is somewhat of a departure for PRS, namely because of its shorter 24.5" scale, plus it features a very un-PRS Tuneomatic bridge and stopbar tailpiece.  To me the overall vibe is closer to a Gibson than a PRS, but with unmistakable PRS quality.  PRS describes the Starla X as "retro inspired design and appointments", which I think is a reference to it's Junior cutaway silhouette.  Features include Singlecut, flat obeche body with arm carve, conical clear knobs, 22-fret sipo wide fat neck, rosewood fretboard, pearloid dot inlays, traditional 2-piece stoptail bridge, vintage style tuners, volume & tone control, wide fat neck, nickel hardware, and a 3-way blade switch.  Pickups were designed for this model, Mira X Treble and Bass.  The hangtag says it has optional "soapbar" pickups but it's a clerical error as the Mira X's are stock for this model and solder joints are factory.  Cosmetically in excellent condition with no flaws through the clear coat.  Typically great PRS action and with the shorter scale, up-bends are remarkably easy, even 3-4 half-steps.  It has excellent sustain due in part to the long neck tenon, which I believe PRS has used on all models, both bolt-on and set neck.  Perhaps most remarkably, this guitar only weighs around 5 1/2 lbs.!   PRS has discontinued this model, but has since released a Starla S2, but they're partly made in Korea.  For a USA model, this is sweet deal on a great playing, great sounding single-cut style.  Hard to beat at $879.  Includes original case with burgundy velour interior, black tolex exterior. 

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

1979 Ibanez Artist AR-100AV/Model 2618, (front-1 front-2), (back-1 back-2), (headstock), (bridge/tailpiece), (pickups), (case). This is a transition model, sandwiched between the '78 Model 2618 and the 1981 AR-100.  It doesn't appear in the very paltry '79 or '80 catalogs and the only differences between the two models are the mini-toggle 3-way coil splitter.  It looks totally factory and I'm fairly certain it was a stock feature for '79.  Part of the "Artist" Series, the AR-100/2618 had some high end features in both cosmetics and construction.  It has the same 5/8" maple slab used by Gibson (shown here) capping a mahogany body.  This marriage of maple/mahogany creates the most iconic tone in music.  Features include: mahogany body and carved figured mahogany top, maple 3-ply neck, ebony fingerboard with dot inlays, 24 3/4" scale, "boomerang" strap pins, Gibraltar II bridge, Quik Change II tailpiece w/plate, Sure Grip II knobs, abalone logo and headstock emblem, bound body - neck - headstock, Gold hardware, antique violin finish.  This locking bridge and tailpiece was ahead of its time, and you'll see similar designs currently being manufactured, selling for big bucks.  For more specs it's the same as the '81 model -  click here and here for ibanezules.com.  Cosmetically, the top is very clean but the back has its share of buckle rash and wear on back edge (as shown here), but the frets are near perfect indicating that it was more careless handling than heavy playing time.  Another indication is the gold hardware, which is in excellent condition, and the first thing to go when played a lot. There are no cracks or repairs.  All original except pickups have been changed to DiMarzio 36th Anniversary (link), which look identical to the stock pickups but I believe sound better.  This is a very presentable guitar and, more importantly, sounds fantastic. Equally important, it's one of the best playing guitars I have in stock, with very low action at the nut; stays low all the way up the neck.  Other than the neck having a thinner profile, it plays like a $2500 Les Paul Custom.  I get in plenty of lower models such as the AR-30 and AR-50, but an AR-100/2618 doesn't come along very often and considering that these are among the finest Japanese guitars ever, a good buy for the pro player at $950.  Includes Ibanez case. 

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

Bumblebee Capacitor for Les Paul.  The real deal.  These are over $60/each from Gibson.  Get this one for $35(SOLD-Dennis K)  

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

Seymour Duncan Invader SH-8B Bridge Pickup.  Very high output, recommended for punk, thrash, metal, etc.  Features hex poles to easily adjust any and all spacing.  Nice shape, 4-conductor wire for split coil operation, $49.  

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

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

Lollar P90 Pickup Set, (pic2).  Scatter wound soapbar with de-gaussed Alnico 5 bar magnets; yields a fatter P-90 tone with smoother treble.  Sounds like an old P-90 rather than a new pickup that still has some hard edges.  Great for fat clean tone or harder driving rock with more grind.  Slightly hot output of around 8.2K in the neck, 9.1K in the bridge.  Single conductor, braided shield lead wire.  With cream covers.  Sells new for $200/pair but this clean set is $130(HOLD-Benjamin 10/21).  

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

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

2000 Fender American Deluxe Telecaster - Blonde Ash, (front), (headstock), (back), (case).  Lovely Deluxe in nicely figured Blonde (transparent white) ash finish.  All of the Deluxe features and appointments - plus craftsmanship which always seems to me to be a cut above the regular American Series.  Just a refresher on the Deluxe appointments, most noticeably the bound body like the Tele Custom in the old days - but this model has a comfortable belly cut and nicely contoured edges.  Other features include Vintage Noiseless pickups, a select ash body, 1-piece maple neck, rosewood fingerboard with abalone dot inlays, 22 medium jumbo frets, chrome hardware, 3-way toggle, and a 3-ply tortoise shell pickguard.  Includes clean Fender molded case and straplock set.  Back when this was made ash was a $150 list upcharge over alder but today it's just $50, with ash body's selling new for $1749.  This clean used one has a great setup, has a nice lively sustain, and is just $1099.   

2005 Fender '56 Stratocaster Relic LTD - Sonic over Sunburst, (front), (back), (headstock/neck), (neck pocket), (checking/arm wear) (case).  Possibly the best *sounding* Custom Shop I've ever had.  As new - unplayed condition, all accessories, factory sealed accessory bag.  This is a rare one, Limited Edition run of only 100 pieces.  As some of you vintage guys know, back in the old days Fender would occasionally respray one of their bodies.  It was usually a sunburst body since that was the stock color, and as it was usually a custom order, they were almost always oversprayed with a custom color.  For some reason, a disproportionate number of these were shipped to the UK, which I discovered during my 2-year stay over there in the 90's.  Anyhow, this is the basis for this Ltd model.  Since it's an LTD model, they also exercised some creative freedom and included the three main features that today's players want on a vintage guitar - modern 9.5" radius, medium-jumbo frets, and RWRP center pickup for hum canceling in positions 2 and 4, all of which make this a player's dream for a "vintage" instrument.  It also features a lightweight swamp ash body, rather than alder, which is found on most sunburst and opaque finishes.  All other features are true to the original.  Other than forearm wear, where the sunburst is most pronounced, this is a very light relic.  Most that I've seen have dings all around the edges; on this one any dings are so slight they're barely noticeable.  Like all relics it does have finish checking all over the body and aged hardware, but it does not have the wear on the back of the neck, only the front, with fretboard wear in all the right spots.  Frets are immaculate.  Although not spec for this model, this neck is covered in small birdseyes (as shown here).  Specs include:  premium lightweight ash body with thin nitrocellulose lacquer finish, 9.5" radius maple fingerboard with 21 medium jumbo frets, Custom Shop Texas Special pickups (reverse wound/reverse polarity middle pickup), one-piece maple neck with '57 Style Soft “V” Shape (not the fat 10/56 neck), tinted Nitrocellulose Lacquer neck finish, American Vintage synchronized tremolo with “Ash Tray” bridge cover, Fender/Gotoh vintage tuners, 1-ply parchment pickguard, Custom Shop Ltd Ed decal, bone nut, all original detailing - built from original tooling, and aged plastic parts.  All of this housed in a black vintage-style case with black crushed velvet interior and embroidered Limited Edition logo.  This is an incredibly nice player with low action and accurate intonation.  What really sets is apart is the tone, which is sweeter and thicker than most Strats, with an acoustic sustain that's unmatched by anything I have in stock.  I rate it on par with the best vintage Strats I've played, and probably the best custom shop I've had.  Includes factory sealed accessory bag with cable, ash tray, trem arm, etc. enclosed, as well as factory hang tags and strap.  This guitar sold new for $3800, but there have been many price increases on custom shop over the past 9 years.  This one is virtually unplayed and if you missed the very brief runs of the '56 in '05, and 50's in '06, here's one last chance.  Instead of paying $3770 for a a run-of-the-mill '56 Relic that probably sounds "good", why not get this extremely rare and *superb* sounding Ltd model for $1300 less.  $2460 gets it done.  

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

1967 Fender Price List.  June '67, 8 pages.  All Fender products.  Strat was $259 for a hardtail, $299 with trem.  Wish I'd bought a few dozen back then.  Nice shape.  $45. 

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

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

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

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

2011 Epiphone Les Paul Standard Plus - Vintage Sunburst, (front), (headstock), (fretboard).  Excellent value on a beginner/intermediate Les Paul with stunning looks, superb playability, and classic 'Paul tone.  Features include nickel Grover tuners, inlaid logo, Gibson-style "bell" truss rod cover, trapezoid inlays, bound body and neck, and chrome hardware.  Has seen very little use and it's as clean as a new one hanging in the local Guitar Center; frets are perfect.  As a "Plus" model this has a nicely flamed top that's consistent on both sides.  Pickup covers were removed as a personal preference and we will reinstall them at no cost - or simply include that with the guitar.  Plus models are selling new for $499 but this beauty can be yours for just $299.  Add a clean Gibson gigbag for $35, or a new Chris's deluxe gigbag available for $24 or $34.

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

2013 PRS Starla - Antique White, (front2), (back), (headstock), (push/pull pot), (case/etc.).  Special order with Birds and Bigsby in Antique White.  Affordable Maryland-made PRS and like the Mira I just posted, this is a "real" Starla, not one of the S2 or X models.  The Starla features a thinner mahogany body like the Mira, as well as a shorter 24.5" scale, Bigbsy tremolo, and newly designed Starla Treble/Bass double polepiece humbuckers with a brighter tone, similar to a Gretsch Filter 'Tron pickup. This a very responsive guitar and with the 3-way pickup selector and push-pull tone pot, a lot of tonal variations.   It has somewhat of a vintage vibe with the mahogany body, slightly chunky wide-fat neck, Bigsby B5 tail piece, Grover Tune-o-matic bridge, and vintage-style tuners.  This is a very comfortable guitar to strap on and play, with a carved arm area, beveled edges all around, and comfortable belly cut.  The action is very low and buzz-free and it is an excellent sounding guitar that will appeal to seekers of vintage tones.  List price was $3203 and it sold deeply discounted for nearly $2000.  This is an exceptional deal at just $1299.  Includes PRS case, hangtag, and all the paperwork.  

1989 PRS Custom 24 "10" Quilt Top with Birds - Vintage Sunburst, (front  front2), (back), (headstock), (birds), (cavities), (pickups), (heel), (Braz. board), (case).   Insanely clean...investment piece.  Over 25 years old and definitely vintage in the PRS world, where this was just the 5th year of manufacture - and it was built at the original Annapolis factory.  Just like the '89 Studio I have in stock, this is one for the collectors - one of the cleanest vintage PRS's I've had, with no buckle/button scratches, no pick scratches, and clean hardware.  Best of all, it's a quilt top, which retailed around $200 higher than a flame top.  This one is marked "10" in the pickup cavity, but without the "10" stamp on the back of the headstock.  As you probably know, the early years had the marking in the cavity only, but by '87 or so, they also had "10" impressed on the headstock.  I think this guitar could have gone either way. It obviously started out as a potential 10 but after staining and finishing, it didn't quite make the grade, probably due to two small irregularities in the wood, shown here.  This model has the same features as the '85 model, before some major changes in '91.  The pickups are the same as the '85 models, but instead of "T" and "B" etched into the bottom they have labels marked "Standard Treble" and "Standard Bass".  Additionally, it has the Brazilian fretboard and one-piece "Mil-Com" bridge made by MannMade.  Other early features include the short neck heel, small logo, and "Sweet Switch" instead of a tone control.  Like all PRS during this era it's truly a hand-made guitar, built 6 years before they brought CNC machines into the shop.  Other features include 24 fret mahogany neck, 1-piece mahogany body with maple cap, Wide-Thin neck profile, and the early version PRS locking tuners.  There's something truly magical about the tone of most of these older PRS's, some of which is in that sweet switch.  With the sweet switch down, it has the creamy, sweet sustain that Santana was famous for.  Rich and thick, just like a milkshake.  I have seen many 10 tops that weren't as nice as this one and, combined with bird inlays, it's going to set you back well over $3K, most folks arguing it won't be as good of a guitar as this one.  Why not get this beauty for $2999(SOLD-Chuck Woody 10/10) and unlike a new one, it's guaranteed to be an investment piece right away.  Original PRS case and trem arm are included. 

Fishman Acoustic Matrix Natural II.  Excellent and simple under-saddle transducer.  The Matrix is designed for a slight boost in the bass range which, on a full size dreadnought gives it incredible bottom end, but clear note definition throughout.  The cool thing about these units is "Switchjack Equipped" technology, where 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.  Sells new for $129; this one's just $79.  We will install on any guitar in stock for $25 labor. 

2008 PRS Limited Edition Mira, (front), (headstock), (back), (inlays), (case).  A very distinctive look with gloss Jet White finish, gold hardware, and distinctive abalone bird inlays. This '08 model is one of the original Mira's, built entirely at the Stephensville plant with USA parts, and has all the quality you've come to expect in a Paul Reed Smith.  Subsequent this standard Mira, PRS came out with the Mira-X and Mira S2, with some cost-cutting moves that allowed them to lower the price point.  This original standard Mira is top of the line as far as comparisons are concerned.  This guitar isn't mint but judging by the excellent frets and lack of scratches, it was a case of careless use rather than extensive use.  Front and back are very clean, as is the gold hardware.  There were, however, a few finish chips (shown here), that we've touched up and clear coated, as well as a tiny corner missing from the pickguard (perfect one shown on right).  Features include a carved solid mahogany body with gentle sloped edges, mahogany neck with wide-thin carve, East Indian Rosewood fretboard, 25" scale, abalone bird inlays, gold hardware, PRS Stoptail bridge/tailpiece, matching pearloid pickguard and truss rod cover, Phase III Low-mass locking tuners, Mira Treble and Bass humbucking pickups with 3-way selector plus coil tap switch.  The Mira's body is slightly thinner than other PRS guitars from the era, plus the distinctive Mira humbucking pickups can be coil-tapped to produce a wider range of tones.  The gold stoptail bridge is very comfortable for palm muting and combined with the locking tuners you have excellent tuning stability.  The white, pearloid, gold combination presents a very striking appearance on stage.  For quality that's every bit as good as a Custom, I consider this an excellent value at $950(HOLD-Steve S 10/10).  It's extremely comfortable to play, and lightweight enough to play all night.  Includes PRS case in structurally sound condition, with some road wear on the outside.  

Epiphone Valve Junior Head, mint in original box, (top), (back).   These amps have been getting rave reviews since they came on the market 3 years ago and started a trend by Fender, Vox, etc., for a budget single EL84 amp.  Selling for under $200, the Valve Junior Head broke the price barrier in all-tube combos.  At 5 watts single-ended Class A you can get a full power tube distortion at very reasonable home levels but you'll likely be surprised at how loud 5 *tube* watts can be.  Controls are as follows:  Volume.  That's it...volume.  Tubes are a 12AX7 preamp and an EL84 power.  It has a nice clean sound at low volume but gets a good saturated tone starting around 4 and attaining increased breakup at virtually every number above 5, and it's also engineered to work very well with your guitar's volume control.  Back it off for clean, turn it up and send the amp into overdrive.   There are a number of mods available for this amp, including a very popular one by Mercury Magnets which guarantee boutique tone at around 1/2 the cost of a boutique amp.  There's even a site devoted to this cool lil' amp, http://www.valvejunior.com/.  While I'm sure these mods are nice, it has a very useable tone in stock condition.  These turned some heads listing for just $279.  Better still, this one's dead mint in original box for $125(SOLD-Bruce G). 

1990 Marshall Micro Stack Mod. 3005, (Head), (Panel).   The original Micro Stack, not to be confused with the recent Chinese made Micro-stacks.  These original 3005 Models were made in the UK and they definitely have that Marshall sound.  Stacked up it's tall enough that you don't have to bend over to adjust the controls.  In addition to the Lead 12 head, which is the same amp used in the "Lead 12" combo, you get a slant cab and a straight cab, each housing a Celestion G10-25 speaker.  Also includes power cord and the original Marshall speaker cables.  Features include high and low gain inputs, Gain - Volume - Treb - Mid - Bass knobs, DI/Line out, Headphone out, and dual speaker outputs.  These amps are noted for excellent distortion, even at whisper volume with the gain cranked, and even a nice clean tone with the gain turned down to 1-3.  Lead 12's have been used by some name players in the studio, most notably the Rev. Billy Gibbons.  This set up makes the perfect practice amp or studio amp, and they're so cute you might just be allowed to keep it in the family room.   Super clean shape, works perfectly, and one of the best solid state "tube" tones you can get for $275. 

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

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

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

AVAILABLE AGAIN:  Custom Joe Strummer Telecaster, (front), (headstock), (back), (aged hardware), (orig. pu's), (gigbag).  Ca. '08 Fender Joe Strummer body, complete with loads of factory wear, paired with a new-old-stock '90's LaSiDo Tele neck.  The body has professionally added arm and belly contours, which make it very comfortable to play, and is otherwise original.  The maple-cap neck (pic1 pic2 pic3) has been in stock for years and was built by LaSiDo, based in Montreal, who is the largest manufacturer of acoustic guitars in North America, with brands such as Godin and Seagull.  Back in the early 90's, when this neck was made, they were suppliers of bodies and necks for numerous companies including Valley Arts, Pensa-Suhr, Schecter USA, and others.  It's a top quality neck and had never been on a guitar until we built this one up.  The Strummer Tele was based on Joe's worn old Tele, originally a sunburst '66 model that he acquired in ca. 1972.   It features a highly distressed "road-worn" treatment that emulates the worn-to-the-wood layers of gray auto primer and flat black spray paint that Strummer famously used, as well as rusted or oxidized hardware.  Pickups have been upgraded to GFS dual-rail Tele humbuckers but the stock pickups, complete with heavily "worn" neck pickup cover, are included with the guitar.  We installed a nice set of German Schaller tuners so the guitar stays in tune perfectly.  I love the way this guitar sounds, with more mellow attack than a regular Tele, harmonically rich tone, and very good sustain.  While the pickups are humbuckers and quiet, they still retain clear note definition and a bit of twang, sort of a marriage of a Tele and Junior.  The set up is low and very comfortable, with medium jumbo frets that aren't excessively high like some jumbo's.  I especially like the contours, which are much more comfortable than the usual sharp corners of a Tele .  If you're looking for a comfortable, broken-in Tele with some vintage vibe, this one's hard to beat at $499.  Includes padded gigbag and original pickups.  

Digitech RP360 Multi-Effects and More, (stock pic), (front).  Latest from Digitech, the RP360 is an excellent practice tool, or mainstay on the stage or studio.  It has a whopping 85 effects, 56 amps, and 27 cabs.  Along with the incredible selection of effects it has a 40-second looper, nearly 200 presets, USB port, configurable footswitch modes, built-in tuner; dedicated headphone jack, Digitech's own "Sound Check", and 60 built in drum tracks.  In addition to analog recording tool, it works with GarageBand, Pro Tools, Cubase, Ableton, and virtually every other recording software for Mac or PC.  If you're a stompbox kind of guy, look at it like 3 pedals in your pedalboard where you can assign any effect in your preset to each footswitch.  You can also extend its control with an additional 3-button footswitch or expression pedal, the latter can be used for real time control of an effect in your preset including the iconic Whammy pedal.  For downloadable manual, specs, and audio samples, click here.  Sells for $149 new but this one's immaculate and just $99.  

2006 PRS McCarty Soapbar with Rosewood Neck, (front), (headstock), (back), (neck), (tag/docs), (case).  I don't get many Rosewood neck PRS's, and now I get in a 2nd one within a few weeks.  This one is identical to an '03 McCarty, other than Soapbars instead of PAF's.  This solid Indian rosewood neck is a pricey option at $600 list, which is slightly higher than a "10" top option.  The benefits of rosewood over mahogany or maple, is better sustain and a warmer tone.  This is one of the original McCarty models with several features unique to this model, most notably a mahogany body that's 1/8" thicker than other PRS's, a headstock that's slightly thinner and with a greater headstock angle, and vintage style non-locking tuners, all of which are a nod to the LP which Ted McCarty designed for Gibson in the early 50s.  Other features include wide-fat neck, Seymour Duncan SP90 pickups, compensated wraparound stoptail bridge, and solid mahogany body.  The all-mahogany body, different from the "regular" McCarty model with maple cap, yields an even warmer tone, much the same as the 50's LP Custom "Black Beauty".  The finish is Indigo Blast, a very dark blue translucent stain with a hint of grain visible (the flash makes it look a bit lighter in the pics).  This guitar is in impeccable condition with the fantastic set up that PRS are famous for.  We fully conditioned the neck, a 3-day procedure, which brings out the attractive grain in addition to preserving the wood.  Another benefit of rosewood is it is one of the few woods that doesn't require a finish so all you feel is the natural wood, and it feel much silkier to the hand than anything else I can think of.  Compare this to virtually any other P90 guitar and for tone, playability, comfort, and looks, I think this is an exceptional value, especially with the optional RW neck.  $1499 includes PRS case, hang tag, and all other docs.  (lower on this page you'll find an identical guitar (pic) with PAF's instead of Soapbars).

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

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

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

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

1977 Ovation Pacemaker (Mod. 1115-1) 12-string Acoustic, (front), (headstock), (back), (label), (action/12th fret), (case).  One of the best playing 12-strings I've ever had!  And if that's not enough, it sounds excellent and is in collector's condition.  It has none of the top cracks found on some of the old Ovations, primarily guitars that weren't housed in a friendly environment.  Also noteworthy, this one exhibits no bellying of the bridge and the neck angle is perfect, allowing a set up as low as you could possibly want a 12-string to be.  Tonally, Ovations during that era were sought out for studio work, known for a crisp and lush tone, with none of the boominess that creates mic'ing headaches.  Introduced in 1971, the Pacemaker 12-String was a long time staple in the Ovation line.  Built on the same deep bowl design as the Balladeer series, the Pacemaker features a solid Sitka spruce top on a textured deep bowl body with 15-3/4" lower bout, with Ovation fan bracing underneath.  Other features include slotted headstock design, 5-ply body binding, 25 1/4" scale, ebony fretboard, 5-piece mahogany / maple neck, MOP dot and diamond inlays, Floral rosette, walnut bridge, Schaller mini tuners with pearloid buttons, metal oval soundhole label, and gloss finish throughout.  I've always thought Taylors were the easiest playing 12's but this guitar equals or exceeds a Taylor 555 or 855 in that regard; simply a breeze to finger all the way up the neck.  The 1115-1 is a straight acoustic model, although it was available as a model 1615 with factory electronics (simple vol/tone preamp).  At 37 years in pristine condition, I think it's safe to say that this guitar will be in use for many years to come.  Considering it's vintage, condition, and superb utility value, I consider it one of the best values in an American acoustic I've had.  $450(SOLD-GCG 9/30) includes similarly clean original case and key.  

Collings 290 S single cut electric, (front), (headstock), (back), (rounded heel), (beveled edges), (case).  One of the nicest LP Juniors I've played.  Sister to Collings dual-pickup model 290, the 290 S features a single Lollar high wind dog ear P90 pickup. As with some other quality Juniors, this layout is deceptively simple - it's actually capable of a wide selection of tones via volume and tone controls-and altering your playing style. From rich and harmonically complex clean tones to fully saturated grit, the 290 S cover a wide variety of styles, from rock to country to blues. When you turn the volume and tone controls you get a smoother compressed tone which sounds mellow, while retaining articulation.  Features of this incredible guitar include select solid mahogany body and neck with high gloss nitrocellulose lacquer finish, Collings own "Haircut" headstock with a unique "part" cut into the left side, 15 degree headstock angle, ebony peghead overlay with inlaid Collings logo, Indian rosewood fingerboard, long mortise and tenon neck joint with ultra comfortable contoured heel, 22 Frets-neck joins the body at the 16th fret, medium-Fat "C" neck shape, 12" fretboard radius, 1 11/16" Bone nut, 24 7/8" scale length, medium 18% nickel-silver fretwire, grained ivoroid dot fingerboard inlays, single Lollar high-wind dog ear P90 pickup, 50's style wiring scheme, CTS 500K pots and Xicon caps, Switchcraft toggle switch and output jack, Collings own milled and intonated wraparound tailpiece, nickel Gotoh SG301 tuners (1:18 ratio) with vintage bone-style buttons.  This is a very lively guitar with remarkable resonance and excellent acoustic tone.  It's extremely comfortable to play and players who didn't appreciate the sharp edges of a Gibson LP Jr. will like its subtle body contour on the upper bass bout and another taper on the back of the upper bass bout.  There’s also a deep cutaway at the waist on the back, as well as a gentle taper on the treble side of the neck heel which allows easier access to the top frets.  For ease of play, it's set up with low action and has a neck that's just  slightly chunky but not a baseball bat like a '58 LP.  Cosmetically it's in beautiful shape with just 3 slight scratches in the clear coat on back and otherwise perfect.  For full details click here for Collings site and here for a demo on a similar DC model.  If you're thinking about getting one of these get ready to pony up $2999 or more - or save around $1000 and get this one for just $1999(HOLD-Brad T 10/4).  Includes original Ameritage case, one of the best cases made. 

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

2011 Fender Road Worn 50's Stratocaster w/Hendrix pickguard, (front), (back), (headstock), (neck), (knobs), (gigbag).  On parts mod on this one, which is a Hendrix style pickguard which has the bridge pickup flipped from a regular Strat.  The effect is the bass strings are closer to the bridge, giving them a more biting tone, while the treble strings are more mellow than a stock Strat.  Pretty cool.  For many players, nothing beats the feel and vibe of a genuine vintage guitar, complete with chips, finish wear, oxidized hardware, and especially a broken in neck.  Fender's Road Worn series is a genuine Fender Relic guitar, but around 1/3 the cost of a Custom Shop model.  These guitars are excellent guitars in their own right and like the Relics, they feature an alder body with nitrocellulose finish with misc. finish wear, dings, dull finish, aged-looking parts, aged pickguard and trem cover, etc.   They also wisely chose to use large 6105 frets (tall/narrow), which are frequently changed on vintage guitars as an improvement over the old small vintage frets, while retaining the vintage 7.25" radius.  The back of the neck has a worn finish for a great broken in feel, and that's what really makes these so nice to play.  The fretboard, which had the factory "close enough" wear spots has been steel wooled clean but it won't be long before your playing style puts wear marks in all the right spots. Additionally, the knobs have been given an additional relic process, giving them a more authentic appearance.  Not just looks alone, these guitars are loaded with quality USA electronics and the quality tremolo with stamped steel saddles and heavy steel trem block.  Pickups are the popular Tex-Mex pickups used in the Jimmy Vaughn Stat.  You might think Fender would use a lower grade of alder on these guitars but it's a nice light weight with a fairly loud acoustic tone and lively response.  Click here for Fender's site regarding this model.  With a list price of $1199, this model sells new for $899 which is reasonable considering the additional labor involved in building these.  This one's in perfect condition with a great setup and frets are like new.  Especially with the upgraded pickguard and more realistic knobs, it's a very good value at $669.  Includes hang tags and Fender deluxe gigbag.  

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

Boss RC-3 Loop Station, (pic2).  Hey loopers!  The Loop Station pedal gives you an amazing three hours of stereo looping and is a fantastic practice and performance tool.  There are 99 memory locations to save your loops and you can instantly recall them.  It has true stereo I/O, so you can incorporate stereo instruments and devices (there's a 1/8" MP3 player input). There's even built-in drum patterns to assist in looping and creating practice patterns.  You can also connect it to your computer via USB 2.0.  Click here for full specs from Boss and here for a video demo.  Sells new for $199; this one's "as new" in the box for $135(HOLD-Michael B 9/26).  

1976 Gibson Marauder - White, (front), (pickups), (headstock), (back), (finish chips), (case).  For players who don't want to pony up a few grand for a Junior or Special, Marauders are excellent utility guitars, with quality tone, very well made, and a cool vibe.  The Marauder was one of Gibson's attempts to steal some of Fender's market, just as Fender was trying to grab some of Gibsons.  The Marauder is definitely a blend of a Les Paul and Tele, with a LP Junior single cut body and pickup configuration of a Tele Custom.  This one has a few mods the first of which is what I'm fairly sure is a pro refinish in White.  It was sold to me as an original finish but I've never seen a while one before and it vaguely has the look of a non-Gibson finish.  Additionally, tuners have been upgraded to Schallers, pickups changed to DiMarzio humbuckers with a DiMarzio PAF Pro in the neck and an HS-2, which has the Strat tone but is built in a hum-canceling design.  Pickups are mounted on a Chandler tortoise pickguard.  The Marauder series ran from around '74 to '79, although a fancier Custom (bound neck and rosewood fretboard with block inlays ) was produced in '75 and '76.  Pickup layout is like a Tele Custom, with a humbucker in the neck position and a slanted single-coil, solid-blade style in the bridge position. This layout along with the overall construction, gives this guitar a tone and feel that's very similar to a Tele.  Pickup selectors on the early models was a simple 3-way switch, later changed to a continuously variable rotary switch.  Other features include Schaller "wide travel" tuneomatic bridge, white dot inlays including 1st fret inlay, black logo over natural headstock - or gold screened logo over black headstock, and 3/side tuners on a Flying V style headstock.  There have been a few notable players of the Marauder, past and present, including Paul Stanley of Kiss (shown in this ad), as well as Thurston Moore of Sonic Youth, Joshua Homme of Queens of the Stone Age, Deryck Whibley of Sum 41, and others.  Dating Gibsons can be somewhat futile but during this era, with prefixes of "99", "00", and "01", you can definitely date this to a '76.  Gibson offered the Marauder in both a "Natural Satin" and a "Natural Gloss".  Here's a video on features and tone click here on a Marauder.  Cosmetically, it has its share of finish chips, shown in the pic above, but definitely no cracks or structural issues.  Worst flaw is the logo is worn off (shown here).  If this disturbs you, we can install an identical black logo for $50, including multiple coats of nitro clear coat over the face of the headstock.  Or, for a cooler look, we can do the headstock in gloss black and install a new gold logo for $65.  The frets have had a recent dressing and the set up is very comfortable with low action and no playability issues.  These have always been a good player's value in vintage USA guitars.  They were, and are, very affordable, but the play superbly and sound excellent.  For a USA guitar that's nearly 40 years old, $629 definitely easy on the wallet and includes a nice, perfect fitting Coffin case.  If you just want a gigbag instead of the case, $550.  

2013 Carr Impala Combo, (top), (panel), (back), (chart).  Taking it's look from a mid-century Chevy of the same name, the Impala combines a classic retro vibe, with an updated tone of a '60's Blackface Bassman, to provide one of the coolest combo's I've had.  Cosmetically, Carr's heavily radiused corners, curved asymmetrical speaker, and two-tone covering (British Slate and Fawn) are right out of an old automotive catalog.  Underneath, a dovetailed solid pine cabinet with a floating plywood baffle is covered by an impeccably applied tolex covering with white piping.  Inside, Carr has built an amp that's an updated Bassman but not the Tweed 50's model that's one of the biggest cloned models made, but a mid- to late-60s Blackface model which was actually a more versatile amp.  More specifically, the Impala uses a pair of Electron 6L6WGC power tubes to produce a stout 44 watts; one 12AX7, one 5751, and two 12AX7 preamp tubes; custom-wound transformers; a custom Carr Elsinore ceramic-magnet 12″ speaker, and low-tolerance, high-end components – all point-to-point-wired in a heavy 12-gauge aluminum chassis.  The straightforward circuit features Volume, Bass, Mid, and Treble controls, PLUS Master Volume and tube-driven reverb circuit, the latter two not found on the original vintage models.  This beautiful circuit is then fed into a great sounding Carr proprietary 12" Elsinore speaker.  For me, the only way to test a tube amp is with the master all the way up, essentially out of the circuit, which lets you hear the full voice of the amp, eliminating preamp distortion.  With the tones dialed straight up it delivers punchy lows, slightly scooped mids, and clean, shimmering highs with loads of headroom, with plenty of singing overtones.  The Mid control is very interactive with the Bass and Treb controls, for much more versatility over a Fender-style Mid control, with plenty of bite when wanted. Carr includes a small “68” mark for the Mid knob so the midrange frequency can be set to mimic a ’68 Bassman, working best for clean sounds.   Dialing up the Volume adds a bit—or a lot—of overdrive to the sound with nice touch-sensitivity.  At 44-watts the amp gets loud quickly, and the Master can be used to tame the output and to tighten up its open sound for a more focused low end and overdrive.  The Impala’s tube-driven reverb offers a crisp retro sound that can be effective as a subtle hint of ambience, or a full wash for a great surf sound. It has external bias adjust points and a bias pot located on the chassis, with instructions in their manual (link) to do your own biasing!  Click here for a good review from Premier Guitar.   There are plenty of YouTube demo's, such as this one.  This amp has seen a little home use only and is immaculate condition.  Don't pay $2640 for a new one when you can have this one for $1850.  

Ca. 1988 Fender HM Strat - Razz Berry, (front), (back), (trem), (headstock), (Floyd nut), (beveled cutaways).  In order to help keep this page shorter, I've created a page about these fine HM's.  Please click this link for more info.  A lot of folks refer to this finish as "Pink" but it's actually, "Razz Berry".  Fender did offer a "Flash Pink" at the same time and here's a comparison pic showing the two colors.  Overall it's in nice shape with just some clear coat scratches and some corrosion on some of the hardware - overall extremely presentable as shown in the pics.  Someone rubbed the serial number off, traces of which are visible at the base of the neck (pic).  The only other non-original aspect is the nut has been changed to  a Floyd nut, and one of the "F" caps is missing from the tone knob.  We can swap all the knobs out to metal dome knobs if desired.  We've buffed the finish out nicely which eliminated all of the small scratches and gave it a high luster appearance.  There's conflicting info on the whole HM line as to which models were USA, which were Japan, and which were a combination of both.  The rule of thumb I've used is ones like this one with American Standard middle and neck pickups (you can see the blue/white and red/white pickup wires, are USA models, made ca. '88.  It's an excellent playing guitar and one of the better sounding ones I've had.  $650 Includes hardshell case and trem arm.

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

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

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

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

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

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

1994 PRS Custom 24 Vintage Sunburst w/all the options, (front), (side), (back), (headstock), (cavities), (short heel), (case).   All the options: quilted "10" top, bird inlays, and gold hardware!  Having been very low on PRS's, I went on the search and picked up around 6 in the past 2 weeks, including this beautiful, increasingly harder-to-find, Annapolis model.  These old-factory pre-'95 models, easily identifiable with the original small logo, mother of pearl inlays, and short neck heel, are considered hand-made, built without the benefit of CNC machines.  A lot of people incorrectly refer to these guitars as "pre-factory", the reason for which I haven't a clue.  These guitars are widely thought to be superior to guitars built at the new Stephenville factory opened in '96, where PRS eliminated most of the hand-crafting in favor of CNC machines.  Features of this guitar include a quilted maple cap finished in Vintage Sunburst over a one-piece mahogany body, mother of pearl bird inlays, Mil-Com tremolo, PRS Phase I cam-type locking tuners, 10" fretboard radius, and wide-thin neck profile which is 1/16" more shallow than a wide thin/fat.  Pickups are the HFS and Vintage Bass controlled by a 5-way rotary selector which allow (1) bridge humbucker, (2) outside single coils, (3) series inside single coils, (4) parallel inside single coils, and (5) neck humbucker.  The Custom 24, especially with the tremolo bridge, has a looser feel than a Custom 22, plus a "longer" neck, i.e. with the bridge and bridge pickup are set further forward in the body which means it has the same 25" scale as the Custom 22, but the neck extends slightly further from the body.  It's not as much a Les Paul feel, but a PRS feel.  At 20+ years this is considered a vintage PRS, built in the first 10 years of the original factory.  During this time the production was considerably lower than later years and with the exceptional quality control, combined with the belief that older wood is better sounding, you have a guitar that is very sweet and rich sounding, with excellent sustain and clarity.  Cosmetically it's in excellent condition all around.  The worst flaw is some minor pitting to the bridge and a small area of gold plating has flaked off the low-E saddle (pic here).  There are some scratches on the backplates but back itself is clean.  The gold is overall in very clean condition, fret have little to no wear, and it presents as a beautiful example of an Annapolis PRS.  While most "10" tops feature narrow bands of flame, this one has a quilted top, which is much more impressive and in fact listed for $200 more than flame.  In all, the options on this guitar added $1500 to the list price ($320 bird inlays, $790 quilted 10 top, $390 gold hardware).  Whenever you play one of these older PRS's you can sense the meticulous human attention to detail as you're holding a guitar that will likely never be hand-crafted again.  Prices on Annapolis-era Customs continue to rise but they're still a good value, especially when they're cheaper than a comparable new one.  A better guitar, for less money.  Own this beauty for just $2399(SOLD-Mark T 9/28) with PRS case and trem arm.

2008 G&L Asat Classic Bluesboy Semi-Hollow Tribute, (front), (back), (headstock), (bridge), (Deluxe Gigbag).   G&L's version of the classic '69 Tele Thinline.  The Tribute series are the best value on recreated traditional guitars (i.e. 50's/60's models), on the market today.  The Asat Classic Bluesboy is easily on par with Fender's '69 Classic Thinline with the only departure being a quality humbucker in the neck in place of Fender's single coil pickup.  Using quality hardware, electronics, and Seymour Duncan pickups, this is a guitar that doesn't need upgrades to be worthy of taking to a gig.  Similarly, the fit and finish, tone, and playability are all first rate.  With its semi-hollow, toneful swamp ash body, the Bluesboy is a serious blues guitar, but can cut it with any style, other than metal.  The advantage to the semi-hollow body design is, obviously, a lighter weight guitar that reduces shoulder fatigue while retaining the responsive tone of a solidbody.  Using a neck humbucker makes this guitar more versatile than a regular Tele style, a feature favored by legends such as Keith Richards and Albert Collins.  The bridge pickup features vintage-style cloth wiring and is mounted on a G&L boxed bridge with six brass saddles for improved intonation.  Other features include Lightweight Swamp Ash body with twin Voice Chambers with "F"  hole, Hard Rock Maple with Maple fingerboard, 7.5" vintage neck 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 and with a new one selling for $549, it's $350 less than Fender's '69 Thinline.  Better yet, get this immaculate used one for just $379(SOLD-Niles F 9/23).  Includes excellent quality G&L gigbag. 

2008 Fender American Vintage Hot Rod '62 Stratocaster, (front), (back), (headstock), (neck), (bridge), (case/etc.).  The Hot Rod '62 combines classic looks of a 1962 with its thin-skin nitrocellulose lacquer finish over an Olympic White finish, but with a few modern features that most players prefer, namely, modern C-shape neck with a flatter modern radius of 9.5" and medium-jumbo frets rather than the small vintage frets - plus a satin finish on back of the neck rather than the thick (and potentially sticky) finish found on the regular V57 Strat.  Features include American vintage tremolo, Fender/Gotoh vintage tuners, Fender 57/62 pickups, 3-ply green pickguard, and vintage brown case.  One of the benefits of these thin Nitro finishes is it will naturally relic out rather quickly and pro players who use this guitar every night will have a bona fide "relic" within a few years.  This is a fantastic model and recommended for all the players who don't like small vintage frets and want a flatter fretboard.  The set up is fantastic with low action and no fret out on bends.  The Olympic White finish looks a bit more yellow than most, almost a Vintage White.  Cosmetically it's in immaculate shape, including zero fret wear and a bit of figuring in the neck.  Fender has changed a few of the specs on the new Vintage HR series with a two-point trem and S-1 switch, both ill-advised for a "vintage" model in my opinion.  The new ones sell for $2299 ($2799 list).  Get this beauty that's more of a real vintage model, for $1000 cheaper than a new one.  Just $1299(HOLD-Shawn T 9/30) including G&G/Fender vintage case, Fender cable, Fender strap, polishing cloth, hang tags, and assorted paperwork.  (Note: I also have a HR Vintage '57 on my Fender page)

2013 PRS SE Custom 24 - Sunburst Flametop, (front  side), (headstock), (back), (upgrades), (gigbag).  Newer model with "bent" top, plus a number of quality upgrades.  As I've mentioned before, PRS and perhaps Brian Moore, make the best quality Korean imports on the market in my opinion.  Unlike 95% of the other companies, they don't use Cort or Samick factories, and their quality control is top notch.  Fit and finish are impeccable, with excellent pickups and electronics, and good quality hardware. Most of all, I'm impressed with the fact that they have great necks that set up better than your average USA Fender or Gibson. The Custom 24 is relatively new to the SE line.  I've had a few of the previous version with the flat top, but this is the first one I've had with the contoured edges and "bent" top (as shown here).  Nice.  It really impressed me away in terms of looks, tone, and feel.  It also has a bunch of upgrades to make it a total proline instrument including a pair of PRS Mark Tremonti USA pickups, push-pull tone pot, Grover locking tuners, Dunlop strap pins, and a real bone nut, over $350 in upgrades done by a qualified luthier.  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, PRS chose to use an actual maple slab mounted to the mahogany body, and then put a veneer of flamed maple on top of the maple cap, plus a flamed veneer on the back too.  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 Tremonti pickups (link) are a definite upgrade over the stock import pickups.  Using large Alnico V magnets, they excel at delivering thick, aggressive tone, and are the ultimate in quiet performance.  Other nice touches like the bird fretboard inlays, headstock shape, PRS tremolo, and natural maple binding make this look like it's USA brother but at $719 ($1092 list) it's around 1/4 the cost.  Add in the cost of these upgrades and you're looking at a guitar that will set you back around $1100 new.  Better yet, get this one with all the critical upgrades done, for just $499(HOLD-Mike M 9/29).  Includes original PRS gigbag and trem arm.  Remind me and I can probably throw in some Dunlop strap locks mounted on a strap.  

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

2012 Gibson Les Paul Signature T Gold Series, (front), (back), (headstock), (case).  A gorgeous guitar with a AA flamed maple top, finished in Alpine White Burst, accented with cream body/neck binding and plastic parts, and gold hardware.  This Gold Series "T" was in production for only a brief period of time, sports Gibson's traditional weight-relieved body which makes it much more friendly for an evening of playing.  Features include AA flamed maple top with transparent Alpine White Burst finish over a mahogany body, Nitrocellulose gloss finish, 60s slim taper neck, bound rosewood fretboard, mahogany neck, figured acrylic trapezoid inlays, "T" truss rod cover, gold hardware, and Grover locking tuners with Keystone buttons.  Pickups are '57 Classic bridge and neck humbuckers (open coil zebras) with push/pull taps on the tone pots to provide 6 tone choices, all of them very useable.  This guitar is in immaculate condition, other than some slight discoloration around the top/back edge (shown here), which white Gibsons are prone to developing. This model listed at $3399.00 and sold at discount for $2379.  You can have this beauty for just $1350(HOLD-Duke T 9/21).  Includes original case with all paperwork.  

2011 Gibson Joe Bonamassa Les Paul Studio Goldtop, (front), (back), (headstock), (case).  A more affordable Bonamassa produced in a limited run of around 600 pieces.  The Goldtop nitrocellulose finish is complemented by "black-back" sides, back and neck, black plastic trim, mismatched gold and amber "Top Hat" control knobs, and "Joe Bonamassa" engraved in the truss-rod cover. For pickups, they chose BurstBucker humbuckers, with a BB2 in the neck and a hotter BB3 in the bridge. These are Gibson's most accurate recreation of the original PAF of the late '50s and early '60s, with details such as unpolished Alnico II magnets and unequal turns of 42 AWG wire on each bobbin, resulting in the added "bite" found on original PAF's. The neck is well-rounded and fairly chunky neck by modern standards, measuring .838" at the 1st fret and .983" at the 12th. The body is not chambered, thus it's not a lightweight model, but not overly heavy by LP standards.  For complete specs check out Gibson here.  Joe is one of the hottest blues/rock players on the scene today, with a very hectic and successful touring schedule, and a high demand guitarist in the studio.  If you buy this guitar you might be able to play just like him!  The set up is as low as you could possibly want, simply outstanding.  It's offered in beautiful condition with Gibson case for $1299. 

2012 Fender USA Nitro Satin Series Stratocaster Electric Guitar Honeyburst, (front), (back), (headstock), (gigbag).  Limited Edition Strat that's essentially an American Special, but where the Am Spec has a satin poly finish, the Satin Series has a satin nitrocellulose finish.  It is produced only in Honeyburst, which is a pretty cool color, somewhat reminiscent of Bonnie Raitt's old Strat.  This guitar was sold to me almost right out of the box and it has perhaps an hour of playing time.  Plastic is still on the pickguard; never had the trem arm installed.  Features include an alder body, maple neck with 9.5” radius fingerboard and jumbo frets, American Standard pickups, vintage-style synchronized tremolo and the exclusive hand-stained honeyburst finish. Other features are no-load tone pots, large '70s-style headstock with vintage Fender decal, standard Fender sealed tuners, Satin nitro lacquer neck finish, Synthetic Bone nut, and black dot inlays.  Nice light weight for alder with an extremely comfortable setup and excellent sustain thanks in part to the nitro finish.  With a list of $1049 you'll pay $799 for one of these online, or get this one, barely touched but set up better than one out of the box, for just $599(HOLD-Brian W 9/17), including original deluxe gigbag or substitute a nice case (pic here), for $59 more.  This nice case is brown with plush gold interior, contoured to the shape of the guitar, with a comfortable Gibson-style handle and a covering and lining that are similar to G&G. 

2001 Gibson ES-135 Natural Gloss Finish, (front), (headstock), (back), (case).  First one of these I've had in a while and one of only 2 or 3 I've had with the natural ("blond") finish.  Throughout the run of the 135 it came in a number of iterations including different tailpieces (trapeze, Bigsby, or Tuneomatic/Stopbar), pickups (P100, P90, and PAF), full back/back with control plate, F-holes or no F-holes, finish (satin or gloss), and center block (Chromyte or 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, gloss nitrocellulose finish, white body binding, screened logo, and dot inlays.  Models built after this one may have had a control plate on back, satin finish, no f-holes, and Chromyte center block, all attempts to keep the cost down.  Features include 16" laminated maple/poplar/maple body with gloss finish, 1959 rounded maple neck with rosewood fretboard, bound body, Grover keystone tuners, and chrome hardware.  This guitar 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, with the strong, in your face tone of P90's, without the associated hum.  Cosmetically the guitar is in beautiful condition overall, with a fantastic low set up.  In my opinion this model is closer to a "real" Gibson than any of the other versions.  As these were a very affordable Gibson archtop, prices on these have climbed in the last few years.  I think this is an excellent value at $1099(HOLD-Jack B 9/17) and while many came with a Gibson gigbag, this includes a nice Gibson case. 

1998 Guild Bluesbird - Natural AAA Flame Top, (front), (headstock), (back), (case).   Fantastic looks, tone, playability.  The Bluesbird was Guild's version of the Les Paul, except better by many accounts, finely crafted at the Guild plant in Westerly RI model.  I used to get in a lot of these but recently they're hard to come by.  The flame on this one is definitely a cut above the average and one of the best tops I've had on one of these.  This model has been around almost as long as a Les Paul, with a lineage that can be traced back to the Guild Aristocrat in the 1950s.  Since then it has evolved into a uniquely chambered instrument and a favorite among blues and rock players as it combines fine woods, classic electronics and elegant styling.  It features a solid Mahogany body, with meticulously engineered sound chambers and exquisitely figured, carved Maple AAA top, blended perfectly to create tone, responsiveness and versatility.  Other features include bound body with perfectly bookmatched flamed maple top, Seymour Duncan '59 (SH1) humbuckers, single cutaway chambered mahogany body body, mahogany neck, white-bound 22-fret rosewood fingerboard with pearloid block inlays, 1-23/32" nut width, 24-3/4" scale, tune-o-matic bridge and stop bar tailpiece, "Guild" and chesterfield pearloid inlays on the headstock, and Grover Rotomatic tuners.  The Bluesbird carried a list price of $2399 and sold at discount for $1799, which was a lot of cash in '98.   Offered in beautiful shape with a nice low set up and if you're looking for a quality alternative to a Les Paul it's an excellent value at $1050.  Includes original case.  

2013 Gibson '61 SG Standard Reissue, (front), (headstock), (back), (case).  Not a custom shop model like the '61 VOS below, but very well built Gibson with all the features you know and love in an early 60's SG including thin taper neck and '57 Classic PAF's.  It has the beautifully beveled edges that make this guitar like virtually no other, lightweight solid mahogany construction, Nitrocellulose gloss finish, bound rosewood fretboard with figured acrylic trapezoid inlays, long neck tenon for stability and increased sustain, Grover Kluson style tuners with green buttons, Nashville bridge with stopbar tailpiece, and inlaid logo and crown headstock inlay.  This SG plays extremely well, with low action and a proper neck angle so there's room for the bridge to be lowered even more.  If you like tones as varied as Angus Young, to Clapton, to the Doors, this model will cover it all extremely well.  Don't see any flaws on it and it's a definite "thumbs" up from Martin and me.  Sweet SG for $1099.  Includes black Gibson case with plush white lining.  

2007 Gibson '61 Les Paul SG Standard VOS, (front/back), (headstock), (case/acc.).   I've said it before but...I love these VOS models.  They're not only built to the exact spec's of the original model but they also have the patina of a 45-year-old guitar and aged hardware.  You get the feeling that you're playing a an actual vintage instrument rather than a shiny new guitar that obvious just rolled off the assembly line.  1961 was a pivotal year for the Les Paul.  Gone was the single cutaway model that had been around since the early 50's - and which was less than an overwhelming success - replaced by the new all-mahogany double-cut body with beveled edges, which eventually was renamed the "SG" for Spanish Guitar.   Everything was different about this "new" model Les Paul and for the player, access to the upper frets was markedly improved which along with the new lightweight design, made this guitar a joy to play.  Unlike the original Les Paul model, which disappeared from '61 to '67, the SG design has stayed in the Gibson line for 48 straight years.  Spec's of this model include Mahogany body, Set one-piece mahogany neck with long tenon, 22-fret rosewood fretboard, Burstbucker 1 & 2 humbucking pickups, Stop bar tailpiece with tuneomatic bridge, 24-3/4" scale length, and wide 1-11/16" nut width.  The only flaw on this guitar is a small red mark on the back of the neck (shown here) which was a reaction from the Nitro finish and a rubberized guitar stand.  This model, properly called a "Les Paul"  is still being made, although it's lost the "Les Paul" name and called merely "Gibson Custom SG Standard Reissue VOS", (shown here) which sells for $3399 ($4774 list).  For $1000 less, you can have this wonderful guitar, in unplayed condition with plastic still on the pickguard and not a hint of actual use.  $2399, includes Custom Shop case and tons of case candy. 

2003 PRS McCarty Standard with Rosewood Neck, optional Holmes Pickups, (front  front-2), (headstock), (back), (neck), (tag), (case).  I don't get many of these in - PRS with optional solid Indian Rosewood neck.  It's a pricey option at $600 list, which is slightly higher than a "10" top option.  The benefits of rosewood over mahogany or maple, is better sustain and a warmer tone.  This is one of the original McCarty models with several features unique to this model, most notably a mahogany body that's 1/8" thicker than other PRS's, a headstock that's slightly thinner and with a greater headstock angle, and vintage style non-locking tuners, all of which are a nod to the LP which Ted McCarty designed for Gibson in the early 50s.  Other features include wide-fat neck, McCarty Treble and Bass pickups with McCarty switching (3-way switching and push/pull coil tap), compensated wraparound stoptail bridge, silver-nickel pickup covers, and solid mahogany body.  The all-mahogany body, different from the "regular" McCarty model with maple cap, yields an even warmer tone, much the same as the 50's LP Custom "Black Beauty".  The finish is Indigo Blast, a very dark blue translucent stain with a hint of grain visible.  This guitar is in excellent condition with the fantastic set up that PRS are famous for.  If you're considering a rosewood neck, note the lovely figuring in this one.  Another benefit of rosewood is it is one of the few woods that doesn't require a finish so all you feel is the natural wood, and it feel much silkier to the hand than anything else I can think of.  Compare to the average Paul and for tone, playability, comfort, and looks, I think this is a much better value, especially with the optional RW neck.  $1599 includes PRS case, hang tag, and all other docs.  For the extreme connoisseur, I'm offering this guitar for $500 more ($2099) with a new brand new set of Tom Holmes pickups (pic) installed in place of the PRS's.  Tom's pickups are legendary and fetch a premium on the secondary market, or require a very long wait if you order a set from Tom.  These usually sell for $750+ on Ebay (link) are hard to find as a matched pair.   

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

Correction: 2014 model!  2014 Taylor GS Mini Mahogany, (front), (headstock), (back), (strings), (gigbag).  The GS Mini takes the travel guitar to a new level, with a full tone that can keep up with dreadnoughts and an unprecedented better balanced tone.   This model achieved instant respect, from the time it was introduced at NAMM.  Rave reviews started streaming in and stores cannot keep them in stock.  The Mini GS is a short scale guitar with Taylor's popular Grand Symphony body in a smaller size. Although it's slightly scaled down, it has a full body depth and regular nut width, which set it apart from other guitars of this type. Features include solid tropical mahogany top, laminated Sapele back/sides, ebony fretboard, Lexan headstock overlay, satin finish, sapele neck, 1 11/16" nut, 20 frets, 36 5/8" length, 23 1/2" scale, 17 5/8" body length, 14 3/8" body width; 4 7/16" body depth, NuBone nut and saddle, ebony bridge, plastic bridge pins, mini-GS shaped tortoise pickguard, 3-ring rosette and 3-ring purfling.  Taylor also designed this guitar with a bracket at the end of the neck to accept Taylor's ES pickup, designed especially for this guitar.  Priced at $98, simply snap the pickup in place and change out the endpin jack, around a 5 min. job, and you now have an acoustic/electric GS Mini. There are a bunch of demo's on YouTube but this one is especially informative, where you can hear its comparison to a Taylor 110, which is a full size dreadnought.   Here's another brief demo by Tommy Shaw, showing a great guitarist can make it sound like a great guitar.  For more video's, specs, and info, click here for Taylor Guitars.  Taylor already made a fine gigbag for their Baby and Big Bay, but their new "hard bag", supplied with this model is even better, with reinforced sides and a neck support block.  Just set up with a set of D'Addario Phos/Bronze plus another set will be included in the gigbag. These are hard to find on the used market and I was happy to find this one, in lovely condition, including one of the best acoustic gigbags made.  Martin and I are very impressed with it in all regards.  Nice guitar for $375(HOLD-John D local 9/8). 

2011 Gretsch Power Jet Firebird G6131T-TVP, (front), (back), (headstock), (case/etc.).  Beautiful condition in a modern update of a vintage classic.  Usually associated with glitzy archtops, Gretsch has a long history of building some fine solidbody models as well.  Players as diverse as Malcolm Young, Billy Zoom of X and Joe Perry, are but a few of the Gretsch Jet's cutting rhythm tones and honking lower midrange.  In recent years Gretsch has made several variations of the Duo Jet model, including versions from various years, with or without Bigsby, including models that are tributes to models played by George Harrison, Cliff Gallup, and Malcolm Young.  The Power Jet’s basic design most closely resembles that of a late-Fifties Duo Jet, featuring “thumbnail” Neo- Classic fingerboard inlays, a 24.6-inch scale and Gretsch’s unique dual-toggle and triple-volume control circuit, but it features several changes from the original models.  For pickups Gretsch uses the TV Jones Power'Tron neck and bridge At just under 7 lbs., this guitar is ultra-lightweight and is a joy to play when compared with a Les Paul at around 2+ more pounds.  The Adjusto-Matic bridge has individually adjustable saddles for each string and is “pinned” to the top with a pair of Allen screws that allow it to float without moving under pressure.  Other modern stock features include Schaller straplocks and locking Sperzel tuners, which allow you to whammy with the Bigsby vibrato without knocking the strings out of tune.  An arched laminated maple top caps a solid mahogany body featuring carved-out resonance chambers, an original Gretsch innovation that came back in style in the Nineties when dozens of guitar makers adopted it into their own designs.  A single-piece mahogany neck has a solid, chunky feel, and the ebony fingerboard features a 12-inch radius and 22 medium jumbo frets to make string bending a breeze.  Click here for all the skinny from Gretsch.  With a new list price of $3300, this model sells new for $2399.  This one's in "under the bed" condition with a killer setup, and is an especially nice guitar for $1679.  Includes original case and all documentation.  

2003 Parker Nitefly Standard SA USA, (front), (back),  (headstock), (controls/new saddles).  One of the most versatile, and comfortable, guitars on the market.   Don't confuse with the cheaper P-38 imports (I have a near-identical P-38 to post soon) - this is the USA Nitefly that has many of the features in the high-end Fly Classic, but with a swamp ash ("SA") body and bolt-on neck.  Features of this Nitefly include: DiMarzio pickups in HSS configuration, 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.  Controls, shown in pic above, include a 3-way to switch between Piezo out, magnetic pickups out, or both - plus a standard 5-way to select bridge, middle, neck, or combinations.  Knobs are the stock layout with a volume and tone for the magnetic pickups, plus a separate volume for the Piezo system.  Cosmetically, it has a few dings and scratches but it's in nice enough shape for a used guitar.  The Swamp Ash used on this model is light weight and is some of the nicest figuring you'll see on an ash body.  When we got this guitar a few of the acoustic saddles had lower output so we installed a brand new set of "Ghost" saddles by Graphtech (pic) which sound very balanced, an provide a full-bodied acoustic tone that isn't possible with metal saddles.  Each saddle has its own piezo crystal installed and they're factory set to be balanced and robust.  In addition, like all Graphtech products they reduce string breakage.  We also added a set of Schaller locking strap pins (strap locks included).  Pickups are all DiMarzio, with a pair of single coils in the neck and middle, plus a "Crunch Lab" humbucker in the neck.  The Crunch Lab has a straight bar on one side, and hex poles on the other, and is the model used on the Music Man John Petrucci.  I don't think anyone would be disappointed with the tone.  From metal to fusion to country, this guitar can do it all and it plays so easily you can gig all night without fatigue to your hands or shoulder.  The fret work has a satin feel and bends feel like glass.  The neck is just slightly chunky, with little deviation as you go up the neck and features side markers only - no fretboard inlays.  Here's a good link for specs and a GP mag. review on this model.  I don't have the '03 price list, but back in '97 this model listed for $1349.  Excellent Parker for around the price of an American Standard Strat, just $850(HOLD-Bill P 10/24) with gigbag; or $69 more for a new Parker case (pic).  Includes original trem arm.

Custom San Dimas Tribute Strat - Trans Green, (front), (headstock), (fretboard), (back), (bridge/nut), (case).  Fantastic playing Charvel style Mighty Mite body and neck, finished at the factory, with a zebra Duncan Distortion, single volume control, and very good quality licensed Floyd that's designed like the Schaller Floyds.  My man Brian had this guitar built by "Todd", who you locals will know as the 2nd best tech in the capital district.  The set up is superb, Floyd routed during assembly done perfectly, nicely dressed frets, perfectly aligned parts from all angles.  Basically, this is what a custom guitar should look like.  Body has the small control route from the San Dimas era; tuners are Wilkinson; neck is nicely figured with plenty of birdseye in the fretboard.  Two upgrades since the guitar was built - we added a push/pull pot to select either single coil or full humbucker, and a EVH D-Tuna has been installed, to drop the low-E to D with the flip of a switch. The guitar is in perfect condition, other than a single finish check line on the back.  If you want to the look one step further, for additional cost it can have a San Dimas era logo (as shown here), with multi layers of clearcoat over the logo, or paint the headstock black and use a gold logo.  With $270 invested in labor, plus $690 in parts and case, save big time on a nice guitar in almost new condition.   Just $550(HOLD-Brian G 9/4) including case, trem arm, and tools.  Includes Allen wrenches, headstock-mounted wrench holder, and choice of Dunlop or Schaller strap pins.  

Fender J Mascis Artist Series Jazzmaster, (front), (headstock), (back), (case).   Tribute to the alt/indie founding father J Mascis (Dinosaur Jr), this Artist Series was introduced in 2007, produced only in this stunning Purple Sparkle polyester finish with matching headstock, accented by a gold anodized pickguard.  Although the Jazzmaster was originally designed as model that should appeal to jazz players, it was quickly adopted as the un-official guitar of choice of surf music, and later found its place as a favorite among rock, alt-rock/indie players.  Players as varied as Jimi Hendrix (in his early days), Robert Smith (Cure), and Kevin Shields (My Bloody Valentine) - plus actual signature models for J Mascis and Elvis Costello.  Following on the heels of the bright cutting sound of the Strat and Tele, the Jazzmaster was designed for a mellow tone, and a tone that was hopefully going to compete with the fat humbucker tones of Gibsons of the era.  Features specific to the Mascis include Adjusto-matic bridge, reinforced tremolo arm housing, jumbo frets, flatter 9.5" radius, basswood body, J's signature on back of headstock, gold anodized pickguard and a satin finished neck for speed and comfort.  Other features include maple "C" shaped neck with rosewood fretboard, 25.5" scale, Gotoh Kluson-style tuners, 21 jumbo frets, 2 vintage-reissue single coil pickups, normal 3-way circuit with master volume and tone, Rhythm circuit volume and tone with controls on upper horn, and Vintage-style floating tremolo with lock button.  Compare this to the reissue Jazzmaster and the Mascis is much more playable: the combination of jumbo frets, flatter fretboard radius, lower action, and satin-finished neck make it much more easy to play, and true to Leo's original, the ’60s-style C-shape neck and offset-waist body contours are very comfortable whether sitting down or standing. The tone is pure Jazzmaster.  This guitar has a fantastic set up and is in perfect condition that's as clean as a new one hanging in your local store.  Fender stopped making these a while ago but if you missed one, here's one that's essentially new.  These came without case or gigbag but I'm including a quality used hardshell that fits the wide/long Jazzmaster.  $1099 includes case and trem arm.  

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

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

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

2008 Fender American Standard Telecaster - 3-Tone Sunburst, (front), (back), (headstock), (case).   Classic 3-tone sunburst with maple board, beautiful condition, and one of the best playing Tele's you'll find.  This is one of the "new" American Standards that replaced the American Series, which replaced the "old" American Standard.  Can't keep up?  Suffice it to say that at every step Fender has made a number of minor improvements which, collectively, combine to make a better Tele.   Features include alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, Fender staggered cast/sealed tuning machines, new style saddles on chrome-plated brass bridge, volume and tone control - Delta tone "no load" tone circuit.   Other features include new bent steel saddles with elongated string slots, highly finished frets, detailed nut work, rolled fretboard edges, and new molded Fender/SKB Case with TSA Locks, glass reinforced nylon trigger latches, and form fitted plush interior.  A new American Standard in 3-tone sunburst will run you $1249, and it will probably be a good player.  For $400 less, you can have this barely played example that's guaranteed to be an excellent player.  $849 includes the new SKB/Fender case.   

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

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

2009 PRS Singlecut SC-245 1-Off,  (front), (back1 back2), (headstock), (flamed edge) (case).  Factory one-off with regular features other than the custom paint job, black with blue bird graphic.  It appears to have beautiful flame under the paint, judging by the "binding" which shows very even bands of flame, consistent all the way up the side.  Makes you wonder why they wasted such nice flame.  Signed in the cavity "R. Hannah '09" (pic) which I'm guessing is the artist who painted the birds.  If you're a collector of rare PRS's or one-offs, or just a player who wants a cool looking guitar, it's in perfect condition with a typically great PRS set up.  It features a thick mahogany body with maple cap, mahogany neck with rosewood board, Bird inlays, PRS stoptail bridge, 24.5" scale length, 22 frets, Vintage style tuners, SC-245 Treble and Bass pickups, dual volume and tone controls with 3-way pickup selector, with a wide-fat neck profile.  List price was $3769, store priced at $2999.  Be the only kid on the block, or in the world for that matter for just $1799.  Includes PRS case, hang tag, and all paperwork.

2011 Custom Gibson ES-339 - Antique Vintage Sunburst, (front1  with flash), (back1 back2), (side), (headstock/neck), (back), (case   cert).  Custom Shop beauty for the player looking for the 335 Dot look, tone, and feel, in a guitar that's smaller and lighter.  Gibson designed the 339 as a scaled down ES-335, altering the lines slightly so it doesn't look like a shrunken Dot and from the audience view it pretty much looks like a full size Dot.  The fact is, however, the body size is very close to the size of a Les Paul, both in width and depth, but yet it retains the tone of a Dot. The body is laminated like a Dot, but they use a maple/poplar/maple laminate rather than all maple; the neck retains the solid mahogany construction.  For pickups Gibson chose the ’57 Classic Humbuckers that deliver full-bodied tone with rich midrange and singing sustain, and with the smaller body, this model is less prone to feedback at high gain levels. It also has vintage style feature such as tulip-head Kluson tuners, nickel hardware, ABR-1 bridge, stop tailpiece, dot fingerboard inlays, and lacquer finish, which combine to give it the appearance of a '58 Dot. Gibson also made a few subtle improvements such as the output jack, now mounted on the side of the guitar instead of on the top, keeping the cable out of the way. The slim 30/60 neck has the slim, wide feel of an early ’60s Gibson, with an extra .030-inches of depth—perfect for today’s faster playing styles. It also features Gibson’s new Memphis Tone Circuit, with 500K audio taper pots that operate with an interactive load that preserves high end as you turn down the volume. The loading effect preserves the full-bodied tone with rich midrange while adding a very sweet bite. Also turning back the volume knob is very smooth and you'll notice even increments with each number on the knob, rather than a dramatic drop off of most circuits. You get a beautiful, open tonal spectrum at any volume. They claim that during an A/B test with a vintage 335 "it’s virtually impossible to tell the difference between the vintage models and the new ES-339". I don't have a $20K Dot to compare it to but from memory I will say that it can't be far off. The smoothly polished frets allow for fast and accurate play, with less effort. While it features Gibson’s standard 24 ¾-inch scale, it somehow seems shorter and you can readily perform stretches spanning seven or more frets from the fifth fret. The smaller body size does not decrease the guitar’s resonance, plus it can be cranked up to even higher levels of output without feedback - it's resistance is right up there with Les Pauls and SGs. This is the perfect semi-hollow guitar for solidbody players and with its vintage vibe and modern performance, the it's is a great all-around guitar for any style of music.  This guitar has a wonderful setup and plays as nicely as any 335 I've had, but it's much more comfortable.  These are fairly rare on the used market as they're marketed only through a small network of around 7 stores and online retailers.  With a list price of $3527, this is a sweet deal on a dead mint 339 at just $1499.  Includes the new style certificate binder and custom shop case.  

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

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

1999 Fender Standard "Fat" Telecaster - Electric Blue, (front), (headstock), (back), (hum).  This was a nice guitar that we've made even nicer by giving it the Keith Richards treatment, i.e. a Gibson 496R humbucker in the neck with stock Tele bridge pickup.  Often modified in this fashion, the Tele was Fender's original electric and has remained virtually unchanged since 1952.  The original workhorse guitar, the Tele doesn't feature the sexy curves of a Strat, with it's signature single-cutaway slab body, string-thru-body bridge, dual pickups with master volume and tone, and small headstock.  With that said, there's nothing that has the twang of a Tele, which you can still get on the bridge pickup, which makes it a favorite of country artists but it also fits very well into rock and blues.  With the humbucker in the bridge you can get both traditional Tele sounds, plus the quiet, fat tone of an Alnico humbucker and since the work was done by Martin, you're guaranteed that the polarities match and that you'll get no extraneous noise or volume drop in the middle position.  Speaking of which, I was pleasantly surprised by the middle position (both pickups) which has the clarity of a Tele, but a much richer tone.  With a vintage output of 7.78K, the humbucker and Tele pickup are very even in output and sound great together.  The Standard Tele is the bang-for-the-buck winner in the Fender stable and features pickups which look identical to the American Standard, USA pots and switch, and Fender/Ping tuners.  It's in very nice shape other than a few finish touch-ups on the back edge (as shown here) which were color matched nicely and built-up to the proper thickness.  Hasn't seen much playing time thus the frets are in excellent shape.  If you like low action on your Tele, this is about as low as it comes and it's a new joy to play.  With a new Standard Tele going for $499, plus over $100 for a Gibson 496R, why not consider this one in a popular discontinued color, for just $399, including tweed gigbag.  

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

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

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

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

2002 Godin Multiac Jazz SA - three voice, (pic2), (pic3), (pic4).  Electric - acoustic - synth - does it all - and an Imminently versatile jazz guitar, combining killer looks, tone, and playability.  Folks, the flame doesn't get any better on these - Gibson would call it a 6A; PRS would stamp it "11" - and it's not just a thin veneer as you can see the thickness on the side shot.  As nice as it may appear in the pics, it's even better in person.  Okay, enough about looks.  At first glance the Multiac Jazz has a familiar look, with its single cutaway, chambered body adorned with traditional F-holes and the Godin GJN1 humbucker at the top of the fingerboard.  Your first clue is the slotted headstock and preamp controls on the upper bout - indicating that the Jazz is not your traditional Jazz box.  Each saddle in the bridge is an independent transducer, supported by an onboard preamp and graphic equalizer.  This system can be used on its own or in combination with the neck pickup, opening up a world of sonic possibilities.  Also includes a hexaphonic output from a 13-pin connector that provides direct access to Roland GR Series synthesizers and other Roland V-Guitar products..  A substantial feel, and at 9 lbs. this doesn't feel like many of the wimpy hollowbodies on the market.   Fantastic neck with Ebony fretboard, Super flat (16" radius) and wide 1 11/16" fretboard will feel comfortable to classical players, shredders, or players with large hands.  You're going to pay $1899 and up ($2391 List) for a new Multiac Jazz, but I'll bet it won't be as nice as this one.  Be smart, for just $1299(HOLD-Joe B 8/11) you can have one that you KNOW is absolutely s-t-u-n-n-i-n-g.  Includes Godin hardshell case.  Although this is a great guitar in its own right, if you want to run a synth with it, see the Roland GR-30 two items below. 

2013 Godin LGX-SA w/Synth Access - Cognac Burst, (front) (front-2), (back), (back-2), (headstock), (outputs), (electronics), (deluxe gigbag).  The LGX-SA remarkable power in a finely made solidbody guitar.  Referred to as a "three-voice" guitar as it features (1) electric (magnetic) tones, (2) acoustic guitar tones, and (3) the infinite possibilities provided by synth access.  The output from the bridge transducer system produces six separate signals—one for each string. This divided signal is called hexaphonic and is used to drive guitar synths.  The LGX-SA is perhaps the best synth driver made as in addition to the electronic modifications, the guitar itself was altered in order to achieve the best possible synth performance.  A visible difference between the a standard guitar like the LGX and the LGX-SA is in the ebony fingerboard, which greatly improves synth tracking.  Some of you are only familiar with guitar synths which were technically complicated and required radical changes in playing technique.  The LGX-SA/Roland GR-synth combination represents a new standard in user friendliness and performance.  This is truly a 'plug in and play' system.  Without cracking a manual, I hooked this guitar up to a GR30 and was playing guitar/synth patches in 30 seconds.  Controls are simple, with the acoustic controls on the upper bout, consisting of sliders for volume, bass, mid, and treb.  The magnetic pickups, Seymour Duncans, feature a 5-way switch for single coil and humbucker tones, a master volume, and master tone.  There is a separate volume for the synth sound.  A 3-way mini switch (engaged only when using 13-pin connection) selects acoustic/electric, acoustic/electric+synth, or synth only.  The other mini-switch is a momentary which can be preset to do a number of functions, but most will use it for patch changes (up or down) to the synth.  The three output jacks include separate magnetic and acoustic outputs (to run your signal into your Marshall stack and your SWR acoustic amp), or use only output 3 for both magnetic and acoustic outputs going to the same amp, plus a 13-pin RMC jack which carries all three (acoustic, magnetic, and synth) voices to a GR series synth or other RMC equipped unit.  Features of this fine guitar include:  solid mahogany body with highly figured maple top, mahogany neck, ebony fingerboard, 16" fretboard radius, 25.5" scale, 1 11/16" nut width, GraphTech Tusq nut, high-ratio front-loaded Godin Locking Tuners, double-action truss rod, Schaller locking type strap pins, Seymour Duncan Custom Humbuckers with a SH III Jazz neck and Custom III bridge, 5-Way switch, guitar volume and tone, synth volume, program up/down, 3-mini switch, separate outputs for magnetic - acoustic - synth sounds, RMC transducer saddles. custom pre-Amp EQ for: Acoustic Volume, Treble, Mid-Range and Bass controls, and cognac burst finish.  This is an excellent sounding guitar that is superior to most strictly based on its electric guitar tone.  A new one will set you back $1745 but get this one, in "as new" condition for just $1050.  Includes original deluxe gigbag with strap-in headstock support.  I also have this available in Blue flametop (pic).  If you want a full synth guitar set up I have the roland system below, which mates perfectly, and can be included for $250 more:

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

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

2011 Fender Steve Harris Precision Bass, (front-1 front-2), (back), (headstock), (pickup/bridge), (gigbag).  Steve Harris is arguably the most notable bassist in the history of metal.  His signature model pays homage to his Precision that he has played on every Iron Maiden album since the first one.  Steve's bass has been refinished 3 times, starting out white, then black, then Blue Sparkle (like his signature model), and finally white with claret and blue pinstriping.  Features include Royal Blue Metallic finish over an alder body, Seymour Duncan Basslines SPB-1 P-bass pickup, Leo Quan Badass II bridge, vintage style tuners, 1-piece chrome pickguard, 1-piece maple neck, 7.25" fretboard radius, 20 medium jumbo frets, 34" scale, 1.75" nut width, Steve Harris Signature on Back of Headstock, Fender Deluxe gigbag.  The set up on this bass is fantastic and it's a great sounding P with excellent sustain.  It appear this bass hasn't been played.  Even the mirror pickguard doesn't have any scratches.  Sells new for $1299 ($1699 list) but this one's mint and just $850.  If you're looking for a quality Precision, regardless of your musical style, you can't go wrong with this one.  Includes original Fender deluxe gigbag and hangtag. Substitute hardshell (pic) case for $879.   

Korg Kross 61-Key Mobile Workstation, (back), (controls-click to enlarge), (some specs).  The latest and greatest from Korg, replacing the popular Korg X50.  I've had around 7-8 of the X50's but this is the first Kross I've come across.  I really enjoyed the X50 but this one promises to be even better.  It has double the amount of wave memory compared to the X50 and offers what the higher-end Krome offers for much less.  The Kross uses the EDS-i sound engine which is warm, bright and wide, and definitely an improvement over the Triton engine used in the X50.  Like the X50, I was able to plug it in and do some pretty incredible stuff without cracking a manual, which is a must for me.  It has even more of combo patches that make you a "one man band".  Just play chords or notes and the board intuitively lays down accompanying drum, instrument, and bass tracks.  While I've had other boards with similar features, this one is the only one that sounded like a real professional recording, rather than some cheesy backing tracks.  Totally compatible for anything from live performance, to computer recording, to conventional recording into a digital or analog deck.  It has a Quick Layer/Split function for on-the-fly versatility, as well as a step sequencer inherited from the famed Korg Electribe, plus MIDI sequencer, drum track, and arpeggiator.  Too many features to list but click here for more info from Korg.  Talk about portable, this thing weighs less than 10 lbs, and has an easy carry handle that's perfectly balanced.  It can run on wall adapter (included) or six AA batteries for busking, or outdoor remote gigs.  All documents and software, including an excellent free Kross DAW editor for programming, is available at bottom of this page.  Not many of these on the used market yet but I was lucky enough to come across this one, in brand new condition.  With new ones selling everywhere for $699, save a few hundred and get this one for $499.  

2005 Fender American Deluxe Stratocaster - One-Piece Ash!, (front), (back), (headstock), (deluxe features), (case).  Very rare American Deluxe.  Very few of these were finished in Sienna Sunburst, and even more rare, the body is one-piece ash, where two or three pieces are the norm.  Although occasionally (but rarely) I've seen custom shop guitars with one-piece ash, this is the first non-custom shop American Standard/Series that we've had.  Aside from the visual appeal of nicely-grained ash with uninterrupted lines, multi-piece bodies are thought to be less toneful.  Every piece of wood will have resonant frequencies which help determine how "good" a guitar will sound.  When wood is pieced together the result may be good, or it can be less than good, with resonant frequencies that don't compliment each other.  Anyhow, this is a beautifully-grained piece of ash which is part of an excellent sounding Strat.  It has all the usual deluxe features including Samarium Cobalt Noiseless (SCN) pickups with S-1 switching, Schaller locking tuners, 1-pc maple neck with rosewood fretboard, abalone dot inlays, contoured neck heel with rounded neckplate, raised chrome logo, highly-polished 2-point fulcrum tremolo with unthreaded ("pop-in") trem bar insert, and aged plastic parts.  Many players love the SCN/S-1 combination which yields all the traditional Strat tones you know and love, and hum-free to boot, plus a choice of other meatier tones not normally found on a Fender.  For those who haven't used this innovative system, it features a pushbutton in the middle of the volume knob to access many of its tones.  Click here for a full rundown of all 10 pickup settings with the SSS pickup configuration.  This is a fantastic playing Strat and cosmetically in beautiful condition with no flaws other than a few light scratches in the clear coat on back.  A new American Deluxe Ash is going to run $1749 and I'll guarantee that none will be once-piece ash.  For it's rarity, excellent playability, and excellent tone, this is a sweet Strat for $1199.  Includes original case, trem arm, and assorted paperwork and tags.

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

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

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

2006 Epiphone Sheraton II - MIK - Natural, (front), (back), (inlay), (headstock), (appointments), (case).  Great condition and another superb sounding Korean-made (Saein factory) Sheraton that has become sought out by players in the know.  I think Sheratons are probably our best selling semi-hollow and for good reason - for overall quality, playability and tone, and elegant looks, it's impossible to beat for the money.  The Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which was a model unique to that company, rather than an Epi version of a Gibson, which was the fashion in the early Gibson days  Today, models that are unique to the Epiphone line, including the Sheraton, Zephyr, Riviera and Emperor, are built to higher quality standards than their Gibson copy line (Les Paul, SG, Dot, Hummingbird, etc.).  The Sheraton does share design features with the Gibson ES-335, but the cosmetic appointments are much higher on the Sheraton.  The original Sheraton was outfitted with a Frequensator tailpiece but didn't gain much popularity until Epi changed to a stop bar and Tuneomatic bridge, i.e. the Sheraton II.  Like the Gibson ES-335, the Sheraton has a laminated maple body, top, back, sides, which, with it's bright tone, works well with the darker tone of PAF humbuckers.  Unlike the Dot's mahogany neck, the Sheraton features a 5-piece maple neck, for maximum stability, capped with a rosewood fretboard.  High-end cosmetics include gold hardware, multi-layer binding on all edges including body, fretboard, neck, and headstock; abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay, and 6-layer tortoise pickguard.  It's capable of high gain without feedback, which makes it attractive to rock players, but sounds equally good on more mellow jazz or blues.  Cosmetically it's in lovely shape with no noteworthy flaws.  It has a fantastic setup with low action.  These were more expensive years ago, but Epiphone rightly dropped the price when production moved to China, thus the list price was lowered to $1042, not including a case or gigbag.  I'll hold the quality of this Korean model to any archtop import on the market today.  If you appreciate the quality difference on the MIK models you know this is a better value.  Get this one for $499, including Epi case with slick leatherette covering.  

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

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(Tent. Hold - Steve K 8/3) or if you don't need the pickup, $1250.  Includes original case.

2012 Ron Kirn Barnbuster - ca. 1838 Loblolly, (front) (front-2), (side), (back) (back-2), (headstock), (hangtag), (case).  Some of you inquired about an Ron Kirn "Ancient" Tele I had a few months ago.  That one was from a building from the late 1400's, with growth rings dating to 700 AD.  While this one isn't as old, it's ancient wood in guitar terms, made from a piece of Yellow Loblolly Pine dating to 1838, 175 years ago.  If you're one of the many players who believe that old wood is the best tone wood, what could be better than this, a Tele built in the same fashion as Leo Fender's first Pine Telecaster.  Like Leo, Ron doesn't use any CNC machines and uses more of a hand-made process than just about any builder today.  He hand-applies genuine Nitrocellulose lacquer, free of the additives most companies use in their nitro finishes today.  Although he outsources guitar necks, they are finished in the same nitro that he uses on the body.  He also levels, crowns, and polishes the frets on every guitar to ensure maximum playing comfort and the best action.  A fret level and dress alone runs around $175; it's standard on all of Ron's guitars.  The back of the neck is hand burnished to give it a vintage feel in the same manner as Fender's original guitars.  Other makers use a satin finish which is a different chemistry to the nitro and not Leo's style.  Specs on this guitar include: Pine body shaped to 1950 Broadcaster specs, Genuine Nitrocellulose Reticulated Satin Lacquer with natural amber tint, one piece Maple neck with "Skunk Stripe" and Vintage Tinted Nitrocellulose lacquer, 9.5" fretboard radius, 21 Medium Jumbo Frets, Vintage Fat Back Neck Carve with hand lapped back and fully polished headstock, 1 5/8" nut width, Natural Bone Nut, Vintage Style Gotoh Tuners with 16:1 ratio, Wilkinson Vintage Bridge with style 3 compensated saddles, Ron Kirn hand wound vintage style pickups, 4-way pickup selector, around 8.2 lbs.  For full info click here for Ron Kirn's site and here for a lively discussion on TheGearPage.  Ron has Barnbusters on sale right now for $1650 but this one is virtually unplayed and I can state without reservation that it's one of the good ones.  $1279 and includes original MBT Ultralight case in likewise mint condition, plus manual.  

2012 Fender American Standard Stratocaster - Olympic White, (front), (back), (headstock), (case).  Unplayed condition and other than plastic film removed, appears untouched.  This one has the latest specs from Fender including Custom Shop Fat '50s pickups, the best stock pickups Fender has used in the American Standard/Series.  Additional updates of this model include fretboard polished to a high gloss for beauty and comfort; a new copper-infused, high-mass, 100% metal bridge for better sustain;  neck now has gloss finish on the front, satin on the back to allow your hands to slide easily up and down the scales; Delta Tone system: a no-load tone control for middle and bridge pickups, taking the tone control out of the circuit when turned all the way up while also providing a tone control to the bridge pickup.  Other features include new American Standard bent steel bridge saddles, staggered tuning keys, and a thinner undercoat for better body resonance.  Olympic White is a classic look, going back to the original custom color days of the late 50's.  These are going for $1250-$1299 new but this one's perfect and includes all the stuff; Fender case, strap, cable, polishing cloth, tags, etc., and is just $875(HOLD-Steve 9/15).  

2006 Ibanez Joe Satriani JS-1200 Candy Apple Red, (front), (back), (side), (headstock), (Edge Pro #2), (case & acc.).  Collector's condition and a fantastic playing Satch.  Ibanez makes various models in the JS range with this being one of the higher end  Japanese models from Team J-Craft.  Features include Joe's choice of DiMarzio's with a "PAF Joe" in the neck and a "Fred" in the bridge, each with a push/pull pot to split the coils (shown here).  Other features are Edge Pro tremolo, 25.5" scale, Ibanez' own Aerofoil body design, 1-piece maple JS Prestige neck with tall and narrow 6105 frets and a slightly flat (around 10") fretboard radius, Abalone dot inlays, and Basswood body which falls right between Alder and Mahogany tonally for a nice mix of warmth and clarity.  The Precision-sculpted body is light on the shoulder with otherworldly looks; less than 1" thick at the edge, contoured to a full depth in the middle, borrowing from the original Saber body.  It has a sculpted cutaway and beveled heel for great high-fret access (shown here) and, frankly, it has some of the sexiest curves you find on a solidbody.  For me, this guitar represents the pinnacle of Ibanez manufacture.  I've had plenty of other higher end models like Anniversary Jems and other signature models, but for pure playability and tone, I haven't found anything that beats it in Ibanez' current line up.  The Edge Pro is one of the best locking systems I've used.  Very comfortable on the heel of my right hand, very accurate, and impervious to string slippage.  This guitar appears to have seen little to no playing time and is cleaner than the new models hanging in your local super store.  For full specs click here for Ibanez' site.  Includes original Ibanez Prestige case, manual, trem arm, tools, and zippered bag.  With a new one going for $2199 ($2399 list), this one is "as new" and a great value for the player at $1350. 

2010 PRS SE Singlecut - White with birds - upgraded, (front), (back), (headstock), (elec.), (gigbag).   As I've said many times, you don't have to pay $800+ for a great playing, great sounding electric.  They 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.  Although they're good guitars in stock condition, some pro upgrades make them even better.  This one has completely upgraded electronics, with Gibson pots, Switchcraft jack, Mod oil tone capacitor, and most importantly, a pair of Seymour Duncan pickups (JB bridge and Jazz neck).  In addition, stock tuners have been upgraded with a set of Grovers.  The SE S/C 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 22-fret wide-fat neck is a joy to play with low action, easy and smooth string bends, with quality tone and very good sustain.  With a mahogany body and a mahogany neck with rosewood board, the PRS SE Singlecut has a sweet and thick tone, with a neck joint that provides easy access to the upper frets. The neck has a 25" scale length which allows ease of string bending as a 24 3/4" Gibson scale but with the added harmonic range of a Fender's (25 1/2") scale.  It has that unmistakable PRS vibe with the PRS headstock, carved and beveled top, PRS stoptail bridge, and pearloid "bird" fretboard inlays.  Other features include nickel hardware, PRS stoptail bridge, and 1 11/16" nut.  It exhibits no player's wear whatsoever and other than small holes from the old tuners, which we're going to plug and tint, it's immaculate.  Martin did a fantastic set up on it and with upgrades that improve tone, reliability, and tuning, it's definitely good enough for professional use.  It sold in stores for over $600.  With over $250 in upgrades, this is a sweet deal at $499.  Includes a quality Chris's Guitars gigbag.  

2012 Gibson J-160E VS Std Round Shoulder Dreadnought Acoustic-Electric, (front), (headstock), (back), (case).   Great guitar for Beatles fans, or anyone looking for a quality acoustic/electric.  John Lennon wrote most of the Beatles hits on his J-160E and he used it frequently on stage and in films.  Because of his association, it remains one of the instantly recognizable acoustics in history and, in fact, Gibson has made no less than 3 signature models, plus several under the Epi name.  First released in 1954, the J-160E's brassy, high-output acoustic-electric sound combines with punchy, warm acoustic tone, holding its own as a quality acoustic, or plugged in for an electric.  Having had a few 50's models, I can safely say that the recent models are far superior to the old ones, which sported laminated tops and ladder bracing.  This one features a solid Sitka spruce top with modern X bracing, bound mahogany back and sides, mahogany neck with bound rosewood fretboard, trapezoid fingerboard inlays, P100 humbucker pickup at the neck, and controls for volume and tone.  The true defining feature of this model is the pickup at the edge of the sound hole, base of the neck, which delivers a full, natural acoustic tone that to me is more authentic than a Piezo in the saddle.  While the original models featured a single coil, Gibson has updated the pickup with a stacked humbucker for hum-free tone while retaining the articulation of a single coil.  Gibson pays special attention to nut work these days which results in a guitar that sets up low from the first fret, all the way up the neck.  It has a pleasing acoustic tone, very warm and rich, while its acoustic tone doesn't actually replicate an acoustic as well as some, it is much better at feedback rejection than most any other model.  This, combined with the round shoulder design, make this a very comfortable stage guitar.  Having just a few hours of playing time, this guitar is in immaculate condition and a smoking deal on a great J-160E at just $1599(HOLD-Duke T 8/7). 

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

1996 PRS Custom 22 Whale Blue "10" w/Birds, (front front-2 front-3), (back), (headstock), (case).  The Custom 22/24 is our bread&butter PRS.  Many consider these to be the pinnacle of production guitars and judging by the demand, I'd guess many players feel that way.  Aside from the obvious attributes, it's noteworthy that we've never had a bad one - not a single hump or twist in the neck, no finish issues, electronics problems, or problems of any kind.  Having had well over 100 Customs, Single Cuts, McCarty's, and Santana's over the years, they've been our most popular brand and, more noteworthy, that they're built to last.  When you factor in sheer beauty, comfort, and universal superb playability, they're hard to beat.  Everything about it oozes elegance.  From the gentile slope around the top edge that's borrows from the German carve, to the recessed knobs, gently carved into the top, to the perfectly fit abalone/pau shell inlays, to the beautiful maple top, precisely cut and stained to enhance the flame effect, to the unstained wood "binding".  Other features include mahogany body with figured carved maple cap, mahogany neck with rosewood board, PRS wraparound bridge, 25" scale length, 22 frets, cam style locking tuners, Dragon Treble and Dragon Bass pickups, wide-fat neck profile, PRS 5-way rotary pickup selector, master volume, and master tone.  This top is stunning from any angle, which is why I've included three pics of the top; perfectly bookmatched and even flame top to bottom, side to side.  Offered in excellent condition and has obviously seen very little use in nearly 20 years, with a typically great set-up and a lively acoustic tone.  A new CU22 stoptail with 10 and birds is running $3219, but you can get this beauty from a great era from PRS for nearly $1300 less; $1950.  Includes original case and documents. 

1996 Gibson '60 Les Paul Classic Premium Plus - AAAAA Cherry Sunburst, (front-1 front-2), (back), (headstock), (case).  Martin just looked inside the bridge pickup cavity and this one is indeed labeled "LPPP" (cavity/pu's) which was a 5A top, the finest Gibson offered.  Unlike the Plus Model, the PP had flame that stayed consistent into the upper bout, side to side (shown here).  The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched.  Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock.  This one is closer to the tone of the Standard, the reason being an upgrade to Burstbucker 1/2 Alnico pickups with covers in place of the stock 496R and 500T open-coil ceramic humbuckers.  To give it a more vintage look, the truss rod cover and pickguard have been changed to plain vintage style (instead of "Classic" and "1960"), to give it the appearance of a '58-'60 'burst, while the knobs have been changed to chrome dome '60 knobs.  Just like the Standard it features a mahogany body with maple cap.  It also features 12" fretboard radius, cream plastic parts, inlaid pearloid logo, and pearloid trapezoid fretboard inlays.  Overall nice shape for almost 20 years old, with normal scratches in the clear coat and light pick scratches, but no issues such as cracks or repairs, and frets are in excellent condition, providing a really nice set up.  These early model Classics are superbly made guitars in my opinion and this one has a cool look and quality tone, for $1799(HOLD-Joe M 7/30).  Includes original brown case. 

2013 Gibson Les Paul Standard Plus, (front-2 front-2), (headstock), (back), (case).  Classic looks, tone, and feel, with updated hardware and electronics make the '13 Standard Plus one of the best Pauls ever made.  With more tone selections than ever before, a compound radius neck, chambered body, and longer neck tenon, it's designed for playing comfort and superb tone.  Some things never change and that's the basic marriage of a maple cap over a mahogany body, perfect warmth combined with brightness and snap.  The body on this model has tone chambers that enhance its acoustic properties, while making it a comfortable weight to strap on.  This model also has the longest neck tenon that Gibson had ever used prior to '08, maximizing contact between body and neck for better sustain.  It also features a slightly asymmetrical thin profile neck which is a tad thicker on the bass side than the treble side, which most players find very comfortable.  In addition to a stunning AAA flamed maple top it features custom-made, solderless pots, ensuring accuracy and reliability, as well as Tonepros bridge and tailpiece, which lock in place.  Locking Grover kidney-bean tuners request just a partial turn to go from slack to in-tune in less than 1/2 a turn.  Lastly a Neutrik output jack securely locks your cable in place and keeps it from falling out when stretched or stepped on.  A pair of Burstbucker Pro pickups features a Push/Pull volume control that splits from humbucker to single coil, with a push/pull tone pot phase switch, and another that activates a pure bypass to go from bridge humbucker, straight to the jack, for the hottest, purest signal possible.  With a list price of $4299, these sold new for $2999 and up.  This one was collector owned and offered in immaculate condition, with an impeccable set up.  For looks, versatility, and tone, it's about as nice as you'll find for just $1899.  

2012 Fender American Special Telecaster, (front), (back), (headstock), (saddles), (case).  New for 2010, offering the best value in a gloss finish American Tele.  This is my favorite of these models.  With the transparent blonde finish and maple neck it looks like a USA Vintage '52 at around 1/2 the price.  Fender chose some great pickups for this model, the custom shop Texas Special, formerly reserved for only high end models.  Controls are 3-way switch with master volume and "greasebucket" tone circuit which allows roll-off of the tone control without adding bass.  Other features include alder body with Gloss urethane finish, maple neck with modern C-shape profile and CBS-era logo, vintage style Tele bridge with 3 brass saddles, modern 9.5" radius, 25.5" scale, 22 jumbo frets, Fender staggered height sealed tuners, 3-ply black pickguard. This is an impressive guitar for the money.  The finish is impeccable, quality tone, and a great neck that sets up with nice low action.  New ones are going for $899 with a gigbag but you can get this beauty, with Fender case, for just $699.  Don't need the case?  Just $649 with deluxe gigbag instead.  Includes compensated brass saddles installed (originals included too). 

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

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

2013 Ibanez Premium RG920QM, (front), (bent top), (headstock), (back), (trem), (radiused fret ends), (gigbag and tools).  Lots of high end Prestige features but affordable.  The new Premium line was built to offer guitars that rival their high end Prestige series in a price range that's accessible to many more players.  Made at a dedicated Ibanez Premium factory and built to Prestige standards they look, feel, and sound like guitars costing twice as much.  The first thing that struck me was how great the neck felt, especially the fretboard edges.  I looked closer and discovered that this guitar had hand-rolled fretboard edges, which I have only seen on guitars in the $2000+ price range.  It's a very labor intensive feature but it's something that sets this guitar apart from anything near the price.  It also features premium grade, select woods, a Wizard Premium neck with the same construction and thickness as Prestige Wizard, DiMarzio pickups, and ultimate tuning stability with Edge-Zero II bridge/tremolo with ZPS3.  The ZPS3 is the next stage of zero point systems. Made of lightweight Duralumin, the addition of two outer springs makes the guitar easier to tune and provides much greater tuning stability.  Using just your thumb you can adjust the tremolo tension from fully tight where it's like a blocked tremolo, to very loose where it has the soft feel of a Bigsby or Kahler Pro.  Cosmetically, it doesn't get much nicer, with a "bent" top of quilted maple over American basswood body, matching quilted maple headstock veneer, wood neck binding, bound body, and pearloid headstock logo.  With a list price of $1408, you'll find these everywhere for $949-$969.  This one's in mint condition, with a spectacular in-house set up, for just $575.  Includes original Ibanez gigbag, trem arm, and Ibanez multi-tool.  

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

Peavey HP Signature Blues EX, (front/back), (headstock), (bridge/tail/pickup).  A chambered body keeps it feather weight - an insanely light 5.6 lbs. -  but the tone is anything but lightweight.  Designed as a tribute to the blues musicians who inspired Hartley Peavey in his youth, this is, in fact, a great blues axe but certainly not limited to that genre and easily covers heavier music.  This is another of the many guitars that initially arrived as a mediocre player, and it's easy to understand why the original owner didn't bond with it.  After Martin did some major tweaking, it emerged with an incredibly nice setup that rivals USA models at 3X the price; an absolute joy to play.  The first thing I noticed upon plugging it in was the pickups. Not the standard PAF style you see on 95% of the set neck guitars on the market. The pickups on the HP Blues EX look similar to Rickenbacker "Toaster" pickups and are in fact humbuckers, but with a tone that's a bit brighter than a PAF, yet not at all harsh. The closest comparison I can think of is that the sound similar to Gibson mini-hum's. Features include chambered mahogany body, maple top with binding, rosewood fingerboard with trapezoid inlays, vintage style tuners with Keystone buttons, dual truss rod, 24 3/4 inch scale, 24 frets, Tune-o-matic bridge with Peavey's "dual compression" tailpiece with string-thru tubes, dual "mini bucking" pickups, master tone and two master volume controls with 3-way toggle switch, and chrome hardware.  Recently discontinued with a list price of $700, you'll still find a few dealers who have one in stock for $549.  This one's in perfect condition, set up perfectly, and is an excellent all around blues/rock guitar for just $329. 

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

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

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

2006 Taylor 110 Dreadnought with Preamp and Case, (front), (back), (3/4 view), (headstock), (preamp), (jack), (label), (case).  Taylor's 100-series provide an exceptional value in an American (later models made in Mexico) acoustic guitar.  Few guitars can match the remarkable projection of this guitar, and the tone is crisp, clear, and warm, courtesy of the Sitka spruce and sapele body.  Sapele is an African wood, similar to mahogany, but denser and harder than mahogany, which gives it a crisper, clearer, brighter, "pop"-ier sound.  Features include dreadnought body with solid spruce top, laminated sapele body, black body binding, X-bracing, sapele neck with ebony fretboard, ebony bridge, Tusq nut, Tusq saddle, Indian rosewood headstock overlay, 25.5" scale, 1 11/16" nut width, 20 frets, 15" fretboard radius, 16" lower bout, 4 5/8" body depth, 41" overall length, and varnish finish.  Few acoustics set up as well as a Taylor and this 110 is no exception.  With it's low action and thin, electric-style neck it plays with ease and is an excellent choice for players looking for guitars they can play during multiple sets without hand fatigue.  Includes hardshell case in place of the stock gigbag and preamp pictured.  Nice guitar for $475.  

Fender Special Edition Jaguar Thinline - Sunburst or Black, (sunburst), (front), (3/4 view), (back), (headstock).  Cool take on a Fender classic.  Fenders Special Editions usually are historically accurate classics, with one or two non-standard variations, available only for a brief time.  In the case of the SE Jaguar, it's the Thinline body, offered as a Telecaster but never as a Jaguar...until now.   The thinline body, featuring an ash veneer over alder, is chambered for less weight, and an open, brighter and louder, acoustic response, not unlike a Rickenbacker semi-hollow.  All the other high end features are the same as the stock '66 Jaguar, once the premier high end Fender guitar - plus body binding, not featured on the vintage models.  It also features the shorter 24" scale, which distinguished it from all other Fenders back in the day, in addition to a unique pickup switching system with lead/rhythm preset controls on the upper bass bout.  Once considered an ideal surf guitar, it later gained popularity in pop, alt, and even rock music.  Features include a bound modern “C” shaped maple neck with bone nut, classic Jaguar scale length (24"), 7.25"-radius rosewood fingerboard with 22 vintage-style frets, vintage-style single-coil Jaguar pickups with individual on/off slide switches, two-position tone switch, separate volume and tone controls for both circuits (rhythm and lead), and American vintage-style floating tremolo with lock button.  These are excellent sounding guitars which I like more than the solidbody Jag, and with a detailed set up by Martin, they play superbly.  I have a few of these, unplayed and perfect, in your choice of sunburst or black.  Full specs are on the Fender Japan page (here) or Fender USA (here).  As many of you know, the days of cheaper Fender Japan guitars is long gone but the quality of these instruments is at least equal to USA and many believe they're above.  The list price on this model is $2149, which includes no case or gigbag, selling for $1499 at discount.  Take your pick, black or sunburst, just $1150, or add a used case that fits the wider body Jaguar well (shown here), for $1250.  

2013 Fender American Vintage '56 Stratocaster - Black, (front), (back), (headstock), (case) (strap).  First one of these new (debut 2012) American Vintage models we've had.  After over 30 years with the '57 and '62, Fender discontinued them in favor of the '56, '59, and '65 Strats.  The main difference I noted when comparing this to the old '57 is the 10/56 "boat" neck on the '56, which is much more substantial than the V-neck on the '57, and the nitro finish seems to be applied in a way that looks, and perhaps sounds, more like the genuine guitars built 50+  years ago.  It appears thinner than the older vintage series, and even on a new guitar you can see hints of finish sucking and raised grains.  It's also lighter weight than most V57's.  According to Fender, their R&D department dissected many vintage instruments to build guitars which were cosmetically, sonically, and electrically closer than ever to the originals, even going as far as restoring some vintage tooling.  The result is a selection of guitars that is closer to the "real thing" than anything Fender has ever offered outside of the Custom Shop.  The vintage series feature bone nut, 7.25" fretboard radius, 1.650" nut width, 25.5" scale, 21 vintage-style frets, and alder body. They are designed as vintage NOS (new old stock) with no artificial aging or weathering. Fender even remade paper/oil capacitors, although they come with modern 5-way pickup selectors, although the correct 3-way is included in the case. Pickups are the" new vintage” made to period-correct specs, and based on the sound of the original model. They sound much closer to the genuine 50's guitars that I've played. Fender has finally tied Gibson's Historic series for massive amounts of case candy and they now include loads of “vintage replica” paperwork for the original model year, as well as a manual, vintage wiring diagrams, as well as a load of other stuff.  This guitar is in unplayed condition, although plastic film has been removed from pickguard, and we've given it a set up that's better than factory.  Before plunking down $2299 for a new one, perhaps consider this beautiful '56 for just $1599.  Includes G&G/Fender tweed case, original hangtags, vintage strap, bridge cover, 3-way switch, and a huge assortment of other case candy pictured.  

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

2012 PRS 408 Maple Top "10", (front), (headstock), (back), (controls), (tag), (case).  I've been getting some nice PRS's in and this one is especially cool, mainly because it's the first 408 I've had.  Outwardly, the 408 looks a lot like a Custom 22, except it has unique pickups and switch options.  It's offered in both a Standard and this Maple Top version, which bring the versatility and voicing of the Private Stock Signature and Signature Limiteds, in a more affordable version.  The new 408 pickups were designed to extend the guitar’s tonal spectrum by narrowing the field of the bass pickup to increase its focus and widening the field of the treble pickup to increase its sound field (notice the asymmetric differences). This pickup configuration (comprised of four coils and offering eight sounds) goes back to Paul’s Sorcerer’s Apprentice guitars in the early 80’s. Thanks to the simple but versatile switching system featuring mini-toggle switches that provide numerous combinations of humbucking and single coil tones, the 408 give you incredible articulation and clarity.  Other features include mahogany body with flamed "10" maple cap, "pattern" neck shape, bird inlays, PRS stoptail bridge, Phase III locking tuners, 3-way blade and dual mini-toggle switches, and inlaid gold PRS logo.  This is one of the nicest 10's you'll see in Black Gold and it's beautiful condition.  New price as outfitted is $3679 but this one's $1300 less, just $2379.  

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

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

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

2012 Fender John Mayer Stratocaster with G&G Case, (front), (headstock), (back), (case/etc.).  As new - Unplayed Condition.  One of the newest additions to the Artist Series, looks to be a very traditional Strat but is much more versatile.  John is most noted for his blues playing, which this guitar does very well, but it can do anything from country to rock to jazz, partly due to these new "Big Dipper" pickups.  The Big Dippers are said to be based on Texas Specials, but have slightly lower output and voiced for a scooped mid.  They give you a very powerful bass response, without sacrificing the high end sparkle.  Controls are the standard Strat layout with the exception of the 2nd tone, which controls both the middle and bridge, which I think is a more useful way to wire the tone pot than no tone control on the bridge pickup.  Its satin urethane-finish maple neck has a slightly chunky C-shape, glossy headstock, with a vintage '50s decal.  Fretboard is African rosewood with a 9.5" radius and Dunlop narrow-jumbo 6105 frets.  The American Vintage synchronized tremolo is factory set with five springs and the trem cavity isn't dilled for a tremolo cover.   Other features include string tree located further back from the nut, 1 5/8 synthetic bone nut, vintage style truss adjustment, Fender/Gotoh vintage tuners, and green pickguard with parchment knobs/covers/tip.  Stock case for this model is an Incase gigbag, which is odd for a guitar that retails for $2200.  We have upgraded the case with a G&G Vintage Black/Grey case.  This guitar sounds excellent and has a top-notch setup and appears unplayed, with plastic still on pickguard.  With a new Mayer selling for $1599, here's a beautiful Olympic White model for just $1299, which includes the upgraded case, Fender strap, Fender cable, manual, and assorted tags and paperwork.  If you prefer, we can substitute a nice Kaces boutique line polyfoam case (pic), for $1250.  

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

Cornell DC Plexi 18/20 Head, (panel), (top), (back).  An absolute killer vintage Marshall tone by DC Developments.  Hand built in England by Denis Cornell, Eric Clapton's amp builder of choice, S/N 0016, totally hand wired & soldered, very high quality components, ceramic valve basses, very powerful amp with a phenomenal tone.  DC builds amps in very low quantities and this is a very early one - serial number 16.  Here's the skinny and sound clips from DC's Site.  The Plexi 18/20 was made to the basic circuit of the '60's Marshall PA20, which was a crap PA system, but a killer guitar amp.  Cornell refined the original design to make the overdrive much smoother at higher output levels.  He kept the diminutive box of the original PA20, which I've always though as a cute little baby, equipped with an all-tube circuit consisting of dual EL84s, 12AX7s and a GZ34 rectifier.  Front panel features Low/High power switch, 18/20 switch, two channels with hi and low inputs and volume and tone controls on each.  The Hi inputs deliver 6db more gain than the Lo inputs unless used simultaneously, and the tone of Channel 2 is brighter than Channel 1.  The 18/20 switch changes from a diode at 20 watts— to a GZ34 at 18 watts, to let you select the harder attack of a silicone diode, or the gentler sag of the GZ34.  The  Lo/High switch changes power from 5W to 20W, and sounds big and strong in the lower setting, much like the 20W setting.   Accepts both 4- and 8-ohm speaker loads.  At 20 watts, it's plenty loud for a club gig and versatile enough to make an excellent home/studio amp on the low output setting.  These will run you $2K, with a waiting list, if you want a new one.  Get this one, in mint condition, for $1399(HOLD-Shawn T 8/1).  Read an in-depth Tonequest review here.  

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

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

2010 Gibson 1957 Les Paul Goldtop VOS, (front), (back), (headstock), (neck), (case).  Collector owned since new and in mint condition.  If you're looking for a classic American guitar it's hard to beat an R7 Goldtop.  The superb playability, and classic tone makes it the premier guitar for Blues, Southern Rock, and Hard Rock.  The '57 Goldtop is significant mainly because it marked the introduction of Seth Lover's famed PAF humbuckers, forever changing the tone of rock guitar.  Specs of the '57 R7 include: carved maple top over a solid (non-weight relieved) mahogany body, one-piece mahogany neck with early '50s rounded profile, long neck tenon, Burstbucker 1 and 2 pickups, low-wide vintage frets, nickel hardware, ABR-1 nickel bridge, 24-3/4" scale, and 1-11/16" nut width.  This R7 was collector owned and appears in showroom condition.  I'll take it out of the box again and give an exact weight but it's not at all heavy for a '57.  With the Plek'd neck, setup is impeccable and Frets are immaculate so it's essentially a brand new guitar.  Like most historics, this one has the VOS treatment.  Not quite a relic, Gibson's VOS process produces the slightly dull patina of a vintage guitar with a thin nitrocellulose finish and the nickel hardware is also dulled as you would expect on an original example that had been kept under the bed since new.  Includes all the case candy that Gibson now includes.  With a new one selling for $4499 ($6451 list), why not save $1700 on this mint used one, $2799(HOLD-Mike W 8/21).  You can get a killer amp or another guitar with the savings.  Will ship in original box but double boxed for protection. 

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

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

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

2009 "Custom Finish" Gibson Les Paul Studio Faded P90, (front1  front2  front3), (back), (headstock), (polished frets), (gigbag).  One of Gibson's coolest from their Faded series as it has its root in a classic 50's model, the Les Paul Special.  Since they first came out in the mid-00's, I've been a fan of the Faded series, and cosmetic appeal aside, they offered an excellent value for the money.  The low price allowed me to overlook the less than attractive cosmetic appeal.  The porous satin finish and flat black headstock simply look cheap.  I decided to have Martin finish the top and headstock with a proper vintage-style nitro finish.  Due to the extremely deep pours in the wood, the body took around 25-30 coats, probably equal to 12-15 coats considering much of the lacquer was sanded off between coats.  We also added some darker tint around the edge to give it a bit of burst effect.  The headstock, with a non-porous veneer, simply required buffing and around 7 coats of nitro.  To keep cost down we didn't refinish the back, but we did condition it, which added more luster to the appearance.  There's an often overused expression in guitars, "looks better in person", that I don't say this about many guitars but it's definitely true of this one.  Here are some before and after pics:  (front), (back), (headstock).  Specifics about this model: with its all-mahogany body and neck, combined with a pair of P90 single coils, the Faded Studio P90 has an undeniable vintage tone.  Features include chambered mahogany body (just 7 lbs.), rosewood fretboard with trapezoid inlays, a pair of Gibson P90 pickups, dual volume and tone controls with a 3-way selector, screened logo and Les Paul Model signature on headstock, chrome hardware, tuneomatic bridge and stopbar tailpiece, Gibson Deluxe tuners with aged keystone buttons, and what feels like a standard neck - in between a 60's thin taper and 50's fat.  It's thin at the bottom but gets chunkier as you go up the neck.  The neck has a very organic, natural feel, and gets better and better the more you play it.  Although this guitar was used, it had been barely played, and Martin was the guy's tech so it's been in good hands since new.  As part of our final set up, Martin polished the frets and dressed the ends perfectly.  We also used a custom "Standard" truss rod cover just for fun.  If you're a P90/mahogany fan, you'll love the warm, airy tone of this one, and it has killer looks that will certainly garner attention from other players.  $999 Includes original wedge-shaped Gibson gigbag.  

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

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

Electro-Harmonix Holy Grail Reverb, one of the best an most natural-sounding digital reverbs ever on any of three built-in algorithms.  Perfect emulation of classic spring reverb so natural that even Surf God Dick Dale couldn't tell the difference.  Hall reverb is so lush and spacious that you'll feel like you're playing in the Fillmore.  Flerb adds a bit of flanger (to the reverb tone only) and it can add new a totally new dimension and change your playing style.  Lots of cool tones in a small pedal and even if your amp has reverb, you'll probably never use it again.  Hearing is believing - click here for a good YouTube demo.  Sell new for $118 but this clean used one's just $75.   Includes power supply.

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

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

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

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

MXR Super Comp M-132, (close-up).  Improved version of the legendary Dyna Comp, the most popular compressor of the 70's and 80's.  Attack level control preserves initial volume without sacrificing sustain.  Sensitivity control lets you dial in just the right amount of compression.  Output controls the level to prevent volume change when you engage the pedal.  Built with a roadworthy tough housing with heavy duty bypass switch.  Great pedal for achieving the Nashville sound or anyone looking for a quality compressor at an affordable price.  Mint in the box for $59.  

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

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

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

Warmoth Hardtail "Korina" Strat, (front), (back), (headstock), (fretboard), (internal).  FEATHER-weight 6 pounds - and it's a hardtail!  Neck is quality Fender licensed WD neck from their Exotic series, Korina with an ebony fretboard, plus a vintage Fender logo installed and lacquered over (pic here) with a new set of Schaller tuners.  Body is Warmoth super lightweight Alder with a stain that matches the Korina nicely.  Pickups are DiMarzio's with a DP-151 PAF Pro in the neck and DP-155 Tone Zone in the bridge - pickups were a nice tonal match for this body, which is extremely resonate and sounds great when strummed acoustically.  To keep the clean lines, pickup covers do not have exposed poles.  Quality hardware including Gotoh bridge with stamped steel saddles plus chrome Schaller tuners.  Neck was from our new stock and it's  immaculate - body is just slightly used and has a few light scratches - overall a very clean guitar that plays great, sounds great, and a sweet hardtail for $550 including hardshell case.   

1989 G&L Asat III, 3 Pickups and Trem!, (front), (back), (headstock), (tremolo), (pickups), (pot date), (case).  G&L collectors know what a rare bird this is.  There were only about 150 ASAT III's made during the Leo era and of these there only 5 or 6 with one of Leo's humbucker in the bridge position.  Of these, only 2 were ordered with Leo's Dual Fulcrum trem, so this is a one of only two made in this configuration.  You can see a couple examples at Greg G’s (link  link  link).  Dating these isn't an exact science but using a common sense approach, it's an '89, using the pot dates, the latest dates on the guitar.  It has proper stamps in the neck pocket and on the neck itself.  It has a 1st generation 1986 neck (logo, etc.) with a 1988 body, which is consistent with when the ASAT III was offered.  I got this from a collector with a huge (100+ G&L's) collection and with access to G&L logs he said it looks like it shipped in early '89, which is consistent with the pot dates.  Features include swamp ash body, 22-fret maple neck with ebony fretboard, "bullet" truss rod, 3-screw neck attachment with tilt-adjustment screw, black powder-coated pickguard, nickel G&L dual-fulcrum tremolo, G&L/Schaller tuners, 1 5/8" nut, 25 1/2" scale, black hardware.  Electronics feature a pair of G&L Magnetic Field Design single coils with adjustable pole pieces and a G&L Magnetic Field Design humbucker with adjustable pole pieces, controlled by master volume and tone, and 3-way switch.  This guitar has an excellent neck which allows for a low, comfortable set up.  Tonally it sounds excellent with more versatility than you'll find in your average Asat/Tele.  If you want to claim the rights to one of just two Asat III's with Tremolo, own this one for just $1400.  

1985 Fender '70s Reissue Stratocaster - Japan, (front), (back), (headstock fretboard neckplate), (body/neck markings), (bridge detail), (refret), (case).  If you love the early Japan reissues but hate small vintage frets check out this one with a Super Pro Refret!  Much has been written and quoted concerning Fender's first visit to the "new" Fender Japan factory in the early-80's.  Basically they were very humbled to see the quality of the Japan models compared to what had been coming from the USA Fullerton factory, i.e. the 2-knob Strat and top-loader Tele, P-, and J-Basses.  Sure, the Elite Series were very good instruments but in a different price range as were the Vintage Series.  After the 2-knob Standards and Elites, from '84 through early '86, the only guitars produced at Fullerton were the Vintage Reissues and production was just a few guitars per day.  It fell on Fender Japan to carry the company during this era and they did a fine job of it.  Primarily, it was the Contemporary Series, easily identified by the System I, II, or III easily tremolo systems, which kept dealers supplied.  Just one look at Ebay and you'll see dozens of these available on any given day.  Far less abundant are the 50's, 60's, and 70's reissue models, which were more expensive than most of the Contemporary models, which accounts for the far less numbers imported.  At Hotlicks we would get in 40 Contemporary models for each Strat that resembled anything like a traditional Strat.  Didn't matter, Fender Japan was shipping good guitars; everything sold.  Enough recollections from an old geezer.   Like all of the Japan reissues, this '70s is an excellent quality guitar with quality tone, very good fit and finish, and fantastic playability, due in part by a perfect pro refret.  With a new set of vintage frets this guitar sets up with incredibly low action and should be good to go for another few decades.  This model has all the features of an original early 70's except during this period Fender was using Gotoh tuners stamped "Fender Japan", which are actually better tuners than the Schaller/Fender F-tuners (F-tuners returned in the mid-90's).  Features of the '72 Strat include ash body with clear finish, 3-ply pickguard, 1-piece maple neck with large headstock and "bullet" truss rod adjustment, rosewood fretboard with pearloid dots, CBS- era black/gold logo, bent steel saddles with heavy tremolo block, 5-way pickup selector, and 3-bolt neck attachment with "micro-tilt" adjustment.  Cosmetically this guitar is in nice shape for 28 years, just some finish impressions in the clear coat (shown here) but no major issues.  At around 8 1/2 lbs., this is a nice medium weight, and a nice lively body.  If you like low action you'll love this one - it's a one in 100 as far as low action goes, simply incredible.  Original case for '85 is the molded case with square latches that flip down from the top (later ones had round hooks that flip up from the bottom.  This includes original case which, remarkably, has all latches and hinges, but has a few cracks and is missing one of the metal feet.  In my opinion the 90's Japan Strats, both "Made" and "Crafted" in Japan, are good guitars.  The mid 80's are clearly a cut above them...and much more rare.  $879 includes original case and tremolo arm. 

Takamine C128 Classical, (front), (headstock), (back), (label/serial), (case).  Japan-made Takamine's are among the best acoustic guitars you can get for the money  The C128 is Japan-made Takamine's entry level classical but the quality is better than high-end models from other Asian manufacturers, and much better than Tak's non-Japanese classicals such as the G-Series.  Features include 14-1/2" body, spruce top, rosewood back and sides, 5-stripe bound body, wooden Marquettery rosette, 12-fret mahogany neck with rosewood fretboard, no fret markers, 12/19 frets, 25.5" scale, 3-on-a-plate gold tuners with white pearloid buttons, and 2" nut width.  This one is marked "second" on the label, probably due to some milky finish at the neck joint (shown here), which is strictly cosmetic and doesn't affect the tone in the least.  The guitar is extremely clean and appears to have seen very little use.  The C128 had a very long run for Tak but was discontinued in '03 with a list price of $700.  This used one's in beautiful shape, with no issues, and is an excellent value on a beginner/intermediate classical at $299.  Includes semi-hard case shown, or a hardshell case for $59 more.  

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

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

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

ca. '90 B.C. Rich Employee Guitar, Custom-Made Lacewood Mockingbird, (front/heel/headstock), (back/trem).  This is of interest to collectors of one-off's or other custom guitars, with an interesting history and, more importantly, a fantastic guitar in beautiful shape.  One change to my initial description is a good thing - tremolo is a Kahler Steeler (Mod. 2760) that’s arguably better than the original Floyd rose (solid steel with “harmonically tuned” plate). These trems are highly sought after and sell for quite a bit on Ebay.   Description:  Hand-made by B.C. Rich's top luthier when they were based in New Jersey, for a friend of Martins who was one of  NY's hottest female guitarists.  Built in the early 90's with all top shelf woods and components, most notable an absolutely superb slab of Lacewood over mahogany.  Not just an 1/8" veneer, this piece of Lacewood is as deep as the pickups and as shown (in this pic), encompassing the entire beveled area of the top (see arrows).  The neck joint is beveled to allow easier access on the treble side, plus the whole cutaway is contoured, again, making it easier to finger in the upper register.  USA B.C. Rich maple neck with rosewood board and mother of pearl diamond inlays.  Pickups are Duncans (pic) with a JB in the bridge and Jazz in the neck.  With gold hardware including pickup rings, knobs, tip, etc. (pic).  Includes an older pink-lined hardshell case that fits well and has been with the guitar since new.  I'm not sure why the Rich "R" wasn't inlaid on the headstock but I think the obvious reason is that it was done on personal time without the company's endorsement.  This is an extremely well made guitar and little expense was spared in building it.  Playability and tone are superb and it's every bit as good as any USA Rich you'll play.  It should appeal to anyone who's into locking trem guitars that rock with the best of them - but are beautiful as well.   For a hand-made guitar, this one's a bargain at $950.  

2008 Fender American Standard Stratocaster, (front), (back), (headstock), (case/acc.).   "As new" and unplayed condition, other than plastic film removed from pickguard.  There is one functional and one cosmetic upgrade you should note:  Bridge pickup has been changed to a DiMarzio HS-2 and it has a is the black plastic kit (pickup covers, knobs, tip, backplate) installed, for the black & white combo that a lot of players seem to like.  We will ship it with either the black kit, as shown, or reinstall the white parts (shown here).   With the DiMarzio you get improved versatility, with humbucker tone in the bridge position, and the traditional "hollow" Strat tone in position 4 with the middle and 1/2 the bridge.  I'm a big fan of the new Strats - after the 7-year run of the American Series, the new American Standard, officially released on Jan 1, 2008 has some significant improvements including a redesigned bridge, new bent-steel saddles with elongated string slots, a Fender-exclusive high-tech molded case and, most significantly, a new neck and body finish, which appears to be very thin and high gloss, very close to nitro in appearance.   With a new American Strat selling for $1250 everywhere, this one has in-house set-up that's better than anything from the superstores, virtually unplayed, with a cool look and more tonal variety, all for just $799.  Includes the new style Fender/SKB case with ATA latches, as well as accessories, tools, and mic. paperwork.  

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

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

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

Schecter USA Custom Shop PT, (front), (back/neckplate), (binding), (bent top), (quartersawn neck/body date), (headstock), (case).  If you're a player who's not afraid to try something different, here's a fantastic custom shop Tele style.  The PT, although never officially endorsed by Pete Townshend, got its name through Pete's use of this model (as shown) from around '79 to '88.  Pete apparently did allow his name and a quote to appear in print ads in ca. '83, but it was never called the Pete Townshend model, rather it didn't even have a model name.  Around '86/'87 it was named the Saturn and later, simply PT.   Here's a pic of one of Pete's, serial S8474 but they all shared the same features; bound Tele style body with dual humbuckers, fixed bridge, single volume and tone, with a 3-way switch.  Although imports of this model are fairly common, the custom shop models at more than 5X the price, are rather rare.  Tom Anderson got his start working Dave Schecter in '77, staying on until '84.  I don't think Tom is credited with designing this model (rather, Roger Giffin), I do sense an Anderson vibe to it.  Anderson influence appears to be body with a forearm contour (i.e. "bent" top) with black body binding, dual strap pins on the bottom end, and contoured heel for easy access to the upper frets.  More than anything, the pickups are dead ringers for Tom Anderson including the large pole pieces, textured top, and the same exposed wiring underneath as shown in this side/side comparison.  The only difference I see is the brass band around the Schecter.  Other features include solid one-piece mahogany body, coil taps for each pickup via push-pull volume and tone pots, Sperzel locking tuners, string-thru-body, fixed bridge, small control cavity on back, nicely figured maple neck (pic) with rosewood fretboard, Dunlop strap locks, all cavities with shielding paint.  Cosmetically, I don't see a scratch anywhere and frets are 98%.  It's an exceptionally nice playing guitar with a sweet tone and a great selection of tones.  A new USA PT lists at $3190, selling for $2399.  This one is barely played and an amazing deal for $999.  Note: I also have a great one-off Custom Shop Tempest "Vargas Girl" graphic in stock (shown here).

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

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

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

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

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

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

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

VFE Pedals Fiery Red Horse Fuzz.  VFE hand makes quality boutique pedals in their shop in Puyallup, WA.   The Fiery Red Horse is a versatile pedal that goes from standard overdrive or it can shift the midrange to get very throaty, or nasally, as desired.  It's often described as similar to the triangle-era Big Muff.  Dial in the Sustain and Tone knobs to set your rough tone, then tweak it with the voltage starve mini knob or mid-range mini knob to bump or scoop the mids.  The mini toggle switch adjusts clipping with a choice of Symmetrical, single-sided germanium, and 3mm LED.  They change the clip in different ways plus changing the level and gain so you'll likely need to tweak the Level control at times.  An additional internal trim pot adjusts the brightness of the pedal’s LED.  VFE's true bypass switch uses an optical relay, which prevents the common ‘popping’ when switching.  These run $149 new, or you can get this used one in perfect condition for $99(HOLD-Spencer O 5/28).  

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

2012 PRS Santana Signature Model - Black Gold, (front), (back), (headstock), (tag), (case).  Relatively new model from PRS and a higher end model than the old Santana III, but more affordable than the big daddy Santana II.  It has its roots in the original guitar that Paul built for Carlos Santana in '76.  Before there were countless stars playing PRS, Carlos used his as his primary guitar.  This new signature model features the same original headstock shape as well as the Eagle headstock inlay and OM symbol truss rod cover.  Features include optional "10" top over a mahogany body, mahogany neck with Santana neck shape, birds in flight fretboard inlays, rosewood headstock veneer, abalone purfling strips between pickups and behind bridge, rosewood fretboard, neck binding, 24 fret mahogany neck, Santana Treble and Bass pickups, 24 1/2” scale length, nickel PRS tremolo, PRS 14:1 Phase II Low Mass locking tuners, 3-way switch with volume and tone controls.  The Santana neck is slightly unique for a PRS with a flatter 11.5" radius and a shorter 24.5" scale.  Referred to as the "Pattern" neck shape, it's an updated Wide Fat that's based on Paul’s pre-factory design built for Carlos Santana back in the late 70’s.  PRS uses a new "V12" finish on this guitar which has the look and acoustic properties of nitro, but in a more durable composition.  Offered in excellent condition with no discernable flaws but at $2399, it's $1100 cheaper than a new one.  Includes PRS case, unsigned warranty, manual, hangtags, etc.  

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

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

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

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

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

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

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

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

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

MXR Carbon Copy Analog Delay, (pic2).  Highly acclaimed--affordable--analog delay, with a tone that matches the expensive boutique pedals.  I've had a number of expensive analogs at $200-$300, and to my ears this one sounds every bit as good.  Features the usual controls of Regeneration, Mix, and Delay time (600ms = twice as much as a Boss DM-2 or Ibanez AD9), plus a modulation button which, when pressed, adds a subtle modulation, reminiscent of a tape delay warble - plus true bypass to preserve your signal when not in use.  To tweak it to your taste, you can even adjust the width and speed of the modulation via two trim pots inside the unit.  With an entirely analog audio path and bucket brigade technology it produces the warm, rich tone of the old tape delays, without the noise or problems.  Also, it's compact design saves precious real estate on your pedalboard.  Received an overall 9.3 rating at UltimateGuitar and a great review from GuitarWorld.   Click here for a good YouTube demo.  Nice used condition, with Velcro on the bottom plate and comes in box with manual and a mess of other docs.  $105(HOLD-Michael B 5/27) for this quality analog. 

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

Burns Club Series "Cobra" Strat Style, (front), (back), (headstock), (bridge/pu), (plate), (gigbag).  Excellent playing, very well made import that looks just different enough from a Strat to be cool.  What really sets this guitar apart for me are the pickups, which I really like.  These mini Tri-Sonic pickups have their roots in the Burns guitars of the 60's, but now are designed to fit a single-coil casing.  They're engineered to provide the thick, ringing mids and smooth sustain of the 60's Tri-sonics, while providing both single coil sounds and warm humbucking tones.  Burns calls them single coil, but I honestly can't find any settings with extraneous hum so I think they're actually humbuckers.  In addition to the usual 5-way selector, it has a push-pull tone pot that activates the neck pickup to select neck/bridge or neck/mid/bridge, for 7 total combinations.  It has a unique, somewhat western look with the three separate 3-ply mint green pickguards.  Other features include alder body finished in Fiesta Red, rosewood fingerboard, 25.5" scale, neck and middle pickup tone control, bridge tone with push/pull pick up control, front mounted jack socket, bi-directional truss rod, chrome-plated, Burns Deluxe tremolo system with a long knife edge that pivots on a steel base,  original Burns Batwing headstock, and headstock painted to match body.  Check out more info on the Burns Cobra here.  These are $414 online but this one's in mint condition and a really nice Strat for just $299(HOLD-Ken L 8/12).  Includes a new Guardian gigbag.  

1970 Greco Hummingbird Copy Mod. 625, (front), (back), (headstock), (finish checking), (bridge), (label), (catalog catalog2), (case).  A true Japanese "lawsuit" guitar, i.e. has the Gibson open-book headstock that the original suit was based on.  It also has many other appointments that give it the look of a Gibson Hummingbird, including the 'bird hovering over a flower pickguard, Gibson-style bridge with wooden saddle with saddle height adjustment screws, and neck volute (pic).  Dating old Japanese guitars isn't an exact science.  Few follow any strict serial number scheme so you use features, photo's, and old catalogs.  I found this exact model in a 1970 catalog (shown in first line) so I'm guessing the actual year is within a few years, give or take.  The body is slightly more rounded in the shoulders (comparison pic) while the pickguard has one upper and two lower "points", compared to Gibson's two upper and one lower.  The pickguard etching is very much the same.  At over 40 years old it has the look of a vintage guitar.  While the finish has a nice luster, it does have plenty of finish check lines on the body.  Don't let these scare you off; they're just cracks in the clear coat finish, and not wood cracks.  Martin did a great job getting it to play well, including replacing a few frets and a partial level and dress to many frets.  We only invested the time because he felt that it could be a good player and his evaluation was rewarded.  It plays easily all over the neck, and barre chords are as easy as most new guitars.  Tonally it is very balanced with crisp mids and plenty of body.  The bass isn't overly powerful, which makes it a good guitar for finger picking.  With vintage Hummingbirds priced into the ozone, here's an affordable alternative and a well made Japan copy.  $375 includes black chipboard case.   

2001 Taylor 414CE Grand Auditorium Cutaway w/Fishman Prefix Plus, (front), (binding), (back), (headstock), (preamp), (case).   The Grand Auditorium was the first guitar shape designed from scratch by Bob Taylor, combining the width and depth of a dreadnought with a narrower waist.  Its sleek design adds strong treble sizzle across the tonal spectrum adding definition to individual notes.  It is an excellent fingerpicking guitar that also adapts well to medium strumming and mixes well with frequencies in the singing voice range.  The 414CE features back and sides of solid ovangkol, an African tonewood similar to Indian Rosewood, that gives it a wonderful, deep tone and its warm brown colors and unique grain are protected with a thin, satin finish.  The spruce top is buffed to a high gloss, and is framed in white binding on the body and neck.  For plugged in work it features the Fishman Prefix Plus, top of the line in its day and still a quality system.  The Prefix Plus has a parametric mid-range controlled by the "Contour" knob working in conjunction with a frequency slider that's variable from 250hz to 10KHz - plus a notch filter to tune out annoying frequencies, selectable down to 40Hz.  Combined with the Bass, Treble, and Brilliance controls you can easily dial in the room and get a quality reproduction of your acoustic tone.  Other features include a sleek Ebony fretboard inlaid with pearl dots, Tusq nut, Tusq saddle, and quality Grover tuners.  Nothing sets up like a Taylor and most players who are very comfortable with their electric, are just as comfortable strumming their Taylor.  When we became Taylor dealers at Hotlicks in the late mid-80's, I finally found an acoustic that played as easily as an electric.  Tonally, this is a workhorse instrument, with the Ovangkol/Spruce combination perfect for nearly all types of music.  Cosmetically it's in beautiful shape with no noteworthy flaws of any kind.  The Ovangkol is nicely figured with an attractive bearclaw pattern throughout the back.  A new one will set you back $2K but this one looks great, sounds beautiful, and is just $1250.  This one also includes the best Taylor case made, the Taylor luggage (aka "poodle") case.  

2012 Fender American Standard Stratocaster - Mystic Blue, (front), (back), (headstock), (case).  Mint condition with a cool finish.  This one has the latest specs from Fender including Custom Shop Fat '50s pickups.  Additional updates of this model include fretboard polished to a high gloss for beauty and comfort; a new copper-infused, high-mass, 100% metal bridge for better sustain;  neck now has gloss finish on the front, satin on the back to allow your hands to slide easily up and down the scales; Delta Tone system: a no-load tone control for middle and bridge pickups, taking the tone control out of the circuit when turned all the way up while also providing a tone control to the bridge pickup.  Other features include new American Standard bent steel bridge saddles, staggered tuning keys, and a thinner undercoat for better body resonance.  One cosmetic mod has been done with a white pearl pickguard replacing the parchment, but the stock guard is included if you want to switch it back.  This finish, Mystic Blue, has the overall color of Lake Placid Blue, but with much more silver flake in the finish.  It  really is a nice look.  These are going for $1250 new but this one's "as new", with the new style Fender case, strap, cable, polishing cloth, tags, etc., and is just $875.  

Warmoth HH Strat - Mahogany Neck, (front/back), (headstock), (neck spec sheet), (neck machine screws), (pickguard).  This is a guitar we built up in April '09 but, I discovered today.  We built this for a customer on a deal that apparently fell through and it never made it to the site until now!  It's got a great look, and ever better tone and playability.  Rather than the normal maple, this is a mahogany neck, usually found on Gibsons, with loads of factory options.  It's one of the new style Warmoths with the truss rod adjustment on the treble side near the cutaway.  It has the Wizard back shape, which is thin and flat, with a very flat 16" radius on rosewood board, 22 medium jumbo frets (6150), clay dot inlays, with factory installed black graphite nut and Sperzel locking tuners.  Body is a Mighty Mite solid alder, factory finished to a super high gloss.  Pickups are Seymour Duncan with a JB bridge and Jazz in the neck, controlled by a standard 3-way.  We can make it a little more versatile with a 5-way or push-pull...inquire.  It has all black hardware including Sperzel locking tuners (staggered height so no string tree needed), Dunlop locking strap pins, Gotoh vintage style tremolo bridge, black metal knobs, and black neckplate with flush mounted machine screws.  A lot of name players, Danny Gatton being the earliest proponent I can recall, swear by these machine screws with steel inserts in the neck.  There is less loss of energy in the metal-metal transfer than with a metal screw to wood and you can take the neck off 1000 times without any wood fatigue.  Danny used to remove his neck to fit in the overhead compartment of planes, which prompted him to start using this design.  We chose a black pearl pickguard and backplate for this which looks "right" with the black body and hardware.  It's all new parts so it's in immaculate condition.  You can build one of these for around $760 in parts (neck/tuners alone were $368) and a lot of spare time and expertise, or you can get this one, pro-assembled and set up to perfection, for just $699.  One of my new Chris's Guitars gigbags included for $25 or a hardshell case for $65.  

Fender Telecaster N3 Noiseless Pickups.  New in the box.  The latest evolution of Fender Noiseless series, following the original Vintage Noiseless and later SCN's.  N3's provide the spank and warmth of traditional single-coil Tele pickups, without the hum of vintage models with stacked Alnico V magnets.  They're a bit hotter but still sound like a Tele...perfect.  These are $159 and up on line but get this pair for $129, including Priority Mail shipping.  

2009 Fender Classic Vibe 60's Squier Stratocaster w/DiMarzio Pickup, (front), (headstock), (quartersawn), (back), (bridge/pickup).  Killer Classic Vibe made even better with a DiMarzio Virtual Vintage Blues bridge pickup.  This is the top of the line Squier with classic looks, excellent playability, and quality tone.  The Classic Vibe replaced the Vintage Modified in '09 with the outward signs being genuine vintage colors (Candy Apple rather than the Metallic Red) and, in the case of the 60's model, a correct parchment pickguard instead of the wacky tortoise guard.  More importantly, they're now using a proper alder body rather than the Indian red cedar used on the Vintage Modifieds.  Other features include rosewood fingerboard; 21-fret, vintage-tint gloss maple neck, gloss finished body, vintage style tuners, 9.5" neck radius, 21 medium-jumbo frets, and a custom set of Alnico V single coil pickups with a quick attack - all custom staggered pole pieces provide improved string-to-string balance.  I know the specs don't call for it, but the neck on this one is quarter-sawn, which is a more expensive neck generally found on high end models like the Eric Johnson Strat.  This DiMarzio makes a huge difference in tone.  Why it still retains much of the classic Strat tone (only fatter), it's important to have a hum-free pickup, especially on the bridge pickup which is the pickup of choice for most of your high-gain playing.  This guitar is in immaculate condition with a set up you won't find via mail order superstores.  I'm very impressed with this guitar and the quality brings to mind the early Squiers of the early 80's.  With a new one selling for $379 (easily $450 with pro-installed DiMarzio), why not get consider this one with a very useful pickup upgrade and super rare quartersawn neck, for just $299...and try to find another one that's just 7.0 lbs(!).

Custom Telecaster - Three-tone Sunburst Ash Body, (front), (headstock  neck  Earvana), (back), (electronics), (body), (features).  Martin assembled this from new parts so it's immaculate...and done right.  The body is a Fender 60's Classic Series with vintage routing; neck is a rock maple from Musickraft USA with a vintage 7.25" radius, 1 5/8" nut, 6150 medium jumbo frets, abalone dot inlays, skunk stripe, thin profile (.75 and .81), thin poly sealer coat, with headstock finished nitro over the logo.  Other features include Earvana compensated nut, American Vintage '52 bridge and brass saddles, and Hipshot locking tuners with vintage style metal buttons.  For electronics we chose a pair of used Duncan Alnico Pros (APTL-1 and APTR-1), with cloth wires and a nice vintage tone that's good for country, pop, jazz, blues and classic rock.  The Duncans are wired to USA CTS volume and tone control with a 4-way super switch and Orange Drop cap.  The 4-way switch acts like a normal Tele, but with an added 4th position so you can have the pickups in series or parallel.  We chose the black pickguard (plastic film still in place) for a 50's vibe, but we can change it to white if desired. There aren't any scratches or other signs of use on this guitar, other than a few light scratches on the neck pickup cover.  This guitar plays great and if you're looking for classic Tele twang it should make you happy.  For less than a stock 60's Mex, you can get this pro-assembled beauty that I consider a much better guitar.  $639(HOLD-Bruce G 5/12) includes a deluxe gigbag.  

2005 Gretsch Tennessean Special G6119SP, (front), (headstock), (back), (side), (bridges), (case).  Super clean and fairly rare model from Gretsch, only made ca. '03 to '06.  With it's stock Filter 'Trons, and thicker 2.75" body it's a more affordable way to get the more desirable Chet Atkins tone.  There are other differences between the Special and the regular 6119 including shorter 24.6" scale vs. 25.5" (6119), ebony fretboard (rosewood on 6119) and black pickguard.  There has been one minor upgrade, with a Stewart-Macdonald intonatable bridge in place of the "Rocking" bar bridge, which is included.  Anyone with the bar bridge should consider this easy upgrade.  It has all the usual wide assortment of knobs and switches and rather than go into detail, I'll try to upload a labeled pic shortly.  Lovely transparent cherry stained finish is in beautiful shape and it appears to have seen little playing time.  Excellent set up and one sweet sounding Gretsch for $1499(HOLD-Jim H 7/22).  Includes Gretsch case and all the stuff.  

EMG HZ H4/4A Set.  A number of years ago EMG developed these passive humbuckers as an alternative to their active series.  Like the 81/85 set, the H4/H4A set uses gold and silver logos to identify the model and they look identical to the active sets from the front.  The H4's combine the power of an 81/85 set with the soul and response of a passive PAF.  Delivers a well balanced tone, with tight bass, glassy mids, and crunchy highs.  The H4 is most often used in the bridge position where it shines with excellent range, responsiveness and sweet harmonics.  It uses EMG's exclusive 5-wire quick-connect output which allows for multiple wiring combinations, fully shielded for  reduced noise.  Sells online for $69/each but get this clean pair for the same price.  $69/pair.  

EMG HZ H3 Set.  Similar characteristics to the H4 set above, just a previous generation.  Very clean shape and an inexpensive upgrade, without having to change your pots, for your dual humbucker guitar.  Uses EMG's exclusive 5-wire quick-connect output which allows for multiple wiring combinations, fully shielded for  reduced noise.  $59/pair.

1983 Takamine F309 00-Size, (front  front-2), (back), (neck), (side), (headstock), (gigbag).  This is one of the so-called Martin "lawsuit" guitars, which is a misnomer in the same way that many Japanese electrics from this era are referred to as lawsuit.  Gibson did file a suit against Hoshino (Ibanez) based on the similarity of their headstock design, however, the public has taken to calling countless other guitars "lawsuit models".  This includes Fender copies, which were never involved in any litigation, and Ibanez models that didn't have Gibson's "open book" headstock design.  In the case of Martin/Takamine, no lawsuit was ever filed, rather a cease and desist letter convinced Takamine to change certain elements, most obviously the logo design which appears nearly identical to the Martin logo.  On to this wonderful all-mahogany F309.  It has the warm, rich sound that you would expect in a mahogany guitar but despite it's smaller body, doesn't sound at all boxy the way some 00's can sound.  I've seen various references to Martin measurements on their 14-fret 00 models and this one is within the same range, measuring 14 3/8" X 9" X 11".  Tak used some quality woods on this guitar including some very dark rosewood on the fretboard that looks like ebony from a few feet away.  Cosmetically, it's in very nice shape, especially for 30+ years, with only some clear coat scratches, the worst being visible in the pics on the bass side of the sound hole.  It has obviously been played very little.  The set up is low and with a neck that's fairly shallow, it's very conducive to finger style work.  Japan-made Tak's are lifetime guitars, ones which can be handed down through generations and for a quality "lawsuit" model, a nice deal at $729.  Includes well-padded Walden gigbag.  

Telecaster Control Plate.  Pre-wired, drop in ready.  Just connect your pickups and the ground wire.  Includes knobs and switch tip.  Clean shape.  $15.  

Ibanez TS9 Tubescreamer Reissue, A true classic and one of the most authentic tube sounds ever made in a pedal.  Missing bottom label but otherwise very clean shape in box, $65.  

BBE Boosta Grande Clean Boost True Bypass, heavy duty switch, solid metal box.  If you already have the perfect amp tone and simply want to boost your signal for leads, this is the way to go.  Most OD or distortion pedals can boost your signal, but even with the effect turned all the way down, it inherently colors your tone. The Boosta Grande is priced less than 1/2 of most boutique boosts but does the job just as we. It delivers up to 20dB of clean gain which is plenty of umph to drive your preamp tubes to the max, or as a line buffer/driver to prevent degradation from other effects in your chain. It's very solidly built, and features a hardwire bypass, single op-amp design, LED operation indicator, non-slip rubber bottom, and an easy-access 9V battery compartment.  Click here for Harmony-Central, where this pedal scored 9.5 overall in 27 reviews.  Very clean shape and a good clean boost for $55. 

80's Strat Neck - Ebony Board, (pic2), (profile), (frets).  Mid-80's Strat headstock neck made by Lasido.  Lasido supplied necks for many USA builders during this period including Kramer (Strat head and early hockey stick), Zion, Valley Arts, and many others.  Would make a perfect Strat Ultra project as it has the ebony fretboard and Wilkinson roller nut used on Ultras.  Frets are in great shape and when it's strung up it sets up very well.  Tuner screws are two/diagonal per tuner, perhaps Schaller F-Tuners, or similar Schaller/Musicman.  This is the perfect neck for restoring an 80's guitar that used Lasido or, as I had planned, building a Strat Ultra.  Priced at $299 with the Wilkinson nut unless I get inspired and finally start that Ultra project I've been planning for years.  

Ernie Ball Musicman Axis Floyd Rose, (front), (back), (neck), (trem), (headstock), (case).  "As new" condition.  Fantasic quilt top in Translucent Gold and one of the nicest flamed maple necks you'll find.  Looks aside, Musicman's have perfect necks which inevitably allow an impeccable setup with action as low as you want.  Most players love these necks, it's nicely rounded and not at all chunky.  The texture is also remarkable.  Using gunstock oil and hand-rubbed special wax blend, these necks feel very natural and are very fast.  The profile feels the same as the earlier EVH model which was this guitar's model name before Ed left Musicman for Peavey (and later Fender).  Features include custom DiMarzio pickups, EBMM Floyd Rose double-locking tremolo, Schaller tuners, cream body binding, 1 5/8" nut, 10" radius, matching headstock option, and flamed maple neck.  If you buy one of these online it's a crap shoot as to whether you'll get a mediocre figuring, or a nice one like this.   In translucent gold these list for $2950 and sell new for $2065.  This one is in immaculate, unplayed condition, and just $1350.  

1990 Gibson Les Paul Custom - Heritage Cherry Sunburst, (front), (back), (headstock), (case).  An excellent era for Gibson was the late 80's and early 90's when there was plenty of quality, well-seasoned tonewoods, and production numbers were significantly lower than later years.  While I think there were certainly some good guitars built during the Norlin era (ca. '74-'86) it was hit and miss, and overall it wasn't one of Gibson's finest periods.  By the time this guitar was built in 1990, Gibson had been privately owned for 4 years and they were quickly regaining their fine reputation.  The Les Paul Custom has been around since 1957, with a reputation as the Cadillac of the Gibson solidbody line.  It's noted for high-end features like ebony fretboard, multi-ply body binding, bound neck, multi-ply headstock binding, gold hardware, inlaid logo and split diamond on headstock, and pearl block inlays.  With it's maple top and mahogany body, the Custom has the classic LP tone that has defined the history of rock music and this one was built before Gibson hollowed out their bodies so it's not as light as today's Customs, but not a boat anchor.  It's in excellent condition with little to no player's wear, frets are perfect, gold wear is minimal.  It is a lively body with very good acoustic volume and commendable sustain when plugged in.  With the price of Customs now at $4K, many players are looking to used ones as an alternative, especially ones that are 24 years old and built in a period where production was a fraction of today's production.  Excellent Custom for nearly 1/2 the price of a new one at $2250.  Includes newer Gibson black case. 

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

2013 Gibson 1961 Les Paul Tribute, (front), (headstock), (back), (sideways vibrola), (case).  NOS and unplayed Limited Edition (unnumbered) model that pays tribute to the "new" (in 1961) Les Paul.  Through 1960 the Paul was the single cut model that comes to mind whenever you think of a Les Paul, but in '61 Gibson changed the styling to a solid mahogany double-cutaway with beveled edges, finished in Cherry.  Les himself was never a fan of this model and, contractually, Gibson wasn't allow to use his name after '63 so it was a short-lived model under the Les Paul name.  After '63 it was renamed the SG and these early models are commonly called "Les Paul/SG".  It's refreshing to see that Gibson's back to using real rosewood again, albeit very dried out rosewood when it came in.  Just look at the parallel grain (pic) which Martin says is the same top grade that they use for the backs of their higher end acoustics.  Pic also shows how dry the fretboard was, but once Martin applied his special conditioner, it's as rich and dark as it's supposed to be.   I'm also happy to see Gibson using the sideways vibrola on something other than ultra-expensive historic models.  This stylish "Deluxe Vibrato" (commonly called "sideways") has been vastly improved over the original model, operating smoothly and returning to pitch properly.  I love the feel, with a light touch, but not spongy like a Bigsby.  It works great.  The body and neck are lightweight Grade-A mahogany with excellent resonance and sustain, finished in tone-enhancing nitrocellulose lacquer.  Likewise, the rosewood fretboard is Grade-A, with lovely grain and (when treated!) a nice, dark appearance.  Gibson also uses two PAF-style ’57 Classic humbucking pickups, and historically accurate plastics.  It features a quarter-sawn mahogany neck with a slim, well-rounded profile and 22 jumbo frets, glued into the body with Gibson’s acclaimed mortise-and-tenon neck joint.  Cosmetically, it sports, vintage cream binding, acrylic trapezoid fingerboard inlays, and a mother-of-pearl headstock logo and holly inlay, black top hat with silver volume and tone inserts, an early ’60s style five-ply black plastic pickguard, and traditional black-and-white “bell” truss-rod cover hot-stamped with “Les Paul”.  Factory set up was lousy but Martin easily fixed that and it plays as beautifully with low action and perfect intonation.  A new one will set you back $1659, this one is unplayed, perfect, and just $1199.  Includes original case, manual, and assorted paperwork.  

2009 PRS Ted McCarty DC 245 "10" Top and Birds - Amber Burst, (front), (headstock), (back), (bound neck), (pickups), (tag), (case).  One of the original limited run of Ted McCarty's and one fine guitar indeed.  Although unnumbered, this run was limited to 250 pieces with only a few with 10 tops, although they eventually went into regular production as the DC and SC (single cut) models.  This is the first one of these we've had and we agree with the consensus that this is PRS's best ever interpretation of a late 50's 'Burst.  In fact, click here for a YouTube comparison with a '58 Historic VOS.  The 57/08 pickups, nitrocellulose finish, 24.5" scale, bound neck, and vintage style tuners combine to lend a traditional look, feel, and tone.  The first thing you'll notice is the original PRS headstock (commonly referred to as a Santana headstock) with charcoal flamed maple veneer, which harkens back to the early Annapolis days.  Other features include highly figured maple "10" top, 22 frets, mahogany neck with wide/fat carve, East Indian rosewood fretboard with "pre-2008" style bird inlays, bound neck, stop tail bridge, nickel hardware, 57/08 covered humbuckers, 3-way toggle with push/pull pot.  If you're looking for a classic LP tone, for me this guitar is better than any Historic model I've played in terms of tone, feel, and looks.  Comparable production model Ted McCarty DC245's with "10" top sell at discount for $3459.  This one's dead mint and just $2099, as great a deal as I've ever had on a PRS. 

Last of the Pine Island guitars - when they're gone, they're gone.  Pine Island are a great value in American made guitars.  They're built in Pine Island, Southwest Florida, using good quality parts and, most notably, their own hand-shaped bodies, made of exotic woods.  They're all solid wood (no veneers - thick slabs only), frequently with non-traditional woods.  Pine Island added "Made in USA" to their logo after some of these were built rest assured they're all American guitars, regardless of which logo was used.  Feel free to inquire if you'd like any modifications done to a guitar such as pickups and hardware, and we'll do our best to accommodate your request.  

2011 Fender Tele-bration 75 Block Telecaster Custom, (front), (back), (headstock), (case/acc complete acc. bag).  If you missed this in '11, here's one that's NOS, unplayed, perfect.  Very cool limited edition model from Fender's 2011 "Tele-Bration" series.  The 75 Block Tele is a Tele Custom styled like a '75 Jazz Bass with natural ash body, maple neck with block inlays, top arm contour, 3-ply black guard, and Jazz Bass knobs.  If you haven't heard of the "Tele-Bration" series, Fender coined this term to honor the 60th anniversary of the Telecaster and, in its honor, built 12 very special  models, one per month, that stay inside the Telecaster's famously elegant lines while offering the finest and most unusual takes on the instrument's past, present and future.  Features of this cool Tele include gloss urethane ash body, maple C-shape neck with gloss urethane finish, maple fretboard, 7.25" radius, 21 vintage style frets, 1.65" nut width, synthetic bone nut, bullet truss rod adjustment, '62 Tele Custom Single-Coil Pickup (Bridge) and Wide Range Humbucking Pickup (Neck) with 3-way switching with dual volume and tone controls, vintage F-tuners, vintage 3-saddle strings-thru-body Tele bridge, black pointer Jazz Bass knobs, 3-ply BWB pickguard.  Nice sounding Tele with a cool choice of Tele and non-Tele tones, good for many styles of music.  Great in house set up that plays superb with clean bends despite the vintage radius.  A word about the neck - it's on the chunky side - not your average C-shaped neck.  The arm contour makes this more comfortable and it's a very lightweight guitar at 7.3 lbs.  List price on this model was $2,499.99, selling at discount at $1,799.  This one is unplayed with plastic still on the pickguard and not a hint of use - for just $1399.  Includes original Fender/G&G tolex case with complete accessory bag including strap, cable, polishing cloth, manual, Allen wrenches, and assorted paperwork.  

Lexicon LXP 15 Multi-Effect, (back), (display).  A great choice for the stage or studio, serving as a hardware multi-effects processor or as a computer plug-in via USA port.  It has MIDI ins and outs and stereo 1/4 inch inputs and outputs as well. It contains a great selection of Lexicon quality effects, including 128 presets. For you guys who like to tweak their sound, all of the programs have at least five pages that have different parameters that you can adjust to your own liking. All of the functions are also accessible from the front menu which is great because it means you don’t have to go through a bunch of sub menus to get to where you need to be.  Effects include reverbs, delays, chorus, flanger, vibrato, pitch shift, and tremolo, and other time-domain effects and combinations.  Cosmetically these are in good shape and the only minor gripe is the "slow" adjustment wheel that these are famous for.  You can read/download the manual and quick reference guide here.  Before Lexicon started building good quality Asian units, they were made in the USA and, although mid-priced for Lexicon the sound quality is similar to the expensive PCM90.  The overall sound quality is very clean and for studio quality processor, it's a sweet deal at $150/each (2 available). 

Line 6 FBV Express MKII Floorboard, (pic2), (detail).  Unleash the full power of your Line 6 amp or POD and get hands-free control over your presets, tap-tempo your time based effects, activate the chromatic tuners, and enjoy one of the best wah-wah and volume controllers you'll find.  It's built for many years of road use but small enough to fit into a briefcase.  It also controls the 14-second Quick Loop on most Spider amps.  Easily toggle the rocker pedal between volume and wah (with associated LED indicator) via a toe switch.  Easy-to-read LCD shows tap tempo, active channel and chromatic tuner (when activated).  FBV Control software allows unlimited mapping of FBV controls via USB and connects via RJ-45 cable or USB.  This unit is self-powered and includes a very long stage cable to run from  the front of the stage to your backline.  Barely used and includes manual and other docs, as well as original box. Full details and software updates are available here, at Line 6's site.    If you use your Line 6 gear live, you need this unit.  $75.  If you want a complete set up, get the FBV plus a nice POD X3 and case, all for $329.  

2007 Schecter Classic C-1 with Duncans, (vine of life pic2), (front front-2), (back), (headstock), (Tonepros), (push/pull).   A remarkable guitar in terms of features, playability, and drop dead good looks, at an incredible price.  The Classic is the high end C-1 with the most obvious difference being a beautiful abalone "vine of life" fretboard inlays and quilted maple top with PRS style maple "binding" along the top edge.  It also  features *real* Seymour Duncan pickups (JB bridge, SH-2N Jazz neck), 3-way switch with 2 push/pull pots for humbucker and single coil tones, Tonepros Tuneomatic TOM bridge; string-thru body tailpiece, Grover tuners, gold hardware, neck-thru design with "ultra access" design for easy playing to the top frets, 24 extra jumbo frets, 25.5" scale, mahogany body with quilted maple top in Vintage 3-Tone Sunburst, 3-piece mahogany neck-thru, maple bound body edge, cream binding on neck, bound headstock, and most notably, an intricate Abalone "Vine of Life" inlay running the entire length of the fretboard.  For a quality made Korean neck-thru, with top-quality hardware and real Duncans, the Classic C-1 retails at a remarkable $1119, and was clearance priced online at $749.  Other than gold plating worn off due to polishing, this guitar is in lovely condition, no scratches or player's wear, and just $429 including a new Chris's gigbag.

Custom Strat "à la carte" - Silver Sparkle - Brazilian Board, (front), (finish detail), (neck neck2), (back).  We're trying something different with this custom Strat.  Instead of completing the guitar with out electronics and hardware, we're letting the customer decide what they want.  You can order, for instance, a Lace Chrome Dome pickup set, push/pull knob for blending in the bridge pickup, American Standard tremolo, Hipshot locking tuners, Dunlop strap pins, and Earvana nut.  Order from items we have in stock and it will keep the cost very reasonable.  Neck is a quality Musikraft USA with the following specs: rock maple with Brazilian rosewood fretboard, 1 5/8" nut, 9.5" radius, Medium 6105 frets, truss rod adjust at heel, imitation clay dots and side dots, medium C profile measuring .82 and .92 at the 1st and 12th frets, respectively.  Neck has a quality logo installed with multiple coats of nitro on the face of the headstock so you can't see the lines of the logo.  Body is an old WD with factory finish that I've had in stock for 10 years.  It's a 2-piece ash as shown in the neck cavity (pic).  Buy just the body and neck for $499 or let me know and I'll work up a price for a completed guitar.  Depending on what you order, It can be a finished guitar for well under $1000.  

Boss GE-7 Equalizer.  7 bands selected specifically for guitar plus another fader for volume control.  Nice enough shape but missing 3 of the little plastic tips.  Most popular guitar EQ ever made.  Works perfectly.  $55.  

1965 Harmony Stratotone "Mars" H46 Double Pickup Cutaway, (front), (headstock), (back), (side), (body date: Summer '65), ('62 Catalog).  It's 1965, guitars and cars were influenced by the space age and the atomic era with tailfins that made a car look capable of flight.  Guitars had names from the Stratosphere, Fender's Telecaster (Telstar satellite) and Stratocaster, Harmony with models such as Mars, Jupiter, and Mercury.  The Stratotone had a logo which included an atom with a musical note, appearing on the headstock and the pickguard.  This one also has an emblem similar to a Mercedes Benz painted on the body.  I can't find this emblem on any other examples but the patina of the paint looks identical to other white paint on the guitar (i.e. by appearances wasn't added years later) but there's no evidence to support that it's been there since '65.  There are quite a few old Harmony guitars still alive today and they seem to have stood the test of time better than most student/budget models from the era.  The Stratotone line has been one of the more desirable models since I've been in business and while there are quite a few in circulation, examples like this one with that set up superb (action at 12th fret) aren't nearly as plentiful.  All original other than period correct Dano stacked knobs; pots and other electronics are stock.  Here's a description from the '62 catalog:  "Provides outstanding value in its price class.  Hollow "tone chamber" construction.  Ebonized maple fingerboard. Straight-line hardwood neck with built-in steel reinforcing rod.  Finely finished in warm sunburst effect showing the grain of the wood.  White celluloid bindings.  Adjustable bridge.  Hinged tailpiece.  Twin built-in pickups, each with tone and volume control.  3 position selector switch permits playing forward pickup for rhythm - bridge pickup for take-off or solo - or both pickups at once, for maximum tone variation.  $99.50. Carrying case, $11.00 extra."  Scale length is slightly shorter than Gibson at 24 1/4".  For more info visit this great site for vintage Harmony, including the Stratotone (link).  This guitar has a very useable, unique tone that isn't unlike the old Dano's of the era.  It's very comfortable to play with a fairly wide fretboard, chunky neck that was popular in the mid-60's, and very low action.  Despite it's rosewood hollowbody bridge, the intonation is very good and tuners stay in tune well.  It's a very desirable model with dual pickups, finished in sunburst, with a set up that won't fatigue your hands.  At over 50 years old, it's a good value in American vintage at $499.  

ca. 1938 Epiphone Electar F-Hole Flattop, (front), (headstock/neck), (back), (sides), (pickup removed), (tailpiece/oddly located tone knob), (output jack/tailpiece back).  There's very little info on the web or in my books about this guitar other than Gruhn's book calls it an "Electar F-Hole Flattop (model name unknown)" and another sources indicated that it's possibly called an "Electar Model C".  Certain features, and Gruhn's book, date this to ca. '38, while provide.net dates it to a 1941.  I think there's more weight dating it to ca. '38.   It's a rather unique, important instrument, Epiphone's first electric and one of the earliest electric guitars made.  Although they made a number of lap steels under the Electar brand, it was their Spanish style guitars like this one, designed by Herb Sunshine, was technically superior to others.  Thanks largely to the tone control systems and, primarily, pickup design, these aren't primitive guitars at all, with a sound that's not unlike hollowbody guitars built decades later.  Many of the competing pickups were the "horseshoe" type, used by Rickenbacker and others and Epi even used the Horseshoe on some other models.  As you can see in this picture, the pickup was a massive bent steel design, curved at the top to rest parallel to the strings and inline with the fretboard, surrounded by a long oval bobbin, capped with a black cover.  Some interesting history regarding pickups in this era.  You'll notice the Miessner Inventions Inc. plate on the back of the headstock.  While everybody was working on various pickup designs in the early-mid 30's, Miessner's patents on designs to make a guitar louder were used as threats to every electric guitar maker, demanding that they pay a licensing fee for any guitar that used a pickup, generally, any device used to make a guitar louder.  Their bluff worked with Epiphone, Kay, and Vega, while other companies like National Dobro, Gibson, and Electro String/Rickenbacker banded together to challenge Miessner. Rickenbacker had a previous patent on their Frying Pan guitar!  Miessner backed off as it was too expensive to challenge them in courts.  Anyhow, some interesting history if you want to look around the web.  Features of this model include laminated maple body with 13 3/8" lower bout, flat top and back, 25.5" scale, 1 9/16" nut width, blade pickup in oblong housing, bound top and back, unbound neck with rosewood fretboard, body with rear plate for access to pickup and electronics, trapeze tailpiece with impressed "Epiphone" logo, black octagonal pointer knobs, dot inlays, originally finished in sunburst.  Brazilian Rosewood fretboard (shown here during reconditioning), extends past the body in traditional archtop fashion.  Rosewood bridge has a flat bottom to conform to the flat top and is original. Tuners are Kluson Deluxe and are not original and the pickup had low output so it was rewound by Kent Armstrong to the typical lower output of guitars of the era.  Obviously, the sunburst finish was removed and the guitar sports a thin finish, possibly shellac.  We suspect that it originally had an Electar logo plate but as they're impossible to find, we installed an Epi plate of the type used in the 30's.  The tone knob is located very close to the tailpiece but other Electars from this era have the same unusual location.  This guitar was a mess when it came in but Martin did a great job restoring it, including binding work, cleaning up the frets, reconditioning the fretboard, and some real magic making this a wonderful playing guitar.  The binding is tight all around, with just four tiny gaps, and a 1 1/2" piece that was replaced.  Its small body carries a full scale, in fact, a 25.5" scale(!) in a size that's around the same as a Les Paul.  This guitar is a lot of fun to play and it has a cool, honky tone that lends itself to delta blues or early jazz.  Electronics work perfectly and it's a solid guitar, with no breaks or repairs.  For an imminently playable pre-war electric with lots of history, I think it's a giveaway at $1199.  

1999 Fender American Standard Stratocaster - Black, Rosewood Board, (front), (headstock), (back), (body/neck), (electronics), (case).  Last full year American Standard, in very nice shape.  These guitars are the modern day workhorse instruments for countless professional and semi-pro guitarists and other than a logo change in the early 90's, is nearly identical to the original American Standard that made its debut at the Fall '86 NAMM show.  I've sold 100's of these over the years and it remains, for us, the top selling guitar in any price range.  I've written so many descriptions of these that I'll skip the details, other than to say this guitar is 100% original, other than the serial number inexplicably removed.  We dated the guitar by various dates on the body, neck, and electronics.  Nothing inside has been messed with and I feel safe in saying that this is an all-original '99, last full year for the first version American Standard.  One thing Martin noticed, is that this guitar has much more of the Strat "quack" in positions 2 and 4 than your average American Standard.  Too often attributed simply to pickups, it is more often a characteristic of the tone woods and obviously not every piece of alder sounds the same.  Tonally, this one is clearly a cut above, with a nice low set up which will combine to make this your "go to" Strat.  Cosmetically it's in clean shape with no scratches through the clear coat and frets are excellent as well.  With new Strats running $1249, how about a nice '99 model for just $679(HOLD-Local-Wed 1200).  Includes case and paperwork.  

2006 Fender Classic Series Classic Player Baja Telecaster, (front), (back), (headstock), (case/etc.).  One of Fender's "Custom Shop Designed" guitars, this one the brainchild of Custom Shop Master Builder Christopher Fleming, who set out to design a Tele with the look and vibe of a 50's Tele, with all the modern features players like in a Tele. Thin gloss poly vintage white finish ash body, 1 piece maple soft "V" neck, 9.5" fingerboard radius, 21 medium jumbo frets, Custom Shop Vintage Broadcaster bridge pickup, Custom Shop "Twisted Tele" neck pickup, chrome vintage style hardware with Fender/Ping vintage style tuning machines, vintage bridge plate with 3 brass saddles, and a "Custom Shop Designed" neck plate.  The stock set up on a Baja uses the S-1 switch for in/out phase options.  Many players consider this to be fairly useless in achieving quality Tele tones and, more importantly, they believe it sucks the tone out of the circuit.  The S-1 has been removed on this guitar in favor of a regular CTS volume pot.  It does, however, have a 4-way switch with the extra position adding an out of phase bridge/neck tone.  One other mod is the single-ply white pickguard, giving it the look of a mid to late 50's Tele.  Comfortable medium weight at around 8 lbs.  Very nice set up with low action and bends are a breeze thanks to the  modern, flatter fretboard radius.  The soft V-shaped neck is definitely on the chunky side, somewhere between the smaller Clapton Strat and the baseball bat '56 style.  Offered in flawless condition, set up better than anything hanging in a store, and a Fender case instead of the stock gigbag, all for $650(HOLD-Ed L, local 4/23). 

2007 PRS Singlecut (SC-245) - Dark Cherry Sunburst, (front), (headstock), (back), (side), (tag), (case).  Mint SC245 finished in a very attractive Dark Cherry Sunburst with thin ribbon flame and although not a "10", it' very nice flame that goes all the way up into the upper bouts (pic here).  Let's face it, despite the results of the lawsuit, the Singlecut is basically a Les Paul, although imminently more playable in the upper register.  Personally, I've never been able to play any high leads on a Paul but the Singlecut, with its deeper cutaway makes it much easier.  With the classic mahogany body/maple top, dual humbuckers, and 25.5" scale mahogany neck, you're talking LP all the way.  Considering the fact that PRS quality control is top-notch and not hit or miss, and I think PRS is simply a better value...period.  Different from the original "pre-lawsuit" Singlecut model, the SC245 got it's name from the scale length, 24.5", which is the shorter length Gibson uses, so if you like the feel of a LP, this guitar will feel very familiar and with the wide-fat neck, the profile will feel just slightly thicker than a '60 Classic, but smaller than the chunky '58/'59 Historic.  Specs of the SC-245 include single cutaway body, thick mahogany back, carved maple top, 22 fret mahogany neck w/rosewood fingerboard, 24-1/2" scale, moon inlays, wide-fat neck carve, PRS stoptail, vintage style tuners, PRS 245 pickups, nickel hardware, 3-way toggle switch with dual volume and tone controls.  If you're a LP fan and you haven't tried one of these yet, you owe it to yourself to stop down at our local store and pick one up today.  You might just find your perfect guitar.  List price on a new SC-245 is $4105 but it's just $1599 for this beauty in flawless condition.  Includes similarly clean PRS case, unsigned warranty, etc.  

2002 PRS McCarty Model - Charcoal "10" Top, (front), (headstock), (back), (case). Original McCarty model, finished in Charcoal with perfectly bookmatched maple. As with all "10" tops, the flame remains consistent side-to-side, up into the end of both horns on upper bout. The McCarty was briefly discontinued after being in production for 14 years, returning in 2008 as the McCarty Smokeburst. This is one of the original models with several features unique to this model, most notably a mahogany body that's 1/8" thicker than other PRS's, a headstock that's slightly thinner and with a greater headstock angle, 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 McCarty switching (3-way switching and push/pull coil tap), compensated wraparound stoptail bridge, silver-nickel pickup covers, and mahogany body with a thick maple cap. Overall very nice condition with only a few minor clearcoat impressions and some slight discoloration to the nickel hardware. All original and a great sounding guitar with excellent sustain. The set up is typically phenomenal, much better than your average Paul and for tone, playability, comfort, and looks, I think this is a much better value, especially with the optional 10-top, at $1599.  Includes PRS case.

2012 Fender Factory Special Run American Deluxe Stratocaster - Aztec Gold, (front), (headstock), (back), (pickups), (case).  What a beautiful look - Aztec Gold with anodized gold pickguard.  The FSR in Aztec Gold It is part of a very Limited Edition Fender Special Run of 100 American Deluxe Strats.  Originally outfitted with N3 pickups and S1 switch, at a customer's request we changed them to a new set of SCN's and removed the S-1 switch which is prone to failure in its current design.  This finish is the classic Aztec Gold featuring a gold anodized aluminum pickguard, like the Homer Haynes Ltd Ed from the 80's. This is a beautiful color combination.  Features include a Maple Fretboard, Maple Neck with Satin Urethane finish, a new taller narrow fret (6105), compound radius fretboard, Synthetic Bone Nut, Deluxe two-point high-mass tremolo with pop-in arm, aged knobs/covers/tip, rounded neck heel and neckplate, abalone dot fretboard inlays, Fender locking tuners, and now with Fender SCN pickups.  Considered by many players as the best sounding modern pickup with a vintage flavor, these are also unique in that they're dead quiet in positions 1, 3, and 5; but have some hum in 2 and 4 with higher gain settings.  The bridge is a hot 11.6K with the neck and middle a more vintage 6.5K.  If you have a few minutes, click here to read Bill Lawrence's patent for the SCN pickup; very detailed info that shows how unique these pickups really are.  There were only 100 of these so there aren't many in circulation.  Sold new for $1599 but this one's dead mint and just $1150.  Includes original rectangular SKB case with ATA latches, strap locks, factory hang tags, tools, and paperwork.  

DOD Distortion and Compressor/Limitor, (DOD 555-A), (DOD 525-A). From the Performer Series, ca. '84/'85.  Both are in nice shape, especially considering they're 30  years old.  Classic 80's distortion that's good for 80's rock and a very effective compressor that works very well as an audible effect with a nice percussive attack when desired.  If you're a DOD collector these are in nice vintage condition.  Worst flaw is the Distortion battery cover uses velcro to keep it closed.  Priced at $49 for the Distortion, $65 for the Comp, or the pair for $99.  

DOD Chorus and Chorus/Vibrato Pedals.  Excellent value on analog vintage stereo chorus pedals, dating from (L-R, ca. '84, '86, '87, '90).  The coolest of these is the 565-B Chorus/Vibrato which also does a cool Leslie effect.  It features separate sweep rates ("speed") for two channels - set one up for a slow chorus, the other for a faster vibrato. When the selector switch is set to "A", it defaults to "Speed A" and the stomp pedal is an on/off switch. Set to A&B and the stomp pedal switches between the A and B and it sounds sort of like a Leslie going from fast to slow speed (or vice versa) - or between chorus and vibrato. The LED keeps tempo with the sweep rate.  The other 3 are straight stereo chorus units, often referred to as the "poor man's CE-2".  In my opinion, they sound 80% as good, at 1/3 the price and I'm sure that many players would actually prefer the DOD.  The FX60 is the closest to the CE-2 with its two knobs, while the 3-knob FX65 added a Delay Time knob.  Rather than a lengthy description, AmericasPedal.net is the best DOD site on the web and you can click here for details on the FX60, here for the FX65.  These are great values on USA-made pedals that sound good and seem to last forever.  Here's a demo on the FX60 and here's one of many of the FX65. Priced at $75, $59, and $45, for the 565-B, FX60, and either FX-65, respectively.  

Boss TU-3 Tuner and Power Supply.  Replaces Boss's TU-2 as the most popular guitar tuner with new enhancements making it better than ever.  For the price, you can't get a better stage tuner - very easy to read and inconspicuously located in your pedalboard so you can tune while facing the audience.  It features a smooth 21-segment LED meter with a High-Brightness mode to use during outdoor glare.  You can choose between Chromatic or Guitar/Bass tuning modes, now with 7-string guitar and 6-string bass Note Name Indicator that can display notes of 7-string guitars and 6-string basses, while the Flat-Tuning mode can support up to six half-steps.  In addition to tuning, it also supplies power to up to 7 Boss pedals with optional Boss cable.  It's in perfect condition in the box with manual, nicely priced at $70.  

Delta Labs Rock Distortion RD-1.  The name says it all.  This pedal was made for rock music and it's a good choice for classic rock type tones.  Not really heavy enough for metal but a good amp style saturation.  Features metal case, heavy duty switch, and true bypass.  You can read about it here, at Guitar World, where it was mentioned in the top distortions for under $50.  Here's a demo with the pedal through an Epi Valve Junior.  This one's in perfect shape and just $25.  

Fender Squier Vintage Modified Jaguar/Jazzmaster HH, (front), (headstock), (back).  See detailed description below.  Same deal with this guitar except it was a Jaguar HH changed to Jazzmaster.  Only significant difference between the two models are pickups, which are Duncan Designed HB-102B and HB-102N humbuckers, which are built to the same specs as the Duncan JB and Jazz and are probably the best sounding import pickups made.  As with the "Jaguar" below, the logo job is perfect with several coats of nitro finish, wet sanding between coats, built up to be as thick as the logo so the outline isn't visible (pic here).  This guitar has a lovely two-tone sunburst alder body.  Fender now makes more traditional models with single coil pickups but instead of using the traditional alder body used on the real vintage models, they went with basswood.  If you're looking for a Jazzmaster with a look like no other, and guaranteed to be set up better than anything you'll find in the stores, including additional fret work and nut work.  Nice guitar for $329. 

Fender Squier Vintage Modified Jazzmaster/Jaguar, (front), (headstock) ("before" headstock), (back).  We got in a few of the Vintage Modified Squiers and after Martin determined that they would be excellent players, we decided to invest in doing a logo job for players who really want the vintage look and/or are self-conscious about their stage appearance.  These guitars already have a great vintage vibe with an authentic looking two-tone sunburst gloss finish, parchment parts, and tinted neck, so the vintage logo is icing on the cake.  Other features include C-shaped maple neck with maple fingerboard and modern 9.5" radius, 21 Medium Jumbo frets, 25.5" scale length, 1 5/8" nut, chrome hardware, vintage style tuners, top loader fixed bridge, Parchment / Black / White pickguard, Duncan Designed JM-101B/101N single-coil Jazzmaster pickups with Alnico V magnets.  Like the early vintage models this guitar also has stacked knobs with a volume and tone on each pot.  The tone pots are the click type, rather than a smooth taper; nice touch.  It might seem odd to have a Jaguar logo but we wanted to have a little fun with it and the two models are very close in styling, especially on these Vintage Modified models.  We're also doing a Jaguar with a Jazzmaster logo!  The logo job is perfect with several coats of nitro finish, wet sanding between coats, built up to be as thick as the logo so the outline isn't visible (pic here).  It looks like a regular factory logo.  We have been impressed with the quality of the Jags and Jazzmaster Vintage Modified, which we feel is as good as the Vintage Vibe series of Strats and Teles.  With a $499 list, these are a lot of guitar for the money.  Pickups are especially good sounding.  If you're looking for a Jaguar with a look like no other, and guaranteed to be set up better than anything you'll find in the stores, including additional fret work and nut work.  Nice guitar for $329. 

Seymour Duncan Warren DiMartini Signed Humbucker, (close-up).  Shhh...you didn't see this here...  Warren DiMartini pickup in double-cream, a pickup type that is trade protected by DiMarzio - nobody else is allowed to sell them.  One of the few guitar heroes from the 80's who's still relevant today, Warren has always had a signature sound and this Custom Shop pickup, personally signed by Warren and Mr. Duncan, delivers that tone.  This is a very hot Alnico II at 18.3K.  It was shipped with a brushed nickel cover with a nod and a wink but it wasn't soldered to the pickup.  This is extremely rare for a Duncan, and probably the only double-cream DiMartini pickup ever.  The last DiMartini I had was a zebra coil and it sold new in the store for $199...15 years ago.  If you're a Warren/Ratt fan or just somebody who wants a truly unique pickup in your guitar, try it out for $199. 

2001 Fender American Deluxe Fat Stratocaster, (front), (headstock), (back), (features).  Nice early model American Deluxe finished in 3-tone sunburst.  Unlike the Strat Plus that preceded this model, the American Deluxe had more upscale features that distinguished it from the stock Strat.  Pickups were Fender's Vintage Noiseless, which were Fender's premium pickups for the era and still preferred over many players today due to their traditional tone, but without the hum of vintage single coils - plus this HSS model had Fender's "new" DH-1 "Enforcer" humbucker in the bridge for the best of both worlds.  Other deluxe features include polished chrome locking tuners, polished chrome bridge and saddles with pop-in trem arm, abalone dot inlays, fret and nut work that's even more detailed than the regular American Series, LSR roller nut, and raised chrome logo.  Back in '00 the "Fat" model listed $100 over the standard (SSS) American Deluxe; today they sell $50 higher at $1599.  This first year model is in excellent condition, plays great, and is much cheaper at $1029.  Includes Fender molded case and trem arm.  

Italia Maranello, (front), (back), (side), (headstock), (trem/controls), (neck attach.).  Hard to find early model with Wigsby trem and P90 pickups.  With all the glitz and gaudiness of the 60's Italian classics, Italia has filled a niche market building guitars with unique looks but also quality parts and tonewoods.  Designed and conceived by Britain's Trevor Wilkinson, they feature Wilkinson-brand hardware and electronics (naturally) with the superior fit and finish we've come to expect from Korea.  Italia's are loosely based on vintage European guitars with the Maranello based on a late 50's Hagstrom/Goya solidbody.  The Maranello sports and Agathis body and maple neck, completely covered in mother of toilet seat (MOTS) on the sides, back, and headstock.  The arched top is a flawless green flake finish, accented by cream covers and control plate, selector switch on upper bout, and raised model name on the upper treble bout.  The output jack is like an inverted Strat jack that's aimed up at the strap pin, the usual travel for your guitar cable.  The neck has cream binding, flawless block inlays, with a MOTS headstock veneer and raised metal logo.  Tuners are locking Grovers.  Other features include 22-fret rosewood finger board, and dual WP90 pickups, which are Wilkinson-made P90's.  Pickups sound like a P90 should with medium output and the perfect combination of a Fender and Gibson tone - articulate like a Fender, but fatter sounding, like a Gibson.  The bridge uses all Wilkinson parts including a "Wigsby" tremolo, which has the soft feel of a Bigsby.  The strings are inserted through the front of the tailpiece and then wrap under the tailpiece, then under a roller bar, and then over the tuneomatic style adjustable bridge.  It's a cool system that stays in tune well.  Trevor uses a unique neck attachment (shown here), which has the tight fit of a set neck thanks to a tongue&groove fitting inside, but it's much easier to change the neck angle as it's actually held in place with two screws under a small access plate.  Other than a few minute cosmetic flaws, this guitar is in extremely clean condition with a very comfortable setup.  If you have G.A.S. for something truly different but don't want to spend $1000's for a boutique guitar, this thing is about as cool as they come and just $399.

2002 PRS McCarty Model, (front-1  front-2), (headstock), (back), (side), (case).  Original McCarty model, finished in McCarty Burst with a beautiful maple top with wide flame.  It's not rated a "10", but personally I prefer this wider flame to a 10-top with narrow ribbons of flame.  The flame remains consistent to the end of both horns on upper bout. The McCarty was briefly discontinued after being in production for 14 years, returning in 2008 as the McCarty Smokeburst (see my PRS page for one in stock).  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 with a greater headstock angle, 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 McCarty switching (3-way switching and push/pull coil tap), compensated wraparound stoptail bridge, silver-nickel pickup covers, and mahogany body with a thick maple cap. Overall very nice condition with only a few minor clearcoat impressions and some slight discoloration to the nickel hardware.  All original other than Dunlop locking strap pins.  The set up is typically phenomenal, certainly better than your average Paul - and for tone, playability, comfort, and looks, I think this is a much better value at $1450(HOLD-Steve 8/21).

Kent Armstrong S-90HR Soapbar.  Hotter output than your average P90, around 10K, and made for bridge position, although will work fine if you want a hot neck.  Includes a clean cover, not the aged cover shown in the pic.  Pure Alnico magnets for that vintage tone and just $45. 

'58 Gibson P90 Soapbar, (pic2).  Rewound by Lindy Fralin so it works as good as new.  Very clean shape.  Just what you need for that LP Special or archtop project.  Include a cover of your choice below for $275 or without cover for $235.  

'50's Gibson P90 Soapbar Covers.  Choose from a well worn example, or a clean shiny one.  Both are genuine 50's vintage with proper Gibson numbers UC 452 B.  Your choice, $59. 

Jason Lollar Strat pickup.  Higher output for bridge position, mint in the box for around the price of a new Duncan, $65. 

DiMarzio Zebra Air Norton.  Characterized by deep and warm tone, but not muddy; hot, but not distorted; excellent harmonics, which is unusual for a neck humbucker. Patented Air Norton magnetic structure reduces string-pull, resulting in improved sustain and enhanced pick attack and dynamics.  Clean shape in the box for $59.   

Seymour Duncan Liberator 500K Volume Pot.  Makes changing pickups a breeze.  The Liberator lets you change your pickups without soldering any connections.  The color-coded connections use screw-clamps and accepts tinned or bare pickup leads.  All you need is a screwdriver.  $19.99 or $15 with purchase of a pickup.  

DiMarzio Strat Pickguard - Area '58 and '61.  Three new DiMarzios with a used pearloid pickguard.  DiMarzio truly achieved a vintage tone in a no-hum pickup with their "Area 58" in middle and neck, and "Area 61" bridge.  It excels at responding to dynamics, either by picking style or volume control, and can go from clean to aggressive.  DiMarzio was going after a '58 and '61 Strat tone in designing these pickups and they've done a good job.  This is the same set up in my Lincoln Brewster pickguard I posted/sold last week and I'm a fan of this set up.  They sell these as a 3-pack for $229 for just the pickups but here's a brand new trio with a Fender pickguard for just $179 or, upon request, we'll install USA pots and switch so it's "drop in ready", for $209.  

2000 Fender American Vintage '57 Stratocaster - Aztec Gold, (front), (back), (headstock), (neck/body markings), (case/acc.).  The V57 is no longer in production, although the series continues with the new '56, '59, and '65 Strats, and Fender used the changeover as an opportunity to raise the retail to $2874 ($2199 street price).  This means that '57 and '62 are even an even better value.  This '57 is finished in rare Aztec Gold and exhibits no actual player's wear, although there are several small spots where the clear coat had chipped off (shown here) on the back/top edge and top of the neckplate.  The paint itself was unaffected so Martin simply filled in the spots and oversprayed it with clear nitro, perfectly blended and buffed.  It's not very noticeable and invisible from the front.  It's otherwise in flawless condition with no scratches or player's wear.  The V57's have a great feeling one-piece V-neck and the cool thing about these guitars is with the thin nitro finish, you'll get honest relic wear on the fretboard as time passes, unlike the thick poly finishes which never wear through.  Hand-beveled magnets on this model and the tone is one of the best actual vintage tones that Fender produces during the modern era.  It's not your hot SRV tone - or a quiet but sterile "modern" tone -  but a very mellow bell tone, like the original models are famous for.  It's currently outfitted with the factory 3-way switch but we can switch to a 5-way if desired.  Other features include vintage 7.25" fretboard radius, 1.65" nut width, master volume with neck and middle tone controls, American Vintage tremolo with steel saddles and heavy trem block, Fender/Gotoh vintage tuners, nickel/chrome hardware, synthetic bone nut, and single-ply white pickguard.  This model wasn't available in Aztec Gold for very long and this is the only one I've ever had in this color.  This beautiful USA Vintage '57, is set up and ready to rock, for just $1050.  Includes tweed case, hang tags, ash tray, manual, and other paperwork.  Did I mention that it's 7.9 lbs.?  Nice light weight for a solid Alder body Strat. 

Gibson Goldtone GA-15RV, (back), (chassis/panel), (top).  Excellent quality Class A, made for Gibson by Trace Elliott in the UK.  All tube circuit with a pair of EL84's in the power section and two 12AX7's in the preamp.  Excellent choice for small club use or in the studio with variable power and capable of excellent clean and overdriven tones.  Controls are Volume, Tone, Reverb, footswitch socket, Inputs (Hi & Lo/Link), Bright Switch, External Speaker Output, Pentode/Triode Switch, and Standby/Power switch.  Excellent sounding 3-spring reverb; Pentode/Triode switch allows the amp to be run at either 15 Watts (Pentode) or  6 Watts (Triode), to allow power tube saturation at a lower volume.  This amp is all quality, like all Trace stuff and little scrimping was done in manufacture, including a quality Celestion Vintage 30, chrome-plated chassis, large transformers, and gold-plated hardware.  These amps have a design flaw which was evident on every one I've had - some separation of the tolex at the seams.  Can be touched up with some hot glue if you're feeling ambitious.  For such a small amp, this Goldtone has a lot of features, works perfectly, and is a lot amp for $499.   

Fulltone Clyde Standard Wah, (pic2).  Based on the fame Vox "Clyde McCoy" wah of the 60's, Mike Fuller has nailed the essence of this classic wah sound after extensive research, primarily in creating a similar inductor, Fulltone's hand-wound MuMetal shielded 500mH inductor.  The only change from the original '60's Vox design is the addition of a very usable internal "Resonance Control" which is a large durable trimmer, for Bass and gain adjustment, easily adjustable by hand without tools and with room to mark your favorite settings.  Best of all, in addition to sounding great, it's built for years of use and abuse.  Click here for a performance demo.  Excellent condition; some Velcro on the bottom that can be removed.  Many pro players have this model in their floorboard and you can too, for $139. 

Custom 2X12 Guitar Cabinet, (top), (back), (speakers).  Pro made semi-open back cabinet of birch with metal corners, maroon grill cloth, metal corners, and leather dog-bone handle.  Loaded with one a popular pair of Celestions with a 70th Anniversary G12H30 and a Vintage 30 which combine to handle 100 watts easily.  The G12H is a reissue of a G12H, and re-released in 1994 Celestion's 70th anniversary.  It is described as a fusion of the Vintage 30 and the Greenback speaker characteristics, producing a thick, warm and syrupy sound, with a focused bottom end.  It sound smooth when played clean, while in overdrive it is very articulate with sustained notes that trail off into warm harmonic tones.  It's hard to believe that the Vintage 30 has been around for 25 years.  When it was designed in the 80's the goal was to develop the classic Alnico Blue British guitar tone, but with more power and overdrive.  The V30 delivers detailed and complex overtones, a warm low end, rich vocal mid-range, and detailed high end.  Probably the most popular premium speaker over its lifetime, players love its three-dimensional crunch both live and on recordings.  This is a very good looking cab that's very well constructed.  You'll pay around $299 for these speakers alone but get this excellent loaded cab for the same price.  $299(HOLD-George M) takes it.  

2011 Fender Eric Clapton Signature "Blackie" Stratocaster - Plek and DiMarzios, (front), (headstock), (back), (pickups), (Plek invoice), (case/acc.).  People frequently ask me, "what's the best playing Strat you have in stock?" and I usually draw a blank since they all play very well.  This one, however, is clearly a cut above and if a Plek job means anything to you, you're going to love this one.  A Plek machine makes minute adjustments to each individual fret, filing as little as necessary to obtain a perfectly even set up, with the lowest possible action.  The machine costs $100K, so you're local repair shop probably doesn't have one.  Gary Brawer has one and he's a noteworthy Plek specialist and for $225 you can make your Strat play as nice as this one.  In addition to the Plek job, the stock Clapton circuit has been replaced with a trio of DiMarzio pickups, and vintage Strat wiring, including a Duncan YJM volume pot and Orange Drop cap.  The Clapton is Fender's earliest signature model, debuting in 1988, and loosely on Clapton's original "mutt" nicknamed "Blackie" that he assembled from three mid-50's Strats.  The guitar uses a lightweight alder body with a polyurethane finish and single-ply white pickguard, plus a soft-V shaped 22-fret maple neck.  Pickups have been replaced with DiMarzios including a DP420 Virtual Solo in the bridge, DP415 Area '58 in the middle, and a DP419 Area '67 in the neck, all of which were designed to capture the vintage tone of a Strat, in a hum-canceling design.  These are some of the best vintage sounding, but hum-free, pickups I have ever heard, much like the Lincoln Brewster loaded pickguard I posted yesterday that has the Area '58 and Area '61.  Other features of the Clapton include vintage style frets, modern 9.5" radius, black dot inlays, satin urethane neck finish, 1 5/8" nut, Clapton signature on headstock, 4-Bolt neck with Micro-Tilt adjustment, chrome hardware, synthetic bone nut, American Vintage synchronized tremolo, and American Vintage Kluson-style tuners with metal buttons.  This guitar is in beautiful shape and appears to have seen zero playing time.  It plays better than virtually any stock Strat with the assistance of the Plek job.  If you're looking for the nicest playing Blackie available, with a killer set of pickups, this one's way less than a new stock one at just  $1199.  Includes Fender/G&G Tweed case, Fender cable and strap, manual, and assorted tags and paperwork.    

1973 Norman B-30 Acoustic Dreadnought, (front), (back), (side), (headstock), (neck block/label), (case).  Back in the 70's Norman, under the ownership of the revered Norman Boucher, was one of the premier guitar builders in Canada and THE guitar if you were part of the major music scene in Quebec.  They were building up to 5000 guitars at year at their peak.  In 1982 they were bought by LaSiDo (Godin, Seagull, Simon&Patrick, Art&Lutherie).  The design of the instruments in the beginning was based on a Martin model with it’s X bracing and the dreadnought body shape.  One of design features was the unique neck joint, bolted to the body with no heel.  It also features a much smaller, curved neck block (shown here), similar to a classical guitar, that has less mass and, thus, lets the top vibrate more freely.  The B-30 features a dreadnought body, with many cosmetic elements that resemble a Martin at fast glance.  There is conflicting info on the web regarding the body wood.  It definitely has a solid spruce top but depending on the site, sides and back are made of either birch or with maple, but they're in the same family and have similar tonal properties.  Other features include maple neck with rosewood fretboard, mahogany headstock overlay, mother of pearl dot inlays, quality black and chrome sealed tuners, black teardrop pickguard, 3-ring rosette, and black binding on the top.  Overall in wonderful shape for but as it has a thin lacquer finish, there is a little wear (shown here) on the sides of the neck and on the back side, waist area.  There are no issues such as cracks, repaired or otherwise, bridge lifting, belly problems, or any other detractors.  At around 40 years the sound has opened up nicely and it has a wonderful tone.  For a few online samples, check out a few YouTube samples here and here.  Norman has a loyal following who seek out the older B-series.  Here's a "Norman Appreciation Thread" on Harmony-Central and for more info, here's a translated history of the company (link).  What can you get for $450 these days?  Well, around 1/4th of a '70's Martin D-18, 1/2 of a 70's Guild D-25, or a new Korean/Chinese import with plenty of cosmetic appeal but zero tone character...or this nice Norman B-30.  I consider this an excellent value in a guitar that will be around for decades to come.  $450 includes ultralight case.  

Shure SM57 Mics.  Since 1965, the SM57 has been an industry standard in performance mics.  The most rugged mic ever built, 57's will take decades of road abuse and keep on performing night after night.  The SM57 has also appeared on more stages and studios than any other instrument mic, as an industry standard for drum (snare and toms) and guitar cabinet sound reproduction, plus it's an excellent vocal mic with past users including Billy Squier and, get this, every president from Lyndon Johnson to Obama (link), has used 57's for their speeches.  These are people who can buy mics costing 10X the price and they choose the SM57.   Clean shape and $69/each, including case and mic clip.  

Shure SM57 Unidyne III, (pic2).  Most desirable of the SM57 line, the Unidyne III is the original model, going back to '65.  Includes a mic clip and quality 6' Whirlwind/Belden XLR cable and non-original case.  I've seen total beaters sell for over $150 but this one's in decent condition, works perfectly, and is just $129.  

2013 Fender USA Professional Standard Telecaster HS, (front), (back), (headstock), (volume/switch), (gigbag).  Fantastic killer sounding Tele and an excellent value in a gloss finish USA Tele.  It's sort of a like Keith Richards Tele, but instead of the humbucker in the neck it uses a bridge humbucker.  With a standard Tele neck pickup and Fender humbucker in the bridge, the 3-way and coil splitter combine to offer 5 excellent tone choices.  The coil splitter is located in the center of the volume control, same as Fender's S-1 circuit.  The guitar is mint and all stock except for a Rutters angled control plate (shown here along with stock plate) which is installed Nashville style, where the volume is closest, the switch all the way back.  The original plate is included as well.  This method is great for doing volume swells with your pinky wrapped around the volume control.  A good variety of tones with this baby, with a traditional Tele neck tone and while the single coil bridge tone isn't Tele specifically, it does sound Fender-y, especially when combined with the neck.  Bridge humbucker alone is an excellent rock tone, much like a Jackson.  Other features include Alder body in 3-tone sunburst, maple neck with 9.5" radius and 22 jumbo frets, gloss finish body with satin finish neck, 3-ply black pickguard, American Standard hardtail bridge/saddles with strings-thru-body, no-load tone pot, vintage Tele cup output jack, and staggered height Fender/Ping tuners that only require one string tree.  Immaculate condition, not even pickguard scratches, and a perfect low set up with no dead or weak spots; this guitar is a winner.  Sells new for $999 but this one's guaranteed to be a nice one and even with a cool little mod, is just $699, a bargain for a new gloss finish USA Tele.  Includes deluxe gigbag and original control plate. 

2009 Rickenbacker 4003 - Mapleglo, (front), (back), (headstock), (jack/serial), (case).  Immaculate condition and a killer player.  The 4003 is one of the classic electric basses of all time.  Back in the early days of rock, if you were a pro you either played a Fender, or you played a Rick.  Ricks bring to mind Geddy Lee and his trusty 4001 that he used in the studio and on tour for decades.  Nothing else has that Ricky tone that cuts through the mix and has the vibe.  It's been a favorite among some major players such as Chris Squire, McCartney, Lemmy, Geddy and countless others.  The 4003 is the evolution of the 4001 and through its refinements is a much better bass.  Features include all-maple construction, bound neck, dual pickups, stereo/mono outputs, triangle fret markers, and neck-thru construction. Includes original case in likewise perfect condition.   New ones will set you back $1799 and up but this one's perfect and just $1299(HOLD-JC, local 4/2). 

1999 Godin Radiator, (front), (back), (headstock), (pickups ), (body/neck markings).  Godin has always offered excellent quality guitars at remarkably reasonable prices, especially considering they're assembled in the USA from Canadian parts.  Known primarily for their acoustic models, they also build some fine solidbodies such as this Radiator.  It has some of the vibe of a 60's Italian-made guitar with the black pearl MOTS top. Click here for a review by GuitarOne.com and here for Ultimate Guitar where it received a 9.3 overall.  Features include chambered Silver Leaf Maple body, rock maple neck with maple fretboard, flat 12" radius, shorter 24 3/4" scale, 24 medium jumbo frets, 1 11/16" nut width, Low-Noise Godin-Design single-coil pickups, Black Onyx finish.  The single coil pickups sound very good and they're so quiet that I definitely thought they were mini-humbuckers, although the tone is somewhere between the fatness of a P90 and the clarity of a Tele.  Set up on this guitar is fantastic, with low action and no fret out on bends anywhere on the neck.  Cosmetically it just has some minor dings on the back but overall it's in nice shape and with a new one running $599, it's a sweet deal on a proline guitar for $349.  Includes well-padded gigbag. For Godin specs, click here.  

EMG DG-20 David Gilmour Assembly, (back).  Pre-wired pickguard assembly that comes complete with a pearl white pickguard loaded with a trio of EMG-SA pickups (ivory), SPC Presence knob (don't confuse with "Presence" on an amp), and EXG Guitar Expander knob, volume control, and 5-way switch.  These are excellent pickups by themselves, but add in the active SPC/EXG preamps and you've got a load of power in your hands.  The SPC actually performs like a mid-boost and makes single coils sound very fat, like humbuckers, while the EXG conversely scoops the mids and boosts the bass and treble frequencies. Click here for some good reviews on the DG-20 at UltimateGuitar.  The DG-20 guard sells new for $299; this one is perfect and just $209. 

Lincoln Brewster DiMarzio Preloaded Pickguard.  This set up changed my opinion of DiMarzio Strat pickups.  For years I wrote off  DiMarzio's as being too bright sounding, even shrill, but when I heard this Lincoln Brewster setup my opinion changed.  DiMarzio truly achieved a vintage tone in a no-hum pickup with their "Area 58" in middle and neck, and "Area 61" bridge.  It excels at responding to dynamics, either by picking style or volume control, and can go from clean to aggressive.  DiMarzio was going after a '58 and '61 Strat tone in designing these pickups and they've done a good job.  For details, click here for Sigler Music, who markets this assembly.  Sells new for $259.99 or get this one in perfect condition for $175(HOLD-Scott/Wanda 4/1).  

1983 Fender Stratocaster Elite - Sienna Sunburst with Varitone, (front), (back), (headstock), (Varitone), (case).  The Cadillac of Fenders back in '83 and this one's in beautiful shape with no noteworthy cosmetic flaws, an absolutely killer setup, and an excellent selection of tones not normally found on an Elite.  Elites normally have a trio of Lo-Z single coil pickups with an active mid-boost with 3 push-button on-off switches, yielding 7 tone selections.  This one has been modified with an old pair of zebra Duncans (JB and '59), wired to a 6-way Varitone and 3-way pickup selector for 18 tonal choices.  The bridge JB is mounted directly to the body; the neck '59 is mounted to the guard. Volume control has also been upgraded to a top of the line $25 Bourne pot.  The Varitone is a passive circuit which cuts frequencies ranging from 130Hz to 1875Hz by -5dB to -15dB, with frequency and amount of cut different for each position on the Varitone.  Since it's passive it can't actually boost frequencies, but by cutting adjacent frequencies the apparent result is boosted mids on some of the settings.  Sienna Sunburst is much less common than Black, White, 3-tone Sunburst, and Natural.  To save space on this page, click here for a page I've created which outlines features of this innovative guitar.  For players who aren't a fan of the Freeflyte tremolo, you'll be happy to see this is a non-tremolo model.  Hardtails have better sustain and stay in tune better than tremolo guitars.  An interesting aspect of '83's, in both Standard and Elite models, is the neck and body cuts.  The necks tend to be rather shallow, slightly wider nut at 1 11/16", and very small shoulders.  Basically, easier to get your hand around.  The bodies are rounder on the edges, with a bigger belly cut (pic) than later models. At just 7 lbs., this is also a super light weight for a solid ash body.  Action is low and there are no dead or soft spots anywhere on this neck.  It's a joy to play and sounds as good as it looks.  If you're looking for a quality dual-hum Strat with 30+ year old wood, this is definite winner at $1099.  Includes original molded case or a tolex case if you prefer.  

2000 Peavey EVH Wolfgang Special TR FMT, (front), (back), (headstock), (side/edge), (case/etc.).  Beautiful USA flamed top Special with figured maple that's much more interesting than the usual thin ribbon flame found on this model.  The USA Special FMT is my personal favorite of the Wolfgang series and much more rare than flametop Standards. This Special TR (tremolo) FMT (flamed maple top) is the model that most closely resembles the Musicman EVH from which it was derived - with a flat figured maple top with maple binding rather than the carved top of the Standard.  This was a studio guitar and it's never been gigged so it remains in lovely condition.  Frets are perfect and, like all USA Wolfgangs, it's a killer player with low action, no fret out, and the trem stays in tune through heavy dive bombs.  Throughout the years I've gotten in around a ten Standards for every Special FMT and I predict they'll be the one to own when these guitars reach vintage age.  Nicely priced at $999 and it includes all ALL accessories it had when it left the factory including clean Peavey case, fretboard protector, D-Tuna (installed), manual, factory checklist, hologram picks, and complete tool set (pic).

1993 Takamine N-15 Dreadnought, (front), (back), (headstock), (side).  For the player looking for a no-frills appearance, this N-15 is one of the first "Natural Series", which remains one of Tak's most popular series.  Like all of the higher-end Tak's, it's finely crafted in Japan and as much as the finest USA brands, is a lifetime guitar that can be handed down to future generations.  Takamine is the guitar of choice for many top artists, with Springsteen, Garth Brooks, and Kenny Chesney among them.  Irish songwriter and artist Glen Hansard has used an N-15 with preamp for so long that the top has a large Willie Nelson type hole in it (shown here) caused by millions of pick strokes.  Suffice it to say that, along with Taylor and Gibson, Tak is the choice of pros, most of whom aren't endorsers, just players who appreciate a well made, great sounding acoustic.  The N-15 features a solid cedar top, atop a rich rosewood body (sides and back), finished in a semi-gloss poly finish that allows the body to "breath" freely.  It also features a rosewood fingerboard with side dots only, contributing to a minimalist look, mahogany neck, 1.673" nut width, concentric rings soundhole rosette, 2-piece saddle for improved intonation, multi-ply body bonding, gold tuners with ebony buttons, rosewood headstock veneer, and gold logo.  This is an excellent sounding guitar with a comfortable set up.  Cedar is a great combination with rosewood as it's balanced, warm tone combines nicely with the darker tone and pronounced bass response of rosewood.  Although 20 years old, it appears that this guitar has seen little playing time as it has no noteworthy flaws or player's wear.  If you're a player who isn't looking for a lot of bling on your guitar, this one's in lovely condition and at $559, it's a nice price for a quality Japan-made Takamine.  

1993 Fender Strat Plus w/Custom Pickup Switching,  (front), (back back wear), (headstock), (pickups), (saddles), (electronics), (case).  I've had this custom pickguard for years and we finally got around to using it.  It's cut for an extra pickup to be installed between the bridge and middle pickups and a wider tonal variety.  We used a prewired '96 American Standard Strat assembly and added another American Standard for the 4th pickup.  We removed the bottom tone pot and replaced it with a mini 3-way switch, wiring the middle knob as a master tone for all 4 pickups.  The three way control is:  bridge pickup, bridge and extra pickup, extra pickup alone.  With the 5-way selector all the way back you get:  mini-switch in middle = back two pickups, mini-switch up = added pickup only, mini-switch down = bridge pickup only (standard Strat).  With the 5-way in the 4th position you get your choice of  middle/extra/bridge, middle/extra, or middle/bridge (standard Strat).  You get some very cool tones with this set up and when you roll back the tone it gives you a partially-depressed wah sound, heavy in the mids.  The only other mod is GraphTech "String Saver" graphite  saddles, which reduce breakage and stay in tune better than the stock cast saddles.   As you can see in the pics, the fretboard has plenty of wear on the face as well as the edges.  Some manufacturers offer "rolled" fretboard edges to emulate the feel of a well worn neck, making it faster up and down the neck and generally better feeling to the hand.  The back of the neck has some fine cracks in the finish only - no wood cracks anywhere on this guitar.  Other than the pickups and saddles, this guitar is 100% stock '93 Strat Plus.  The back of the body has one area that is worn down to the wood but that's the only area that's worn through.  The Plus also features precision locking tuners, Hipshot Tremsetter, and LSR roller nut, all of which are enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This "Tremsetter" by Hipshot is attached to the tremolo block inside the tremolo cavity.  It adds tuning stability by 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.  Other features include Schaller locking strap pins, TBX tone control, tilt-adjust neck accessible through a hole in the neckplate, 3-ply pickguard, modern 9.5" radius, truss rod adjustment on the headstock, and bold silver logo (near the end of the run for this logo).  Despite the heavily worn fretboard, the frets are in decent shape and since it has an excellent neck, devoid of twists and humps, the action is very comfortable. At around 8 lbs., it's a good weight for an American Standard with a nice lively body and good sustain.  Includes more recent Fender molded case and trem arm.  If you're looking for a Strat to give you some unique tones and not afraid of some honest wear, you can have this very cool Blackie for $950. 

2001 Fender American Series Stratocaster - Daphne Blue!, (front), (headstock), (back), (case).  Super rare finish for an early 00's American Series.  Daphne Blue is one of the custom colors from the 60's and it isn't listed as one of the regular factory finishes for this model in '01.  Just to be safe we had a look inside and it's not a refin and everything corresponds with an '01 American Strat (pic here).  I've listed specs so many times that I won't repeat them here, other than to mention that there were around a half-dozen enhancements when Fender renamed their guitars "American Series", with 2001 being the first full year of the new model.  The pastel colors such as Daphne Blue, Sonic Blue, Fiesta Red, and Surf Green, are among players favorites and I've always wondered why Fender didn't mass produce them in more years.  If you have a Strat collection, nothing can make it look more colorful than a few pastels mixed in with the sunbursts, whites, candy apple reds, and lake placid blues.  More importantly, this is an excellent sounding, great playing guitar in beautiful condition.  No button or pick scratches, hardware is clean, just a real nice guitar in all regards.  New ones are going for $1249, or if you want a cooler color and guaranteed nice one, you can have this Daphne for $849(HOLD-Wanda 3/27).  Includes case and trem arm.  Check back here for an equally rare Sonic Blue Strat Plus coming soon (shown to the right of this Daphne here).  

Gibson Wedge Gigbag.  Standard size for Les Paul and SG.  Never used; mint condition.  Black with white trim and white lining.  Sells new online for $77-$99.  Get this one for just $49.  

2005 Baker B1 Supreme 24, (close-up), (headstock), (push/pull pots), (back), (straplocks), (long neck tenon/pu's), (case).  One of the best players we've had in the past 3 years!  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 (RIP) hype (link here), but as he eventually became the sole distributor, he was 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 inclined to think that this guitar was crafted in Korea, but I will add that it's as fine an 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 Roman's "in stock" section (link) but it had an $1895 list price and it sold for $1395 to my customer.  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 fault I can find with this guitar is the beautiful gold top-hat knobs are difficult to pull in the "out" position; you might need a fingernail to do it easily.  I would rate this guitar as high or higher than imports by PRS, Brian Moore, Schecter, or any other quality Korean model.  If you've wondered what the hype was about with Bakers, save 1/2 of the new price and get this beautiful used one.  $699 and it includes a quality brown case with plush lining. 

2008 PRS SE Singlecut, (front), (side), (headstock), (back), (gigbag).  With the exception of the Baker (above), for years I've touted PRS and Brian Moore as the best Korean imports and this SC is a prime example.  Fit and finish are impeccable, excellent pickups and electronics, quality hardware.  Most of all, I'm impressed with the fact that they have great necks that set up as well or better than other company's USA models.  The PRS Singlecut SE, re-released after the foolishness with Gibson was settled, is a perfect example.  This guitar is extremely impressive in terms of looks, tone, and feel.  It's a joy to play, with low action, super easy and smooth bends, and quality tone with excellent sustain and 3 distinct tones on the pickup selector.  With a lot of guitars, most LP's come to mind, I never use the middle position as it seems to lack character.  Not the case with the Singlecut SE; it has a great mix if fatness and punch.  Features of this guitar include a perfectly bookmatched and heavily flamed maple veneer over a maple cap and a mahogany back.  Other brands use a solid mahogany body with the maple veneer which doesn't provide the classic maple/mahogany tone.  Only with a maple slab do you get the combination of mahogany's warmth, resonance and fat bottom end - with maple's high end snap.  Note that the top on this one is clearly one of the better ones - I've seen some of these with tops that weren't nearly as consistent.  It also features a wonderfully simple compensated wraparound stop tailpiece with large studs that does a great job of transferring the energy from strings to body, plus is well intonated.  The PRS-designed humbuckers sound excellent and touches like the moon fretboard inlays, headstock shape, and natural maple top binding make this look like it's USA brother but at around 1/4 the cost.  New Singlecuts, now called the SC245, sell for $649, but this one is barely touched, 9.9 condition, and an excellent value on a guitar that's good enough to gig with at $449.  Includes the PRS gigbag, excellent protection and the best on the market in my opinion.  

Line 6 POD X3 Guitar and Vocal Modeler with SKB Case, (SKB case), (Pic2).  Most recent and greatest in the iconic line of kidney bean POD's.  Works great for guitars and vocals, whether in the studio or live.  The X3 has too many upgrades over the earlier versions, including the ability to run two complete guitar rigs simultaneously.  There are too many features to list but here are a few: 78 guitar amp models, 24 guitar cab models, 98 stompbox and studio effects, 28 bass amp models, 22 bass cab models, 6 vocal preamp models, A.I.R. II cab/mic modeling with 4 mic options each, 1/4-inch Instrument Input, XLR Microphone Input (w/Trim Adjust), USB 2.0 for computer recording, S/PDIF Stereo Digital Audio output, Stereo 1/4-inch TRS Balanced Line outputs, 1/4-inch Stereo Headphones output, FBV Connector for optional pedal controller, Massive model set for guitar, bass & vocals. Its larger backlit LCD screen contains plenty of information, without being cluttered, and it's a fairly easy unit to get around on. The sounds are the best ever on a POS unit and it contains numerous songs that actually list the artist; names like "Sweet Child 'O Mine", "Teen Spirit", "Purple Haze", "Strat Cat Strut", "Sultans of Swing", EVH, The Edge, SRV, Rush, etc.  This unit has been discontinued but it had a hefty $559 list price.  This one also includes a quality SKB with the same hardware as their guitar cases, with added foam for protection, that sold new for $59.  Get this one with a quality case for $275.  Includes manual, USB cable, power supply, and the case.  

Electro-Harmonix Q-Tron Envelope Filter, (pic2). Probably the most popular effect since the 70's for guitarists and bassists who want to get the funk out.   With your choice of high-pass, band-pass, and low-pass filters, just dial in the sweep direction, range, and filter resonance and you're one funky monkey.  Use it in place of an auto wah, or dime it out for some wild synth type effects.  Whatever the setting, it's designed to respond to your pick attack.  Use the switchable boost control to add gain before the filter stage for a fuller sound.  Made in NYC, USA.  Sells new for $143 but get this clean used one for $99.  

Electro-Harmonix "Holy Stain" Distortion/Reverb/Pitch/Tremolo Multi-Effect, (pic2). The first multi-effect pedal from Electro-Harmonix offering a kaleidoscope of effects: Reverbs, Pitch Shifting, Tremolo, pure analog drive and fuzz.  Has yellow LED's to indicate which effect is turned on.  The Stain's controls are interactive, allowing you to create brilliant tonal combinations, plus it has an expression pedal jack to give you real time control.   Very simple to use and worth the price for the reverbs alone, and unlike your amp, you can adjust the decay time, or "tail" on this unit.  Click here to view the Holy Stain playlist on YouTube.  Made in NYC, USA.  Factory finish is purposely distressed looking and it's super clean in the box for $79.  Includes power supply. 

1985 Carvin V-220 with Tremolo, (front  front2), (back), (headstock), (trem), ('85 catalog), (case, etc.).  Anybody who read guitar rags back in the 80's will remember this guitar which was a fixture in Guitar Player for years, frequently with one of their endorsers.  Here's an ad from '85 of an identical one (pic), and another one (pic) with Craig Chaquico more prominently featured.  This guitar is identical to another insanely clean V220 I had a while ago, although this one has the older logo.  Offered in collector's condition, the only real flaw is a lacquer crack in the typical neck thru area just ahead of the heel.  The paint isn't cracked, only the clear coat on top.  Other than that, it's almost like playing a new guitar rather than one that's 29 years old.  The V-220 was Carvin's metal axe with the radical body shape and locking tremolo.  The body style features 4 totally asymmetrical points.  It reminded me of a Kramer Voyager but then I checked out pics of a Voyager and determined that the V-220 is pretty much a Voyager flipped upside down.  Other than the logo change in '88, specs remained unchanged throughout its 6-year run ('84 to '89) including neck-thru design with a maple body and neck, ebony fingerboard with MOP inlays, Schaller M6 tuners, M22 neck and M22SD pickups with a volume control for each pickup and a master tone, individual mini-switches for coil splitting each pickup, and 3-way selector.  The tremolo was an option on this model with your choice of the Kahler Flyer or, as on this one, the top of the line Kahler Pro, including flip-up locking nut.  Kahler Pro's are great trem's and both Martin and myself prefer them over the Floyd Rose due to the softer feel and better sustain allowed by the high-mass bridge mounted directly to the body.  This one was also order with Dunlop locking strap pins and the brass nut that was in vogue in the 80's.  You older players will remember a lot of advertising of this model in Guitar Player and Guitar World throughout its run, usually a full page or two-page spread.  Craig Chaquico of Starship and Marty Friedman of Cacophony (Megadeth in '89) were both endorsers of this model.  If you're a Carvin collector, collector of only super clean guitars, or simply someone looking for a fantastic playing rock/metal axe, you won't be disappointed.  Carvin has a great section of their legacy catalogs, click here for the V220.  $699 includes excellent quality original case that hugs the body on all edges, and deluxe Kahler trem arm with metal tip.  

1970's Sola Sound Colorsound Wah-Fuzz-Straight, (pic2), (pic3), (circuit).  Rare-rare-rare...and a true classic wah-fuzz that sounds fantastic and works perfectly.  I've never seen these in black before so I suspect it's been painted over, which also explains why you can see a bit of blue where there are finish chips.  A search of the web did turn up one other black one (link), but I highly suspect it is this exact unit Simple to use with just a rocker and two on/off switches, accessible via the toe of your shoe - or heel of your shoe.  One switch turns on/off the wah; other one turns on/off the fuzz; rocker controls the amount of fuzz, or "Q" in the wah mode.  All Colorsound pedals are rare and this model is no exception.  If you're into tone more than a blue finish, this one is player priced at $299(HOLD-Local). 

1989 PRS Studio - Electric Blue, (front  front2), (back  back2), (headstock), (trem), (fretboard), (heel), (docs), (pickup settings), (case).   At 25 years  you don't think of most Gibsons as being "vintage" but in the PRS world, where 1989 was just the 5th year of manufacture - and it was built at the old Annapolis factory - it's definitely vintage.  Just like the Studio I had a year ago, this is one for the collectors - one of the cleanest vintage PRS's I've had, with no buckle/button scratches, no pick scratches, and clean hardware.  If you look closely you'll see some normal "finish suck" which is normal on these thin Nitro finishes as they age, but you' won't find an old PRS without this.  If you're not familiar with the Studio, it was only offered from '88 to '91 and the main feature is the HSS pickup configuration with a Hot Vintage Treble in the bridge and a pair of PRS single coils (click here for details).  These were offered with either a tone control or the more desirable Sweet Switch, as found on this one. The early Studios (and Standards) from this era are the closest thing to the original 1985 "PRS Guitar", distinguished by its all-mahogany construction - rather than the maple cap model that followed the PRS Guitar, as well as a 24-fret neck, Sweet Switch, and non-routed tremolo.  To my ears there is a warmth and singing quality to the mahogany bodies that you can't find on a maple top.  Like all PRS during this era it's truly a hand-made guitar, built 6 years before they brought CNC machines into the shop.  Other features include Brazilian rosewood fretboard with 24 fret mahogany neck, short heel neck joint, 1-piece Mil-Com bridge, small logo, Standard neck profile, and the early version PRS locking tuners.  We hadn't conditioned the fretboard when these pics were shot and it looks much darker now.  Players and collectors alike are seeking out old-factory models and these pre-CNC models have risen steadily over the past 5 years.  I would easily rate this guitar a 9.5 condition, which is extremely rare for a guitar that's 25 years old.  For what it's worth, I think Electric Blue was a custom color in '89, with a whopping $50 upcharge.  At $2799 it's a very affordable investment piece and still within the range of working guitarists looking for a stage guitar that's universally accepted to be better than any new one.  Original PRS case and trem arm are included, as well as some original factory documents (re-stringing, bridge adjustment, and pickup settings).  

1996 Fender Stratocaster Plus- Sunburst - Rosewood Board, (front), (back), (headstock), (case).  Very nice Plus model in 3-tone sunburst with a rosewood board, for a real vintage vibe that's straight out of the early 60'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, replaced by the American Series, with the "American Deluxe" replacing the Strat Plus as Fender's premium production model.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  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 early Plus models as well as on the Clapton and Buddy Guy signature models; both of whom toured with these stock Laces for many years.  I'm a big fan of these pickups as they're the best I've found for zero hum while retaining that vintage Strat tone.  The Plus also features precision locking tuners and LSR roller nut (or Wilkinson cam nut on early models), enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This one's in excellent condition overall with the only flaw being some buckle scratches on the back (shown here) in the clear coat only.  Frets are in excellent shape and the set up is spectacular with low action and no choking out on bends.  This one comes with a new Stew-Mac truss rod adjustment tool (shown here) since someone used a wrong size allen key at some point, but the Stew-Mac tool is beveled and made for this very purpose.  Lettering on the pickups is still in nice shape which usually indicates a guitar hasn't seen much playing time.  It's shown without back cover but remind me and I can install one prior to shipping.  Includes trem arm, springs, and original "Plus" case with deluxe latches and gray interior.  This is a very nice Plus model for $1050.  

Duesenberg Starplayer Special, (front), (back), (headstock), (controls/push-pull), (case/acc.).  There's no denying the vibe or growing popularity of these fine German-made guitars.  I remember Mike Campbell playing one back in the 90s and since then a who's-who including Tom Petty, Ron Wood, Bob Dylan, Joe Walsh, Paul McCartney, Keb Mo, Chris Cornell, and many more.  The DSP (link to site) is the original Duesenberg solidbody, developed in 1995 and named "Guitar of the Year" in England in 2003.  The vibe is sort of like a LP, or perhaps a Gretsch Jet, but its art deco look is certainly unique.  Dieter Gölsdorf builds guitars in fairly low numbers with quality tonewoods and impeccable fit and finish.  Unlike a LP, Duesenberg uses alder rather than mahogany for the body, but sharing the Paul's carved maple top (1/2").  The alder/maple combination yields exceptional sound and clarity with sweet thick tones and long sustain.  The neck attachment is a hybrid of bolt-on and set-in - the end of the neck is entirely enclosed by the body's neck pocket (shown here), and held in place by two set screws.  It's loaded with Duesenberg’s own pickups, the Crunchbucker and the Grand Vintage humbucker which provide perfect balance between gain and classic bite.  It also features Duesenberg Bridge with Steel Saddles, Duesenberg Deluxe Tuning Machines, Aluminum Tailpiece, Nickel Plated Hardware, Multi-Tone-Wiring for coil-splitting and tone, German Silver open Pickup Covers, Heavy Duty Platinum Output Jack, 12" fretboard radius, 22 jumbo frets, dual action truss rod, 1.654" nut width, 25.5" scale.  The hardware is all Duesenberg as well with German made components that are exceptionally well crafted.  The neck profile is chunky by today's standards; a U-shape with plenty of shoulder.  The back edge of the guitar has a very nice roll that's much more comfortable than most single-cuts.  Duesenberg confirms that this pre-2005 model does not have a serial number.  The exceptional craftsmanship of the Duesenberg Starplayer Special will impress any player, from pro to amateur.  Offered in very near mint condition with just a few light pitting marks on some of the hardware.  It has zero fret wear and is extremely clean, with a fantastic set up.  If you're considering a quality single cut but want something, well, cooler, this is a killer guitar for $1250.  Includes case and leather strap with straplocks. 

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. 

1976 Fender Catalog, (pic2).  I have around 6 of these in conditions ranging from very good to fine.  65 full color pages with the middle section being 1/2 pages with guitars on top page, amps on bottom page, so you can match 'em up.  Wacky, but that's the  70's for you.  $39 to $59, depending on condition.  

Gibson Authorized Dealer door/window display.  Never installed.  To install remove clear plastic top sheet and design side will adhere to any clear surface.  Reflective backing allows light to reflect back through image.  From a recently closed store and I'm guessing is ca. '80's.  $19.  

Gibson Pickups Display.  Another 80's dealer display showing the iconic humbucker and "customizing pickups by Gibson."  12" tall.  Perfect for your man/woman cave or studio.  $15.  

Kiss "The Boxed Set", (pic2).  From 2001, contains 5 CD's with Kiss's greatest hits from '66 to '99, 95 songs in all.  Excellent condition other than outside box has repaired spine.  The main four CD's have never been played and are still factory sealed.  Contains full color book with the Kiss story, pics of all albums, lyrics to songs, and lots of pics.  Out of production and nice find for the Kiss fan for $39.  

1955 Gibson Price List, (pic2).  8-page with all Gibson stringed instruments, electronics, and accessories.  Les Paul Juniors were $110, plus $12.50 for an alligator case.  LP Customs never were cheap and they were a whopping $350 in '55.  Not a pristine piece as is worn and you can see the signs of being folded year ago, but for $29(HOLD-WoodChuck 3/14), a nice piece of case candy or it's worn patina would make a nice framed piece.   

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.  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, offered in flawless condition, and a killer playing, excellent sounding Tele style for just $399.  Includes G&L gigbag, one of the best gigbags on the market.  

Tech 21 Hot Rod Plexi, (pic2).  Excellent pedal for recreating that 60's Marshall tone, the signature tone of EVH, Hendrix, Clapton, and many others.  Using Tech 21's SansAmp technology, the HR Plexi delivers a tube sound and feel, without the benefit of vacuum tubes.  It features both an effect on/off switch, plus an additional switch that engages an extra "pre-amp tube" gain stage (i.e. "Hot" control), which has its own level control, and can boost your signal an amazing 28dB.  Tone knob cuts the high end without losing mids or getting muddy and Drive adjusts the overall amount of gain and overdrive. Thump control adds the low end found in a sealed 4x12” cabinet so even your small open back combo can sound like a half stack.  Has separate LED's to indicate stock signal or hot signal.  The Plexi is made in good ol' U.S.A.  Click here for a good demo by Tech 21.  The current model sells for $179 but this one has never been used and is a great pedal for $115(I think there's one left).  

2000 Brian Moore i2P, (front), (front2), (back and 3/4), (headstock), (piezo bridge).  I frequently have customers ask, "what's the best playing guitar you have for sale?".  With a great tech like Martin that's a hard question to answer.  They all play great.  If I were to give it serious thought though I could say without hesitation that none play better than this Brian Moore.  Aside from the ergonomic design and its light weight, the action on this guitar is as low as anything I've seen, with little to know string rattle and bends that ring true all over the fretboard.  In a word, it's phenomenal.  With its piezo acoustic bridge, Seymour Duncan pickups, Sperzels, and drop dead killer looks, this is a guitar that performs as good as it looks.  I've stated here many times that Brian Moore (and recently PRS) are the best quality Korean imports from any manufacturer on the market.  I've had around 10 from this series, including 4 different models, and every one was a beautifully made, well-engineered guitar.  The i2P features, most strikingly, a truly stunning quilted maple top finished in cherry sunburst.  The top is not only carved, it's bent (shown here), from edge to edge, and the back is likewise contoured, making this an extremely comfortable guitar to play.  Features include highly figured maple top - either flame or the more desirable quilt such as this one, Seymour Duncan humbuckers with gold covers, set-neck design, ivoroid-bound top, single cutaway mahogany body, 2-piece set mahogany neck, ivoroid-bound 22-fret rosewood fingerboard, abalone dot inlays, 1-11/16" nut width, 24-3/4" scale, gold hardware, tune-o-matic bridge with piezo saddles for acoustic sounds (uses stereo cable), gold Sperzel locking tuners, and Moore's signature sculpted headstock.  Cosmetically, there's some pitting to the hardware but no scratches or player's wear anywhere.  For full specs, click here for Brian Moore's site.  List price on this guitar was $1995.  If low action is what you seek, this one is as good as it gets and it's an exceptional guitar for $799(HOLD-Jim C 4/5).  Includes your choice of a free quality gigbag, or a hardshell case for a few bucks more.   

1984 Ovation Collector's Series, (front), (headstock/neck), (side), (detail), (docs), (case/acc.).  Just the third year in Ovation's Collector's Series, the '84 Collectors was the finest among the early models. When this guitar was produced, Ovation fans would instantly, albeit mistakenly, identify it as an Adamas, Ovation's extremely expensive flagship model. No other guitar at that time featured the wooden epaulets (e.g. "sound holes").  Features of the '84 include an ebony-stained top-grain bookmatched solid spruce top, super shallow single cutaway bowl, black headstock, maple diamond fretboard inlays with a maple "1984" inlay at the 12th fret, gold-plated Ovation/Schaller tuners with genuine ebony buttons, Adamas-style epaulets of maple/walnut/teak and padauk, 7-ply black/white/black top purfling, ebony fretboard, 5-piece mahogany and maple neck with Ovation's "Kaman-Bar" reinforcement, 2-octave fretboard with jumbo frets, 25 1/4" scale, 1 11/16" nut width, and black headstock face.  Electronics consist of a piezo bridge connected to the original OP24 preamp, controlled by stacked Volume/Tone knobs.  It's simple by today's standards but the fact is these guitars don't need a lot of EQ'ing to sound good.  Offered in excellent condition, other than one very minor finish check line, with no player's wear and a great set up, for $750(HOLD-John R, local 3/12).  Includes certificate of authenticity, manual, key, and original molded case.  

Fender N3 Stratocaster Loaded Pickguard.  Latest in the evolution of Fender's Noiseless pickup design, following the original Vintage Noiseless and SCN.  Formvar magnet wire adds brightness and glassiness while staggered hand-beveled pole pieces create smoother, more balanced tone. Alnico 2, 3 and 5 magnets produce harmonically complex tonal versatility.  These pickups are quiet, yet retain the vintage tone very well.  Pickups alone are $199/set but get this whole loaded pickguard, including two no-load tone pots and CRL 5-way, for just $195(HOLD-Norm H 3/7).  Knobs and tip included for free, just let me know what color you want.  

Fender Atomic Humbucker.  High output bridge pickup for your American Deluxe or other HSS/HH Strat.  $45. 

Gibson Acoustic Case, vintage, semi-hard but thicker and more plush than your average chipboard.  Fits D-size and probably AJ, $65.

2001 Ibanez RG-470TI - Titanium Ice, (front), (headstock), (back), (neck joint).  Killer Japan-made shred machine, finished in Titanium Ice, which is sort of a metallic violet.  The RG series is Ibanez' most successful rock/metal guitar and the RG-470 dates back to '92-'94 with the original Japan manufacture, followed by Korean (Cort) manufacture from '94 to '99, ending in the 2nd series Japan, like this one, built from '98 to '04.  Stock features of this era include Wizard II neck with 24 jumbo frets, Basswood body, Lo TRS tremolo that's recessed for maximum up-pull, all-access neck joint, and black headstock with chrome logo.  Pickups are the stock HSH configuration with an Ibanez V7 (Vintage 7), S1 (Single 1), and V8, controlled by a 5-way selector for an excellent choice of single coil and humbucker tones as shown here.  The V7 is a ceramic humbucker, that's tight, but bright for a neck humbucker and very dynamic for chording and rhythm; V8 is an Alnico humbucker that's a warm yet articulate lead pickup with enhanced overtones and good harmonics without excessive brightness; the S1 is a traditional sounding, yet high output single coil with Alnico 5 pole pieces for even string output. It's designed to work with humbuckers in the split position.  It has an extremely thin and wide neck - shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  For more great info check out info at Ibanez Rules, the best Ibanez site on the web.  This is an absolutely killer playing guitar that exhibits no player's wear but there are two very minor chips on the back edge, and a small dent on the side (shown here).  No fret wear or buckle wear or scratches, with plastic still on the control cover.  This model listed at $699 13 years ago and is an excellent value on a Japanese RG at $375.  (Note: I also have an '00 model with a pair of Duncans (pic) for $450).   

2007 Taylor SB1-S Solidbody Electric - Dual Hums with Quilt Top, (front), (back), (headstock), (bridge), (case).  Yet another fine Taylor Solidbody!  I've been impressed with these Taylor Solidbody guitars since I got my first Taylor T3/B a year ago.  Like the T3/B, these SB1-S's are impressive guitars with a beautifully figured maple top over a chambered mahogany body, finished in Cherry Sunburst. I've also had plenty of the T5's and while the T5 is an excellent guitar, its tone wasn't conducive to playing as many styles as an electric player would want.  The SB-series takes Taylor further into the world of electrics and can be evaluated as a true electric.  Speaking of electrics, this one has a pair of Taylor-designed direct-mount humbuckers, with 5-way switch, for a useful palette of tones.  Other features include tropical mahogany neck with ebony fretboard, ebony headstock overlay with inlaid logo, chrome Taylor tuners, gloss finish throughout, bone nut, and Taylor's own aluminum bridge.  This bridge is the most ergonomic bridge I've felt, with individual saddles, each smoothly contoured for comfort, wherever your hand may rest.  You'll note the single bolt neck attachment, which uses Taylor’s T-Lock design, which makes it easy to adjust the neck angle and eliminates the heel, plus electric frets instead of the acoustic-style frets used on the T5.  The tone control features a unique mid boost circuit that allows the control to function normally over the first two-thirds of its rotation, while over the last third it kicks in a midrange peak that sounds similar to a “half-cocked” wah pedal.  Taylor made its name based largely on their superb playability and this guitar will not disappoint fans of low action.  For full specs on this model, click here for Taylor's site.   The SB1-SP lists at $2698 and sells new for $1999.  This one is in perfect condition and has one of the best looking quilted maple tops you'll find on a Taylor.  It's a super nice deal at $1199.  Includes original Taylor case, warranty card, and spare parts.  (Note: I also have one with switchable pickups, outfitted with 3 Mini-Hums, shown here).  

Digitech RP155 Guitar Multi-Effect, (close-up), (panel), (back).  Nice price unit that's great for stage or studio and now includes 20-second looper! The RP155 gives you 83 amps, cabinets, stompboxes, and effects allowing you to get practically any sound you want, in addition to humbucker and single coil sounds out of whatever guitar you're using.  It's also a great practice tool with 60 built-in drum patterns.  With USB streaming audio, the it allows you to easily record directly to your computer's DAW.  Effects include 48 high quality models including genuine Lexicon reverbs, plus Vox Clyde Wah, Boss CS-2 compressor, Arbiter Fuzz Face, Boss CE-2 Chorus, MXR Flanger, Digitech Whammy, Fender Twin amp reverb, digital-analog-tape delays, and much more.  For a complete list of effect, amps, and cab models on this unit click here for Digitech's site.  Click here for a demo on Looping/Drum Machine and here for doing multiple layers on the looper.  This is a new unit taken out of the box for pics only.  At $75, it's worth it for the price of the looper alone.  Includes power supply, manual, and other docs.  (Note: I have several in stock, including the bass unit).

2000 Gibson '57 Historic Les Paul Junior, (front), (headstock), (back), (controls), (faded finish), (fretboard), (case).   This is a cool guitar.  Historic Juniors are excellent guitars, period, but the finish on this one is aged in a way that I've only seen original 50s Juniors age.  Cherry finishes on old Juniors and SGs nearly always fade to a brown, frequently more on the top than the back.  This one has been faded on all sides, with barely a hint of its original cherry color except under the pickguard, under the bridge, and around the control cavity.  The Junior is my favorite model Historic, virtually unchanged from the mid-50's Juniors that started it all.   To me this is the ultimate - 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.  This guitar is overall in beautiful shape, with perfect frets and barely a hint of playing time.  The set up is low and the chunky neck feels great.  New model are running $2499 in TV or sunburst but I don't know where you can get another faded cherry.  The serial number indicates that this is either a '00 or a '10 but I think they were using bumblebee caps in '10 and this one came with the brown disk cap, which we changed to an Orange Drop, the only mod to the guitar.  Also, Gibson didn't offer certificates in 2000 which lends more credence to that theory.  If you're looking for a great "old" junior that has the look of a faded 50's model, this one's just $1499 and includes custom shop case.

Mesa-Boogie 2X12 Cab, (back).  1X12 Ext Wide Body housing a single 90W C90 Celestion speaker, rated at 8 ohms.  It's the Three-Quarter Back Cab, recently discontinued.  The only comparables today are the open back or closed back.  It uses the finest void-free, Marine Grade Baltic Birch with super strong rabbet corners that are glued and nailed and all backs are gasket sealed to ensure an air-tight seal.  Baffle is fitted with superior dado joint construction and braced; grille is wrapped around a separate grilleboard, not the baffle board, with a grille material of strong twisted jute dipped in a special coating that filters top end for a sweeter response.  Boogie heads like the 5:50 are the same width as the cab for mounting on its side (shown here), which puts controls closer to eye level.  Never roaded, excellent condition, and just $329.  

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

Korg PME-40X Modular Effects.  To collectors who have been waiting on some of these, I just got in 3 of the harder to find pedals that have been out of stock for a while: KDD-501 Stereo Digital Delay, KDW-301 Distortion Wah, and KNG-101 Noise Gate.  All models currently in stock include: KGE-201 Graphic EQ $69; KAD-301 Stereo Analog Delay $119; KDD-501 Stereo Digital Delay $79; KCO-101 Compressor $49; KNG-101 Noise Gate (fairly rare) $99; KDW-301 Distortion Wah (very rare effect) $149;  KFL-401 Stereo Flanger $59; KPH-401 Phaser $75, KCH-301 Stereo Analog Chorus $75;  KDC-601 Stereo Digital Chorus $69; KGE-201 Graphic EQ $59; KDI-101 Distortion $45; KOD-101 Overdrive $65.  Buy any 4 effects and get the base unit for free!  Korg only made 14 effects so you can have a complete collection rather easily and start off with something like: Distortion, EQ, Delay and Chorus, for well under $250, including the base unit.  

Fender Style 358 Picks - 72 Picks.  Medium ga. small mandolin picks, 72 pieces.  $10 includes shipping.  

Louis Electric KR12 - 100 year old pine cabinet, (back), (top).  AKA Keith Richards Signature Model - and one of the early ones when Louis was using a small supply of 100-year-old pine for their cabinets.  I can't believe I've had two KR-12's in a month.  One of the best boutique amps I've had and definitely lower production numbers than most other makers that are referred to as boutique.  This one is unlike anything I've had.  In addition to some of the most serious tone I've ever heard out of a combo, it's much more versatile than most, and although the panel has a vintage Fender look, the tone is much, much more.  This amp is a gain monster - if you want it to be - but also is capable of more traditional crystal clean tones depending on how you plug in.  The key to the gain structure is via the 4 inputs, each voiced with different amounts of gain.  Combine this with the footswitch (or simply a dummy plug), and you can increase the gain to a moderate high gain setting - up to total shred by merely plugging your guitar into a different input and/or selecting a different 2nd input for the footswitch (or dummy plug).  I'm not going to go into the full rundown here, especially with so much info on Louis' Site (click here), complete with sound samples, a review by Guitar Player mag (PDF link here) where it won an Editor's Pick award., and even some pics of Keef himself, good looking chap that he is.  Around 4 years ago it was sent it back to Louis to be brought up to current specs (as in the GP Mag review), primarily a larger transformer which increased the output from 30 to 40 watts, and adding a Negative Feedback adjustment pot, easily accessible via the back panel, see arrow in this pic, (also shows dovetail corners and speaker).  The amp also has a Bias Adjust pot located on the chassis which makes it a easy to switch power tubes - from KT66 to 6L6 to it's current set up - a pair of Ruby EL34's.  This amp is a beast, and I say that with great compliment, when you want it to be - or it can be the sweetest tone you'd ever want, replete with loads of clean headroom.  It is, of course, hand-wired, but Louis also takes pride in the fact that they hand-build their own components such as circuits and transformers.  The current model sells for $2600, but that's with tolex covering - these ancient pine boxes are long gone.  In many ways this is the best amp I've used, and certainly the most versatile good-sounding amp - for $1899.  

981 Fender Stratocaster - Dimarzios, (front), (headstock/neck), (neck/cavity), (back), (body), (electronics), (trem/saddles), (case).  Excellent vintage Strat with a few mods.  This is one of the "S9xxxxxx" serial numbers which, as we know, is more often an '80 or '81, than a '79.  Body is original finish in beautiful condition with no additional or enlarged routes.  Neck appears original to the body but has had a pro refret and when that was done the thick poly coat was removed from the fretboard, an amber tinted clear finish was sprayed over the original finish.  Retains the original logo and serial number.  Two of the pots are original as is the 5-way switch.  Pickups have been changed to DiMarzio's with a DP-117 HS-3's (Yngwie's choice) in the middle and neck, and an FS-1 in the bridge.  It's not your vintage Strat tone but if they're honest, most players aren't looking for that.  The FS-1 is louder and fatter than vintage, with more bass and mids, with none of the high end harshness.  The HS-3's are 4-conductor and are quiet, with more warmth than vintage and around the same output.  The plastic is from an 80's USA Strat and the "pre-76" look is cooler than the all-black appearance this guitar had when stock.  Knobs have a nice green patina (pic).  Body is dated 11/6/81.  Tremolo block is original, but it's been upgraded with bent steel Fender saddles.  As is typical of this era, it's not a light weight guitar, but at around 9 1/2 lbs., it's in the average range.  Still has the 7.25" vintage radius and frets are low jumbo's, which I like a lot more than the tall jumbo's.  Set up is excellent with low action and clear bends.  All in all, a nice Strat for the player and at 33 years has a definite vintage vibe.  $1199 includes Fender tolex case with orange lining.  

Monster Cable S-100 Speaker Cable 1/4" - Banana.  Magnetic Flux Tube construction and special cable windings for natural music reproduction. Improved clarity, bass response and dynamic range. Durable and extra-flexible Duraflex outer jacket for superior reliability and cut resistance for stage and studio use.  You can also use to wire the speaker in your combo - simply cut off the banana and solder the wires to your speaker prongs.  I probably have 6-8 of these in stock and they're a good buy on a higher quality cable at $14.99/ea. 

George L's .155 VR Cable Kit w/5' cable.  Same kit as above but cable pack has had 5' removed (jacks and caps are factory sealed).  5' is plenty to do 5 patch cords.  Get this kit for just $49.  

DigiTech RP500 Guitar Multi Effects Pedal with Case, (close-up), (panel), (back).  This is around the 13th RP500 I've had and they've proven to be my hottest selling floor multi-effect around here. The RP500 was the latest and greatest from Digitech's RP series.  More than just an extremely powerful modeler and multi-effect, the RP500 has an exclusive "pedalboard mode" which changes it into 5 individual stomp boxes and effects.  Your first impression will be that this thing is built for years of use and road abuse with metal housing and steel parts, plus it has a simple layout that allows it to be used as a simple pedalboard if desired.   Features include:  Amp/Cabinet Bypass defeats internal amp and cabinet effects in all presets, 40 Tone and 40 Effects Libraries, 200 presets (100 factory, 100 user), Over 125 effects including stompboxes, choruses, delays, amps and cabinets, 5 seconds of delay time, 24-bit 44.1kHz sample rate, Heavy-duty metal switches for stompbox response, Bright LEDs display program status and effect on/off, Large 10 character LED display for preset name-bank name-tuner, Built-in chromatic Tuner, Independent XLR Left and Right Outputs with ground lift Independent 1/4" Left and Right Outputs, Amp/Mixer switch to engage speaker cabinet, Stereo 1/8" headphone output, Stereo 1/8" CD/MP3 Input, Built-in expression pedal controls the RP500’s internal wahs, volume, Whammy and other parameters, All metal construction, 2 x 2 USB audio streaming.  This is a great unit for live playing, but you can also run it on Cubase LE (software included) and use the USB output in the studio.  For full specs and samples, click here for Digitech or click here for some YouTube demo's.  Includes power supply, software, unit manual, and software manual.   These sold new in stores for $299 without case.  Get this one for just $199(HOLD-John R, local) *including* heavy Cordura gigbag (pic), which sells online for $39.  Also includes original power supply, software, and manuals for software and the RP.  

2011 Gibson Melody Maker - Black - Duncan Full Shred, (front), (headstock), (back), (gigbag).  Another fun-packed Melody Maker with upgraded electronics.  This one originally had the stock MM single coil, which has been professionally replaced with a Seymour Duncan Full Shred.  While that might seem like an odd pickup for this model, keep in mind that the Kramer Nightswan which, like the Melody Maker has a mahogany body, was originally called "The Shredder" and featured a Full Shred pickup.  The true test is by ear and to me this pickup sounds great.  Even on clean passages it is clear and articulate, especially if you roll off the volume to 8 or 9, and is capable of playing a wide variety of music style.  The mod was done before it arrived here but it's a pro job that's done perfectly.  One thing we would have done would have been adding a push-pull or mini-toggle to access the single coil option which would double the tonal choices.  Specs include mahogany body with mahogany neck, '59 rounded neck profile that's not at all chunky, standard 24 3/4" scale, Kluson Deluxe tuners with butter bean buttons, 1.695" nut width, 22 frets, and '59 authentic single-ply black pickguard.  This is a very lightweight guitar (under 6 lbs.) due to the body size, which is slightly thinner than a Junior/Special.  The tone is anything but "light - it's big and fat, with excellent sustain and very lively overall, thanks in part to the very thin satin nitro finish which lets the guitar vibrate better than a thicker, softer finish.  Especially with a quality pickup installed, this is a versatile guitar that's fun to play all night and definitely good enough for pro use.  Nice axe for $299 which includes the deluxe Gibson gigbag.  If desired, we can add a switch or push/pull pot for $22.  

Kawai ES1 88-Note Piano/Synth, (back), (controls), (main section).  Excellent performance keyboard with excellent sounds, great feel, and built-in speakers.  Like a real grand piano the ES1 has a full 7 octaves (88 notes) and real piano action, rather than the stiff synth action of most keyboards.   Because of this it makes a good midi controller for other synths in your collection, e.g. a Korg M1 with 5 octaves of synth action.  Just hook a midi cable from the ES1 to your other board(s) and you'll get the benefits of the ES1 feel and range - with your small keyboards sounds, sequencer, etc.  I have one of these boards and although it spends most of the time in the closet, when I want to play I just pull it out, turn it on, and I'm playing in a few sections with no external amps required.  With 14 watts of output (7 watts per side), it's plenty loud for home use and the built in speakers sound pretty good.  Features include 88 weighted keys with advanced hammer action, 4 touch types (normal, light, heavy, constant), 32 note max poly, built in effects (Chorus, Room Reverb, Stage Reverb, Hall Reverb, EQ1 and EQ2), built in recorder with 3 songs (2 parts, up to 1800 notes), Transpose feature, Tuning, Midi functions, 8 demo songs, dual headphone jacks, stereo line in, dual line out (L/Mono and R), PC Interface, and DC jack in.  The built in sounds include Classic Grand, Modern Piano, Electric Piano, Organ, Vibraphone, Strings, Choir/Voice Pad, and with the "Variation" button, there are two unit voices for each sound for 16 sounds total. Also, you can play two of them simultaneously, like piano and strings, for some really nice, lush tones.  Here are a few reviews from SonicState.com.  Performance-wise it works perfectly, with each key having proper travel and equal resistance.  Cosmetically it's in very nice shape, other than two repaired keys (shown here).  These cost over $1K new but this one works perfectly and is a sweet board for just $350, plus hefty shipping if you're not local.  Included but not shown is the music stand that mounts to top of the keyboard, a sustain pedal, plus power supply unit.  

2004 Guild GAD-40C with Fishman AG Series Pickup, (front), (back), (side), (headstock), (inlays/binding), (Fishman), (case).  Guild's GAD line offers a real quality guitar, for a very reasonable cost and, remarkably, all solid woods.  The few GAD's we've had were all top-notch in quality, tone, and playability and this one is no exception.  What immediately grabbed me was the remarkable projection this guitar has and it's one of the loudest acoustics I have in stock.  If you need a good stage guitar, we've got you covered.  This one has a new Fishman AG 94 passive saddle transducer and endpin jack installed.  The GAD-40C has a dreadnought body size with a solid spruce top, solid mahogany back and sides, rosewood fingerboard and bridge, bone nut and saddle, mahogany neck, classic pearl fretboard inlays, 12" radius, 1 11/16" nut, scalloped bracing, high-gloss poly finish, Grover tuners, dovetail neck joint, abalone side dots, mother of pearl logo and chesterfield emblem, clear pickguard, and attractive maple binding with white/black strip on either side of the binding.  Cosmetically there are a few dings in the top, but no cracks anywhere on the guitar, so consider it more of a player than a pristine collectable.  List price on this model was $1399, selling heavily discounted for $799 - over $900 with a Fishman installed.  If you don't mind a few non-problematic finish flaws, this is an excellent buy in a solid-wood acoustic at just $499.  Original case is in well used condition and missing part of two latches but is still serviceable.  

60's Silvertone/Danelectro 2-button Footswitch.  For those great vintage amps made by Dano for Silvertone 1484 and other tremolo/reverb equipped tube amps.  Nice shape.  $29.  Note: I also have one in the silver covering listed elsewhere on the site.  

Fender Blues Deluxe Reissue, (top), (panel), (back), (inside.).   Fender's modern take on their classic vintage designs with the look of a 50's combo but a circuit and features that make it a much more modern amp.  Blues Deluxe's are perhaps the best bang-for-the-buck all-tube 1X12 combo's made and, along with the Hot Rod Deluxe, are the world's best selling tube amps.  This version has a much cooler vibe than the standard black cover with silver and black grill cloth, with its 50's vintage tweed covering, wheat grill cloth, and vintage chrome panel with chicken-beak control knobs.   Released in 1993, the Blues series was an immediate hit, covering the demand for a versatile, all-tube combo, at a reasonable price.  It's hard to imagine  reissue of a '93 model but after its initial release, sales trailed the similar "Hot Rod Deluxe" it was dropped from the catalog to keep in step with current trends.  Later in the 00's, the public was again looking for a more traditional tone, rather than screaming high gain; the Blues Deluxe is reborn.  It's basic description is a reinterpretation of original 50's tweed Deluxe, and it does a good job of covering that ground, but with modern features such as channel switching and reverb (footswitchable by the way), and a master volume to allow breakup at lower volume.  Features include 40 watts via a pair of 6L6's with 3 12AX7's in the preamp, special design 12" Eminence speaker, selectable Normal and Drive channels, independent gain and master volume controls on the Drive channel, Bright switch for the Normal channel, effects loop, tube-driven reverb, and lightweight construction as just 45 lbs.  This amp has seen very little use and never roaded.  With a new one going for $769 it's a sweet buy on a barely broken in model at just $529.  I think I have a Fender footswitch for it that I can throw in. 

2001 Hamer Artist Korina (ARTK), (front), (back), (side), (headstock), (neck joint), (case).  Fantastic Artist in immaculate condition, built with all solid white Korina (Limba), top, body, and neck, with gloss finish.  Compared to a mahogany body/maple top, Korina has a warmer sound that I find much more fulfilling for jamming by myself, but it also fills a lot more space in a band setting.  Hamer made their name building classic Gibson styles...but better.  They soon started incorporating some unique characteristics such as their Artist model with semi-hollow design and single F-hole.  Although it's roughly a Les Paul double-cut  in appearance, this model competes with Gibson ES-330's, Guild Starfire P90, etc., and with Seymour Duncan P90 pickups and thinline chambered body with F-hole, the tone lends itself to many different styles, from rock to jazz to blues.  Other features include labor-intensive hand-carved 5/8" maple top, precision routed semi-solid Korina body, vintage round neck carve (.900), wide oval frets, bone nut 1.65", 23 3/4" scale, flat 14.5" radius, 14 coats of hand-buffed lacquer, Dunlop locking strap pins, and Schaller hardware.  Hamer guitars are among the best American guitars in their price range.  Like PRS, I can't ever remember getting a bad one, which I definitely couldn't say about Fender or Gibson.  Their woods are properly seasoned, so all the shrinkage occurs before the guitar is built.  If you've never tried a Hamer, I highly recommend you give one a try.  For more info, click here for Hamer Guitars.  While not cheap, considering the labor-intensive cost of a carved top and expense of Korina woods, it carried a reasonable list price of $3800, discounted to around $2600.  This one is barely played, with a superb set-up and less than 1/2 the price of a new one at just $1199(HOLD-Allen F 3/19). 

2012 Kenny Wayne Shepherd Stratocaster WITH case, (front), (headstock), (back), (case).  Dead mint Kenny Wayne; very cool guitar for players who like a chunkier neck.  The Kenny Wayne Shepherd model is based on his vintage '61 Strat, with vintage styling combined with some modern features such as Graph Tech bridge saddles, jumbo frets, flat 12" fretboard, tone control for bridge pickup, and custom-voiced Kenny Wayne Shepherd pickups with reverse wound/reverse polarity middle pickup.  Other features include Kenny's custom neck shape which is a beefy D-shape with large shoulders, alder body with Poly gloss finish, vintage style synchronized bridge, Schaller locking strap pins, aged white plastic parts, gloss headstock face with '61 logo, and synthetic bone nut.  Fender calls this a 3-tone sunburst but there's little to no red band so I would call it a 2-tone, and a very dark 2-tone at that.  Immaculate and plays as good as it looks with low action and a very aggressive Strat tone.  If you're looking for a great KWS model I can easily recommend this one for tone and excellent action.  We've paired this with a quality Canadian TKL case with vintage silver logo instead of the stock gigbag these come with.  The KWS sells new for $899 with gigbag but this one's mint and just $779(Tent. Hold - Pam 8/4) with the case.  Don't need the case?  How about $679 with gigbag (pic).  Includes with trem arm, manual, tags, etc. 

G&L ASAT Bass, (front), (back), (headstock), (circuit), (case).   First one of these I've had in 10 years and now I remember loving the last one I had in, almost enough to keep it for my personal bass.  The Asat is essentially an L-2000 packed into an ASAT body shape, with a narrower 1 1/2" nut width to help balance the instrument.  Tonally, the Asat has it all (more on that below), but what really attracts me to this model is the vintage vibe, comparing to the original '54 P-bass and 70's Tele bass.  If you look closer though you'll see this is a much more refined version than the old slab body Fenders.  The edges all have a nice round-over rather than the sharp corners on a vintage model, plus it has a comfortable belly cut in back.  The circuit is where this baby really shines, allowing more tonal options than almost anything on the market.  It starts with a pair of G&L Magnetic Field Design (MFD) humbucking pickups which are capable of emulating the fat neck humbucker tone of an old P-bass, the cutting bridge tone of a Jazz, and countless other settings.  Electronics are comprised of G&L's Tri-Tone active/passive system with a 3-way mini-toggle pickup selector, 2-way series/parallel mini-toggle, and 3-way preamp mini-toggle (off - on - on with high EQ boost).  It has an innovative Leo Fender-designed Saddle-Lock bridge which transfers string energy right into the body end-grain for incredibly resonance.  The body is lightweight swamp ash, some of the nicest grain you'll find on these attached to a comfortable, C-shaped maple neck with a modern 12" radius and 21 medium-jumbo nickel frets.  It's in very clean condition with a nice low set up.  With a new one running $1499 ($2K list), here's a nice buy on a lightly used one.  $950 includes original case.  

COMPLETED RESTORATION:  1953 Epiphone Zephyr Regent Archtop, (front-1 front-2), (label), (back), (headstock/neck), (side), (pickup).  Nice old jazz box and the more desirable cutaway (Regent) Zephyr model.  The Zephyr Regent was a mid-line model featuring a single New York pickup, large 17 3/8" lower bout, laminated maple top, back, and sides, trapeze tailpiece (Frequensator style on early models), bound body and neck, and notched block fretboard inlays.  As nice as it looks now, this one was quite a project, coming to us in rough shape (before-1, before-2), with loads of dirt and grime - appeared to have never seen a polishing cloth - and the binding chipped and/or pulled away over most of the top and back.  Martin reshaped the binding and reattached original binding where possible, and installed a few new sections where it had deteriorated.  Around 1/3 of the body binding was affected, which Martin repaired nicely (a new section shown in back cutaway here). Although the binding patina is a little lighter than the original, in years to come it will blend in and will look original.  Electronics were nearly useless until the pots were removed and cleaned.  Likewise, the tuners were frozen or hard to turn until they were all lubricated.  What we discovered was an extremely clean guitar underneath all the grime as Martin hand-buffed the entire body and the nitro finish shines like a new guitar.  Please note that there is no overspray on the body, simply an intensive cleaning.  Although this guitar is in very nice shape for a '53, there are a few detractors that need pointing out.  It's missing the "E" from the tortoise pickguard; one knob is replaced but we substituted another 50's knob of the same color and patina; logo plate on the headstock is from a reissue although the same shape and style as the original.  Martin buffed out the finish beautifully, but there are check lines over much of the front and back (as shown here) as well as the headstock veneer, which is expected on a nitro finish that's 60 years old.  Shown here, the only cracks were two hairline cracks at the base of the headstock, with the before appearance in the pic on the right.  This was little more than a cosmetic issue which we've made better as shown in the pic on the left.  It is also missing one of the tuner ferrules which I don't seem to have among my spares.  Shown here, you can see the tight neck joint (neck has never been removed) which has a perfect angle, allowing very low action.  Neck is a soft V-shape, not overly large, with small vintage frets which exhibit some wear but the set up has low action with only slight string rattle in places.  Although it doesn't require a refret, if you want the same low action with no fret buzz whatsoever Martin can do a complete refret with your choice of frets for additional cost - or we can raise the action to medium at no cost of course.  Epiphone and Gibson were the premier builders of archtops during this era and they're highly regarded by players as being truly fine instruments.  60 years after it was built, this one still plays and sounds wonderfully, testament to the craftsman ship of the skilled post-war luthiers.  If you check vintage sites like gbase.com, you'll usually see Zephyr Regents in the $3K-$4K range, including some with modifications.  This one may not appeal to the collector of museum guitars, but for the player looking for value in a 50's archtop, it's a sweet deal at just $1499.  (Note: We have a '41 Epi archtop, student model hollowbody with 13" bout, from the restoration shop coming soon). 

Jackson USA Select Kelly KE-2 - Trans Black Flametop, (front), (back), (headstock), (Floyd/Blackouts), (case).  Beautiful USA Kelly finished in transparent black with flamed maple top.  For players who like the vibe of an Explorer, but find it somewhat ungainly to play, the Kelly could be just what you're looking for.  The Kelly was designed in the mid-80's as a sleeker version of an Explorer.  It was initially a custom order for Bradford Kelly of the Australian metal band "Heaven", who designed the guitar with the help of Mike Shannon from the Custom Shop.  It was, however, Marty Friedman (Megadeath) and his signature model KE-1 who brought this model to prominence as his main stage and studio guitar.  The KE-2 has much the same features as the Rhoads including higher end appointments like real mother of pearl sharktooth inlays, inlaid pearloid logo, bound neck and headstock.  Other features include maple neck-thru construction with poplar wings, top of the line Floyd Rose tremolo, sleek ebony fingerboard, modified Explorer style body, and quarter-sawn maple neck with a compound neck radius that gets flatter as you go up the neck.  Pickups have been changed to a new set of Seymour Duncan Blackouts (link), which are an improved EMG type active pickup.  Read more at Jacksonguitars.com.  I'm usually ambivalent about a trans black finish but with nice flame, on an Explorer-ish body with chrome hardware, I find this rather striking and "right" looking.  Note pics were shot with a flash and the flame isn't as pronounced in lower light.  Collector owned and in perfect condition, with no buckle rash or pick scratches, perfect frets; and a super nice Kelly.  We have found USA Jacksons without exception, great playing guitars and this one's no exception, with low action, made to shred.  This model lists at $4166 in premium finish like trans black and sells discounted at $2999.  If you're into saving money you can get this beauty for almost 1/2 the price of a new one, just $1599.  Includes original case with some scuffs on the outside - not as clean as the guitar. 

2008 Ibanez Joe Satriani Signature JS1600PSL - Premium Silver, (front), (push/pull pots), (headstock), (flamed neck), (back), (contoured heel), (case).  Top quality Japanese Ibanez and unlike most Satch signature models, this one's a hardtail.  I've spoken many times of the advantage of a non-tremolo bridge and if you're a player who doesn't use the trem you'll get better performance and stability from a hardtail.  What I really love about this guitar is the "Premium Silver" finish, sort of the poor man's Chromeboy, which lets anyone know from across the room whose guitar this is.  The finish looks very close to the JS2000, more of a pearl rather than metallic, but still looks "textured."  The heart of the 1600's meaty tone is the DiMarzio pickups with a PAF Pro in the neck and a Fred in the bridge, both of which can be switched to single coil by the push/pull tone and volume pots, which also act as high-pass filters.  Other features include JS Prestige quartersawn 1-pc maple neck with rosewood fretboard, multi-radius neck (20mm at first fret to 22mm at the 12th), 42mm 1 21/32) nut width, mahogany body, locking tuners, 22 medium jumbo (6105) frets, Gotoh fixed bridge, abalone dot inlays, raised chrome logo, and chrome hardware.  This model is spec'd with a quartersawn neck, a nice high-end feature but due to the luck of the draw this one also is also beautifully flamed - both neck and headstock - with flame side to side, all the way up the neck.  It's in super clean shape and with perfect frets and a great neck, set up is low and fast.  With a list price of $2266, here's a sweet deal on a Japanese-made Satch at just $1099.  Includes J-Craft/Prestige case.  

2005 Martin 000-15M, (front), (back), (headstock), (side), (label), (case).  A lot of vintage appeal in an affordable, traditional Martin.  The 000-15M features all mahogany construction, which is a great wood for just sitting around playing by yourself.  It's a warm, cozy tone that covers lows-mids-highs without discrimination; very well balanced and an excellent strumming guitar.  While the attack of mahogany isn't usually recommended for fingerstyle work, the smaller body seems to contribute to better note definition than a mahogany in a dreadnought size.  Other features include bone nut & saddle, sealed Martin tuners, a thin inlaid rosette, gold foil headstock logo, neck meets body at 14th fret, 1-11/16" nut width, 25.4" scale, tortoise pickguard, modified low oval neck shape, rosewood fretboard, and Martin #345 flattop hardshell case.  This guitar is in excellent condition with a setup that's very comfortable anywhere on the neck.  The 000-15M sells in stores for $1199 but here's a clean used one that's nicely priced at $839.  Includes original black case with plush green interior.  

Sabine Zip700 Tuner.  Plug in or use built-in mic for acoustic.  Automatically senses the note you pluck for hands-free operation.  Green LED for "in tune" with red LED's for note.  In addition to input, has an "amp" output to leave connected at all times if desired.  Very accurate and easy to use.  $9.99.  

Fender AX-12 Tuner.  Chromatic tuner with features similar to the Sabine Zip700.  $9.99. 

PRS Stoptail Bridge and Studs.  Polished aluminum.  The best non-adjustable stop tail made according to me.  It's intonated well and impervious to warping problems found on Gibson and others.  If you're looking to dress up an old discolored bridge, this one's perfect.  A $260 part from PRS, get this mint used one for just $130.   

Schroeder Top Adjustable Locking Studs.  For use with wrap-around stoptails.  A quality locking stud that's adjustable from the top!  Nickel-plated brass, Made in USA.  For details check 'em out here.  New in pack for $29.  

1980's Schaller Roller Bridge.  Excellent quality German-made Schaller top-loading hardtail bridge.  Incredibly adjustable and super clean shape.  Cam screw can be used to attach to base plate if used, or just mount direct to body.  $80 new, this one's perfect and just $48.  

Gibson Mini Humbucker.  Mint condition.  Perfect for your Les Paul Deluxe restoration.  $89. 

Samick Thinline Archtop Case.  Black tolex covering with plush black interior, 5 latches, storage compartment.  I don't know what model this is made for but internal dimensions are: Length-42", lower bout-15", upper bout-11", waist-10".  Nice shape.  $65.  

Tom Anderson Crowdster, (front), (back), (headstock/neck), (maple cap), (spec/price sheet), (case).  Anderson set a new standard for acoustic stage guitars with the introduction of the Crowdster.  It got its name from the ability to play before huge crowds, thus huge volume levels, without any feedback problems or need for massive EQ'ing.  Although most of us are more likely to play in a 500-seat club than a 10,000 arena, it's good to know that you have a guitar that can take you all the way, and without constantly messing with it all night to maintain a decent tone.  In addition to sounding great, it's one of the best looking stage guitars you'll find, with some of the nicest flamed maple, finished in Light Desert Sunset with Binding.  In addition to structural design elements, it derives its excellent acoustic voice via an LR Baggs Element piezo pickup with custom EQ'ing made specifically for this guitar (volume, and cut/boost for Bass, Middle, and Treble).  Features include flamed maple top with unstained edge for PRS style "binding, mahogany back, satin-finish Mahogany neck, African Rosewood fretboard, headstock painted to match body, 1.73" nut, 24.75" scale, exclusive Anderson small stainless steel frets, acoustic bridge and saddle, and Buzz Feiten tuning system.  Plays with ease with low action and a deep cutaway that makes playing high notes a breeze.  With a retail price of $3819, this is an excellent value on a dead mint used one.  $1999 includes original case that hugs the body on all sides.  

Peavey Ecoustic E20 1x8" 20-Watt Acoustic Guitar Amp, (panel), (back).  Good sounding and compact, capable of handling your guitar and vocal mic at the same time.  Peavey's Ecoustic line is engineered from the ground up as an acoustic amp.  It's very basic with just dual channels, vol-treb-bass on each channel, and headphone out, with a 20 watt output.  I tested this out with an old high-Z Realistic mic and a new Sennheiser E-Series low-z with hi-z transformer, along with a Godin A6 acoustic/electric guitar.  With either mic it delivered a crystal clear tone with surprising volume and no feedback problems, even when cranked up.  I think it has enough punch for small bar gigs, as well as a number of other applications such as practice PA or even a powered stage monitor.  These are $139 new but this one appears "as new" and is just $79, plus around $15 shipping.  Ships in original box with manual.  

1998 Fender American Deluxe Stratocaster - Crimson Red Transparent, (front1  front2), (grain), (back), (headstock),  (pickups), (case).  Incredibly clean early model American Deluxe in a classic Crimson Red Transparent, basically the same finish as the 70's "Wine".  Unlike the Strat Plus that preceded this model, the American Deluxe had more upscale features that distinguished it from the stock Strat.  Pickups are Fender's Vintage Noiseless, which were Fender's premium pickups for the era and still preferred over many players today due to their traditional tone, but without the hum of vintage single coils.  Other deluxe features include polished chrome locking tuners, polished chrome tremolo with pop-in trem arm, abalone dot inlays, aged plastic parts, fret and nut work that's even more detailed than the regular American Series, and raised chrome logo. For players who like a traditional nut, the '98 models only used the LSR on deluxe locking tremolo and HSS models, so this one has the same performance as a vintage model.  This guitar is in lovely condition with no noteworthy scratches and extremely comfortable set-up, with no fret wear and the "Noiseless" lettering near perfect on the pickups.  You don't see very many of these in transparent red and this is definitely one of the nicer ones you'll find.  Just $999 and includes the upgraded Fender/G&G case, in similarly beautiful shape, and pop-in tremolo arm. 

Carr Bloke 1X12 Combo with Effects Loop, (stock pic), (panel pic2), (top), (back), (accessories), (tubes).  There are a lot of good sounding boutique amps made these days, Carr is clearly among the best.  Most of them I've had focused on versatility, going from a Fendery clean to a Marshall Crunch, but the Bloke is an amp made to be overdriven and doesn't try to fool anybody into thinking it can cut it as a jazz, country, or blues combo.  The Class AB2 two-channel design with separate Master Volume knobs for Lead and Normal has foot switchable Lead mode which increases sustain and odd order harmonic drive.  Many players won't even need the Lead channel since you can get tons of gain from the Normal channel, enough for most 70's/80's rock tones.  This amp features the Bloke's optional series effects loop, which is a little different in that it comes in a separate Loop Interface pedal that it has separate controls to match in/out levels to buffer the inputs and outputs and is powered by a 9V power supply (included).  It also includes a channel select footswitch, referred to as "High Gain" and "Higher Gain".  Features include huge power supply filter capacitors for thick, strong low end; ;Normal and Lead modes with separate loudness controls - footswitchable; six tubes including 12AT7 direct driver preamp-to-power amp interface for complete preamp dominance over the power tubes (Class AB2) and EL34 power tubes (48 watts) or optional 6V6's (23 watts); unique Bass control circuit delivers plenty of bass without getting flabby; optional effects loop; 100% point-to-point hand wired; Solid pine dovetailed cabinet with integral baffle and floating grill screen; measures around 24"X18"X9"; 48 lbs.   Controls include Drive, Loudness (Normal), Loudness (Lead), Treble, Middle, Bass; Switches: Normal Gain: Medium/High, Normal/Lead toggle; Footswitch: Normal/Lead.  Here's a link to 9 YouTube videos beginning with Carr introducing it at the '12 NAMM Show (link) or click here for Carr's site with reviews to 5 publications, sound clips, and detailed info (link).  This amp looks very cool with neo-classic, mid-century styling that looks sort of like a 50's hi-fi.  If you're looking for an amp that can nail the classic rock tones - all the way to Metallica territory - I can't imagine anything better.  It's also loud enough to play virtually any venue, short of an arena show.   With the $400 effects loop this model sells new for $2850.  While that may be a bit pricey for many players, how about this mint one, rarely played and never used out of the home, for $1000 less.  $1850 take it.  

Casio WK-210 76-Note Keyboard, (back), (stock pic).  Immaculate condition - used less than an hour.  I bought this to give keyboard lessons to a family member (blind leading the blind).  It's not a pro model but for the price I though it had better than average samples and a 6-octave board is definitely preferable to a 61 note.  Another advantage to a home board is the built in speakers, whereas on a pro board you have to plug into a separate preamp, amp, or mixer.  Far from a base model, it features touch-sensitive keys, digital effects, harmonizer, arpeggiator, built-in lesson plans, and band accompaniment.  It has a built-in sampler with mic and aux inputs to make your own samples, USB port for connecting to your computer, phone/out for headphones or running through a bigger amplifier or PA, and sustain pedal jack.  To list all the features would use up around 3 screens of info but click here for all the info.  For demo's on YouTube click here and here.  I don't think you can touch a 76-note Casio for under $199 but this one is like new, in original box, and just $135(HOLD-Ken, local) INCLUDING shipping.  

1989 Fender HM Strat - Blackstone, (front), (back), (headstock).  I don't think anybody sells more HM's (and Strat Plus's) than we do.  Many of  us in business tend to gravitate to the guitars we personally enjoy.  For me, a guitar that can go from a 50's vintage Strat tone - to an 80's hair metal tone is a cool guitar.  When you add in the playing comfort and low action/flat radius, you've got a great guitar.  In order to help keep this page shorter, I've created a page about these fine HM's.  Please click this link for more info.  This one's finished in Blackstone, which is black finish with gold and/or white lines (depending on how the painter felt the day he finished it), emulating the look of granite.  Cosmetically it's in very presentable condition with the worst aspect being wear to the bridge/fine tuners which has a bit of pitting and the brass is showing on the fine tuners.  We can touch this up at no charge but some guys like the "vintage" look when the black top coat wears through.  It also has some minor scratches in the clear coat but judging by the lack of fret wear it hasn't been played excessively.  The finish wear on the neckplate is inevitable on these and I've had ones that were near mint that didn't escape the neckplate wear.  Frets are in excellent condition which, along with a nice straight neck, allows for a low, fast set up.  We've buffed the finish out nicely which gives it a high luster appearance.  Includes original rectangular molded case in so-so condition or I'll substitute a more intact case in better shape at no extra  charge.  Great HM for $679.  

2009 Fender American Standard Telecaster - 3-Tone Sunburst, (front), (back), (headstock), (neck), (bridge), (case), (accessories).   Classic 3-tone sunburst with maple board, beautiful condition, and one of the best playing Tele's you'll find.  The set up on this one is very low, cut low at the nut, and it has superb playability all the way up the neck.  Getting a great neck that sets up low is only half of the picture.  When you get low action that doesn't fret out during bends, then you've got a truly great player.  Features include alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, Fender staggered cast/sealed tuning machines, new style saddles on chrome-plated brass bridge, volume and tone control - Delta tone "no load" tone circuit.   Other features include new bent steel saddles with elongated string slots, highly finished frets, detailed nut work, rolled fretboard edges, and new molded Fender/SKB Case with TSA Locks, glass reinforced nylon trigger latches, and form fitted plush interior.  A new American Standard in 3-tone sunburst will run you $1199, and it will probably be a good player.  For $350 less, you can have this barely played example that's guaranteed to be an exceptional player and there's even some nice flame in the neck, which is rare on an American Standard.  $849.  Includes all accessories and paperwork, including hang-tags that aren't pictured.  

Boss RC-2 Loop Station, (pic2), (pic3).  Since the release of the DSD-2 in 1985, Boss has been working on a sampler in compact pedal format. The DSD-2 offered only 800ms of sampling time, the DD-5 extended this to 2 seconds while the DD-6 pushed the sampling time to 5.2 seconds. Due to this rather limited sampling time none of the earlier pedals gained much popularity when it came to sampling. The RC-2 changes all that by offering as much as 16 minutes of sampling time. Features include: storage of up to 11 loops with as much as 16 minutes total mono sampling time, Undo/Redo functionality, Built-in guide-tone drum patterns, Tap tempo, and Loop Quantize. You can even use the AUX input to store your own backing tracks, click track, or favorite drum loops right to the RC-2. The circuitry is very similar to the RC-20XL and the technical specifications are practically identical. This is a very useful player for the soloist, or rock guitarist who are into "The Edge" style of playing, and need a pedal to create and play back loops "on the fly".  An amazing pedal, in perfect condition in original box, for $115. 

2010 Fender Artist Series Eric Johnson Stratocaster - White Blonde "light relic", (front), (back), (headstock), (relic features), (case/etc.).  Original owner wanted a more natural feel and removed the lacquer from the front/back of the neck.  Although it looks rather stark right now, unfinished maple discolors quickly and it will soon have the look of a well-aged vintage neck.  He put some wear around the forearm and there's also some fine finish checking, minor scratches, and a pickguard chip missing.  Overall, everything is within bounds of a vintage guitar and it all looks pretty cool.  The Eric Johnson is our best selling Strat and they're impossible to keep in stock.  As I've mentioned many times, it's my opinion that Eric Johnson Strats are the best signature models Fender has ever made, including their custom shop models.  Each one I've had exhibited commendable acoustic tone, excellent sustain, and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone, and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quartersawn maple neck with vintage tint, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  This is an excellent Strat with a sweet resonant body and an excellent setup.  If you're contemplating buying a new one for $1899 ($2599 list) here's one with a little accelerated mojo, set up to perfection, for much less.  $1099 includes blonde EJ case with various case candy.  

Goodsell Super 17 Mark IV Combo, (panel), (top), (back), (speaker), (footswitch), (chassis), (tubes).  New in the box and the latest and greatest from Richard Goodsell in the evolution of his successful Super 17 amp.  The Mark IV uses the same basic circuit as the very first unit, now boasting standard spring reverb, award-winning bias-vary tremolo, and a cathode-follower powered tone stack that retains the original's sparkly character.  Now with separate bass and treble controls and a 3-way midrange switch, the Mark IV is as effective with humbuckers as it is single coils.  Richard dropped the low/high power switch as he's not a fan of pentode operation and I think it was only added to appease players who just want the most features possible, regardless of effect on overall tone.  Tubes are dual EL84 power tubes, GZ34 rectifier, three 12AX7s and a 12AU7.  I have upgraded the stock EH power tubes with a pair of 40-year-old Sylvania JAN (6BQ5).  Standard speaker is the Goodsell RGH by WGS, and is strikingly similar to the Celestion G12H.  Constructed of solid-finger-joined pine, the cabinet are light and resonant, with tweed-era floating baffle board.  Measuring just 16"h x 20"w x 9.5"d, weighing 27 lbs., it's portability, versatility of tones, and onboard effects make it the best grab-and-go amp I can think of.  It's perfect for small gigs, practice, or the studio.  Although designed to sound much like a Vox AC-15, its special 3-way tone clipping switch offers a choice of Blackface, Mid Normal or Top Boost vibe.  Goodsell's acclaimed Reverb and Trem circuits are as fine as you'll hear.  Tonequest Report just reviewed the MK IV in the current issue and they kind of sum it up:  "For our money (or yours) there simply isn't a better sounding, more versatile or toneful 1x12 amp being built by anyone today...  Among all the smaller combo amps we have reviewed, the Mark IV qualifies as a true desert island amp.”  You can read the entire comprehensive review at this link.  Although frequently accompanied by a few month wait time, these are available online for $2099, or you can have this one, new in the box with $100+ power tube upgrade, for just $1750(HOLD-Wanda 8/1). 

2008 Gibson SG Special Ltd Ed "Blue Mist", (front), (back), (headstock), (ebony board), (gigbag).  Very cool limited edition color with a slick ebony fretboard makes this a pretty cool SG.  Finished in Blue Mist, which is a satin nitrocellulose finish very similar to Pelham Blue of yesteryear.  Other unique features are fretboard inlays, where it sports dots at only the 5th and 12th frets (all side markers though), and 60's chrome dome knobs.  Other features are the same as other Specials of the era including lightweight solid mahogany body with a nitrocellulose finish, mahogany neck, ebony fretboard, Gibson Deluxe tuners with aged Keystone buttons, and 50's rounded neck profile.  The neck isn't as huge as some of the R7 Les Paul Juniors I've had but it's well rounded and much more substantial than their thin taper 60's.  Pickups are Gibson 490R and 490T in the neck and bridge positions respectively, with Alnico II bar magnets and wax potting to reduce microphonic feedback.  Cosmetically it's in excellent condition with a low, comfortable set up.  Cool SG in a cool color for $675 which includes Gibson deluxe gigbag.  If you prefer, substitute a new TKL case (pic) for $79 ($190 list, sells for $115 on Amazon). 

2009 Martin 000-15M, (front), (back), (headstock), (optional pickup), (case/etc.).  If you're considering a nice OM-size Martin but don't like the look of the 15-series satin finish, here you go.  Martin buffed out the top and the headstock to give it more the look of a classic Martin.  He didn't do any sanding, which is needed for a full gloss finish, but spent a few hours buffing it to what I'd call a semi-gloss.  You can see the difference in this comparison pic.  Now you can have the tonal advantage of a satin finish, with more of a classic look and a vibe that'll make you forget you're playing a modern 15-series.  The 000-15M features all mahogany construction, which is a great wood for just sitting around playing by yourself.  It's a warm, cozy tone that covers lows-mids-highs without discrimination; very well balanced and an excellent strumming guitar.  While the attack of mahogany isn't usually recommended for fingerstyle work, the smaller body seems to contribute to better note definition than a mahogany in a dreadnought size.  Other features include bone nut & saddle, open gear vintage-style butterbean tuners, a thin inlaid rosette, old-style headstock decal, neck meets body at 12th fret, 1-11/16" nut width, 25.4" scale, tortoise pickguard, modified low oval neck shape, rosewood fretboard, and Martin #345 flattop hardshell case.  This guitar has seen very little playing time and has no scratches or player's wear.  Setup is very comfortable anywhere on the neck.  For the player who plays plugged in sometimes, we're offering a special deal on an L.R. Baggs M1 Active soundhole pickup with endpin jack.  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. A primary coil moves with the guitar top and creates a body signal in the suspended secondary coil and the pickup now features a volume control.  The M1 Active sells for $169 plus installation.  Buy it with this guitar for just $125/installed.  The 000-15M sells in stores for $1199 but here's one with a nicer look, that won't get those "shiny spots" common to satin finishes, for less.  For just $999, you can have the upgraded 000 INCLUDING the Baggs M1 system. 

1996 Fender Richie Sambora Standard Stratocaster, (front), (back), (headstock), (tremolo).  These are excellent guitars that don't along very often.  Basically you get all the classic Strat tones plus a fat DiMarzio PAF tone in the bridge position and a Floyd Rose tremolo for some delightful whamming.  On this Standard version they opted to use the Floyd Rose II, but it's the good one with locking saddle blocks, not the single locking system where the strings don't clamp down at the bridge.  It stays in tune as good as an OFR but made with cheaper metals.  Features include contoured poplar body, one-piece maple neck with rosewood fretboard, 9.5" radius, Fender Ping tuners, 21 medium jumbo frets, 2 standard stag pole pickups in middle and neck, DiMarzio PAF humbucker in bridge, 5-way switch, neck tone, middle tone, tilt-adjust neck/neckplate, 3-ply pickguard, Richie Sambora signature on headstock.  Overall this guitar appears to have seen little use in 18 years with the exception of a small gash on the back edge (shown here).  Other than that it's exceptionally clean all over, played very little.  There aren't any of the common stress cracks behind the nut (pic).  All original other than a pick holder added behind the headstock which can be easily removed.  Players who buy Floyd Strats generally want a fast playing guitar and this one won't disappoint.  Action is low without buzz.  It nails a vintage Strat tone when needed, or some heavy rock/metal tones with the DiMarzio.  For the Sambora fan or Strat player who wants something a little heavier, this is an excellent guitar for the money.  $429.  

2005 Taylor 314 Grand Auditorium with Pickup, (front), (back), (headstock), (Baggs Element), (case).  Taylor's most popular grand auditorium - where quality tonewoods and fine craftsmanship combine with a modest price, at least for a Taylor.  Taylor's 100- and 200-series are good guitar for the money but the 300-series is really in a different class and in my opinion, the best value in their line.  We've installed a quality L.R. Baggs Element under-saddle pickup (pic), with a volume control inside the soundhole, and endpin jack which houses the preamp.  The 9V battery is mounted in a canvas bag on the neck block.  It sounds very natural and needs little to no EQ'ing to sound right.  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 lovely 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.  $950, including the professionally installed Element.  Includes a nice hardshell case in a brown leatherette that feels almost like suede.  

Digitech Jimi Hendrix Experience, (pic2), (tones).  "Seven Tones That Changed the World".  Incorporates a collection of classic tones including Fuzz Face, 100W Marshall Super Lead, Octavia, rotary speaker, Clyde McCoy wah, brownface Fender Bassman, and EMT plate reverb.  Includes 7 preset tones plus knobs for tweaking including Gain, Level, High EQ, Low EQ, Reverb Amount, and Reverb Decay.  It also features stereo inputs and outputs.  For full specs check out Digitech's Site here.  There are a bunch of YouTube demo's like these:  (link1) (link2).  If you can still find these, they sell for $199 new but this one's mint in the box for just $139(HOLD-Jim S 12/30).  Includes signature guitar pick, power supply, cloth bag, manual, etc.

2000 Fender Eric Clapton Signature Stratocaster - Pewter, (front), (headstock), (back), (tweed case).  Wouldn't this look great under the tree (pic)?  How about a great "after Christmas" gift for yourself?  This beauty is in under-the-bed condition, pretty much unplayed by appearance, and the last year for Fender Lace Sensors in this model.  The Clapton was Fender's first ever signature model, becoming available to the public 1988, although prototypes were used by Eric beginning in 1986, most finished in the same Pewter. This model is based loosely on Clapton's original "mutt" nicknamed "Blackie" that he assembled from three mid-50's Strats. This model appears much the same as Clapton's prototype guitars. The guitar uses a lightweight alder body with a polyurethane finish and single-ply white pickguard, plus a soft-V shaped 22-fret maple neck. Other distinct features include a "blocked" American vintage synchronized tremolo, and special electronics circuit that features Fender's TBX pot (middle knob) and an active 25dB midrange boost (bottom knob), which are wired to work on all pickup settings. 25dB is an amazing amount of boost an makes these Noiseless pickups sound so fat, they're very must like humbuckers in their sound and performance. With the mid-boost turned down to "1", it's virtually out of the circuit and sounds like a regular Strat, as you turn it up the pickup gets fatter and fatter, with hotter output. The TBX knob is detented at "5", working like a regular tone control from 1-5, and from 5-10 acts like a treble booster, adding additional sparkle and clarity. Other features include vintage style frets, modern 9.5" radius, black dot inlays, satin urethane neck finish, 1 5/8" nut, Clapton signature on headstock, 4-Bolt neck with Micro-Tilt adjustment, chrome hardware, synthetic bone nut, American Vintage synchronized tremolo, and American Vintage Kluson-style tuners with metal buttons.  This guitar is in beautiful shape and appears to have seen little to no playing time, evidenced by perfect frets (pic) and writing unworn on the pickups (pic).  It has a great set up with low action and non-problematic string bends.  This is as fine a Clapton you'll find and in one of the all-time cool colors, for just $1099.  Includes Fender/G&G tweed case and trem arm.

1997 Robin Medley Exotic Top - USA - LEFTY, (front front2), (pickups), (back), (headstock), (fretboard inlays), (neck), (trem), (case).  Another great lefty acquisition and this one's as nice as it gets...Robin Custom Shop model with all the bells and whistles.  With the Medley Standard IV as the starting point, this model features high end upgrades all around starting with a beautifully quilted maple top (over swamp ash) that's as fine as they come.  Next, add some body binding to really set it off, plus white pearl pickup covers/bobbins, custom pickup design with a slanted neck single, middle single, and bridge humbucker, with no pickguard to obscure the top, and you've got a true work of art.  Upgrades on the neck include killer flamed maple with a rosewood board, neck binding, and Robin's popular Dolphin inlays.  Other features include recessed Gotoh licensed Floyd Rose with Kahler Floyd nut, 24 medium jumbo frets, wide body sculpt on back to allow access to the upper frets, and Rio Grande pickups with 5-way switching.  Robins are hand-made in Houston TX where, since 1982, they have been synonymous with high-end SuperStrats, and more recently a wider variety of electrics.  This guitar plays spectacularly with low action and a fast feeling neck.  Overall in very clean shape with only a few minor flaws in the clear coat.  I'm not sure what trems Robin was using in '97 but this Gotoh looks original, although I can't find any info to verify one way or another.  It has some trem paperwork in the case with a patina the same age as the guitar which makes me favor the believe it's original.  No Robins are cheap, with base models priced around a USA Jackson, but when you custom order a guitar with these options I would guess this would have priced out at nearly $3K in '97.  A few features are really unique for a Medley, especially the bound neck, and the odds are astronomical that you'll find another guitar with the exact same specs.  If you know a lefty rock/metal player, be sure to tell them about this one, which is the lefty deal of the year at $799(HOLD-Darren W 1/14), including original Robin case and some paperwork.  

2001 Fender American Fat Strat Texas Special, (front), (saddles), (back), (headstock), (case).  Fairly rare model, toward the end of the "Hot Rodded American" series, with the most notable features being a Seymour Duncan Pearly Gates bridge humbucker, with custom shop Texas Specials in the middle and neck.  It also featured some finishes that weren't available in the regular American Standard, in this case Sienna Sunburst, and fancier plastic, with a white pearl pickguard and trem cover.  Sienna Sunburst always comes with an ash body and this one is pretty special:  2-piece ash, which is much more rare than the more common 3-piece.  Along with the American Fat Strat Texas Special, Fender also produced the American Double Fat Strat, and American Strat Texas Specials - basically the same guitars which were known as the Lonestar, Big Apple, and Roadhouse, respectively, in the 90's, when the series was called "American Standard" (1st ver.).  This guitar is in beautiful shape and features one mod, with a set of Graph Tech graphite saddles.  It's also interesting to note that it was originally factory finished in transparent green (shown in the trem cavity), which was an American Deluxe finish.  In getting this one ready for sale Martin polished all the frets (pic here), so bends are smooth as glass.  It's currently set up for no up-pull on the tremolo, with the bridge flush on the body, but we can change that upon request.  For one of the best colors, with a killer set up, nice deal on a Hot Rod series at $829.  Includes original case and trem arm.  

1988 Fender Stratocaster Plus - Pewter, (front), (headstock), (back), (neck date), (case).  Near pristine condition in a classic 80's finish, Pewter.  The Strat Plus made its debut in 1987, making this a second-year model.  The Plus had a very successful 13-year run, ending in '99, when the "American Deluxe" replaced the Strat Plus as Fender's premium production model.  The Strat 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.  Early models like this '88 featured only "Gold" Laces (later "Plus Deluxe" models featured different combinations using Red, Blue, Silver, and Gold, depending on the era).  The Golds were designed to emulate the 50's Strat tone, and are the same pickups used on the original Clapton and Buddy Guy signature models.  We have a lot of players, myself among them, who favor these Laces as the best for zero hum while retaining that vintage Strat tone.  Unlike the early American Standard Strats, the Plus models featured a new TBX (Treble Bass Expander) control in place of the bottom tone pot.  The TBX controls the bridge and middle pickup and is a detented, stacked 250K / 1-Meg Pot control that, from "0" to "5" is a standard tone control, but once you pass "5" you start to decrease the resistance which allows more bass, treble, presence and output to flow to your amp.  The effect is subtle to some players but to a trained ear it's like having a complete new palette of tones.  Other features of the Plus include Sperzel locking tuners and Wilkinson cam nut (LSR roller nut came on later models), enhancements to keep the guitar in tune, especially for players who use the tremolo extensively.  This one's in stunning condition with no noteworthy flaws anywhere.  Even the fretboard and edges, the first part to exhibit wear on a maple board Strat in this era, is clean as shown here.  Another part that wears easily is the writing on the pickups and these are in nice shape, as shown here.  As lovely as this guitar is, it's also a fantastic player with a nice neck and low action all the way up the neck, and a tone that won't disappoint.  For a Plus in desirable Pewter in this condition, a nice find at $1350(HOLD-Jim S 1/30) AND that includes an original case that, remarkably, is in nice shape as well.  

2006 Eastman AR810ce 17" 5th Anniversary Uptown, (front), (headstock), (back back2), (side), (label), (appointments), (controls), (case).  A true high end archtop, with all solid woods, for a fraction of the price of a USA maker.  Eastman has building truly fine guitars for around 12 years and more than any other Asian company, has blurred the line between USA and Chinese quality.  While I know some of you may find that hard to swallow, trust me, these things are special.  At a fraction of the cost of a Benedetto, you can have a traditional archtop that's easily good enough for the studio or solo live gigs.  Eastman isn't just another Asian builder.  They operate in precisely the same manner as late 19th century European workshops with virtually no power tools aside from the band saws used to cut out the necks and the outlines of the tops and backs of instruments.  Chisels, knives, gouges, and scrapers, in the hands of outstandingly gifted craftspeople, are the primary tools used to create these modern instruments, using centuries-old methods.  Thanks to Eastman, jazz players have access to true quality instruments that simply weren't available a decade or more ago.  This guitar is #9 of what I'm told were 100 5th Anniversary archtops built.  Appointments are upgraded to 900-series specs on these guitars including all wood binding on body and neck, as well as a blond body rather than the sunburst or violin finishes, and ebony tuner buttons.  The wood binding lends and elegance well above the 7-ply ivoroid found on regular 810's.  Other features include 17” fully appointed carved F hole archtop with cutaway, hand-carved aged spruce top that's accurately graduated, beautifully carved solid flamed maple sides and back, gold Gotoh tuners, gold-plated adjustable pole Kent Armstrong pickup, ebony-covered brass tailpiece, 1 3/4" nut, 25'' scale, 17'' X 3 1/2" body (actually measures 17 1/2"), ebony/flamed maple pickguard with volume and tone controls hidden at the edge.  One magazine reviewer commented, ''probably the most lively acoustic archtop to hit the market in the last 50 years'' while my tech, Martin simply said, "that's a nice guitar!".  He also gave it the highest praise by stating he would buy it if it were not for his own brand of guitars which are going to be launching within a few months.  The projection on this guitar is amazing and to my ears it sounds as good as a $8500 European made archtop I sold a few months back.  At 5.5 lbs. it's the right weight for a fine archtop and with a perfect neck angle it plays incredibly easy.  Cosmetically it has some minor dings and scratches but certainly no cracks or serious issues.  There is also some light finish checking (pic) which is visible only from an angle - from the front it's invisible since the unplasticised nitro lacquer cracks, while the softer shellac finish underneath expands.  Serious players will appreciate the fact that this guitar has been played regularly for 7 years.  A solid wood archtop takes time to "open up" and achieve its full sonic voice and it simply sounds better than a stiff, new guitar.  For more info click here for specs on the current AR810CE.  While some Eastman guitars are available in the USA, they're generally in short supply here and if you look around the web, you'll see a lot of "on order" descriptions.  This one is available and one fine guitar for $1499.  (Note: I also have in stock an Eastman El Rey ER3 for $1150). 

2006 ESP Ltd Viper 400 - LEFTY, (front), (headstock), (back).  Another nice guitar for my wrong-handed friends.  This killer lefty Viper has high-end features with top notch craftsmanship at ESP's Korea factory.  The 400 was the top of the line in the Ltd Viper series, with top quality features and quality craftsmanship that reinforces the fact that some great guitars are being built in Korea these days.  The Ltd line was originally conceived to be a less expensive alternative to ESP's Japan-made guitars.  It's been my opinion that they're every bit as good as their ESP counterparts and I actually have found them to be better built the Japan ESP's in many instances.  Most imports have shortcomings in the way of electronic...but Viper 400 is an exception.  With a set up active EMG-81/85 pickups, this guitar sounds as good as many that cost 3X the price.  The body shape of the Viper is pretty much like an SG, except slightly thicker and the upper horn is slightly longer, rather than symmetrical like the SG.   It also features the same all-mahogany construction of the SG with a dark cherry glossy finish, with the same Tuneomatic bridge and tailpiece, 3/side headstock, Grover tuners, black hardware, and beveled body edges.  ESP left off the pickguard and used black hardware which give it a more elegant look.  Phased out in '09, the Viper 400 sold for $599 (for the righty at least) but this one's in immaculate shape and just $350.  

Ovation Elite LEFTY - Model L718, (front), (headstock/neck), (back), (sound holes), (preamp), (label), (case).  Quality American Ovation for the lefty player.  The L718 features Ovation's 22-soundhole "epaulettes" made of a variety of exotic woods, as well as a solid Sitka spruce top, a 5-piece mahogany/maple neck, Lyrachord body, rosewood fretboard with wooden triangle inlays, rosewood bridge, 22 frets, gold Schaller tuners, 25-1/4" scale, and 1-11/16" nut width.  Preamp is Ovations OP-24 which features battery test switch and LED, volume knob, and sliders for bass/mid/treb.  Other than a minor ding on the top of the headstock it's in lovely condition and it plays exceptionally nice.  List price back in '90 was $1499, which makes it an excellent buy today at just $499.  Includes form fit SKB case.  

2009 Gibson Les Paul Junior - Satin Vintage Sunburst, (front), (headstock), (back), (gigbag).  For a Junior fan this is an especially cool guitar.  Wonderfully simple - an all-mahogany guitar, wraparound tailpiece, single P90, and volume/tone.  For hand-damping technique, there's nothing more effective, and comfortable, than this stud tailpiece.  The single-cutaway Junior debuted in '54 and by '58 it was replaced by a double cutaway version that no longer retained the Les Paul body shape.  Many players, me among them, consider the Junior 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.  Features include mahogany body with 50's rounded mahogany neck, vintage intonated wraparound tailpiece, dot inlays, angled headstock, 22 silver alloy frets, nitrocellulose finish, and a rosewood fretboard rather than the baked maple that followed in '11.  One very minor mod has been done - knobs have been changed to 50's speed knobs with metal pointers (shown here) for aesthetic appeal.  Set up is better than factory with the action set low and the fret ends, which inevitably have burrs on them, have each been hand-dressed.  The slightly chunky neck feels fast, especially with this satin finish.  Offered in beautiful condition with no player's wear evident.  Compare this with the Billy Joe Armstrong signature Junior and this one's around 1/3 the price at $550(HOLD-Jason 10/21).  Includes Gibson gigbag. 

1965 Gibson EB-0, (front), (headstock), (neck/fretboard), (back), (checking and pickup), (cavity), (case).  Desirable mid-60's era EB-0 in all original condition.  Gibson has always chased Fender in bass guitars, never gaining the popularity of the P or J basses, but they have a cool tone and these EB-0's with their short scale and narrow neck width are great for guitarists making the change to bass.  When I was a youngster an EB was my dream bass, probably because Jack Bruce (Cream) was never seen without one and he showed what a mahogany bass could sound like.  This bass is 100% original with no touch-ups or overspray on the finish, all original solder joints, and pots both dated to mid-'65, which agrees with the serial number.  It has the complete original bridge, including string mute.  Please note that the bridge can be lowered if the mute is removed but it's still a decent player in stock condition.  Other than finish checking this bass is in remarkably nice shape and hasn't seen a lot of playing time.  The only real wear is a spot on the back where the finish is missing, but frets are perfect so I'm guessing it's seen little playing time.  Heritage Cherry frequently fades to black or a weak red but this finish is as strong as you'll find.  Pickguard (pic) is missing a small corner and is cracked on another (we will be fixed for free).  It has a nice set up and like the SG, the kind of tone that is sweeter by virtue of 50 year old wood.  At $1399 it's a great price for a '65 in this condition and around the same price as a recent reissue.  And when it comes down to it, I can't imagine buying a new instrument when you can get a comparable vintage model at a comparable price.  Includes original semi-hard case with plush red lining, with one hasp missing but otherwise in nice shape.  

Pickup Day - more will be added during the day: 

L.R. Baggs M1 Active Acoustic Soundhole Pickup, (pic2), (pic3).  The simplest dual-element system made and a quick and easy soundhole pickup with endpen jack.  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. A primary coil moves with the guitar top and creates a body signal in the suspended secondary coil and the pickup now features a volume control.  Easy to install:  Just replace your endpin with the endpin output jack, clamp down the pickup, and you're ready to go.  Missing the battery cover but we'll fit it with a piece of duct tape that will work just fine.  The M1 Active sells new for $169.  Get this one for just $99. 

No-Contract LG Extravert Cell Phone, pic2, pic3.  Earlier this year I was at war with AT&T and I went with Verizon for a month.  Not wanting anything like a 2-year marriage, I elected to go the "no contract" route and picked up this LG at Wal-Mart for $99.  I used it for around a month, just a few calls and texts, and it's in mint condition.  It features a 2 mega pixel camera, touch screen, easy access to your Twitter, Facebook, internet, etc., and Bluetooth 3.0.   Includes LG charger and USB cable which charges off the charger or a USB port on your computer.  Sign up is easy.  Just dial the Verizon number that's already in the address book, give them your card number, and you're up and running in a minute or two.  You can reactivate each month, or set it up for auto-renewal from your credit card.  $45 includes Priority Mail shipping.  If you need two phones, add this LG flip phone for another $25 ($70/shipped for the pair) which I used for only 3 days prior to getting the Extravert.  

2013 Godin LGX-SA with Synth Access, (front), (side), (back), (headstock), (Hex bridge/output jacks), (electronics), (deluxe gigbag).  The LGX-SA provides incredible power in a finely made solidbody guitar.  Referred to as a "three-voice" guitar as it features electric and acoustic guitar sounds, plus the infinite possibilities provided by synth access.  The output from the bridge transducer system produces six separate signals—one for each string. This divided signal is called hexaphonic and is used to drive guitar synths.  The LGX-SA is perhaps the best synth driver made as in addition to the electronic modifications, the guitar itself was altered in order to achieve the best possible synth performance.  A visible difference between the a standard guitar like the LGX and the LGX-SA is in the ebony fingerboard, which greatly improves synth tracking.  Some of you are only familiar with guitar synths which were technically complicated and required radical changes in playing technique.  The LGX-SA/Roland GR-synth combination represents a new standard in user friendliness and performance.  This is truly a 'plug in and play' system.  Without cracking a manual, I hooked this guitar up to a GR30 and was playing guitar/synth patches in 30 seconds.  Controls are simple, with the acoustic controls on the upper bout, consisting of sliders for volume, bass, mid, and treb.  The magnetic pickups, Seymour Duncans, feature a 5-way switch for single coil and humbucker tones, a master volume, and master tone.  There is a separate volume for the synth sound.  A 3-way mini switch (engaged only when using 13-pin connection) selects acoustic/electric, acoustic/electric+synth, or synth only.  The other mini-switch is a momentary which can be preset to do a number of functions, but most will use it for patch changes (up or down) to the synth.  The three output jacks include separate magnetic and acoustic outputs (to run your signal into your Marshall stack and your SWR acoustic amp), or use only output 3 for both magnetic and acoustic outputs going to the same amp, plus a 13-pin RMC jack which carries all three (acoustic, magnetic, and synth) voices to a GR series synth or other RMC equipped unit.  Features of this fine guitar include:  solid mahogany body with highly figured maple top, mahogany neck, ebony fingerboard, 16" fretboard radius, 25.5" scale, 1 11/16" nut width, GraphTech Tusq nut, high-ratio front-loaded Godin Locking Tuners, double-action truss rod, Schaller locking type strap pins, Seymour Duncan Custom Humbuckers with a SH III Jazz neck and Custom III bridge, 5-Way switch, guitar volume and tone, synth volume, program up/down, 3-mini switch, separate outputs for magnetic - acoustic - synth sounds, RMC transducer saddles. custom pre-Amp EQ for: Acoustic Volume, Treble, Mid-Range and Bass controls, and trans blue finish.  This is an excellent sounding guitar with a perfect low set up.  A new one will set you back $1750 but get this one, in "as new" condition, PLUS a Roland GR-30 (see below), for just $1350.  

Another look - I recently mistakenly told a customer that this was sold:  2004 Fischer Model 3H, (front-1) (front-2), (back/neck joint), (headstock), (recessed knobs), (formfit case).   The very first--and very best--Fischer guitar!  I've had this in stock for quite a while before listing it.  It's a fantastic guitar, beautiful, unique, and an exceptional playing instrument.  The only info I could find on the web was a mention on Moses Graphite's site timeline page:  "2004 - Fischer Guitars introduces elegant, inlaid guitars featuring Moses Graphite necks and bodies with gorgeous hardwood tops".  When I finally had the time to do some research I found "Fischer Fine Instruments" listed on a business locator web site.  Armed with a phone number I had the distinct pleasure of speaking, at great length, to the man himself.  Ken Fischer Kraft (he chose his middle family name for his company) made a batch of 28 guitars in 2004, with the unique feature of all graphite construction, with a highly figured maple top on the higher end model.  He supplied Moses graphite with a wooden body and neck, and from that they made a mold in which to pour the graphite.  The molds were only good for 28 units, at which time a new mold would have to be made.  For reasons I won't go into, unfortunately, this first batch of 28 were the only guitars that Ken made and as he stated he still had some body/neck units in stock, the actual finished product would probably number closer to 20.  This particular guitar is the very first one (serial 001) he made, and he stated that it was probably the best of the lot.  In order to get some buzz going about his brand he gave it to Kenny Olsen, guitarist for Kid Rock for over a decade, as part of an endorsement deal.  Unfortunately for Ken, Kenny also had a deal with Gibson, didn't play the guitar on stage, but never returned it.  It went from Kenny Olsen, to one of our regular customers, to me.  While Olsen owned the guitar his tech, who thought it was a wooden body, ran a bead of black glue around the neck joint (shown here), thinking it wouldn't hurt to reinforce the area.  He didn't know that the chemical process of graphite manufacture actually bonds the neck to the body while in the liquid form, essentially making it one piece, making it virtually impossible for the neck to shift.  One of the unique aspects of the Fischer guitar is the chambered graphite body - a solid piece of graphite running down the center with tone chambers on both the bass and treble sides.  One obvious effect was keeping the weight down (8.2 lbs.) which is important considering the inherent heaviness of graphite. Ken used these "sonic chambers", to actually improve the tone and sustain of the guitar.  Each curve has a radius that's conducive to a chromatic scale with bad overtones cancelled out to bring out more vibration.  He was in the progress of applying for a patent for this innovation but dropped the idea when he discontinued manufacture.  After Moses completed the neck/body composites, Ken added the wooden cap, which is full piece of maple that's around the same thickness as Les Paul.  He then had the back clear coated by an auto body shop to give the guitar the luster of wood rather than the matte look of graphite.  Ken compared his guitars to PRS but, whereas he though PRS were a modern take on a Gibson, his guitars were a modern take on a Fender, with a body that's sort of a cross between a Strat and Tele, 3 single coil pickups, with the bridge pickup reverse slanted for the Jimi effect, and the standard Strat 5-way selector, volume, neck tone, and middle tone.  You can also see a PRS influence with edge of the maple unstained to create a top "binding" and recessed knobs.  The top is even more carved than a PRS, with the upper bouts having a gentile German carve.  Other features include 22-fret neck with stunning abalone Dolphin inlays, Lace Sensor pickups with the bridge being a hotter wound model, gold hardware, Gotoh 510 tuners, and Hipshot hardtail bridge with strings thru body.  The neck is a compound radius, 9.5" to 12", with a V-shaped profile, although not overly deep.  Ken said his guitars sold for as low as $2200 for his base model, to $3200 for this model with the nicest appointments and wood.  He mentioned that these were virtually all sold to collector types which probably explains why I've never seen one on the used market before.  It's in excellent condition with very low action and a tone that's close to a Strat but with more "snap" and a faster attack.  If you're looking for a guitar that's impervious to climate change and breakage, or the collector of extremely rare, well made American guitars, this one's a stunner with a cool history, and considering it's unique heritage, a nice buy at less than 1/2 the new cost at $1499.  Includes Canadian hardshell case that hugs the body all around, like a PRS case.  

Jet City JCA2212 1X12 Combo, (panel), (top), (back), (back panel), (acc.).  If you're a rock guitarist looking for a killer lower powered combo, this baby was designed by Soldano and has the massive thick sustain you would expect from Soldano.  It's a dual-channel amp, advertised as a clean and high-gain but it's more like a tube Marshall, with a semi-clean channel and an overdrive channel.  The Crunch (clean) channel does have some chime thanks to the EL84's but it's far from the sparkling clean like a Fender.  It cranks 20 watts (conservative rating) through a single Jet City Eminence Custom driver, with outputs in back to add additional cabinets.  The back panel also has an effects loop and footswitch input.  The footswitch (included) selects the "clean" or overdrive channel.  The circuit is all tube with five 12AX7 preamp and a pair of EL84 power.  On the front panel each channel has it's own Preamp and Master Volume control, and they share the EQ section of Bass, Middle, Treble, and Presence.  Unlike a lot of budget tube amps this one actually has a real wood cabinet with multi-ply, void-free hardwood, which is lighter and has better acoustic properties than the particleboard used on many amps. Because of this the amp weighs in at just 38 lbs.  The chassis is made of 16 gauge cold-rolled steel and the power transformer uses worldwide current with tapes at 100v/120v/220v/240v.  If you're looking for an amp that's perfect for classic rock and modern rock, with excellent variations within that genre, this could be the perfect amp.  I even like the cleaner tones but, again, it's more like a EVH or Whitesnake clean.  This amp has seen only 30 min. use and was out of the box only long enough to shoot pics and do a quick demo.  It is in flawless condition.  This is a very well engineered amp for the rock player and with the build quality a cut above others in this price range, it's an excellent buy at $399, or guitar trades of course.  Includes original box, manual, and footswitch which changes from Crunch and Overdrive channels.  

Pic Fixed: 2005 ESP Ltd Viper 301 w/Upgrades, (back), (headstock), (pickups).  Killer Viper with in super clean condition, upgraded with a killer pair of DiMarzio humbuckers.  Installed are a DP207 Drop Sonic in the neck and a DP100 Super Distortion in the bridge, an excellent combination.  Although common practice is to use the 207 in the bridge position, it has an excellent treble response which keeps it from getting muddy like a lot of pickups in the neck position.  With the super high output of the 100, you need a powerful pickup in the neck and the 207 matches it well.  In addition, it is capable of a multitude of wiring schemes, with a total of 5 combinations for the neck pickup alone.  The Viper 301 is built with quality craftsmanship that reinforces the fact that some great guitars are coming out of Korea these days.  The body shape of the Viper is pretty much like a Gibson SG, except slightly thicker, and the upper horn is slightly longer, with an offset waist, rather than symmetrical like the SG.   It also features the same all-mahogany construction of the SG with the same Tuneomatic bridge and tailpiece, 3/side headstock, bound neck with 24 3/4" scale, and beveled body edges.  Other features include 24 medium jumbo frets, set-neck design with 3-piece mahogany neck for increased stability and strength, rosewood fretboard with "flag" pearloid inlays, pearloid model name inlay at 12th fret, Eclipse headstock, bound headstock, and black hardware.  The all-black look, without a pickguard, is both elegant, and very much rock and roll.  It received 4.5 out of 5 stars at Audiofanzine (link).  Phased out a few years ago, the Viper 301 sold for $450-$539 ($769 list) with the stock passive EMG-Hz pickups, but this one's in beautiful shape and, with a much better set of pickups, is a sweet deal at just $350, with gigbag, or $25 more for hardshell case.  

Vintage Tubes.  I have 100's of vintage tubes, hoarded throughout the years.  If you haven't tried any quality tubes, especially vintage USA and European, chances are you don't know how good your amp can really sound.  Some of these are nearly impossible to find and the price for the lot may be around the price of a single tube you might see elsewhere.  All but the Genalex and Groove Tube are vintage.  Most of these are '50's and several 1957, coincidentally, the same date as the tweed Champ I got them with.  Choose from:

Tom Holmes Humbucker Set - NOS, (boxes).  Hand wound by Tom himself.  New, old stock, never installed and only out of the box to shoot a pic.  My customer bought these quite a while ago and never found the "perfect" guitar to install them in.  Tom's pickups are legendary and fetch a premium on the secondary market.  An identical pair (and without covers) just sold for $750 (link) so these are quite fairly priced at $600(HOLD-Jeff 11/26).  

1997 Gibson Explorer - Ebony Fretboard, (front), (headstock), (back), (case), (fretboard).  AKA '67 Reissue in Wine finish with rare ebony fretboard.  Ebony boards was hit or miss during this era, and rare on an Explorer, and some guitars that weren't spec'd for ebony would somehow end up with an ebony board.  Gibson made another Explorer in this era but unlike the '67, it had the knobs in a triangle pattern, and no pickguard.  The Explorer became a true classic from Gibson ...eventually. It was one of the failed futuristic guitars that Gibson unveiled in the late 50's, which were discontinued until the timing was right, and they reissued them briefly in ca. '67.  It reappeared in '76-'80, and then again in the '90's, which is the era for this one, and has remained in the catalog since that time.  Like the Flying V, and ill-fated Moderne, the Explorer features set-neck construction, with a mahogany neck set in to a mahogany body, with dual humbuckers (496-R and 500-T) and unbound body and neck.  It has an exaggerated "Z" shaped body, vol-vol-tone knobs in line, with a 3-way selector on the upper treble bout, and the original "hockey stick" headstock with 6/line Grover tuners.  Interestingly, the headstock on the original '58 was the first appearance of the hockey stick, aka "banana" headstock, which was used by Kramer and others in the early to mid 80's on their rock/metal axes.   It's especially unique for a Gibson in that it's pitched and angled, with a 6/side tuners configuration.  This is a cool guitar for the Metallica/Skynard/etc. fan, or anybody who wants to delve into one of the original metal axes, designed 30 years before metal was even invented.  For players who do a lot of lead work on the low strings in the upper register, no guitar provides easier access.  Set up with low action with a fat, warm tone that will fit any type of music.  Cosmetically it has normal dings and scratches for a guitar that's been used on and off for 15+ years but no structural issues and the frets are in excellent condition.  Today's Explorer with weight-relived body and "fretboard of the week" woods don't compare to the quality of older models.  If you're looking for an Explorer built in the traditional way, this one's an excellent player that sounds superb, priced at $899(HOLD-Mike C 9/9).  Includes original brown case with pink lining and shroud.  Replacement leather handle and missing 1/2 of middle latch but structurally 100%. 

2006 Fender Mark Hoppus Bass - Surf Green, (front), (back), (headstock), (DiMarzio Straplocks), (case).   Signature bass for the low-slinging bassman from Blink 182, Mark Hoppus.   His signature bass is basically a marriage of a Jazz body with a Precision neck.  Features include top-notch pickups with a set of Duncan Basslines Quarter-Pounders, Alder body with Surf Green or Olympic White finish, stripped down controls with simply a volume control, signature neckplate, and 3-ply white pearl pickguard.  Excellent player and these Duncan Basslines are some of the best bass pickups made so it sounds as nice as it plays.  Also features a cool bridge that works as a top loader or string-thru-body.  It's in beautiful shape and has an excellent setup.  One modification has been done: DiMarzio straplock system has been installed (strap included).  This model sells new for $799 with gigbag but save big time in this beauty, with hardshell case, for $569. 

60's Danelectro DS100 All Tube Head - Project, (back), (top), (panel), (power tubes).  "As is" special and a rare Dano tube amp.  We have so many amps at the shop right now I'm not even going to mess with any more repairs for the near future.   The benefit to you is you can get a great vintage amp that probably needs little more than troubleshooting the circuit.  The guy I originally got this from never worked on it but he believed that the problem was with the rewiring of the output jacks, which is the only mod I'm aware of.  Specifically, the original multi-pin speaker jack has been bypassed in favor of dual 1/4" jacks (shown in this pic shown with this amp on left, stock configuration on right).  To help you on your way here's a schematic (pic here), but there are others in numerous places on the web.  Rare you ask, why are there so many schematics online?  Answer:  Because this amp is the same circuit as the Silvertone 1485, made by Danelectro for Sears/Silvertone.  The Silvertone's panel layout is different, with all the knobs on a straight line, but the circuit is identical.  The DS100 is spec'd at 100W, although I've never heard one that approaches anything close to a Twin or Marshall Super Lead.  They're still good utility amps and we can thank Jack Black for making them sought after.  It comes loaded with all tubes including 5 preamp and two pairs (Svetlana and Groove Tubes pairs) 6L6 power tubes.  The open back design is stock - Dano didn't use back panels on these amps.  The stock speaker cabinet had a "hide-away" spot to store the head for transporting.  If you're good with circuits, hopefully you can have this up and running with just a few hours of testing.  Could be a bargain and it's yours for $150, which is around the price of a vintage transformer, assuming some of these are same spec as Fender, etc.   

Korg GT-3 Chromatic Tuner, (pic2).  Very good quality compact tuner, accurate and compact, which saves space on your pedalboard.  The GT-3 is a fully automatic tuner which means you just have to pluck any note and the tuner will recognize the note and tell you if you're sharp or flat.  It has an illuminated display that shows the note you're on, and a red LED ladder that shows if you're sharp or flat, with a yellow arrow indicating perfect tune.  Features 1/4" input and output and built-in mic for acoustic tuning.  This tuner was a $39.95 list price and an excellent value on this "as new" one for $19.99, including Priority Mail shipping.  Includes box, manual, and paperwork. 

HD Hot Plate 2 Ohms Attenuator, (pic2).  A "must have" for a Bassman if you want any break up due to the massive clean headroom the amp has and you really have to drive it to painfully loud levels for power tube saturation.  This model is made for 2 Ohm load and works best for amps rated at 2 ohms such as the Fender 4X10 Bassman.  Offers Bright and Deep switches for tailoring your sound - Bright switch gives you two different high frequency levels to compensate for an overly bright, or dull speaker cabinet while the Deep switch offers two distinct bass settings to help you fill out the bottom end, or reduce the bass in a cabinet with too much low end.  Has built in noise reduction up to 10dB, line out, and a fan to keep it cool.  Brand new condition with original box and manual.  With new ones going for $349, a sweet deal for $229, or $199 with the Bassman above, and if you buy it with the Bassman, I'll include  two custom made cables to connect to the 4 output jacks of the Bassman.  For full specs click here for THD's site.

Fender Deluxe Combo Vintage Modified - Blonde, (top), (panel), (back), (speaker/label), (acc.).  A modern day take on a 60's classic, the Fender Deluxe, complete with dual 6L6 power tubes, with a 12AX7 and 12AT7 in the preamp - plus a modern day digital effects section with digital reverb, delay, and chorus - all housed in ca. '60 blonde cabinet with wheat grill cloth.  The Deluxe VM offers a much wider selection of tones than your daddy's amp but can deliver the Blackface Deluxe when you want it to, but also gets much more aggressive, with its higher gain and post-gain EQ, to deliver heavy tones not possible with a standard blackface.  It's a 2-channel amp with Clean and Drive channels.  The Clean Channel features Volume, Treble, Bass, and Drive Switch, with the Drive Channel featuring Drive Switch, Gain, Volume, Treble, Middle, Bass, Reverb, Effects Adjust Switch (Chorus/Delay), Time/Rate, Delay On/Off Switch, Mix, Chorus On/Off Switch, and Depth.  Included is the 4-button footswitch than turns on/off the Drive, Reverb, Delay, and Chorus.  It also features Celestion 12" speaker, effects loop, dual speaker outs, and a standby switch.  It's around the size of a vintage Deluxe at 24X17.5X10 and 40 lbs., making it a very versatile grab and go combo.  From what I read the blonde/wheat version was a Ltd Ed model and is no longer available.  You can get the black one new for $799, or get this even cooler blonde, in immaculate condition, for $599.  Includes cover and footswitch.  

Ernie Ball Music Man Stingray 5 HH, (front), (back), (headstock), (controls), (case).  Super clean - barely touched - fantastic player.  A list of Stingray players is a virtual who's-who of the best bassists on the scene over the past 20 years.  It's hard to picture "Flea" without seeing him slinging a Stingray.  By virtue of it's utter simplicity, comfort, ease of play, and most of all tone, the Stingray became an immediate classic when first introduced in the 70's.  With its characteristic large pickguard and oversize pickups, the Stingray is immediately recognizable as a veritable funk/rock machine.  Although simple in looks, it's deceptively versatile by virtue of its dual humbucker design, combined with a 5-way selector and 3-band active EQ (bass-mid-treb), each with a center-detented cut/boost knob.  With the 5-way selector you can get the classic Stingray humbucker sound, two single coils together (like a Jazz bass), both humbuckers together or individual neck or bridge pickups.  This bass is super clean all around, as nice as a new one hanging in your local super store, with some of the nicest figured ash you'll find.  The set up is fantastic and it has one of the most comfortable necks you'll find on a 5-string with sufficient string spacing that even large hands can get around easily.  For full specs, click here for Musicman's site.  A new one in sunburst lists at $2500 but this one is a real beauty for just $1250.  Includes original Musicman case.  

1998 Takamine Limited Edition "Phases of the Moon", (front), (back), (headstock), (soundhole), (preamp), (case).  Each year since 1987 Takamine builds a yearly "LTD", built in low numbers with unique cosmetic features that appear for that year only.  When they're gone...they're gone.  From what I've read online, 850 of this model were built, out of a projected run of 2000.  They are always pricey guitars, which is one of the reasons for the lower numbers.  1998 was a great year for the LTD.  Tak started with their famed NEX cutaway body style, with select solid spruce top and Rio Grande Palisandro (Rosewood family) sides and back, in a high gloss poly finish.  Cosmetic features are stunning, starting with the "sun & moon" rosette made of abalone, pearl, and rare woods intricately inlaid into the top.  The bass side of the rosette features a bright colorful abalone "sun" with flames built of various pieces of colorful woods, which is phased into the treble side with a nighttime background and pearl moon and star.  The rosewood fretboard features "lunar eclipse" mother-of-pearl fretboard inlays starting with a full moon at the 3rd fret, phased out to corner crescent at the 19th.  Other features include dovetail neck joint; Bone nut; 2-piece compensated bone saddle; Ivory, CAB, and Wood binding front & back; rosewood bridge; wood strip black-red-black purfling on back; two-way truss rod; chrome endpin jack; Rio Grande Palisandro headstock face with abalone logo inlay; gold H.A.P. tuners with brown pearl buttons; ivory/CAB heel cap; 11 1/4" upper bout; 15 3/4" lower bout; 1-11/16" nut width; 25-3/8" scale; body depth 3 3/4" upper bout to 4 5/16" lower bout.  The preamp is Tak's Accuracoustic  with a Tak Palathetic pickup.  The preamp features LED lights on the controls for ease of use on dark stages and features a hide-away rotary volume control, battery check switch, EQ bypass switch, semi-parametric mid control adjustable from 80Hz to 10KHz, bass, and treble, all with +/- 16dB.  Battery compartment is easily accessible for a battery change in around 10 seconds.  If you read these pages often you know that I'm very high on Japanese Takamine, which are built to last, passed down through generations.  This guitar is in excellent condition with a low set up that makes it a pleasure to play.  It can hold its own in an acoustic jam and really shines as a stage guitar.  Although Tak has had a number of preamps since '98, this Accuracoustic is an excellent sounding system and it needs very little EQ'ing to get a quality stage sound.  Original case had some black marker on the lid and side which we've partially removed but it's still visible, but otherwise in great shape.  If you're a collector of LTD's, or simply someone looking for a beautiful, high quality acoustic-electric, this one's hard to beat at $899.  

2007 Fender Custom Artist Series Robert Cray Signature Stratocaster, (front), (back), (headstock), (neck), (case/acc. & acc. bag).  Fairly rare custom shop model and just the second one I've had in the 21 years they've been produced.  Robert Cray, a famed blues guitarist, is a touring legend, initially 2nd gun in Albert Collins Band, in the early 70's, he went on to fame fronting the Robert Cray Band.  His guitar of choice was a vintage hardtail which Fender emulated when they started producing these in 1992, with a Mexican model following 10 years later.  His Custom Artist model features 2-piece select Alder body, lightly figured maple neck with rosewood fingerboard and 21 frets with Cray's signature on the headstock, clay dot inlays, gold vintage hardware, synthetic bone nut, non-tremolo hardtail bridge and custom vintage pickups.  The neck profile is patterned after a '61 Strat with C profile, although with a 12" radius, which is much flatter than the vintage 7.25" and even the "modern" 9.5".   If you don't like larger necks you might want to pass on this model.  Fender calls this a C-shape, but to me it feels much more like a D, with plenty of shoulders which make it feel very substantial.  Specs call for a "lightly" figured maple neck, this one is perhaps the best figuring I've seen on a guitar spec'd as "lightly".  As you would expect in a Custom Shop model, this guitar plays spectacularly with excellent sustain and a great vintage tone.  For players who don't use a tremolo, I would always recommend buying a hardtail model.  The bridge is mounted directly to the body, rather than pivoting on wood screws and, equally important, it stays in tune better, including perfect accuracy during string bends.  If you bend a string on a trem model it increases the pull on the strings via the bridge, and other strings will go sharp.  For more info on this model, check out Fender Custom Shop here.  With a list price of $5800, this model sells new for $4640, which I believe is the most expensive Custom Artist model.  This one is barely played with no discernable flaws or wear and is nearly 1/2 the price of a new one.  Own this beauty for just $2600.  Includes original brown case, certificate, serialized hang tag, and all accessories including factory-sealed accessory bag.  

Goodsell Overdrive Pedals.  New with warranty.  Quality and versatility in a hand-wired OD, with interactive guitars, much like Goodsell amps.  Can give you a nice clean drive, or plenty of type-type overdrive, especially useful on amps without a master volume or ones that need the front end driven harder to reach their full sweetness.  Richard knows about tone, and the same "magic" he delivers through his amps, has been used on these great OD's.  Richard builds every one personally, usually with a wait of just a month or so.  Don't wait for yours.  These were built last week and have zero playing time, for just $125/ea.   

Boss TU-2 Chromatic Tuner.  One of the best, with a single stomp you can shift to bypass mode for silent tuning, 11-point LED meter makes it easy to see when you're in tune (the movement of the meter slows the closer you get to pitch), 7 different modes provide options for both bass and guitar and a seven-segment LED makes string and note names readily visible on dark stages, footswitchable Tuner Off mode preserves battery.  If that's not enough, this baby can power up to 8 other pedals with optional PCS-20A power cord.  Lists for $160.50 but this clean one's just $69(HOLD-John B).

Boss ST-2 Power Stack.  Boss's new "stack in a box" and a good choice for players who aren't thrilled with their amp tone.  With the ST-2 you can get fat crunch - or ultra high-gain distortion - by tweaking the Sound, which blends in the gain amount and sound character.  Tweak the distortion by dialing in the 2-band EQ.  Has a cool textured black finish and is in perfect condition with box.  Don't plunk down $99 for a new one when you can have this nice used one for just $65.  Don't need a box - I also have a clean one without box for $59 near the bottom of this page. 

Vintage Electro Harmonix Black Finger - As Is, (circuit).  Here's one for the DIY/Tech guys.  1974 model by pot codes, with no output when engaged.  When working properly it's a compressor/sustainer with overdrive, not really anything like the new tube model.  It's a very rare pedal from my experience.  We have too many projects stacked up so I'm just going to blow it out.  $30, and worth the price in vintage pots alone.  Again, this pedal does not work so be prepared to troubleshoot and repair, but schematics are available online.   

Vintage Victoria Dreadnought Case.  1960's yellow-lined Victoria.  These are most commonly found with Gibsons, but could also be OEM for Guild, Martin, Fender, and others.  Appears all original except for replaced handle.  Overall in good vintage condition other than a piece of tape on the inside that may be covering up a flaw in the lining or might just be for extra protection from rubs.  If you've got a $3K vintage guitar like a J-45, it deserves a good home.  Move it in here for just $139.  

DiMarzio D Activator (Bridge) Humbucker.  New, factory sealed.  Designed to have the characteristic of an active pickup, like an EMG, with strong, focused attack, hitting the amp very hard, making it ‘feel’ more powerful.  The D Activator, however, is a passive pickup, just like any regular PAF style.  It's not wound hot, at around 11.5K, and has 4-conductor wiring for various wiring options.  Sells online for $69.99 but save big time and get this one for just $49.99.  

2012 Gretsch Tennessee Rose G6119-1962HT, (front), (headstock), (back), (case).  Beatles fans will note that this one will take you back to 60's Shea Stadium, one of the most recognizable icons of '60s Pop.  With its vintage Hilo'Tron single coil pickups, "Rocking" bar bridge, Gretsch by Bigsby B6C Vibrato tailpiece, and simulated F holes, this quality thinline has all the features of the original 60's model.  Other specs include single cutaway hollow body with burgundy stain finish, 16" lower bout, 2" body depth, arched laminated maple top with multiple binding, laminated maple back and sides, 3-piece maple neck, black headstock overlay, rosewood fingerboard, neo-classic "Thumbnail" inlays, 22 frets, 12" radius, 25.5" scale length, 1-11/16" nut width, zero nut, 2 Hi Lo 'Tron pickups, 3-way pickup selector switch, stand-by switch, neck volume - bridge volume - master volume knobs, 3-position master tone switch, chrome hardware, Knurled Strap Retainer Knobs, silver plexi pickguard with embossed "Chet Atkins" signature.   In fact, all the cool features and all the vibe of the 60's model, but none of the problems - these are, quite simply, better guitars than the originals.  For full specs click here for Gretsch.  A new one will set you back $2199.  This beauty is in true mint condition, plus a killer set up and Gretsch vibe thrown in for free.  $1550(HOLD-Brian/Kerry 9/23) includes original Gretsch case and all paperwork.  

Monte Allums Mods - All are new and include all parts supplied by Monte as well as instructions.  These would be $64 from his site but get all 3 of these for just $39.99, including shipping.  

Long Shaft Dynamic Mic.  Don't know what brand this is.  The band next to the windscreen which would have the brand and model, is missing thus I'm selling it as a mystery mic.  Low impedance of course.  If it looks familiar to you then you probably know that $20 may be a killer deal on it.  

Audio-Technica ATM33A Condenser Mic, (stock pic), (1987 ad).  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.  This sold new for $199 and is an excellent value, barely used, at $99. 

Vintage Gibson Flying V Case.  From an '82 Limited Edition Korina Flying V and made with the looks of an original 50's Lifton with the same brown covering - not the brown elephant hide used on the brown "Gibson USA" logo cases - plus purple lining with storage compartment inside the "V" area.  Some wear around the edges but all latches and hinges are there and it's structurally intact.  Handle is a replacement but used the same mounting holes so it looks good.  This is a hard to find case for the rare Korina models and would also be a cool enough substitute for other vintage Vs.  $139(HOLD-10/24).  

2012 Fender Blacktop Stratocaster HH,  (front), (back), (headstock/neck).  I think this is the first one of these we've had but, regardless, I'm impressed.  Other than the pickguard assembly, it's a vintage style Strat with a nice gloss finish on body and neck and an impressive sounding guitar.  The main feature on this model is the Vintage Hot Alnico high-gain humbuckers and, visually, the skirted black amp knobs.  Other features include gloss finish alder body; gloss finished maple neck; rosewood fretboard; 22 medium jumbo frets; black dot inlays; 9.5" radius; 1 5/8" synthetic bone nut; nickel/chrome hardware; vintage synchronized tremolo; Fender standard sealed tuners; custom switching; and black skirted amp knobs. The pickup switching yields a cool combination of humbucker and along with two traditional Strat type tones: 1.Full Bridge Pickup, 2.Two Inside Single Coils, 3.Both Full Humbucking Pickups, 4.Outer Neck Single Coil, 5.Full Neck Pickup.  If preferred, we can swap out the pickguard with a 2011 Fender Highway One HSS guard (shown here) which features the Fender Atomic humbucker and two American vintage style single coils with 5-way switch and "no-load" tone pot.  Set up is fantastic and these pickups sound surprisingly awesome.  I actually think it's a good enough guitar that any pickups would sound good.  Cosmetically it's in beautiful shape with no noteworthy flaws.  Just a really nice Strat for the money at $365, or a little more if you want the Highway HSS mod done.  

Grover Rotomatics - Brushed Aluminum.  Aka Chrome Satin.  18:1 ratio, kidney bean buttons.  New condition out of the box.  Includes all hardware.  $45. 

Don Mare '54 Tele Neck Pickup.  Among the best pickups being made.  "The '54" is designed to sound just like a '54 to '64 era Tele with a vintage 6.6K output.  It's Mare's most popular neck pickup with Alnico 5 magnets and nickel silver cover for clear bell tones.  Read about Mare pu's here.  These are $119.50 new but get this one, no waiting, and just $79.  

Harmonic Design Chromotone Tele Neck Pickup.  HD's newest pickup that replaced their old standard, the '54 Special.  It retains some of the 'veiled' highs of old Tele pickups but with a higher output that's cleaner and brighter, and a wide dynamic response that's much more punchy and touch sensitive.  For more info check out Harmonic Design here.  Sells new for $100; get this one for $69.  

1980's Boss CS-2 Compression Sustainer, (serial).  Made in Japan and, get this, serial number 000003!  The CS-2 is 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 many decades from now.  Cosmetically, its in average condition but you'll rarely find one of these in collector's grade.  The CS-2 has always been a workman's pedal for players who know what they need, unlike a DD-3 where everybody just has to have one, just to be fashionable if nothing else.  In addition to finish chips here and there, it has Velcro on the bottom, but it does have the label under the Velcro.  These are great pedals and don't last long.  $75(HOLD-Ian 10/21).   

RGW Dirty Dan.  I don't know much about RGW, other than the Dirty Dan looks just like the RGW Bad Bob, which is now being made by Analogman (link).  The Dirty Dan is a great Way Huge Red Llama clone with added gain for even more kick, and to its credit isn't another Tubescreamer clone.  It blurs the lines between overdrive and distortion and adds considerable grit even at the lowest settings - crank it up and it screams.  It's especially good for it preserving your guitar's tone and maintaining nuances in picking.  Click here for a few in-depth reviews on Harmony-Central.  Clean shape and just $105.  

1999 Epiphone Sheraton II - MIK - Natural, (front), (back), (inlay), (headstock), (appointments).  Looks great, sounds great, plays great - a quality Korean-made Sheraton that has become sought out by players in the know.  The Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which was a model unique to that company, rather than an Epi version of a Gibson, which was the fashion in the early Gibson days  Today, models that are unique to the Epiphone line, including the Sheraton, Zephyr, Riviera and Emperor, are built to higher quality standards than their Gibson copy line (Les Paul, SG, Dot, Hummingbird, etc.).  The Sheraton does share design features with the Gibson ES-335, but the cosmetic appointments are much higher on the Sheraton.  The original Sheraton was outfitted with a Frequensator tailpiece but didn't gain much popularity until Epi changed to a stop bar and Tuneomatic bridge, i.e. the Sheraton II.  Like the Gibson ES-335, the Sheraton has a laminated maple body, top, back, sides, which, with it's bright tone, works well with the darker tone of PAF humbuckers.  Unlike the Dot's mahogany neck, the Sheraton features a 5-piece maple neck, for maximum stability, capped with a rosewood fretboard.  High-end cosmetics include gold hardware, multi-layer binding on all edges including body, fretboard, neck, and headstock; abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay, and 6-layer tortoise 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.  It's capable of high gain without feedback, which makes it attractive to rock players, but sounds equally good on more mellow jazz or blues.  Cosmetically it's in nice shape with no major flaws.  It has a fantastic setup with low action; 2-fret bends ring true all over the neck.  These were more expensive years ago, but Epiphone rightly dropped the price when production moved to China, thus the list price was lowered to $1042, selling discounted for $599, not including a case or gigbag.  I'll hold the quality of this MIK model to any archtop import on the market today, and it should be in use for decades to come.  If you appreciate the quality difference on these older Sheratons, you know this is a better value, especially at $100 cheaper than a new Chinese model.  Get this one for $499, or $50 more for proper Epiphone case (pic).  

Custom Mod 2012 Fender Pawn Shop Mustang Special, (front), (back), (headstock), (gigbag/etc.).  Call me crazy, but I just had to do a custom mod to this guitar.  The "Pawn Shop" series are supposed to be guitars that were modified by players or in this case, prototypes that somehow inadvertently made it out of the factory.  That premise is cool enough, but I found it very off-putting that they would use a goofy "Mustang Special" logo, which of course was never used until this model was release last year.  It just so happens that I had a quality 1994 Fender Japan '65 Reissue Mustang neck among my spares and I couldn't resist the temptation to make it "right".  Other than the neck this guitar is 100% stock which for this model includes alder body finished in Candy Apple Red, dual "Enforcer" humbuckers with 3-way coil selector slide switches for 18 tonal options, 3-way selector, 24" short scale, vintage style tuners and strap pins, 70's Strat hardtail bridge, traditional Mustang pickguard, control plate, and knobs.  These Enforcer pickups were designed to look like the 70's "Wide Range" humbuckers used on the Tele Thinline, Tele  Deluxe, Tele Custom, etc.  With the 3-way coil switches you can select any coil, or both, to dial in your perfect tone, from fat humbucking to snappy single-coil.  A stock model lists at $1079 and sells for $799.  If you want something a little cooler, you can have this one that's more like a real modified Mustang for $650.  If you want the original "Mustang Special" (pic2) neck, no problem, we'll swap it back for no charge.  Includes original deluxe gigbag an sealed goodie bag.  

2007 Taylor SB1-SP Solidbody Electric - 3 Mini Hums - Flamed Top, (front), (side), (back), (headstock), (bridge), (chambered body and quick connect wires), (case).  Rare model with 3 mini-humbuckers.  Shortly after getting my first Taylor T3/B, I get this one, only the second solidbody I've had.  Like the T3/B, it's an impressive guitar with a beautifully flamed maple top over a chambered mahogany body, finished in Cherry Sunburst, but this one's a more traditional solidbody, without the F-holes and Bigsby tailpiece.   I've had plenty of Taylor electrics since they first came out with the T5 in 2005.  While the T5 is an excellent guitar its tone wasn't conducive to playing as many styles as an electric player would want.  The SB-series takes Taylor further into the world of electrics and can be evaluated as a true electric.  Speaking of electrics, this one has a trio of Taylor's Hi-Fi mini-humbuckers, the only one I've seen with this configuration, but Taylor designed these pickguard to be easily interchangeable so if you want to go from this set up to, say, a pair of PAFs or three single coils, you can do it in 10 minutes or so.  The area under the pickguard is chambered and will accept any pickup type plus the pots have quick-disconnect connections which means no soldering.  Both the PAF's and Mini-hums are offered in a High Gain and HiFi design, with this HiFi set having outputs of 4K in the neck, and 5K in middle and bridge.  Other features include tropical mahogany neck with ebony fretboard, ebony headstock overlay with inlaid logo, chrome Taylor tuners, 3-ply black pickguard, gloss finish throughout, bone nut, and Taylor's own aluminum bridge.  This bridge is the most ergonomic bridge I've felt, with individual saddles, each smoothly contoured for comfort, wherever your hand may rest.  You'll note the single bolt neck attachment, which uses Taylor’s T-Lock design, which makes it easy to adjust the neck angle and eliminates the heel, plus electric frets instead of the acoustic-style frets used on the T5.  Electronics are basically like a Strat (bridge, bridge+middle, middle, middle+neck, neck)  The tone control also features a unique mid boost circuit that allows the control to function normally over the first two-thirds of its rotation, while over the last third it kicks in a midrange peak that sounds similar to a “half-cocked” wah pedal.  Taylor made its name based largely on their superb playability and this guitar will not disappoint fans of low action.  For full specs on this model, click here for Taylor's site.   The SB1-SP lists at $2698 and sells new for $1999.  This one is in "as new" condition and a nice deal for $1350.  Includes original Taylor case.  

Ernie Ball Musicman John Petrucci JP6 Dargie Delight with Piezo Limited Edition, (color shift), (front), (back edge), (headstock), (back), (piezo preamp), (figured neck), (case).  Very rare model, the fully-loaded, Limited Edition JP6 Dargie Delight.  I was told by the original owner that there were only 10 made in righty with piezo, but feel to let me know if you have other evidence.  Regardless, there aren't many of them.  This has possibly the coolest finish ever made, with a two tone iridescent green called "Apple Carmel Delight" that looks green or bronze in natural lighting, but under lights can also appear gold, orange, red, and amber.   I put several side-by-side pics above to show you the color change but here's a great YouTube video to show you the full range (click here).  It's loaded with high-end features such as ebony fingerboard, inlays with custom oval white mother of pearl with paua abalone inserts, Piezo bridge, gunstock oil and hand-rubbed special wax blend neck made with a beautiful piece of birdseye maple, ebony fretboard, headstock painted to match body, and Limited Edition neckplate.  It features a super flat 15" radius fretboard, DiMarzio Crunch Lab and Liquifier pickups, controlled by a 3-way, volume and tone - with a separate volume for the piezo plus a 3-way to select piezo alone - piezo+magnetic - magnetic alone.  If you want to get a better look at this color, for more detailed pics, click here for an identical one on Ebay (that sold for $2395  by the way...).  This guitar is dead mint and an excellent choice for the Petrucci collector, Dargie Delight collector, or anyone looking for an absolutely killer playing axe in the coolest finish imaginable.  Just $2099 for this "as new" beauty.  

Gibson Mini-Humbucker.  Recent model with patent engraved bottom, vintage style cloth wires with braided exterior, and "slick" top.  Good upgrade for your import Epi etc., or add versatility to your dual P90 guitar by substituting a humbucker.  Immaculate condition with mounting hardware.  $65.   

Fender Custom Shop Telecaster Texas Special Set.  Texas Specials are built to produce increased output, presence and midrange.  The nickel/silver cover on the neck pickup produces a clear warm tone that only a true Custom Shop Tele pickup can do. These over wound pickups use Alnico 5 magnets and enamel coated magnetic wire. The bridge pickup features height-staggered magnets and a copper plated steel bottom plate.  Includes mounting hardware.  Sells new for $159 but this set was only installed briefly, and has full-length lead wires, for just $99, or $119/installed for any Tele we have in stock.

Seymour Duncan Vintage Broadcaster Bridge STL-1B.  If you're looking for the relic vibe for your well worn Tele, check this one out.  Pole pieces have that perfect rusty/corroded patina.  With Alnico V magnets and wax covered cloth wires, this pickup as the exceptional twangy, "nasal" sound and tremendous sustain found on a '48 "pre-Tele".  Compared with the '54, it has more output and more snarl in the midrange.  Full length lead wires.  $45 for this genuine relic. 

Illusion '59 Esquire Pickup.  Wound slightly hotter than his '51 pickups, the '59 Esquire features period correct construction with a slightly hot output of 9.8K.  These have received favorable reviews on TPDRI, the Tele discussion forum (link).  They used to sell via an Ebay store but have since used a web and Facebook presence instead.  Good quality pickup for $39(HOLD-Zeke 10/15).  

1950's Fender Tele/PBass Cap.  For anyone restoring a vintage Tele or Fender bass, this is the Cornell-Dubiller ZSW15S paper and wax .05 MFD cap used from the 50's to the early 60's.  Full length wires, nice shape.  You can get a repro of this model but for the real thing, $45 is a cheap price.  

1997 Guild JF30 Jumbo - Black, (front), (back), (headstock), (optional pickup), (case).  Desirable Westerly RI model, built well before the Fender buyout.  Very lush and crisp tone, superb action, and a very big tone from this jumbo acoustic.  For the player who plays plugged in sometimes, we're offering a special deal on an L.R. Baggs M1 Active soundhole pickup with endpin jack.  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. A primary coil moves with the guitar top and creates a body signal in the suspended secondary coil and the pickup now features a volume control.  The M1 Active sells for $169 plus installation.  We're offering it with this guitar for just $70/installed.  Features include 17" jumbo body, black finish, solid spruce top, solid maple sides, figured arched laminated maple back, 2-piece maple neck with mahogany center strip, 20-fret rosewood fretboard with dot inlays, rosewood bridge, black plastic pickguard, gold Grover mini Rotomatic tuners, white-bound body, 4-ply top purfling, pearloid Chesterfield headstock inlay and logo, 1-11/16" nut width, 25.5" scale, body depth runs 4" to 5".  Tone is very bright and articulate and really cuts through in a jam session, plus the added size of the body lends itself to a fuller tone on the bottom end.  This guitar has seen very little playing time so frets are in great shape and with a perfect neck angle the action is fantastic, like a Taylor in that regard.  Under Fender's leadership, Guild discontinued this model in favor of their Chinese line, model GAD-JF30, which were good guitars for the money (around $899), but why pay that for a quality Chinese model when you can get a quality USA model for less.  $899 and will include the Baggs system, installed, or $829 for just the guitar.  Includes standard Guild wood/tolex case. 

1998 Fender Standard Stratocaster - Black w/Rosewood Board, (front), (back), (headstock).  Excellent quality Strat that's possibly the best quality/price ratio of the plethora of American and imported Strats.  Finished in gloss black, which is actually the most popular color for electric guitars, the Standard Strat has the look and tone that has made this model the most popular electric guitar since 1954.  Fender's Standard Strat is made from USA parts, but finished and assembled in Encino Mexico.  The result is a guitar that's nearly identical to the Highway or Special series, both made in USA, at nearly 1/2 the cost...and this Standard features a gloss finish where those have a satin finish.  It features quality hardware including stamped steel saddles, Fender/Ping tuners, as well as 3 ceramic single coil pickups, 21 medium jumbo frets, gloss finished alder body, 3-ply pickguard and backplate, and maple neck with rosewood fretboard carved in a modern C shape.   Overall excellent condition with no buckle rash or glaring flaws anywhere with a very comfortable set up and one of the better sounding Standards in recent memory.  One of the coolest tones I discovered is in the middle/bridge position, turning the middle tone all the way back and it gets a mid-range honk that cuts through the mix without sounding at all dull.  I attribute this to a very lively body, which I don't often notice on these.  With a new one running $499, here's an excellent sounding one that doesn't look like a 15-year-old Strat, for $325, including Fender gigbag.

Hartman BC-108 Silicone Fuzz.  A very musical sounding and faithful recreation of the original silicon Fuzz Face circuit with modern enhancements like true-bypass, LED indicator, and 9V jack.  It has an external bias control, allowing fuzz to be set ultra-smooth, or lowered for a rougher texture. The lowest bias settings evoke the trademark crackle, spit and grind of a "starved" Silicon transistors.  External bias control is standard on all units, allowing fuzz to be set ultra-smooth, or lowered for rougher texture. The lowest bias settings evoke the trademark crackle, spit and grind of "starved" 
Silicon transistor. The BC108 transistors are specially selected to ensure each fuzz is voiced to respond to changes in guitar volume and player dynamics, decay smoothly, and have enough gain for creating controlled feedback.  Great sounding fuzz, in mint condition, for $95.  

Malekko Spring Chicken Reverb Limited, (pic2), (inside label).  Original Limited Edition model with Dwell Control on the side which varies the length of reverb vary from "regular", to a very long decay, or full-on oscillation to infinity.  Malekko later added the Dwell control to their standard model after a modest bump in price.  The Cluck knob controls level of reverb, Dwell controls bounce, decay and wetness of reverb, and true bypass circuit maintains your guitar's tone when the pedal is bypassed. Using an expression pedal via the ES input, you can create reverb swells and hands free self-oscillation for maximum control.  Included is the original Malekko "don't take any wooden nickels" wooden coin.  Mint in the box, $145. 

ZVex Wooly Mammoth Fuzz - Hand-Painted, (pic2).  Specifically engineered to work great with bass, it's also a very popular guitar fuzz.  Sensitive and touchy bass fuzz with tremendous bottom end and a beautiful harmonic structure that sounds blistering with a guitar.  The harmonic structure can be radically altered using the "Pinch" knob, which adjusts the pulse width of the waveform, going from a creamy sound to a sweet intermodulation distortion.  Turning clockwise narrows the wave shape which makes it reedier and brassier, while also causing a smooth 'gating' action, and complete silence between notes.  Its frequency is several octaves below the human audibility and these sub-harmonic notes will shake the floor, windows, and your pant legs.  Click here for more info from Zvex.  The newer hand-pained Wooly's are all yellow graphics over a green box and sell for $359.  This earlier model is mint, except for velcro strips, and in a more rare purple/maroon/yellow graphics, and is $100 cheaper at $259.   

Ross 10-Band EQ.  I get a lot of the MXR 10-bands, but Ross are much more rare from my experience.  Like the MXR, it features built-in power supply and hard wired power cable, the same frequencies (31, 62, 125, 250, 500, 1K, 2K, 4K, 8K, 16KHz), with a 12dB cut/boost.  It's also built like a tank and should work for decades to come.  With the low bands, 31Hz and 62Hz, having no effect on the guitar spectrum, these were obviously built for use by both bassists and guitarists.  Rubber tip was missing on the low band so we just improvised one.  Works perfectly and a good value on a lifetime pedal at $49.  You'll save enough on batteries that it will pay for itself in just a few years.  

Jax Fuzz Box FY-2, (top/back), (circuit).  One of the legendary Japanese Fuzz Boxes of the 60's, manufactured under a bunch of different brand names, like Avora, Shin-ei Companion, Kimbara, Tele-Star, Tempo, Zenta and Thomas, all of which shared the "FY-2 Fuzz Box" model name.  It's noted for a raw, gated fuzz, basically the classic chainsaw tone that defined the 60's fuzz tone.  Its tone is best described as a violent splutter, with a somewhat scooped midrange rather than a long, sustained overdrive output.  Controls are Volume and Fuzz, which controls the tone, rather than the amount of distortion.  Noted users include names like Radiohead, Jesus and Mary Chain, and The Black Keys.  There are a number of YouTube demo's; I put up a brief one here.  The FY-2 is quite sought after today and fairly rare, considering all the different brands which were originally made.  This is the first one I've had since the late 90's.  It can be yours for $225.  

Boss DD20 Gigadelay, (close-up), (back panel).  So much power - up to 23 seconds of delay with 11 delay modes including classic tape delay and sound-on-sound recording, smooth and Twist modes for subtle or radical delay effects, Memory function for changing delay modes seamlessly, push-button knob for setting delay time in fine or coarse adjustments.  Click here for a good video demo by Proguitarshop.  Sells for $219 new - this clean used one with original box, batteries, manual, and paperwork, and is just $165.

Vox V412BN 4X12 Cabinet, (stock pic). New in sealed box. Originally offered as a companion to the AC30CCH, Vox AC50CPH, and AC100CPH amp heads, but it's a good choice for anyone looking for vintage styling in a good sounding 4X12 that will handle 120 watts.  Equipped with VOX/Wharfdale original vintage style GSH 12-30 12" speakers and swivel casters are included.  These have been discontinued but they sold new for $549-$679.  This one's just $350 plus shipping (97 lbs.). 

1999 Fender American Vintage '52 Telecaster, (front), (headstock), (back), (upgraded saddles), (case/acc.), (date).  Yet another nice AV52 Tele, fourth one in the past 6 weeks.   At 7.8 lbs., it's nice light weight swamp ash body, with a nice acoustic tone and all the Tele quack you expect when plugged in.  Set up is lower than factory specs, most players will probably want us to raise it which isn't a problem.  In production since ca. '82, the USA V52 Tele has remained one of the most desirable Teles 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.  Basic spec's include a thin nitrocellulose lacquer over premium ash body, nitro-finished one piece U-shaped maple neck, bone nut, 7.25" radius with 21 vintage frets, vintage hardware, brass 3-barrel bridge (includes optional 6-saddle), USA V52 single coils w/cloth wires, 3 way switch, volume and tone, single-ply black pickguard, and butterscotch blonde finish.   This guitar is all original except modern wiring kit has been installed along with a better "orange drop" cap instead of the disc type, and quality compensated brass saddles in place of the straight ones.  Also includes optional 6-saddle bridge if you prefer that style.  Don't shell out $1999 for a new one when this one's in excellent condition for almost 1/2 price; just $1099.  Includes original tweed case in nice shape except for some tweed snagging, plus '52 Tele strap, optional 6-saddle bridge, polishing cloth, bridge cover, wrench kit, and paperwork.  

Kramer Truss Rod Covers.  The real deal 80s parts, from the company auction.  Following available at $10/each:  Baretta, Pacer Imperial, and "Blank" (no writing).  Others are $20/each.  

Sennheiser MD 421 II, (close-up), (stock pic).  A true classic microphone with the stature of famous mics like the Shure SM57/58, AKG C414, Neumann U87/U47 FET, Royer R121, and EV RE20.  Often described as a studio mic and while it shines in studio work, it's just as capable as a performance mic on a live stage.  I've seen countless concerts and TV shows with the MD421 prominently used.  The large diaphragm, dynamic element handles exceptionally high sound pressure levels, making it well-suited for guitars and drums.  Its full-bodied cardioid pattern and five-position bass control make it an excellent choice for most instruments, as well as group vocals or radio broadcast announcers.  Features include rugged glass composite housing and hardened stainless steel basket, five position bass roll-off switch at bass, superb feedback rejection, clear sound reproduction with excellent gain before feedback, Frequency response 30Hz-17kHz.  These run $379 new but this used one's in excellent condition and just $259. 

AKG Perception 200 (pic2) (pic3), with shock mount and case.  I know a lot of you have home studios and you want the best sound for the money.  One "must-have" is a quality large diaphragm condenser mic and this one's hard to beat for the price.  It has excellent reviews and blows away virtually everything in the under $400 list price range.   Has Switchable 20 dB preattenuation pad and bass cut filter.  Features:  Capsule: 1-inch Large-diaphragm true condenser; Polar Pattern: Cardioid; Frequency Range: 20 - 20,000 Hz; Sensitivity:18 mA; Preattenuation Pad: 0 dB , -20 dB; Bass-cut Filter: 12 dB/octave at 300 Hz; Maximum SPL for 0.5% THD: 135 dB / 155 dB (0 / -20 dB); Impedance: <200 ohms; Recommended Load Impedance: >1,000 ohms; Powering: 48 V phantom power; Current Consumption: < 2 mA; Output Connector: Gold-plated 3-pin XLR-type; Finish: Metallic blue.  Click here for details from AKG's site.  This mic's in perfect condition and can allow you to move up a notch on the quality of your studio recordings - for $119.  

Weber Classic British C1225 Speaker Quad for 4X12.  Weber's take no the classic 25W Greenback and this set of 16 Ohm 12's will let you nail the tone of a vintage 100W Marshall cab.  As many of you know, part of the "magic" of guitar tone involves overdriving not just the amp, but the speakers as well.  With a 100 watt cab you'll be able to achieve this overdrive, something not possible with a 280W or 300W cab.  These use 30oz ceramic magnets with a 1-3/4" voice coil, with a British Kurt-Mueller aged and treated ribbed cone.  It's tone is aggressive, yet has a smoother overdrive distortion characteristic with good detail and midrange complexity.  It has more headroom and sounds less compressed than the AlNiCo 1225.  These will run you $112/each direct from Weber (link), but this set of 4 have seen just a few hours of bedroom use and are in mint condition.  These are boxed and ready to ship at just $300 for the quad.  

1986 Kramer Paul Dean, (front), (back), (headstock), (flip/flop finish), (Floyd), (case).  Top of the line for the Kramer American line back in the 80's and a rare model due to its short production run ('86-'88) and hefty price tag.  This one has the Block 3D logo, which was used on the early model Paul Dean's, along with Paul's signature on the tip of the headstock.  Later models had "American" as part of the block logo, with the model name on the truss rod cover only.  The last version had the Pyramid logo, again, with model name on truss rod cover.  Obviously there is no neckplate on this model and as mentioned at Vintage Kramer, "on earlier neck-throughs, there simply is no serial number."  Kramer had a number of hot players with signature (later called "Artist") models including the Richie Sambora, Elliott Easton, Steve Ripley, Floyd Rose, as well as the Baretta (Eddie Van Halen), and Nightswan (Vivian Campbell).  New for 1986 the Paul Dean was designed for the lead guitarist in the Canadian band Loverboy.  Loverboy was huge in the mid-80's with their own style of dance rock, always with a tasty guitar hook.  The PD signature was one of Kramer's early neck-through models with a dual-cutaway Honduras mahogany body. The horns were slightly more jagged or "squareish" (jigsaw puzzle) shaped than conventional with the bass bouts being more rounded than the typical Strat shape.  The neck is as shallow as I've felt on a Kramer, almost like an Ibanez Wizard neck, with a 22-fret rosewood fretboard with pearl dots, 25.5" scale.  Pickup configuration was hum/single/single all by Seymour Duncan, the bridge being a JB model, the singles Vintage Staggered Single Coils.  Controls included master volume, master tone and 3 on/off switches for the pickups.  The bridge humbucker was slanted, like a Baretta.  Like most Kramer Americans, it also featured black hardware including Schaller straplocks, Schaller tuners, wrench holder on back of headstock, string bar, and non-recessed Original Floyd Rose with wood screws into the body without inserts.  Headstock was the pointy/droopy style.  I've read that a few were built with a hockey stick headstock but I've never seen one and I tend to think that these were made for Paul and a few factory reps, but none were built as regular production.  While most of these feature a signature truss rod cover, I believe some of the early models with the signature on the headstock sport a blank cover as shown on this one.  Cosmetically it's in very nice shape for 27 years with just slight finish wear on the Floyd, a few finish impressions in the clear coat but no large pattern of buckle or pick scratches, nothing through the finish other than one tiny spot on the tip of the headstock with a fleck of finish missing (pic).  Set up is low and it has excellent sustain with an excellent tonal pallet.  The neck and the middle pickups are a dead-on vintage Strat tone, plus the JB by itself is the perfect tone for shredding rock music.  The mahogany body is a very warm sounding tone that lends itself to clean tones, or overdriven rock.  This one's finished in "flip flop red", which appears to change color, depending on viewing angle and lighting, and can appear red, purple, blue, or pink.  At  $1624 ($1399 plus case), the Paul Dean was the most expensive of the Kramer American line, $200 higher than the Nightswan (price list).  In all fairness, it was a more expensive guitar to manufacture, being a neck-through model, the only neck-through in the Kramer American line.  Although not quite a museum piece, it's very presentable and for a neck-through signature model it's an excellent value at just $899.  Includes proper Kramer case with leather ends and white piping.  

1965 Stratocaster Relic Official 50th Anniversary Model, (front), (back), (headstock), (sample of relic wear), (case & accessories).   2005 production year but it's actually new, old stock!  Aztec Gold (nitro lacquer) and gold hardware, with medium relicing including checked finish and aged hardware with misc finish chips here and there, with the '65.  Of the set of three ('56, '60, '65), this '65 had the most relic wear.  I confirmed with Fender that only 100 of each piece - WORLDWIDE - was produced, which makes this a very rare guitar  for an Anniversary model.  These listed at $4677-$4690 with discount pricing at $3500.  I bought all three of them NOS and it's time to find their new owner.  One of these could easily be the centerpiece in many Anniversary model collections, to go along with your 25th, 35th, various 40th's, and production model 50th's. Features include Aztec Gold finish with gold hardware, "matching" headstock - Aztec gold, C-shaped neck with curved fretboard and pearloid dot inlays, finish checking and misc dings as well as "player's wear" in the belly contour, bold trans logo, aged hardware, and 50th Anniversary neckplate.  Nice lightweight Strat at 7.6 lbs.  New and unplayed condition with era-correct black Tolex case w/o logo, opened accessory bag, strap, tags, and certificate.  Again, you could have bought this in a store in 2005 for $3500 (would definitely be higher today), but this one's never retailed and perfect, and just $2599.  (Note: I also have the '56 (pic) in stock, all-gold, including gold anodized pickguard).  

1965 Supro Thunderbolt 1X15 Combo, (back), (top), (speaker/chassis).  Beautiful shape for this model - second cleanest one I've seen.  Very highly sought after amp both for the cool tone and the Jimi Hendrix association, who played one on his days on the chitlin' circuit.  Jimmy Page also used one on early Zep records. The Thunderbolt, built by Valco for Supro, was introduced in 1964, originally designed to be a bass amp, thus the 15" speaker and minimal controls, but like the Fender Bassman, it was much more well received as a guitar amp.  The original Hendrix amp was raffled off by Guitar World magazine (advertisement) in 1992, back when such memorabilia hadn't yet reached astronomical prices. The features were very simple: 15" Jensen speaker, volume and tone, driven by a pair 6L6CG power tubes putting out around 50 watts, a pair of 12AX7 preamp tubes in the preamp, and a 5U4 rectifier tube.  All the tubes in this amp are quite likely the original RCA's, which were stock for these amps.  It is covered in Supros traditional blue ‘rhino hide’ tolex with horizontally striped gray grill cloth. In '67 they changed to black tolex to be more competitive with Fender.  Bassists complained about the distorted tone when it was cranked up so in attempt to make them happy they also changed to a solid state rectifier and added wooden bracing across the speaker hole and another on the baffle board back.  The thing that bassists hated, made it an excellent guitar amp.  At 50 watts it has a bit of clean headroom, but a really nice breakup when cranked plus the 15" Jensen made it sound huge.  Appears to be all original other than perhaps the speaker which is, correctly, a Jensen 15" but it's a '62 speaker.  It's possible they had some older speakers in stock when the built the amp.  It still has the two-prong cord; covering is in nice shape on all sides, panel has minimal corrosion and intact lettering, no snags in grill, etc.  Even the tubes are quite possibly original.  It has no snap-crackle-pop, is well tuned, and needs nothing.  If you follow these, you probably know most of these are in player's grade and rarely are found below $1300, even in well used condition.  While this isn't quite the cheapest one on the market, I'm sure it's the cheapest clean one around at $1300(Tent. Hold - Texas 9/27).

Wampler Paisley Drive - Brad Paisley Overdrive Pedal.  Brad Paisley is my favorite guitarist and while his chops are impeccable, his tone is equally impressive.  The folks at Wampler found out that he had been using several of their pedals for years and was currently looking for the perfect overdrive pedal.  His requirements?  "it needs to be clean but get crunchy with some “beef” to it.  It needs to have a fluid tone when soloing.  I needs to add a little hair to the tone but then but then has to be able to give flat out ball busting gain, oh… but please do not wreck the tonality.  It needs to have everything, in a pedal format, but do not make it sound like a pedal...!"  Although Brad plays Teles, almost exclusively, this thing sounded good with Strats and humbuckers as well as you can see in this demo.  You can get a new one for $219.97, or get this "as new" one for $159.  

Schaller Deluxe - Kluson style for Gibson.  Vintage style with aged double-ring Keystone buttons.  Great replacement for your worn Gibson or PRS McCarty, or upgrade for Epi or other import style.  Nice shape, original box.  $45(HOLD-Wayne P 9/30).  

1988 Ibanez 540PTC aka 540P-TCFA- Five Alarm Red, (front-1 front-2), (back-1 back-2), (headstock), (Edge trem), (pickup/route), (neck/body markings), (features), ("Backstop"), (case).  Very rare model and a color that screams 80's rock.  Ibanez calls this finish "Five Alarm Red", although anyone who lived in the 60's would call it "Day-Glo orange" or fluorescent orange.  It is much more vibrant than any of the pics. Ibanez did a "Carotine Orange" in '88 but it was only offered on the HSS model called the "540P".  If you want to read more about the color discussion, click here.   Okay, let's move on...  Made exclusively for rock guitar, the Power series used an alder body, rather than basswood, which is thought of as the "normal" Ibanez body wood.  Distinctively styled, the Power body's beveled sides and cutaways add playing comfort as well as visual appeal. Here's a catalog pic showing the intricate bevels and edges (link).   The feature that immediately strikes you is the pickup configuration.  As far as I know, this is also the only Ibanez that features the IBZ/USA triple-coil pickup, a combination of a humbucker, wired to a single coil.  With two mini-toggles you can choose (1) humbucker, (2) single coil, (3) triple coil, or off.   Other features include select alder body, "tilt" neck joint (cut on an angle), 22-fret rosewood fretboard, super-thin Wizard neck that measures 17mm/20mm depth at the 1st/12th frets, Ibanez Edge tremolo with Stud Lock, Top Lok III nut, recessed tremolo cavity, recessed control and tremolo covers, Cosmo Black hardware, one IBZ/USA triple coil pickup, 1 volume with 2 mini switches, available in White and Five Alarm Red.  Another thing I haven't seen in another Ibanez, it features the "Backstop", which is a 2-spring device located in trem cavity that acts like a Hipshot to stabilize strings during bends and improve tuning stability.  Ibanez was prolific with their rock/metal guitars in the late 80's, featuring no less than 4 bodies (RG plus 3 shown here), which catered to this market exclusively.  I've had a bunch of Sabers and a few Radius, but this is the only Power body, at least the 3-coil Power body, that I've ever seen.  This is one of the thinnest necks I've felt, measuring just .679" deep at the first fret, with a slightly wide 1 11/16" nut width.  Overall this guitar is very clean with no real player's wear other than the usual corrosion on the neckplate and small finish cracks in the cutaway, although there are a few finish dings in the clearcoat only (shown here).  As thin as this neck is, it's very stable and maintains an excellent setup with low action and no excessive buzz or dead spots.  For cool looks, playability, tone, and rarity, this one's hard to beat at $999.  Includes original Ibanez Professional case.  

2000 Godin LGX “Two-Voice”, (close-up), (headstock/neck), (controls), (bridge/block), (back), (case).  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.  Most 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.  

Custom Made Neck-Thru Strat Project, (front), (back), (headstock), (brass parts), (heel), (cavity/Bournes pots).  For the DIY guitarist who wants a fairly easy project, and one that will be a truly unique guitar when finished.  I got this without any history, from Make 'N Music, but whoever built this knew what they were doing.  It's not easy to build a neck through guitar and this one was done right.  As far as dating it, to Martin and me it has the vibe of an 80's guitar so that's our guess.  You'll notice the "all wood" appearance of the maple body with natural finish and zebrawood pickguard area, plus a zebrawood fretboard.  The "pickguard" isn't actually a pickguard but, rather, a 2 pieces of walnut, inlaid into the body with the precision that's only possible with a CNC machine (shown here).  I've seen these as raised guards, or a thin veneer, but this is a around 1/4" thick (see arrows here).  The guitar is all maple, with a center section/neck that's 6" across, with maple wings.  The body is precision routed for 3 humbuckers, with shielding tape in each of the pickup routes and a thin brass plating in the control cavity.  Grounding wires are soldered in place from the pickup routes to the control cavity plate.  It has had several tailpieces and appears that the latest looks like it will allow for installation of either a Kahler Pro or even a Floyd.  It was previously fitted for a vintage Strat style tremolo.  The 6 screws for the vintage trem have been plugged with deep brass dowels, 1/2" deep.  It may have also had a wraparound tailpiece, as there are two larger brass dowels.  The zebrawood fretboard has brass dot inlays with black side markers.  It also has brass string trees, a brass nut, and there are screws that fit the pattern of a Kahler nut on the headstock.  Headstock shape is a modified Strat style that looks very much like the first Bigsby solidbody which actually preceded the Strat.  You'll notice some extraneous holes in the "pickguard" area which likely were various locations for mini-toggle switches for pickups.  Three of them have been capped with brass plugs, easily removable if desired.  It is currently outfitted with top of the line Bournes 500K pots ($18/each) and gold Schaller tuners.  The heel area is cut to allow easy access to the top frets, forming an offset rounded point on the bass side.  Sighting down the neck, it appears to be perfectly straight and once electronics and hardware are installed, it should prove to be an excellent playing guitar.  It is missing the back plate.  For a neck-through of this quality, this is a great deal for the tech-inclined player at $375 with everything pictured, or if you want just the hulk (i.e. no hardware or pots), just $299.  

1960 Kay Swing Master Electric Archtop Mod. K6970, (front), (back/side), (headstock/neck), (pickups/knobs), (case).   Kay is a little tricky with dating and figuring out model names, but I was able to identify the model by the body stamp ("L4287 6970") and it appears identical to the Swing Master K6970 in the 1960 catalog shown in "Guitar Stories Part II" (pg. 131) by Michael Wright.  It's a medium depth hollowbody archtop, measuring 15 3/8" at the lower bout.  Features include laminated spruce top with laminated maple body, flamed maple back, set neck construction, bound neck with 19-frets on a rosewood board, 14 frets clear of the body, Venetian cutaway, double-bound body multi-ply binding on top, dual "speed bump" single coil pickups, 3-leg trapeze tailpiece with cross bar, rosewood bridge, dual volume and tone controls with white Bakelite radio-style knobs.  These came in 1, 2, and 3 pickup models with the 2-pickup K6970 selling for $139.50, with the finished described as "shaded walnut finish with golden highlights", a term we now refer to as tobacco sunburst.  The flamed maple back on this is unusual for a budget line guitar and from the comparable models I've seen on the web, as nice as you'll find on this model.  Many cheaper models had fake painted flames but this one is the real deal.  Kay's history goes back to the 1890's and in in 1928, Henry Kay Kuhrmeyer bought the company, and by 1934 the company was officially known as the "Kay Musical Instrument Company".  Their factory was located in Chicago IL, the Mecca of guitar building, before adding another plant in Elk Grove IL in '64.  Among their accomplishments, perhaps most notably they were the first maker of electric guitars, a disputable but, quite likely, true assertion.  Kay was the largest USA guitar builder during the golden era.  In addition to the Kay brand, they were the builders for many other brands including Airline (Montgomery Wards), Silvertone and Supertone (Sears&Roebuck), Old Kraftsmen (Spiegel), and Truetone (Western Auto), to name just a few.  Department stores or catalogs were the largest sellers of guitars when I was a kid and if you bought one during the 60's, chances are it was made by Kay.  This guitar plays good for an old Kay with typical medium action, getting higher as you go up the neck.  Currently set up with a fresh set of flat wound strings, in the jazz box tradition.  The pickups are lower output and have a unique tone of their own.  It's all original, with the exception of tuners and in extremely nice shape for 50 years with the worst flaw being a worn spot on the back, typical with a thin nitro finish, but it has obviously seen very little playing time with near perfect frets and minimal extraneous wear.  For a vintage American archtop, especially with a real flamed maple back, a nice buy at $650.  Includes a quality form fit SKB Freedom case.   

Metallica "Pinstripe" 4X12 Cabinet.  No, sorry I don't have this for sale, but it was a cool gift from Metallica to Mo Rivera at his farewell ceremony at Yankee Stadium yesterday.  "Enter Sandman" had been Mo's walk-out song for over a decade whenever Mo came in to close out a Yankee game.  I was already excited to have Legends Suite seats before the game, but when we get there and I see a makeshift stage set up in centerfield I started to really get excited.  I looked closer and noticed that the white/blue pinstripe grill cloth was emblazoned with a "Metallica" logo.  Sure enough, just prior to Mo's walk out from the bull pen to the ceremony at home plate, the band jumped up on stage and broke into a live version of the song Yankee fans have loved for years.  At just over 4 minutes, it was probably the shortest concert the band had ever played, but it made a very poignant day even more special.  

ca. '64 Diamond Wildcat 4V, (front), (back), (pickups/controls), (headstock), (finish checking).  During the guitar boom of the mid-60's Italian companies like Diamond were cranking out beaucoup guitars, under various banners.  Diamond was primarily a making of quality accordions but, face it, the Beatles weren't an accordion band and many companies followed the money.  As you can see in the pics, the years have been very kind to this guitar and other than some finish check lines, it's in genuine "under the bed" condition.  The Diamond Wildcat 4V (i.e. 4 pickups) is an dual-cutaway, offset waist solidbody with 6/side tuners, which like most guitars in this era were based on a Fender.  Diamond also built a similar model called "Ranger" with identical appointments, but with a more elongated body style with more pointy horns.  Click this link to read more.  I haven't found a model identical to this one that's branded as a Diamond Wildcat, although there are various other brands which are identical in all regards including body and neck, tuners, bridge, tremolo, volume/tone knobs, and strap pins. Having said that, this is the only one I've seen with the rotary pickup selector.  All others I've seen have "veg-a-matic" style pushbuttons, like this similar 4-pickup aka "4V" (pic) or this "3V" model (pic).  This is a good sounding guitar, with a unique tone that's probably as close to a Rick as anything else.  Pickups are rather mellow with low-medium output, and a good selection of tones.  Even on high gain amp settings, it is very quiet compared to, say, a Strat or Tele.  Neck isn't at all large, very easy to get around on, and the set up is fantastic.  Just check out the very low action (pic at 12th fret).  If you're one of those guitarists looking for your own signature tone and look, or just anyone looking for unique addition to your collection, I highly recommend this one.  For a 50-year-old, well-made Italian guitar in this condition, I think this is a sweet buy at $529.  

DJ Hero for Wii, (pic2).  I got this for Christmas a few years ago and used it twice.  It's a fun game with tutorials that make it easy to progress quickly, but I just never had the time to get into it.  Mint in the box, with software and instructions.  Would make a nice gift or just something to waste a lot of time on.  $20.  

1988 ESP M-I Custom w/Graphic Finish, (front), (back), (headstock), (Floyd/Push-Pull), (binding/inlays), (comic book), (case).  Real (non-Ltd) ESP's are getting very hard to find, and with the cost of a new bolt-on M-II Standard now at around $1700, none of them are cheap and even clean, original 80's/90's models are fetching $1K.  It's been so long since I've had a Custom (neck-through) that I can't remember the last one I had - plus a cool color and custom shop graphic, make it a very rare and desirable model.  This guitar is of interest to both guitar collectors, and comic book collectors, as it has a graphic based on the Nov. '86 issue of the DC Comic "Watchmen" (No. 3/12) entitled "Fallout shelter" aka "allout helter".  An original copy of the comic book is included with the guitar.  Cosmetically it's in beautiful shape with no actual player's wear, but we did touch up a few cosmetic flaws (shown here), including a small finish chip around the jack and on the tip of the headstock, an 1/8" chip under the "T" graphic, and a small finish flake in the logo.  Color match is near perfect and the areas were clear coated after the touch up.  Features of the M-I Custom include alder body with through body maple neck, 24-fret rosewood fretboard with offset pearl block inlays, logo block at 12th fret, headstock painted to match body, chrome hardware, 6/side ESP tuners, bound neck, bound headstock, double-locking tremolo with locking nut, single humbucker with coil tap.  A few thoughtful mods were done which include a Floyd Rose replaces the ESP tremolo, Duncan humbucker replaces the ESP pickup, and a push-pull tone pot replaces the coil tap switch.  For the player, it's a fantastic playing guitar with low action and a fast feel all over the neck.  The cutaway is beveled in a way that allows easy access to the upper frets.  It's in beautiful shape and presents itself very nicely, with no pick or buckle scratches, and the only flaws noted above.  For less money than a new bolt-on M-II Standard in a standard finish, you can get this neck-thru model in a very cool graphic which at 25 years is officially vintage.  $1599 includes a quality Canadian TKL Tolex case and trem arm, as well as the original Watchman "allout helter" issue.  

2010 Fender FSR American Standard Stratocaster Electric Guitar with TBX and Active Mid Boost, (front), (back), (headstock), (bridge), (case).  Own a Clapton Strat for way less!  This FSR (Factory Special Run) Strat has the exact same electronics as the current Clapton Strat, with a trio of Vintage Noiseless pickups, active Mid-Boost preamp, and TBX (treble bass expander).  The essential difference will appeal to most players:  a modern C-shaped neck instead of the V-neck.  There is one mod that makes it even more like the Clapton - it came stock with the Fender/Ping tuners but they have been replaced with a set of Fender/Gotoh vintage tuners as found on the Clapton.  Like the Clapton it has the American Vintage Synchronized Tremolo with heavy steel block and steel stamped saddles.  Other features include a  lightweight alder body; C-shaped maple neck; 22-fret maple fingerboard with hand-rolled edges for smooth and comfortable playability; neck finished with a gloss headstock face and satin urethane finish on back for a natural feel.  If you like the hum-free fat tone of a Clapton, you'll like this guitar.  The Vintage Noiseless have the chime of a vintage pickup, but without the hum.  The powerful active mid boost (+25dB) and TBX circuits give it even greater tonal versatility.  The TBX (Treble Bass Expander) is a detented, stacked 250K / 1-Meg Pot control that From "0" to "5" is a standard tone control, but once you pass "5" you start to decrease the resistance which allows more bass, treble, presence and output to flow to your amp. The Active Mid-Boost preamp circuit makes that great Strat sound jump right out at low settings and gets fatter—like an overdriven humbucking pickup—as the gain level is raised yet still retain more of a single-coil Strat tone and transparency.  I find myself using the mid-boost pegged all the way to "10" and the guitar just sounds empty with it rolled off.  A smarter player will probably use it more sparingly.  Other than a few pickguard scratches this guitar is 100% mint, other than a ding on the top edge, shown here, which was color matched very well.  The dinged area is around 1/2" wide, but the finish touch up was just a small strip, around the width of a piece of spaghetti.  The setup is very low and bends ring long and clear.  Frets are perfect and this guitar has seen almost zero actual playing time.  On the Fender price list this model fell between an American Standard and a Clapton, selling new for $1399 ($1879 list).  If you're looking for a Clapton, this is an excellent alternative for way less cash.  $850 includes the new style Fender case w/ATA latches and misc. case candy.  

Jon Kammerer Scorpius, (front), (back), (side), (fretboard), (headstock), (neck/pocket), (recessed plates), (label), (pickups), (case).  Kammerer, made in his shop in Iowa, builds very unique, high quality guitars.  According to his site, he has "built over 350 guitars...and hundreds of necks for other companies that don't want to be mentioned as they "Hand Build" their instruments.  These are unique guitars, primarily with his patented neck attachment system, and with a body that's very thin at the edge, beveled to a regular thickness at the center, sort of like an Ibanez Sabre body.  His patented neck attachment system maximizes transfer of energy between the neck and body.  What looks like a 2-screw attachment is actually just 2 screws that hold the neckplate in place - the actual attachment uses 4 machine screws, with brass inserts in the neck.  Two additional pins in the body prevent any shifting of the neck.  With this system you don't need a lot of wood around the neck for strength, which allows is a very narrow heel that's very rounded, allowing for the utmost comfort playing in the upper register.  It's an ingenious system, much more expensive to manufacture than a Strat style with 4 wood screws, but the results are worth it.  The neck and headstock are the same piece of maple (i.e. no scarf joint), with the headstock being on a different plane to obtain the angle over the nut.  Again, more expensive but an effective and sturdy design.  Feel the headstock while you strum a chord and you can feel just how lively the neck vibrates.  His bodies are also unique in that parts are all recessed - back plate, output jack, and neckplate are all recessed into the body, precisely, for a perfect fit.  Just as precise is the fret work, with perfectly pressed frets, cut to exact fit, with no tang visible at the end of the fret (shown here).  Other features include maple body with gloss finish, abalone bow-tie fretboard inlays, 24-fret rosewood fretboard, Duncan pickups with a Duncan Custom neck and a Pearly Gates bridge, black hardware.  The body is two-piece but not the usual bookmatched variety:  it's a one-piece top, sandwiched to a one-piece back, and chambered inside.  Unlike some other boutique builders, Kammerer proudly uses a CNC machine in manufacturing his guitars, just like PRS or any other large company.  If you insist on a body and neck cut with a band saw, that's fine, but those guitars are usually around twice the $1750 base price of a Kammerer.  He builds guitars to order, but the Scorpius seems to be the starting point.  Although this guitar has been played and there's some moderate player's wear, there aren't any major flaws and the frets are perfect.  It has superb action, excellent tone, and is quite lightweight.  Own this one for 1/2 the price of a new one at just $875.  Includes the original case.  Note:  I also have a mint "Iris Special", one of only two made, for $1399.   

1989 Fender HM Strat - Bright White, (front), (back), (trem), (headstock).  Okay, you know me...I love these guitars, which is why I'm always looking for them and buying every one I can find.  Great feeling unfinished necks with a flat fretboard, inevitable low setup, and able to sound like a vintage Strat with American Standard Strat pickups - or an 80's metal shredder via the DiMarzio Super 3.  In fact, the DiMarzio has a coil splitter so you can still get the classic position 2 Strat tone with the middle pickup and 1/2 of the humbucker.  In order to help keep this page shorter, I've created a page about these fine HM's.  Please click this link for more info.  There's conflicting info on the whole HM line as to which models were USA, which were Japan, and which were a collaboration of the two, but I have found no difference in quality on any of these first version HM's so it's sort of a moot point.  Cosmetically it's in very nice shape, especially for 24 years, with just some light scratches behind the tremolo and the typical black plating fading from the neckplate; frets in excellent condition and the set up is low and fast.  Bright White is one of the more popular finishes for HM's, perhaps because it's pictured in a lot of the old Guitar Player mag ads.  These guitars were more expensive than American Standard Strats back in '89 and are an excellent value today at $679.  Includes hardshell case and trem arm. 

Correction - model year is a 2003:  2003 Fender FSR American Butterscotch Custom Telecaster, (front), (back), (headstock), (case/acc.).  One of a small run of only 100 guitars built for Fender's North East region, introduced in May 2005.  The FSR American Butterscotch Custom Telecaster (Model No. 017-0007-(850)) is blend of the old and new, with the look of an American Vintage '52, with modern features such as flatter fretboard radius, larger frets, modern American bridge with steel saddles - plus a vintage "Custom Telecaster" logo.  It's 2-piece swamp ash body is highly figured and lightweight, 7.8 lbs.  Features include swamp Ash body (Vintage Butterscotch only) with Modern “C” Shape maple neck with a silky satin polyurethane finish, modern fretboard radius (9.5"), 22 Medium Jumbo Frets, 1.6875” nut, Fender/Schaller Deluxe staggered height tuners, American Tele bridge with 6 Stainless Steel Saddles, single-ply black pickguard, Custom Shop Nocaster “Clean” single coil pickups, Master Volume, Master “No-Load” Tone control, rolled fingerboard edges, sharper ‘52 Style body radius, spaghetti logo with “Custom Telecaster”, Deluxe Black Hardshell Case with Orange Lining and Amp Logo.  If you want the look of a AV52 Tele, but with a modern feel and classic Nocaster tone, here's your guitar.  Collector-owned condition, flawless, and just $999(HOLD-Ed, local 1/24).  Includes original vintage-style Fender/G&G case with Fender strap-cable-polishing cloth, Allen wrenches, Schaller strap locks, hang tags, and manual.  

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

This was put on hold right after I posted it a few months ago but apparently the buyer changed his mind:  ca. 1985 Carruthers Strat aka S6, (front), (back), (cutaway), (headstock), (neck), (cavity), (pickups), (case).  Fantastic early model boutique guitar from John Carruthers, whose bio reads like a who's-who of modern guitar manufacture.  He has built and/or designed guitars for Yamaha, Fender, Taylor, Musicman, G&L, and Ibanez, and countless big name players, as well as writing columns for Guitar Player mag.  He maintained his Venice Beach, CA factory for 30 years, before moving to a larger place in Camarrilo, CA.  Not knowing a lot about Carruthers' guitars, I sent John some pics and called him to pick his brain.  He said this was typical of the guitars he was building in the mid-80's and that it was probably around an '85 model.  He said it appeared to be original other than the pickups, and that it would have sold for around $1800, which equates to nearly $4K in 2012 dollars.   This isn't your cookie cutter maple-necked alder body Strat.  It features a one-piece solid mahogany body and one-piece solid rosewood neck with a 25 1/2 scale and 24 medium jumbo frets.  The body features a deeply sculpted cutaway on the treble side to make it easier to reach the high notes.  I've seen this type of sculpt on a number of other boutique guitars from the 90's and on, but this is the earliest use I've seen.  Hardware is Gotoh, all black, with a vintage tremolo with bent steel saddles, and locking tuners with a low profile that doesn't require use of a string tree.  John couldn't be sure what original pickups were, although he did say that the HSH was proper, but I'm guessing EMG's since you can see two small holes in the back cover which have the same spacing as a 9V battery clip mount.  I have some old EMG's we can install but the guitar sounds so sweet as outfitted, I'd be reluctant to mess with something that sounds so good.  It currently has a Gibson PAF (probably a 490R) in the neck, Kent Armstrong Hot Single Coil Strat in the middle, and a DiMarzio DP155 Tone Zone in the bridge.  If desired, we can swap out to an HSH set of Duncans for a small upcharge.  Cosmetically it's in nice shape for its age with the only real flaws being a few small areas of the thin Nitro finish have flaked off, but we are going to touch them up prior to shipping and the guitar will ship in excellent condition.  When you pick this guitar up you know you're holding a quality instrument, almost before you even strum the first chord.  It just has that vibe.  Set up is superb with low action, no dead spots, and excellent sustain.  It has a very warm sound, typical of mahogany, with a faster attack, thanks to the rosewood neck.  For a guitar that would cost $4K new today, it's a sweet deal on a quality guitar at $1099.  Includes a wood/tolex case from the era, probably original to the guitar.

2011 Gibson SG Special '60s Tribute - White, (front), (back), (headstock), (gigbag).  We sell a lot of these SG's and Juniors and they're excellent values.  The 60's Tribute is an affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  There's nothing goofy about this model and it's an authentic reproduction, other than the "worn" finish.  Finished in Worn White, which in the vintage world is referred to as TV White, which has always commanded a premium over the usual cherry finish.  This guitar's thin solid mahogany body offers a very lightweight package with a tone that's both subtle and aggressive, depending on your playing style.  It has a rich resonance with lots of harmonic depth and sparkle.  The solid mahogany neck is carved to a fast Slim Taper profile similar to SGs from the '60s, with a glued in deep-set, long-tenon neck/body joint and 17-degree back angled headstock, combine for a superior transfer of resonance from the neck to the body.  Two Gibson P-90 single-coil pickups with Alnico V magnets are among the finest reproductions of vintage P-90s currently available producing warm, vocal neck tones to loads of snarl from the bridge position, with rounder, funkier tones in between.  Gibson uses a PLEK-cut Corian nut to ensure maximum resonance and sustain.  This guitar is finished in a thin nitrocellulose satin finish, which protects the wood while contributing to a more lively response.  It has a nice smooth feel, rather than the porous rough feel of Gibson's "worn" finishes.  This white finish will "age" rather fast and soon develop the look of a well-played vintage guitar, which is way cool in my book.  It's set up with low action and the ease of play, combined with the light weight, make this a great guitar to play, set after set.  In beautiful condition with no noteworthy flaws or playing wear and a nice deal for $599. 

Highway One Loaded HSS Strat Pickguard.  Drop in ready and an excellent upgrade for your import or project guitar.  Includes Fender Atomic humbucker and two American vintage style single coils wired to tone pots and 5-way switch.  Features "no-load" tone pot that's detented at "10" and virtually takes the tone pot out of the circuit when turned up all the way for the purest of tones.  $85.  

Hartman BC108 Silicone Fuzz.  For players looking for a more musical sounding fuzz, the BC108 is a faithful recreation of the original silicon Fuzz Face circuit, updated with true-bypass, on/off LED, and 9VDC-in jack. It also features an external bias control, allowing the fuzz to be set ultra-smooth, or lowered for a rougher texture, with the lowest setting producing the Face's signature crackle, spit and grind of "starved" Silicon. With hand-selected BC108 transistors, it's voiced to respond to changes in guitar volume and player dynamics, decay smoothly, and have enough gain on tap for creating controlled feedback.  Clean shape and nicely priced at $90.

Vox V847 Wah Reissue, exact specification of the original pedal used by the most influential guitarists of the late 60's and 70's.  Features the same chrome top and familiar growl that you love.  Nice shape and just $49.  

Vintage MXR 10-band EQ, pretty nice vintage condition and works great with an added mod that I like - and LED on/off light - plus a power switch.  I believe this was the first stomp box EQ, designed specifically for guitar or bass (its 31.2K and 62.5K bands are specifically for bass players).  Built-in AC power.  A lot of players love these. $65(HOLD-Jose L 9/21). 

Boss PH-2 Super Phaser, (pic2).  Classic Boss Phaser that was produced from '84 to '01, making it one of the longest runs in Boss history.  Creates subtle effects like a pseudo rotary speaker tone to more radical such as a jet plane taking off.  With the Mode switch you can select Mode I, a more mellow broad sounding tone; or Mode II, an in-your-face phase attack.  Super duper clean in original box.  This is a real classic from Boss, preferred by many players over the PH-3, and just $69.  

Lace Chrome Dome Set.  Featuring a reverse-wound middle pickup, the Chrome Dome set delivers "sweet, rounded tones" while simultaneously described as "a Strat on steroids."  This was accomplished by modifying one of my favorite pickups of all time, the original Gold Lace Sensor, known for its bell-like tone.  These are super quiet, without the magnetic string pull of conventional pickups - you'll immediately notice better sustain when the strings are allowed to vibrate longer.  Neck and middle are a vintage output of 6K; bridge is hotter, putting out 13.4K.  These cost $308 at All-Parts but get this clean barely used set in the box for just $199.  

DiMarzio PAF-7 7-String DP796.  Designed for 7-string guitars, the PAF-7 delivers clear lows and warm, rounded highs, with the classic PAF tone specially made for a 7-string.  4-conductor for a variety of wiring applications.  Sells new for $70; this clean one is just $45.   

Jet City PicoValve Head, (panel), (back), (side).  For you amp tweakers out there, the Picovalve is a real winner, especially considering the cost of most tweaker amps, and at 5W/2.5W selectable, you can get full power tube saturation while keeping the neighbors happy.  Jet City has smartly partnered with various companies, in this case, THD and their unique topology, which you to easily swap out the power tube, (nearly any octal-based tube) without the need to re-bias, and an assortment of preamp tubes.  Features include a full-tone stack with treble, middle, and bass controls. Preamp and Master Volume controls, plus a 5W/2.5W switch.  Back panel features European/USA current switch and outputs for 4, 8, and 16 ohms, to allow virtually any cabinet.  It's housed in THD's signature steel cage design, which is sturdy and functional.  Power amp tubes options include:  EL34, 6V6, 6L6, KT66, KT77, KT88, and 6550.  Preamp tube choices include various 9-pin tubes: 12AX7, 12AT7, 12AU7, 12AY7, 5751.  The first preamp tube governs the gain and tone of the preamp, while the second preamp tube directly drives the power tube, so mess around with these and you'll find it changes both the tone and "feel" of the amp.  I uploaded  short YouTube demo (link) mostly Brian shredding on an Ibanez Prestige, but this amp does have a good clean tone that I figured out how to dial in after I shot the demo.  While you're on YouTube, you can click on any number of demo's plus a good 2-part interview with Andy Marshall, discussing these amps at length.  One of his topics is something I've been pushing for many years:  the need to get a good stage sound with less volume, which is why low-powered amps have really taken off.  How many times has your soundman told you, "I don't have any control over the guitar sound, because it's already as loud as the FOH (front of house) sound."  You only need your stage sound for monitoring.  The FOH sound should come from a well-mic'd cabinet, giving your sound tech full control over your band's sound.  This amp is especially good for home studio's, where full output at low volume is important.  1000s of these have sold for $299.  I have a number of them new in the box for $175, which will total less than $200/shipped.  If you're into tweaking, it's worth it for the fun factor alone.  

Kahler 2760 Steeler Tremolo, (pic2).  Perhaps the most hyped of the Floyd Rose bridges, the Steeler is Kahler's version of the classic Floyd Rose Original.  Manufactured in the 1990's under license and patents from Floyd Rose, Gary Kahler made several changes that were substantial improvements to the original Floyd design.  Among these changes were improved hardness levels of certain components and the arm attachment method was changed.  Some of these have gone for crazy money on Ebay.  This one's just $99.  Includes 2 Allen keys and trem arm. 

2008 Gibson Robot SG Ltd Ed Silverburst, (front), (headstock), (back), (Tuning Knob), (manual), (case and charger).  Dead mint condition - appears to have never been played.  I've had two styles of these and this one is the nicer model with thin 60's neck with binding (pic), bound headstock, trapezoid inlays, and headstock inlay - not the plainer model without neck/headstock binding and dot inlays.  Different from similar auto-tune guitars like the Line 6 or VG Strat, which digitally transpose alternate tunings, the Robot mechanically changes pitch via motorized tuners, and you can select any one of 6 alternative tuners at the touch of a button or, of course, simply tune your guitar to correct pitch and/or automatically adjust the intonation. This is a pretty cool model, with a limited run Silverburst finished in nitrocellulose lacquer, it has the look of a classic '62 SG with beveled body, chrome covered pickups, trapezoid inlays, bound neck, and flower pot headstock inlay.  The heart of the Robot is the controls which, upon quick inspection, appear to be a stock '62 Standard. While the four knobs do provide the standard tone and volume controls for each of the two pickups, the Multi-Control Knob (MCK) - the one with the illuminated top - serves as the master control for all aspects of the Robot SG Special's self-tuning system. The MCK is a push-pull knob - in the normal position (down), it behaves as a regular tone pot but when pulled out, the Robot's tuning capabilities are activated and ready for use. It immediately places the guitar in standard tuning mode (A440) but a quick turn of the MCK presents six factory presets, all of which can be customized. An LED display on top of the MCK lets you know when a string is out of tune, or when all strings are in tune, and even when the tuners are turning to get them in tune. It even guides the setting of accurate intonation. At the end of the tuning process, the blue lights on top of the MCK flash. Push the MCK back in and it's ready to go. You can go from a standard E to Open Am, Open D, Dm, etc. tunings in around 15 seconds and unlike the VG Strat, it doesn't sound artificial since there's nothing digital about the tuning.  Other features include: solid Mahogany body, Mahogany neck with Ebony fretboard, Trapezoid inlays, white bound fingerboard, 490R and 498T pickups, large control pock with Smoky transparent acrylic cover, 17 headstock pitch, Corian nut that's Pre-radiused, 1.695" nut, Holly Head Inlay, Nickel plated truss rod nut, Chrome hardware, Powertune Stop Bar tailpiece - Powertune bridge, Powerheads tuners with brass sleeves, and a very smart move - a Neutrik output jack which keeps the cable securely in place. Neck is a hand-shaped.  The installed rechargeable batteries hold their charge for 200 tunings and just plug it into the charger when it runs down.  For YouTube demo's, click here for Gibson, here for Wired, and here for stuffTV.  The Robot SG listed for $3599, but this one is immaculate with a set up sure to please, and just $1299.  Includes original case with charger & power plug, battery pack (installed), comprehensive manual, etc.  

2001 Ibanez RG-421 - Royal Blue, (front), (headstock), (back), (thin bound neck).  NEW, OLD STOCK!!  Don't confuse this with the current model RG420, which is made in Indonesia and although a decent guitar for the money, it's nothing like these earlier models which, like all of Ibanez's finest, were made in Japan.  In contrast to the RG-550 above, here's another Japan RG in definite collector's condition. In fact, it's actually new, old stock, recently acquired from a Mom&Pop store in New Jersey.  When I say NOS, I mean plastic film still on the pickups and back plate, and not a hint of wear anywhere.  So why was that store unable to sell it?  Well, the strings were original and very rusty after 13 years; frets had tarnish that made bends feel like it had sandpaper frets, and the fretboard was dried to a point where it looked like mahogany rather than Rosewood.  After 2 hours on the bench it emerged as the great player it's supposed to be; polished frets, new strings, and fretboard conditioner was all it took.  Features include basswood body, 3-pc Wizard II maple neck, 24 jumbo frets, white neck binding, rosewood fretboard, pearl dot inlays, standard hardtail bridge with strings-thru-body, V7/V8 humbuckers with 3-way switch, volume, tone, and smoked chrome hardware.   These are pretty rare guitars.  A few things are unique on this guitar:  you don't see many non-trem RG's and with a bound neck to boot!  This axe has a perfectly straight neck that will allow a set up as low as you could possibly want while the dual humbuckers yield a fat but clear tone that is suitable or multiple music styles, limited only by your amp.  I've read where they were only available in 2002 but the serial no. is definitely a 2001 serial. No biggie, it's cool, it's mint, and it's yours for $429.  You can't touch a new Japanese RG for twice that price today.  Include a new hardshell case for $59 more.  

Fender Pro Junior (#2), (top), (back), (docs).   In recent years I've had a variety of hand-wired boutique 10" combo's and a bunch of the recent budget 5-waters by Epi, Vox, Fender Champion 600, etc.  The hand wired boutique combo's sound great but they're expensive; the budget combos, well, you get what you pay for.  Dollar for dollar, it's hard to beat the Pro Junior for quality tone in a solidly built 15-watt amp.  With simply a volume and tone control, the Pro Junior won't waste any of your time trying to dial in the "perfect" tone.  Just crank it up and let 'er rip.   The Pro Junior is powered by a pair of EL84's putting out 15 watts, but 15 *tube* watts is quite loud, along the lines of a 35 watt solid state, only better sounding.  It also features a pair of 12AX7 preamp tubes.  With a fairly heavy Fender/Eminence 10" speaker, this amp carries the guitar spectrum very well, with sufficient lows as to sound like a "real" amp, not just a practice amp.  Put one of these on a barstool, put a mic in front of it, and you'll have the whole club jumping.  Designed to work with your guitar's volume - sounds clean with your guitar turned down and gets dirtier as you turn up your axe.  The look is very much vintage Fender, with classic black tolex, vintage style badge, vintage style handle, chrome panel, and chicken head knobs.  The new Pro Junior sells new for $394 ($589 list) and it appears to be the same except for the speaker out jack on the new model, and they also changed the panel to black with white knobs which, to me, only detracts from the vintage vibe.  This amp is in excellent condition and hard to beat for just $259.  Includes manual, schematic, and tags.  

Agile Harm 3 Solid Archtop,  (front), (back), (headstock), (neck joint).  If you're looking for an easy to play guitar, the action doesn't get any lower than this baby.  Excellent value and quality that's typical of Korea today.  This 2011 model was only made in one small run so there aren't many of these around - most of the Harm 3 models feature the cats eye f-hole in a semi-hollow design while this model was a limited edition production model that's no longer available. It features a solid archtop mahogany body, 22 fret maple set-neck with ebony fretboard and synthetic bone nut, side markers on the side of fretboard only, jumbo frets, flat 13.7" radius, three good sounding humbuckers, Grover 18:1 tuners, vintage cream colored binding on body-neck-headstock, 3-ply tortoise pickguard, 3 volume and 3 tone controls, 1 5/8" nut, 13.25" lower bout.  The setup on this guitar is superb and the tone is warm and rich, very good choice for anything besides metal.  I got an email from Rondo regarding this guitar where they confirmed it was a limited model with a price of $379.  This one's in dead mint condition and for $299, I'll throw in a gigbag. 

Instructional DVD's - Guitar, DJ/Producer, Bass.  See pictures for descriptions.  Originally $14.99-$19.99, take your pick, $5/each or $15 for 4 of them.  

Mooer Funky Monkey Auto Wah.  Another great micro pedal from Mooer Audio.  The Funky Monkey auto wah pedal offers a wide range of auto wah effects. There are 3 peak modes: hi, mid, and low; range, Q and Rate controls to dial in your auto wah sound.  For full info and video demo click here.  Features true bypass and 9V adapter input.  New these are $109; this one's mint in the box for $75.  

Korg DTR-2 Rackmount Tuner, (pic2).  I have another of these lower on this page but I'm fairly certain it was quickly sold.  If you own a rack system you should have one of these.  Very accurate, fast, and easily visible from the front of the stage.  Features include single space rackmount, brushed chrome front, LED display imitates a needle, has 7-octave range, 1/4" input and output, mute jack on back and front, 1/4" input and mute jack, mute switch, calibrate switch, hardwired AC cable.  Control the mute function remotely with any standard on/off footswitch with 1/4" jack.  Nice shape, $99.  

Breedlove D25/SRH - USA Pro Series - Acoustic/Electric w/Cutaway, (front), (headstock), (back), (label), (features), (elec), (case and acc.).  Don't confuse this with the import Atlas Series D25/SR or D24SRe, the Pro Series was Breedlove's mid-line American guitar that filled the void between their $1K import series and $4K customs.  It  was recently replaced with their current American Series.  Although not one of their Custom Shop guitars, the Pro Series offered a quality American made acoustic with custom shop tone, feel, fit/finish, and playability, at around 1/2 the cost of a custom shop.  Much of the savings came from offering a shop guitar with no options.  Whereas all of the custom guitars were made to order, the Pro Series were cookie cutter, all made with identical features and appointment.  That's not to slag the Pro Series rather it points to the fact that Breedlove is still very much a custom builder, but decided to follow the leads of Martin and Taylor, whose regular production guitars make up over 95% of their business.  The D25/SRH was Breedlove's dreadnought Sitka spruce and rosewood model with herringbone top purfling, soft cutaway body, with electronics.  Other features include USA made in Bend, Oregon, all solid AAA tonewoods, Herringbone purfling, beautiful abalone rosette, soft cutaway for fuller access to the upper frets, L.R. Baggs Element active pickup with volume and tone controls located inside the soundhole, endpin output jack, rosewood headstock veneer with inlaid Breedlove logo, ebony fretboard and bridge. The neck has the feel of the more expensive Breedlove’s with that fast low action that allows you to easily play different styles with ease.  Imminently playable with low, fast action that's great for finger style, it has a full, rich tone, with plenty of bass and crisp high end.  Plugged in, this Baggs Element does a great job of reproducing the acoustic tone and is very resistant to feedback.  This model carried a list price of $2139 and this one appears to have spent its life in the case and is an excellent value at just $950.  

2009 Gibson SG Standard - Heritage Cherry, (front), (headstock), (back), (case).  The SG silhouette is one of the most recognizable guitars of all time and has remained largely unchanged since 1961, when it was released as the "new" Les Paul style.  It has been in production continuously since that year, the longest running solid body model in Gibson history.   Features include all-mahogany construction finished in gloss Heritage Cherry lacquer, solid quarter-sawn mahogany neck, rosewood fretboard with 12" radius, trapezoid inlays, Corian nut, 1 11/16" nut width, bound fretboard, 22 medium jumbo frets, Gibson Deluxe tuners with Keystone buttons, holly headstock overlay with mother-of-pearl inlaid logo and crown inlays, black top hat knobs with silver inserts, Tuneomatic ABR-1 bridge and Gibson's most popular pickups, the 490R/498T Alnico humbuckers.  The SG Standard's remarkable sustain is due largely to two unique features:  the mortis & tenon neck joint which binds the neck to body so that the two pieces form one solid unit, employing the long tenon found on earlier SGs - plus the traditional 17 degree headstock angle, which increases pressure on the strings which maximizes string vibration between the nut and the tuners.  It features the neck profile of the mid-60's, not at all chunky as the 50's style, but nicely rounded.  Famous players of the SG Standard is a who's-who of rock music greats including Clapton during the "Cream" era, Tony Iommi and Angus Young both users for over 30 years, and Derek Trucks, who also uses extensive slide work in his playing.  An impeccable setup and cosmetically in incredibly clean condition.  Appears to have spent it's life in the case.  A new '13 SG Standard is running $1499 ($2498 list) but this beautiful Heritage Cherry model is the right color, set up to perfection, and just $1050.  Includes original case.   

OFF-HOLD: '04 Kramer Jersey Star "Player" - Richie Sambora Tribute, (front), (back neckplate), (headstock), (case), (headstock fix), (body ding).  Player's special on a fantastic Jersey Star that's seen very little use, but encountered an accident.  This is the ca. '04  reproduction of the 80's Kramer's Richie Sambora Signature Model, and was offered from Kramer/Music Yo's "USA Collection" (Do not compare to some recent cheaply built Chinese JS models selling new for $300).  As the original Kramer factory closed down long ago, this model was developed and built from the ground up, with special thanks to Mike at www.VintageKramer.com and John Montaperto for their insight in designing this guitar.  Richie was under contract with other manufacturers and didn't officially endorse this model, thus the Jersey Star designation and "JS" truss rod cover rather than the original "RS" truss rod cover.  All other major specs are pretty much identical to the original including quality hardware (pics), all gold, with a real Floyd Rose tremolo, Schaller tuners, and Schaller straplocks.  Pickups are specially designed for this guitar with a JS-90R in the neck and a pair of JS-91T's in the middle and neck.  For a good review of this guitar here's a like to VintageKramer (link here), where Mike states that this series is better than the original 80's model.  No scratches, no fret or fretboard wear, clean gold hardware, etc., but it did experience the boo-boo to the headstock.  Nine years ago these were always on back order at Music Yo, and although the new cost was $1022, enterprising individuals would buy them strictly for resale, fetching $100s more from impatient customers.  This particular example has seen very little playing time with no extraneous pick/button scratches.  Headstock has been repaired and there's a relatively small ding on the body, both shown in the pics above.  The headstock appears to be very solid, with no wood missing, and since there's a locking nut it's not a high stress area with the nut clamped down.  I got this without case and I'll offer it without the case for $550, or include a new Roadrunner molded case for $599.  It plays superbly and has excellent sustain and one of the better overall tones I've coaxed out of a Kramer.  Note: If preferred, we have some 80's Kramer American (neck-1 neck-2) necks we can swap out for an upcharge of $50 or $80, respectively, including parts & labor.  

1998 Fender Standard Precision Bass - Black w/Rosewood, (front), (headstock), (back), (gigbag).  Although this bass is 15 years old it was a true closet classic, played briefly and then stored away, so it looks look like a 2013 model.  The Precision was the world's first solidbody, strap on bass when Leo Fender introduced it, initially with a flat slab body and single coil guitar-style pickup in 1951.  In typical Leo style he continued to refine the bass, eventually ending up with the split coil humbucking pickup and comfortable contoured body in 1957 and has remained virtually unchanged since that time.  It became the tone that defined the 50's and 60's, and remained popular throughout every decade since then.  Even more than Strats and Teles, I see many bar/wedding band bassists playing Mex Standards and to my ears they sound as good as an American Standard in a live situation.  The set up on this bass is fantastic and cosmetically it in superb condition.  With a new Sunburst selling for $529 ($38 more with deluxe gigbag), why not pick up this beauty that INCLUDES Fender deluxe gigbag, for just $349.  (Note: I also have a clean '92 in sunburst)

1989/90 Fender Japan Standard Stratocaster - Hendrix Style Reverse, (front), (headstock), (back), (flamed neck), (vintage bridge).  Jimi was famous for playing righty guitars...upside down.  For him it was simply easier finding "normal" guitars an lefty Strats were much more rare during his era.  He played with normal lefty stringing, so he needed to restring the guitar in reverse order and set the nut up for lefty, i.e. thicker grooves for bass strings, thinner for treble, and that was it. There is a pronounced effect on tone this way.  Due to reverse pickup slant the low E string had a brighter sound, and the high E string had a mellower sound - opposite of a normal Strat.  Additionally, the string length for the low-E was much longer; the high-E much shorter, which has an effect on both feel and harmonics.   For the player who wants a Hendrix look--or tone--we offer this beautiful '89/'90 Standard Strat from Fender Japan, a well-respected era from a fine factory.  Cosmetically, it's in beautiful shape, especially nearing 25 years, with the worst flaw being an extra strap pin on the long horn (original lefty location).  If you prefer, we can also switch it back if you're a lefty player.  One mod has been done to accommodate righty players.  If you've ever played one of these the worst comfort issue is the cable sticking out and jabbing your arm.  To alleviate this, an additional side jack has been installed, keeping the cable out of contact with your arm.  Both jacks are hooked up so take your pick.  For a Strat of this era, this is a shallow profile neck (pic), something approaching the ultra-slim HM Strat.  Set up is fantastic and it has a classic Strat tone, with low-medium output pickups.  Without spending $1600 on a Hendrix Tribute or Voodoo Strat, here's an affordable option at around $1K cheaper. $599 includes hardshell case.  

PICS FIXED: Vaultz Locking "Mic Box", (pic2).  New and never used.  Although this was made to be a locking legal-size file folder, they also make great mic boxes or anything that has a habit of "walking off" during load-in or overnight.  Just add some foam and you've got a great mic box, guitar effects, etc.  Dual combination locks, dual handles, locking hinges, aluminum edges.  Cost $52 new (link) but this one has never been used and just $25.  

Danelectro Free Speech Talk Box, (pic2).  Do your Frampton, Sambora, or Joe Walsh thing for a fraction of the price of the competition.  The Free Speech can sound fairly authentic an it uses the same basic principle as a Heil, etc., which is a mini-amp on the floor driving a tiny speaker that travels down a tube into your pie hole.  By moving your mouth to various vowel positions, or by speaking/singing into a mic, you get the classic talk box sound.  One of the cool things about the Free Speech is its ability to function without a PA, using it just like another effect, directly into your amp.  It comes with a pair of condenser mics and you can use them, or just clamp the hose to your normal vocal mic and use it the traditional way.  I didn't spend a lot of time looking for good demo's but there are a bunch on YouTube; check out this one (forward to 0:40 for Bon Jovi) and here's one (forward to around 3/4 finished) plugged directly into an amp.  These are selling for $85 new.  This one's dead mint in the box for just $49(HOLD-Mark D 9/30).  

Goodsell Overdrive Pedal.  New with warranty.  Quality and versatility in a hand-wired OD, with interactive guitars, much like Goodsell amps.  Can give you a nice clean drive, or plenty of type-type overdrive, especially useful on amps without a master volume or ones that need the front end driven harder to reach their full sweetness.  Richard knows about tone, and the same "magic" he delivers through his amps, has been used on these great OD's.  He builds every one, usually with a wait of just a month or so.  Don't wait for yours.  This one was jut built 8/5/13 and has zero playing time, for just $125(HOLD-Dave K).  

2011 Ibanez STM2 "Iceman" Sam Totman Signature Model, (front), (back), (headstock), (trem), (Evolution pickups).  Signature model for Sam Totman, guitarist of the powermetal band DragonForce.  Designed specifically for rock/metal players, it has the necessary ingredients including dual DiMarzio Evolution pickups with a simple 3-way switch and volume control, plus a double-locking tremolo and flat fretboard with jumbo frets.  One major departure for Tom's guitar are aesthetic - it's a lovely looking guitar with flamed maple top and headstock, finished in Sapphire blue.  They used the Iceman body style as the foundation.  After building copies of USA guitars (mainly Fender/Gibson) for years, the Iceman was the first body that was uniquely Ibanez.  Commonly referred to as a Paul Stanley Iceman, this model was originally called the Artist 2663, with an identical guitar made by Greco, called the Mirage.  Before it was resurrected in the 90's, the Iceman was produced from '75 to '83, in various set neck and bolt on models.  Chief among these was the Paul Stanley PS-10, which debuted in '77.  Fast forward 35 years and now we have the STM2 as the latest Iceman.  It retains the neck-thru feature of the higher end early models with a maple/walnut center piece, mahogany wings, and a perfectly flamed maple top.  Likewise, the headstock features the same flamed maple.  Other features include Wizard III 5-pc neck with KTS titanium rods for strength and stability, rosewood fretboard w/angled block inlays; STM neck shape, 24 jumbo frets, lower profile Edge III bridge, and DiMarzio Evolution humbuckers with a zebra in the bridge, black in the neck.  This guitar is in brand new condition (still in original shipping box), with the only flaw being two extra holes for strap pins (shown here).  Take your pick if you want them located in the other location or want them in both locations.  Set up is low and fast with an incredible tone for a guitar in this price range.  This model sells new for $899 ($1199 list) but other than 2 extra strap pins, this one's like new an just $499.  Details, check out Ibanez.com

Eastman El Rey ER3, (front-1  front-2), (back-1 back-2), (side), (headstock), (bridge/pu), (case).  For players who want a quality archtop, without the ungainly size, the EL3 fits the bill.  With its 14" lower bout and slimmer 2" depth, it's comfortable for stand-up playing, while it's chambered body without F-holes provides a rich acoustic tone without the feedback of most archtops.  Designed for Eastman by master luthier Otto D’Ambrosio, they're quite unlike other archtops on the market.  With a weight in the 6 lb. range, it's easy on the back but the light weight and smaller size doesn't come at the cost of tone.  Eastman's El Rey series (read more) includes two guitars (ER1/ER2) that are designed for Jazz, while the ER3 is their Rock guitar, rare for an archtop, with the chunk and chime players are looking for in any guitar they plug in.  That's not to say this guitar is limited in any way, and it can cover the range from jazz to blues to rock, and it's superb feedback suppression lets you crank up the gain and enjoy sweet tones, rather than annoying feedback.  This is a genuine hand-carved body at a $2150 list price that's unprecedented from my experience.  Eastman spares no expense in using all solid woods in the ER3, with a carved mahogany back and sides, and, at least in their spec sheet, a carved maple top.  Both Martin and I believe this is burled mahogany veneer over a solid maple top.  The figuring and grain pattern simply don't look like maple, but looking at a cross cut of the wood via a pickup cavity, it's definitely solid wood and does appear to be maple, both in color and grain.  Other features of the ER3 include Florentine-style patented “neck block cutaway” construction for easy upper-register access, Tonepros one-piece bridge/tailpiece combination with 2 1/32″ string spacing, solid mahogany neck, glossy finish throughout, ebony fretboard, wide 1 3/4" nut, 25 2/5" scale, custom offset fretboard inlays, dual Kent Armstrong (HPAG-1) pickups, and gold-plated Gotoh tuners.  Overall very nice condition with the exception of some finish checking (shown here) that's visible only on close inspection.  This is a very thin and hard finish and it's going to be prone to checking, probably more and more as the years go by.  It doesn't pose a problem and adds a genuine vintage flair that some players will appreciate.  Everything about this guitar oozes quality, which is evident the moment you pick it up and strum your first chord.  It's very easy to play, sounds wonderful, and can cover the ground of an ES-335...and more.  Lists at $2150, discounted slightly to around $1800.  If you don't min a guitar that's not a museum piece, you'll find this an exceptional value at $1150.  Includes original case which is a unique design, top quality case, that offers excellent protection.  Case can be carried by handle or strapped on for subway travel.  

Menatone JAC Compressor. This is the first version J.A.C. (JFET Audio Compressor), numbered 183 and signed on the back.  The newer version features the new cosmetics and a "cut" control for players who want it less bright.  It features a completely analog circuit, Point to Point construction, True Bypass switching, DC power jack 9V (negative-center), silver plated wire, and all carbon resistors and film caps in the signal path. Sold new for $200 but this nice used one is just $125.  

Maxon OD9 Overdrive.  This may look like the Ibanez TS9, but Maxon assures you that any similarities are in looks only. It uses improved circuitry including a signal-distorting diode (Panasonic #MA150) that is located in the amplifier stage's negative feedback loop (this stage also contains the JRC4558 IC chip). Therefore, the OD-9 distorts signal in the amplifier section itself which yields a smoother, milder, more natural sounding distortion than a separate clipping stage. This is also the reason that the IC type used in the circuit has such a large impact on the unit's tone. Maxon developed this unique design more than 20 years ago, an industry first that is commonplace today.  To combat excessive noise, the values of the output resistors on the OD-9 were increased, which reduced noise but had no audible effect on overall tone.  It also features True Bypass Switching for natural, uncompromised tone in bypass, and works equally well as clean boost or overdrive.   Click here for a demo by ProGuitarShop. Don't pay $157.50 for a new one when this one's like new and just $99.  

Tokai Tweed Case.  Structurally 100% with all hinges, latches, feet, and handle present and working.  Outside has plenty of scuffs, interior in good shape except for two tears.  Hard to find case for your 80's Tokai vintage series Tele/Strat.  $75. 

Fuchs Train 45 Head, (back), (top).  This amp blew me away.  I've never had a Trainwreck and now with prices on those soaring into the ozone layer I probably never will, but assuming they sound similar to this Train 45 I know what the hype is about.  Like Ken Fischer's legendary amps, the Train 45 is a straight ahead single channel, non-master volume amp.   This amp has a singing quality that most players are looking for with a shimmering clean with plenty of clean headroom - and fantastic overdriven sound that sustains notes endlessly.  Runs on your choice of EL34's for 35 watts of clean power - 45 watts peak - or use 6V6's for a more neighborhood friendly 22 watts.  Keep in mind though, that on an amp in this league even 22 watts is very loud.  If you're used to master-volume amps and playing at a level that your spouse can live with, this may not be the best choice.  This amp sounds best when you can open it up a little bit.  Features solid pine cabinet with Tolex covering, two EL34's/6V6's in the power section, three 12AX7's in the preamp, 3-position brite switch (brite/flat/dark), Gain-Hi-Mid-Low-Pres controls.  There are some intelligent reviews on Harmony-Central (click here) but I would discount the first one, especially considering the reviewer was evaluating the wrong amp but clearly knows little about tone.  From the other reviews, it scored all 10's and just a single 8.  Click here for all the info from Fuchs.  This amp is flawless condition, and one of my favorite amps ever in stock.  $1399(HOLD-Wanda/Scott 3/22).  

Hughes & Kettner Replex Tube-Driven Tape Delay, (close-up), (side), (controls).  Very popular delay and reverb simulator, carefully crafted to nail the tone of the classic Echoplex Tube Analog Tape Delay. Converging traditional tube circuitry and modern digital technology, the Replex replicates the sound and response of a ‘60s tape echo with awesome accuracy. And it handles and operates far more conveniently and reliably than the original. Case in point, the VINTAGE FACTOR knob in the Delay section. Spin this knob to take a trip through time. Go back 40 years, or stop anywhere along the way. Set to the far left, it delivers uncolored digital delay. As the knob is turned clockwise, it delivers more and more of the three-dimensional "wow, flutter and spin" that made vintage tape delays so desirable. Other specs include: the original sound of tube-driven vintage tape delays; choice of single-head or dual-head delays or vintage tube reverb; true bypass setting leaves source signal completely unaltered; rugged metal housing; delay time variable between 10 and 900 ms. This unit is everything good about an Echoplex (tone) without any of the negatives (reliability and noise). For complete info and sound clips click here for H&K or click here for a good YouTube demo.   I'm not sure if they're still made there, but this one was made in Germany and built for years of road use.  It sells new at the super stores online for $559.  This one is in beautiful condition and just $379.  Includes original box, power supply, and manual.  

1981 MXR Analog Delay Model No. 118, (pic2).  Beautiful shape, perhaps the best analog delay from that era.  Has the warm, lush tone of an old tape delay, especially when you turn up the regeneration knob tad.  Like all MXR effects from this era, built like a tank for decades of trouble-free use.  Well-worn models of this pedal are $150+ but here's a very clean one for just $199.

1981 MXR Stereo Chorus, Model No. 134.  This is the same model/era used by Randy Rhoads - a completely different animal than the 5-knob version with wall-wart build by Dunlop.  MXR closed their doors around 1984, with no more pedals being produced until Dunlop bought the licensing rights in '87 and began building reissues shortly after, although they're highly modified from the originals.  One of the great analog chorus units ever, and actually better than the Boss CE-2 in my opinion.  It sounds warm, lush, and natural.  Great for adding sparkle to clean-toned lead passages and for fattening chords.  Bottom plate is scratched up but the label is intact and overall very nice condition for 30 years and works perfectly.  $165. 

G&G/Fender Strat/Tele Case.  Vintage style exterior with black Tolex and white stitched leather ends.  Interior is black plush-lined with rectangular storage compartment.  Nice shape.  $99.  

70's Univox Strat Case.  Offset waist design that's made specifically for Univox's Strat copy, though it will likely fit a Tele or others.  Nice vintage condition and hard to find original part for your prized Japanese Univox.  

Original Floyd Rose - Chrome.  Original Floyd made for non-recessed body.  Nice shape, quality German-made by Schaller.  $79 for Floyd alone; for other parts inquire.  

Visual Sound 1 Spot Combo Pack Power Supply. The most versatile power supply you can buy and it takes up no space on your pedalboard. Guaranteed to replace: Boss PSA, Boss ACA, DOD PS-200R, Morley 9V, Danelectro DA-1, Dunlop ECB-03, Ibanez AC109, and Zoom AD-0006, plus many others. 8-plug cable included so you can power up to 8 pedals and by linking additional Multi-Plug cables, you can power a virtually unlimited number of pedals. The L6 Converter powers Line 6 modeling pedals, while the 3.5mm and Battery Clip Converters power vintage style pedals. Converts any power, world-wide and only takes up one slot on your power strip.  Lists for $39.99; I have a number of them for $28.99. 

Genuine Fender Parts '57 Strat - Sunburst with Gold Hardware, (front), (headstock), (back), (neck/body markings), (case/etc.).  Beautiful custom-built Strat with 100% Fender parts.  Body and neck are the real deal with the "Genuine Fender Replacement" seal impressed on the neck on the back of the headstock, and on the body under the neckplate.  These are both mint 2004 parts.  You'll note the plain "Fender" logo on the headstock, which is how Fender supplied them back then.  After these were made I didn't see any genuine Fender body/neck parts until last year when I believe they started making them again.  The don't, however, still make them with USA Vintage Series specs like these.  They're best ones (not including Mex-made) are simply American Standard with the "Made in USA" under the logo, polyurethane satin finished necks (gloss finish on headstock only), and poly-finished bodies with HSS routing.  This neck is made to USA Vintage 57 neck specs with a vintage tinted nitro finish, 7.5" radius, and vintage frets; body is also nitro finish with SSS routing.  Pickups are a new set of USA vintage '57/'62 with beveled magnets and cloth wires, connected to new USA pots and switch.  Lastly, this guitar features all gold hardware including tremolo ($139 discount price), tuners, output jack plate, neck plate, string tree, and all screws, all genuine Fender parts.  Lastly, this guitar includes a Fender/G&G center pocket tweed case.  If you want to build a vintage series Strat like this one...you can't do it, but to do a guitar with today's offering of parts will run (in discount direct prices):  $499 (neck), $399 (body), $199 (case), $159 (pickups), $139 (trem), $45 tuners&tree, $29 (pickguard), $30 (pots&switch), well over $1500 when you include the other small parts.  If you want a qualified luthier to assemble the guitar you're looking at another $300-$400.  This one is ready to go, pro-assembled, and, again, built to Vintage '57 specs, with parts you can no longer order.  Set up is superb with a quality Strat tone, excellent sustain, and no dead spots on the vintage neck.  It exhibits no players wear to the neck or body.  Beautiful Strat for $1099.  

1989 Fender Squier Stratocaster - Many Upgrades, (upgrades), (front), (headstock), (back).  Some of you might remember this as a project guitar I posted some time back.  Since we didn't have any DIY takers we went ahead and completed it here and it turned out to be a fantastic player, with virtually all parts replaced, other than the neck and body.  Electronics have all been replaced with USA pots and switch, with a trio of Guitar Fetish dual-blade humbuckers, controlled by three 3-way mini toggle which select (1) humbucker, (2) single coil, and (3) off.  Hardware is all upgraded with a set of locking Sperzel tuners, Wilkinson tremolo, and Schaller strap pins and strap locks.  Lastly, it now has a Tusq nut an white pearloid pickguard.  With the staggered height Sperzels there was no need for string trees or retainer bar so they've been removed and plugged.  Between the Wilkinson trem and locking Sperzels it stays in tune much better than stock if you're into whammying.  The GFS pickups sound very good and the ability to split each pickup gives you 16 possible pickup combinations if I'm counting correctly.  It has a very Strat-like tone even on the humbucker settings.  I especially like the neck pickup by itself in the humbucker mode for a powerful Hendrix type tone.  The neck is just slightly chunky with a similar profile to an American Standard but slightly thicker.  It has vintage frets and vintage radius but bends with ease with no fretting out during bends.  Made at the Young Chang plant in Korea this is a solid, clean guitar with an excellent neck and upgrades that make it a bargain for this price range at $299(HOLD-Ken L 11/19).

1997 Fender '54 Stratocaster Reissue, Sunburst - Fender Japan, (front), (back), (PG assem.), (neck/body markings), (headstock/neck) (flame), (case/etc. (case2)).  Fender's older model "Made" in Japan reissues have long received accolades for their quality and this one is an excellent example.  Although Fender's USA production has been limited to just several models, Fender Japan has been making over a dozen reissues for years with this '54, of course, being a reissue of a first-year Stratocaster.  Neck is nice and thick, with a soft-V profile.  Body is a nice dark 2-tone sunburst that looks very much like an authentic '54.  You'll note the '62 stamp on the body which is not out of the ordinary since they didn't build separate bodies for every year.  Once the bodies are cut and sanded they go into a pile and the same pile is used to paint a 3-tone sunburst '62, or like this one, a 2-tone '54.  Features include the heavy tremolo block with nickel plating and bend steel saddles, as well as nickel vintage Kluson style tuners and a single round string tree.  This guitar did receive one upgrade;  pretty major one:  a trio of Rio Grande pickups - the "Muy Macho" set (Muy Grande in neck and middle with an STelly in the bridge) with CTS USA electronics.  Rio Grande sells this prewired pickup assembly for $326 (link).  Cosmetically this guitar has an excellent gloss finish with minimal scratches and no buckle rash, but it does have a small finish chip on the top edge that we'll touch up if desired.  Frets are near perfect and the set up is fantastic.  I've put this with a top quality G&G Fender case with burgundy velvet lining, in excellent shape other than a small tolex tear on the corner, shown above.  Nice playing, superb sounding Strat for $729 with the G&G case; $629 with gigbag.  

1966 Fender Musicmaster II, (front), (finish), (headstock), (back), (body/neck date), (pots), (case).  Super pro refin body and neck - the Dakota Red finish is so realistic I wouldn't have known it was a refin were it not in such clean shape.  The main thing that strikes me about this guitar is how *great* it sounds.  After Martin complimented the tone I gave it a good listen and I can best describe it as sounding very "Fendery", much like a Strat on the neck pickup.  The clarity, punch, and superb sustain make it stand out among other Musicmasters I've had.  The Musicmaster is somewhat of an odd bird.  Fender's student model of the 60's, it came in two scale lengths:  the 3/4 scale Musicmaster I at 22.5" and, oddly enough, the Musicmaster II in a "full" length of 24".  24" is the same as Jaguar but I would have guessed that since they offered a separate short scale for beginners, they would have offered this model in Fender's regular full scale of 25.5".  All hardware, pots, etc. are original '66 and the worst flaw is some pitting on the control plate and bridge (pic).  The one non-original part is the pickup which has been changed to a Fender Lace Sensor (Silver) (pic).  It came to us with a regular 6-pole Strat pickup which simply didn't sound right so we pulled it right away.  We wanted a pickup that had the proper aesthetic look, i.e. slick top cover with no visible poles, and after trying out a few, including a Melody Maker and several Laces, we decided on a Silver Lace.  With a Musicmaster pickup located in the neck position the Silver Lace had the perfect mix of expressiveness, strength, and clarity, while giving a great bottom end to a guitar that's usually lacking in that area.  I am of the definite opinion that it sounds much better than stock.  As I mentioned, the finish job is superb and it has seen very little playing time since the refin so it remains in beautiful shape.  At the same time it had a fret dressing so frets have no dishes in any of the frets and since the neck is as straight as you'll ever see, the action is quite low with no fret outs or buzzing.  We put it with a vintage Musicmaster case that is structurally in great shape, but it has an area of tolex removed from the top, and a storage compartment added inside.  It's excellent protection for the guitar and fits like a glove.  I love finding a diamond in the rough and would never suspect I'd find it in a Musicmaster, but this is a great guitar.  $650 includes tolex Musicmaster case pictured. 

1988 Fender American Standard Stratocaster - '54 Pickups, (front/back), (headstock/fretboard), (pickups).  For players who like matching Strat/Tele sets, here's an '88 Strat to go along with the '88 Tele below.  All stock except for Custom Shop '54 pickups.  Full description is on my Fender page.  $950 includes later Fender case.  Buy the pair and get free shipping on both.  

Deering Boston Resonator Banjo, (close-up), (headstock), (front/back), (case).  On the heels of my Deering Black Diamond which recently sold, another fine Deering.   Even though the Boston is a fairly inexpensive banjo by Deering standards, the tone and playability are definitely first rate and are so far above any import that comparison isn't possible.  Spec's include mahogany neck & white-bound resonator, heavy steel rim which also functions as tone ring, 24-piece flange, ebony fretboard with pearl dot inlays, Gotoh guitar-style tuners with geared 5th string peg.  The Boston's drum assembly is a 3/16" thick steel rim, but it rings like a tone-ring.  Combined with the 24-piece flange, this steel rim design gives a remarkably loud and clear tone.  Also, it can be easily converted to an open back by removing the flange pieces and resonator.  Deering cases are the best I've ever seen and this case weighs around twice as much as the banjo itself.  If you've become frustrated with your playing ability - or lame tone - here's a fairly inexpensive way to upgrade both.  List price on a new one is $2019 discounted to $1595 - or save $650 and get this nice used one for $945, offered in clean shape and pro set-up to perfection.  For details on the Boston Click here for Deering's site. 

Seymour Duncan Livewire Classic (Bridge).  Seymour's active humbucker, running off an 18V system (2 9V batteries), for unprecidented headroom and whisper quiet performance.  Many EMG fans have been won over by the Livewires so maybe do a google search and see if it's for you.  New ones are around $97 this used one is just $55.  Includes battery clips, wired to the pickup.  

2004 PRS SE Soapbar, (front), (headstock), (back), (gigbag).  "Original" Soapbar Singlecut, built before the injunction from Gibson at the end of 2004 which forced PRS to discontinue all singlecut guitars, i.e. anything that vaguely resembled a Les Paul.  PRS responded with the "Soapbar II", a similar guitar, with a thinner body, in a double cutaway design.  These original singlecut models are, by far, the preferred model.  As I've mentioned before, PRS and perhaps Brian Moore, make the best quality Korean imports on the market in my opinion. Fit and finish are impeccable, with excellent pickups and electronics, and good quality hardware.  Most of all, I'm impressed with the fact that they have great necks that set up as well or better than most USA models.  This guitar blows me away in terms of looks, tone, and feel.  It's a joy to play with low action, super easy and smooth bends, and quality tone with excellent sustain and 3 distinct tones on the pickup selector. With a lot of guitars, most LP's come to mind, I never use the middle position as it seems to lack character.  Not the case with the Soapbar SE; it sounds great.  The Soapbar SE features a mahogany body with an impeccable high gloss finish in transparent cherry, mahogany wide/fat neck with moon inlays, compensated wraparound stop tailpiece with large studs that is intonated well and does a great job of transferring the energy from strings to body, PRS Soapbar pickups, and PRS sealed tuners that stay in tune very well.  They don't make these any longer, but the Soapbar II sold new for $550 with bag.  This one is barely touched, 9.9 condition, and an excellent value on a guitar that's good enough to gig with at  $379(HOLD-Robert A 7/15), including a super pro setup and PRS deluxe gigbag, which is very firm and thick, the best protection I've seen on a stock gigbag.

Randall RM22 Head with Ultra and Deluxe Modules, (panel), (top), (back), (back panel), (modules), (footswitch).  Not just another of the lower powered tube amps, the RM22 gives you two amps in one, and you get to select which amps you want to use.  Based on the success of Randall's larger MTS series, the RM22 uses swappable MTS modules which are actually preamps that you can quickly swap out and change the character of the amp instantly. This one comes with the "Ultra" and "Deluxe" modules installed, which are patterned after the Fender Deluxe. With the footswitchable Boost switch, you have a nice four-mode amp, enough cool tones to satisfy just about any song. The "Ultra" module makes this a high-gain amp, with a huge bottom end and cutting upper mids, while the "Deluxe" module is based on the preamp circuit of a Fender Blackface Deluxe with a great tone for country, accented mid-range and top end spank, with more bite than a vintage Blackface.  Together you have a perfect clean/dirty combination.  Specs include black cloth front; 18 Watts RMS into 8/16 Ohms; EL84 power tubes; front panel channel switch; tube boost function w/Gain and Level controls; master density & presence controls; series effects loop; rear panel bias test points; direct recording out w/"Mic Eliminator" circuit; 3-button footswitch; and world voltage AC input selector.  At 18 watts, its easy to send this amp into controllably smooth, creamy overdrive at manageable volume levels and, with over 20 modules to choose from, it’s likely the most versatile low wattage tube amp on the market.  It is extremely well suited for small gigs and the studio, where it's become somewhat of a fixture in many Nashville studios.  This model debuted at the '09 NAMM show and has been recently discontinued.  Plenty of modules are available on the used market for $150-$175.  Original discount price on this amp was $1100; this one's in beautiful shape and just $679.  (Note: Seymour Duncan had the same idea in the late 80's with his "Convertible" head, which I also have in stock, 60 watts, $429)

NOW WITH JEM CASE:  2002 Ibanez JEM7 VSBL, (front), (back), (headstock), (quartersawn neck), (inlay), (case).  I came across a proper Jem case for this guitar so that's now included instead of the generic Tolex case listed earlier.  Advertised as the new "high priest of guitar", the VSBL with its stunning Sparkle Blue finish and blue vine inlay, had a brief run from '02 to '04.  Like all the Jem 7-series I've had, it plays as easily as any guitar made and shreds like few others.  Designed by Ibanez and patterned after Steve Vai's EVO guitar, this baby is made for the extreme playing style that Vai exemplifies.   Features full-access, 24-fret Prestige JEM 1-piece quartersawn neck with jumbo 6105 frets, flat 17" radius, 21st to 24th frets factory scalloped, contoured alder body that provides ultra-easy access to the upper register and features the Jem's unique "monkey grip".  Deep-routed tremolo cavity allows pitch to be raised or lowered up to a fifth, via Lo-Pro Edge double-locking, low-profile tremolo.  Quality DiMarzio pickups including DiMarzio Evolution neck and bridge humbuckers and a mid-position single-coil DiMarzio Custom - controlled by Ibanez Split-5 wiring, vintage silver hardware  This is perhaps the thinnest profile on any neck I've ever had, yet it's very stable.  If ever there was a neck that could be called "fast", this is it.  Cosmetically the top is perfect except for one small ding (shown here) and the back is clean except for a finish touch up on the edge that's pretty well color matched (shown here).  Please note that the middle pickup cover faded a darker color but it is the original - nothing on this guitar has been replaced.  Although Ibanez no longer makes this color, the current Jem7 in white sells for $2799 but if you don't mind 2 finish flaws on an otherwise clean guitar, get this one for 1/2 the cost of a new white one - just $1399.  Includes Jem case with burgundy crushed velvet interior and pink logo on outside, plus trem arm.  

2012 Ibanez RG3250MZ Prestige - Fluorescent Orange, (front), (back), (headstock), (pickups), (Edge Zero Bridge), (case/etc.).  "As new" condition and, wow, Fluorescent Orange, I couldn't turn this one down.  It conjures up memories of the early Ibanez RG's, and Jems, with finishes that left no doubt that this wasn't your dad's hand me down guitar.  The Ibanez RG series were introduced in 1987 and still thriving and evolving, and remain one of the premier lines for hard-edged rock and metal tones. The RG Prestige models are now all made in Japan by Ibanez's finest luthiers, with Wizard necks with Prestige finishing, Edge Zero and Edge Pro bridges, and a broad range of intense pickups in different configurations.  Features include basswood body;  DiMarzio pickups with an Air Norton (neck) humbucker, True Velvet (middle) single coil, and a Tone Zone (bridge) humbucker, controlled by a 5-way selector; Edge Zero tremolo with accompanying ZPS3 system in the tremolo cavity; Super Wizard HP 5pc Maple/Walnut neck w/KTS titanium rods for strength and stability; maple fretboard with black dot inlays; jumbo frets with Prestige fret edge treatment; and Cosmo Black hardware.  The Edge-Zero trem has a sharp knife-edge for extremely accurate tremolo playing.  This system uses Ibanez innovations to keep string action constant and the bridge surface smooth plus the specially designed arm socket prevents unnecessary wobble from the arm while providing full control over the arm's torque.  The ZPS3 is the next stage of zero point systems. Made of lightweight Duralumin, the addition of two outer springs makes the guitar easier to tune and provides much greater tuning stability.  Using just your thumb you can adjust the tremolo tension from fully tight where it's like a blocked tremolo, to very loose where it has the soft feel of a Bigsby or Kahler Pro. You can also set it with a "resting" spot, or full free floating for doing "boing" type of quick flips. For full specs click here for Ibanez.com.  This model sells new for $1699 ($2266 list price), but this one is virtually unplayed and flawless without even pickguard scratches, for just $1350. 

1997 Fender Stratocaster Plus- Sunburst (#991), (front), (back), (headstock), (pickups), (case).  Another '97 Plus, identical to another I posted a few weeks ago.  This one is also in very lovely shape, obviously owned by a responsible player for the past 16 years.  The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard, replaced by the American Series, with the "American Deluxe" replacing the Strat Plus as Fender's premium production model.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  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 early Plus models as well as on the Clapton and Buddy Guy signature models; both of whom toured with these stock Laces for many years.  I'm a big fan of these pickups as they're the best I've found for zero hum while retaining that vintage Strat tone.  The Plus also features precision locking tuners, LSR roller nut, and Tremsetter (pic), all enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  The "Tremsetter" by Hipshot located in the tremolo cavity (didn't appear in all years) contributes to tuning stability by 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.  Overall this one's in beautiful shape with no wear on the fretboard edges, which are quick to wear, and just one small hint of wear on the fretboard.  Frets are in nice shape and need no attention.  Lettering on the pickups is still very readable which usually indicates a lack of heavy use.  Includes original "Plus" case with deluxe latches and gray interior for $1050.  

TC-Helicon Voicetone HarmonyG, (pic2).  From T.C. Electronics comes this easy to use, excellent sounding vocal harmonizer and effect.  For the performer who likes it simple, in this one unit you get:  guitar preamp, vocal preamp, guitar DI, guitar tuner, effects processor, and 2-part vocal harmonizer which is 3 parts when combined with the original voice.  Made especially for the guitarist with vocal harmonies generated by whatever guitar chord you're playing, even recognizing minors, 7ths, etc.  In addition, it has vocal effects like doubling, echo, and a number of reverb types.  With built in EQ, compression and de-essing, you can be confident in bringing the harmonies out front in the mix, knowing that they'll be natural-sounding and understood.  To get a taste of what this sounds like, here are some YouTube vids:  demo1, demo2, demo3.  For full specs, videos, etc., click here for TC's site; here for a full description.  This unit has been replaced by the Harmony G XT, with the main difference being addition of a USB port, plus it has more presets for doubling and a noise gate to eliminate any guitar going to the mic.  Not being one to mess with manuals, I had this out of the box and working to my satisfaction within 15 minutes, without ever opening the book.  If you just want the effects/preamps, without the harmonies, I have the "Create" models in stock for $139 (pic).  This model sold new at $249; currently $223 at Amazon.  This is a very powerful unit for the guitarist/singer and would simplify my personal setup greatly.  For tonal quality, and versatility, it's hard to beat for $159.  

Maxon OD808 Overdrive.  All time classic in tube-like overdrive in a stomp box. The 808 is made by the same Japanese company which built the original 30+ years ago, using the identical circuit, including the same JRC4558 IC chip for smooth, natural overdrive similar to a cranked-up tube amp. It responds to the picking dynamics and nuances of your individual style while also letting the true tone of your instrument shine through. Its smooth, creamy crunch tone launched numerous copies, as well as some very expensive boutique clones. If you're looking for the natural, mild overdrive of a tube amp that preserves your guitar's original tone - plus a clean boost which lets the original sound of your amplifier shine through - this is your pedal. This is not a mint collectable but despite it's scratches and Velcro on the bottom, it's immaculate inside and works perfectly. New ones are $150 or get this one for $99. 

Aphex Punch Factory Optical Compressor and D.I. The Punch Factory is built with complex attack and release characteristics. Exhibits no break up even with 20dB or more of gain and delivers near endless sustain plus transparent compression and clean boost. Simple to use with just Drive and Volume knobs, plus an Active/Passive select switch to accommodate the hottest pickups. It features a Low Z output to drive long cords with no loss of highs and features true bypass switching. An LED bar graph shows gain reduction in dBs. Battery works up to 150 hours on a 9V or also works with virtually and external power, 7-36VDC, with any polarity. Cosmetically, it isn't terribly clean but works great.  The new silver model will run you $199 but get this earlier version for 1/2, just $99 takes it.  

1992 Washburn USA MG Neck, (pic2).  This is a neck from Washburn's USA metal axe from ca. '92-'94, the MG-104 Mercury series.  These American models were produced at roughly the same time as the import Chicago series such as my ca. '90 KC-70V lower down on this page (pic) but since they had an extremely hefty price tag, not many of the MG's were sold.  Overall excellent condition, only had one set of screws installed which appear to be a Schaller pattern.  Cut for a surface mounted Floyd nut. Nice USA neck for your HM project for just $199.  

1995 Fender Japan '72 Stratocaster Neck, (pic2).  Quality "Made" in Japan model from mid-90's.  Large headstock with "bullet", 2 string trees, 3-bolt, tilt-adjust, and CBS logo. Outfitted with original Gotoh tuners and trees.  Excellent choice for building an Yngwie tribute model or any other early 70's Strat.  Sets up well on a guitar.  $289 with hardware; $239 for neck alone. (HOLD-Matt 10/24)

80's Zion Guitar Neck, (pic2).  Not sure of the year but it's early Ken Hoover era, serial 1929.  This came off the body of a former Zion endorser, arguably the hottest rock guitarist in Iowa, who removed the logo after his endorsement deal ended.  As you can see in the pics, it has a great broken in feel and look, front and back, similar to an early Charvel.  Just minor fret wear; when it was on a guitar it set up with excellent action.  Selling with original Sperzel tuners and Kahler (Floyd licensed) nut for $299; $225 for the neck alone.  

2003 Martin DM Dreadnought Mahogany, (front/back), (headstock), (case).  Martin's best value in an all-wood dreadnought, sort of a budget D-18 with similar tone, feel, and playability.  The DM features a solid spruce top with laminated mahogany body, black binding, herringbone rosette ring, low profile neck w/adjustable truss rod, rosewood fretboard with dot position inlays, tortoise pickguard, chrome tuners, and a tone-friendly satin finish.  Overall nice shape for a used guitar, it does have a few glossy areas in contact areas, which is common to satin finishes, and a number of small finish impressions on the surface.  If you prefer, we can buff out the top--or entire body--for additional cost.  It plays wonderfully and sounds better than just about any acoustic in this price range.  These sell new for $899 ($1199 list) but this nice used one is $639 and includes hardshell case pictured. 

Marshall ED-1 Edward Compressor.  Built like a tank, cool looks, and most importantly good tone.  The ED-1 features controls for Emphasis (Hi/Low selector), Volume, Attack, and Compression, with a passive bypass.  The Emphasis switch lets you select either bass or treble frequencies to tighten up such as compress you bass and let your treble notes ring out, or vice-versa.  A must have in any pedalboard, a compressor smoothes out your playing, making it sound as if you're hitting all notes evenly when both you and I know many of your notes you hit harder than others, or barely touch them.  It can also be used as a percussive effect, sort of like having a drum strike playing along with every hard stroke.  Super clean and a nice comp for $39.99(HOLD-Morgan 10/15).  

M-Audio EX-P Expression Pedals.  Works fine on guitar effects or keyboards.  You can instantly control any assignable variable MIDI controller value, including volume, pan, modulation, and many more. The solidly made EX-P is formed from durable-yet-lightweight molded plastic and has a textured, slip-resistant surface. Features an integrated 1/4" cable and a built-in polarity switch, so it will work with most brands of keyboards and controllers.  These sell at Amazon or guitar superstores for up to $39.99 each, but you can get this PAIR for $39.99.  

Teese RMC3FL Real McCoy Custom Wah, (pic2).  First created in 1994, the Real McCoy Custom 3FL (RMC3FL) is the world's first (and only) fully tunable self-contained wah. With the front loaded controls you can tweak your tone on the fly: 
LOW controls the amount of low frequencies wah's sweep; MID controls the mid-range depth of the sweep, affecting the vocal-like quality; Q Harmonic controls the position of the sweet spot within the sweep range; and VOLUME allows you to adjust the output strength. The SWEEP section contains a bank of 9 DIP switches to select your desired sweep within a 9 octave range. The switches may be used in any combination to create familiar wah sweeps as well as some never before available. The voicing parameters go from higher than the old SCHALLER Bow-wow/Yoy-yoy pedal to deeper than any bass wah. The FINE TUNE (2 trimmers) work in conjunction with the SWEEP DIP switches to allow you access to very subtle values "in-between" switch settings. It also features the under-the-rocker toggle switch to change sweep speed and low end resonance.  Mint condition other than Velcro on the bottom which can be removed if you don't need it.  New price is $255, but this one's perfect and just $178.  

BYOC Phase Royal, (circuit).  BYOC's take on the classic MXR Phase 90 circuit, but with massive modifications including a depth control to add just a hint of phase shifting. Resonance control to adjusts the vocal quality of the phase shifting, from chewy script logo tones to throaty vowel like tones. Also added is a wet/dry mix control that goes from 100% clean guitar signal to pure phase shifting pitch vibrato that's similar to the Magnatone vibrato. IC's are four of the classic JRC 4558D. They've also added two more phase stages for a total of 6 phase stages. It does the classic Phase 90 tone that's even more intense and over the top but added a switch so you can change between 4 and 6 phase stages.  Check out YouTube for some demo's, like this one.  Sells new as a DIY kit for $89.99 but this one's pro-assembled...for less. Just $69.99. We can paint and re-label but that might be more fun to do yourself. 

A PAIR OF NICE LAKEWOOD ACOUSTICS - Both of these have never been retailed nor played.  They are first quality; you will be the first owner.  Lakewood guitars are hand-crafted in Germany under the eye of Martin Seeliger, who started the company 27 years ago.  Widely known throughout Europe and other parts of the world, I think of them as sort of the European Collings equivalent.  

GENUINE VINTAGE PAPER (NOT REPRINTS):

ca. '99 Danelectro '56 U-2 - Copper Burst, (front), (back), (headstock).  Nice early reissue, made in Korea and finished in a glossy Copper Burst.  Dano discontinued this model many years ago, and opted to build only one model at a time, each with a run of a year or two.  Specs include: hollowbody design with Masonite top and bottom with plywood frame, 25" scale, 21 large frets, original style "Lipstick" pickups with chrome-plated brass frame and original formula 50's style Alnico magnets, stacked pots with volume/tone for each pickup, 3-way pickup selector, original style rosewood saddle and die-cast chrome bridge, aluminum nut, and clear pickguard with "D" logo.  These Dano's are every bit as good as the original 50's Dano/Silvertone models and one of the best values on the market, used by garage bands and even pro's like Dave Matthews.  Nothing sounds like them and once Martin gets them on his bench, they play with the ease of very expensive guitars - his setups on Dano's is simply incredible.  If  you're looking for something a little bit different for a signature tone, or simply want to add a guitar to your arsenal that has loads of cool vibe and a unique tone, here's a really nice one.  Cosmetically, very clean with no major flaws.  $279 or add Dano gigbag for $22 more. 

1985 Greco Device JJ-R1 - Jackson Strat Copy, (pic2), (back), (pickups/trem), (catalog-1  catalog-2).  A shredder's dream guitar with action so low it makes you laugh like a small child.  Excellent Japan model that was made for Japan distribution and not imported from what I find.  These came in two models, apparently identical except for sharktooth inlays on the JJ-F1, plus they made them in an HH configuration, and lastly, a bass.  This one's a very cool color, Salmon Pink, which was a Fender custom color back in the 60's.  The body is a dead knockoff of a San Dimas era Jackson with an identical small control plate and identical contours.  Features real Kahler tremolo and excellent sounding pickups.  According to the catalog, I would guess the bridge pickup is a Jackson USA while the neck and middle are likely Greco.  They're Duncan Quarter-Pounder style with large pole pieces, plus they have a brass band around the sides, same as the catalog pics.  All three pickups sound very good.  Controls and knob layout is Jackson all the way, with volume and tone mounted straight across, with 3 mini-toggles which activate: single coil - off - humbucker.  Bound 24-fret neck feels great and is thinner at the nut that most metal axes.  Also features black hardware, Grover tuners, and football output jack which is another Jackson touch.  I would hold this guitar up against any USA made during this time and, trust me, the action is as low as it gets.  It's in extremely clean, collector's condition, with no flaws of note.  A sweet metal axe that's a rare find in the USA, for $499.   You can add form-fitting Charvel chainsaw case for $35 with 3 of 4 latches intact.  

PICS FIXED: 1985 Fender Contemporary Stratocaster Deluxe - Burgundy Mist, (front), (back), (headstock), (trem/adjustment), (Earvana).  This was the top of the Fender Japan line for its day, model 27-5700 in Burgundy Mist Metallic with a few mods that enhance tone and tuning stability.  Mods including a brand new Fender Lace "Dually" with the red and silver coils, an Earvana nut to improve intonation, and a quality set of Gotoh tuners.  Especially with these mods, this is a guitar that's easily good enough for pro use for around the price of a new Mex reissue.  During this era Fender Japan was supplying around 90% of Fender's stock until the American Standard started shipping in the fall of '86.  The Contemporary Deluxe was the top of the line from Fender Japan with noteworthy features like the System III locking tremolo system, and originally included a locking nut with an thumb lever to tighten or slack the nut tension, as well as Fender's Ping tuners which would soon be used on the American Standard, side-mounted barrel jack, and TBX (Treble Bass Expander) tone control, also used on the American Standard.  Other features include: alder body, bolt-on maple neck, 22-fret rosewood fingerboard with pearl dot inlay, blackface headstock, single-ply black pickguard, single volume and TBX control, 5-way switch plus mini-switch for 7 tone settings, and chrome hardware.  The System III was really a rather ingenious piece of engineering.  First off, it uses a special tremolo arm with the short shaft being square and the tip screws off to reveal an Allen wrench.  The reason for this is that, adjacent to the strap pin is an Allen socket, which raises/lowers the bridge, making minor adjustments a breeze.  The square shaft was used as it operated a locking mechanism in the tremolo to convert it from tremolo to fixed bridge with just a 1/4 turn of the bar.  Both of these are very practical features and I'm surprised that Fender never pursued the technology in any models that followed.  This guitar plays great and is an excellent and versatile sounding guitar.  Cosmetically, it's not a museum piece like the Pearl White I had recently, with the worst flaw being some clear coat chips around the output jack (shown here) but otherwise it's in rather nice shape for 28 years.  The catalog page above is one that I used in 1985 when I was working at Hotlicks Guitar Shop.  I noted that our discount price for the HH model was $599 and I'm sure this HSS would have been $649.   These guitars have become desirable but remain a good value for the player looking for a quality axe at a decent price.  Own this one for $575, including a hardshell case.  For more on the Contemporary line I've created a page that covers the info above and a bit more:  Contemporary Stratocasters

2006 Gretsch G5120 Electromatic Hollowbody - Black, (front), (back), (headstock), (side).  Beautiful condition and an absolutely killer player.  I've had around a dozen of these Korean Hollowbody's and, without exception, have been very impressed with the consistent quality and perfect neck angle that allows for a perfect setup.  I expected the rather dead sound of an unamplfied archtop but instead, this guitar has a nice sustain and a rather full tone - not the mid-range tone you frequently get out of these when played acoustically.  Other features include high-gloss urethane finish, very good sounding Gretsch dual-coil pickups, laminated maple neck with rosewood fingerboard and Neo-Classical "thumbnail" markers, 24.6" scale, anchored Adjusto-matic bridge, genuine Bigsby B60 Vibrato tailpiece, Black Headstock Overlay, Pearloid Gretsch and Electromatic Headstock Inlays, Bound Fingerboard, Double Bound Laminated Maple Body, clear plexi pickguard, Knurled Strap Retainer Knobs, 16" lower bout and 2.5" body depth.  The quality of Gretsch's Korean imports has been highly touted at various forums on the web.  Late in the decade Gretsch moved production to China and, quite fairly, lowered the list price from $1200 to $1000, and the Chinese ones sell new for $699.  Are the new ones as good?  Don't know; haven't had one.  I do know that this is an exceptional hollowbody for the money and even in immaculate condition it's priced lower than a new Chinese model.  Just $559(HOLD-Candy 10/17) for this one.  I have used wood/tolex vintage-style case available for $69 if desired.  

1997 Hamer Sunburst Flat Top, (front), (back), (headstock), (short heel), (barrel jack).  For the player who wants the lowest possible action without spending a lot, this would be my recommendation.  Action is very low at the nut and stays close to the fretboard all the way up the neck.  For playability, this one is as nice as most USA Hamers.  This is an excellent example of the quality coming out of Korea in the late 90's.  While I think they were mediocre a decade earlier, by '97 the Korean factories were putting out guitars that rivaled Japan production.  Hamer moved this series to China in the 00's but if you can find these older models, it's definitely worth the hunt.  If you want to sink another $135 into it, we can drop in a set of Duncans but these Duncan Designed humbuckers, which are likely HB103 treb and bass, are highly regarded and sound better than most.  Cosmetically, it's not a near mint piece with light scratches, a small paint chip on the headstock shown above, and strap pin is currently located at the end of the upper horn but we can change to one of two previous locations, which have been plugged and lightly finished, if desired  (pic here).  You'll note the headstock pic above with a "used" stamp, which means that this was a cosmetic second for reasons that are impossible to tell once a guitar gets a few scratches on it.  For a player on a budget, if you don't mind a guitar with a few cosmetic flaws, I guarantee you'll love the tone, feel, and playability.  Includes hardshell case for $319 or $279 with gigbag.  

Realistic Electret Unidirectional Condenser Pair.  Old-timers like me used to equip our reel-to-reel studios with a lot of Realistic gear, from submixers to adapters, stands, and speakers for our homemade monitors, to microphones.  It was fairly inexpensive and reliable.  This pair of condensers (catalog #33-3007) employ a AA battery (or phantom power of course), XLR connector, with a unidirectional pick-up pattern.  Unidirectional is good for off-axis rejection, meaning it only records what's directly in front of the capsule, rejecting sound from the sides.  Works good in situations where you want to eliminate any "bleed through", e.g. ambient guitar sound bleeding into our snare drum mic.  While you probably won't see these in your professional recording studios, for the home recording, here's a pair to cover your stereo field, for just $45/pair.  Includes original boxes, manuals, and carrying cases.  

BBE Two Timer Dual Mode Analog Delay, (pic2). The Two Timer, inspired by the Boss DM2, is two analog delays in one compact pedal. The circuit features a BBD (Bucket Brigade Delay) for the warmth and tape-like echo that analog is noted for as well as 1% Metal Film resistors for pristine audio quality, true hard-wire bypass for a clean signal path when the effect is bypassed. It features two Independent delay times, foot switchable via the Time 1/Time 2 mode switch, you can set one for a short slapback rhythm sound while another is set to a longer delay. It has a delay range up to 330ms, around the same as the DM2's 300ms.  When you consider the escalated price of a Boss DM2 or DM3, the new $149 price tag for the Two Timer seems reasonable.  Better still, get this one, mint in the box, for $105.  Includes original power supply. 

Gibson SG Standard VOS (Les Paul/SG) Faded Cherry, (front), (back), (Maestro/Lyre), (headstock), (case/acc.).   I've said it before but...I love these VOS models.  They're not only built to the exact spec's of the original model but they also have the patina of a 45-year-old guitar and aged hardware.  Even the finish, called "Faded Cherry" (not to be confused with Gibson's lower-line "faded" satin finishes), has the look of a faded Heritage Cherry finish.  You get the vibe of playing a clean vintage instrument rather than a shiny new guitar that obvious just rolled off the assembly line.  This model has the specs of a 1961, a pivotal year for the Les Paul.  Gone was the single cutaway model that had been around since the early 50's - and which was less than an overwhelming success - replaced by the new all-mahogany double-cut body with beveled edges, which eventually was renamed the "SG" for Spanish Guitar.   Everything was different about this "new" model Les Paul and for the player, access to the upper frets was markedly improved which along with the new lightweight design, made this guitar a joy to play.  Unlike the original Les Paul model, which disappeared from '61 to '67, the SG design has stayed in the Gibson line for 48 straight years.  Spec's of this model include Mahogany body, Set one-piece mahogany neck with long tenon, 22-fret rosewood fretboard, Burstbucker 1 & 2 humbucking pickups, Maestro Lyre vibrola with ABR-1 bridge, 24-3/4" scale length, and wide 1-11/16" nut width.  Presented in VOS mint condition, this guitar appears to have seen zero playing time and has a killer setup, nice sustain, and the cool Angus vibe with the Lyre tailpiece.  This model, properly called a "Les Paul"  on the truss rod cover, as well as the serialized hang tag and warranty (shown here) is described as merely "SG Standard" on the custom shop certificate.  The one on Gibson's site has a blank truss rod cover (specs here) but it's just another example of Gibson's inconsistency in model names.   This model sells new for $3199 ($4821 list) but this one is perfect, pro setup, and just $2199.  (Note:  I also have the stoptail model in white in stock (shown here) on my Gibson page.)

1990 Marshall JCM900 4500 Head, (panel), (top), (back), (back panel), ("20" knob).  AKA 50W High Gain Dual Reverb.  First year example of the JCM900 with 50 watts of bone-crunching Marshall all-tube power and very versatile for a its day, with two independently controlled footswitchable channels, each voiced totally differently.  Just tuned up, including all new tubes with a matched pair of Electroharmonix 5881's with three Groove Tubes ECC83 preamp tubes.  This amp needs nothing - quiet at idle and all the power you expect from a 50W Marshall.  The JCM900 series replaced the JCM800's and they were still very basic amps compared to recent TSL's, DSL's, Mode 4's, etc., but when it was made in the 90s, it included a lot of features for a Marshall.  I should also offer my opinion that this is a fine sounding amp, head and shoulders above DSL/TSL models.  The JCM900's was well-conceived, incorporating the trend of players modifying their earlier models to achieve more gain.  The 900's not only did this, but they incorporated the tricky part, keeping the noise to a minimum while building in reliability.  In response to Spinal Tap, they also included a Lead Gain knob that went all the way to "20" (if "11" is good, why not go all the way to "20"?).  The two channels are voiced completely differently and in the most basic comparison, Channel A sounds rather Fender-y; Channel B is classic JCM crunch, with the ability to go way over the top of previous JCM's.  This particular model, the 4500, is basically the evolution of the JCM800 2205, although with the enhancements mentioned above.  Other features of this amp include footswitchable channel switch which is also selectable via front panel switch, independent volume-gain-reverb knobs for each channel, shared 4-band EQ knobs, 50W/25W switchable via back panel, effects loop with level control, direct output and recording-compensated outputs.  You can check out the manual for this series at this link.  Overall pretty nice shape for 23 years other than 2 tolex touch ups on the back and one handle cap (all shown here).  If you think you need 100 watts to play large clubs...you don't.  This thing is loud enough for any clubs I've played, including 800-seaters.  Just a killer 50-watter for $650.  A stock footswitch is a 2-button with "Channel" and "Reverb" on/off switches.  I don't have a Marshall one in stock but may have another brand that will work for $29.   

Lexicon Delay Controller Pedal.  Appears to be an early Lexicon product as the case is identical to a 70s/80s DeArmond pedal.  Uses 1/4" connection.  Super clean condition.  If you need one of these, they're hard to find but this one's just $35.

Gibson Robot Les Paul or SG Tuners.  Version 1.  It's hard finding single tuners but I have some.  If you ever loaned your Robot to a buddy who didn't know that you're not supposed to turn these in the locked position you probably need one.  $25 each, specify bass or treble side.  

ESP Custom Neckplate.  Real deal ESP part for the Japan custom or standard series.  5-digit gold plated and looks better in person than the pic. $35.   

PRS Eagle Nickel Silver Truss Rod Cover.  Has the PRS eagle laser engraved into a nickel-silver truss rod.  Includes linen "gig bag" with draw string.  Want to dress up your PRS?  Just add some chrome knobs and tip, and this truss cover, and for around $25 you can have a completely different look.  $16 includes First Class Mail.    

Fender 2-Button Footswitch.  Two-button footswitch with "Channel Select" and "Drive/More Drive", which has a yellow LED to indicate "more drive" aka "boost.  OEM equipment for many Fenders including Hot Rod, Deluxe 90, Stage 160, Stage 100.  Fitted with a 1/4-inch jack which connects to any speaker cable to your amp.  Clean shape.  $27.99 includes Priority Mail with tracking. 

Tele Neck by LaSiDo, (headstock), (cap/butt).  Ca. '80s neck by LaSiDo in Canada, which supplied necks for the Kramer American Series, Zion, and a few other companies that don't want it publicized.  Excellent condition.  Although there are a few shallow screw holes drilled, it has never been installed on guitar, so frets are brand new.  Although pictured with Schaller tuners, only one of them has a set screw installed so if you want to use a different screw pattern there's just one hole to plug (we'll do this if desired).  Medium jumbo frets, 1 11/16" nut width, maple cap fretboard, truss rod at butt, gloss finish headstock with satin finished back.  This is a fantastic neck, perfectly straight, with well dressed and properly seated frets; should set up very well.  German-made Schaller tuners have a little pitting in the chrome but work perfectly.  Priced $175 with the tuners, fully mounted, or $139 for the neck alone.  

2007 Fender Lite Ash Telecaster - Natural, (front), (headstock), (back), (neck), (bridge), (strap locks/strap), (optional case).  One of the best values in a nicely equipped, vintage style Tele, indicative of the quality coming from Korea in recent years.  They come from the factory with quality pickups and immaculately finished glossy body and no mods are really needed to make this a pro-quality guitar.  It  does have one minor mod with a set of Dunlop locking strap pins installed, and a locking suede strap is also included.  The model was part of the Special Edition Series that includes other models such as the Koa Tele, Custom Tele FMT HH, and TC-90 Thinline. Although not officially a limited edition model, production numbers were fairly low compared to most Tele models and, especially compared to the Lite Ash Strats, are few and far between from my experience. Features include, as the name suggests, a lightweight Ash body, figured maple neck and maple cap fretboard, modern “C” shape neck, modern 9.5” fretboard radius, 22 Medium Jumbo Frets, abalone dot inlays, and vintage style bridge with 3 Brass Saddles, Seymour Duncan Alnico Pro 2 pickups with staggered poles (APTR-1, APTL-1).  It has a very low set up and a nice resonant tone with plenty of Tele quack via the Duncan Alnico 2's.  The Lite ash was discontinued in early '09 after a 5-year run and carried an $899 retail price.  This one has seen very little use and is in beautiful shape.  I'm offering it with a Fender deluxe gigbag for $450, or substitute an optional SKB case for $499.  Genuine suede strap the locking devices are included either way.  

2006 Hagstrom Viking Semi-Hollowbody, (front), (headstock), (back), (appointments), (optional case).  Reissue of the famed Viking, originally made in Germany from '65 thru the late 70's.  It was a quality instrument and fairly popular among European pro artists but it was our own Elvis Presley who gave it greater notoriety, playing a Viking during his '68 "Comeback Special" televised worldwide on NBC.  While I've never had an original Viking, I must say that I'm impressed with this reissue, primarily its ability to play virtually any style of music.  It sounds excellent playing clean jazz or chicken pickin', harder-edged jazz/fusion, or even very high gain rock.  I played my modeling amp with one of the Boogie Rectifier settings, which is very high gain, and not a hint of feedback while retaining good note definition.  The Viking is arched semi-hollow maple body with a resonant, loud acoustic tone.  Pickups are Hagstrom's HJ-50 humbuckers with the standard 3-way and dual volume/tone controls.  It has Hagstrom's patented H-Expander truss rod which provides tension at either end and runs the entire length of the neck.  The rigid yet lightweight alloy truss rod allows for very low action and a thin set maple neck.  Other features include maple body with Canadian maple set neck, "Resinator" fretboard with 6mm dot markers, 15" fretboard radius, 18:1 Hagstrom tuners with Imperial style tuner buttons, 24.75" scale, GraphTech black Tusq XL nut, long travel tuneomatic bridge with Hagstrom Trapeze Tail Piece, complete with coat of arms emblem, and thin fast neck.  Click here for a YouTube demo that takes it through the paces, clean, jazz, and rock, although you can go a lot higher on the gain. For more info and 7-minute demo, go to Hagstrom's site here.  The Hagstrom standard lists at $1099 and sells new for $799 *without* a case or gigbag.  Why not consider this barely played beauty for just $550 - or add a quality  Hagstrom hardshell case (salt/pepper tweed) for $639.  

Washburn KC-70V, (Nuno in GP 1990 ad).  Excellent quality rock/metal axe with all the necessary features from the metal days including an excellent quality licensed Floyd Rose, thin profile with flat fretboard radius, HSS Washburn pickups, volume and tone with push/pull pot, and 5-way selector.  Nuno Bettencourt endorsed the Chicago Series KC line back in the early 90's before Washburn developed his N4 signature model.  The body is extremely comfortable with contours in the cutaways to allow easier access to the upper frets.  Setup is great, with the low action these guitars are famous for, stays in tune perfectly during whammying, and it has a versatile selection of quality tones.  This model got incredible reviews on Harmony Central (click here), where it scored an impressive 9.3 overall rating.  Not a cheap guitar back in the day and when you play it you'll note the quality.  Several small paint touch up's here and there, but the frets are perfect and it's seen little actual playing time.  One of the great values on a rock/metal guitar for just $299.

Blackstar HT Modulation, (pic2).  Choose from 8 modulation effects ranging from mild tremelo to jet engine flange and you'll love the Slow/Fast button, which I use like a Leslie speed switch, and it adjusts the modulation time of all eight different modulation effects while you are playing.  The unique Saturation control then lets you add real valve compression and harmonics. Other features include genuine valve design, 300V HT operation, unique Saturation control, Manual and Slow/Fast modes, Stereo operation, unique switching operation, high integrity buffered bypass, power supply included, and silent switching. Sells new for $299 everywhere but grab this perfect one for just $209. 

Amptweaker Tight Metal, (pic2).  Top quality distortion pedal, built like a tank, and engineered specifically for the metal player.  USA made, true bypass, with a lot of features not normally found on stomp boxes including magnetic battery cover (no screw required), quality noise gate with bypass, effects loop with pre/post switch, and battery on/off switch.  Click here for all the info from Amp Tweaker, a video demo here (somewhat limited in scope), and a great review by Premier Guitar here.  Sells new for $179 but this one's perfect in the box for $129.  

A Few Tubes and Pickups:  

A few Cases:

1984 Taylor 510 Dreadnought w/pickup "Lemon Grove", (front), (headstock), (back),  (label/jack), (case).  Wonderfully warm tone from Taylor's original factory in Lemon Grove Calif., back when production was low (less than 800 produced this year).  Features gloss finish and all solid woods with a spruce top, mahogany back and sides, mahogany neck, rosewood fretboard, rosewood headstock veneer.  Other features include ebony bridge pins, gold Grover USA tuners, black/white top binding, bound back, bookmatched back with herringbone type strip, and quality under-saddle pickup with endpin jack.  At 29 years old this guitar has developed the sweet tone that quality acoustics develop over time.  It has been  played but not abused, with no cracks or problems.  The lacquer has turned a nice amber hue and the overall appearance is better than the pics.  Lemon Grove models are a should be good investment pieces and when you can get a good one for considerably less than a new one, that's a deal.  The 510 sold new for $2100 when discontinued several years ago.  This one is going to be 30 years old next year and I consider it an exceptional value  at $1350.  I am including a recently-acquired brown vintage Taylor "poodle" case.  It's similar to the 90's era poodle case but instead of a metal badge it has a screened logo in the badge location, as well as a covering that's thinner than the later elephant hide.  If it's not era correct, it doesn't miss it by much I think.  

Carl Martin Two Faze, Hand-made in Denmark and some of the finest stomp box effects on the market.  The Two Faze has two independent phase shifters built into one pedal, with LED flash indicators to sync - or slightly off sync - your effects.  You can do some cool stuff with this by combining the effects or simply preset them for different passages or songs.  Top notch components, true bypass, very quiet, and built in power supply.  These go for $259 new ($370 list) but this clean used one is just $179. 

Hiwatt Custom Tape Echo, (front), (top), (back).  Get the warm sound of an Echoplex or Space Echo in a true tape delay that's around 1/4 the height of the classic units and can be used as a desk top or with included rack ears, as a rackmount unit.  Those with a trained ear can easily tell the difference between digital and analog - even analog and tape analog.  For warm, natural, and rich tone, nothing beats tape.  Vintage tape units suffer from reliability problems and are expensive.  Made in Japan and distributed by Fernandes for Hiwatt, the company consulted with session players in the L.A. area an developed a lot of prototypes until they had it right.  Among the specs they chose a free running tape system (rather than a cassette) for minimum wow and flutter.  They included an expression pedal input to control the tape speed using a foot pedal for subtle or wild effects.  They used an input gain to add natural distortion when wanted.  A continuous/Auto-Stop tape run feature stops the unit when there's no input signal permitting longer tape life and eliminating tape hiss.  Echo On/Off or Hold controllable by optional footswitch.  It also has a see-through top window, allowing you to see the tape run.  Transposable pitch/Tape speed controllable by optional expression pedal.  Click here for a review at EchoJunkies.com.  Manual is downloadable here.  This one's in nice shape and an priced well for what these are going for; $550.  

2008 Don Grosh ElectraJet Custom EJ-40 with Lollar Pickups, (front), (back), (headstock), (cert./specs), (case.).   Super clean and barely played, and comes with your choice of the stock DiMarzio's or an upgraded pair of Jason Lollar P90's (pic), considered by many to be the best on the market.  This is one extremely cool guitar, refreshingly, not another Strat or Tele clone.  Don Grosh guitars are built with meticulous attention to detail and quality tone woods.  Building under 300 guitars a year Don keeps his quality control higher than nearly every brand made today.  Very versatile - a pair of DiMarzio P90s and alder body are capable of a wide variety of tones, for virtually any type of music.  Its truly original and innovative design combines classic, vintage styling, with a current flair, sort of like a modern day Jazzmaster.  Featuring master-grade, tone-tapped woods and ultra-thin nitro-lacquer finish, it has beautifully complex harmonic clarity and a full acoustic voice.  Extremely well balanced when strapped on, with a superb set up, this guitar is a joy to play.  Unlike the Standard, the custom Electrajets come made to order.  This one was ordered as follows:  alder body finished in authentic gloss black finish, oil-finished maple neck with Indian rosewood fretboard, medium/large roundback neck (.85" X .95"), 1 5/8" nut, 6105 tall/narrow frets, aged vintage dots, 10" radius, Gotoh vintage tremolo, Kluson locking vintage tuners, tortoise pickguard, cream DiMarzio P90 pickups, 3-way switch with center position hum-canceling, and amber speed knobs.  This guitar was collector owned and exhibits zero defects or signs of previous use, although in the right light you can see the typical body seam lines caused after the finish settled in.  For fans of low serial numbers, this one's #40.  With a new one costing $2699, this is a smoking deal on a practically new one, priced nearly $1000 less than new; just $1750(HOLD-Michael B 9/29) with stock DiMarzio's or $1900 with a pair of Lollar P90's ($250 new cost).  Includes vintage-style G&G form fit case. 

2010 Fender Classic Series '72 Telecaster Custom - Sunburst, (front), (back), (headstock), (gigbag).  "As new" condition.  Keith Richards has known for years that the design of a Tele Custom, with a stock Tele bridge and a humbucker in the neck opens up a whole new world for Tele fans.  With the bridge pickup you can get the normal Tele quack you know and love, while the neck humbucker gives you some very un-Tele tones that work for many other styles of music and is especially suited for rhythm parts.  Features include a classic alder body, C-shape maple neck, bullet truss rod, vintage string-thru Tele bridge, 3-bolt neckplate with tilt-adjustment, 3-ply black pickguard, Fender "Wide Range" humbucking neck pickup, traditional single coil bridge pickup, dual volume and tone controls with "amp" knobs, and 3-way pickup selector.  Set up with low action and offered in unplayed condition.  With a list price of $1071, these sell online and in stores for $799-$819.  This one is unplayed, with plastic still on the pickguard, for just $559.  Includes Fender deluxe gigbag.  

2011 Taylor 214CE Grand Auditorium - Sunburst, (front), (back), (side), (headstock), (appointments), (gigbag).  A lovely acoustic/electric with glossy sunburst top in the popular Taylor Grand Auditorium body shape. With a thinner waist than a dreadnought, the Grand Auditorium is easy to hold and easy to play, both strapped on and seated. A smooth ebony fingerboard caps the ergonomic neck while a deep Venetian cutaway allows easy access above the neck joint. Noted for bright, singing highs and rich, robust lows, the 214ce uses a solid Sitka spruce top, laminated rosewood back and sides, and a forward-shifted bracing pattern to achieve that signature Taylor tone. The Grand Auditorium is noted for excellent clarity and balance, whether strumming or plucking, and mixes especially well with frequencies in the singing voice range. Although a quality acoustic in its own right, the 214CE also makes a fine stage guitar with its onboard Taylor ES-T electronics with EQ and phase switch. Three simple knobs on the upper bout control volume, bass cut/boost, and treble cut/boost, with center-detented tone controls. Nicely appointed with a pearl rosette bound top and back, with lovely grained rosewood, perfectly bookmatched on the back.  The sunburst model lists at $1598 ($270 higher than the natural finish), selling at discount for $1199, or you can get this beauty, set up by the area's factory Taylor tech, presented in mint condition, for just $799(HOLD-Walt A 5/20). Includes Taylor gigbag, one of the best, with a neck rest, thickly padded on all sides. 

Email Me:  chrisgtr@nycap.rr.com

Email preferred (and required on all deals) but if you wish to call, best time is Mon-Fri 9:00am-4:30 pm.

Evenings and weekends are hit and miss but feel free to leave a message before 11:00 p.m.:  (518-432-4168)

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

Regards, Chris Grimmett, Owner

Guitar Repair

Email for repair: de_Erro_Guitars@yahoo.com

LEFTY Guitars

Basses

Ordering/Policy/Contact Info

Acoustic and Acou/Elec Guitars

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PRS Paul Reed Smith Guitars

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