10M Visitors and counting -  fix my hit counter and earn credit$: 

 In support of our troops…


Updated: TGIF, Mar 27th, 2015

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

2012 Fender American Standard Telecaster – DiMarzio & Locking Tuners Upgrade, (front), (back), (headstock back-tuners), (saddles), (case).  An excellent guitar…made better.  This one features the sunburst ash body, which sells for $150 over their alder body models, plus it’s been upgraded with a new set of DiMarzio Area T pickups, as well as a new set of Fender locking tuners.  The Area T pickups look just like a regular Tele, but are actually humbuckers, voiced to sound like a Tele, without the hum.  While I wouldn’t say they’re dead-on accurate in tone, they’re close, and for most players they will be the perfect choice.  If you play modern country, you’ll probably love these.  They have the Tele twang, but are fatter sounding and, of course, quiet.  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 $1449, and it will probably be a good player.  For $450 less, you can have this barely played beauty that’s guaranteed to be an excellent player PLUS has nearly $200 in upgrades.  $999(HOLD-Doug 3/27) includes the DiMarzio set installed as well as locking tuners – or of you prefer it stock, just $929.  Includes the new SKB/Fender case with polishing cloth, strap, cable, tags, tools, and assorted paperwork. 

2012 Breedlove C250/CMe Passport Acoustic-Electric, (front), (back), (headstock), (side/preamp), (acc.), (gigbag).  There are a few Korean factories that make exceptional guitars.  For solidbodies, PRS and Brian Moore come to mind; for acoustics, Breedlove is tops.  The C250/CMe is inspired by the Custom Shop C25 shape (best selling shape for two decades) and voice with similar versatility, comfort and playability.  The deep, open cutaway is unprecedented ease of play in the upper register.  With its solid Western Red Cedar top and mahogany back and sides and scalloped pre-War bracing pattern, this guitar has quite a strong voice.  For amplified playing, the VTC preamp is simple but effective, with a backlit LED tuner that's very fast and accurate, and easy to read on stage.  Other features include Black Binding, top, back, corner caps; BWB Rosette; Offset Breedlove Pattern Pearl Position Markers; Satin Finish; Breedlove Atlas Rosewood Bridge; •Rosewood Fretboard; 25.4” Scale Length; 1-11/16” nut width; shallow c-shaped neck; Dovetail Neck Joint; Double Acting Truss Rod, soundhole adjustable; end pin area 9 Volt battery access; designed by Kim Breedlove, Chris Lindquist and Peter Newport.  Includes Breedlove gigbag, summer bridge, shim, and Planet Waves soundhole cover.   This model sold new for $499 but this one's in immaculate condition with a fantastic setup and just $359.  All in all, this is an excellent acoustic-electric for a very modest price.

Marshall VS2000 AVT20 Valvestate Combo, (panel), (back), (UK made).  Original British made model = quality and longevity.  In recent years Marshall has tweaked the solid state circuit into something that’s worthy of using.  Using a single ECC83 tube for some warmth, the Valvestate circuit delivers a nice clean tone, and a very typical crunchy Marshall overdrive, or searing over the top singing distortion.  The AVT20 features cranks 20 watts through a 10” Celestion speaker.  It features clean and boost channels, a good sounding reverb, CD input for practic, DI output for recording straight to your deck or PC, headphone out, and extension speaker out.  Other than a 1” snag in the grill cloth it’s in nice used condition.  Highly recommended amp for practice or studio.  (click here) for a distortion sample on YouTube.  Get the classic Marshall tone in a compact package for $159.

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

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-Ross 3/25). 

Dr. Z MAZ 38 Senior with 1X12 Reverb Combo, (back), (top), (spkr/tube chart), (tilt back legs), (chassis).  Another great Z amp, with a hefty 38 watts output, plenty for doing pretty much any stage I've played.  The MAZ 38 is a versatile amp that can fit in with any type of music and style of playing, except metal and it may not have quite the clean headroom for jazz.   I especially like it with a Tele and country leads but it's just as adept at blues, rock, or classic rock.  The MAZ38 gets its output via a quad of EL84's, with a GZ34 rectifier, 12AT7 and four 12AX7's in the preamp.  It produces crystal clear highs, powerful bass, and a punchy midrange. With the Cut control you can vary the high end to sound more Vox-like or more Fendery. Crank it up and it produces a very sweet overdrive like old Clapton, and many players will be happy enough with the amp's tone that they won't feel the need for an OD pedal. The tone controls, unlike some amps like old Fenders and especially Marshalls, have a very pronounced effect on the tone and let you dial in a wide array of tones.  Controls include Volume, Treble, Mid, Bass, Master Volume, Cut, and reverb.  The back panel features an effects loop and has output for 4, 8, and 16 ohms.  It's a fairly hefty amp at around 58 lbs. in a cabinet that's 23" W, 20 1/8" H, 10" D.  One mod to this amp - a pair of Fender legs have been pro installed so you can tilt it back for stage use.  To get an idea of its sonic capabilities, click here for a demo of the MAZ 38 vs. the MAZ 38 NR (non-reverb).  This model scored a 4.5/5 in H.C. reviews (link).  A new one of these will set you back around $2229 but this one's in nice shape, performs flawlessly, and is just $1499.  

2014 Gibson Custom 1963 ES-335 Historic Block Reissue, (front), (headstock  back), (back), (serial), (case), (cert.).  With its roots going back to the lengendary ’59 ES-335 Dot neck, the ’63 Block inlay model has all the same features, along with the more upscale look of block pearloid inlays which replaced the dots in mid-’62.  Another noteworthy feature in ’62 was the change to a thin taper neck, replacing the more substantial rounded neck of the original Dot.  Features of the '63 Block include plain laminated maple top, back, and rims; solid maple center block; one-piece mahogany neck with extended tenon; hot-hide glue neck fit; 22-fret rosewood fingerboard; Holly headstock veneer; Custom Bucker pickups; 1960 slim-taper neck profile; lightweight aluminum stopbar tailpiece and ABR-1 bridge; acurately-colored binding on top, back, fretboard, and headstock; Kluson Deluxe machine heads; and pearloid block inlays.  This guitar plays as beautifully, as you should expect in any Gibson Historic, and has the rich, complex tone you want in a 335.  Offered in perfect condition and includes original Victoria style Tolex case with plush yellow lining and certificate.  With a list of $5292 these sell new for $3999 but save some bucks and get this beauty for $2799. 

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

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

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

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

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

2014 Gibson Les Paul Futura Min-ETune – Upgraded, (front), (back), (headstock  back), (pickups/plastic), (case  case2).  Cool new model from Gibson with a few cool upgrades, most notably a DiMarzio PAF36 humbucker in place of the Burstbucker 3, and all cream plastic replacing the stock black.  Original neck pickup cover, knobs, and tip (shown here), are included.  The Futura features Gibson’s famous mahogany body (weight relieved) with maple cap, finished in nitrocellulose, for the perfect blend of warmth and clarity.  It also features a mahogany neck with '60s Asymmetrical profile, a 15dB gain switch for an extra boost and more aggressive tone, push/pull coil taps provide single coil tones which double the versatility, and a combination Gibson P90H Sidewinder soapbar and PAF36 humbucker for a great selection of vintage and modern tone.  It also features Gibson’s Min-ETune auto-tuning system to quickly and easily experiment with alternate tunings such as DADGAD, Open D, or any other alternate tuning.  Set up is low and fast, and this guitar is offered in flawless condition with similarly clean Gibson case.  With a list of $2179, this guitar has over $100 worth of upgrades and is an excellent value at $859(HOLD-Dan, local 3/17). 

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

NOW THE “BIG BOY”:  Yamaha THR10 10-Watt Stereo Desktop Modeling Amp, (panel), (back).  Same basic features as the THR5 below, with a few distinct differences. With the THR10 you have 5 user memory locations, available for immediate recall, which for me is a real time saver.  Additionally, you get Bass-Mid-Treb knobs instead of a single “Tone”, plus a separate Guitar Volume and USB/Aux input Volume.  Also, the 10 gives you Bass-Acoustic-Flat settings.  New cost is $100 more than the THR5 ($299 vs. $199) but most folks agree that the versatility is worth it.  Better still, get this perfect used one for around the price of a new THR5.  $209(SOLD-Drew 3/14) includes Cubase AI7 software made specifically for the THR amps. 

OFF-HOLD:  2007 PRS Custom 22 Artist - Brazilian- finished in Natural, (front1  front2), (back), (headstock), (cavity/pu's), (case  case2), (tag).  With PRS Paisley Case!  In 2007 PRS built a number of these with desirable and collectable Brazilian rosewood fretboards and headstock veneer.  This is one of those.  What makes Brazilian so intriguing?  Since the wood was outlawed in 1970 supplies have dwindled and few suppliers have any fresh supplies left and some are recycling old furniture, pianos, etc.  Gibson vowed in '07 that they will no longer use it on any of their guitars and today the '03 Brazilian board Les Pauls sell for around twice the price of other rosewoods.  It's a fine sounding wood in its own right but the fact that a guitar made partly of unobtainium makes it more collectable.  This is a stunning PRS, an Artist Package with PRS's best figured maple top, gold hardware, and colorful Paua shell inlays, oh man. The Artist package includes the best quality figured tops (exceeding the "10" top), which is termed "artist grade" by PRS, extremely colorful Paua bird inlays, Brazilian rosewood headstock overlay with inlaid Paua signature, gold hardware including low mass locking tuners and PRS tremolo.  These guitars are a good example of "guitars as art" and each are unique and works of beauty.  Finished in "Natural", which looks great with gold hardware and tends to be some of the best maple as there is no stain to hide behind.  It looks great from any angle and doesn't have any "weak" areas, which you would expect for a an Artist grade top.  PRS are consistently the finest made production guitars we get in.  We have never had a single neck issue and none have failed to set up with superb action.  In addition to being a fantastic player, this guitar is in immaculate condition and stunning, even by Artist grade standards.  This guitar is paired with PRS’s fine Paisley case, as nice as they come.  With the regular ebony fretboard, this guitar lists at $5150, selling at discount at over $3600 but, again, they aren't Brazilian models.  This one is flawless in every way and priced at just $2699.  You won't regret it.  This is one fine PRS. 

Yamaha THR5 10-Watt Stereo Desktop Modeling Amp, (front), (panel), (back).  Great sounding little combo that's packed with features to use for practice or digital studio.  It's packed with the hi fi sound that's reminiscent of the old Rockman X100, except with much more versatility.  You can select a wide variety of tones from five intricately modeled tube 
amp types, four modulation effects, and four reverb/delay effects. The THR5's stereo Hi-Fi-style speakers sound great for its internal effects and external playback from your iPod or computer.  Using THR Session, an iOS app, you can hook up to your phone and slow down songs without losing audio quality, change the pitch or repeat any segment to learn the tricky parts.  You can even cancel out the original guitar sound, making your playing the only guitar in the mix.  For info on features, click here for Yamaha's site.  This is also a go-anywhere amp, using battery power or plugged into via the included wall adapter.  If that's not enough, the front panel glows with two orange lights that look very cool.  Yamaha is a forward thinking company and when they came out with a Version 2, they made it easily available online.  This one has been updated with the V2 software.  THR Editor, available for download here, offers deep editing of amp and effect parameters with your computer, including in-depth controls for compressor and noise gate functions.  Offered mint in the box, this is a fun and useful amp for just $135(SOLD-Chris).

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

1979 Alvarez 5013 Ironhorse Dreadnought, (front), (back), (headstock), (case).  Very popular guitar in the late 70’s/early 80’s, when St. Louis Music was distributing a ton of Japanese imports.  It’s a full dreadnought size with a rich tone and really nice playability.  Features include 15-3/4" lower bout, 4" to 4-5/8" body depth, spruce top, darkburst stained top that goes from black to a gray/green in the center, sides and back are dark stained mahogany, 14 fret neck, 20 fret rosewood fingerboard with star inlays, appears to be a composite bridge, white-bound body, white fretboard binding and bound headstock, 2-ply pickguard, upgraded Ping chrome tuners, b-w-b-w-b-w top purfling, 25-3/8" scale, and 1-23/32" nut width.  Overall it’s in nice shape for 35+ years with the worst flaw being a few finish check lines, definitely not cracks, shown here.  For a Japan-made flattop that still plays excellent, it’s hard to beat at $350 with case. 

2011 ESP Standard Series Horizon HRF NT-II, (front), (back), (headstock  back), (case  case2).  High end Standard Series from ESP and one of the best looking rock guitars you’ll find.  With multi-ply body and headstock binding, bound neck with notched block inlays, ebony fretboard, and incredible quilted maple top, it’s definitely a head-tuner.  Best of all, it plays as well as it looks and with a pair of active Seymour Duncan Blackout humbuckers, it’s an excellent choice for rock or other types of music where you want clarity and high output from your guitar. Using the classic formula of a mahogany body topped by a maple cap, it’s delivers the perfect blend of warmth and crispness.  Other features include smoked hardware with Gotoh tuners and Gotoh TOM bridge/tailpiece, 24 extra jumbo frets, thin U neck shape, 25.5” scale, and strings-thru-body.  These sell online for $1799, but it’s hard to find them with the Standard ESP inlaid logo like this one; most have the newer E-II logo which doesn’t even identify it as an ESP.  Strange move ESP.  Offered in flawless condition – could be sold as new – and a smoking deal on one of the nicer quilt top Horizons you’ll see.  Just $1099(SOLD-Keith H 3/19) and includes ESP case. 

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

Ernie Ball Musicman Axis, (front), (back), (neck), (headstock), (case).  Stunning quilt top in Translucent Gold.  I've had over a dozen Axis' and, this is one of the more attractive ones I've had - very consistent quilt, side to side, top to bottom.  Looks aside, Musicman's have perfect necks which inevitably allow an impeccable setup with action as low as you want.  Most players love these necks, it's nicely rounded and not at all chunky.  The texture is also remarkable.  Using gunstock oil and hand-rubbed special wax blend, these necks feel very natural and are very fast.  The down side, of course, is they discolor easily and while we cleaned this one up, they don't stay clean very long.  The profile feels the same as the earlier EVH model which was this guitar's model name before Ed left Musicman for Peavey (and later Fender).  Features include custom DiMarzio pickups, EBMM Floyd Rose double-locking tremolo, Schaller tuners, cream body binding, 1 5/8" nut, 10" radius, matching headstock option, and nicely figured maple neck.  If you buy one of these online it's a crap shoot as to whether you'll get a mediocre top - or a nice one.  With this one there's no guessing - it's a nice one.  Offered in beautiful condition for $1250, or $1199 with gigbag (SOLD-Frank S 3/20).   Includes lightweight aluminum flight case with ATA latches (pic to follow), great protection for a fine instrument such as this.

2004 Fender 60’s Classic Jazz Bass w/Upgrades, (front), (back), (headstock  back), (raw neck), (neck specs).  All original 2004 60s Classic Jazz sunburst body with a killer new neck, a  Musikraft vintage Jazz, outfitted with a new Tusq nut, as well as a vintage Jazz pickup cover, and thumb rest.  Originally the neck had a raw finish but Martin put a thin sealer coat on, sanded out to silky smooth, with a vintage tint on the headstock, front and back.  As you can see in the pics, logo looks factory original with no outline visible on the edge of the logo.  Stock neck on this one set up crappy and it was too nice of a bass to offer “as is” so we went all out with a USA-made Musikraft, with dark rosewood fretboard, dot inlays, 1.5” Tusq nut, and medium frets. All other parts are stock for an ’04 60’s Classic.  Plays nice, looks great, and a killer Jazz that’s better than stock for $100’s less.  $599 for this great Jazz Bass.  Includes a nice Fender gigbag. 

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

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

2007 ESP Vintage Plus Strat Style Relic, (front), (back), (headstock  back), (neck), (optional pickups), (case  case2).  A great Japan reissue of a classic, with its roots going back to the 80's 400-series ESP's.  Unlike the 400-series, the Vintage Plus features "relic" appearance, factory distressed  to show years of natural wear and tear, with the look and feel of a vintage instrument, and modern refinements that improve it's playability and feel.  It's like getting a nice vintage Strat, but with refinements that many players add such as jumbo frets, flatter fretboard radius, and high-performance bridge and tuners.  Not visible to the casual observer is the sharply contoured and bi-radiused neck heel, which is cut to allow easier access to the upper frets.  These were initially a limited run, although they've proven to be very successful and are now in around their 7th year.  Features include Alder body, thin U-shaped maple neck, rosewood fretboard with clay dot inlays and ESP inlay on the 12th fret, Seymour Duncan SSL-1 pickups (middle and neck), Wilkinson Vintage tremolo, Gotoh Magnum locking tuners, 22 Xtra jumbo frets, and 1 5/8" nut.  The JB Jr. (link) opens this guitar up to a wider variety of tones, including a vintage PAF tone in the last position, with very traditional Strat tones in positions 1-4, courtesy of the Duncan Vintage Staggered (link) single coils.  This guitar plays fantastic, with low action and no dead spots.  The jumbo frets aren't excessively high, which is a good compromise between old and new.  It has seen very little playing time so frets are perfect and no non-factory wear.  Original Duncan SSL-1 single coils are currently replaced with a new set of DiMarzio’s – Paul Gilbert stacked humbuckers in the form of an Injector neck/bridge, with an Area ’67 middle.  If you like the no-hum DiMarzio’s, you’ll love this guitar, or if you’re into lower gain, we can switch back to the Duncans.  With a list of $2852, this model sold new, heavily discounted for $1549.  You can have this one in “relic mint” (zero non-factory flaws) for just $950, with your choice of pickups. Includes original ESP case and all the case candy.

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

Tascam DA-302 DAT Recorder, (back).  Another piece found in storage after 10 years.  If you’re one of the 1000’s of studio’s still using good old DAT, this thing has very low hours and is guaranteed to work perfectly.  The DA-302 was the world's only dual DAT recorder, bringing the convenience of a dual cassette deck to the DAT format.  The main advantages to the DA-302 are in DAT duplication, long play/record applications, or live production with multiple sources. The DA-302 can duplicate DATs at 2X, offering tremendous time savings when making back-ups, or distribution copies.  It also duplicates Time Code & 24 Bit DATs.  Although modern digital studios might consider this a bit primitive, it stands as a true professional gear at a fraction of the original cost, and very useable in studios with a need.  $199 and guaranteed. 

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

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

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

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

Alvarez RD-20S Dreadnought Acoustic, (front), (back), (headstock  back), (label).  From ca. ’01 comes this solid spruce top dreadnought that we recently dug out of our storage after 12 years.  It had developed two top cracks, visible in the pics behind the bridge, but Martin repaired them.  It’s a solid repair and doesn’t detract from the tone, in fact, this is a surprisingly loud acoustic.  Features include solid spruce top, mahogany back and sides, mahogany neck with rosewood fretboard, and rosewood bridge.  The set up is extremely comfortable and you’ll find that it’s probably the most playable guitar in the under $250 price range.  Just $175 takes this one and I highly recommend it for a beginner for whom easy play is a requirement. 

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

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

2013 Fender Custom Shop Total Tone ’57 Stratocaster Relic, (front), (back), (headstock  back), (fretboard), (detail finish), (cert), (case).  Another scary real Relic, this one a dealer exclusive from ProGuitarShop.com, who sold these in several colors, and several years.  This Candy Apple Red model isn’t the heaviest relic I’ve had, but there’s plenty of “wear” around the edges that shows the correct gold undercoat, and white base coat, and plenty of authentic finish checking all over.  Fretboard “wear” is pretty much limited to the bottom part of the fretboard, sort of like a guitar that was played cowboy style for a few years.  The Total tone differs from an regular Relic by incorporating some modern preferences with the overall vintage vibe of an original 1957.  Things like large 6105 frets, modern 9.5” fretboard radius, and Custom Shop “Vintage Red” pickups.  It also features an alder body and quartersawn soft-V ’57 neck, which works great for string bends and thumbing over the top – and is a lightweight, resonant guitar.  Weighs under 7 lbs. 3 oz.  The Total Tone ’57 sold new at PGS for $3699.  Get this one in “relic mint” condition for $1200 cheaper; just $2499.  Includes special Custom Shop case with embroidered inside lid, sealed accessory bag, and tags. 

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

Keeley Modded Boss DS-1. Boss’s original distortion pedal, transformed by Keeley from Ugh, to Oooo.  Big Stars like Vai and Lynch use this pedal and it’s especially great for 80’s rock.  $139 new; this one’s just $85. 

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

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

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

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

1989 PRS Studio - Electric Red, (front  front2), (back), (headstock  back), (trem), (pickup settings), (case).   At 26 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 Metallic Blue Studio I have in stock, this one is very well preserved.  It’s not a museum piece like the blue one, but very clean overall.  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, like this one, a Sweet Switch. 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 and Sweet Switch.  This one also has the factory route for up-pull on the tremolo, a feature many players appreciate.  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.  Overall it’s in excellent condition with the only finish issues being finish chips on the tip of the headstock, a tiny chip on the bottom edge, and a few minor impressions, not through the finish.  Other than that, there’s some pitting on the trem bass and a little nickel wear on a few saddles.  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.  Players and collectors alike are seeking out old-factory models and these pre-CNC models have risen steadily over the past 7 years.  $2399(HOLD-Matt S 3/10) is a very nice price for an ’89 which makes it a very affordable investment piece that’s still within the range of working guitarists looking for a stage guitar that's universally accepted to be better than any new one.  Includes case and trem arm.

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

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

Vox AC4TV Mini, (back), (panel), (cover).  Includes optional thick, padded Vox cover!  Modern update of the cherished '61 Vox AC-4, which was the bottom of the AC line but still a fine amp in its own right.  I've only had one original AC-4.  They're fairly scarce in the States and very expensive for a 4-watter.  Enter the AC4TV, which captures the vibe and tone of the original with its all-tube Class-A design in a small TV-front combo.  A very simple design, it features a 12AX7 preamp tube, and an EL34/ECC83 power tube, with just a volume control, tone (which acts more like a treble cut), and output level switch.  The OP Level is a feature that really sets this amp apart from most of these low-powered tube combos, and is switchable from 4W to 1W to 1/10W, which allows you to get full power tube saturation at the proper listening level.  You might not think this is necessary with a 4W amp but cranked all the way, you're going to annoy some people.  Crank it back to 1W, or if that's still too loud, 1/10th of a watt.  Carr had this same idea with the Mercury years earlier, and I was surprised at how loud 1/10 of a watt actually was.  It also features a 16 ohm external speaker out in case you want to run into a separate speaker cab.  I played this through a Marshall 4X12 and the sound was huge.  The look is unmistakable Vox with diamond grill cloth, classic white covering, top vent, Vox dog bone handle, and pointer style control knobs.  Full more info check out Voxamps.com.   Here's a few YouTube clips (clip1) (clip2) and a cool one with a memory man for "The Edge" type tone (clip3).  List price on these was $350 but this one’s mint and even with the cover, just $179(HOLD-James F 2/14).

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

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

2011 Fender 50's Classic Strat - Surf Green, (front), (back), (headstock  back), (case  case2).   New, unplayed condition!  Another Surf Green 50’s Classic, one of the coolest original custom colors of the 50’s.  Fender’s classic series provide the look, feel, and tone of the timeless classics at a fraction of the Vintage Reissue or custom shop models.  I think they’re one of the best values in Fender’s catalog.  Features of the 50's Classic include vintage tinted neck with a soft-V profile, deep vintage body contours, single ply pickguard, vintage tremolo with bent saddles and heavy tremolo block, and aged plastic parts.  Pickups are Alnico vintage-style single-coils with staggered pole pieces and aged covers.  They sound very good to my ears and I would recommend trying it out before looking for any upgrades.  If you like vintage Strats but aren't a fan of the medium action that they usually have, this one is set up with low action with no buzz, despite the vintage radius.  A new 50's Classic will run you $799 with gigbag.  For $200 less you can get this one, with a hardshell case, just $200.  Again, mint condition with plastic still on the pickguard, original hangtags, and sealed accessory bag.  $599 with hardshell case shown.  Oh, did I mention it was 7 lbs. 6 oz.?

2003 Gibson Custom Shop 1960 Les Paul Special Single Cut – Ebony!, (front), (back), (headstock  back), (caps), (case  case2).  A very rare bird, at least in 2003:  Les Paul Special Single Cut in Ebony, rather than the usual sunburst, cherry, or TV, and this one has my favorite bridge, the single wraparound tailpiece, which is beautiful in its simplicity and perfect for palm muting.  When you hear “2003 Historic” many of you immediately think, “is it Brazilian?”.  While this is great looking rosewood, definitely resembling Brazilian, my old online matrix states clearly that no Braz was used on Juniors, Specials, or ‘52’s during the brief run of this rosewood.  Click here to view the screen shot from Gibson’s site, taken down many moons ago.  No matter, and it’s good news for the player since ’03 Historics are running $2K and up for the Braz models.  You know the specs:  solid mahogany body and neck, rosewood board, nickel hardware, 3/side Kluson tuners, LP Spec decal logo, cream neck binding, dual volume/tone controls with black dome knobs, Bumble Bee capacitors, and a pair of Soapbar pickups.  This one features P100’s I’m fairly certain, since they’re quiet, except in extreme high gain settings.  This guitar is in lovely shape with zero noteworthy flaws – any “spots” are merely reflections in the pics.  Doesn’t have a cert; not sure it ever did, but it does have the serialized hang tag and a few assorted pieces of paper.  It plays superbly, with low action and a hot screaming tone you want from a Special, or back off the volume and it mellows up nicely.  Weighs 8 lbs. 15 oz.  If you’re looking at a new 1960 Custom Shop Special, you know that they’re running $3750.  Why now get this beauty for way less?  $1999(HOLD-Brad D 3/10) includes Custom Shop case.

1972 Gibson ES-335TD – Sunburst, (front), (back), (headstock  back), (serial), (old bill/sale), (case  case2).  How often do you see a sunburst early 70’s ES-335?  Not often you’ll probably agree.  Most are in Walnut, a few are in Cherry, but a sunburst like this one has become few and far between.  This one has a bit of provenance, containing a bill of sale from 1973 where the original owner traded it for a Melody Maker and Gibson amp.  A local customer and friend of mine got it from the lucky winner of the 1973 trade!  It’s nearly all original, other than newer tuners (no modification was needed), newer bridge which is inevitable after 40+ years of sagging under tension, and of course conversion from a trapeze tailpiece to a ’59 style stopbar/tuneomatic.  Also, I’m certain the truss rod cover is newer as well as the Sperzel strap pins.  Lastly, Martin did a refret on this one with larger frets, which are Stew-Mac wide-medium, pretty much like the guitar would have had when new.  The guitar has seen only a few hours of use after the fret job 2 months ago.  It plays beautifully and sounds fantastic.  There are no structural issues on this guitar now, or at any time in the past, and it has an original finish with only moderate checking.  It has been oversprayed only in the immediate area of the trapeze screw holes on the back edge (shown here).  Nut width isn’t the skinny “pencil neck” of the late 60’s, but not yet the wider version of the later 70’s.  It’s actually 1 9/16”.  Original Norlin label is intact in the soundhole.  Includes original case is nice vintage condition with all latches, hinges, and straps in proper working condition.  I’m seeing Walnut ’73-‘74’s going for close to $4K.  I think this is a much better deal, and without the trapeze a much better player, at $3300(Tent. Hold – local). 

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

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). 

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

2012 Fender American Special Telecaster – DiMarzio Upgrade, (front), (back), (headstock), (saddles), (optional case).  The American Special is a recent model that offers the best value in a gloss finish American Tele.  This is my favorite of these models.  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 – but we’re offering it with your choice of those, or a set of DiMarzio Area T humbuckers.  The Area T set looks just like a regular Tele, but are actually humbuckers, voiced to sound like a Tele, without the hum.  While I wouldn’t say they’re historically accurate in tone, for most players they will be the perfect choice.  If you play modern country, you’ll probably love these.  They have the Tele twang, but are fatter sounding and, of course, quiet.  It has also been upgraded with a set of compensated brass saddles for improved intonation.  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 $999 with a gigbag but you can get this beauty, with deluxe gigbag for just $749(HOLD-Brian C 2/20) including upgraded saddles and choice of pickups.  If you prefer a hardshell, we’re offering a substitution with the new style SKB case with ATA latches for just $50 more. 

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

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

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

Roland GK3 Synth Pickup.  For use with any Roland GR system such as the GR-20 and GR-30 above.  Exceptional tracking, easy mounting.  Includes all accessories shown.  $99.

Godin ACS Koa HG with Case – Synth Access, (front), (edge), (back), (headstock), (controls), (heel), (case).  Top of the ACS-SA line, offered in "as new" condition.  The ACS Koa gives you a great looking thinline semi-hollowbody nylon string guitar with superb acoustic tones plus synth access (RMC electronics) which controls any of the Roland GR-series or Axon AX100.  Since the synth access is built in, tracking is as good as it gets, without the cumbersome added on pickup of a non-integral synth access guitar.  This guitar has the typical wide classical neck and is as nice to play as any classical I've had, with very comfortable action with a firm, responsive feel.  It’s classical guitar tone is unmatched in an amplified guitar and virtually impervious to feedback.  Rather than the usual cedar top found on most Multiacs, this one is topped with a highly figured Koa which is one of the loveliest woods in my opinion.  Other features include glossy finish body made of silver leaf maple, mahogany neck with ebony fretboard, flat 16" fretboard radius, wide 1 7/8" nut width, 25 1/2" scale, custom RMC electronics.  The acoustic bridge has individual transducer saddles powered by a customized preamp system from the RMC.  You have sliders for Guitar Volume, Treble (6K Hz), Mid with Selector Switch (700-1200K Hz), Bass (100 Hz).  For synth controls you have program up and down buttons, and Synth Volume slider so you can blend in any amount of synth to your tone, from 100% synth and no acoustic, to all acoustic and no synth, or any blend in between.  This model sold new with a stock gigbag for $1499.  This one is in flawless condition.  I'm offering it with the upgraded Godin hardshell case for $1050; or if you want a gigbag $999(HOLD-John G 2/26).  I have a few models of Roland synths available if needed. 

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

2012 Gibson Les Paul Junior – Upgraded, (front), (headstock  back  tuners/holo), (back).  The original straight ahead rock guitar!  The Junior, with its single P90 pickup, wraparound tailpiece, and slab mahogany body, was the ultimate in simplicity when it made its debut in ’54.  As the entry level Les Paul, it was aimed at beginners, but as time has proven, they’re built to last and top touring/recording artists have proven that they’re much more than a beginner guitar.  They have undergone very few changes over the decades, until 2012, when Gibson decided to put some auto-tune tuners on all their Pauls.  If you’re not a fan of those tuners, relax.  Gibson/Kluson Deluxe tuners can be installed without any telltale signs, which was done on this guitar.  Now…it’s “right.”  Gibson has offered some budget models in the past decade, primarily with finishes that cheaper to produce, called Satin, Faded, or whatever.  It’s nice to see them building real Juniors like this one again, with a gloss nitro finish.  It does have a commemorative hologram of Les on the back of the headstock, as well as Les Paul’s 100th birthday decal.  That’s fine.  This one plays beautifully, with low action and a nice lively acoustic response.  It’s in immaculate condition with scratches or wear of any kind.  An excellent value in a nitro Junior at $649.  Includes Gibson gigbag or, for $100, substitute this nice Canadian TKL/Gibson Junior case (pic1  pic2). 

Fender Jazz Bass Neck, (back), (headstock  back).  This is an NOS Mitey Mite neck, with a super nice logo job.  Logo is gold and black, with connected “offset contour body”, correct for a ’61 thru ’64, but it’s generally the same through ’69 (“offset” part of logo moved to ball of headstock in ’65).  As you can see in the pics, plenty of nitro lacquer were applied so you can’t see the outline of the logo.  It’s also vintage specs with a 7.25” radius, and vintage frets.  It’s gloss nitro on front and back of headstock, with just a natural sealer coat on the back of the neck for a nice, fast feel.  Looking for a really nice neck to complete your Jazz Bass project?  This one looks right, feels great, and is just $229(HOLD-Scott W 2/5). 

2011 Rickenbacker 330 Jetglo, (front), (headstock  back), (back), (case/etc.).  True classic from Rick in the classic rock “Jetglo” (black) finish.  Ricks are always hard to find in the color you want and rather than waiting a year for a new one, here’s one in perfect condition and ready to go today.  Specs are basically the same as they've been for many decades:  hollowbody design, all maple construction, R-tailpiece, dual truss rods, Master presets for volume and tone, bi-level pickguards, rosewood fretboard with pearloid dot inlays, and single-coil pickups that deliver a clear, ringing tone to saturated overdrive.  Nothing sounds like a Rick, or has the vibe of a Rick.  Get this one, as nice as a new one hanging in your local store, for $1299(HOLD-Scott W 2/5).  Includes original Rick case in similarly perfect shape and assorted case stuff.   

2013 PRS SE 245 Single Cut – Flamed Maple & Birds, (front), (side), (back), (headstock  back), (gigbag).  It’s hard to believe this is an import.  PRS does it again with the latest USA model to be offered in a more affordable version from their Korean factory.  Since the SE’s debuted over 10 years ago, PRS has maintained impeccable quality control from the start.   The SC245 was the last USA model not offered in the SE line, until this model came out.  In my opinion, it’s 85% as nice as the USA model – at 25% of the price!  One of the things I’m impressed with is PRS’s decision to go with a real maple cap, rather than just a veneer.  While the flamed maple is a veneer, it sits atop a thicker maple cap, over a mahogany body and this marriage of maple’s clarity and definition and mahogany’s richness and depth combine to produce a tonal complexity not found on single-wood guitars.  Other features include single-cut body style (i.e. LP) with a 24.5" scale length, beveled maple top with edge "binding", Wide Fat neck profile, mahogany neck with rosewood fingerboard, classic pearloid PRS Bird inlays, PRS Designed stoptail bridge and tuners, "PRS" inscription on truss rod cover; nickel hardware, SE 245 Bass and Treble humbuckers, 3-way toggle pickup selector on upper bout plus dual volume and tone controls on lower bout.  For some demo’s:  click here for one, and here’s another one done by guitardave123 (much props Dave) who plays metal songs you’ve probably heard.  This guitar has seen almost no playing time and is in beautiful condition with one of the nicer tops you’ll see on an SE 245.  With a list of $1K, you’ll find these new for $659-$699.  This beauty is yours for $200 less, just $459(HOLD-Brian N 2/17), including Martin’s fantastic set up.  Includes PRS gigbag, cable, and tools. 

Boss GT-8 Guitar Effects Processor, (Boss gigbag), (close-up - click to enlarge).  Recent multi-effect from the #1 producer of guitar effects.  Just when you think Boss has produced the best multi-effect possible, they come out with a new one, better than the last.  There are too many features to list here (click here for Boss) but as a brief description:  The GT-8 features a revolutionary dynamic sensitivity switching mode that switches between two effects. You can play in one amp model/effects patch when picking lightly and automatically switch into another configuration when you pick hard. Dual modeling engines let you layer and pan different amp models together. Seamless program change lets delays and 'verbs decay naturally when you switch channels.  Features 46 amp models each have a solo mode for instant access to an optimized hi-gain soloing sound, 200 preset patches and 140 user patches with an intuitive layout to make it easy to get around on, 44 effects types include compressors, reverbs, choruses, EQs, wah models, noise gates, synth waves, sitar, acoustic models, and much, much more.  Fully programmable routing lets you connect all 13 simultaneous effects in any order you wish.  Also features in incredible THIRTY Overdrive/Distortion models and expansive I/O options include an external effects loop that enables you to add in your effect that you can't quite nail on the GT-8.  Click here for a good overview demo.  There are also dozens of tutorials so you'll never even to read the manual, such as this one on expression pedal (link).  This unit is perfect condition and comes with manual, power supply, and Boss case, which was an additional $39 new.  The GT-8, recently replaced by the GT-10, listed for $695 and this super clean proline model is yours for just $199(HOLD-Ken L 2/7), and I’m including a super heavy duty Boss gigbag.  Exceptional sounding unit – possibly the last guitar effect you'll ever need.

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

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

2003 Fender Esquire Custom Scorpion, (front), (side), (back), (headstock  back), (set neck).  Cool, sleek looks in a set-neck Fender.  From Fender’s Special Edition series of 2003, comprised of three models: Scorpion, GT, and Celtic, each in a Showmaster (Strat) style and Esquire (Tele) version (GT only came in Esquire version.  I’ve long been a fan of these guitars.  Every one we’ve had set up perfectly, and with quality electronics and hardware, they offer an excellent value.  The Scorpion is possibly the coolest of the bunch as it’s the only one that features body and neck binding.  Features a solid mahogany body and neck, cream body and neck binding, contoured top, belly cut back, set-neck construction, gloss finish including matching headstock, raised chrome logo, black hardware, string-thru-body bridge, pearloid scorpion inlay at the 11-13th frets, and a super flat 15.75" radius.  Electronics are as simple as it can be:  a single Fender Atomic II humbucker and volume control.  If desired, we can give you another tone with a push-pull volume pot for a little extra.  Possibly the coolest aspect of all – this baby only weighs 5 lbs. 9 ½ oz!  It’s a guitar you can strap on all night with no fatigue.  Excellent condition and a total pro quality guitar in my opinion, for just $399(HOLD-Gail/Pamela 1/31).  (Note: I have the same model in Celtic lower on this page).

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.  

Fender '68 Custom Deluxe Reverb Combo, (panel), (top), (back), (box).  From the same guy who had the Supersonic below, also dead mint in the box.  Based on the most sought vintage amp on the market, the Deluxe Reverb, and while the blackface models are king, the first year ‘68 Silverface models are largely unchanged from the earlier blackface specs.  When Fender designed the ’68 Custom, they covered a few more bases than the original.  The primary difference is the Custom features both channels with reverb and tremolo, and the "custom" channel has a modified Bassman tone stack with a more modern design that gives players more tonal flexibility with pedals. It also features quicker gain onset and reduced negative feedback for greater touch sensitivity. The '68 Custom Deluxe Reverb delivers 22 watts through a 12” Celestion G12V-70 speaker with two 6V6 power tubes, four 12AX7’s, two 12AT7’s, and a 5AR4 rectifier.  All tubes are Groove Tubes.  It features two channels (Custom and Vintage), with a high and low gain input for each, hand-wired tube sockets, custom-made Schumacher transformers (like the originals), genuine Fender tube-driven spring reverb, genuine Fender tube-driven tremolo, and ’68-style Silverface aluminum trim around silver-turquoise grille cloth.  It includes 2-button footswitch and a Fender cover.  If you’re looking for a vintage amp with a little something extra, this is a great amp for a nice price.  $735(HOLD-Tod 2/12). 

Fender Supersonic 22 Combo – Blonde, (panel), (top), (back), (back panel), (label), (footswitch).  Fans of the 90’s custom shop Prosonic combo are aware of the versatility of combining Fender’s classic clean circuit with a hot-rodded modern channel, mixing in Fender’s classic reverb.  Fender borrowed design elements from the Prosonic in designing the Supersonic 22, using a pre-Silverface voiced clean channel along with the cascading-gain drive.  To add a bit of shaping the clean channel includes a two-band EQ, as well as a "voicing switch" which offers tones inspired by the classic Fender Vibrolux and Fender Bassman amps.  Initially offered in a higher powered combo, the new Supersonic 22 delivers a fatter tone with more bass.  This amp delivers 22 watts from a pair of 6V6 power tubes, with five 12AX7/12AT7 preamp tubes, into a 50W Fender "Lightning Bolt" Speaker by Eminence.  Cosmetically it has the looks of a ’60 amp with blonde textured vinyl covering, white knobs, dogbone handle, and flat Fender logo, while its modest 40 lbs. weight is easier on the back than most vintage amps.  One important upgrade over most old Fenders is the effects loop, deemed essential by most pro players.  It includes a 4-button footswitch to control “Burn” on/off, “Normal/Fat” switch, Reverb on/off, and effects loop in/out.   For a rundown of all the features, click here for a demo – while a good performance demo is here.  This amp is essentially brand new, flawless and only out of the box for 2 hours use. It ships in original box and includes unopened cover, footswitch, and paperwork.  With a new one running $1049, this one has less use than a new one on the floor and is just $739. 

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

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

Seymour Duncan ’59 Humbucker Set – Nickel, (bottom).  Nice shape, stock pickups from a Guild Bluesbird.  Models SH1B and SH-1n, with 4-conductor wiring for wide variety of wiring applications. Great choice for mahogany bodies but works fine with any woods, in virtually all music styles.  Bridge=8.16k, Neck=7.42k.  A nickel SH-1n alone sells for $90 at Sweetwater and M.F., but you can have this pair for $99. 

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

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

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

2000 Suhr Classic T – Chambered, (front1  front2), (back), (headstock  back), (solid top), (case), (built sheet).  What a stunning looking Tele!  All the options including chambered body, solid maple quilted top in Fireburst finish, matching quilted headstock, “scraped binding” (PRS style unfinished maple edge), and gold hardware.  Other specs include basswood body with maple top, maple neck with African rosewood fretboard, C slim-taper neck (.800-.880), compound neck radius 11”-14”, Tusq nut, heavy frets, hardtail bridge, Gotoh Kluson style tuners, no pickguard, and Buzz Feiten tuning system.  Electronics consist of a Broadcaster bridge pickup and Suhr VST V60’s single coils with push/pull tone pot to add in neck pickup and a 5-way switch.  This guitar can yield some classic Tele tones as well as Stratish sounds; all of ‘em good.  Collector owned and barely played since new.  We haven’t done final bench work on it yet but it should ship in pretty much pristine condition.  I’ve had some beautiful Tele’s in my time but it truly doesn’t get any finer than this.  Suhr is noted as one of the premier small companies in the guitar world and to add this kind of beauty…sublime.  This guitar would set you back around $3400 new but this one is in near pristine condition, barely played with zero fret wear, and is just $2100(HOLD-Tim C 1/29). 

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

2014 Epiphone Les Paul Standard – Cardinal Red, (front), (headstock  back), (back), (knobs), (case  case2).  Martin did a great setup on this guitar and it plays better than anything hanging in the stores.  This would be a great guitar for the beginner/intermediate player who wants the classic look and thick, rich tone of an all time great guitar.  Finished in a glossy Cardinal Red the Epi LP Standard, with little deviation, is much like the '59 'Burst which has achieved holy grail status among collectors and players.  One noteworthy change is the weight - while original Les Pauls are generally hefty guitars, the Epi benefits from a weight-relieved body which makes it comfortable, set after set, long into the night.  The Alnico V Classic humbuckers provide the same rhythm crunch and buttery smooth leads that these guitars are known for, and although most players only think "rock" with an LP, it can be used effectively with country and, especially on the neck pickup, jazz or jump.  It features a mahogany body with maple top, mahogany neck set into the body, rosewood fretboard with trapezoid inlays, cream plastic parts, classic Tuneomatic bridge with retainer wire, chrome hardware, Grover tuners with kidney bean buttons, and Gibson-style "bell" shaped 3-ply truss rod cover.   Clean enough to be sold as new and zero wear anywhere and, most importantly, the best set up you'll ever see on any Les Paul. It’s all original other than amber bell knobs and metal pointers installed. For a guitar set up perfectly, in this condition, it’s a nice buy at $379, especially considering it comes with a new Epiphone hardshell case.  Note: If you want to go all out, we can upgrade to Gibson humbuckers (like a 496R/500T set) for just $150, including labor. 

Custom Jazz Bass - Natural Ash, (front/back), (headstock), (bridge), (body/neck cavity), (pickups). Well made J-Bass in clean shape.  Origin of the body is unknown but with the distinctive factory markings and quality finish, we're pretty sure it's a USA model, possibly an older All-Parts.  It's a  resonant 2-piece center-seam ash body, finished in a dark natural stain.  The finish job is excellent and in lovely condition.  The neck is a Mighty Mite with a well-rounded C-shape, 1 5/8" nut, medium frets, with a light sealer coat.  It has a very slick feel, much like an early Charvel/Mighty Mite.   Pickups are vintage style with two poles for each string and the back is filled in with black resin, much like a Bill Lawrence.  They are excellent sounding pickups with the neck having almost fatness as a P-bass while the bridge has the mid-range honk you normally associate with a Jazz.  They are single coil but are quiet compared to most vintage style Jazz pickups.  With both pickups engaged, they're wired as a humbucker so nearly noiseless with this setting.  Controls are the standard Vol-Vol-Tone.  Features include vintage style bridge, body with strings-thru, tilt-neck adjustment, vintage style open tuners, tortoise pickguard, and finger rest in the treble position.  This bass has a set of Fender covers installed and with the thumbrest and tortoise guard, it has a cool vintage vibe.  I sold this bass around 4 years ago and it’s seen little playing time since then.  Nice medium 9 lb. weight.  This bass plays and sounds great and I would rate it much higher than any new bass in its price range.  Nice J-bass and for $499(HOLD-Philip J 2/4) it’s less than a new Mex Standard.  If desired it can have a vintage logo installed for $69 more (as shown here), including multiple coats of nitro lacquer.

MXL V63M Large Diaphragm Condenser Mics, (pic2).  From my “forgotten storeroom” in Maryland I came across three of these.  If you do any recording, the #2 item, after buying your recording deck, is a large diaphragm condenser.  The V63M is perfect for the home studio enthusiast as it handles vocals and ambient acoustic sounds very well, at a fraction of the cost of Neumann, AKG, and Sennheiser.  It features a 1" diameter/6-micron-thick diaphragm that delivers commendable high sensitivity and detail. It’s wired with Mogami wire adding improved clarity and has a balanced, transformerless output for lower noise. It features the standard cardioids pickup pattern with a 30Hz-20Hz response and is encased in a heavy brass enclosure. It requires phantom power, but 98% of recording/pa decks that have that built in.  For an insanely high retail price of $299, these are good values at $65(HOLD 2 – Norm H 1/24).  Includes stand mount pictured.

Cole Clark Culprit III (Tele Thinline), (front), (back), (headstock), (detail), (side), (case).  From Australia's premier builder comes this fantastic thinline electric that holds its own with any custom shop Thinline I've ever played.  We had a Cole Clark Fat Lady FL3AC a while back that was one of the best modern flattops I've played.  This Culprit is no less impressive.  While this looks much like a Tele Thinline, it's actually a unique guitar starting with the body, which is internally carved rather than simply gluing in a solid center block: the bridge.  The neck pickup and the neck itself are all directly connected to the back and sides for enhanced sustain and resonance, while sound chambers allow the sound to swirl around within the body, picking up additional reflections and frequencies before throwing them out of the modified f-hole.  The effect of the chamber is very noticeable when  unplugged, but the extra resonances play a role in making the amplified voice more complex and distinct.  The bottom line though is it's very much a Tele tone, albeit with subtle tonal differences.  The fretboard radius is a very comfortable and flat 12” with a neck profile that's not too fat or too thin.  It's 4-way pickup selector has the usual bridge pickup and neck pickup, in the end positions, with position 2 the bridge and neck in parallel for that classic open, jangly vibe, while position 4 combines both pickups in series for a hotter fatter tone that will really rock the house.  It can cover a lot of ground but really excels at clean country, blues, and classic rock.  Features include Bunya chambered body, white body binding, US Rock Maple neck, Natural satin nitrocellulose finish on body and neck, Cole Clark "Scroll" headstock, 25.5" scale, 22 frets of Dunlop 6230 fret wire, 12" fretboard radius, Rosewood fretboard with mini pearl dots, Graphtech Tusq nut, 1 21/32" nut (just a hair wider than 1 5/8"), Wilkinson WTB classic chromed steel bridge and 3-section compensated brass saddles, Grover Vintage Deluxe 133 series nickel tuners, Cole Clark neck and bridge pickups, 4-way pickup selector, CTS master volume and tone pots.  Here are some Harmony-Central reviews, where it scores high in all areas.  Cole Clark (link) only lists the solid body Culprit 1 on their site but this is the same guitar, in a chambered body.  Note that the pics were taken before it was set up; saddle screws are no longer angled as seen in pics.  You can find a few in stores, priced new for $1700-$1839.  This one is in perfect condition, with most of the plastic still on the pickguard, and a killer thinline for $1199.

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

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

Buddy Blaze USA Kahuna HH w/Floyd, (front), (headstock  back), (back), (Floyd), (case  case2). Top of the line USA Custom Shop model from Buddy Blaze, original designer and builder of the Kramer Nightswan (aka “Shredder”).  This one was built with a striking gold flake finish, Macassar ebony fretboard, lightly flamed maple neck, and dual humbuckers.  Like the two Shredders I had, is a top notch USA Blaze in all regards, with superb fit and finish; fretwork is as fine as any I’ve had.  The Kahuna has the same ultra-comfortable 7/8 mahogany body with super contoured edges like the Nightswan.  The main difference between the Kahuna and the Nightswan is the pickup separation between the neck and bridge pickups.  On the Nightswan Buddy used a bridge and middle position, rather than the wider separation of the Kahuna, and most players prefer the wider (i.e. standard) separation on this guitar as the Nightswan middle position pickup tends to get in the way of your pick.  Buddy used a great tremolo on this model, a bronze Original Floyd Rose, built for tone-enhancement and longevity.  Other features include 24 jumbo frets, 24 5/8” scale, 1 5/8” nut, dual-action truss rod,  USA DMT/Blazebucker humbuckers, Grover mini-tuners, and Blaze-designed 500K CTS Pot.  Body and neck are in immaculate condition, as if new in the store, and it has as fine a set up as you’ll want for lightning speed shredder licks.  Includes form-fit Buddy Blaze case.  With a new cost of $2200, this is a smoking deal for an American metal axe at just $1299. 

2012 Fender Artist Series Robert Cray Stratocaster - Inca Silver, (front), (back), (headstock), (pickups), (gigbag/etc.).  Hardtail fans, here you go.  If my Custom Shop Cray doesn't fit your budget, this Artist Series is a lot easier on the budget.  These Cray Strats are regarded by many as the best of the Mex signature models and offer a great quality Strat for around 1/2 the price of one made just up the road in Corona.  Unlike many Strats, like the American Standard, the Cray Strat body has the classic vintage route, complete with worm track in the bridge cavity, and correct body contours.  Specs include alder body with 60's C-shape maple neck with rosewood slab fretboard, 21 medium jumbo frets, white dot inlays, 9.5" fretboard radius, American Vintage hardtail bridge with strings thru body, vintage tuners, synthetic bone nut, white plastic parts, and Cray's signature on the headstock.  For players who don't use a tremolo, a hardtail provides certain advantages, such as other strings don't go flat when you bend up on a string, which really helps for steel-guitar style playing - and overall a better transfer of energy from the strings to the body which gives you more of the wood tone.  These come in 3 colors but like Clapton's Blackie, Inca Silver is the color most closely associated with the man.  This guitar is in perfect condition, with a set up that rivals any Strat, at any price, that you'll play.  With a list of $1089, the Cray sells new for $899 but this nice used one's just $639.  Includes original deluxe gigbag with hangtags and paperwork.  

Dr Z Remedy Head and Cab, (head), (back).  Dr. Z has definitely carved out a niche in the boutique amp market.  With hot players like Brad Paisley using them in their backline night after night, they’ve had great exposure and the public is finding out what fine amps they are.  Mike Zaite hasn’t just cloned a few 60’s classics like most companies.  He has a wide range of amp choices, each one with his own take on vintage designs.  The Remedy is his take on the Marshall plexi circuit, but rather than the classic EL34’s used by Marshall, he has chosen a quad of 6V6’s.  To accommodate different venues, he’s also added a 40W/20W half-power switch and “pre-jumpered” the channels, allowing a mix of the High and Low Volume controls, without the need to run a jumper cable as used on the old 4-input Marshalls.  The difference in the two channels is what you would want from a dual-channel amp with a clean, jangly tone that’s extremely well balanced across the frequency spectrum on the Low Volume channel.  The High Volume channel is a much thicker tone, with a thick mids, a very fat bass, and just the right amount of highs.  As you dial it up it displays a very dynamic British overdrive with a richer high end that’s never too harsh.  Back off your guitar’s volume knob and you’re right back into clean territory.  It also displayed remarkable sweet singing sustain, even at settings below full volume.   The remarkable aspect of this amp are the two blendable Volume controls, and you’ll find considerable tweaking just adjusting these two knobs.  The actual EQ knobs are a real bonus that lets you tweak every setting to perfection.  At 40 watts, it’s plenty loud for even larger clubs, and you’ll probably want to use the low power setting for smaller venues.  On all settings the bass response was nice and tight, and the highs are never piercing.  The is virtually no tonal difference between the 40 and 20 watt settings, unlike some amps that sound like two completely different amps.  Includes matching 1X12 cab with a Celestion Vintage 30.  One of the cool things about the cab is the removable middle panel, allowing a choice of closed- or open-back operation.  Back panel features include 4-8-16 ohm outputs, half-power switch, and a good ol’ courtesy AC outlet.  Here’s a good ToneQuest review of Z and the Remedy.  Click here for Z’s Remedy page, including video demo’s.  Both guitarists are playing through a Remedy, and it sounds great.  This pair sells new for over $2400 ($1829 head, $579 cab).  This set up has never seen use out of the home and is offered in mint condition in original boxes.  $1679(HOLD-Mike 2/5) gets both pieces. 

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

2008 Taylor SBS-1 Solidbody Standard - Dual Hums with Quilt Top, (front  front2), (back  ser.), (headstock  back), (case).  Yet another fine Taylor Solidbody, identical to another one I have in stock, other than the year and the “not for sale” stamp on the back of the headstock.  The reason for the stamp is that it was given by Taylor to a San Diego school for use in a fundraiser.  I bought it from the guy who purchased it via the fundraiser.  About the SBS-1:  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 listed at $2698 and sold 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 $999(HOLD-Robert N 1/19.  Includes original Taylor case, un-filled warranty card, etc.  (Note: I also have one an identical ’07 model and another with switchable pickups, outfitted with 3 Mini-Hums, shown here).  

2007 Fender Artist Series Eric Johnson Stratocaster - White Blonde, (front), (back), (headstock  back), (case/etc.  case2).  As I've mentioned many times, and numerous customers have agreed, the Eric Johnson Strats are the best signature models Fender has ever made, including their custom shop models.  Each one I've had exhibited commendable acoustic tone, excellent sustain, and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone, and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quartersawn maple neck with vintage tint, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  This is an excellent Strat with nice sustain and a quality acoustic tone.  This guitar has barely been played but there are two small spots on the fretboard wear the finish is worn.  Original owner said it was falling off the stand, he grabbed it, and the strings scraped off a little finish.  Otherwise, the body and neck are immaculate and this guitar has seen almost no playing time.  If you're contemplating buying a new one original version EJ for $1899 ($2599 list) here's one that’s barely played for less.  $1329(HOLD-Paul S, local 1/13) includes blonde EJ case with strap, cable, ash tray, cleaning kit, and tags.  

2009 Gibson Melody Maker with Duncan P-Rail, (front), (headstock  back), (back), (mods).   Another cool upgraded Melody Maker, this one with one of the coolest single pickup mods you can install:  The Seymour Duncan P-Rail which gives you the choice of out of one pickup.  We’ve also installed two mini toggle switches which let you maximize the tonal choices (4) including P-90, humbucker (series), and single-coil, and humbucker (parallel).  The parallel humbucker setting for some is the best of both worlds, as it’s a quiet humbucker, yet retains the articulation and clarity of a single coil.   The stock single coil pickup on this model makes it a decent guitar for rhythm or fill, but many find it limited to such “background” work.  With the P-Rail, it can jump out of the mix and sound absolutely huge, on rhythm or leads.  This model is very much like the original single cut Melody Maker with a thin slab mahogany body with a set mahogany neck, single pickup, screened logo, rosewood fretboard, wraparound bridge, and large black pickguard with the model name engraved near the base of the neck.  Other specs of this model include '59 rounded neck profile that's not at all chunky, standard 24 3/4" scale, 1.695" nut width, and 22 frets.  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 finish which lets the guitar vibrate better than a thicker, hard finish.  With these tasteful modifications, this is a totally gigworthy workhorse guitar for just $399(HOLD-David S 1/13). 

2011 Ibanez STM2 "Iceman" Sam Totman Signature Model, (front), (back), (headstock), (trem), (Evolution pickups).  Somebody called about Destroyers this past week.  I thought this was sold but just found it:  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 and just $499.  For details, check out Ibanez.com

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

1999 Fender 50's Classic Strat - Surf Green - with Upgrades, (front), (back), (headstock), (pickups), (nut), (case).   Very clean reissue of a true classic from Fender, in the coolest of custom colors, with upgraded electronics and an Earvana nut installed by Martin.  Bridge and middle pickup are custom shop Texas Specials, with a DiMarzio True Velvet DP175W in the neck.  We broke up the Fender set since I think the DP175W sounds better in the neck than a Texas Special.  It’s sweeter, with more clarity, basically what players want when they go to the neck pickup.  All pickups have the vintage style cloth wiring and we used USA pots and switch.  This mod transformed this guitar into one that you can play at a gig and get compliments from guitarists on your tone, something that’s not as likely with the stock no-name Alnico’s Fender installed.  The stock nut had a bad slot in it so we replaced it with an Earvan compensated nut, which improves intonation and sounds good.  Features of the 50's Classic include vintage tinted neck with a soft-V profile, deep vintage body contours, single ply pickguard, vintage tremolo with bent saddles and heavy tremolo block.   Also worth mentioning, this guitar is an excellent  player with 5 pickup settings that sound radically different.  On some Strats, like this one, the neck pickup is so sweet you never want to try anything else; on other ones you'll never want to use it.   It also has a fatter bottom end than most Strat which I attribute to the tone wood of the body.  If you like vintage Strats but aren't a fan of the medium action that they usually have, you'll find this one is exceptional, with very comfortable action despite the vintage radius.  A new 50's Classic will run you $799 with gigbag and it might play okay if the factory set-up holds up - but why not get one with a pro set-up on the day it ships out, plus an upgraded Fender hardshell case, upgraded pickups and nut, and a nice weight at just over 7.5  lbs.  All this for $200 less, with deluxe gigbag…just $599(HOLD-Gary S 1/13).  Upgrade to Fender case pictured for $679. 

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

Warmoth Charvel Style 1HB – Walnut & figured maple, (front), (neck), (back), (headstock  back).  For players who love the simplicity of the early Charvels and Barettas I offer this Strat style with single humbucker and volume control.  It’s also a hardtail so nothing to mess with but your playing.  This one uses a beautifully figured Warmoth walnut body with a Warmoth reverse headstock, birdseye maple neck.  Body is finished with Tru oil/wax, which contributes to liveliness that’s better than a lacquer or poly finish.  In fact, this guitar has one of the louder acoustic tones of anything in stock.  Hardware is Gotoh with smooth tuners, recessed tuneomatic bridge, and staggered string thru body grommets.  For players who don’t use a trem a hardtail is definitely the way to go since strings stay in tune during bends and double-stops.  Pickup is a DiMarzio Distortion which is a 4-conductor so let us know and we can upgrade to a push/pull pot if you want both single- and double-coil tones.  Other features include 1 11/16" white Corian nut, 22 jumbo nickel frets, and black dot inlays.  It’s a nice light weight at 7 lbs., 6.6 oz.  Set up is low and fast and this guitar has one of the best tones you’ll hear in a single pickup Strat, including excellent sustain and a fat tone that’s balanced and clear.  Has less than an hour of playing time since being built and is immaculate except for a miniscule scratch next to the back plate.  If you’re thinking about building a guitar like this we can save you many hours of labor or $300 in tech fees.  Nice deal at $499(HOLD-Jeff A 1/15), which is less than the price of parts alone. 

1995 Godin Deluxe Acousticaster “Tele 6” Ltd, (front/back), (sides), (headstock/neck).   Thrilled to have this one traded back after 3 years.  Stunning quilted maple top and flames maple sides and back are the feature of this Limited model from 1995.  A regular spruce top Acousticaster was my personal acoustic/electric for around 4 years and I love the guitars.  This one is as nice a player as my old one but it's also one of the most gorgeous looking emerald Green quilt tops you'll see.  Likewise, the back and sides are nicely flamed as well and it has a figured maple neck with vintage tint.  The Acousticaster is a Tele style body that's chambered with 18 tuned metal tines mounted under the bridge help to create the unique sound and makes this a surprisingly loud guitar when played acoustically.  Amplified it sounds excellent, with the L.R. Baggs bridge transducer and custom preamp.  Very comfortable neck with some figuring in the maple and a vintage tint, 1 11/16" at the nut.  Tuners have been upgraded with locking type which have the identical footprint of the originals so no mod's were required - and strap pins have been changed to Schaller locking.  The gold hardware looks great with the green finish.  There was a label that said "Tele (6)" on the back of the headstock (as shown in pic) but if fell off.  This is an excellent playing guitar in very nice shape, that will hold it's own in an acoustic jam but really shines as a stage guitar.  As far as looks, it doesn't get much more stunning than this.  You can’t really compare this to the new satin finish A6 model.  Aside from the gloss finish on this one, it’s just a much finer guitar in all regards.  It’s also the only green quilt top I’ve ever seen, and I’m always looking for these.  Beautiful guitar in all regards for $779(HOLD: Weming 1/14).  Includes hardshell case.  

2011 Gibson SG Special '60s Tribute - White - with case, (front), (back), (headstock), (case).  Very affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  Finished in Worn White, which in the vintage world is referred to as TV White and has always commanded a premium over the usual cherry finish.  This SG'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.  Please note that this isn't the raw porous finish found on many of the "worn" Gibson finishes but is smooth and non-porous.  It will "age" rather fast and soon, develop the look of a well-played vintage guitar.  It's set up with low action and the ease of play, combined with the light weight, make this a great guitar to play, set after set.  These came stock with a gigbag but this one is offered in mint condition with an optional Gibson case for $685(HOLD-J Scott W 1/8).  I have a few others in stock.

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

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

Wampler Faux Tape Echo Pedal, (pic2).  Brian Wampler has built what many feel is the best sounding tape delay emulator on the market.  It excels at crisp slap back to spacey lead tones that let you lay down the sounds you’ve had swirling in your head.  Best of all, it does it without any of the hassle of tape or head adjustments.  The modulation is unmatched. When you engage the modulation, it actually speeds up and slows down the echoes just like a true tape delay, with a modulation rate determined by how hard you attack the strings - the harder you strike the more the modulation is triggered.  Hearing is believing so Click here for a YouTube demo by ProGuitarShops.  Sells new for $219 but this one’s perfect in the box for just $153. 

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

2000 Fender American Series Telecaster – Hot Rod Red, (front  front-2), (headstock  back), (back), (case/etc.).  Don’t get many of these in recently – a good old American Series Tele.  For over 60 years the Tele has been the workhorse instrument of choice for working players from rock to country.  This one is in a very rare color, Hot Rod Red, which was only used a year or two, other than the Mark Knopfler Signature Strat, which used HRR as a standard color.  I’m not going through all the features this time.  You’ve read them here hundreds of time, but it’s worth pointing out that this was a first-year American “Series”, with a number of enhancements over the ’86-’99 American “Standard”.  Cosmetically, it’s perfect, apparently sitting in the case for nearly its entire 15 years.  It’s a fantastic player with low action and classic Tele twang.  With a new regular color running $1299, here’s a very cool rare color for $350 cheaper.  $949 includes original case, strap, cable, hang tags, and paperwork. 

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

2006 Ibanez Prestige RG-1570MRB – Mirage Blue, (front  front-2), (headstock  back)  (back), (trem), (case/etc.).   Superb Japan-made Ibanez and a shredder's dream guitar.   I've had plenty of RG-1570's, all of them killer players, in stunning finishes, like this Mirage Blue.  When Ibanez came out with the Prestige series, many were updated designs of an older model.  The RG-1570, for example, is an improved version of the old RG-570, with improved high tech hardware and upgrades, primarily the Wizard Prestige neck, with 5-piece maple/walnut and the new Edge-Pro tremolo system.  Other specs are Basswood body; maple neck; rosewood fretboard with 24 jumbo frets and pearl dot inlays; pickups direct mounted to body; Cosmo black hardware; HSH pickup configuration with 5-way switch, master volume, master tone; pearl logo inlay, and finished in Suede Black only.  As you can see in the pics this one has two upgraded pickups with a pair of DiMarzio Evolution humbuckers, which replace the stock IBZ V7 and V8 pickups.  Middle pickup remains the stock IBZ S1.  This guitar sounds superb, due in part to the Evolutions and the pink and blue humbuckers add a touch of Steve Vai flavor.  It’s in excellent condition with no scratches or fret wear, and a nice, low set up.  This is a first-year 1570 and for a Japan-made RG, it’s an excellent value at $659.  Includes form fit Prestige case, manual, tags, trem arm, and tools.  

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

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

1967 Yairi B2 Classical, (front), (headstock), (back).  Excellent value in a solid top classical.  Our tech, Martin, has taken classical lessons for years and I always turn to him for opinions on nylon string guitars.  He says this one sounds very good, with excellent action.  It features a solid spruce top, which is critical in classical/flamenco style.  I'm not an authority on the Yairi name, other than all of them are quality Japan-made guitars.  From what I read on the web K. Yairi and Sadao/Sada. Yairi both learned guitar making from S's uncle, also named Sadao.  I believe this one to be built by S. Yairi, who built guitars under the names Sadao Yairi, Yairi Gakki, S. Yairi, and Sada Guitar.  Cosmetically, it has a number of minor flaws but no cracks or structural issues and is in nice shape for 45+ years.  For a solid top Japan classical that's good enough for the intermediate player it’s a nice value at $250(HOLD-Christopher 1/28).  

2013 Gibson Custom Les Paul Axcess Standard Floyd Rose, (front-1 front-2), (headstock  back), (back), (Floyd), (cert.), (case  case-2).  Killer Custom Shop model - with a genuine Floyd Rose trem.  For years a lot of players have been carrying their Les Paul, and their Floyd guitar.  Sure, Gibson did a Kahler trem model as an option since the 70's, but let's face it, nothing stays in tune like a Floyd.  You can dive bomb all night and it comes back to perfect pitch every time.  Gibson chose this model to do a number of other enhancements to playing, most notably a new heelless neck joint which provides access to the 22nd fret without having to contort your hand.  Additionally, they added a contoured top with a slight "belly cut" that fits the body like a glove.  The body is also a tad slimmer than a regular Standard which contributes to lower weight and less fatigue.  Playability is superb, with a factory Plek that ensures the lowest possible action without fret buzz.  Tonally, this guitar sounds very much like the late 50's 'Burst that has defined the rock tone for the past 50 years.  Pickups are the 496R and 498T, both with push-pull tone pots to split the coils, yielding twice the tonal options of a regular Les Paul.  Complete specs can be found at Gibson's site.  This guitar is in immaculate condition and with a list price of $5409, this model sells new for $3999.  This one is $1300 cheaper and as clean as a new one hanging in the store.  Just $2799 for this killer Paul.  If desired, will ship double-boxed including original box.  Includes vintage Lifton-style case, certificate, etc.  

2013 Gibson Custom 1960 Les Paul Reissue VOS - Washed Cherry, (front-1 front-2), (back-1 back-2), (headstock  back), (cert.), (case).  The finest Les Paul built – doesn’t get any finer.  I’ve heard it before, but this is yet another improved version of the Historic Les Paul.  Only difference is this one is noticeably more realistic than any previous versions.  When Gibson invented the VOS process they were close to the overall appearance, but now it seems they’ve perfected VOS to a point where it doesn’t appear thin and watery, and actually looks like an actual antique nitro finish.  Nice.  The nickel plating on the hardware has just enough dull patina that it looks like it could be 50 years old.  There are numerous small changes, the sum of which adds up to an accurate, fine Les Paul.  Rather than do an in-depth report of all the features, I recommend you check out Gibson’s site here for all the info.  This guitar marks the 20th anniversary of the Les Paul reissue (not counting Standards built before then which weren’t at all reissues of the original ’58-’60).  I’m not sure what the difference is on the ’60 versus the ’59, but it appears to be simply the knobs and a slightly thinner neck on the ’60.  They hefty list price is the same on both models.  The ’60 has the Slim Taper neck that appeals to more players than any other Gibson neck.  It’s easy to get your hand around, but isn’t at all flimsy so it has the tuning stability you need.  It also features a vintage, non-weight-relieved mahogany body with hand-carved, bookmatched maple top that’s beautifully consistent side to side, top to bottom.  Other features, briefly, include vintage-style Kluson Green Key tuners, holly-head veneer headstock, original acrylic trapezoid block inlays, vintage CTS potentiometers and bumble bee capacitors, CustomBucker pickups for which are described as the most accurate vintage PAF tone ever, Hide-glued mahogany neck, with extended neck tenon for superb sustain and response, period-correct Aniline dye body and neck, and the vintage style brown Lifton case with pink lining.  Weighing in the high 8 lbs., this isn’t heavy, and isn’t light – just right for a non-weight-relieved body.  Its tone can nail the best of Billy Gibbons, Slash, or Peter Green, with a set up that doesn’t come any better, thanks in large part to the Plek process which perfectly dresses each and every fret within .0001 of an inch.  I’ve had many hundreds of Les Pauls, but I don’t recall any finer than this one.  If you’re considering a new one be warned: $8892 list price means you’re going to pay $6299-$6499.  I can save you around better than $2000 on this one.  $4199(HOLD-Mike W 1/4) for this beauty. 

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

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

Valley Arts Standard Pro Custom Built 7/8, (front-1 front-2), (headstock  back), (tuners/serial), (body stamp), (electronics).  I’ve had this genuine 80’s Valley Arts USA neck in stock for many, many years.  It’s new, old stock, Serial #0770, and had never been drilled for tuners or neck screws.  As it’s a Gibson scale I patiently waited for the perfect 7/8 body, hopefully a quality, lightweight body that was as clean as the neck.  Finally got in this Warmoth 7/8 body with factory Candy Apple Red finish in immaculate condition.  For pickups we have a pair of old Bill Lawrence, an L-500 bridge humbucker with an L-250 single coil in the neck, keeping in mind that VA offered Lawrence pickups on their guitars back in the day.  Hardware includes German-made Schaller tuners and strap pins, Gotoh vintage tremolo with heavy steel block, and a Wilkinson roller nut.  Controls are simply a 3-way switch and Volume control, but the volume is a push-pull to split the humbucker, yielding 5 tonal choices.  The neck was raw wood so I had Martin finish it with a vintage orange tint nitro lacquer.  This guitar is a joy to play; low action, fast feel, and it weighs just 6 ¾ lbs.  Other than some pitting on the neck plate (I was in too much of a hurry to order a new one), this guitar is in showroom condition.  Just a super nice Strat that’s especially nice for players who prefer the shorter 24.75” scale.  Martin did a really nice job on this guitar and I think it’s a nice value for $750 with gigbag; $799 with a hardshell case. 

Ernie Ball Musicman Axis Super Sport HH with match headstock and tremolo, (front), (back/neck), (headstock), (case inside-pic w/different Axis).  Beautiful Orange Quilt with matching headstock, optional vintage tremolo, and lightly figured maple neck.  Many of you young players will say "that looks like a Wolfgang" but the roots of this model, the EBMM EVH, preceded the Wolfgang by around 8 years.  When Ernie Ball's contract with Ed was over they had to rename the model and although there have been several improvements since the EVH days, outwardly it is the same guitar.  Set up is perfect and Musicman's custom wound DiMarzio's sound fantastic.  Spec's of this model include Basswood body with a slab of bookmatched, figured maple on top, Maple neck with 5-bolt neck joint, Maple fretboard, 22 high profile, medium width frets, 2 custom DiMarzio humbuckers, Music Man tremolo, Schaller M6LA tuners with pearl buttons, Graphite acrylic resin-coated body cavity and aluminum-lined control cover, volume and tone controls with 3-way pickup selector, Cream body binding, 25-1/2" scale, 10" fretboard radius, and 1-5/8" nut width.   This baby is in beautiful shape with no flaws to speak of.  This model lists at $2475, selling online for $1732 but this great used one is just $999 with gigbag, or include the flight case pictured for $59 more. 

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

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

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

HOLIDAY SPECIALS (more to come): 

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

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

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

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

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

Amptweaker TightDrive Pedal, (loop switch).  You've probably heard of Amptweaker, but if you're not aware, pedal and amp guru James Brown gets his ideas for new products by surveying players to get their ideas and suggestions on what they would most like to see.  By soliciting guitar community in various forums he is able to deliver what players really want.  Handmade in the USA, the TightDrive is housed in a solid, 14-gauge steel chassis.  It's top is angled, allowing you to stomp on the forward-facing footswitch without hitting the control knobs, which slope to the rear, but are fully visible.  The battery is housed in a sliding drawer that’s secured with a magnetic latch.  Also, a battery switch lets you turn off the juice when you’re not using the pedal, so there’s no need to unplug the input cable. When you're using a power adapter, LED lights illuminate the knobs, fantastic for a dark stage.  A handy effects loop switch on the bottom of the pedal lets you couple other pedals to the TightDrive, and with the loop’s Pre/Post switch you can place these effects either before or after the TightDrive in the signal path.  Turn off the TightDrive and effects in the loop are also bypassed, which is a lot easier than tap dancing several effects at once. It also has a true-bypass footswitch and a DC adapter jack.  Here’s one (link) of a bunch of demo’s online.  Don’t pay $179 for a new one when this clean used one works perfectly and is $125. 

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

2011 Fender '69 Telecaster Thinline - Sunburst Ash, (front), (headstock  pic2), (back).  My favorite of the Classic Series, the '69 Thinline is, outwardly, identical to the one Fender made in 1969.  The Thinline is made with the traditional Tele silhouette, but in a more lightweight package.  A solid ash body without the chamber would make it 8-9 lbs; with the chamber it’s 2 lbs less.  In fact, this hollowbody design was originally developed as a solution to Fender's dwindling supply of lightweight ash and mahogany back in the 60's.  Features include lightweight semi-hollow ash body, 1-pc U-shaped maple neck with 7.25" radius and 21 vintage-style frets, two vintage-style single-coil Alnico pickups, vintage-style 3-saddle strings thru-body Tele bridge, 3-way pickup switch with master volume and tone, Fender/Schaller vintage F-tuners, 4-ply white pearloid pickguard, Top hat blade switch tip, '60's style black/gold logo, single string tree, and Synthetic bone nut.  Has an excellent set up with low action and overall extremely clean other than some barely visible discoloration to the treble side of the fretboard.  If you’re a fan of the Tele twang but want a bit of relief for your shoulder, give a Thinline a try.  These sell new for $899; this one is just $629 and includes Fender deluxe gigbag.

Line 6 JTV-59 James Tyler Variax Modeling Guitar, (front), (side), (back), (headstock), (Variax knobs), (sculpted heel), (bridge/outputs), (acc.), (gigbag).    The original Variax became an instant hit when it was released in '03, with advanced technology that perfectly modeled classic guitars and numerous alternate tunings.  The platform, however, left a bit to be desired.  While the original body style was quite playable, players wanted something the felt more like one of the classics it was designed to emulate.  Line 6 solved that problem by teaming up with James Tyler Guitars, for years one of the top boutique builders on the scene, designing a '69 model and this '59 style with styling similar to a '59 Les Paul.  The JTV-59 is essentially 25 guitars in one, with a choice of 12 tunings, from customized alternate and drop tunings, plus a "Virtual capo" which can be "placed" anywhere on the neck.  It uses the classic mahogany body with a thick maple cap, just like a Les Paul, and then tops off the maple cap with a veneer of flamed maple.  Other features include set mahogany neck with rosewood fingerboard and dot inlays, Tyler '59 neck shape, 24-9/16" scale, 22 medium-jumbo frets, 1-11/16" Graph Tech Black TUSQ XL self-lubricating nut, 16:1 sealed tuners, fully adjustable Tyler-designed wraparound bridge, vintage-voiced alnico neck and bridge humbuckers wound to Tyler's specs, L. R. Baggs Radiance Hex piezo pickup system, master volume and tone, 3-way selector, Variax controls include Model and Alt Tune knobs for easily accessing instrument sounds and alternate tunings.  Outputs include standard 1/4” out, VDI (Variax® Digital Interface) jack for integration with Line 6 POD HD500 and POD HD Pro, plus limited compatibility with older Line 6 products.  Built in Lithium-ion battery provides 12 hours of play time; includes international wall charger (the guitar also functions as standard electric guitar without batteries).  Line 6 has always been out front with an accessible web presence.  Check out specs and demos here, plus download Workbench HD firmware updates here.  For a video demo, click here for a good one from Premier Guitar.  This is a well made guitar that plays beautifully, with technology that lets you forget it’s even being used.  It’s especially useful for players who need an occasional banjo, 12-string, or resonator, etc., without carrying a bunch of extra instruments to a gig.  You’ll also spare the audience from watching you re-tune to an open-D between songs.  This model lists at $2099.  We’re offering this one, in perfect shape (and a very reasonable 8.5 lbs.), for just $850(HOLD-John G, local).  Includes battery, charger, USB interface, manual, and quality Line 6 gigbag.

1995 Jackson Kelly Pro Neck-Thru Japan, (front), (back), (headstock), (Schaller Floyd specs), (case).  Don’t confuse this with the Kelly XL, Kelly KE-3, or other Japan Pro models, this is a neck-thru model that rivals the USA model, and was only available in ’94 and ’95.  Click here to view the 94/95 catalog.  It has all the features found on the USA KE-1 including bound ebony fretboard with serial number impressed into the fretboard, pearl logo, neck-thru construction, etc.  Features include quartersawn maple neck (through body), poplar body wings, bound Ebony fretboard with serial impressed on top fret, bound headstock, real mother of pearl inlaid logo, Jackson/Schaller JT-580 recessed double-locking tremolo with specs the same as Original Floyd Rose, volume, tone, 3-way pickup selector, 25.5” scale, 24 jumbo frets, mother of pearl sharktooth fretboard inlays.  Original Jackson J50 and J92C humbuckers have been upgraded with a new set of EMG-Hz, which are passive pickups engineered to sound like the EMG81/85 set.  Although it hasn’t seen a lot of playing time, judging by the frets which aren’t at all worn, it did have a headstock repair at some point.  It’s not very noticeable but if you tilt the headstock you can see lines (shown here).  It’s a super good job and has 4 small round metal dowels installed in the sides for added strength so it should never be a problem.  Two of the points have minor wear (shown here).  It’s also had a strap in relocated from the base of the neck to the upper horn so take your pick on how you like it to hang.  The good news is this is a killer playing axe with a great rock/metal tone.  These EMG’s are fat, with more clarity than the stock Jackson pickups would have.  It’s also in a very cool Green Flake finish that looks great on stage, with hints of light green, dark green and gold flakes that catch lights in a striking way.  I would hold this guitar to be every bit as good as a KE-1.  Nice buy for the player at $599, including original Jackson case. 

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

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

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

Phantom Guitar (MK VI style), (front), (headstock  back), (back), (gigbag).  Make no mistake about it, Phantom Guitar Works is the only company authorized to build genuine Phantom, made by Vox in the 60’s, and reissued in the 90’s.  Oddly enough, Vox, the original builder in the 60’s, isn’t allowed to use the name.  They currently have a similar looking guitar but it’s simply another of the Indonesian ilk, and is strictly a beginner guitar.  Phantom Guitar Works are excellent replicas of the old Vox guitars from the 60's, namely the Phantom, Teardrop, and MandoGuitar.  They are hand-assembled in the USA of foreign and domestic parts.  This model is a reissue of the famed Vox MK VI, originally made in England and Italy.  The original model earned notoriety as a primary axe of Brian Jones of The Rolling Stones and a little known fact, also used by Drake Levin of "Paul Revere and the Raiders" on their daily TV show, "Where the Action Is".  Every day after school I'd love watching the Raiders, not for the crazy antics or funny costumes, but to drool over the entire line of Vox gear that the manufacturer kept them supplied with.  From what I've read, Phantom got their start after buying up a large quantity, all the remaining stock, of vintage Eko/Vox parts.  I haven’t had one of these in years, although I had around a half a dozen of the USA Vox's when they suddenly reappeared around 1998.  This Phantom compares very favorably with those recent Vox's in all regards and I actually like the tone a bit better.  Features include solid mahogany body, maple neck, Indian rosewood fingerboard, signature Phantom vintage style single coil pickups, vintage vibrola tailpiece, Phantom roller nut and bridge, 25.5" Scale length, 1 11/16" nut, 3 single coil pickups with 5-way switch, vol-tone-tone, and vintage style tuners.  The three single coil pickups have a character of their own.  Not really Stratty, as they’re a bit more mellow, with increased warmth and fatness.  This is a very well made guitar with excellent tone and a wonderful setup, and a distinct vibe.  Just as no other hollowbody has the vibe of a Gretsch; no other solidbody has the vibe of a Vox.  Phantom only sells direct to the public and this model starts at $799.  This one has a few factory custom options including the gold pearl pickguard and chrome pickup covers.  It’s in dead mint condition, plays great, sounds great, and is possibly the coolest 60s vibe you can get for $650.  Includes well-padded Phantom gigbag.

Marshall Clone Hand-Wired 1974X, (panel), (top), (back), (bottom), (chassis), (circuit), (footswitch).   Looking for a low-power amp that really sings?  I recommend this excellent clone of the 18-watt Marshall Model 1974, which was originally produced from '66 to '68, and considered by many to be Marshall's best sounding EL84 model ever made.  More recently, after around a 35-year break, Marshall reissued this amp but as it was hand-wired, the price tag (around $3K list for the head), was almost as high as the vintage examples.  This is NOT a Marshall, but a well-made clone of the original design.  As with the original it sports two channels, each with dual inputs and a set of Volume and Tone controls.  The Tremolo channel also has Speed and Depth controls for the tube-powered trem circuit, controllable via on/off footswitch (included).  With a birch-ply cabinet it features the same point-to-point circuitry of the original with carefully routed leads to the chassis-mounted pots, jacks, switches, and tube sockets.  Like the original, this amp is hand wired with point to point soldering.  It uses all quality components including Heyboer transformers, carbon composition resistors, Sprague, Tad, Mallory 150 Series and Mojo Dijon caps, Mojotone Custom black board with forked turrets, cloth-wrapped wire, dual JJ EL84 tubes, 3 JJ 12AX7 tubes, and a JJ EZ81 tube.  At the back of the chassis are dual speaker jacks, an impedance selector, and a jack for the vintage-correct tremolo footswitch.  This small box amp is not just cute and lightweight, it's a little terror tonally. With just 18 watts, it doesn't have a lot of clean headroom, but therein lays its beauty.  It’s fairly clean up to around 2, but at every number past 2 it gets louder and more saturated.  When it’s pegged, you get natural harmonic feedback that changes with each chord change.  Overall, you can get a nice spectrum of gritty-clean to grindingly distorted sounds.  The tones are bright, but not shrill, with a clear midrange that makes chords ring and single-note lines with plenty of presence.  The two channels are voiced differently, as are the two inputs on each channel.  A trick a lot of players do is run a jumper cable from channel 1 to an input on channel 2 to really open up the full capabilities of the amp.  It’s surprisingly quiet at idle.  If you're not looking for much clean headroom and instead prefer the wonderful breakup that these amps are cherished for, you'll love it.  This amp looks to have seen no use and appears perfect.  If you can find a new Marshall 1974x hand-wired, it’s going to set you back around $2K, or you can get this one for a fraction.  I’ve had 3 of the Marshalls and I’m here to testify that this amp sounds as good, or better, than those.  For a hand-wired amp of this quality, a great value at $850. 

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

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

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

2008 Taylor Custom Grand Auditorium, (front), (headstock  back), (back), (top bindingback binding & controls), (label), (case).   I got this from one of my old bud’s in Maryland, ordered from Hot Licks when he was employed there.  It’s a special order with Western Red Cedar top, AAA Indian Rosewood sides and back, 900-series bridge inlay, Koa series fretboard inlays, 900-series headstock inlay, rosewood headstock overlay, ebony tuner buttons, and wood binding, in addition to multi-ply black/white plastic.  Other features include ebony fretboard, 1:21 Gotoh 510 tuners, 1 ¾” nut width, mahogany neck, abalone soundhole rosette, ebony bridge with abalone dot string pins, and tortoise shell pickguard.  The Grand Auditorium slightly smaller than a dreadnought and is one of the best for finger style work while still having the depth to project well for strumming.  The Venetian cutaway allows easy access to the entire fretboard while the slightly smaller body enhances articulation - the tone is very crisp and well defined.  The combination of an Red Cedar and Indian Rosewood give this guitar incredible articulation, again, perfect for fingerstyle play or if you want to stand out in a mix.  For amplified tones it uses Taylor's Expression System, the improved 9V system.  Overall in beautiful shape with the only noteworthy flaw being a finish chip the size of a grain of rice (pic) which Martin buffed and finished over.  It’s only worth mentioning because the rest of the guitar is so clean.  Like most Taylors, the action is remarkably low, which lets a player do patterns that simply aren’t possible on guitars set up with standard string height.  Cost when new was $3300 but save some money this holiday season and get it now for just $2100.  Includes brown Taylor luggage case with dark burgundy lining. 

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

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

1984 Fender Flame Elite – Candy Red Burst, (front  front2), (back), (headstock  back), (serial), (bound neck/body), (case case2).   First year, 1984 model, now 30 years old.  As uncommon as Flames and Elites are, this finish, and factory Kahler trem, make this extremely rare.  Part of Fender’s short-lived Master Series, the Esprit/Flame was the predecessor to the Robben Ford Signature Model, which was basically the same guitar in a custom shop version.  In ’84, Fender had been trying to steal a portion of Gibson's market for many years, namely a guitar with dual humbuckers on a double-cutaway body.  Previous attempt like the Coronado, Wildwood, and Starcaster all failed.  In the mid-80's Fender's effort was the "Master Series", which included the semi-solidbody Flame and Esprit , and the D'Aquisto hollowbodies, with 3 models in each line, priced according to cosmetic appointments.  The Flame, very similar to the Esprit but in a slightly smaller (13" vs. 14") and slightly asymmetrical body, was made of alder with tone chambers and a spruce top.  They came in 3 different models with the top of the line being the Ultra, followed by the Elite, and finally the Standard.  The Elite (this model) featured upscale appointments such as snowflake fretboard inlays, multi-layer binding on body, bound neck, multi-layer headstock binding, pearloid tuner buttons, and on the headstock, inlaid pearloid logo and "fan" inlay with "Flame" etched in the inlay.  Other features of the Flame Elite include asymmetrical chambered Alder body with Spruce top and set-neck, 3-pc maple neck with rosewood fretboard, 24 3/4" scale (same as Gibson), special Schaller humbuckers and Schaller hardware including roller-saddle bridge and tailpiece with fine tuners.  Rather than the Schaller tailpiece, this one features an original Kahler locking tremolo which was post-factory, installed at Fender after the guitar arrived in the USA.  My guess is that the locking trems were just starting to take off in a big way and this was Fender's way of hopefully grabbing some of shredder market as well as the Gibson market.  The pickups are controlled by 3-way switch and coil splitter switch to allow choice of humbucker of single coil tones on either pickup.  The Master Series had a brief run, with the Flame officially produced from ca. '84 to '86 but actual production run was less than 2 years.  Total production for all models is said to be only around 4,000 units.   Here's a good site for the Master Series (link) with a lot of info on all of the models.  As you can see in the pics, this guitar is in nice shape overall, with just a few light scratches or finish impressions in the clear coat.  Worst flaw is a small finish chip on the side, shown here.  It’s all original other than a Seymour Duncan Pearly Gates bridge pickup which sounds great and gives it more versatility.  Tonally, this guitar can cover a lot of ground, from country to hard rock, and should appeal to a wider variety of players than most Fenders or even Gibsons.  All Master Series have become highly prized guitars, due to both their quality and versatility - and due to their rarity.   I frequently see well worn sunburst Standard models, priced at $1500+.  With the vast majority of these finished in sunburst, white or black, this Candy Red Burst with Elite appointments is an even rarer find.  Sweet guitar for $1399(Tent. Hold – James F 2/16).  Includes fancy Kahler trem arm and original case that hugs body on all sides.

2007 Gretsch Chet Atkins Tennessee Rose G6119-1962HT, (front), (headstock), (back), (case).  Just got in another one of these... 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, 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 but this '07 model is barely played and $700 cheaper at $1499.  Includes original Gretsch case and paperwork. 

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

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

1996 Ibanez RG-570FBL – Blue Flake, (front), (back), (headstock  back), (heel), (case).  One of the coolest finishes ever by Ibanez, and the subject of an advertising campaign in the 90’s.  I’m including a vintage ad with this model (shown here).  This was a higher-end Ibanez in the mid-90’s, finely crafted in Japan.  After a 12-year run beginning around 1990, Ibanez discontinued the 570, only to rename it the RG-2570 when they began production on the Prestige series.  The two models are one in the same.  Impeccably maintained for 18 years, this guitar is in definitely collector's condition with no noteworthy flaws.   The 570 features the same specs as the 550, with the 550 being the model with a pickguard rather than the sleeker look of the 570.  Features include Basswood body, Edge tremolo, IBZ USA pickups with V7-S1-V8, 24 jumbo frets, and a “tilt joint” neck attachment, which eliminates a neckplate and the beveled area makes playing up high a breeze.  Neck is the extremely thin and wide Wizard neck, made of one-piece maple with bubinga strips for stability, which is a shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  Whether you're a collector or player, you'll be thrilled with the playability and condition of this one.  A true pro quality Ibanez, in a rare color, for $650.  Trem arm and original “Prestige” case is included and is in serviceable condition, with all latches replaced.  Note:  I have some cheaper 570's in stock.

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

2009 ESP Standard Series Phoenix, (front), (headstock), (back), (case).  A “real” ESP from their Standard Series.  The Phoenix is ESP’s take on the classic Firebird with neck-through construction, raised center section of maple body/neck, mahogany wings, and ebony fretboard.  Other features include 25.5" Scale, thin U-shaped neck, 22 xtra jumbo frets, Gotoh Magnum Lock tuners, Gotoh tuneomatic bridge and tailpiece, volume and tone controls, with a 3-way toggle.  Pickups are Seymour Duncan JB in the bridge and a '59 in the neck.  This guitar plays beautifully and hangs on the shoulder perfectly, without any dive-bombing of the neck.  I had this guitar a few years ago and it has served only as a collectable, apparently never played, and is offered in immaculate condition.  These are getting hard to find in the ESP (i.e. not Ltd) series and it’s a super nice guitar for $1099.  Includes the nice ESP case with leather ends and white piping, as well as paperwork and tools. 

2011 Fender Classic ’69 Telecaster Thinline, (front), (headstock  back), (back).  I haven't had one of these in quite a while.  The '69 Thinline is made with the traditional Tele silhouette, but it's built with a semi-hollow body which reduces the weight considerably, and gives it more of a spacious, airy tone.  The original model, introduced in 1969, was designed by German luthier Roger Rossmeisl of Rickenbacker fame and the design was originally a solution to Fender's dwindling supply of lightweight ash.  It found enough popularity, however, to have a long original run of 12 years ('69-'81) and was reissued in the late 90's as an American Standard model, with this Classic Series coming out a few years later.  Very true to the original design with vintage features that include Fender/Schaller vintage “F” style tuners, nickel silver frets, semi-hollow ash body with a single F-hole, traditional Tele bridge and neck pickups, vintage-style Tele bridge with lip, 4-bolt neck attachment, truss rod adjustment at butt, and an authentic '72-style pickguard.  Body's high gloss finish is flawless - despite reflections you may see in the pics. Frets are perfect and the only flaw I've noted is just very slight finish wear on the treble edge of the fretboard.  Overall extremely clean with a great set up and a classic Tele tone.  These sell new for $899, but if you want to save some bucks, this one's barely played and a nicer deal at $599.  Includes Fender gigbag.

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

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

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

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 $960 invested ($270 labor, $690 parts/acc.), save big time on a nice guitar in almost new condition.   Just $559(HOLD-Jeff A 1/21) including case, trem arm, and tools.  Includes Allen wrenches, headstock-mounted wrench holder, and choice of Dunlop or Schaller strap pins.  

Korg Pandora Stomp, (pic2).  I've had a number of the various generations of Korg Pandora pedals, dating back to its debut in the '90s.  The Pandora Stomp took all this compact technology and included state of the art technology, and for the first time housed it in a stomp box.  It serves equally well as a practice unit, live stage multi-effect/tuner, and analog or digital studio unit.  Although it looks like a regular stompbox, it's actually a multi-effect unit that contains 158 types of modeling effects; seven of which, you can use simultaneously.  200 preset programs include many well-known signature sounds as well as 100 rhythm patterns. There's also an auto tuner with a large LED meter that’s easy to read. You can also enjoy jam sessions by connecting your MP3 player to the AUX input, which provides a +/-1 octave pitch shift function.  The freely downloadable PC editor/ librarian makes it easy to create and manage sounds.  Works great as an all-in-one effect unit, or in conjunction to your existing pedalboard.  Click here for a 20-min. demo from sonic state.   Sells new for $129 but this one's in perfect condition and just $85(HOLD-Ray C 11/3).  

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

1986 PRS Guitar - Sunburst with Birds, (front-1 front-2), (back-1 back-2), (headstock), (fretboard birds), (heel), (trem), (T&B pickups), (PU cavities), (case).  2nd year example in investment condition!  I've had around 15 '85/'86 PRS's and have seen many, many more.  This is as clean as any I've seen.  When this guitar was made it was called simply, "The PRS Guitar".  Paul only had this one model and while it could be ordered with an optional maple top, this is the definitive 1st or 2nd year model.  It has a few unique features, some of which changed in '87, with more changes in '91 and in '95, most notably, the Brazilian fretboard, a wood cherished for both it's beauty and tone, and the famed original T&B (Treble and Bass) pickups.  Additional early features include a Sweet Switch, later replaced with a tone pot, 1-piece Mil-Com bridge, single-action truss rod, short neck heel, genuine abalone inlays, small headstock logo, and PRS/Schaller original locking tuners.  Other features include one-piece mahogany body, mahogany set neck, 25" scale, Standard neck profile, and 10" fretboard radius.  As I've noted many times, these early PRS guitars are not "pre-factory", which would infer that Paul built 10,000's of guitars in his home, but rather built in his first factory in Annapolis.  They can correctly be called as hand-made since there were no CNC machines used to build them and much of the shaping was done by hand.  Each guitar stands on its own as a true work of art, easily distinguished from every other guitar from the era.  Most PRS Guitar examples feature painted finishes in many opaque colors such as Seafoam Green, White or Black.  An all-mahogany body in sunburst is rather rare from my experience.  This is a true "under the bed" guitar, with no player's wear noted anywhere.  No pick scratches, button scratches, dings, or other detractors.  The only flaw I've noted isn't even a flaw - the normal raised grain ("finish suck") typical in PRS and any old nitro finish (shown here).  Back in the 90's I used to travel from Maryland to the NYC guitar show and sell a handful of '85/'86 PRS's every year, always for around $1800.  It wasn't long before that figure had doubled, and now you'll usually see these priced in the high $4K's, and usually not this clean.  I consider this an excellent investment piece, or wonderful addition to any collection, at a sweet price of $3700.  Includes a quality non-original hardshell case.  

1989 Fender HM Strat - Blackstone - Maple Board, (front), (back), (headstock), (neck), (contoured heel), (case).  Another killer HM Strat in one of the coolest finishes, "Blackstone".  Backstone has the look of marble with a black finish and hundreds of fine lines, either gold or white (this one has white lines).  At the risk of repeating myself, HM Strats, from my experience, are the most consistent SuperStrats from the 80's when metal reigned supreme and locking trems, jumbo frets, flat fretboards, and at least one bridge humbucker, on a Strat-shaped body, were requirements.  Compare these guitars to Jackson, Charvel, Rich, Hamer, Kramer, etc., and the HM's consistently have the best necks and, almost without exception, set up with the best action.  Although there is virtually no difference in quality between the USA and MIJ models, I believe this one to be a USA model, by virtue of the DiMarzio Super 3 (hex pole) and American Standard neck/middle pickups with both MBX and TBX tone controls; I think the Japan models have ceramic neck/middle with black/white wires, and they do have the DiMarzio Super Distortion with combination slotted/solid poles, plus tone pot and TBX.  Features of this model include HSS pickup arrangement with a DiMarzio Super 3 and two single coil USA Strats in the middle and neck.  With the 5-way switch and coil split mini-switch, this guitar does all of the classic Strat tones plus the hot&fat humbucker tones that were popular in music of the day.  Other features include a Kahler Spyder double-locking tremolo (licensed by Floyd oddly enough), quality Gotoh tuners, Kahler locking nut only (rather than the locking nut behind the standard nut found on the Kahler Pro, flat fretboard (17" radius) with 24 jumbo frets, 25" scale, Strat shaped body with the cutaways and heel beveled to provide maximum ease in playing in the upper register.  This guitar is all original, other than the mini-switch has been replaced, and in very clean shape overall, with no dishes in the frets and a killer set up.  Back in the 80's, Rosewood was the thing, thus maple board HM's are rare and, in recent years, much more desirable.  The maple boards wear very quickly but a little steel wool cleans them up nicely, as we've done to this one.  Beater HM's are going over $500 but this one is in nice shape, in a cool finish and desirable maple board, for $699.  Includes original Fender case that's missing the left latch but serviceable condition.

2009 Fender Road Worn 50's Stratocaster - HSS Upgrade,  (front), (back), (headstock), (neck), (flamed maple), (pro route&electronics), (deluxe gigbag).  Another upgraded Roadworn 50's but instead of a trio of '69 pickups, this one was pro-routed for a Fender DH-1 Humbucker, plus an Abigail Ybarra '69 in the neck with the stock Tex-Mex in the middle.  It has a 3-way switch with the usual neck-mid-bridge pickups with a tone control for the humbucker and the middle tone control for the neck and middle single coils.  Two other things stand out about this Strat - a beautifully flamed maple neck (ever seen one on a Roadworn?) and a lightweight 7.4 lbs.  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, chips, dull finish, aged-looking parts, green guard, etc.   They also smartly chose to use large 6105 frets, 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 a joy to play.  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.  You might think Fender would use their grade of woods on these guitars but at 7.4 lbs., it's an Alder body that's lighter than most custom shop Relics and the flamed neck would be extremely rare on a custom shop, other than a special order with a $250 upcharge.  Click here for Fender's site dedicated to this very cool series.  With a list price of $1199, this model sells new for $899 but it's likely going to be heavier and almost certainly won't have a flamed neck.  If you're considering getting one of these and having a tech turn it into a Fat Strat, with a DH-1 and '69, you're going to be at around $200 parts/labor.  This one's already done, plays perfectly, and is way less than stock at $729(HOLD-Michael D 11/8).  Includes the new style deluxe gigbag or add $79 to substitute this G&G Tweed case.  

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

DigiTech RP500 Guitar Multi Effects Pedal with Case, (close-up), (panel), (back).  This is around the 14th RP500 I've had and they've proven to be my hottest selling floor multi-effect around here. The RP500 was the latest and greatest from Digitech's RP series.  More than just an extremely powerful modeler and multi-effect, the RP500 has an exclusive "pedalboard mode" which changes it into 5 individual stomp boxes and effects.  Your first impression will be that this thing is built for years of use and road abuse with metal housing and steel parts, plus it has a simple layout that allows it to be used as a simple pedalboard if desired.   Features include:  Amp/Cabinet Bypass defeats internal amp and cabinet effects in all presets, 40 Tone and 40 Effects Libraries, 200 presets (100 factory, 100 user), Over 125 effects including stompboxes, choruses, delays, amps and cabinets, 5 seconds of delay time, 24-bit 44.1kHz sample rate, Heavy-duty metal switches for stompbox response, Bright LEDs display program status and effect on/off, Large 10 character LED display for preset name-bank name-tuner, Built-in chromatic Tuner, Independent XLR Left and Right Outputs with ground lift Independent 1/4" Left and Right Outputs, Amp/Mixer switch to engage speaker cabinet, Stereo 1/8" headphone output, Stereo 1/8" CD/MP3 Input, Built-in expression pedal controls the RP500’s internal wahs, volume, Whammy and other parameters, All metal construction, 2 x 2 USB audio streaming.  This is a great unit for live playing, but you can also run it on Cubase LE (software included) and use the USB output in the studio.  For full specs and samples, click here for Digitech or click here for some YouTube demo's.  These sold new in stores for $299 without case.  Get this one for just $199 or just $20 more for a new, excellent quality Cordura gigbag (pic), which sells online for $39.  Includes original power supply and Cubase LE5 music production software.  

Ian A. Strat Style, (front), (back), (headstock), (fretboard), (case).  Ian Anderson (Ian A Guitars) hand-builds quality guitars in very low numbers at his shop in Southern California.  Specifically, his aspires to build guitars that rival the classics built prior to 1961, with his bread & butter model being the "Standard" (gallery section), which is a set-neck model that I would describe as a Les Paul with elements of a Telecaster.  He build this Strat as his personal guitar and its the only Strat that he's ever built; I believe it's the only Fender style...period.  He was able to use the proprietary Strat headstock since it wasn't built for resale.  Ian obviously knows what he's doing and the quality of this guitar is on par with Fender Master Built, guitars that sell for over $6K.  His selection of tone wood was spot on, as well as the fit and finish being first rate.  The finish work is superb, using all nitrocellulose lacquer with no poly undercoats like some other builders.  He got the idea for the matching headstock from a bass that Ron Blair used to play with "The Heartbreakers", a pre-CBS black Jazz Base with black headstock.  His body is a one-piece alder that was patterned after a '54 Strat, with similar belly cut, arm contour, and edge.  The neck is a rock maple with Cocobolo fretboard (beautiful grain, similar to Brazilian RW) with clay dot inlays and a single string tree.  For pickups he used a set of Alnico 5 Fender Fat 50's which have a little more bass response than a vintage Strat, with the middle pickup RWRP for noise canceling in positions 2 and 4.  Good quality hardware with nickel plated vintage tuners and bridge; bridge is a top quality Callaham with stamped steel saddles and heavy trem block.  Considering his Standard guitars have a starting price at nearly $4K, the fact that this is a one-off with the desirability of a Strathead, and the quality which is on par with Fender's finest builders, this is an exceptional value for the player with an eye toward the exceptionally rare.  Just $1799 and includes a nice Fender center pockets tweed case.  

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.  

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 (HOLD-Greg C 11/25).

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

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

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.   

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

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

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

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

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

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

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

2013 PRS Starla - Antique White w/Bigsby, (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.  

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(SOLD-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(HOLD-Brian N 12/4).  

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

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

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(HOLD-Robert N 1/19).  Includes padded gigbag and original pickups.  

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(HOLD-Duke T 1/20) 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.  

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.  

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.  

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)

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. 

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. 

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

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 $1299, and it will probably be a good player.  For $450 less, you can have this barely played example that's guaranteed to be an 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.  

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

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

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

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

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

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

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

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(HOLD-Kevin K 12/19), 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. 

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(HOLD-Ric 1/20) 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 $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 ($2933 list), this one is "as new" and a great value for the player at $1350. 

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

2002 Fender American Deluxe Fat 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(HOLD-Dan M 1/20).  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.  

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(HOLD-Ed L 3/10) with tuners.  

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

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

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

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.  

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. 

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 $1299 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(HOLD-Jason G 3/20).  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. 

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.   

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 $1299 ($1729 list) new but this one's "as new", with the new style Fender case, strap, cable, polishing cloth, tags, etc., and is just $875(HOLD-Tod W 2/19).  

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(HOLD-Peter N 10/31).  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.  

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.  

·        Pine Island T Style - Poplar - Butterscotch Blonde,  (front), (headstock), (back), (bridge).  The most traditional of these three Tele's from Pine Island, this one features a solid poplar body with a butterscotch blonde finish and black pickguard, giving it the appearance of the legendary '52 Telecaster.  Poplar is nearly identical to alder in its tonal properties so, with a set of Fender USA Hot Tele pickups, it has all the Tele twang you know and love.  This one also has a modern C-shaped neck, 22 medium jumbo frets, rolled body edges, 6-saddle bridge, and Gotoh hardware.  At 7.4 lbs. it's lightweight with very good sustain.  Set up is excellent.  If you're looking for a great deal on a USA guitar with the tone and vibe of a real classic, this one's just $529 with a hardshell case.  

·        Pine Island T Style - Ash Body with Padouk Cap,  (front), (headstock), (back), (side), (pickups).  Very unique Tele with the primary distinction of its Padouk cap over the ash body.  Padouk is actually in the rosewood family and the marriage with ash is an interesting combination.  It's not as mid-rangy as most Teles and tends to have more highs and lows with makes it a better rock guitar than most Tele's.  Front and back have a nice rolled edge so it's very comfortable to the body and forearm.  The neck shape on this one is a modern C shape with 22 medium jumbo frets.  For pickups it has a set of GFS Hot Vintage which have large pole pieces which tend to keep the string volume the same during bends.  It also features Gotoh hardware with gold plating,  Tonally, you can get a nice serving of Tele twang out of the bridge pickup, but with a much thicker tone on the neck than an all-ash or alder Tele.  Probably due to the Padouk top, it doesn't have as much of a fast attack as an all-ash body and the notes tend to bloom a little later after the attack but it blooms longer rather than quicker.  Ash and Padouk aren't light woods so keep in mind this is a bit heavy at 9.4 lbs.  Set up is excellent with low action and easy double stop bends.  If you want a more traditional look we can always add a Tele pickguard but this top is so attractive, it's nicer having it all exposed.   This one's just $599 with a hardshell case.  

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 $1299, 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). 

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.

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(HOLD-John G 1/12).  

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.  Only real flaws are the typical clear coat cracks in both cutaways (shown here).  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. 

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). 

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.  

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 SBS-1 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(HOLD-Big Jim 1/21).  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).

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. 

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(HOLD-Chandler 3/2).  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 $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 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(HOLD-Brian M 2/18) 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.  

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: 

·        Schaller Golden 50's Humbuckers.  I've had these for many years and they're all early 80's.  Designed for the vintage tone of a 50's 'Burst.  Four available:  Zebra bridge, Zebra neck, Nickel bridge, Cream neck.  These are OEM for early 80's Kramers, among others.  $60 for pickup alone, $65 with pickup ring and screws.  

·        Van Zandt Strat.  Excellent quality aftermarket and stock pickup on Robin guitars.  New cost is $80, this one's $40. 

·        Duncan Designed Tele Set.  Fine quality import by Seymour Duncan.  They use the same construction as their USA counterparts including cloth wires, cloth wire wrapped bridge coil, brass bottom bridge, black fiber bottom neck.  This set sounds excellent and is an inexpensive upgrade over most imports at just $39/set. 

·        EMG SA Set.  Old set and perfect for restoring high dollar 80's guitars like Steinberger, Valley Arts, etc., or just a great EMG sound on your project guitar.  Factory wired to volume pot, output jack, and 9V battery clip.  Not wired to a tone control but we can do that for $10 if desired.  $125 takes the set.  

·        GFS Humbucker.  GFS makes good quality, inexpensive pickups.  Get this one for $15 or inquire and we probably have an HH or HSS set if needed.  

·        Tele Bridge Pickup.  This is a higher end pickup but the label fell off so I don't remember what brand it is.  5.84K for the classic 50's lower output.  $45.  

·        Seymour Duncan SH-4 "JB" - Nickel and SH-2N "Jazz" - Nickel.  This is Seymour's personal favorite pickup combination, which says a lot, coming from a true pickup connoisseur who has built over 100 models and 1000's of combinations.  With nickel covers for your Les Paul plus 4-conductor for coil splitting, if desired.  A killer upgrade for just $99(SOLD-Albert), including Pri Mail shipping.

·        Seymour Duncan SH-4 "JB" - Black and SH-2N "Jazz" - Black.  This is Seymour's personal favorite pickup combination, which says a lot, coming from a true pickup connoisseur who has built over 100 models and 1000's of combinations.  Double black bobbins plus 4-conductor for coil splitting, if desired.  A killer upgrade for just $99, including Pri Mail shipping.

·        Gibson Burstbucker 3 Nickel.  Type 3, overwound, for bridge position.  Gibson's original PAF design without wax potting and 2-conductor braided wire.  These are $129-$149 online but this one's "as new" in the box for $79.  

·        DiMarzio FS-1 DP110 Strat Pickup.  For players who find the standard Strat bridge pickup painfully bright, the FS-1 is for you.  It’s louder (about 25% more power), smoother, and fatter-sounding all-round.  $35

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.  

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:

·        5Y3 Rectifier Tubes - Includes Osram (England) U50/5Y3GT (info), Mazda (France) 5Y3GB, National (USA) 5Y3GT, GE (USA) 5Y3GT.  $65 takes all 4.  

·        6V6 Power Tubes - Includes Tung Sol (USA) 6V6GT rare black glass with silver base, Motorola (USA) 6V6, GE (USA) 6V6GT, AnM (UK) British military 6V6G, and Bendix 5992/6V6.  The military spec Bendix is extremely rare and probably the most highly regarded (and expensive) 6V6 ever made.   $135 takes all 5. 

·        Preamp Tubes - Includes Mullard (England) 6AU6/EF94, Philco (USA) 6AU6, Genalex Gold Lion from New Sensor ECC81/12AT7 with gold tips, Genalex Gold Lion from New Sensor ECC83/12AX7 with gold tips, Ei 12AX7 very old Yugoslavian made with Telefunken tooling, Groove Tubes 12AX7.  The Genalex's sell new for $66/pair but $60(HOLD-Nelson V 11/29) takes all 6 of these.  

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 $2950, selling new for $2065, but this one is a real beauty for just $1250.  Includes original Musicman case.  

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.  

·        Monte Allums Boss BD-2 Blues Driver Mod.  For you DIY guys and gals.  Take your BD-2, install these components, and you've got a high-end boutique pedal for around 1/2 price.  Monte says It's different than a Tube Screamer in that it is much more transparent and truly represents a driven tube amp. Straight from the factory the Boss Blues Driver tends to have a very harsh and buzz saw type gain. My BD-2 Mod transforms this pedal into a truly great sounding pedal pushing it into Boutique territory. When used at moderate to loud levels with an amp it is reminiscent of a Vintage Plexi Marshall with smooth round yet biting overdrive.  More details at Allum's site here.    

·        Monte Allums Boss SD-1 GT Mod, (completed pedal).  The most transparent of the three Allums SD mods, using a few switches which are added to your pedal.  One switch adds presence and gain while the other switch toggles between Asymmetrical (Boss) and Symmetrical (Ibanez) Clipping. There are a ton of tonal options available here: clean boost or note articulation and clarity or smooth creamy overdrive, or a combination of them all. You got it. Very versatile Mod that offers a wide pallet of tonal colors. For icing on the cake he includes the extremely popular and quiet OPA2134PA Burr Brown op-amp. So, you thought the SD-808 was a great mod? Wait till you hear the GT.  More details at Allum's site here.  

·        Monte Allums Boss SD-1 Mod.  Monte says the SD-1 is one of the best kept secrets on the planet and is a steal at half of what a used TS9 sells for on eBay.  A stock SD-1 from the factory sounds rather bland and not very transparent.  Install this mod and transform it into what he believes is one of the best overdrives at any rice.  The PCB is almost exactly the same as a Tube Screamer.   More details at Allum's site here.  

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(HOLD-Derek 12/31).  

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(HOLD-Dan H 1/30).  

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(HOLD-Robert N 1/19).  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 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).

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.   

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 orig