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 In support of our troops

IN WONDERFUL ALBANY, NY, USA

Updated: Tues, May 21st, 2013

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

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

OFF-HOLD: Moffa Maestro Archtop, (front-1 front-2), (label), (back-1 back-2), (headstock), (neck), (side), (pickup/controls), (case).  As fine an archtop as I've ever played, including vintage Gibsons.  Moffa guitars aren't cheap, but for a hand-made guitar of this quality and violin finish, most are going to start at close to $10K.  Nico Moffa's guitars gained increased prominence when Kurt Rosenwinkel started playing them.  Nico's craftsmanship is based in traditional Italian violin and cello making and his strives to give guitars the nobility of those instruments.  He favors a minimalist approach in cosmetic appointments with no fretboard top markers, inlays, purflings, flashy binding, etc.  With this said, from the moment I picked up this guitar I knew I was holding an instrument that was truly elegant.  Nico’s finishes are recipes based on those used for violins, cellos, etc., as he believes that is the best means of allowing the wood to resonate at its best.  The color and the finish are a complete entity - there’s no “paint” involved. These finishes give the instrument a warmth that is typically only found on very old instruments.  A brief description includes:  carved, hand–graduated and tuned, master grade European spruce top; carved, hand–graduated master grade European flamed maple sides and back; 76mm. body thickness; X bracing; decolored binding in violin-style; American flamed maple neck; ebony fretboard with 21 frets; 648mm scale; side dots; Volume and Tone controls on finger rest; Ebony knobs with 500k Volume mini-pot and 250k Tone; aluminum foil/paper-in-oil capacitors; output jack in the bottom of the guitar; hand-crafted ebony bridge and base; ebony tailpiece with fastener to the output Jack; headstock cover and nut in ebony; Schaller tuners; natural gum hand-applied, traditional Italian violin maker glossy finish in cello brown; satin finish on neck.  For a more detailed description, video clip, and pics of this very guitar (link) where it was originally sold by CR Guitars.  For Moffa guitars site click here and for the Maestro page, here.  I honestly don't know how much this guitar sold for new but my buddy paid $8400 store-owned, whatever that means.  For the true connoisseur of fine archtops, here's a chance to get a world-class guitar at a fraction of the new cost, and the best deal I've ever had on a guitar of this quality at $3999.

20`0 Fender Classic Series '72 Telecaster Custom - Sunburst, (front), (back), (headstock), (gigbag).  "As new" condition.  Keith Richards has known for years that the design of a Tele Custom, with a stock Tele bridge and a humbucker in the neck opens up a whole new world for Tele fans.  With the bridge pickup you can get the normal Tele quack you know and love, while the neck humbucker gives you some very un-Tele tones that work for many other styles of music and is especially suited for rhythm parts.  Features include a classic alder body, C-shape maple neck, bullet truss rod, vintage string-thru Tele bridge, 3-bolt neckplate with tilt-adjustment, 3-ply black pickguard, Fender "Wide Range" humbucking neck pickup, traditional single coil bridge pickup, dual volume and tone controls with "amp" knobs, and 3-way pickup selector.  Set up with low action and offered in unplayed condition.  With a list price of $1071, these sell online and in stores for $799-$819.  This one is unplayed, with plastic still on the pickguard, for just $559.  Includes Fender deluxe gigbag.  

1966 Danelectro Convertible, (front), (back), (date code), (headstock/neck), (fretboard), (gigbag), (optional pickup).  The Convertible, based on Dano's "Shorthorn" electric, made its debut in ca. '59 and stayed in the catalog for around 10 years. A true workingman's guitar, it was extremely reasonably priced, and could cut the mustard as both an acoustic or electric. Dano offered a new Convertible as either an acoustic or electric guitar.  For players who wished to add the electronics sometime after purchase, the entire kit could be purchased for a whopping $20, which was a lot considering the guitar only retailed for $45!  For players who wanted an electric, it was offered with the same electronics, factory installed, for $65, which included a 10' cord.  Played acoustically this guitar is remarkably loud and its honky mid-range, not unlike a banjo in its overall tone, will really cut through the mix in an acoustic jam.  This one was ordered as an acoustic and has never had electronics installed as far as we can tell.  For additional cost, we can install a new Dano Yesteryear Lipstick Tube pickup, volume and tone pots, and output jack.  Of note, although it's hard to see in the pic, this guitar has a Brazilian fretboard and bridge.  As cheap as they were, most Dano's from this era have held up very well, and these weren't keepsakes that Dad made sure the kids didn't touch.  This one has survived without any cracks or repairs, original side tape is in decent shape, and the neck is straight.  Whether you're a collector of Dano's or vintage guitars, or simply a player looking for a guitar with a very unique and cool tone, this one's just $465, or $539 with electronics installed.  Includes a chipboard case. 

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

2012 Rickenbacker 350V63 "Liverpool" - Jetglo, (front), (back), (headstock), (case/etc.).    If you can find one of these, do an auto-response email for price and you'll discover the discount price is up to $2753.  This one is unplayed and just $1799 - and it's not a buyer-beware auction guitar but a real beauty with pro setup and absolute pristine condition.  This model is of special interest to Beatles fans:  a black 350 and John Lennon are one of the most iconic associations in the history of Rock and Roll, right up there with Jimi and (various colored) Strats, Chuck Barry and his Cherry Red ES-355, and of course Paul McCartney and his Hofner 500/1 "Beatle Bass".  I'm surprised that this model isn't referred to as the "Beatles Rick".  Before I get too far let me point out that this model takes one major departure from the original - it is a FULL SCALE.  Rick recognized that 90% of players simply can't get around on the short scale and they took this one liberty on the most recent iteration of the 350V63.  Other than that, historically accurate and like all of Rick's Vintage Series, a very well made guitar that plays exceptionally well.  It has all the other vintage appointments you know and love including a trio of Vintage Single Coil Toaster Top pickups, all-maple including semi-hollow body and neck, solid black knobs, replica tuners, 6-way bridge, and plain trapeze tailpiece.  Rick prices soared in the past 5 years and as they display recently shipped guitars on their site, most are sold by the time they arrive at the dealership - many of which are then sold at auction for full list price.   You can always order one from Rickenbacker if you don't mind a very long wait.  The 350V63 in black sells new for $2753.  This one is $950 cheaper and available right now for just $1799(HOLD-Rob 5/18). 

VINTAGE BOSS PAPER.  After posting a few Boss catalogs last week I found some more that I could part with.  

1998 PRS Custom 22 Artist, (front), (back), (headstock), (tag and case/etc.).  Another stunning PRS.  Artist Package with Matteo Blue and gold hardware plus colorful Paua shell inlays, oh man, what a combination.  This one features the wide-thin neck carve, the preference of around 80% of our customers.  The Artist package includes the top quality figured tops, termed "artist grade" by PRS, extremely colorful Paua bird inlays, rosewood headstock overlay (gloss finished in '98) with inlaid colorful Paua shell inlaid logo, Artist case with velvet interior and combo locks, gold hardware including Phase II locking tuners and PRS stoptail.  Many players prefer the Custom 22, which has a stiffer feel than a Custom 24.  This is due to the 22 having a "shorter" neck, i.e. with the bridge and bridge pickup are set further back in the body which means the scale is the same as a 24, but the neck doesn't extend as far from the body.  It's very much a Les Paul feel, although with much easier playability in the upper range, not to mention a wider selection of tones. These guitars are a good example of "guitars as art" and each are unique and works of beauty.  Finished in Sunburst, with a beautifully bookmatched maple top that looks great from any angle.  This guitar is immaculate, not a scratch anywhere, with perfect frets and the gold hardware has no wear or pitting.  From what I was told this was a custom order for a player who, by the time it was built, could no longer play.  It had original factory strings on it just prior to shipping it to me.  A new Custom Artist lists at over $6600, selling at discount online for around $3900 (link).  At $2350, it's a $1550 savings compared to a new one (and who can't use an extra $1.5 grand these days), as clean as the new guitars hanging in your local super store.  Includes Artist case, hang tag, unsigned warranty, and other paperwork. 

2011 Fender American Deluxe Stratocaster - Aged Cherry Sunburst, (front), (back), (headstock), (trem/N3/S-1), (heel), (case/etc.).  Beautiful condition - in a wonderfully figured ash body finished in Aged Cherry Sunburst.  This is the new version with the 3rd generation of the Noiseless pickups (N3).  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).  Other features include Maple Neck with Satin Urethane finish, a new taller narrow fret (6105), Synthetic Bone Nut, Deluxe two-point high-mass tremolo with pop-in arm, aged knobs/covers/tip, plus the new 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.  These 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.  Like most Deluxe's, it has a great neck which allows low action and crystal clear bends.  With a list of $2399, you're going to pay $1699 for a new one but this one's as clean as a new floor model, with a fantastic setup, for $1099.  Includes the new style Fender case with ATA latches, hang tags, manual, etc. 

2001 Ibanez S470QS, (front), (front-2), (back), (headstock), (inlays/binding), (trem), (acc.).  The S-body was one of the more unique bodies found when it came out in the late 80's.  Originally called the Sabre, the S470 body is probably the thinnest body ever made, measuring less than an inch or so at the edge (shown here), but is carved to a normal depth in the middle.   Features of the S470QS (Quilted Sapele) include very thin Wizard II neck, mahogany body with quilted sapele veneer on top, 22 jumbo frets, Lo TRS II locking tremolo, bound neck with wave inlays, HSH pickups with AH1 neck - AS1 middle - AH2 bridge, Cosmo Black hardware, metal pickup rings, 5-way pickup selector, and Lo-Pro Edge tremolo (pic here).   This model was produced when shredding was still at its height and Ibanez had more hot players in their stable than any other maker.  This Cosmo Black hardware is notorious for wearing quickly as shown in the pics, but otherwise this guitar is very clean in all regards, with perfect frets and a superb set up.  The tone of this mahogany body is thick, with a very even frequency response, well suited for virtually all styles of music.  These are some of the finest metal/rock guitars ever made, in terms of comfort, tone, and playability, due in part to the easy access joint which is a very thin heel that doesn't use an neck plate.  Like the Japan factory that preceded this, Ibanez Korean production is first rate and allows them to build quality guitars at a significant savings.  Includes original manuals, trem bar, Allen wrench, and free gigbag or substitute Ibanez Pro Deluxe case (pic) for $65.  

1999 Fender 50's Classic Strat - Surf Green - with Upgrades, (front), (front-2), (back), (headstock), (pickups), (nut), (case).   Very clean reissue of a true classic from Fender, in the coolest of custom colors, with a few pro upgrades installed by Martin.  Bridge and middle pickup has been changed to an early Seymour Duncan Hot Rails (bridge) and a recent Duncan Hot Rails in the middle, with the stock 50's Alnico pickup in the neck.  The advantage is you can get a fatter humbucker tone in positions 1 and 3, while retaining the classic hollow tones in positions 2 and 4 since the humbuckers are split.  The nut has been upgraded to an Earvana compensated nut, which improves tunability and sustain.  Cosmetically, the pickups, knobs, and switch tip have been changed to black.   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.  This one has a killer SRV tone on the neck but with the 2 upgraded pickups, you'll never get tired of your tone selections.  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 7.6 lbs.  $679. includes Fender case and trem arm.  Back plate isn't pictured but IS included. 

Gibson TP-6 Tailpiece - Complete.  The TP-6 is used on high end guitars like the B.B. King Lucille but it can be used on any Gibson that uses a stop bar tailpiece and no modification is required.  With its fine tuners within easy reach of your picking hand you don't need to reach over to the headstock and you can easily make tuning adjustments while fretting notes. I have a few of these in stock and this one looks like it was never used and comes complete with studs and inserts. New cost is $125-$159 but this one's perfect and just $75.  Probably have one in gold if you need it. 

Hardtail Strat bridge.  Looks like a Gotoh.  Chrome plating is great shape.  $15 or more if you want Graph Tech graphite or bone

Ernie Ball Musicman Axis Super Sport HH with match headstock and tremolo, (front), (back/neck), (headstock), (gigbag).  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 beautiful used one is just $1050.  Includes original EBMM gigbag and trem arm or substitute an earlier Musicman Tolex/wood case for $75.  

2000 Fender Artist Series Jeff Beck Stratocaster - Vintage White, (front), (pickups), (back), (headstock), (case/etc.). Beautiful early version Beck.  2000 was the last year for this first version, i.e. the larger 50's U-shaped neck and Lace Sensor pickups - and this one is definitely in collector's condition.  In '01 specs changed to a regular Strat layout (SSS) with Noiseless pickups, a smaller C-shaped neck, and contoured heel.  I get in a fair share of Becks, but I've only had two of the earlier models in the past 8 years so apparently they're either in the hands of collectors, or players who don't want to part with them.  Other than the neck and dual bridge pickup, this model had the same specs as the Strat Plus, with locking tuners, LSR roller nut, alder body, maple neck with rosewood board and white dot inlays, 3-ply white pickguard, and polished chrome bridge and saddles.  The pickup layout is unique to this model with Gold Lace Sensor pickups in an HSS configuration (two Lace Sensor single-coils in the neck and middle positions and a humbucking Lace Sensor Dually in the bridge), controlled by a 5-way selector, plus a mini coil-split push-push button for the bridge-position humbucking pickup which allows 7 tone combinations.  It also features master volume, tone, and TBX (Treble Bass Expander).   The set up on this guitar is fantastic and it sounds excellent.  Just a great Strat in all regards.  If you're looking for one of the early spec Becks, I can't imagine a better one and in this condition, a nice buy at $1299.  

EMG HSS Loaded Pickguard.  One of EMG's most popular combinations, the EMG81 bridge with a pair of EMG-SA's.  Since EMG's are quiet, you'll get noiseless performance on all 5 settings of the pickup selector.  Find out what many of the pro players love about EMG's including clarity, wide dynamic range, and no noise.  Includes quick-disconnect wiring, mounted on a new white pearl pickguard with black knobs and tip.  It's drop-in ready so just plug in a 9V battery and screw in the jack and you're up and running.  Clean shape and price at what you'll pay for just a pair of SA's.  $159.   

Electro-Voice EV PL-80 Supercardiod Dynamic Mics.  Back in the mid-80's at Hotlicks we sold almost as many PL-80's as we did Shure SM-58's.  At the time the USA made 58's were $119; the PL-80 was $80, and many who did an A/B test liked the 80 better.  Since that time EV has come out with some other versions of the 80 such as the PL80C and the Chinese PL80a, but these old USA models are some of the most roadworthy mics ever made.  Decidedly, these aren't the most sexy looking mics ever made, but we usually don't buy mics based on looks.  With its hypercardioid pattern and an extended range that exceeds most dynamic mics, it's excellent for vocals but also performs well on snare drum, guitar cabinet, and acoustic guitar.  I've got a pair of these (maybe three) for $59/each, or a pair for $100.  

Electro Voice EV RE20, (case).  Industry standard studio and broadcast mic.  If you've ever seen the inside of a TV/radio studio you've seen these mics.  They're also quite possibly the best kick drum mic made, which is where this one made its living.  It's clearly a road warrior but these are famous for their durability.  It has a smooth across a wide spectrum of frequencies, and because it's a Continuously Variable-D mic, it doesn't have a bass-boosting "proximity effect" used up close. An easy "bass tilt down" switch corrects spectrum balance for use in longreach situations or other bass attenuation applications.  Also a great mic for acoustic/electric bass.  New cost on these is $449.  If you don't mind one that's been around the block, this one sounds fine and is just $199(HOLD-Tim in IR 5/21).  Includes mic clip and original soft case.

Electro Voice PL20.  Identical to the RE20, the PL line was a marketing ploy by EV to expand their establish broadcast success into the recording studio world.  The mics are identical in all regards.  This one is missing the mic clip but a universal will work, and no case.  $165(HOLD-Tim in IR 5/21).

2006 ESP Ltd EC-1000 Deluxe, (front), (detail), (headstock), (back), (features), (strap locks), (gigbag).  The Cadillac of the ESP Ltd line and one of the most stunning guitars--from any manufacturer--made.  More thank killer looks, the EC-1000 Deluxe is a true pro-line instrument with features such as Sperzel locking tuners, active EMG-85 and EMG-60 humbuckers, TonePros locking bridge and tailpiece, Earvana compensated nut, abalone trim and binding along every edge, set-neck construction, and ultra comfortable styling with a body that's thinner than a regular LP style and nicely contoured in all the right places.  Visually, it's a stunning as they come with a gloss black finish accented by gold hardware, and multi-ply binding with loads of Abalone inlay - all around the body, along the edge of the fretboard, surrounding the headstock, and in the flag fretboard inlays.  With its all-mahogany construction, this is a very warm and fat sounding guitar that's a much more cozy tone than most LP style guitars.  This guitar plays like few others, with playability that rivals ESP's at 4X the price.  It has a thin/wide U-shaped neck that's extremely comfortable and the body design provides easy access to the 24th fret.  With a list of $1199 these sell in stores for $839 which is remarkable for a guitar with these features.  Other than very slight discoloration to some of the gold hardware, there are no discernable flaws or wear, perfect frets, and an incredible in-house setup.  $559 includes ESP gigbag, manual, and Schaller strap locks.     

1988 Guild Pilot Bass SB-602, (flamed maple), (front-1 front-2), (back), (headstock), (pickups), (case).  A rare bass, especially by today's standards - in that it uses a SOLID piece of flamed maple (as shown here), rather than a maple cap over mahogany, alder, etc.  I used to play a similar model Pilot back in the day but it was a plain basswood body with electric blue finish.  My Pilot was around $700 back in the mid-80's, but I'm sure this solid maple body must have been a considerable upcharge.  Other than body wood, specs are the same as a regular Pilot with EMG pickups in a P/J configuration with a volume control for each pickup as well as a master tone control; large mass Guild bridge with saddles that are adjustable side-to-side in addition to height; Grover tuners, black hardware, and a body style that's somewhat like a Jazz, with an exaggerated upper horn.  It's one of the most comfortable bodies I've played, hangs well, and especially for maple, is very lightweight.  Worst flaw is some buckle worming on the back, not through the clear coat, and a small piece missing out of the back cover (shown here).  We can fabricate a new cover if desired, for $25.  It's an overused expression, but the pictures really don't do it justice.  In person it looks closer to the pic labeled "flamed maple" than it does the other pics, which were shot with too much light.  Frets are in great shape, the set up is perfect, with a narrow neck, must like a Jazz, and the action is low and fast.  DeArmond reissued a Pilot around '99, which is a decent import, but back when this one was made it was one of the hottest basses on the scene with a lot of buzz in all the magazines and hot players like Jaco and Daryl Jones playing them.  If you're looking for a pro quality bass for a really modest price, and one with great looks to boot, it's hard to beat this Pilot for $599.  Includes original brown case.  

OFF-HOLD: 2008 ESP M-II Maple - Standard Series, (front), (headstock), (back), (Floyd), (case).  Somebody called about this one last week when it was on hold...it's available now!  One of the classic shred guitars from the 90's, resurrected in '04 as one of the Standard Series.  The M-II, part of the Mirage Series, was one of ESP's first offerings in the late 80's and remains one of the most popular.  Built with exact specifications with impeccable fit and finish, it represents the fine quality that comes from ESP's Tokyo factory.  Since ESP began pushing their Ltd line in the 90's, the real ESP's have become more scarce, especially as prices have risen considerably.  Whenever I find one that I can put out at a decent price, I'm all over it.  As good as the original models were, these new Standard Series and unquestionably better guitars, with better tone woods, and perfect necks that inevitably set up as good as any rock/metal guitar made.  Features include offset double cutaway alder body, maple neck, 24 extra jumbo frets on maple fingerboard with dot inlays and ESP at 12th fret, 25.5" scale, matching reverse headstock with M-II on it, six-on-one-side tuners, two Seymour Duncan humbucker pickups (JB and '59), three-way-switch, one volume knob, Original Floyd Rose tremolo, extra thin flat neck contour, 1 5/8" nut, black nickel hardware, Gotoh tuners, Black finish.  One minor mod has been made to this guitar.  The black nickel coating was rubbed off of a corner of the neck plate so we just removed it all, down to the nickel, on the plate and screws.  It looks "right".  This baby has barely been played and has no players wear at all.  Frets are immaculate, no scratches on body, neck, or headstock, fretboard and neck have zero discoloration, which says a lot considering how quickly these neck change color.  It's clean enough that you wouldn't think twice if it were hanging as a new guitar in a store.  Set up is perfect - low and fast.  It sounds fantastic as well, with no ghost notes when playing double-stops at high gain settings - all notes ring true and long.  I've paired it with an equally cool case - a Kaces "Grafix" series in "Emo Death", which features a skull on the front and graphics on both sides.  This model currently lists at $2716 and sells new for $1629-$1899.  This one's super clean, set up perfectly, and almost 1/2 price of new at just $899. 

DeArmond Ashbory Fretless Bass, (front), (headstock), (back).  Don't let looks fool you, this is one serious sounding bass.  Although it might look like a toy with it's small body, 18" scale length, and rubber silicone strings, the tone sounds closer to an upright than most full size electric basses.  Some of you will remember the Guild Ashbory from '86-'88 and will DeArmond resurrected the Guild electric line in '99 it marked the return of the Ashbory.  The octave range is the same as a regular bass so it's easy to learn; just dial in your tone via the active preamp with bass and treble cut/boost, and volume control, maybe dust the strings with a bit of baby powder, and you're flying over the fretboard with some of the sweetest fretless tones you've heard.  Its solid one-piece Agathis body and neck is just thirty inches long, and weighs in at only two pounds.  Its small size allows for easy portability, and makes it comfortable enough to wear over another instrument.  It has a fretless, silk-screen fingerboard pattern with fret markers and "dot" inlays, and features a unique headstock design fitted with custom designed tuners.  For more info on everything Ashbory check out largesound.com, the best site on the web for this unique and wonderful bass.  DeArmonds from this era were made in Korea and the quality is as high as any import made during that time.  If you want to try something truly different, try this.  $279 includes gigbag.  

Korg Pandora Mini Guitar/Bass Multi-effect, (illuminated), (jacks/ports).  A very powerful little unit for practice (headphone or amp) or recording.  Best of all, it's easy to get around on and with 200 (160 guitar, 40 bass) patches, plus ability to store an additional user-created ones, you'll have plenty of tones to choose from. 115 of these are "song presets", which capture the guitar tone of a specific classic rock song.  Up to seven different effects can be used simultaneously.  Some effects provide multiple parameters, allowing more detailed control.  You can also assign four of your favorite programs to the four independent program memory buttons, labeled A, B, C, and D on the top panel.  It operates on a single AA battery (or USB without battery), making it highly portable and inexpensive to use.  You can connect your Pandora mini to your computer with a USB cable and use the dedicated sound editor software (available as a free download from the Korg website) to edit sounds and manage programs.  It also provides an Aux input for your CD, or MP3 player, phone, etc., plus it has the ability to change the pitch of the Aux input any amount up to plus/minus one octave, without changing the tempo.  It also has a high quality chromatic tuner and backlit LCD screen.  For full specs, manual and software download, click here for Korg.  This is a very powerful little unit that sounds better than many of the table top and rackmount units available.  New one are $99; this clean used one's just $65.  

A BUNCH OF SMALL STUFF:  

OFF-HOLD:  2001 Ibanez SCA-220BP, (front), (headstock), (back).  Black Pearl.  Excellent quality Japan model Ibanez and with a featherweight "S" style, sculpted mahogany body.  Lots of fun to play and one of the more traditional models from Ibanez, which are usually associated with locking tremolo HSS or HSH pickup configurations.  This S-Classic features a pair of V6 humbuckers controlled by a 5-way switch and a very simple but innovative "Shortstop II" bridge which is a simple wraparound design, but allows intonation on every string.  It is also radiused to parallel the fretboard, eliminating the need for messing with each string's height adjustment.  It's also the most comfortable for palm damping, in the perfect location with no sharp edges anywhere.  It also features a 25.1" scale which is between a Fender and Gibson, excellent quality Gotoh tuners with tortoise buttons, and 22 medium frets.  The 5-way switch provides 1) bridge humbucker, 2) bridge humbucker+one side of neck pickup, 3) both humbuckers, 4) neck humbucker+one side of bridge pickup, 5) neck humbucker.   Cosmetically there are a few finish touch-ups (as shown here) but there's very little actual player's wear so the frets are excellent, allowing a low, comfortable set-up.  Weights in at well under 7 lbs.  Like all the Japan-made Ibanez's, this is a very well made guitar and an excellent value for the player at $289.   Includes quality gigbag, or add $25 to substitute this Peavey case, in excellent condition, that fits the guitar very well.  

2012 Ibanez Soundgear Mikro Bass 5-String Short-Scale GSRM25 - Black, (front), (back), (headstock/truss cover).  Flawless condition.  I've had several of these Mikro Basses in stock but this is the first 5-string.  Unlike a lot of short scale basses, which are lower quality, if not toys, the Mikro Bass has the same quality and backing as their full scale basses.  With a 28.6" scale, around 5.5" shorter than a full scale, the Mikro is a great choice for younger players or anyone small in stature, or a good transitional instrument for guitarists switching to bass.  Features include mahogany body, maple neck with rosewood fretboard, 22 medium frets, pearl dot inlays, high mass B10 bridge with precise intonation and height adjustments, quality sealed tuners, and dual Jazz-style pickups.  It also uses a new truss rod cover door that easily slides to the side - no more screw to remove for adjustments.  The body style is the same as other Soundgear series with the elongated upper horn, short lower horn, and deep cutaway for playing the high notes.  It's very well balanced, with a tone that doesn't sound at all "small", and has a very comfortable set up.  Looks as if nobody ever played it and a sweet deal on a quality short scale at $159, including shipping, and set up to perfection. 

2004 Taylor 612-CE-L30 30th Anniversary Grand Concert Cutaway Acoustic-Electric, (front), (back), (side), (headstock), (appointments), (case).  Beautiful limited edition 600-seriesThe Grand Concert Cutaway, is an excellent choice for finger style players with it's crisp voice, ease of play in the upper register, and scaled down size which makes seated playing especially comfortable. With it's Anniversary appointments, and beautifully figured maple in a Natural finish, it's truly a thing of beauty.  With the Taylor 612-CE's bold sounds of big leaf maple and Sitka spruce are enhanced by the Grand Concert body design. Together the woods create a bright, crystalline timbre with outstanding projection and warm overtones. Also, the Grand Concert cutaway body yields a strong treble zing across the tonal spectrum and sharpens the definition of individual notes. Aided by a wide 1 3/4" nut, it's a superb finger picking guitar that also adapts well to medium strumming.  This model employs Taylor's acclaimed Expression System (ES), which replaced various Fishman units used during the 90's and early 00's.  The ES utilizes patented Dynamic Sensors to capture top and string vibration like no other. Created in partnership with renowned audio pioneer, Rupert Neve, the Taylor ES is seamlessly integrated into the design of the guitar from the ground up. Onboard tone controls provide added flavor or set flat for an uncolored, exceptionally clean amplified sound.  Features of the 612CE include Grand Concert body with Venetian cutaway, Big leaf maple back and sides, Sitka spruce top, Hard rock maple neck, Taylor Expression System electronics, Ebony headstock overlay with inlaid logo and "30th Anniversary" logo, Ebony fretboard, Fall Leaf fretboard inlay of wood and pearl, Fall Leaf soundhole rosette of wood and pearl, Ebony bridge, Tusq nut and saddle, three-stripe white body binding, white neck binding, Gold-plated Taylor tuners, 25-1/2" scale, 1-3/4" width at nut, 20 frets, Scalloped X-bracing, and Gloss finish.  If you're looking for a great playing, great sounding 612CE, this is that guitar.  It's in beautiful condition with no scratches that I can see, easily a 9.9 condition.  Although you can't get a new Anniversary, you're looking at $2999-$3199 on a new stock 612CE, but get this beautiful barely used one, in the most desirable color, for $1999.  

1976 Alvarez Yairi DY57 "Winchester" Dreadnought w/BB Pickup, (front), (back), (side), (headstock), (catalog), (label/serial), (appointments), (output), (case and acc.).  Most of you know this but don't confuse the Kazuo Yairi guitars with the "Alvarez" brand.  Alvarez are generally decent utility guitars made in Korea or China, but there is no comparison to genuine Yairi's.  Kazuo Yairi builds lifetime guitars in a dedicated factory in Japan. Much like the USA's Martin guitars, these are heirlooms which can be handed down through generations.  The K Yairi company has a history of guitar making that goes back to 1935.  Kazuo, now 75 years old, took over the company from his father in 1963 after spending three years in the USA learning how the Americans were constructing & voicing their guitars.  He personally oversees around 30 guitar makers in his workshop and their yearly output is in the region of a modest 4000 guitars.  Yairi sets very high standards for the timber they use.  All woods are naturally seasoned - no timber is kiln dried.  Other than the sawmill, no machinery is used in the manufacture of the guitars; no CNC machines or UV spray booths speed up the process.  Many guitars are made by a single craftsman; others are made by a team of 3 or 4 makers.   The D57 features a solid Canadian spruce top with special hand-sculpted parabolic X-bracing, African mahogany back and sides, noted for its beauty and tone quality, mahogany neck, ebony fretboard with inlaid pearl dot markers, rosewood bridge and headstock overlay, top and back bound in ivoroid binding, soundboard trim and hand-laid wood markquetry rosette in sort of a herringbone pattern, inlaid Yairi headstock logo, Pat. Pending Grover tuners, black teardrop pickguard, plus bone nut and saddle.  It has a slender mahogany neck with adjustable truss rod which is set in a magnesium channel for extra strength and stability.  This is one of those guitars that just speaks to you when you pick it up with a very warm and natural tone.  It also has an pickup under the saddle which is clearly labeled "Barcus-Berry", which I'm guessing was the factory option listed in the price list, with a 1/4" endpin jack (pic).  Although a passive system, it has a higher output than most and sounds very good amplified. Acoustically, it has a lovely, full-bodied sound and with very comfortable action it's a joy to play.  It reminds me, in all regards, of a nice old Martin D-18.  It has a lovely golden, aged patina and some innocuous light dings and scratches in the finish; definitely no cracks or repairs.   The DY57 sold for $741 (with case) in in the '78 price list, including pickup installation, which based on the inflation calculator would be $2645 in today's dollars.  Yairi's are probably the best value in a true lifetime guitar.  Own this one for $899.  Includes original hardshell case as well as an old sealed pack of Washburn "Slicks" 12 ga. strings, capo, steel slide, and pitch pipe.  You can read all about this model by looking around alvarezyairi.web, the best site in the world for Yairi guitars.  

2005 Gibson Faded Les Paul Double Cut, (front), (headstock), (back), (gigbag).  Excellent value on a set-neck American guitar.  This is a modern take on the classic 50's Les Paul Special with its slab mahogany body with mahogany neck and a pair of smoking P90 single coils.  Features include worn cherry finish, double cutaway mahogany body, 60's thin taper mahogany neck, 22 fret rosewood fingerboard with dot inlays, dual volume and tone with a 3-way switch, Gibson P90 pickups, chrome hardware, Gibson Deluxe tuners with butterbean buttons, ABR-1 tune-o-matic bridge, stop bar tailpiece, 24 3/4" scale, and 1.6875" nut width.  The thin nitro satin finish contributes to a lively body with increased sustain.  Gibson has recently experimented with slimmer body on their budget Les Pauls, which is kind of sad.  Measurements on this one are the same as they were in 1960.  Set up is fantastic and it's a very good sounding guitar that should appeal to players who want a workingman's guitar.  A few minor finish flaws but overall pretty nice shape.  Best of all, the back of the neck is broken in nicely which feels much better than a new one.  $550(HOLD-Pamela 5/5) includes Gibson gigbag.  

1978 Guild F-50BL Jumbo Acoustic, (front), (headstock), (back), (sides), (case).   The flagship of Guild's acoustic line, built along the same line as Gibson's SJ-200.  Unlike the SJ-200, Guild used a laminated maple arched back, which was a trademark feature on Guild guitars.  This model, officially named the "Navarre F-50", had a stock sunburst finish, or for a bit more, you could get this "BL" (blond) model with natural finish.  Lastly, they offered a "50R" with solid rosewood back and sides, priced around 20% higher.  After Fender bought the company they offered the F-50R as part of the Vintage Series, built in their Corona, CA factory.  Fender also offered a very plain F-50 "Standard Series", which was such a stripped down model that it should have had a different model name.  While Fender built good guitars, the reissues simply don't have the tone or feel (and some would argue...the quality) of a 35-year-old vintage model.  Features of this F-50BL include Jumbo body style, solid premium spruce top, curly maple back and sides, rosewood bridge, Ebony fingerboard 3-piece maple / mahogany / maple neck, 12" fretboard radius, 17" body - 4 1/2" deep, 1 11/16" nut, 25.5" scale, gold hardware, Guild/Schaller tuners, high gloss nitrocellulose finish, gold hardware, and black pickguard.  It's beautifully appointed with inlays of abalone triangles inside mother of pearl blocks, multiple bindings adorn the top, top of the fretboard, side of the fretboard and headstock, with abalone dot bridge pins.  Headstock has black overlay with pearl logo inlay and pearl "G" inlay.  Some of the finest players turn to Guilds for their acoustic songs; Clapton and Bonnie Raitt both using the F-50BL specifically.  The F-50BL sold for a hefty $835 back in '77, at a time when guitars sold at full retail value.  Using the inflation calculator, you'd be paying over $3200 for one of these today.  It's in beautiful condition with no cracks, repairs, or alterations.  Martin did a wonderful job setting the action and it plays as comfortably as any Guild I've ever had.  Just a super nice vintage Guild and a sweet deal on their Cadillac model at $1399(HOLD-John B 5/15).  Includes original Guild case.  

Seymour Duncan JB Jr. Bridge Pickup.  Duncan's most popular stacked humbucker for Strats, the JB Jr. retains the performance of the PAF style JB, in a stacked format.  Transforms your Strat into a more versatile instrument with a minimum of effort and cost.  Sells new for $75.99  but this one's mint in the box with all paperwork and $52.99.  

2007 Fender Standard Roland Ready Stratocaster - Artic White, (front), (back), (headstock), (pickup/controls).  Just got in another one of these; a guitar that looks pretty much like a regular Standard Strat but paired with a Roland GR unit (GR-20 or any earlier generation) and you've got a set up with incredible power, far beyond any vast array of guitar effects.  The guitar features all the normal Strat controls but in addition, you have onboard control over the Roland GR with a built-in GK-2A synth pickup located just in front of the bridge, "up" and "down" buttons to change patches on the GR, and a 3-way mini selector switch to choose guitar only, synth+guitar, or synth only.  What is normally a second Tone control on the Strat, serves as a Volume control for the Synth volume.  There's also two output jacks:  the regular guitar 1/4" out plus a Roland 13-pin output on the side of the guitar, both of which connect directly to the GR-20.  In fact, that's all you need to hook up to get your guitar tone and amazing synth tones.  Just plug the two cables into the GR-20, plug the GR-20 into your amp, done.  Imagine the possibilities - being able to play piano, organ, slap bass, trumpet, strings, or just about any other instrument, all on your guitar.  Gone are the days when you needed a separate analog-to-digital converter, synth unit, floorboard, and outboard effects, if desired.  Just add any Roland GR unit and a 13-pin cable, and you're ready to go.  Best off all, the Roland-Ready have the synth pickup permanently installed in place.  No cumbersome and unsightly outboard GK controller.  This guitar is in immaculate condition with an excellent set up.  A new Roland-Ready Strat will set you back $799 but this one's like new and just $559(HOLD-Sam in Balto. 5/16).  (Note:  I might have a Roland GR-20 or GR-30 available if needed.)  I also have an identical 2006 model in stock if you need a pair for some reason.  

Laney Pro Tube 30 Head, (panel), (back), (chassis).  Laney's highly-regarded AOR (Advanced Overdrive Response) series from the 80's, when British amps were still made in England.  The Pro Tube 30 is the baby of the AOR Series, next to the 50 and 100, rated at 30, 50, and 100 watts respectively.  The 30 was also the only one that used 6V6 power tubes, rather than EL34's.  They were rather innovative in their use of an extra gain stage, basically a factory hot-rodded amp at the time, without the additional cost of getting a tech to mod it for you.  They also featured Boost functions on Bass, Mid, and Treble, via push-pull pots.  The bass is a remarkable 18dB from my recollection, with around 10dB on the Mid, and around 12dB on the Treb.  Tubes are JJ 6V6's, with four Groove Tubes 12AX7's in the preamp.  Front panel features (L-R) Presence, Bass, Mid, Treb, Master Vol., and Preamp Vol.  Back panel features and effects loop, D.I. output for recording, and 16/8 ohm impedance selector.  Laney's are excellent rock amps, especially with players who can't get enough bottom end.  They're made to last and although it's around 25 years old, it should be around for another 25+.  A good price for a British-made tube head at $325.  

Krankenstein 100 - Carvin V3 100 - Zwengel Banshee 50 Heads.  Speaking of rock/metal heads, I have 3 others in stock that are especially well-suited for heavier music.  

1993 Fender Yngwie Malmsteen Stratocaster, (front), (back), (headstock), (neck/body date), (case/acc.).  Under the bed condition - 20 years old and looks as clean as a new one hanging in your local store.  This is the USA Signature Series designed for, arguably, the best shred guitarist of all time, and certainly the best neo-classical shredder.  Finished in Vintage White, which has the yellow look of a very well aged Olympic White, it features his trademark scalloped fretboard, brass nut, two DiMarzio YJM pickups and a DiMarzio HS-3, special neck shape, late '60s large headstock with "synchronized" logo, 3-ply white pickguard with aged plastic parts, Schaller vintage F machine heads, and medium-jumbo frets.  Current list on this model is $2399, discounted to $1699 in the stores and online.  This is very close to being a vintage guitar so collectors might be interested, especially at $1299.  Includes original tweed case, not quite as clean as the guitar, plus serialized hang-tag, manuals, etc.  

1998 Fender Standard Stratocaster - "Blackie" - with Case, (front), (back), (headstock), (case).   This is one of our most popular Strats, all series - black with a maple fretboard.  Clapton's "Blackie" is, of course, the quintessential black Strat but not everybody can afford a new Artist Series.  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, high mass bridge block, and Fender/Ping tuners, as well as 3 ceramic single coil pickups with USA pots and switch.  Other features include 21 medium jumbo frets, gloss finished alder body, 3-ply pickguard and backplate, and maple neck and fingerboard with modern C shape.  This guitar is in beautiful shape and with a new one running $499 without case, why not consider this barely used one, *including* hard shell case, for just $379, set up to perfection and ready to rock.  

1998 Fender American Deluxe Stratocaster - Natural Ash, (front), (grain), (back), (headstock),  (pickups), (case).  Nicely figured ash body ($150 upcharge over alder) on this early model American Deluxe.  Unlike the Strat Plus that preceded this model, the American Deluxe had more upscale features that distinguished it from the stock Strat.  Stock pickups are Fender's Vintage Noiseless, which were Fender's premium pickups in '98 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, 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 a comfortable setup and nice medium weight.  One mod has been made, with a Duncan STK Vintage Stack (stacked humbucker) in the bridge position which gives you the option of a fatter humbucker tone on positions 4 and 5.  Outwardly it looks stock as the "Noiseless" cover fits the Duncan properly.  $999(HOLD-Todd 5/6) includes the upgraded Fender Tolex case, pop-in tremolo arm, and Schaller strap locks. 

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 $770.  Includes Prestige case, clear tool pouch, and tools.   

Vox DA15 Digital Combo, (panel), (top), (back/back panel).  I've had a number of the smaller DA5 combo's, but this is our first "big boy" DA15.  I loved the DA5 and the DA15, is just more of a good thing.  Choose from 11 distinctive sound styles, and 11 high-quality built-in effects, with tap tempo for adjusting time or modulation speed.  Effects include auto wah, compressor, delay, reverb, flanger, phaser, chorus, tremolo and rotary plus noise reduction.  You have the ability to adjust the parameters of every effect and a Tap button allows easy set up of time or modulation speed effects. You can choose 2 effects at the same time, plus a very effective Noise Suppressor for a third effect.  After you tweak your amp and effects settings you can store them using the Channel Select mode. Two user program locations give instant access to the stored sounds.  Manual mode (in which the sound heard is exactly what the knob settings indicate) provides immediate access to a 3rd sound. An optional dual foot switch can be used to switch between the user programs (CH1, CH2) or to bypass the effects. Alternatively, it can be used to activate the Manual mode instead of Effect Bypass, for hands-free switching between three different sounds (two user programs and Manual setting).  It also has a headphone/line output for private practice of recording direct to a recorder/mixer. This output adds cabinet tonality and character for a sense of 'air' and depth. In addition to three times the output (15 watts), the DA15 also has a larger (8") speaker.  For full specs check out Vox here.  There are a number of YouTube demo's online, but most are for the smaller DA5; click here for a pretty good one on the DA15, although it's not in English.  This amp works perfectly and has a very impressive tone, both in amp selection and effects.  It's a excellent grab-and-go combo for practice, backstage, studio, or even club gigs, for $109.  

More Fender Squiers - Classic Vibe & Affinity, Guitars & Basses:  Never retailed, flawless appearance, and completely gone over by Martin so they're better than new.  Many of you have bought some of our Fender factory seconds and are aware of what an excellent value they are.  Outwardly the only flaw is a light used stamp (pic) on the back of the headstock and the serial number is partially obliterated, which is done to negate factory warranty, which is almost worthless anyhow.  The good news is the only guitars we get are cosmetically flawless so whatever imperfection they may have had is invisible and they're essentially new guitars.  We do some things that online stores will never do, such as dressing the fret ends so the fretboard will never feel like a buzz saw.  We go over the electronics to eliminate cold solder joints and scratchy pots.  We also lubricate the fretboard which is part of our normal setup but especially important on guitars that left the factory a year or two ago.  The stock strings can have crazy harmonics and unstable tuning so we change all the strings to the quality S.I.T. Nickel Wound we use on 90% of our guitars.  This is in addition to our normal setup which includes detailed nut work when needed, truss rod adjustment, bridge height and intonation, and little things like machine head adjustment and strap pin tightening, when needed.  In addition to these listed below, we also have a good selection of other Classic Vibe and Vintage Modified guitars AND basses (shown here).  

AVAILABLE:  I had a few other interested parties when I initially posted it and it appears as though it's available once again.  1992 Fender Telecaster Plus - Firestorm, (front), (headstock), (back),  (pickups), (case/acc.).  These are really getting hard to come by and this one features what is likely the most rare finish Fender produced during this era, Firestorm.  The later version with a 3 pickup configuration is more common but to collectors and players alike, this original 2 pickup model with the "Dually" Lace pickup in the bridge, is the one to have.  The reason is two-fold:  (1) Every Tele collector has got to have one in their collection and, (2), they're great working guitars with a wide assortment of quality tones.  Bottom line is once somebody gets a hold of one--they hang onto it.  These original models were made from '89 to '94 and were outfitted with a dual "Red" Lace Sensor pickup mounted in front of the bridge, with a single Blue Lace in the neck. You can judge players wear by how the lettering on the pickups appears, since it rubs off with minimal use.  The lettering on this one is perfect.  The Tele Plus had some deluxe features as the name suggests, specifically special electronics.  It features the usual 3-way Tele switch but between the volume and TBX knobs you'll notice a mini 3-way switch which lets you vary the tone of the Dually, i.e. back coil, front coil, or both coils.  In all, you get 6 pickup configurations.  The TBX (in-depth article) is a stacked pot, detented in the center.  From the center, turning backwards, it acts as a normal tone control.  From the center turning forward it acts as a treble boost, although its a passive system.  Other deluxe features include Strat-style hardtail bridge and Sperzel locking tuners.  Prices on these shot up around a decade ago, due in part to Jonny Greenwood from Radiohead using one as his main guitar and clean examples went up $400 within a year.  Slightly lesser known, Michael Houser (RIP) from Widespread Panic played a Tele Plus in this Firestorm Finish.  This is an excellent sounding guitar.  Doesn't nail the vintage Tele tone like a traditional Tele but it comes close and many players greatly prefer the tone of Plus.  These Lace Sensors, being non-magnetic, are very quiet and don't have the string pull of a standard pickup with magnetic poles, which allows the strings to vibrate freely and contributes to more sustain.  Set up is very comfortable with clear bends.  Cosmetically, this guitar is definitely in collector's condition with no discernable scratches anywhere on the body and even the "Plus" case is 100% intact.  It's not cheap but having just sold a clean and fairly common Red Frost Plus for $1299, I think a Firestorm is a bargain at a few hundred more $1599 includes clean original "Plus" case and Schaller straplocks.  

1991 Fender Stratocaster Plus - "Black Pearl Dust", (front), (back), (headstock), (detail-color), (pickups), (case).  Beautiful condition and an absolutely killer player.  These Pearl Dust finishes are perhaps the coolest finishes Fender offered in the early 90's, which was an era filled with cool finishes.  Between the "Stone" finishes (Blackstone, Bluestone, Redstone), "Frost" (Blue Frost, Red Frost), "Pearl Dust" (Black Pearl, Blue Pearl), old custom colors (Lake Placid, Caribbean Mist), and contemporary finishes (Torino Red, Black, Artic White, Electric Blue, etc), Fender had more color options available than any time in their history.  To me, the Pearl Dust stands out as one of the best ever, just under the "Stratoburst" finishes of the early 80's.  The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard series, replaced in '00 Fender with their new "American Series".  At the same time the Plus was replaced by the American Deluxe which was basically the same idea, i.e. upgraded pickups, upgraded hardware, and some non-standard finishes.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups.  The Gold Laces (50's Strat sound) on this model are the same pickups used on the Clapton and Buddy Guy signature models and both player toured with their stock pickups for many years.  The Plus also features precision locking tuners, LSR roller nut, and Tremsetter (pic), all enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  The "Tremsetter" by Hipshot located in the tremolo cavity (didn't appear in all years) contributes to tuning stability by returning the trem to the "zero" position when not in use.  You can play right-hand bridge harmonics, aggressive rhythm, palm mute the strings, or do bends without the other strings going out of tune and the bridge stays put.   This beauty is 22 years old and is nearly as clean as a new floor model in your local store.  The lettering on the pickups, one of the first signs of wear on these, is still very readable.  Front has no scratches or flaws, while the back has only a few clearcoat scratches, around 1/4" long.  At $1250(HOLD-Mark T 5/2) it's way less than a new American Deluxe Strat, which is the model that replaced the Plus, and in in the price range of working musicians - but for collectors, looking for a nice example of this era, in a very desirable color, it's a nice find.  Oh, did I mention that it's a great sounding Strat with very low action?   Includes original Plus case, uncommonly with all latches intact and some 1991 paperwork.  

Samson SR-2 lavalier wireless, Samson Ch. 7.  I've used the SR-2 model for guitars on numerous occasions with no dropout or interference.  An excellent choice for the money.  $75

EV Lavalier Wireless Mic, (stock pic).  Model OLM-10.  Plug works for Telex or EV transmitters.  $29.  

Headset Wireless Mic.  I don't know the maker but it's a comfortable headset mounted mic, especially good for drummers.  Plug works for Telex or EV transmitters.  $25.  

OFF-HOLD: '04 Kramer Jersey Star "Player" - Richie Sambora Tribute, (front), (back neckplate), (headstock), (case), (headstock fix), (body ding).  Player's special on a fantastic Jersey Star that's seen very little use, but encountered an accident.  This is the ca. '04  reproduction of the 80's Kramer's Richie Sambora Signature Model, and was offered from Kramer/Music Yo's "USA Collection" (Do not compare to some recent cheaply built Chinese JS models selling new for $300).  As the original Kramer factory closed down long ago, this model was developed and built from the ground up, with special thanks to Mike at www.VintageKramer.com and John Montaperto for their insight in designing this guitar.  Richie was under contract with other manufacturers and didn't officially endorse this model, thus the Jersey Star designation and "JS" truss rod cover rather than the original "RS" truss rod cover.  All other major specs are pretty much identical to the original including quality hardware (pics), all gold, with a real Floyd Rose tremolo, Schaller tuners, and Schaller straplocks.  Pickups are specially designed for this guitar with a JS-90R in the neck and a pair of JS-91T's in the middle and neck.  For a good review of this guitar here's a like to VintageKramer (link here), where Mike states that this series is better than the original 80's model.  scratches, no fret or fretboard wear, clean gold hardware, etc., but it did experienceNine years ago these were always on back order at Music Yo, and although the new cost was $1022, enterprising individuals would buy them strictly for resale, fetching $100s more from impatient customers.  This particular example has seen very little playing time with no extraneous pick/button  an accident as shown in the pics.  Headstock has been repaired and there's a relatively small ding on the body, both shown in the pics above.  The headstock appears to be very solid, with no wood missing, and since there's a locking nut it's not really a high stress area with the nut clamped down.  I got this without case and I'll offer it without the case for $550, or include a new Roadrunner molded case for $599(HOLD-Chris R 4/20).  It plays superbly and has excellent sustain and one of the better overall tones I've coaxed out of a Kramer.  Note: If preferred, we have some 80's Kramer American necks we can swap out for an upcharge.  

2012 Gibson Les Paul Classic Custom - Cream, (front), (back), (headstock), (appointments), (case).  As new condition!  I've had this in black but it's even cooler in the Randy Rhodes color, cream.  With the Les Paul Classic Custom (LPCC) you can get the vibe of a Les Paul Custom for 1/2 the price!  It's high end cosmetic appointments have been the distinction in making the Custom the Cadillac of Les Pauls.  Multi-ply binding, bound headstock, split-diamond headstock inlay, and block fretboard inlays give it a look that oozes elegance.  Gibson finally decided to capitalize on that look, except on a less expensive, regular production guitar.  The primary cost savings comes from the lack of binding on the back of the guitar, "baked" maple instead of ebony fretboard, acrylic instead of mother of pearl inlays, and no gold hardware (although many original Customs came with chrome).  On the plus side, many players will prefer the thinner '60 thin taper neck of the LPCC as well as the Alnico II Classic '57 humbuckers (regular Custom features 490R/498 with Alnico II and Alnico V, respectively.  This model, new for 2012, has been well-received with excellent reviews, specifically citing value for the money.  I think most players would rate the Custom Shop LPC as a better guitar, but I think this model is over 90% as good, at less than 50% of the price.  Factory setup on this was mediocre but after Martin worked on it, it plays superbly, as good as it looks.  With a high-end Custom now at $3999, the Classic Custom was a bargain at $1899 new and an even better bargain for this "as new", unplayed, example for just $1399(HOLD-Mando 5/9).  

2012 Gibson Les Paul Classic Custom - Cream, (front), (back), (headstock), (case).  As new condition!  Same as Cream one above except in classic black finish. (HOLD-Keith Z 5/2)

RE-LIST:  Gibson Les Paul Studio - Satin Ebony - Rosewood Fretboard with extras, (front)  (front2), (headstock), (back),  (gigbag), (extras).  I you're not a fan of the recent burnt maple fretboards, this one is built with good old rosewood, like a LP is supposed to be.  This model is a meeting of the old and the new, with a carved mahogany top on a mahogany back, which has its roots in the 50's with the all-mahogany Les Paul Custom.  The thing you'll immediately notice with an all-mahogany Paul is the "roundness" and warmth of the tone.  While it doesn't quite have the note definition of a maple cap, it is definitely a fatter sounding guitar.  For pickups Gibson chose the popular 496/500 humbuckers used on other mahogany guitars like the Flying V.  Another notable feature is the nicely rounded '59 mahogany neck which will appeal to players who want something more substantial than the '60 thin taper.  From a luthier standpoint, my man Martin says that these finishes contribute to maximum sustain - as opposed to any lacquer which only serves to deaden the tone.  The neck has a very organic, natural feel, and gets better and better the more you play it.  This guitar is apparently a transition model between the earlier Faded series, and the current Satin (as shown here), which lists the specs as a maple top and Granadillo (or burnt maple) fretboard, while this 2010 model features a carved mahogany top over a mahogany body, and a much preferred rosewood fretboard.  Other than that, it appears to be the same guitar.  There have been a few cosmetic enhancements to this one, most noticeably the top has been buffed out to a shine, plus 60's style reflector knobs, and a 3-ply pickguard replaces the original single-ply.  There aren't many of these around in Ebony and they're usually priced at $919 to $999.  This one is in beautiful condition with no wear noted, and nicely priced at $629, especially considering the time-consuming buff job on the top.  Set up is perfect with low action and no buzz.  Includes original Gibson gigbag as well as a Dunlop glass slide, Planet Waves NS Pro capo, and an extra set of strings.    

1997 Hamer Sunburst Flat Top, (front), (back), (headstock), (short heel), (barrel jack).  This is a Korean-made guitar but...WAIT...it's a killer guitar regardless of where it's made.  It has a set-up like 1 in 150, with the action cut low at the nut and stays low all the way up the neck.  As good as most USA Hamers play, this one plays better than most of them.  Korean Hamers were leading the pack in the 90's as far as the overall quality of their imports.  Hamer moved this series to China in the 00's but if you can find these older models, it's definitely worth the hunt.  If you want to sink another $135 into it, we can drop in a set of Duncans but these Duncan Designed humbuckers, which are likely HB103 treb and bass, are highly regarded and sound better than most.  Cosmetically, it's not a near mint piece with light scratches, a small paint chip on the headstock shown above, and strap pin is currently located at the end of the upper horn but we can change to one of two previous locations, which have been plugged and lightly finished, if desired  (pic here).  For a player on a budget, if you don't mind a guitar with a few cosmetic flaws, I guarantee you'll love the tone, feel, and playability.  Includes hardshell case for $319(HOLD-E. Scott G) or $279 with gigbag.  

1988 Charvel Model 3A - Electric Blue, (front), (back), (headstock), (neckplate), (case).  Museum condition, no scratches or wear, with an original Charvel "Safecase" as clean as the guitar.   Back in the early 80's, after Jackson acquired Charvel to form Charvel/Jackson, Charvels were the bolt-on models while the Jackson side produced the neck-thru's.  When Charvel/Jackson revamped the line in the mid 80's, they made both bolt-on's and neck-thru's under both names.  The Model 3 was the equivalent to the Jackson Strat, and featured a Strat-style basswood body, bolt-on maple neck, 22-fret rosewood fingerboard with pearl dot inlays, six-on-one-side tuners, Jackson  JT-6 tremolo, and Jackson SG38-06 tuners.  It also features a pair of USA Jackson J-80C humbuckers, same pickups used on the neck-thru Model 5, controlled by a JE-0005 5-way switch.  Tremolo is the Jackson JT-6, licensed by Floyd, which actually had a lot of design innovations that were very effective.  Like all Charvel/Jacksons in this era, it's all about the neck and this is one killer playing neck thanks in part to the "conical fretboard" (as Charvel called it, with a radius from 12" at the nut to 16" at the 21st fret, which keeps the strings the same height all the way up the fretboard.  Under the fretboard you'll find a double-expanding truss rod.  Includes original silver case in likewise museum condition with perfect latches, all the metal feet intact, and no cracks.  This is the cleanest chainsaw case I've seen in 10 years.   List price on this guitar back in '88 was $599, around the same as an American Strat.  In 2012 dollars, that's a bargain in a guitar that's been under the bed for 24 years.  $599(HOLD - Scott G 4/15) for this museum piece. 

Hiwatt Custom Tape Echo, (front), (top), (back).  Get the warm sound of an Echoplex or Space Echo in a true tape delay that's around 1/4 the height of the classic units and can be used as a desk top or with included rack ears, as a rackmount unit.  Those with a trained ear can easily tell the difference between digital and analog - even analog and tape analog.  For warm, natural, and rich tone, nothing beats tape.  Vintage tape units suffer from reliability problems and are expensive.  Made in Japan and distributed by Fernandes for Hiwatt, the company consulted with session players in the L.A. area an developed a lot of prototypes until they had it right.  Among the specs they chose a free running tape system (rather than a cassette) for minimum wow and flutter.  They included an expression pedal input to control the tape speed using a foot pedal for subtle or wild effects.  They used an input gain to add natural distortion when wanted.  A continuous/Auto-Stop tape run feature stops the unit when there's no input signal permitting longer tape life and eliminating tape hiss.  Echo On/Off or Hold controllable by optional footswitch.  It also has a see-through top window, allowing you to see the tape run.  Transposable pitch/Tape speed controllable by optional expression pedal.  Click here for a review at EchoJunkies.com.  Manual is downloadable here.  This one's in nice shape and an priced well for what these are going for; $575.  

1986 Rockman Sustainer and Chorus/Delay with Rack Tray, (Sustainer), (Chorus/Delay), (back).  After the success of the wildly popular "Rockman" (later called X-100) headphone amp, released in 1982, Tom Scholz and Scholz Research and Development immediately went to work improving the design and 4 years later released the Sustainer and Chorus/Delay as separate units, rackmountable side-by-side in a purpose-built rack (included).  Both of these units were such quantum improvements over the original Rockman that they're barely comparable.  The most obvious change:  instead of fixed settings, these had switches and sliders that allowed the user to tweak their tone.  Specifically, adjustable gain stages, volume controls and filters; a noise reduction circuit: the "Smart Gate"; the "Autoclean", which is a truly amazing feature; and a 4x12 cabinet simulator called the "Phase Notcher".   Rather than go into detail over the myriad of tweaking options and the technology involved, they're a great site devoted to all things SR&D, www.Rockman.fr with in-depth info and downloadable manuals.  Click here for Sustainer info; and here for the Chorus/Delay.  These are a very early pair of Model 100 Rockmodules, serials 423 (Sustainer) and 605 (Chorus/Delay).  Considering that SR&D produced almost 9000 Sustainer units this first year and over 21,000 during their run '86-'92.  The Chorus/Delay was only made in '86/'87, before being produced as two separate units called "Stereo Chorus" and "Stereo Echo".  The Chorus/Delay has an input gain switch with LED meters and is switchable between chorus with settings for sweep speed, a switch for long/short chorus - with the usual controls for delay including delay time (up to 200ms), feedback (number of repeats), plus two switches to set the stereo field, from wide stereo to subtle mono, and everything in between.  It's an analog unit and, thus, warm and lush sounding.  There are a number of footswitchable options on these including channel switching, chorus or delay, and bypass.  Also included is the rack mount tray, which sells as an optional part for $75.  This entire set up works properly and is in better than average condition.  You can get a number of other Rockmodules but the heart will always be the Sustainer and Chorus/Delay.  It is with these two units that you can nail the Boston tone and much more.  $450(SOLD-Donald G) takes it all.   I'll also offer a hard-to-find Rockman 3-button footswitch (pic) but not all of the LED's are working so I'll throw it in for $59(SOLD).  

2011 Carvin Bolt Plus, (front), (headstock), (back), (pickups/bridge), ("Liberator"), (case).  One of our man, Brian's, guitars and like everything he owns, dead mint condition and ships in original Carvin box.  A real "natural" beauty with a natural "woody" look, loads of factory options, and aftermarket upgrades.  Carvin has been famous for building neck-through guitars but in recent years they've started building some high quality bolt-on models.  This Bolt Plus is perhaps my favorite Carvin in recent memory.  It has a more vintage feel and vibe with the bolt-on neck and is just a superbly built guitar.  Carvin refers to their in-house guitars as "custom shop" and this definitely approaches custom shop quality from the "Big F" and "G".  Although Carvin offers the Bolt as a quality kit guitar that you can assemble, this one was factory built (spec sheet included).  Features include tung oil finish, solid mahogany body, maple neck with rounded heel and rounded neckplate, rosewood fretboard with side dots only, strings-thru body, hardtail bridge, Dunlop strap locks, Sperzel locking tuners, black hardware, direct mounted C22 humbuckers (replaced), and volume-tone-5way switch.  Options include Graph Tech saddles $20, clear maple neck/mahogany side $50, hardshell case $80, mahogany headstock overlay $20, stainless steel jumbo frets $40, 14" fretboard radius $40.  Other features include Sperzel locking tuners, no fretboard inlays (side dots only), rosewood fretboard, black chrome hardware, black logo.  Aftermarket add-on's (installed by Martin) include a pair of Duncans with a Dimebucker in the bridge and a '59 neck, controlled by a 5-way switch for 3-humbucker settings and 2 single coil settings.  He also installed one of the new Seymour Duncan Liberators, a kit that included both pots and the 5-way switch.  The Liberator is made specifically for players who are soldering challenged - anyone can change pickups without the use of solder.  In lieu of solder it uses a lockdown system that allows anyone to change pickups in minutes.  The lockdown slots are color-coded to match any Duncan pickups you may want to use.  Although the Bolt Plus has a base price of just $749, the options and add-on's bring it up to well over $1000.  This guitar has a fantastic setup and for an American guitar with these features, woods, and upgrades, it's an excellent value at $699. 

Gibson SG Case.  Nice case by Gator (badged replaced with a vintage-style Gibson badge) with tolex over wood exterior, brass plated hinges, pink lining with protective shroud, and leatherette padded handle.  Never used, perfect condition, and $85 includes shipping to 48 states.  

OFF-HOLD: 1982 Gibson ES-335 Dot Reissue, (Shaw PAF's), (front), (headstock), (back), (label), (case).  One of the earliest Dot reissue I've had, from Jun 15, 1982, Nashville Plant.  Although a few Dots were shipped in '81, 1982 was the first full year for the Dot Reissue and they're highly regarded by players.  I recall the '82/'83 models selling for a premium as far back as my first guitar show in '94.  I'm not sure if they're significantly better than the later 80's models, or if it's a case of "older is better".  One thing you can't deny, production numbers were way lower 30 years ago which could indicate overall higher quality control and better selection/seasoning of woods.  It's in nice vintage condition, all original (original bridge in case), with no cracks or other issues, little to no checking, and just light scratches in the clear coat, although it does have a small finish chip on the back (shown here).  One thing is certain, this is a wonderful sounding Dot perhaps due to the age and in part to the quality pickups which are the much-acclaimed Tim Shaw PAF's.  I got this from a player who puts jumbo frets on his guitars so it has been refretted with jumbos (see pic).  Its a top notch, pro job, factory quality and the frets are in great shape.  It has a super nice setup and at 30 years the maple has developed a voice that you won't find in a new one off the rack.  For the player looking for a Dot that's *almost* as good as a '59, especially a player who wants jumbos, you'll save the $200 refret charge and take this one right to a gig.  Own this great Dot for $2450.  

Behringer UCA-202 Computer Audio Interface, (stock pic).  When used as a professional interface between a mixing console and your computer options include connecting the UCA202 RCA Outputs to the Tape Input jacks of your mixer, to powered monitors, or to your mixer. Connecting to the mixer input channels allows you to use your mixer’s Aux Send feature to build an extremely versatile monitor mix for recording sessions.  Click here to read about all the possibilities.  Mint in the box, appears to never have been used.  $15.  

M-Audio "FastTrack" Pro Tools Recording Studio, (stock pic), (software screenshot).  Guitar/Mic recording interface for computer recording.  2-input, 2-output audio interface that's compatible with most popular recording software including Pro Tools M-Powered. Plug-and-play USB connection (USB 2.0 compatible); XLR microphone input with gain control and 48V phantom power; 1/4" instrument input with gain control; 1/4" stereo headphone output; RCA stereo speaker outputs; Output level knob for adjusting volume of headphones and speaker outputs; Direct monitoring button; Powered by USB - no power adapter required; Includes Pro Tools SE.  Mint in the box, appears to never have been used.  Very useful tool if you do computer recording and just $89.  

2000 Gibson Les Paul Studio - Green & Gold, (front), (back), (headstock), (DiMarzio strap), (case).  Recently traded back in and now listed $200 cheaper than before.  Lightweight, great color combination, solid mahogany body.  I'm getting more and more players looking for older, non-chambered, models.  A solid body like this '00 model has a crisper attack and more punch in the bass, more sparkle in the highs.   Gibson generally saves all of their lighter woods for their expensive Historic series but at 8.6 lbs., this one is lighter than many Historics I've had and around 2 lbs. lighter than the average Studio.  Since the early 80's the Studio has remained the best value in the "real" Les Paul line, i.e. carved maple cap over mahogany body, gloss finish, trapezoid inlays, 490R and 498T Alnico humbucker, and Grover tuners.  During this era Gibson offered many more finish combinations and the Emerald Green with gold hardware is one of my favorites, with a two-piece maple top and one-piece mahogany back.  You can see the thin nitro finish on the back, where the grain is raised.  I'm seeing more and more "stars" playing Studio's on TV, and these are guys who can have any Gibson they want, usually for free.  Other than a few cosmetic appointments, this model is identical to the LP Standard but it's stripped down cosmetics (i.e. no binding and headstock inlay) means around a 40% savings compared to the Standard.  The original Studio's, ca. early 80's, were a more distinct model, with an all-mahogany body and dot inlays.  This guitar is in excellent shape, with no major flaws, just some minor player's wear.  Gold plating rubs off on these guitars rather easily but the gold is in great shape on this one, even the tuner buttons, which are the first to show wear.  The neck profile is medium, falling somewhere between the 60's thin taper and chunky 50's - and  well rounded in the back.  With a perfectly straight neck it sets up with beautiful action and has the classic LP tone of the early models.  This '00 model is in a desirable color, light weight for a solid wood Paul, and in a very nice color combination, all for $799.  Includes choice of DiMarzio strap/locks or standard strap pins, plus quality SKB-56 case that supports the neck the entire length.  For additional charge we can substitute everybody's favorite, the 90's Gibson brown case with pink lining (shown here) in beautiful shape.  

Fender Buddy Guy Polka Dot Body, (back), (markings).  Genuine Fender Artist Series in beautiful shape.  Perfect project for that Buddy Guy tribute - or even a Randy Rhodes, to match your Rhodes Flying V.  If you want to do it the easy way, just take all the parts from your current Strat and move them over, and then attach your neck, string it up, and your jamming.  Appears to have seen little to no use and it's less than 1/3 the cost of a Buddy Guy.  $250(HOLD-Mark P 4/10).  

Digitech RP255 Modeling Guitar Processor and USB Recording Interface, (effects panel), (back).  Excellent quality all-in-one processor and a good choice for both stage use or USB recording/editing on your computer.  Like the RP-500's I've been selling, it's built like a tank to take lots of abuse on the road.  You can have loads of The effects section has a wide variety of vintage and modern effects such as the Clyde McCoy wah, Boss CS-2 compressor and CE-2 chorus, dreadnought acoustic simulator, EH Electric Mistress, and a wide selection of Lexicon reverbs.  Specs include:  20 Second looper • 94 Amps, cabinets, stomp boxes and effects • 24 Amp/Acoustic Types • 15 Cabinet Types • Lexicon Reverbs • 30 Tone and 30 Effects Libraries • 120 presets (60 factory, 60 user) • Up to 5 seconds of delay time • 24-bit 44.1kHz sample rate • 60 High quality drum patterns • 2 x 2 USB audio streaming • USB editing via DigiTech X-Edit • Independent 1/4" Left and Right Outputs • Amp/Mixer switch to engage speaker cabinet model • Stereo 1/8" headphone output • Stereo 1/8" Aux Input • Built-in chromatic tuner • Durable die-cast chassis • Built-in expression pedal • External Power supply included.  Included is the Cubase LE4 software.  There are a number of YouTube demo's - click here for a 6 min. version.  Sells for $150 but this one's perfect for just $109. 

Digitech RP155 Guitar Multi-Effect, (panel), (back).  I just got another one of these too; several in stock, along with one or two RP500 models.  The RP155 gives you 83 amps, cabinets, stompboxes, and effects allowing you to get virtually any sound you want, in addition to humbucker and single coil sounds out of whatever guitar you're using.  With USB streaming audio, the it allows you to easily record directly to your computer's DAW.  Effects include 48 high quality models such as 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 unit is in mint condition and at $65, it's worth it for the price of the looper alone.  Includes manual and power supply.  (Note: I also have the comparable bass unit (shown here) in stock for $65.)  

2007 Fender Standard Strat - "Plus" upgrades, (front), (back), (headstock), (pickups), (case).  Let me begin by saying this is an exceptional playing guitar.  It has a great neck which allowed Martin to set the action as low as you could possibly want it, with little to no string buzz anywhere.  It plays better than most USA Strats at twice the cost.  It was simply too nice of a guitar to remain stock so it was upgraded to early 90's Strat Plus Deluxe specs with a white pearloid pickguard containing a new Lace Sensor set ($153), with the proper combination of Red in the neck, Silver in the middle, and Blue in the neck.  It was also changed to a quality set of locking tuners.  Two more options that we'll offer are an LSR nut and/or Hipshot Tremsetter for $29 and $49, respectively.  This particular combination of Laces gives you an excellent choice of tones and have remained a favorite for over 20 years.  One last upgrade is a hardshell case instead of the stock gigbag.  Cosmetically, this guitar is in beautiful shape with no wear on the body or neck; lettering is still perfect on the pickups.  You can convert a Standard Strat to these specs for $320 worth of parts, but it's a one in 20 chance it will set up this well.  Save the hassle and expense and get this one for $550(SOLD-Barry S SW).  Includes a nice hardshell case and trem arm.  

2012 Breedlove C250/CMe 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 sells new for $499 but this one's in "as new" condition with a fantastic setup and just $379.  A great acoustic-electric for the money.  

Custom Telecaster Thinline - Dual Hums Spalted Maple, (front), (back), (headstock), (pickups/top).  Great looks, light weight, and a fantastic playing Thinline.  We got in a no-name Tele copy and after a little bit of tweaking, found out it was a killer player, something worth investing some time and money in.  With good hardware and decent electronics the only thing we needed to do was install some better pickups.  With a pair of Ibanez V7/V8 humbuckers it became a more versatile guitar and with the Sapele body the tone became rounder and warmer.  The spalted maple veneer on this guitar is beautiful, with nice left to right flame, and some lovely bookmatched spalted scribbling.  It has a very comfortable neck on it with just a sealer coat on back, wide shoulders like a D-shape, and cut at an angle that's almost quarter-sawn (pic here).  There is a pro-installed 70's logo with clear coat underneath, and multiple coats over the logo so you can't see the edges of the decal.  The tuners are low enough that it didn't require a string tree so we installed the corner of the logo over the string tree hole.  Like Fender's '72 Thinline, this guitar doesn't sound like a Tele but it's a more versatile guitar.  The bridge pickup is crisp and stands out in the mix while the neck is warm, thick, and perfect for rhythm tones, jazz, or fat lead passages not unlike Carlos Santana's tone.  With a setup that's as good or better than an American Tele, this is a nice guitar for $319.  

EMG Pickups and Parts.   I've had these for around 7 years and most were 5 year old NOS when I got them.  We've robbed some parts over the years so I'll discount a bit if you don't need pots and/or jack.  Boxes may be shop worn but all are new, old stock, and include instructions/spec sheets.  Some have quick disconnect wiring; some are the earlier hard-wired.  Enjoy the quiet operation of a 9V system with traditional single coil tone, for 50% off list.  

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

ca. 1989 Kramer American Neck.  Ca. '89 with headstock binding and large logo.  Frets are original and in great shape.  No extra holes or funny business.  Good neck in pretty nice shape.  $175 includes base to the Floyd nut only; original Schaller tuners available for $45; various model truss rod covers available $10-$25.  

ca. 1989 Kramer American Neck.  As above except with "Kramer" inlay at 12th fret.  Ca. '89 with headstock binding and large logo.  Frets are original and in great shape.  No extra holes or funny business.  Nice clean neck.  $209 includes base to the Floyd nut only; original Schaller tuners available for $45; various model truss rod covers available $10-$25.  

Fender JBL D-120F Speaker, (pic2).  Fresh recone by Vin-Tone with zero hours since repaired.  The recone job is done with all proper parts and the job is immaculate.  One of the most highly regarded guitar speakers from the 60's/70's and OEM equipment on Ampeg Gemini I, blackface and silverface Twin Reverb, silverface Quad Reverb, and others.  You can get a used D-120F for $300+ and it might work okay for years...or days - or you can get this "new" D-120F and likely have decades of hassle-free playing, for $200(HOLD-Kevin C).   

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 discriminating collector, but for the player looking for value in a 50's archtop, it's a sweet deal at just $1750.  

1997 Guild JF30 Jumbo - Black, (front), (back), (headstock), (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.  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.  Just $799(HOLD-Tim in IR 4/4) for this Westerly Guild jumbo.  Includes standard Guild wood/tolex case. 

Mesa-Boogie Express Plus 5:50 Head, (panel  closeup-1  closeup-2), (top), (back and panel), (accessories), (floorboard).  Boogie has major breakthrough on this amp - all the features you expect on a Boogie head - at an amazing price.  I was expecting to find out it was an Asian import but, nope, still made in the USA.  This baby has all the famous Boogie tones from the 70's to the 00's; high-gain cascading preamp, fully independent channel switching and Duo-Class power.  The Express line consists of the 25-watt 5:25, EL-84 powered to provide “British” voicing, and the 50-watt 5:50, which uses 6L6 tubes to produce more distinctly “American” tones, both available in head and combo versions.  One thing I love about the 5:50 are the fully independent and individually voiced channels, each with its own set of gain, treble, mid, bass, contour, reverb level and master controls.  Both channels have a mode switch that allows you to tailor the distortion and response characteristics to your preference, with Channel 1 providing a selection of Clean/Crunch tones and Channel 2 offering Blues/Burn choices.  The patented Duo-Class feature offers the option of powering the amp with just one tube to produce five watts of Class A single-ended power (which emphasizes the sweet second harmonic, an octave above the note played). Five 12AX7 tubes are used for producing Mesa/Boogie’s signature cascaded high-gain tones and for the reverb and effect loop circuits.  Includes a heavy-duty footswitch for controlling channel select, contour on/off and reverb on/off functions but for you MIDI users, Boogie smartly include 1/4" jacks for program change commands (channel switching, reverb on/off, contour 1 on/ off and contour 2 on/off).  If you ever forget the footswitch, all functions are accessible via front panel switches.  An effects loop has mono send and return jacks and a nonvariable level designed for use with everything from stomp boxes to studio-quality rack processors.  Outputs includes choice of 8 ohm or a pair of 4 ohm.  If you're looking for an amp that gets sparkling clean, to crunch rhythm, to the heaviest metal you could want, this is a great choice.  For more details, check out Boogie here.  This amp has only seen a few hours and never played outside the home and has 4 1/2 years left on the 5 year warranty.  "As new" condition, $950.  Includes head cover, floorboard cover, long stage cable for floorboard, and manual.  

2002 PRS Custom 22 - Metallic Red, (front), (back), (headstock), (case).   One of the classic 80's colors for PRS, Metallic Red, with all the great features like PRS tremolo, PRS locking tuners, Dragon Bass and Treble pickups with 5-way rotary selector, wide-fat neck taper, mahogany neck, mahogany body with a maple cap.  Many players prefer the Custom 22, which has a stiffer feel than a Custom 24.  This is due to the 22 having a "shorter" neck, i.e. with the bridge and bridge pickup are set further back in the body which means the scale is the same as a 24, but the neck doesn't extend as far from the body.  It's very much a Les Paul feel, although with much easier playability in the upper range, not to mention a wider selection of tones.  This one isn't mint like a lot of the PRS's I get in, but players will appreciate the nicer price.  Martin did a nice job of cleaning up this guitar, buffing out the entire body, removing nearly all of the small scratches.  The only cosmetic issue is a little paint missing from the headstock (pic here), which we can probably get the color pretty close and touch it up if desired.  Frets are in nice shape so sets up with that great action PRS is known for.  A new base model CU22 runs $2600-$3050, depending on where you shop but for a player, looking for more value, this one's about 1/2 price; just $1299.  Includes original PRS case. 

Lindy Fralin 8K/9K Humbucker Set.  Vintage output of 8K and 9K (bridge), these should appeal to purists who want that original 'Burst tone.  Clean shape and with a new set costing $260, save some money on this clean used set for $170.  

Fender G-Dec 30 (front panel), (illuminated), (top), (back), (acc.), (box). Way more than an amp, the G-Dec is a great practice tool with backing tracks (bass, drums, synth, rhythm guitars), multi-effect, phrase recorder, looper, and more.  I've been using G-Decs as my personal amps for around 3 years, testing guitars several times a day and, more importantly, to take a brief break from work and just jam out.  It has improved my playing skills tremendously, just working through the 100 or so songs and patches.  It's easy to program - I've yet to read a manual - and sounds very good.  If that's not evidence enough, Eric Johnson uses the 30 as his backstage amp and, the smaller one he takes back to his hotel room. Click here for G-Dec specs at Fender's site including a good demo from Eric - and click here for specs on the 30.  YouTube also has a ton of demo's - click here and here.   I'm not going to get into all the features since a video is worth a thousand words and the demo's are better than my writing skills.  I've had all three of these but the G-Dec 30 is the "big boy" in the G-Dec line,, cranking out 30 watts through a 10" speaker.  Recently discontinued, the G-Dec 30 sold new for $369.  If you're looking for a new one they're hard to find, but here's one that's leftover store stock, immaculate in the box with everything, for just $229(HOLD-Dave, local).   

Visual Sound H2O Liquid Chorus and Echo, (pic2).  There's a reason this was a Guitar Player's Editors' Pick!  It's one of the best sounding analog units on the market, at a reasonable price.  You get liquid analog chorus via the rare NOS BBD chip which is shaped by Speed, Width, and Delay Time controls for everything from subtle to lush to underwater. The echo channel offers up to 800ms of analog-voiced digital echo. You can change echo time on the fly. Controls include Echo Time, Repeats, and Effect Level. A second output jack lets you send a dry signal to a second amp. The pedal is easily modified to send an effected signal to a second amp.  Effect channels can be used separately or together.  This unit was recently modded by Zac from Visual Sound for a warmer chorus, which sounds closer to a Boss CE-2 to my ears.  He included some paperwork and a CD of artist demo's and interviews.  VS only builds the cheaper V2 model now but this original model sold new for $189 and is a killer unit for just $109.  Also includes original box and manual.  

2008 Breedlove Passport B35 Short Scale Bass, (front), (back), (headstock), (labels), (gigbag).  Looking for a well-made acoustic-electric bass for a great price?  The B35 is a short-scale (32"), sporting a solid top, manufactured in Korea, with final inspection and set-up in their Oregon factory.  It uses a simple but effective active preamp that takes you from acoustic practice to amplified stage.  It has a solid Cedar top with Breedlove's bold bracing and is voiced for recording with the tonal texture of mahogany and concert deep body.  Other features include concert deep body with soft cutaway and Breedlove bracing, solid cedar top, laminated mahogany back and sides, 4" to 5" body depth, 15.25" lower bout, ultra-light Breedlove bridge truss, 3-ply rosette, Breedlove offset dot inlays, satin finish on body and neck, Breedlove Atlas rosewood bridge, 32" scale length, 1 5/8" nut, double-action truss rod, Passport active pickup and preamp, designed by Kim Breedlove and Peter Newport, Crafted in Korea with final setup & quality assurance in Bend, Oregon with separate QC label on interior.  This is a well-made instrument that sounds good and plays nicely.  Offered in perfect condition for $350, including well padded Breedlove gigbag. 

Reeves Custom 18 Head, (panel), (top), (back).  A number of years ago I was happy to see the return of Dan Reeves amplification.  Once the man behind the classic Hi-Watt amps (he was the "DR" behind the classic DR103 head), his high quality construction and toneful circuit designs translated into the new Reeves line of amps.  The Custom 18 is their Plexi-inspired 20-watter, with the classic tones of the 60's and 70's, but with a few features that take it into hot-rodded modern territory.  Its tonal and harmonic characteristics of the cathode-biased EL84 are classic Brit, but added in are separate gain and bright/mid switches, which lends itself nicely to 90's hair metal and anything in between.  To get that great full-out tube tone at any volume Reeves has added a Power Scaling Master Volume control, which gives you that singing power tube tone instead of the buzzy preamp tube found on most master circuits.  Other features include All tube circuit, hand-wired turret board construction, high and low inputs, treble, mid and bass controls, Cut control, Gain control, Gain boost switch, 3-way bright / mid boost switch, Heyboer transformers, 2 EL84 power tubes, 3 12AX7 preamp tubes, Solid state rectifier, dual speaker jacks, 4, 8, 16 ohm impedance switch, and 100/120/230V operation. There are some great reviews of these amps online, echoing my belief that this amp is definitely loud enough for band use.  Click here for more details on this great amp and here for some YouTube demo's.  With only limited bedroom use this amp is in clean condition and sounds incredible.  New cost on the head is $1699 but this nice used one's just $1199.  

2011 Fender Artist Series Robert Cray Stratocaster, (front), (back), (headstock), (bridge), (tags and gigbag).  Hardtail fans?  Few and far between are non-tremolo Strats and this one is super nice.  The 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.  Offering a slightly chunky neck, American Vintage string-thru bridge and tuners, and the same custom shop pickups used on his custom shop model, the Cray is indeed a unique Strat that's easily good enough for the pro players.  This guitar has barely seen any playing time.  The body has the classic vintage route, complete with worm track in the bridge cavity, and correct body contours, finished in a dark 2-ton sunburst finish.  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, synthetic bone nut, white plastic parts, and Cray's signature on the headstock.  As an added bonus, this even has some mild flame in the headstock and neck.  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.  It's currently set up with the preferred 11-50 strings, which provide a lot of tone and especially with the hardtail bridge, remarkable sustain.  Beautiful condition, with no scratches on body or neck, clean hardware, and perfect frets, in a lightweight alder Strat.  The Cray sells new for $899.  For $250 you can have this beauty, set up perfectly and guaranteed to be one of the "good ones".  Just $649(HOLD-Robert A 3/25) for this one.  Includes hang tags and deluxe Fender gigbag. 

Fender Mustang Floor Multi-Effect, (LCD screen), (patch bay).  Fender's first ever guitar multi-effect is a pro quality floor unit that delivers some of the best amp modeling, effects and artist preset sounds you'll hear, and useful in a wide variety of musical styles.  Best of all, it's easy to use right out of the box.  It's designed for multiple applications, the most basic being a great multi-effects unit for any guitar amp, giving you 37 different guitar effects at your feet.  It’s also a modeling preamp with low-impedance speaker-emulated outputs for running direct to a PA system, a modeling preamp with line-level outputs for use with a power amp and speakers, a silent practice system with stereo headphone output and auxiliary input perfect for playing along with an iPod or other media player, and a for direct-to-digital USB recording.  It has 9 footswitches and a solid aluminum treadle-style control pedal that lets you access 12 Amp models, 37 effects, and 100 onboard factory and user presets.  For live performance it's set up logically with the bottom row being patches 1-5, or go up a bank with the bank button and it's 10-15. Should you want to edit any of the patches, it's very quick and easy, and the large LCD window makes it clear what you're doing.  There's also an “individual stompbox” mode to use it just like a Boss BCB or other pedalboard, which assigns each button to a specific effect (compressor, delay, distortion, etc.), which amp models can be bypassed.  Other features include headphone output and auxiliary input, dual XLR and dual 1/4" line outputs with level control (outputs can be programmed for optimal response with PA system, power amp or guitar amp), chromatic tuner, built-in expression pedal for wah, volume, effect sweep speed, etc.), and easy USB connectivity.  To maximize your capabilities you can download Fender's "FUSE" software at this link.  For more info click here for Fender's specs and here for a video demo - and a good review by Premier Guitar here.  The Mustang sells new for $299.  This one is in perfect condition and a very nice unit for $199. (Add a new Roadrunner carrying case (pic) for $24.99).  

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

1975 Rickenbacker 4001 - Jetglo, (front), (back), (headstock/neck), (jack/serial), (case).  Some of you might remember the last 4001 I had, which was an '81 in museum condition.  It was simply too clean to play.  This one on the other hand, has all the character of bass that's been a workhorse for nearly 40 years, with the thin nitro finish wearing through in spots.  It brings to mind Geddy Lee and his black 4001 that he used in the studio and on tour for decades.  It's never had any breaks or serious issues, only some missing paint and worn chrome and nickel plating.  It's got that Ricky tone that cuts through the mix like few others which has made it a favorite among some major players such as Chris Squire, McCartney, Lemmy, Geddy and countless others.  Case is likewise in near pristine shape and has original sticker which can be used as a badge on the outside.  If you check vintage dealers or gbase prices for '74 to '78 examples, you'll see well-worn or non-original examples selling for around $2K; considerably higher for nice ones.  This one has been around but it's probably going to be gigging for many years to come.  Includes original blue-lined Tolex case and a good value on a vintage Ric at $1499(Tent. Hold-James W 3/23).   

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

2006 Ibanez SZ720FM With PRS Pickups and Case, (PRS Eagle/Santana II pickups), (front), (headstock), (back), (abalone trim), (rounded heel), (case).  This is one gorgeous guitar and another good example of the quality of Ibanez's Korean manufacture.  While they continue to build decent guitars in China and Indonesia, close inspection will show the superiority of this guitar when compared to newer models.  The SZ720FM DAS, finished in dark amber sunburst, features a set-neck design with a mahogany neck and mahogany body with flamed maple top.  It is truly a thing of beauty with the body abalone purfling surrounding the entire top, as well as the edge of the headstock.  Acoustic guitar companies like Taylor would add a $1500 upcharge for these abalone appointment.  Looks aside, this is a killer playing guitar, with some quality pickups installed to make it sound as good as it looks.  A PRS Eagle pickup in the neck, and a PRS Santana II pickup in the bridge.  To my knowledge PRS has never offered the Santana pickup as an accessory.  The only way to get one is to remove it from a Santana.  Carlos' early tone was coaxed from a mahogany Ibanez and, indeed, you can get some fine early Santana tones from this baby.  The 720 body is slightly thicker than other Ibanez models and it's a tad heavier, but still falls easily in the medium weight range.  Likewise, the neck is slightly thicker than the Wizard neck, but it's still on the thin side.  Other features include a simple fixed Gibraltar III bridge strung through the body, bound neck, bound headstock with abalone trim, nickel hardware, SZ flame fretboard inlays, pearloid logo, and a 25.1 scale rather than the 25.5 found on most Ibanez.   With a list of $867, these sold in stores around $599.  This one is beautiful shape, set up to perfection, and with these pickups you get the superb tone of a $1000 guitar for a fraction of the price.   $449 includes a new tolex hardshell case, or $399 without case. 

Electrovoice RE18 Supercardioid Dynamic Microphone.  Classic mic for studio and broadcast, the RE18 is built to last and sound great, day after day.  For full specs, click here coutant.org, a great reference for vintage mics.  Includes EV mic clip for $85.  

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.  If you want to take it a 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 change to a push/pull pot (single/humbucker) for $25.  With $250 invested in labor, plus $650 in parts and case, save big time on a nice guitar in "as new" condition.   Just $550(HOLD-Tom H 3/21) with case, trem arm, and tools.  

Squier Classic Vibe '50s Telecaster - Butterscotch Blonde, (front), (headstock), (back), (bridge).  The Classic Vibes have been out for around 5 years now and they've been received with the highest acclaim since the Protone Series in the 90's.  The attention to detail is the best I've seen on a Squier since the mid-80s Japan models.  Like Leo's original Tele, the 50's Classic Vibe is made with a solid pine white blonde body with single-ply black pickguard.  Other features include high gloss polyester finish, 1-piece maple with modern "C" shape, 21 medium jumbo frets, 1 5/8" nut, chrome hardware, vintage style tuners, vintage-style string-thru Tele bridge with three brass barrel saddles, knurled chrome knobs, original barrel switch tip, synthetic bone nut, engraved neckplate, and Alnico III pickups.  Looking at the bookmatched 2-piece body (shown here) I have to ask myself, why can't they match USA Strats this well?  This is just another example of the quality control that is present in the Classic Vibe line.   The setup on this guitar is superb, with very good sustain and classic Tele tone.  A great guitar, offered in immaculate condition, for $339.   

Godin ACS Koa HG with Case, (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.  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 sells new with a stock gigbag for $1499.  This one is "as new", unplayed condition.  I'm offering it with the upgraded Godin hardshell case as $1099; or if you want a gigbag $1050(HOLD-Big Jim). 

Roland GR-20 Guitar Synthesizer, (side/front), (close-up), (carrying bag), (stock pic). Until last year, this was the latest and most powerful version of the Roland GR-series, which combines analog-digital converter, synth, and effects, all in one unit.  It's extremely 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.  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 a GK pickup but since these guitar have the built-in GK, none is included.  What is included is original box, manual, power supply, and 13-pin cable that attaches the guitar to the GR.  Also included is non-padded case for free, or add a new Roadrunner carrying case (pic - sells online for $39.99) for just $24.99.   

Ca. '91 EBMM EVH Case w/paperwork, (EVH/Product Catalog).  One of the best cases of its era, and nice shape for 20+ years old.  Black tolex with leather ends and gold piping, black plush interior, storage compartment with tab, all latches, hinges, metal "feet" intact.  Includes EBMM Spec catalog with full line including the EVH model and a flying EVH on the cover.  If you have an EVH with the wrong case you need this, plus a nice little piece of case candy.  $175(HOLD-Glenn 4/23) buys both pieces.  (note: guitar not included).  

2010 Fender Highway One HSS Stratocaster - Glossy Sunburst, (front), (back), (headstock), (gigbag).  The main savings on these fine Highways are the satin finish, which is cheaper to produce.  This one has been professionally buffed out, properly, with the pickguard, neckplate, and trem cover removed to get all areas.  Look at the difference in this pic. The stock finish on the left looks dull and lifeless; this one on the right looks like a clean vintage Strat, and with a nitro finish, it is very much like the old Strats you know and love.  Face it, to discriminating players nitro just sounds better, and ages nicely as well.  Other than the buffing, this guitar has been barely touched, just a few hours of use, with factory fresh frets and no player's wear anywhere.  You might notice this has one cosmetic mod - the pickguard and back plate are changed to 3-ply black (genuine Fender parts), to give it the look of a late 70's Strat.  If you don't like the black, we can swap both pickguard and trem cover back to white (pic), either matching or black/white mismatched.  Highway One's offer the best value in a USA Strat featuring a nitrocellulose lacquer finish on the body, preferred by many players.  Other than the satin finish, and a gigbag instead of a hardshell, the quality of the Highway series is the same as the American Standard, but priced around 25% less.   Specs include:  Alder body with nitro finish, maple neck with modern "C" Shape profile, rosewood fingerboard with modern 9.5" Radius, 22 Jumbo Frets, '70s style large headstock; vintage tremolo with stamped steel saddles; Hot Single-Coil pickups with Alnico 3 magnets in the neck and middle positions with a Fender Atomic humbucker in the bridge; master volume; tone 1 = neck pickup with "greasebucket" (rolls of highs without adding bass) tone circuit; tone 2 = bridge pickup with "greasebucket"; Fender Ping tuners.  The thin nitrocellulose lacquer finish lets the body wood's natural tone shine through.  Although it doesn't require the factory buffing of a poly finish, nitro is a rather expensive finish to manufacture, mainly due to its long drying time, and it's rarely found on a guitar in this price range.  This is an excellent sounding Strat with a lively tone and a fantastic in-house setup providing low action and no dead spots.  For looks, tone, and playability, hard to beat this USA Strat for $599(HOLD-Ray C 3/27) including Fender deluxe gigbag.  (Note: I also have an HSS in black (pic)). 

Roland 13-Pin Cable for GR Synth.  Works for any gear that uses the Roland 13-pin system such as the Fender VG guitar, Brian Moore or Godin guitars with synth access, etc.  Connects the GK1/2/2A to any Roland synth such as the GR33, GR20, etc.  Last time I had to buy one of these I shelled out $39.99.  This one's just $19.99(HOLD-Sam 3/15), including Priority Mail shipping.  

Korg X50 Synthesizer, (stock pic - click to enlarge), (pic2), (pic3), (pic4).  I love these things and I'm happy to continue to get them in.  I've had 4 of them and they seem to be very popular judging by the brief time in stock.  One of the best sounding boards I've had for the money and one that's highly recommended for the guitarist who doubles on keys or anybody looking for *fun* in a great-sounding keyboard.  The X50 is the latest "Baby Triton" from Korg, featuring the same HI synthesis used in the wildly popular Korg Triton, at around 1/3 the list price.  I played around with this board for around an hour and I can state that the sounds are superb - plus it has a bunch of combo patches that make you a "one man/woman band".  Best of all, it's easy to get around on and I've been doing some impressive sounding stuff without reading a single page.  Just play chords or notes and the board intuitively lays down accompanying drum 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.  Too many features to list but here are a few.  For all the info, check out Korg's site here.  •512 professional-quality sound programs produced by the HI synthesis system used on the world-famous TRITON series; •384 combinations, each allowing up to eight programs to be freely combined to create complex sounds; •Multi Mode allows the X50 to be played from your external sequencer as a 16-part multi-timbral sound module; •Powerful effect section with four processors (one insert effect, two master effects, one master EQ); •Four-channel audio output (two main channels, two individual channels), a first in its class; •Dual polyphonic arpeggiator for even more musical enjoyment; •USB connector allows single-cable MIDI connection with your computer.  The X50 lists of $899 these sells online for $699.  This one is in perfect condition and a very powerful, fun, and useful tool for just $479, INCLUDING shipping.  Includes power supply and manual is downloadable here.  Note - You can search YouTube (i.e. "Korg X50") for loads of demo's - here's one.  

1997 Fender Squier Venus - Japan Vista Series, (front), (back), (headstock).  I'm always excited to get in a Vista Series, which were produced by Fender Japan for a brief period in the mid-90's.  The series consisted of the Supersonic and Jagmaster both dual humbucker guitars, and the unique hum/single Venus, which was offered in 6- and 12-string models.  Although not officially a signature model, it was co-designed by the Custom Shop and Courtney Love (Hole), who played the guitar on stage for years.  Features include solid basswood body, 25.5" scale maple neck, bound neck with 22 frets, rosewood fretboard, HS pickup configuration with a hot bridge humbucker and an Alnico single coil with staggered poles, 3-way selector, single knob (volume), tuneomatic bridge with strings-thru-body, large white pearl pickguard, and nickel Gotoh vintage tuners.  You might notice the non-stock finish on this guitar.  It was refinished in a textured teal finish that's perfectly applied and in mint condition other than a small wear spot on the back, top edge (shown here).  The Vista's had a short run ('97-'98) and it's a shame because they were excellent quality guitars.  I personally think Fender could have done much better by leaving off the Squier name since the $699 list price put it well above a number of regular Fenders (i.e. not Squiers).  The way this body was designed the length of the guitar is around 4" shorter than most Fenders, although it's still a full 25.5" scale, which makes it easier to get around on for smaller players.  It has seen very little use and has perfect frets, a fantastic setup, and a quality tone that's definitely good enough for the stage.  A lot of guitar for $399 with gigbag.  

2004 Taylor 410-CE Dreadnought Cutaway w/Expression System, (front), (side), (back), (headstock), (controls), (case).   I get in a lot more X12 and X14 size Taylors, excellent fingerstyle guitars with smaller bodies, but for some reason dreadnoughts are more scarce.  The 410CE dreadnought, with its large body that's made for light to heavy flatpicking, is a more traditional style that should appeal to more players.  This is one of the early models with Taylor's patented Expression System (ES), which uses body sensors and a humbucker under the neck to achieve a perfect blend of tones to achieve a natural acoustic tone.  It's controlled by three knobs on the upper bout.  This one will ship with brand new sensors installed to prevent any issues caused by the early sensor failure rate.  Features of the 410CE include dreadnought body with Venetian cutaway, body binding, multi-piece soundhole rosette, Ovangkol back and sides, Ebony fretboard, Indian rosewood headstock overlay with inlaid logo, and gloss finish on the solid Spruce top.  Ovangkol has a deep tone that is similar to Indian Rosewood, and its warm brown colors and unique grain are protected with a thin, satin UV finish.  When we first got in Taylors at Hotlicks in the late mid-80's, I finally found an acoustic that played as easily as an electric, and they're thin necks feel familiar to electric players.  Like nearly all Taylors, it sets up with very low action with comfortable fretboard edges and smooth bends.  Tonally, this is a workhorse instrument, with the Ovangkol/Spruce combination perfect for nearly all types of music.  A few minor flaws but overall excellent condition and well maintained since new.  With a new 410-CE running $2K, how about a nice used one for just $1279(HOLD-Robert D 3/21).  Includes original Taylor case.  

Pandigital Novel 9" Color Android Tablet eReader +WiFi, (pic2).  Bought this a while back, used it for a week, and never used it again.  Recommended for anyone who wants a cheap web browser and eReader who already has a WiFi connection (required to connect to web).  Operating system is Android 2.0, 2G Ram, 4G SD Rom (included) but will take much larger if you need, 800X480 resolution, works portrait or landscape for most applications.  A number of apps are available for this but not a lot of the newer ones.  Click here for a YouTube demo.  Is this a state of the art model?  No.  But it's an inexpensive way to get an extra web browser, good for travel, bathroom reading, couch companion, etc.  It's factory reconditioned but works perfectly and is in flawless condition.  Seems to hold a charge for a long time - only charged it once during around 10 hours of surfing.  Includes wall charger, USB cable, manual and I'll include an optional 4G Sony disk.  $55 includes shipping.  

New price - same great guitar:  1977 Ibanez Custom Agent Model 2405, (front1  front2), (back1  back2), (headstock/neck), (pickups), (cosmetic appts.), (sandwich body), (hangtag), (case).  This is a rare consigned piece for a lovely couple who had been customers for 15 years and are liquidating some of their finer guitars.  For a full description go to Custom Agent page.  Rare model, only the 2nd one I've had and first since 1997.  There are a number of these in circulation but nearly all have major wear and the very common "reattached scroll" on the headstock.  This one is probably the cleanest Custom Agent on the market right now.  As much as any other solidbody guitar from Ibanez, this model has achieved legendary status.  If you want a lovely example of an iconic model in Ibanez historic, whether to collect or play, this one's beautiful to look at and even more wonderful to play.  Was initially and fairly listed at $2200 but this is a rare consignment piece and the owner requests that I find it a new home now, thus a great buy at $1599(HOLD-Stan O) for a great guitar.  Case is a new TKL/Canada case, identical to the older Gibson brown cases.  

2000 Fender Artist Series Jeff Beck Stratocaster - Seafoam Green, (front-1 front-2), (pickups), (back), (headstock), (case/etc.).  2000 was the last year for this first version, i.e. the huge 50's U-shaped neck and Lace Sensor pickups - and this one is a true museum piece with zero noteworthy flaws.  In '01 specs changed to a regular Strat layout (SSS) with Noiseless pickups, a smaller C-shaped neck, and contoured heel.  I get in a fair share of Becks, but it's been at least 8 years since I've had one of the original spec models so apparently they're either in the hands of collectors, or players who don't want to part with them.  This one's in the cool Seafoam Green finish and looks like it was played for a few weeks, prior to going back in the case.  Other than the neck and dual bridge pickup, this model had the same specs as the Strat Plus, with locking tuners, LSR roller nut, alder body, maple neck with rosewood board and white dot inlays, 3-ply white pickguard, and polished chrome bridge and saddles.  The pickup layout is unique to this model with Gold Lace Sensor pickups in an HSS configuration (two Lace Sensor single-coils in the neck and middle positions and a humbucking Lace Sensor Dually in the bridge), controlled by a 5-way selector, plus a mini coil-split push-push button for the bridge-position humbucking pickup which allows 7 tone combinations.  It also features master volume, tone, and TBX (Treble Bass Expander).   The set up on this guitar is fantastic and it has one of the more lively bodies you'll find on a Strat.  Sounds good acoustically and no nasty overtones on double-stops.  Just a great Strat in all regards.  If you're looking for one of the early spec Becks, I can't imagine a better one and in this condition, a nice buy at $1250(HOLD-Ron M 3/14).  

Jackson DK10D Dinky with Upgrades, (front), (pickups), (back), (headstock), (trem/push-pull).   After breezing through a number of DK-2 models recently, we decided to upgrade this DK10, using the same pickups found on the DK-2M (Seymour Duncan JB TB-4 bridge and SH-2N Jazz neck), plus we added a push-pull put which splits the humbuckers on both pickups, yielding a total of 6 pickup settings.  This excellent quality shred guitar was made in Jackson's Japan manufacturing plant.  It features the looks and comfort of the USA DK-1, as well as a quality tone and a Jackson Floyd Rose that stays in tune perfectly.  Features include Basswood body with flamed maple veneer, bolt-on maple neck with scarf joint headstock, Ivoroid binding on neck and headstock, compound radius rosewood fingerboard with flat 12"-16" radius, 24 jumbo frets, MOTO shark fin inlays, Floyd Rose licensed Jackson low profile JT580 LP double-locking 2-point tremolo, chrome hardware, Jackson sealed die-cast tuners.  These Duncans, which replaced Duncan-Designed 103's, made a good guitar much better, with plenty of tonal options including the super high output JB tones, and the mellow 50's style neck tone, with lots of switching options.  The bridge pickup is Trembucker-spaced for a perfect magnetic field.  This guitar is in perfect condition and better than new since Martin did a level and dress on the frets to get the best possible set up.  The flame top models sold new for $529, which is cheap for a Japan-made guitar.  This is one great looking guitar and with over $200 in upgrades, is just $469 with gigbag or substitute a used plush-lined Coffin Case for just $50 more.  

2007 PRS McCarty Korina Soapbar with Brazilian Fretboard and Birds, (front/back), (headstock), (fretboard), (case).  One of the lightest McCarty's on the planet at just 6.6 lbs., offered with your choice of stock Duncan Soapbars, or Harmonic Design Z-90, considered by many to be the cream of the crop.  This is one of the "new" McCarty models, using all Korina wood instead of the solid Mahogany or Mahogany/Maple cap of the earlier McCarty's.  Korina is a top shelf tone wood, both lovely looking and a wonderful tone wood.  This guitar also features the optional Soapbar pickups and Bird inlay option.  This one, finished in Vintage Cherry, has some mild flame which isn't all that common with Korina.  With a solid carved Korina body and Korina neck with wide-fat carve, this model ventures even more into the Ted McCarty era as he was at Gibson's helm during production of the original Flying V and Explorer models, both made of Korina.  The first 500 of this model were built with a Brazilian fretboard, making it even closer to McCarty's original classics.  Other features include PRS stoptail bridge, vintage tuners, 25" scale, Full (not outlined) Abalone bird inlays, Seymour Duncan Soapbar pickups, master volume and tone, and a standard 3-way selector.  This guitar plays exceptionally well, is extremely lightweight (6.6 lbs.!), and has excellent acoustic tones.  This is a one-owner guitar, collector owned, and offered in immaculate condition.  For full specs and more info, click here for PRS.  This model as outfitted sells new for $2359 with the standard Indian rosewood but why not get one of the original run Brazilian board models for way less - just $1750 - with your choice of the Duncans or Harmonic Designs.  

ca. 1986 Guild Bluesbird, (front), (back), (Kahler), (headstock), (inlays/fretboard trim), (case).  Excellent quality USA Guild from the George Gruhn era.  Not as well known as its big bother, the Nightbird, this model Bluesbird was a completely different animal from the original Bluesbird (M-75 thinline hollowbody), and was designed with the advice of Brian Setzer, "with the modern guitarist in mind."  The main features of this model were the trio of active EMG pickups, and a Kahler Pro locking tremolo.  I'm sure Guild was hoping to get their bite of the Hair Metal apple, virtually owned by Kramer during this era, with companies like Jackson, Charvel, BC Rich, and Hamer eating up most of the leftover scraps.  As rare as this model is (ever seen another?), I'm sure they had zero impact on the market.  It's a shame though because the quality of this guitar is far above the Kramer American series.  You might question the lack of a bridge humbucker but these EMG's can sound very fat through an overdriven amp and I most players won't miss it.  This model has some upscale features including an ebony fretboard with "Artist Award" style inlays with abalone triangles in pearl blocks, with a thin line of fretboard edging adorning both sides.  This guitar isn't without a few flaws, although it exhibits only very light actual use.  There is one piece of finish missing on the upper edge (shown here), which we can fill if desired, and a long lacquer crack (shown here) that goes from one side of the neck pocket to the other.  While this might look scary, it is only a paint crack and definitely not a structural crack.  If you don't mind a guitar that's a few flaws from being in excellent condition, this is a quality USA guitar that sounds and plays fantastic and would make a great working guitar for decades to come.  Good value for a very rare Guild at $699.  

1971 Martin D-18, (front), (back), (sides), (headstock), (bone parts), (case).  One of the true classic guitars from America's premier maker, with the D-18 making it's first appearance 80 years ago.  This one-owner guitar is in lovely condition and with one pro neck reset remains an excellent player with the big projection you want out of a Martin dreadnought.  Although at 42 years it's not terribly old by Martin standards, who first started building guitars in 1833, but it was still built in a time when production numbers were much lower and tonewoods were much more plentiful.  Between 1833 and when this one was built in '71, Martin had built 280,310 guitars, which is less than the amount Martin built during the past 5 years (2008-2012) alone!  The D-18 has remained largely unchanged since it's introduction in 1932 and has been Martin's sparsely appointed spruce and mahogany dreadnought.  The tone is warm and full-bodied and it's a great guitar to play alone in your home or at a solo gig.  Specs of the D-18 include solid spruce top, solid mahogany back and sides, 15-3/4" lower bout, 14-fret neck, 20 frets, rosewood fretboard, bridge and headstock overlay, dot fretboard inlays, Pat. Pending Grover Rotomatic tuners, 1-11/16" nut, 25.4" scale, black/white multi-ply body binding, and black pickguard.  All original other than nut, bridge, and bridge pins replaced with bone (original black pins and original bridge are in the case).  It's in remarkably clean shape for a '71 with only one small top crack repaired many years ago (shown here).  Other than that, just some light finish checking.  Areas that normally wear, such as the sound hole, are clean, and it doesn't have the typical pickguard cracks caused by pickguard shrinkage.  If you A/B this with a newer one, you'll immediately notice a richness in the tone that you won't find on recent models. Assuming they were built with comparable quality tonewoods, they'll sound as nice one day but why buy new when you can get this 42-year-old model for $100's less, just $1599, and with the fresh neck set you'll be good to go for another 25 years.  Martins are firmly established as heirloom guitars and this one is sure to be passed on through generations.   Includes original blue-lined tolex hardshell case. 

Seymour Duncan Strat Set, Pots, Switch.  Super versatile set-up for your Strat with a SJBJ-1b JB Jr. in the bridge, an SDBR-1n Duckbucker in the middle and an SL59-1n Little '59 in the neck, which is one of the set-ups recommended by Seymour himself.  All pickups are 4-conductor humbuckers so they're noiseless, with the versatility to switch between single coil and humbucker on any one or all three.  Currently wired to a standard CRL 5-way, but you could really get extravagant and go with three 2-way mini-switches (or 3-way if you also want in/out phase).  Clean shape with all the lettering intact.  These run new around $76/ea for the pickups, not counting three USA pots and switch with pro soldering.  $169 as shown or $199(HOLD-Jeff M 3/12) installed on a pickguard.  

Kauer Daylighter Junior, (front), (back), (headstock), (fret/board), (spec sheet), (cert.), (features), (gigbag-pic2-pic3).  What do you get when you cross a Les Paul Jr. - and a Fender Jaguar?  A very cool looking, great sounding Junior!  Kauer is one of the great boutique builders who are trying some new stuff and this one has a Jag body (comparison pic) with the basic design features of a LP Junior.  Instead the usual mahogany, Kauer chose Spanish cedar for the body, which has the warmth of Mahogany, but also has better note definition and a more immediate sound.  Features include Spanish Cedar body and neck, wenge fretboard, wenge binding, Tonpros wraparound tailpiece, Sperzel SoundLoc tuners, cool looking beveled graphite pickguard, 24 3/4" scale, 12" radius, 1 11/16" nut, Jescar 47095NS fretwire, vintage C neck profile that's a fairly chunky .90/.98 at the 1st/12th frets, Dark Tri-Burst front/back/neck. Pickup is a custom designed Wolfetone Meaner dogear P90 with a Push/Pull coil-split Tone pot.  Weighs in at just 6.9 lbs. Includes a top quality Mono M80 series case/gigbag which offers great protection that's much lighter than a standard hardshell and isolates the neck with a patented "headblock".  For more info and video demo click here for Kauer Guitars.  New price for the Jr is $2350. This one's in superb condition, with an incredibly nice setup and priced at just $1599.  A very cool guitar for Junior fans or anyone looking for something a little different that you can play all night long without switching guitars constantly.  

1985 Fender Japan Squier Standard Stratocaster - Japan, (front), (back), (headstock), (body/neck markings), (1985 Catalog), (cosmetic flaws).  On the heels of the '70's Reissue Strat from Fender Japan comes this fantastic Squier Standard.  These guitars are spec'd out to a 50's style, with its small headstock, maple fretboard, 8-screw single-ply pickguard, SSS body route, and truss adjustment at the butt end of the neck.  The quality of Japan Squiers is nearly on par with the regular Strats, although Squiers were used to hit a lower price point.  Back in '85 we sold this guitar for $299 (the catalog pic has my prices written in 28 years ago), which adjusted for inflation, would be around $620 today.  Cosmetically, this guitar is in beautiful shape for its age.  There are a few finish rubs and a small finish chip on the back edge (shown here), but no real player's wear like scratches, buckle wear, and fret wear.  I think most informed players know the deal about MIJ Squiers and to look past the Squier moniker, but the logo can always be changed if it bothers you.  By any name, this is a quality guitar, made at the height of Fender Japan's boom, and priced way under a new Mex Standard at $329(HOLD-Scott G 3/11).  

1986 Kramer Focus 3000,  (front/back), (headstock/neckplate), (Floyd), (Kramer gigbag).  Another flip-flop red finish like the Pacer below, but this one changes from red to a rose color.  The best era for the Focus line in my opinion, after the ill-conceived Floyd without fine tuners, but before production numbers went through the roof and quality control dropped to keep up with production.  These were excellent quality Japan models and a more affordable alterative to the Kramer American series.  These guitars were very close to the ESP-built "Kramer American" series in quality, but priced nearly half of the comparable Kramer Americans.  Kramer offered two other price points, both below the Focus line, namely the Striker and Aerostar series   The Focus 3000 was the equivalent to the Pacer Deluxe, and the only model to feature a pickguard and was one of the Super Strat's that were all the rage in the 80's.  It features a Strat style body with bridge humbucker and two single coils, controlled by a 5-way switch and a mini switch to split the bridge humbucker, allowing for all the traditional Strat tones, plus 2 additional ones (bridge humbucker alone - bridge humbucker and middle single coil together).  Like all Focus Series, it featured the top of the line Floyd Rose double-locking tremolo, the same one found on the American series.  The guitar plays fantastic, really better than the average American and has seen very little actual playing time.  The only real flaws (shown here) are a finish crack *only* in the clear coat (not the wood) next to the neckplate, and a few dings in the belly cut.  If you're looking for a well made, Floyd-equipped SuperStrat, this one's hard to beat for $359.  (Note: I also have an earlier model 3000 (pic here) in black for $429 with case on my "Electrics" page.) 

Maestro Sireko Tape Echo "As Is", (pic2).  Ca. mid-70's.  As is special, use for parts or may even work for all I know. It lights up and motor turns but I don't have a tape or knowledge to test it.  Nicknamed "Sireko" aka "Sir Echo", these units use the tape cartridge, rather than the loose tape.  Lid is missing, but otherwise seems to be in pretty good shape for around 40 years old.  $135/no returns.  

Kustom Profile System One PA System, (Pic2), (trap. shape), (front panel), (master/patch bay), (acc.).   Looking for a small practice PA or system for an acoustic combo?  I've got a few of these, new in the box, which could be just what you're looking for.  They're complete units, with a combination mixer and amp, with built in digital effects, two speaker cabs in a tuned trapezoid pattern with two 6.5" and a 2"X5" horn in each.  Cabs have sleeves in them so they're standmount ready.  The system puts out 100W and futures 8 digital effects, 5 channels, contoured acoustic guitar input, 4 balanced mic inputs with phantom power, 5 line level inputs, effects loop, individual effects--tone--volume controls, 3-band master EQ, standmount ready, detachable AC cord, includes speaker cables.  The current model Profile 100 is the same system and sells new for $399.  I've got these for $275, new in the box, or trade a nice Mex Strat or something.  

1988 Fender HM Strat - Blackstone - Maple Board, (front-1 front-2), (back-1 back-2), (headstock), (pickups/trem), (beveled cutaways).  In order to help keep this page shorter, I've created a page about these fine HM's.  Please click this link for more info.  This one's finished in Blackstone, which is black finish with gold and/or white lines, emulating the look of a granite.  It has the typical wear to the maple fretboard which is inevitable on these maple board, but frets are nearly new thanks to a pro refret (see here).  With the refret, this guitar is good to go for another few decades of playing time.  Overall it's in excellent condition with the worst flaw being the typical wear on the neckplate and a bit of wear to the Kahler Spyder trem and a few light scratches, primarily on headstock and back plates.  We've buffed the finish out nicely which eliminated all of the small scratches and gave it a high luster appearance.  Excellent playing guitar and one of the better sounding ones I've had.  Includes original rectangular molded case and trem arm.  $659(HOLD-Tom 5/21).   

2008 Gibson Robot Les Paul Studio - Wine Red, (front), (back/jack), (headstock), (Tuning Knob), (bound ebony board), (bridge/tailpiece), (case power).  Flawless condition, killer player, works perfectly.  Rather than a long description here, click here for more details on the current model.  These Robots are too cool for words. Unlike the VG Strat or Line 6 Variax, which digitally transposes alternate tunings, the Robot mechanically changes pitch via motorized tuners, and you can select any one of 6 alternative tuners at the touch of a button or, of course, simply tune your guitar to correct pitch.  With the looks of a very traditional Les Paul, classic Wine Red finished in nitrocellulose lacquer, it's "magic" is rather transparent - tuners look normal from the audience perspective, and Gibson opted for a push/pull tone pot to control the guitar's tuning options.  While the four knobs do provide the standard tone and volume controls for each of the two pickups, the Multi-Control Knob (MCK) - the one with the illuminated top - serves as the master control for all aspects of the Robot's self-tuning system. The MCK is a push-pull knob - in the normal position (down), it behaves as a regular tone pot but when pulled out, the Robot's tuning capabilities are activated and ready for use. It immediately places the guitar in standard tuning mode (A440) but a quick turn of the MCK presents six factory presets, all of which can be customized. An LED display on top of the MCK lets you know when a string is out of tune, or when all strings are in tune, and even when the tuners are turning to get them in tune. It even guides the setting of accurate intonation. At the end of the tuning process, the blue lights on top of the MCK flash. Push the MCK back in and it's ready to go. You can go from a standard E to Open Am, Open D, Dm, etc. tunings in around 15 seconds and unlike the VG Strat/Variax, there isn't a hint of artificial sound since there's nothing digital about the tuning.  Other features include: chambered Mahogany body with Maple cap, Mahogany neck with rosewood fretboard, Trapezoid inlays, 490R and 498T pickups, large control pock with Smoky transparent acrylic cover, 17 headstock pitch, Corian nut that's Pre-radiused, 1.695" nut, 12" fretboard radius, Holly Headstock Overlay, Nickel plated truss rod nut, Chrome hardware, Powertune Stop Bar tailpiece - Powertune bridge, Powerheads tuners with brass sleeves, and a very smart move - a Neutrik output jack which keeps the cable securely in place. Neck is a hand-shaped 50's rounded neck profile.  The installed rechargeable batteries hold their charge for 200 tunings and just plug it into the charger when it runs down.  For YouTube demo's, click here for Gibson, here for Wired, and here for stuffTV.  Recently discontinued, the Robot Les Paul Studio listed for $3999 and originally sold online for around $2399.  This one is offered in mint condition for $1299, which is worth the price even without the Robotics.  Includes original case with charger & power plug, battery pack (installed). 

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(HOLD-Guy who called Monday).  Includes original Ibanez Professional case.  

1989 Ibanez RG-570 - Jewel Blue w/DiMarzios, (front), (back), (headstock), (Edge trem), (DiMarzios), (neck/body markings).  Killer 1st year Japanese RG-570 in nice player's condition, including upgraded DiMarzio pickups with a DP159 Evolution (link) bridge, as used on the Vai model - and a DP100 Super Distortion (link) neck, both of which are 4-conductor which retains the guitar's 5-way switching.  The RG series (RG550) was first introduced in '87, offering a more affordable Steve Vai Jem 777.  The RG-570 followed shortly.  The RG series was developed specifically for shredders, including notable ones from the stable of young guns from Mike Varney's "Shrapnel" records, many of whom had been assembling their own custom guitars since nobody was building what they needed; specifically a very thin, very flat neck that was STABLE - and a body with very deep cutaways.  The RG body shape seems to me the perfect Strat style, with basswood the choice of woods, used for its light weight, and well-balanced tone, falling between alder and mahogany in sound character with a good balance of highs and lows.  After a 12-year run Ibanez discontinued the 570, only to rename it the RG-2570 when they reintroduced it, '04-'07, as one of the Prestige series.  The two models are basically one in the same.  Features include Basswood body, recessed Edge tremolo, HSH pickups (V7-S1-V8 were stock), 24 jumbo frets, cosmo black hardware, matching headstock finish, Gotoh tuners, and a "tilt joint" (beveled heel) to allow easier access to the upper frets.  The extremely thin and flat one-piece Wizard neck is a shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  Overall this guitar is in nice shape other than some typical finish chips these are famous for, but we've color matched the finish chips very well (as shown here) and it's very presentable.   It has the typical discoloration on the neckplate, but no buckle or pick scratches to speak of, and the frets are in great shape.  Like most of these early RG's, the setup is superb and stable, which is remarkable for such a thin neck.  These early Japan RG's are highly regarded and with around $180 DiMarzio upgrade, it's a nice buy on a pro quality axe for $450.  (Note:  I have a '00 2nd version 570 for $350 as well).  

Yamaha HS50M Active Studio Monitors, (back panel), (mint in boxes).  Mint in the box; I don't think one of them has even been opened yet.  For the project studio on a budget, there are a bunch of options these days in the under-$500/pair monitors, but it pays to do some research to find out if that pair for $250 is actually saving any money.  If you do you have to remix your final mix a bunch of times due to inaccurate reproduction, you've (a) wasted money (=time) and/or (b) possibly never reproduced the mix in your head to the mix on your CD.  Enter the HS50M's.  With built-in power amps cranking out 70W, with a separate power amp for low-mids and highs, there's plenty of headroom available and they're designed for a very even response from 20K Hz down to 55 Hz.  You can find others that might go down a little lower but the accuracy just isn't there, with bumps and scoops in multiple frequencies in the crucial low end range, with a lot of mud thrown in just for fun.  These get compared to Yamaha's famed NS10s a lot but do an A/B and you'll find these are better.  A look at the back and you'll see room control and EQ switches to tune your control room, plus choice of XLR or 1/4" jacks plus level control.  Don't spend $400 or more for a pair of these when these are essentially new in the box for just $275(HOLD-Rex B 3/4).  For more info click here for Yamaha.  

Vox V848 Clyde McCoy Picture Wah, (pic2).  Vox's recreation of the fame '67 Clyde McCoy "Picture" Wah-Wah.  Oddly enough, Clyde was a trumpet player but the vocal sounds of the wah-wah emulated the nuances of a mute moving in and out of a trumpet horn.  This unit closely follows the original circuit for the most part including an Italian-made Fasel inductor, but it's built on a glass-epoxy PC board instead of being handwired to a board.  The reissue also uses some additional buffering circuitry for better performance when connected to other effects or driving long cable runs.  Other enhancements include true bypass switch, AC adapter jack and a newly designed, custom taper potentiometer.  With original Clydes in clean shape approaching $1K, this is a good sounding alternative, in lovely condition, for a fraction; just $65. 

Line 6 Tonecore Verbzilla Reverb, (pic2).   Get the versatility of the old tube reverb units in a modern, great sounding stomp box.  The Verbzilla actually features a bunch of quality reverb tones including '63 Spring, Spring, Plate, Room, Hall, Chamber, Ducking, Octo, Cave, Tile, and Echo. It also features a handy Trails switch that lets reverb decay - or cut off  - when you bypass the unit.  Sells for $149 new; this one's mint in the box for $99.  

G&L Legacy - Sunburst with Tinted Maple Neck, (front-1 front-2) (back), (headstock), (trem), (case).  Beautiful Vintage Sunburst Legacy, barely played, with $260 in upgrades including gloss-tinted neck, tortoise pickguard and trem cover, and G&L dual fulcrum tremolo.  G&L's quality is without question.  When Leo left Fender, he went on to design and build guitars which were the evolved models of his famed Strat and Tele, and the quality has remained top-notch, even as Fender faltered at times.  Some players say these compare favorably to Custom Shop guitar.  While I'm not going to go out on that limb, I do think they're better than comparable Fender models.  Features include solid alder body, one-piece maple neck, 3 G&L Alnico single coil pickups, Nickel chrome hardware, G&L tuners, G&L Dual Fulcrum vibrato bridge, tortoise shell pickguard, and G&L molded case.  Controls include standard 5 position pickup selector,  volume, and G&L's  PTB system which allows you to cut bass and treble separately rather than a single "tone" pot.  This guitar is in beautiful condition with a low, comfortable setup and some extremely cool tones thanks in part to G&L's PTB system.  For a price that's comparable to Fender, I think USA G&L's are a much better value, especially this clean used one with no cosmetic flaws and perfect frets.  $750 includes original case and trem bar. 

2011 Custom Gibson ES-339 - Antique Vintage Sunburst, (front1  with flash), (back1 back2), (side), (headstock/neck), (back), (case cert).  Custom Shop beauty in collector's condition for the player looking for the 335 Dot look, tone, and feel, in a guitar that's smaller and lighter.  Gibson designed the 339 as a scaled down ES-335, altering the lines slightly so it doesn't look like a shrunken Dot and from the audience view it pretty much looks like a full size Dot.  The fact is, however, the body size is very close to the size of a Les Paul, both in width and depth, but yet it retains the tone of a Dot.  The body is laminated like a Dot, but they use a maple/poplar/maple laminate rather than all maple; the neck retains the solid mahogany construction.  For pickups Gibson chose the ’57 Classic Humbuckers that deliver full-bodied tone with rich midrange and singing sustain, and with the smaller body, this model is less prone to feedback at high gain levels.  It also has vintage style feature such as tulip-head Kluson tuners, nickel hardware, ABR-1 bridge, stop tailpiece, dot fingerboard inlays, and lacquer finish, which combine to give it the appearance of a '58 Dot. Gibson also made a few subtle improvements such as the output jack, now mounted on the side of the guitar instead of on the top, keeping the cable out of the way. The slim 30/60 neck has the slim, wide feel of an early ’60s Gibson, with an extra .030-inches of depth—perfect for today’s faster playing styles.  It also features Gibson’s new Memphis Tone Circuit, with 500K audio taper pots that operate with an interactive load that preserves high end as you turn down the volume.  The loading effect preserves the full-bodied tone with rich midrange while adding a very sweet bite.  Also turning back the volume knob is very smooth and you'll notice even increments with each number on the knob, rather than a dramatic drop off of most circuits.  You get a beautiful, open tonal spectrum at any volume.  They claim that during an A/B test with a vintage 335 "it’s virtually impossible to tell the difference between the vintage models and the new ES-339".  I don't have a $20K Dot to compare it to but from memory I will say that it can't be far off.  The smoothly polished frets allow for fast and accurate play, with less effort.  While it features Gibson’s standard 24 ¾-inch scale, it somehow seems shorter and you can readily perform stretches spanning seven or more frets from the fifth fret.  The smaller body size does not decrease the guitar’s resonance, plus it can be cranked up to even higher levels of output without feedback - it's resistance is right up there with Les Pauls and SGs.  This is the perfect semi-hollow guitar for solidbody players and with its vintage vibe and modern performance, the it's is a great all-around guitar for any style of music.  This guitar has a wonderful setup and plays as nicely as any 335 I've had, but it's much more comfortable.  These are fairly rare on the used market as they're marketed only through a small network of around 7 stores and online retailers.  With new ones selling for $2599, this is a sweet deal on a perfect ES-339 at just $1699(Change...HOLD-Wanda B! 3/1).  Includes the new style certificate with binder and custom shop case.  

2009 Fender FSR USA Highway One Telecaster - Desert Sand - w/upgrades and Case, (front-1  front-2), (back), (bridge), (headstock/neck), (trem).  Desert Sand has always been a cool color.  Going back to the late 50's Musicmaster/Duo-Sonics, and more recently with a number of USA models.  This particular guitar was one of a run of 225 pieces made for the European market, the last lot being bought buy a small Canadian retailer, which is where this one came from.  Other than the finish (and perhaps the neck which has some flame in it), specs were the same as a stock Highway One including alder body, Alnico 3 Hot Tele pickups (removed), 3-ply parchment guard, 70's style black/gold logo, "greasebucket circuit" which allows the roll-off of the tone control without adding bass, and jumbo frets on a modern fretboard radius.  Removed (pic) were the stock pickups, bridge, strap pins, replaced with a pair of Bill Lawrence's best, Hipshot USA bridge and compensated brass saddles, and Dunlop strap pins and locks.  The pickups were hand-wound by Bill around 7 years ago and cost $130 new which combined with a steel bridge and brass saddles, give this Tele more of the quack and sustain you want in a Tele.  It really sounds great.  Also includes the new Fender/SKB case with ATA latches instead of the stock gigbag.  Cosmetically perfect in appearance and this Desert Sand, a transparent color, looks like a nicely faded old blonde Tele.  With a stock Highway going for $729, here's one with better hardware and pickups, plus a quality case--in a very cool color--for less.  $649(SOLD-Local) includes original pickups in case you want to sell them or use in a project Tele.  

Oktava MK-012-01 Condenser Pair, the real deal Russian models*.  The MK-012-01 is a compact, high quality capacitor mic with interchangeable capsules to provide a choice of cardioid, hypercardioid or omni-directional polar patterns.  These are an excellent choice for acoustic guitar, piano, overhead drums, or vocals (when used with a quality pop filter).  Of the 3 different pattern options, the cardioid capsule is included with these, others are available from Oktava and their dealerships.  Each mic also includes a -10dB piece that goes between the body and capsule, when desired.  Appears to have seen little to no use and are in perfect shape.  Definite pro quality mics but priced well within the home studio budget.  $149/each or $275/pair.    Includes original hard cases with mic clips.   *Note:  Be aware of Chinese knockoffs.  Unlike the fake models being produced in China these are guaranteed to be genuine Oktava's.  Signs to look for are:  -10dB pad element, original sprung metal retaining clip, silver sputtered dimple, silver sputtered contact pin.  These mics are pre 2002 so no serial number but you can compare at Oktava's site and they check out in all regards.  

1988 Fender HM Strat - Blue Swirl, (front-1  front-2), (back), (finish), (headstock), (trem).  Note:  I finally created a page about first version HM Strats to help keep this page shorter.  Please click this link for more info.  I spent a lot of time researching the finish on this guitar and we're still not sure what it's called.  It looks like it could be one of the Blue Ice finishes on steroids.  It was a one-owner guitar though who claims it's stock except for fret dressing.  I'm calling it Blue Swirl in the absence of a real name.  In appearance it looks a lot like Jackson's "Eerie Dess" (pic), and is done by spraying a silver undercoat, and then additional color coats.  While the top coat is still wet, a sheet of plastic wrap or foil is placed on the body, trapping the paint between the body and plastic wrap.  This creates thin and thick areas which can look either geometric or random, depending on technique used.  An example of a more geometric pattern can be found on the rare Fender Firestorm finish (shown here).  Please note this isn't a foil finish, like the Paisley, as the wrapping is removed; the wrapping is only on the guitar long enough to create this interesting effect.  The guitar is 100% original and although not mint, no major flaws like heavy buckle wear, cracks, or finish checking.  It does have the typical wear on the unfinished fretboard which can be cleaned up with steel wool, but it comes right back.  As shown in this pic, Martin did some nice fret work.  It came to us with frets recently leveled (see frets on left), and while it played okay, after Martin crowned and polished the frets (see frets on right) it gave it the frets a nice silky feel and allowed a much better set up.  For a cool finish like this, especially with a maple board, a nice buy at $750(HOLD-Pat R AU 4/7).  Includes 90's Fender case in okay shape but missing the red badge from the front.   

1977 Gibson L-6 Deluxe, (front), (back), (headstock), (pickups).  One of the rather short-lived L-solidbody series which went through several changes during its '73-'79 run.  Despite a number of name players (Al Di Meola, Carlos Santana, Pat Martino, John McLaughlin, Keith Richards, Mike Oldfield, to name a few) who endorsed the model, it never really caught on and wasn't  big seller.  Considered by many to be the best Gibson solidbody ever made, it was reissued in 2011 in a version with a standard ABR-1 bridge, stop tailpiece, rotary tone selector, and 490R/498T humbuckers.  The original version featured Bill Lawrence designed "Superhumbuckers" which have been replaced on this guitar, likely a long time ago, by an old set of DiMarzio's.   I do have an old set of the Lawrence pickups in my spares (shown here) with the black covers which were correct for this year (earlier models had chrome).  Other than the pickups, this baby is all original and is a surprisingly good guitar.  Martin had it on his bench for a few hours and really enjoyed the tone of the all-maple design with these DiMarzio's.  The maple is unstained, which is the most popular color for this model as it's the one closely associated with Santana.  Features include contoured maple body that's an exaggerated LP shape, with a very deep cutaway for easy access to the top frets.  It's worth noting that the L6 was Gibson's first 24-fret model.  Other features are unusual and inexplicable "house"-shaped pickup rings, wide Schaller adjustable bridge without a tailpiece, strings-thru body, decal model/serial on back of headstock (used '75-'77), Gibson/Schaller tuners with Keystone buttons, screened logo on black-painted headstock, 3-piece maple neck, rosewood fretboard with MOP dot inlays.  Pickups are an old DiMarzio PAF double-cream in the neck with what appears to be an early version of a Super Distortion with black bottom and no line dividing the two coils.  They're excellent sounding pickup and, although we'll be happy to change to the Bill Lawrence for a slight charge, I don't remember liking the Lawrence as much as these.  Cosmetically, it's in very nice vintage condition as you can see in the pics.  Original low/wide frets are in great shape and with a very straight neck it sets up with commendable action.  For a quality USA Gibson, especially one that's rather highly touted, it's a nice buy at $799(HOLD-Robert N 3/25), including a hardshell case.  

2000 Rickenbacker 360CW Carl Wilson Limited Edition, (front), (back), (sides), (headstock), (output/serial), (cert.), (case/acc.).   (Note: Anything that appears to be a flaw is just digital distortion).   This has been on hold for "Paul D" for the past 11 months but he must have forgotten to tell me he changed his mind...  This is the Limited Edition model, one of only 250 6-stings made.  The 360CW is a tribute to the 1965 Rick 360 Carl Wilson played in the 60's, and as a member of the Beach Boys, was one of the most visible players of Rickenbacker guitars in that era.   Carl's 360 played an extensive role in creating the Beach Boys early sound and this signature model displays classic features that stand out from other vintage reissue guitars.  It's not a true '65 reissue but a composite of vintage and modern Ric features.  The rounded body style was introduced on the Model 360 in mid-1964.  With its single bound back, the 360CW differs from the original '64's double bound.  In addition, the rounded body style has thicker sides and the greater wood mass which alters the tone slightly.  Most importantly, the 360CW has a thinner top than modern production 360's, giving it a lively, resonant sound with a loud acoustic voice.  Features include:  Styled after a '65 360FG; Carl repro signature on the upper pickguard; Checked body binding; 15" semi-hollow body with hand-selected figured maple and bound back; 3-piece maple/walnut neck with African rosewood fretboard and 21 frets; neck binding; Special thin top for enhanced acoustic tone; 21 fret neck with vintage full-width inlays; vintage style square heel; two scatter wound vintage-style Toaster Top pickups with 7.4K ohm coils; volume and tone for each pickup, blend control, 3-way pickup selector switch; 24 3/4" scale; 1 5/8 nut width; 1 1/2 body depth; dual mono parallel output, Ric/Schaller "Kluson" style tuners; vintage reissue silver Tolex guitar case.  Collector owned and presents itself in impeccable condition, with a nicely flamed top and sides, and the best figured back I've seen on one of these, with a beautiful bookmatched quilt.  Look around the web and you'll see 3 of these for $3250, which seems to be the popular price.  This one has nicer woods than others that are available, immaculate condition, an absolutely killer player, all for $2700. 

1992 PRS Custom 24 - Goldtop, (front), (back), (headstock), (case).   A few months ago I was down to just a few PRS's and was desperately looking for a dozen or so to fill my shelf.  I've had good luck getting some nice ones in, including the harder-to-find Annapolis models.  These old-factory models were actually hand made, easily identifiable with the original small logo and short neck heel.  A lot of people incorrectly refer to Annapolis models as "pre-factory", the reason for which I haven't a clue.  Regardless, these guitars are widely thought to be superior to guitars built at the new Stephenville factory opened in '96, where PRS eliminated most of the hand-crafting in favor of CNC machines.  Features of this guitar includes maple cap over one-piece mahogany body, moon inlays, one-piece Mil-Com tremolo, Phase I locking tuners, and "Regular" (aka Standard) neck profile which is 1/16" more narrow than a wide thin/fat, and the same depth as the wide fat (1 21/32" nut, 27/32" depth).  Pickups have been changed to a Lindy Fralin 7.5/8.5 pair (link), plus McCarty switching (push/pull tone with 3-way switch).  Many players find the standard 3-way much more intuitive and it also gives you 6-tones instead of 5.  Original rotary switch and tone pot are in the case should you ever want to change it back.  The Custom 24, especially with the tremolo bridge, has a looser feel than a Custom 22, plus a "longer" neck, i.e. with the bridge and bridge pickup are set further forward in the body which means it has the same 25" scale as the Custom 22, but the neck extends slightly further from the body.  It's not as much a Les Paul feel, but a PRS feel.  At 21 years old this guitar has seen some use and has some cosmetic flaws (shown here) including a few "milky" finish spots on the headstock and back edge of the body, plus a small piece of clear coat missing from short side of the headstock tip.  There are no serious issues such as cracks and there's no finish checking; frets need no attention.  Whenever you play one of these older PRS's you can almost sense the meticulous human attention to detail as you're holding a guitar that will likely never be hand-crafted again.  Prices on Annapolis-era Customs continue to rise but they're still a good value, especially when they're cheaper than a comparable new one.  A better guitar, for less money.  Playability is excellent and these Fralins have a more traditional 'Burst tone than Dragons or Vintage Bass/HFS.  Nicely priced for an Annapolis model at $1999.  

2011 Gibson Les Paul Junior Satin White (LPJ-SWCH1), (front), (headstock), (back), (gigbag/docs).   This is a cool guitar.  To me this is the ultimate - an all-mahogany guitar, wraparound tailpiece, single P90, and volume/tone.  For hand-damping technique, there's nothing more effective, and comfortable, than this stud tailpiece.  The single-cutaway Junior debuted in '54 and by '58 it was replaced by a double cutaway version that no longer retained the Les Paul body shape.  Many players, me among them, consider the Junior the ultimate rock guitar.  People have asked if P90's are good for rock music and my reply?  Just listed to Leslie West on his old "Mountain" albums for one of the definitive rock guitar tones of all time...done on a 50's Les Paul Junior.  Mick Jones of the Clash, Frampton, and Bob Marley are a few others who chose these as a main axe but nearly every top artist has used one on their recordings.  Features include mahogany body with 50's rounded mahogany neck, vintage intonated wraparound tailpiece, dot inlays, angled headstock, 22 silver alloy frets, nitrocellulose finish, and what specs list as an ebony fretboard, which is very dark but it's more porous than most ebony I've seen.  Set up is better than factory with the action set low and the fret ends, which had Gibson's all-to-common sharp burrs on them, have each been hand-dressed.  The slightly chunky neck feels fast with this satin finish.  Offered in immaculate condition, although the plastic film was removed from the pickguard, but no playing time is apparent.  Knobs have been changed from dome to chrome dome, which is the only mod.  Gibson doesn't make this model any longer, replacing it with a "Junior Special" which has the "baked maple" fretboard and tuneomatic/stop bar instead of the wonderful wraparound tailpiece.  Compare this with the Billy Joe Armstrong signature Junior (shown here) and I'm not sure how you can justify paying over twice as much for the BJA.   How about this beatuy for $650(HOLD-Lori T 2/22).  Includes original gigbag with factory checklist, manual, and warranty.  

2001 Fender Custom Artist Series Albert Collins Telecaster, (front), (side), (back), (headstock/neck), (cert.), (case/etc.).  Fender's tribute to the late, great "Iceman", Albert Collins (pic), and his trusty '66 Fender Custom Telecaster which was outfitted with a Gibson PAF humbucker in the neck, control plate flipped around, and the bridge cover always in place.  Albert was the inspiration for many guitarists coming up in the 60's and 70's, including Hendrix and Robert Cray.  click here for a video sample of one of his later gigs.  Albert actually didn't use the neck pickup a lot, mainly for his "talking sections", where he would double his voice on guitar.  More often, he used it in combination with the bridge to get a more "funky tone.".  His signature tone was achieved by tuning up 1/2 step to F...minor(!), using a capo for whatever key the song was in, and, most importantly, "picking" with his thumb and fingers.  It was the piercing tone of his bridge pickup through a pegged out Quad Reverb that earned him the nickname "Iceman."  Back to this guitar.  The Albert Collins Custom Artist features a 2-piece double-bound lightweight, premium swamp ash body; maple C-shape neck with 21 vintage frets and 9.5" radius; custom Seymour Duncan '59 neck pickup, and a custom shop Texas Special in the bridge; American Vintage 6-saddle, strings-thru-body bridge; Fender/Gotoh vintage-style tuners; nickel/chrome hardware; custom "ash tray" bridge cover with hologram covering on top; Albert Collins signature on headstock; and vintage tweed case.  The Albert Collins was one of the more expensive Custom Shop signature models, with a list price of $5100, discounted to $4080 at America's biggest web dealer and store chain.  This baby is super clean, no scratches or dings, with just a hint of fret wear.  The modern radius and great neck allow for a low setup with easy bends, with a quality tone event with a sparkly clean tone - or with loads of gain.  In all, a great guitar that's a nice buy at $2199.  

Shure SM57 Dynamic Mic.  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.  This one's in well-used condition but still works perfectly and is just $59.  

Ibanez TS9 Tube Screamer.  One of the most beloved OD pedals ever, the TS9 does a great job of emulating the tone and feel of a tube amplifier.  This one's in average condition, with the label removed, a victim of velcro removal.  Works perfectly, sounds perfect, $59.  

Boss DS-1 with Seeing-Eye & Ultra Mods, (circuit).  Used by Vai and Lynch, you can't get a better endorsement than that.  Invented by Robert Keeley, the most respected pedal guru of today with more stars using his pedals than any other and rather than "in name only", these guys actually have them in their pedalboards.  The Ultra Mod turns a DS-1 into a "Marshall in a Box" for classic tones like AC/DC, Van Halen, and Steve Vai.  This mod incorporates Keeley's "Seeing Eye" mod so you get the cool extra LED lighting up with every note.  Outwardly, the mod includes a mini-switch to toggle between Seeing Eye and Ultra Mods, with an extra red LED drilled in the "o" of "Tone" graphics, and a bright blue LED replacing the stock red.   Click here for full specs and here for a bunch of demo's and comparisons.  I'm not sure if this is an actual Keeley, perhaps an early unmarked one, but more likely it was a DIY job by a tech, but it works perfectly and sounds killer.  Cosmetically, it's in roaded condition with misc. finish chips and bottom label came off along with some velcro.  These are usually on back order from Keeley but this one sounds great and is just $69(HOLD-Matt 2/22).  

LeCover Amp Head Premium Cover.  LeCover (www.lecover.com) builds top quality covers for amps and keyboards.  This one is in excellent condition and fits full size Marshall heads and similar other brands (26" wide X 9" high X 10" deep).  It is the "Premium" version ($25 upcharge) with full 1/2" padding.  Excellent condition and good protection for your prized head and just $29(HOLD-Don 2/20).   

1960's Kustom Thinline Electric Case, (repaired handle).  I've had some rare cases recently, Gibson L5S, Fender Starcaster, etc., but this is much more rare.  Ross estimates that only 2000-3000 guitars were built during their brief run '67/'68 and those numbers are reportedly generous, not to mention that it's likely a number of these were sold without case.  All of them I saw online were thinline hollowbodies (shown here with case) which seem to conform to this case, measuring around 16" lower bout, 12" upper bout, 11" waist, and 42.5" length.  Appears to be made by the same maker as 60's Fenders and could be suitable for other brands of guitars from this era.  Good vintage condition with all latches and hinges intact, with some rubs on the tolex but should clean up well.  Handle has been replaced with a similar style.  If you've got one of these rare Kustoms, here's a proper home for it.  $175.  

1985 Peavey Mantis, (front), (back), (headstock), (tremolo), (points).  In the mid-80's Peavey made a number of radically-shaped guitars including the Mantis, the Razer which looked like a Roland synth guitar, Rhoads-shaped Vortex, and wishbone-shaped Mystic. Most of these appeared around '83, and were gone by '86.  None of these achieved great popularity but they're very good quality USA made guitars that sell for a fraction of comparable Jacksons, Kramers, Robins, etc.  The Mantis looks like a cross between and Explorer and Flying V, with the lack of and upper horn and extended lower horn--plus a two symmetric points in the lower bout.  The body is a scaled down version and, such, it isn't ungainly to play as most pointy guitars.  Features include 24 3/4" scale with a rather unusual 23 frets, flat 12" fretboard radius, deep cutaway hardwood body with a very deep treble cutaway that offers exceptionally easy access to the top frets, Kluson "Peavey Deluxe" tuners, tilt-adjust neck with neck angle easily set without removing the neck or de-tuning the guitar.  The electronics are simple but unique:  Pickup is a high-output 12-pole humbucker wired to Peavey's patented tone circuit: With the knob on "10" it's single coil, rolling it back it blends it into a humbucker, and from "7" on back it's a tone knob. With this circuit you get the cool looks of a single pickup guitar, but many more tones than a coil tap switch.  Original tremolo was a vintage style with die cast saddles which has been replaced with a better quality solid steel Wilkinson vintage style with bent saddles, case hardened steel trem screws, pop-in arm with tension adjust, and staggered block string spacing.  The only other mod are the knobs, which have been changed to metal dome knobs with ruby caps that match the body.  Say what you will about Peavey's popular T-series from this era, but there's no denying a certain coolness about Peavey's radical guitars from the 80's.  For a player with an eye towards making a statement with their body shape, this one has the added bonus of a great neck with very low setup, and a versatile and good sounding electronics suite.  Original finish is in great shape, finished in a plum burst, with minimal flaws and no wear on the 3 points.  If you want to read more, the manual is online at Peavey or at ManualsLib here.  For an American guitar of this quality and rarity, this is a nice axe for $275, or add a hardshell Coffin brand case with tufted velvet interior for $75 more.  

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(Tent. Hold 2/15).  Includes original wood/tolex case with metal badge.  (Note: If you want a similar model in a distressed ESP Standard Series, I have one in stock). 

2008 PRS SE Singlecut, (front), (side), (headstock), (back), (gigbag).  As I've mentioned before, PRS and perhaps Brian Moore, make the best quality Korean imports on the market in my opinion. Fit and finish are impeccable, with excellent pickups and electronics, and good quality hardware. Most of all, I'm impressed with the fact that they have great necks that set up as well or better than most USA models. The PRS Singlecut SE, re-released after the foolishness with Gibson was settled, is a perfect example. This guitar blows me away in terms of looks, tone, and feel.  It's a joy to play with low action, super easy and smooth bends, and quality tone with excellent sustain and 3 distinct tones on the pickup selector. With a lot of guitars, most LP's come to mind, I never use the middle position as it seems to lack character.  Not the case with the Singlecut SE; it sounds great.  The Singlecut SE features a perfectly bookmatched and heavily flamed maple veneer over a maple cap and a mahogany back.  This classic blend produces gives the warmth and resonance with excellent bottom end - with plenty of high end snap.  Note that the top on this one is clearly one of the better ones - I've seen some of these with tops that weren't nearly as consistent.  It also features a wonderfully simple compensated wraparound stop tailpiece with large studs that is intonated well and does a great job of transferring the energy from strings to body.  The PRS-designed humbuckers sound excellent and touches like the moon fretboard inlays, headstock shape, and natural maple top binding make this look like it's USA brother but at around 1/4 the cost. Sells new at the super stores for $612 but this one is barely touched, 9.9 condition, and an excellent value on a guitar that's good enough to gig with at $419(SOLD-Steve S 2/15). 

1970s Gibson L5S Case.  Nice vintage condition.  Fits similar size such as L6S, etc.  Hard case to find.  $199.  

1970s Fender Starcaster Case.  Nice vintage condition.  With the offset waist and asymmetrical upper and lower bout (pic), I don't think this will fit any other Fender.  Extremely hard case to find.  $225(SOLD-Mark S 2/15).  

Wide Bout Solidbody Case.  Black tolex over wood with leather ends and white piping.  Large storage compartment and long neck rest.  Pic shows extra width with a Strat style inside.  Tits a 14" lower bout easily.  Top quality with nice brown velvet interior.  Excellent condition.  $115.  

1984 Taylor 510 Dreadnought w/pickup "Lemon Grove", (front), (headstock), (back),  (label/jack), (case).  Wonderfully warm tone from Taylor's original factory in Lemon Grove Calif., back when production was low (less than 800 produced this year).  Features gloss finish and all solid woods with a spruce top, mahogany back and sides, mahogany neck, rosewood fretboard, rosewood headstock veneer.  Other features include ebony bridge pins, gold Grover USA tuners, black/white top binding, bound back, bookmatched back with herringbone type strip, and quality under-saddle pickup with endpin jack.  At 29 years old this guitar has developed the sweet tone that quality acoustics develop over time.  It has been  played but not abused, with no cracks or problems.  The lacquer has turned a nice amber hue and the overall appearance is better than the pics.  Lemon Grove models are a should be good investment pieces and when you can get a good one for considerably less than a new one, that's a deal.  I consider it an exceptional value for a vintage Taylor at $1299(Tent. Hold 2/15).  Includes quality case which appears to be an older G&G.  

DigiTech RP500 Guitar Multi Effects Pedal with Case, (panel), (back).  Early model USA made, built before they moved manufacture to China. Yet another, around the 12th RP500 I've had and they've proven to be my hottest selling floor multi-effect  The RP500 is 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 stompboxes 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 (free download here) 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.   This unit, how mande in China, sells new in stores for $299 without case.  This early USA version is in immaculate condition, only $215 including original power supply.  Add this heavy duty gigbag (pic), which sells online for $39...for just $15.  Fits the RP perfectly and has plenty of storage for cables, power supply, etc.  Manual is downloadable - first link here.  

2012 Fender Tele-Bration Empress Telecaster, (front), (neckplate), (headstock/neck), (back), (case).  When Fender built the Empress Tele it's obvious they were going for what is probably the lightest series in Fender history, but as an additional benefit, the Empress body produced a Tele with excellent tone as well.  This lightweight Empress wood has long been used in the Far East for traditional stringed instruments such as the Japanese koto, and the tree eventually found its way to the Southeastern USA, from which comes this new super-lightweight Tele.  If you haven't heard of the new "Tele-Bration" series, Fender coined this term to honor the 60th anniversary of the Telecaster and, in its honor, is building 12 very special "Tele-bration" models 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.  Specs of this model include solid Empress body with gloss urethane finish in Vintage White; modern "C" Shape maple neck with Gloss Urethane Front and a Satin Urethane Back for a more natural feel; 9.5" radius maple fretboard; 22 medium jumbo frets; black dot inlays; 1.685" synthetic bone nut; Bi-Flex Truss Rod System; Hot Tele Single-Coil Pickups with Alnico 3 Magnets; standard Tele 3-way switch with Greasebucket Tone Circuit (rolls off highs without adding bass); Vintage Style 3-Saddle Strings-Thru-Body Tele Bridge; Knurled Chrome knobs; and single-ply white pickguard (online specs say 3-ply parchment but they're all single-ply white).  Tonally, this guitar is remarkably loud and has excellent sustain acoustically, with a sound that's very balanced with a slight mid-range bump and a nice round low end.  I especially like the look and feel of the neck, which sports a gloss finish front, with a satin back, so it looks great from the audience perspective, but feels great to my hand.  Cosmetically, the front, back, and neck are immaculate and the only flaws are a few finish chips around the edge which we can color match and lacquer over if desired - or leave it like it sits if you want the start of a Relic vibe.   Frets have zero wear and I'd say this guitar has seen only a few hours of actual use.  With a new Empress at $1399, here's a great playing one for just $950(HOLD-Rob C 3/12) and still includes a nice upgraded case - the brown USA Vintage '62 by G&G.  We will substitute the original molded case if that's your preference.  

Yamaha EZ-EG Midi Guitar, (front), (back), (back2), (cable).   Released in ca. 2005, and marketed largely as a training device, for which is scores high marks, the EZ-EG is a good choice for anyone who wants a guitar Midi controller or simply a walkaround guitar synth, accessing any of the onboard tone patches and built in speaker.  It features a genuine wood body, with nine guitar sounds, eight bass guitar sounds, banjo, shamisen, and grand piano.  For the advanced user, you're not limited to the onboard sound and you can simply use the guitar as a controller for your own keyboard or sound module, via Midi connection.  It uses a long tab for each fret position, rather than normal fretting, and it fingers in the same manner as a regular guitar, i.e. pluck or strum in the string area and fret the fretboard with your left hand.  Each fret lights up with bright LED's.  Strumming is touch sensitive, i.e. the harder you pick the string, the louder your tone.  It features 3 play modes:  Strumming: practice for right hand – chords change automatically;  Chord Training: practice for left hand – no strumming required, just make chord changes;  and Full Play - acts like a normal guitar.  In addition to Midi out, it features an audio out for headphone practice, which could easily be used as a guitar amp out with an 1/8" to 1/4" guitar cable or converter.  There are a bunch of great reviews at Amazon.  Click here to read some of them.  Although not marketed as such, from the reviews I gather than many of the users selected this model due to medical conditions.  Player with carpel tunnel, diabetes (sensitive fingertips), and back problems requiring an extremely lightweight instrument, have been thrilled with it. There are a bunch of YouTube demo's:  Honto ni, anata wa puro no musician desu (here);  here's one using an outboard Midi sound device.  There are a number of web resources for the EZ-EG and EZ-AG (acoustic model), including this one and a forum here.  I've had a blast playing with this unit.  Without the benefit of reading one of those black and white things I've easily played along with songs (even learned a song!), and became pretty adept at playing regular guitar including hammer ons/offs and tremolo bombs.  It's hard to beat in a fairly recent generation Midi guitar for $279(SOLD-Jay M 2/).  Includes USB/Midi converter cable.  Manual is available at Yamaha here. 

1966 Fender Coronado II, (front), (side), (headstock), (back), (features), (neckplate), (case).  A very untraditional guitar from Fender and probably their first real attempt (not counting the solidbody Jazzmaster) to get some of that Gibson business.  For around 15 years Fender had owned the solidbody market; Gibson the archtops.  With the advent of the British invasion, hollowbodies were gaining huge visibility, especially with the Beatles and their Epi Casinos.  Fender brought onboard German-born Roger Rossmeisl, of Rickenbacker fame, noted for using a German carve on hollowbody instruments.  You can see Rick influences in the checkered binding, and F-tailpiece.  The Coronado was a true hollow-bodied electric guitar, like the Gibson ES-330 and Epiphone Casino, without a center wood block in the body, as opposed to a 335-style "semi-hollowbody" that had a block of wood anchoring the top and back, running the length of the body.  A full hollowbody has one drawback, specifically being more prone to feedback than a semi-hollow.  On the up side, they body is more free to vibrate and they can have excellent acoustic properties, including better sustain.  It came in 4 models (plus some Wildwood models that followed) which included the "I" single pickup, "II", dual pickup, "XII" 12-sting, and bass.  I know I'll get questions regarding the serial number, "hey, 500,000s are for the 70's...", but just google Coronado serials and you'll see that there were a large run of '65/'66 Coronado's in the 50XXXX range.  This is an early model Coronado, characterized by checkered binding and chrome top pickups.  These single coil pickups were made by DeArmond, a company more famous for Gretsch pickups.  The bridge was a free-floating, non anchored, 'tune-o-matic' style bridge with a rosewood base, and it also has a suspended "F" tailpiece. The maple arched body is bound in checkered binding.  Other features include a large gold pickups bolt-on neck is bound and features a rosewood fretboard and large block inlays, dual F-holes are bound, headstock is black with a gold Trans logo, controls are dual volume and tone controls with chrome-top black knobs, with a 3-way switch on the upper treble bout, tuners are the common F-tuners, and it has a single string tree.  Perhaps the most visible use of the Coronado was by the decade's biggest star, Elvis Presley, as the only guitar featured in the movie "Speedway", which was a sunburst model (shown here), just like this one.  More serious users have included Dave Davies of The Kinks, Wayne Newton, Sergio Pizzorno of Kasabian, Graham Coxon of Blur, Jimmie Vaughan, and the Flaming Lips.  This guitar has been played sparingly in its 47 years and is in beautiful condition and 100% original.  It plays beautifully and has a pleasing tone that isn't prone to feedback at reasonable gain levels.  Includes original case by Victoria Luggage company and in this condition is an excellent value for the player or collector at $1399.  

1970s Schenker Tribute Gibson Flying V, (front), (headstock), (back), (fretboard), (pickups/body), (electronics/Gibson ABR-1), (inlays/binding), (case).  A tribute model made to look like one of the Schenkers black/white V, such as Michael's #3 (shown here).  This one has an age vibe with a yellowed finish, plus some natural aging seen in a few finish check lines (as shown here and here).  Before I go too far I'll mention that this one has had a headstock repair (shown here) with some stress cracks but the headstock wasn't broken off completely.  Other modifications include back of neck pickup cavity was enlarged (pic) just a hair, under 1/4" and one small spot in control cavity was deepened around 1/8".  Electronics have all been updated and the pickups are Smit's Classic Coils (link), Alnico 2 (tone = round top end, deep lows), with gold covers.  These are quality hand-wound pickups, selling for $230/pair with gold covers.  Hardware is all gold, although the bridge and tailpiece are original Gibson and the Grovers appear to be original as well.  I have to admit that I'm not sure what year this guitar is.  The serial number is a yellow ink-stamped 6-digit in the 500,000s, which would put it at a '74 to '75 but other specs don't jive for that year.  My guess is that it's a refin, factory quality though, and the stamped serial was added at that time.  The mini block inlays with bound neck, would appear to make it a 1979 (example).  To the best of my knowledge Gibson hasn't made a Schenker model for either Rudolph or Michael, although they apparently made a small number for the Japanese market from what I've read on the web.  We can easily take this one step closer to a Schenker tribute by changing to Strat knobs but those boys have owned so many V's, it's quite possible that one of them did have gold dome knobs and gold hardware.  Frets are low but that was the fashion in the 70's so I'm guessing they haven't seen excessive playing time.  It plays very nicely, has a quality tone, and a vibe which will put all eyes on you.  Taking into account a solid repair, it's nicely priced for the player at $950(HOLD-Shawn T 5/3). 

2000 Fender American Deluxe Stratocaster - Sunburst, (front), (headstock), (back), (trem), (case).  Another 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.  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, and raised chrome logo.  Back in '00 Fender hadn't yet changed to the rounded neck heel, which followed in ca. '03, and the LSR nut, which followed in '01.  This Strat has a great neck which allows a very low setup if desired.  It is a first year model is in excellent condition for $999.  Includes Fender molded case and trem arm.  

2006 Epiphone Elitist Les Paul Standard Plus, (front1 front2), (headstock), (back), (neck profile).  If you've never played an Elitist, all you need to know is that they're not your average Epi; not your average Gibson for that matter, and I might argue that they're among Gibson's finest, somewhere between their Custom Shop and Nashville production.  They are advertised as "instruments that approach custom shop perfection".  This is a 2006 model, in fact the 100th guitar built at the Fujigen factory in '06.  Crafted with premium woods, fitted with American pickups and circuitry, and more hand-built than most production guitars, this guitar looks killer with playability and tone that's eclipses most Gibson Standard Plus models.  Features include a perfectly figured and bookmatched flamed maple top with wide flame, bookmatched mahogany back, one-piece mahogany neck, rosewood fretboard, Grover tuners, nickel hardware, bound body and neck, trapezoid inlays, 1-11/16" bone nut, 50SR USA humbucker rhythm pickup, 60ST USA humbucker treble pickup, a USA electronics consisting of dual volume pots, dual tone pots, and a 3-way switch.  Overall in lovely condition with only a few very minor flaws such as minor finish checking around a pickup (shown here), very minor hardware discoloration, and a 1/4" finish chip that we've lacquered over and buffed out perfectly.  Frets are nearly new and it has seen little playing time.  There aren't many of these on the used market.  Players who own them tend to keep them.  Plus, due to the relatively high price, not a ton of Elitists were sold.  Many players lamented, "I can get a LP Studio for that money", but anyone who has played both models would inevitably conclude that the Elitist is clearly a much better guitar.  The neck has a very thin profile, perhaps a bit smaller than a Gibson "60s slim", set up with action as low as you could possibly want.  For the money I'm not sure any other Les Paul can beat this.  $649/$699(HOLD-Ted P 2/4) with gigbag/hard shell case respectively.  Includes 70's Gibson case with latches, hinges, handle intact, but missing a small piece of tolex on the top.  

MXR Carbon Copy Analog Delay.  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 $50 less than a new one; just $99 for this quality analog. 

2002 Gibson Explorer Pro, (front), (back), (headstock), (case).  An elegant version of the classic Explorer design, with upscale features such as bound neck, ebony fretboard, mother of pearl block inlays, and gold hardware - all in a scaled down body with a lovely flamed maple top.  This model isn't to be confused with the recent Explorer Pro, which featured the smaller body size, but an all-mahogany body with rosewood board and dot inlays - or the '04 Guitar of the Week (weeks 4 and 13) - none of which share all of these features.  This model shares more of the elegance of a Les Paul Custom.  For those who find the Explorer a bit ungainly due to the body size, this smaller body is much more comfortable, and the balance is perfect.  It features a 500T in the neck; 496R in the bridge, one of Gibson's most popular combination over the past 2 decades.  Cosmetically there are lots of scratches in the clear coat (shown here) but the original frets are nearly immaculate, the set up is excellent, and the front is very presentable.  The tone is thick and lush, but with a nice crisp attack.  Even if you're not an Explorer fan, this one is a real eye catcher and the smaller body might convert you.  Nice axe for the player at $1099(HOLD-Shawn T 2/1). 

2007 G&L Legacy - chunky neck & Humbucker, (front), (back), (headstock), (neck profile), (trem/DiMarzio), (case/etc.).  If you like chunky necks on your Strats, here's a nice one.  I've never seen a G&L with a thick neck profile like this and it has a cool reverse headstock to boot.  The neck is a D-shape, which has more shoulders than a C so added to the depth, it feels very substantial.  It's not as big as a '56 "Boat" neck, but certainly large by modern day standards.  One mod has been done to this guitar with a DiMarzio humbucker installed in the bridge position but it's split, so you get your normal Strat tones out of position 2 thru 5.  G&L's quality is without question.  When Leo left Fender, he went on to design and build guitars which were the evolved models of his famed Strat and Tele, and the quality has remained top-notch, even when his old company faltered at times.  Some would say these guitars are close to Custom Shop quality.  I can't argue that.  It plays so fine; sounds so fine.  Features include solid alder body, one-piece maple neck, 2 G&L Alnico single coil pickups with a DiMarzio dual rail (guessing a Tone Zone)  in the bridge, Nickel chrome hardware - Schaller locking tuning keys and G&L Dual Fulcrum vibrato bridge, mint green pickguard, G&L molded case with certificate signed by Mrs. Leo Fender.  Controls include standard 5 position pickup selector,  volume, and G&L's  PTB system which allows you to cut bass and treble separately rather than a single "tone" pot.  This guitar is in beautiful condition with a low, comfortable setup and some extremely cool tones thanks to the variety of pickups and the PTB.  For a price that's comparable to Fender, I think USA G&L's are a far better value, especially this clean used one for $679(SOLD - Jason P.).  Includes original case, trem bar, certificate, and warranty. 

2010 Heritage 25th Anniversary H150, (front1  front2), (back1  back2), (headstock), (case).  Limited run to commemorate Heritage's 25 years in guitar building.  The Anniversary model isn't radically different (truss rod cover, Vintage Sunburst upgraded top, Duncan pickups) from their regular H150, but it's  beautiful guitar regardless.  Heritage used an Old Style Burst on this guitar which coincidentally, is the exact same color Gibson used on their 25/50 Anniversary Les Paul.  Specs include: Single cutaway solid body with solid carved curly maple top and solid mahogany back; cream bound top; with cream pickguard; 17 degree headstock angle; one piece mahogany neck; 24 3/4” scale rosewood cream bound fretboard with 22 frets; real mother of pearl trapezoid inlays; Tonepros tuneomatic bridge; Tonepros stop bar tailpiece; chrome plated Seymour Duncan '59 bridge and neck pickups; two volume and two tone controls with selector switch; 25th anniversary truss rod cover.  Heritage was formed by a number of ex-Gibson luthiers who didn't want to uproot their families when Gibson's Kalamazoo factory moved to Nashville.  Unlike most start-up companies, they had the expertise right from the start and, smartly, continued building the same guitars, primarily Les Paul, ES-175 and ES-335 style.  They have a staunch following who believe that they make better Gibsons than Gibson does.  It is widely believed that Heritage are constructed in a much more hand-made fashion (note: no CNC machines), and with much greater individual attention to detail.  Part of this increased attention to detail is a result of Heritage being a smaller operation than Gibson, and some of it is likely a reaction against the cost-cutting practices that developed at Gibson under Norlin's ownership.  They're fretwork and setups are perfect, aided by a Plek machine, which Gibson now reserves for only their most expensive models.  Remarkably, Heritage prices are on par with Gibsons, and this H150 was only around $2500 new.  This guitar is in beautiful condition with a fantastic setup, excellent tone, and very nice figuring in the maple.  I didn't get the certificate for it, but it's probably available from Heritage for those who need such things and at $1350(HOLD-Don H 2/3), I've priced it as much for the player than collector.  Includes quality SKB wood/Tolex case.

A Few Pickups:

1993 Joseph Zaukus Tele Thinline (Brooks & Dunn), (front), (3/4 view), (back), (neck), (fretboard detail), (headstock), (pickups), (case).  Beautiful Woods - Unusual Neck Profile.  A truly stunning guitar representing an early model (serial #23) by Joseph Zaukus, who was a local guy from DC/Baltimore when I was still living in Maryland.  His shop is now located in Nashville.  Check out Joseph's site (link) to read a brief bio and click here for an example of what he's building currently.  I love this guitar so much I could never get motivated very much to sell it but after "finding" it recently I realized that I hadn't played it in a few years and it's time to find it a new home.  Some interesting history on this guitar - it was loaned to Ronnie Dunn and was his main stage guitar for the latter part of Brooks & Dunn's winter tour '94 and he used it on Dick Clark's New Year's show that year.  He liked it so much that he ordered his own custom guitar from Zaukus by the time the tour was over.  Here are two pics (pic1...pic2) of Ronnie playing it.  You'll note that at the time it was a 3-pickup model but at some point later it was changed to a standard dual-pickup.  Whoever made the change, be it Joseph or somebody else, knew what they were doing as the pickguard is custom made for this guitar and the basic outline of the two guards are identical.  I need to mention the unusual neck profile - it's a standard 25.5" scale but the fretboard is a very round 6.25" radius with a narrow nut, just 1 9/16".  The neck is very round in the back and is perfect for players with small hands.  It is also the finest flame maple neck I've seen as nice as it looks in the pics, it looks better in person.  The intricate vine fretboard inlay is made of genuine mother-of-pearl and abalone.  The fretboard is made of genuine Brazilian rosewood.  As shown in this pic, the top/back/sides are built from solid piece of maple, with the edges of the body and F-hole left unstained, PRS style, which makes sense since he developed some of his skills while working at PRS.  The center core is made of basswood.  Joseph mentioned that the neck and body were built from raw wood - no prefab parts!  Pickups are a DiMarzio vintage style Tele bridge pickup with cloth wires and brass bass, model DP173 "Twang King", with a VanZandt Strat pickup (wound by W.L. VanZandt himself), in the neck, controlled by a 4-way switch (starting from the front position:  N&B parallel, N, N&B series, B).  This set up is reminiscent of Fender's old JD Tele and like the JD, provides a choice of Strat or Tele tones.  The body is copper shielded inside to keep things quiet.  This is a great playing Tele with great Tele twang and a fat Strat neck tone as well.  It is excellent for Country, but quiet enough for rock and blues.  If you're looking for one killer looking, great playing, excellent sounding Tele...and one with an interesting history, this one definitely fits the bill.  Serial #23, only $1799. Includes an old TKL case that's a little rough around the edges but structurally sound.  

1985 Fender Contemporary Stratocaster Deluxe - Sherwood Green, (front), (back), (headstock), (bridge/controls), (nut), (trem arm) (catalog). Top of the Fender Japan line for its day, the 27-5700 in Sherwood Green.  During this era Fender Japan was supplying around 90% of Fender's stock until the American Standard started shipping in the fall of '86.  The Contemporary Deluxe was the top of the line from Fender Japan with noteworthy features like the System III locking tremolo system, locking nut with an ingenious thumb lever to tighten or slack the nut tension, Fender's new Ping tuners which would soon be used on the American Standard, Schaller humbucker mounted directly to the body with accompanying mini-switch to split the humbucker, side-mounted barrel jack, and TBX (Treble Bass Expander) tone control, also used on the American Standard. Other features include:  alder body, bolt-on maple neck, 22-fret rosewood fingerboard with pearl dot inlay, blackface headstock, single-ply black pickguard, Schaller humbucker with 2/1 screw attachment that's screwed directly into the body, single volume and TBX control, 5-way switch plus mini-switch for 7 tone settings, and chrome hardware.  The System III was really a rather ingenious piece of engineering.  First off, it uses a special tremolo arm with the short shaft being square and the tip screws off to reveal an Allen wrench.  The reason for this is that, adjacent to the strap pin is an Allen socket, which raises/lowers the bridge, making minor adjustments a breeze.  The square shaft was used as it operated a locking mechanism in the tremolo to convert it from tremolo to fixed bridge with just a 1/4 turn of the bar.  Both of these are very practical features and I'm surprised that Fender never pursued the technology in any models that followed.  This baby plays great and is an excellent and versatile sounding guitar.  The Schaller humbucker is the same model used in the Esprit/Flame models and one of my favorite pickups of all time. It is capable of producing great Strat tones plus a warmer, fatter tone via the Schaller.  Cosmetically, it's not the museum piece of my Pearl White (which is on hold for my Australian customer if I can find his email...) but it's in very nice shape for 28 years with the worst flaws being 3 finish impressions in the clear coat, shown here.  The catalog page above is one that I used in 1985 when I was working at Hotlicks Guitar Shop.  I noted that our discount price for the HH model was $599 and I'm sure the HSS was $649.  For a Contemporary Deluxe in nice vintage condition, it's a very fairly priced at $599(HOLD-Pat R AU 2/10), including recent Fender case or a non-Fender Tolex case.  Also includes original trem bar which a lot of guys part out for $60-$75.  For more on the Contemporary line I've created a page that covers the info above and a bit more:  Contemporary Stratocasters. 

Phantom USA MK VI, (front), (headstock), (back), (case).  Phantom Guitar Works builds excellent replicas of the old Vox guitars from the 60's.  This model is a reissue of the famed Vox MK VI, originally made in England, Italy, and USA, at various times, and a few models such as the Custom 24 and 25, and White Shadow, were made in Japan in the late 80's.  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.  There's not a lot of info about the company on their web site so I don't know how much, if any, of these guitars are NOS Vox parts but the bottom line is they're very good copies.  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.  The three single coil pickups have a character of their own.  Not at all Stratty, with more warmth and fatness.  Oddly enough, the owner of the Vox name can no longer call their models Phantom or Teardrop, as those names are owned by Phantom Guitar Works.  Anyhow, this is a very well made guitar with excellent tone and a wonderful setup, and a distinct vibe.  No hollowbody has the vibe of a Gretsch; no solidbody has the vibe of a Vox.  Phantom only sells direct to the public and with the case (must be purchased with every guitar), it sells for $950 new.   This one's in dead mint condition, plays great, sounds great, and is possibly the coolest 60s vibe you can get for $729(Tent. Hold - Dave C 1/30). Includes Phantom case, polishing cloth, and plastic case, keys, and wrenches.  

2009 Fender Highway One Stratocaster - Glossy Finish, (front), (back), (headstock), (heavy trem block), (gigbag or case).  Barely touched, just a few hours of use, and great playing Strat.  Highway One's offer the best value in a USA Strat featuring a nitrocellulose lacquer finish on the body, preferred by many players, but since it's a satin finish they're cheaper to manufacture than a standard urethane gloss finish.  By using a satin finish and supplying a gigbag instead of a hardshell case, Fender was able to offer an American Strat that's the same quality as the American Standard, but priced around 25% less.  This one is the "upgraded" model which initially (May/'05) featured the "greasebucket circuit" which allowed the roll-off of the tone control without adding bass, followed a year with the larger 70's style headstock, a change to jumbo frets, and new wiring which included a reverse wound/reverse polarity pickup for hum canceling in positions 2 and 4.  Other specs include:  Alder body with black nitro finish, maple neck with modern "C" Shape profile, maple fingerboard with modern 9.5" Radius, 22 Jumbo Frets, parchment plastic parts, vintage tremolo with stamped steel saddles, Fender Ping tuners, Hot Single-Coil pickups with Alnico 3 magnets, Master Volume with Tone-1 controlling the neck pickups - Tone-2 controlling the bridge pickup (rather than middle on vintage Strats).  The thin nitrocellulose lacquer finish lets you hear more of the body's natural tone.  Although it doesn't require the buffing of a poly finish, nitro is a rather expensive finish to manufacture, mainly due to its long drying time and it's rarely found on a guitar in this price range.  This one is better than new with the body painstakingly buffed out to a gloss finish so it looks more like a vintage Strat as shown here in this side-by-side shot with a stock flat satin finish on the right.  Superb setup with no dead spots and classic Strat tone from these Alnico's.  These were selling at $729 new but this one has seen virtually no playing time and with the buffed out finish its an fantastic value at $550 with original gigbag or $89 more to substitute Fender/SKB case with TSA latches.  

2010 Fender Highway One Telecaster - w/upgrades, (front), (back), (headstock/locking tuners), (two pickguards), (gigbag or case).  Barely touched, just a few hours of use, and great playing Tele.  This one's also been upgraded with a set of Fender deluxe locking tuners and genuine Fender MOTO black pearl pickguard (or original parchment if preferred).  Highway One's offer the best value in a USA Tele featuring a nitrocellulose lacquer finish on the body, preferred by many players, but since it's a satin finish, they're cheaper to manufacture than a standard urethane gloss finish.  By using a satin finish and supplying a gigbag instead of a hardshell case, Fender was able to offer an American Tele that's the same quality as the American Standard, but priced around 25% less.  This one is the "upgraded" model which initially (May/'05) featured the "greasebucket circuit" which allowed the roll-off of the tone control without adding bass, followed a year with a 70's logo, jumbo frets, and new Alnico 3 pickups.  The new pickups offer a rounder sound with that familiar Fender sparkle plus a great high-gain tone.  Other specs include:  Alder body with black nitro finish, maple neck with modern "C" Shape profile, rosewood fingerboard with modern 9.5" Radius, 22 Jumbo Frets, parchment pickguard, vintage style 3-saddle strings-thru-body Tele bridge, and Fender Ping tuners.  The thin nitrocellulose lacquer finish lets you hear more of the body's natural tone.  Although it doesn't require the buffing of a poly finish, nitro is a rather expensive finish to manufacture, mainly due to its long drying time and it's rarely found on a guitar in this price range.  Superb setup with no dead spots and a nice lively body.  These were selling at $729 new but this one has seen virtually no playing time and with the upgraded tuners it's a nice value at $550(HOLD-Jason S 2/4) with original gigbag or $89 more to substitute Fender/SKB case with TSA latches.

2006 USA Fender Precision with Graphics, (front), (back), (detail), (headstock).  Rush Fans or anyone who likes pro airbrushed graphics - check out this beauty.  The artwork was inspired by the Album Cover to Rush's 1984 LP "Grace Under Pressure".   It's a total pro airbrushed graphic - as good as any graphic finishes I've had.  Entire body is sealed in a professionally applied poly clearcoat (same as they use at the factory only several coats thicker) so it will be just as durable if not more durable as any new Fender.  It was taken all the way down to 2000 grit for a finish that is like glass.  The graphic is front and back, and even wraps around the front and back (pic here).  This was purchased new for the express purpose of applying the graphic finish so it is a brand new bass, never been played, and the custom job was just done so its a virgin finish with no nicks or dings,  It comes with our great in-house setup that inevitably plays better than factory.  The graphic was hand-painted by Shadoe McKee at Beyond Custom Guitars .  Shadow's artwork has appeared on guitars by countless musicians worldwide. This is the current model Highway 1 P-Bass with CBS era logo, factory Badass II bridge, and 60th Anniversary badge on the back of he headstock.  Offered is a new SKB case that fits perfectly as well as a nice Sure-Lock strap with Sure-Locks that work on virtually any existing strap pin.  If you're looking for something truly unique and beautiful, this one's priced around what you'll pay for a stock Highway 1 w/case, which is an incredible deal for a graphic of this quality.  Just $750 original deluxe gigbag or $799 with a nice SKB Freedom case.  

Graph Tech FerraGlide Saddles for Vintage Fender.  Centered intonation screw for Fender Vintage style bridges (see below for American Standard/Series).  High quality replacement saddles for your vintage-style Strat bridge.  You're probably used to the black graphite saddles Graph Tech has made for years.  These are the same idea - reduced string breakage and increased sustain - but they look more like stock saddles. Each saddle insert, is impregnated with Teflon, the slipperiest substance on earth, which eases the grip between the saddle and string, spreading the stress over a greater portion of the string, thus eliminating string breakage. Teflon is 500% more slippery than graphite and is impregnated throughout the String Saver material, so its lubricating properties will never wear out.  New, $39. 

Graph Tech Tusq Saddles for Vintage Fender.  Centered intonation screw for Fender Vintage style bridges (see below for American Standard/Series).   High quality replacement saddles which offer lower friction for less string breakage without losing tone.  To my ears these seem to even out the highs for a more mellow, balanced tone.  $25.

Graph Tech Graphite Saddles for Vintage Fender.  Centered intonation screw for Fender Vintage style bridges (see below for American Standard/Series). High quality replacement saddles which offer lower friction for less string breakage without losing tone.  To my ears these seem to even out the highs for a more mellow, balanced tone.  $25.

Graph Tech Graphite Saddles for Modern Fender.  Offset intonation screw for American Standard/American Series style bridges.  High quality replacement saddles which offer lower friction for less string breakage without losing tone.  To my ears these seem to even out the highs for a more mellow, balanced tone.  $25.

2002 Fender American Deluxe Stratocaster - Candy Tangerine with Deluxe Locking Trem, (front), (back), (headstock), (Noiseless PU's), (Deluxe Trem), (case).  Very nice American Deluxe finished in rather rare Candy Tangerine, a finish that Fender only produced for a few years and like Candy Red, is a complex finish to apply with a white undercoat, followed by silver, and finally the tangerine.  This one feature a fairly rare "deluxe locking tremolo" by Floyd Rose which was a $100 upcharge on American Deluxe's and was offered on the Strat Plus, Strat Ultra, American Contemporary and from '00 to '07, the American Deluxe.  Many players believe it is the absolute best bridge to use on a hot-rodded Strat.  It doesn't have fine-tuners, but since it doesn't use a locking nut it doesn't require them.  It's a direct retro-fit for any American Strat and uses a snap in tremolo arm which features a hex on one end that matches the saddle lock screws.  Unlike the Strat Plus that preceded it, 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 in 2002 and still preferred over many players today due to their traditional tone - without the hum of vintage single coils.  Other deluxe features include polished chrome locking tuners, abalone dot inlays, rounded neck heel and neckplate for ease in playing high notes, fret and nut work that's even more detailed than the regular American Series, and raised chrome logo.  '00 was a transitional year for the nut on this model, with the catalog showing an LSR roller nut for the Fat Deluxe or Floyd non-locking trem - or a standard nut for the regular SSS model.  This guitar is in lovely condition with just a scratch in clear coat, that's only visible at certain angles (as shown here); lettering on the pickups is intact and the plastic is still on the back cover.  Frets are very clean and it has an excellent setup.  Very tidy Deluxe and with the Deluxe Trem, a nice deal at for $1050.  Includes Fender molded case and pop-in tremolo arm.

2005 Fender American Deluxe Stratocaster - Candy Tangerine, (front), (back), (headstock), (Deluxe Trem + S1 Switch), (case).  Same model as above except by 2005 Fender had switched to their new SCN (Samarian Cobalt Noiseless) pickups, with S-1 switching which provides 10 pickup combinations via the 5-way and push-push volume control (switching options).  Other differences between these two are the maple fretboard on this model and the stock deluxe trem instead of the Deluxe Locking trem.  Cosmetically, this one's very clean all over with the only noteworthy flaw being a miniscule finish chip where you can see the silver undercoat (shown here).  This guitar has perfect frets and a fantastic setup.  For versatility, playability and cool looks, it's hard to beat at $1050.  

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 34 years old?  Man, if that doesn't make you feel old... These 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-bolt 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-bolts 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, 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, frets have been dressed but are playable (I'm contemplating a refret).  It's a good sounding Strat with a nice vintage medium output and excellent sounding pickups, especially the neck which has a wonderful growl when the gain is cranked up.  It's in excellent player with a neck that's fairly chunky for this era.  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 $1299, or $1499 with a pro-refret.  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.  A few have the wood/tolex case, which was optional during this era.  

2003 Zakk Wylde Signature Les Paul Custom - Bullseye, (front), (back), (headstock), (features), (case).  Absolute killer playing guitar, especially if you like the original "Fretless Wonder" from the 50s and 1st reissue from the early 70's .  The frets on these classic guitars were very low, which made it very easy to finger.  This Zakk had the frets filed down (shown here) to a similar height, and my man Martin put a nice crown on them after the pic was shot.  This is a quality Korean model from the Saien factory, a definite cut above the Chinese models.  These are extremely impressive and priced just a little higher than a stock Epi LP Custom.  Immaculate bulls-eye paint job, and all the LP Custom features such as multi-ply binding, gold hardware, pearloid block inlays (and not cheesy looking brushed chrome ones), and the classic split diamond headstock overlay.  What really sets this apart though are the EMG HZ 4 and HZ4A humbuckers, which are the passive version of the EMG81 and 85.  It also has an extremely chunky neck which has an unfinished feel as found on Zakk's prized LP.  If you're not into big necks, you don't want this guitar, but the bare (only a sealer coat) baseball bat feel is perfect for my hands.  This current Chinese model currently sells online at $699 without case or bag, but was $799 when they were made in Korea.  This one is in excellent condition, other than a few clear coat scratches on the back (pic).  It has a great neck which allows for an excellent setup, especially with the low frets.   If you like the feel of the old Fretless Wonder, this one will save you the time or expense of converting on an is a nice value on a quality Korean Zakk at just $529, including a quality wood/tolex case.  

Fender Pro Junior #2, (top).  Early USA model.  In recent years I've had a variety of hand-wired boutique 10" combo's and a bunch of the recent budget 5-waters by Epi, Vox, Fender Champion 600, etc.  The hand wired boutique combo's sound great but they're expensive; the budget combos, well, you get what you pay for.  Dollar for dollar, it's hard to beat the Pro Junior for quality tone in a solidly built amp.  With simply a volume and tone control, the Pro Junior won't waste any of your time trying to dial in the "perfect" tone.  Just crank it up and let 'er rip.   The Pro Junior is powered by a pair of EL84's putting out 15 watts, but 15 *tube* watts is quite loud, along the lines of a 35 watt solid state, only better sounding.  It also features a pair of 12AX7 preamp tubes.  With a fairly heavy Fender/Eminence 10" speaker, this amp carries the guitar spectrum very well, with sufficient lows as to sound like a "real" amp, not just a practice amp.  Put one of these on a barstool, put a mic in front of it, and you'll have the whole club jumping.  Designed to work with your guitar's volume - sounds clean with your guitar turned down and gets dirtier as you turn up your axe.  The look is very much vintage Fender, with classic black tolex, vintage style badge, vintage style handle, chrome panel, and chicken head knobs.  The new Mexican-made Pro Junior sells new for $394 ($589 list) and it appears to be the same except for the speaker out jack on the new model, and they also changed the panel to black with white knobs which, to me, only detracts from the vintage vibe. An excellent sounding amp and hard to beat at just $265.  

2005 Martin D-28 with Pickup, (front), (back), (headstock), (sides), (Piezo battery/output jack), (case).  Making its debut in 1931, the D-28 became hugely popular with C&W and bluegrass players and later with rockabilly, folk, and pop artists.  The D-28 is the "face of Martin guitars and is the most widely imitated acoustic in history.  The D-28 gets its tone and power from solid woods, traditional Martin bracing style, and large dreadnought body shape.  It's tonewoods include a solid Sitka spruce top, solid rosewood sides and back, solid mahogany neck with striped ebony fretboard, and striped ebony bridge.   Other features include white body binding, natural finish top, black pickguard, 1-11/16" nut width, standard 25.4" scale length, low profile neck shape, small maple bridge plate, checkered (Style 28) back inlay strip, black & white Style 28 rosette, white/black multi-ply body binding, chrome enclosed gears, and gloss finish.  An excellent sounding D-28 with very good projection and a balanced tone, with a setup that's lower than your average Martin.  Cosmetically, it's in great shape other than a few side cracks - invisible from the outside but cleated on the inside (shown here) - plus a few marks around the bridge, shown here.  Other than that, there are no buckle/button scratches, perfect frets, and overall and extremely clean guitar.  This one also has a professionally installed Martin Thinline Gold+Plus Natural pickup installed with the battery mounted to the neck block and end-pin jack.  The D-28 currently sells new for $2399, around $2599 if you want a Thinline pickup installed.  An excellent value on a quality Martin at just $1499 - or $1399 if you don't want the pickup.  Includes original Martin thermoplastic case, unsigned warranty, manual, and assorted paperwork.  

2005 National ResoRocket Steel Resonator w/Cutaway and Lollar, (front), (side), (back), (headstock) (label), (case).  National has always been "the" builders of resonator guitars.  Going back to the early Tricones in the late 20's, the National tone is unmistakable and the standard for all resonators.  The ResoRocket has its roots in the early models but with modern enhancements for today's player.  Most notably, the upper bout has been modified with a cutaway to provide easy access to the upper frets.  When I play a National with a traditional body, the upper frets are so hard to reach that they're nearly useful except for slide work.  It also incorporates a redesigned coverplate pattern to complement the distinctive Tricone-style grill work.  Features include steel body (front/back/side) with matte finish, pearloid overlay peghead with engraved logo, National tuner, hard rock maple neck, bone nut, rosewood fretboard, Ivoroid fretboard binding, mother of pearl fretboard marker, .106/.039 frets, 9.5 hand spun resonator, maple biscuit, 10.25" upper bout, 14" lower bout, 3.125" body depth, 1.825" nut, 25" scale, 8 lbs. 14 oz. weight, hardshell case.  This one also has a factory-installed Lollar pickup with endpin jack so it sounds as good plugged in as it does acoustically.  This baby is in excellent condition, with a pro setup that's easy on your fingers.  The tone is perfect, loud and clear, with no extraneous rattle or annoying frequencies present.  New price on these with slimline pickup is $3K-$3350.  Save some bucks on this one - just $2100.  

Martin S-0 Soprano Ukulele, (front), (side), (back), (headstock) (tuners), (gigbag).  The superior quality Martin S-0 Ukulele delivers classic Hawaiian sound thanks to its solid woods (mahogany top, back, and sides). It's also constructed using mahogany blocks and a biscuit neck joint. From the hand-rubbed finish to the bracing, this is a ukulele with true Martin Features include: standard Uke size (soprano), one-piece solid mahogany top, 0-style rosette pattern, solid mahogany side and back, special shaped 0-Uke solid mahogany neck, Corian nut, solid/square/tapered headstock with raised gold foil logo, morado fretboard with 12 frets, 1 13/32" nut width (1 13/16" at 12th fret), hand-rubbed urethane finish, mahogany bridge, Micarta saddle, quality Gotoh tuners with white knobs, interior paper label.  Click here for a good demo from GearWire.  As mentioned in the video, what really sets the Martin apart from the glut of Asian imports is the richness and focused sound of the S-0, the much improved intonation, and the quality of tuners.  I have uke's that sell for under $50 but they're almost toys when compared to this model.  The S-0 was made in Mexico and sold in stores in the low $300's when new.  This one's in mint condition and is a quality instrument for just $199(HOLD-Chip).  Includes Martin gigbag and paperwork.  

2008 Fender American Vintage Hot Rod '57 Stratocaster, (front), (back), (headstock), (body/neck marking), (electronics/body), (case).  The Hot Rod '57 combines classic looks of a 1957 with its thin-skin nitrocellulose lacquer finish over two-tone sunburst, 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.  Stock pickups for this model in '08 were American Vintage 57/62 but these have been upgraded with a set of Custom Shop Texas Specials, with a hotter bridge pickup.  Pickups are the only mod on this guitar.  Other features include American vintage tremolo, Fender/Gotoh vintage tuners, single ply white pickguard, and vintage tweed 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 plus.  Cosmetically it's in nice overall shape other than 2 minor finish chips by the neckplate and buckle scratches (shown here), which are in the clear coat only.  Lists at $2399 and sells at discount for $1699 but this beauty is just $1099.  Includes G&G/Fender tweed case and trem arm.

2000 Gibson Les Paul Jr. Lite, (front), (back), (headstock), (case).  Fairly rare guitar, having been made only for a few years ca. '99-'01.  The more common model, the "Jr. Special", was a single-cut model patterned after the mid-'50's Junior, while this "Jr. Lite" is patterned after the double-cut ca. '60 Junior.  I don't think Gibson gave much thought to the names since neither of them have the single pickup of a Junior, nor the bound neck of a Special - plus the "Lite" double cut is probably a few ounces heavier than the singlecut model.  What really sets this one apart though is the deep cutaway on both the treble and bass sides, which makes upper access easier.  Both models share all the same features other than the body shape including, gloss finish body/neck/headstock, mahogany body, mahogany neck with '60 slim taper, rosewood fretboard with mini-trapezoid inlays, Gibson and "Les Paul Model" screened logos, black top hat knobs, ABR Tuneomatic bridge, 3-way selector, and dual volume/dual tone controls.  Pickups are stock Gibson P100's, which are a stacked P90, without the noise of a single coil.  Cosmetically there's some buckle scratches on the back and a few minor finish impressions but nothing bad and frets are near perfect, allowing for a very comfortable set up.  I got this with a ca. '80 vintage Gibson case which is included for $659(HOLD-Michael V 2/26) (or $599 w/gigbag).  

1993 PRS Custom 22 - Whale Blue 10 Top and Birds, (front), (side), (back), (MOP inlays), (headstock), (pickups/cavity), (case).   I'm always on the lookout for older PRS's and always excited to find another one.  Specifically, old-factory models when they were actually hand made, easily identifiable with the original small logo and mother of pearl inlays along with more substantial differences.  A lot of people incorrectly refer to these as "pre-factory" which would indicate that Paul built over 30,000 guitars in his garage, ignoring the Annapolis factory which was used '85 to '95.  These guitars are widely thought to be superior to guitars built at the new Stephenville factory opened in '96, where PRS eliminated most of the hand-crafting in favor of CNC machines and went to cheaper fretboard inlays and tuners.  As shown in the bridge pickup cavity, this one is finished in Whale Blue, but as is typical of all old PRS finishes, it has faded somewhat.  Features of this guitar include Dragon Bass and Treble pickups with white paper stickers, 5-way rotary selector, master volume, master tone, wide-fat neck taper, mahogany neck, Indian rosewood fretboard with genuine mother of pearl bird inlays, mahogany body with a "10" maple cap (indicated by "10" impressed in back of headstock).  The Custom 22, especially with the fixed bridge, has a stiffer feel than a Custom 24.  The 22 has a "shorter" neck, i.e. with the bridge and bridge pickup are set further back in the body which means it has the same 25" scale as the Custom 24, but the neck doesn't extend as far from the body.  It's very much a Les Paul feel, but with much easier playability in the upper range, not to mention a wider selection of tones.  Although 20 years old this one's in lovely shape and judging by the near-perfect frets, it hasn't seen a lot of playing time.  Whenever you play one of these older PRS's you can almost sense the meticulous human attention to detail as you're holding a guitar that will likely never be hand-crafted again.  Prices on Annapolis-era Customs continue to rise but they're still a good value, especially when you can get a nice one cheaper than a new one.  A new CU22 with "10" and the cheaper "open" birds lists for $4590 and sells at discount for $3050-$3400, this lovely old factory model is just $2299.  These have proven to be excellent investment pieces for the collector - but for the player, it's cheaper than a new one AND a better guitar.  

Carvin V3M Mini Tube Head, (panel), (top), (back/footswitch), (back panel).  The best mini-tube head I've had, the V3M is essentially a 50W version of the V3 100W head, except in a package that's around 1/2 the size and 1/3 the weight.  With a quad of EL84 tubes (plus four 12AX7 preamp tubes) it delivers as much power as you'll need for any venue with an incredible tone and lush analog reverb.  Best of all you can run it at 50W, 22W, or 7W, to allow the sweetest tone with the power tubes running wide open, to suit any venue from living room, studio, club, or concert stage.  This one comes with the optional footswitch to give you channel control at the front of the stage.  You can switch the channel to classic rock with deep metal crunch to clean to something in-between - and then kick in the Boost for lead passages regardless of channel.   Front panel controls include Master Volume; Master Reverb; Channel Select switches (1&2); Select & Channel 3 switches. Each of the three channels has controls for Drive, Volume, Presence, Bass, Mid, Treble, Intense/Thick (2 channels) switches, Intense/Soak (Channel 3) switch and EQX switches for Channels 1-3. Rear Panel controls include Power Mode switch (50/22/7 watts); Impedance (4/8/16 ohms), dual speaker outputs, Line Out Cabinet Voiced, Effects Loop (send/receive jacks), Master Boost adjustable control, Footswitch jacks for FS44L or FS22 footswitches, Voltage Select (120V/240V) switch. Hearing is believing - check out Carvin's 8-minute (link) and 15-minute demos (link).  This head is in excellent condition, having seen very little home use, and never roaded.  With a list price of $1299 ($799 factory direct), this is a lot of amp for the money.  Better yet, get this barely used one WITH optional ($39.60) 4-button footswitch, for just $529(HOLD-Scott D local). 

Atomic Reactor 112 Tube Combo with POD 2.0 and Floorboard, (top) (top2), (POD), (floorboard stock), (side/back), (effect holder & compartment), (eff. loop/voltage select), (manual).  One of the coolest amps I've seen in a while and the best sound I've ever heard from a POD 2.0.  Atomic Reactor amps are made specifically for the player who prefers a modeling processor, but wants a grab and go combo with no extra wires to hook up and a safe way to transport and play a gig.  No more multi-effect processor falling off the combo, or worn out cables and sockets from frequent straining.  Atomic makes various templates to fit most modeling units into the docking station (POD, POD XT, Behringer V-Amp, Vox Tonelab, M-Audio Blackbox, etc.).  This one comes equipped with a POD 2.0, as well as the large floorboard with 2 expression pedals.  In addition to safety and ease of use, the main attraction of this unit is that it sounds excellent, with a quality speaker, well-built cabinet, and all-tube power amp using a pair of 6L6GC power tubes and a 12AX7 preamp.  It also features a stereo effects loop as well as voltage select to work on US or EU current.  There are a number of YouTube demo's, here's a good metal lead (fast forward to 1:00 min. recommended).  Click here for some Harmony-Central reviews, where the 112-50 received a commendable 4.5/5 stars from multiple reviewers.  I've heard bands play live with zero backline, nothing but a POD on a mic stand run through monitors, and it sounded great.  The AR112-50 takes it up a huge notch with the warmth of a tube amp, and much more direct sound for both the audience and player.  This unit sold new for $599, for just the amp.  I'm offering the amp, POD 2.0 already installed, Line 6 wide floorboard with long stage cable, and manual in a nice binder - all for $450(HOLD-Mike W 1/16).    

Celestion G12H30 70th Anniversary 12" speaker.  Players love the tight bottom of the G12H 30W Anniversary, and this 16 ohm model is perfect for the plethora of low-powered amps on the market today, most of which require a 16 ohm load.  You can also use with 8 or 4 ohm amps.  A 30W speaker is able to break up at reasonable levels, compared to a 75w or 90W model which has to be played at ear-bleeding levels to break up.  If you're looking for instant improvement in your Epi Valve Junior or similar, this one's in excellent condition and just $99.  

2008 Don Grosh ElectraJet Custom EJ-40, (front), (back), (headstock), (cert./specs), (case.).   Super clean and barely played.  This is one extremely cool guitar, refreshingly, not another Strat or Tele clone.  Don Grosh guitars are built with meticulous attention to detail and quality tone woods.  Building under 300 guitars a year Don keeps his quality control higher than nearly every brand made today.  Very versatile - a pair of DiMarzio P90s and alder body are capable of a wide variety of tones, for virtually any type of music.  Its truly original and innovative design combines classic, vintage styling, with a current flair, sort of like a modern day Jazzmaster.  Featuring master-grade, tone-tapped woods and ultra-thin nitro-lacquer finish, it has beautifully complex harmonic clarity and a full acoustic voice.  Extremely well balanced when strapped on, with a superb set up, this guitar is a joy to play.  Unlike the Standard, the custom Electrajets come made to order.  This one was ordered as follows:  alder body finished in authentic gloss black finish, oil-finished maple neck with Indian rosewood fretboard, medium/large roundback neck (.85" X .95"), 1 5/8" nut, 6105 tall/narrow frets, aged vintage dots, 10" radius, Gotoh vintage tremolo, Kluson locking vintage tuners, tortoise pickguard, cream DiMarzio P90 pickups, 3-way switch with center position hum-canceling, and amber speed knobs.  This guitar was collector owned and exhibits zero defects or signs of previous use, although in the right light you can see the typical body seam lines caused after the finish settled in.  For fans of low serial numbers, this one's #40.  With a new one costing $2699, this is a smoking deal on a practically new one, priced nearly $1000 less than new; just $1750(SOLD-Geo M 2/7).  Includes vintage-style G&G form fit case. 

2003 Gibson '54 Historic Les Paul Oxblood - Brazilian Board, (front), (headstock), (back), (pickups/bridge).   Commonly referred to as the "JB Les Paul" or "Unofficial Jeff Beck Model", this was a faithful, albeit not relic'd, copy of Jeff's famed refinished Les Paul, shown on his "Blow By Blow" and "Wired" albums (pic from Bacon&Day LP Book).  As most of you are aware, Gibson stopped using Brazilian rosewood all together in April of 2003, so there are only a handful of Historics which are genuinely true to the original.  Prices on early 2003's, be they R4, R6, R7, R8, or R9, have continued to climb every year since '05 and if you want a Braz board, be ready to pay up.  About this model:  To stay true to the Beck guitar, this beauty features Schaller tuners (later ones featured Schaller's with the" Gibson" stamp), open coil pickups with tan rings, and no writing on pickup selector.  It also uses my personal favorite tailpiece with just a single wraparound bridge/tailpiece for the ultimate in simplicity and nothing is more comfortable or effective for palm muting.  While the finish looks black, in bright light you can see that it's actually a very dark Oxblood.  Other distinguishing features of the R4 Oxblood are a very substantial neck and an extremely thin finish which is very tone-friendly.  Pickups are excellent sounding Burstbucker 2 and 3.  Please note that there are extra tuner holes where a set of Grover tuners once resided, I'm guessing in an attempt to make it a pseudo-authentic "Jeff Beck Model", which had the tuners switched at the factory, but this model should have had only the Schaller's.  It's a minor issue but one which is good news looking for a very high end Brazilian R4 at a player's price.  Other than the tuner holes it is obvious that it has been played very sparingly - perfect appearance other than the tuners and one tiny pin prick in the clear coat.  Accessories include custom shop case with certificate, serialized hangtag and all the other loads of vintage paperwork, polishing cloth, braided cable, etc.  This is a rare guitar, only the 4th one I've ever had and only the 2nd Brazilian, and is truly an exceptional player, medium weight, and very resonant.  I don't think Gibson is offering the R4 Oxblood or any other R4's any longer, so whatever is circulating is all there is.  You might remember this guitar as I sold it last year, for $4500.  Look around the web and you'll see most '03 Brazilians Les Pauls around $5K-$6500.  If you don't mind extra tuner holes as found on the official JB, you'll be pleased with the savings. Just $3200(HOLD-Carlos 1/30) for this wonderful R4 Oxblood.  Note:  Gibson took it down from their site, but here's a screenshot of the 2003 Brazilian matrix that I downloaded 7 years ago (link).  This one's #095; the Brazilian run on R4's went up to #150.  

2006 Martin OMC-28M Laurence Juber Madagascar Rosewood Custom Artist Edition, (front), (headstock), (back1 back2), (cosmetic features), (case).  A fantastic finger-style guitar.  We were impressed with it's remarkable sustain, that seems to ring indefinitely, like a hammered cymbal.  It has a very bright tone and, very rare, bass and treble notes are perfectly balanced in both projection and sustain.  This isn't your D28 "cannon", but that's not what finger style is all about and in that arena, it has plenty of volume.  From soft passages to hard strumming, each note is clear and distinct, and the tone is quite complex with lovely harmonics that fill the room.  Chords feel very powerful and, as you'll note in the video's below, fingerboard slaps yield stunning harmonics as well.  Martin's regular production guitars are consistently good, but their Custom models are in a class by themselves, more like the Martins of the 60's and before.  The quality of this guitar comes down the careful craftsmanship - and top premium tone woods.  Adirondack Spruce is the cream of the crop while Madagascar Rosewood is the closest you can get to Brazilian in both beauty and tone.  Madagascar trees are very small and it is extremely difficult to cut full 1/4 sawn backs.  It has all of the attributes of the old Brazilian Rosewood with brilliant, deep colors including (red/orange, red/brown, brown, and purple/brown, with striking black line patterns.  It has a clear ringing tap tone that contributes a fast response and remarkable clarity, perfect for OM-size guitars.  It is becoming extremely hard to find today.  To those who aren't familiar with Laurence, his most visible gig was as guitarist for Paul McCartney and Wings, but also has a very big following as a solo artist.  Martin first released a signature model in '02 with the OMC-VLJ, and then in '04 with two more Ltd Ed models (Brazilian and Indian), until the release of this model in '06-'07.  This guitar is #53 of the limited run.  Features include 000-14 Fret Cutaway Body, Solid Adirondack Spruce Top, Style 28 Rosette with Old Style Wood Fiber Inlays, OM Top Bracing Pattern with Braces made of Solid Adirondack Spruce - Scalloped 1/4'', Solid Madagascar Rosewood Back and Sides, HD style Zig Zag Back Purfling, Grained Ivoroid Endpiece with Inlays of Black/White Wood Fiber, Grained Ivoroid Binding, Fine Herringbone Top Inlay, B/W Wood Fiber Back Inlay, Select Mahogany Neck with Modified V Shape, Bone Nut, Solid Headstock with Diamond/Square Taper, Madagascar Rosewood Headstock with Large Old Style Logo, Grained Ivoroid Heelcap, Solid Black Ebony Fretboard, 15-1/4" body, 1 3/4'' Nut Width, 2 1/4" Width at 12th Fret, Polished Gloss Finish Back and Sides with Aging Toner Added to Top Finish, Polished Gloss Neck Finish, Solid Black Ebony Bridge, Standard Belly Bridge, 2 1/4'' Bridge String Spacing, 16'' Radius Compensated Bone Saddle, Waverly Nickel Tuners with Butterbean Knobs, Fossil Ivory Bridge Pines with Black Dots, Interior Label Signed by CF Martin IV & Laurence Juber.  For demo's of the LJ in action, click here, and here, with the same kind gent playing at around 2:30.  With a list price of $5799, the OMC-28M sells new, if you can find one, for $4599.  If you've been searching for a new one, you're probably striking out.  This one is the next best thing.  Totally flawless condition with a low set up that most players will appreciate.  Super nice buy, $1800 less than new, at just $2799(HOLD-Jon C).  Includes top of the line Geib style 533E Tolex case with crushed velvet lining, as well as unsigned warranty, and manual.

Taylor SolidBody Custom Walnut (SBC-1), (front-1) (front-2), (back), (headstock), (features), (case).  For those of you who haven't had the joy of playing one of Taylor's fine line of solidbody guitars you might want to consider this one. Taylor has never been guilty of chasing all the latest trends and they waited around 30 years before building their first solidbody models. The line consists of 3 basic models, the Classic, the Standard, and this top of the line Custom with a beautifully figured and bookmatched walnut top, diamond pattern inlays, and ivoroid binding. Features include with beveled single-cutaway sapele body with contoured back; sapele neck with ebony fretboard 15" fretboard radius; 22 frets; Taylor-designed hardtail aluminum bridge; single bolt "T-lock" neck joint Taylor standard tuners; 24.875" scale; 1.6875" nut; Progressive Diamond Pattern inlays; neck and body purfling; gloss finish on body, neck, and headstock.  Electronics consist of pair of Taylor "Style I" humbuckers with a master volume and a special master tone that acts like a traditional control for first two-thirds while the last third peaks the mids. 5-way switching consists of: 1-Full neck pickup; 2-Inside coils of the neck and bridge in parallel (skinny neck tones); 3-Full neck pickup with the inside coil of the bridge pickup; 4-Inside coil of each pickup in series (fuller and fatter than position 2); 5-Full bridge pickup.  This model retails for $3098, selling discounted for $2299.  This one appears to have seen little to no playing time and looks like a new floor model - but for $1000 less than new.  $1299(HOLD-Rob C 1/15) takes it.  Includes Taylor case that hugs the body on all sides.  

Tech 21 NYC Sans Amp GT-2, one of the best, most versatile pedals ever.  With the GT2 you can create your own rig in seconds. Easily achieve the most sought-after tube amp sounds, and entirely new ones as well. Choose amplifier type, modification and speaker cabinet/mic placement configurations. You can easily mix and match specific sound characteristics instantly, without buying a few dozen rigs to achieve the tone. The GT2 is a truckload of great amps in a single, simple pedal.  A little known secret is running the GT2 directly into your mixing board.  Our guitarist used to carry one of these as a backup to his amp and it was called into service on several occasions.  The result was a guitar tone that was better than his usual backline set up.  There are a bunch of YouTube demo's - here's a good example (link).  These are available directly from Tech 21 for $189 but this used one's in very good shape, works perfectly, and is a great pedal for $99(HOLD-Ed L 1/9). 

Tech 21 Double Drive 3X MOD, (close-up).  The Double Drive 3X - with a Private Stock custom MOD - has been revoiced for more aggressive hard rock and metal tones and therefore not specifically recommended for classic rock or blues rock. It has a tighter low end for more chunky bass and a wider level taper for smoother control. This custom-mod version offers a more "amp-like" distortion as opposed to a "pedal-like" distortion and is a good choice for players with amps that are lacking. This model also lets you store three custom sounds, even on the fly, by simply tweaking the knobs and double-tapping on a footswitch. DRIVE A controls the amount of Class A power amp output stage distortion (like a Vox AC30), rich in even harmonics. The amount of harmonics is dynamically controlled by the input level and their ratio by how hard you pick. DRIVE A/B controls the amount of Class A/B power amp output stage distortion (like Fender or Marshall), rich in odd harmonics. The signal path of Drive A runs INTO the signal path of Drive A/B, resulting multiplication, rather than addition, of the distortion to achieve a cascading effect. Click here for a demo with knob tweaking.  With a list of $215, these sell new for $179. I have a few new in the box for just $129. 

Boss RV-5 Digital Reverb,  Thought by many to be the best digital reverb made, at least in stomp box form.  Sounds as 90% as good as the finest rackmount units at 1/10th the price.  Following the RV-2 and RV-3, the RV-5 is the newest and most powerful of Boss' popular RV series with six of Boss’ best reverbs in an all-new stereo effects pedal. New reverbs include convincing spring reverb emulation and a high-quality gate reverb, plus an all-new Modulate mode for spacious detuned reverb sounds.  One of the cool things about this reverb is the "Time" control, which lets you adjust the reverb decay.  You can use a thick wash of spring reverb, for instance, but unlike most amps, which turn into a big mush, you can set it to 1 second or so. There are a bunch of YouTube demo's; click here and take your pick.   New these are $149 but this nice used one's just $99. 

2005 Fender Artist Series Eric Johnson Stratocaster - Sunburst, (front), (back), (headstock), (dates), (case/etc.).  Beautiful first-year model in collector's condition!  In my humble opinion, Eric Johnson Strats are the best signature models Fender has 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.  These guitars inevitably set up incredibly and this one is no exception, with very low action and no fretting out on 3-fret up-bends.  Although 8 years old, this guitar appears to have seen little to no playing time and you wouldn't think twice if it were hanging amongst the new 2013 models.  Like most signature models, if you're collecting, nothing will top a first year model.  First year Claptons, SRV's, Becks, etc., consistently sell for $100's more than later model years.  If you're contemplating buying a new one for $1899 ($2599 list) why not get this barely touched first year model, set up to perfection, for less.  $1599 includes original case with ash tray bridge cover, leather strap, vintage cable, polishing cloth, sealed spray & wipe kit, serialized hang tag, and assorted paperwork.  

2000 Fender American Series Stratocaster - Sunburst w/Upgrades, (front), (back), (headstock), (case).  First year American Series, in beautiful condition and all original except for two noteworthy modifications:  front and back plastic has changed to white pearl, which looks good on a sunburst body and, more importantly, pickups have been upgraded to a set of Vintage Noiseless, which were used in the American Deluxe during this era and are noted for having the vintage single coil tone, but without the hum.  It had one small finish chip on the bottom edge that Martin touched up as to be invisible and there are no noteworthy flaws anywhere and a fantastic low set up.  I love these early Noiseless pickups, but if they're not your thing, we can change to a new set of '69's or SCN's for a slight charge.  Beautiful guitar, great player, and with the pickup upgrade, better than stock, all for $799.  Includes original case and trem arm.  

Germino Classic 45 Head (optional Cab (listed below), (panel), (top), (back), (stock pics: chassis  circuit).  "As new" condition.  One of the finest boutique makers of fine amplification, Greg Germino builds his amps one at a time, with top notch construction, the best components and materials, and engineered to deliver, arguably, the best Marshall tone available.  The Classic 45 is Germino's take on Marshall's original amp, the JTM45, a true classic in the annals of rock tone.  The CL45 can run on 6L6GC's (currently installed), KT66's, or with a re-bias required, even 6V6's.  If you're looking for the Clapton Bluesbreaker tone, this is your amp.   The design is much the same as that amp, only with better components and years of trial and error have tweaked the circuit to perfection.  Each amp is personally hand build, hand-wired of course, using the finest parts and materials. Spot welded aluminum chassis, PEC  2 watt mil spec potentiometers, heavy duty Carling switches, Cinch tube sockets, Cliff jacks, BCR, ARS and F&T electrolytic capacitors, “Sozo” brand coupling capacitors and carbon film resistors mounted on a hand drilled turret board completes the interior layout of components. Original diameter copper stranded wire is used for all wiring. Each amp is laid out and assembled as an original JTM-45 would be.  Just like the original, the amp nails the "Beano" era Clapton, AC/DC, or early ZZ Top.  It goes from an amazing clean tone to the best crunchy overdriven sounds imaginable, with remarkable bottom end, incredible frequency response and exceptional 3D balance.  Like other Germino's, the Classic 45 takes pedals extremely well and is not overly compressed sounding.  At 45 watts output this is a very gigable amp in medium sized rooms but please note that it's likely too loud to open it up in smaller clubs, unless an attenuator is used.  For full specs, inside pics, reviews, and sound clips, click here for Germino's site.  For ten reviews on Harmony-Central, where it received an overall "10" from all responses, click here.  ...And for a few video clips/demo's, click here for YouTube.  This head sells new for $2200 when you can find one but like most labor-intensive boutique amps, they are regularly on back order.  This one, however, is available, in mint condition and just $1539(SOLD-Duane 2/14).  

Germino 4X12 Cab, (stock pic - inside).  Not many of these around.  I get in a lot more Germino heads than cabs so if you want the perfect cab for your Germino head, or simply a top notch 4X12 for any amp, here you go.  Everything Germino builds is top quality, whether it's a head or cabinet.  Germino's 4X12 is hand-built using as a pattern two original Marshall cabs from 1968 and 1969.  Made from Baltic Birch ply with finger jointed corners for strength.  Baffles and back panels are made of Baltic Birch as well.  Stainless steel hardware is used throughout in assembly. Grille cloth is original style basketweave that is salt and pepper in color, obtained from the original supplier in the UK that Marshall used in the late 60's and early 70's. Loaded with UK Celestion G12M's, it sells new for $1150.  Get this mint 4 X 12 for less than the price of a new *2 X 12* at just $799.  

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 excellent condition.  Don't plunk down $99 for a new one when you can have this nice used one for just $65.   

1970's Sola Sound Colorsound Wah-Fuzz-Straight, (pic2), (pic3), (circuit).  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 very 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.  

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(HOLD-Rob C 12/30) and includes the upgraded Fender Tolex case, in similarly beautiful shape, and pop-in tremolo arm. 

Korg Kaossilator Dynamic Phrase Synth.  Unbelievable tones in this little thing.  A lot of old-school fat analog synth tones with grit added to taste, cool built-in drum machine, bass-keys-drum pattern and tone changes simultaneously while moving your finger across the pad, realizing "talk box" effect...these are a few of the things that struck me as soon as I plugged this unit into my amp, and I was getting around very well without reading a single line about operation.  Don't let the look fool you - this is a synth.  No keys, no midi, but a synth nonetheless.  There are a load of features associated with this unit and rather than try to list them here, click here for all the info from Korg.   Click here to see a demo on many of the sounds and looping features, and here for a demo from "The Yellow Album", a collection on iTunes of 14 songs, all  recorded entirely on the Kaossilator, straight to the line outs, with no other effects or editing.  List price is $250, I have a few of these for just $119(HOLD last one-Mark D 1/9).  

Korg Kaoss Pad miniKP Effects Processor.  Cool sounding, compact, and easy to work.  Most fun I've had with a palm size processor ever.  Without reading any user info, I plugged in an IPod, then into an amp, and I was doing amazing things just by moving my fingertip across the touchpad.  There are a load of features associated with this unit and rather than try to list them here, click here for all the info from Korg.   Click here to see a cool performance video, and here to see some street folks messing around with it.  List price is $250 - I have a few of these for just $99. (Hold 1 for Mark D 1/9; others available)

1997 Gibson SG Special - Cardinal Red with Ebony Fretboard and EMG's, (front), (headstock), (back), (ebony board), (case).  Bang for the buck winner in the SG line.  The SG Special provides the classic SG tone, but without the cosmetic features of a Standard, it's a better bargain.  It features an un-bound neck, dot inlays, screened logo, and uncovered pickups, but is otherwise the same guitar.  Its all mahogany construction with unmistakable beveled edges gives it that classic silhouette and warm SG tone that has helped define the sound of rock, most notably with Angus Young.  This guitar is part of Gibson's "All-American" series, which Gibson promoted in the late 90's and is identifiable by the USA flag on the back of the headstock.  One of the nice features of this guitar is the ebony fretboard, usually reserved for higher end guitars such as the Les Paul Custom.  Ebony was hit or miss on SG's during this timeframe and from my experience, more were made with rosewood.  The lightweight, thin body, and deep cutaways make it one of the most comfortable guitars to play.  Pickups have been upgraded to a new set of EMG81's (link), which is EMG's highest output pickup.  Other features include 22-fret neck, dot inlays, 1-11/16" nut width, 24-3/4" scale, ABR-1 bridge, stop bar tailpiece, 5-ply pickguard, vintage-style Gibson Deluxe tuners.  The neck is well rounded and more chunky than the '60 thin taper, but not as chunky as a 50's style.  There are some cosmetic flaws but nothing horrible and no cracks or repairs.  Overall it's seen very little playing time as it has perfect frets and no wear in the usual areas.  The only other mods are cosmetic, including amber knobs and a cream pickup selector ring.  For more info click here for Gibson's site.  Don't confuse this with the faded series - this gloss finish model lists for $1665, $500 more than the Faded SG, plus neither comes in a gloss red finish, which was discontinued years ago.  If you're looking for a real SG and not worried about a few minor cosmetic flaws, you can save big time on this great playing used one.  $650 includes Roadrunner featherlight case which provides excellent protection, without the weight of a standard hardshell.  (Note: I have another of these in Black, also with EMG's, on my Gibson page).

PICKUP DAY!!! 

2004 Gibson Les Paul Studio, (front/back), (headstock), (pickup option), (case).  Traditional Les Paul with no satin, no "worn", no burned maple.  I've seen a recent trend in pro bands on TV shows - more and more players are playing Studios than ever in the past.  Perhaps it's because Gibson isn't as free and easy with free guitars and players are having to actually pay for them now, or some players just want the understated look of a Studio, or perhaps the Alnico II humbuckers fit today's music better.  For whatever reason, the Studio offers the best value in a gloss finished Les Paul and if you don't mind giving up some body and neck binding, prices are around 40% less than a comparable condition Standard.  Features include solid mahogany body with maple cap, medium depth rounded neck profile, rosewood fretboard, 490R and 498T Alnico II humbuckers, dual volume and tone controls with 3-way selector, Tuneomatic bridge with stop bar tailpiece, Gibson Deluxe tuners, gloss lacquer finish, and chrome hardware.  This guitar is original except for one upgrade, namely the bridge pickup has been changed to a DiMarzio Super Distortion (description), which is a true classic in rock music as it was the first pickup offered by Larry DiMarzio when he started building pickups in the early 70's.  It's a high output pickup and is especially good at overdriving the front end of tube amps.  If you don't want the DiMarzio, an original 498T can be installed at no expense.  A new black Studio with gloss finish is running $1319 but this one's in excellent condition with a killer setup for just $899 PLUS that includes a case that's much better than recent models - the good old Canadian-made brown case with pink lining.  It is a far better case than the current white-lined black cases.

2009 Charvel USA San Dimas Style 2 with 80's San Dimas Spec Neck, (body), (back), (headstock), (neck), (case). I've had this complete body listed for a while and found out that I was sitting on the proper neck, without even knowing it.  95% of necks won't fit this body since it has 80's San Dimas specs, i.e. a wider butt with.  The body is an original USA Style 2 Model 2H Tele shape, in beautiful condition, which was discontinued in favor of the Japan-made "Pro Mod" series.   It's an alder body with Seymour Duncan pickups (JB bridge and '59 neck), genuine Floyd Rose Tremolo, Dunlop strap pins, 90's Jackson Professional neckplate and tuners, and black hardware.  The neck is an 80's of unknown origin but it's a quality neck with Charvel specs - 2 1/4" butt width with 1 11/16" nut, super flat 16" radius, and Jumbo frets are perfect, with a super pro refret.  The headstock had another set of tuners at some point but we've plugged the holes so it's barely noticeable.  It also has a few plugged neck bolt screws but they're not visible and not a problem.  The back of the neck is unfinished, another Charvel feature, which feels great, and with the thin profile you can really blaze on this thing.  We painted the headstock to match the body and installed an early 80's logo.  The neck has loads of birdseye; one of the best looking necks you'll find. This is a great playing guitar in beautiful condition, and with the matching headstock, it looks more like a vintage custom order Charvel than it did when stock.  Includes quality SKB/Fender case with ATA latches rather than the stock gigbag, for $799.  

Gibson Custom Inspired By Warren Haynes '58 Les Paul, (front), (back), (headstock), (frets), (case).  Number 51 out of 250 in this Limited Edition Custom Shop model.  One of the true guitar heroes of this era, Warren spent 16 years with the Allman Brothers, and more recently the more improvised music of his own band, Gov't Mule.  The WH features a solid mahogany body with a carved plain maple top, a one-piece mahogany neck and a rosewood fretboard and Burstbucker 1&2 humbuckers.  Unique to this model is the CAE Sound preamp, activated by a mini-toggle switch, has a unity-gain buffer which, when activated, maintains a consistent tone when volume is lowered.  It also preserves signal strength and quality when running through multiple effects.  Part of Warren's input on his guitar was to have balance between the pickups, a smooth sound from the neck pickup, and a bridge pickup that doesn't sound like you just switched guitars.  In addition, he wanted a smoother bridge pickup that wouldn't bite your head off.  The finish, handpicked by Warren, is a burst color that's somewhere between lemondrop and iced tea.  The '58 neck profile is chunky, although not quite as fat as some of the other R8's I've had.  Other features include bone nut, reissue trapezoid inlays, cream binding, locking Tonepros bridge/tailpiece, nickel hardware, and Schaller straplocks.  This model has the VOS treatment, giving it more of an aged vibe than a bright and shiny new guitar.  It has been collector owned since new and has seen only a few hours of playing time.  With a $6115 list price here's a smoking deal on an "as new" example and a relatively low number - just $2950(HOLD-Mark T 12/11) for this beauty.  

2007 Gibson 1957 VOS Les Paul Goldtop, (front), (back), (headstock), (frets), (cavity), (case).  Killer playing R7 and if you're a fan of bigger frets than the stock '57 style, this one has just had a super pro refret with 6105 Medium Jumbo frets, which are tall and narrow, rather than low and wide as used on the original frets.  The 6105's give you more exact intonation, and last a very, very long time.  Otherwise, this guitar is 100% stock.  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 original '57 Goldtop 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, Bumblebee caps, long neck tenon, Burstbucker 1 and 2 pickups, nickel hardware, ABR-1 nickel bridge, 24-3/4" scale, and 1-11/16" nut width.  Cosmetically, there is some buckle wear on the back, but none through the finish, but the top is very clean.  Because of the buckle wear I can't recommend it for the collector type, but for the player, especially one looking for medium-jumbo's, this guitar will save you $175 on a fret job and with a new one selling for $3699, this one's $1600 less.  Just $2099(Hold-Mike, local) and includes custom shop case, serialized hang tag, manual, and original warranty.   

Fender/Floyd Rose Tremolo, (arm).  From an early '00's Fender American Deluxe Strat.  The "deluxe locking tremolo" was a $100 upcharge on American Deluxe's and was offered on the Strat Plus, Strat Ultra, American Contemporary and, in 2000, the American Deluxe.  Made by Schaller for Fender, in conjunction with Floyd Rose, it was first offered in 1991, it was used on some American Deluxe and Showmaster models until 2007.  Many players believe it is the absolute best bridge to use on a hot-rodded Strat.  It doesn't have fine-tuners, but since it doesn't use a locking nut it doesn't require them.  It's a direct retro-fit for any American Strat and uses a snap in tremolo arm which features a hex on one end that matches the saddle lock screws.  Not many of these around.  $99.  

Fender Squier Strat Loaded Pickguard.  Complete pickups and electronics from an Fender Squier Affinity Strat, mounted to a brand new brownish-gold pearloid pickguard.  Pickguard has a very slight warp but when screwed down looks fine.  All factory solder so you only need to hook up to your output jack and ground wire.  These ceramic pickups sound good, especially in an alder or mahogany body.  Easy way to finish off your project on the cheap.  Just $25.  

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 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 $350.  Includes well-padded gigbag.

1965 Princeton Reverb, (panel), (top), (back), (speaker), (chassis), (tube chart).  All quality vintage tubes - RCA, Mullard, Telefunken, and Amprex.  Famed blackface Princeton Reverb favored by studio musicians for years for being the smallest (28 lbs.) Fender amp with reverb and tremolo.  In recent years, with smaller amps being more highly sought after, it has become more popular than even the Deluxe Reverb--and at a more reasonable price. With a relatively short production run ('64-'67), these are more scarce than some of the bigger Fender amps from the same era.  Rated at 12W-15W, the Princeton Reverb uses a pair of 6V6 power tubes with a GZ34 rectifier, plus preamp tubes consisting of a pair of 12AX7's, a 12AT7, and a 7025.  Speaker is the original 10" Oxford dated the 14th week, '65.  Transformers are original with the Power dated 48th week of '65; Output dated 38th week of '64, Choke dated 39th week of '65.  This is an excellent sounding amp with the typical Fender clean sound and moderate break-up starting around 7 or 8.  If you want distortion you're better off running a pedal but if you crank it up, it sounds very fat and expressive, especially considering you're just running a single 10.  The reverb is lush and natural sounding, whether you use a hint - or a compete wash.  Vibrato is one of the best you'll hear and one that's different from other amps in the blackface line.  Unlike other blackface's, the Princeton Reverb uses power tube bias modulated tremolo which produces a more pleasing effect than a grounded tremolo.  As you can see in the pics, this one's in nice shape for 47 years and it's all original except for power cord changed to a grounded 3-prong.  Power tubes are two RCA 6V6's, likely the originals, while the GZ34 rectifier is a Mullard.  Preamp tubes are two Amprex, a Telefunken, and an RCA.  It's been benched recently so it needs nothing and has no annoying snap-crackle-pop, and is quiet at idle.  Original examples of blackface PR's are bringing $2K and up, and you'll even see them with replaced parts for near that price.  For today's market, an original example, especially with $100's worth of quality tubes, is a sweet buy at $1650(HOLD-Local or Woodchuck).  For full specs and schematic, go to thevintagesound.com, which is a great site for vintage amps.  

1976 Gibson SG Custom, (front1  front2), (back), (headstock), (pickups), (case).   The Cadillac of the SG line, with the high end features shared by the Les Paul Custom including gold hardware, multi-ply headstock binding, bound neck, Ebony fretboard with genuine mother of pearl block inlay, and split diamond headstock inlay and Grovers with Keystone buttons as factory installed tuners (pic).  This guitar has been "refreshed" to replace worn/pitted gold parts, but the factory is 100% original with no overspray.  As shown here, pickup covers, Nashville bridge, and stop bar tailpiece with studs, as well as all screws on the body, have been replaced with new parts so you'll be starting fresh.  The pickups themselves (pic) are all stock Patent Engraved PAF's, as well as the pots, which are all '75.  We did one mod to the electronics, which is to install a push-pull pot in place of a tone pot (original '75 pot in the case), which activates the middle pickup.  Now instead of 3 tones you have 5 (bridge...bridge/mid...middle...neck/mid...neck).  Cosmetically its in average condition for 36 years with buckle rash, some wear around the edges, and a few check lines (example pic).  In addition, it has had a pro refret so you'll likely never have to do any fret work.  The ebony fretboard is fast and with the 1.5" nut width, you'll speed across the fretboard.  Body is *one-piece* mahogany and a very resonant body, apparently built when some attention was paid to tone woods, or perhaps is just the old adage that old wood is good sounding wood.  I note this fairly quickly when there aren't any annoying overtones when you play double stops high on the neck and the notes seem to blossom after the attack. Nice vintage pieces are getting harder to come by, at least at decent prices, and for me this is a fairly exciting find.  The new hardware and refret notwithstanding, this is an original guitar with original electronics and no issues such as repairs or refinish - just the type serious players are looking for.  SG Customs are rare...period...and since I only get around 2-3 in a decade I'm pleased to present this one, nicely price at $1999(HOLD-Robert N 12/31).  

RELIST - I've been telling folks these were sold but Brian found them!  Tech 21 Power Engine 60, (back), (back panel), (top).  Two available - buy the pair for a killer stereo setup that can create a stereo field as wide as you want.  The Power Engine is a great idea and it's surprising that more companies aren't building units like this.  It's basically an amplified extension cabinet with a single 12" Celestion Seventy80 speaker (80W, 8 ohm).  There are a number of applications for this amp - add 60 watts to your current amp, use as powered extension cab for the other side of the stage, use with a dedicated preamp for a standalone combo.  One of the most useful applications for this amp is to turn any direct recording device or preamp into a performance rig.  I have some very nice, current model preamps to go with this needed or some cheaper ones, for instance, you have a TC Electronics M3000 or G-Major 2,  POD Pro, (Pod Plus Floor), Boss GT-8, Vox Tonelab or even a simple $75 RP100 or SansAmp - just plug into the Power Engine and now you have an extremely flexible and full-featured stage amp.  If you get bored with the preamp, just try a different one and save the expense of buying another whole combo.  The Power Engine 60 does have controls  (high-mid-low-level) but they're more to tweak a particular room, i.e. 'set it and forget it".  You can count on the Power Engine to be transparent and not color your sound.  Also features ground lift switch, XLR out/in to daisy chain several of these together, and 1/4" input to accept the direct out signal from most amps or multi-effect units.  Click here for Tech 21 info.  These are nice looking cabinets with black tolex and a vintage-looking wheat grill cloth.  Remarkably, these are made in the USA and sells new for $339 ($435 list) but these are perfect condition in original boxes and packing for $249/each (HOLD last one - local 1/14).  

1983 Peavey T-25 - Sunburst, (front), (headstock), (back).  Fairly rare model, made in '82-'83 - cool example of the early days of Hartley Peavey and a quality USA guitar in all regards.  Quality tone, nice setup, and although it's certainly not near-mint, it's in nice shape for 30 years with just some usual player's wear.  Features include:   bi-laminated (two-piece) maple neck for "unmatched rigidity and freedom from warping"; slant headstock design that allows for all 6 tuners in a straight line configuration; 24.5" scale (same as Gibson); "finest hardwood" body (looks to be Alder) that's comfortably contoured at the arm and belly area; heavy die-cast bridge is triple-plated chrome and nearly impervious to corrosion and allows for perfect intonation and action; and neck-tilt adjustment at the neckplate, which is much easier than removing the neck.  Like most Peavey's from this era, the neck has very little "shoulders" meaning it's easy to get your hand around.  One of the most unique design elements are the electronics.  A special design dual/single circuit allows humbucker or single coil operation - or ANY mix of the two.  Each of the tone pots serves as a "blend" control, plus a tone control.  With the pot all the way up the pickups are single coil; roll it back and it immediately begins to fade into a humbucker.  At around 1/2 way back it turns into a tone control and starts rolling off the highs as you rotate it back past "5".  Each pickup has its own mix/tone pot and the two share one master volume control.  These dual-rail pickups which, unlike pole pieces, don't need to align with strings, and don't fade out during bends.  The 3-way pickups selector is military grade.  Peavey T-series have a coolness factor yet to be realized by the public but they are definitely quality made American guitars at great prices.  Set up is very comfortable and with this electronics package you'll be able to get a wide variety of quality tones.  For a vintage USA guitar this is a great buy at just $225(HOLD-James W 11/29).  I got it without a case of any sort but I can rob one of my other Peavey's and sell it with an era-correct case (shown here) for $45 more.  

Digitech XP-300 Space Station, (top/front), (sides), (patches).  Long ago discontinued and highly sought after - quite possibly the wackiest and wildest guitar effect ever.  40 presets offer multiple settings for String Swells, Forward & Reverse Delays, Pitch-shifting, Ring Modulators, Arpeggiators and more.  You can also use it as a volume pedal and its even got a built-in tuner.  Also has 6 user-programmable modes and features stereo outputs.  It's in great shape in original box with power supply and manual.  There are a bunch of Youtube demo's and here's one that takes you through the various presets.  This is a cool tool for any guitarist, but especially useful when you need the guitarist to fill a lot of space in the audio spectrum, such as a 3-piece band.  Prices on these started to rise shortly after Digitech quit making them many years ago.  You can bid on this one, sort of in player's grade at $362 and wait 5 days to see if you win, or get this one, in great condition, for $375. 

Celestion G12M Greenback - England.  These are getting hard to find - a real made in England 25W Greenback.  They haven't been made in England for around a decade and players in the know appreciate the difference between these and the Chinese models.  Clean shape, works perfectly.  The more common 16 ohm models from a 4X12 cab are bringing $170-$200 - here's a much more rare 8 ohm that's perfect for many combo amps - for just $160(HOLD-Dennis K 11/28).  

Quinn Amp Fuzz Petal Fuzz, (inside).  Petal Fuzz #001!  Here's a great, no-frills, song demo with the Fuzz Petal (link), using just the guitar's volume control for the cleaner passages.  I think it does a great mellow Eric Johnson type fuzz but depending on your touch, can be much grittier if desired.  Click here for Quinnamps, for specs and demo's.  Especially on boutique pedals, don't buy new at $179 when you can have this super clean used one and cooler still, serial #001, for $139.  

Voodoo Labs Micro Vibe, (pic2).  If you're looking to nail the Jimi tone, this one is probably as authentic as there is, with the same thick, lush Leslie tone as Jimi's old Uni-Vibe (think Star Spangled Banner, Voodoo Child (Slight Return), Machine Gun, etc.).  The Micro Vibe includes the same sinewave oscillator, incandescent lamp, and photocells used on the original Uni-Vibe.  It features an all-analog circuit, true bypass, LED indicator, hand-built in the USA.  Here's a sound sample on YouTube to give you an idea of its tone.  New ones are $219 but this one's mint in the box and just $149.  

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.  

2000 Peavey EVH Wolfgang Special TR FMT,  (front), (back), (headstock), (side/edge), (case/etc.).   Another stunning Wolfgang flame top!  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.  It features the same USA quality and the flame on these Specials is generally more consistent than the average Standard.  This was a studio guitar and it's never been gigged so it remains in lovely condition.  Frets are perfect and, like all USA Wolfgangs, it's a killer player with low action, no fret out, and the trem stays in tune through heavy dive bombs.  Throughout the years I've gotten in around a ten Standards for every Special FMT and I predict they'll be the one to own when these guitars reach vintage age.  Nicely priced at $999 and it includes all ALL accessories it had when it left the factory including clean Peavey case, fretboard protector, D-Tuna (installed), manual, factory checklist, hologram picks, and complete tool set (pic).

1997 Fender Stratocaster Ultra w/Fishman, (front), (headstock), (back), (controls), (Fishman), (ebony board), (trem stop), (case).  Fender's Cadillac of Electrics was the Ultra, which has all the specs of the Strat Plus Deluxe (LSR roller nut, locking tuners, Lace pickups), plus even more high end features such as Ebony fretboard, MOP dot inlays, dual bridge pickup with extra 3-way switch, and most obvious, custom finishes, usually flamed maple over the alder body.  From my recollection, these were Fender's first production guitars with figured bodies.  Electronics on the Strat Ultra include Lace Sensor pickups ("Dually" Red in bridge, Gold in middle, Blue in neck) with standard 5-way switching plus a mini-switch for the Dually bridge pickup to go from back coil-both coils-front coil, which yields 9 different combinations.  This one also has one very important and versatile modification:  A Fishman Power Bridge TSV (link) and Power Chip preamp (link), combined a $389 upgrade in parts alone.  The Fishman is one of the best piezo systems made, featuring a separate sensor for each saddle, and it's a direct retrofit for the Strat, with no modification to the stud posts required.  It also has a pro-added battery compartment on the back with easy access door, which is much more practical than removing the pickguard should you need to change batteries during a gig.  The Fishman is controlled by its own volume control (in place of the 2nd tone pot), and a 3-way switch to choose acoustic, acoustic+Laces, Laces alone.  I find it easiest just to keep the switch in the middle (acoustic+Laces) and use the two volume controls to select which tone I want to use - or blend the two.  Combine with Fishman with the 9 settings for the Lace pickups and you have one of the most versatile electrics imaginable.  You'll be surprised how many songs you'll want to blend in a little bit of "electric"...or a touch of "acoustic".  It also features a quality trem stop, although I'm not sure which model it is, but you can control the tension without removing the back plate.  Just insert an Allen wrench in the small hole on the back plate and you can lock out the trem, or make it float.  Set up on this guitar is fantastic.  It's one of those rare Strats with a perfectly straight neck, devoid of any small humps or dips.  This beauty is in excellent condition with no major flaws and some of the nicer flame I've seen on these, both front and back.  I don't have a '97 price list, but they retailed for nearly twice an American Standard in '93 ($1549 for the Ultra vs. $869 for the American Standard) which would be nearly $2500 today.  With the Power Bridge and Power Chip upgrades, with a 9V easy access door, you're looking at over $500 in parts and labor, should you have it done to your guitar.  If you've followed prices of Ultra's, which have remained a hot ticket since they were discontinued shortly after this one was built, you know most people trying to fetch high teens for them.  With this one priced at $1499(HOLD-Mark), it's like getting the pro mods for free.  Includes original Ultra case which is a vintage style Tolex/wood with gray covering, Schaller strap locks, trem arm, and both Fishman manuals.     

John Mayer Stratocaster with Upgraded Case, (front), (headstock), (back), (case/etc.).  Mint 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 the great Fender/SKB case with ATA latches for maximum protection.  This guitar sounds excellent and has a top-notch setup; presents itself like a new guitar with zero flaws, plastic still on pickguard, never had trem bar installed, etc.  With a new Mayer selling for $1499 (includes rebate), here's a beautiful Olympic White model for just $1150(SOLD-Lars 2/5), which includes the upgraded case, Fender strap, Fender cable, ash tray bridge cover, manual, and assorted paperwork.  

Mesa/Boogie Black Shadow 12" Speaker.  This is an OEM for many Boogie amps and cabs from the 90's.  Made in England by Celestion and from what I read it's supposed to be spec'd for a G12-80.  90 watts, 8 ohms.  Freshly reconed by Vin-tone of upstate NY and has zero hours of use.  Don't buy a tired, used speaker when this one will work like new and is priced just $25 above the repair cost at $99.  

1972 CTS 10" Speaker.  25W Alnico, original equipment for many early 70's Fenders, Gibsons, an others.  Freshly reconed by Vin-tone of upstate NY and has zero hours of use.  Don't buy a tired, used speaker when this one will work like new and is priced just $25 above the repair cost at $87.  

2011 Gibson Les Paul Traditional Pro 50's - Honeyburst, (front detail), (headstock), (back), (case).  New for 2010, the Traditional Pro 50's 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.  Real '59 'Bursts all faded with age with varying degrees of fade, many have become almost totally faded like this authentic-looking Honey Burst.  The top is finished in high-gloss lacquer, while the back, sides, and neck have a very sleek satin finish that feels great and lets the wood resonate fully.  For pickups Gibson chose a '57 classic in the neck with a Burstbucker 3 in the bridge, each wired for coil splitting via push/pull volume pots.  Other features include a slightly chunky 50'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 is Gibson is doing on all of their higher end guitars, 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.  For loads of information on this guitar, click here for Gibson's site.  With a $3399 list, this model sold in Honeyburst last year for $1999.  This one is in brand new, unplayed condition, with a superb setup, with a classic PAF tone, for just $1399(HOLD-Jack B, local).

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 as cool as they come and just $399(HOLD-Jeff T 11/20).  

2010 Fender Artist Series Eric Johnson Stratocaster RW- Tropical Turquoise, (front), (back), (headstock), (case/etc.).  Fender's only bound-neck signature model, released after 5 years of the original maple board.  As I've mentioned many times, the EJ is the best signature model Fender has ever made, in my humble opinion, and most of our customers have chimed in similar opinions.  I'll even go so far as to say they're as good or better than custom shop signature models, with a great acoustic tone, better sustain and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quaratersawn 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.  Surprisingly, they kept the retail price the same despite the fact that a bound neck is more expensive to build.  This guitar is in dead mint condition, other than the plastic film is removed from the pickguard.  EJ's inevitably set up incredibly and this one is no exception, with very low action and no fretting out on 3-fret up-bends.  They went with different colors for the RW model, three of which are unique to the EJ RW, including this Tropical Turquoise, which is like a slightly darker Sonic Blue.  Whenever somebody calls and asks, "what's your best Strat"?, the first thing I think of is an Eric Johnson.  If you want Fender's finest production guitar, I highly recommend you try one out.  A new one will run you $1899 ($2599 list) but this beautiful Tropical Turquoise has virtually zero hours, is set up to perfection, and is just $1459.  Includes original '60 style white EJ case, original "Ace" style vintage strap, "ash tray" bridge cover, hang tags, manual, and other assorted paperwork.  

Greg Bennett Designs (Samick) Ultramatic UM-3, (front-1  front-2), (back), (headstock), (neck/body binding).  Higher end big brother to the plain UM-1, the UM-3 features a killer looking high tech bookmatched quilt top, body binding, neck binding, and abalone dot inlays.  Samick is the largest guitar builder in the world, building guitars for practically every big name you can think of.  Their Korean plant is noted for quality, and excellent attention to detail.  It also features my favorite import pickups, the Seymour Duncan Designed HB-103N and HB-103N.  Some people refer to this as a PRS copy and while it does have a similar silhouette, its slightly thinner with a different heel, that's more like a LP.  As great as it looks and sounds, it's the playability that blows me away with this guitar.  It has action as low as anything in stock in the under-$1000 price range (action at 12th fret), with no dead spots or choking on bends.  Other features include alder body, rosewood fretboard, 22 medium jumbo frets, Grover tuners, 24 3/4" scale, set-neck design, tuneomatic bridge with stopbar tailpiece, barrel output jack on side, dual strap pins on back edge.  The UM-3 sold new for $499.  This one is in super clean shape, an insanely killer player, and an excellent value at $275(HOLD-Jeremy H 11/23).  

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(HOLD-will respond asap).  Includes a wood/tolex case from the era, probably original to the guitar.

RE-LISTED: 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 much-revered Normand 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) with guitars made for the beginner and intermediate markets.  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 tone 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.  

Jensen P10R 10" Guitar Speaker.  Reissue of the classic, known for its rich, warm tone, and focus high end.  8 ohms, 25 watts, perfect for low-wattage combo.  These are $109 online; this one barely used and just $69.  

Eminence 10" Guitar Speaker.  4 ohm, large magnet, think it's a Legend.  Never used, $35.  

Fender/Eminence 10" Guitar Speaker.  OEM speaker for most 10" Fender tube combo's.  Very clean.  $35.  

Morley ABY Box.  Versatile pedal, lets you choose between 2 inputs or 2 outputs, or mix 2 mono inputs or split an input to 2 outputs at once.  LED indicators let you know if you've selected A, B, or both.  Perfect condition and with a list price of $95, a nice deal at $42.  I also have one with the older red logo, also in clean shape.  

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

Fender HM Strat Parts - complete electronics - includes pickups/covers ring, vol-tone-TBX pots, 5-way switch, 2-way mini-switch, and barell jack.  These are from an '89 USA model featuring a DiMarzio Super 3 humbucker (hex poles) with American Standard single coils in the middle and neck, which are easily distinguishable by the red/white wires (middle) and blue/white wires (neck).  If you're restoring a nice HM, here's 100% of the electronics for $175.  

Tascam 788 Digital Portastudio with CD Burner, Includes Tascam 788 (large pic) hard disk recorder AND Tascam/Teac CD-R624 CD Burner (picture).  Never has quality 8-track recording become so affordable, especially in units that are a few years old.  The 788 was designed with ease of use in mind plus its excellent audio quality and nonlinear editing capabilities make it perfectly applicable for even professional-quality recording projects.  With its built-in high quality effects onboard, it's a totally self-contained digital studio....just hook up the CD-R624 to the SCSI port, and your album is ready to go.  Teac, the parent company of Tascam, offered this CD Burner as the optional accessory for the 788 so the two are made for each other, thus, no compatibility issues.  The various inputs on the 788 can accept mic and line levels. A HiZ switch is also provided so you can plug your guitar or bass directly into the 788. Stereo outputs for mixing down, monitor outputs to send audio to your speakers and aux outputs are all included on individual connectors. Also, MIDI In and Out jacks are provided for syncing your audio tracks to synthesizer and software-based sequencers or other devices that use MIDI Time Code, MIDI Machine Control and MIDI Clock. A S/PDIF digital output makes it easy to send your audio to CD and DAT recorders for two-track masters.  Other specs include:  8-track 24-bit hard disk recorder with 250 virtual tracks for comps and alternate takes, 7.5GB internal hard disk for nearly two hours of 8-track recording, Built-in high quality digital effects: reverb - chorus - distortion - multi-effects - and much more, Excellent audio quality: 24-bit uncompressed sonic fidelity, 24-bit AD/DA converters, Non-destructive editing: 999 levels of undo, 3-band EQ with TRUE parametric mids, Versatile inputs/outputs and flexible routing, S/PDIF digital output for digital mix-down, and again, SCSI port for data archive and CD burning to the included CD-R624.  Specs and downloadable manual, beginner's guide to digital recording, reviews, etc., available at Tascam's Site Here and a good overview at Musician's Friend here.  These have been recently discontinued but listed at $1149 without the companion CD burner.  With the CD burner it sold new, discounted, for $1K.  This unit has been fully tested, works perfectly, and is a good deal on a good quality digital unit for $199.  Includes the 788, Teac CD-R624 CD burner, copy of manual in binder (pic), power cable, power supply, and SCSI cable. 

1988 Heritage H-142 Chicago Rocker, (front-1  front-2), (headstock), (back-1  back-2), (side), (tremolo), (cavity/plate), (case).  A true closet queen and excellent example of an early model solidbody from Heritage.  Heritage Guitars began in Kalamazoo, MI in 1985, just three years before this one was built.  The company came about when a number of ex-Gibson employees decided not to uproot their families when Gibson discontinued production at the plant in '84.  Using the same plant, and building many familiar (i.e. Gibson) designs, Heritage hit the deck running with top quality, tried and true guitars.  The very first model they built was the H-140, a slimline Les Paul design.  This H-142 is a very rare model, built only in '88, and identical to the H-140 except for the locking tremolo and black binding.  The slimmer body reminds me of the Les Paul Studio "Lite", made by Gibson in the early-mid '90s, but instead of the Gibson model's Balsa wood (aka "Chromyte"), the H-142 uses the classic mahogany body with a maple cap.  Looking into the pickup cavity, you can see that the maple is almost as thick as the mahogany.  The other defining feature of this model are the Kahler USA 2700 locking tremolo and locking nut.  Unlike some Kahlers which use a locking nut adjacent to a standard nut, this model uses only the locking nut, in the fashion of a Floyd Rose.  Personally, I think these are excellent tremolos, using knife edges similar to a Floyd (e.g. fulcrum system), but the top of the bridge provides a very flat surface on which you can comfortably and accurately rest your palm.  It differs from many other Kahlers which use a cam system instead of a knife edge.  The last distinguishing feature is the black binding.  Other features include Grover tuners, black hardware, black speed knobs, single ply black guard, set-neck construction, mahogany neck with rosewood board and pearl dot inlays, side-mounted barrel jack, tremolo cover plate on back, "bell" type truss rod cover, and the standard dual volume - dual tone - 3-way switch.  We're not sure what pickups are in here but as clean as this guitar is we're guessing they're original.  I suspect they're P.J. Marx as they look identical other than the lack of a logo.  They have the same epoxy potting on the bottom, same 2+2 height adjustment screws, and similar wires.  They're medium output and sound very good.  You'll note the back of the headstock is painted black, coming down to a "V" at the headstock base, which was a features generally used on high-end archtops.  Although this guitar is around 25 years old, it looks like a 2012 cosmetically.  This thing has zero player's wear: no scratches, no fading, no headstock scratches from string changes, perfect frets, even fine tuners, which wear down to brass very quickly, are still black.  The only flaws, if I must nit pick, are some minor finish impressions if you look very closely, but they don't appear to be a result of contact, rather more of "finish suck" on an old finish.  The back of the headstock has a "2", indicating factory second but on a guitar of this age it's virtually impossible to find the cosmetic flaw.  Could be one of the finish impressions but it's noting bad or obvious.  For Les Paul fans in search of a locking trem, usually you have to turn to and 80's model with the factory Kahler with cam system, and they're few and far between.  This guitar has a better system and in my opinion, is way above the quality of a Gibson "Lite".  The set up is very comfortable with no dead spots or other issues; with a classic LP maple/mahogany tone.  Although this is a very rare guitar, my guess is that this one is probably the cleanest one in existence.  Includes similarly clean original case and original warranty; all for $1099(HOLD-Mark P 11/15).  

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.  

2008 Martin Ltd Ed OMCE Claro Walnut, (front), (back), (headstock/neck), (cosmetic features), (controls/jack), (case).  Excellent limited edition (#56 of 150) acoustic electric with beautiful Claro walnut and Fishman Matrix Infinity pickup.  Claro is a prized wood by virtue of its rich figuring and strong projection.  Features include orchestra model (OM) size body with a solid Sitka spruce top with Martin's hybrid pattern scalloped braces, single ring abalone pearl rosette, tortoise pickguard, grained ivoroid body binding with multiple black/white inlay lines on top; slim, modified low oval neck; striped black Macassar ebony fretboard; wide 1-3/4" nut; 25.4" scale, pearl dot inlays, small knob gold tuners; complete gloss body finish.  For electronics it features the Fishman Matrix under saddle transducer with soundhole-mounted volume & tone control, voicing switch and low battery indicator.  This is a very good sounding system that reproduces its fine acoustic tone very faithfully through an amp or recording deck.  Claro is a highly cherished wood among builders due to it's beauty, tone, prices that have skyrocketed in recent years.  Tonally it has a very balanced tone and a loud and clear voice for a 000 size body.  Cosmetically, this isn't one of the cleaner higher end acoustics I have in stock but that's good news for the player who doesn't mind a few scratches in lieu of a lower price.  Judging by the near perfect frets and lack of scratches in the typical player's area I'd say it hasn't been played much, but, rather, had a careless owner. Nothing horrible but misc small dings and scratches on the body.  List price on this model was $2999, selling new for around $2200.  If you don't mind a few scratches, you can own this lovely OM cutaway for $1000 less than the new cost, just $1199(HOLD-Bob N 11/8).  Includes Martin's Sounding Board magazine introducing this model (pic) as well as Martin tolex/wood case.  

2011 Ibanez RG-7320 Z BK, (front), (back), (headstock), (trem), (optional case).  Brand new condition.  If you're like me you've probably picked up a 7 in a store, played it for five minutes and decided it was too hard to learn.  What you may not know is within a few hours of practice time you can train your brain and get around fairly easily, and within a few weeks it'll be in your muscle memory so you'll be as adept as you are on a 6.  There are several advantages to playing a 7, most notably the fatter sound of playing a fifth lower in the register.  It also makes lead work easier with less hand travel needed to get to lower notes.  7-Strings were once the choice of many jazz players but in recent years they have become the choice guitar by some of the heaviest music ever created.  Beginning in the early 90's, led by Steve Vai and following shortly the "Korn" sound became synonymous with the low, huge sound of the 7-string.  Numerous other bands and players like Avenged Sevenfold, Limp Bizkit, John Petrucci, Jeff Loomis, etc., have made the 7 the defining tone of their band's sound.  Ibanez has always been in the front of the pack with their 7's and the 7320 takes it a step further with one of the coolest Floyd-style tremolo's ever.  Features of this RG include basswood body; Wizard II-7 neck, 5pc, maple/walnut with rosewood board; jumbo frets; flat 15.74" radius; 1.89" nut width; white neck binding; pearl dot inlays; Edge Zero II-7 locking tremolo with the ZPS3Fe spring design; Axis (AH17/AH27) humbuckers; black hardware.  A 5-way selector has a unique selection of tones:  (1) bridge; (2) bridge&neck single coils; (3) bridge&neck humbuckers; (4) neck in parallel; (5) neck is series.  The new Edge-Zero II is a versatile tremolo.  You'll notice access points on the back of the guitar.  Using just your thumb you can adjust the tremolo tension from fully tight where it's like a blocked tremolo, to very loose where it has the soft feel of a Bigsby or Kahler Pro.  You can also set it with a "resting" spot, or full free floating for doing "boing" type of quick flips.  For full specs click here for Ibanez.com.  If you've been wanting to try a 7-string this is a nice one, with low action, killer tone, and the modern classic RG body style.  But don't pay $549 for a new one with this one is virtually unplayed with original box (pic) for just $399(HOLD-Brian G) or, better yet, add a new wood/tolex case shown above for just $29.  

Original Rockman w/Rockadapter, (panel), (back).  Released in ca. '82, the Rockman was Scholz 2nd product (after the Power Soak in '80) and the very first effects processor.  It was later renamed the "X-100", and a stripped down model, "Soloist" was based on it.  This is THE sound heard on the first "Boston" album.  To quote http://www.rockman.fr/Story/Rockman.htm, the best Rockman/Scholz on the web, "no-one but Boston managed to duplicate this highly compressed, heavy distortion sound, with this specific wide stereo image."  This "wall of sound" achieved the same tone as "customized Marshall stacks, connecting compressors, wah's, EQ's, echo's, and chorus doublers."  The revolutionary Rockman was the first device of it's type and it was stereo to boot, combining a compressor, a distortion, a cab simulator, a chorus and a reverb into one small box.  Although overlooked by today's user, its most innovative and primary functions are that of an analog amp simulator.  Think of it, what other device could sound so "complete" without the use of an amp (don't say MXR Micro Amp - it's a different device altogether).  The tone is of the Rockman is unmistakable, and it will always sound like a Rockman, regardless of the guitar and amp you use.  Like the X-100 that followed, the Rockman features 2 clean and 2 distortion settings, analog chorus and analog echo, with 3 output level settings, and that famous Rockman compression.  Also has a "set it and forget it" gain control on back.  Not pictured but included is the belt-clip which is frequently used to anchor the unit to an amp handle, or to your belt, primarily when used as a practice amp.  These sound great through headphones, any amp, or even a home stereo, using a 1/4" stereo plug to a stereo RCA cable.  They run on 8 AA batteries (and go through them pretty fast) or a specific power supply made only by SD&R.  You have to exercise some care when buying these as many have developed glitches in the jacks and switches, which we replace with genuine OEM parts, but this one checks out 100% and has no issues whatsoever.  We sold these at Hotlicks for $199 in the mid-'80s, and couldn't keep them in stock.  Prices on original SD&R products have really taken off but these are still a good value at $139 including an original SR&D "Rockadapter" power supply.  (Note: This one's on hold for Woodchuck but I have another one in stock).   

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.  

2001 Epiphone Wildkat with Mods, (front-1  front-2), (side), (back), (Earvana nut), (USA Electronics), (headstock).   3rd year Wildkat (intro. '99) made at the Samick plant in Korea.  A year after this one was built, 2002, Gibson opened their factory in Qingdao, China, which manufactures nearly all of their guitars now.   I've always appreciated the Wildkats which have a definite retro vibe with features like Bigsby-licensed tremolo tailpiece, dual Alnico V P90 pickups, and a master volume on the upper bout.  To top it off, beautiful flamed maple on this one - didn't show up in the pics very well but it's very nice all over - from the lower bout all the way up into the upper horns.  Other features include bound body, bound neck, bound f-holes, mahogany body with maple top and set-in maple neck, semi-hollow body with center block, dual volume and master tone plus a master volume on the treble upper bout, and good Gotoh/Epi tuners.  Thinline body design is very comfortable for stage use and this guitar is one of the cooler retro designs to come out in years.  This guitar has an excellent setup, is in excellent condition, and has a quality tone with these P90's.  About the upgrades:  One of the weak areas on these guitars are the electronics.  To solve this we installed all USA pots, Orange Drop cap, Switchcraft 3-way, and Switchcraft jack.  We also installed a new Earvana nut, which improved the intonation dramatically.  Cosmetically, we changed it to black speed knobs and replaced a scratched up tin badge with a vintage Epiphone logo with multiple clearcoats on top so that it looks totally factory.  This model listed for $832 when manufactured in Korea but rightly dropped to $499 when production was moved to China.  Don't be fooled.  While I've played some good Chinese guitars, the Wildkat isn't one of them, with inferior fit/finish, and much cheaper hardware and electronics - plus the tonewoods generally aren't on par with Korea.  With quality electronics and better intonation, this guitar is actually good enough for stage use, for just $349(HOLD-John D, local 11/6).  

T-Rex Twister 2 Chorus/Flanger.  T-Rex Engineering, the Danish pedal manufacturer, has a real winner with the Twister 2. With the simple tap of a button, the Twister can produce either a chorusing effect OR a flanging effect, both from the same basic circuit, with some of the lushest analog tones you've heard. The "2" model covers a wider tonal range than the original Twister. By adjusting Depth, Tone and Rate, you can make Twister II deliver both old-fashioned vintage sound as well as a more modern chorus sound.  Click here for a demo by T-Rex (there are numerous other ones on YouTube).  The Twister 2 sells new everywhere for $279. This one's "as new" in the box for just $195. 

Fulltone OCD, (pic2).  Like the classic amps of yesteryears such as the Marshall 18 watt, a VOX AC15, and JTM45 - cranked full blast - the OCD gives you incredible harmonics, but at any volume. With the OCD you not only get the fundamental note but you get 4, 5, even 6 additional overtones ringing into a feedback, the tones you've heard in Led Zeppelin's "Ocean" and "Custard Pie", as well as classic tones including James Gang, the Beatles, AC/DC, FREE., etc Back off the guitar's volume and there are a dozen great other sounds at your fingertips - Clean, spanky sounds, with all the highs and lows still intact. Best of all, it doesn't hijack your guitar's tone so your Tele still sounds like a Tele, your Paul a Paul; true-bypass of course. This pedal can compensate for amps that fail to deliver the overtones you're looking for but regardless of your amp set up, you'll love the variety of tones available.  This is a highly regarded Version 4 (click here to read about V1, V2, V3, V4 differences).  With box, manual, sticker, flawless cosmetic shape and a killer pedal for $99(HOLD-Roger D 12/7).

Jim Marshall Signed T-Shirt.  Jim Marshall, the god-father of rock amplification, probably signed more things during his 88 years than anyone else in manufacturing.  This T was signed in 2003 by "The Guv'nor" and has remained unworn.  Top quality heavyweight blend, size XL, by Jerzees.  Nice piece for the Marshall collector, suitable for framing, or anyone who simply wants everyone to know that they're cool.  This is a priceless memento for just $29(HOLD-Joe C).  

Kahler 2760 Steeler Tremolo, (pic2).  Perhaps the most hyped of the Floyd Rose bridges, the Steeler is Kahler's version of the classic Floyd Rose Original.  Manufactured in the 1990's under license and patents from Floyd Rose, Gary Kahler made several changes that were substantial improvements to the original Floyd design.  Among these changes were improved hardness levels of certain components and the arm attachment method was changed.  Some of these have gone for crazy money on Ebay.  This one's just $99(HOLD-Rene G 12/2).  

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 money!  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.  

1976 Alvarez-K. Yairi 5080 - 000-size Acoustic, (front), (back), (headstock), (side), (label/heel), (hang tag), (appointments), (catalog-1), (catalog-2), (case).  The 5080, aka "Country Folk", is a quality Japan-made Yairi, and one that appears to have spent nearly its entire life in the case.  I questioned whether this was a "real" Yairi in light of the Alvarez logo on the headstock.  The results I found on the web indicate, yes, it's a real Yairi.  There's a great resource for the following info and much more - AlvarezYairi.web.  I've always associated Yairi's with the 2-letter code in the model name, usually "DY".  In the '74 catalog, Yairi hadn't started using the "DY" model designation rather, model designations were 4 digits. In the '74 catalog the 5080 was listed on a page headed "Alvarez by Kazuo Yairi" (link), while there were cheaper models listed on pages headed simply "Alvarez" (link).  In fact, these pages also state, "All Alvarez Guitars by Kazuo Yairi have a LIFETIME WARRANTY.  All other Alvarez guitars are guaranteed for 1 year."  In '75 they began to transition over to the DY models shown in the '75 Price List.  The 5068 and 5075, both priced the same as this 5080, became the DY68 and DY57, while other models such as this 5080 and 5067 retained their old model names. From what I gather from this site, the 5080 was dropped from the line around the time it would have transitioned to a "DY", around 1977.  It's a wonderful flattop with a smaller 000-size body made of a solid spruce top and Jacaranda sides and inlaid back.  Jacaranda is in the rosewood family and, in fact, looks very much like Brazilian rosewood.   Neck is one-piece mahogany with a rosewood headstock veneer and inlaid Alvarez logo, with a sleek ebony fingerboard.  Tuners are the proper Patent Pending gold Grovers.  This guitar very much has the vibe of an old Martin, which was probably intentional, with the Martin-style features such as:  square headstock shape, vintage-style pointy volute, black teardrop pickguard, similar binding and rosette to the Style 18, herringbone style back inlay, and 28-style pearloid inlays with double dots on the 7th and 12th frets. It has been set up to perfection with very comfortable action and no repairs, cracks, or other issues.  This was an expensive guitar in 1976 at $420 with case, which converts to over $1630 in 2012 dollars.  Tonally, this guitar has excellent projection, louder than most dreadnoughts I have in stock, with a solid bass, nice presence, and crisp highs.  Quite frankly, it sounds better than most of the Martins I've had from the same era and because of this I consider it one of the best values in stock for a quality acoustics.  $529(HOLD-Roy H 11/2) includes original warranty/instruction hangtag, and original case in similarly nice condition.  This guitar is a sleeper in the vintage acoustics world and I highly recommend it for anyone looking for a quality acoustic.  

2011 Fender American Deluxe Stratocaster V-Neck 2-Tone Sunburst,  (front), (back), (headstock), (deluxe features), (trem), (case).  Mint condition - in nicely figured 2-tone Sunburst.  This is only the second of the new American Deluxes 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.  One minor mod: the frets have been taken down just slightly, most players wouldn't notice, and nicely crowned.  I personally find this much more comfortable to play as it's the perfect compromise between the short vintage and the tall/wide modern.  This guitar has a great neck which allows low action and crystal clear bends.  With a list of $2199, you're going to pay $1649 for a new one but this one is immaculate with plastic still on pickguard and a fantastic setup, for $1079.  Includes Fender case with ATA latches, strap, cable, etc.  

1983 Fender USA Stratocaster - Black with Rosewood Board,  (front-1 front-2), (back), (headstock), (pickguard ass.), (body), (case).  Rare rosewood fretboard on this super clean '83.  Although only produced for less than 18 months, the '83 Standard Strat represented a complete makeover with innovations (some shown here) that made their way to the American Standard in late '86.  These innovations included the Bi-Flex truss rod, new die cast tuners (i.e. Fender/Ping tuners), Schaller locking strap pins, Tilt-Adjust neck which allowed changing the neck angle via a small screw on the neckplate, and a new pickup design with plastic bobbins impressed with the number 016730.  A few changes that didn't carry over to the "American Standard" include a 21-fret neck which was a carry over from all previous Strats, very flat 12" fretboard radius (changed to 9.5" in '86), a wider 1 11/16" nut, jumbo frets, pickguard-mount output jack, master tone control rather than a separate neck and middle, and the Freeflyte tremolo top-loading bridge and "Torq-master" trem arm with notches that work in conjunction with the bridge to lock it down and operate like  hard-tail, or allow free travel for tremolo use.  A few other, more subtle changes include a slimmer neck profile with less shoulders than the later models and a longer & wider belly cut (shown here next to a later model).  '83 Strats are frequently maligned for several reasons, some of which aren't deserved.  By reputation, they're generally among the heaviest Strats Fender has made but this one's just 7.3 lbs.  Great feeling neck on this guitar with its thin profile (pic) and, wider 1 11/16" nut width, rather than the standard 1 5/8".  The 2-knob (master tone control) wasn't well-received; personally, I like having a single master tone which also provides tone control for the bridge pickup.  Lastly, the surface-mounted Freeflyte tremolo system that wasn't Fender's best tremolo, but doesn't require the body to be routed all the way through and its design allows for more contact from tremolo to body, which is a sustain-enhancing design.  When set up properly, the stay in tune almost as well as a vintage tremolo or even locked down if you prefer.  Most of these detractors have been overlooked in recent years - while it took a long time for these to catch on in the vintage market, a few years ago they started to take off and now they command prices higher than a new Strat, i.e. they're now commanding vintage value at 29 years.  The bottom line though, is many of these are excellent utility guitars.  Fit and finish on these are actually better than the 70's 3-bolt Strats where "the gap" was commonplace, with a neck that didn't properly fit the body.  This guitar is in super clean condition without any buckle/button scratches, no wear on the edge or face of fretboard, clean headstock, and bright hardware.  A 7.3 lb. '83 is almost unheard of, plus this one plays nice and has quality tone with good sustain.  It's 100% original and definitely collector's quality for just $1099 including Tolex case and original trem arm.  I don't know if the case is original, but the interior looks right with a wedge-shaped compartment and proper neck rest and lining.  

2010 Fender Custom Shop Custom Classic Stratocaster - Olympic White, (front), (back), (headstock/neck), (body/neck marking), (pg assembly), (case).   Mint, with all the goodies.  Get the acclaimed custom shop quality in a nicely priced, vintage-looking Strat, with modern features that appeal to more players.  The first thing that struck me on this guitar was the acoustic tone.  Before I even plugged it in I knew it sounded different.  It had a loud, resonant tone but unlike a lot of Strats with a loud acoustic tone, this was less the high-end brightness and more a full-body tone, much like an acoustic guitar. Plugged in we noticed a fast transient response and a very "open", somewhat hollow tone, that would never get lost in the mix.  Part of the electric tone is due to the one change made on this guitar.  The stock "Modern Classic" pickups were changed with a set of DiMarzio's with an Area '61 in the bridge and Area '58's in the middle and neck (DP416 and two DP415).  Twelve years in the making, DiMarzio's goal was to create pickups with the character of '50s/early 60s, with no hum and less magnet pull (less pull = strings vibrate longer).  The tone they've created was steely, yet woody-sounding, yielding tones that go from Nashville to Texas.  The Custom Classic debuted in 2000 as a solution to players who wanted a vintage looking Strat, but with modern features such as flatter radius, larger frets, 22 frets, and 2-point tremolo.  Prior to this you would have to special order, for instance, a '60 Strat with modern radius and bigger frets, and then wait to have it built.  Specs for this model include select alder two-piece body, maple neck with 9.5" radius and 22 medium jumbo frets, Deluxe 2-Point Synchronized Tremolo with Polished Solid Stainless Steel Saddles and Block - plus "pop-in" trem arm, Fender/Schaller Deluxe Staggered Cast/Sealed Tuners that require just one string tree, and Schaller locking strap pins.  The neck profile is a very soft V, with more shoulders than a Clapton Blackie and feels mid-way between a V and a C.  Fender recently discontinued this model but a few dealers still have new ones for $1999 ($2452 list), but I'd be surprised if any will sound as good as this one, either unplugged or plugged-in.  Get Custom Shop quality and prestige for $100 less than a new American Deluxe - just $1599 for this beauty.  Includes G&G/Fender case with custom shop seal embroidered in the lid, certificate, factory hangtag, Fender cable, Fender polishing cloth, Fender leather strap, manual, and more.  

BBE 382i Sonic Maximizer, (panel).  BBE's Sonic Maximizer has been out for .  Now in its 4th generation the effect is better than ever.  These are excellent units for live or studio sound, equally useful for entire band mix, or in a guitar or bass rig.  You'll find these units will add more space to the mix, giving it an open, airy sound, where it might have sounded like a jumbled mix before.  When used on an individual instrument, guitar for example, it adds clarity and punch to your notes and separates it from the mix so that even subtle changes in attack and fast runs will stand out.  Features including low contour and process knobs and runs a summed stereo signal, or can be run mono of course.  Click here for BBE's site info.  Once you hear one of these your mix will sound lame without it.  Offered in mint condition for $65.  

2011 Gibson SG Special '60s Tribute - White, (front), (back), (headstock), (gigbag).  Very affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  Finished in Worn White, which in the vintage world is referred to as TV White, which has always commanded a premium over the usual cherry finish.  This guitar's thin solid mahogany body offers a very lightweight package with a tone that's both subtle and aggressive, depending on your playing style.  It has a rich resonance with lots of harmonic depth and sparkle.  The solid mahogany neck is carved to a fast Slim Taper profile similar to SGs from the '60s, with a glued in deep-set, long-tenon neck/body joint and 17-degree back angled headstock, combine for a superior transfer of resonance from the neck to the body.  Two Gibson P-90 single-coil pickups with Alnico V magnets are among the finest reproductions of vintage P-90s currently available producing warm, vocal neck tones to loads of snarl from the bridge position, with rounder, funkier tones in between.  Gibson uses a PLEK-cut Corian nut to ensure maximum resonance and sustain.  This guitar is finished in a thin nitrocellulose satin finish, which protects the wood while contributing to a more lively response.  It has a nice smooth feel, rather than the porous rough feel of Gibson's "worn" finishes.  This white finish will "age" rather fast and soon develop the look of a well-played vintage guitar, which is way cool in my book.  It's set up with low action and the ease of play, combined with the light weight, make this a great guitar to play, set after set.  In beautiful condition with no noteworthy flaws or playing wear and a nice deal for $599(HOLD-Chris D 2/10).

1966 Ampeg G-15 Gemini II, (panel), (top), (label), (speaker), (side), (back), (footswitch).  Very cool old Ampeg and one of the few 1X15" amps built in the 60's.  Back in the 60's, when I began lusting after gear, Ampeg and Gibson ruled the amplifier market in my area, and most of the east coast I'm told.  On the west coast, of course it was all Fender, which steadily overtook everybody all over the country.  The 30-watt Gemini II (Gemini I was a 12" with 20W) GV-15 was only built from '65 to '68 when it was replaced by the Gemini 15.  It's a two channel amp with separate bass and treble controls and the reverb (called "echo") and tremolo on channel one.  Channel 1 has inputs for guitar and accordion and 5 knobs:  tremolo intensity, tremolo speed , volume, treble and bass.  Channel 2 also has guitar and accordion inputs plus volume, bass, treble and echo, oddly enough, located on the side it doesn't control.  It uses a solid state rectifier dual 7868 power tubes, and in the preamp there are 3 x 12AX7, a 7199, and a 6CG7.  It measures about 26 H x 25 W x 11 1/2 D inches, not counting a few inches for the included heavy duty casters, weighing around 60 lbs.  It produces around 30 watts through a single 15" Jensen and includes the original 2-button footswitch labeled "Echo" and, oddly enough, "Vibrato" (not tremolo!).  I've read that jazz players are fond of these.  This is a very good sounding amp, excellent for blues or clean rock 'n roll.  Although it does break up at around 9:00, it's not as smooth as, say, a Fender Blackface.  Could possibly need a tune up but as it sits it seems to function well, being quiet at idle and no extraneous noises present. The tremolo and reverb are very strong and sound great.  Cosmetically, it looks its age but nothing horrible, just the usual covering peeling on the corners, some rust and dirt, etc.  This amp was built pre-PCB (i.e. before Magnavox ownership) so it's all point-to-point I believe. At $399, it's a great buy on a vintage amp, especially a hard to find 15" combo.  

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

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

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 $250.  A lot of people don't know I handle pro sound gear but check my pro sound page and you'll find other quality mics such as AKG C1000S, Neumann KMS 105, AKG C4000B, EV RE-200 Audio Technica AT4033A, and Audio-Technica ATM33A.  

Shure SM57 Performance Mics - Set of 3.  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.   This trio is in nice shape and $199 takes them all.  

Shure SM57 Unidyne III, (pic2).  See description above.  Preceding the SM57, the Unidyne III is the original model.  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.  

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 $999 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 $750.  Includes the new style Fender/SKB case with ATA latches, as well as accessories, tools, and mic. paperwork.  

Tascam MP-GT1, (pic2), (close-up).  I have four of these inbound, all new in the box will be ready to ship on Wednesday.  For full specs, audio samples, etc., click here for Tascam's Site.  The MP-GT1 is the first MP3 player designed for musicians. Based on Tascam's huge hit, the CD-GT1mkII, this fun mobile guitar trainer includes enough memory to store up to 240 songs. Guitar parts can be slowed down, looped and even eliminated to help you learn new riffs. Play back MP3s using Variable Speed Audition, which slows down the speed without changing the pitch, and sections can be seamlessly looped while practicing tricky passages. Songs can even be pitched up or down to match the tuning of your guitar, so you don't have to re-tune for every song. The guitar input lets you rock along with thick overdrive and multi-effects, including a guitar canceller so you can eliminate Jimmy Page, for example, and be THE guitar player in Led Zep.   Other cool features built in such as a quality tuner, metronome, and rechargeable battery.   Best of all, it's smaller than a stomp box, easily fitting into your gigbag or pocket.  It also uses a high-speed USB connection to load up MP3s while charging the built-in battery, which is a quality lithium ion that lasts 9 hours.  Zip through your MP3 collection using a data wheel, dedicated buttons and a graphical LCD display.  Click here for a good review, the good and bad.  These sold everywhere for $199 and a while back I had 5 of them at $149, new in the box.  This was one of those 5, recently traded back in without ever being used.  Never been plugged in, plastic still on the screen, i.e. brand new condition.  A very cool and useful tool for just $75.  

OFF-HOLD: 2004 Gibson Flying V with Burstbuckers, (front), (headstock), (back),  (Burstbuckers), (case).  A real classic in the Gibson tradition, all the way down to the glossy Nitrocellulose premium finish.  A fantastic metal guitar, or equally at home in rock as found by Hendrix and Kravitz.  Features include solid mahogany body with premium nitrocellulose finish for optimum tone and vibe, extended neck joint for stability and solid sustain, tune-o-matic bridge with stopbar tailpiece, and rosewood fingerboard with premium chrome hardware.  Original ceramic pickups (496R and 500T without covers) have been replaced by much better sounding Alnico V Burstbucker 1 and 2 set with nickel covers.  This V is in near perfect condition, with no scratches or fret wear, other than a few clear coat dings around the knobs.  Case pictured is from a high dollar guitar, a Lifton-style for an '82 Ltd Ed Korina Flying V, in good shape other than replaced handle.  I'm offering it with this rare case at $950, or with Gibson gigbag, $829(HOLD-Joe C 4/15).  

UPDATED DESCRIPTION:  1985 Fender '70s Reissue Stratocaster - Japan, (front), (back), (headstock fretboard neckplate), (body/neck markings), (bridge detail), (refret), (case).  Super Pro Refret!  Much has been written, repeated actually, 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 dealer 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 probably 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.  

2006 Gibson '58 Historic Les Paul TV Junior VOS, (front), (headstock), (back), (cavity), (case).   Our favorite model Historic, virtually unchanged from the mid-50's Juniors that started it all.   To me this is the ultimate - TV yellow (aka Limed Mahogany) finish on an all-mahogany guitar, wraparound tailpiece, single P90, and volume/tone.  The double-cutaway Junior, debuted in '58, after a 4-year run as a single cutaway model.  Single Cuts were Sunburst, Double Cuts were Cherry, but the TV color overlapped the two body shapes, running from '56 through ca. '60.  The Junior is perhaps the ultimate rock guitar.  People have asked if P90's are good for rock music and my reply?  Just listed to Leslie West on his old "Mountain" albums for one of the definitive rock guitar tones of all time...done on a 50's Les Paul Junior.  Mick Jones of the Clash, Frampton, and Bob Marley are a few others who chose these as a main axe but nearly every top artist has used one on their recordings.  Features include solid mahogany body, nickel hardware, lightweight aluminum tailpiece, 1-piece mahogany neck with long neck tenon, 22-fret rosewood fretboard, pearloid dot inlays, early 1950s rounded neck profile, 24-3/4" scale length, 1-11/16" nut width, button tuners, P-90 single-coil pickup, 1 volume, 1 tone control, CTS pots and bumble bee capacitor.  The stock Bumblebee capacitor does make a difference over a ceramic disk style.  I never thought caps could make much of a difference but we've changed them in Juniors before and these striped barrels definitely sound better.  The taper is more even and there are in-between positions than have a nice honk to them.  Be warned, this model has a baseball bat neck so if you like the 60's thin taper, you might want to pass on this one.  Other than a little discoloration to the nickel tailpiece, this guitar is in beautiful condition with perfect frets and a killer low setup.  A new '58 TV Junior runs $2499 ($3527 list).  This one is perfect, set up perfectly, and a lot cheaper at $1599.  Includes custom shop case, certificate, and paperwork.   

ca. '90 B.C. Rich Employee Guitar, Custom-Made Lacewood Mockingbird, (pic2), (pic3).  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.  

Fulltone Fulldrive2 Mosfet Overdrive/Clean Boost , (close-up). Many believe this to be the finest overdrive pedals on the market and, in fact, was voted by GP Mag as stompbox of the year in '06 and, later, GP voted it as one of the top 50 effects of all time.  It's actually a dual-channel OD, adding a Boost switch, with its own separate distortion control.  "Vintage" for old-style FD2 mid-heavy tones that cut through the mix, "FM" stands for "flat-mids" offering a more natural sound that's enhanced for even more transparency, it sounds great on a Strat's Neck Pickup; and "CompCut" feature removes the bounding from the feedback loop allowing for monster Clean Boost tones and some rougher OD sounds with the OD and Boost knobs turned up.  With its 16 ga. powder coated chassis and heavy duty pots and switches, this pedal will be around for many decades of hassle-free use.  For good YouTube demo's, click here for Les Paul, and here for Strat.  You can spend $200+ on a boutique overdrive pedal, and probably won't be as versatile or sound as good as this one, for just $115(HOLD-Andrew 5/15).  Perfect condition in box with manual and sticker.

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.  Add a Boss PSA-120T (pic) power supply for $15.  

Boss PH-2 Super Phaser, classic Boss Phaser that was produced from '84 to '01, making it one of the longest runs in Boss history.  Creates subtle effects like a pseudo rotary speaker tone to more radical such as a jet plane taking off.  With the Mode switch you can select Mode I, a more mellow broad sounding tone; or Mode II, an in-your-face phase attack.  Super duper clean in original box.  This is a real classic from Boss, preferred by many players over the PH-3, and just $65.  

2005 Taylor 305-M Mahogany Baby, (front), (back), (headstock), (detail), (gigbag).   Fairly rare mahogany model that's small in size and price, but a quality Taylor guitar in all regards.  If you've never played one of these Taylor Baby's you're likely in for a surprise.  While they have a diminutive size, it's not at all a child's guitar and this guitar has very good projection that's as good as many full size guitars you'll play.  As you would expect, the tone is somewhat pronounced in the mid-range, it does have a crisp high end and more bass than you would imagine from this small body.  In a back porch jam session, this Baby would easily be heard more than an average flattop, clearly standing out in the mix.  If you've ever picked up a Baby in your local store and you weren't impressed by the superb action, then it wasn't set up properly.  Nearly very one we've had arrived with mediocre action - but after Martin (Upstate NY's licensed Taylor tech) does his magic, each one played like a much higher end Taylor.  Scale length is 22 3/4", but the nut width is full size, 1 11/16" so it's very comfortable to play.  The all-mahogany model delivers rich, warm tones and covers the entire frequency spectrum very well and is an excellent choice for solo playing.  Other features include laser engraved rosette, ebony fretboard, and standard acoustic pin bridge.  This would be an excellent travel guitar for the beach or business trips (fits in the overhead compartment), or some of my customers leave one of these at the office for brief breaks to ease stress.  It is in excellent condition and plays with ease.  In my '02 Price list, the closest I have to an '05, the Mahogany model listed at $428 which was $80 higher than the regular Sapele/Spruce model.  In all, this is a nice value in a versatile little guitar for $229(HOLD-Robert S 1/28).  Includes top quality Taylor gigbag.  

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

1979 MXR Phase 100, (circuit).  Super clean vintage effect. Big brother to the popular Phase 90, the Phase 100 offers tone shaping the 90 doesn't have with a 4-position rotary knob to change the wave shape plus an intensity control to vary the speed.  When you dial it in correctly you can get a good EVH tone, plus many other classic rock sounds.  Old MXR's are made so much better than recent models where everybody has gone to circuit board-mounted pots and jacks.  That's why today's pedals are almost disposable and vintage pedals seem to work forever.  Pedal is nearly immaculate and the only real wear is on the bottom plate with some silver showing around the edge - definitely collector worthy.  Includes original box.  For one in this shape it's a nice buy at $150.  

2010 Fender Road Worn 50's Stratocaster - Sunburst,  (front), (back), (headstock), (neck), (relic wear), (gigbag).  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, plus the fretboard has wear in all the right spots to replicate a heavily played vintage model.  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 at 7.2 lbs. it's lighter than the average custom shop Relics, with a fairly 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 a good value at $669, including a new tweed case (as shown here), or $619 with Fender deluxe gigbag.  

2010 Fender Road Worn Player Stratocaster - Sunburst,  (front), (back), (headstock), (relic wear), (gigbag).  The Roadworn Player has the same features of the regular Roadworn above, with a few changes, most importantly a modern 9.5" fretboard radius instead of the 7.25" vintage radius and replacing the Tex-Mex in this model are a set of Texas Specials, the same pickups used in Custom Shop models, SRV Strat, and other higher end American Strats.  Like vintage pickups they have cloth wires and are overwound for that hot Texas sound with plenty of midrange chirp, crystal highs and tight bass.  In addition, it has all black plastic parts (pickguard, knobs, etc.).  Click here for Fender's site regarding this model.  These run $949 new, reasonable considering the labor involved in relicing these and adding Texas Specials, but this used one's in perfect condition, with a great setup, and a good value at $699(HOLD-Mark P 10/19) including a new tweed case (as shown here), or $649 with Fender deluxe gigbag.  

Lefty Violin "Beatle" Bass, (front), (headstock), (back), (deluxe features), Korean made knockoff of the 60's Hofner 500/1 with a pro-added vintage Hofner logo.  All of the features are pretty much dead-on copies, other than the tailpiece is slightly modified.  Tuner buttons are white pearl rather than the big chrome P-bass buttons used on most copies.  I have a Hofner Icon Series in stock and in an A/B comparison this one sounds as good, plays more easily, and has a nicer flamed maple top and back.  Let's face it, who doesn't want a Beatle bass?  They weigh almost nothing, are fun to play, and their plunky mid-range tone will make you sound like McCartney.  Unfortunately, not everybody has a few grand to pony up for a high-end Hofner.  This one will do the job quite nicely, and at just $279, it includes a nice vintage style case (shown here) for free - or add a more roadworthy wood/Tolex case (shown here) for $30 more.  

EMG-89 Pickup.  Newer model with the quick connect cable.  Complete with volume and tone pots and battery clip.  The EMG89 is like the EMG85 but has a coil split capability.  It's loaded with alnico V magnets and has separate preamps for each coil providing custom outputs for both dual coil and single coil modes. In dual coil is rich, warm and powerful, i.e. an EMG85 - single coil mode, accessed via push pull pot, delivers the traditional Strat single coil sound: bright, airy, and chimey, i.e. the EMG-SA.  Either way, the clean sound is gorgeously pristine with a lot of presence.  Can be used for bridge or neck, whether you are playing hard rock or smooth jazz.  These sell for $119 new but this used one's in clean shape and just $69.  

Charvel Vintage Trem - Brass, (pic2).  These are brand new from the supplier for Charvel Custom Shop.  All solid polished brass including brass trem arm with stainless screw on tip.  Protective paper shown in pic obscures the trem plate but it's polished brass as well.  If you're doing a San Dimas reissue these have the look--and the tone--to give you the perfect 80's tribute model.  $95/each.  

1993 Martin D-16H w/Fishman Matrix, (front), (headstock), (back), (appointments), (Fishman), (case).  This is somewhat of a rare bird, made by Martin for just 3 years.  Overlapping this guitar Martin built five different models, the D-16M, H, A, K, and W (mahogany, herringbone, ash, koa, and walnut, respectively).   Don't confuse this with the recent D-16 and the new "16-Series" - good guitars for the money clearly not in the same class as the traditional "Standard Series".  Specifically, the recent D-16's are heavy and built with the cheaper mortise and tenon neck joint and A-bracing.  This era D-16 is lightweight guitar, with forward-shifted, scalloped X-bracing and dovetail neck joint, a truly traditional Martin in all sense of the word.  From what I've read, this guitar was essentially a Vintage Series D-18V, a decade or so before they started building the 18V.  It definitely sounds and plays as well as the 18V's that I've had, with excellent projection and plenty of low end.  Features include gloss natural finish, spruce top, scalloped bracing (forward scalloped X-brace, mahogany back and sides, herringbone soundhole rosette and back strip, snowflake fretboard inlays and bridge inlay, 14-fret mahogany neck, 20-fret rosewood fingerboard, 1-11/16" nut width, 25.4" scale, rosewood bridge, rosewood peghead overlay, tortoise-bound body, tortoise pickguard, and chrome Gotoh/Martin tuners with ebony buttons.  Martin did a number of limited runs of the Style 16 during the late 80's and early 90's and this guitar differs from specs on most other D-16H's.  Specs on most seem to be satin finish, while this one's clearly gloss, and inlays are generally dot, while this one has snowflakes, as well as snowflakes on the bridge.  There's an email from Martin customer service in the case that states that particular guitar was a "Trade Show Special built for the 1991 (presumably NAMM) trade show".  In all, a total of 3460 units were built during the '91-'93 run.  This one also has a Fishman Acoustic Matrix Infinity pickup (link) (installed in 2010) with controls unobtrusively located inside the soundhole, the preamp built into the endpin jack, and 9V battery velcro'd next to the neck block.  We can remove it if not desired, but it's a very good sounding, simple system.  This guitar is in lovely shape, with the worst flaws being a few impressions on the headstock visible in the pics, and a few light impressions in the binding on the bottom back edge.  No buckle/button scratches or other signs of wear.  It has a very comfortable set up, and sounds superior to most D-18's I've had.  Considering what this guitar actually is, I think it's one of the real sleepers in the Martin world and a excellent value at $1299 or if you don't need the pickup, $1229(HOLD-Carlo U 2/3).  Includes original case.

Line 6 Pod Plus Floor Multi-Effect, (close-up), (controls), (patch bay).  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.  A new one is just $199 or, better yet, this used one is perfect in the box with manual for just $129.  

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

Roadrunner Pedalboard Gigbag, (pic2).  CRZR-PB1 pedalboard gigbag is perfect for mounting your stomp box or simply to safely haul your multi-effect.  It features a 600-denier outer cover for years of road use plus 1/2" padding keeps your effects well protected. The cover transforms into a nonslip bottom so your effect pedals aren't strewn about the chamber. A large outside pocket holds your cables and accessories, while a convenient mesh pocket on the outside is ideal for holding personal items, cables, etc.  Includes carrying handle plus comfortable padded shoulder strap.  $79 List but I have a box of these for $29. 

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.  Mint in the box with mic clip, $50.  

Three Danelectro OD/Fuzz Pedals - Cool Cat Version 1 Series.  Includes CTO-1 Transparent Overdrive, CO-1 Drive, and CF-1 Fuzz.  These V1 pedals are starting to earn legendary status with claims, and apparently proof, they're they dead knockoffs of some very pricey boutique pedals, namely the "Timmy" Overdrive by Paul Cochrane (CTO-1), Fulltone OCD (CO-1), and Frantone Peachfuzz (CF-1).  When word got out, in order to keep peace in the pedal community Danelectro discontinued the V1 in favor of the V2 (CTO-2, CO-2, and CF-2).  There is much written on the web about these and plenty of YouTube side by side shootouts.  They're fairly well built with metal cases and each has true bypass.  Of course they all have circuit board mounted pots and jacks.  Although they are built fine for the casual user but for the ambitious, you can make them road worthy by repackaging these in a generic box and move all the pots and jacks to the case and install a heavy duty switch, for around $15 in parts.  All of these are as new in the box with stickers, manual, catalog, etc. (shown here).  For you tech-types, here's an example of the cloning that took place on the OCD Clone (link).  For less than the price of an OCD, you can have an OCD Clone, Timmy Clone, and Frantone Clone.  $115 takes all 3.  

Ernie Ball Musicman John Petrucci JP6 Dargie Delight with Piezo Limited Edition, (color shift), (front), (back edge), (headstock), (back), (piezo preamp), (figured neck), (case).  This has been on hold for Kevin S for 35 days, apparently for no reason; please let me know if I missed something.  Extremely rare Limited Edition Dargie Delight.  This is a rare limited.  I was told by the original model 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 the coolest finish I've ever seen and is 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.  

1997 Fender Lonestar Stratocaster, (front-1 front-2), (back1 back2), (PG pickup), (headstock), (case/etc.).  Another time capsule guitar; looks like it was played for a few weeks in '97 and put away until last week.  The Lonestar with its HSS pickup layout was one of three Strat models that comprised the "Hot Rodded American" series, along with the dual-humbucker "Big Apple" and 3 single coil "Roadhouse".  They carried a list price of $250 higher than a regular American Standard justified by their upgraded pickups, deluxe Tolex hardshell case, and Tortoise or Pearloid plastic (depending on body color).  This Lonestar in sunburst has the tortoise shell pickguard and back plate and the pickups are Seymour Duncan Pearly Gates humbucker in the bridge and Custom Shop Texas Specials in the middle and neck which combined with special 5-way switching provide more versatility than a regular Strat.  You can get the fat, hot humbucker tones for hard-edged music or the classic single-coil tone of a Strat.  It's one of the best rock and blues Strats Fender has made.  Cosmetically it's just insanely clean with no scratches, dings or fret wear.  It also has a great neck so the set up is low without an problems fretting out.  List price back in '97 was $1249 which was fairly pricey back then.  There may also have been an upcharge for sunburst, I don't recall.  This one is tailor made for collectors with the original Tolex case with keys, which frequently gets switched out from these guitars since it's the same case used for many Custom Shop guitars from the era.  Also includes Fender cable that has never been uncoiled, Fender strap, hang tags, and sealed documentation bag with trem arm, manual, warranty, etc.  A fantastic Strat in all regards, for $1099.  

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!

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 HSH RS440 and HH RS430 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.  

Grover Mini Rotomatic 3+3 Gold.  The most common tuner upgrade for Gibsons or any other 3+3 headstock.  Used but super clean shape and complete with felt protectors and screws.  These are $69 to $79 online but get this clean used set for $45(HOLD-Robert N 12/10).  

Radial Headbone VT Tube Amp Switcher, (front), (patch bay). Although most of today's amps have two or more channels, many pro players use different amps for different tones. Eric Johnson and Brad Paisley are two who come to mind. While you can easily walk to your backline and move your guitar cable to another amp, it's a lot easier to just hit a footswitch - especially if you want to change in the middle of a song! It also lets two heads share the same speaker cabinet. The Headbone VT is made specifically for tube amps and is 100% safe for your amps. It employs a series of photocells for noise-free switching while high cycle relays switch between the 2 heads and the speaker. A digital programmable interrupt controller receives commands from the onboard footswitch or you can use the "Slingshot" input to use any standard 1/4" on/off footswitch and leave the Headbone back by your amps.  Click here for hook-up info from Radial.  Sells new for $259 but this one's in perfect condition in the box and just $175(HOLD-Brian H 11/29).  I'm a Radial dealer and that's less than dealer cost on a new unit.  

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.  

Kustom '66 Dart - Blue Sparkle, (front/back panels).  A lot of us older folks remember with fondness Kustom's amps from the 60's with their signature tuck&roll (padded vinyl) covering.  Say what you will about the tonal appeal of the old solid state amps, they were definitely the coolest looking amps to come out of the golden age of rock and used by a number of groups, most notably Credence Clearwater Revival.  The '66 Dart is a repackaged black tolex Kustom Dart 10FX, with the same features but finished in the tuck&roll with the vintage style knobs.  Although small in size, these 10 watt monsters are loaded with features including a 6.5" speaker with a genuine plywood baffle, Lead and Rhythm channels, Bass-Mid-Treble EQ knobs, Effects knob with adjustable reverb or delay, external speaker jack, line out to go direct to recorder/PA, headphone jack, and CD/Tape input to practice playing to songs or lessons.  This has to be one of the coolest looking practice amp made and it sounds pretty good too.  These have been discontinued but they carried list price of $159.  This one is used but in mint condition and just $69(HOLD-Robert N 12/11).   

Skreddy Supa Tone, (pic2).  As you might guess by the Colorsound-looking logo, this pedal is based on a 1974 Colorsound Supa Tonebender, this circuit is not based on a germanium Tone Bender design but is a variant of the Big Muff circuit. The first pair clipping diodes is removed, so there is more clean boost in front of the remaining pair of clipping diodes. Like the originals, only polyester film coupling capacitors are used to retain every bit of high end rasp. It also uses low-gain transistors (also like the originals) to retain dynamics and avoid going into syrupy-sustain territory. The tone stack is the original mid scoop, a flat-mids switch added in case you have need of it.  For full info and some good video clips click here for Skreddy.  These are $195 from Skreddy with a wait time but this clean used one's just $139(HOLD-Canada 4/4).  

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.  

Fulltone Full-Drive 2 - Earlier Version.  The FD2 is perhaps the finest overdrive pedal on the market and, in fact, was voted by GP Mag as one of the top 50 effects of all time.  This is third version from 2001 with the push/pull pot for Comp Cut in place of the later mini-toggle.  Written on the back is "FM" which indicates it has the flat mid voicing, offering a more natural sound.  The "CompCut" feature removes the bounding from the feedback loop allowing for Monster Clean Boost tones and some rougher OD sounds with the OD and Boost knfobs turned up.  Features separate on/off and boost switches, with a green and red LED indicator, respectively.  Pretty nice shape for an 11-year-old pedal, works perfectly, sounds great.  $115.  

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

LEFTY 2007 Ibanez Prestige RG-1570L Textured Black "Project", (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.  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.  We don't really need to be taking on any projects right now but since I know people will ask, we do final assembly, including a quality set of pickups, for around $225 more. 

1980 Gibson ES-3335-S With Mods, (front), (headstock), (back), (mods),  Fairly rare model from Gibson, introduced in '80 and discontinued in '81.  Gibson reissued the 335-S in 2011 as a Ltd Ed model with around 400 units produced.  The 335-S Standard was a nice departure from Gibson, with a solid maple body, rather than mahogany that was used on most solidbody models.  It was marketed as a solid body ES-335 (original GP ad here) and it had the same appointments and controls but the 13 7/8" lower bout was slightly more narrow than a Dot and the 1 1/2" body was thinner.  The result is a brighter sound and one that works well with rock music.  As part of Gibson's Firebrand series, the logo is wood-burned into the wood rather than the usual decal or inlay.  This one's not for the collector but, quite frankly, this model tends to sell at utility value with little attention paid to collectablity.  Original finish on this model was called "Autumn" which was a Natural finish with a little stain.  This one has been stripped of the original stain, down to the natural maple wood, although the headstock was left original.  I don't know the reason for this other than people love to mess with their guitars.  Another change that makes perfect sense is the pickup upgrade. Originally a pair of Superhumbuckers, not Gibson's best attempt at a pickup, they've been replaced with an old set of DiMarzio Super Distortions, probably from the same era of this guitar, as is the Kahler tremolo which replaces the original stopbar/tuneomatic bridge.  2 other minor changes are Dunlop strap pins an pearloid tuner buttons (tuners themselves are original).  Other cosmetic mentions are very typical finish cracks at the seams of the 3-piece headstock (shown here) and at a few places along the body's center seam (as shown here).  These are always non-problematic and require no attention.  Other than the seams, there aren't any cracks or repairs on this guitar.  The set up is extremely nice with fretboard feel of a LP Custom "Fretless Wonder" with a perfect neck that allows low action (as shown at 12th fret).  With the DiMarzios and Kahler locking tremolo it has an excellent biting tone and stays in tune extremely well.  With the bridge pickup the tone isn't too far off from an early EVH tone.  I wouldn't recommend this guitar for collectablity reasons but as a quality vintage utility guitar I think it's an excellent value at $599 with gigbag or, better yet, $699(HOLD-Robert N 12/31) with a top quality '80's case (shown here) that hugs the body on all sides and appears to be tailor made for this type of guitar. 

2010 Fender Squier Strat - Lefty - With Noiseless Pickups, (front), (back), (headstock).  This is an exceptional Affinity Series Squier for several reasons and one that was definitely worthy of a fairly pricey upgrade, namely a new set of Fender Vintage Noiseless pickups.  To begin with it's a beautiful brown sunburst body that shines like glass but this isn't your average Squier body.  As you can see in the close-up of the back and front, and shown here, it's a maple body rather than the usual agathis or alder, with some beautiful tight flame.  It's also a fairly lively body with nice sustain, not the lifeless wood you sometimes find on Strats.  Lastly, it has a good neck that sets up very well.  For these reasons it would be a shame to have budget pickups in a guitar that looked and sounded so good, thus a new set of Vintage Noiseless pickups has been installed.  These were the choice for high end Fenders such as the Custom Shop Clapton and American Deluxe and are noted for having a true vintage tone in a pickup that doesn't produce the hum of regular vintage pickups.  One other upgrade are the knobs and tip, which were switched to the aged color rather than stark white - to match the aged pickup covers.  Cosmetically this guitar is as clean as they come with no scratches or flaws of any kind.  It could be sold as new.  If you're looking for a great looking, playing, and sounding left-handed Strat without paying a fortune, here you go.  A new set of Vintage Noiseless runs $199, or around $245 installed.  You can get this whole guitar for less than having yours upgraded, plus have one of the most beautiful bodies you'll ever see on this model.  $199 takes it.  Add a Fender deluxe gigbag and Fender tweed strap for just $25 more.  

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, selling new for $1749.  This clean used one has a great setup, has a nice lively sustain, and is just $1150(HOLD-Vince 1/4).   

2010 Fender '51 Nocaster Relic, (front), (back), (headstock/neck), (case, etc.).  Custom Shop recreation of the guitar that started it all for Leo - the 1951 "Nocaster" - originally named "Broadcaster" but after Gretsch complained of infringement on their trademarked "Broadkaster" name, Fender simply clipped the "Broadcaster" part of the logo and, thus, the "Nocaster" was born.  A year or so later Fender changed the name and logo...the Telecaster was born, albeit identical to the Nocaster in all respects.  As a "Relic" series, this guitar has plenty of wear and aging which were done at the factory to make it look like a genuine 60 year old guitar with finish checking, tarnished or rusty hardware, and miscellaneous worn areas throughout.  Some examples of wear are shown here.   Features include premium swamp ash body finished in vintage blonde nitrocellulose (transparent), chunky U-shaped neck, slotted pickguard and neckplate screws, single ply black pickguard, 7.25" fretboard radius, original spec pickups with custom vintage wiring circuit (modified), vintage style bridge with special design brass saddles, Fender/Gotoh vintage nickel tuners,  If you like your Tele's lightweight, you'll love this one - just 6.8 lbs.!  Although not a "heavy relic", this one has more than average factory wear with more edge wear, buckle scratches, and miscellaneous dings.  These are selling new for $3840-$3899 at Sweetwater or Wildwood but this one has seen very little playing time, with no fret wear and one of the lightest you'll find - plus the lowest action of any Tele in recent memory - all for $2099.  Includes tweed "Thermometer" case, certificate, strap, cable, care kit, serialized hang tag, and accessory bag with ash tray, polishing cloth, manual, tags, etc.  

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. 

DOD FX65 Stereo Chorus.  First Version FX65.  Best value in an analog chorus, selling for well under the Ibanez CS9 and a fraction of the Boss CE-2.  The FX65 replaced the 2-knob FX60 in '85, adding a Delay Time control to vary the delay 5-8ms.  It also has the usual Speed and Depth controls to vary the sweep rate and amount of effect mixed in with the straight signal, plus stereo outputs.  Uses the MN3007 BBD chip driven by a MN3101 clock generator/driver CMOS chip; plus three op amps which varied throughout the run of '85 to '97.  Built like a tank with metal casing and long-life FET switching.  Excellent condition, works perfectly, and a fine sounding analog for $65.  

DOD FX65 Stereo Chorus.  Second Version FX65 from ca. '90.  Basically the same unit as above with a few circuit changes but the nuances are so subtle that I can't recommend one over the other.  Also excellent condition and $65.  

Digitech Bass Multi Chorus. Another great X-series.  Quality chorus designed specifically for bass by keeping the fundamental note clean and just effecting the higher and harmonic notes. Provides up to 16 bass chorus voices at the same time to create the lushest bass chorusing you'll ever need. There is also built-in voice randomization that increases as you add voices to thicken the sound even further.  Clean shape and a good choice for a quality bass chorus at $45.

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.)

1988 G&L S-500, (front-1 front-2), (back), (headstock), (pot codes), (neck/body dates), (case candy), (case).  24 years old G&L that looks as clean as a 2011.  Very near museum quality with the only exception being some tiny spots (shown here) on the back near the trem cover, visible only upon close inspection in good lighting.  In addition, I've never had a vintage G&L with anywhere near this amount of original case candy before.  In addition to the original Tolex case, which is as clean as the guitar, it includes original hangtag, unsigned warranty, S-500 product sheet, '88 guitar catalog fold over, owner's manual, trem arm, and wrench set.  Leo's S-500 was head and shoulders above Fender's offerings throughout the 80's and if you ever make an A/B comparison the result will be inevitable.  Leo continued to refine the Strat long after he left Fender, using improved tremolo/bridge assemblies, pickups, electronics, and hardware.  He kept the 3-bolt neck attachment which Fender used beginning in '71 and G&L continues to use it today.  There are some players who slag this design but from my experience--and Leo's--it's a fine design.  I think it earned an unfair bad reputation because people associate it ill-fitting necks during this era where gaps of 1/8" to 1/4" on either side is common.  G&L's, conversely, never had this problem.  WE dated it from the neck and body stamps, both of which are '88.  Thank goodness we didn't have to rely on pot codes, since this one has (1) 37th week '81, (2) 26th week '83, and (3) 36th week of '87.  It's no uncommon to have pots a few years apart but having an '81, '83 and '87 all from an '88 guitar is rare indeed.  The pots are, however, all original as all solder joints on this guitar are unquestionably original factory.  Features include solid ash body, maple neck with rosewood fretboard, pearloid dot inlays, black powder coated aluminum pickguard - control plate - back cover, separate pickguard and control plate, G&L dual fulcrum tremolo, Sperzel locking tuners, G&L magnetic field design pickups with adjustable poles, master volume, treble, and bass in a passive system, 5-way switching with positions 2 and 4 in "humbucking" mode, 1 5/8" nut, and neck tilt adjust. Leo-era G&L's are some of the best guitars made during the 80's and are still a good value, especially when compared to Fender. Aside from its stunning condition, this is a great sounding guitar that's comfortable to play and useful in styles from country to hard rock.  If you're a collector of G&L's, this one should be of interest since '80 examples in this condition are less than 1 in 100.  Also, of the 7 color options for this year, sunburst has got to be the most popular, especially with the matching headstock.  For the discriminating buyer, this is an exception S-500, for $1099.  

Seiko ST737 Chromatic Tuner.  Nice, accurate pocket-size auto or manual-tuner for guitar and bass players. Its dual display (analog and digital) and two LEDs provide quick, accurate tuning.  Built in mic for acoustic tuning, or 1/4" jack for electric.  Hard to beat Seiko quality, especially for $12.  

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.  

2010 Gibson 1957 Les Paul Goldtop, (front), (back), (headstock), (neck), (case).  Dead mint, collector owned, bought new earlier this year.  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.  Includes all the case candy that Gibson now includes.  This guitar has the full gloss finish and is in pristine condition other than factory aging.  With a new one selling for $3699 ($5456 list), why not save $1000 on this mint used one, $2699(HOLD-Mike W).  You can get a killer amp or another guitar with the savings.  Will ship in original box but double boxed for protection. 

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 $579 with a hardshell case.  

Pine Island T Style - Ash & Padouk,  (front), (headstock), (back), (side), (pickups).  From the same company as the Thinline below, but this one's a more traditional solidbody guitar.  The primary difference with this one is it features an ash body with a padouk cap.  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 feature Gotoh hardware with gold plating,  Tonally, this one sounds more like a Tele with a good bit of 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 $629 with a hardshell case.  

Pine Island Thinline T Style,  (front), (headstock), (back), (side), (front edge back edge), (case).  I had a number of these on consignment, and ended up buying a few choice ones, all Tele style.  Pine Island Guitars are a great value in American made guitars.  They're built in Pine Island, Southwest Florida, using good quality parts.  What really sets them apart though are their hand-made bodies, frequently with tone woods and wood combinations you generally don't see on a Fender style guitar.  These bodies, built one at a time, are made without the benefit of a CNC machine, yet look like they could have been cut in a large modern factory.  The body on this Thinline features a Southern Pine back, capped by a Cherry top.  As you can see in this (side shot), the top isn't a thin veneer but a solid slab of cherry, nicely bound with cream binding.  The tone is thicker than your alder Tele with as much high end snap as an ash.  The pickups, are a pretty good combination:  a USA Hot Tele bridge delivers a vintage tone that will overdrive the front end of your amp a bit but the neck, a Rio Grande Tallboy, sounds closer to a P90 than a Tele.  It's very dark sounding, but in a good way, and when you run the selector in the middle position there's a perfect blend of fatness and clarity.  Pine Island isn't set up to build necks and they use Mighty Mite necks, which I've found to be excellent quality at a reasonable cost.  This one is a V-shape, but not as deep as a '56 aka 10/56 neck.  Hardware is gold-plated Gotoh.  This would be a heavy guitar if it didn't have the chambers of a Thinline as it comes in fairy lightweight, in the 7.5 lb. range.  Martin put a nice setup on it and for an American guitar it's an excellent value at just $679(SOLD-Tom in IR 9/10).  Includes tweed case. 

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. 

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

Manual for Fostex MR-8.  In-depth, around 50-75 pages.  $5 plus postal shipping. 

Baggs M1 Acoustic Pickup (Passive), (pic2).  Installs in 10 minutes and since it's an endpin system, no annoying cable coming from the soundhole.  With its passive operation; the M1's dual-coil design employs L.R. Baggs' exclusive TriAxial Dynamic Technology to produce clear, rich tones that are resistant to feedback, noise and hum, with string and body sound all in one. Forget about trade off between ease and performance - this thing sounds great and its soundhole design and end-pin jack install in minutes. Bagg's TriAxial Dynamic Technology allows the pickup to respond to the guitar's string and body vibrations.  Individual pole pieces are adjustable for string-to-string balance.  Unlike most stacked humbuckers, where lower coil cancels hum but doesn't contribute anything sonically other than adding "mud" to the sound, the M1 unlocks the second coil and allows it to make a positive sonic contribution while maintaining the pure open sound of a single coil. The hum-canceling coil is suspended under the main coil by a tuned support that allows it to move in three dimensions. The primary coil moves with the guitar top and creates a body signal in the suspended secondary coil. This brings the M1 to life, with string and body sound all in one. It's like having a dual pickup system in your soundhole - and it's all passive!  With a list price of $199, this is a killer pickup at the right price - just $99.  Includes box, manual, endpin jack, etc. 

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.  

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. 

HAO Rust Driver, (pic2).  Recreates the classic sound of a late 60's Marshall Plexi running at full bore grind. Carefully selected components perform faithfully with any amplifier at any volume resulting in a tight, thick bottom and extremely high signal to noise ratio. A single knob controls output level and gain while three switchable EQ curves maximize tonal options without compromising your guitar sound. True "Plexi Sound" at around $1500 less than a Plexi.  Normal – Bright – Warm switch, LED indicator light, and of course true bypass.  New these are $149 but this clean used one's just $105.

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

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.  Appears to be serial #9 judging by the label under the back cover.  These sell new for $243 but this perfect used one's just $170. 

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 sell new for $799 with gigbag but this one is in mint condition with optional Gibson case for $685.  (Also in stock is the same model with gigbag for $629, or in a light natural for $639)

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.  

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

Peavey EVH Wolfgang Standard Deluxe - Red Flame, (front1 front2), (back), (headstock), (neck), (accessories), (case).  I'm not getting in nearly as many Wolfgangs as in years past.  With the release of the recent EVH Wolfgang by Fender, with the figured tops selling for $3599, most players are content to hang onto their Peavey models.  The Standard Deluxe is the top of the Wolfgang line, short of a custom shop model.  Features include archtop body with flamed maple top over a solid basswood body, cream body binding, birdseye maple neck with oil-finish, dual graphite reinforcements with adjustable truss rod at the body end of the neck, 25.5" scale, 22 jumbo frets, 15" fretboard radius, 10 degree headstock angle, Schaller tuners with pearl buttons, custom-wound EVH/Peavey zebra humbuckers mounted directly to the body, Switchcraft 3-way toggle and output jack, Peavey/Floyd Rose tremolo in highly polished chrome and D-Tuna on the low E string.  The D-Tuna is a handy feature if you play an occasional song in drop D tuning.  With the flick of your finger you can drop the low E string, to a perfectly in tune D; then back up to E when you're ready and, again, perfectly in tune.   Even though prices have risen on the used market, the Peavey Wolfgang remains the most affordable EVH model, considerably less than the 90's Musicman and current EVH/Fender model, and the quality is definitely on par with these other two models.  Quality control on these guitars was very high and I've yet to get in one that had any issues at all, with great necks that never fail to deliver the ultimate perfect set up.  Other than very light discoloration to the neck, which is inevitably even if you only play occasionally, this guitar is pretty much immaculate - no pick scratches; no buckle scratches; clean headstock; clean frets and shiny hardware.  The flamed maple is narrow, even bands, i.e. "fiddleback" pattern.  The neck is moderately figured with birdseye fairly evenly spaced around the back.  The only mod is an Allen wrench holder on the back of he headstock, but it ensures that you'll always have the right wrench handy when need.  Pots are original '98 but with the serial 91012670, I would guess that it's a late '98/early '99.  Wolfgangs, especially Standard Deluxe w/trem, consistently rise on the used market and you'll see a few Ebay dealers who specialize in Wolfgangs relisting them until they get $1600-$1800 for a Wolfie like this.  This models listed at $2199 and at $1299 it's priced less than it cost 10 years ago, and will likely follow the direction of the Musicman, going over $2K in the not too distant future.  Includes original case, trem arm, 3 Allen wrenches, and the elusive fretboard protector which folks have been parting out on Ebay for $40.  

1994 Epiphone Sheraton II - White, (front), (back), (headstock), (appointments).  Beautiful condition, plays fantastic, sounds great, and upgraded with a pair of GFS humbuckers, Tusq nut, and custom 5-ply black pickguard from Jeannie's Pickguards.  I'm going to skip the history of the Sheraton II since I just listed it with a black one I posted a week or two ago (black one's on hold).  The Sheraton combines great looks, quality tone, versatility, and excellent playability.  The Sheraton has a laminated maple body with 5-piece maple neck and rosewood fretboard.  High-end cosmetics include gold hardware, multi-layer binding on body, fretboard, neck, and headstock; Abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay, 6-layer pickguard.  Players as diverse as Oasis guitarist, Noel Gallagher and blues legend John Lee Hooker both have signature model Sheratons, which is testimony to the versatility of these guitars.  Like the ES-335 and especially with these pickups, it's capable of high gain without feedback, but sounds equally good on more mellow jazz or blues settings.  Cosmetically it's in beautiful shape with no major flaws.  The only real detractor is the little round protective plastic was still on the back of the tuners and when I removed it, some of the gold plating came along with it.  Also, the original owner put a small gold plaque on the back of the headstock when he bought it new in '97.  We can remove it but I always hesitate to remove any mojo from an older guitar. Like the black one, this guitar has a fantastic setup with low action; 2-fret bends ring true all over the neck.  Epiphone rightly dropped the price on guitars when production moved to China and the current lower list price on a new one is $1042, selling discounted for $599.  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.  This one's Priced at $499(HOLD-William P 2/3) or $100 more adds a ca. 1980 Gibson ES-335 case (shown here).  Case is in nice shape but "Gibson" was painted over, but is still visible as shown in the pic.

1995 Fender Standard Stratocaster - Sunburst w/Rosewood Board, (front), (headstock), (back), (electronics/neck-body dates), (gigbag).  I just posted a '96 sunburst with maple fretboard and here's another true "under the bed" guitar that looks like somebody bought it 16 years ago, took lessons for a month, and put it away until now.  This one is a style that Fender ran briefly that had the spaghetti logo and serial on the back of the headstock, rather than the big silver logo and serial number on the front of the headstock.  It also features USA electronics including Alnico pickups, CTS pots, and switch.  Please note that this is actually a '96 - pots, body and neck are dated '96, but since it's an N5 serial, most people simply refer to it as a '95.  No flaws to speak of, very comfortable setup, and a slightly hefty 8.6 lbs.  Very nice Standard with the look, feel and tone you want in a Strat for $379(SOLD-Robert S 2/15) with Fender deluxe gigbag.  

1985 Custom Ibanez with Custom Neck and EMG's, (front), (back), (headstock), (custom neck), (vintage trem/Pro Rok'r trem).  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 just one tone control, both knobs shifted down one hole, with the top hole, which many players find obtrusive, not used.  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.  The routing work isn't terribly precise but other than cosmetically imprecise, it functions perfectly.  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 $339.  

Dr. Z MAZ 38 Senior with Reverb 2X10 Combo, (panel), (back), (top), (tubes), (chassis).  On the heels of the white MAZ-38 1X12 I recently posted, here's the 2X10 model for players who like the extra punch of 10" speakers.  With a hefty 38 watts output, the MAZ SR has enough power and projection 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.  This one is outfitted with quality tubes including four TAD (Tube Amp Doctor) EL84-STR power tubes ($80/set from TAD), with two Mullards, a Phillips, a Mesa, and a Sovtek 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 outputs for 4, 8, and 16 ohms.  It's a fairly hefty amp at around 58 lbs. 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 $2149 but this one's in nice shape, performs flawlessly, and is just $1499.  

Krank "Krankenstein" Head aka Dimebag Signature Model, (panel), (top), (back), (back panel), (tubes).  I've been intrigued by these since they first came out around '05 but this is the first one I've come across.  When Dimebag Darrel (RIP) was contracted to build his ultimate amp a low price point ($1700 new) wasn't a concern and at this kind of price I imagine a lot of players opted for Peavey 6105's or other rock/metal amps priced considerably lower, which explains why there aren't a ton of them on the used market.  The first thing I can say is that it's much more of an amp than I thought it would be.  I envisioned a scooped mid metal amp with a clean channel simply added as a perfunctory feature, both channels lacking in versatility.  I was wrong.  While it's not loaded with bells and whistles, most great sounding amps aren't, and it gives you all you need to get a wide variety of quality tones.  Marshall and Boogie fans alike should like this amp and with the abundance of gain, EQ, and mid-shift control, you can dial in a huge variety of tones.  The signature "Dime" channel features Gain and two Master Volumes to provide a volume boost for leads which makes this, essentially, a 3-channel amp, albeit with just two discreet EQ sections.  The Clean and Dime channels are selectable via a footswitch or by a pushbutton on the back panel.  The second Master on the Dime channel can also be activated via a footswitch (it's out of the circuit unless activated).  Other features include Sweep (parametric EQ or "mid-shift"), Bass, Mid, Treble, Master 1, Master 2, Gain controls on the Dime channel with Volume, Bass, Mid, Treble controls on the Clean channel.  Back panel has 4/8/16 ohms selector, two speaker outs, effects loop with FX boost, channel switch button (bypassed when footswitch is connected), and a lineout.  Tube complement includes quality tubes:  a quad of Groove Tubes 6L6's power tubes and preamp tubes include a 2 Groove Tubes and 2 Mesa Boogie.  This model got a super review in '05 from Guitar World magazine stating in part, "Over the years many amp manufacturers have boasted that their amps can do it all, but when it comes to the ideal combination of classic Fender clean, Marshall overdrive and modern distortion, no other amp can touch the Krankenstein's versatility of pure top of the class tone."  While this amp has a better clean than most rock/metal amps I don't agree that it comes anywhere close to a Fender clean.  Perhaps at lower volume it comes close but doesn't have anywhere near the headroom of a Fender Twin and your quickly into a "Marshall clean" type sound, i.e. very punchy with a smooth break-up.  All of the Harmony-Central reviews I found gave this amp 4-5 stars including this one (link) on a used model.  It's a very well built amp with huge transformers and should be good to go for many shows, night after night.  Krank has come out with a newer Krankenstein head that's 120W, plus a number of lower wattage models, but I don't know that there were any drastic changes other than 6550 power tubes.  Considering the hefty new cost, this is a good buy for the rock guitarist at $850.  It's in nice shape and includes the back metal panel that's partially shown in the 4th pic above.

1960 Fender Super 6G4A, (top) (bottom) (back) (panel) (speakers) (label) (footswitch) (chassis) (bench receipt 8/14/12) (cover).  If ever I've seen a museum condition amp this is one.  When I first removed the cover I was sure it was some kind of reissue but it's the real deal and 100% original and has simply been sitting in a closet for the past 50 years.  We used to come upon gear like this much more often but as each year passes a few more museum grade pieces emerge, soon ending up in somebody's collection.  Once they become part of a collection they're out of circulation, usually forever.  You'll still see plenty of road warriors, passed from player to player, dealer to dealer, but the top 1% like the public rarely sees.  This one is finished in the in Style 1 light brown AKA "pink" Tolex with maroon grill cloth, more uncommon than the dark brown and wheat models.  This covering is noted for retaining stains, which is usually sap from the pine leaking through.  As you can see in the pics, this amp has a minimum of staining, primarily around the handle and visible only in bright light.  There are two anomalies with this amp:  one of the speakers (original Jensen P10R) is date coded 38th week of '56 (other is 14th week of '60) and the label shows the model as a "6G4" (five preamp tubes) when in fact it's a 6G4A (six preamp tubes).  You can view both schematics at a great site, ampwares.com.  It's not uncommon for Fender to use components from earlier years and while 4 years seems a long time, it's not unprecedented.  I believe the '56 speaker to be original for several reasons:  The overall patina of the speaker matches the '60 speaker perfectly; all solder joints appear to be old and original; and simply because this is an amp that has seen so little playing time that a replaced speaker world be unnecessary.  It's a small matter but in the interest of full disclosure the tube covers are in two styles with a subtle difference.  I have some a. '60 covers somewhere in my shop and will replace as necessary.  When this amp was purchased last week it went straight to a (great) tech, Chris Davis, before being plugged in.  Chris went over the amp completely and did a tune up which consisted of no replaced parts, but adding a bit of shrink wrap on a connection on the black circuit board and replacing one of the USA Tung Sol tubes with another one of equal value.  When it was out of the shop I gave it a tone test - a totally impressive amp with no glitches.  I never turned it past 3 out of caution for vintage (i.e. expensive) speakers but it was punchy and clean, with no glitches and totally quiet at idle with the volume turned up.  It sounding like vintage Fender heaven to me.  It's outfitted with all old quality tubes:  5881 Tung Sol power; Amprex (Holland) GZ34 rectifier; and 7025 preamp tubes consist of 4 Amprex, a Phillips, and a GE.  This amp was a bit too rich for my blood but it is such an extraordinary example I just had to have it, if only for a while, so I took it on as a consigned piece--one of less than 10 consignments I've ever had.  What is a Super like this worth?  Beaters are going for around $2K, "regular" clean examples are around $3K.  If you want what is likely the cleanest 6G4A Super on the planet here you go; a one time chance at one before it goes underground for the duration.  $4000.  Original accessories included are Victoria cover and footswitch. 

Boss DN-2 Dyna Drive.  Rather unique OD pedal from Boss in that it's designed to react to your pick strength and/or volume control of your amp.  It uses the same technology from Roland's Cube 60 amp and lets you get a transparent clean output sound by playing softly, or a heavy overdrive by picking aggressively.  Clean shape, cool pedal for $39.  

Polyfoam Acoustic Hardshell Case. People who use these Ultralight cases love them.  They will lighten your load around 5 lbs. less than your traditional wood or molded plastic hardshell and provide better protection.  Made of lightweight, rigid thermal form, covered by Cortex, with an extra plush lining.  Exterior has a long zippered compartment for sheet music/books; inside has another storage compartment for an effect pedal, capo, picks, slides, etc.  Fits an OM size, all the way up to a dreadnought.  $35.  

Hempcone Tone Tubby Alnico 12 Speaker.  This speaker offers an amazing range of tone with more overall lows, mids and highs, providing a smooth and warm tone, with a mid-range airiness and fat, silky and thick overdrive without any harsh high end and no overdriven "farting out" found in many other low-wattage Alnico speakers. Rated at 50W, it's the perfect choice for vintage Fenders or any other tube amp you want to sound its absolute best.  Never installed, mint, and just $179(HOLD-Brad T 8/22).  

1983 Fender USA Vintage '62 Stratocaster, (front), (back), (headstock), (neck/pocket), (pg assembly), (body), (finsh1  finish2  finish3/neckplate), (case).  Second year Fullerton Plant reissue in a rare "custom color".  So many of these V62 Strats are sunburst that I wonder why Fender didn't produce more of these in Candy Apple Red, which was one of the more common custom colors back in the 60's.  One of the coolest things about Candy Apple Red is the unique "relic" appearance it develops the more it's played.  In the complex application process, these bodies were first sprayed with a yellowish undercoat, followed by Shoreline Gold (or Inca Silver on some), and finally Candy Apple Red.  It's these metallic undercoats that give Candy Apple its "pop".  As you can see in the pics, the finish is worn on the back, forearm area, by the strap pin, and next to the neckplate.  As the Candy Red finish wears through the metallic gold first appears; when the gold wears though the yellow base coat appears. Bottom line is if you like your Vintage '62 to look like a real '62, this one's hard to beat for 100% honest wear.  This guitar is a bonafide vintage guitar at 29 years and, in fact, when it was built in '83 it was just 21 years newer than the 1962 model it was modeled after.  These guitars were the pride of Fender when they came out in '82 and, quite deservedly, since they re regarded as some of the best in Fender's history.  The V57 and V62 Strats, as well as the V52 Tele, carried the USA Fender line and, in fact, after the Elite and dreaded 2-knob Standard Strat were dropped in '83, these were the only American made Fenders until they started shipping the American Standard in mid-'82.  This beauty is 100% original and one of the nicer playing Strats you'll find.  Serial is the correct V00xxxx, neck date is 11-4-83, pots are dated 43rd week of '82.  Pickups have that low output that makes these guitar sound like a genuine vintage guitar, definitely not what you're looking for if you're seeking an SRV tone.  Nice medium weight, definitely not heavy, with nice sustain and a full, balanced tone.  Despite its worn appearance, frets are in good shape and it needs no fret work now, or anytime soon, and plays wonderfully.  If you've followed this market you know the big price jump these '82/'83 Strats have taken the past 6 years, with some sellers asking $5K to as much as $8K for rare colors like this.  Part of this is due to sellers asking too much but the fact is, again, these are vintage guitars now and you can expect increases every year.  My opinion on the AV62 or any other Fender is you can't go wrong with a rare color.  Before plunking down your cash for a sunburst, black or white, maybe consider this Candy Apple Red - for just $2700.  Includes original tweed case with a similar relic appearance, trem arm, and ash try (bridge cover).  This is a nice Strat. 

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 one of the nice 90's wedge-shaped Gibson gigbags.   

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, $99.  

Fender Pro Junior #1, (top).  Oddly enough, I haven't had one of these in 5 years and now I get a pair of them.  In recent years I've had a variety of hand-wired boutique 10" combo's and a bunch of the recent budget 5-waters by Epi, Vox, Fender Champion 600, etc.  The hand wired boutique combo's sound great but they're expensive; the budget combos, well, you get what you pay for.  Dollar for dollar, it's hard to beat the Pro Junior for quality tone in a solidly built amp.  With simply a volume and tone control, the Pro Junior won't waste any of your time trying to dial in the "perfect" tone.  Just crank it up and let 'er rip.   The Pro Junior is powered by a pair of EL84's putting out 15 watts, but 15 *tube* watts is quite loud, along the lines of a 35 watt solid state, only better sounding.  It also features a pair of 12AX7 preamp tubes.  With a fairly heavy Fender/Eminence 10" speaker, this amp carries the guitar spectrum very well, with sufficient lows as to sound like a "real" amp, not just a practice amp.  Put one of these on a barstool, put a mic in front of it, and you'll have the whole club jumping.  Designed to work with your guitar's volume - sounds clean with your guitar turned down and gets dirtier as you turn up your axe.  The look is very much vintage Fender, with classic black tolex, vintage style badge, vintage style handle, chrome panel, and chicken head knobs.  The new Pro Junior sells new for $394 ($589 list) and it appears to be the same except for the speaker out jack on the new model, and they also changed the panel to black with white knobs which, to me, only detracts from the vintage vibe.  A great sounding amp that's hard to beat at just $265.

2011 Martin Grand Performance GPCPA4, (front), (back), (headstock), (controls), (case), (box).  Excellent new model from Martin.  After release of the first Performing Artist Series in 2011, Martin added the "4" models in 2011, consisting of dreadnought, orchestra, and grand performance models.  The GPCPA4 shares characteristics from the big rich sound of the Dreadnought and the clarity of the Orchestra model and combines them for a sonic signature of its own.  The Performing Artist Series feature a more parallel neck profile with a slimmer taper at the 12th fret, giving the guitar comfortable width in the first few frets plus a faster feel for lead-work up the neck.  The new smaller bridge design reduces mass and increases the soundboard's tonal response.  For fingerstyle players or players with large hands, you'll appreciate the very wide 1 3/4" nut width.  The GPCPA4 features all solid woods with a solid Sitka spruce top and solid Sapele sides and back, Grand Performance body shape, Fishman F1 Analog preamp (digital tuner) with Sonicore under-saddle transducer and side mounted controls, Mortise/Tenon neck joint, hybrid scalloped bracing, black binding, 2-ring multi-layered black/white rosette, Delmar tortoise pickguard. gloss finished top with satin sides/back, solid wood neck with Performing Artist profile (wider nut, slim taper - 1-3/4" nut, 2-1/8" at 12th fret, 2-3/16" string spacing at saddle), black Richlite fretboard, 25.4" scale, offset white position dots, Corian nut, Tusq saddle, black Richlite bridge, and chrome enclosed tuning gears.  This is an excellent sounding acoustic, with a very round tone and good projection.  Plugged in the tone is more natural than most other saddle transducers I've used and while the EQ'ing is limited, the mid-scoop design can change the character of the tone very distinctly, from tones similar to a dreadnought, jumbo, or even a parlor size.  Here's a great performance demo (link).  For full specs, visit Martin's site here and check out details on the Performing Artist Series here.  This guitar has seen very little playing time and is as clean as most floor models at your local superstore.  With a new discount price of $1249, here's a beautiful used one for just $849(HOLD-Ray 8/20).  Includes original wood/tolex case with green lining and ships in original box.  Manual for the Fishman F1 is downloable here.  

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

2007 Buddy Blaze Shredder Polka Dot (aka Nightswan), (front), (headstock/neck), (back/Vivian sig.), (Floyd), (inlays), (case).  Note:  This guitar appears on my Miscellaneous Electrics page, along with another USA Shredder with Lightning Storm graphic.  Buddy and Vivian have come out with a 25th Anniversary Shredder with this Polka Dot finish, limited to 25 total pieces (YouTube#1, Press Release).  If you want to save around $3K, why not try this one for just $2499 or the Lightning Storm for $2299.  Note: It probably goes without saying but...this is NOT the new Indonesian model, but the real deal, USA.  

2000 Gibson '57 Historic Les Paul Junior, (front), (headstock), (back), (controls), (faded finish), (fretboard), (case).   This is a cool guitar.  Historic Juniors are excellent guitars, period, but the finish on this one is aged in a way that I've only seen original 50s Juniors age.  Cherry finishes on old Juniors and SGs nearly always fade to a brown, frequently more on the top than the back.  This one has been faded on all sides, with barely a hint of its original cherry color except under the pickguard, under the bridge, and around the control cavity.  The Junior is my favorite model Historic, virtually unchanged from the mid-50's Juniors that started it all.   To me this is the ultimate - an all-mahogany guitar, wraparound tailpiece, single P90, and volume/tone.   The single-cutaway Junior, which debuted in '54, was changed to a double-cutaway body shape in '58 and the stock finish changed from Vintage Sunburst to a Vintage Cherry finish, eventually changing body shapes one more time in '62 and renamed the SG Junior.  For me the Junior is perhaps the ultimate rock guitar.  People have asked if P90's are good for rock music and my reply?  Just listed to Leslie West on his old "Mountain" albums for one of the definitive rock guitar tones of all time...done on a 50's Les Paul Junior.  Mick Jones of the Clash, Frampton, and Bob Marley are a few others who chose these as a main axe but nearly every top artist has used one on their recordings.  This guitar is overall in beautiful shape, with perfect frets and barely a hint of playing time.  The set up is low and the chunky neck feels great.  New model are running $2499 in TV or sunburst but I don't know where you can get another faded cherry.  The serial number indicates that this is either a '00 or a '10 but I think they were using bumblebee caps in '10 and this one came with the brown disk cap, which we changed to an Orange Drop, the only mod to the guitar.  Also, Gibson didn't offer certificates in 2000 which lends more credence to that theory.  If you're looking for a great "old" junior that has the look of a faded 50's model, this one's just $1499 and includes custom shop case.

1996 Fender Standard Stratocaster - Sunburst w/Maple Board, (front), (headstock), (back), (CTS pots/neck-body dates).  A true "under the bed" guitar - looks like somebody bought it 16 years ago, took lessons for a month, and put it away until now.  It's a shame too, since this is one fantastic playing Strat, with low action from the first fret to the upper register.  Standard Strats are very good quality and I've seen quite a few guys in bar bands earning money playing their Mex Strats.  After initially being closer to a Squier than an American Standard, Fender blurred the line and by '96 it shared more of the same parts with the USA model and, in fact, nearly all the parts and wood were built in the USA and sent to Encino for assembly and painting.  Fender used USA pots and switches which are good for 50 years judging by all the 50's Strats that still have original pots.  Please note that this is actually a '97 - pots are dated 4th week of '97 and body/neck are dated '97, but since it's an N6 serial, most people simply refer to it as a '96.  All original other than pick holder on back of headstock which we can remove upon request.  I've had one this in my family room for a week, an honor few guitars earn, and have played it numerous times during commercial breaks or boring shows.  Great setup, nice tone, beautiful shape and well on its way to becoming an early "vintage" Standard for just $379 AND includes a quality gigbag.  

1992 Fender Standard Precision Bass - Sunburst, (front), (headstock), (back), (gigbag).  Brother to the sunburst Strat above, here's another very clean Standard - 20 years old but look like a 2011 model.  Even more than Strats and Teles, I see many bar/wedding band bassists playing Mex Standards and to my ears they sound as good as an American Standard in a live situation.  With a fresh set of DR "Black Beauties" strings, that are very easy on your fingers but have the crisp tone of regular nickel round wounds.  The set up on this bass is fantastic and it has plenty of sustain and the fat bottom that you love in a P-bass.  With a new Sunburst selling for $529, here's one that's guaranteed to be "one of the good ones" and just  $379 AND includes a new Levy's gigbag.  

1980 Gibson Sonex-180 Deluxe, (front), (headstock), (back), (electronics).  Another one of Gibson's "innovative" models from the Norlin years.  The Sonex, which came in 4 models (Deluxe, Standard, Custom and Artist) at various times during their 4-year run, featured a bolt-on neck, which was very unusual for Gibson.  The main innovation from this guitar was the "Multi-Phonic" body, which consisted of a wood core (usually mahogany), with a man-made resin outer layer.  In this fashion you still had the wood-wood contact in the neck pocket, but with a resin body that was inexpensive to make and more impervious to climate change.  The Sonex was replaced by Marauder and S-1 models bolt-on models, although made of an all-wood body.  The Deluxe model retailed for $419 when the line was discontinued in '84 after a 4-year run.  Features include a pair of Gibson "Velvet Brick" humbuckers, maple neck with 22 medium frets, ABR-1 tuneomatic bridge, large pickguard (covers 3/4 of body face), rosewood fretboard, Grover tuners with metal Keystone buttons and "The Gibson Guitar Company" logo. Cosmetically this one is in typical condition for a Sonex with scratches and scrapes in the resin core as well as the typical cracks in the resin core (not a problem, just the nature of the beast).  It has had a strap button relocated to the back near the neck plate.  It has a very comfortable setup and a good quality tone from a pair of nice sounding humbuckers.  A good value in an old USA guitar at $450.  

Epiphone Historic Custom USA Wilshire 1962 Reissue, (front), (headstock), (back), (certificate), (case).  Second in a series of what Epiphone calls its Historic Custom USA collection.  Following a run of 100 Wilshires finished in Cherry, Epi released 100 more, this time in white, both commemorating the solid body guitars the company made in the late-fifties and sixties in Gibson’s Kalamazoo factory.  Features include a 1-piece Peruvian Mahogany body, 1-piece Peruvian Mahogany neck, headstock with 17 degree pitch, set-neck design, Madagascar Rosewood fretboard, 24-3/4"scale, 1-11/16" nut, 12" fretboard radius, 22 medium jumbo frets, original 60's rounded neck profile, pearloid dots inlays, vintage Kluson tuners with plastic oval buttons, two Gibson P-90 pickups with adjustable pole pieces, CTS potentiometers, Switchcraft switch and output jack, ABR-1 bridge, aluminum stopbar tailpiece, black single ply guard with foil "E" logo, made in the Gibson factory in Nashville, USA. This is an excellent sounding guitar that's a lot of fun to play.  Its extremely lightweight with a thin body and designed to provide the easiest access to the top frets.  Offered in unplayed condition, zero hours of use.  Factory provided accessories are missing but it includes the certificate in a nice leatherette binder plus original TKL/Canada case that hugs the body on all sides (pic).  With a list price of $4443, this model sells new for $2499.  If you don't mind missing out on a cable, T-shirt, and strap, save big time on this "as new" example, $900 less than new.  $1599 takes it.  

1984 Yamaha SBG200 with case, (front), (headstock), (back), (pickups), (case).  Another great bang for the buck winner from '84, this one from Yamaha's esteemed SBG series.  The breakout star, due to it's association with a top name, was the high-end SBG2000, which made its official debut in '76.  Carlos Santana, one of the most iconic guitarists of the 70's, played the 2000, earning it great visibility and credibility.  As the name suggests, the SGB's were Yamaha's take on the classic SG with a similar double-cut body shape, dual humbuckers with dual volume/tone controls and a 3-way, 3+3 headstock with a modified open-book headstock shape.  Due to pressure by Gibson, although primarily aimed at Ibanez, Yamaha changed the name from "SG" to "SBG" 1980.  The SBG200, without high-end cosmetics, is the budget model from this series and was produced only for around 2 years, '84-'85.  Other features include symmetrical double sharp cutaway nato body, set nato neck, 22-fret rosewood fingerboard with pearl dot inlays, black headstock overlay with Yamaha logo and design inlay, three-per-side tuners, tune-o-matic bridge, stop tailpiece, two cream exposed humbucker pickups, four black barrel knobs with rubber grip, three-way pickup switch, jack on face of guitar chrome hardware, 24.75 in. scale.  The Alnico humbuckers are well-made and good sounding with factory stamps "59 6 4" and "SG-200", perhaps leftover from the earlier "SG" series.  Click here for a fascinating article about the SG/SBG history.  This guitar is comfortable to play, has a classic look, and sounds excellent.  A quality SG for just $429.  Includes hardshell case.  

2005 Gibson Les Paul Special Faded, (front), (headstock), (back), (gigbag).  Excellent value on a set-neck American guitar.  This is a modern take on the classic 50's Special with its slab mahogany body with mahogany neck but with modern features like PAF humbuckers instead of P90's.  Features include worn black finish, single cutaway mahogany body, mahogany neck, 22 fret rosewood fingerboard with dot inlays, dual volume and tone with a 3-way switch, 490R and 498T Alnico magnet humbucking pickups, chrome hardware, Gibson Deluxe tuners, Nashville tune-o-matic bridge, stop bar tailpiece, 24 3/4" scale, and 1.6875" nut width.  The thin nitro satin finish contributes to a lively body with increased sustain.  Gibson has recently come out with a similar guitar that has a slimmer body - a disappointment compared to this model.  Set up is fantastic and it's a very good sounding guitar that should appeal to no-frills players.  $559 includes Gibson gigbag.  

1984 Vantage Avenger X-77, (front), (headstock), (back), (beveled edges), (tremolo/block), ('82 catalog).  This brings back fond memories.  When I got back into playing in '85 my bass was a Vantage.  This was, of course, before I was a non-compensated endorser of Kramer basses.  Vantage were Japan made and among the early waves of high quality Japanese imports.  Unlike guitars in the early 70s, they feature solid woods of good quality, quality electronics, excellent hardware, and are able to set up with excellent action.  The X-77 Avenger is sort of a cross between an SG and a Baretta.  It has the double cutaway design of an SG, with the Kramer-inspired single bridge humbucker.  The pickup on this guitar was built to look like a DiMarzio, with hex poles.  It is wired through a mini-switch that lets you go from humbucker to single coil - both positions sound very good.  The hardware is very good with quality tuners and a very solid tremolo system with brass saddles and bass, and heavy brass block.  The body is well crafted, with beveled edges on all sides, nicely finished in vintage white.  Set up is very comfortable and it has a quality tone that rivals most USA guitars of the era.  Overall excellent condition, especially for 28 years.  Compare this to Chinese guitar at the same price and this one wins, hands down, at just $239.  

MAJOR REVISED DESCRIPTION as of 10:30 8/8/12:  Nik Huber Orca '59 Brazilian Board, (front), (headstock), (back), (flamed neck), (neck joint), (case).  As most of you know, the USA is not the exclusive builder of world-class hand-made guitars.  Nik Huber and his team of 5 luthiers have been building fine guitars at his shop near Frankfurt German since 1997, currently building around 120 instruments per year.  If you frequent the guitar forums, you know his reputation as a builder is unsurpassed.  I've had a few of his Dolphins, which are as fine a guitar as I've played, and this Orca '59; the best of the best.  Huber's Orca has its roots in the classic '59 'Burst, with some subtle differences and some modern features.  Note that this Orca '59 has the same body thickness as an LP, not the thinner body on most of these.  It also features options such as Brazilian rosewood fretboard, nitrocellulose finish, matching headstock with flamed maple veneer, and sterling silver fretboard inlays. The neck joint is completely reworked, providing unprecedented easy access to the top frets.  The top on this guitar is beautiful with the look of some of the finer vintage 'Bursts I've seen.  Truly uncommon is the flamed mahogany neck which has even bands of flame from the body to the tip of the headstock.  Nik uses  Harry Häussel '59 pickups on this model, as fine as any humbucker I've heard on a vintage style single cut.  Features include Mahogany Body with a carved curly maple cap; mahogany neck with Brazilian rosewood fingerboard; open trapezoid inlays of sterling silver; flamed maple headstock veneer with inlaid whale; 25 “ scale; compound (10" to 14") fretboard radius; 22 medium jumbo extra hard frets; double action truss rod; 1.67" nut width; polished bone nut; Tonepros aluminum tailpiece and Tonepros AVR-2 tuneomatic bridge; Schaller tuners with ebony buttons; ebony truss rod cover; nickel hardware; neck tone pot with push-push feature for single coil tones; knobs recessed into body; flamed mahogany back plates.  As soon as you pick this guitar up you'll sense the elegance and attention to detail, perfect fit and finish.  It is ergonomically precise, feeling great when playing seated or standing, and at just under 9 lbs. it's a nice weight for a non-weight relieved body.  Huber's unique neck joint makes playing in the upper register effortless and the action will go as low as you want it.  For details of the Orca, click here for Huber's site.  This fine guitar was collector owned and is presented in unplayed condition  - with some nice options that make is look as good as it plays and sounds.  New cost on this guitar was $7285 but save almost $2300 on this "as new" beauty.  For most players this will be the finest LP you've played, priced less than a mass produced Custom Shop, just $4999 for this one. 

1987 Marshall Studio 15, Model 4001, (Back&panel) (front panel), (top).  Great little 15-watt studio amp but wattage ratings are deceptive and this baby is definitely loud enough to drive a 4X12 and fill a hall with sound.  A very rare amp among Marshalls and depending on where you do your research, only 300-500 were ever produced.  It is also very unique for a Marshall:  First to use 6V6 power tubes, first to use built-in attenuator, first to use Celestion Vintage 30 speaker and XLR output, first tube amp with headphone output.  To use the attenuator, you unplug the cable of the built-in speaker from the Speaker Out jack, and plug it into the Headphone Out jack instead, thus allowing you to soak the power tubes but with an output of less than 1 watt.  Ingenious!  Clean chassis including Drake transformers (chassis pic) This is a great sounding little combo and while the tone isn't your normal total-crunch Marshall, it does have a pleasing overdriven tone AND actually has a clean tone which isn't normally found in Marshalls.  Not quite mint but very clean for 21 years;  no tears or scratches in elephant hide covering; panels, front/back, are clean as well.  $750(Hold - Michael B.) for this rather rare, excellent sounding amp.  

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

2005 Epiphone Sheraton II - Black - With Upgrades, (front), (front2), (back), (headstock), (pickups), (case).  Beautiful condition, plays fantastic, sounds great, and upgraded with a pair of GFS hmbuckers, Tusq nut, and custom 5-ply black pickguard from Jeannie's Pickguards.  Epiphone started building the Sheratons in China in 2006 so this is either the last year Korean, or perhaps they made them in both countries. The Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which a model that's remained unique to that company, rather than many current models which are Gibson copies.  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.  Originally outfitted with a Frequensator tailpiece, the model was much better received when they changed to a stop bar and Tuneomatic bridge, i.e. the Sheraton II.  The Sheraton combines great looks, quality tone, versatility, and excellent playability.  The Sheraton has a laminated maple body with 5-piece maple neck and rosewood fretboard.  High-end cosmetics include gold hardware, multi-layer binding on body, fretboard, neck, and headstock; Abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay, 6-layer pickguard.  Players as diverse as Oasis guitarist, Noel Gallagher and blues legend John Lee Hooker both have signature model Sheratons, which is testimony to the versatility of these guitars.  Like the ES-335 and especially with these pickups, it's capable of high gain without feedback, but sounds equally good on more mellow jazz or blues settings.  Cosmetically it's in beautiful shape with no major flaws, no buckle scratches, excellent frets, etc.  Martin did a great setup on this beauty and even hand-polished the frets so it plays and sounds much better than stock.  Also, the custom black pickguard looks right on this guitar, unlike the stock tortoise shell.  Epiphone rightly dropped the price on guitars when production moved to China and the current lower list price on a new one is $1042, selling discounted to $599.  With upgrades and pro setup work - plus a nice archtop Epi case - this is an excellent value on a Korean Sheraton II at $499(HOLD-Gavin T 8/14).  

2000 Godin Acousticaster 6, (front/back), (headstock), (heel/contoured cutaway), (preamp),  Perfect marriage of an acoustic and electric from one of the best builders of acoustic guitars.  Built in Connecticut with quality Canadian parts, the Godin A6 has design elements from both models.  Its neck has the feel and profile of an electric guitar - with the body design an obvious nod to the Fender Tele.  Its main acoustic elements include woods (solid Spruce top with a mahogany body, and acoustic bridge/saddles.  I personally used an Acousticaster as my main  acoustic/electric for around 4 years and I'm a big fan of this model, for what it's worth.  This one is an excellent player with comfortable action and the wide 1 11/16" nut width gives you plenty of room for finger style playing.  One of the keys to the Acousticaster's tone is a body that's chambered, and has 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.  This guitar is in beautiful shape and has seen very little use.  It has surprisingly good projection and will actually hold it's own in an acoustic jam but really shines as a stage guitar. This model sells new for $995 ($1195 list) with a Godin gigbag.  I highly recommend this model for anyone looking for a comfortable and unobtrusive stage acoustic and it's a very high quality guitar for just $679 with a nice hardshell case (picture).

2007 Zakk Wylde Signature Les Paul Custom - Bullseye, (front), (back), (headstock), (features), (case).  Absolute killer playing guitar if you like low action - probably among the 5 best in stock.  This is a quality Korean model from the Saien factory, a definite cut above the Chinese models.  These are extremely impressive and priced just a little higher than a stock Epi LP Custom.  Immaculate bulls-eye paint job, and all the LP Custom features such as multi-ply binding, gold hardware, pearloid block inlays (and not cheesy looking brushed chrome ones), and the classic split diamond headstock overlay.  What really sets this apart though are the EMG HZ 4 and HZ4A humbuckers, which are the passive version of the EMG81 and 85.  It also has an extremely chunky neck which has an unfinished feel as found on Zakk's prized LP.  If you're not into big necks, you don't want this guitar, but the bare (only a sealer coat) baseball bat feel is perfect for my hands.  This current Chinese model currently sells online at $699, but was $799 when they were made in Korea.  This one is in beautiful condition with no noteworthy flaws, with action you'll love, for just $575(HOLD-Jeff A 11/5) which includes a $119 SKB case.  Case is in good shape other than one of the latches has a crack around it.  

2011 Giffin Model T Custom (T2), (front), (back), (headstock), (cert./specs), (heel/cutaway), (tortoise binding), (invoice), (case).   ANOTHER ONE...and this one just left the factory around 7 months ago, barely touched since new.  For a great review of Giffin guitars, check out the January 2010 issue of Vintage Guitar.  This is a fine, fine guitar.  I've had 4 Giffins and they are the best Les Paul Special type guitar I've had...ever.  You can feel the quality before you even strum the first chord and within 60 seconds, you'll likely agree with me.  Griffin offers quality custom handmade guitars all based in classic designs for a vintage appeal, with modern day enhancements.   They are true boutique guitars, built one at a time, each one built to the personal spec's of the new owner with several custom options to choose from such as woods, pickup configuration, color selection, inlay design, neck specifications and more.  He does not use a dealer network and sells his guitars direct to the public which saves your around a 30% markup.  Current wait time for a built is approximately five months.  Roger Giffin started building guitars in England through the 60's and later moved to the USA where he designed the prototype for Steinberger's "M" series guitar.  He later headed Gibson's west coast custom shop while building guitars for players like Eddie Van Halen, Joe Walsh, Peter Frampton, Malcolm Young and Jimmy Page including his #3 Les Paul (shown here).  About the Model T Special:  Specifications include Honduras Mahogany body, African Mahogany and Maple neck - laminated for strength, South American Rosewood fretboard; tortoise bound fingerboard - tortoise pickguard and backplate;  Gibson scale - 24 3/4 inches, (optional) mother-of-pearl dot inlays, black headstock veneer, Tonepros bridge/tailpiece combination, Grover Rotomatic tuners, and high gloss polyurethane finish.  For pickups, this guitar was ordered with a smoking pair of Amalfitano P90 pickups (link) with a dog-ear in the bridge and a standard soapbar in the neck.  These are high output (9.6K/8.6K) single coils with the neck RWRP for hum cancellation in the middle position.  To me there's nothing that beats the simplicity or comfort of a wraparound bridge and this Tonepros has all the advantages, with none of the disadvantages.  It's fully intonatable and feels very comfortable when damping strings with your hand.   The neck is spectacular, very thin like an old Gibson double-cut, with binding for comfort and cutaway very deep into the body  It's also uniformly thin from the 1st fret to the 22nd, rather than getting chunkier as you go up the neck but he profile is a very subtle soft V at the lower frets, gradually flattening out to a D-shape at the top of the neck  A Special is a great design for playing in the upper register and this model is the best, with virtually no heel and a deeply beveled cutaway.  Super comfortable.  For pricing and details on this model click here for Giffin's site.  You can order direct from Giffin for $2800/shipped, which is extremely reasonable for a hand-made guitar of this impeccable quality - or if you don't want to endure a 1/2 year wait this month-old model is available now for $1000 less.  I'm extremely proud to present this mint Giffin for just $1799(HOLD-Wanda B 7/31).  (Note:  I have another black Giffin T2 on my elecrics page for $1699)

Melancon Pro Artist, (front),  (back), (headstock), (bridge/pickups), (spec sheet), (case).  If you missed the Melancon Pro Artist T, here's another great Melancon.  Absolutely pristine condition, finished in Vintage White, the Pro Artist is a modern take on the classic Fender Strat - more comfortable body curves, improved heel design, high speed pickups, and improved hardware are just a few features that make this one different from your granddaddy's Strat.  Some of you forum guys will be familiar with Gerard Melancon's creations but they're built in such low numbers they're far from being a household name, although they've found a home with more than a few big name players like Brad Whitford (Aerosmith), Phil Keaggy, and Southside Johnny.  Melancon guitars are extremely well respected by players and there are few on the used market.  The Pro Artist features a lightweight alder body with gloss finish, satin finished maple cap neck; standard neck carve, 22 stainless steel heavy frets; 10" radius, 1 5/8" nut; dual-action truss rod; Melancon 2-post vintage tremolo bridge, Melancon locking tuners. The one modification, changed when the guitar was new, are the pickups which were all swapped out with Seymour Duncans - "Cool Rails" in the bridge (link) with "Vintage Rails" (link) in the neck and middle, controlled by a 5-way switch, master volume and tone with push/pull tone pot (turns on bridge pickup) for 7 pickup combinations.  It sounds great on every setting, very Strat like without the hum.  My favorite is position 2 with the tone pot out, which has all 3 pickups engaged, where is has incredible clarity and expressiveness.  This guitar is a delight to play.  Lightweight and very resonant, the action is set very low and the sleek satin finish feels very fast to the palm.  The rounded neck heel makes playing in the upper register much easier than a square joint.  It has excellent sustain and nice projection when strummed acoustically.  For Melancon's site and this model, click here.  If you're looking for a great hand-crafted guitar with a classic look and tone, this one is exceptional.  It is, essentially, a Master Built guitar at a price that's less than a Team Built.  I don't know how you date recent Melancons but serial #1496 is in line with the few I found on the web currently in stock, so it's likely a recent model.  Original owner paid $2200 for this fine guitar and kept it in impeccable condition, virtually unplayed presentation.  For a hand-built guitar of this quality, a super value at $1499.  Includes plush-lined G&G case that hugs the body on all sides. 

2009 Gibson Les Paul Studio Faded P90, (front), (back), (headstock), (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.  With its all-mahogany body and neck, combined with a pair of P90 single coils, the Faded Studio P90 has an undeniable vintage tone.  It features a thin nitrocellulose satin finish which lets the guitar vibrate more freely which contributes to better sustain.  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. This finish will quickly develop shiny spots where your hand or arm come in contact and the only flaw on it is a slight shiny spot below the pickups - otherwise it's in mint condition.  The customer I got this from had Martin do regular maintenance on it so it plays fantastic and has no issues whatsoever.  Fret ends are perfectly dressed.  If you're a P90/mahogany fan, this one's hard to beat at $650.  Includes original wedge-shaped Gibson gigbag.  

2009 Schecter Classic C-1, (vine of life), (front), (back), (headstock), (Tonepros).   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), 5-way switching for a choice of humbucker and single coil tones, Tonepros Tuneomatic TOM bridge; string-thru body tailpiece, locking tuners, chrome 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.  There was one minor mod done to this guitar - the back of the neck had the gloss finish removed (shown here) for a smoother, non-sticky feel.  I like it a lot better than the poly finish but if desired, we can probably buff it back to a shine.  For a quality made Korean neck-thru, with top-quality hardware and real Duncans, the Classic C-1 retails at a remarkable $1119, currently clearance priced online at $749.  Better still, this one is in beautiful condition and with our killer in-house setup, is a great guitar with pro features for just $499.  

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 $2149 but this one's in nice shape, performs flawlessly, and is just $1499.  

1987 Takamine EF25S 25th Anniversary Acoustic-Electric, (front), (back), (headstock), (electronics and , (case).  Since 1987 Takamine has produced an annual LTD model each and every year.  This is the 1987 LTD as well as the 25th Anniversary commemorative model.  Since 1987 Tak has developed a number of more affordable lines, such as their G-Series and their sub-line, Jasmine, but their top of the line guitars have always been built in Japan.  Although time will tell how they hold up but the early Tak's I've had have stood the test as well as any American guitar and I look at them as heirloom models, passed from generation to generation.  The EF2S features a solid spruce top, nato back and sides, mahogany neck with rosewood fretboard, 4-pc diamond inlays, gold tuners.  It came in white finish only, contrasted by golden rings around the sound hole, a gold Takamine logo and gold tuners. The TK-4 pickup (click here) was rather advanced for the times.  The "Palathetic" pickup is not a just a UST (under saddle pickup), employing twelve times the element mass of the typical under saddle piezo. The six elements penetrate the bridge plate, soundboard and bridge to make direct contact with the saddle creating a sonic linkage with the string. The pickup casing is mechanically attached to the guitars top and bridge creating a sonic linkage with the soundboard. The result of this design is a signal that possesses the articulation of an isolated string signal and the rich harmonic content delivered by the resonating soundboard for a full, complete and accurate acoustic guitar tone at high sound pressure levels.  To my ears it is very bright and percussive sounding and benefits from rolling back some of the highs on the EQ but it's definitely a huge step up from other 80's systems.  Cosmetically this guitar is in exceptional condition with the only real flaw being some paint rubbed off from the tip of the headstock, probably from leaning against a wall (shown here).  The setup is low and comfortable all the way up the neck.  Includes original case that still has the model sticker on the back edge.  If you're a Tak LTD collector, Anniversary model collector, or just a player looking for a quality dreadnought stage guitar, this baby will fit the bill nicely, at $599.   For info on this model click here for Takamine's site. 

2006 Fender Limited Edition American Series Ash Stratocaster with Upgrades,  (front), (back), (headstock), (case), (electronics).  This is the last one, from a very large batch we had and, as you can see, we saved the best for last.  We chose this one to soup up because of its rare, attractive grain pattern - the nicest grain of any swamp ash body I've ever seen, with parallel bands of grain, consistently spaced, front and back, top to bottom, side to side.  Although the majority of these had a very noticeable offset seam, with non-matching grain, this one is perfectly bookmatched and looks like a one-piece body unless viewed closely  These came from the factory as stock American Strats with a limited run finish, Sienna Sunburst Ash, and pickups, Vintage Noiseless.  What we've done:  replaced the Noiseless pickups with a brand new set of signed Custom Shop '69 pickups, and they're the sought after models that are actually wound and signed/dated by Abigail Ybarra.  The tone, while not quiet like the Noiseless, is much closer to a vintage Strat tone with a bell-like chime and a more expressive feel.  We replaced the stock nut with an Earvana compensated nut (info here) for better intonation and the stock Fender/Ping tuners have been replaced with a quality set of Hipshot locking type (mods shown here).  Lastly, Martin hand-polished all the frets for bends that are silky smooth (as shown on frets on left side of this pic).  We also changed the pickguard to a new Fender green guard and substituted a new TKL deluxe tolex case for the stock molded case.  Other features include maple neck with modern C shape and 9.5" radius, 22 medium-jumbo frets, 2-point trem with stainless steel saddles, parchment plastic parts, and solid ash body.  These have all been killer players, with action set lower than factory spec (we can raise if desired).  If you're looking for a great Strat that has some pro upgrades that are normally found on custom shop or deluxe models - with the nicest piece of ash you'll find - here you go, and at $1299 it's a couple hundred less than an American Deluxe but a nicer guitar.  Includes upgraded case, tags, paperwork, strap, cable, polishing cloth, manual, and Allen wrenches.  This guitar is untouched since it left the factory, except for Martin who had to touch it to do the mods.  

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

2008 Gibson Les Paul Standard Plus Heritage - Cherry Sunburst, (front), (headstock), (back), (hardware/jack), (neck profile), (case.).  Very attractive AA flamed top that, to many players, is more desirable than the maple on steroids look of a Class 5 or Historic '59.  This one is finished in Heritage Cherry Sunburst, is nicely bookmatched, and has flame that remains consistent into the upper bout.  The latest version of the Standard continues to refine the guitar that was born 60 years ago, now featuring an asymmetrical neck, for the ultimate in comfort, plus final fret work done on a Plek machine to ensure the ultimate in superb action. Its hard-carved maple top with matched chambered mahogany back features a lacquer finish and chambering to cut down on weight plus add tonal complexity to the tone. Gibson chose BurstBucker Pro humbuckers with Alnico V magnets for this model, with slightly mismatched windings for a more authentic 50's PAF tone; more crunch and clarity. Gibson now uses a Plek machine to ensure a guitar that will set up perfectly. The Plek uses a computer-controlled robot arm that takes precise measurements of each fret's height, the fingerboard radius, and bow in the neck. Using that data, the Plek adjusts the truss rod, cuts the nut slots for optimal spacing and height for each string, files each fret to a hundredth of a millimeter accuracy, and then polishes the frets. The Plek is much faster, and more precise, than even the most skilled luthier. This model comes from the factory without a pickguard installed, realizing that many players will want to show off the figured top. It is included in the case in the event you wish to install it. Other features include one-piece mahogany neck, figured acrylic trapezoid inlays, 1.695" nut width, 12" fretboard radius, TonePros locking Tune-O-Matic, Locking TonePros stopbar tailpiece, 2 volume and 2 tone controls with gold-plated Bourns-designed pots, Locking Grover keystone tuners, Neutrik locking output jack, Antique cream top and neck binding. This model lists at $3899, selling new for $2699.  This one was only played several times and is in brand new condition - for just $1999.   

1993 Fender Stratocaster Plus- Sunburst, (front1  front2), (back), (headstock), (case).  True time capsule condition with this fantastic playing Strat Plus.  I would guess this guitar has been used only a dozen or two times.  One of the first signs of wear on these guitars is Lace Sensor lettering wearing off - these are like new (shown here).  In addition, there are barely any scratches on the pickguard, less than you'll see on "brand new" guitars at a chain store.  The body and neck have no scratches and the hardware is clean.  The only real flaw is a small stain at the base of the headstock (pic), that we believe was done at the factory or is a natural stain in the wood.  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, replaced by the American Series, with the American Deluxe assuming the role of the higher-end 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 Clapton and Buddy Guy signature models and both player toured with their stock pickups for many years.  I'm a big fan of these Laces as they're the best I've found for zero hum while retaining that vintage Strat tone.  The Plus also features precision locking tuners, Tremsetter, and LSR nut, all 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 (pic).  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.  Predictably, these early silver-logo American Standards would be the next Fender to escalate on the vintage market and they've been on a consistent upswing for the past few years.  At $1299(HOLD-Jon H) it's $100's cheaper than a new American Deluxe Strat, which puts in in the price range of working musicians - but for collectors looking for the cleanest examples available, this one will be 20 years old next year and is a definite keeper.  Includes an equally clean "Plus" case with luggage latches, as well as guitar manual and spec book, tremsetter manual, and LSR nut manual, Fender strap, hang tags, warranty booklet, all wrenches, trem arm, and Schaller strap locks.  

1978 Gibson Marauder, (front1  front2), (headstock), (back), (case).   Excellent example of affordable vintage.  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, a good variety of tones, excellent playability, 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, pickup configuration of a Tele Custom.  In addition to the single coil bridge pickup it sports a very un-Gibson maple fretboard AND bolt-on neck.  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.  Pickups are custom built by Bill Lawrence and sealed in clear epoxy, a feature which was considered ahead of its time, and these pickups are highly prized for their excellent tone.  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 but in '76 they had changed to a continuously variable rotary switch as shown on this one, later moving it between the volume and tone on '79 models.  You can dial in just the bridge pickup--or just the neck--or any mixture in between.  It also sports a Schaller "wide travel" tuneomatic bridge, white dot inlays including 1st fret inlay, gold screened logo over black headstock, and 3/side Gibson 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.  Gibson offered the Marauder in both a "Natural Satin" and a "Natural Gloss", this one being the gloss finish.  Here's a video on features and tone click here on a Marauder from the same era.  Cosmetically, this baby's in beautiful shape for 34 years with minimal scratches in the clear coat, no buckle rash, clean fretboard and neck without wear marks.  Worst flaw, very typical on these guitars, is a tiny piece of pickguard missing from the upper corner but having said that, just one flaw on this pickguard is remarkable as most have cracks at nearly every screw.  The frets have had a recent dressing and the set up is very comfortable with low action and no fretting out.  I don't know if they'll ever go crazy on the vintage market but that's almost a moot point.  It's a good value in strictly the utility value of a nice sounding, nice playing American guitar.  In my opinion Marauders were top of the heap from the plethora of new models Gibson introduced in the 70's and 80's.  They were, and are, very affordable, but play superbly and sound killer.  An excellent example of this model...for $850.  Includes old, non-original hardshell case.  

2008 Fender Tele with B&W B-Bender, (front), (control plate), (back), (headstock/tuners), (Bender detail).  Loads of upgrades on this one:  locking tuners, Custom Shop pickups, USA pots/switch, and, most importantly, a B&W B-Bender.  I've never had a guitar with the B&W system (link to site) before, and the first thing that struck me was how unobtrusive it is.  While the Parsons-White system requires removing some major wood from the body, and a huge control cavity cover; and the Hipshot uses an ungainly wraparound bridge, the only signs of the B&W are a slightly modified bridge plate, a moving strap lever, and two controls next to the neckplate.  The small amount of routing required is invisible and it works as well as any brand I've had.  The neck is from a 2008 Deluxe Series Tele but I think the body is a Squier due to its slightly shallow depth, around 1/8" less than a Standard.  To make this worthy of pro use it also has been upgraded to all USA electronics (pots, cap, switch) and a set of Custom Shop Texas Special pickups.  A set of vintage style locking tuners keeps in in tune very well.  B&W sells used Mex Fenders with the B-Bender for $900.  This one is in excellent condition and with the other upgrades is a nice buy, suitable for pro use, for just $799 with hardshell case.  

Tusq Ivory Acoustic Bridge Pins and Nut.  Nice upgrade for your budget acoustic.  Sounds much better than plastic.  New in the box, $25/all.  

D'Addario ECB8-5 5-String Flat Wound Strings.  Long scale, gauges .045 to .132.  If you don't need the 5th string, just use the .045-.100 as a 4-string set.  Get that vintage flat wound tone for just $28 including shipping.  

D'Addario EXL110 10 ga. strings.  One of the most popular guitar strings made.  One 3-pack and 3 single packs = 6 packs total, for $19.  

Hendrix Strings by Dean Markley.  Light ga. 9-38 or Medium 11-52.  10 packs for $39, including shipping.  If you buy these strings you should be able to play just like Jimi!  

1986 Kramer American Pacer Custom, (front/back), (headstock), (case).  A real beauty in Flip-Flop Blue, which, depending on the viewing angle, can appear blue, purple, or burgundy (as shown in 2nd pic above).   As I've mentioned before, these were my dream guitars when I worked at Hotlicks in the 80's, but at $799, were around a month's salary so I had to resign myself to Striker or Focus lines.  On the higher end metal guitar line, Kramer Americans outsold all other brands we carried by a mile.  Having an EVH endorsement likely had a lot to do with that but the fact is they're great shredding guitars with quality Schaller hardware, including a real German-made Floyd Rose and Schaller tuners - plus Seymour Duncan pickups (JB and two Vintage Staggered).  All original other than the bridge pickup is a later JB but I might have a mid-80's JB (without the lettering) that we can swap out at a small cost.  Features individual pickup selectors plus a coil tap switch for virtually any combination of tones.  This guitar is in exceptional condition with virtually no player's wear other than a tiny bit of wear to the low E fine tuner; overall a collector-approved 9.8 condition.  It's as clean as some of the floor models at G.C.  We sold these new in '86 for $799 but this super clean example is cheaper than it cost back in the '80's  - just $750 for this beauty.  Includes all 3 Floyd tools, complete Schaller strap lock system, and the *real* original case.  (I see a lot of Focus cases being sold as "original" for American series but the proper case is this one with black tolex, leather ends, with white piping, made by TKL.)

1997 Gibson Herb Ellis ES-165, (front), (sides), (back), (headstock), (case).  Look at the flame on this one...it doesn't get any better on a ES-165 and this rivals nearly any Gibson top/back/sides, including $5K custom shop archtops.  The ES-165 is based on Herb's '57 ES-175 (single pickup model) and the comparison is obvious (175 on top/165 on bottom).  Other than the figured maple on the 165 and the inlaid logo and flowerpot on the 175, specs are pretty much the same on the two guitars.  The guitar body is fully hollow with two internal lateral braces, measuring 16" across the lower bout and 3½ inches deep at the outer rims.  The top and back are composed of figured maple outer layer, followed by poplar, and another layer of maple.  Other features include Florentine (sharp) cutaway; 24¾" scale neck with 20 frets, joined at the 14th fret; 1 11/16 inch nut; 1-piece mahogany neck with bound rosewood fingerboard with parallelogram markers; bound neck; "rounded Jazz profile" neck that's a bit thicker then the standard neck; zigzag trapeze tailpiece and Tune-O-Matic bridge mounted to a rosewood base; b-w-b-w-b pickguard, headstock overlay features logo and model decal, Grover tuners with tulip buttons; gold hardware; Gibson 490R humbucker; volume and tone controls.  Overall this guitar is in beautiful condition, other than a very shallow hairline crack (shown here), which has been repaired and is 100% solid.  Other than that, it's obviously been played very little evidenced by frets which are barely played and bright, unworn gold hardware.  Body and neck are super clean and the finish shines like new.  If you're looking for a great playing jazzbox, from a very good era for Gibson, this one's just $1250(Tent Hold - Bill, local) and, again, the most visually stunning ES-165 you'll likely ever see.  Includes non-original case; either an Epi or unlabeled one.  Note:  If you're a fan of the early 50's ES-175 tone, we have a new Duncan Phat Cat (pic), which is a P90 that fits in an PAF slot, which we can swap out.  

SERIAL NUMBER...FOUND!  1979 Gibson L5-S DOES have a serial number.  My good old buddy Dennis pointed out that in one of my pics he could actually read all the digits but one.  Here's a close-up of the serial, using natural light (click here) and manipulating the contrast (click here).  Serial is 8050147, made at the Kalamazoo plant, 2/19/81. You can view the entire listing 3 paragraphs down.  

2003 Fender Muddy Waters Artist Series Telecaster, (front), (headstock/neck), (back), (case).  A tribute to another blues legend, the late, great Muddy Waters, known as the father of modern Chicago Blues and a main influence on the Rolling Stones, Clapton, and many other artists coming up in the 60's.  His original 50's Tele has a home in the Rock and Roll Hall of Flame.  Like his original, this signature model is based on a 50's ash body Tele, with a '62 Tele Custom (bound body era) neck.  Features include an ash '50s Tele body, Candy Apple Red finish, maple '62 Custom Tele neck with rosewood fretboard, vintage-style machine heads, wider 1 11/16" nut width, two American Vintage pickups, 3-way switching, and an American Vintage '52 Tele bridge with brass barrel saddles, Muddy's signature on neckplate, and "1-10" Fender amp knobs.  This guitar is in immaculate condition and one of those rare (one in several hundred) models with "accidental" super flamed maple neck (close-up pic).  Specs for this model are simply a maple neck but every now and then one slips through with a neck like this.  I've had a number of custom ordered Custom Shop guitars where customers paid $100's extra for a flamed neck and all of them paled by comparison to this one.  The flame runs all the way from side to side and is fairly consistent from the butt to the headstock.  I don't think flamed necks sound any better but boy do I get a good feeling playing one.  This is a great playing, great looking Tele and with the tweed case, a nice deal at $650(HOLD-Mike T 7/27).  

2004 Fender American Series Stratocaster - Candy Apple Red, (front), (back), (headstock), (case/acc.).  Low action fans - here you go...  '04 marked the 50th anniversary of the Strat, which made its debut in 1954.  To mark the occasion, Fender used a commemorative neckplate on American Fenders built that year.  All other specs are stock.  If you missed getting a new one 8 years ago, this one appears to have seen no playing time without a hint of wear, other than a tiny in-store finish chip where you can see the undercoat (shown here).  We can put a spot of paint on the area if desired as to be barely noticeable.  Other than that, this guitar appears unplayed without a scratch, fret wear, or other signs of use.  Please note, however, that the plastic was removed from the pickguard after pics were shot, still on the back plate however.  More importantly, this Strat has a *perfect* neck which sets up with very low action, a 1 in 35 as far as set-up goes, and it's also a very resonant body.  If you've been looking for a perfect playing and excellent sounding Strat, but don't want to pay custom shop money, this could be the one.  Not cheap but worth a bit extra.  $799 includes original case, accessories, and paperwork.  

2004 Guild GAD-40C with Fishman AG Series Pickup, (front), (back), (side), (headstock), (inlays/binding), (Fishman), (case).  Guild's GAD line offers a real quality guitar, for a very reasonable cost and, remarkably, all solid woods.  The few GAD's we've had were all top-notch in quality, tone, and playability and this one is no exception.  If you need a good stage guitar, we've got you covered.  This one has a new Fishman AG 94 passive saddle transducer and endpin jack installed.  The GAD-40C has a dreadnought body size with a solid spruce top, solid mahogany back and sides, rosewood fingerboard and bridge, bone nut and saddle, mahogany neck, classic pearl fretboard inlays, 12" radius, 1 11/16" nut, scalloped bracing, high-gloss poly finish, Grover tuners, dovetail neck joint, abalone side dots, mother of pearl logo and chesterfield emblem, clear pickguard, and attractive maple binding with white/black strip on either side of the binding.  Cosmetically there are a few dings in the top, but no cracks anywhere on the guitar, so consider it more of a player than a pristine collectable.  List price on this model was $1399, selling heavily discounted for $799 - over $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.  Includes original case with a new handle installed after picture was taken.  

Digitech RP155 Guitar Multi-Effect, (panel), (back).  The RP155 gives you 83 amps, cabinets, stompboxes, and effects allowing you to get virtually any sound you want, in addition to humbucker and single coil sounds out of whatever guitar you're using.  With USB streaming audio, the it allows you to easily record directly to your computer's DAW.  Effects include 48 high quality models such as 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 unit is in mint condition and at $65, it's worth it for the price of the looper alone.  Includes manual and power supply.  (Note: I also have the comparble bass unit (shown here) in stock for $65.)  

Marshall VT-1 Vibratrem Vibrato/Tremolo, (Pic2).  Good sounding 2-in-1 pedal with your choice of tremolo or vibrato, patterned after a 60's tube driven model.  Has the normal speed and depth controls, plus a shape control to change the wave shape for a subtle effect or something more dramatic.  Here's a brief YouTube demo (link).  Sounds good, built like a tank, and a good value on a dual-purpose unit.  It's in excellent condition and priced at $49.

Boss OS-2 Overdrive/Distortion, choice of Overdrive or Distortion from one pedal.  Good choice for players who do anything from 70's rock and blues to Metal.  With the color knob in the all the way to the left, it produces pure overdrive; turn it to the right and the overdrive will be gradually mixed with distortion until the overdrive tones are completely gone in the max position.  This is perhaps Boss's most versatile gain inducing pedal and one of the longest running, having been introduced in 1990.  The circuit is the same as it was 20+ years ago.  These are $79 new but this used one's in beautiful condition in original box and just $49.  

2011 Gibson Explorer Melody Maker with Upgrades, (upgrades), (front1 front2), (back), (headstock), (gigbag).  These limited run Explorers were a good deal in stock condition but we took one of these and made it much more visually appealing and more versatile.  The finish is buffed out front and back, fretboard was conditioned, frets polished and ends were dressed, tuners changed to Gibson Deluxe with Keystone buttons, pickup changed to a 4-conductor, and a 2-way switch was added.  As you can see in this pic, the stock finish is flat and dull; Martin buffed it out to a gloss - plus the fretboard was light brown and faded, which now looks almost like ebony after a deep fretboard conditioning.  Some guys are fine with just one tone but my thinking is, why have just one tone when two is more versatile.  Since the stock pickup was only a 2-conductor, we replaced it with a Gibson 498T, which is a 4-conductor with a hot 13K output, and added a mini switch to go from single coil to humbucker.  The single coil setting is very fat for a single, but has more brightness than the full humbucker.  The tuner change was more cosmetic than anything; the small butterbean buttons just looked cheap on an Explorer.  With the frets polished and ends dressed, bends are much more glassy and you can move your hand up and down the neck more easily.  Specs of this model are a departure from most Explorers with a thinner body that's also 5% smaller from a regular model. The body is maple, rather than mahogany, with a burnt maple fretboard, rather than rosewood. It also features a grain textured satin finish, 22 medium jumbo frets, 1.695 Corian nut, single volume control, and wraparound tailpiece.  The stock pickup on this model is now a Duncan Designed HB-103, which isn't a bad pickup but was obviously selected as another cost savings measure.  If you were thinking about buying one of these I think this is a better guitar and a great value considering it's had $200 worth of shop work done and is just $329(HOLD-Pamela 9/11), which includes original gigbag and checklist.  

Yamaha FG720S-12,  (front), (back), (headstock/binding). Nicely appointed, excellent player, mint condition.  Most notably, the FG720S-12 features a solid spruce top which is remarkable for a 12-string with a retail price of just $523.  Features include solid Sitka spruce top, nato back and sides, rosewood fingerboard and bridge, white/black body and neck binding, die-cast tuners, and tortoise pickguard.  This guitar appears to have seen little to no playing time and is in perfect condition.  With a great in-house setup, it will arrive ready to jam, without the finger pain frequently associated with a 12-string.  It's summertime when you need a 12-string for the front porch jams.  At $259 this is a modest cost for an extra guitar and it'll play better than anything from the major warehouse stores..  

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

B.C. Rich Heritage Classic Mockingbird 4, (front), (back), (headstock).  Top of the line NJ model with all the high end features.  The Heritage Classic is more than its killer looks, it's a great playing bass with a quality preamp to dial in a wide array of great tones.  This is a true neck-thru bass with hard rock maple neck, nato body wings, AAA quilted maple top, ebony fretboard with white binding, traditional Rich headstock - also with quilted maple veneer, 34" scale, 24 jumbo frets, "Cloud" fretboard inlays, deluxe bridge, and dual BC Rich P-style pickups.  Electronics suite includes active EQ for greater clarity and punch comprised of a master volume, treble boost/cut, bass boost/cut, and blend control.  Other than an extra strap pin hole (shown in pic of back), this bass is in beautiful condition.  The set up is superb and I was impressed with the variety of tones available through a pair of P pickups.  With a list price of $1100, these are running $699 new.  This used one is an excellent value in a quality neck-thru at just $450.  

2008 Fender American Standard Precision Bass, (front), (headstock), (back), (case).  A real beauty - pristine condition with plastic still on the pickguard and no wear anywhere.  The Precision, with its classic fat-bottom tone, defined the tone of electric bass on virtually all hits from the 50's, 60's, and 70's, and it remains the most popular bass in the current era.  Initially making its debut in 1951, the Precision (so named because notes sounded with "precision" due to its non-fretless neck) first appeared with a small single coil pickup and slab body.  The body contours and split coil humbucker came on the scene in 57 and really defined the tone we know and love.  There have been minor changes throughout the decades but it's much the same bass that Leo designed back in the 50's.  Fender made some enhancements in 2007, when the bass was renamed "American Standard", including a HMV (high-mass vintage) bridge increases sustain and provides punchier tone, beefier looking plates, and 3/8" diameter vintage saddles. String height adjustment screws have nylon patches for a tight fit that won't vibrate loose.  It also has Fender®/Hipshot tuning keys which are 30% lighter, minimizing neck dip, with a classic 20:1 tuning ratio, cast zinc with aluminum string posts and mounting nuts, and steel clovers with brass worm gears and steel worm drives.  It also features a thinner undercoat which lets it breathes easier and has improved sound (more wood influence), neck pocket paint buildup has been reduced by 40%, greatly improving the wood to wood connection/reaction, more detailed fret and nut work, and rolled fretboard edges for a broken-in feel.  The American Standard P-Bass sells new for $1199 but why buy new when you can get this one that's barely touched for just $879.  

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

Splawn Quick Rod Head & Cab, (front), (panel), (top), (back), (back panel), (footswitch), (cab), (top), (back).  Splawn made a name for themselves by hot-rodding Marshall amps, in fact the best-sounding vintage Marshalls I've had were actually recent Splawns!  The most basic part of their mods was making vintage Marshall amps footswitchable, with 3 or 4 tones available at the touch of a button - plus modifying circuits to smooth out rough edges and adding effects loops with gain control.  You would ship them your good sounding amp; they would send you back a phenomenal sounding amp.  Eventually they transitioned into building their own amps and I don't think they do the mods any more.  The last Splawn/Marshall 1959 I had was, I was told, the very last modified amp that they were going to do.  The Quick Rod features 100W of EL34 power with a 1/2 power setting available on the rear panel.  Channel 1 is the clean channel and features its own tone controls.  Channel 2 is the overdrive channel featuring Solo Boost, OD1 for rhythm, OD2 for lead, and 3 gear modes.  1st Gear is a Hot Rod Plexi; 2nd Gear is a Hot Rod JCM800; 3rd Gear is a Super Hot Rod JCM800.  There are a lot of knobs on this amp but the layout is pretty much vintage Marshall, other than the Solo and Gear knobs, but once you set your EQ and gain, you simply need to use the 3-button footswitch to select 1-Clean or OD channel; 2-OD1 or OD2; 3-Solo Boost.  The Splawn's 2X12 cab is very well constructed with 3/4" 13-ply Baltic birch plywood, metal skid trays and handles are recessed so the metal is flush with the edge of the tolex, recessed jack plate with both standard 1/4" and locking 1/4" jacks, rubber feet plus quality casters, rear loaded speakers, and Small Block speakers made for Splawn by EV.  Medium size and rather deep, measuring 20" tall, 29.5" wide, 14" deep.  Hearing is believing, click here for a good demo on YouTube.  Click here for some sound and video demo's from Splawn.  New cost on these is $1949 and $549 plus shipping for the head and cab, respectively.  Both of these are in mint condition and ship with original boxes and packing.  Get the pair for less than a new head - $1850(HOLD-Wanda 11/5) takes the set.  

Digitech BP-90 Bass Multi-effect, (front), (side).  Full featured multi-effect for the price of a single stomp box worth it for the price of the Whammy effect alone.  The BP-90 is more than just an effects box, it's also an easy to use practice device with 40 high-quality drum patterns to practice with while adding a built-in chromatic tuner and headphone jack for silent practicing.   The BP90 features 27 effects, 11 amps, 5 cabinets, and 5 stompboxes with 100 presets locations (50 user and 50 factory).  The built-in expression pedal gives you real time control over wah, volume, and DigiTech Whammy effects.   This is a very good sounding unit that's capable of nailing virtually any bass tone you've heard on recorded music.  Sells new for $99 but this one's dead mint for $59, including original power supply and manual.  

1993 Fender Deluxe Stratocaster Plus- Crimson Burst, (front), (back), (headstock), (case) (case2).  In stark contrast to the '93 Strat Plus "Relic" below, here's one in a striking Crimson Burst and in lovely condition.  This one is also one of the "Deluxe Plus" models, which, depending on year, includes a pearl guard and back plate as well as a variety of Lace Sensors (the "regular" Plus models were always a white guard and 3 gold Laces).  It also featured a more deluxe case with special latches, gray lining, and a "Plus" badge on the front  '93 was a split year for this model with the early year models featuring the Wilkinson roller nut found on this guitar, transitioning to the LSR nut as seen on the '93 below.  The Deluxe Plus first appeared in '89, a year after the Plus made its debut, and were offered at $50 upcharge over the Plus, which was $350 higher than the American Standard in my '90 catalog ($949 for the Deluxe Plus; $899 for the Plus; $699 for the American Standard).  The first version of the Deluxe features Silver Laces in the bridge and middle, with a Blue in the neck, changing to Blue/Silver/Red (neck/mid/bridge) or occasionally Blue/Gold/Red as found on this one, beginning mid-year '90.  For the rest of the Plus features you can read the description of the Plus below.  Cosmetically this guitar is in excellent condition, appearing as though it hasn't seen much playing time.  Even the case, which wasn't exactly built for the road, is in clean shape with all latches working properly.  Set up is very comfortable and the tone is all you want in a Strat...and actually more thanks to the variety of tones available from the selection of pickups.  Nice upscale Strat for $1099(SOLD-Terry R 1/24).  Includes Plus case with key and trem arm.  

1993 Fender American Standard Stratocaster Plus "Relic",  (front), (back), (neck), (headstock), (back), (saddles), (electronics), (case).  If you like the tone of Lace Sensors, plus all the upscale features of a Strat Plus, here's a very unique example with some honest relic wear and the vibe of Clapton's old Blackie.  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.  The back of the body has one area that is worn down to the wood and the finish has a dull look throughout.  The finish will shine up to a bright luster if desired, but I opted to keep it as is for the overall vibe.  This model features a trio of gold Lace Sensor pickups, which provide a vintage tone without the annoying noise associated with standard Strat pickups - and no magnetic string pull to kill the sustain of the strings.  The Gold Laces (50's Strat sound) on this model are the same pickups used on the Clapton and Buddy Guy signature models and both players toured with these pickups for many years.  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).  It is all original except for GraphTech saddles, which reduce breakage and stay in tune better than the stock cast saddles.  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 on the light side for an American Standard with a nice lively body and good sustain.  Includes more recent Fender molded case and trem arm.  If you're one of us who favor guitars with a broken in feel, you're not going to find many Plus guitars with this kind of honest wear.  Very cool Blackie for $1050.  

1987 Peavey Nitro III, (front/back), (humbucker), (headstock), (case).  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.  All original other than fine tuners which fit properly and work fine.  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 in a pro rock guitarist.  With the original Peavey molded case included, this is a nice by on an American shed-era axe at just $259.  

Custom DIY Strat - Red Flame Top - Super Birdseye Neck, (body front), (body back), (birdseye neck), (pickguard assembly), (bridge).  From the same collection as the assembled guitar below comes this one which we're marketing to the do it yourself home builder.  It features a Mitey Mite neck with an incredible amount of birdseye, very evenly distributed throughout the neck.  We're not sure of the body, possibly basswood but it's as light as you'll find, weighing in at around 1 3/4 lbs., which means the entire guitar should weight way under 7 lbs., more likely 6 lbs.  It features a red stain over a flamed maple veneer.  Tremolo is the same as the blonde Strat below, Wilkinson vintage style with bent steel saddles and heavy trem block.  The new trem kit includes all screws, claw, Allen keys, and springs.  Pickguard assembly is pro-soldered and drop in ready.  Not sure what the pickups are but they appear to be good quality Alnico's with cloth wires, full size pots and like the rest of the guitar, brand new with plastic still on the pickguard.  Not pictured but included will be a set of quality tuners, football jack, neckplate, and all screws.  This body is routed HSH so you can change to HSS, HSH, or SSH if desired - we can move parts over to another pickguard at a modest cost if desired.  If you're looking for a cool project that will produce a stunning looking Strat - and one of the lightest ones imaginable - this complete Strat is just $350(HOLD-Chris H).  

Custom Built Strat - Blonde - Super Birdseye Neck, (front), (back), (neck), (headstock), ("inside" pic).  Beautiful looking custom-built Strat that plays and sounds as good as it looks.  Starting with a Mitey Mite alder body with transparent blonde finish, and the sickest birdseye maple neck you can imagine, this looks like a custom shop Strat but really it's a well construction custom built.  The neck was handpicked from Mitey Mite from dozens of their premium grade necks and it simply doesn't get any better.  A factory quality logo was installed and finished properly so no outline is visible.  It truly looks like a factory logo.  The neck is finished in a very thin satin finish and has 22 medium jumbo frets installed with black fret markers and side dots.  Profile is a soft V at the bottom frets, rounding to a C shape as you go up the neck.  Body is lightweight and resonant, immaculately finished in see-thru blonde, almost a vintage white, with perfectly applied multiple coats of clear.   Trem spring cavity has never had a cover installed so there are no screw holes, although we can install a cover upon request.  Quality hardware includes Gotoh locking tuners which can be tightened by a coin or screwdriver - but it also has a knurled shaft to allow tightening with your fingers.  Tremolo is a Wilkinson vintage style with bent steel saddles and heavy block.  Pickups are Nico's hand wound American Signature 60's, which are just slightly hotter than most vintage pickups.  The assembled pickguard alone will run you $312 as outfitted, including upcharge for the Signature pickups, which are a $79 upcharge over his five base model pickups.  Set up is low and bends are a breeze, with no dead spots anywhere.  This was a fairly expensive build, especially considering pro assembly will usually run $200-$400 in labor alone.  Considering the quality of parts and ease of play, not to mention sheer beauty, this one's an excellent value at $650(HOLD-Jack W).  

Warmoth 5-string Bass Neck, (pic2).  New, never installed, ordered for a project that never came to be.  Maple neck with ebony fretboard.  Fender scale and a direct retrofit for 5-string Fender bodies, but will work with others.  If you have a bad neck on your 5-string, or want the slick feel and extra snap of an ebony, this one's an easy fix at just $149.  

New Pics by Request;  Jon Kammerer "Iris Special Edition", (front), (back), (side), (headstock), (neck joint), (features), (Iris inlay).   Jon Kammerer has made fine guitars, one at a time, in his shop in Iowa since 1999.  His guitar are built in very low numbers but the Iris Special is extra rare, with only 2 made of this model - the result of a joint project with GuitarX that fell apart after the 2nd one.  Completely hand-made and the difference in a hand-made guitar will strike you as soon as you pick it up.  Absolutely incredible attention to detail and Jon's construction techniques are very innovative, yielding a very comfortable and tunefull guitar.  Super thin body - but a nice thick piece of flamed maple on top - Neck is superior to most anything out there and no scarf joints or finger joints here - one piece my man.  If you're unfamiliar with this maker, check out on Facebook, or at his site when it's up:  http://www.jonkammererguitars.com/.   A current, similar model, without the Ltd. Ed. factor and the inlay, retails for $3250, discounted to $2250.  If you want one of the best hand made guitars I've played in a long, long time, buy this one, for just $1399.  

Warmoth Charvel-style Strat 1HB, (front), (back), (headstock), (body/neck marking), (pickup), (case).  Attention fans of low action!  This is perhaps the best playing guitar we have in stock right now.  We usually set up our guitars a tad lower than factor spec but this one is even lower, and no buzzy frets or dead spots, it's just a great neck.  This guitar features quality parts throughout:  Warmoth body, Warmoth neck, Duncan pickup, Schaller tuners and strap pins, Gotoh bridge, and CTS pots.  The body is an alder body, factory routed for a single humbucker, and has a walnut stain, nicely done, with the front buffed out, white the back is a satin finish.  The neck features a Warmoth factory finish, Warmoth's side adjustment for the truss rod, slightly wider 1 11/16" nut, Dunlop 6105 medium-jumbo frets, Warmoth compound radius, and a medium depth C shape that's feels the same thickness all the way up the neck.  Pickup is a Seymour Duncan Pearl Gates (TBPG1B) wired to a mini 3-way switch, volume, and tone.  The 3-way is wired for 3 unique tones:  Humbucker in phase, humbucker out of phase, and single coil.  The out of phase tone is very useful and doesn't sound at all hollow - it sounds like a humbucker, only brighter.  All 3 tones sound excellent.  Cosmetically, beautiful condition - neck is flawless, body is excellent.  At $575 with quality gigbag, it's priced considerably lower than the parts alone, with a free $250 pro assembly - or $650 includes the Charvel/SKB case with TSA latches pictured above.  I love playing this guitar and I think you will too.  

NOTE: Includes 2 pickguards:  1988 Ibanez Jem7RB, (front1  front2), (back), (headstock), (case).  First year Jem 7RB and just the 2nd year for the Steve Vai signature Jem Series.  The Jem7 from this era is a rare model, produced only in '88/'89 and only with the RB (Root Beer) finish.  They did make a 7P the same era which came only in black and had white pyramid inlays.  When you think of 80's Jems you probably think of wild, bright colors in pink, green, or yellow.  The root beer finish is much more understated, with a brown transparent stain and a high gloss clear coat.  It's a very attractive finish that shows off the grain of the basswood body very well.  One clear difference from other Jem 7/77/777 models are the dot inlays and different "monkey grip" cutout in the body.  This model has a larger grip located closer to the bottom of the guitar - compared to the more common smaller grip with finger slots, which are located above the neck pickup.  Features include American Basswood body; "Lion's Claw" tremolo cavity designed to allow up-pull of 7 semi-tones on 3rd string; Edge tremolo with Top Lok III locking nut; cutaway heel neck joint; 1-piece maple neck; rosewood fretboard with frets 21-24 scalloped; cosmo black hardware; tilt-back headstock; Dunlop 6100 fret wire; pearl dot inlays.  Pickups are original DiMarzio's with a DP-151 PAF Pro in neck and bridge, and a DP-110 X1 custom design single coil in the middle.  It's all original other than the deckplate pickguard but original black is in the case, and metal dome knobs installed but we can switch to the regular black Strat knobs and/or the 3-ply black pickguard upon request.  Includes Ibanez case and trem arm (not pictured). Cosmetically it's in excellent condition with no major flaws anywhere, other than the common corrosion on the neckplate, and like all higher end Jems, has a fantastic setup.  For a "real" Jem (i.e. not a 555, etc.), this is a great buy at a rare and cool 7RB at just $1599.  Includes Ibanez case and extra pickguard.  

UPDATE w/accessories:  2011 Fender Highway One HSS Stratocaster w/accessories, (front), (back), (headstock), (gigbag), (acc.).  Barely touched, just a few hours of use, and great playing Strat.  You might notice this has one cosmetic mod - the pickguard and back plate are changed to 3-ply black (genuine Fender parts), to give it the look of a late 70's Strat.  Highway One's offer the best value in a USA Strat featuring a nitrocellulose lacquer finish on the body, preferred by many players, but due to the satin lacquer finish, they're cheaper to manufacture and than a standard urethane gloss finish.  Other than the satin finish, and a gigbag instead of a hardshell, the quality of the Highway series is the same as the American Standard, but priced around 25% less.   Specs include:  Alder body with black nitro finish, maple neck with modern "C" Shape profile, rosewood fingerboard with modern 9.5" Radius, 22 Jumbo Frets, '70s style large headstock; vintage tremolo with stamped steel saddles; Hot Single-Coil pickups with Alnico 3 magnets in the neck and middle positions with a Fender Atomic humbucker in the bridge; master volume; tone 1 = neck pickup with "greasebucket" (rolls of highs without adding bass) tone circuit; tone 2 = bridge pickup with "greasebucket"; Fender Ping tuners.  The thin nitrocellulose lacquer finish lets the body wood's natural tone shine through.  Although it doesn't require the buffing of a poly finish, nitro is a rather expensive finish to manufacture, mainly due to its long drying time and it's rarely found on a guitar in this price range. Cosmetically, beautiful condition with no player's wear and a fantastic in-house setup providing low action and no dead spots.  Just a real nice Strat for $599(HOLD-Dan H, local 6/18), which includes original deluxe gigbag a new bottleneck slide, extra D'Addario 10 ga. strings, and a Planet Waves NS aluminum capo..  (Note: I also have a mint HSS in sunburst (pic) and a stock black HSS (pic)). 

2005 Gibson J-45 Historic Collection w/Fishman, (front1  front2), (back), (headstock), (case).  One of the all time classic guitars, and one of the most sought after by collectors and players alike.  The J-45 earned a reputation as a workman's guitar, the Telecaster of acoustic guitars.  No frills and rather austere looking as far as appointments go, the J-45 earned fame by a great design and tone woods which provided great tone.  Like the J-45's of the 40's and 50's, this guitar yields the same full, balanced tone, warm bass, and excellent projection that earned this model a place in history.  In 2005 Gibson built a limited number of these as a "Historic Collection", using specs and techniques of yesteryear.  You might have noticed that this one lacks the white oval button found on vintage models.  The original tuners, which seem to be cheaper Kluson "style" tuners, without any writing on the back, were poor quality and the owner quickly had them replaced with a much better set of Gibson Deluxe, with Keystone buttons.  If you prefer, we can order an OEM set, but I honestly think these tuners are a definite upgrade.  This model also came stock with a Fishman Matrix pickup and output jack endpin.  It's a simple system without any onboard controls, but sounds very good through an amp.  Other specs of the J-45 Historic include sloped-shoulder dreadnought with 16" lower bout; 24-3/4" scale, reverse belly rosewood bridge with 2 pearl dots, white-bound body, black&white top purfling, teardrop shaped tortoise plastic pickguard, white-black-white soundhole rosette, Historic Collection sticker on back of headstock, built in Montana.  Has seen home use only an is in excellent condition with a very comfortable setup.  A top quality J-45 for $1000 less than a new stock J-45.  $1499(HOLD-James C 9/20).  

T.C. Electronics Nova System, (close-up), (back), (sides), (stock).  T.C. Electronics builds some of the finest rackmount effects I've had in stock. The Nova System takes TCE's technology and puts it on the floor for the gigging musician who wants something organized, but not as complicated as a rack system. Above all, it's made for the player who wants quality tone. The Nova System is unique in that it features an all-analog distortion/overdrive section, but incorporates digital technology for creating user presets and expression control. It also features a vast array of effects taken straight from the king of floor-based processors; the G-System, so you're guaranteed top-notch compression, EQ, noise gate, modulation, pitch, delay and reverb. Rather than explaining with words, check out TCE's site, 1/2 way down this page (link) to see around a dozen videos about the Nova System.  This thing is built to last with a metal case and heavy duty switches built to last.  Sells new for $499 but this one is "as new" in the box for just $350(HOLD-Kurt K 11/8).  

Electroharmonix/Sovtek Big Muff Pi.  Highly regarded distortion from Sovtek, Russia, in original wooden box.  Controls for Volume, Sustain, and Tone, yield a good variety of classic 60's tones.  Overall very good condition with some wear to the lettering but it functions perfectly.  People like these boxes and I'm seeing a lot of them being parted out separate from the pedal.  This one's complete and $79.  Here's an excellent EH site by "The EH Man" (link).  

Fender 60th Anniversary Telecaster, (front), (back), (headstock), (bridge), (case/acc.).  Commemorative model to mark the 60th anniversary of the Tele, the definitive workhorse guitar.  Designed with no frills, no sexy curves, and a twangy tone that once made its home in country, but now with more sophisticated amps, fits into virtually any style of music.  Especially with the cloth-wired American Vintage pickups, this guitar is much the same as the 50's models including a transparent blonde body, original style control plate with 3 simple controls, and thin lacquer finish.  A few modern enhancements include larger frets and flatter fretboard, chrome-plated brass bridge plate and stamped saddles, and Fender's Delta Tone system, which, at the detented "10" position bypasses the tone control circuit to deliver the pure, direct sound of both pickups.  Features include swamp ash body, modern "C" shape neck with lacquer finish and 9.5" radius 22 medium jumbo frets, black dot inlays, synthetic bone nut, Bi-Flex truss rod system, American Vintage Tele Single-Coil Bridge and Neck pickups, modern 3-way switching, master volume and Delta Tone No-Load tone control, deluxe staggered tuning machines, new style American Tele with bent steel saddles, 5-screw stamped brass plate, chrome knurled knobs, 3-Ply Black/White/Black pickguard, commemorative 60th Anniversary neckplate, tinted neck, rolled fretboard edges, and Thinskin lacquer finish. This guitar is in mint condition and includes all the paperwork, polishing cloth, vintage strap, tools, manuals, and hangtags.  A fantastic playing Tele with a nice lively tone for just $1050.  

1982 Gibson SG Standard, (front), (back), (headstock), (pickups), (case).  If you're looking for a museum piece, skip to the next listing.  This is a killer playing SG that has seen plenty of use and has a fresh refret job.  I got this from the same guy who owned the '82 Dot and he had Martin install jumbo frets, his personal preference, on both of the guitars.  Since it has an excellent neck and fresh frets, the setup is fantastic and it's ready to go for a few more decades before it needs any attention.  It also has a newer set of Gibson Deluxe tuners installed and strap pins are more recent Gibson pins.  The single ply pickguard is also a replacement, but I can order a 3-ply upon request.  In my opinion, this was an excellent era for Gibson, in both their Nashville (where this one was built) and Kalamazoo factories.  Their archtops, including the early 335's, solidbody guitars, and even some of their wacky short run models, had a build quality that's generally higher than the 70's, and much better than the 00's.  One of the first things you'll notice on this model is the block inlays, rather than the trapezoids used most years - plus an inlay at the 1st fret.  It also features the small pickguard, as used on the '61 Reissue, rather than the large pickguard that surrounds the pickups found on more recent SG's.  Also, the pickup selector is located above the knobs rather than at the edge of the pickguard, and also it uses a side-mounted barrel jack rather than the top mounted jack.  Original pickups have the epoxy on the underside that Gibson used during this era, but they're not the Lawrence pickups with multiple taps, rather the patent engraved PAF's that are simply covered in epoxy.  I see a source on the web that calls these Shaw pickups by virtue of the ink stamp but I don't have any evidence to support that opinion.  They have a nice, vintage tone with medium output and are dated 3/81 and 6/81.  As I mentioned, this is a player.  You'll frequently find that the better sounding guitars spend little idle time during their life and they tend to get a lot of fret wear, buckle scratches, and plenty of minor cosmetic flaws, the worst of which on this guitar is wear on back of the neck (pic).  It has never had any structural issues such as body cracks or headstock repairs, and the finish is original - it's simply a guitar that's been enjoyed over the decades.  Now at 30 years, it's definitely a vintage guitar and a bargain on the vintage market at just $1199.  Includes original Protector case with a replaced latch.   

1985 Fender Contemporary Stratocaster Deluxe, (front), (back), (headstock), (bridge/nut), (case) (catalog).  Exceptionally clean...collector's condition.  Rare Deluxe model 27-5700 in Pearl White.  During this era USA production had slowed down to a crawl, with the only production being the US Vintage Series.  Fender Japan was supplying around 90% of Fender's stock until the American Standard started shipping in the fall of '86.  The Contemporary Deluxe was the top of the line from Fender Japan with noteworthy features like the System III locking tremolo system, locking nut with an ingenious thumb lever to tighten or slack the nut tension, Fender's new Ping tuners which would soon be used on the American Standard, Schaller humbucker mounted directly to the body with accompanying mini-switch to split the humbucker, side-mounted barrel jack, and TBX (Treble Bass Expander) tone control, also used on the American Standard.  Fender's Contemporary line consisted of the Deluxe, offered the top of the line System III and equipped with either dual Schaller humbuckers or an HSS like this one, and another Deluxe offered only with HSS and outfitted with the mid-line System II tremolo without fine tuners, using knife-edge pivot system.  This model didn't use the Schaller humbuckers but a standard Fender humbucker mounted to a pickup ring.  Rounding out the Contemporary's was an HH model and single humbucker model, which were the only ones in the series built without pickguard, which I attribute to retailer's being able to compare it to a Kramer Baretta/Imperial and since it was built sans pickguard, the output jack was side-mounted.  It featured the System I tremolo which pivoted on two studs like a modern day tremolo, and featured both a standard nut plus a locking nut located on the headstock.  Fender also built an SSS model with identical specs to the "regular" Contemporary, including the System I, but opted to call it the "Standard Stratocaster" since Fender wasn't building any other Standards at the time.  It rightfully should have been part of the Contemporary series since, other than the pickguard and SSS configuration, it was identical to the single humbucker Contemporary.  These "Standard Strat" models are, by far, the most common due primarily to considerably lower cost.  In addition to these, Fender offered a line of Squier Contemporary's consisting of an H, HH, and SSS.  The H and HH were built without pickguard and had side mounted output jacks, while the SSS model looked pretty much like a Standard Strat.  Oddly enough, the H and HH model also had a shorter (24.75") scale (hello Gibson fans) while the SSS, being a traditional Strat, had the standard 25.5" scale.  All of the Squiers featured a vintage, non-locking tremolo.  The Contemporary line, including the Deluxe, featured a very flat fretboard.  At 12", it was flatter than today's "modern" radius of 9.5' and much flatter than the 7.25" vintage radius.  Features of this 27-5700 model include:  alder body, bolt-on maple neck, 22-fret rosewood fingerboard with pearl dot inlay, blackface headstock, System III locking vibrato, black pickguard, Schaller humbucker with 2/1 screw attachment that's screwed directly into the body, single volume and TBX control, 5-way switch plus mini-switch for 7 tone settings, and chrome hardware.  The System III was really a rather ingenious piece of engineering.  First off, it uses a special tremolo arm with the short shaft being square and the tip screws off to reveal an Allen wrench.  The reason for this is that, adjacent to the strap pin is an Allen socket, which raises/lowers the bridge, making minor adjustments a breeze.  The square shaft was used as it operated a locking mechanism in the tremolo to convert it from tremolo to fixed bridge with just a 1/4 turn of the bar.  Both of these are very practical features and I'm surprised that Fender never pursued the technology in any models that followed.  This guitar plays superbly and sounds great.  The Schaller humbucker is the same model used in the Esprit/Flame models and one of my favorite pickups of all time. It is capable of producing great Strat tones plus a warmer, fatter tone via the Schaller.  Cosmetically, it's definitely been a closet queen that's seen almost no use in its 25+ years.  It has the typical finish cracks in the neck pocket but otherwise no finish checking, no scratches, perfect frets, and the only real flaw is a small dimple the size of 1/2 grain of rice.  The catalog page above is one that I used in 1985 when I was working at Hotlicks Guitar Shop.  I noted that our discount price for the HH model was $599 and I'm guessing the HSS was $649.  Since we were a discount store, the list price would have been higher.  For a Contemporary Deluxe in this condition, it's a very fairly priced at $950(HOLD-Pat R AU 12/17).  Includes the proper first version (latches are attached on the lid rather than bottom) molded case in similarly nice shape.  Sorry for the long write-up but I haven't had one of these in around 10 years and wanted to document this rare and innovative guitar for future use.  

1988 G&L Skyhawk - Matching Headstock - Fine Tune Bridge, (front), (back), (headstock), (trem), (case).  Nice 2nd generation Skyhawk with rare fine-tuner bridge and matching headstock.  We haven't had the neck off yet but it's a late '87 or early '88, with the cosmetic changes that began in late 87, giving the Skyhawk a more traditional, i.e. Strat, look.  These changes included a recontoured body, a "sickle" style headstock ("by Leo Fender" logo) which replaced the earlier double curve design.  Also this was the first year for the traditional one-piece pickguard, which replaced the combination smaller pickguard with metal control plate.  Features include solid 3-piece maple body; bolt-on maple cap neck, 3-bolt neck attachment with tilt adjust, black pearloid dot markers, 3-ply white pickguard, G&L Dual Fulcrum Vibrato with fine tuners, chrome Sperzel locking tuners, G&L Magnetic Field Design single coil pickups with adjustable pole pieces, Master volume, treble, and bass, 5-way pickup selector, 25.5" scale, 1 5/8" nut.  Overall very nice condition but there are several cosmetic flaws (shown here) but no buckle scratches and frets are in great shape, so this guitar has seen little playing time.  At 8.2 lbs., it's fairly light for a Leo-era G&L.  Set up is fantastic - bends with ease, and the controls and pickups offer much more tonal variation than your average Strat.  For a vintage G&L with rare features this is a nice buy at $999.  Includes original case and original trem bar.    

1997 Ibanez FGM400QM Frank Gambale Signature Model, (front), (back), (headstock), (side), (detail), (case), (edge finish).  Fairly rare model, and the last in the series of Gambale signature models.  The FGM400 was made only in '97-'98 at Japan's in the Fujigen factory, home of Japan's finest electric guitars.  This guitar isn't in museum quality but hasn't seen much actual playing time judging by the near perfect frets.  The bottom edge, primarily on back, had some clear coat chips which Martin lacquered over to prevent any flaking, and there are a few light dings in the top, in the clear coat only (as shown here).   For the player though, this guitar offers and exceptional value in quality, tone, and playability.  Everything about this model is low profile, including low profile Edge tremolo, recessed neck, recessed pickup ring, and low profile S Body.  The S (or Saber) body, goes back to 1987 with the S540, and is the ultimate in comfort and weight.  Although around 1 1/2" thick in the middle, it's contoured to a very thin edge, measuring just 1/2" at the edge of the upper and lower bout, and at the neck joint, which makes for very easy access to the upper register.  Other features include 1-piece maple Wizard neck; mahogany body with a thin quilted maple top, 25.5" scale; upgraded DiMarzio pickup in bridge with an IBZ SB-2 single coil in the middle and neck; 5-way selector switch with master volume and tone controls; Lo Pro Edge tremolo; 22 medium 6230 frets; gold logo, recessed top-mounted output jack; Gotoh tuners; and FGM (Frank Gambale Model) signature inlay at the 12th fret.  The FGM400 was a very expensive guitar back in '97, with a list price of $2399, which includes a $200 upcharge for the "FM" model.  If you're not looking for a pristine example and don't mind some light finish flaws, this guitar is an absolute killer player with very low action, extreme comfort, excellent sustain, and a fat tone that can cover a lot of ground.  It's just a great high-end Ibanez for $999.  Includes original Signature model case that's in rough shape - or substitute a new molded hardshell case (pic) for $39. 

Fender "Custom-Built" Closet Classic Strat - Sonic Blue, (front), (back), (headstock), (case), (finish-1  finish-2), (body/neck marking), (pg assem).  This is a top notch Strat built by local luthier Geo Martin, who is an expert at finish relic'ing.  All top quality Fender USA and Japan parts including a 1989 USA Vintage Series body, 1998 '54 Reissue Japan neck, Eric Johnson pickups, Custom Shop green pickguard, MIJ/Gotoh tremolo with heavy steel block and stamped steel saddles, and Sperzel locking tuners.  This one has the look of a genuine vintage Strat with finish checking throughout and some small finish chips, basically what Fender does with their Time Capsule series.  Mint green pickguard has a crack on the forward part of the top horn which is common on many old Strats.  As some players prefer a pristine neck, the neck wasn't aged but it's an easy job to add fretboard wear in the proper spots so inquire if desired.  The Fender Japan neck is a '54, with a chunky profile and vintage frets, exhibiting very little use and near perfect frets.  This is an especially nice player with low action and a lively, resonant tone.  The crown jewel of this guitar are the Eric Johnson pickups, which were painstakingly created for Eric by Fender after considerable tweaking.  I think they're the finest vintage pickups Fender makes and since they do not offer them as replacement parts, the only way to get a set is to remove them from an EJ Strat.  Overall, this guitar is in beautiful shape, taking into account the aging process, and in Sonic Blue, one of the most desirable colors in the Fender catalog.  I think this one is as good or better than a custom shop Closet Classic and, again, has better pickups than the stock custom shop models.  Not cheap but when you factor in the quality parts and expert assembly, a nice value for the player at $1199.  Includes Fender vintage-style tolex case.

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.   

Sperzel 3+3 Locking Tuners - Chrome.  Hard to find set in chrome (not brushed chrome0 for your Les Paul or other 3+3 headstock.  Nice shape, $49.  

Gibson Humbucking Set - 496R/500T - with covers.  Classic combination used in many Gibsons from Flying V's to Les Pauls.  Neck comes in at a vintage output of around 8.5K; bridge is overwound at around 16K for a modern tone.  These run $109/each new - without the covers, but this set is in clean shape, has had chrome covers added, and are just $125 for the pair.  

2008 Epiphone Les Paul Standard, (front), (headstock), (back).   UPDATE:  Martin did a final setup on this guitar and it simply doesn't get any better.  Action is as low as a Gibson Les Paul Custom, and no dead spots anywhere.  Probably 1 in 50 guitar.  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 stunning high gloss cherry sunburst finish, 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 veneer 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 with plastic still on the pickguard and zero wear anywhere and, most importantly, the best set up you'll ever see on any Les Paul, Gibson or Epiphone. In burst finishes this model lists for $833 ($665 for Ebony finish) nicely discounted to $479.  This one is like new, set up to perfection, and a nice Paul at the price, just $379.  Deluxe gigbags or hardshell cases available for $25 and $59, respectively, if desired.  Note:  Upgrade to Gibson humbuckers (like this 496R/500T set) for just $150, including labor, or a little more for Burstbuckers or '57's.  

1970 Gibson LG-12 Acoustic 12-String, (front), (headstock), (back), (sides), (case).  Cool little 12-string for back porch strumming in incredibly clean condition.  Gibson's LG-series were their budget acoustics with no fancy ornamentation, screened logo, dot inlays, etc.  I remember back in the 90's we used to pick up LG's for well $400 but in recent years players have recognized that, at 40+ years old, they're become excellent sounding guitars and prices have doubled or tripled.  The LG-12 was the 12-string in the LG line, with the same small body (14.25" lower bout), but with a full scale length.  The LG-12 features a solid spruce top, mahogany back and sides, mahogany neck with rosewood fretboard, 18-fret neck with 12 clear of the body, belly bridge with adjustable saddle, teardrop pickguard in '70, bound top, natural top finish, light mahogany finish back and sides, Kluson deluxe strip tuners, screened logo, and pearl dot inlays.  Although not the lowest action (shown here), it's very comfortable for playing cowboy chords and you can get by okay on barre chords - but if you want it to play like a Taylor, it really would want a neck reset.  The light satin type finish, along with the aged mahogany body wood, give this guitar a nice warm sound with a mid-range that will stand out in the mix.  They say old wood is good wood, and at over 40 years this one has developed a very pleasing voice.  As you can see in the pics, this guitar is in beautiful condition with no flaws to speak of.  Original case for this model with a heavy semi-hard with plush red lining and this one's in nice shape.  If you're looking for lovely vintage 12-string to strum on, this one's hard to beat at $599.  

Schecter Hellraiser V-1 Flying V, (front/abalone binding), (headstock), (back),  (battery cover/output jack), (case).  Killer Flying V style with dark looks and fat tones that are tailor made for heavy music.  The Hellraiser V1 is a remarkable guitar in terms of features, playability, and looks, at an incredible price.  It  features high-end EMG-81 active pickups with coil split via push/pull volume knob; TonePros Tune-O-Matic with thru-body string mounting; stunning Abalone inlay along the entire edge of the top; Abalone bound headstock; Abalone Gothic Cross inlays, black chrome hardware, set-neck construction with "ultra access" design for easy playing to the top frets, 24 extra jumbo frets, 25.5" scale, mahogany body with 3-piece mahogany neck-thru.  The high gloss black finish and loads of abalone trim on this guitar are absolutely gorgeous.  More importantly, with these EMG's this guitar sounds fantastic and plays incredibly easy with low action and bends with ease.  The design of the neck joint and body contours make this the most comfortable V I've played, especially in the upper register.  For a quality made Korean set-neck, with top-quality hardware and EMG's, the Hellraiser V retails at a remarkable $1069, selling new for $749...without case.  Better still, this one has barely been played and with our killer in-house setup, is an incredible value at just $529 and INCLUDES Dean case.  

Digitech RP10 Multi-Effect Floorboard, (back), (LCD/LED screens), (box/manual).  Museum condition and a great old unit from the 90's.  Has all the usual vast array of effects like distortion, delay, chorus, flange, phase, wah, comp., etc. in an easy-to-use floor unit.  Features both a back-lit LED for patch name and effects contained in that patch, plus a large red LED for patch number.  The technology, while a little dated, sounds fine to my ears and I can't think of a bad thing to say about this unit.  Appears to have spent its life in the box and is as clean as a new floor model.  These sold for over $400 back in '96 but this used one works perfectly, and is a powerful, good sounding unit for just $139.  Includes original manual and box.  

Boss ME-70 Multi-Effect Floorboard, (back).  For the player who is more comfortable with stompboxes than scrolling through menus.  The ME-70 is a multi-effects unit that’s as easy as a stompbox. The friendly, knob-laden design makes tone creation a snap, but with a powerful COSM AMP section derived from the GT-10, the ME-70 takes Boss's “EZ effects” concept to new heights.  It uses dedicated knobs for each parameter for fast, friendly operation, with four footswitches and Expression pedal for layout and operation much like a standard pedalboard.  All of your amp controls are arranged together, as well as a separate knob for reverb, and expression pedal effect (wah, octave, modulation, etc.).  It features a phrase loop function in the delay section with 38 seconds of recording time and features many classic Boss pedals such as Slow Gear, T-Wah, OD-1, and many others.  If you've heard it in a Boss pedal before, you can get the tone out of this baby.  For full specs and effects, go to Boss's site here and download manual here.  These sold new for $299 and up but this one's in very clean shape, works perfectly, and is a fantastic solution for the Boss pedal fan at just $175(HOLD-Carlos U 6/5).  

2007 ESP Vintage Plus Strat Style Relic, (front), (back), (headstock/neck), (relic wear), (tremolo/JB Jr. p/u), (upgraded case).  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 are a limited run, although they've proven to be very successful and are now into their 5th year.  This one has a few upgrades:  a Seymour Duncan JB Jr bridge pickup replaces the original Duncan SSL-1.  Also, the back of the neck has been steel wooled, Fender-style, for a more natural feel.  The last change, and it's definitely an upgrade, the case has been swapped out with a Charvel/SKB with TSA latches, one of the best cases currently made.  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.  With a list of $2852, the Vintage Plus sells new for $1499-$1549.  This one has a few tasteful upgrades and for the player, it's a fine Strat for $1050.  Includes SKB case with TSA specs and trem arm.  

1991 Fender American Standard Stratocaster - Sunburst, (front), (back), (headstock stain), (tremolo), (pickguard assem.).  Very nice semi-vintage Strat from the peak of the silver logo era.  Some of you noted the E9 serial which frequently are '89, but more often are '90 or 91 like this one.  Since the pots are dated '91, it obviously couldn't have left the factory two years before the pots were made so it's obviously a '91.  Strats during this era are hit and miss.  Too many of them have bad necks with humps, twists, or max'd out truss rods. If you find one without any neck issues, after 20+ years it's likely done all the changing it's going to do so you have a Strat that's going to be player friendly for life.  This is one of those.  Plays great, looks great, sounds like a Strat should  We're going to remove the headstock stain (shown above) and spray a few coats of nitro clear coat over the front of the headstock. Judging by cosmetics and frets, this guitar has seen very little use.  No buckle rash or major scratches anywhere on the body.  Frets are in great shape,  Action is low and doesn't choke out on bends.  Just a nice older Strat in a popular 50's look, sunburst and maple.  Within the next few years these are likely going to take off but still a good buy today at $850.  Includes Fender red-badge case.  

1992 Fender Stratocaster Plus - Olympic White, (front), (back), (headstock), (neck/pocket), (electronics), (case) (case candy).  Super duper clean with original case and case candy.  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, replaced by the American Series, with the American Deluxe assuming the role of the higher-end 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 Clapton and Buddy Guy signature models and both player toured with their stock pickups for many years.  The Plus also features precision locking tuners, Hipshot Tremsetter, and Wilkinson roller nut, all 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.   Predictably, these early silver-logo American Standards would be the next Fender to take off on the vintage market and they've been on a consistent upswing for the past few years.  This beauty is 20 years old but has seen very limited use and exhibits no scratches anywhere on the body, only a few on the back plate, and only minimal fret wear.  Lettering on the pickups is clean other than minor wear to the lettering on the middle pickup.  Basically, it looks like a guitar that's been played lightly for a year or so and then put away.  At $1299(HOLD-William G 5/23), it's $100's cheaper than a new American Deluxe Strat, which puts in in the price range of working musicians - but for collectors, looking for the cleanest examples available, this one's a definite keeper  If that's not enough, it's an killer playing guitar with very good sustain and 8 lbs., a nice weight for an American Standard era Strat.  Original case for this era is the rectangular molded case with twist latches, which is included, as well as manuals for guitar, tremsetter, and Laces; Fender cable and polishing cloth, hang tags for XL strings and bumper sticker, etc.. 

1995 Fender American Standard Stratocaster with Upgrades, (front), (back), (headstock), (pickguard), (case).  Fantastic playing American Standard in one of the most popular colors, Vintage White, which looks like a yellowed-out vintage Olympic White.  This one has a few tasteful upgrades including Fender/Sperzel locking tuners, white pearl pickguard and back plate, a DiMarzio DP182 Fast Track humbucker (specs), and a Fender tweed case.  Like Fender's Hot Rod '57/'62 Strats, the bridge humbucker adds a new dimension to your Strat, giving you all the traditional Strat tones in positions 1-4, with a fatter, hotter tone in position 5.  Cosmetically it's in great shape with just some fine buckle wear on the back and the normal short finish cracks in the cutaway area.  This guitar has an excellent neck which allows for a very comfortable setup and no fretting out on 3-note bends.  With these upgrades you have a Strat that has a wider variety of tones, stays in tune better, and looks great.  Priced at $799(HOLD-Jason G 3/26) with the tweed case, or $775 with a Fender molded case.  Includes trem bar.  

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

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

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

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

2011 Fender American Special Stratocaster - Candy Apple Red,  (front), (back), (headstock), (flamed neck), (trem), (gigbag/acc.).  Dead mint condition.  New model for Fender offering the best value in a gloss finish American Strat.  Fender chose some great pickups for this model, Texas Special single coils, which have been used on deluxe models and custom shops historically.  Controls are master volume, neck pickup tone, and a departure for a Strat, a bridge tone.  Other features include alder body with Gloss urethane finish, 70's style large headstock maple neck with modern C-shape profile and CBS-era logo, rosewood fretboard with dot inlays, modern 9.5" radius, 25.5" scale, 22 jumbo frets, vintage-style synchronized tremolo, Fender standard cast/sealed tuners, 3-ply pickguard, and all parchment plastic parts. This is an impressive guitar for the money.  The finish is impeccable, quality tone, and a great neck that sets up with great action.  New ones are going for $899 which is an unprecedented price point for a gloss finish USA Strat - and this one even has some nice flame on the neck, front and back. This one is set up to perfection and an excellent value on an "as new" model at $699(HOLD-Ron M 5/22).  Includes original deluxe gigbag and all accessories.  

Johnson J-Station, (close-up), (detail), (back).  Cleanest one of these I've had in years.  For you youngsters, once upon a time, Johnson and Line 6 (POD) were battling it out - along the lines of VHS and Betamax - each with it's own strong spots and weak spots.  In the end, Johnson lost, but I'll hold the J-Station up to a POD any day.  Largely the same selection of effects and amp modeling, but on the J-Station I much prefer the built-in acoustic simulator and the 12-string simulator.  All the other effects are a toss-up in my opinion - they're both very good.  Also, it's so easy to use you really don't need a manual. Bottom line:  This is very nice unit that can do it all in the studio or it also is excellent for stage use - and is very easy to get around on.  For the price of a single stop box, you can have 'em all.  For full info and manual download, click here for Johnson's site.  Incredibly clean condition with original box and power supply, for $99.  .

Dean 79 V Screaming Yellow - Signature Pickups, (front/back), (headstock), (Floyd), (pickups/braided wiring), (case).  You're not going to find any info at Dean's site about this model.  This was a special run of 24 pieces commissioned by Funky Munky Music (YouTube demo here).  Made in the same factory as Dean's Razorback lines, it's definitely a quality import with set neck design, quality hardware and upscale pickups (DiMarzio's or EMG's are standard).  This one, however, was owned by a Dean endorser and had the stock pickups replaced with two of the new USA Signature Model pickups (link), with a Leslie West "Mountain of Tone" in the bridge and a Michael Schenker "Lights Out" in the neck, both are vintage style with braided wires.  These are hot pickups, with outputs of 16K-17K and make this guitar especially well suited for hard rock/metal, which only makes sense since not many jazz players are going to be looking for a Floyd Rose guitar.  Other features include all mahogany construction, V-profile neck that will appeal to guys who like more of a vintage feel, black headstock binding, black headstock binding, black body binding, black chrome hardware, and Ping licensed Floyd Rose double-locking tremolo.   The finish "Screaming Yellow" is very reminiscent of "Stryper Yellow" and with some black tape you could easily make a cool tribute model.  Funky Munky sold these at $999 for the guitar or $1099 with case.  This one is in immaculate condition with a fine setup and killer rock tone - for 1/2 price.  Just $399 for the guitar; $450 with Dean case.  

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

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

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

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

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

Visual Sound Route 66 V2 Overdrive and Compressor, (pic2).   Visual Sound builds some quality pedals and this first version Route 66 is a good example.  Good sounding OD or Boost plus a compressor that can be used as a subtle spice or as a more radical effect.  The OD emulates the old TS808 and features Drive, Tone, and Volume, as well as a Bass Boost switch; the Comp features Comp, Tone, and Gain, as well as a Tone Bypass switch.  Here's a good 3-minute demo on Youtube (link).  Pédale double proposant une compression fiable aux réglages fins et précis couplée avec une overdrive souple et veloutée, Youtube demo here.  Note that this is a V2 model, with new style knobs that are easier to read on a dark stage.  It's mint in the box - for just $89(HOLD-Mike W 5/24). 

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

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

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

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

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

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

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

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

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

1996 Ibanez RG-570 - Black Pearl, (front), (back), (headstock/neck), (trem/color detail), (case).  A fine Japanese RG in collector's condition - with a quality pickup upgrade - Duncan Custom-Custom in the bridge and a '59 in the neck.  After a 12-year run beginning around 1990, Ibanez discontinued the 570, only to rename it the RG-2570 when they began production on the Prestige series.  The two models are one in the same.  Impeccably maintained for 15 years, this guitar is in definitely collector's condition with a similarly clean case, with manual, warranty, and trem bar.   The only hint of use is very slight discoloration to the bass side of the tremolo.  The Black Pearl finish is immaculate and it has a lot more "pop" than most black finishes I've seen, due to a hint of silver flake  The 570 features the same specs as the 550, with the 550 being the model with a pickguard rather than the sleeker look of the 570.  Features Basswood body, Edge tremolo, IBZ USA pickups with V7-S1-V8, jumbo frets, and a nice beveled area around the cutaway which makes playing up high a breeze.  Extremely thin and wide Wizard neck, maple with bubinga strips is a shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  If you prefer the V7/V8 humbuckers, we will swap them out at no cost, but for your Duncan fans this upgrade will save you around $200 if  you were to get a pro installation on a stock model.  Whether you're a collector or player, you'll be thrilled with the playability and condition of this one.  A true pro quality Ibanez for $550(HOLD-Candy 6/1).  Includes original case in similarly clean condition, manual, warranty, and trem arm.  Note:  I have around 3 cheaper 570's in stock. 

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

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

Roland FS-1 Footswitch.  One of the best single-button switches ever, unchanged since it was first released in the 80's.  Works every time and lasts for decades.  Perfect for guitar amps or effects with external 1/4" jack functions.  Nice shape, $19(HOLD-Eric in NO 4/430).

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

1997 Gibson ES-335 Dot Figured Top Gloss Finish, (front1  front2), (back1  back2), (headstock), (case).  Exceptionally nice flamed maple on this one - very consistent across the top and back - plus top and back are matched perfectly.  Figuring looks great from all angles.  Perhaps more importantly, this is one of the best sounding Dot's we've ever had.  Acoustically, it just sings and, the biggest test of all, Martin says he would buy this if it fit into his budget, and there's very few guitars that impress him this much.  When it was introduced in 1958, the ES-335 was the perfect marriage of the traditional hollowbody, and modern solidbody.  It underwent some changes, both cosmetic (block inlays) and design (the trapeze tailpiece) but in 1981 Gibson got it "right" with the first official "Dot" Reissue.  Using specs from the original '58 model, the guitar featured Dot inlays on a bound neck, with a stopbar/Tuneomatic bridge, and the specs have remained pretty much identical since then, with the reissues running near 30 years - and 50 years since the guitar was first released.  Features include semi-hollowbody design with center block for increased sustain and reduced feedback, dual '57 humbuckers, thin tapered 60's neck, body and neck binding, and Grover tuners.  Gibson has produced several models the past few years but the figured top with gloss finish is at the top of the price list - with an even higher price for blonde finishes.   For years blonde finish (aka Antique Natural) has been an upcharge as they tend to use choice woods for this color.  Current list on a blonde aka "Antique Natural" Dot is $5292, (over $1K higher than Heritage Cherry or Sunburst) discounted to $3399, and if you look around the web, you'll see some rather unimpressive maple on some Dots.  Collector owned since new, very near mint condition, zero fret wear and a perfect set-up and a fine tone with very good sustain.  This one is clearly a cut above average, from a great era from Gibson, and $1100 less than a new one at just $2299(HOLD-Mark T 4/29).  Martin says it better sell quick, or he's going to find a way to finance it!   Includes original brown case with pink lining.  

D-TAR "Solstice" Two-Channel Preamp/Mixer, (pic2), (close-up front/back).  D-TAR are experts at acoustic amplification.  D-TAR stands for Duncan-Turner Acoustic Research, and marks the union of Seymour Duncan with noted luthier and acoustic amplification expert, Rick Turner.  The Solstice is a combination two channel preamp and mixer designed to handle a variety of inputs.  It offers 1/4" and XLR connectors on both channels, plus you can use both channels together for stereo operation. It can boost a signal up to 24dB, and includes a phase reverse switch, mute switch, tuner output (not affected by the mute switch), and an effects loop for inserting external processing or just taking an independent output.  You can use it with whatever pickup/sensor system you're using or D-TAR also makes a fine under-saddle pickup which is very nice.  The Solstice won Guitar Player's "Pick Award" - for a GP mag review, click here - or for D-TAR's site, click here.  This unit sells new for $329 but this one's in perfect condition in the box with manual and power supply for just $250(HOLD-Marcus 6/6).  

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

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

Fender Geddy Lee Signature Model Jazz, (front), (back), (headstock), (features), (straplocks), (deluxe gigbag).  From the Artist Series  - a Fender Japan product, in nice condition and a great playing, excellent sounding Jazz.  This is a replica of the 1972 Jazz that Geddy Lee (of "Rush" fame) bought in a pawn shop, that he continues to use to this day for both recording and performing.  Features 70's appointments including alder body, maple neck with slim profile (front to back) that feels different from other Jazz's I've played, maple fingerboard, 34" scale, 20 medium jumbo frets with black fingerboard binding, vintage tuners, and factory outfitted with a pair of USA Jazz pickups and a Leo Quann Badass II bridge.  Overall it's in beautiful shape other than the neckplate being slightly bent (shown here) from over-tightening and it looks like somebody wore a buckle perhaps once or twice while playing it.  No issues whatsoever, great neck, very comfortable setup.  With a $1399 list, you'll see these everywhere for $999 but if you don't mind one that's been played a few times, this one is set up better than anything from the super stores and a nice buy at $649.  Includes Kaces deluxe gigbag with two storage compartments and wide, well-padded shoulder straps.  

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

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

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

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

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

RFX PEDALS:  

A Few Pickups:

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

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

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

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

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

2008 Fender American Deluxe Ash Telecaster - "Tuxedo Black", (front1  front2), (back), (headstock), (case & sealed acc. bag).  Okay, Tuxedo isn't a real color but folks use it to describe black guitars with white trim - and to top it off, the flat black pickguard on this one looks just like a satin lapel.  This is Fender's top of the line production American Tele with high end features and premium tone woods.  Features include solid alder body, Fender's ingenious S-1 switching with a push-button switch built into the volume control along with a 4-way pickup selector for 6 tone selections, modern C-shaped maple neck with a thin satin polyurethane finish, SCN (Samarium Cobalt Noiseless) pickups for classic Tele twang without the hum, one-piece maple neck with an amber vintage tint, abalone dot inlays, 22 medium-jumbo frets, and a modern chrome stainless steel Tele bridge with chrome-plated solid brass saddles.  For a full rundown of the pickup selections, Click here.  This is a great playing Tele, medium weight and as twangy as you want to get.  The Tele Deluxe sells new for $1699 ($2199 list) but this one is immaculate and just $1179(HOLD-Tom S IR 2/7).  Includes Fender case and sealed accessory bag with Fender cable, Schaller strap locks, tags, manual, etc.  

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

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

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

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

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

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

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

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

 

Email Me:  chrisgtr@nycap.rr.com

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

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

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

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