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 Honoring USA servicemembers, past and present…

IN WONDERFUL ALBANY, NY, USA

Updated: Mon, Aug 31st, 2015

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

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

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

2011 Fender 50's Classic Strat - Surf Green, (front), (back), (headstock  back), (case). NOS, unplayed condition!  Another Surf Green 50’s Classic, one of the coolest original custom colors of the 50’s.  Fender’s classic series provide the look, feel, and tone of the timeless classics at a fraction of the Vintage Reissue or custom shop models.  I think they’re one of the best values in Fender’s catalog.  Features of the 50's Classic include vintage tinted neck with a soft-V profile, deep vintage body contours, single ply pickguard, vintage tremolo with bent saddles and heavy tremolo block, and aged plastic parts.  Pickups are Alnico vintage-style single-coils with staggered pole pieces and aged covers.  They sound very good to my ears and I would recommend trying it out before looking for any upgrades.  If you like vintage Strats but aren't a fan of the medium action that they usually have, this one is set up with low action with no buzz, despite the vintage radius. Offered in mint condition with plastic still on the pickguard, original hangtags, and complete accessory bag.  Sold new in ’11 for $799 with gigbag but for $200 less you can get this one--with a Warwick hardshell case--just $599.  Oh, did I mention it’s just 7 lbs. 6 oz.?

2011 EVH Wolfgang Special HT – Ivory, (front), (back), (headstock back), (fretboard neck serial), (case case2). Original Made in Japan model in beautiful condition. There are some reflections in the pics but in person, it’s perfect. I’ve had a few of the USA EVH’s and I honestly don’t think most people could tell the difference in a blind player’s test. Just a fantastic Wolfgang in all regards. Originally released as a more affordable version of the Wolfgang, these early Specials stand as fine guitars in their own right. They’re a tad bit lighter, and the tone is perhaps a bit more airy sounding, but capable of delivering Ed’s signature tones just as well. The first thing that strikes you is the great feeling quartersawn maple neck which is capped with a stunning AA birdseye maple fingerboard. The feel is essentially the same as the American model, including the 12” to 16” compound radius and unfinished texture. This neck will get dirty fairly quickly (and many players love the look and feel that way) but a simple Scotchbrite pad will quickly return it to new. The profile is midway between fat and thin, and the stainless steel vintage fret wire will guarantee years of hassle free use.  Body is Ed’s choice wood, basswood, which is lightweight and fairly resonant. Pickups are the same EVH brand humbuckers that are featured in the USA-made cousin, and are screwed directly into the body to help increase sustain and punch. The overall tone is considered balanced, yet bright, but not at all sharp, and rather hi-fi sounding with a clean or slightly overdriven amp. At 14k, the bridge humbucker is plenty hot, but remains clear for chord work and riffing. Both pickups clean up a tad when incorporating the volume control with a higher gain amp or overdrive pedal, allowing you to go from clean to overdrive with a turn of the knob. Another unique feature is the string lock, which is rather uncommon for a non-tremolo guitar.  After you tune to pitch, lock down the nut and use the fine tuners for minor adjustments. The guitar stays in tune better than any guitar with a standard nut. Other features include a Tonepros bridge, EVH/Gotoh tuners, 25.5” scale, 1.68” nut, and 22 frets.  The Japan-made Special HT sold new for $1249 ($1666 list). If you appreciate the quality of this model over the current Mexican model, it’s a great value at $850.  Includes original EVH/SKB case with ATA latches, and tools.

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

2003 Fender American Series Telecaster – Black, (front), (back), (headstock back), (case). I haven’t mentioned this in a while but…black is the most popular electric guitar based on new guitar sales, and has retained a slight edge over sunburst for many years. Just an interesting fact to start this listing. I’ve written so many of these that I know most of the info is repetition. The American Series made its debut in 2000 and had a handful of improvements over the ’87-’99 American Standard. Bottom line is it’s a quality guitar with classic Tele twang that’s easy to play. Overall very nice shape for 12 years old with the worst flaw being a scratch in the clear coat on back (shown here). It hasn’t been played much so the frets are in beautiful shape and it needs nothing to take to a gig tonight.  Nice value for $875 and includes clean original case.

2001 Peavey Ltd – American Flag Graphic, (front), (back), (side maple top), (headstock back recessed Grovers), (case case2).  Hey American guitar fans – this one’s for you. Not only made in Peavey’s custom shop in Leakesville MS, but proudly displays the stars and stripes. This is definitely a quality axe in all regards. A very comfortable body with nice rounded edges all around, super sleek neck with perfectly finished frets, quality hardware and electronics, and a perfect finish and graphic. I haven’t found a definitive way to date Peavey USA guitars but it has the common “91” prefix in the serial found on most American Wolfgangs and from what I’ve found online, most of these were made ca. 2001. The body is a chambered (appears to be basswood) with a thick maple cap, with the edges left unpainted (PRS style). Neck has a sealer coat only and feels sort of like a Wolfgang neck except not quite as deep and round in the back. The headstock was designed to allow a straight string pull on all the strings – and inset into the back of the headstock at varying degrees to allow the same break angle on all strings. Quality hardware includes a Hipshot/Peavey “ultra glide” tremolo, Grover locking tuners, and zero friction nut. Electronics consist of a HSS configuration with a 5-way switch, with the humbucker being split in position 4 (1/2 of humbucker + middle) to get a nice Stratty sound. Pots are CTS, single coil pickups have cloth wires and staggered poles and deliver a quality vintage Strat tone. Humbucker is fat but not shrill and can take plenty of gain without howling. Other features include 25.5” scale, 12” radius, bolt on neck with contoured neck joint, 5 screw neck attachment, comfortable belly cut on the back side of the body and Graphite reinforcement in the neck. This is an excellent playing guitar that should appeal to anyone looking at HSS Strats, especially anyone who wants to proudly show the flag. It’s as well made as all the USA Peavey’s I’ve had and appears to have remained in the case all its life; virtually flawless. It is an exceptional value at $550(HOLD-Wanda B 8/25) with hardshell case.

2005 Fender American Deluxe Stratocaster – 3-Tone Sunburst, (front), (back 50th plate), (headstock back), (case case2).  Clean American Deluxe with upgraded Fender vintage style case.  We go through so many of these that my descriptions are often redundant, although being an ’05 this has the 50th Anniversary neckplate. Otherwise it has all the usual deluxe features including Samarium Cobalt Noiseless (SCN) pickups with S-1 switching, Schaller locking tuners, 1-pc maple neck with rosewood fretboard, abalone dot inlays, contoured neck heel with rounded neckplate, raised chrome logo, highly-polished 2-point fulcrum tremolo with unthreaded ("pop-in") trem bar insert, and aged plastic parts.  Many players love the SCN/S-1 combination which yields all the traditional Strat tones you know and love, and hum-free to boot, plus a choice of other meatier tones not normally found on a Fender.  For those who haven't used this innovative system, it features a pushbutton in the middle of the volume knob to access many of its tones.  Click here for a full rundown of all 10 pickup settings with the SSS pickup configuration.  This is a fantastic playing Strat and cosmetically in beautiful condition with no flaws other than a few light scratches in the clear coat on back.  A new American Deluxe Ash is going to run $1699 with the black plastic case.  For much less you can have this beauty with a great setup, nice tone, and an upgraded Fender Pro tolex case for just $1150, or with the stock Fender molded case for $1099.  Includes case, trem arm, all tags, manual, and other paper work.

2008 Godin LGXT with Synth Access – Black Pearl, (front  front2), (back label), (headstock back), (electronics), (deluxe gigbag).  The LGXT provides incredible power in a well made solidbody guitar – and this one has a tremolo!  Referred to as a "three-voice" guitar as it features electric and acoustic guitar sounds, plus the infinite possibilities provided by synth access.  The output from the bridge transducer system produces six separate signals—one for each string. This divided signal is called hexaphonic and is used to drive guitar synths.  The LGXT is perhaps the best synth driver made as in addition to the electronic modifications, the guitar itself was altered in order to achieve the best possible synth performance.  Some of you are only familiar with guitar synths which were technically complicated and required radical changes in playing technique.  The LGXT/Roland GR-synth combination represents a new standard in user friendliness and performance.  This is truly a 'plug in and play' system.  Without cracking a manual you can hook up to a Roland GR, such as a GR30, and you’ll be playing guitar/synth patches in 30 seconds.  Controls are simple, with the acoustic controls on the upper bout, consisting of sliders for volume, bass, mid, and treb.  The magnetic pickups, Seymour Duncans, feature a 5-way switch for single coil and humbucker tones, a master volume, and master tone.  There is a separate volume for the synth sound.  A 3-way mini switch (engaged only when using 13-pin connection) selects acoustic/electric, acoustic/electric+synth, or synth only.  The other mini-switch is a momentary which can be preset to do a number of functions, but most will use it for patch changes (up or down) to the synth.  The three output jacks include separate magnetic and acoustic outputs (to run your signal into your Marshall stack and your SWR acoustic amp), or use only output 3 for both magnetic and acoustic outputs going to the same amp, plus a 13-pin RMC jack which carries all three (acoustic, magnetic, and synth) voices to a GR series synth or other RMC equipped unit.  Features of this fine guitar include:  silver leaf maple top with edge unpainted (PRS style), mahogany neck, Richlite fingerboard, 16" fretboard radius, 25.5" scale, 1 11/16" nut width, GraphTech Tusq nut, high-ratio front-loaded Godin Locking Tuners, double-action truss rod, Schaller locking type strap pins, Seymour Duncan Custom Humbuckers with a SH III Jazz neck and Custom III bridge, 5-Way switch, guitar volume and tone, synth volume, program up/down, 3-mini switch, separate outputs for magnetic - acoustic - synth sounds, RMC transducer saddles. custom pre-Amp EQ for: Acoustic Volume, Treble, Mid-Range and Bass controls.  Around the 5th Godin 3-voice I’ve had in the past 2 years and like all of them, it’s an an excellent sounding guitar with an excellent low set up.  A new one will set you back $1579 but get this one, in excellent condition, for just $799. Includes Godin gigbag with a tear in the mesh grill but otherwise in nice shape with interior Velcro neck support.

Vox DA5 Digital Combo – Ltd Ed Red, (panel), (back), (back panel).  AC/DC combo for playing anywhere. First one of these I've had with the limited edition red covering. The DA5 definitely cranks out some quality tones for such a small combo.  Similar tone quality to the AC/DC Roland Micro Cube but the DA5 has more features.  Choose from 11 distinctive sound styles, and 11 high-quality built-in effects, with tap tempo for adjusting time or modulation speed. Can be powered by AC or 6 C batteries for use at the beach, street corner, or subway.  Equipped with a 6.5" speaker, input, mic input, aux in, and line & headphone jack. Output Power select switch lets you choose between 5 watts, 1.5 watts, and .5 watts for lower volume use without losing tone or feel, while preserving battery life.  For full specs check out Vox here.  There are dozens of YouTube demo's online, including comparison to the Roland Cube listed a few days ago; click here for a good performance demo or demo by a Hungarian dude (link).   These demo's are stock amps - your DA5 will sound this good, and if you factor in the good sounding effects, it's even more impressive.  A great little amp for multiple uses for just $69(SOLD).   Excellent condition and includes Vox AC adapter. 

T-Rex Crunchy Frog Overdrive/Boost.  Rich, warm tube overdrive tone with blend control to mix with your amp tone and a separate boost control whenever you need to jump out of the mix a bit more.  T-Rex makes good stuff and other than a few small scratches on the right side, this one’s mint for $65.

1969 Gibson Super 400CES, (No hype - simply the best quilt ever).  One-owner guitar, uncirculated, and a desirable pre-'70 Super.  The Super 400CES was Gibson's top of the line archtop and this one has the finest quilted maple I've ever seen on this model. As soon as I opened the case and flipped it over, I heard Martin catch his breath.  It was for him, quite literally, breath-taking.   (front/back/side), (headstock/flamed neck), (flamed neck), (serial/label).  This is one of those finds that collectors wait for - a one owner guitar, bought new in 1969, and rarely saw the light of day since new.  It has never been circulated and is being sold only because of the owner's inability to play any longer. I've only owned a few Super 400's, but I've seen plenty and this is the finest of the fine.  The worst flaw is very typical - deterioration of the pickguard.  High quality repro's are available from a number of sources but the original is included, along with the bracket.  Other flaws on this guitar are minimal (picture) and include light wear to some of the gold plating on pickups and tailpiece, and very minor rubs on edge of headstock.  You have to look hard to find any flaws on this guitar but held in perfect light, you can see a slight clear-coat impression on the back where the guitar rested on the pickguard inside the case (pic) but, again, it must be viewed at the perfect angle, and very closely, to see.  Includes original case with accessories - hang tag, manual, strap, cable, pickguard and bracket.  There are no loose braces or other detractors that require maintenance.  It's hard to place a value on a guitar like this.  If an example with typically "good" flame is worth $X, how much more for perhaps the nicest quilt imaginable.  To a collector looking for the finest uncirculated example I've personally seen, I consider this one very reasonably priced at $10,000.  This is the most incredible Gibson archtop I've ever held and I'm sure the new owner will feel likewise.  

Budda Superdrive 18 1x12 Combo, (panel), (top), (back), (back panel), (footswitch).  Early model Series II - the 386th ever built! Of all the Budda's I've had, this is the only Superdrive Series II I’ve ever had in stock.  All I can say is it's a great amp, with tone that's on par with the earlier hand-wired Series I and while there's a certain elitist appeal to a hand-wired amp, tonally, circuit boards seem to sound just as good.  Budda has specialized in club amps going back to Jeff Bober's first hand-wired amps such as the Twinmaster and Verbmaster, both of which were dual EL84 powered with a 5U4 rectifier and a trio of preamp tubes.  The Superdrive shares a lot in common with these early amps, but they've been re-engineered to be more versatile, with the ability to play harder-edged music, when desired.  It's one of the best amps for getting a quality tone with preamp distortion, but when you crank up the master this baby really delivers.  At 18 watts it's a perfect club amp.  Features of the Superdrive 18 combo are:  18 Watt Class A/B with dual EL84 power; 5U4 Tube Rectifier; three 12AX7 Preamp Tubes; Treble, Mid, and Bass Controls; Rhythm Volume; Master Volume; Pull Bright on Rhythm Volume; Drive Control; 2 Channels - Rhythm and Hi Gain; Effects Loop; Slave Out; Pull/Modern Mid Function; Custom Wound Transformer with 4-8-16 Ohm Switch; and Custom Designed Budda Phat 12 Speaker. For full specs visit Budda here and click here for a bunch of YouTube demo's.  This model achieved a commendable 9.6 in tone and 9.6 overall in Harmony-Central reviews.  While these may be circuit board amps, so are 98% of the amps sold in America and unlike most of the competition, these amps weren't built on the cheap and they feature a thick circuit board with top notch components all around.  A few rubs on the tolex covering but overall this amp is in nice shape for a used amp and sounds absolutely perfect.  This is the first Budda I've been able to put out at under a grand and for $879, it's hard to beat.  Includes original footswitch and perhaps a purple Budda cable if you remind me to look for it.

1971 Martin D-18, (front), (back), (sides), (headstock), (bone parts), (case case2).  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.  It has also received a full refret, with only a few dozen hours of use since. Although at around 45 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, primarily on the upper bout, front and back.  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 older model for less, just $1750(HOLD-Greg F 8/21), and with the fresh neck set and new frets 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 more recent but upgraded Martin Geib case. 

2013 Gibson Les Paul Signature T Gold Series, (front front2), (back), (headstock back), (case).  A gorgeous guitar with a AA flamed maple top, finished in Wine Red, accented with cream body/neck binding and plastic parts, and gold hardware.  Please note that the stock truss cover which sports simply a large “T”, has been changed but I probably have blank, Standard, or Deluxe also in stock of you don’t want the Classic.  This original Series "T" was in production for only a brief period of time, features the stock Grover locking tuners, which were changed to the MinETune on the ’14 models.  Features include AA flamed maple top with transparent Wine Red finish over a mahogany body, Nitrocellulose gloss finish, 60s slim taper neck, bound rosewood fretboard, mahogany neck, figured acrylic trapezoid inlays, gold hardware, and Grover locking tuners with Keystone buttons.  Pickups are '57 Classic bridge and neck humbuckers (open coil zebras) with push/pull taps on the tone pots to provide 6 tone choices, all of them very useable.  This guitar is in super clean condition, with any miniscule clear coat scratches buffed after pics were shot. The new MinETune model sells new for $1999, but most players prefer the standard tuners and this one’s just $1350.  Includes original case with all paperwork, and your choice of truss rod cover.  

1984 Fender Flame Elite – Candy Red Burst, (front  front2), (back), (headstock  back), (serial), (bound neck/body), (case case2).   First year, 1984 model, now 30 years old.  As uncommon as Flames and Elites are, this finish, and factory Kahler trem, make this extremely rare.  Part of Fender’s short-lived Master Series, the Esprit/Flame was the predecessor to the Robben Ford Signature Model, which was basically the same guitar in a custom shop version.  In ’84, Fender had been trying to steal a portion of Gibson's market for many years, namely a guitar with dual humbuckers on a double-cutaway body.  Previous attempt like the Coronado, Wildwood, and Starcaster all failed.  In the mid-80's Fender's effort was the "Master Series", which included the semi-solidbody Flame and Esprit , and the D'Aquisto hollowbodies, with 3 models in each line, priced according to cosmetic appointments.  The Flame, very similar to the Esprit but in a slightly smaller (13" vs. 14") and slightly asymmetrical body, was made of alder with tone chambers and a spruce top.  They came in 3 different models with the top of the line being the Ultra, followed by the Elite, and finally the Standard.  The Elite (this model) featured upscale appointments such as snowflake fretboard inlays, multi-layer binding on body, bound neck, multi-layer headstock binding, pearloid tuner buttons, and on the headstock, inlaid pearloid logo and "fan" inlay with "Flame" etched in the inlay.  Other features of the Flame Elite include asymmetrical chambered Alder body with Spruce top and set-neck, 3-pc maple neck with rosewood fretboard, 24 3/4" scale (same as Gibson), special Schaller humbuckers and Schaller hardware including roller-saddle bridge and tailpiece with fine tuners.  Rather than the Schaller tailpiece, this one features an original Kahler locking tremolo which was post-factory, installed at Fender after the guitar arrived in the USA.  My guess is that the locking trems were just starting to take off in a big way and this was Fender's way of hopefully grabbing some of shredder market as well as the Gibson market.  The pickups are controlled by 3-way switch and coil splitter switch to allow choice of humbucker of single coil tones on either pickup.  The Master Series had a brief run, with the Flame officially produced from ca. '84 to '86 but actual production run was less than 2 years.  Total production for all models is said to be only around 4,000 units.   Here's a good site for the Master Series (link) with a lot of info on all of the models.  As you can see in the pics, this guitar is in nice shape overall, with just a few light scratches or finish impressions in the clear coat.  Worst flaw is a small finish chip on the side, shown here.  It’s all original other than a Seymour Duncan Pearly Gates bridge pickup which sounds great and gives it more versatility.  Tonally, this guitar can cover a lot of ground, from country to hard rock, and should appeal to a wider variety of players than most Fenders or even Gibsons.  All Master Series have become highly prized guitars, due to both their quality and versatility - and due to their rarity.   I frequently see well worn sunburst Standard models, priced at higher than this Elite model and with the vast majority of these finished in sunburst, white or black, this Candy Red Burst with Elite appointments is an even rarer find.  Sweet guitar for $1399(SOLD-Norm 8/19).  Includes fancy Kahler trem arm and original Fender case.

OFF-HOLD: 1979 Gibson Les Paul Standard, (front), (back), (headstock back), (inlays), (case), (stuff).  Officially vintage at 35+ years old, and a great playing, nice looking old Paul.  You know what they say, old wood sounds better and this guitar has the fat tone you want in a LP with good clarity in the lower register.  Pickups have been changed to quality replacements that most would consider a major upgrade over the stock ’79 pickups:  a Suhr “Doug Aldridge” in the bridge, with a Sheptone “Tribute” in the neck.  Although they’re uncovered, new brushed nickel covers are included in the case should you want them installed.  Likewise, the blank truss rod cover was added to give it that 50’s look, but the original “Standard” cover is in the case.  Cosmetically, it’s got a nice vibe with just a little smooth wear in the forearm area, while the top is otherwise in nice shape.  Back has some worming but overall, much nicer than average.  Neck has finish wear along the edges (pic here), which adds to the broken in feel of the neck and is very smooth. These are well made guitars and most, like this one, are built with very dark rosewood and pearl inlays that look better than any non-custom shop model made the past few decades.  Binding is done right and the overall vibe is of a quality made guitar.  Frets are the original low/wide frets and they’re plenty of fret to work with should it ever need a dressing.  I don’t recommend one now since there aren’t deep dishes and strings don’t buzz or choke out on bends.  Original Gibson/Schaller tuners are notorious for slipping and these have been changed to more recent Gibson deluxe.  In the case are the pickup covers, truss rod cover, and an appraisal from Gruhn from 2013 (for $2250). Case is a later 80’s Gibson brown case, best they’ve made, with pink lining and shroud. Vintage Gibsons never go down but many are still cheaper than new models, like this one at $1950. 

2001 Hamer Artist Korina HB (ARTKHB), (front), (back), (headstock back), (case).  Third one of these I’ve had in the past few years.  Fantastic Artist in lovely condition, built with all solid white Korina (Limba), top, body, and neck, with gloss finish.  Compared to a mahogany body/maple top, Korina has a warmer sound that I find much more fulfilling for jamming by myself, but it also fills a lot more space in a band setting.  Hamer made their name building classic Gibson styles...but better.  They soon started incorporating some unique characteristics such as their Artist model with semi-hollow design and single F-hole.  Although it's roughly a Les Paul double-cut in appearance, this model competes with Gibson ES-335’s, Guild Starfires, etc., and with Seymour Duncan ’59 humbuckers 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 carved 5/8" 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.  Sadly, Hamer was bought up by Fender several years ago and they’ve discontinued the brand. For more info, click here for their old web site.  This one is barely played with the only flaw being an extremely thin area of milky finish around the neck joint (pic), aka Hameritis, which is the slightest I’ve seen on a 15-year-old Hamer.  While not cheap, considering the labor-intensive cost of a carved top and expense of Korina woods, it carried a reasonable list price of $3800, discounted to around $2600.  Overall, extremely clean with a superb set-up and less than 1/2 the price of a new one at just $1250(SOLD-Chris E 8/19). Includes clean original case, paperwork, and pouch.

Fender/G&G Strat/Tele Tweed Case, (pic2). Top of the line G&G case and top-notch protection for your valuable Fender guitar. Traditional styling with locking latch, protective “leather” ends with white piping, accessory compartment, padded plush interior, and Fender logo. These are $159 new but this one’s perfect and just $129/shipped to your door.

Fender Pro Series Black Tolex Case, (pic2). Similar specs to the G&G but priced just under them. Features two smaller compartments, chrome Logo as used ca. ’69 thru late 70’s. Quality protection for $99/shipped to your door.

80’s Ibanez Case, (pic2). Gray exterior chainsaw case with gold painted logo and eggshell foam interior. Should fit Ibanez RG, Roadstar, and Sabre series, and other Strat style guitars. Remarkably nice shape as these go. Interior foam, latches, hinges, handle, all intact and nice. Got an old Ibanez you love? Give it a happy home. $119/shipped to your door.

Epiphone Dot/ES-335 Case. Nice shape, plush interior. $65.

Seymour Duncan Custom Shop BG-1400 Tele Pickup, (pic2).  An amazing 30.5K out of this Duncan Tele Lead Stack bridge pickup. If you’re looking for the hottest possible, this has gotta be it. This pickup is also known as a Pearly Gates Tele and features Alnico 5 magnets and 4-conductor wiring for a variety of single coil and humbucker applications. Since this is stacked pickup, you’ll need a route of .83” clearance.  Duncan sells this model direct through his site for $150, or get this one for just $99. 

Seymour Duncan SH4 SH1N Set with Nickel Covers.  Duncan’s popular combo with a “JB” bridge, and ’59 neck. The JB is the most popular humbucker ever made, making its name in heavy blues, rock, and heavy metal, designed with 4-conductor wiring for coil split applications.  The ’59 is a 2-conductor, traditional vintage style, and provides the smooth sustain players seek in their neck pickup. New these are $187/pair but get this set for just $99.

Seymour Duncan Pearly Gates SH-PG1B - White. The original Pearly Gates was wound for Billy Gibbons famous ’59 ‘Burst and they were later turned into a regular production model. Very popular in Les Pauls but also used on Fender Big Apple, Lonestar, and other Strats throughout the years.  These typically develop fine cracks between the poles which have never been problematic on ones we’ve had. Sounded great on the Strat it came out of and priced around ½ of a new one at $49. 

Fender Stratocaster Vintage Noiseless Set. Famous for delivering classic Fender single coil tone – without the hum. Special beveled poles and enamel-coated magnet wire produce the brilliant clarity, definition and harmonic tones without the annoying hum of vintage single coils. These were OEM on American Deluxe and many Custom Shop Stratocasters. $199 a set new or get this used set for just $109. We can also wire it up to a pickguard, “drop in ready”, for $159 including guard, knobs, tip, pots, and switch.

Fender SCN Stratocaster Set, (pic2). These Samarium Cobalt Noiseless (SCN) Mod Shop pickups were been designed from the ground up by Bill Lawrence and tweaked by the Fender R&D department. Bill claims that Rare Earth alloys, like samarium cobalt, are used to produce permanent magnets five times stronger than any other material. These were stock in American Deluxe and Custom Shop guitars in the ‘00’s and offer a good Strat tone without the hum. Get this set for less than $35/each - $99 takes the set.

DiMarzio HS-3 Strat Humbucker DP117. The choice by Yngwie and used in his signature Strat for many years. Not overly hot but very sweet sounding and the choice for classic metal players since the 80’s.  $45.

2010 Fender American Standard Stratocaster “Blackie”, (front), (back), (headstock back), (case).  Our most popular model, black with a maple board! Beautiful condition – barely played and not a scratch on body or neck. This is one of the “new spec” American Standards with the fretboard polished to a high gloss for beauty and comfort; a new copper-infused, high-mass, 100% metal bridge for better sustain;  neck now has gloss finish on the front, satin on the back to allow your hands to slide easily up and down the scales; Delta Tone system: a no-load tone control for middle and bridge pickups, taking the tone control out of the circuit when turned all the way up while also providing a tone control to the bridge pickup.  Other features include new American Standard bent steel bridge saddles, staggered tuning keys, and a thinner undercoat for better body resonance.  Black and maple is a classic look, going back to the original custom color days of the late 50's and most prominently featured in Clapton’s original “Blackie” and the later signature model that beared the same name.  These are going for $1299 new but this one's perfect and includes Fender case, strap, trem arm and paperwork for just $850. Plus…like all our guitars it’s pro set up with low action and no buzz. Nice!

Marshall Haze 15 MHZ15 Tube Guitar Head, (panel), (back), (footswitch).   The Haze 15 combines classic tube tone, with modern day digital effects, the best of both worlds.  For players who like to keep things simple, with this baby there's no more hooking up a bunch of stomp boxes - you've got emulated spring Reverb, as well as Echo, Chorus, and Vibrato.  With a 12AX7 to warm up the preamp, and a 6V6 cranking out 15 watts of tube power, this amp has the warm, natural sound of a tube amp.   It's diminutive size, just 19.5" wide, makes it more desirable for players who don't want the look of a full stage rig, but the vintage styling is straight out of the 60's.   Designed in the same style as the big Marshalls, the 2 distinctive footswitchable channels of the Haze offers a variety of tonal possibilities. The Normal mode provides a rich and organic clean sound with loads of headroom, while the Overdrive channel delivers a warm overdriven tone, with a separate Gain control to dial in as little, or as much, grit as you want in your tone.  A Bright switch is shared between both channels - when engaged it adds extra bite and sparkle.  Both channels also share a shared 3-band EQ.  Channel effects are remembered when you return to the channel, meaning you can set up your clean and overdrive sounds and return to them over and over again without having to readjust your settings.  The warm emulated spring reverb has its own independent control, allowing you to add as much reverb as required, and it also has a positive off (click) position when you want it out of the circuit completely.  Click here for a good YouTube demo from Nevada Music (UK).   Includes 1-botton footswitch for free or substitute for an optional Marshall PEDL10049 4-button (Channel Select, OD Boost, Reverb, and Effect with LEDs) for $65. This amp sold new for $599 but this one is in perfect shape other than one scratch on the faceplate, and is just $350.

SKB 2U Space Roto Molded Rack, (inside).  New redesigned SKB Roto Racks have a new exterior design that includes a recognizable bar design that signifys the rack size on the front and rear covers with interlocking capabilities for a secure stack with Roto Racks and the new Roto Shallow Racks.  Features recessed steel, Mil-Spec black twist latches, and new heavy-duty flush handles, front and rear rack rails with a rack depth of 17.6" so gear can now be mounted front and rear. List price is $189 but this clean used one is just $55.

2001 Jerry Jones "Neptune" Longhorn Bass, (front), (back), (headstock  back), (inside label), (relic-wear1 #2 #3), (case). In the coolest finish, Copper Burst.  Jerry Jones built the best Dano reproductions on the market, better than the original 50’s models in fact.  While the Korean models offer a good guitar for the money, Jerry Jones made pro quality instruments in his Nashville TN shop.  The Neptune Longhorn is based on the Danelectro model from the 50's and features excellent balance, superb playability, and fantastic tone in a 30" short-scale.  It's light weight and 30" scale make it a dream to play during long gigs, and the tone is rich enough that you can use it throughout the night, rather than pulling it out for a few songs.  Other features include hollowbody construction, Indian Rosewood fretboard with 1 5/8” nut width, 14.5" radius, truss rod at the heel, quality Gotoh tuners, 4-way rotary pickup switching with hum-cancelling wiring, Gotoh bridge with adjustable steel saddles and, most notably, Jerry Jones own lipstick tube pickups, widely acclaimed as the best lipsticks on the market.  As Jerry once said, “the Neptune has a punchy percussive tone that can really cut through the mix. String this one with flat-wounds and leave your upright at home.”  Jerry retired 5 years ago and sold off all of his machinery and parts. Since that time they have continued to appreciate on the used market. This one has some vintage vibe (relic look), especially around the edges, which make it look very close to an original 50’s model. There might be a cleaner one somewhere, but none cooler.  Plays great with no fret wear and fairly lively for the Dano body style. Yours for $1150, including a slightly rough hardshell case.

Top Hat Club Deluxe 1X12 Combo, (panel), (top), (back), (cover).  That amp was aptly named.  You'll have a hard time finding a better club amp.  Right size, right power, killer tone.  Like the classic amps from the 50's/60's, it's very straightforward, with minimal bells and whistles, but that's a good thing for players who just want a pure tone without having to mess with a lot of knobs and switches.  It's a single channel, hand-wired combo with 20 watts of Tung-Sol 6V6 power, with a 3 12AX7's in the preamp and a 5AR4 rectifier.  It features low and high inputs; volume with pull-boost (boosts all frequencies); bass, middle, and treble controls with a "Cut" tone control that rolls off the frequency response at the power amp stage, i.e. post preamp.  This Cut knob is a great feature, especially for single coils which can sound overly bright.  You can roll it off the brightness with the Cut knob, while also filtering out the single coil hum.  It has the typical Top Hat quality, built to pass down to the next generation:  solid pine cabinet, shock-mounted ceramic tube sockets, 100% point-to-point hand-wired chassis made from 14-16 gauge steel, and Teflon insulated wiring.  The only mod is a speaker upgrade, from the stock 12" Celestion 25W Greenback to a 70th Anniversary G12H 30W.  There's also a 3-way switch under the chassis for changing the character of the rectifier, giving you just the right amount of sag for your taste. .The tone controls offer a very wide selection of tones, much more than other amps in its class, and are quite interactive, especially the Cut control.  I wouldn't recommend it for maximum headroom as it tends to break up early and while it gets louder at each higher number, it also gets more smooth breakup.  Here’s a clean demo with an Epi Byrdland (link), but it sounds a little muted and has more crips highs in person. Includes a thick custom cover to keep it nice. For a hand-wired amp of this quality, a nice buy at $799(SOLD-Mike 8/12).

2002 Cort Larry Coryell Signature LCS-2 Jazz Guitar, (front), (back), (side), (binding), (headstock  back), (case case2). A quality Jazz box for a very reasonable price. Cort is one of the major guitar builders in the world, producing many more guitars for other brands than their own Cort brand. The quality of these Korean models is excellent, easily on par and probably exceeding Epiphone and the plethora of other Asian models.  Cort made the Coryell in both the LCS-2 and LCS-1 models, the latter having a few fancier cosmetic appointments but structurally identical. This model features a single cutaway semi-hollow multi-ply bound body with arched spruce top and maple back/sides. It’s a full-sized jazz guitar with a 17” lower bout, 2 ¾” deep. It also features a maple neck, 21-fret bound rosewood fingerboard with dot inlays, multi-ply bound headstock with Larry Coryell signature imprint inlay, raised pickguard, chrome hardware, three-per-side tuners, rosewood adjustable bridge, "C" trapeze tailpiece, two Duncan Designed humbucker pickups, dual volume/tone controls, three-way selector switch located on upper treble bout, 24.75" scale, and was offered in this Natural gloss finish as well as Vintage Burst. Offered in excellent condition with a set up that’s very easy to play. Current set up with traditional flatwound strings to eliminate string squeak and provide a nice mellow tone. Although these were sold without case, this one comes with a nice arch top hardshell which fits it perfectly. This is an exceptional value in a quality archtop at $450(HOLD-Robert N 8/28) with case.

PICS FIXED, RELISTED: 1996 Zion Custom Quilt Top, (front1 front2), (back), (headstock  neck), (neck pocket  markings), (case).  It doesn't get much better than this for a perfectly bookmatched, breathtaking quilted maple top.  This stunning Zion is a Hoover-era Custom, based on Ken's original body style, the Radicaster.  Zion's were very high end guitars during this era, and add in options like the AAAA quilt top, German carved top, figured neck with vintage tint, and gold hardware, and it was a very expensive guitar.  The body is shaped roughly like a Strat, although less clunky with a slightly smaller size, smaller and deeper cut horns, and nicely rounded body edges.  Not just great looks, Zions are noted for being immaculately constructed guitars with excellent seasoned tonewoods and meticulous attention to detail.  Other features include desirable Mann-Made bridge, beveled heel (shown here), Schaller locking strap pins, and HSS pickup configuration with 5-way and master volume and tone.  I'm awaiting info on the pickups, which I'll post within 24 hours.  I think the originals were a set of Duncans (shown here), but these look like Zions so they may be the original ones.  Guitar will be offered with your choice or, for $100 more, I'll swap out with this set of 90's Zions (shown here).  I can't find a serial scheme for Zions but there's a body date of '96 and pots are dated '96 so I'm calling it a '96.  Overall excellent condition with only some minor dings and some gold wear.  At $1499, you won't find a better USA guitar for looks, tone, and playability.  Includes original Zion tweed case.

1995 Gibson Les Paul Special, (front), (back), (headstock/binding  back), (case).  With its roots in the original 50's Les Paul Special, this mid-90's model actually has more in common with the ca. '77 LP-55 (as shown here) than the original 50's single cut Special due to the Tuneomatic bridge on this model but for the player that's a good thing if you want perfect intonation.   One other departure from the originals, this model features P100 (stacked P90) soapbar pickups, which retain the tone of the P90, without the extreme hum associated with the P90s.  This model is far superior guitar to more recent attempts such as the Faded series, Junior Specials, and the Specials with the mini-trapezoid inlays; this guitar has the proper neck heel and tenon, bound neck, and the color and gloss lacquer finish are dead on.  Specs include Mahogany body and mahogany neck, both with translucent cherry finish, Grover tuners, inlaid Gibson logo with screen "Les Paul Special" logo, no volute, bound neck, stopbar tailpiece with Tuneomatic bridge, black bonnet knobs with metal pointers, and 3-ply pickguard.  Pretty nice shape overall with the only exception being a little finish milking on the headstock overlay (pic) which is non-problematic and not as stark looking in person. Many people, me among them, believe the 90's were a very good era for Gibson, sort of a post-60’s Golden Era.  Own this modern golden era Special for $899(HOLD-Larry L 8/11), including a nice arched top case. 

2006 PRS Singlecut Emerald Green Flametop with Birds, (front), (back), (headstock  back), (bird inlays), (case). Just got the right case for this one so I’m relisting it:  Lovely Emerald Green with a nicely flamed maple top and the older, colorful bird inlays.  At the risk of sounding like a geezer, I’ve never warmed up to the newer “open” bird inlays, seeing them as a cheaper manufacturing technique.  Singlecuts are great guitars, much like the Custom 22 except in a more timeless body shape with a slightly thicker mahogany back, but the features are undeniably PRS including the flamed maple "binding" where PRS leaves the maple unstained and bookmatched maple top over mahogany body and neck.  Features include dual volume and tone, selector on the upper bout, and stoptail tailpiece, PRS-7 Treble and Bass pickups, 25" scale, 10" radius, vintage tuners, and wide-fat neck which isn't as chunky as the name might suggest - for many it's the perfect size, and just slightly thicker than their wide-thin profile.  Cosmetically it’s in excellent condition, with the exception of a few tiny finish impressions next to 3 of the knobs, shown here.  Frets are near perfect, like a 2-month old guitar and it has no buckle wear nor dings on the headstock points.  Set up is very low with no buzz, a real delight to play.  If you're looking for a nice alternative to a Les Paul, we love this model and with the bird inlays, a nice deal at $1599.  Includes original case and PRS paperwork. 

Orange Rockerverb 50 Head, (panel), (top), (back).  One of the high end British-made Orange amps and a killer rock machine.  2-channel footswitchable all-tube head with as much gain as I’ve ever heard in an Orange (a lot), with an equally impressive clean channel with loads of clean headroom.  This amp sounds huge and is perfect for larger venues.  Using the tube driven reverb on the clean channel, you can get the classic warmth of 70’s/80’s songs while the OD channel can do classic rock, dialed all the way up to modern metal.  It’s a very good, very versatile amp.  Clean channel features volume, bass, treble; Dirty channel has volume, gain, bass, middle, treble; tube-driven Reverb is on both channels and is footswitchable; tubes are 3 x ECC83 preamp with a quad of 6V6 output and ECC81’s in both the reverb and FX loop signal.  Hi/Low damping switch on back panel is subtle until you kick the amp up into higher power settings. This amp is in beautiful condition other than a replacement knob for the Clean Channel treble control. Original owner is looking for it but I can’t promise anything yet. Appears to have never been roaded and works perfectly.  With a new MK III selling for around $1800, this one’s a nice deal on a British amp at just $999. 

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

Ca. 2003 Fender ’62 Telecaster Custom w/Bigsby TL62B-BIGS, (front), (back), (headstock  back), (ser.). Quality Japan-made Tele in a model that’s getting hard to find. The TL62-BIGS is one of Fender Japan’s recreations of a ’62 Tele Custom (i.e. double bound body) with the addition of a Bigsby B5 tremolo, which was available as an add-on back in the 60’s.  This one is in beautiful condition and plays wonderfully. Specs are like you would expect on a ’62 including vintage 7.25” radius, vintage frets, green pickguard, nickel Kluson style tuners, and 3-tone sunburst finish over an alder body. The Bigsby, accompanied by a modified Jazzmaster bridge, provides a very smooth trem that’s perfect for warble type effects used on surf music or any type of 50’s-70’s effect. As I mentioned, these have always been hard to come by in the USA with most new ones being shipped over by Japan stores years ago.  Now most are coming from 2nd hand dealers from Japan, frequently at a cost of nearly $1100 including hefty shipping (link), for well-played examples. This one is flawless, save for 2 miniscule finish impressions that were too small to photograph. $950(HOLD-Wanda 8/19) includes a tweed case.

2010 Fender Artist Series Eric Johnson Stratocaster – 2-tone Sunburst, (front), (back), (headstock  back), (case/etc.).  Perfect…as new condition. As I've mentioned many times, and numerous customers have agreed, the Eric Johnson Strats are the best signature models Fender has ever made, including their custom shop models. Each one I've had exhibited commendable acoustic tone, excellent sustain, and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone, and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quartersawn maple neck with vintage tint, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  This is an excellent Strat with nice sustain and a quality acoustic tone.  This guitar is offered in mint condition with no signs of use other than perhaps a few pickguard scratches.  If you're contemplating buying a new original version EJ for $1899 here's one that’s like new for just $1339(SOLD-Mike W 8/18). Includes blonde EJ case with strap, cable, ash tray, manuals and tags.  

Epiphone E-Series Bully SG, (front), (headstock  back), (back).  I had to steal the bridge off of this around 8 years ago so it’s been in stock a long time. Recently found and a proper bridge and stopbar installed, set up fantastically, and ready to rock. The Epi E-series was short-lived in the early 00’s and the Bully is basically an SG Special with slim taper neck, upgraded E-series open coil humbuckers, and E-Dovewing headstock and logo.  I had this one priced for $165 on an archived page from 2005 and am blowing it out today for $115.  If you’re looking for an excellent choice for a beginner and want something that plays a lot better than the new Epi Junior at your local store, you can’t go wrong with this one with a proper set up. 

Custom Warmoth/Musikraft Strat/Tele Relic, (back back2), (front front2), (checking/wear pic2 pic3), (headstock back), (neckplate). Fantastic relic job by local finish expert Geo M on this Olympic White Warmoth body. Perfect finish checking throughout, authentic looking dings, overall appearance of a heavily played guitar that’s done at least as good as Fender Custom Shop. All good parts here including Callaham bridge, Gotoh HAP locking vintage tuners, DiMarzio Area pickups, Dunlop strap pins, and exact replica Fender F-plate with serial number. Now for the unusual part – this great body is paired with a great neck, a Tele neck nonetheless. Yep, it’s a quality Musikraft neck made of quartersawn maple, with an appropriate “Fender Custom” decal professionally installed. It’s definitely a chunky neck, along the lines of a Fender ’56 “Boat” neck, so if you favor American Standard or Vintage ‘52/’62 profiles, you probably want to pass on this one. I debated installing a Strat neck on this guitar but it occurred to me that a few players ever year tell me that they’re building Strat/Tele hybrid guitars which tells me this might actually be more desirable to a number of our customers. We can install a Strat neck, but let’s try this unique look first. I know a bit about the relic process used on this body and it has at least 30 hours of labor involved. You can try it yourself but you’ll go through a number of bodies before you get anything close to this. The set up is quite low, with no buzz, and these DiMarzio’s are one of my favorites for an authentic Strat tone without the noise.  What a great guitar for just $999.

1984 Gibson SG Standard, (front front2), (headstock back), (back back2), (pickup), (case case2).  Fairly rare 80’s model, considering all the stopping and starting Gibson did with the SG during this era. The Standard was discontinued in ’81, returned in ’83, discontinued again ’87, and brought back in ’89 before being discontinued in ’90. Specs were pretty much identical to the recent SG Standard other than the ’84 having a larger headstock, block inlays instead of trapezoids, “Posi-Lok” strap buttons which only lasted around 2 years, and the pickups, which are the stock Gibson “Super Humbucking” with factory epoxy bottoms.  Other features have remained including unchambered mahogany body with beveled edges, tuneomatic bridge with stopbar tailpiece, dual volume/tone knobs with 3 way switch located above/between knobs, flower pot headstock inlay and inlaid logo, bound neck, and side output jack. Very well preserved with a very clean top, neck and headstock, and just some minor very light scratches in the clearcoat on back. It has a fantastic straight neck which allows a low set up without buzz, despite the frets which have been freshly dressed (pic) giving it the feel of an old Les Paul Fretless Wonder. If you like the light touch of lower frets, you’ll love the feel – if you like meaty frets, you probably will want a refret. Other than tuners, which have been replaced with similar Gibson tuners, it’s all original. Now at over 30 years this is officially a vintage guitar, in a condition that isn’t often seen in a guitar of this age.  I consider it an excellent buy at $1150, including original Gibson Protector case with all latches and hinges intact. 

2011 Gibson Les Paul Junior – Tobacco Burst, (front), (headstock  back), (back), (gigbag/box/etc.).  Unplayed, fresh out of the factory box. The original straight ahead rock guitar!  The Junior, with its single P90 pickup, wraparound tailpiece, and slab mahogany body, was the ultimate in simplicity when it made its debut in ’54.  As the entry level Les Paul, it was aimed at beginners, but as time has proven, they’re built to last and top touring/recording artists have proven that they’re much more than a beginner guitar.  They have undergone very few changes over the decades, at least until 2012, when they decided to put some auto-tune tuners on all their Pauls, but that’s a different story. Gibson has offered some budget model Juniors in the past decade, primarily with finishes that are cheaper to produce, called Satin, Faded, or whatever.  It’s nice to see them building real Juniors like this one again, with a gloss nitro finish. Plays beautifully, with low action and a nice lively acoustic response.  It’s in immaculate condition, unplayed, with no scratches or wear of any kind.  An excellent value in a nitro Junior at $649.  Includes gigbag with all paperwork and original box.

Lab Series L5 100W Combo Without Speakers, (panel), (back/side), (top), (back panel), (BB King ad).  Amp works A-Okay, and we just removed the chassis and cleaned all the pots and connections - but it's being sold without speakers. A great example of solid state amps done right - good enough in fact that the L5 was used by Allan Holdsworth on his first few albums, as well as Ty Tabor on the early King's X albums and its most noteworthy user, B.B. King found his signature tone in an L5 in the late 70's and continued to use them through the end of his career. B.B. became an official endorser in 1981 but was already a devoted user by then. If most people listen to any of these recordings they'd likely assume they were hearing a tube amp. The dynamic range and touch sensitivity - and Allan and Ty's pure sounding crunch, don't share much with other solid state amps of the day.  Lab series are frequently thought to be "Gibson" amps, but Gibson was just sort of an in-law to the Lab company.  Gibson's only relation was distribution of the Labs, and the fact that both companies were owned by Norlin. The actual credit for design and manufacture goes to Moog, of analog synth fame. Although the L5 is the most noted of this series, there were several others in the line including the L7 and L9 which were identical amps but with a different speaker configuration. These are loud amps, rated at 100W RMS and unlike most solid state amps where 100 watts was roughly the equivalent of a 35 watt tube amp, this was a loud 100 watts. Specs and features include: 100 watts through 2X12" speakers; dual channels; channel one is a basic Fender-style layout with Bright switch and Vol-Bass-Mid-Treb knobs. Channel 2 features a lot more control. In addition to the Bright switch, Volume, Bass, and Treble, it features an active type EQ with a semi-parametric midrange control with mid frequency adjustable from 100Hz to 6400Hz along with a corresponding cut/boost knob. It also features a Multifilter knob, essentially a 6-band EQ with fixed settings (centers at 1000Hz, 1370Hz, 1900Hz, 2630Hz, 3630Hz and 5000 Hz.), where you control only how much of the signal thru it gets mixed back with the main signal - sort of like a flanger's comb filter with the sweep set to zero. It also features a good sounding reverb and an onboard compressor that's a personal favorite, with a knob to control the amount of compression with a corresponding LED that lights up when the compressor kicks in. Lastly, a Master Volume knob lets you overdrive the preamp circuit while keeping the output level down. On the back of the amp you have a footswitch input for reverb on/off, effects loop, and an unusual on/off switch that locks in to prevent inadvertent shut down.  There are a few Lab Series sites on the web including DIYGuitarist.  Again, this amp does not include speakers.  It had a pair of early Celestions that were worth almost as much as the amp and they were sold separately.  Speakers shown are just to highlight speaker alignment and are not included. Overall it's in decent used condition but far from collector's grade.  Buy it because it's a good sounding amp - not because it's a lovely example.  If you haven't heard one of these, you're likely in for a treat and at $299, a good buy on a powerful 2X12 combo.

2007 Fender Highway One Stratocaster - Sunburst, (front), (back), (headstock  back).  Best value in an American Strat. Lovely Version 2 Highway that combines a vintage vibe with the large headstock with vintage logo and vintage tremolo - plus modern features such as jumbo frets, modern C-shape with modern 9.5" fretboard radius, and a master "Greasebucket" Tone Circuit that rolls off highs without adding bass.  Add to this a very thin Nitrocellulose finish and you have a body that resonates better than the poly finishes and rather easily attains an honest "relic" appearance, much like a vintage Strat.  Pickups are original Fender Hot Single Coils (Alnico 3) with the middle being reverse wound/reverse polarity, for traditional Strat tones.  Two minor mods, including upgraded bent steel saddles, thicker than stock ones, and a mini switch to turn on the bridge pickup which allows neck/bridge combination, and all 3 pickups simultaneously.  If you don’t use it, just keep it in the up position and it’s like a regular Strat.  This guitar is in excellent condition with perfect frets and a super comfortable set up.  I've said before, Fender could have made a few minor changes and called this a USA Vintage Series but instead they used this model to hit a price point slightly below the American Series, providing an excellent value for the money.  They sold new in ’07 for $899 and have since been discontinued. This nice used one is a good buy at $599, with deluxe gigbag. Remind me, and we’ll install a back tremolo cover if desired. 

2010 Fender American Standard Stratocaster with Custom Graphic Finish, (graphic detail), (front-1 front-2), (back), (headstock), (case/acc.).  For the collector, player, or art fan, comes this professionally painted American Standard with an underwater scene featuring a mermaid on the lower bout, with various plants and fish on the pickguard, with beams of light streaming across the top of the scene.  This is a factory quality job, with excellent detail work, and multiple clear coats applied as a final finish to preserve the paint.  This is one of the new American Standards - 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, and, most significantly, a new neck and body finish.  The neck still has the satin finish which is comfortable to the hand, but they've changed the front of the headstock to a gloss finish for aesthetic reasons.  This guitar is in very clean shape with no scratches or fret wear, however, it appears to have a seen a little playing time as evidenced by slight wear on the treble ends of two of the pickups.  The scratch area on the pickguard has not worn the finish at all.  We can touch up the covers if it's going to be used in a collection, or if you're going to be playing it, that would be a wasted effort.  Unfortunately, the artist didn't sign their work, but  I've had plenty of graphic finishes and this one is as fine as I've seen.  Whether you want a fine guitar to display in your living room, man cave, or yacht - or if you just want a great playing Strat, this one's $200 less than a stock American Standard and the coolest American Standard/Series I've ever had.  $1099 includes Fender case, serialized hang tag, and paperwork. (note: this was mistakenly on hold for a very long time and is a relisting).

2015 Chapman ML-1 Hot Rod, (front), (back), (headstock back), (case case2). Excellent rock/metal axe, superior to the ESP/Kramer Baretta's of the late 80's, at a lower price! Rob Chapman (aka Monkey Lord) will be familiar to some of you. A native of the UK, he’s a web icon based on his informative and humorous YouTube demo’s, reviews, and tuition videos.  He’s also performed with major names such as Guthrie Govan, Eddie Kramer, Todd Burke and Nick Tauber. What better position to be in to start your own guitar brand! He chose World Music Instruments in Korea, builder of PRS’s imports, and like the PRS SE line, the quality remains top of the heap.  This particular guitar comes with a Ltd Ed certification, numbering #35 of the first 50 ML-1’s imported to USA. Like the Baretta, it was inspired by the super-strats of the 80's, with a Strat style swamp ash body for a rich clear tone, with other high end features such as an ebony fretboard, Seymour Duncan TB4 JB Trembucker, Grover tuners, and Floyd Rose double locking tremolo.  Other features include flat 13 ¾” fretboard radius, 22 extra jumbo frets, 25.5” scale, black hardware, side-mounted jack, and Chapman hardshell case. This guitar was sold to me before it had even arrived so it’s unplayed except for bench time during our set up.  I seriously don’t think you can find a better used 1HB metal axe for this money.  Just $550(HOLD-local 7/22) with the case, paperwork, and polishing cloth. 

2008 Fender American Standard Telecaster w/many upgrades, (front), (back), (headstock tuners), (upgraded pu’s and bridge), (Fender 60’s Tolex case).  An excellent guitar…made better.  This one has received all the player upgrades which are frequently requesting including a pair of Texas Special pickups, Callaham bridge and compensated brass saddles, locking tuners, and a genuine Fender 60’s style Tolex case. The Callaham bridge ($125) is twice as thick as the stock Tele bridge, increasing sustain, volume, and unwanted feedback, Texas Special pickups ($159) offer increased output with increased mids and presence on the bridge, and warm clear tone on the neck – while the Fender locking tuners ($62) maintain better tuning stability without modification to the guitar. Fender Pro Series case ($119) provides excellent protection and is just plain cooler than plastic.  This is one of the "new" American Standards that replaced the American Series, which replaced the "old" American Standard.  At every step in its evolution, Fender has made a number of minor improvements to the Tele which, collectively, combine to make a better guitar. Features include alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, volume and tone control - Delta tone "no load" tone circuit.   Other features include highly finished frets, detailed nut work, and rolled fretboard edges. A new American Standard in 3-tone sunburst will run you $1299, and it will probably be a good player.  For less money, you can have this one in perfect condition, with $465 worth of upgrades and it’s guaranteed to be an excellent player.  Just $1199 as outfitted with all upgrades or, if you prefer, we can return to stock parts (pic) and drop the price a few hundred. 

1996 Fender Stratocaster Plus “Blackie”, (front), (pickups), (back), (headstock back). Very close in specs to a Eric Clapton signature model “Blackie” except with the Plus features including locking tuners and LSR roller nut, without the 18dB mid boost circuit of the Clapton. Also, while the Blackie models from the 90’s used 3 gold Laces Sensors, this one has the hotter Red bridge pickup installed for increased output, sounding closer to a humbucker than the Gold.  The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard, replaced by the American Series, with the "American Deluxe" replacing the Strat Plus as Fender's premium production model.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  The “new” Lace Sensor pickups 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.  I'm a big fan of these pickups as they're the best I've found for zero hum while retaining that vintage Strat tone.  The Plus also features precision locking tuners and LSR roller nut (or Wilkinson cam nut on early models), enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This one's in very nice overall condition with just some clear coat scratches and a little fretboard edge wear that the 90’s maple boards are prone to developing.  It has a nice set up.  If you’re looking for the vibe of a Blackie at many $100’s less, check this one out for $899.  Includes Fender case and trem arm.  

2010 PRS 25th Anniversary McCarty Narrowfield LTD, (front2 front2 flash), (headstock back), (back back2), (bound neck), (case case2).  The original PRS factory in Annapolis started up in 1985, which made 2010 the 25th anniversary of this instant classic brand. To honor Paul’s design mentor, Ted McCarty, PRS released the 25th Ted McCarty Narrowfield LTD which combines all the traditional features of the original and adds cutting edge pickups. Passive PRS Narrowfield pickups shrink the sensory field detecting the string much like a single-coil but are hum canceling, resulting in a new sounding pickup that combines features of single-coil, soapbar and humbucking pickups. Other features include mahogany body with carved figured maple top, Nitro topcoat, mahogany neck, 25" scale, wide fat neck shape, bound rosewood fretboard, 22 frets, 25th Anniversary shadow bird inlays, Eagle headstock inlay, PRS 14:1 Phase II low-mass locking tuners, McCarty truss rod cover, PRS stoptail bridge, 57/08 Narrowfield Treble and Bass pickups, volume and tone control with 3-way toggle pickup selector. I didn’t have great lighting on the pics but the actual Sapphire Smokeburst color is richer than the first two pics, but not quite as bright as the flash pic above. The flame is excellent, and even side to side, top to bottom. This guitar comes housed in a lovely white 25th Anniversary case and includes factory tag and paperwork. Martin buffed out the finish and it looks as clean as a new one hanging in a store. A great PRS for just $1899.

2010 Fender Artist Series Eric Johnson Stratocaster - White Blonde "light relic", (front), (back), (headstock back), (neck markings), (case/etc.).  We’ve had this for a while and finally got around to refinishing the neck. Original owner wanted a more natural feel and removed the lacquer from the front/back of the neck as shown here and here and slightly boogered the logo.  We went ahead and restored the neck to the vintage tint nitro lacquer, installing a new proper logo along the way.  We didn’t do the body, which would have been cost prohibitive, including some wear around the forearm, some fine finish checking, minor scratches, and a pickguard chip missing.  It does have a more broken in feel now.  The Eric Johnson is our best selling Strat and they're impossible to keep in stock.  As I've mentioned many times, it's my opinion that Eric Johnson Strats are the best signature models Fender has ever made, including their custom shop models.  Each one I've had exhibited commendable acoustic tone, excellent sustain, and more of the bell tone you want in a Strat.  Eric is notorious for his painstaking attention to detail with his tone, and development of his signature model was, similarly, slow and exact.  The guitar was in R&D for years.  One example is the pickups, where 19 prototypes were evaluated before Eric was satisfied.  Specs of this model include thin skin Nitro finish over '57 2-piece Alder body, body cavities exact to '57 specs, very chunky one-piece quartersawn maple neck with vintage tint, thinner vintage style headstock, flat 12" fretboard radius with larger American Series frets, thin neck cap, bone nut, master volume - neck tone - bridge tone controls, vintage trem with silver painted block, '57 style string recess, back not drilled for tremolo cover.  This is an excellent Strat with a sweet resonant body and an excellent setup and it’s seen actual little playing time so the frets are near perfect.  If you're contemplating buying a new one for $1899 ($2599 list) here's one with a little accelerated mojo, set up to perfection, for much less.  $1150 includes blonde EJ case with various case candy.  

2003 Gibson Les Paul Faded Double Cut, (front), (back), (headstock back), (gigbag). With its roots based on the '58-early 60's Les Paul Special, the Faded Double cut has much the same look, vibe and tone as the original.  Like the original Special, the Faded DC features a great sounding pair of P90's, which I'm glad to see on this model instead of the P100 humbuckers, which cut the noise but aren't as true to the original tone as the P90's.  Features all mahogany construction and the usual array of dual volume and tone controls and 3-way selector plus the stop bar/tuneomatic tailpiece combination.  From a tone standpoint, nothing beats a thin finish, which is why nitro sounds so good; because it's so thin the guitar can vibrate easily.  The same theory holds true with this thin "faded" finish.  It's applied loosely without any lacquer overcoat which makes for a very "lively" guitar.  Another cool thing about these, at least in my opinion, is that they "age" quickly and soon develop the look of a vintage instrument.  The neck is the 60's slim taper preferred by the majority of players.  This guitar plays exceptionally well, nails the vintage P90 tone perfectly, and is a good by on a classic Gibson model at $649.  Includes original wedge gigbag.    

Electro-Harmonix Memory Toy Nano Analog Delay.  Sounds much like the old Boss DM units with almost twice the delay time (550ms) plus a selectable modulation switch. Advertised as a close cousin to the old Memory Man, it’s lush and natural sounding.  Add in the modulation for a touch of chorus to further thicken your tone.  Best of all, it’s a Nano, which takes up less than ½ the space of most EH effects.  Sells new for $120; this one’s perfect in the box for $84. 

Korg KFB-001 Spacer.  Made for the popular 80’s Korg PME40X pedalboard, the KFB does nothing other than occupy an empty space on your board.  It’s only the 2nd one I’ve had in 20 years so it’s pretty rare.  $49.

1996 Gibson Nighthawk Special 3 Pickup (DSN3), (front), (back), (headstock back), (case case2).  I haven’t had one of these in over 5 years and this is the cool one with 3 pickups with push/pull tone pot that yields 10(!) tonal choices.  Here’s a pic of the configuration.  Weighing in at just 7 lbs. 1.4 oz., the diminutive body and lightweight construction make the Nighthawk a pleasure to play for extended periods.  Add to this the tonal variety of tones and you have a guitar that would excel for cover band guitarists or anyone who needs a wide variety of character out of their guitar.  The Nighthawk was designed with a stylized take on a scaled down Les Paul body with a deeper cutaway and ribcage cutout for comfort. Features include mahogany body with mahogany neck, body binding, longer 25.5” scale, pearl dot inlays, inlaid headstock logo, gold hardware, hardtail bridge with thru-body stringing, Gibson Deluxe tuners.  Pickups are a M-series mini-humbucker in the neck, NSX single coil in the middle, and a slanted M-series humbucker in the bridge, controlled by a 5-way switch and push/pull tone pot. If you’re a Fender player who could never get used to the shorter Gibson scale you should be able to get around fine on this guitar, plus it’s capable of some Fender-y tones with some of the single coil settings and Tele style bridge design.  It’s in beautiful shape with very little gold wear and an excellent set up.  $875 includes clean Gibson brown case with intact shroud and plush pink lining, or $799 if you’d prefer a Gibson gigbag. Nice guitar!

1952 Gibson ES-125 Hollowbody Archtop, (front  front2), (back), (back-2), (headstock back), (side), (case case2).  ’52 must have been a big year as I recently got in this ES-150, and ES-125, and Fender Deluxe 8-string, all from 1952.  This ES-150 is in beautiful shape, with no issues or excuses, and all original other than replacement Gibson tuners.  The ES-150 was clearly above the  ES-125 during this era, with a wider 17” body, bound neck, trapezoid inlays, and multi-layer pickguard.  By appointments, it was close to an ES-175, except for headstock ornamentation.  Specs include laminated 17” body, 3.5” deep, with maple top and mahogany back and sides, with mahogany neck and Brazilian fretboard and bridge, finished in nitrocellulose lacquer, 24.75" scale, single P90 pickup in neck position with volume and tone controls, multi-layer black pickguard, nickel trapeze tailpiece, bound body top and back, pearloid trapazoid fingerboard inlays, bound neck, silkscreen logo, Sunburst finish only.  Early features include half-clear/half-gold knobs, and rounded P90 cover.  The pickup has 6 adjustable poles between two Alnico 5 bar magnets, which is fairly mellow, not as harsh as some P90's were in the 50's.  The tone is well suited for Jazz, or even Delta blues.  Cosmetically, it's in beautiful shape with minimal finish checking, little to no player's wear, no cracks or repairs; just a very nice example of this model.  Set up is low and comfortable.  These have gone up considerably over the past 15 years but this one is still and excellent buy for an early 50's in this condition.  $2100 includes a quality hardshell case. 

DigiTech RP500 Guitar Multi Effects Pedal with Case, (close-up), (panel), (back).  This is around the 14th RP500 I've had and they've proven to be my hottest selling floor multi-effect around here. The RP500 was the latest and greatest from Digitech's RP series.  More than just an extremely powerful modeler and multi-effect, the RP500 has an exclusive "pedalboard mode" which changes it into 5 individual stomp boxes and effects.  Your first impression will be that this thing is built for years of use and road abuse with metal housing and steel parts, plus it has a simple layout that allows it to be used as a simple pedalboard if desired.   Features include:  Amp/Cabinet Bypass defeats internal amp and cabinet effects in all presets, 40 Tone and 40 Effects Libraries, 200 presets (100 factory, 100 user), Over 125 effects including stompboxes, choruses, delays, amps and cabinets, 5 seconds of delay time, 24-bit 44.1kHz sample rate, Heavy-duty metal switches for stompbox response, Bright LEDs display program status and effect on/off, Large 10 character LED display for preset name-bank name-tuner, Built-in chromatic Tuner, Independent XLR Left and Right Outputs with ground lift Independent 1/4" Left and Right Outputs, Amp/Mixer switch to engage speaker cabinet, Stereo 1/8" headphone output, Stereo 1/8" CD/MP3 Input, Built-in expression pedal controls the RP500’s internal wahs, volume, Whammy and other parameters, All metal construction, 2 x 2 USB audio streaming.  This is a great unit for live playing, but you can also run it on Cubase LE (software included) and use the USB output in the studio.  For full specs and samples, click here for Digitech or click here for some YouTube demo's.  Get this one for just $149 with an excellent quality Cordura gigbag (pic), which sells online for $39.  Includes original power supply and Cubase LE5 music production software.  

Larrivee P-01 Parlor Guitar, (front), (headstock  back), (back), (gigbag).  All solid woods, with a solid spruce top, solid mahogany sides and back, plus an ebony fretboard, ebony bridge and headstock veneer, and solid South American Mahogany Dovetail Neck.  Everybody who owns more than 2-3 guitars should have a parlor size in their collection.  It's the perfect guitar to keep in the family room or den, keep one in the office, take it camping, etc., and makes a very good recording guitar.  Don’t confuse this with various manufacturer’s “travel” guitars, the P-01 is a true 3/4 size Parlor guitar, featuring hand-carved forward-shifted X-bracing, a hand-fitted dovetail neck joint, all solid wood construction, full scale of 24", and a 1-3/4" nut width.  It’s easier to play than, say, a Baby Taylor or Martin, and definitely has improved tone. Overall pretty nice shape other than some fingernail dings below the soundhole (shown here) and a little finish flaking in front of the bridge.  No cracks or other issues. Nice little parlor for $459(HOLD-Michael M 7/10) and includes original gigbag and manual. 

2014 Fender Classic Series '72 Telecaster Thinline, (front), (headstock  back), (back). A number of reflections in the pics but in person, this guitar is like new. Beautiful Sunburst over nicely figured ash.  Classic Tele looks--with a humbucker tone--in a lightweight package.  The semi-hollow ash body makes it easy on the shoulder while a pair of Fender Wide-Range humbuckers give it a tone that doesn't have a lot to do with a Tele - but a cool and distinct sound in its own right and a tone that has found a place among side men of many current touring acts.  It has the thick tone of a humbucker but much more clarity, especially noticeable when strumming chords where you can hear each note distinctly, rather than primarily the A-E-D strings.  The original model, introduced in 1969, was designed by German luthier Roger Rossmeisl of Rickenbacker fame.  This hollowbody design was originally a solution to Fender's dwindling supply of lightweight ash but it found enough popularity to have an initial run of 12 years ('69-'81) and was reissued in the late 90's as an American Standard model, with this Classic Series making its debut in '04.  Very true to the original design with vintage features that include Schaller F tuners, nickel silver frets, semi-hollow Ash body with a single F-hole, vintage Tele Wide Range humbuckers with domino pole pieces, 6-saddle string-thru-body bridge, vintage 3-bolt neck attachment with tilt adjust, bullet truss rod, and an authentic '72-style pickguard.  High gloss ash finish is flawless and this guitar is absolutely perfect in all regards - as clean as a new floor model hanging in stores with a setup that's better than factory.  Sells new for $899 with gigbag but this one's perfect and just $669(HOLD-Stu C 8/24) WITH new TKL case (pic1 pic2). 

ESP Ltd EC-10 w/upgraded Pickups, (front), (headstock  back), (back).  Finished in Black Satin; original owner had headstock pro refinished matching color to obliterate the Ltd logo and Indoneasian manufacturing info on back. Work is first rate and looks factory though. At the same time, pickups were replaced with a pair of Dragonfly Phat Screamers (link), which sound very good on this guitar. Features a nicely sculpted single-cutaway basswood body, dual humbuckers, 3-way toggle, tuneomatic bridge with stopbar tailpiece.  Bolt-on maple neck has a thin, U-shaped profile that feels very fast, especially on the 24-3/4" Gibson scale rosewood fretboard.  Also features 24 Xtra jumbo frets.  This guitar is very clean and with a good pair of pickups is a good extra guitar, or a great guitar for the beginner, at just $75.

Steinberg UR28M USB 2.0 Audio Interface, (back). Simple desktop unit that lets you record direct to your digital device or broadcast on the web. Top of the line converters provide a max sampling rate of 192K, 24 bit.  You can connect with an IPad or countless iOS apps and is compatible with all the major production software.  It offers an easy way of streaming performances live to the internet, with incoming audio signals merged to the playback signal from Cubase or other DAWs inside the computer. It offers Phantom power as well as a 5 V DC port is to supply sufficient power when using it with an iPad. A standard USB power adaptor or an external USB battery can be connected to guarantee power stability. Sells new for $99 but this one’s mint for just $59. 

Electro-Harmonix B9 Organ Machine Pedal, (pic2).  I just played with this for 45 minutes and I’m amazed. Very authentic sounding organ tones, previously available only through guitar synths and D/A converters. The B9 has a bank of 9 organ sounds and lets you blend in the mix of guitar/organ, as well as a great sounding modulation Leslie type effect, and a click control to add in the percussive quality sometimes heard on organs.  It tracks flawlessly without the need to tune to the device, and sustains a very long time.  Hearing is believing…click here for a good demo. Mint in the box, never used by original owner, and a sweet buy at $165(HOLD-Wanda 7/8). 

Phantom Guitar (MK VI style), (front), (headstock  back), (back), (gigbag).  Make no mistake about it, Phantom Guitar Works is the only company authorized to build genuine Phantom, made by Vox in the 60’s, and reissued in the 90’s.  Oddly enough, Vox, the original builder in the 60’s, isn’t allowed to use the name.  They currently have a similar looking guitar but it’s simply another of the Indonesian ilk, and is strictly a beginner guitar.  Phantom Guitar Works are excellent replicas of the old Vox guitars from the 60's, namely the Phantom, Teardrop, and MandoGuitar.  They are hand-assembled in the USA of foreign and domestic parts.  This model is a reissue of the famed Vox MK VI, originally made in England and Italy.  The original model earned notoriety as a primary axe of Brian Jones of The Rolling Stones and a little known fact, also used by Drake Levin of "Paul Revere and the Raiders" on their daily TV show, "Where the Action Is".  Every day after school I'd love watching the Raiders, not for the crazy antics or funny costumes, but to drool over the entire line of Vox gear that the manufacturer kept them supplied with.  From what I've read, Phantom got their start after buying up a large quantity, all the remaining stock, of vintage Eko/Vox parts.  I haven’t had one of these in years, although I had around a half a dozen of the USA Vox's when they suddenly reappeared around 1998.  This Phantom compares very favorably with those recent Vox's in all regards and I actually like the tone a bit better.  Features include solid mahogany body, maple neck, Indian rosewood fingerboard, signature Phantom vintage style single coil pickups, vintage vibrola tailpiece, Phantom roller nut and bridge, 25.5" Scale length, 1 11/16" nut, 3 single coil pickups with 5-way switch, vol-tone-tone, and vintage style tuners.  The three single coil pickups have a character of their own.  Not really Stratty, as they’re a bit more mellow, with increased warmth and fatness.  This is a very well made guitar with excellent tone and a wonderful setup, and a distinct vibe.  Just as no other hollowbody has the vibe of a Gretsch; no other solidbody has the vibe of a Vox.  Phantom only sells direct to the public and this model starts at $799.  This one has a few factory custom options including the gold pearl pickguard and chrome pickup covers.  It’s in dead mint condition, plays great, sounds great, and is possibly the coolest 60s vibe you can get for $599.  Includes well-padded Phantom gigbag.

1972 Martin D-18, (front), (detail), (back), (sides), (headstock back), (serial), (case).  One of the true classic guitars from America's premier maker, with the D-18 making its first appearance 80 years ago.  This baby is in overall nice shape for its age and has a very big bass and a sweet tone that’s consistent with beautiful older wood.  Although at 43 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 quality tonewoods were much more plentiful.  Between 1833 and when this one was built in '72, Martin had built around 304,000 guitars, which is less than the amount Martin builds in 4 years today!  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 a replacement pickguard, bone nut and saddle, and neck was pro reset in 2007.  It's in clean shape overall, with moderate finish checking top and back as well as some pick dings above the soundhole, and a small area of finish wear on the back, shown in the pics.  Areas that frequently wear, such as the sound hole, are clean and it doesn’t suffer from buckle worming on back.  If you A/B this with a newer one, I think 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 43-year-old model for $100's less, just $1499(HOLD – Stephen, local 7/6).  Martins are firmly established as heirloom guitars and this one is sure to be passed on through generations.   Includes quality non-original tolex hardshell case with gray lining and arched top.

T-Rex SpinDoctor Version 1, (front), (side).  One of the best tube overdrives in recent history. This is the original Spin Doctor, which uses two tubes to achieve it’s warm tube overdrive, unlike the second version which was built with just a single tube.  This is a programmable device with actual motorized knobs, i.e. they move automatically, like flying faders on an automated mixer.  Pretty cool.  It also has Midi in, so you can control the presets and parameters via external Midi devices. Rather than write a long description of features, let me point you to a few online demos.  There are plenty of online but my favorite is on Vimeo (link), although not in English unfortunately.  For a good English demo, here’s a good quick one (link) from ProGuitarShops.  For comparison to the Version 2, I think you can hear the increased warmth of the Version 1 in this side-by-side comparison (link).  Although original manual is included, you can check out all the features online at T-Rex here.  The new Version 2 with one tube sells for $520 but I think this is a better sounding unit, super clean in the box, and just $299. 

2007 Fender Road Worn 50’s Stratocaster – Black, (front  front2), (back  back2), (headstock  back).  For many players, nothing beats the feel and vibe of a genuine vintage guitar, complete with chips, finish wear, oxidized hardware, and a broken in neck.  Speaking of neck, this one came in with a neck that set up well but only with the truss rod all the way tight, i.e. no where to go if it ever needed less relief (shown here w/orig. neck).  We solved this by installing an identical ’02 Fender 50’s Classic neck, adding some neck wear front and back, and, voila, as good or better, since Martin also rolled the fretboard edges and fret ends.  Fender's Road Worn series is a genuine Fender Relic guitar, but around 1/3 the cost of a Custom Shop model.  These guitars are excellent guitars in their own right and like the Relics, they feature an alder body with nitrocellulose finish with misc. finish wear, chips, dull finish, aged-looking hardware, and aged pickguard.   Not just looks alone, these guitars are loaded with Tex-Mex single coil pickups, quality USA electronics, nickel vintage tuners, and the quality tremolo with stamped steel saddles and heavy steel trem block.  Click here for Fender’s spec page. This model sells new for $899 but this one is set up to perfection with custom detailing on the neck and an excellent set up, for just $599.  Includes deluxe gigbag.

2012 Fender American Deluxe Telecaster Ash – Aged Cherry Sunburst, (front), (back), (headstock  back), (case/acc.).  Absolutely wonderful Tele and for a model that's not known for being lightweight, this one’s a very reasonable 7 lbs. 12 oz.  The American Deluxe is Fender's top of the line production American Tele with high end features and premium tone woods and this is the newer model with the latest N3 pickups.  Finished in aged cherry sunburst with a maple fretboard board, it has the classic look that’s made the Tele a favorite since 1952.  Features include premium swamp ash body with body contours on back, bound top like the old Tele Customs, contoured neck joint for easy access to the upper frets, Fender's ingenious S-1 switching with a push-button switch built into the volume control along with a 3-way selector and with the S-1 engaged in the middle setting (both pickups series or parallel) you get four great tone selections, master "no load" tone control, modern C-shaped maple neck with a thin satin polyurethane finish, compound radius fretboard, N3 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, Fender locking tuners, and a modern chrome stainless steel Tele bridge with chrome-plated solid brass saddles.  This is a great playing Tele, light weight and as twangy as you want to get.  For full specs click here for Fender.com.  The American Deluxe in ash sells new for $1749 but this one is in perfect condition with a killer setup, and just $1199.  Includes the great new style Fender case, Schaller strap lock set, Fender leather strap, Fender cable, tools, manual, tags, etc.  

RMC Wizard Wah, (pic2), (pic3). Geoffrey Teese's wah pedals are perhaps the most highly regarded on the market, use by countless pro's on stage and in the studio. The Wizard is a chameleon, part RMC1 and part Picture Wah, the Wizard Wah sounds like nothing else, with extended sweep range, rich, tight lows, smooth mids, a natural sounding top end, and a slight overall boost. It is slightly darker than a "normal" wah. The top end gets only a little brighter than the actual guitar sound and it has a very smooth overall sound - the low has close to the same signal strength as the mid and the top. Unlike the RMC1, the Wizard is designed to work with most any pickup configuration and any amp gain structure. Like all RMC's, it is developed and built by Geoffrey Teese and includes true-bypass and AC adapter jack.  Beautiful condition and a nice buy for an RMC at $165. 

Martin Nylon Backpacker Travel Guitar, (back), (side), (gigbag). The Backpacker is a cool little travel guitar that easily fits in the overhead compartment on flights and at a weight of less than 3 lbs. isn’t much to lug around. Unlike some other diminutive guitars, the Backpacker is solidly built and plays like a regular guitar with a full 24” scale.  Features include a solid spruce top, solid mahogany sides and back, bridge accepts either ball-end strings or standard tie-off classical, and chrome enclosed tuners. If you’re looking for a classical guitar to play at the beach, camping, or strumming in the living room, this baby doesn’t take up much space and has decent projection for such a small body.  Nice deal at $119.  Includes Martin gigbag.

1986 Ovation Collector's Acoustic-Electric, (front), (back), (headstock  back), (label), (OP24 preamp), (case case2).  Very clean 29-year-old Ovation and an excellent player. Each year Ovation produces a limited number of their Collector's Series; each one is unique to that year.  Usually they release only a 6-string but twice during 31-year history of Collectors Series they made a matched 6/12 set and this ’86 is the 6-string offering from that year.  Specs are Sitka spruce top with spruce bracing, walnut neck, super shallow bowl, 25 1/4" scale, 1 11/16" nut width, ebony fretboard, 7-ply ivory binding, abalone "Infinity" pattern fretboard inlays, walnut bridge, abalone rosette, black Schaller machine heads, "1986" inlay at 12th fret, and inlaid pearl logo. Electronics are a piezo under-saddle pickup with an Ovation OP-24 preamp with rotary volume and 3-band graphic EQ, plus battery check switch. The finish is Pearl White, which if examine closely, contains small flecks of gold, green, blue, and red. Likewise, the black sparkle neck and headstock also features multi-colored flecks of finish as does the bowl back.  The tone is rich and fairly crisp, and the projection is sufficient to handle any circle jam with a full band. On stage though, they really shine, and the design is very resistant to feedback so you can crank up the monitors without having to worry about feedback.  Retail price on this model was $1095, a hefty price in '86, at a time when guitars generally weren't discounted.  This guitar has a very comfortable low set up and is in excellent condition with the only exception being a small finish chip beside the strap pin which was moved to the base of the neck (shown here).  This would be a cool addition to your stage arsenal, or a nice addition to your Ovation collection.  For a quality USA acoustic-electric, a nice value at $575.  Includes very clean original case.

Ca. ’91 Charvel Surfcaster with Tremolo, (front1  front2), (back), (headstock  back), (trem  nut), (case  2). Fairly rare model, manufactured in the Fujigen plant in Japan, ca. 1991.  I’ve had perhaps 4 Surfcasters in the past 20 years but this is the first tremolo model and offered in the rare orange flametop. The Surfcaster underwent a number of changes since first introduced in ca. ’90, all of them bad ideas. These early models represent the finest of the lot with dual low-output lipstick single coils, which made it ideal for country and, of course, surf. The chambered mahogany body with maple top features a single Rick-style F-hole when contributes to its open, airy sound. Other nods to Rickenbacker include the 3+3 headstock (later models had the 6/side) and style sharktooth inlays. It features a fast maple neck with flat rosewood fretboard, which is fairly wide and easy to get around on.  It also features a push/push tone pot which puts the pickups out of phase for some cool tones. This guitar is in excellent condition with only a few minor blemishes.  The only real player’s wear is back of the neck, bass side lower register (pic), where the satin finish is slightly discolored.  Case is original formfit Charvel/Jackson SKB case with all latches and hinges intact.  This guitar is a rare find for me and can be one for you as well…for $1330(HOLD-Charlie 6/24). 

Gibson Humbucker Pair – 496R and 498T w/Nickel Covers, (back). Clean shape and much cheaper than new.  $129/pair.

Boss CH-1 Super Chorus, classic Boss chorus with added benefit of tone pot.  A lot of CE-2 fans have switched over to this pedal. Velcro on bottom; mint in original box,  $55.

Danelectro Corned Beef Reverb.  Cool little reverb pedal for cheap and especially nice for amps without reverb. For a demo, click here. Not demonstrated, but it does a killer 50’s slapback echo as well. $25. 

Danelectro Pepperoni Phaser.  You don’t need a vintage Phase 90 to get a cool phase sound.  Like the old MXR’s, just one knob to adjust the speed. For a demo, click here and here for a cool little EVH demo.  $19. 

Samson S-Patch Plus 48-point Patch Bay, (detail), (back). I used these back when my stage racks were taller than I was but even if you’ve only got several outboard units, it’s a lot easier than going around back into each unit.  The S-Patch Plus is a fully balanced 48-point patch bay which allows you to change your effects from the front panel with a flip of a switch. 3-way front panel mode switches lets you choose Normal, Half-normal and Through Mode operation. It features ¼” TRS connectors, 19” rackmount chassis, and is built to last.  New cost is $119 ($207 list) but this one is dead mint for just $65. 

1968 Martin 00-18C, (front), (back), (headstock back), (side), (serial), (top grain), (case). [ Where have all the flowers gone…” One of the coolest folk guitars you can own and just a few chords conjurs up the era of Peter, Paul, and Mary. This wouldn’t be my top recommendation for a serious classical player looking for a Ramirez type guitar, but for a player or collector who wants that distinctive folk music tone, few could be better.  It has a very big bass for a small mahogany body, and fills the room with smooth tones. Specs of the 00-18C include: double-bound 14 1/8" 00-size body, spruce top, mahogany back, mahogany sides, 12-fret mahogany neck, Brazilian rosewood fretboard - bridge - headstock overlay, slotted headstock, dot inlays, 19 fret, rosewood bridge, 3-on-a-plate tuners, and 2" nut. For nearly 50 years old this guitar is in amazingly clean condition. Just a few check lines on top but no other significant flaws or wear anywhere on this guitar. Playabilty is what you’d expect on a classical and there’s plenty of saddle to work with.  If you’re a Martin collector, someone who wants to relive the glorious 60’s, or just a player wanting an old Martin in beautiful condition, you want this guitar. $1299. Includes an old hardshell case that fits the guitar perfectly.

Custom Fender ’69 Telecaster Thinline – Flamed Mahogany!, (front), (back), (headstock back flamed-board), (pickup1 pickup2 elec. neck pocket), (flamed neck), (case case2), (neck1 neck2 neck-specs). These pics are poor, only the pic of the guitar in the case shows the actual quality of this flamed mahogany. I will reshoot if I get a chance. I’ve been holding onto this body for around 7 years. Flamed mahogany is very rare and this is the finest I’ve ever come across. Remarkably, it’s from a 2004 Fender Classic Series ’69 Tele, not a rare guitar but the body is 1 in 10,000…probably more. We finally got around to building it up into a guitar and we’ve spared little expense. For the neck we chose a new Musikraft USA mahogany neck with flamed cherry fingerboard. It’s slightly wide at 1 11/16” nut, and a very chunky (Fat C) .98” X .99” at the 1st and 12th frets respectively, modern 9.5” radius, 6105 medium frets.  Martin finished the neck in a nitro lacquer, gloss front/satin back and installed is a vintage Fender logo with nitro lacquer under and over the logo with sufficient coats that the outside line of the logo is obliterated – looks totally factory. Installed on it is an Earvana compensated nut to improve intonation as well as a new set of Hipshot locking tuners, for increased tuning stability. For pickups we chose a Rio Grande Vintage Tallboy neck and Seymour Duncan Antiquity in bridge with CTS pots and switch. Bridge is the original Fender vintage style stainless and we installed compensated brass saddles for tone enhancement. I’m out of new plain neckplates so we used a Fender with tilt-adjust hole, which of course doesn’t belong on a ’69 Tele so we’ll install a plain chrome when they arrive, if desired. Lastly, I’m including a vintage-style Fender/G&G brown case in nice shape other than a little black pen on the edge. The guitar itself is immaculate, despite what the pics look like, and has a fabulous, low set up and classic thinline tone – very open sounding but with a definite Tele quack. This is one of the coolest builds we’ve done here and considering the sheer beauty, quality of components, tone, and playability, I think it’s a real value at $1199.

Tech 21 MidiMoose, (pic2).  Controller for the G-Major 2 below or any other midi device.  Need a simple Midi switcher; here you go.  It features Up and Down footswitches to select groupings of 5 preset programs. Individual silent-switching, custom actuators instantly engage each program change directly within the selected grouping. It can be powered by a standard 9V adaptor, 9V battery (200 hours!), or phantom power via Midi cable.  New cost is $179 but this one’s mint in the box for $119. Manual online here.

Tech 21 MidiMouse, (pic2).  Controller for the G-Major 2 below or any other midi device.  Need a simple Midi switcher; here you go.  The Tech 21 MIDI Mouse is a compact, portable, and exceptionally user-friendly 3-button MIDI foot controller that  transmits up to 128 patches on 16 selectable MIDI channels.  It can be powered by a standard 9V adaptor, 9V battery, or phantom power via Midi cable.  New cost is $109 but this one’s mint in the box for $75.

T.C. Electronics G-Major 2 Guitar Multi-Effects Processor with rack, (rack), (front), (back), (powered up).  Well-cared for, barely used, with plastic film still on front panel.  Includes a great padded 2-space rack with carrying handle and shoulder strap.  As TCE says, "made by guitarists for guitarists." This multi-effects processor sounds magical and is an incredibly powerful unit, a single rack space, plus it's very affordable, especially by TC Electronic standards. You get studio-quality sounds combined with stompbox simplicity in a unit that's geared for demanding and diverse performances. Not another modeling processor, but pure undiluted TC Electronic effects in a league of their own. The G-Major 2 offers easy integration with your current setup and pain-free on-the-fly editing - or use a MIDI interface for more dedicated patch programming using the included PC/Mac editor. G-Major 2 processor houses all the classic TC Electronic effects that made the original G-Major a favorite among passionate hobby musicians and pros alike. It adds a wide range of guitar effects and features based on feedback and requests from dedicated users of the G-Major platform. From the delays, reverbs and modulation effects that helped define the industry and new daring sounds such as Tri-Chorus, Through-Zero langer, modulated delays, and Univibe, everything is done with impeccable TC Electronic quality.   There are a number of good demo's online, here's one on YouTube.  Click here for full specs at TC's site.  Sold new for $499, plus around $59 for the rack.  Get this one in perfect condition WITH a 2-space padded rack, for just $349.  (Note: I also have a Tech 21 Midi Moose or Midi Mouse if you need a control pedal.)

2005 Gibson Faded Flying V, (front), (headstock back), (back), (case case2).  Enjoy the vibe and tone of the famed '67 model in a more affordable faded finish.  This cherry nitro finish has the look and feel of a well-worn guitar and is actually a sonically superior since the finish actually contributes to increased resonance.  The Faded V features an all-mahogany body and neck, with a sleek ebony fretboard with dot inlays, Gibson Deluxe tuners, tuneomatic bridge/stopbar tailpiece, plus 496R and 500T humbuckers controlled by individual volume controls, with a master tone.  It is the best value in a USA Gibson V with a minimum of fanciness while retaining the look, playability, and tone.  There’s some buckle wear on back as these finishes tend to wear quickly, but that adds to the vibe.  Frets are near perfect so this guitar needs nothing to start gigging tonight.  With a killer in-house setup, this is an excellent value at $599, including choice of Epiphone case pictured, or original Gibson gigbag.  

2002 Martin 000C-16RGTE Acoustic-Electric, (front), (back), (preamp), (appointments), (headstock/neck), (case/etc.).   Surprisingly exquisite finger style guitar for this price range - action is as low as a Taylor, with a very balanced tone, both acoustically and amplified.  This is the fifth one of these I've had with the 000C body and holds its own with orchestra models at twice the price.  The 000C-16RGTE offers the vintage look of a gloss finish top, but the back and sides have a satin finish, which is less labor-intensive but is actually conducive to better tone.  It also features an excellent preamp system for stage work and cutaway rosewood body which is better for finger style playing.  The preamp is the Fishman Onboard Blender which utilizes a condenser mic, suspended inside the body, combined with an under-saddle Piezo.  Using the Blend control you can dial in just the right amount of body and mix it with the sound of the top for a tone that matches your personal playing style.  You get a very natural tone and plenty of control and maximum volume before feedback.  It has remained one of the best amplification systems ever made in my opinion.  Features include the popular 000-size cutaway body that's great for finger style playing and blues, solid East Indian rosewood with solid Sitka spruce top, solid Spanish cedar neck attached with Martin's fine mortise-and-tenon joint, solid Micarta fingerboard, modified low oval neck shape, scalloped braces, herringbone rosette, bound neck, bound body front and back, white Corian nut, 25.4" scale, 1-11/16" nut width, pearl dot inlays, tortoise pickguard, chrome enclosed gears, gloss finish top, satin finish body & neck.  Recently discontinued, this model sold new for $1749 ($2349 list), a remarkable price for a Martin of this quality.  Better yet, this used one's in very nice shape with no repaired cracks or other issues and, again, as fine a player as you could ever hope to find.  $1050 includes Martin hardshell case, manuals, and warranty.

Korg PME-40X with Effects, (pic2).  Some of the cleanest PME stuff I’ve had and includes the original box for the base unit - and manuals with warranty cards - for the base unit, analog delay, chorus, and ext. selector.  The PME40X (Professional Modular Effects) was a cool idea from Korg which ran from '84 to '85, serving as a pedalboard with power supply, on/off switches for each effect, and master bypass - with choice of mono or stereo outputs to accommodate those effects which are stereo.  It can be loaded with any 4 effects and put them in the order that sounds best to you.  This one includes the Extension Selector, which lets you chain two PME40’s together, like an effects loop.  The effects lock in place but each can also be secured with a single screw in the bottom of the unit for semi-permanent installation.  Korg made a total of 14 effects in this series, of which I usually have 12 different models in stock.  Included with this lot include: KAD-301 Stereo Analog Delay, KDI-101 Distortion, KCH-301 Analog Chorus, and KES-101 Ext Selector, along with the base unit.  I can substitute as desired with other effects.  Get the whole lot, with 4 of the manuals and box, for $375.  If you don’t want them this clean with manuals, I can offer less expensive pieces. 

2000 Parker Fly Stealth, (front), (back), (headstock  pic2), (bridge/pickup), (case). Very cool guitar, marking Parker’s brief foray into the hard rock market at the turn of the decade. The Stealth features a basswood body and fixed bridge to accommodate heavier string gauges and increased sustain. Assisted by the textured glass/carbon fiber exoskeleton for strength, the Stealth weighs in at only 5 lbs. and is a joy to play for an extended gig. This one also features a few cool mods including a killswitch (aka stutter or mute) which is a momentary switch wired to ground which mutes the signal and can be a cool effect with a lot of distortion, delay, or other effect. It also has a tap tempo and extra output jack on the side: just run a regular cable from the guitar to your favorite time-based effect and press the switch in time with the beat and your effect will change tempo (such as delay time, or sweep rate on a chorus/phaser).  If you don’t want to use it, simply ignore it.  Lastly, it features a mid-boost system, which is the same one used by James Tyler on his $5K SuperStrats.  The mid-boost is controlled by a knob and on-off switch.  The final mod is purely cosmetic – dot inlays on the fretboard, which are countersunk and look totally factory.  Stock features of the Stealth include slim basswood neck; slim contoured body; patented neck-through design; textured glass/carbon fiber exoskeleton; two custom-wound DiMarzio humbucking pickups; hardtail bridge; carbon fiber fingerboard, Sperzel locking tuners, and 24 stainless steel frets. Offered in excellent condition with a fantastic low set up. One mod is the strap button was moved at some point from the back of the horn to the side.  Both holes have been finished over but we will install your choice of plain, Schaller, or Dunlop strap pins at no cost.  If you haven’t played one, you’ll be surprised how “heavy” a 5-pound guitar can sound. It can keep up with any regular guitar made. You can also play in drop tuning with heavier strings. A fairly rare model at a great price.  $1350 includes original case. 

Custom Fender Floral Cabronita Telecaster, (front), (back), (headstock  pic2), (controls), (side/jack). This is a very cool axe, combining elements of the ’68 Floral (aka Flower Power) Telecaster, with a Squier Classic Vibe Cabronita.  The neck is the original Cabronita neck, with the front of the headstock pro finished in Lake Placid Blue, to match the body, with a vintage logo installed.  It is the “modern C” profile with a 9.5” radius with 22 medium jumbo frets.  Neck has zero wear and frets have been leveled and filed to allow for the best possible set up.  Body is a string-thru, super light weight, made of Empress, in the same foil finish used on the Flower Power Tele, but with a less problematic standard output jack in place of the original cup jack.  It has the standard clear pickguard with blue paint feathered in around the neck pickup and along body edges.  Pickups are the Cabronita “Fidelitron” humbuckers which sound excellent and provide 3 unique and useable tones.  Pots and switch have been upgraded with USA CTS parts.  Bridge is a custom stainless steel, cut to fit the pickup, with compensated brass saddles, and it has Dunlop locking strap pins installed. With excellent fret work, this guitar sets up beautifully, with low action and no dead spots.  It’s got all the vibe of a Cabronita, plus the vibe of a Floral Tele, plus a whole lot more.  One of the lightest Teles you’ll find, at 6 lbs. 0 oz, it’s also one of the coolest.  $499(HOLD-Spencer 5/30) includes gigbag. 

Marshall SL5 Slash Signature 5W/1W 1x12 Combo, (panel), (top), (back), (back panel), (accessories).  If you missed getting a new one of these during their brief production period, here’s a second chance.  This one is in mint condition, essentially, a brand new amp.  Designed by Slash and Marshall, it’s specifically a studio/practice amp using a single EL34 power tube and a trio of ECC83 preamp tubes, for a beautiful 5 watt output, switchable to 1 watt via the back panel.  It dual-channel design takes you from a not-excessively clean to Marshall high gain.  With a silver panel that resembles Slash’s old 25/50 Anniversary amps, the tone, especially the overdrive, nails the Slash tone.  Most of you know that a single EL34 is capable of a lot of volume and the 5W rating is very conservative.  Many of you will appreciate the 1W setting for keeping the neighbors happy.  For a speaker Slash went with a Celestion Vintage 30, one of his favorites for many years.  Other features include custom digital reverb, Green/Red channel status LEDs, full EQ section, Presence control, Hi/Low sensitivity inputs, and dual outputs.  This amp is like new, with the factory protective plastic still on the corners and ships double boxed in original box and includes 2-button footswitch (channel&reverb) and manual.  The cleanest one on the market for $699. 

Korg Pandora Stomp, (pic2), (power supply).  I've had a number of the various generations of Korg Pandora pedals, dating back to its debut in the '90s.  The Pandora Stomp took all this compact technology and included state of the art technology, and for the first time housed it in a stomp box.  It serves equally well as a practice unit, live stage multi-effect/tuner, and analog or digital studio unit.  Although it looks like a regular stompbox, it's actually a multi-effect unit that contains 158 types of modeling effects; seven of which, you can use simultaneously.  200 preset programs include many well-known signature sounds as well as 100 rhythm patterns. There's also an auto tuner with a large LED meter that’s easy to read. You can also enjoy jam sessions by connecting your MP3 player to the AUX input, which provides a +/-1 octave pitch shift function.  The freely downloadable PC editor/ librarian makes it easy to create and manage sounds.  Works great as an all-in-one effect unit, or in conjunction to your existing pedalboard and runs on 9V batter or optional power supply (included).  Click here for a 20-min. demo from sonic state.   Recently discontinued, these sold new for $129 ($179 list) but this one's in perfect condition and just $79(HOLD-Joe B 5/28) WITH optional power supply.

2004 Fender 50th Anniversary American Deluxe Stratocaster, (front), (back), (headstock  pic2), (heel/plate), (case).  Haven’t had one of these in years.  In 2004 Fender celebrated the 50th anniversary of the original 1954 Strat with several commemorative models, including this lovely American Deluxe.  It has all the usual deluxe features plus commemorative features, unique to the anniversary model:  Classic 2-tone sunburst (stock finish in '05 was 3-tone), gold hardware, single-ply beveled pickguard, anniversary badge engraved on pickguard, 50th anniversary neckplate, and G&G/Fender case with 50th Anniversary logo embroidered inside.  In addition, it has all the Deluxe features including Samarium Cobalt Noiseless (SCN) pickups with S-1 switching, Sperzel locking tuners, 1-pc maple neck with Abalone dot inlays, contoured neck heel, raised chrome logo, 2-point fulcrum tremolo with unthreaded ("pop-in") trem bar insert, and aged plastic parts.  Many players love the SCN/S-1 combination which yields all the traditional Strat tones you know and love, although in a hum-free output, plus a choice of other meatier tones not normally associated with a Fender.  Click here for a full rundown of all 10 pickup settings with the SSS pickup configuration.  This is a fantastic playing Strat and cosmetically in perfect condition; frets are like new.  A new American Deluxe is going to run $1699, but it won't have gold hardware, and won't be a 50th Anniversary model.  Why not consider this rather rare model, with a set-up that's guaranteed to delight, for $1350.  Includes original case with anniversary embroidered inside lid, strap, Schaller strap locks, sealed Fender polishing kit, and assorted paperwork and tags.

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

PICS FIXED: 2003 Fender Special Edition Splatter Stratocaster, (front), (back), (headstock  back).  I had around a dozen of these the year they came out but since then they’ve been few and far between, with perhaps 2 of them in the past 10 years.  Released as a Special Edition model, the Splatter Strat is basically a Mex Standard Strat except with a cool paint-spattered finish on body and pickguard and a very sleek feeling Pao Ferro fretboard (usually reserved for higher-end models such as the SRV).  As these were individually painted, just like snowflakes – no two are identical.  This is one of the cooler finishes I’ve had, with an Aztec Gold base, with white and black blended in.  It has a rustic look and is much cooler than the orange/green/yellow, or other crazy schemes that were commonly used.  The paint jobs aside, these are excellent playing Strats with classic Strat tone.  These were made in 2003 only and many people are hanging onto them for potential future value (remember the similar 1983 “Bowling Ball” Strat that now goes for 4X the price of a Standard?).  This one’s in extremely clean shape with a very comfortable set up.  Get this collectable and cool model for $550(HOLD-Robert N 5/22), including gigbag and trem arm.

Celestion G12M 20W Greenback – England, (back).  Don’t confuse with the recent Chinese models, this is the English-made model, now called the Heritage series, and it’s an 8 ohm so you can use in most low-powered 1X12 combo’s. If you order from Avatar, these are a $100 upgrade PER speaker, compared to the Chinese-made 25W Greenback.  Get this one, in immaculate condition, for just $139(HOLD-Dennis K 5/21). 

Weber Classic British C1225 Speaker Quad for 4X12.  Weber's take on the classic 25W Greenback and this set of 16 Ohm 12's will let you nail the tone of a vintage 100W Marshall cab.  As many of you know, part of the "magic" of guitar tone involves overdriving not just the amp, but the speakers as well.  With a 100 watt cab you'll be able to achieve this overdrive, something not possible with a 280W or 300W cab.  These use 30oz ceramic magnets with a 1-3/4" voice coil, with a British Kurt-Mueller aged and treated ribbed cone.  It's tone is aggressive, yet has a smoother overdrive distortion characteristic with good detail and midrange complexity.  It has more headroom and sounds less compressed than the AlNiCo 1225.  For players wanting to upgrade any of the budget Chinese amps that use 16 ohms, just one of these and you’re sounding 30% better.  These will run you $114/each direct from Weber (link for price/specs), but this set of 4 have seen just a few hours of bedroom use and are in mint condition.  These are mint in box for $75/ea.  Buy the set of 4 and get free shipping.  

OFF-HOLD:  1980's B.C. Rich USA Warslinger, (front), (headstock), (back/neck joint/neckplate), (Rich/Floyd), (case).  I had this posted as a Warlock but a knowledgeable Rich fan emailed to tell me it was in face a "Warslinger", which is actually a fairly rare model, that's basically their ST-3 Strat - maple neck, reverse headstock and H/S pickups and offset neck pocket - but with a Warlock body.  Metal axes are back.  It's been a slow climb, but a new generation is showing an affinity for the shred days of old, and many players who couldn't afford an $850 guitar 25 years ago are now renewing their interest in the dream guitars they lusted after during their younger years.  Few guitars speak metal like Rich's, and the Warlock is sort of the epitome of the Rich vibe back then.  It's impossible to picture CC DeVille without a Warlock slung around his neck.  This one has a cool combination of a slanted humbucker in the bridge (Duncan JB), and a DiMarzio Fast Track humbucker in the neck.  It features a BC Rich stamped Floyd Rose, identical to the regular Floyd rose, and keeps the guitar in tune under extensive dive bombing.  Best of all it's a maple board, which is the neck we all lust after, and a revere headstock to boot.  Also features Grover tuner, Dunlop strap lock pins, and black hardware.  It's hard dating Richs through all eras.   It's before Bernie sold to Class Axe which is why I'm just calling it an '80's.  Candy Apple Red finish is in beautiful shape with and the guitar presents itself very well - one o the nicer examples I've had.  Includes a Tolex case that fits the Warlock body perfect so I'm guessing it's probably original, although non-logo'd.  At $750 it's a great guitar for the player or collector.  

Fender Classic 50’s Stratocaster Neck, (back), (headstock back).  Good choice if you’re building up a 50’s maple board Strat.  A tiny bit of fretboard edge wear but otherwise very clean and frets are near perfect.  Includes vintage style tuners, string tree, and nut – just bolt it on.  Maple boards are easy to relic if you want to go for a vintage vibe.  These guitars are running $799 so a complete neck is a good deal at $259. 

2012 Ibanez RG3XXV 25th Anniversary, (front), (back), (headstock  back), (case).  Seems like the RG, originally “Roadstar Guitar” has been around forever doesn’t it?  The RG3XXV marks the 25th anniversary of the RG, although the earlier, non-pointy headstock Roadstars started in the early 80’s.  The RG quickly became THE metal guitar of Mike Varney’s stable of shredders on the Shrapnel records, virtually every hot name during the height of metal.  This model pays homage to the glory days with its shredder-approved Wizard III neck, solid Basswood body, dual DiMarzio humbuckers and Edge Zero II dual-locking tremolo. They also outfitted these with matching headstock and fretboard inlays.  For pickups Ibanez chose a DiMarzio Air Norton S in the neck which is hot but not distorted, noted for warmth and articulation.  For the bridge pickup they chose the high-output DiMarzio D Activator.  The Edge Zero II vibrato bridge with Zero Point System and stud lock function is versatile and stays in tune beautifully, even through extensive, heavy use. This guitar is flawless and plays effortlessly, with low action, no issues.  It sells new for $699 without case but get this one, WITH a hardshell case, for just $550.

1993 Ibanez RG-470EG, (front), (back), (headstock), (case).  Emerald Green beauty, nearly unplayed in 18 years and an superbly crafted Japanese Ibanez.  Prior to their "Prestige" line, the top of the line Ibanez were the RG470, 550, 570, etc.  When they started the Prestige line a few years ago, they renamed the this guitar the RG2470, along with the 2550, 2570 etc.  Same quality; different name.  The 470 was one of the most popular models in the RG line, with a run from '92 to '04, with the production out of Japan and Korea at various times   This one is one of the Japan models, made by Fujigen.  It features the 1-pc Wizard neck, Basswood body, top of the line Edge tremolo that's recessed for maximum up-pull, 24 jumbo frets, black headstock with chrome logo.  This is a great sounding rock/metal guitar that plays effortlessly and stays in tune perfectly.  Cosmetically, this guitar is in a very nice 9.0 condition with no player's wear at all, no pick scratches, or button scratches, or wear.  Only flaw are two small flaws near the back edge, shown here.  RG's are some of the most comfortable and, especially for a Japan model, a good value at $479 WITH a blue-lined form fit Ibanez case.   

1988 Fender American Standard Stratocaster – Blackie, (front), (back), (headstock  back), (electronics), (neck and body marking), (case).  2ND Full year for the American Standard was 1988 and this one is a bit unique in that it was at least partially built by John Cruz.  John went on to become one of the top custom shop luthiers and became a master builder in 2003.  With the glossy black body and maple fretboard this guitar has the Clapton “Blackie” vibe that a lot of players love.  Action is very comfortable and it’s a typically very good sounding Strat.  At 24 years this is considered a vintage guitar and certainly clean enough for the collector but priced lower than a new one if you want to gig with it.  $1099 includes original case with latches and hinges intact.  This is a nice Strat. 

Shadow MK40 Head, (top), (back), (ser.).  The MK40 utilizes four EL84 power tubes in a class A/B design to provide pure tube tone, variable from from 1 to 40 watts via a Wattage control on the front panel.  Simple in design, the only other controls are Volume, Tone, and a Bright switch.  The back panel features both 8 and 16 ohm outputs.  EL84’s seem to conjure up the chimey tones of a Vox AC, which this amp can do, but it’s more ballsy, best described as a Vox-Plexi mix.  Check out some demo’s online: a decent one from Wild West Guitars (link), and one with Steve Smith discussing features (link).  For more info click here for Shadow.  As touted on their site, the cleans on the MK40 are extremely nice, and it’s noted for being very accommodating to pedals.  The saturation point is very versatile.  You can keep the neighbors happy – or play clubs – with equal overdrive, by utilizing the Wattage control.  This feature also keeps the amp in bias and also keeps the tone consistent through the full range of 1 to 40 watts.  This amp sold new for nearly $1800 new but offered in perfect used condition for just $1150. 

1987 Fender American Standard Stratocaster – White, (front), (back), (headstock  back), (body/electronics), (candy), (case case2). First full year for the American Standard, in the most desirable color, Arctic White, which has faded to a nicely yellowed Vintage White, as shown in this pic under the pickguard compared to the exposed areas.  The American Standard made its debut at the Summer ’86 NAMM Show and while a few were shipped in ’86, of the 100’s of 80’s Strats I’ve had, only one was dated 1986 and most people consider an ’87 as a first year model.  I shot the neck date on this one but lost the pic, I think it was 8/17/87 or so.  This guitar has seen very little playing time and exhibits only a few very minor clear coat impressions, most would rate it a 9.5 I’d guess.  Considering it comes with all the case candy including Fender cable, strap, strap locks, hang tag, manual, etc., it’s definitely one for the collection.  It’s got a great neck with no fret wear to speak of so it’s set up low and fast.  The vibe on a faded white finish has always been a favorite of players, looking very much like an old Olympic White finish.  This guitar is a real winner and for a first year example, a nice buy at $1250.  I’ll post the neck date pic shortly.  Pots are all ’87 and all original solder joints. 

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

2008 G&L L-2000 Custom Creations – Spalted Maple, (front), (back), (headstock back), (cert.), (case).  A fine American G&L in some of the nicest flamed spalted maple I’ve ever seen.  In 2008 G&L did a Custom Creations run of 100 of these but the owner of this will be among only 3 owners who own this bass with a maple fretboard. In fact, their site states “RW fingerboard only” in the specs section (link).  This bass features a spalted maple top over a solid ash body, with the rest of the specs being the same as a stock L-2000. Spalting is a type of figuring found in ancient logs, lying in the forest for decades or centuries, as part of the normal aging process.  Normally I see this wood as the dark, rairly random lines or spots.  It’s rare to see it accompanied with a tiger stripe side-side pattern as well.  It combines to make this one of the most attractive pieces of maple you’ll find.  Specs include natural gloss finish, clear gloss neck finish, 1 ½” nut width, 2 G&L Magnetic Field pickups, G&L active/passive electronics, 3-way pickup selector mini-switch, series/parallel mini-switch, preamp control mini-switch (off/on/on with high end EQ boost), G&L saddle lock bridge, 6100 medium jumbo frets, 12” fretboard radius, and Custom G&L "Ultra-Lite" tuners with aluminum tapered string posts.  With a list price in ’08 of $2350, you’ll usually see these used for around $1400.  This one is in pristine condition and includes original G&L/G&G tolex case and all the paperwork, for just $1279. 

1970’s Gibson G-35 Combo, (panel), (back), (back panel).  Pretty good sounding solid state model from Gibson.  Although I’ve read 30 watts online, I would rate it significantly lower but it’s plenty loud for practice or studio work.  It has very good sounding reverb and vibrato, the latter of which can be heard on this so-so YouTube demo.  Appears to be all original including Gibson orange-label 12” speaker.  Features include single channel with low-hi inputs, volume, treb, bass, reverb, vibrato intensity and speed, with ¼” jack for effects on/off on the back.  Very nice condition for its age and a good sounding example of 70’s solid state.  $199. 

2013 Fender ’69 Stratocaster Heavy Relic – Olympic White, (front), (back), (headstock back neck), (case case2).  Woodstock vibe and a great guitar for the Jimi fan.  This Olympic is a real beauty of a Relic, with a lot more relic wear than average, frequently looking more like a Closet Classic.  There is plenty of heavy wear and dings around the edges, finish chips on front and back, realistically checked finish, nicely aged hardware, and neck wear on the lower register of the fretboard only, back of neck is unworn.  Although Olympic was a custom color back in '69, they didn't have the numerous undercoats found on most finishes and, thus, were naturally more prone to finish chips.  The '69 Strat Relic features:  Custom Shop original spec ’69 pickups, American Vintage tremolo with large block and bent saddles, Fender/Schaller F-tuners, alder body, 1-pc U-shaped maple neck, nickel/chrome hardware, 3-ply parchment pickguard, 1.65" nut width, large 60's headstock with truss rod at butt end, 4-bolt neck attachment, 5-way pickup selector.  The neck has a nice broken in feel and is nicely rounded over at the edges, with factory wear along the length of both the treble and bass edges.  All original, never messed with, and appears to have zero non-factory wear with no fret wear.  This guitar sold new for $3600, which was heavily discounted off the list price.  You can own it, in “Relic mint” condition for $1200 cheaper; just $2400 takes it.  Includes original G&G/Fender Tolex case with chrome logo and orange lining, certificate, custom shop cloth and cable, chrome trem cover, manual, etc.

Alamo 2530 Combo, (panel), (top), (back), (chassis).  Cool little student amp from ca. '67-'70.  This amp takes me back to my early band days when we would take an amp like this and use all three inputs with a guitar and perhaps two mics.  With 3 parallel inputs, the strongest signal would drown out the other two.  Circuit appears to be all original; speaker is a CTS with an irregular date code but most likely 36th week of 1970; quality vintage tubes installed.  This is one of those rare vintage amps that works perfectly with no extraneous noise, sounds quiet at idle, and needs no attention whatsoever.  Low power, probably a 5-watter, with a nice clean tone, and a surprisingly useful breakup as you crank it up.  Here are a few videos we uploaded but they’re not the best (demo1 demo2).  For $165 this is a better buy than any of the Chinese low-powered tube amps; it simply has better tone, plus it’s in nice shape and built to last.  Plus I wonder how many Valve Juniors will be in use 50 years from now.  Anyhow, $165 takes it.

1962 Gibson GA-5 Skylark Combo, (panel), (back), (chassis), (“manual”).  As clean as they come and sounds as perfect as it looks.  What surprised me about this amp was that all tubes appear to be original GE and it sounds absolutely perfect.  It has none of the snap-crackle-pop frequently found on old amps and the tone is extremely sweet.  It reminds me sort of like an old Fender Champ, with except in addition to a smooth overdrive when cranked, it has a sweet, lush sound at around ½ volume and back AND sounds great with humbuckers or single coils.  At 5 watts it’s not going to play a club, but for practice or studio, it’s perfect for a beautifully pure tube amp tone.  I uploaded a demo here, a rough first take.  These ’62 brown Gibsons have a great reputation, especially the GA-5.  In collector’s condition, a nice deal at $439.  Includes original “manual” which is essentially a schematic; still very cool vintage paperwork.

1970’s Thomas Organ Crybaby Wah, (pic2), (pic3).  Works perfectly, sounds great.  No scratchiness in the pot and a nice, wide sweep in the “Q”.  When we got this one in it was missing the bottom but I had a spare recent Dunlop, although missing the battery cover.  If you’re looking for the vintage wah tone but not looking for a pristine collectable, this one is player priced at $79(HOLD-Bob N 4/27). 

Warmoth Strat w/Fender Classic 60’s Neck – Duncan Hot Rails, (front), (back), (headstock back), (“inside”), (tremolo).  We just finished this one up and it turned out to be a killer player looking for something a bit harder edged than a traditional Strat.  For pickups we used a trio of Seymour Duncan Hot Rail humbuckers, wired in the regular Strat 5-way configuration, with CTS pots.  Looking for more tuning stability in the tremolo we used a nice Kahler USA tremolo but instead of a locking nut, pain in the butt to some players, we opted to use locking tuners which allows you to use plenty of tremolo in your playing without strings slipping out of tune.  Body is a Warmoth solid alder, which has a sealer coat only, and is routed HSS should you ever want to switch to a regular humbucker in the bridge.  Neck is a 2007 Fender Classic 60’s, maple with rosewood board and Schaller locking tuners.  We topped it off with a tortoise pickguard which gives the guitar sort of a Bonnie Raitt vibe.  All in all, this is a killer player with low action, some nice components, and a vibe that’s just a little bit different.  Like most of the custom guitars we sell, it provides a lot of guitar for the money.  $599. 

1979 Fender Deluxe Reverb 1X12, (panel), (top), (covering), (back), (back panel), (tube chart).  Long regarded as the ultimate club amp by virtue of its small & lightweight size, quality reverb and vibrato effects, and club-friendly power rating.  At 20 watts, you can crank these amps up all the way to hit that sweet singing sustain, but still have the volume low enough that you can run some of your tone through the house mix.  This unit is super clean as the tolex covering has been changed to  a durable fabric type, black tweed (shown here and here).  It's a pro job with no sags or bubbles and perfect seams.  Grill cloth is very clean and the panel is in nice shape.  Worst cosmetic flaw are the top straps which have typical corrosion of a 30-year-old amp but I have a new pair we can swap out with if desired.  The speaker is Fender/Eminence, but I believe it's more recent than the amp.  Front panel features a Normal channel with Vol-Treb-Bass; Vibrato channel features volume with pull boost (actually sounds okay if you turn down the treble), treble, bass, reverb, and Vibrato speed and intensity.  The back panel features speaker out, extension speaker out, Line/Recording out, and vibrato/reverb jacks for a foot pedal.  Tube compliment includes a GT 5U4 rectifier, a pair of GT 6V6 power, with six preamp tubes, all old USA tubes, with a mix of 12AT7, 12AX7, 7025.  This amp is the last generation of the silverface era.  In 1980 the blackface with silver grill became an option and by '82 the Deluxe Reverb II blackface style replaced this model.  The Deluxe Reverb II was a hot rodded amp designed by Rivera, and was a completely different animal.  Prior to that big switch, Deluxe Reverb had a very long run with only minor changes to the circuit, which makes any of these amps highly prized.  With blackface models commanding $2K and up for clean examples, you can get a silverface model that is nearly identical in tone, for around 1/2 the price.  If you're one of those guys or gals who likes clean gear, this amp is in great shape but for the player, it sounds fantastic, like a Deluxe should.  It's quiet at idle, and has no crackle or pop, and Martin just cleaned all the pots and jacks.  This amp is ready to gig right out of the box.  A killer deal on a killer amp at just $899.  

T-Rex Twister 2 Chorus/Flanger, (pic2).  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.  This thing delivers a beautiful, natural sounding chorus and while flanging isn’t my thing, I guess this one sounds okay as well.  Click here for a demo (there are numerous other ones on YouTube).  The Twister 2 lists for $369; this one's mint in the box for just $169. 

Babicz Tele Bridge – Full Contact Hardware, (pic2).  Bridges can have a huge impact on your tone and feel and Full Contact is one of the most innovative designs ever for a Tele.  Click here for more info.  Mint condition and just $99. 

Highlander iP-1 Acoustic Pickup w/Volume Control, (pic2), (vol control).  Like the Fishman Matrix, the Highlander iP-1 is another "all in one" active system, with the preamp built into the elongated output jack and no major modification is required to your guitar, simply a very small hole under the saddle for the transducer wire and feed the preamp through the endpin hole.  This is a rare model that also includes a factory volume control which can be installed in several fashions, including drilling a hole in the top or side, or simply tape mounting it.  The iP-1 is an excellent design and there are loads of accolades on their site.  The iP-1 "hears" the tonal properties of the wood and design, not just the dry sound of pressure against the thin transducer under the saddle.  Check out Highlander's site here and the iP-1 here.   This one's just $109, or $135/installed on any guitar in stock.  

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, and other stuff.  

Visual Sound H20 Liquid Chorus and Echo, (pic2).  Same as above but not modded by Zac.  Here’s a demo (link) of this V1, compared to a V2.  Not quite as clean as the one in the box above and replacement batter cover but a sweet pedal for $85. 

2012 PRS Blistertone 50 2X12 Combo w/Reverb (top), (back panel), (side), (back).  From PRS Custom Shop comes this superb Blistertone 50, outfitted with Paisley covering and a pair of Celestion Vintage 30’s.  This is one of the coolest fabric coverings I’ve seen and PRS did a perfect job building an amp that sounds as killer as it looks.  If you’ve lusted after a Blistertone since they first appeared in ’08, you’ve no doubt know that this one is a rare bird.  Trying to find another 2X12 combo, most are heads or 1X12’s, and then try to find one in Paisley.  This combo blew me away with it’s very organic sounding overdrive, spongy feel, and its ability to clean up with my guitar’s volume control.  It has loads of gain, and gets very crunchy before master and volume are at around 4 – and just more singing sustain the further over 5 you go.  It does have a decent clean tone at lower volume levels, but don’t buy it for it’s versatility as I wouldn’t rate it as an exceptional amp for both crunch and clean.  The reverb is excellent.  Paul enlisted Doug Sewell to head up his CAD (Custom Amp Designs) and the Blistertone is a continuation of the same basic model Doug built under his own “Sewell” designs 10 years earlier.  It’s tone stack is unique and can tailor your sound exceptionally well for a straight-ahead, 6-knob combo.  Tubes are a pair of 6L6 power, three ECC83’s in the preamp, with a 12AT7 reverb driver.  The rear panel features bias test points and an adjustment pot, as well as 4 and 8 ohm jacks (each with parallel extension jacks), and a 6 ohm output jack.  Cosmetically, it’s in lovely shape with no noteworthy flaws other than it’s missing a little “Custom” badge in the lower right corner.  There’s a decent little demo on PRS’s site here.  Apparently I forgot to shoot a pic of the back but will post one soon.  This amp cost around $3300 new and is an exceptional value in a custom shop 2X12 at just $1999. 

1980’s Zion Radicaster, (front), (back), (headstock), (flamed neck), (push/pull knob), (bridge/stud reinforce), (neck marking).  Back in 1980, when Zion started building guitars, they were among an elite group of boutique guitar builders, each one made to order.  While the Radicaster is their most basic style, it was one of the finest SuperStrats from the era when Stratmania had taken over.  Body appears to be basswood, which was very popular on rock guitars, with a flamed maple neck, rosewood fretboard, and medium frets.  The action is comfortably low and it plays very fast.  Pickups are both embossed “Zion” covers, both humbuckers, with a splitter built into the volume control for 6 tonal variations.  Body and neck are both marked “Made in Canada” and were made by LaSiDo, which made tons of high end guitar parts for many builders including Valley Arts during this era.  The Kahler tremolo was a 2700 but it was missing some parts and rather than spend $60 on overpriced Kahler parts, we just installed a chrome Kahler I had in stock.  One of the things I noted when I got this one in were the “rings” around the tremolo studs which Martin told me were often walnut or other hardwood inserts to provide added stability to the area and keep the studs from stripping.  It is obviously factory, since it’s original finish and there are no paint lines in the area.  If you’re looking for a cool piece of rock history from the golden era of SuperStrats, this one’s easy on the wallet at just $750, probably ½ of what it cost 30 years ago. 

2005 Breedlove Custom Shop SD25-Focus/R, (front/back), (preamp), (appointments), (case  case2).  Simply a wonderful acoustic and the more Breedloves I get, the more convinced I am that they are the best handmade acoustics on the market for the money; reminds me of Taylor in their early days before all the "improvements".  This rosewood beauty has rarely been played and is one of the best acoustics I've had in years.  Breedlove's Focus line is one of their most versatile instruments, equally at home in the studio, on stage, or in the living room.  I called Breedlove regarding this guitar and was informed that it was a special order, with appointments from the Focus series, but with the SD-25 (Dreadnought) body.  Features of this model include:  Sitka Spruce body with soft Venetian cutaway and custom depth, Breedlove's Signature Voicing System, select Indian Rosewood back and sides, Mahogany neck, S-class appointments with upgraded Ivoroid binding, Abalone ring soundhole rosette, the Focus style fretboard inlay, S-Series Ivoroid decorative BWB purfling and a gloss finish.   Also features the LR Baggs Dual Element Electronics, with small controls for Volume and Mix accessible on the inside edge of the sound hole.  Breedlove said that list price on this model was $3999 which is very reasonable for a custom shop acoustic of this quality.  This guitar is in perfect condition, is an exceptional player with beautiful tone, and a nice deal at $2350 with OEM Breedlove case.

Here are a few pickups for today. 

Lollar Imperial F-Spaced Bridge Humbucker, (pic2).  Many folks claim Jason Lollar is the best builder of original tone PAF’s.  Don’t pay $175 when this one’s $119(HOLD-Norm H 4/14). 

Sheptone Tribute (bridge) humbucker, (pic2).  Sheptone are getting some great reviews for their PAF’s.  See their site here for all the skinny.  This one’s never been installed and just $75(HOLD-Brian N 4/15). 

Gibson ’57 Classic and ‘57+ Set, (pic2).  Most of the players we talk to prefer these, 10 to 1, over the Burstbuckers.  Don’t pay $159/each for a new when this clean set is just $199. 

Gibson Burstbucker 3, (pic2).  Slightly overwound for bridge position.  $129 new; this one’s just $85. 

Seymour Duncan Mini-Humbucker (bridge).  $87 new, this one’s just $59. 

Seymour Duncan 50th Anniversary Humbucker Set, (pic2).  Sold in sets only in 2005, these are Alnico 2’s, without outputs in mid 7K (neck) and low 8K (bridge).  Individually numbered and signed by Seymour.  Installed but removed right after installation thus immaculate condition.  $199/set (Hold – Jimmy 6/29). 

Seymour Duncan Little ’59 Tele Bridge.  Similar to a ’59 PAF humbucker tone for your Tele…only twangier.  4-conductor for single/double coil wiring schemes.  $49.  

Fender Texas Special Tele Set, (pic2).  Removed from an American Special Tele, clean shape.  Not the cloth wires used on most custom shop but still the same pickup and just $69/pair(HOLD-Geo M 4/23).

Fender Texas Special Tele Set #2.  Same as above, clean shape, $69/pair (SOLD-Geo M 4/23).    

FOUND (somebody inquired a few weeks ago…):   USA Customs Strat with Fishman Mann-Made bridge, (pic2 - back pic taken with flash to show color), (neck pic - shows orangish vintage tint).   For those of you who aren't familiar with USA Customs, they've built a solid following, initially via Ebay sales and more recently directly from their web site, usacustomguitars.com, offering quality guitar parts and completed guitars, made to order.  I've had 2 of them in the past, both excellent guitars, but it worked out such that I needed to part them out rather than sell them whole.  I'm going to give this one a try as a complete guitar and begin by stating that the quality is at least as good as USA Fender, definitely pro quality in all regards.  Starting with an Alder body that's a nice light/medium weight, with a pearloid pickguard loaded with Fender Vintage Noiseless pickups - with CTS pots and switch.  You might recognize the bridge (pic here) as being identical to a PRS bridge and you're correct - It's a "Mann Made", the same suppliers for PRS bridges from ’85 thru 00’s.  This particular bridge is the Fishman VMV Mann-made, which has piezo saddles which offer a pretty nice acoustic tone out of an electric guitar.  The output jack is a stereo jack and with a Y-cable, which can be included, you can send your electric tones  to one amp; your acoustic tones to an acoustic amp or mixing board.  There are also a number of wiring options which can be used but for now it's wired in the most basic layout.  This guitar has seen very little playing time and is in really nice shape.  Last owner paid $1200, which is reasonable for a quality USA guitar with these features.  If you want some great Strat tones, with the flexibility of an acoustic bridge, here's a really nice way to go - just $850 with case.  Note: Fender vintage logo can be installed for $25 to $50 (including parts & labor), depending on the style of installation.  This is a very nice Strat and...did I mention...just 7.2 lbs. 

Headstrong Lil' King-S 1X12 Combo, (top), (back), (back panel).  A truly fine hand-wired amp made by one of the premier boutique builders of our day, Wayne Jones.  His fine reputation has been earned by building the best Fender replicas possible.  Each Headstrong Amplifier chassis is hand wired by Wayne using the best parts on the market:  transformers are made by Heyboer using original data sheets on replica amps, and custom-wound interleaved transformers on original designs; Sprague and JJ Electrolytic capacitors; Carbon Composition resistors; 150 Series coupling caps; and solid steel chassis. Cabinets are hand built by Wayne's brother Jesse in Concord, NC using solid finger-jointed pine for the shells and void-free birch plywood for the baffles and back panels. All covering and finish work is also done by Jesse.  Before they leave the factory, every amp is put through a strenuous quality control process to ensure years of care free service.  Weighing just 35 lbs. this is a deceptively small powerhouse of an amp.  Wayne's idea in designing the Lil King-S was to create an amp that Fender never made during the 60's, a 25-30 watt amp between a Deluxe Reverb and a Vibrolux Reverb but not as bulky or heavy as either. The other idea was to take a stock Lil' King, which was based on the Princeton circuit, change it to 6L6 power, and see how far he could push it without changing the inefficient Phase Inverter found in the original circuit.  The overall goal: to create a higher powered version with more headroom and bottom end definition, but when overdriven would retain some of the classic small amp character.  It cranks around 30 watts of pure tonal heaven through a 12" Eminence Legend, using a pair of 6L6 power tubes, with four 12AX7's in the preamp, and a GZ34 rectifier.  It features tube driven reverb and tremolo with the front panel controls - Hi/Lo inputs, Volume-Treble-Bass, Reverb, Tremolo Speed, and Tremolo Intensity.  The back panel features and easy access bias pot, standby switch, 8 ohm speaker jack, 8 ohm ext. jack, footswitch jacks for both reverb and tremolo, Reverb Out and Reverb In.  This amp goes from sweet, clear tones at lower levels, through a seductive subtle chiming effect that sounds great with warm jazz humbuckers, to a wonderfully responsive Texas- approved crunch with the volume peaked.  With humbuckers and you can nail those early ZZ Top licks - swap to a Strat or Tele and it can ooze Danny Gatton type licks.   Buddy Whittington or Danny Gatton-style riffs; it's a very rewarding experience and the Eminence Legend speaker’s exceptionally rich tones complement the amp perfectly.  It's 30 watt output is the perfect amount of power and headroom for the average unmic'd gig. Also, this era Lil' King-S, although not guaranteed, should work on a pair of 6V6's.  The Lil' King-S sells new for $2100.  This one has seen very little use, in the home only, and is in beautiful shape, for just $1365(SOLD-Greg C 4/4).  Includes Fender-style vintage chrome 2-button footswitch. 

2011 Fender Classic Series ’72 Telecaster Deluxe, (front), (back), (headstock back).  Back in ’72 Fender made 3 distinct Tele’s including the original-style Telecaster with dual single coils, the Tele Custom which had a original-style Tele bridge/pickup assembly and a humbucker in the neck, and this model, which featured dual humbuckers, with a Strat style bridge and contoured body as well as the larger Strat headstock.  Tonally, it really wasn’t a Tele, but these were times when Fender was trying to steal a share of the Gibson market which had always been driven by dual humbucker guitars.  Like a Gibson, the Deluxe also featured dual volume and tone knobs, controlled by a 3-way switch.  The original model was only around from ’72 to ca. ’82, with Japan reissues following in the late 80’s, and the Classic Series beginning around a decade after that.  Although I wouldn’t recommend this model to seekers of Tele tone, it has a quality tone in its own right, with a pair of Fender Wide Range humbuckers, which are based on the original design produced by none other than Seth Lover (of Gibson fame).  These reissue Deluxe pickups are updated from the original Seth Lover design, with more output and clarity than most vintage humbuckers.  It has the smooth tone of a vintage humbucker, and I feel better clarity, more in line with a Fender tone.  Body is the traditional solid alder, with a maple neck which features Fender's "C" shape, a flatter fingerboard radius of 12 inches, usual 25.5” radius, and 21 vintage sized frets.  Other features include a synthetic bone 1.65 wide, 3-bolt Micro-Tilt neck design, 6-saddle vintage-style tremolo bridge, chrome-plated hardware, vintage Fender Schaller-style "F" tuners, 3-ply black pickguard, and skirted amp control knobs.  Cosmetically, this guitar is in perfect shape and will come with a pro set up that’s sure to please anyone.  Sells everywhere for $799 but this barely played used one is the deal at just $569.  Includes gigbag and trem arm. 

1982 Yamaha SA800 Semi-Hollowbody, (front), (back), (headstock back), (serial), (bound body/neck), (DiMarzios).   These old Japan-era Super Axe series have achieved near legendary status.  Built in Japan with fine craftsmanship and quality materials, the SA800 is probably the closest copy that Yamaha made to the ES-335 Dot.  Unlike the higher end models like the SA2500, SA1100, etc., the SA800 didn’t sport any fancy cosmetics or extra switching options, just like the original Dot model.  Construction is also the same with a laminated maple body with center block, mahogany neck, rosewood fretboard, and dual humbuckers controlled by 3-way selector with dual volume and tone controls.  The neck is similar to Gibson’s current ’60 thin taper, not at all chunky.  It has received two upgrades, with a old pair of DiMarzio humbuckers and upgraded Schaller tuners.  I’m guessing on the Schallers since there’s no telltale evidence such as extra holes, but I don’t think Yamaha used them.  Cosmetically it’s in very nice shape for 30+ years with just some surface scratches and a few light dings.  It’s a loud body acoustically, with very low action and a very easy playing guitar.  For a Japan-made Yamaha, this is a nice axe for $799 with gigbag, or a bit more if I have a hardshell case to fit it. 

Germino Lead 55 Head, (panel), (top), (back), (serial), (stock pic of chassis and circuit).  If you missed the Germino Club 40 a few weeks ago, here's another fantastic Germino, again in "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 Plexi tone available.  A basic description includes:  classic dual EL-34 output section with a GZ34 rectifier and three 12 AX7’s and the preamp.  Goes from a slightly crunchy clean to a thick smooth lead tone with just a twist of the guitar's volume control.  Output transformer is a Drake 784-139 replica with 3.3K primary impedance. Original style laminate is used with correct slotted steel and correct “cheese head” screws. Primary and secondary windings are interleaved as originals.  Choke is Dagnall replica C 1999.  All other components are top notch as well; spot welded aluminum chassis, hand drilled tag board, carbon film and NOS carbon comp resistors, 2 watt Mil spec PEC potentiometers, period correct round black bat switches from the UK , BCR and F&T filter capacitors.  Sozo brand "mustard" coupling caps all hand wired and assembled to perfection!   Stock tubes are winged "C" Svetlana EL-34's and Tung Sol 12AX7's.   At 50 watts output this is a very gigable amp in medium sized rooms but I'd highly recommend and attenuator if you're going to be playing at home or in smaller clubs.  Noted for taking pedals extremely well.  As with all Germino products,  this amp is entirely hand assembled and hand wired .  From incredible clean tones to classic fat EL-34 overdriven tones with a deafening British crunch the Lead 55 delivers the goods live or recording.  This one has one option, a rectifier switch, which is a $100 upcharge.  The Lead 55 sells for $2400 (with rectifier switch) when you can find one but they're frequently out of stock.  This one is in beautiful condition, having seen limited home use only, and is perhaps the ultimate Plexi for just $1650.    

2010 Epiphone Wildkat Archtop Hollowbody, (front), (back), (headstock back), (optional case  pic2).   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 which is 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, vintage tin overlaid logo, 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 immaculate condition, and has a quality tone with these P90's.   With a list price of $665, get this “as new” example for better than 50% off at $319, and this includes a set up that’s much better than factory.  Add proper Epi case shown above for $59 more.   

2013 Ibanez “Iron Label” RGIR20FE-White, (front), (headstock  back), (back), (EMG’s/bridge), (docs/tools/acc.).  Killer 6-string with low action and killer tone via a pair of active EMG’s: EMG60 in the neck with an EMG81 in the bridge, controlled by a 5-way switch and single volume control.  Features include basswood RG body, super fast Nitro Wizard neck with bound rosewood fingerboard and 24 jumbo frets, 5-way blade pickup selector plus a "kill" switch, and a Gibraltar Standard fixed bridge. Customers frequently pay $200 for us to upgrade to a pair of EMG humbuckers so with the factory installed EMG’s, it’s already a good value on the used market.  When I say “used”, I mean barely.  This thing appears to have seen zero playing time and could easily be sold as new.  With a new one going for $599, how but one that’s like new for just $399.  Includes hangtag, manual, tools, and all the other factory stuff.  One of the best playing rock guitars we’ve had in this price range. 

Peavey Classic 30 Combo w/Weber Blue Dog, (panel - click to enlarge), (top), (back), (tubes), (spkr).   Small all-tube combo with a vintage looking tweed covering, chrome panel, and chicken head knobs - and better than new with the recent installation of a new Weber Blue Dog Classic British ($110/direct), defined by its warm, clear, loud, detailed high end that doesn't get hard or harsh at high volumes, aggressive, big low end, more headroom than the AlNiCo version.  The Classic 30 offers incredible value for a quality American made tube amp.  It's an excellent club amp with enough power to play larger sized rooms.  I frequently compare them to Fender's Tube Series and, quite honestly, when I've had these set up at shows next to comparable Fenders like the Blues or Hot Rod Deluxe, the Classic 30 was almost universally chosen for superior tone - and the Peavey is USA made!.  Features an all-tube circuit with a matched quad of JJ EL84's cranking out 30 watts through 16 ohms - with three 12AX7's in the preamp.  Nice sounding EQ that really does something, and very versatile with a crisp clean tone with plenty of headroom - and enough gain to satisfy nearly every rock player.  Features two channels plus boost for 3 distinct tones, selectable via switches on panel or via optional footswitch.  Pre- and post-gain controls on lead channel; Normal volume control on clean channel.  It also features a footswitchable spring reverb that sounds very good, very vintage, and an effects loop.  Full specs, manual, and sound clips, check out  Peavey's Site here.   Click here for a good demo from Peavey but keep in mind that this is the stock speaker and it sounds even better with this Weber Blue Dog.  There are a bunch of YouTube demo's, here's one and here.   Optional footswitch, which uses a stereo 1/4" jack, not included but I may have a 2-button switch for $25 if desired.  These were discontinued but they sold new for $649.  This one's in immaculate condition and even with the new Blue Dog, value priced at $499.

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

1989 PRS Studio - Electric Red, (front  front2), (back), (headstock  back), (trem), (pickup settings), (case).   At 26 years you don't think of most Gibsons as being "vintage" but in the PRS world, where 1989 was just the 5th year of manufacture - and it was built at the old Annapolis factory - it's definitely vintage.  Just like the Metallic Blue Studio I have in stock, this one is very well preserved.  It’s not a museum piece like the blue one, but very clean overall.  If you're not familiar with the Studio, it was only offered from '88 to '91 and the main feature is the HSS pickup configuration with a Hot Vintage Treble in the bridge and a pair of PRS single coils (click here for details).  These were offered with either a tone control or, like this one, a Sweet Switch. The early Studios (and Standards) from this era are the closest thing to the original 1985 "PRS Guitar", distinguished by its all-mahogany construction - rather than the maple cap model that followed the PRS Guitar, as well as a 24-fret neck and Sweet Switch.  This one also has the factory route for up-pull on the tremolo, a feature many players appreciate.  To my ears there is a warmth and singing quality to the mahogany bodies that you can't find on a maple top.  Like all PRS during this era it's truly a hand-made guitar, built 6 years before they brought CNC machines into the shop.  Other features include Brazilian rosewood fretboard with 24 fret mahogany neck, short heel neck joint, 1-piece Mil-Com bridge, small logo, Standard neck profile, and the early version PRS locking tuners.  Overall it’s in excellent condition with the only finish issues being finish chips on the tip of the headstock, a tiny chip on the bottom edge, and a few minor impressions, not through the finish.  Other than that, there’s some pitting on the trem bass and a little nickel wear on a few saddles.  If you look closely you'll see some normal "finish suck" which is normal on these thin Nitro finishes as they age, but you' won't find an old PRS without this.  Players and collectors alike are seeking out old-factory models and these pre-CNC models have risen steadily over the past 7 years.  $2399(HOLD-Matt S 3/13) is a very nice price for an ’89 which makes it a very affordable investment piece that’s still within the range of working guitarists looking for a stage guitar that's universally accepted to be better than any new one.  Includes case and trem arm.  (note: Referenced is an Electric Blue on my PRS page). 

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

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

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

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

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

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

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

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

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

1979 Alvarez 5013 Ironhorse Dreadnought, (front), (back), (headstock), (case).  Very popular guitar in the late 70’s/early 80’s, when St. Louis Music was distributing a ton of Japanese imports.  It’s a full dreadnought size with a rich tone and really nice playability.  Features include 15-3/4" lower bout, 4" to 4-5/8" body depth, spruce top, darkburst stained top that goes from black to a gray/green in the center, sides and back are dark stained mahogany, 14 fret neck, 20 fret rosewood fingerboard with star inlays, appears to be a composite bridge, white-bound body, white fretboard binding and bound headstock, 2-ply pickguard, upgraded Ping chrome tuners, b-w-b-w-b-w top purfling, 25-3/8" scale, and 1-23/32" nut width.  Overall it’s in nice shape for 35+ years with the worst flaw being a few finish check lines, definitely not cracks, shown here.  For a Japan-made flattop that still plays excellent, it’s hard to beat at $350(SOLD-Frankie 8/26) with case. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2012 Fender American Special Telecaster – DiMarzio Upgrade, (front), (back), (headstock), (saddles), (optional case).  The American Special is a recent model that offers the best value in a gloss finish American Tele.  This is my favorite of these models.  With the transparent blonde finish and maple neck it looks like a USA Vintage '52 at around 1/2 the price.  Fender chose some great pickups for this model, the custom shop Texas Special, formerly reserved for only high end models – but we’re offering it with your choice of those, or a set of DiMarzio Area T humbuckers.  The Area T set looks just like a regular Tele, but are actually humbuckers, voiced to sound like a Tele, without the hum.  While I wouldn’t say they’re historically accurate in tone, for most players they will be the perfect choice.  If you play modern country, you’ll probably love these.  They have the Tele twang, but are fatter sounding and, of course, quiet.  It has also been upgraded with a set of compensated brass saddles for improved intonation.  Controls are 3-way switch with master volume and "greasebucket" tone circuit which allows roll-off of the tone control without adding bass.  Other features include alder body with Gloss urethane finish, maple neck with modern C-shape profile and CBS-era logo, vintage style Tele bridge with 3 brass saddles, modern 9.5" radius, 25.5" scale, 22 jumbo frets, Fender staggered height sealed tuners, 3-ply black pickguard. This is an impressive guitar for the money.  The finish is impeccable, quality tone, and a great neck that sets up with nice low action.  New ones are going for $999 with a gigbag but you can get this beauty, with deluxe gigbag for just $749(HOLD-Brian C 2/20) including upgraded saddles and choice of pickups.  If you prefer a hardshell, we’re offering a substitution with the new style SKB case with ATA latches for just $50 more. 

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

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

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

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

Marshall JCM2000 Dual Super Lead DSL100, (panel), (top), (back), (back panel).  2009 model, offered in pristine condition.  This one was built when they were made in England as part of the JCM2000 series.  100 watts of all-tube Marshall bone-crunching watts, and all the versatility of DSL offers.  The DSL (Dual Super Lead) has load of gain and creamy tone that Marshall is famous for, plus two footswitchable channels - Classic and Ultra.  Each of these channels boasts two modes: the Classic channel offers a Clean / Crunch option while the Ultra offers Lead 1 or Lead 2.  Instead of merely offering a variation in gain level to the two channels, each one of these four modes has been individually voiced as an amp in its own right.  Lead 1 is similar to the classic JCM800 while Lead 2 adds more gain and compression.  Each channel has its own independent reverb.  Loads of more features and for more info you can check out Marshall's site.  The DSL was the culmination of 35 years of R&D at Marshall and is just a great amp...period.  This head was never gigged and appears to have seen no use since new.  With a list of $1900, these sell everywhere for $1349 but this one's perfect and only $699(Tent. Hold – Dain 4/21).   

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

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

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

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

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

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

2009 Fender Custom Shop '69 Stratocaster NOS, (front), (back), (headstock  back), (Abby ’69 PU’s), (neck  body markings), (cert.), (case/etc.).  From the Custom Shop comes one of the most iconic Strats in their illustrious history – a custom color Black Strat with rosewood board.  As part of the Time Machine series (Relic, Closet Classic, and NOS), the NOS (New, Old Stock) is a model built to exact specs of the era, but is in brand new condition, as if you stepped back in time 40 years, bought a guitar, and stepped back to 2009.  This one of course has the Jimi appeal since he was noted for playing Strats from this era with the 4-bolt neck and large headstock with “synchronized tremolo” logo.  I don't know what it is, but whenever I pick one of these up I start playing every lick from "Are You Experienced" and somehow I play them better.  Perhaps it's the killer setup on this guitar or maybe just that it's a '69.  This year was a pivotal period for the Strat, featuring the large headstock and the bold "Synchronized Tremolo" logo which was only used '69/'70, while the round fingerboard ushered in a new neck style which included this "U" shape.  It also features special '69s pickups, wound by legendary Abigail Yberra herself, which are good at delivering the Hendrix tone, especially if you have those kind of chops.  Offered in near pristine condition with no fret wear and no discernible wear anywhere.  All original other than plastic parts which have been changed to Fender “green” guard and “aged” plastic covers, knobs, and tip.  Includes certificate, both 3-way and 5-way switches, polishing cloth, original hang tags and assorted paperwork.  The '69 NOS sold for $3199 but this barely played beauty is just $1999(Tent. Hold – Jeff 6/19).

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

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

Fender Supersonic 22 Combo – Blonde, (panel), (top), (back), (back panel), (label), (footswitch).  Fans of the 90’s custom shop Prosonic combo are aware of the versatility of combining Fender’s classic clean circuit with a hot-rodded modern channel, mixing in Fender’s classic reverb.  Fender borrowed design elements from the Prosonic in designing the Supersonic 22, using a pre-Silverface voiced clean channel along with the cascading-gain drive.  To add a bit of shaping the clean channel includes a two-band EQ, as well as a "voicing switch" which offers tones inspired by the classic Fender Vibrolux and Fender Bassman amps.  Initially offered in a higher powered combo, the new Supersonic 22 delivers a fatter tone with more bass.  This amp delivers 22 watts from a pair of 6V6 power tubes, with five 12AX7/12AT7 preamp tubes, into a 50W Fender "Lightning Bolt" Speaker by Eminence.  Cosmetically it has the looks of a ’60 amp with blonde textured vinyl covering, white knobs, dogbone handle, and flat Fender logo, while its modest 40 lbs. weight is easier on the back than most vintage amps.  One important upgrade over most old Fenders is the effects loop, deemed essential by most pro players.  It includes a 4-button footswitch to control “Burn” on/off, “Normal/Fat” switch, Reverb on/off, and effects loop in/out.   For a rundown of all the features, click here for a demo – while a good performance demo is here.  This amp is essentially brand new, flawless and only out of the box for 2 hours use. It ships in original box and includes unopened cover, footswitch, and paperwork.  With a new one running $1049, this one has less use than a new one on the floor and is just $739(HOLD-Brian N 6/10). 

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

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

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

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

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

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

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

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

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

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

Cole Clark Culprit III (Tele Thinline), (front), (back), (headstock), (detail), (side), (case).  From Australia's premier builder comes this fantastic thinline electric that holds its own with any custom shop Thinline I've ever played.  We had a Cole Clark Fat Lady FL3AC a while back that was one of the best modern flattops I've played.  This Culprit is no less impressive.  While this looks much like a Tele Thinline, it's actually a unique guitar starting with the body, which is internally carved rather than simply gluing in a solid center block: the bridge.  The neck pickup and the neck itself are all directly connected to the back and sides for enhanced sustain and resonance, while sound chambers allow the sound to swirl around within the body, picking up additional reflections and frequencies before throwing them out of the modified f-hole.  The effect of the chamber is very noticeable when  unplugged, but the extra resonances play a role in making the amplified voice more complex and distinct.  The bottom line though is it's very much a Tele tone, albeit with subtle tonal differences.  The fretboard radius is a very comfortable and flat 12” with a neck profile that's not too fat or too thin.  It's 4-way pickup selector has the usual bridge pickup and neck pickup, in the end positions, with position 2 the bridge and neck in parallel for that classic open, jangly vibe, while position 4 combines both pickups in series for a hotter fatter tone that will really rock the house.  It can cover a lot of ground but really excels at clean country, blues, and classic rock.  Features include Bunya chambered body, white body binding, US Rock Maple neck, Natural satin nitrocellulose finish on body and neck, Cole Clark "Scroll" headstock, 25.5" scale, 22 frets of Dunlop 6230 fret wire, 12" fretboard radius, Rosewood fretboard with mini pearl dots, Graphtech Tusq nut, 1 21/32" nut (just a hair wider than 1 5/8"), Wilkinson WTB classic chromed steel bridge and 3-section compensated brass saddles, Grover Vintage Deluxe 133 series nickel tuners, Cole Clark neck and bridge pickups, 4-way pickup selector, CTS master volume and tone pots.  Here are some Harmony-Central reviews, where it scores high in all areas.  Cole Clark (link) only lists the solid body Culprit 1 on their site but this is the same guitar, in a chambered body.  Note that the pics were taken before it was set up; saddle screws are no longer angled as seen in pics.  You can find a few in stores, priced new for $1700-$1839.  This one is in perfect condition, with most of the plastic still on the pickguard, and a killer thinline for $1199(HOLD-4/13/15).

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

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

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

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

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

2008 Taylor SBS-1 Solidbody Standard - Dual Hums with Quilt Top, (front  front2), (back  ser.), (headstock  back), (case).  Yet another fine Taylor Solidbody, identical to another one I have in stock, other than the year and the “not for sale” stamp on the back of the headstock.  The reason for the stamp is that it was given by Taylor to a San Diego school for use in a fundraiser.  I bought it from the guy who purchased it via the fundraiser.  About the SBS-1:  I've been impressed with these Taylor Solidbody guitars since I got my first Taylor T3/B a year ago.  Like the T3/B, these SB1-S's are impressive guitars with a beautifully figured maple top over a chambered mahogany body, finished in Cherry Sunburst. I've also had plenty of the T5's and while the T5 is an excellent guitar, its tone wasn't conducive to playing as many styles as an electric player would want.  The SB-series takes Taylor further into the world of electrics and can be evaluated as a true electric.  Speaking of electrics, this one has a pair of Taylor-designed direct-mount humbuckers, with 5-way switch, for a useful palette of tones.  Other features include tropical mahogany neck with ebony fretboard, ebony headstock overlay with inlaid logo, chrome Taylor tuners, gloss finish throughout, bone nut, and Taylor's own aluminum bridge.  This bridge is the most ergonomic bridge I've felt, with individual saddles, each smoothly contoured for comfort, wherever your hand may rest.  You'll note the single bolt neck attachment, which uses Taylor’s T-Lock design, which makes it easy to adjust the neck angle and eliminates the heel, plus electric frets instead of the acoustic-style frets used on the T5.  The tone control features a unique mid boost circuit that allows the control to function normally over the first two-thirds of its rotation, while over the last third it kicks in a midrange peak that sounds similar to a “half-cocked” wah pedal.  Taylor made its name based largely on their superb playability and this guitar will not disappoint fans of low action.  For full specs on this model, click here for Taylor's site.   The SB1-SP listed at $2698 and sold new for $1999.  This one is in perfect condition and has one of the best looking quilted maple tops you'll find on a Taylor.  It's a super nice deal at $999(HOLD-Robert N 1/19.  Includes original Taylor case, un-filled warranty card, etc.  (Note: I also have one an identical ’07 model and another with switchable pickups, outfitted with 3 Mini-Hums, shown here).  

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

2009 Gibson Melody Maker with Duncan P-Rail, (front), (headstock  back), (back), (mods).   Another cool upgraded Melody Maker, this one with one of the coolest single pickup mods you can install:  The Seymour Duncan P-Rail which gives you the choice of out of one pickup.  We’ve also installed two mini toggle switches which let you maximize the tonal choices (4) including P-90, humbucker (series), and single-coil, and humbucker (parallel).  The parallel humbucker setting for some is the best of both worlds, as it’s a quiet humbucker, yet retains the articulation and clarity of a single coil.   The stock single coil pickup on this model makes it a decent guitar for rhythm or fill, but many find it limited to such “background” work.  With the P-Rail, it can jump out of the mix and sound absolutely huge, on rhythm or leads.  This model is very much like the original single cut Melody Maker with a thin slab mahogany body with a set mahogany neck, single pickup, screened logo, rosewood fretboard, wraparound bridge, and large black pickguard with the model name engraved near the base of the neck.  Other specs of this model include '59 rounded neck profile that's not at all chunky, standard 24 3/4" scale, 1.695" nut width, and 22 frets.  This is a very lightweight guitar, under 6 lbs., due to the body size, which is slightly thinner than a Junior/Special.  The tone is anything but "light - it's big and fat, with excellent sustain and very lively overall, thanks in part to the very thin satin finish which lets the guitar vibrate better than a thicker, hard finish.  With these tasteful modifications, this is a totally gigworthy workhorse guitar for just $399(HOLD-David S 1/13). 

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

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

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

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

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

2011 Gibson SG Special '60s Tribute - White - with case, (front), (back), (headstock), (case).  Very affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  Finished in Worn White, which in the vintage world is referred to as TV White and has always commanded a premium over the usual cherry finish.  This SG's thin solid mahogany body offers a very lightweight package with a tone that's both subtle and aggressive, depending on your playing style.  It has a rich resonance with lots of harmonic depth and sparkle.  The solid mahogany neck is carved to a fast Slim Taper profile similar to SGs from the '60s, with a glued in deep-set, long-tenon neck/body joint and 17-degree back angled headstock, combine for a superior transfer of resonance from the neck to the body.  Two Gibson P-90 single-coil pickups with Alnico V magnets are among the finest reproductions of vintage P-90s currently available producing warm, vocal neck tones to loads of snarl from the bridge position, with rounder, funkier tones in between.  Gibson uses a PLEK-cut Corian nut to ensure maximum resonance and sustain.  This guitar is finished in a thin nitrocellulose satin finish, which protects the wood while contributing to a more lively response.  Please note that this isn't the raw porous finish found on many of the "worn" Gibson finishes but is smooth and non-porous.  It will "age" rather fast and soon, develop the look of a well-played vintage guitar.  It's set up with low action and the ease of play, combined with the light weight, make this a great guitar to play, set after set.  These came stock with a gigbag but this one is offered in mint condition with an optional Gibson case for $685(HOLD-J Scott W 1/8).  I have a few others in stock.

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

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

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

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

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

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

2006 Ibanez Prestige RG-1570MRB – Mirage Blue, (front  front-2), (headstock  back)  (back), (trem), (case/etc.).   Superb Japan-made Ibanez and a shredder's dream guitar.   I've had plenty of RG-1570's, all of them killer players, in stunning finishes, like this Mirage Blue.  When Ibanez came out with the Prestige series, many were updated designs of an older model.  The RG-1570, for example, is an improved version of the old RG-570, with improved high tech hardware and upgrades, primarily the Wizard Prestige neck, with 5-piece maple/walnut and the new Edge-Pro tremolo system.  Other specs are Basswood body; maple neck; rosewood fretboard with 24 jumbo frets and pearl dot inlays; pickups direct mounted to body; Cosmo black hardware; HSH pickup configuration with 5-way switch, master volume, master tone; pearl logo inlay, and finished in Suede Black only.  As you can see in the pics this one has two upgraded pickups with a pair of DiMarzio Evolution humbuckers, which replace the stock IBZ V7 and V8 pickups.  Middle pickup remains the stock IBZ S1.  This guitar sounds superb, due in part to the Evolutions and the pink and blue humbuckers add a touch of Steve Vai flavor.  It’s in excellent condition with no scratches or fret wear, and a nice, low set up.  This is a first-year 1570 and for a Japan-made RG, it’s an excellent value at $659(HOLD-Bud H 5/28).  Includes form fit Prestige case, manual, tags, trem arm, and tools.  

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

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

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

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

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

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

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

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

Ernie Ball Musicman Axis Super Sport HH with match headstock and tremolo, (front), (back/neck), (headstock), (case inside-pic w/different Axis).  Beautiful Orange Quilt with matching headstock, optional vintage tremolo, and lightly figured maple neck.  Many of you young players will say "that looks like a Wolfgang" but the roots of this model, the EBMM EVH, preceded the Wolfgang by around 8 years.  When Ernie Ball's contract with Ed was over they had to rename the model and although there have been several improvements since the EVH days, outwardly it is the same guitar.  Set up is perfect and Musicman's custom wound DiMarzio's sound fantastic.  Spec's of this model include Basswood body with a slab of bookmatched, figured maple on top, Maple neck with 5-bolt neck joint, Maple fretboard, 22 high profile, medium width frets, 2 custom DiMarzio humbuckers, Music Man tremolo, Schaller M6LA tuners with pearl buttons, Graphite acrylic resin-coated body cavity and aluminum-lined control cover, volume and tone controls with 3-way pickup selector, Cream body binding, 25-1/2" scale, 10" fretboard radius, and 1-5/8" nut width.   This baby is in beautiful shape with no flaws to speak of.  This model lists at $2475, selling online for $1732 but this great used one is just $999 with gigbag, or include the flight case pictured for $56 more. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2007 Gretsch Chet Atkins Tennessee Rose G6119-1962HT, (front), (headstock), (back), (case).  Just got in another one of these... Beatles fans will note that this one will take you back to 60's Shea Stadium, one of the most recognizable icons of '60s Pop.  With its vintage Hilo'Tron single coil pickups, "Rocking" bar bridge, Bigsby B6C Vibrato tailpiece, and simulated F holes, this quality thinline has all the features of the original 60's model.  Other specs include single cutaway hollow body with burgundy stain finish, 16" lower bout, 2" body depth, arched laminated maple top with multiple binding, laminated maple back and sides, 3-piece maple neck, black headstock overlay, rosewood fingerboard, neo-classic "Thumbnail" inlays, 22 frets, 12" radius, 25.5" scale length, 1-11/16" nut width, zero nut, 2 Hi Lo 'Tron pickups, 3-way pickup selector switch, stand-by switch, neck volume - bridge volume - master volume knobs, 3-position master tone switch, chrome hardware, Knurled Strap Retainer Knobs, silver plexi pickguard with embossed "Chet Atkins" signature.   In fact, all the cool features and all the vibe of the 60's model, but none of the problems - these are, quite simply, better guitars than the originals.  For full specs click here for Gretsch.  A new one will set you back $2199 but this '07 model is barely played and $700 cheaper at $1499.  Includes original Gretsch case and paperwork. 

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

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

1996 Ibanez RG-570FBL – Blue Flake, (front), (back), (headstock  back), (heel), (case).  One of the coolest finishes ever by Ibanez, and the subject of an advertising campaign in the 90’s.  I’m including a vintage ad with this model (shown here).  This was a higher-end Ibanez in the mid-90’s, finely crafted in Japan.  After a 12-year run beginning around 1990, Ibanez discontinued the 570, only to rename it the RG-2570 when they began production on the Prestige series.  The two models are one in the same.  Impeccably maintained for 18 years, this guitar is in definitely collector's condition with no noteworthy flaws.   The 570 features the same specs as the 550, with the 550 being the model with a pickguard rather than the sleeker look of the 570.  Features include Basswood body, Edge tremolo, IBZ USA pickups with V7-S1-V8, 24 jumbo frets, and a “tilt joint” neck attachment, which eliminates a neckplate and the beveled area makes playing up high a breeze.  Neck is the extremely thin and wide Wizard neck, made of one-piece maple with bubinga strips for stability, which is a shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  Whether you're a collector or player, you'll be thrilled with the playability and condition of this one.  A true pro quality Ibanez, in a rare color, for $650(SOLD-Kevin G 8/6).  Trem arm and original “Prestige” case is included and is in serviceable condition, with all latches replaced.  Note:  I have some cheaper 570's in stock.

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

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

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

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

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

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

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

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

2009 Fender Road Worn 50's Stratocaster - HSS Upgrade,  (front), (back), (headstock), (neck), (flamed maple), (pro route&electronics), (deluxe gigbag).  Another upgraded Roadworn 50's but instead of a trio of '69 pickups, this one was pro-routed for a Fender DH-1 Humbucker, plus an Abigail Ybarra '69 in the neck with the stock Tex-Mex in the middle.  It has a 3-way switch with the usual neck-mid-bridge pickups with a tone control for the humbucker and the middle tone control for the neck and middle single coils.  Two other things stand out about this Strat - a beautifully flamed maple neck (ever seen one on a Roadworn?) and a lightweight 7.4 lbs.  For many players, nothing beats the feel and vibe of a genuine vintage guitar, complete with chips, finish wear, oxidized hardware, and especially a broken in neck.  Fender's Road Worn series is a genuine Fender Relic guitar, but around 1/3 the cost of a Custom Shop model.  These guitars are excellent guitars in their own right and like the Relics, they feature an alder body with nitrocellulose finish with misc. finish wear, chips, dull finish, aged-looking parts, green guard, etc.   They also smartly chose to use large 6105 frets, which are frequently changed on vintage guitars as an improvement over the old small vintage frets, while retaining the vintage 7.25" radius.  The back of the neck has a worn finish for a great broken in feel, and that's what really makes these a joy to play.  Not just looks alone, these guitars are loaded with quality USA electronics and the quality tremolo with stamped steel saddles and heavy steel trem block.  You might think Fender would use their grade of woods on these guitars but at 7.4 lbs., it's an Alder body that's lighter than most custom shop Relics and the flamed neck would be extremely rare on a custom shop, other than a special order with a $250 upcharge.  Click here for Fender's site dedicated to this very cool series.  With a list price of $1199, this model sells new for $899 but it's likely going to be heavier and almost certainly won't have a flamed neck.  If you're considering getting one of these and having a tech turn it into a Fat Strat, with a DH-1 and '69, you're going to be at around $200 parts/labor.  This one's already done, plays perfectly, and is way less than stock at $729(HOLD-Michael D 11/8).  Includes the new style deluxe gigbag or add $79 to substitute this G&G Tweed case.  

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

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

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

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

Gibson Burstbucker 1 Humbucker.  Historically accurate "Patent Applied For" replica with airy tone and unbalanced coils.  Slightly underwound with a 7.48K output.  Alnico II magnets with 2-conductor shielded cable.  Although made for use in either position, many players prefer this in the neck, with a higher output in the bridge.  Cover removed but we can install one if desired.  These are $130-$140 new.  This one's just $69 or $79(HOLD-Brian N 6/10)  with cover installed. Note: We have some well worn nickel and gold covers if you want a vintage appearance.  

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

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

DiMarzio Soapbar P90 Set.  Excellent vintage tone, mid 7K's, with pronounced mids and highs, with a little less bass.  Includes cream covers, black foam spacers, and mounting screws.  Removed from a $2K Grosh and is a nice upgrade for most guitars for just $99/pair (HOLD-Greg C 11/25).

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

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

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

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

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

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

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

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

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

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

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

Mooer ShimVerb reverb pedal, (pic2).  Anybody who's built up a pedalboard knows how critical the real estate becomes, and any time you can save some space it's a very good thing.  Mooer pedals are just 1 1/2" wide but have all the tone and features of larger pedals.  They're built with a full metal shell, have true bypass, and run on standard 9V power supplies.  The Shimverb features three reverb types, Room, Spring, and Shimmer.  Room goes from room to hall, spring emulates the classic 60's spring reverb, and shimmer adds a rich overtone to the reverb, for a spacy, smooth and shining tone.  Here's a YouTube demo (link).  Sells new for $88 but this one's "as new" in the box for $59(HOLD-Brian N 12/4).  

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

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

Custom Joe Strummer Telecaster, (front), (headstock), (back), (aged hardware), (orig. pu's), (gigbag).  Ca. '08 Fender Joe Strummer body, complete with loads of factory wear, paired with a new-old-stock '90's LaSiDo Tele neck.  The body has professionally added arm and belly contours, which make it very comfortable to play, and is otherwise original.  The maple-cap neck (pic1 pic2 pic3) has been in stock for years and was built by LaSiDo, based in Montreal, who is the largest manufacturer of acoustic guitars in North America, with brands such as Godin and Seagull.  Back in the early 90's, when this neck was made, they were suppliers of bodies and necks for numerous companies including Valley Arts, Pensa-Suhr, Schecter USA, and others.  It's a top quality neck and had never been on a guitar until we built this one up.  The Strummer Tele was based on Joe's worn old Tele, originally a sunburst '66 model that he acquired in ca. 1972.   It features a highly distressed "road-worn" treatment that emulates the worn-to-the-wood layers of gray auto primer and flat black spray paint that Strummer famously used, as well as rusted or oxidized hardware.  Pickups have been upgraded to GFS dual-rail Tele humbuckers but the stock pickups, complete with heavily "worn" neck pickup cover, are included with the guitar.  We installed a nice set of German Schaller tuners so the guitar stays in tune perfectly.  I love the way this guitar sounds, with more mellow attack than a regular Tele, harmonically rich tone, and very good sustain.  While the pickups are humbuckers and quiet, they still retain clear note definition and a bit of twang, sort of a marriage of a Tele and Junior.  The set up is low and very comfortable, with medium jumbo frets that aren't excessively high like some jumbo's.  I especially like the contours, which are much more comfortable than the usual sharp corners of a Tele .  If you're looking for a comfortable, broken-in Tele with some vintage vibe, this one's hard to beat at $499(HOLD-Robert N 1/19).  Includes padded gigbag and original pickups.  

2006 PRS McCarty Soapbar with Rosewood Neck, (front), (headstock), (back), (neck), (tag/docs), (case).  I don't get many Rosewood neck PRS's, and now I get in a 2nd one within a few weeks.  This one is identical to an '03 McCarty, other than Soapbars instead of PAF's.  This solid Indian rosewood neck is a pricey option at $600 list, which is slightly higher than a "10" top option.  The benefits of rosewood over mahogany or maple, is better sustain and a warmer tone.  This is one of the original McCarty models with several features unique to this model, most notably a mahogany body that's 1/8" thicker than other PRS's, a headstock that's slightly thinner and with a greater headstock angle, and vintage style non-locking tuners, all of which are a nod to the LP which Ted McCarty designed for Gibson in the early 50s.  Other features include wide-fat neck, Seymour Duncan SP90 pickups, compensated wraparound stoptail bridge, and solid mahogany body.  The all-mahogany body, different from the "regular" McCarty model with maple cap, yields an even warmer tone, much the same as the 50's LP Custom "Black Beauty".  The finish is Indigo Blast, a very dark blue translucent stain with a hint of grain visible (the flash makes it look a bit lighter in the pics).  This guitar is in impeccable condition with the fantastic set up that PRS are famous for.  We fully conditioned the neck, a 3-day procedure, which brings out the attractive grain in addition to preserving the wood.  Another benefit of rosewood is it is one of the few woods that doesn't require a finish so all you feel is the natural wood, and it feel much silkier to the hand than anything else I can think of.  Compare this to virtually any other P90 guitar and for tone, playability, comfort, and looks, I think this is an exceptional value, especially with the optional RW neck.  $1499(HOLD-Duke T 1/20) includes PRS case, hang tag, and all other docs.  (lower on this page you'll find an identical guitar (pic) with PAF's instead of Soapbars).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2001 Gibson ES-135 Natural Gloss Finish, (front), (headstock), (back), (case).  First one of these I've had in a while and one of only 2 or 3 I've had with the natural ("blond") finish.  Throughout the run of the 135 it came in a number of iterations including different tailpieces (trapeze, Bigsby, or Tuneomatic/Stopbar), pickups (P100, P90, and PAF), full back/back with control plate, F-holes or no F-holes, finish (satin or gloss), and center block (Chromyte or balsa).  This particular model features the best of all features in my opinion, and is closest to the 60's ES-125TDC which it is generally patterned after, although the 135 has a slightly thicker body and is a semi-hollow while the 125TDC is a full hollowbody.  It has the same Florentine cutaway, gloss nitrocellulose finish, white body binding, screened logo, and dot inlays.  Models built after this one may have had a control plate on back, satin finish, no f-holes, and Chromyte center block, all attempts to keep the cost down.  Features include 16" laminated maple/poplar/maple body with gloss finish, 1959 rounded maple neck with rosewood fretboard, bound body, Grover keystone tuners, and chrome hardware.  This guitar is a stellar semi-hollow and stands up against the old ES-125TDC's that I've had.  It plays wonderfully, sounds rich, and is resistant to feedback, with the strong, in your face tone of P90's, without the associated hum.  Cosmetically the guitar is in beautiful condition overall, with a fantastic low set up.  In my opinion this model is closer to a "real" Gibson than any of the other versions.  As these were a very affordable Gibson archtop, prices on these have climbed in the last few years.  I think this is an excellent value at $1099(HOLD-Jack B 9/17) and while many came with a Gibson gigbag, this includes a nice Gibson case. 

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

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

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

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

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

Fender J Mascis Artist Series Jazzmaster, (front), (headstock), (back), (case).   Tribute to the alt/indie founding father J Mascis (Dinosaur Jr), this Artist Series was introduced in 2007, produced only in this stunning Purple Sparkle polyester finish with matching headstock, accented by a gold anodized pickguard.  Although the Jazzmaster was originally designed as model that should appeal to jazz players, it was quickly adopted as the un-official guitar of choice of surf music, and later found its place as a favorite among rock, alt-rock/indie players.  Players as varied as Jimi Hendrix (in his early days), Robert Smith (Cure), and Kevin Shields (My Bloody Valentine) - plus actual signature models for J Mascis and Elvis Costello.  Following on the heels of the bright cutting sound of the Strat and Tele, the Jazzmaster was designed for a mellow tone, and a tone that was hopefully going to compete with the fat humbucker tones of Gibsons of the era.  Features specific to the Mascis include Adjusto-matic bridge, reinforced tremolo arm housing, jumbo frets, flatter 9.5" radius, basswood body, J's signature on back of headstock, gold anodized pickguard and a satin finished neck for speed and comfort.  Other features include maple "C" shaped neck with rosewood fretboard, 25.5" scale, Gotoh Kluson-style tuners, 21 jumbo frets, 2 vintage-reissue single coil pickups, normal 3-way circuit with master volume and tone, Rhythm circuit volume and tone with controls on upper horn, and Vintage-style floating tremolo with lock button.  Compare this to the reissue Jazzmaster and the Mascis is much more playable: the combination of jumbo frets, flatter fretboard radius, lower action, and satin-finished neck make it much more easy to play, and true to Leo's original, the ’60s-style C-shape neck and offset-waist body contours are very comfortable whether sitting down or standing. The tone is pure Jazzmaster.  This guitar has a fantastic set up and is in perfect condition that's as clean as a new one hanging in your local store.  Fender stopped making these a while ago but if you missed one, here's one that's essentially new.  These came without case or gigbag but I'm including a quality used hardshell that fits the wide/long Jazzmaster.  $1099(HOLD-Guy S 7/19) includes case and trem arm.  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2006 Epiphone Sheraton II - MIK - Natural, (front), (back), (inlay), (headstock), (appointments), (case).  Great condition and another superb sounding Korean-made (Saein factory) Sheraton that has become sought out by players in the know.  I think Sheratons are probably our best selling semi-hollow and for good reason - for overall quality, playability and tone, and elegant looks, it's impossible to beat for the money.  The Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which was a model unique to that company, rather than an Epi version of a Gibson, which was the fashion in the early Gibson days  Today, models that are unique to the Epiphone line, including the Sheraton, Zephyr, Riviera and Emperor, are built to higher quality standards than their Gibson copy line (Les Paul, SG, Dot, Hummingbird, etc.).  The Sheraton does share design features with the Gibson ES-335, but the cosmetic appointments are much higher on the Sheraton.  The original Sheraton was outfitted with a Frequensator tailpiece but didn't gain much popularity until Epi changed to a stop bar and Tuneomatic bridge, i.e. the Sheraton II.  Like the Gibson ES-335, the Sheraton has a laminated maple body, top, back, sides, which, with it's bright tone, works well with the darker tone of PAF humbuckers.  Unlike the Dot's mahogany neck, the Sheraton features a 5-piece maple neck, for maximum stability, capped with a rosewood fretboard.  High-end cosmetics include gold hardware, multi-layer binding on all edges including body, fretboard, neck, and headstock; abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay, and 6-layer tortoise pickguard.  It's capable of high gain without feedback, which makes it attractive to rock players, but sounds equally good on more mellow jazz or blues.  Cosmetically it's in lovely shape with no noteworthy flaws.  It has a fantastic setup with low action.  These were more expensive years ago, but Epiphone rightly dropped the price when production moved to China, thus the list price was lowered to $1042, not including a case or gigbag.  I'll hold the quality of this Korean model to any archtop import on the market today.  If you appreciate the quality difference on the MIK models you know this is a better value.  Get this one for $499(HOLD-Kevin K 12/19), including Epi case with slick leatherette covering.  

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

2012 Ron Kirn Barnbuster - ca. 1838 Loblolly, (front) (front-2), (side), (back) (back-2), (headstock), (hangtag), (case).  Some of you inquired about an Ron Kirn "Ancient" Tele I had a few months ago.  That one was from a building from the late 1400's, with growth rings dating to 700 AD.  While this one isn't as old, it's ancient wood in guitar terms, made from a piece of Yellow Loblolly Pine dating to 1838, 175 years ago.  If you're one of the many players who believe that old wood is the best tone wood, what could be better than this, a Tele built in the same fashion as Leo Fender's first Pine Telecaster.  Like Leo, Ron doesn't use any CNC machines and uses more of a hand-made process than just about any builder today.  He hand-applies genuine Nitrocellulose lacquer, free of the additives most companies use in their nitro finishes today.  Although he outsources guitar necks, they are finished in the same nitro that he uses on the body.  He also levels, crowns, and polishes the frets on every guitar to ensure maximum playing comfort and the best action.  A fret level and dress alone runs around $175; it's standard on all of Ron's guitars.  The back of the neck is hand burnished to give it a vintage feel in the same manner as Fender's original guitars.  Other makers use a satin finish which is a different chemistry to the nitro and not Leo's style.  Specs on this guitar include: Pine body shaped to 1950 Broadcaster specs, Genuine Nitrocellulose Reticulated Satin Lacquer with natural amber tint, one piece Maple neck with "Skunk Stripe" and Vintage Tinted Nitrocellulose lacquer, 9.5" fretboard radius, 21 Medium Jumbo Frets, Vintage Fat Back Neck Carve with hand lapped back and fully polished headstock, 1 5/8" nut width, Natural Bone Nut, Vintage Style Gotoh Tuners with 16:1 ratio, Wilkinson Vintage Bridge with style 3 compensated saddles, Ron Kirn hand wound vintage style pickups, 4-way pickup selector, around 8.2 lbs.  For full info click here for Ron Kirn's site and here for a lively discussion on TheGearPage.  Ron has Barnbusters on sale right now for $1650 but this one is virtually unplayed and I can state without reservation that it's one of the good ones.  $1279(HOLD-Ric 1/20) and includes original MBT Ultralight case in likewise mint condition, plus manual.  

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

2006 Ibanez Joe Satriani JS-1200 Candy Apple Red, (front), (back), (side), (headstock), (Edge Pro #2), (case & acc.).  Collector's condition and a fantastic playing Satch.  Ibanez makes various models in the JS range with this being one of the higher end  Japanese models from Team J-Craft.  Features include Joe's choice of DiMarzio's with a "PAF Joe" in the neck and a "Fred" in the bridge, each with a push/pull pot to split the coils (shown here).  Other features are Edge Pro tremolo, 25.5" scale, Ibanez' own Aerofoil body design, 1-piece maple JS Prestige neck with tall and narrow 6105 frets and a slightly flat (around 10") fretboard radius, Abalone dot inlays, and Basswood body which falls right between Alder and Mahogany tonally for a nice mix of warmth and clarity.  The Precision-sculpted body is light on the shoulder with otherworldly looks; less than 1" thick at the edge, contoured to a full depth in the middle, borrowing from the original Saber body.  It has a sculpted cutaway and beveled heel for great high-fret access (shown here) and, frankly, it has some of the sexiest curves you find on a solidbody.  For me, this guitar represents the pinnacle of Ibanez manufacture.  I've had plenty of other higher end models like Anniversary Jems and other signature models, but for pure playability and tone, I haven't found anything that beats it in Ibanez' current line up.  The Edge Pro is one of the best locking systems I've used.  Very comfortable on the heel of my right hand, very accurate, and impervious to string slippage.  This guitar appears to have seen little to no playing time and is cleaner than the new models hanging in your local super store.  For full specs click here for Ibanez' site.  Includes original Ibanez Prestige case, manual, trem arm, tools, and zippered bag.  With a new one going for $2199 ($2933 list), this one is "as new" and a great value for the player at $1350(HOLD-Tim C 7/2). 

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

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

2013 Ibanez Premium RG920QM, (front), (bent top), (headstock), (back), (trem), (radiused fret ends), (gigbag and tools).  Lots of high end Prestige features but affordable.  The new Premium line was built to offer guitars that rival their high end Prestige series in a price range that's accessible to many more players.  Made at a dedicated Ibanez Premium factory and built to Prestige standards they look, feel, and sound like guitars costing twice as much.  The first thing that struck me was how great the neck felt, especially the fretboard edges.  I looked closer and discovered that this guitar had hand-rolled fretboard edges, which I have only seen on guitars in the $2000+ price range.  It's a very labor intensive feature but it's something that sets this guitar apart from anything near the price.  It also features premium grade, select woods, a Wizard Premium neck with the same construction and thickness as Prestige Wizard, DiMarzio pickups, and ultimate tuning stability with Edge-Zero II bridge/tremolo with ZPS3.  The ZPS3 is the next stage of zero point systems. Made of lightweight Duralumin, the addition of two outer springs makes the guitar easier to tune and provides much greater tuning stability.  Using just your thumb you can adjust the tremolo tension from fully tight where it's like a blocked tremolo, to very loose where it has the soft feel of a Bigsby or Kahler Pro.  Cosmetically, it doesn't get much nicer, with a "bent" top of quilted maple over American basswood body, matching quilted maple headstock veneer, wood neck binding, bound body, and pearloid headstock logo.  With a list price of $1408, you'll find these everywhere for $949-$969.  This one's in mint condition, with a spectacular in-house set up, for just $575(HOLD-Dan M 1/20).  Includes original Ibanez gigbag, trem arm, and Ibanez multi-tool.  

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

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

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

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

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

2013 Fender American Vintage '56 Stratocaster - Black, (front), (back), (headstock), (case) (strap).  First one of these new (debut 2012) American Vintage models we've had.  After over 30 years with the '57 and '62, Fender discontinued them in favor of the '56, '59, and '65 Strats.  The main difference I noted when comparing this to the old '57 is the 10/56 "boat" neck on the '56, which is much more substantial than the V-neck on the '57, and the nitro finish seems to be applied in a way that looks, and perhaps sounds, more like the genuine guitars built 50+  years ago.  It appears thinner than the older vintage series, and even on a new guitar you can see hints of finish sucking and raised grains.  It's also lighter weight than most V57's.  According to Fender, their R&D department dissected many vintage instruments to build guitars which were cosmetically, sonically, and electrically closer than ever to the originals, even going as far as restoring some vintage tooling.  The result is a selection of guitars that is closer to the "real thing" than anything Fender has ever offered outside of the Custom Shop.  The vintage series feature bone nut, 7.25" fretboard radius, 1.650" nut width, 25.5" scale, 21 vintage-style frets, and alder body. They are designed as vintage NOS (new old stock) with no artificial aging or weathering. Fender even remade paper/oil capacitors, although they come with modern 5-way pickup selectors, although the correct 3-way is included in the case. Pickups are the" new vintage” made to period-correct specs, and based on the sound of the original model. They sound much closer to the genuine 50's guitars that I've played. Fender has finally tied Gibson's Historic series for massive amounts of case candy and they now include loads of “vintage replica” paperwork for the original model year, as well as a manual, vintage wiring diagrams, as well as a load of other stuff.  This guitar is in unplayed condition, although plastic film has been removed from pickguard, and we've given it a set up that's better than factory.  Before plunking down $2299 for a new one, perhaps consider this beautiful '56 for just $1599(HOLD-David Z 5/13).  Includes G&G/Fender tweed case, original hangtags, vintage strap, bridge cover, 3-way switch, and a huge assortment of other case candy pictured.  

Fender 60's Classic Vibe Strat Neck, (pic2).  Rave reviews for these Classic Vibe series, much of which because of the feel and set up of these necks.  Neck has a tinted gloss finish all over, 21 vintage frets, 9.5" radius, single string tree, modern C-shape profile, synthetic bone nut and white dot inlays.  It's in immaculate condition, set up perfectly on a guitar, and a quality neck for $150 without tuners, $179(HOLD-Ed L 3/10) with tuners.  

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

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

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

2012 Fender Custom Shop '56 Stratocaster NOS - Mary Kaye, (front), (headstock), (back), (inside pic), (case/acc.).  Although not officially named, this one is essentially a Mary Kaye Strat with a transparent white blonde ash body and gold hardware.  In 1987 Fender's very first run in their new custom shop was an identical looking Mary Kaye Strat, based on Mary's original 1956 as featured in Fender advertising back in the era.  Neck is rather substantial, the 10/'56 V-shaped "Boat" neck, which is rather deep, with a soft-v profile.  One departure from an original '56 - this model features medium jumbo frets.  Fender finally got hip to the fact that pretty much nobody likes tiny vintage frets.  Features of the '56 NOS include premium ash body, trans ebony burst finish (nitro lacquer), 10/56 Boat neck (nitro finish) with modern 9.5" radius, medium jumbo frets, Custom Shop 50's single coil pickups, vintage Strat controls with 3-way switch, American Vintage synchronized tremolo, Fender/Gotoh Vintage Tuning Machines, Nickel/Chrome hardware, single-ply white pickguard - 8 hole, and bone nut.  Cosmetically there aren't any scratches from playing, and frets are perfect, but there are two small areas where the finish has chipped off (pic) which we have touched up (pic).  This model is available new online for $3600 but save some dough and get one that's guaranteed to be lightweight (7.7 lbs.), resonant, set up exceptionally well.   Almost 1/2 the price of a new one at $1950(HOLD-Brian C 2/28).   

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

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

2002 Gibson '60 Les Paul Classic - Ebony, (front), (back), (headstock), (case).  A striking looking Paul with a high gloss Ebony finish, accented with gold hardware.  The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.  The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched.  Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock.  Mars Music (RIP) did a special run of around 500 pieces of the '60 Classic in an Ebony (black) finish which is a solid (non-transparent) finish.   Features of the "1960 Classic" are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers.  Just like the Standard it features a mahogany body with maple cap.  The only visual difference, other than the uncovered pickups, is the "Classic" screened logo and truss cover, vintage-style inked serial number, and "1960" on the pickguard.  It also features 12" fretboard radius, light amber top-hat knobs, cream plastic parts, inlaid pearloid logo, and aged-looking trapezoid fretboard inlays.  Other than some light scratches in the clearcoat only, this guitar is in very nice shape with excellent frets and a comfortable, low set up.  Gold hardware exhibits little to no wear.  All original other than Schaller locking strap system (strap end included).  A nice Paul for $1499(HOLD-Ian C 6/29).  Includes original black case in nice shape. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Schecter USA Custom Shop PT, (front), (back/neckplate), (binding), (bent top), (quartersawn neck/body date), (headstock), (case).  If you're a player who's not afraid to try something different, here's a fantastic custom shop Tele style.  The PT, although never officially endorsed by Pete Townshend, got its name through Pete's use of this model (as shown) from around '79 to '88.  Pete apparently did allow his name and a quote to appear in print ads in ca. '83, but it was never called the Pete Townshend model, rather it didn't even have a model name.  Around '86/'87 it was named the Saturn and later, simply PT.   Here's a pic of one of Pete's, serial S8474 but they all shared the same features; bound Tele style body with dual humbuckers, fixed bridge, single volume and tone, with a 3-way switch.  Although imports of this model are fairly common, the custom shop models at more than 5X the price, are rather rare.  Tom Anderson got his start working Dave Schecter in '77, staying on until '84.  I don't think Tom is credited with designing this model (rather, Roger Giffin), I do sense an Anderson vibe to it.  Anderson influence appears to be body with a forearm contour (i.e. "bent" top) with black body binding, dual strap pins on the bottom end, and contoured heel for easy access to the upper frets.  More than anything, the pickups are dead ringers for Tom Anderson including the large pole pieces, textured top, and the same exposed wiring underneath as shown in this side/side comparison.  The only difference I see is the brass band around the Schecter.  Other features include solid one-piece mahogany body, coil taps for each pickup via push-pull volume and tone pots, Sperzel locking tuners, string-thru-body, fixed bridge, small control cavity on back, nicely figured maple neck (pic) with rosewood fretboard, Dunlop strap locks, all cavities with shielding paint.  Cosmetically, I don't see a scratch anywhere and frets are 98%.  It's an exceptionally nice playing guitar with a sweet tone and a great selection of tones.  A new USA PT lists at $3190, selling for $2399.  This one is barely played and an amazing deal for $999(HOLD-Jason G 3/20).  Note: I also have a great one-off Custom Shop Tempest "Vargas Girl" graphic in stock (shown here).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2012 Fender American Standard Stratocaster - Mystic Blue, (front), (back), (headstock), (case).  Mint condition with a cool finish.  This one has the latest specs from Fender including Custom Shop Fat '50s pickups.  Additional updates of this model include fretboard polished to a high gloss for beauty and comfort; a new copper-infused, high-mass, 100% metal bridge for better sustain;  neck now has gloss finish on the front, satin on the back to allow your hands to slide easily up and down the scales; Delta Tone system: a no-load tone control for middle and bridge pickups, taking the tone control out of the circuit when turned all the way up while also providing a tone control to the bridge pickup.  Other features include new American Standard bent steel bridge saddles, staggered tuning keys, and a thinner undercoat for better body resonance.  One cosmetic mod has been done with a white pearl pickguard replacing the parchment, but the stock guard is included if you want to switch it back.  This finish, Mystic Blue, has the overall color of Lake Placid Blue, but with much more silver flake in the finish.  It  really is a nice look.  These are going for $1299 ($1729 list) new but this one's "as new", with the new style Fender case, strap, cable, polishing cloth, tags, etc., and is just $875(HOLD-Tod W 2/19).  

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

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

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

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

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

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

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

1983 Takamine F309 00-Size, (front  front-2), (back), (neck), (side), (headstock), (gigbag).  This is one of the so-called Martin "lawsuit" guitars, which is a misnomer in the same way that many Japanese electrics from this era are referred to as lawsuit.  Gibson did file a suit against Hoshino (Ibanez) based on the similarity of their headstock design, however, the public has taken to calling countless other guitars "lawsuit models".  This includes Fender copies, which were never involved in any litigation, and Ibanez models that didn't have Gibson's "open book" headstock design.  In the case of Martin/Takamine, no lawsuit was ever filed, rather a cease and desist letter convinced Takamine to change certain elements, most obviously the logo design which appears nearly identical to the Martin logo.  On to this wonderful all-mahogany F309.  It has the warm, rich sound that you would expect in a mahogany guitar but despite it's smaller body, doesn't sound at all boxy the way some 00's can sound.  I've seen various references to Martin measurements on their 14-fret 00 models and this one is within the same range, measuring 14 3/8" X 9" X 11".  Tak used some quality woods on this guitar including some very dark rosewood on the fretboard that looks like ebony from a few feet away.  Cosmetically, it's in very nice shape, especially for 30+ years, with only some clear coat scratches, the worst being visible in the pics on the bass side of the sound hole.  It has obviously been played very little.  The set up is low and with a neck that's fairly shallow, it's very conducive to finger style work.  Japan-made Tak's are lifetime guitars, ones which can be handed down through generations and for a quality "lawsuit" model, a nice deal at $729(SOLD-8/7/15).  Includes well-padded Walden gigbag.  

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

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

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

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

1990 Gibson Les Paul Custom - Heritage Cherry Sunburst, (front), (back), (headstock), (case).  An excellent era for Gibson was the late 80's and early 90's when there was plenty of quality, well-seasoned tonewoods, and production numbers were significantly lower than later years.  While I think there were certainly some good guitars built during the Norlin era (ca. '74-'86) it was hit and miss, and overall it wasn't one of Gibson's finest periods.  By the time this guitar was built in 1990, Gibson had been privately owned for 4 years and they were quickly regaining their fine reputation.  The Les Paul Custom has been around since 1957, with a reputation as the Cadillac of the Gibson solidbody line.  It's noted for high-end features like ebony fretboard, multi-ply body binding, bound neck, multi-ply headstock binding, gold hardware, inlaid logo and split diamond on headstock, and pearl block inlays.  With it's maple top and mahogany body, the Custom has the classic LP tone that has defined the history of rock music and this one was built before Gibson hollowed out their bodies so it's not as light as today's Customs, but not a boat anchor.  It's in excellent condition with little to no player's wear, frets are perfect, gold wear is minimal.  It is a lively body with very good acoustic volume and commendable sustain when plugged in.  With the price of Customs now at $4K, many players are looking to used ones as an alternative, especially ones that are 24 years old and built in a period where production was a fraction of today's production.  Excellent Custom for nearly 1/2 the price of a new one at $2250(HOLD-Peter N 10/31).  Includes newer Gibson black case. 

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

2013 Gibson 1961 Les Paul Tribute, (front), (headstock), (back), (sideways vibrola), (case).  NOS and unplayed Limited Edition (unnumbered) model that pays tribute to the "new" (in 1961) Les Paul.  Through 1960 the Paul was the single cut model that comes to mind whenever you think of a Les Paul, but in '61 Gibson changed the styling to a solid mahogany double-cutaway with beveled edges, finished in Cherry.  Les himself was never a fan of this model and, contractually, Gibson wasn't allow to use his name after '63 so it was a short-lived model under the Les Paul name.  After '63 it was renamed the SG and these early models are commonly called "Les Paul/SG".  It's refreshing to see that Gibson's back to using real rosewood again, albeit very dried out rosewood when it came in.  Just look at the parallel grain (pic) which Martin says is the same top grade that they use for the backs of their higher end acoustics.  Pic also shows how dry the fretboard was, but once Martin applied his special conditioner, it's as rich and dark as it's supposed to be.   I'm also happy to see Gibson using the sideways vibrola on something other than ultra-expensive historic models.  This stylish "Deluxe Vibrato" (commonly called "sideways") has been vastly improved over the original model, operating smoothly and returning to pitch properly.  I love the feel, with a light touch, but not spongy like a Bigsby.  It works great.  The body and neck are lightweight Grade-A mahogany with excellent resonance and sustain, finished in tone-enhancing nitrocellulose lacquer.  Likewise, the rosewood fretboard is Grade-A, with lovely grain and (when treated!) a nice, dark appearance.  Gibson also uses two PAF-style ’57 Classic humbucking pickups, and historically accurate plastics.  It features a quarter-sawn mahogany neck with a slim, well-rounded profile and 22 jumbo frets, glued into the body with Gibson’s acclaimed mortise-and-tenon neck joint.  Cosmetically, it sports, vintage cream binding, acrylic trapezoid fingerboard inlays, and a mother-of-pearl headstock logo and holly inlay, black top hat with silver volume and tone inserts, an early ’60s style five-ply black plastic pickguard, and traditional black-and-white “bell” truss-rod cover hot-stamped with “Les Paul”.  Factory set up was lousy but Martin easily fixed that and it plays as beautifully with low action and perfect intonation.  A new one will set you back $1659, this one is unplayed, perfect, and just $1199(HOLD-John 8/12).  Includes original case, manual, and assorted paperwork.  

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

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

·        Pine Island T Style - Ash Body with Padouk Cap,  (front), (headstock), (back), (side), (pickups).  Very unique Tele with the primary distinction of its Padouk cap over the ash body.  Padouk is actually in the rosewood family and the marriage with ash is an interesting combination.  It's not as mid-rangy as most Teles and tends to have more highs and lows with makes it a better rock guitar than most Tele's.  Front and back have a nice rolled edge so it's very comfortable to the body and forearm.  The neck shape on this one is a modern C shape with 22 medium jumbo frets.  For pickups it has a set of GFS Hot Vintage which have large pole pieces which tend to keep the string volume the same during bends.  It also features Gotoh hardware with gold plating,  Tonally, you can get a nice serving of Tele twang out of the bridge pickup, but with a much thicker tone on the neck than an all-ash or alder Tele.  Probably due to the Padouk top, it doesn't have as much of a fast attack as an all-ash body and the notes tend to bloom a little later after the attack but it blooms longer rather than quicker.  Ash and Padouk aren't light woods so keep in mind this is a bit heavy at 9.4 lbs.  Set up is excellent with low action and easy double stop bends.  If you want a more traditional look we can always add a Tele pickguard but this top is so attractive, it's nicer having it all exposed.   This one's just $599 with a hardshell case(HOLD-Ken H 5/7/15).  

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

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

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

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

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

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

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

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

1999 Fender American Standard Stratocaster - Black, Rosewood Board, (front), (headstock), (back), (body/neck), (electronics), (case).  Last full year American Standard, in very nice shape.  These guitars are the modern day workhorse instruments for countless professional and semi-pro guitarists and other than a logo change in the early 90's, is nearly identical to the original American Standard that made its debut at the Fall '86 NAMM show.  I've sold 100's of these over the years and it remains, for us, the top selling guitar in any price range.  I've written so many descriptions of these that I'll skip the details, other than to say this guitar is 100% original, other than the serial number inexplicably removed.  We dated the guitar by various dates on the body, neck, and electronics.  Nothing inside has been messed with and I feel safe in saying that this is an all-original '99, last full year for the first version American Standard.  One thing Martin noticed, is that this guitar has much more of the Strat "quack" in positions 2 and 4 than your average American Standard.  Too often attributed simply to pickups, it is more often a characteristic of the tone woods and obviously not every piece of alder sounds the same.  Tonally, this one is clearly a cut above, with a nice low set up which will combine to make this your "go to" Strat.  Cosmetically it's in clean shape with no scratches through the clear coat and frets are excellent as well.  With new Strats running $1299, how about a nice '99 model for just $679(HOLD-Local-Wed 1200).  Includes case and paperwork.  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DiMarzio Strat Pickguard - Area '58 and '61.  Three new DiMarzios with a used pearloid pickguard.  DiMarzio truly achieved a vintage tone in a no-hum pickup with their "Area 58" in middle and neck, and "Area 61" bridge.  It excels at responding to dynamics, either by picking style or volume control, and can go from clean to aggressive.  DiMarzio was going after a '58 and '61 Strat tone in designing these pickups and they've done a good job.  This is the same set up in my Lincoln Brewster pickguard I posted/sold last week and I'm a fan of this set up.  They sell these as a 3-pack for $229 for just the pickups but here's a brand new trio with a Fender pickguard for just $179 or, upon request, we'll install USA pots and switch so it's "drop in ready", for $209(HOLD-John G 1/12).  

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

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

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

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

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

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

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

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

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

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

EMG DG-20 David Gilmour Assembly, (back).  Pre-wired pickguard assembly that comes complete with a pearl white pickguard loaded with a trio of EMG-SA pickups (ivory), SPC Presence knob (don't confuse with "Presence" on an amp), and EXG Guitar Expander knob, volume control, and 5-way switch.  These are excellent pickups by themselves, but add in the active SPC/EXG preamps and you've got a load of power in your hands.  The SPC actually performs like a mid-boost and makes single coils sound very fat, like humbuckers, while the EXG conversely scoops the mids and boosts the bass and treble frequencies. Click here for some good reviews on the DG-20 at UltimateGuitar.  The DG-20 guard sells new for $299; this one is perfect and just $199. 

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

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

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

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

1993 Fender Strat Plus w/Custom Pickup Switching,  (front), (back back wear), (headstock), (pickups), (saddles), (electronics), (case).  I've had this custom pickguard for years and we finally got around to using it.  It's cut for an extra pickup to be installed between the bridge and middle pickups and a wider tonal variety.  We used a prewired '96 American Standard Strat assembly and added another American Standard for the 4th pickup.  We removed the bottom tone pot and replaced it with a mini 3-way switch, wiring the middle knob as a master tone for all 4 pickups.  The three way control is:  bridge pickup, bridge and extra pickup, extra pickup alone.  With the 5-way selector all the way back you get:  mini-switch in middle = back two pickups, mini-switch up = added pickup only, mini-switch down = bridge pickup only (standard Strat).  With the 5-way in the 4th position you get your choice of  middle/extra/bridge, middle/extra, or middle/bridge (standard Strat).  You get some very cool tones with this set up and when you roll back the tone it gives you a partially-depressed wah sound, heavy in the mids.  The only other mod is GraphTech "String Saver" graphite  saddles, which reduce breakage and stay in tune better than the stock cast saddles.   As you can see in the pics, the fretboard has plenty of wear on the face as well as the edges.  Some manufacturers offer "rolled" fretboard edges to emulate the feel of a well worn neck, making it faster up and down the neck and generally better feeling to the hand.  The back of the neck has some fine cracks in the finish only - no wood cracks anywhere on this guitar.  Other than the pickups and saddles, this guitar is 100% stock '93 Strat Plus.  The back of the body has one area that is worn down to the wood but that's the only area that's worn through.  The Plus also features precision locking tuners, Hipshot Tremsetter, and LSR roller nut, all of which are enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This "Tremsetter" by Hipshot is attached to the tremolo block inside the tremolo cavity.  It adds tuning stability by returning the trem to the "zero" position when not in use.  You can play right-hand bridge harmonics, aggressive rhythm, palm mute the strings, or do bends without the other strings going out of tune and the bridge stays put.  Other features include Schaller locking strap pins, TBX tone control, tilt-adjust neck accessible through a hole in the neckplate, 3-ply pickguard, modern 9.5" radius, truss rod adjustment on the headstock, and bold silver logo (near the end of the run for this logo).  Despite the heavily worn fretboard, the frets are in decent shape and since it has an excellent neck, devoid of twists and humps, the action is very comfortable. At around 8 lbs., it's a good weight for an American Standard with a nice lively body and good sustain.  Includes more recent Fender molded case and trem arm.  If you're looking for a Strat to give you some unique tones and not afraid of some honest wear, you can have this very cool Blackie for $950. 

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

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

2005 Baker B1 Supreme 24, (close-up), (headstock), (push/pull pots), (back), (straplocks), (long neck tenon/pu's), (case).  One of the best players we've had in the past 3 years!  Killer looks and superb playability are the hallmarks of this Baker Supreme.  With its arched maple top, perfectly bookmatched flamed maple, and gold hardware, this thing is a real head-turner.  This is the first Baker I've had in stock and there isn't a lot of info available on them other than Ed Roman's (RIP) hype (link here), but as he eventually became the sole distributor, he was a bit biased.  I got this guitar from the original owner, who asked the question at the top of the page, asking about the country of origin.  His question was never actually answered but from my experience I'm inclined to think that this guitar was crafted in Korea, but I will add that it's as fine an import as I've had.  A comparison to PRS isn't out of line as both guitars have a similar look, feel, and vibe.  It was recently removed from the Roman's "in stock" section (link) but it had an $1895 list price and it sold for $1395 to my customer.  Features of this Supreme 24 include flamed maple top, mahogany back, ebony fingerboard, bound body and neck, matching flamed headstock, full crown inlays, Black Magic Pickups with vintage-style braided wires, gold hardware, Dunlop strap locks (we added), push-pull coil taps for each pickup, Tusq nut, and precut for Buzz Feiten system (I'm not sure what that means).  It also features a long neck tenon, with the neck extending nearly to the end of the neck pickup.  This beautiful Baker came to us in immaculate condition, except for a 1" finish chip on the back edge.  Martin filled it and buffed it out so you can't feel it and can barely see it (picture here).  Other than this small issue, the guitar is immaculate.  The fault I can find with this guitar is the beautiful gold top-hat knobs are difficult to pull in the "out" position; you might need a fingernail to do it easily.  I would rate this guitar as high or higher than imports by PRS, Brian Moore, Schecter, or any other quality Korean model.  If you've wondered what the hype was about with Bakers, save 1/2 of the new price and get this beautiful used one.  $699 and it includes a quality brown case with plush lining. 

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

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

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

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

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

1996 Fender Stratocaster Plus- Sunburst - Rosewood Board, (front), (back), (headstock), (case).  Very nice Plus model in 3-tone sunburst with a rosewood board, for a real vintage vibe that's straight out of the early 60's.  The Strat Plus made its debut in 1987 and had a very successful 13-year run, ending in '99, which was the last year of the American Standard, replaced by the American Series, with the "American Deluxe" replacing the Strat Plus as Fender's premium production model.  When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups - and no magnetic string pull to kill the sustain of the strings.  The Gold Laces (50's Strat sound) on this model are the same pickups used on the early Plus models as well as on the Clapton and Buddy Guy signature models; both of whom toured with these stock Laces for many years.  I'm a big fan of these pickups as they're the best I've found for zero hum while retaining that vintage Strat tone.  The Plus also features precision locking tuners and LSR roller nut (or Wilkinson cam nut on early models), enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure.  This one's in excellent condition overall with the only flaw being some buckle scratches on the back (shown here) in the clear coat only.  Frets are in excellent shape and the set up is spectacular with low action and no choking out on bends.  This one comes with a new Stew-Mac truss rod adjustment tool (shown here) since someone used a wrong size allen key at some point, but the Stew-Mac tool is beveled and made for this very purpose.  Lettering on the pickups is still in nice shape which usually indicates a guitar hasn't seen much playing time.  It's shown without back cover but remind me and I can install one prior to shipping.  Includes trem arm, springs, and original "Plus" case with deluxe latches and gray interior.  This is a very nice Plus model for $1050.  

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

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

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

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

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

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

2007 G&L Asat Classic Tribute, (front), (back), (headstock), (pickups/bridge), (Deluxe Gigbag).   I think G&L's Tributes are the best quality imported traditional guitars (i.e. guitars with their roots in the 50's/60's), on the market.  Companies like Fender and Epiphone produce some good quality imports but they make a major compromise on pickups, for which their tone falls short.  The only exception I can think of are Japan-made Fender and Epi Elitist, but these are guitars that cost almost as much as their USA counterparts.  G&L's Tribute series, on the other hand, use the same USA pickups and some of the hardware as their American lines.  Quality parts alone mean little without quality control on the overall product and the Tribute series has that under control as well.  In my opinion, these guitars are 75% as nice as the USA models at under 50% of the price.  The G&L Tribute ASAT Classic has a toneful swamp ash body and features G&L Magnetic Field Design single coil pickups with the bridge pickup mounted in a traditional boxed steel bridge.   Other features include Hard Rock Maple with Maple fingerboard, 9" modern fretboard radius, 1 5/8" nut width, and traditional T-style control plate with 3-way, volume, and tone.  This is a remarkable guitar at its price point, offered in flawless condition, and a killer playing, excellent sounding Tele style for just $399.  Includes G&L gigbag, one of the best gigbags on the market.  

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

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

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

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

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

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

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

2007 Taylor SBS-1 Solidbody Electric - Dual Hums with Quilt Top, (front), (back), (headstock), (bridge), (case).  Yet another fine Taylor Solidbody!  I've been impressed with these Taylor Solidbody guitars since I got my first Taylor T3/B a year ago.  Like the T3/B, these SB1-S's are impressive guitars with a beautifully figured maple top over a chambered mahogany body, finished in Cherry Sunburst. I've also had plenty of the T5's and while the T5 is an excellent guitar, its tone wasn't conducive to playing as many styles as an electric player would want.  The SB-series takes Taylor further into the world of electrics and can be evaluated as a true electric.  Speaking of electrics, this one has a pair of Taylor-designed direct-mount humbuckers, with 5-way switch, for a useful palette of tones.  Other features include tropical mahogany neck with ebony fretboard, ebony headstock overlay with inlaid logo, chrome Taylor tuners, gloss finish throughout, bone nut, and Taylor's own aluminum bridge.  This bridge is the most ergonomic bridge I've felt, with individual saddles, each smoothly contoured for comfort, wherever your hand may rest.  You'll note the single bolt neck attachment, which uses Taylor’s T-Lock design, which makes it easy to adjust the neck angle and eliminates the heel, plus electric frets instead of the acoustic-style frets used on the T5.  The tone control features a unique mid boost circuit that allows the control to function normally over the first two-thirds of its rotation, while over the last third it kicks in a midrange peak that sounds similar to a “half-cocked” wah pedal.  Taylor made its name based largely on their superb playability and this guitar will not disappoint fans of low action.  For full specs on this model, click here for Taylor's site.   The SB1-SP lists at $2698 and sells new for $1999.  This one is in perfect condition and has one of the best looking quilted maple tops you'll find on a Taylor.  It's a super nice deal at $1199(HOLD-Big Jim 1/21).  Includes original Taylor case, warranty card, and spare parts.  (Note: I also have one with switchable pickups, outfitted with 3 Mini-Hums, shown here).  

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

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

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

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

Louis Electric KR12 - 100 year old pine cabinet, (back), (top).  AKA Keith Richards Signature Model - and one of the early ones when Louis was using a small supply of 100-year-old pine for their cabinets.  I can't believe I've had two KR-12's in a month.  One of the best boutique amps I've had and definitely lower production numbers than most other makers that are referred to as boutique.  This one is unlike anything I've had.  In addition to some of the most serious tone I've ever heard out of a combo, it's much more versatile than most, and although the panel has a vintage Fender look, the tone is much, much more.  This amp is a gain monster - if you want it to be - but also is capable of more traditional crystal clean tones depending on how you plug in.  The key to the gain structure is via the 4 inputs, each voiced with different amounts of gain.  Combine this with the footswitch (or simply a dummy plug), and you can increase the gain to a moderate high gain setting - up to total shred by merely plugging your guitar into a different input and/or selecting a different 2nd input for the footswitch (or dummy plug).  I'm not going to go into the full rundown here, especially with so much info on Louis' Site (click here), complete with sound samples, a review by Guitar Player mag (PDF link here) where it won an Editor's Pick award., and even some pics of Keef himself, good looking chap that he is.  Around 4 years ago it was sent it back to Louis to be brought up to current specs (as in the GP Mag review), primarily a larger transformer which increased the output from 30 to 40 watts, and adding a Negative Feedback adjustment pot, easily accessible via the back panel, see arrow in this pic, (also shows dovetail corners and speaker).  The amp also has a Bias Adjust pot located on the chassis which makes it a easy to switch power tubes - from KT66 to 6L6 to it's current set up - a pair of Ruby EL34's.  This amp is a beast, and I say that with great compliment, when you want it to be - or it can be the sweetest tone you'd ever want, replete with loads of clean headroom.  It is, of course, hand-wired, but Louis also takes pride in the fact that they hand-build their own components such as circuits and transformers.  The current model sells for $2600, but that's with tolex covering - these ancient pine boxes are long gone.  In many ways this is the best amp I've used, and certainly the most versatile good-sounding amp - for $1899(Tent. Hold – Jeff 6/19).  

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

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

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

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

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

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

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

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

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

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

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

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

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

2008 Ibanez Joe Satriani Signature JS1600PSL - Premium Silver, (front), (push/pull pots), (headstock), (flamed neck), (back), (contoured heel), (case).  Top quality Japanese Ibanez and unlike most Satch signature models, this one's a hardtail.  I've spoken many times of the advantage of a non-tremolo bridge and if you're a player who doesn't use the trem you'll get better performance and stability from a hardtail.  What I really love about this guitar is the "Premium Silver" finish, sort of the poor man's Chromeboy, which lets anyone know from across the room whose guitar this is.  The finish looks very close to the JS2000, more of a pearl rather than metallic, but still looks "textured."  The heart of the 1600's meaty tone is the DiMarzio pickups with a PAF Pro in the neck and a Fred in the bridge, both of which can be switched to single coil by the push/pull tone and volume pots, which also act as high-pass filters.  Other features include JS Prestige quartersawn 1-pc maple neck with rosewood fretboard, multi-radius neck (20mm at first fret to 22mm at the 12th), 42mm 1 21/32) nut width, mahogany body, locking tuners, 22 medium jumbo (6105) frets, Gotoh fixed bridge, abalone dot inlays, raised chrome logo, and chrome hardware.  This model is spec'd with a quartersawn neck, a nice high-end feature but due to the luck of the draw this one also is also beautifully flamed - both neck and headstock - with flame side to side, all the way up the neck.  It's in super clean shape and with perfect frets and a great neck, set up is low and fast.  With a list price of $2266, here's a sweet deal on a Japanese-made Satch at just $1099(HOLD-Chandler 3/2).  Includes J-Craft/Prestige case.  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2009 Fender American Standard Telecaster - 3-Tone Sunburst, (front), (back), (headstock), (neck), (bridge), (case), (accessories).   Classic 3-tone sunburst with maple board, beautiful condition, and one of the best playing Tele's you'll find.  The set up on this one is very low, cut low at the nut, and it has superb playability all the way up the neck.  Getting a great neck that sets up low is only half of the picture.  When you get low action that doesn't fret out during bends, then you've got a truly great player.  Features include alder body, maple neck with Modern “C” Shape (gloss headstock face with satin urethane finish on back of neck), 9.5” radius, 22 medium jumbo frets, 1.685” nut, Fender staggered cast/sealed tuning machines, new style saddles on chrome-plated brass bridge, volume and tone control - Delta tone "no load" tone circuit.   Other features include new bent steel saddles with elongated string slots, highly finished frets, detailed nut work, rolled fretboard edges, and new molded Fender/SKB Case with TSA Locks, glass reinforced nylon trigger latches, and form fitted plush interior.  A new American Standard in 3-tone sunburst will run you $1249, and it will probably be a good player.  For $400 less, you can have this barely played example that's guaranteed to be an exceptional player and there's even some nice flame in the neck, which is rare on an American Standard.  $849(SOLD-prior to 8/14?).  Includes all accessories and paperwork, including hang-tags that aren't pictured.  

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

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

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

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

2005 Taylor 314 Grand Auditorium with Pickup, (front), (back), (headstock), (Baggs Element), (case).  Taylor's most popular grand auditorium - where quality tonewoods and fine craftsmanship combine with a modest price, at least for a Taylor.  Taylor's 100- and 200-series are good guitar for the money but the 300-series is really in a different class and in my opinion, the best value in their line.  We've installed a quality L.R. Baggs Element under-saddle pickup (pic), with a volume control inside the soundhole, and endpin jack which houses the preamp.  The 9V battery is mounted in a canvas bag on the neck block.  It sounds very natural and needs little to no EQ'ing to sound right.  The 314 features all solid woods including solid Spruce top with a gloss top and satin-finished Sapele back and sides.  Sapele is an excellent tone wood with characteristics similar to mahogany, very warm and cozy sounding which, although slightly smaller than a dreadnought, fills the room with sound.  Other features include 5-ply B-W-B-W-B binding,14-fret mahogany neck, black-bound 20-fret ebony fingerboard, pearl dot inlays, 1-3/4" nut width, 25-1/2" scale, ebony bridge, tortoise plastic pickguard, and chrome Taylor tuners.  A great choice for fingerstyle work but it projects enough to hold its own for loud strumming.  Offered in lovely condition with typically superb Taylor action.  If you're looking for a quality Auditorium size, this one's an easy recommendation at just slightly more than a 200-series.  $950, including the professionally installed Element.  Includes a nice hardshell case in a brown leatherette that feels almost like suede.  

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

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

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

1988 Fender Stratocaster Plus - Pewter, (front), (headstock), (back), (neck date), (case).  Near pristine condition in a classic 80's finish, Pewter.  The Strat Plus made its debut in 1987, making this a second-year model.  The Plus had a very successful 13-year run, ending in '99, when the "American Deluxe" replaced the Strat Plus as Fender's premium production model.  The Strat Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.  It featured a trio of the "new" Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups - and no magnetic string pull to kill the sustain of the strings.  Early models like this '88 featured only "Gold" Laces (later "Plus Deluxe" models featured different combinations using Red, Blue, Silver, and Gold, depending on the era).  The Golds were designed to emulate the 50's Strat tone, and are the same pickups used on the original Clapton and Buddy Guy signature models.  We have a lot of players, myself among them, who favor these Laces as the best for zero hum while retaining that vintage Strat tone.  Unlike the early American Standard Strats, the Plus models featured a new TBX (Treble Bass Expander) control in place of the bottom tone pot.  The TBX controls the bridge and middle pickup and is a detented, stacked 250K / 1-Meg Pot control that, from "0" to "5" is a standard tone control, but once you pass "5" you start to decrease the resistance which allows more bass, treble, presence and output to flow to your amp.  The effect is subtle to some players but to a trained ear it's like having a complete new palette of tones.  Other features of the Plus include Sperzel locking tuners and Wilkinson cam nut (LSR roller nut came on later models), enhancements to keep the guitar in tune, especially for players who use the tremolo extensively.  This one's in stunning condition with no noteworthy flaws anywhere.  Even the fretboard and edges, the first part to exhibit wear on a maple board Strat in this era, is clean as shown here.  Another part that wears easily is the writing on the pickups and these are in nice shape, as shown here.  As lovely as this guitar is, it's also a fantastic player with a nice neck and low action all the way up the neck, and a tone that won't disappoint.  For a Plus in desirable Pewter in this condition, a nice find at $1350(HOLD-Jim S 1/30) AND that includes an original case that, remarkably, is in nice shape as well.  

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

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

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

Pickup Day - more will be added during the day: 

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

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

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

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

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

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

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

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

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