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Upgrade before we ship - Earvana Nuts.  Instantly improves the intonation of any guitar and we're getting more and more requests to install them on guitars before we ship out.  Martin is very big on these so that says a lot to me.  If you want one installed before we ship your guitar, let us know.  The part alone will run you $34.95 from Earvana but we're offering the upgrade for just $49/total, parts and labor, for most guitars.  For details, click here.  

Rocket Flex Drive.  The Flex Drive, so named due to the wide range (or Flexibility) of tones available.  Rocket went after Malcolm Young's unmistakable rhythm tone (think about it), but goes all the way into Eddie's VH2 territory - and all points in between - which opens it up to excellent country and blues settings.  With knobs for Volume, Gain, and Tone, with switches for Treble, Fat, and Clip, there are a seeming endless supply of tones available.  Here's a good demo of the Flex Drive, comparing it to Rocket's Boiling Point.  Great sounding pedal for $135. 

2005 Washburn D10S Solid Spruce Dread with Case, (front), (back), (headstock), (appointments), (case).  Immaculate condition and an incredible value in a solid spruce dreadnought.  It wasn't too many years ago that if you wanted a solid top you'd be shopping in the $800+ list but in this modern era, prices on import guitars keep going down while the overall quality is at an all-time high.  The D10S came out in 2001 and broke the price barrier for solid tops, with a list price of $500, which was the list in '05 when this one was built.  Since it's introduction it has earned a reputation for excellent value for the money.  It was voted #1 in its price range by Acoustic Guitar Magazine and was the world's best selling acoustic guitar prior to being discontinued in 2010 in favor of the WD10S.  It also features a mahogany back and sides, mahogany neck, rosewood fretboard, gloss finish, multi-layer top binding, bound neck, parquet soundhole rosette, herringbone back stripe, and sealed tuners that stay in tune very well.  The overall craftsmanship is on par with guitars at twice the price, with nicely applied body and neck binding, flawless rosette, quality fretwork, and evenly applied urethane high gloss finish - and a proper neck angle straight neck that allow for a very comfortable, low setup.   I'm including a good quality SKB hardshell case with this one which makes it a great value in a well-made Chinese flattop at just $199.  

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

2002 Gibson Explorer Pro w/Floyd Rose, (front), (back), (headstock), (Floyd), (case).   For the player who demands a Floyd on every guitar!  An elegant version of the classic Explorer design, with upscale features such as beautifully flames maple top, bound body, bound neck, ebony fretboard, and mother of pearl block inlays, in comfortable scaled down body size.  You'll note that this one has an added Floyd Rose "Pro" tremolo ($239 parts) including Floyd locking nut.  The work is as fine as you'll see, definitely a first rate professional installation that's as neat as a factory job, with flawless performance.  This model isn't to be confused with the recent Explorer Pro, which featured the smaller body size, but an all-mahogany body with rosewood board and dot inlays - or the '04 Guitar of the Week (weeks 4 and 13) - none of which share all of these features.  This model shares more of the elegance of a Les Paul Custom.  For those who find the Explorer a bit ungainly due to the body size, this smaller body is much more comfortable, and the balance is perfect.  It features a 500T in the neck; 496R in the bridge, one of Gibson's most popular combination over the past 2 decades.  The tone is thick and lush, but with a nice crisp attack.  Even if you're not an Explorer fan, this one is a real eye catcher and the smaller body might convert you.  Cosmetically, it's in excellent condition with only a few light rubs and scratches, only in the clear coat.  With the Floyd Pro at $239 and at least $200 for routing and installation, this is a very expensive mod.  I just had another Explorer Pro a month or two ago and it went fast so you might want to jump on this one, especially if you're a Floyd fan, since this is going to be cheaper than converting a stock your Explorer.  $1399 includes nice original brown case with pink lining and shroud.  

2011 Gibson SG Special '60s Tribute - White, (front), (back), (headstock), (gigbag).  Very affordable version of an all time classic, the 60's SG Special, with it's all-mahogany construction and a pair of searing P90 single coils.  Finished in Worn White, which in the vintage world is referred to as TV White, which has always commanded a premium over the usual cherry finish.  This guitar's thin solid mahogany body offers a very lightweight package with a tone that's both subtle and aggressive, depending on your playing style.  It has a rich resonance with lots of harmonic depth and sparkle.  The solid mahogany neck is carved to a fast Slim Taper profile similar to SGs from the '60s, with a glued in deep-set, long-tenon neck/body joint and 17-degree back angled headstock, combine for a superior transfer of resonance from the neck to the body.  Two Gibson P-90 single-coil pickups with Alnico V magnets are among the finest reproductions of vintage P-90s currently available producing warm, vocal neck tones to loads of snarl from the bridge position, with rounder, funkier tones in between.  Gibson uses a PLEK-cut Corian nut to ensure maximum resonance and sustain.  This guitar is finished in a thin nitrocellulose satin finish, which protects the wood while contributing to a more lively response.  It 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.  Offered in mint condition for $650(HOLD-Mike W 1/3).  

1998 Gibson Firebird V with PAF's, (front), (back), (headstock), (pickups), (case).  Classic "reverse" body style with neck-through-body design.  For players who want the vibe of the Firebird, but who want a heavier sound than the stock mini-hums, this one has been routed for PAF's and has a quality set installed:  DiMarzio Super Distortion DP100 (link) in the neck and a Duncan Invader (link) in the bridge.  It sounds extremely heavy with this setup.  The Firebird was yet another radical design from Gibson, fearlessly debuting the model in '63, shortly after the demise of the Flying V and Explorer.  The body style wasn't well-received and within 2 years it went the way of the V and Explorer, only to emerge as a non-reverse model in '65 which stayed in their catalog a bit longer.  Features include 9-ply mahogany/walnut body with mahogany wings, thin nitrocellulose finish, "banjo" tuners, bound rosewood fingerboard with trapezoid inlays,  2 volume and 2 tone controls, a 3-way switch, and chrome hardware.  Cosmetically, nice shape for a used guitar with just scratches and impressions in the clear coat; plastic headstock overlay has some surface scratches and slight flaking (as shown here), but headstock itself is unaffected.  Frets are nearly new, no breaks or repairs, and an outstanding setup and a tone that's darker than the average Firebird and should especially appeal to players of harder-edged music.  If you're not a fan of the ceramic mini-humbuckers, here's one that's already been upgraded to PAF's, at a substantial savings.  Just $1099(HOLD-Sean T 1/2) and includes original brown case with original paperwork, and truss rod wrench.   

2007 Ibanez VBT-700 w/Active DiMarzio's, (front), (side), (back), (headstock), (sculpted heel), (pickups), (case).  If you haven't seen this model before you're not alone.  The VBT-700 was only made in 2007 and offers incredible tone and playability - plus classic Flying V looks - in an affordable axe.  The stock pickups, DiMarzio "Activator" are active humbuckers and if you read around the web, lots of rock players prefer them over EMG's.  Currently set up with DR Red Devil strings which sound great.  Features include Flying V-shaped mahogany body with flared ends on the wings, black body binding, five-piece maple/walnut Wizard II neck-thru-body, 24-fret bound rosewood fingerboard with sharktooth inlays, matching finish headstock, six-on-one-side tuners, Gibraltar custom bridge, two DiMarzio Activiator humbucker pickups, master volume, master tone,  three-way pickup switch, black chrome hardware, available in Black or White only.  These sold for $599 new, which didn't include a case or bag.  This is a fantastic player, due in part to Ibanez's sculpted heel, with low action and nice sustain.  Exceptionally clean with no player's wear and one of the best V's made for the rock player - for just $429(Tent. HOLD-local 1/3) INCLUDING a plush Coffin case with tufted black velvet interior.  Click here for Ultimate Guitar reviews where it scored a 9.2 with 39 comments.  

2003 Martin 00-18V, (front), (back), (headstock), (case).  One of Martin's fine Vintage Series, which are pre-war guitars priced at a small fraction of the cost of a real pre-war.  The 00, or grand concert as it's known by some builders, is the perfect guitar for smaller players or for smaller rooms, thus the term "parlor" guitar.  Although a full scale model, the body is significantly smaller than a dreadnought (15 5/16 X 4 1/8 deep vs. 15 5/8 X 4 7/8).   Although a smaller guitar, the tone is surprisingly balanced with very good projection.  More than any other parlor guitar I've had, this one doesn't have the mid-range hump that parlors frequently exhibit.  The 00-18V 00-has 14-frets free of the body, made of solid genuine mahogany & solid Sitka spruce, multilayered black/white top trim, tortoise binding, tortoise pickguard, modified V-shaped neck, ebony fretboard (1-3/4" nut, 24.9" scale ), abalone dot inlays, black bridge pins with white dots.  Other features include ebony heel cap, ebony bridge with vintage belly and drop in bone long saddle, Old Style 18 rosette, 00 type bracing, 1/4" scalloped top bracing, Style18 back purfling, tortoise end piece, tortoise binding, bone nut, square taper headstock with East Indian rosewood veneer and large old style logo, Old Style abalone pearl inlays, polished gloss finish with aging toner on top, semi-gloss neck with dark mahogany stain, 2 1/4" string spacing, Gotoh Waverly-style nickel open-gear tuners with butterbean knobs, and Geib style case with crushed velvet lining and leather handle.  There are a number of YouTube video's with the 00-18V, including a good one by "guitarsaddle" (link).   With a list price of $3349.00, this model sells new for $2499.00, or better yet consider this used one, in mint condition, for just $1750.  

2003 Fender Esquire GT, (front), (headstock), (back), (arched top), (saddles/pickup).  Silver finish with black racing stripe - super clean - weighs just 6 lbs.  I haven't had one of these 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, especially the silver gloss finish with racing stripe which is definitely the vibe of a 60's muscle car.  It's beautifully simple, with just a volume control and single humbucker - and a killer humbucker it is - with a stock Seymour Duncan Invader.  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, abalone dot inlays, smoked chrome hardware, raised chrome logo, and a super flat 15.75" radius.  One upgrade on this guitar, a set of Graphtech graphite saddles ($45), which reduce string breakage, maintains tuning stability better, and sustains better than the stock cast saddles.  Other than some slight tarnishing to the bridge, this guitar is immaculate without a hint of player's wear.  It's like going back 8 years and pulling down a new floor model from the rack.  This model only had a run of around 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 and this beauty is a nice deal at $429, including Fender deluxe gigbag.

2003 Gibson '54 Historic Les Paul Oxblood - Brazilian Board, (front), (headstock), (back), (pickups/bridge).   AKA the "JB Les Paul" or "Unofficial Jeff Beck Model" -  a faithful, albeit not relic'd, copy of Jeff's famed refinished Les Paul, shown on his "Blow By Blow" and "Wired" albums (pic from Bacon&Day LP Book).  As most of you are aware, Gibson stopped using Brazilian rosewood all together in April of 2003, so there are only a handful of Historics which are genuinely true to the original.  Prices on early 2003's, be they R4, R6, R7, R8, or R9, have continued to climb every year since '05 and if you want a Braz board, be ready to pay up - I paid $2K more for this than my last R4 Oxblood, which was a non-Brazilian.  About this model:  To stay true to the Beck guitar, this beauty features Gibson/Schaller tuners (later ones featured "Gibson" stamped tuners), open coil pickups with tan rings, and no writing on pickup selector.  It also features the "original" tuner set screw holes under each tuners, just like Jeff's.  It also uses my personal favorite tailpiece with just a single wraparound bridge/tailpiece for the ultimate in simplicity and nothing is more comfortable or effective for palm muting.  While the finish looks black, in bright light you can see that it's actually a very dark Oxblood.  Other distinguishing features of the R4 Oxblood are a very substantial neck and an extremely thin finish which is very tone-friendly.  Pickups are excellent sounding Burstbucker 2 and 3.  Accessories include custom shop case with certificate, serialized hangtag and all the other loads of vintage paperwork, polishing cloth, braided cable, etc.  This is a rare guitar, only the 4th one I've ever had and only the 2nd Brazilian, and is truly an exceptional player, medium weight, and very resonant.  Collector owned and has seen only a few hours of use - mint appearance other than one tiny pin prick in the clear coat.  I don't think Gibson is offering the R4 Oxblood or any other R4's any longer, so whatever is circulating is all there is.  If you look around the web, this one is priced cheap for a Brazilian at $4950.   Note:  Gibson took it down from their site, but here's a screenshot of the 2003 Brazilian matrix that I downloaded 7 years ago (link).  This one's #095; the Brazilian run on R4's went up to #150.  

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 9.8 condition with no player's wear at all, no pick scratches, 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 nice blue-lined form fit Ibanez case.   

2004 Ibanez SZR520QM - Dark Honeyburst, (maple "binding" & cap), (front), (headstock), (back), (pickups/bridge).  Mint condition and a great value in a set neck Ibanez with a full maple cap.  These earlier Korean SZR's are some of the best values in the Ibanez line.  While they continue to build decent guitars in China and Indonesia, close inspection will show the superiority of this guitar when compared to newer models.  The SZR520 features a set-neck design with a mahogany neck and mahogany body with quilted maple top.  Unlike most guitars in this price range, the SZR520QM has a real maple cap (shown here) that's around the same thickness as a Les Paul in the center, with the edge of the body left unstained, like a PRS, for maple binding.  The body is slightly thicker than other Ibanez models and it's a tad heavier, but still falls easily in the medium weight range.  Other features include a simple fixed Gibraltar bridge strung through the body, unstained edge body binding, bound neck, bound headstock, nickel hardware, SZ special fretboard inlay, pearloid logo, and a 25.1 scale rather than the 25.5 found on most Ibanez.   On this year Ibanez used Duncan/Ibanez pickups with the neck an Alnico V bar magnet with 8.13K output topped off with Nickel Slotted Screws and Nickel Studs - and the bridge a Ceramic bar magnet with 17.08K output and Trembucker spacing topped off with Nickel Slotted Screws and Nickel Allen Screws.  They're wired with the middle position using only the inside coils, for a pseudo-Strat tone, with the normal bridge only and neck only in the other two positions.  With a list of $732, these sold in stores around $499.  This one is immaculate, set up to perfection, and a simply beautiful guitar for just $339(Tent. HOLD-Scott G 1/20).  

Tom Scholz Power Soak, (pic2).  Little known fact - the Power Soak was Tom Scholz first product, preceding the Rockman by a year or so.  This is one of the first units built, a Model I from 1981, the 225th one built, out of around 10,000 unit built.  While the Power Soak wasn't the first attenuator built, it was the first practical one for guitarists by including a volume control.  For the first time ever, you tune your 100W to sonic perfection, and then set the overall volume with the Power Soak.  The advantage, of course, is allowing your high powered tube amp to run into the sweet overdriven level, while adjusting the actual volume to a much lower level.  A Model II followed, with the addition of a solid state/tube switch but in practice, these are almost exclusively used by tube amp players.  Sonically, the two units are the same.  The impedance selector has two positions (4 & 8 ohms), but 16 ohms amps can be used at the 8 ohms setting.  After around 2 years on the market, these were discontinued in '82 with the release of the Rockman headphone amp.  Simple to hook up, just plug the Soak between your amp and your speakers.  A very simple concept, executed extremely well.  If you have a tube amp that's too loud for the studio or gig, this is an excellent choice, at a price that's a fraction of most of the newer brands.  $99(HOLD-Chris H 12/22).  

1997 Washburn J9 "Washington" G Thinline Hollowbody, (front), (back), (headstock), (side), (appointments), (case).  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 beautiful shape, other than moderate some wear to the gold hardware.  It has seen very little use in nearly 15 years.  It has a very solid feel, fingers effortlessly, an would make an excellent choice for jazz, Rockabilly, or Standards - pretty much whatever you use a 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 $599 - including optional Washburn case.   

1973 Gibson SG Standard, (front), (back), (headstock), (pots/switch), (Gibson/Bigsby), (case).  Killer SG in lovely vintage condition, a classic rock icon from the 70's.  Pickups are the sought after "Super Humbuckers", designed by Bill Lawrence and easily identifiable by the black epoxy on the underside.  This guitar sounds incredible, plays fantastic, and is an excellent example of Gibson's early 70's guitars.  Features include mahogany body and neck, ebony fretboard, block inlays, 22 frets, factory Gibson/Bigsby tailpiece, wide Schaller-made tune-o-matic bridge, Gibson/Schaller tuners, narrow 1-9/16" nut, and 24-3/4" scale.  All original except for two pots replaced in 1983.  You'll note the rounded end of the fretboard (shown here under blacklight), which is more associated with Gibson acoustics but you will see the occasional guitar like this.  Google it and you'll find one recently sold by Elderly with the same feature.  Cosmetically, very nice vintage condition with just the usual scratches in the clear coat but nothing through to the finish.  No cracks, no repairs, a very solid piece, ready for another 38 years of jamming.  Includes the proper case for a Bigsby-equipped SG, the rectangular tolex case with plush purple lining, top of the line model.  Very cool SG with a factory Bigsby for $1950.  

Kent DM-13 Dynamic Mic, (cable).  I need to have my tech repair the cable before I can give a tone report, but all of these mics were working perfectly when put in storage in the early 70's.  Comes with swivel mic stand adapter (screws onto a standard mic stand) that also houses the on-off switch.  50K impedance, made in Japan.  Cool looks with a long sculpted chrome shaft.  Assuming it works perfectly, which we'll guarantee prior to shipping, $59.  

60's Univox DF-14B Dynamic Mic, (cable).  Although this is labeled "dynamic mic", it sounds very much like a crystal mic, similar to the Astatic below.  Comes with swivel mic stand adapter (screws onto a standard mic stand) that also houses the on-off switch.  Impedance selector runs from medium impedance 600 ohms, to high impedance 10K ohms or 50K ohms.  Cable is included with 1/4" tip.  This is a cool looking mic that will make a statement on stage with its large flat housing and shiny chrome plating; just oozes that 50's/60's vibe.  It sounds very cool with a mid-range honk that can be used for a retro sound, very pronounced mid-range that cuts through the mix like few others.  The chrome shined up nicely, performance is flawless, and a very cool vintage mic for $79(HOLD-Frank M 12/22).  Includes what is probably the original cable.  

60's Astatic T-3 Mic, (pic2).  Earlier version of the Astatic T-30, the harp player's mic of choice according to JT30.com, a site devoted to harp mics.  They also claim, and I'll agree, that the T-3 is the "finest looking of of the harp mics."  In addition to harp, these crystal mics are great for the studio when you want to create a lo-fi honkey vocal sound; nothing sounds like them.  The small stand is threaded and will mount to any stand or, for harp players, provides a good "handle."  It sounds perfect and I think it sounds at least as good as a vintage Shure Green Bullet.  Polished up nicely and very nice shape overall with what appears to be the original cable.  $99(HOLD-Frank M 12/22).  

Silvertone Paul Stanley PSA-1 Amp - new in box and FREE with the purchase of a Silvertone Paul Stanley guitar.  After years with Ibanez and later Washburn, Paul Stanley signed with Silvertone (dist by Samick) for manufacture of his signature models.  This PSA-1 amp is a surprisingly good sounding backstage practice amp with plenty of smooth distortion via the Overdrive switch, separate Bass and Treble EQ controls, CD/Tape input to practice along with your music, and headphone output for private practice.  It's finished in an attractive red tolex covering and features the Kiss logo and Paul's signature on the front grill.  For guitars there's a choice of a set-neck and  bolt on.  The bolt-on features Agathis body with sculpted Maple neck, 14” flat radius fretboard, dual high-output humbuckers, and die-cast tuners.  The set-neck features sculpted Mahogany necks set into Agathis bodies, 14” flat radius fretboard, Grover tuners, and Seymour Duncan-Designed humbuckers.  The guitars, as well as the amp, are new-old-stock and unplayed.   Purchase either of these guitars and get the amp for free:

Kramer Wireless Guitar Transmitter by Samson, (installed pic).  Very rare part for an extremely rare Kramer.  During the late 80's Kramer offered as an option, a wireless Samson transmitter, fitted into an extra cavity on the back of the guitar.  According to Vintage Kramer (link), the best Kramer site in the world, "These models are extremely rare, and was probably more of a gimmick that never took hold. Nevertheless, these models are superb...".  If you need one of these, I've had this one for over 10 years and as it appears as though I'll never need it, so it's time to find a new home.  $150.  

1983 Fender Precision Gold Elite I, (front/back), (electronics), (headstock), (hardware), (case).  I get in plenty of Elite Strats and Teles, but the P-Bass Elite is an even more rare model, produced only in '83 and early '84, and a model that stood as the Cadillac of Fender's bass line.  The bass line consisted of the Elite I and II, with the latter having two sets of P pickups; the Gold Elite I and II, with gold hardware; and the Walnut Elite II, with a solid Walnut body, offered only as a II model with gold hardware.  Body on this one finished in Natural is ash.  Like the 6-string models, the Elite's featured new active electronics and new Schaller hardware including deluxe tuners, fine-tune bridge, and locking strap pins, as well as a new bi-flex truss rod.  Other differences between the Elite and the Standard models include wider spacing between the control knobs and side-mounted output jack.  The pickups single coils wired to be noise canceling, providing the fat P-bass tone, but with less hum and interference, wired to an active preamp with new tone circuitry powered by a 9V battery, easily accessible via its own cavity on the back.  In addition to the volume control, the Elite uses a TBX pot, which acts as a normal (roll-off) tone pot from the center detent turning backwards, or a treble/mid boost turning forward from the detent.  You've never heard a brighter sounding P-bass with the TBX engaged, while retaining all the fat bottom end you want in a P.  The battery access screws use brass inserts to prevent wood stripping.  A mini 2-way was installed as a kill switch to turn off the circuit and improve battery life, and knobs, which I believe should be the F-caps with ribbed plastic sides, are replaced with standard gold Fender P-bass knobs.  Otherwise, appears to be all original other than one of the saddle intonation screws.  This bass hasn't seen much use and is in very clean shape, especially for nearly 30 years, with minimal scratches or gold wear.  Frets are in great shape and it has a great setup.  The neck profile is shallow, with very small shoulders.  The case is in good shape except for the top of the center latch is missing, but the two end latches hold it just fine.  Case is the blue-lined tolex that I believe were used on Fenders destined for Canada back in the day so it might be original.  Some of these are excessively heavy and at 10 lbs. on the nose, this one's medium weight for an Elite.  All in all, a very lovely bass that should appeal to most P-bass fans, plus players looking for a Precision with more than one tone.  $1099.  

1976 Fender Super Twin, (back panel), (tube chart), (spkrs).  One of the second series Blackface reintroduced in the mid 1970's in a series of amplifiers designed by Ed Jahns. The 185W was marketed by Fender to be "the ultimate" in state of the art amplification. Pretty rare amp, produced only in '75-'76 (the Reverb version ran a few more years). The new blackface models overlapped the Silverfaces and both series were available during this run. High power output was in fashion and Fender added two extra power tubes to increase the output to a whopping 185 watts (back panel also boasts 395W "peak music power"). Today, many players consider the "regular" Twin's 100W as being unmanageable if you crank it to a breakup point; 185W is simply over the top. One of the main innovations of this amp was a very sophisticated circuit, and one that was very expensive to build, which included a 6-band active EQ, in addition to the traditional passive Bass-Mid-Treb. The Presence knob on this amp is active, plus a 5-band with frequencies centered at 2300 Hz, 1250 Hz, 485 Hz, 235 Hz, and 100 Hz, with cut/boost if you turn it to the left or right of center. By making the active EQ footswitchable, Fender created a quasi-channel-switching. Answering player's demand for the era Fender also included built-in distortion combined with a boost control via the "Output" knob. The Output knob was activated when the Distortion control was activated. While the Distortion isn't bad, it couldn't compete with the new boys at Mesa-Boogie and while Tremolo and Reverb were on the wane during this era, Fender purists balked at an amp without these signature effects. A solid state rectifier powers the amp and four stages of 7025 tubes (i.e. two complete triodes) were used for the preamp section. It uses the traditional long-tail 12AX7 phase inverter but instead of powering the power tubes, it was followed by a 12AT7 cathode follower as the low impedance circuit was better suited for the 6 6L6's than the 12AT7 phase inverter normally used. In all this amp uses 11 tubes: six 6L6, two 7025, a 12AX7, a 12AT7, and a 12AU7. Original speakers have been replaced with a pair of old Ruby model SP12H100's, made by Eminence. They're the same as the Legend 1258, but with a larger 2 1/2" voice coil. If you're a player looking for more volume than you'll ever need, this might be a good choice. Weighing in at around 90 lbs., this is a lot to lug around, although it does have casters once it's on the floor, but shipping is going to be costly, which is why I'm pricing it low. There's a wide range of prices on these and if you look around the web you'll usually see them at $700-$1200. This one works well and is an interesting piece of Fender history for $599 - plus around $100 shipping. Takes a standard 2-button footswitch with 1/4" stereo jack, labeled "EQ" and "Dist".  We can supply an aftermarket one for $25, or a Fender one for $35. 

2004 Fender American Deluxe Stratocaster, (front), (back), (headstock), (deluxe features), (case).   Barely played Strat with a little extra panache - finished in "if you blinked you missed it", Candy Tangerine, probably just the third Fender I've had in this color.  It has all the usual 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 are loving 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.  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 immaculate condition except for one small finish chip on the top of the forearm area, visible in the pics.  We can probably touch it up fairly closely, at no cost if desired.  A new American Deluxe is going to run $1500, but it won't be CanTang, which I think is the coolest color from Fender in a few decades.  This Strat plays phenomenally, has a very lively body, and is a sweet deluxe for $1050.  

2004 Gibson SG Standard - Heritage Cherry, (front), (back), (headstock), (case).  Your basic classic SG, largely unchanged since 1961, when it was released as the "new" Les Paul style.  It has been in production continuously since that year, the longest running solid body model in Gibson history.   Features include all-mahogany construction finished in gloss Heritage Cherry lacquer, solid quarter-sawn mahogany neck, rosewood fretboard with 12" radius, trapezoid inlays, Corian nut, 1 11/16" nut width, bound fretboard, 22 medium jumbo frets, Gibson Deluxe tuners with Keystone buttons, holly headstock overlay with mother-of-pearl inlaid logo and crown inlays, black top hat knobs with silver inserts, Tuneomatic ABR-1 bridge and Gibson's most popular pickups, the 490R/498T Alnico humbuckers.  The SG Standard's remarkable sustain is due largely to two unique features:  the mortis & tenon neck joint which binds the neck to body so that the two pieces form one solid unit, employing the long tenon found on earlier SGs - plus the traditional 17 degree headstock angle, which increases pressure on the strings which maximizes string vibration between the nut and the tuners.  It features the neck profile of the mid-60's, not at all chunky as the 50's style, but nicely rounded.  Famous players of the SG Standard is a who's-who of rock music greats including Clapton during the "Cream" era, Tony Iommi and Angus Young both users for over 30 years, and Derek Trucks, who also uses extensive slide work in his playing.   This guitar is in excellent condition with a great setup, a fat low end, growling midrange, and a personal pick at $879(HOLD-Tracy, local 12/21). 

OFF-HOLD: 2003 Fender 50th Anniversary American Series Stratocaster, (front), (back), (headstock),   This is the real 50th Anniversary models, not one of the regular American Series that simply featured the anniversary neckplate.  The distinction of the official anniversary model were the 2-tone sunburst ash body, '54 pickups, single ply beveled guard, and, yes, the commemorative neckplate as well.  This one's in beautiful condition, with almost no playing time, with perfect frets, and only a few very light scratches in the clear coat.  This one features beautifully figured swamp ash in a 50's styled 2-tone sunburst with maple fretboard.  Features include stock Custom Shop '54 pickups, limited run 2-tone burst finish, modern C-shaped neck with modern fretboard radius, 2-point synchronized trem, beautifully worked medium-jumbo frets on a gleaming maple fretboard, 50's style Spaghetti logo, and staggered height tuners with single string tree.  This model offers definite collectability prospects - without spending a fortune.   For comparison, American Standard Strats from '94 weren't limited editions as each one made that year had a commemorative neckplate and headstock emblem, yet within a few years they were fetching $100's more than a '93 or '95.  These 50th models are actual limited editions, with different specs than regular American Series from the same year.  I anticipate that they will do very well in the years to come and yet it's $150 cheaper than a new ash body Strat at $999, and with these '54's, a better sounding Strat. Includes custom shop G&G/Fender black tolex case (shown here), strap, and assorted paperwork or $950 with Fender standard molded case.  

2011 Gibson Les Paul Traditional Pro 50's - Honeyburst, (front), (headstock), (back), (case).  New for 2010, the Traditional Pro 50's has the look of the vintage 50's Les Paul you know and love, with modern enhancements in the electronics and hardware.  The Traditional Pro features a non-chambered mahogany body with a thick maple cap for the classic blend of warm mahogany and snappiness and clarity of the maple top.  The top is finished in high-gloss lacquer, while the back, sides, and neck have a very sleek satin finish that feels great and lets the wood resonate fully.  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 '57 classic in the neck with a Burstbucker 3 in the bridge, each wired for coil splitting via push/pull volume pots.  Other features include a slightly chunky 50's Neck Profile; angled headstock, bound rosewood fretboard, 1.69" nut width, trapezoid inlays, antique binding, Tuneomatic bridge with stop bar tailpiece, locking chrome-plated Grover tuners with Keystone buttons, Top Hat knobs, and period correct cream pickguard.  Another major aspect, which is Gibson is doing on all of their higher end guitars, is the fret job, which is leveled perfectly via a Plek machine.  The Plek machine allows for minute differences in fret height or slight inconsistencies to the neck to ensure frets that are perfectly level and allows for the lowest possible setup without any buzz or fretting out.  For loads of information on this guitar, click here for Gibson's site.  With a $3399 list, this model sells nicely discounted at $1999 in Honeyburst.  This guitar was built under 6 months ago, first sold last month, and is in unplayed condition -  for $1499(HOLD (again) - local).   

Gemeinhardt M2 Flute, (pic2), (pic3).  If I'm reading the chart right, this is an M2 (currently 2SP) from 1973.  These were USA-made student models, but silver-plated and I'm sure better quality than the current proliferation of Chinese brands.  Pads may be perfectly functional but the only thing I know about used flutes is that they frequently need new pads.  At $60, there's enough savings that if it needs pads, you can get the job done and still not have too much invested.   

Crate FS-60 2-button Footswitch.  Labeled Reverb and Channel Select.  For most any Crate amp but should work with most amps using a stereo 1/4" jack.  $20

Carvin FS-36 3-button Footswitch.  Labeled Channel, Effect 1, and Effect 2.  For amps like the X100 and X60 but should work with most amps using an XLR Jack.  Around 1/2 the cost of a new one at $35. 

Tech 21 Trademark 60 3-button Footswitch.  If you've ever needed one of these you know that they're proprietary, they're not mechanical, and nothing else will work.  $94 from Tech 21, the only suppliers.  This one's perfect and just $64.  

1971 DeArmond 610 Volume/Tone, (pic2), (pic3).  Cool old pedal from DeArmond that combines a pump volume pedal, with a side-to-side tone pot.  This is not a wah pedal that changes the frequency, but a treble roll off.  Here's a YouTube video demo (link).  Beautiful shape, 40 years old, and just $129.  

1980 ElectroHarmonix Deluxe Electric Mistress, (bottom).  The legendary flanger/filter matrix.  In addition to a great sounding flanger, the filter matrix mode takes the automatic sweep out of the circuit to create very unique chimey, shimmering tones.  Click here for a YouTube demo on the reissue.  31 years old; still works great.  $135.  

ElectroHarmonix Little Big Muff Pi.  Based on the original 70's big bog model, with the great sustain and killer distortion, in a pedalboard friendly small box, in a die cast housing that's more roadworthy than the cheese cutter original big box.  Here's a demo from EH.  Good value in a quality USA EH pedal at $47.  

Ernie Ball Volume Pedal.  The one the pro's use.  Built for years of road use, crystal clear with an even taper - great for humbuckers or single coil.  Nice shape and nearly 1/2 of new cost at $69.  

1967 Epiphone FT-30 Caballero, (front), (back), (headstock), (checked finish  pic2), (label).  Gibson-made Epi from the Kalamazoo MI factory.  During the Kalamazoo era, most Epi's were Gibson models, assigned a different model name.  The FT-30 was the Epi labeled version of the Gibson LG-0.   It features all solid mahogany woods, top, back, sides, and neck; 14-3/4" lower bout, ladder braced top, 14-frets clear neck with 20-fret rosewood fingerboard, dot inlays, 1-19/32" nut width, 24-3/4" scale, tortoise plastic top binding, screwed-down tortoise pickguard, rosewood reverse-belly bridge, and open geared strip tuners.  Overall this one's in typical condition for it's age - a guitar that's been enjoyed regularly for 40+ years - there are minor scratches and the finish is checked all over, but no body cracks, repaired or otherwise.  It does have a very old headstock crack repair, shown here, which is very solid and stable.  It's a good player and especially recommended or players with small hands who will appreciate the thin neck width.  Not a museum piece but a cool guitar you can enjoy without worrying about devaluation.  If you enjoy the warm tone of nicely aged mahogany and the cutting voice of a 00-size, this ones just $399, not bad for a well made Gibson flattop.  

1965 Vox Pacemaker, (panel), (top), (back), (chassis/spkr), (label), (tubes).  Very rare amp.  This Version 2 Pacemaker was the only tube model from the Pacemaker series, and only made in 1965, perhaps into early '66.  Producing around 17 watts through a pair of RCA EL84's, with an EZ81 (6CA4) rectifier, and a pair of ECC83 (12AX7) preamp tubes. All the tubes in this amp are quality vintage USA tubes.  It uses a gold Vox Bulldog 10″ speaker made by Oxford in Chicago.  At first glance this looks like an AC-15, with the diamond grill cloth, vintage basket-weave pattern covering, gold piping and trim, gold logo on upper panel, top mounted controls, and vintage 1-pin plastic corners.  Like the British AC-15, the 17-watt RMS tube output stage of the Pacemaker V-2 is cathode biased.  The preamp uses a slight variation of the "top boost" circuit from the AC-30. The Pacemaker is a single channel amp with three inputs, volume, bass, treble, tremolo speed, and tremolo depth, 3-postiion switch (off/on/standby) with separate jewel lights (red and green) for standby and on.  Back panel features tremolo footswitch jack, and external speaker jack.  Rather large for a 1X10 combo (16" H x 21" W x 9.5" D), although it's very lightweight, thanks to its fir plywood construction.  Tonally, this has the slightly glassy EL84 sizzle and crunch with a hint of AC15 chime, much like most dual EL84 amps, and it replicates the Beatles tones very well.  It also has plenty of juicy sag when you push it, which you'll appreciate, depending on your playing style.  It has a nice Vox clean and the amp stays clean up to "4" (remember, the range is "0" to "6"), with breakup starting at "4", with increasing saturation every 1/2 number all the way up to the max "6".  Appears to be all original other than replacement knobs, upper back panel is missing, and cord has been changed to a 3-prong for safety.  Overall, it's in nice shape for it's age, with no major cosmetic issues.  We just had it gone over by our amp tech and it has 100% clean bill of health, full output, quiet at idle, no extraneous noises, and very musical sounding at all output levels.  For the vibe, condition, and tone, this is an excellent value for a vintage Vox at $799 AND includes a vintage style tremolo footswitch (pic here).  

THD 2x12 Ported Extension Cabinet, (back), (top), (spkrs/jack), (Bonus! D2F Cover).  The perfect mate for my THD Bi-Valve or Uni-Valve, available on my amps page.  THD's 2X12 is a ported cab in a bass-reflex design with a slot-port in the rear instead of the more common tube port in the front.  The advantage is no "whistling" which can occur with a tube-port, and the slot port gives a lot of rear projection and a more open, 3-D sound similar to an open back cab, with a dramatically fuller, tighter bottom end.  Constructed from 3/4" 9-ply birch with 1/2" birch ply baffle and rear panels; corners are finger jointed for strength and rigidity; speaker baffle is dadoed into the sides for maximum strength and durability.  To eliminate noise found in other handles, THD uses steel inset handles that are remarkably strong and do not rattle.  Switchcraft jacks are use to provide a better connection to the speaker plug and steel jack dishes because they cannot break or push through.   Speakers are wired with top quality Belden wire that lasts a lifetime. Also featured on the cabinet's exterior are nickel-plated steel corners to deflect blows and large cast rubber feet that serve to reduce vibrations.  Rated at 160W, with a pair of custom designed THD "Vintage" and "Longhorn" speakers (info here) which have been modeled after the older Celestion Classic Lead 80 and Brown-Frame Oxford 12.  Both speakers are factory aged to prevent that new speaker harshness.  This cab was designed to rival a 4x12 in volume, power, and projection, providing a tight, clean, focused sound that's not the least bit harsh, brash, or tubby.  Imagine getting the sound of a 4X12 but only having to load-in something 1/2 the size.  New, these sold for $720 - $790 with the custom fit D2F padded cover.  This cab is in brand new condition, and with the cover, is a smoking deal at $550.  Better yet, buy the cabinet and a head, and get free shipping.  

1995/6 Fender Mustang '65 Reissue, (front), (headstock), (back).   Is this Mustang really 15+ years old?  It looks like it just came from the factory, with no signs of player's wear, frets like new, plastic is even still on the pickguard.  The "U" serial number and "Made" (not "Crafted") dates it to '95/'96 and it appears to have sat in the closet since then.  The Mustang was Fender's student model in the mid-60's, replacing the Duo-Sonic, albeit with a one-year overlap.  The Mustang was slightly more upscale though, with its Dynamic Fender vibrato system.  In '65 it was a pretty basic guitar with its slab body, dual single coil pickups, each controlled with a 3-way switch, and just 2 knobs, volume and tone.  It also featured a shorter 24" scale (they also made a shorter 22.5"), presumably to make it easier for younger "students" to play.  It should be noted that the expensive Jaguar shared the same 24" scale.  The shorter scale does make it fun to play, trills are more intense and up-bends are more radical.  The switching for each pickup is in-phase, off, out-of-phase, which yields some cool tones not available on other Fenders.  The Mustang definitely has a tone all it's own.  These guitars languished on the vintage market until the 90's when, due to a young guitarist/singer out of Seattle, they suddenly took off, and doubled in value in just a few years.  No longer reserved for students, you're liable to see garage bands, alt, indie, an the like frequently playing them.  Unfortunately, they're not all that well suited for hard rock, although yours truly played exclusively what was to become "classic rock" on a white Mustang for a few years in the 70's.  My first "real" Fender!  The new "Crafted" models are running $939 (labor in Japan is no longer cheap).  Or you can get this one, on its way to becoming vintage and a true museum piece, for just $699(HOLD-John K 1/23).  

Marshall Haze 15 MHZ15 Tube Guitar Head, (panel), (top), (back), (optional footswitch (close-up).   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).   The optional Marshall PEDL10049 4-button footswitch IS INCLUDED with this amp and has controls for Channel Select, OD Boost, Reverb, and Effect, with an LED indicator for each button. These sell new for $599 but this one is in brand new condition AND includes the optional $69 footswitch, all for $469.  

Note:  They make a cabinet specifically for the Haze, but it should also work great with the C110 below.  The width is an identical 19.5", the head and cab share the same wattage, so you would get optimal speaker breakup, and it's rated at the proper 16 ohms.  

2011 Marshall Class 5 Head C5H and Matching Cabinet C110, (tops), (amp), (back), (panel), (cab), (cab back).  What, a British-made Marshall head&cab  for $598?  The last in the successful Class 5 series brings vintage styling in a head only configuration, with a separate open-back cabinet for a more open tone than the closed back combo version.  The all-tube C5H features 5 Watts of power and true Class A circuitry from input to output, producing pure vintage Marshall tone.  It was created in response to numerous requests for "the sound of a Plexi at a fraction of the size and volume".  Five Watts of EL84 power, with a pair of 12AX7 preamp tube, and a simple layout of Volume, Bass, Middle and Treble produce the Marshall tones you've known and loved for over 40 years.  The minimal amp circuitry with Class A tone, widely regarded as the purest in amplifier design and rich in smooth second-harmonic distortion, with sparkling cleans, full-bodied crunch and glorious lead tones.  It responds naturally to playing dynamics and on-the-fly guitar control adjustments, making for a truly interactive playing experience.  The amp features both 8- and 16-ohm output jacks.  The matching 16 ohm cab, also made in England, is quality piece, built from 12mm Birch plywood - no particleboard here - with finger jointed corner for optimum strength with a robust sound housing. It houses a Celestion G10F speaker, rated at 15 watts for some nice speaker breakup when pushed.  Somehow Marshall was able to build these amps in-country at a price usually reserved for Asian manufacture and you can get the whole setup for just $598.  Better yet, these set is in immaculate condition with less than 2 hours of use, and just $199 for the cab, $259 for the head, or get the pair for just $439.   

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. 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.  Mint in the box for $85.  

Celestion G12M-70.  A classic in the Celestion catalog for decades.  8 ohms, nice shape, works perfectly.  $50.  

Lovepedal Pickle Vibe.  Early model without graphics.  Another tiny Lovepedal with a huge sound.  Delivers on thick, lush vibe sounds straight out of the 60's and although it's not just another Uni-Vibe circuit, the application is pretty much the same.  Extremely simple to use with only a speed control on the outside, complete with a large knob that can be turned with your foot.  There is, however, an intensity trim pot on the inside.  The trim is a very sensitive adjustment, but once you get it dialed in to taste, it's set it and forget it.  A pair of LED's let you know when it's turned on, with the second LED keeping time with the sweep, making it easy to sync with beat.  The small footprint is useful on pedalboards, where real estate is at a premium.  A video is worth a thousand words; click here for a good demo.  Excellent sounding Vibe, and just $99(HOLD-Mike W 1/3). 

Keeley Boss SD-1 Super Overdrive.  Another fine modified pedal by Robert Keeley, king of the pedal mods.  Take a good old SD-1, a classic one-trick pony, modify the circuit, add a 2-way switch for your choice of germanium or silicone diode, and you've got more tonal choices and overall much fatter, cleaner, more defined, and with loads more gain than a stock SD-1.  Rather than adding a long description, click here for Keeley's site.  Not collector approved but it works perfectly and a killer OD for $89.  

Ibanez MS10 Metal Charger.  Previously known as the SM9 Super Metal during the 9-series a few years earlier, when Ibanez came out with the "Power Series", aka "10-series", it was renamed the MS10.  It has the highest gain and highest distortion level of any Ibanez pedal of the era.  Despite the 3 controls, labeled "Attack", "Punch" and "Edge", it will always sound like a metal pedal, so if you want versatility, you should only buy this if you're using another OD/Dist in your setup.  "Punch" cuts/boosts bass - center is flat; "Edge", centered around 1.5K, controls treble with the center flat; and "Attack" accentuates or minimizes the sound of your pick attack.  Inside you'll find FOUR of the famed JRC4558 chips to give you unprecedented control over your metalness.  Overall very nice shape other than previous owner sanded down some of the green to make it two-tone finish.  Click here to view the catalog page.  For you 10-series fans, MS10's don't come along that often.  This one's $79.   

A few additions to the MXR Bonanza 2 weeks ago:  

Peavey Classic 20 Tweed Combo, (panel), (top), (back), (tubes).   I've had these combo's before but this is the first one I've had in the head version.  The Classic 20 offers incredible value for a quality American made tube amp.  Despite its diminutive size, it's can definitely cut it as club amp, especially if you pair it with an extension cab.  I frequently compare the Classic Series to Fender's Tube Series and, quite honestly, when I've had these set up at shows next to the comparable Fender, the Blues Junior, the Classic 20 was almost universally chosen for superior tone.  Features an all-tube circuit with a matched pair of EL84's cranking out around 15 watts through a 16 ohm 10" speaker, plus three 12AX7's in the preamp.  Nice sounding EQ that really does something, and very versatile with a crisp clean tone and more headroom than comparable brands - and enough gain to satisfy nearly every rock player.  Features a single channel, with a Boost switch to kick you into high gear, primarily by fattening the mids.  With the separate Volume and Master control you can get a pretty good sounding overdrive at bedroom levels.  The overdriven preamp doesn't sound as brittle as most.   Other features include Treb-Mid-Bass controls and on the back, ext. speaker out and headphone out.  Full specs you can check out or download the manual at  Peavey's Site here.   These amps hold their value very well and for good reason - they're good amps for the money.  This one's in very clean used condition and just $229(HOLD-Joe C 12/10).  

60's Univox 1236 Bass/Guitar Amp, (panel), (top), (back), (chassis), (circuit).  Univox are well built amps marketed under the Univox name, as well as Lafayette and possibly Magnasonic.  Most were made in the USA, few in Japan.  I believe this is a USA model but there's very little info on the web concerning this particular model.  It appears to be Univox's version of the Fender Bassman, basically a dual-6L6 head with volume-bass-treble, with "Deep" and "Sharp" switches with a bass input, plus High and Low guitar inputs, slightly different from the Bassman's bass channel and guitar channel.  Although there's a large sticker on the back boasting "100 watts", back in the 60's it was common to use "peak" or "music" power ratings as a marketing tool and the actual rating is probably closer to 40 watts RMS.  It's virtually impossible to squeeze 100 watts from a pair of 6L6's.  Tubes are a pair of vintage USA GE 6L6 (pic) in the power section with two 12AU7's and a 12AX7's in the preamp.  Like the Bassman, this amp sounds great for bass, although 40 watts won't get you very far with bass thus it's impractical for club gigs, but it would be fine for low volume situations such as church, studio, or practice.  For guitar though, it's plenty of power for club gigs.  It is a clean sounding amp with loads of headroom; only a slight breakup starting around 3/4 on the volume knob.  Very neatly hand-wired inside with heavy transformers.  Should you ever need repair or want to modify it, schematic is available online (link) for free. Nice shape for its age and just out of the shop with new filter caps so it should be good to go for another few decades.   $299. 

AKG C1000S Condenser Microphone Pair, (detail).  Excellent mic for solo vocals, choirs, and instruments, and a top quality choice for home studios - but its massive aluminum shaft and capsule shock mount reduces handling noise and makes it an excellent choice for live stage work as well.  Get a pair of these to capture a stereo field and they can cover most of your recording needs including vocals, ambient room sound, acoustic guitars, and even works as a drum mic for snare, toms, high hat, or overheads for live or studio.  Especially good for acoustic guitars - try one near the soundhole and another at 18" away from the top.   Operates on 9V battery or phantom power - on/off switch saves battery life when running on batteries.  For a great database of mic spec's, sound clips, pics, Click here for specs and detailed manual at coutant.org.  With a current list of $399, the later silver model sells online for $199- $279/each.  These are the earlier version, in a back matte finish but it has the same characteristics and you can have this, in mint condition, for just $139/each - or $259 for the pair.  Includes mic clips, wind screens, and AKG pouch/case. 

Fargen Olde 800 - JCM800 Clone, (panel), (top), (back), (spkr/label), (cover).  For anyone who lusts after the Marshall 2204 tone, that's what this amp does, only better.  I've probably had 100 JCM800s over the years, including a dozen or more 2204's.  This amp would rank above the best of the lot.  Fargen are top-notch boutique amps, hand-wired, using only the best components, including Mercury Magnetics transformers.  I wouldn't recommend this amp to a country player, jazzer, or someone in a Top-40 band.  It was designed to be exclusively a rock/blues monster.  One look at the brass panel and you'll note the standard layout of a 2204:  Drive (preamp), Master, Treble, Bass, Mid, Presence, with a single input and an output of 50 watts through a pair of EL34 power tubes, with three 12AX7's (one is a phase inverter), and a solid state rectifier.  Compared to a well-tuned 2204, the Olde 800 sounds thicker, less harsh, and has more gain, which comes in handy when you use your guitar's volume control to switch between a cleaner tone and overdrive.  During my test drive I was impressed by its seeming endless sustain, and singing harmonics on nearly every note I hit.  Ben at Fargen has since come out with a MK II model, which adds a Decade switch for 60's/70's/80's, but I honestly don't know how this amp could be improved and it seems superfluous to add anything to it.  Speaker is a Rola Celestion G12-65 and it has outputs for 4-8-16 ohms you can use any virtually any speaker or external cabinet.   It's a nice grab and go size, 20X17X10, and with a solid pine cabinet it weighs in at around 35 lbs.  Click here for a good review on an original Olde 800 combo from UltimateGuitar.  I don't know if Ben is doing the combo's in this model any longer, but they're running $1700, for the head alone.  This amp appears to have seen very limited use and is pretty much flawless, finished in a vintage looking 2-tone brown and cream, and a slamming deal on an ultimate 2204, for just $1299.  Includes free aftermarket custom cover. 

1994 Fenton Basic 110 Combo, (panel), (back), (label/spkr), (circuit), (tubes).  Extremely rare amp--only 25 built during the entire brie run--designed and built by Precision Audio Tailoring (aka Jeff Bober of Budda Amps fame, and now East Amps), partnering with a Maryland retail store.  Jeff was the first builder I was aware of who departed from the 50W/100W amp model, opting for lower power and making the power tubes a more integral part of the tone.  A year after this amp was built Jeff started Budda, with his Twinmaster Ten, based on this Fenton model.  It's completely handwired, using an EL84 duet in the power section, 2X12AX7's in the preamp, with a 5Y3 rectifier.  Power and preamp tubes are all USA JAN/Philips.  This amp is very unique in that there's basically zero headroom.  It starts to break up around half-way to 1 and by "1" it has a beautiful singing sustain that increases, along with the volume, until around 4, and from 4-10 it doesn't get much louder, only more saturated.  For players looking for a beautiful singing overdrive, it simply can't be beat in a small combo.  Nearly everywhere on the fretboard hits a harmonic for infinite sustain.  I upload a pretty bad YouTube clip (link), done without any preparation, grabbing the closest guitar which was a Pine Island guitar with GFS humbuckers.  You'll note the early breakup, harmonic overtones, and clarity across all notes even with heavy overdrive.  I should note that the 2nd input does have a little more headroom but don't buy the amp for that. Buy this if you want a beautiful overdrive not possible by any pedal.  One other thing:  this amp is loud, along the lines of an early Twinmaster.  While it sounds great through this 1X10 open back, I would love to hear it through an extension cab.  For a hand-wired amp of this pedigree, a nice buy at $899.  (Note: I was informed by the original owner of this amp that only 25 Fenton amps were built).

1965 Fender Princeton, (top), (panel), (back), (chassis).   Great sounding Model AA964, 45-year-old Princeton in nice vintage condition.  When I got this from an employee at a major boutique amp company they had switched it over to 6L6 power but I took it to our tech, had it returned to 6V6, rebiased, and tremolo gone over.  It now has that classic Princeton tone with nearly all clean headroom (breakup doesn't start until 9-10) and a very strong tremolo circuit.  Tube complement includes a pair of 6V6's for power, GZ34 rectifier, and a pair of 12AX7's in the preamp.  At about 12 watts these are very popular studio amps, and I've heard some club gigs with a Princeton on a barstool and mic'd through the house system.  It sounded great.  Everything sounds perfect - it's quiet at idle when turned up all the way, bass and treble knobs are strong as is the Vibrato speed and intensity.  Two other minor mods include Vibrato jack has been changed from RCA to 1/4" and speaker changed to a Mojotone 10" - plus power cable has been changed to a long 3-prong type for safety.    It's clean enough that you might want to restore it to original but it has a nice voice of its own that some of you will love just the way it is.  $879 with the Mojo, or if you want a more vintage sound, we can replace with a proper 8 ohm 1972 Fender/CTS 10" (pic) for $950.  

Fender/G&G Bass Case.  Vintage style brown case made by G&G for Fender and fits 4 or 5-string.  Features Tolex cover, made in the traditional shape with locking latch, protective vinyl ends with white stitching, large accessory compartment, gold padded poodle plush interior, and genuine Fender logo.  Lists for $219 but this one's in great shape and just $99. 

HomeBrew THC Three Hound Chorus.  Three Hound Chorus oozes the warmth, thickness, and richness we're looking for in an all analog chorus.  It features Depth and Speed controls, plus a unique Width control which physically changes the distance (or width) between wave forms adding a whole new dimension to the effect.  It is wired true bypass and has a dedicated LED that flashes to indicate speed setting.  It can be powered by your choice of either a 9v battery or a standard 9v negative-center adapter.  When I first plugged this pedal in I thought it was a tremolo and, in fact, it can cover that ground very well as well.  Click here for a good demo by ProGuitarShop.  Sells new for $225 but this one's in perfect shape for just $159. 

Catalinbread Montavillian Echo. Catalinbread are fine handbuilt effects built by a small crew in Portland, Oregon.  The Montavillian Echo was built in the vein of old school tube driven echo units. It not only faithfully captures the tone of these sought after units, but most importantly it captures the huge “space” and infinite feel that eludes other pedal delays. Using the PT2399 delay chip--with a circuit that doesn't employ a compander--it provides delays that disappear over the horizon instead of being sonically reduced to mush as the trails fade. This is attributed to the original construct of the circuit as well as the loads of research put into just the dry signal. In order to provide a dry signal with a superior feel and tone when engaged, Catalinbread turned to the Burr Brown OPA2134 op-amp. The addition of a Cut control adds extra flexibility by allowing the user to dial in dark, bucket-brigade-ish echos or crystal clear repeats and the Mix knob offers boost over unity of the repeats to make sure they are heard in any situation. The result a small format stompbox delay that can provide the classic tone that most are seeking, and a more modern feel for the next generation of players. Click here for full specs and a video demo at their site.  Sells new for $159; this one's perfect in the box for $115.  

Catalinbread Perseus Sub-Octave Fuzz.  Same company as the Catlinbread echo above.  The Perseus isn't a one-trick pony like most fuzz or octave fuzz pedals, with a wider variety of radical tones than others on the market.  The Perseus is named after the Perseus cluster, where the lowest note in the universe emanates from a black hole. What’s happening out there is that intergalactic gas has concentrated around a cluster of galaxies, forming a cloud. A massive black hole is sending out jets of particles that crash into the cloud, causing pressure waves to ripple outward. Some astronomers interpret these as sound waves. Of course, even if you call it sound, it’s too low for anyone to hear. They estimate the note to be a “B flat,” about fifty-seven octaves lower than middle C. While the Perseus won’t give you 57 octaves below, it is the coolest analog octave-down fuzz available.  It allows you to select either one or two octaves down mixed with a fuzz sound that you can blend to any mix of the two you want, including just the fuzz or just the sub-octave. The Perseus can track the sub-octave note accurately no matter where on the neck you are playing!  It's a cool unit for bass players looking for a radical tone as well.  Click here for full specs and a video demo at their site, and there are others on YouTube (link).  Sells new for $159; this one's perfect in the box for $115(Tent. Hold-Scott 1/6).

Ibanez CS9 Chorus.  From ca. '83, Japan-made, and one of the best analog chorus pedals from the old days.  As popular as the Boss CE-2 is, the CS9 sounds as good to my ears, at around $50 less.  Built to last a lifetime, this one's almost 30 years old and has decades of use left in it.  This one works perfectly, sounds great, and a good by on a vintage 9-series pedal at $85.  

Rocktron X-Tune Stomp Box Tuner  If you're looking for an excellent stage tuner, Rocktron's got you covered.  The X-Tuner chromatic tuner has multi-light LEDs and lighted notes that make it easy to tune on dark stages, plus the strong aluminum chassis guarantees years of problem free use, gig after gig.  The X-Tune has muting for silent tuning and continuous out for live tuning (12-note tuning with a 7 octave range).  Use the calibration knob to match the pitch of another instrument, CD, tape, etc. Here's full specs from Rocktron (link).  Sells new for $79 but this used one's in perfect shape and just $45. 

Rocktron Nitro Booster/Enhancer.   Every player should have a boost pedal.  It has a number of uses, the most basic one being to boost your leads.  Not every player wants to switch channels for leads or color their sound with an OD/Distortion pedal, they just want the sound coming out of their amp to be a little louder.  Other amps simply need a hotter input signal to come to life.  The Nitro offers an amazing 22dB boost while enhancing a player’s articulation by its soft compression.  Here's full specs from Rocktron (link).  The Nitro sells new for $69 but this clean used one's just $39.  

Fuchs Plush Drive.  I love Fuchs gear.  Their amps and pedals are all hand-built in their New Jersey shop with superb quality and engineering. The Plush Drive is a top quality pedal that is aimed a players who want the true tone, response and feel of a boutique amp tone, like a Dumble or Two-Rock, without spending $1000's.  The unique 4-knob circuit gives you unprecedented control over the most important aspects of your tone. On the input end, the gain and touch controls allow you to set just the right amount of distortion and pick response, based on your guitar and playing style. On the output end, a subtle tone control and level control allow you to set both your overall lead tone and solo level. A unique bi-fet integrated circuit and matched discrete FETs are designed to emulate the smooth overload and musical *second-order* distortion of a tube circuit.  Sounds great plugged into a good clean amp, or add it to your amps overdrive for a super thick overdrive tone, and it's quiet enough to put in front of an overdriven amp easily.  Features feature: Cast aluminum housing, industrial powder coat finish, heat cured silk screen labeling, true bypass, Cliff switch, Neutrik connectors, metal shaft controls, premium boutique quality passive components, and mil spec fiberglass two sided circuit board for consistent long term performance.  These are $229 new, but this one is in perfect condition in original box for just $159. 

Boss MT-2 Metal Zone, (panel).  Boss' best metal pedal ever - and the most versatile distortion.  With the 3-band EQ, including sweepable mid you can dial in a huge variety of tones.  It produces a distortion that is a bit smoother than the Heavy Metal HM-2 and HM-3 (which I also have in stock).  It does the scooped mid tone as good as anything ever made, or boost the mids and cut the bass and treble for a variety of tones ranging from VH to  ZZ Top.  The MT-2 is one of Boss's best selling effects of all time and is now, believe it or not, celebrating its 20-year anniversary.  Other than a light rub on the top, super clean shape and just $55.  

Keeley Boss MT-2 with Twilight Zone Switch.  Complete Hi-fidelity upgrade! Nothing like a heavy distortion channel that is produced well! Keeley designed this mod to have an Aural exciter built in for increased fidelity leads to better bass response and less harsh upper high-frequency. He eliminated every harsh sounding cap and replaced it with audiophile grade parts that let the midrange sparkle and breathe, with an increase in presence to take your tone over the edge. Integral to this mod is the 3-Way Toggle Switch to give you a sweet volume boost and a fatter tube like circuit designed into it. The toggle switch gives you three different distortion types. He created two different tube amp characteristics (switch to the right and to the center) has tube amp characteristics: huge power, increased harmonics, and better transparency. Lastly, the LED is changed to a cool blue color.  Keeley describes the stock MT-2 as sounding like "putting a blanket over your speaker cabinet", i.e. a dull, lifeless tone.  Click here for a YouTube demo where the difference is clear.  New these are $199 from Keeley.  This one's in perfect condition and just $135.  

2009 PRS McCarty Smokeburst - bird inlays,  (front), (headstock), (back), (Case/etc.).   The McCarty, which is our favorite model, left the catalog an we feared the guitar was gone forever, until they reintroduced the guitar last year with the "Smokeburst" model, which is a double sunburst, finished in nitrocellulose for the ultimate in vintage looks and tone.  Now more than ever PRS is a company that combines the old and the new.  You'll notice the beautiful maple top on this one.  It's not rated a "10", but looking around the web, it's the nicest by far that I've seen - compare here with other samples on the web.  The flame on this one is consistent side to side, top to bottom, with evenly-spaced bands of flame.  This model features the classic mahogany body with maple cap, a marriage of tonewoods that was made in heaven.  This wood combination, along with PRS's new '57/'08 pickups gives this guitar the ultimate in late 50's vintage humbucker tone.  Other features include McCarty switching with a 3-way selector - plus coil-split push/pull tone pot for 6 excellent choices of tones.  Other features include 25" scale, nickel hardware, mahogany neck with East Indian rosewood fretboard, bird inlays, wide-fat neck carve, stoptail bridge, vintage style tuners, and McCarty truss rod logo.  For this info and more, Click here for PRS specs.  This guitar is in beautiful condition, very resonate sounding with typically fantastic PRS playability.  Online price and in stores you'll pay $2995 and up ($5057 list) but why buy a mediocre one when you can have one of the finest - for just $2099. 

Baja Tech Bone Bender, Original 2-knob version!  Germanium-based Sola Sound/Vox Tone Bender clone that gets those early Tone Bender tones (Beatles, Mick Ronson of Ziggy Stardust fame, Yardbirds, etc).  Built with top-notch components and has true bypass to preserve your signal.  For details, and sound sample click here and here's a good YouTube demo of the later 3-knobber.  $145 new but this perfect used one is just $99.  

2002 Yamaha APX-5NA, (front), (back), (front/back), (preamp/battery/jack), (binding/rosette).  Very popular performance acoustic electric, sleek and lightweight, with the APX's signature oval shaped soundhole and high gloss finish.  The APX5NA is actually an improved version of the APX6NA, with a slightly deeper body, different neck for greater comfort, and improved electronics over the earlier 2-band EQ with "pop-up" knobs.  Features include 25 9/16" scale, 1 7/8" nut width, spruce top, nato back and sides, nato neck, rosewood fingerboard and bridge, mid-depth body that's 3 1/8" to 3 9/16", slotted headstock, gold tuners with pearloid buttons, multi-piece wooden rosette, and 6-ply top binding.  Unlike most companies whose imports are coming from Korea, China, Indonesia, and Vietnam, Yamaha has for years used their factory in Taiwan to build the majority of their guitars.  From my experience, they have been the most consistently good imports over the longest timeframe, of any other brand/factory.  Amplification is especially difficult with classical guitars but this one sounds rather natural when plugged in.  It features an under-saddle piezo pickup with the Yamaha System 46N 1 way Preamp with 3-band EQ plus Yamaha's AMF (Adjustable Mid range Frequency) control that allows you to select any mid frequency between 80 and 5K Hz and cut or boost it up to 12dB.  With this simple system you can dial in a very natural tone and with some minor adjustment, it's rather impervious to feedback.  Battery is easily accessible via a small door on the side of the upper bout, a vast improvement over inside-the-body mounting.  Here are a few of many YouTube performances on the APX5NA (here and here and an acoustic here).  This guitar is in excellent condition and an excellent choice for classical stage work at $399.  Add a nice forfmit SKB-30 case, superior protection with full length neck support, for just $75.  

2003 Gibson SG Standard - Black - EMG 25th Anniv. Pickups, (headstock), (case).  Freshly installed Limited Edition 25th Anniversary Silver EMG81's.  In '08 EMG produced just 2500 sets of this pickups world-wide, at a cost of $350 if you could find them.  Other than the pickups, this is your basic SG Standard, largely unchanged since 1961, when it was released as the "new" Les Paul style.  It has been in production continuously since that year, the longest running solid body model in Gibson history.   Features include all-mahogany construction finished in gloss Heritage Cherry lacquer, solid quarter-sawn mahogany neck, rosewood fretboard with 12" radius, trapezoid inlays, Corian nut, 1 11/16" nut width, bound fretboard, 22 medium jumbo frets, Gibson Deluxe tuners with Keystone buttons, holly headstock overlay with mother-of-pearl inlaid logo and crown inlays, black top hat knobs with silver inserts, Tuneomatic ABR-1 bridge and Gibson's most popular pickups, the 490R/498T Alnico humbuckers.  The SG Standard's remarkable sustain is due largely to two unique features:  the mortis & tenon neck joint which binds the neck to body so that the two pieces form one solid unit, employing the long tenon found on earlier SGs - plus the traditional 17 degree headstock angle, which increases pressure on the strings which maximizes string vibration between the nut and the tuners.  It features the neck profile of the mid-60's, not at all chunky as the 50's style, but nicely rounded.  Famous players of the SG Standard is a who's-who of rock music greats including Clapton during the "Cream" era, Tony Iommi and Angus Young both users for over 30 years, and Derek Trucks, who also uses extensive slide work in his playing.   Even with the EMG's, it still sounds like an SG, only better, with a more balanced tone, that's totally noise free.  This guitar is in excellent condition, with nice, low action, and with these Ltd. Ed. EMG's, a nice buy at $999.  

1981 DOD 565 Stereo Chorus Performer Series.  Great sounding analog chorus that's more lush than a Boss CE-2, and equally smooth.  In an A/B shootout, I would guess 50% of players would pick this model over the Boss.  This is the rare first version 1981 Performer Series, not to be confused with the more common 565-A that followed.  This one has the large touch pad switch that works smoothly and consistently.  Unlike the CE-2, this is a stereo (output) unit where the delay is mixed with the dry signal for one channel and the an inverted delay signal is mixed with the dry for the other.  I plugged this into two amps and the result was like an old Roland JC-120 amp; amazing.  Here's a demo on YouTube.  Runs on two 9V batteries or accepts 1/4" jack external power supply, 18-20 volts DC.   Nice condition and nice sounding pedal for $75, which is a lot better than one currently on auction.  We can "build" a power supply with 1/4" tip for $22 if needed.  

Lovepedal Kanji 9 Overdrive.  The Kanji 9, so named due to its 9 tone settings (two switches, 3-way each switch), is a very versatile and extremely well made OD pedal.  It features true bypss, premium electronic components, knobs for Volume, Tone (Treble Boost), and Gain; blue LED indicator, and two 3-way switches for changing diode clipping stages. It produces enough gain to rock you harder than any box you've used, but cleans up very well by rolling back your guitar's volume control, or choosing a softer clipping setting.  Click here for a YouTube demo.  I don't believe they make this black model 9 any longer.  This is an excellent sounding unit that's mint in the box with manual, priced at $165.  

B.K. Butler Tube Driver Reissue.  Butler had one of the first tube overdrive pedal, using a 12AX7 to warm up the tone.  Due to incredible demand for the originals, Butler has started building a limited run of his classic 4-knob Tube Driver, at a rate of around 6 per week, with a 6 to 8 week waiting list.  He hasn't set a limit on total numbers but when they're gone, they're gone.  The design and sound is the same as the original (as supplied to Eric Johnson, David Gilmour, etc.) but with improved parts such as Switchcraft all metal jacks, click pots, etc.  Each unit is hand built to his specs and Butler personally checks out each unit to ensure it's working perfectly and sounds great.  He then engraves his signature on the bottom of the case to ensures authenticity now and in the future.  These are $299 plus shipping new but this one's in perfect condition, available now, and $225.   Here's a cool video to let you hear some of that sweet Eric Johnson tone (link).  

OFF-HOLD:  B.K. Butler Real Tube Overdrive.  Butler was responsible for the plethora of tube overdrives that are around today.  Beginning with his original Tube Driver, advertised in Guitar Player mag in 1979, his pedals later gained favor with the likes of Eric Johnson, David Gilmour and Billy Gibbons.  Here's a great interview with the man (link), where he talks about this black version stating, "I then designed the black Real Tube pedal in 1986 which I still think is a superior pedal in some ways to the Tube Driver (ZZ Top’s Billy Gibbons agrees)".  You'll note in the interview that he has no association with Chandler and that there never was a "Chandler Tube Driver", stating, "It's all Butler."  This is an excellent sounding, unit, built to last a long time, with quality click pots, jacks mounted directly to the case, and a very heavy steel casing.  We cleaned all the pots, installed an ARS Tesla/JJ tube, and replaced the pop rivets on the transformer (tranny was starting to get a bit floppy), so it's ready to go for another decade.  This is a genuine Butler pedal and a good deal at $115.  

A bunch of pedals by MXR:   

1983 Fender Stratocaster Elite - Candy Apple Red, (front), (back), (headstock), (detail), (locking nut), (case).  A real beauty, finished in Candy Apple Red, which was a custom color for the Elite, offered with a slight upcharge over the standard colors.  This one owner guitar has been lightly played, and is 100% original other than he oversprayed the neck back in the 80's, apparently to stave off the fretboard edge wear which occurs very easily on guitars from this era.  Body was not sprayed and is in lovely condition.  Original locking nut with fine tuners is included, but not installed.  We will install it upon request.  Rather than using long descriptions, click here for a page I've created which outlines features of this innovative model.   Many players love the sound of Elites, and this is definitely a nice sounding one, highly regarded by them for their fatter tone and very quiet operation.  Electronics, which can be prone to minor glitches, work perfectly.  This one has an excellent set-up with very good sustain, and is an excellent value in a custom color Elite at $1350(hOLD-Bob C 12/1).  Includes original Fender case in nice shape, original trem arm, and locking nut.  

Morgan Monroe MMV-12CE Mini 12-String, (front), (back), (headstock), (preamp/endpin jack), (features), (gigbag).  Nicely made, good playing 12-string in a travel size.  Although it's a short scale, Morgan Monroe opted for a nice wide fretboard to make it easily playable for adult sized hands, with a 2" nut width.  Part of MM's "Creekside" series, the MMV-12CE filled a void in acoustic guitars. I can't think of another travel size 12-string, much less a cutaway version with onboard preamp. It also has quality features such as a bone nut and saddle, and maple binding on the neck and headstock, with an etched/raised logo and etched soundhole rosette. Although small in stature, the tone wasn't compromised and it has a balanced response that isn't overly heavy in the mids and somehow produces ample bass and an overall very good volume level. With the Fishman Classic 4 preamp, you get sufficient tone tweaking with a 4-band EQ, volume, and low battery indicator. Other features include solid Sitka spruce top, mahogany back and sides, mahogany neck with rosewood fretboard, rosewood saddle, stainless steel frets, and Kluson style mini tuners.  I'm not sure how the factory setup is, but after some tweaking here, this is a very playable 12-string and a very fun grab-and-go acoustic.  I don't know how they were able to build a model of this quality and features for a $539 retail but I would say it's one of the better values on the acoustic market.  Offered in mint condition for just $339 with a nicely padded Morgan Monroe gigbag.  

ca. 1999 Danelectro '59 DC - Limo Black, (front), (back), (headstock), (side).  If you missed a black '59 a few weeks ago, here's another one.  The black '59 DC is our hottest selling Dano and one of our hottest sellers in general.  It's a reissue of a genuine American classic guitar, which was originally budget priced guitar, but one with such appeal that it reached an iconic status.  Even touring pro's who can afford any guitar they want frequently have one of these in their rack, ready to make an appearance a few times each show.  I've seen Clapton use this model as well as Dave Matthews and, of course, Jimmy Page, who was probably the pro most associated with the '59 DC.  I get in loads of '56 U-2's but rarely one of these, for reasons I can't explain, but after it was discontinued they really dried up.  Specs are much the same as they were back in the 50's with a Hardboard (aka Masonite) top and bottom with plywood frame, Hard maple neck with rosewood fingerboard, 25” scale, 21 frets, taped "binding" around the body, chrome bridge with rosewood saddle, headstock painted to match body, stacked pots for individual volume and tone controls with 3-way selector, "lipstick" pickups - brass tube w/chrome plating with original formula 50’s style Alnico magnets.  This is one of the 1st reissue models, made in Korea, which from my experience are better guitars than the recent Chinese ones.  It also features the improved "D" tuners, which later showed up on the '59 DC Pro, which lacked the stacked pots, offering a single volume and tone control, as well as steel saddles, which made the guitar lose the vibe of the vintage style rosewood saddle.  Dano is reissuing this guitar again, but they're Chinese.  If you want the model that was responsible for bringing Dano back into the limelight after 30+ years of inactivity, this is the one.  Offered in excellent condition with a beautifully low set-up thanks to Martin, who has been setting up these guitars for 35 years and is a Dano magician.  You can do your Jimmy Page thing on this quality Dano for $399(Tent. Hold - 11/16).  Add a Dano tweed look gigbag (pic) for $25.

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

Digidesign Mbox 2 Micro, (Mbox), (screen shot).  Pro Tools LE in the Palm of Your Hand!  The Digidesign Mbox 2 Micro answers the demands of Pro Tools users worldwide by offering a way to edit and mix with Pro Tools LE anywhere you go.  A device the size of a jump drive allows you to take your Pro Tools Sessions on the road — record on your HD or LE rig and use the Mbox 2 Micro to mix on a laptop while riding in a plane, in a coffee shop, anywhere you want.  Features include Pro Tools LE playback-only (or MIDI recording) device; Ultra-portable, anodized aluminum design; high-quality sound up to 24-bit, 48 kHz (higher sample rates require pre-conversion); 1/8" stereo output jack for headphone or speaker monitoring (no audio inputs); convenient volume wheel for quick headphone adjustments; powered by USB (USB 1.1 connection, includes USB extension cable); includes Pro Tools LE 8 software.   Sells new for $199 but this one is virtually un-used and just $139.  

Studio Projects VTB1 Tube Mic Preamp, (back), (psu).  Excellent quality single-channel tube blend mic preamp, a must for any home studio, digital or analog.  Te VTB1 incorporating true class A/B switching and it's a totally discrete circuit. Unique to the VTB-1 mic preamp is the Tube Drive circuit based on a 12AX7 tube that allows the user to blend as little or as much of the Tube Drive as desired. The Studio Projects VTB-1 allows the user the most flexibility of any mic pre in its price class.  Great for vocals of course, but also a good choice to overdrive your guitars or bass.  Click here for a good video demo on YouTube.  Sells new for $149 but this one's mint and just $99.  

Teye T-Series "El Platero", (front1 front2), (back), (heel), (headstock), (side), (case).  For those who want the vibe of a Zemaitis guitar in a quality American made version.  Although Teye isn't associated with Tony Z's old company, the similarity is impossible to ignore.  I mean this guitar is just too cool for words.  I've had the Greco-made Zemaitis guitars and this guitar is better.  Features include Mahogany body and neck, 24 fret Ebony fingerboard with Teye inlay, 25.5" scale, Grover deluxe Imperial Rotomatics, 3X Lollar humbuckers, proprietary circuitry with master Volume, Tone, and Môd-knobs, machined bridge and tailpiece, engraved body and truss cover plates, aged pickup cover option, luthier oil finish, hand-made in Austin Texas. Teye is no longer producing the 3 pickup El Platero, now there's only a single pickup model. Low serial number T0022.  For more info check out Teye here.  Tonally, this guitar has a warm, lush tone, and the trio of Lollars produce a nice variety of quality tones.  This guitar has only seen a few hours of home use and is in perfect condition.  $2300 includes hardshell case. 

Aria AP-STD Parlor Acoustic, (front), (back), (headstock), (side), (appointments).  Most of our customers with more than one or two acoustics want a parlor-size instrument among their collection.  They're the perfect guitar to leave on display in your family room, always ready to pick up during half-time or other breaks in your TV watching, and let's face it, they're just plain cute so your significant other can consider it part of the decor.  Most players, however, don't want to spend a fortune on a guitar that may only see 10% of their playing time.  For this reason, the AP-STD is an excellent choice.  It's the best parlor guitar I've seen at anything close to this price range with quality features like a bone nut and saddle, solid red cedar top, and maple binding on body and neck.  Other features include gloss finish body and neck, multi-ply body binding, wooden 3-color soundhole rosette, colorful shell headstock inlay, mahogany back and sides, mahogany neck, full 25.5" scale, and sealed Aria tuners.  Tonally, this guitar has excellent projection for a parlor size, and is relatively well balanced without the midrange "hump" found in many small body acoustics.  The red cedar top lends itself to warmer and sweeter tone than the common spruce, with more of a complex tone.  Combined with the mahogany body, it has a nice singing quality and a very open tone.  As you might expect on a guitar that retails for $379, the factory setup wasn't spectacular, but when Martin did some detailed nut and saddle work, and dressed the fret ends, these now play as nice as they sound.  For a solid-cedar parlor guitar with these features and a pro setup, this is impossible to beat at $299.  

***DiMarzio Day, 2011***  Free shipping on orders of 2 pickups or more.

Martin Waverly-style Tuners.  Upgrade your Martin or other acoustic guitar with these genuine Martin tuners, made to Waverly 4060 specs.  Excellent condition; comes in a Waverly box.  $75(Tent. Hold - Diz 1/9). 

Alesis Quadraverb GT Chip Kit.  If you have a Quadraverb with a chip that's on the fritz, make it work again.  Version 1.03.  Includes hard-card with list of patches, and tweezers for removal and installation.  $35.  

EVH D-Tuna.  Installs in a few minutes.  Ingenious innovation for players who occasionally want to drop the low-E to a D; and back to E again.  Used in original packing.  $35.  

BMF Fat Bastard One-Off.  Donated for an Ebay charity auction by BMF Effects, this is a one-off Fat Bastard with a nice landscape paint job, labeled simply "BMF".   The Fat Bastard is a clean boost that adds a little weight to your sound without destroying your tone. With a fair amount of gain available, it is perfect for getting your leads just above the mix, boosting overdrive or fuzz pedals or pushing a tube amp into a nice, warm break up.  The preamp section on some amps tends to get thin or raspy when cranked up but you can keep the preamp gain down on your amp, and get a fatter, warmer tone getting your boost from the Fat Bastard.  It works equally well with bass guitars.   Click here for some sound clips (1/2 down page) and here for a brief video.  Better yet, check out these reviews on Harmony-Central.  $139 for this one of a kind, mint in the box. 

Electroharmonix LPB-2, Linear Power Booster.  It's as if you had 20 sets of pick-ups all in one guitar...can make your amplifier TEN times louder...  These are the claims used in advertising on the LPB's back in the 70's (see ad here).  While these might be an exaggeration, the LPB-2 can be used effectively to overdrive the front end of your amp, giving it thicker, hotter tone, or as a boost pedal for leads.  This is one of the cleaner examples of a ca. '76 LPB I've had and a very useable pedal, even for today's guitar rigs, for $99.  

60's Egmond (Holland) Acoustic Archtop, (front), (back), (headstock), (neck attachment).  Nice playing budget archtop from ca. 70's, made in Holland.  Egmond was one of the premier builders of Dutch guitars, opening their factory in 1932, closing down in 1983. None of these were imported into the USA so the few you see probably came into the country via returning military members, or perhaps a vacationing uncle.  Now in the age of easy international shipping, a few more are making their way to our shores.  I don't have a lot of info on this model, but it's obviously a no-frills, plain archtop.   It employs a unique "floating" neck attachment, with a dovetail neck joint, employing a spring-loaded screw to easily change the neck angle when needed.  This is a fantastic innovation, used only by Egmond, which eliminates costly neck resets.  The body and neck are both stamped "184" inside the neck joint which indicates quality not found on cheaper archtops built in recent years, i.e. the neck and body were custom fit during construction, rather than a body and neck pulled from bins during final assembly.  A few interesting facts about this brand:  Bran May used to play an Egmond; George Harrison's first guitar was an Egmond, although it was branded Rosetti, which Egmond used for guitars destined for UK sales; Paul McCartney played an Egmond "Solid 7" 6-string, that he strung with piano strings to make it a bass.   Egmond built many guitars under different brands including Alberti, Miller, Hi-Spot, Lido, Alpha, Rosetti, and many more.  You can find more info on these interesting guitars at Egmond's site here. This guitar is very playable and sounds great for that Delta blues sort of tone.  It appears to be all original, with a proper vintage patina, and is overall in nice vintage condition except for a small piece missing from the tip of the pickguard.  Cool vintage archtop for $250. 

1978 Fender Telecaster - Black w/Rosewood Board, (front), (back), (headstock), (neck/pocket markings), (case).  You want vintage vibe, you've got it.  This guitar has the mojo everyone looks for in a vintage Tele and one or two stories to tell.  The good news - it's original finish with no humbucker routes or other major modifications to the body.  The bad news - someone reshaped the ball of the headstock slightly (shown here).  Why?  Anybody's guess.  The good news is it's barely noticeable and doesn't affect the integrity of the guitar in the least.  The only modifications - the control cavity has been professionally deepened slightly on one side (shown here), probably to allow a 9V battery at some time in the past, and the output jack has been changed from the "cup" style to a flat LP style.  Pickups are USA Vintage '52 with cloth wires and original vintage design, with plenty of Tele quack and a spanky twang that makes you want to pick it up whenever you hear a new Brad Paisley lick.  Frets have been freshly dressed so there aren't any dishes in the frets.  It is set up with low action and plays nicely for chord work, although it frets out in a few spots on string bends.  If preferred, we can raise it to medium action for clear bends.  The body has a typical aged patina which can be buffed out to a high gloss if desired, but we generally only do that upon request on vintage instruments.  This is the era with the thick clear coat under the finish, with a thin painted coat, so it's worn through around the edge a bit, primarily where the forearm comes over the top.  It's typical weight for the era, i.e. not light.  If you don't want to $2500 for a 100% example, here's one with original finish, a cool vibe, at 1/2 the cost; just $1250.  Includes Fender tweed case.  

1978 Marshall Super Lead, Mod. 1959, (panel), (top), (back), (bottom), (chassis/tubes).  Few amps have attained "holy grail" status, and by this I don't mean the rarest of the rare, rather an amp whose reputation is so iconic that it tends to be the most highly sought after for certain seekers of tone.  Other amps that fall into this category are the Blackface Deluxe Reverb, Tweed Bassman, Boogie MK IIC+, and some of the truly rare like Dumbles and Trainwrecks.  If there is one amp that defined the sound of Rock music, it is the Super Lead, Model 1959.  This model achieved benchmark status beginning with Townsend and Hendrix and carried on through EVH, with a virtual who's-who of rock players since.  While the '67-'69 Plexi, with their Plexiglas front panel is the most highly cherished of the 1959's, clean examples of that model sell for as much as a nice car and, quite honestly, it sounds about the same as these later models.  With 100 watts of pure Marshall tone, this amp is way loud and when cranked up, you'll not find a more pure rock tone.  Inside this amp and it looks 100% Jake, complete with hand-wired circuit and no evidence of replaced components or overheating.  As you can see in the pics, this is likely the cleanest examples on the market.  The only noteworthy flaw I've noted is slight oxidation to the polished brass handle (shown here).  Tubes are all vintage, with a quad of old EI 6550's and Servicemaster 12AX7's in the preamp.  This amp is tuned perfectly and needs nothing to create what might be the finest tone you've ever heard.  If you've ever heard a 1959SLP, you know that it's an extremely loud amp.  If you're going to play in a club, be prepared to use an attenuator.  Amps in this condition are quickly fetched up by collectors and are forever removed from circulation.  The beaters make the rounds; the keepers get kept.  They also don't come cheap, but with a reissue JMP 1959SLP head selling for $2349, wouldn't you rather have this 33 year old beauty...for less, and one that sounds as good as it looks.   $2200 for this iconic amp that can be the centerpiece of any amp collection, or a killer amp to take on tour if you promise to take care of it.  

1970's Japan Ibanez? Strat Copy, (front), (back), (headstock), (pickups), (tremolo).   We're not really sure what model this guitar is.  It came in with the logo rubbed out but the outline was roughly the same shape as a vintage Ibanez logo so we refinished the headstock, including logo.  It has some of the features of the early Ibanez Strats, model 2375, such as the narrow spacing for the neck plate, similar saddle blocks, and the same bent steel tremolo block rather than the solid block found on most guitars.  The pickups all have metal bottoms and sound good.  The neck pickup looks slightly different but it still has the metal bottom and similar thick gray wire.  The guitar has the original 3-way switch installed, but we can swap out with a 5-way if desired.  Although a solid body guitar, i.e. not plywood, it is made of multiple pieces of ash, rather than a simple 2-piece body you see on more modern examples.  The set up is very comfortable, with just a few buzzy spots on the neck, but we can raise the action if you want it buzz free.  Overall it's in very nice shape for a 70s guitar and a good value on an old Japan model at $259.    

1993 Gibson EAS Standard, (front), (back), (headstock), (side), (preamp), (case).  Fairly rare model from Gibson Montana, made only from '92 to '94.  An excellent stage guitar, the EAS has a body that's considerable thinner than a dreadnought.  Features include single Venetian cutaway, solid spruce top, maple back and sides, mahogany neck, rosewood fretboard with pearl dot inlays, 2 multi-stripe rings rosette, rosewood reverse bridge, blackfaced headstock with screened logo, 3 per side nickel tuners, tortoise plastic pickguard, 20 frets, Vintage Sunburst finish, double bound 15-7/8" body, Gibson pickup/preamp system,1-11/16" nut, 24-3/4" scale.  While the body is less deep than your average Gibson, the body size is around the same width as a J-45 and it has excellent projection and a nice balanced tone.  The preamp is an effective system, with the semi-parametric mid an improvement over the Fishman Classic 4 which was also used on this model.  There's an easy access battery door should you ever need to change the battery.  Overall very clean shape with the worst flaws being a few slight indentations on the back of the neck from a capo.  This is a very well made acoustic that sounds nice, plays very well, and a good value on a quality Bozeman MT acoustic at $899.  Includes original brown case.  

2010 Takamine TF77-PT OM-size Koa, (front), (back), (headstock), (preamp), (cosmetic features), (case).  The TF77-PT OM is handcrafted in Tak's pro series facility that has been building precision quality instruments over five decades.  It blends beautiful solid tonewoods - solid cedar top and Hawaiian Koa back and sides to create harmonic richness.  The finish is a gloss sunset burst and the 12th fret is adorned with a sun setting behind a palm tree on a deserted island.  The mahogany neck is joined to the body with a traditional, ultra strong dovetail joint. It includes Takamine's Palathetic pickup, one of the most accurate and natural sounding acoustic/electric pickups with the state of the art Cool Tube® Preamp – the first and only tube preamp in an acoustic guitar.  Features include popular OM body with solid cedar top and solid koa back and side, ebony fretboard with an intricate palm tree inlay at the 11th/12th frets, abalone soundhole rosette, multi-ply body binding, gold tuners with amber pearl buttons, and CTP-2 Cool Tube preamp (specs here).  The Cool Tube utilizes a 12AU7 dual triode vacuum tube, adding warmth and depth not normally found on acoustic preamps. Tak also uses their “SoundChoice” docking port, which allows the user to easily change to any of Tak's other preamps if they so choose, without modification. It's as easy as pulling out the capsule and inserting another. It also features an excellent chromatic tuner as well as a knob to dial in 0-100% of the Cool Tube effect, 3-band EQ with a parametic mid control (250Hz to 4.5KHz), Aux pickup knob to blend in a suspended condenser mic magnetic soundhole pickup.   Set up is low and extremely comfortable, with a rich beautiful tone, unplugged or amplified.  A high end Japanese model the TK77-PT has a list price of $2579, selling in stores for $1799.  This one is in dead mint condition and a super nice OM size for $1259.  Includes original case with carrying strap and all paperwork.  

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.  

2009 Rick Turner Model One CLB Lindsey Buckingham, (reverse), (side), (front1 front2), (back1 back2), (headstock/neck pic2), (pickup), (case).   Wow, what a guitar.  I've wanted to wrap my hands around one of these since I first saw Lindsey playing his Model 1 30 years ago.  A truly unique guitar with elegance, ergonomic comfort, playability, and of course superb tone.  Although I wouldn't recommend this one to hard rock/metal players, it's versatile enough to cover any other type of music, equally at home with finger style or Spanish play.  Rick Turner co-founded Alembic in 1970 and was a chief designer in the early Alembic instruments.  He founded Rick Turner Guitars in 1979, soon supplying instruments to the likes of the Grateful Dead, Jefferson Airplane, Crosby, Stills, Nash & Young, The Allman Brothers Band, John Entwistle, and John Paul Jones; and more recently, Ry Cooder, David Lindley, David Crosby and Andy Summers.  His most visible user was Lindsey Buckingham of Fleetwood Mac, who received #79-003 (1979, third one ever made) and played this model extensively.  Lindsey has since retired his original Model One, but has had a number of others over the years, and still plays one today (pic of a recent TV concert).  This Model 1-CLB, the Lindsey Buckingham model, is based on his original Rick Turner guitar.  Its finished in a rich red mahogany gloss finish, loaded with all the features.  It plays great, sounds great, and ergonomically, one of the most comfortable guitars I've ever played.  A few unique features of The Model One were a laminated neck design for increased sustain and stability, and a cylindrical body arch to decrease the standing waves created by parallel surfaces.  Other features include:  Mahogany body with full binding, Maple/Purpleheart neck with backstrap, on Board Pre-Amp, Quasi Parametric EQ, Turner Signature Rotating magnetic pickup, Planet Waves locking tuners, multiple headstock binding and neck binding, and active/passive electronics operation.   For more info click here for Rick's site.  This guitar sold new for $5100 in '09 and appears to be unplayed since new.  It's an exceptional value, in mint condition, at $3570(HOLD-Brad W 11/19).  

Breedlove Custom Shop SD25-Focus/R, (front/back), (detail), (preamp).  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 technical "improvements".  This Rosewood beauty is offered in mint condition and is one of the best acoustics I've had.  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 around 6 years ago, which may have been discounted to $2999 depending on the dealer; very reasonable for an American acoustic of this quality.  This guitar is in mint condition and an exceptional player with beautiful tone.  Nice deal at $2250.  Includes a nice hardshell case.  

1995 Fender Standard Strat with Upgrades and Flamed Maple Neck, (front), (back), (headstock&neck), (Duncan Little '59), (Earvana nut), (pickguard).  Super clean '95 Standard Strat with some tasteful upgrades for more versatility and better tuning stability WITH a very rare flamed maple neck that looks like it belongs on a Custom Shop model.  Although there's a solid market for clean, used Mex Strats, Martin and I prefer to add in some extra value, and while we can't sell them as cheap as a stock model, we can offer a guitar that's better than when it left the factory, for less than the cost of a stock model.  In addition to the killer looks of the pristine Alpine White body with flamed neck, we installed a Duncan Little '59 bridge humbucker which is wired as a humbucker in position 5, but tapped in position 4 for the bridge/middle combination. Having a humbucker on a Strat opens up a whole new world in terms of fat tone, and more quiet operation.  For tuning stability we installed a set of Hipshot locking tuners.  Since they're staggered height, they eliminated the need for a string tree so we removed it and plugged the hole.  We also plugged the holes for the original tuners so it's barely noticeable.  Lastly, we installed an Earvana nut (stock pic), for greatly improved intonation (info here).  A new Standard Strat is going to set you back $499.  We're offering this great looking, great playing one, with around $240 in upgrades, for less than a stock model.  $475(HOLD-Dan L) includes gigbag.  

2005 Fender Deluxe Power Stratocaster with Fishman Bridge, (front), (back), (headstock), (bridge).  As new - virtually unplayed.  Very versatile model at the top of the Deluxe Series line of Fenders.  The Deluxe Power Strat is an HSS model so it features a bridge humbucker, plus a Fishman Power Bridge which has 6 Piezos, one built into each of the saddles.  The result is a Strat that's capable of brighter and fatter humbucker tones, while retaining nearly all the traditional Strat sounds, plus a guitar that can double as an acoustic in stage situations.  It features a volume and tone control for the 3 pickups - plus a separate volume control for the Fishman, so you can easily select the magnetic pickups, Piezo pickup, or blend the two in any combination, such as neck+middle pickup with Piezo, etc.  Other features include:  transparent Butterscotch Blonde alder body, maple neck with rosewood board, Tex Mex Humbucker, two Tex Mex single coils, modern C-shaped neck with 9.5" radius, gloss finish body, satin finish neck, no-load tone control, synthetic bone nut, Fender vintage tuners, easy access 9V battery compartment on back, and 4-ply tortoise shell pickguard.  Here's a YouTube demo (link), just forward to around the 4:00 min. mark to hear it in action.  This guitar is dead mint and appears unplayed, with plastic still on pickguard and back plate.  It has an excellent setup and a quality tone on all pickup combinations.  Sells new for $999 but this one's "as new" for just $750.  Includes Fender Deluxe gigbag and trem arm.  

1985 Fender Japan Standard Strat with '95 Tex-Mex Strat Neck, (front), (back), (headstock), (System I), ('85 Catalog).  Super clean '85 Fender Standard Strat with System I tremolo add a Tex-Mex Neck, and you've got the best of both worlds.  The System I stays in tune better than a vintage trem, but the locking nuts for the Contemporary, located behind a regular nut, were somewhat ill-conceived and were the weak link in this otherwise effective system.  We cured the problem by combining the best of both worlds.  The Tex-Mex is a vintage spec, i.e. no locking nut, but it has the tuning stability of the System I, with the advantage of easy tuning tweaks via the fine tuners located on the bridge.  The body is insanely clean for 25+ years, just check out the pics.  Neck isn't quite as clean as the body but still in nice shape  I've had this complete '85 body in stock for years.  The original neck had the truss rod max'd out all the way, incapable of setting up with nice action.  Fender was the original designer of the System I tremolo with fine tuners, one of the few non-Floyd licensed locking tremolo systems of the era.  The '85 body features all original parts including a trio of ceramic single coils with hum canceling in positions 2 and 4, and wired it so the bridge pickup uses the tone control, while the middle pickup isn't wired to a tone control.  It's a little different but removes some of the shrillness a bridge Strat tone can have.  The body is factory routed for a recessed tremolo cover plate, which is a nice touch.  For less than the $499 price of a new Mex Standard, you can get this Japan model, with a higher end Mex neck.  $450 includes Fender gigbag or $500 includes a new hardshell case.  

Burns Scorpion G2 Bass, (front/back), (headstock).  (aka Scorpion Gothic Bass) New-old-stock and harder to find since Burns USA folded a few years ago.  Burns London, since the 60's, was always thinking outside the box has built perhaps the most evil looking bass I've ever had.  This one's actually an update from the 80's model and a very well made bass that was crafted in Korea.  Features P and J pickups with 3-way selector and mini-toggle for phase switching which allows a lot of cool collection of tones.   Also feature basswood body, hardrock maple neck with rosewood board, 34" scale, Scorpion headstock with Burns Deluxe tuners, Burns Deluxe tailpiece, pearloid neck binding, and deep cutaways allow for easy access to the upper frets.  Check out the Scorp in detail here.  With a list of $899, these sold in stores for $659 but this one is perfect with plastic still on the pickguard AND pro-setup prior to shipping - for just $475.  It's hard to find a gigbag to fit this but I have a very plush EI gigbag (pic here). with black/white spotted lining that will fit it - for $25, or it might fit in a Coffin brand hardshell case, for $65. 

Proco "The Rat", (circuit).  Original vintage reissue.  Pots dated '94 with original 308 chip.  This is an excellent sounding Rat.  Very smooth, round distortion.  The Filter knob holds the secret of these and transforms the pedal from warm and thick, to nasty and bright, with many other tones in between.  It's in perfect condition and a nice Rat for $79.  

Carvin DC-747C 7-String Neck-Thru, (front1 front2), (back), (headstock), (controls), (bridge), (rounded edges), (case).   Thinking about stepping up to a 7, or are you already there but playing is limited by the quality of your first 7-string?  Here's a pro-quality American made 7-string that looks great, sounds great, and has stunning looks to boot.  There is a growing following for 7-string guitars. Once the choice of many jazz players, in recent years they have become the choice guitar by some of the heaviest music ever created. Beginning in the early 90's, led by Steve Vai, "Korn" sound became synonymous with the low, huge sound of the 7-string. Numerous other bands and players like John Petrucci/Dream Theater, Jeff Loomis, Avenged Sevenfold, Limp Bizkit, etc., have made the 7 a huge part of their band's sound.  Features include maple neck through an alder body with maple cap, fully rounded body edges, 25.5" scale, Sperzel locking tuners, 1.9" at the nut - 2.6" at the 24th fret, licensed double-locking Floyd Rose tremolo (on the 747C), two C26 humbuckers with AP13 single coil, stock controls are 5-way - volume - tone.  Options include tiger-stripe flamed maple top with Antique Brown stain, matching flamed maple headstock veneer, mother of pearl block inlays, gold hardware, and switching options that add versatility and more tonal selections.  This guitar arrived looking lackluster and neglected.  With buffing comound in hand, Martin transformed this guitar into a real beauty, buffing out small pick and buckle scratches.  The only cosmetic work requrired were two small spots that he had to fill and lacquer over (shown here), barely noticeable from a few feet away.  It's now in beautiful shape all over and is even more attractive in person than in the pics.  The higher end Korean imports are running around $700 with case, and they only have a maple veneer.  This quality USA model has a thick maple cap, stunning flame, and some nice options, all for $650, including Carvin hardshell case.  

1980 Fender Pickguard Assembly - Complete, (detail).  Complete your restoration of your '80/'81 Strat with this drop-in ready assembly.  All original including pickups all dated '80, pots are '78 which were on this '80 guitar from the factory and not unusual in the least.  Original 5-way switch as well.  Shielding tape has been added to the undersize to reduce hum.  There is a crack on the lower point which has been glued (shown here).  If desired, we can switch everything over to a non-repaired guard for $50 parts&labor.  I see a lot of guys asking $2K to $3K for their 30-year old Strats.  If you part this together (guard, knobs, tip, pickups, pots), you're going to pay a fortune, but here's the whole thing for just $400.  

Digitech Brian May Red Special Signature Pedal, (bag/pick/power supply), (box).  I just found two more of these:   One of the newer pedals in Digitech's Signature line, the Brian May Red Special, with 7 of his signature models with 14 distinctive tones.  Tones include Red Special Guitar, Treble Booster, Deacy Amp, Vox AC30, Foxx Foot Phaser, Pickup Configurations, Delay, Reverb, Flanger, Acoustic, Tele, etc.  If you want to nail the tone of, say, Bohemian Rhapsody or We Will Rock You, this is the ticket.  Rather than writing a book, Click here for a good review by Guitar World magazine.  This thing really sounds authentic and click here for proof - a YouTube demo done by an amateur beginner through a 15W Crate amp.   This pedal listed for $299 and used ones are going around $140, but I have these new in the box, for just $139.  I have a stack of Digitech's signature pedal line posters - remind me, and I'll also include a full size poster with Brian and the full pedal line on reverse (pic).

Teese Real McCoy Custom RMC5 Wizard Wah, (pic2).  (Note: I sold the RMC3 and RMC Picture Wah in the past 2 days so I moved this from the semi-just in page).  The RMC WW is designed to be an entry level RMC wah along the lines of the RMC1, but with a tuning that works well with a variety of pickup designs, especially for higher output pickups like humbuckers.  Especially good for high-gain tone, so you rock/metal players will especially like the RMC5.   Tonally, it's a cross between the RMC1 and Picture Wah, with a rich, yet tight low end, haunting mids, and a smooth top end to an extended sweep range.  It features true-bypass switching, 9V DC adapter jack, and rocker tension that's easily adjustable via included Allen wrench.  There's a YouTube demo of the RMC5 here.  Mint in the box with manual for $175(Tent. Hold - Roger M 10/31).

Dunlop 535Q Crybaby, (pic2).  One of the most versatile Wah's on the market; gives you unprecedented control over your wah tone. Easily adjust where the frequency will be centered, then decide how wide you want the frequency range sweep to be.  There's also an adjustable and switchable boost function onboard with 16dB of boost.  You also get six new guitar wah ranges, in a sturdy housing plus hardwired on/off switch.  Sells new for $129 but this one's in excellent condition in the box for $85.  

2005 Gibson Les Paul Standard DC Plus, (front/back), (headstock & fretboard), (case).   What a stunner!  I'm not normally a huge fan of Trans Black, but when it's stained properly--with first-rate AAA flamed maple--it looks amazing.  When paired with gold hardware you get an elegant, classic look.  The DC was Gibson's answer to players who wanted the Les Paul tone with the extra freedom of playing provided by a double cutaway guitar.   Additionally, it's tone-chambered body keep it lightweight for ease of play for an entire night, something many Les Paul Standards aren't really cut out for.  Features include 490R/498T Alnico humbuckers, chambered mahogany body with maple cap, mahogany neck, gold hardware, rosewood fretboard with trapezoid pearl inlays, bound body and neck, and Grover Kidney tuners.  With a list of $2398 this guitar sold at discount for $1669 but most didn't have flame this stunning, and in "as new" condition, it's just $1250(HOLD-Jeff F).   For Gibson's specs, click here.  Includes original Gibson case.

1991 Fender Standard Stratocaster - Candy Apple Red, (front), (back), (headstock), (bridge), (pot upgrade).   Lovely example of an early Ensenada, Mexico production.  Although the Ensenado plant started up in '87, they were primarily producing amps and cabs.  I don't believe the first Standard Strat, i.e. silver and black bold logo, began until 1991.  Prior to this the Standard was built in Japan in the early 80's, switching to Korea in the late 80's.  For a brief period the Mex models were Squiers with all-black logo with "Squier Series" in small font written near the tip of the headstock, followed by the same guitar without the "Squier" moniker, although they're essentially the same guitar with the same cheap tuners, large cast saddles, and primarily plywood bodies.  This '91 is basically the same model that's built today with the Fender/Ping tuners, stamped bridge saddles, and non-laminated body, although it does have ceramic pickups rather than the current Alnico.  There was a different back plate installed at some point so there are some screw holes but they're invisible with the plate on.   One upgrade has been done to this guitar - pots upgraded to USA CTS which replace the original small import pots.  This guitar has an excellent neck which allows low action and is in super clean condition.  With a new stock Standard Strat running $499, this nice early one is an excellent value at $299(SOLD Tom D 1/26...I finally found it again), set up perfectly and ready to go.  

Epiphone Masterbuilt AJ-500MNS - All Solid Woods, (front), (back), (headstock).  An incredible value in an all solid wood flattop - solid Sitka spruce top with solid mahogany back and sides.  The AJ500 is an Advance Jumbo, sloped shoulder dreadnought, patterned after a 30's era Masterbuilt, which are highly cherished guitars on the vintage market.  It features era-correct "offset notch" headstock shape, Epi script logo, and mother of pearl "stickpin" inlay.  Other features include bone nut, Waverly-style nickel tuners by Grover, rosewood fretboard, mahogany neck, reverse belly bridge, natural satin finish, and 25.5" scale.  I've had some excellent acoustics with laminated sides and/or back, some quite expensive, but there's something about the responsiveness and crisp tone of this guitar that I can only attribute to the solid sides and back.  It's also a great looking guitar, nicely appointed with bound neck, multi-ply body binding, vintage-tint tortoise pickguard, and multi-ring soundhole rosette.  This one also has nicely figured mahogany that looks very much like rosewood in grain pattern.  For some good reviews check out AcousticGuitarForum and UltimateGuitar.  The action on this guitar is very low which lets you play barre chords without fatigue  For those of you who still harbor some prejudice against Chinese made guitars, this model should put it to rest.  Blueridge proved to me that they can rival USA models costing 3X the price and I consider this AJ500 up there with Blueridge in terms of build quality, tone, and playability.  With a list price of $832 this model sells new for $499 without a case or gigbag.  For $100 less you can have this beauty, in mint condition WITH a great Epi case (shown here) - just $399(HOLD-Rob 10/28).  This is the nicest poly foam case I've seen, with a very plush blue lining, combo lock, built-in humidity gauge, and thick foam protection on all sides.  Has interior compartment with door, external compartment, and removable back straps.  

PICS FIXED: 2009 Giffin Model T Special (T2), (front/back), (headstock), (heel/cutaway), (bridge/pickups), (tortoise binding), (certificate/spec's), (case).   For a great review of Giffin guitars, check out the January 2010 issue of Vintage Guitar.  This is a fine, fine guitar.  The best Les Paul Special type guitar I've had...ever.  You can feel the quality before you even strum the first chord and within 60 seconds, you'll likely agree with me.  Griffin offers quality custom handmade guitars all based in classic designs for a vintage appeal, with modern day enhancements.   They are true boutique guitars, built one at a time, each one built to the personal spec's of the new owner with several custom options to choose from such as woods, pickup configuration, color selection, inlay design, neck specifications and more.  He does not use a dealer network and sells his guitars direct to the public which saves your around a 30% markup.  Current wait time for a built is approximately five months.  Roger Giffin started building guitars in England through the 60's and later moved to the USA where he designed the prototype for Steinberger's "M" series guitar.  He later headed Gibson's west coast custom shop while building guitars for players like Eddie Van Halen, Joe Walsh, Peter Frampton, Malcolm Young and Jimmy Page including his #3 Les Paul (shown here).  About the Model T Special:  Specifications include Mahogany body, Mahogany and Maple neck - laminated for strength, South American Rosewood fretboard; tortoise bound fingerboard - tortoise pickguard and backplate;  Gibson scale - 24 3/4 inches, (optional) mother-of-pearl dot inlays, black headstock veneer, Tonepros bridge/tailpiece combination, Gotoh mini tuners, and high gloss polyurethane finish.  For pickups, this guitar was ordered with a smoking pair of Amalfitano P90 pickups (link) with a dog-ear in the bridge and a standard soapbar in the neck.  These are high output (9.6K/8.6K) single coils with the neck RWRP for hum cancellation in the middle position.  To me there's nothing that beats the simplicity or comfort of a wraparound bridge and this Tonepros has all the advantages, with none of the disadvantages.  It's fully intonatable and feels very comfortable when damping strings with your hand.   The neck is spectacular, very thin like an old Gibson double-cut, with binding for comfort and cutaway very deep into the body  It's also uniformly thin from the 1st fret to the 22nd, rather than getting chunkier as you go up the neck but he profile is a very subtle soft V at the lower frets, gradually flattening out to a D-shape at the top of the neck  A Special is a great design for playing in the upper register and this model is the best, with virtually no heel and a deeply beveled cutaway.  Super comfortable.  For pricing and details on this model click here for Giffin's site.  You can order direct from Giffin for $2700, which is extremely reasonable for a hand-made guitar of this impeccable quality - or if you don't want to endure a 1/2 year wait this 2009 model is available now for $1000 less.  Frets are almost new, 99%, and otherwise in immaculate condition, at just $1700.  In closing, as many of you know, I'm a huge Junior/Special fan.  I feel that this Giffin Special is as good - or better - than most vintage Gibsons I've played.  See my Misc. Electrics Page for another one.

2001 Gibson Les Paul Studio - Wine & Chrome, (front), (flame), (back), (headstock), (case).  Rare flametop Studio, this is easily a AA top and although the beauty is somewhat lost on a dark wine stain, it looks great in good lighting.  This is one of the older "heavy" Studio's, before chambering became a standard feature on all LP's around 2005.  Many players are seeking these out, with the belief that a better tone is worth the extra pound or two.  The Studio's remain the best value in the "real" Les Paul line, i.e. gloss finish, carved maple cap over mahogany body, trapezoid inlays, 490R and 498T Alnico humbucker, Gibson deluxe tuners, etc.  Basic construction is the same as the Standard with the exception of cosmetic appointments such as body and neck binding.  Cosmetically this one has its share of scratches and dings, but there are no breaks, repairs, or other issues.  I attribute the flaws to a careless owner rather than extensive playing time as the frets are near perfect.  It's a great playing Paul and for a lacquer finish Studio a nice buy, especially for the many players who are looking for a non-chambered body, which are becoming harder to find.  With a new Studio in Wine selling for $1319, for the player this guitar offers substantial savings, an a lovely maple top.  Just $779 and includes Gibson brown case.  Case is missing the combo latch but other latches work fine.  

Epiphone EJ-160E John Lennon Acoustic-Electric, (front), (label), (back), (headstock).   Limited-edition signature model of the guitar John Lennon used to write many of the Beatles hits and remains one of the instantly recognizable models through his association with the Gibson J-160E.  Features a sloped-shoulder dreadnought body with spruce top, mahogany sides and back, and finished in classic tobacco sunburst.  The defining feature of this model is the single coil pickup built into the edge of the sound hole at the base of the neck, which delivers a full, natural acoustic tone that to me is more authentic than a Piezo in the saddle.  Controls are volume and tone mounted on the top of the soundboard.  Other features include lighter mahogany strip down the center seam on the back, multi-ply binding front and back, bound fretboard, and excellent quality trapezoid inlays that look like real pearl than most other imports.   I had a number of these four years ago and this one was just traded back in - originally the only flaw was the serial number is partially obliterated and they have a used stamp on the back of the headstock.  This one developed a small crack (shown here) which we've repaired and the guitar has 100% bill of health.  It also has the lowest action you'll find (as shown here) which makes this a joy to play.  With a list of $832 and sells everywhere for $599.  If you can deal with a "used" stamp on the back of the headstock and a non-problematic crack, you'll be getting an otherwise perfect guitar, set up to perfection, and just $389(HOLD-Tim B 12/24)

1998 Gibson Firebird V, (front), (back), (headstock), (case).  Classic "reverse" body style with neck-through-body design.  The Firebird was yet another radical design from Gibson, fearlessly debuting the model in '63, shortly after the demise of the Flying V and Explorer.  The Firebird was actually the brainchild of legendary automotive designer Ray Dietrich, designer of classic Lincoln and Packard cars, brought in by Gibson to bolster the solidbody guitar lines of the early '60s, i.e. to keep up with Fender.  Dietrich's unconventional design was based loosely on the legendary automobile tailfins of the 1950s, with a touch of the radical look of the defunct Explorer.  The body style wasn't well-received and within 2 years it went the way of the V and Explorer, only to emerge as a non-reverse model in '65 which stayed in their catalog a bit longer.  To collectors and players though, the reverse body style is the one to have.  Features include 9-ply mahogany/walnut body with mahogany wings, thin nitrocellulose finish, "banjo" tuners, bound rosewood fingerboard with trapezoid inlays, high-output ceramic mini humbuckers, 2 volume and 2 tone controls, a 3-way switch, and chrome hardware.  This guitar hasn't seen much use, but there are some careless dings around the edges and a few finish impressions on the back (as shown here).  No breaks or repairs though, and an outstanding setup and quality tone.  Includes very tidy original brown case with pink lining and shroud, a much better case than the current black one.  A new one runs $1699 ($2299 list) but here's a nice used one that plays incredible and is a better deal at $1150(HOLD-Jack B 10/27).  

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

Vox Pathfinder 10 Combo Mod. V9106, (panel), (top), (back).  One of the cutest Vox's you'll see.  At 10 watts through a 6.5" Vox Bulldog, the sound is far from cute and this would make an excellent backstage amp, studio amp, or it looks nice enough that it wouldn't look out of place in the family room.  The Pathfinder 10 features controls for Gain, Volume, Treble and Bass while a Gain Boost switch increases preamp drive so the amp can deliver traditional VOX clean sounds as well as modern high gain distortion.  One of the things that really grabbed me with this amp is a cool natural compression which works great on country licks and chicken pickin'.  It also has an excellent overdrive channel which sounds much bigger than this little amp looks.  Check it out on a YouTube demo here.  Other features include a jack that doubles as a Headphone or a specially-filtered Line output.  It also boasts classic VOX styling with diamond grill cloth, Vox dogbone handle, white piping, gold trim plate, basket-weave vinyl, and pointer style control knobs.  For more info and manual click here for Vox.  Offered in mint condition for $59.

Monster Cable Z2R ML-10/10 Speaker Cables.   The ultimate audiophile cable, Z-series cables will provide a noticeable improvement in your studio reference monitors, home theater system, or any other application that uses a 10 ft. banana plug cable.   Z2 Reference incorporates Monster's famous MultiTwist construction, an ultra-tight winding of connectors resulting in enhanced sonic performance with superior noise rejection throughout the audio bandwidth. Combined with specially formulated PEX dielectric, Z2 Reference offers incredibly low dynamic noise and startling realism in sound and film. You'll hear details you never heard before - from nuances in vocals and dialog to high frequency detail like the rustling of leaves, to the low-end rumbling of the loudest explosion.  These have recently been discontinued but you can still find them on the web, selling discounted for $149.  You can still get 250' spools of the cable from Monstercable.com (link) for $5/foot.  For less than the price of the raw cable alone you can get this set, new in the box.  Just $89.  

Boss MD-2 Mega Distortion.  One of Boss' newer compacts, the MD-2 has been around since 2001 and cranks out more gain than any other Boss pedal.  With the MD-2 Boss focused on massive bottom end which makes this pedal especially useful for 7-string or drop tuning players.  With this in mind it features the usual Tone control, plus a separate Bottom control.  It also features separate Gain and Distortion knobs and Level, to match the engaged signal to the disengaged.  Mint in the box, $45.  

Barber LTD Low Gain Overdrive, (pic2).  The LTD dishes out some of the sweetest clearest overdrive you'll hear, with remarkable chord clarity with excellent harmonic content. Hand made, one at a time, and signed by the craftsman, the LTD features precision matched components-using proprietary specifications to ensure symmetrical clipping and reduced intermodulation distortion. It features true bypass switching with led indicator using an extremely high grade switch, in addendum Solid 20 gauge copper hookup wire is used between the jacks and switching to create the most transparent bypass yet. Extreme volume knob response circuitry for an amazing variety of shades and textures just by adjusting your volume knob. The cast aluminum enclosure is incredibly durable and will last decades. Ready for 18 volt operation-The LTD operates from 9 volts to 18 volts, this allows use of higher voltage converters and supplies, for players who want to try higher voltage tweaks.  Sells new for $139 but this one's mint in the box for $99(HOLD-Brad T).  

Fulltone Octafuzz II OF-2, (pic2).  The only exact circuit copy of the legendary Tycobrahe Octavia. Cool Octave-Up sounds ala Hendrix "Band of Gypsies" and SRV's many live shows!  Housed in a 14ga. steel enclosure with a Ranar-blue gloss powdercoat finish and Antique-white logo.  Click here for one of many YouTube videos on the unit.  New cost is $144 - this one's mint in the box for $115(HOLD-Don W 10/23)

Electroharmonix USA Big Muff Pi.  Refin'd Candy Apple Red and modded.  I don't know what the switch does specifically, but it sounds different - and cool.  A classic 60's fuzz/sustainer.  $55.  

Dunlop Crybaby GCB-95, (pic2).  Works great.  A classic American wah tone for $45.  

60's Gibson Pickup Ring.  Very hard to find M8 ring for your late 60's/early 70's Gibson neck pickup.  Shown in pics top side and bottom side, with proper numbers, M8 788 and 70 595.  With late 60's Les Pauls now above $10K, if you have a cracked or replacement ring, this is a small price to pay to make it right.  $50.

1967 Clarostat 1M Pot.  13th week of '67.  Nice shape.  $25

ca.'83 Scholz SR&D Bass Rockman, (close-up).  Shortly after release of the popular Rockman X-100, came the Bass Rockman, especially designed to meet the needs of bassists.  I used one of these in the mid-80's, both on stage and in the studio, and I'm quite a fan of their tone.  Played through headphones, you'll hear a tone you've never heard before.  It won't sound like your usual jamming...it will sound like you're listening to a CD and you're playing the notes. This unit features a quality analog chorus, 2 clean settings, a distortion setting, Fat-Bright-Mid EQ settings, High Frequency Clip and Comp switches, Sustain level switch, Hi/Lo volume setting as well as a Gain dial on back, 1/8" stereo headphone/line out pair, and an Aux Input/Low Level Out 1/4" jack.  You can hook these up to your guitarist's Rockman and get some great tones on a "silent" jam.  Quiet enough for the studio and on stage adds fatness and a pretty good vintage bass distortion for your Cream songs.   We sold these new in the mid-80's for $199 which is like $403 in 2011 dollars.  This is one of the cleaner ones I've had and comes in the original box.  I see beaters regularly going up to $125 but this one's clean and works flawlessly?  $139 for this one.  

2010 Kenny Wayne Shepherd Stratocaster w/MAPLE Board, (front1 front2), (back), (headstock/nut tuners), (neck1 neck2 specs).   Dead mint - never played KWS with the cool racing stripe finish.  A customer bought this guitar for the neck alone and I acquired the complete body, gigbag, and accessory bag.  Given the fact that that the KWS is only offered with a rosewood board, I decided to go with maple and had a new Musikraft in stock that I'd been saving for something special.  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, tone control for bridge pickup, and custom-voiced Kenny Wayne Shepherd pickups with reverse wound/reverse polarity middle pickup.  Other features include Alder body with Poly gloss finish, vintage style synchronized bridge, Schaller locking strap pins, aged white plastic parts, synthetic bone nut.  We chose a neck which is fairly close to the KWS in terms of feel, with the same vintage logo.  Musikraft's (link) shop is in New Jersey and is on par with Warmoth.   This is one of their reserve necks, made of birdseye maple that's been seasoned at least 20 years, which assures that it will be as true in future years as it is today.  It's a one-piece neck with skunk stripe, standard 1 5/8" nut, modern 9.5" radius, 6105 medium jumbo frets, and thin lacquer sealer.  It's a fairly chunky C  like the original KWS, measuring .83" to .92".  It has a proper '61 spaghetti logo with 2 patents, with the front of the headstock finished in aged toner, nitrocellulose.  Tuners are a new set of Hipshot locking type.  The retain the vintage look from the front and are staggered, thus no string tree is required, but we can install a tree if desired.  This guitar is immaculate and plays as good as it looks with low action and a very aggressive Strat tone, and, arguably, is better than new.  If you're looking for a KWS model but aren't a fan of rosewood boards, here's your guitar.  Just $750 and includes original deluxe gigbag with original goodie bag inside. 

2004 Fender American Series Stratocaster - Candy Apple Red, (front), (back), (headstock), (case/acc.).  Low action fans - here you go...  '05 marked the 50th anniversary of the Strat, which made its debut in 1954.  To mark the occasion, Fender used a commemorative neckplate on American Fenders built that year.  All other specs are stock.  If you missed getting a new one 7 years ago, this one is in NOS, unplayed, condition, other than a tiny in-store finish chip where you can see the undercoat (shown here).  We can put a spot of paint on the area if desired as to be barely noticeable.  Other than that, this guitar appears unplayed without a scratch, fret wear, or other signs of use.  Plastic film is still on pickguard and back plate.  More importantly, this Strat has a *perfect* neck which sets up with very low action, a 1 in 35 as far as set-up goes, and it's also very resonant.  If you've been looking for the perfect Strat, but don't want to pay custom shop money, this could be the one.  Not cheap but worth a bit extra.  $850 includes original case, accessories, and paperwork.  

2004 Guild GAD-40C with Fishman AG Series Pickup, (front), (back), (side), (headstock), (inlays/binding), (Fishman), (case).  Guild's GAD line offers a real quality guitar, for a very reasonable cost and, remarkably, all solid woods.  The few GAD's we've had were all top-notch in quality, tone, and playability and this one is no exception.  If you need a good stage guitar, we've got you covered.  This one has a new Fishman AG 94 passive saddle transducer and endpin jack installed.  The GAD-40C has a dreadnought body size with a solid spruce top, solid mahogany back and sides, rosewood fingerboard and bridge, bone nut and saddle, mahogany neck, classic pearl fretboard inlays, 12" radius, 1 11/16" nut, scalloped bracing, high-gloss poly finish, Grover tuners, dovetail neck joint, abalone side dots, mother of pearl logo and chesterfield emblem, clear pickguard, and attractive maple binding with white/black strip on either side of the binding.  Cosmetically there are a few dings in the top, but no cracks anywhere on the guitar, so consider it more of a player than a pristine collectable.  List price on this model was $1399, selling heavily discounted for $799 - over $100 more 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 $550.  Includes original case with a missing latch hook but works perfectly well.  

1988 Fender HM Strat - White w/Maple Board, (front), (back), (headstock), (Kahler/DiMarzio), (cosmetics), (fretboard).  Another player's grade HM Strat but this one has the hard to find maple fretboard, which make up around 1 in 10 that I get in.  If you're looking for a mint investment condition guitar, pass on this one, but if you just want a killer player with a nicely worn in maple board, you'll like it.  As you can see in the pics, the fretboard has wear marks throughout.  Doesn't affect the playability and gives it a worn in feel that most players like.  All original except for black dome knobs, including DiMarzio Super 3 humbucker, with American Standard single coils in the middle and neck.  This combination of pickups is what makes this such a versatile guitar.  Put the mini-switch in the single coil position, and you have your basic 5 Strat tones - in the humbucker position, you get the fat searing humbucker tone in positions 4 and 5.  Other features include Kahler Spyder double-locking tremolo, quality Gotoh tuners, Kahler locking nut only (rather than the locking nut behind the standard nut found on the Kahler Pro, super flat fretboard (17" radius) with 24 jumbo frets, 25" scale, volume - tone - TBX control, Strat shaped body with the cutaways and heel beveled to provide maximum ease in playing in the upper register.  The necks on these are very thin and wide, with only a sealer coat which provides a very natural feel and doesn't stick to your hand.  Despite its abundance of "character" marks, this is a great playing HM with serious tone, perfectly working Kahler, and will get the job done as well as museum condition HM that you're afraid to gig out with. If you don't care about the maple board you should pass on this one.  I have clean and original  rosewood HM's for less but if you appreciate the maple board, this one's $550 with gigbag; $599 with Fender "red badge" hardshell case (pic).  

1981 Guild X-79 Sky Hawk, (front), (back), (headstock), (case).  Super clean example of a fairly rare guitar among a rare model.  The X-79 Skyhawk was introduced in 1981 and ran through 1985.  Using their consecutive serial number system, it appears as though total production was limited to around 1500, although I've seen numbers on other web sites listing total numbers below 200.  What makes this one even more rare is the traditional Guild headstock with center hump, pearl logo, and pearl Chesterfield headstock inlay, which was used only for the first year, around 300 pieces total, and the cool multi-color sparkle finish.  By the 2nd year of manufacture they were using a more radical headstock that paralleled the body lines (shown here).  I'm not sure why this model never took off but like a few other Guild models which they attempted during this era, their styling was perhaps just too radical for a company known for building ES-style archtops, SG-style electrics, and EB-style basses.  I say these because newer companies like Dean and B.C. Rich had great success with some radical new styles and that was actually their main selling point, besides being great guitars.  I'm not sure what the finish is called.  Guild made a "Black Sparkle" during this era but the pics I've seen of that color look like silver flake only, over black finish, while this one has gold, silver, red, blue, green, etc.  The cool thing about the flakes is that they change color: stare at any single flakes and it will change, for instance, from red-to green-to purple-to blue.  As you rotate the guitar it, in turn, seems to change colors.  The neck angle is perfect and the fretboard is immaculately straight, which allows for a very low set-up.  Although this guitar is a Gibson scale, it feels like a short scale when you're playing since the bridge is set so far back in the body.  Players with short arms will love it, but it shouldn't affect other players.  Also, the deep cut of the body gives you an unobstructed access all the way to the top frets.  it's all mahogany construction gives it a very warm tone and with a pair of Guild XR-7 humbuckers, the tone isn't unlike an SG.   It also features an Ebony fretboard, mother of pearl Guild and Chesterfield logo inlaid into headstock, 24 3/4" Gibson scale, 24 frets, 3-way switch, dual volume controls and master tone, and Guild SP-6 tailpiece (pic).  The SP-6 was called a "Quick Change" because "it allows strings to be changed in less than 2 minutes", and it doesn't fall off while changing strings.  Each saddle allows for changes in height, spacing, and intonation.  The set up on this guitar is very low and the tone warm and fat, especially well suited for blues and rock.  It has been maintained in near pristine condition and the only noteworthy flaws are a small crack in a pickup ring, and one of the knobs, although otherwise identical, is slightly shorter (pic).  There are just a few light scratches will likely go away when we buff it out, pickguard is clean, hardware in great shape, just super clean.  Oh, did I mention it weighs around 6.6 lbs.?  If you're looking for a quality guitar that's a very good icon for the wild and wacky anything goes 80's, this one's a real keeper.  For a 30-year-old American guitar in a rare color and museum quality, a nice buy at $1299.  Includes original Guild case which is around 50% thicker than a Fender case and provides excellent protection.  

1996 PRS Custom 22 - CSB Quilt Top, (front), (back), (headstock), (case).   A real beauty with a quilted maple top in Cherry Sunburst and it plays as good as it looks.  Outfitted with the McCarty Switching system, which yields both single coil and humbucker tones, 6 in total.  A look inside the neck pickup cavity (shown here) reveals that early in production it was suspected that this might be graded a 10 top after the finish was applied, thus the marking, "Possible 10".  After staining and finishing, this one apparently didn't quite make the grade, although it's a stunning bookmatched quilt top.  Other features of this guitar include Dragon Bass and Treble pickups, wide-thin neck taper, PRS hardtail bridge, "moon" fretboard inlays, PRS locking tuners, mahogany neck, mahogany body with a maple cap.  The Custom 22, especially with the fixed bridge, has a stiffer feel than a Custom 24.  The 22 has a "shorter" neck, i.e. with the bridge and bridge pickup are set further back in the body which means the scale is the same as a 24, but the neck doesn't extend as far from the body.  It's very much a Les Paul feel, although with much easier playability in the upper range, not to mention a wider selection of tones.  Martin did a great job of cleaning up this guitar, buffing out the entire body, removing nearly all of the small scratches.  There are now just a few light impressions in the clear coat and several small finish touch-ups, which have been lacquered over (as shown here).  Set-up with very low action and with a noteworthy resonant acoustic tone, this guitar is a joy to play.  Has Schaller locking strap pins installed.  Not recommended for the most anal retentive collector but for most players, a very lovely PRS and a nice buy on a quilt top at $1499(HOLD-Greg H 1/9).  Includes original PRS case.

OFF-HOLD:  1998 Fender American Standard Stratocaster, (front), (back), (headstock), (case).   Recently traded back is this very cool looking American Standard.  All stock '98 American Strat other than a cool cosmetic mod - a black paisley pickguard plus covers, knobs, and tip have been changed to black.  I had been hanging onto the pickguard for a long time waiting on the perfect Strat.  When I got in this black with rosewood board, that turned out to be the look I'd been waiting for.  One other upgrade since it was last posted are a set of locking tuners from a Strat Plus.  They're staggered height so string tress aren't required, but we left them on for cosmetic reasons.  Overall very clean shape with no major flaws, around an 8.5 overall with very nice frets and an excellent setup.  Includes original red badge Fender case at $739.   

1997 Gibson SG Special with Upgrades, (front), (back), (headstock), (pickups), (case).  For you EMG fans out there, this one just had a new set installed, plus a set of Hipshot locking tuners.  Pickups are an EMG-89 in the neck, which pairs perfectly with the EMG-81 bridge.  The 89 has the bonus feature of being splitable via push/pull pot which gives it the ability to deliver Strat-type sounds, or traditional fat humbucker tones.  EMG's sound great in an all mahogany guitar and this is definitely better sounding than any Special I've had.  Also upgraded were the tuners, which now feature a new set of Hipshot locking type.  All work was done by my man Martin, so you know it's done right.  Lastly, pickguard was changed to a white with beveled edge, which is gives it a cool tuxedo appearance.  Cosmetically this guitar has its share of scratches and dings but as the frets are perfect, I'll chalk that up to a non-meticulous owner who gigged with it for a brief period.  The set up is fantastic and with excellent sustain, this guitar is definitely a winner.  If you're not looking for the flash of a Standard, but are more concerned with tone, this is a sweet axe for $679.  Includes original brown case with non-working combo latch and missing the latch from another latch - no problem, it stays closed just fine.  

1988 Charvel Model 6 - Pearl White, (front), (headstock), (back), (Floyd upgrade or Orig. JT-6), (case).  Neck-thru SuperStrat that's yellowed to a nice Vintage Pearl White.  Back in the early 80's of Charvel/Jackson, Charvels were the bolt-on models while the Jackson side produced the neck-thru's.  When Charvel/Jackson revamped the line in the mid 80's, they made both bolt-on's and neck-thru's under both names.  The Model 6 was the Charvel version of the Jackson Soloist and features 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.  '88 was the 2nd year for the Jackson JT-6 Floyd-licensed tremolo and locking nut, which replaced the Kahler, used in '86 only.  Some players don't favor the Jackson tremolo and for this reason this guitar has a brand new Floyd Rose Special FRT-S2000 installed.  One of the mini switches has been replaced and there are some finish rubs and dings (as shown here) around the edges, but 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).  This guitar isn't recommended for the collector types but for a player who will appreciate the savings due to some cosmetic flaws, it's a killer axe.   In all, a super guitar for $599 with the Floyd; $559 with the Jackson JT-6 installed instead.  Includes Charvel chainsaw case with the customary busted latches but it keeps the case closed just fine and a trip to the hardware store and a rivet gun will let you put on as many as you'd like.  

2005 Gretsch G5120 Electromatic Hollowbody with 6120 case, (front), (back/side), (headstock), (Gretsch case).   Immaculate condition and an absolutely killer player.  I've been getting these in for around 6 years now and have been very impressed with the consistent quality and all had proper neck angles and excellent necks which 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, Silver Plexi Pickguard with Gretsch Logo, Knurled Strap Retainer Knobs, 16" lower bout and 2.5" body depth.  Original owner stated that he only played this guitar 5-6 times - factory protective foam is still under the bridge but we'll remove it during set up.  This guitar is a very well made Korean model.  Gretsch has since moved production to China and, quite fairly, lowered the list price from $1200 to $1000, now selling new for just $699 without case or gigbag.  Are the new ones as good?  Don't know; haven't had one.  I do know that this is an exceptional hollowbody for the money and even in immaculate condition with a Gretsch 6120 case, is priced lower than a new Chinese model with no case.  Just $629.  Note: Case is in nice shape overall, but is missing lower part of one latch, but it has 5 others to keep it closed. 

OFF-HOLD:  1967 Gretsch Chet Atkins Tennessean, (front), (back), (headstock), (features), (sides/binding), (case).  Great playing, great looking old Gretsch.  The year they built this guitar, LBJ was in his second term, and Gretsch fans, The Beatles had the #4 song of the year "Penny Lane", which was also one of the pioneering music videos, along with "Strawberry Fields Forever".  I'll never forget my disappointment as I watched stupid videos when I was expecting their usual exciting live performances.  That was 44 years ago, I've long forgiven them (RIP George and John).  This guitar is somewhere between a collector - and player.  The finish has some indications of a very old refinish but I'm not one of the top authorities on finishes.  Upon very close inspection, there are indications that a finish was applied violin style, with multiple coats applied by bare hand or cloth, before clear coats of nitro lacquer.  It's a beautiful finish with just a few areas of very light finish checking.  The finish has faded to a lighter iced tea, evident by looking under the bridge (shown here), which I think looks very cool and shows the grain much better than an unfaded dark walnut stain.  Features include bound maple body, single cutaway, painted on f holes, bound rosewood fretboard, zero fret, thumbprint inlays, 22 frets, 2 HiLo'tron pickups, Bigsby tailpiece, 1-11/16" nut, 24-3/4" scale, open back tuners, chrome model-plate on headstock, inlaid pearl logo.  As you probably know, these old Gretsch's have a major problem with binding cracking, and dropping off in chunks.  This one had new binding applied to 1/2 of the top, the bass side, probably because the treble side was in good shape when it was done.  The original binding on the treble side is better than average, with no pieces missing, but it is heavily discolored, show in the pics above.  Two of the selector switch tips are genuine Gretsch reissues.  The only other non-original aspect is the bridge, which has been changed to a tuneomatic style, offering better intonation than the stock straight bar.  The base of the bridge may be original.  If you're looking for a great playing Gretsch, with a very nice presentation, this one is player priced at just $1850.  Includes original case with all latches and hinges intact. 

Marshall AVT20 Combo, (Panel close-up), (top), (back).  Great sounding rock combo amp from the acclaimed Valvestate 2000 line, back when they were still made in England.  Although rated at 20 watts, Marshall tends to be conservative in their ratings and it sounds like a "loud" 20 watts.  Valvestate technology is one of the few solid state designs that really make a guitar sound good.  It does not have the lifeless, sterile tone of many SS models and, in fact, sounds very much like....a Marshall.  Some amps boast a tube preamp but, in fact, it serves little purpose more than being a pilot light.  On the AVT20 it's truly integral to the tone.  The ECC83 preamp tube adds nice warmth to the signal and part of the beauty of this amp is that it sounds just as good at low volume as it does cranked up; you don't have to make the neighbors angry to get a good tone.  Other features of the AVT20 include a CD input, speaker-emulated DI output, headphone jack (mutes the speaker for 'silent' practice), extension speaker jack, built-in Accutronics spring reverb, closed-back cabinet, and special 10 in. Celestion speaker.   Front panel controls are:  Clean/OD switch, Gain, Volume, Bass-Mid-Treb controls, Reverb, CD In, DI out, Headphone out, and External speaker out (8 or 16 ohms).  In typical Marshall design, the tone controls are highly interactive; the way one reacts will depend on where the other two are positioned.  This is especially true of the Bass and Treb in relation to the Mid - the lower the Mid, the more reaction you'll get from the other two.  I should also mention that it uncharacteristically (for Marshall) provides some very good clean tones, something Marshall's haven't been known for in the past.  It's not a crisp, shimmering Fender-type clean, but a thicker clean that many players will prefer.  Click here to read or download manual.  This amp is in great shape and works perfectly.  They sold in stores at $299 but this nice used one is just $199.  

1983 Carvin LB40 Bass, (front), (back), (headstock), (pickup/controls), (case).  Collector's note - an honest to goodness time capsule piece.  Looks like someone bought it around 30 years ago, played it for a few weeks, and back in the case for the next three decades.  There is zero player's wear, no scratches, no hardware pitting, no finish checking, frets look new.  The only noteworthy flaw is a miniscule finish fleck on the back, smaller than a pin head, shown in the "back' picture above.  This is, essentially, a new bass.  Features include Eastern hardrock maple body and hardrock maple neck contoured into body, ebony fretboard, full 34" scale, copper shielded control cavity and control cover, Schaller tuners, solid brass nut, nickel-silver frets, and amp type knobs.  Pickup is the original M22B which was introduced in 1978, running through 1986, featuring two rows of 11 pole pieces which are adjustable with an allen wrench, controlled by single/humbucker switch, volume, and tone knobs with bead markers inlaid into body.  This is a very comfortable bass to play - nicely balanced, low action, nice weight for an all-maple bass, and it hangs perfectly when strapped on.  It has a deep mellow sound, but with a bright treble attack thanks to the maple, with a nice snap from the ebony board.  It's a tone that won't get lost in the mix the way many mid-mounted pickups do.  This bass should appeal to collector's looking for only the cleanest examples possible, specifically, Carvin collectors, bass collectors, or white guitar collectors.  The price, however, should also appeal to players.  You're going to pay $579 for a new Mex P-bass, and around $125 for a case.  For less money you can have this  with case, you can have this beautiful 28-year-old USA set-neck bass.  Just $599, which includes original Tolex case with key, in similarly nice shape.  

Budda Superdrive Series I Head and 2X12 Open/Closed-Back Cab, (back), (top-head/top-cab), (panel), (back/top chassis), (circuit).  Tone monster in a lightweight head an 2X12 cab, completely refabricated with 2-tone black/cream Tolex, plus a custom-made powder-coated gold front panel, reminiscent of a Marshall.  These early model Superdrives are a different animal than the current model Series II.  These amps, commonly referred to as "Series I" feature point to point soldering as well as some higher quality components.  Very few were made and they're highly regarded amps.  This one is serial 101, with a build date of 6/27/00.  Controls are, left to right:  Master Volume (pull for Drive Channel); Bass; Mid; Treb; Drive Channel Volume; Rhythm Channel Volume (pull for Bright).  The back of the chassis has the original purple panel and features: Effects loop; footswitch inputs for Channel and Speaker; Slave output and Level control; Main Speaker out with 4-8-16 ohm selector; Aux Speaker out with 4-8-16 ohm selector.  You'll note the dual speaker outputs on this early model, which isn't featured on the Series II.  When I was doing my demo I plugged the closed back cab into one out and a 1X12 Jensen open-back in the other.  It's remarkable how the tone changed when I switched between the two and this is a feature than many gigging guitarists will appreciate.  INCLUDED, but not pictured, is a footswitch to change speaker cabs, as well as change channels.  Tonally, this amp is simply fantastic.  On the Drive channel, which is what I always go to right away, it has a singing quality that's rich in harmonics and I was getting harmonic overtones on nearly every chord or not, at a volume well under 1/2.   Regardless of channel, this amp delivers very thick tones. The Rhythm channel sound somewhat like a Vox but, again, thicker, but still has much of the Vox chime.  The Drive channel is, for me, what this amp is all about, with the tone of an early Marshall with fat and crunchy rock tones, the kind of tone you might find on a perfectly hot-rodded Plexi.  Tubes are a quad of Mesa EL84's in the power section, with 3 12AX7's in the preamp, with a 5U4 rectifier.  This amp delivers fantastic touch-sensitivity, which should make it well-suited for jazzers or country pickers.  You can do a dead-on Brad Paisley tone on the clean channel, cranked up.  The speaker cab is the size of an AC-30 and features a pair of 25W WGS Green Beret 12's.  You can read more and hear sound clips of the speakers here.  With a solid birch construction, this cab is very lightweight but very strong.  I would guess the cab and amp together weigh only 50 lbs. or so.  The cab was also designed with a removable top panel so it can be easily converted to an open-back if desired.  I can call my rep at Budda and possibly get some Budda badges but no promises.  The "mystery" look actually appeals to many touring artists who aren't contracted to play a specific brand.  Cosmetically, the build of the cabinets is first rate with perfectly applied covering and it appears to have seen zero road use since built.  The only real flaw is an extra small hole in the top, adjacent to one of the chassis screws (we will plug so as to be nearly invisible).   The Series II SD30's are going for $1600 for the head alone, and they're 100%  circuit boards.  Why not get a hand-wired killer sounding Series I, with a quality 2X12 cab and a great looking refab, for less.  $1399 takes the set.  

PINE ISLAND GUITARS - check out this group shot (click here) of cool Teles, one of 13 Pine Island guitars I recently received, including a bunch of Teles, a Tele-style bass, Thinlines, Strats, and Bent T's.  Pine Island Guitars 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.  Some are solid bodies, some have a top and back of different woods (no veneers - thick slabs only), some are semi-hollow.  Woods include Southern Pine with Cherry or Walnut cap, Swamp Ash with Padouk top, Poplar, Ash with Tigerwood top, solid Mahogany, Limba, Florida Cypress with Walnut top, African Mahogany with Flamed Maple top, Sapele with Flamed "Angel Wing" Elm top, Berlinia with Hackberry top, Alder (Am Std), and Spanish Cedar.  These are outfitted with Mighty Mite necks, which compare very favorably with Musikraft, Warmoth, and Allparts, but are more moderately priced which keeps the cost of these guitars $499-$999, averaging around $799.  These definitely aren't assembly line guitars and you can expect to find a variety of pickups (GFS, Rio Grande, Fender, DiMarzio, and Eastgrove) and hardware (Fender, Wilkinson, and Fender).   Pine Island incorporated "Made in USA" into 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.  Here are a few for starters:

2005 "LEFTY" Fender American Deluxe Stratocaster with Upgrades, (front), (back), (headstock), (Deluxe features), (upgrades), (case).  Hey guys and gals - tell your wrong-handed friends about this one.  Beautiful American Deluxe with upgrades aimed at the rock player, with a trio of DiMarzio's and a "metal" look with a diamond plate pickguard.  This trio of DiMarzio's was chosen for a wide variety of tones, and hum-free sound, even at high gain.  There's an X2N (DP102) in the bridge, Chopper (DP184) in the middle, and an HS-2 (DP116) in the neck - wired to a 5-way switch for a good selection of traditional Strat tones, and much fatter tones that will make your amp scream.  Other than the pickguard assembly, it's all stock with all the Deluxe features including Fender/Schaller locking tuners, 1-pc maple neck with Abalone dot inlays, contoured neck heel, raised chrome logo, polished chrome bridge/saddles.  Other features include alder body, 22 medium jumbo frets, 9.5" radius, 25.5 scale, tilt-adjust neck, single string tree, and Schaller locking type strap pins.  A new American Deluxe is going to run $1499 at the chain stores but this one is barely played, with a set up that's guaranteed to thrill, for $1050.  Includes Fender molded case in similarly nice shape.  

1997 Ibanez SR406 Soundgear 6-String Bass - Black, (front), (back), (headstock), (controls).  Excellent quality Korean 6-string in one of the most popular bass series of all time.  Ibanez Soundgear have stood the test of time and from my experience, they're the 2nd most popular basses, behind Fenders P and J basses.  The higher end models like the SR406 have higher end features than the vintage style Fenders, having been designed in the 90's instead of 5 decades ago.  Don't get me wrong, Fenders are fantastic basses but in terms of versatility, it's hard to beat Ibanez' active tone circuit with 3-band EQ, volume, mix, and DX6 pickups.  This allows you to dial in a wide variety of tones to suit the song or compensate for the venue.  Want the big bottom of a Precision - just boost the bass and cut the mids and highs; for a Jazz, boost the mids, etc.  With its body of light American maple with a clear gloss finish, this looks like a bass player's bass.  Add in a thin but very wide fretboard and deep cutaways and you have a neck that's very easy to get around on - from the first fret to the top.  For a bunch of reviews, click here for Harmony-Central where it scored a 9 overall.  This bass plays well and sounds fantastic.  If you're thinking about moving up to a 6, you don't have to spend 4 paychecks to get a quality one.  These ran around $900 new but this used one's in nice shape for its age and a bargain at just $399.  

Gretsch G6117T-HT Anniversary With Bigsby, (front), (side/back), (headstock), (case).  Reissue of the early 60's Gretsch "Double" (dual pickup) Anniversary, in beautiful shape. This is a fabulous archtop with high end features and classic Gretsch appointments. This "HT" version features HiLo 'Tron single coil pickups which makes this guitar brighter and better defined than the Filter 'Tron models. Chet Atkins made a living playing Gretsch's and it can certainty handle that type of finger style, as well as Rockabilly and Rock and Roll. It features the same trestle bracing used on the Chet Atkins 6120.  Part of Gretsch's Professional Collection, it features include single-cutaway bound hollow body with arched top, laminated maple body, three-piece rock maple "action flow" neck, bound ebony fingerboard with Neo Classic thumbnail inlays, dual Hilo'Tron pickups, three-position pickup switch, three-position master tone switch, silver plexi pickguard, black headstock overlay with chrome Anniversary plate, Waverly-style Grover Sta-Tite tuners, Space Control bridge, Bigsby B6C vibrato tailpiece and high-gloss sunburst finish. Other features include 24.6" scale, 1959 Trestle Bracing, 16" body width - 2.5" deep, 1-11/16" nut width, 12" fretboard radius, polished aluminum and nickel-plated hardware, gloss urethane finish, knurled strap retainer pins, multi-ply body bindings, 22 frets.  This model lists for $2650, selling new for $1874 but this one's in beautiful shape with no player's wear and a killer set up, for just $1279.  

1998 McInturff Glory Standard - Korina & Maple, (front),  (front/back), (headstock), (bridge), (case).  Simply incredible – drop dead looks, imminently playable, outstanding tone.  In '98, McInturff was sort of like PRS in the early years, and they are still largely hand-made in small numbers.  The result is superbly crafted instrument.   Striking in appearance with a stunning AAAA quilted maple carved top over a ONE-piece Korina body and matching headstock overlay with Paua shell truss rod cover.  Other features are nitrocellulose lacquer finish to enhance liveliness, unique fan style tone chamber for full, rich and musical sound, V-shaped neck carve with one-piece mahogany neck, Sperzel locking tuners, Custom Dimarzio Zodiac Soapbar humbuckers with a Duncan Antiquity in the middle, wired to a 5-way switch.  Gold hardware including Mann-Made bridge, maker of the old PRS bridges and a very pricey choice in manufacturing.  The intricate 12-fret inlay  is  represents the sun behind a mountain and the stars arranged in the sky as they were on the date Terry was born.  How's that for a cool story.  The book-matched top would certainly be a “10” or 5A by other makers, while the Korina back with maple top sounds a little brighter than the normal mahogany back .  Very comfortable and dare I say “sexy” curves are a joy to play and the carve in the neck joint makes upper fret playing very easy.  For specs click here for McInturff's site and for a good review click here.  This one is in superb condition with no major flaws or wear.   This guitar should appeal to most PRS customers - including a few who find PRS lacking in "soul" or anyone who doesn't follow the leader.  This guitar originally sold over $3000 ten years ago and is an exceptional value today at just $2100.   Includes original green tolex case.  

LEFTY - 1983 Fender Stratocaster Elite - Black, (close-up), (headstock), (back), (fine-tune nut), (case).  Rare Lefty version of this model.  I have three of these Lefty's in stock now (2 black), but this one is in investment grade.  This guitar is all original, other than a brass nut that was a "must" for the serious player back in the 80's.  There is no fret wear, no finish scratches front or back, no finish checking or other flaws.  It appears to be a guitar that was bought new 28 years ago, played for a month or two, and put away in the case, only to surface in 2011.  It's noteworthy that this guitar still has the fine-tune nut, which were frequently never installed, or removed and lost.  Rather than using long descriptions, click here for a page I've created which outlines features of this innovative model.   Lefty Elites are few and far between and if you're looking for a killer player with perfect electronics and one of the cleanest examples on the planet, this one's just $1499.   Includes original lefty Fender case in similarly nice condition, but not a trem arm.  

LEFTY - 1983 Fender Stratocaster Elite - Sunburst, (close-up), (headstock), (back), (case).  Rare Lefty version of this model.  Rather than using long descriptions, click here for a page I've created which outlines features of this innovative model.   There's one aspect that seems to be consistently different on the lefty Elite models.  The belly cut appears to be much deeper and wider than on the standard righty modes.  This guitar is all original and overall very nice shape with a high luster finish and little to no finish checking.  Worst flaws are a few wear spot on the edge of the fretboard (shown here), two bb-size paint chips on the back (shown here), and light pitting on the bridge.  It has never had the optional fine tuner headstock locking device installed so there are no extraneous screw holes.  Lefty Elites are few and far between and if you're looking for a great player with electronics that function perfectly, this one's just $1299.   Includes original lefty Fender case but and original trem arm.   

2000 Rickenbacker 360CW Carl Wilson Limited Edition, (front), (back), (sides), (headstock), (output/serial), (cert.), (case/acc.).   Limited Edition model, one of only 250 6-stings (500 including 12-strings) made.  The 360CW is a tribute to the 1965 Rick 360 Carl Wilson played in the 60's, and as a member of the Beach Boys, was one of the most visible players of Rickenbacker guitars in that era.   Carl's 360 played an extensive role in creating the Beach Boys early sound and this signature model displays classic features that stand out from other vintage reissue guitars.  It's not a true '65 reissue but a composite of vintage and modern Ric features.  The rounded body style was introduced on the Model 360 in mid-1964.  With its single bound back, the 360CW differs from the original '64's double bound.  In addition, the rounded body style has thicker sides and the greater wood mass which alters the tone slightly.  Most importantly, the 360CW has a thinner top than modern production 360's, giving it a lively, resonant sound with a loud acoustic voice.  Features include:  Styled after a '65 360FG; Carl repro signature on the upper pickguard; Checked body binding; 15" semi-hollow body with hand-selected figured maple and bound back; 3-piece maple/walnut neck with African rosewood fretboard and 21 frets; neck binding; Special thin top for enhanced acoustic tone; 21 fret neck with vintage full-width inlays; vintage style square heel; 
two scatter wound vintage-style Toaster Top pickups with 7.4K ohm coils; volume and tone for each pickup, blend control, 3-way pickup selector switch; 24 3/4" scale; 1 5/8 nut width; 1 1/2 body depth; dual mono parallel output, Ric/Schaller "Kluson" style tuners; vintage reissue silver Tolex guitar case.  Collector owned and presents itself in impeccable condition, with a nicely flamed top and sides, and the best figured back I've seen on one of these, with a beautiful bookmatched quilt.  Look around the web and you'll see 3 of these for $3250, which seems to be the popular price.  This one has nicer woods than others that are available, immaculate condition, an absolutely killer player, all for $2700.   

ca. '99 Danelectro '56 U-2 - Kool Kopper, (front), (back), (headstock).  Another great 1st Reissue, this one finished in the classic copper finish.  Dano discontinued this model many years ago, and opted to build only one model at a time, with a run of a year or two.  Specs include: hollowbody design with Masonite top and bottom with plywood frame, 25" scale, 21 large frets, original style "Lipstick" pickups with chrome-plated brass frame and original formula 50's style Alnico magnets, stacked pots with volume/tone for each pickup, 3-way pickup selector, original style rosewood saddle and die-cast chrome bridge, aluminum nut, and clear pickguard with "D" logo.  These Dano's are every bit as good as the original 50's Dano/Silvertone models and one of the best values on the market, used by garage bands and even pro's like Dave Matthews.  Nothing sounds like them and once Martin gets them on his bench, they play with the ease of very expensive guitars - his setups on Dano's is simply incredible.  If  you're looking for something a little bit different for a signature tone, or simply want to add a guitar to your arsenal that has loads of cool vibe and a unique tone, here's a really nice one.  Cosmetically, very clean with no major flaws.  A really nice U-2 for $279.  

"Custom" Tele Custom, (front), (back/side), (headstock/neck profile), (pickups).  Looking for a Tele with low action like a custom shop and quality tone...for the price of a Mex Standard?  This is one great playing Tele, actually a Tele Custom with its bound body, with the action cut very low at the nut so it fingers with ease from the first fret to the 21st.  We're not sure what the body is, but it's solid wood and appears to be alder, finished in a high gloss black poly that shines like glass.  The neck is an All-Parts with a pro-logo job that looks totally factory.  It's a substantial neck, rather chunky, in a soft-V profile.  Pickups are custom shop Texas Specials with cloth wires; pots and switch are USA, with an Orange Drop cap.  Extremely clean condition with player's wear at all - no scratches, perfect frets, immaculate hardware.  Worst flaw are two filled holes around the output jack (shown here).  For the less than the price of a Mex Standard, you can own one of the best playing Tele's you'll ever find, with quality pickups and a very good look with the black body/white pearl pickguard.  Just $450(HOLD-Michael T) for this nice Tele Custom.  

2-Button Footswitch.  Behringer FS112 for their GMX series amps, but with its 1/4" stereo jack, should work on most amps using 1/4" dual function output, whether it's channel/boost, channel/tremolo, reverb/tremolo, or whatever.  LED indicators, heavy metal casing, 15' cord to reach the front of the stage.  Solid built unit for $15.  

Fender 2-button footswitch.  Another 1/4", housed in Fender's chrome oval metal case.  Labeled R/C for "reverb/channel" but its stereo jack should work on same variety of functions as Behringer above.  $20.  

dbx DB12 Active Direct Box, (pic2). 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.  I have a few new in the box for $75, including shipping.  

Danelectro 1956 Single Cutaway - Humbucker and Dolphin Headstock, (front), (back), (headstock).  Unplayed, immaculate, and better than new.  One of the current models from Dano, who in recent years has been manufacturing one or two models, and then moving onto the next project.  This is the 2nd go-around on this model, patterned after the '56 U-2, which was Dano's first production run in the late 90's, after a break of around 3 decades.  This one differs from the earlier reissue in a few ways, most obviously the "Dolphin" headstock instead of the Coke bottle.  Other changes include two lipstick pickups in the bridge, essentially a humbucker, as well as Kluson style tuners.  With the humbucker-wired lipsticks in the bridge, this model is more versatile and especially good for garage/punk, in addition to any of the previous tones, which have been used impressively by players as diverse as Jimmy Page and Dave Matthews.  The basic construction is good ol' Dano all the way, beautiful in its simplicity, with a hardboard/plywood construction with a solid center core and tape "binding" to cover the seam; metal base bridge with notches that hold the ball-end strings, topped off with a rosewood saddle; 5-screw neck attachment; easy access control plate on back; and pickup height adjustment on back.  Other features include white knobs on dual concentric tone and volume controls, 3-way selector, a matching "seal" pickguard, double acting truss rod, flat 14" radius, 25" scale, 21 frets, C-shaped neck.  Out of the box these are not great playing guitars, with high action, noisy pots, and rough feeling frets.  After Martin gave this guitar the attention it deserves, polishing the frets, lubricating the fretboard, setting the action, dressing the fret ends, and cleaning the electronics, they play fantastic, just like the old mail-order guitars they're patterned after.  They sell online for $349 but why not get one of these, with a great setup and much-needed quality control, for $329, including shipping

2011 Carvin Bolt Plus - Swamp Ash, (front), (back), (side), (headstock/neck), (heel), (case). Brand new, unplayed condition, in original box.  A real "natural" beauty with upgraded woods, factory options, and aftermarket upgrades.  Carvin has been famous for building neck-through guitars but in recent years they've started building some high quality bolt-on models.  This Bolt Plus is perhaps my favorite Carvin in recent memory.  It has a more vintage feel and vibe with the bolt-on neck and is just a superbly built guitar.  Carvin refers to their in-house guitars as "custom shop" and this definitely approaches custom shop quality from the "Big F" and "G".  Although Carvin offers the Bolt as a quality kit guitar that you can assemble, this one was factory built (spec sheet included).  Features include tung oil satin finish, nicely figured swamp ash body, maple neck with rounded heel and rounded neckplate, Ebony fretboard with side dots only, strings-thru body, hardtail bridge, Dunlop strap locks, Sperzel locking tuners, black hardware, direct mounted C22 humbuckers (replaced), and volume-tone-3way switch.  Basically you can include any combination of single coil or humbucker - in phase or out of phase.  This was an expensive guitar as outfitted with $430 worth of options.  Factory options include: Graphtech saddles $20, swamp ash body $40, stainless steel frets $40, black chrome hardware $30, Dunlop straplocks $10, Graphtech Tusq nut $10, hardshell case $80 - add to this a pair of Seymour Duncan ABH-1 Blackout pickups ($200/installed) (link) which Martin installed for the customer.  These Duncans do the EMG thing better than EMG's.  It's a remarkably nice sounding guitar that's impervious to noise, even with the highest gain possible.  It has a fantastic setup and for an American guitar with these features, woods, and upgrades, an excellent value at $699(HOLD-Chris M 1/18).  

1988 B.C. Rich Bich Six Tremolo, (close-up), (back), (headstock), (tremolo), ('88 Catalog-1 Catalog-2).  Off-hold and, quite honestly, probably the best playing guitar I have for under $500.  I haven't had one of these in many years and until I happened upon this '88 catalog I hadn't realized that the official name was "Bich Six Tremolo" and that during this era these were assembled in USA from Japan parts.  When I was working retail, we started selling the NJ series around '85.  They were excellent guitars, made in Japan (not New Jersey!), and with a price around 1/2 of the American models, the NJ's were our hottest sellers to the young metalheads.  The NJ's were soon followed by the lower priced Platinum Series with perhaps the crapiest locking tremolo ever made, and finally the even lower priced Rave Series, both of which were in full production by the end of the 80's.  Nearly all the NJ's were basically the same guitar, but with different body shapes and two styles of headstocks, and featured dual humbuckers, USA Kahler Flyer tremolo and Kahler locking nut behind the standard nut.  Controls are vol-vol-tone with a standard 3-way selector.  This one is finished in "Ultra Violet", which probably tied with Black as our most popular color.  If you're looking for an ultra-clean museum piece, this ain't it.  There are miscellaneous scratches and dings, including a small wood chip on the side of the headstock, plus one of the pick up rings has a cracked off corner.  On the plus side, it's a remarkably nice player with shredder-approved low action and an excellent crunch tone out of the stock pickups, which resemble be DiMarzios with 2+1 adjustment screws, hex poles, and thick gray lead wires.  Whether assembled in Japan or USA, the NJ's offer a very good quality guitar at a value price.  We sold these for $399 back in the 80's, which is around $735 in '00 money, and is a good value on the used market at $249. 

2006 ESP Ltd EC-400AT, (front), (headstock), (back).   Fine example of the upscale Korean guitars hitting the market the past decade. While the majority of imports have moved to China, Korean guitars offer superior woods and finer craftsmanship overall - and in the case of this EC-400, quality hardware and electronics as well. At the request of customers, we upgrade the pickups on many cheaper guitars, which provides them pro quality tone, at around 1/4 the price of a comparable USA model. The EC-400AT comes from the factory with quality pickups, namely the popular Seymour Duncan JB bridge and '59 neck. Other upscale features include an Earvana compensated nut for perfect intonation, Grover mini-tuners which have a lower mass and overall superior to the common 18:1 Grovers, nicely appointed with cream binding on body, neck, and headstock; flag fretboard inlays, and model name at the 12th fret. The warm, fat tone comes via a solid mahogany body with arched top and Florentine cutaway, plus mahogany neck - 3-piece for stability, Gibson scale (24 3/4"), Tuneomatic bridge/stop tailpiece, 22 extra jumbo frets, and high gloss black finish.  The set up on this guitar is spectacular; low action and no fretting out, with a quality tone that's good enough for professional use.  In fact, this guitar needs no upgrades to be ready for the stage.  ESP built some of the best quality Japanese imports, and when they launched the Ltd line years ago they found a factory that would be comparable quality guitars in Korea.  It is, quite simply, 90% as good as a Gibson LP, at a fraction of the cost.  These sold in stores for $599 but this used one is super clean and just $379.  

Menatone Pleasure Trem 5000. More than just a vintage tremolo, the Pleasure Trem can emulate the effect of a vintage synth as well, with a Wave knob to change the pulse from ultra smooth triangle to stuttering square. A Speed goes as slow as you could possibly want, but crank it up and it's aster than anything out there, sounding almost like a ring modulator. Use the Depth control for subtle 3D effects to full on and off chop. Regardless of settings, the Pleasure Trem is designed not to not alter the tone of your instrument and does not boost the signal - it's as transparent as they come. The yellow LED flashes in time with the sweep, allowing you to easily sync it with the song tempo. Features include all Analog Circuitry; Ultra Bright LED; Easy Access Battery on the Side; True Bypass Switching; External Power Supply Jack; Silver Plated, Teflon Coated Wire; Shielded Wire from Input and Output Jacks to Switch; Carbon Resistors and Film Capacitors Used in Signal Path. This model sells new for $179, which is reasonable for a pedal with these components.  For around the price of a Boss TR-2, you can have this immaculate used one - just $119.   

M-Audio Black Box, (back), (Quick Start).  A valuable tool for unleashing creativity during practice and song writing, the Black Box also has numerous features that make it a great addition for live performances and with the onboard drum machine with 100 patterns, and excellent practice/recording tool. Although there are many buttons and knobs on it, the unit itself is very easy to use. This one includes the "Reloaded" firmware update making it a "version two", now with 40 amp models and 121 effects. There are 100 presets that include different amp sounds/settings with associated effects and drum patterns. The presets make it easy to find a starting point to make your own sounds, which can be tweaked by entering the edit mode and twisting a knob or two. Once you've created a sound you like you can store it as a custom preset. The Black Box is, primarily, an amp modeler, with 40 ultra-realistic virtual amp models. What this means is that you can easily try out different sounds. All the hottest amps, current and vintage, are in here so you'll easily be able to find your favorite tone. Adjusting the amp sound is easy by pressing the amp button and using the input knobs - adjustable parameters are Amp drive, Bass, Treble. This Version Two update also has more adjustable parameters by entering the Shift mode. Tap the amp button and you can adjust midrange for the amps and other settings for the effects mode. Amps are based on classics such as Fender Bassman, Deluxe Reverb, Champ, Vox AC-15 and AC-30, Marshall JTM-45, Plexi 100, Hiwatt DR-103, Boogie MK IIC and Dual Rect, Bogner Uberschall, Diezel VH4, ENGL Powerball, Peavey 5150 MK II, Roland Jazz Chorus, Boger Ecstasy, Budda Twinmaster, Matchless Chieftain, and Bass amps such as the Acoustic 360, Ampeg SVT, Gallien-Krueger 800RB, and SWR SM-500. In back you'll find XLR microphone input and audio outputs in the form of stereo (L/R) 1/4" jacks and a coaxial SPDIF connection. Many of the effects (ex. reverb) produce a stereo output which you could run to your mixer. There are three input control jacks used for assignable foot control of the Black Box including an expression pedal and two momentary switches. Lastly, there is the USB port for connecting to a computer. Yes, the Black Box doubles as a 24-bit/44.1kHz audio interface and has standard audio drivers for PC (WinXP) and MAC as well as ASIO drivers, making it compatible with all major sequencing programs including Pro-Tools M-Powered and Ableton Live. There is just one connection from the Box to the computer and that is via a USB cable. Once plugged in and installed the Black Box provides both inputs and outputs for the computer, with four inputs available: Processed stereo from the DSP (same as what you would here from the audio outs or headphone jack), dry mic input and dry guitar input. You can record all four inputs simultaneously.  For more info, here's an in-depth review and, better yet, a good demo here on YouTube.  Whether you want a multi-effect/amp modeler for stage use, practice, or recording, this is an inexpensive way to get quality results.  Sold new for $279 but this one's in perfect shape for just $159.  Includes power supply and quick start manual (full manual downloadable here).   

OFF-HOLD:  1997 Gibson Joe Perry Les Paul, (pic2), (pic3).   Remarkably nice flame, nice shape, killer player.  Overall exceptionally nice condition with a flawless top and just a few light scratches on the back in the clear coat only, as well as some cloudiness in the lacquer on the side edge of the headstock and top left corner (pic) which isn't unusual for an unbound Gibson headstock - barely an issue but it's noticeable if you look for it.  How long has it been since I've had one of these, anybody know?   I used to get Perry's in regularly, but I think it's been 4 year or more since the last one which I think I can understand:  There are some features on this model that many players would have a hard time parting with, especially the very substantial '59 rounded neck which, before the plethora of Historic models, would be very hard to replace.  If you wanted a large neck you were limited largely to genuine 50's models or the odd early Historic or "pre-Historic".  The neck also features rolled fretboard edges for comfort, giving it the feel of a broken in vintage guitar, as well as some of the nicest looking pearl inlays you'll see on a Paul.  Even more noteworthy for this guitar is the active tone circuit, aka "Wah-Wah" circuit, which is activated via push/pull on one of the tone pots.  Pull it out and you get that cool mid-range honk of a wah pedal resting in the "sweet spot".  Rolling the pot forward or backward adjusts the center frequency, much the same as rocking a way up or down.  This is the coolest feature I've ever seen on a Paul, at least for my taste and style.  Nothing cuts through the mix more than this Perry with this "wah" switch engaged; there simply aren't any instruments that are using these frequencies and every nuance of your playing jumps out of the mix.  It is just too cool to describe.   Much of the tone is due to a killer pair of pickups (pic) with a Joe Perry Custom Wound in the bridge with a '57 Classic in the neck - the earliest model I can think of that featured the reissued "PAF" sticker.  What really sets this one apart from other Perry's I've had is the beautiful flame.  While this is called a "AA" top, back in '97 AA was generally pretty nice but rarely was it bookmatched this well or remained as consistent throughout the top.  Transparent black on flamed maple is a stunning look - especially when you have a pretty nice top as on this one.  Includes Joe Perry custom case with Joe's "signature" and Aerosmith logo emblazoned on the shroud and features the nice crushed velvet lining rather than the standard fur lining.  In addition to drop dead good looks and cool features, this thing plays exceptionally well with action so low you'll undoubtedly start smiling as soon as you start playing.  Low action somehow makes one smile.  Okay, I think I've rambled on enough about this one but you probably get the idea:  I love this guitar.  You can love it to ...for $1750.    (Note:  Link to Gibson's original spec sheet here and if you remind me, I have a large poster (shown here), I can include.  

OFF-HOLD:  2001 American Series Stratocaster - Ash, (front), (back), (headstock), (straplocks), (case).   A true time-capsule guitar.  Other than the plastic removed from the pickguard, it's like taking a time machine back 10 years ago picking out the nicest Strat in the store, and returning to 2011.  This one features a swamp ash body, which was a $150 upcharge over standard alder body, and this has very nicely figured grain.   At 7.8 lbs., it's a very nice weight, especially for ash.  '01 was the 2nd year for the "new" American Series, after the 13-year run of the American Standard (renamed American Standard in 2007...go figure).  The new features of the American Series included stag pole pickups, new neck shape with rolled edges with a more "broken in" feel, staggered height tuners for more angle over the nut and better tuning, single string tree, and parchment plastic rather than stark white.  This guitar has a great neck, which allows for one of the best setups you'll ever find on a production Strat - very low action, no problem bending anywhere on the neck.  Frets are like new.  If you're someone who likes pristine guitars, but ones that aren't green out of the box, this one's as nice as they come.  Includes similarly clean original case, cable, strap, polishing cloth, Schaller straplocks, tags, and paperwork.  $859 for this beautiful, absolutely killer playing ash Strat.  

2010 Gibson RD Standard, (front), (headstock), (back), (case).   As new - unplayed except for pro tech set up before it leaves here.  Return of a fairly rare bird - the original RD (1977), so named because it was designed by Gibson's Research and Development team, shares the same profile but had more upscale cosmetics, and a boost circuit designed by synth guru Bob Moog.  This one is a stripped down version with simple controls and simple cosmetics.  When it was released in 1977, it had a radical, modernistic look, much the same attitude as the revolutionary Explorer and V in the 50's. With its blend of Firebird and Explorer body styling, traditional 24 3/4" Gibson scale, all-mahogany construction, and versatile humbucking tones, it delivers a warm, fat tone that can cover a lot of ground from punk to rock to country.  It features a glued-in quarter-sawn mahogany neck that is carved to a comfortable rounded '50s profile with grade-A rosewood fingerboard, 22 medium-jumbo frets, and 12-inch radius for choke-free bending. With a PLEK-cut Corian nut and 17-degree back-angled headstock it's designed for resonance and sustain, with a sweet, rich, multi-textured tone. Pickups are a pair of classic PAF-styled Burstbucker Pro pickups made with genuine Alnico V magnets. Other features include mother of pearl logo, Grover tuners with kidney bean tuners, vol-vol-tone knobs with a 3-way selector, and gloss lacquer finish.   For full specs check out Gibson.com.  List price on this model, in black or trans amber, is $2611.  This one is unplayed, set up to perfection, and a Gibson with a very cool vibe for $1199.  

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

1997 Guild Starfire II, (front), (back), (headstock), (side), (specs), (case).  A time capsule piece from the Westerly RI plant - bought new in '97 as an investment piece and played only a few hours its entire life.   They must have done a lot of Starfires this year; the last 4 Starfires I've had were '97 models.  First introduced in the 1960 as an evolution of the T-100 Slim Jim, the Starfire, with its arched top and back hollowbody has been the choice of some notable players such as Lightnin' Hopkins, Buddy Guy, Son Seals, Tom Fogerty, Randy Johnston - even Glen Tipton of Judas Priest.  Features include hollowbody thinline design with single Florentine cutaway, nicely flamed maple body, one-piece Mahogany neck is 1-11/16" wide at nut, multi-ply body binding, bound neck, rosewood fretboard with Mother-of-Pearl dots, Guild SD-1 humbuckers, 24-3/4" scale length, Guild harp tailpiece, Grover tuners, and inlaid pearl Chesterfield and Guild logo.  This is a finely crafted archtop in showroom condition with a very nice setup and quality tone.  In my opinion, it's at least as good as a Dot reissue and at around $1K less, a much better value, just $1350.   Includes similarly clean original case with key, manual, and hangtag.

1991 G&L SC-3, (front/back), (headstock), (bridge/MFD pickups).  Excellent condition and an excellent player.  Nothing like the rarity of the SC-1 above, but a fine G&L in its own right.  The SC-3 was the evolution of Leo's original Stratocaster with a number of refinements along the way.  Features maple body with 3-bolt maple neck and rosewood fretboard - a dark & nicely figured fretboard on this one.  Other features include 2-point G&L fulcrum tremolo, locking Sperzel tuners, Magnetic Field Design pickups with adjustable pole pieces mounted on black pickguard with volume, tone, and 5-way selector.  This one is also very light for an SC-3 at 7.6 lbs.  From what I read specs called for matching headstock on this model from '86 onward so this one, with an unpainted headstock would seem to be rare, unless they had different spec's for SC-3's in black.  For complete specs and info on this, the 3rd version SC-3, click here for ggjaguar.  This is an exceptional Strat-style guitar, with a quality that just feels significantly higher than Fender's American Standard from the same era.  Body and neck both dated May '91 and appears to be 100% original and, again, very clean condition.  Includes original trem arm and aftermarket hardshell case.  I just looked around the web and saw another nice '91 SC-3...for $1799...whoa.  While that may be a tad high, compare this to a Fender from the same era - this is a better guitar for about the same price, just $699(SOLD-Scott Gra. 1/29). 

ca. '84 DOD 525-A Compressor/Limiter, (catalog), (power supply).  Good sounding American-made compressor.  Has the usual controls Comp/Lim, which controls the amount of compression, Attack to control how quick it kicks in, and Output to control the output level and match it to your bypassed level.  Runs on two 9V batteries or hard-to-find 18V DOD power supply.  This was one of DOD's more expensive pedals, with a list of $105, at a time when their FX Series Distortion was only $59.  Very clean shape that's good enough for Performer Series collectors, and with the power supply, a nice buy at $65 - or $49 without power supply.  

Line 6 ToneCore Roto Machine (Leslie Simulator), (panel).  The classic lush, swirling sounds of a rotating speaker in a unit that's 1/3 the size of other units. The Roto Machine features 3 classic filters, the 145, L16, and 122, each with its distinct tonal characteristics, a blend knob which fine-tunes drum to horn mix, separate Fast and Slow speed controls, Drive control to add some classic grit to your sound when needed, 2-in-1 footswitch to allow switching between Fast/Slow modes, ramp time is user-selectable between fast, medium, and slow.  Here's a demo by Line 6 and some audio samples (Medium Ramp) (Slow) (L16 Fast) (Fast).  Sells new for $120 but this one's perfect, in the box, and just $79.  Add a Line 6 DC-1 power supply (pic) for $10.  

2005 Schecter C1 Plus, (front), (front), (headstock), (controls).  We've been very impressed with these higher-end Diamond Series and this is another of these killer imports with drop dead looks, quality construction and parts, excellent tone, and perfect setup.  Features include Violin sunburst finish, flamed maple top over Mahogany body, set neck design with mahogany neck, Abalone and pearl "Vector" fretboard inlays, Grover tuners, Duncan Designed HB102 humbuckers controlled by volume and tone with push/pull pot for single coil/humbucker tones, jumbo frets, Tonepros Tuneomatic bridge with strings thru body, and cream binding all around - headstock, neck, and body.  The top is beautifully carved with a sharp arch, as well recessed knobs and switch.  This guitar feels, looks, and plays like a guitar that costs well over its list price of $869.  Sells new for $599 but this one has barely been played, has one of the nicest tops you'll see on these, and is a smoking deal at $399 with a setup that's guaranteed to please.  

Vox AC-15 Tube Set.  Matched pair of Chinese EL84's and three 12AX7's.  Removed from a new AC-15 so they're fresh and good to go.  $25/set.  

Ovation CC-274 Celebrity Deluxe Acoustic-Electric Bass, (front), (epaulet sound hole), (headstock), (back), (preamp), (case).  Great looking, nice playing acoustic electric bass.  I was very impressed with the acoustic tone of this bass.  It definitely has the volume to hold its own in an unplugged acoustic jam.  The deep bowl design is very well suited for projecting the lower register, in a way that thinner flat-back instruments can't do.  Nicely appointed, with 5-ply top purfling and assorted hardwood epaulet sound holes.  I've played recent Celebrity's from China, and they just don't compare to the quality of these earlier Korean models.  The fit/finish is better and I'm certain most of these will still be in service 25 years from now.  Features include: deep bowl body with rounded cutaway, spruce top, gloss natural finish, Adamas-style soundholes, nato neck joins body at 16th fret, 22-fret rosewood fingerboard with dot inlays, 1-5/8" nut width, 34" scale, pinless walnut bridge, chrome sealed tuners, gold Ovation logo, 5-ply top purfling, factory preamp and lower bout output jack.  It has a very simple preamp with just volume and 2-band EQ, but this bass doesn't need a lot of EQing to sound good.  A separate door is provided for easy access to the 9V battery.  Set up is very comfortable and unlike some acoustic basses, the low E string isn't floppy.  Just a really nice bass for this price range.  List price on this bass was $899, without case, which makes this a nice buy at $499 with a quality hardshell case.  

Ca. '65 Silvertone 1482 1X12 Combo, (front/back panels), (top), (back), (chassis), (speaker), (footswitch).  Beautiful condition - a true time capsule piece.  Very highly regarded guitar or harp amp.  The 1482 was actually built by Danelectro and labeled Silvertone for sale via Sears & Roebuck stores and catalogs (catalog pic here).  Original price in  catalog at $68.95, which wasn't cheap 45 years ago.  Rated at 15 watts "music power", the RMS rating is probably around 1/2 that.  At least they didn't use "peak power", which was a worthless rating that many catalogs used in the 60's.  All tube circuit with a pair of 6V6GT power tubes, two 12AX7s, a 6AU6, and 6X4 rectifier.  Dual channels, Instrument and Mic, each with a volume and tone control, with tremolo on both channels.  The Mic channel appears to be a bit brighter and has a tad more clean headroom.  You can bridge the two channels with a guitar cable and the tone really thickens up.  Cranked up it really sings, with nice tube sag and very touch responsive.  This amp has very little clean headroom, which is great for guitar, and sets it apart from many 60's amps which were engineered to stay clean and what little breakup they had came at nearly full volume.  Everything works perfectly on this amp and nothing needs attention, including caps, speaker, pots, etc.  Just plug in and enjoy.  It's in incredibly clean condition - covering, grill, panel - even the handle caps are bright and not corroded.  All of the tubes are old USA, including one original Silvertone-labeled 6V6.  Click here for a great link:  Silvertone World.   Appears to be 100% original, including 2-prong cable.  It also includes matching footswitch with the same silver vinyl covering, which I've seen sell separately for $75.  I don't think you'll find a cleaner 1482, and this one sounds as good as it looks.  $475 for this beauty.   

Mid/Bass Studio Monitor Speakers.  Super heavy duty French-made 6.5" drivers for low end in a 2-way or mids in a 3-way system.  Weighs over 5 lbs. each with massive magnets, approx 65 oz. Work perfectly and just $45/pair.  

Mid/Bass Studio Monitor Speakers.  8" drivers for low end in a 2-way or mids in a 3-way system.  Magnets are approx 30 oz.  Work perfectly and just $29/pair.  

Eminence 10" Guitar Speaker.  Good replacement speaker for the plethora of 5-watt tube combo's on the market that run a 16 ohm load.  Doesn't appear to have been used.  $25.  

K&M Mini Booms.  Top quality German-made short booms.  Mounts to any standard mic stand.  Ideal for drums or guitar cabs.  These aren't cheap Chinese made disposable units and will last longer than the life of your band.  $18/each or $30 for the pair.  

Roadie Bass ATA Flight Case, (pic2).  The word ATA is overused in advertising.  Some companies use ATA hardware and call it an ATA case but the fact is ATA has strict guidelines on Transportation Authority requirements.  Even heavier than the Gator case above (41 lbs.!), this was made in the Anvil style, exceeding ATA specs, designed to survive any rigors of the road you can throw at it.  Plush velour interior hugs a P or J bass on all sides, with loads of padding under--and over--the entire bass.  As you can see in the pics, this case has been around but is 100% structurally with no gashes, and latches/hinges are perfect.   The new Anvil bass case, the only comparable model I'm aware of, sells or $549.  This one isn't pretty but works perfectly and gets the job done as well as a new one, for just $125.  

WEM Footswitch.  Impossible to find footswitch for the Watkins/WEM Copicat echo device.  This is the "click" on/off type.  Nice shape, original cable/jack, works perfectly.  If you have an original WEM and are missing the footswitch, here it is!  $65.  

Marshall 50/25 Silver Jubilee Footswitch.  Boost switch for the 80's Silver Jubilee 100W or 50W combo or head.  Metal casing, long cable, LED indicator.  Original, clean, $59.  

ELI SL-5050 Digital Echo.  Not a lot of info on the web about these but it's a good sounding unit, from the late 90's.  It appears as though these were made by Linear Tech, according to once source.   It's a table top unit, around a foot wide, with dual inputs, each with volume control, with controls for level (mix between straight and delayed signal), repeat (number of echoes), and delay (delay time from zero to around 800ms), with a large master volume knob (output level).  All controls and jacks are front-mounted, including aux out and footswitch to engage/bypass.  You can get some cool spacey sounds by turning up the repeat and messing with the delay time - great for tone tweakers.  It's a good sounding unit that works perfectly and just $65.  

2001 Ibanez RG-470NP, (front), (back), (headstock),  (case).  Quality guitar from the 2nd generation of Japan manufacture, finished in one of my favorites - New Penny (NP) - which is a striking copper color that really pops on stage.  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 from '98 to '04.  If you judge guitars primarily by tone and playability, you'll enjoy this guitar, but cosmetically it has some finish chips.  Although it looks fine from the audience view, as shown here, it has been dinged around a bit, which is a frequent problem on these hard RG finishes.  The good news is frets are in great shape and it doesn't seem to have had a massive amount of playing time.  Stock features of the RG470 include one-piece maple Wizard II neck with jumbo frets, Basswood body, Lo TRS tremolo, 24 frets, raised chrome logo, pearl dot inlays, recessed back plates, and Cosmo Black hardware.  Another feature is Ibanez' All-Access Neck Joint (AANJ), where the heel is sculpted to provide easy access to the upper register - even the 24th fret can be reached with ease.  The Wizard II is extremely thin with a wide nut width - shredder's delight - made for tapping, sweeping arpeggios, and very fast play.  Electronics are an HSH configuration with an IBZ 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. Check out info at Ibanez Rules, the best Ibanez site on the web.  Again, this isn't the cleanest Ibanez I have in stock but it looks good from the front and for players, it's cheaper than buying a pristine example.  For a Japan Ibanez, a good buy at $375(HOLD-Chris H 9/20), which includes a used hardshell case.  

Custom Nashville Tele Style - Floyd Rose, (front), (back), (side), (headstock/neck), (detail-top), (trem).  Very cool hand-built Tele style with some unusual features.  This guitars started with a Korina body blank bought from Ebay, which was sent to Chris Woods (link), for shaping into a Tele style with a very deep belly cut for optimum comfort and recessed back plates.  The neck is from a craftsman who used to sell hand-made necks on Ebay and is a quality made neck in all regards, made of zebra wood, with a rosewood fretboard, abalone dots, and medium jumbo frets.  Pickups are a DiMarzio Breed in the bridge, with Fender Tele pickups in middle and bridge, wired to a 5-way, mounted on a Fender Blackout Tele pickguard.   The licensed Floyd Rose is a good quality one, not the cheap cast pot metal type with the blade inserts. It's a hardened plate, stays in tune, and should be in service for many years.  It also features CTS pots, PIO capacitor, and Schaller strap locks.  The assembly and set up on this guitar are very good, with a natural vibe - thin sealer coat on the neck for a very fast feel, with a hand-rubbed Stew Mac Colortone, with a nitro lacquer on top.  It's somewhere between a satin and semi-gloss in appearance.  If you're looking for a Tele that doesn't sound like a Tele, and has the benefit of a double-locking tremolo, here's a nice handmade USA model, for just $499(HOLD-Richard or Chris G).  Includes a used hardshell case.  

2009 Breedlove Solo D35/SMe, (front), (back), (preamp/side), (headstock), (appointments), (case).   Leave it to Breedlove, makers of some of true world-class acoustics, to come up with a premier import acoustic.  From Breedlove's acclaimed Atlas Series, which we feel are perhaps the best imported acoustics on the market, offering top shelf appointments and Breedlove quality, yet affordable to the masses.  This model combines Breedlove design elements and balanced tonal signature with the highest quality manufacturing practices in the world to bring you Breedlove quality at an affordable price.  Superbly built, flawless attention to detail - many players would never guess that they're playing an Atlas series that costs around 1/4 of their USA models.  The D35/SMe is an acoustic/electric in the dreadnought with the signature soft cutaway that provides easy access into the upper register.  Features include:  Breedlove Solo D35/SMe. From Breedlove's acclaimed Atlas Series, which we feel are perhaps the best imported acoustics. Feature include: Extra Deep Dreadnought Body with Soft Cutaway; Gloss Finish; Solid Sitka Spruce Top; Mahogany Back and Sides; Improved Breedlove Bracing with Ultra-light JLD Bridge Truss for stability and sustain; New Breedlove “Monitor” Side Sound Hole; Tortoise Binding; Abalone Rosette; Offset Breedlove Dots Position Markers; Dovetail Neck Joint; Compensated Saddle; Nut width 1-11/16”; Rosewood Headstock Overlay with Inlaid Mother of Pearl Logo; Rosewood Bridge and Fretboard; Double Action Truss Rod - adjustable via Sound Hole; Grover Mini Tuners; Designed by Kim Breedlove, Crafted in Korea, with Final Setup & Quality Assurance in Bend, Oregon. Electronics include the L.R. Baggs Stage Pro Element system with on board chromatic tuner with in-line mute, notch, phase, and 3-band EQ. It's a simple system but more than enough to make this guitar sound superb when plugged in, with minimal feedback issues.  The chromatic tuner is unobtrusive, and lights up only when turned on, as shown here.  Another unique feature, is the "monitor" soundhole, which projects sound upwards toward the player, which sounds great when playing acoustically.  The Solo D35/SMe has been discontinued but carried a list price of $1199, which is remarkable for a guitar of this quality.  Better still, this one's in perfect condition, with a fantastic low set up and quality tone, and is just $550(Tent. Hold - Armando 9/18).  Includes a quality Breedlove case.  

Boss FBM-1 '59 Fender Bassman, (panel).  Designed to produce the sound and feel of one of the all time classic amps, the '59 tweed Bassman 4X10 combo. Although designed as a bass amp, guitarists eventually determined that it's fat tone with chunky rhythm and smooth overdrive, made it a great guitar amp as well. This pedal can be used to give any amp the signature Bassman sound. It even has a separate Bright input, just like the original, for a brighter tone. The control layout has the bright chrome panel, just like the amp, with similar controls including Presence and Mid (using a stacked pot), Treble, and Bass EQ controls. It has one other stacked pot, the Level (volume) and Gain controls which, unlike the original amp, allow you to get the sweet compressed overdrive at low volume, without overdriving the input stage of your amp.  If you want the classic Fender tone, without buying a separate amp, this pedal does a good job and costs a lot less than an amp.  Here's a demo on YouTube, and a good performance demo here.  Sells new for $119 but this one's mint in the box for $85.  Manual is downloadable here.

Boss RE-20 Space Echo Delay/Reverb Pedal, (close-up), (back).  Just got in another one!  The RE-20 is modern take on THE classic tape echo of all time, the Roland RE-201 Space Echo.  Unlike the original, the RE-20 doesn't have 50 moving parts but Boss has done a good job of staying true to the original's vibe with a similar panel layout.  It has the same spacious, analog tone of the original Space Echo, with none of the headaches and noise that come with the original.  It even faithfully models the RE-201's tape flutter and magnetic head sound saturation and has the same Mode selector knob with 12 placements just like the original Space Echo.  The tap input pedal allows delay time to be set by foot and in the long mode the delay time is 6 seconds, longer than the original model.  In addition to the cool vibe is the red and yellow rotating light on the front - I just love that thing!  You can also control parameters such as repeat rate, intensity, and more via an expression pedal.  Here's an unbiased review, good and bad, at TweakHeadz.com and a good demo from Guitar World can be viewed here.  Works on 6 AA batteries or optional external power supply.  A new one's $249 but this one's mint condition in the box for $169.  Manual is downloadable here.  

1997 Gibson BluesHawk, (front), (back), (headstock), (controls).  The Hawks were one of the most innovative designs to come out of Gibson in decades.  Produced from '96 to '06, making this a 2nd year model.  Radically different for a Gibson, the BluesHawk is a semi-hollowbody that's as thin as an average solidbody electric.  It's also a very small body which makes it lightweight and a lot of fun to play during stage gigs.  Features some upscale cosmetic features as well including gold hardware, distinct diamond fretboard inlays and headstock inlay, inlaid pearl Gibson logo on headstock and cream body binding.  It's the electronics that really shine on this baby though, with loads of quality tones at your fingertips via a pair of Blues 90 pickups (P90's especially designed for the Blueshawk) which also include a dummy coil to keep 'em quiet - controlled by a 3-way selector, 6-position Varitone, and push/pull volume pot which disables the Varitone.  As its name implies, this guitar really shines for Blues tones, but is versatile enough to cover just about any other type of music other than heavy metal.  Cosmetically it's in very nice condition for 14 years with just some scratches in the clear coat and a few very light finish check lines (shown here) on back.  Frets are near perfect with no "dishes" in any of the frets, gold hardware has only minor gold wear.  This guitar is the best value in the Gibson line in my book and you can read more about this series (here).   This one is an excellent player with low action, no buzz, no dead spots and all original except for Grover tuners.  The playability, comfort, and variety of quality tones make this the best value in a Gibson in my humble opinion.  $799(Tent. Hold - Chris H) includes Gibson gigbag.  

2005 PRS Standard 24 with Birds, (front), (back), (headstock), (case).  Satin finish in Vintage Cherry on an all mahogany guitar for an unmistakable vintage vibe.  When you mention "PRS", to many this conjures up images of spectacularly figured maple tops but there are a lot of players who want the tone and playability with a more understated look, not to mention the tone of an all-mahogany PRS, further enhanced by a thin satin finish.  To my ears, the Standard has more of a singing quality than the maple-capped models such as the Custom 22/24.  Notes bloom a little later after the attack but then seem to hang on indefinitely.  It probably isn't conducive to 64th note runs but for blue/rock and a bigger and warmer tone, I would take the Standard any day.  To commemorate their 20th anniversary, PRS offered a distinctive “birds-in-flight” inlay, which were a slight departure from PRS' normal bird inlays, featuring green ripple abalone with brown lip mother of pearl wisps, as well as a commemorative truss rod cover.  Other features include one-piece mahogany body, mahogany neck, rosewood fretboard, plus PRS tremolo and locking tuners, regular neck profile, 5-way rotary selector for a good choice of humbucker tones and in/out of phase single coil tones, master volume and tone, and HFS and Vintage Bass pickups.  Cosmetically, beautiful shape with no wear and played just enough so the back of the neck has turned glossy and slick feeling.  With a typical killer setup, excellent tone, and a nice vintage look, this guitar is a total winner.   The Standard 24, offered only in a satin finish, listed for $3588 including $530 for the bird inlay option, and sold discounted for $2511.  For almost 1/2 that price you can get this beautiful '05 model with these great looking Anniversary birds.  $1299(HOLD-Bob D 10/10) includes non-original TKL Tolex case and trem arm.

2004 G&L Asat Super, Ltd. Ed., (front), (headstock/neck), (back), (rounded neck), (build ledger), (case/etc.).  Custom Creations comes this limited edition model with the main feature being a chambered mahogany body, plus substantially more girth to the bridge pickup for overdriven tones, while maintaining the characteristic sparkle of the ASAT Magnetic Field Design pickups and good balance between the output levels of the two pickups.  The Asat Super shares neck pickup specifications with the G&L 20th Anniversary model, while the bridge pickup is more heavily wound with lighter gauge wire.  To offset the increased impedance of the pickups and maximize available brightness, the tone control was altered so that the capacitor would be effectively out of the circuit when the pot is wide-open.  Other features include saddle-Lock bridge was chosen to maximize power, sustain and comfort; mahogany neck with ebony fretboard; very dark tobacco sunburst gloss finish; 1 5/8" nut; 12" radius; G&L MFD overwound pickups; Schaller tuners; 3-ply tortoise pickguard; master volume and tone controls with knurled knobs; LP style pickup switching.  I don't know the total production of this model, but as of April '07, 74 had been produced - this one is the 32nd, shipped to National Speaker Company on 6/3/04.  Tonally, this guitar sounds rather like a LP Special, which is understandable considering it's all-mahogany construction and overwound pickups, with a bit more clarity in the tone however, and more of an acoustic presence.  It plays beautifully and is in 9.8, very near mint condition, with just a few minute flaws.  Really nice rare G&L for $1299(HOLD-Michael W 9/9).

2005 Gibson Les Paul Studio - Fireburst & Gold, (front), (back), (headstock), (case).  Since the early 80's the Studio has remained the best value in the "real" Les Paul line, i.e. carved maple cap over mahogany body, gloss finish, trapezoid inlays, 490R and 498T Alnico humbucker, and Gibson Deluxe tuners.  I'm seeing more and more "stars" playing Studio's on TV, and these are guys who can have any Gibson they want, usually for free.  The Studio is basically a identical to the LP Standard but it's stripped down cosmetics (i.e. no binding and headstock inlay) means around a 40% savings compared to the Standard.  The tone and playability are on par with the Standard, making this model a better value for most working guitarists.  Overall this guitar is in lovely shape, with a clean top and just some scratches in the clear coat.  Gold hardware is very clean with no pitting and very little gold wear.  The frets are perfect and it's obviously seen much more time in the stand than in actual use.  The neck profile is medium, falling somewhere between the 60's thin taper and chunky 50's - and  well rounded in the back.  With a list of $2169, gloss finish Studio's are now running $1319 new.  This '05 model is in tidy shape, has a great set-up and comes in very cool color, which is shipped from the factory with no pickguard.  With its chambered body it weighs in at a very comfortable 8.5 lbs.,   $899(HOLD-John P 10/4) includes a nice hardshell case.  

2003 Gibson Les Paul Studio - Black & Chrome, (front), (back), (headstock), (case).   Same model as above in the popular black and chrome and slightly heavier at 9.5 lbs., I think due to the body chambers which began after '03 production.  All original other than knobs replaced with chrome dome, but we can change to speed knobs if desired.  Very nice shape for a used guitar with clean hardware, perfect frets, and only some clear coat scratches.  Excellent player and a nice value in a modern classic Paul at just $850, with a nice hardshell case.  

Tweed Amp Covering.  For you DIY'ers, whether you're restoring an old Fender, or just want to give any amp more of a vintage look.  Excellent quality tweed covering with fabric layer under tweed layer.  64" width sells online for $29 per .6 yard  (1 square yard).  I have a roll that's ^64" and 1.6 yards long (2.9 square yards), almost 3X the size for just $49. 

Fender Style Oxblood Grill Cloth, (pic2).  A good choice to go with the tweed covering above, Oxblood with Gold Stripe, this roll is 48" X 74".   Sells online for $21.75/square yard.  This roll is over 2.7 yards for just $35.  

2003 Fender Showmaster Celtic, (front), (back), (headstock), (Duncan/push-pull pot), (inlay).   One of our favorite of Fender's upscale imports, by virtue of its simplicity, playability, tone and commendable sustain, feather weight, and cool looks.  Fender's Showmasters, whether this quality import or their Custom Shop models, are basically a set-neck Strat with an arched top, and no pickguard.  Among this family is (was) the Celtic model which was beautiful in its simplicity, with a single humbucker, one knob, and hardtail/string-thru-body bridge.  The only adornments on this guitar is the Celtic inlay at the 11-13th frets (but it does have side markers so you don't get "lost").  We did some nice upgrades on this one starting with a fret polishing (pic) so bends feel like glass.  We swapped out the Fender Atomic II pickup with a Duncan Distortion and doubled the number of tones by adding a push/pull pot - down is the fat, searing  humbucker tone, up is a more articulate single coil tone that's closer to a Strat.  Other features include silver finish with matching headstock, set-neck (not bolt-on), carved top over thin basswood body, raised chrome logo, 24 jumbo frets, flat 12" fretboard radius, black chrome hardware, strings thru body for increased sustain, and Celtic white pearl inlay on fretboard.  After Martin did his magic on the frets and set-up, this guitar not only looks great, but plays and sounds as good as the Custom Shop version.  These had a very brief run but list price on this model during production was $899.  If you're a fan of the Baretta type simplicity, with the added benefit of single coil tones, this guitar is definitely good enough to gig with and in my opinion a super value at $450.  Includes Fender deluxe gigbag. 

Boss RE-20 Space Echo Delay/Reverb Pedal, (pic2), (pic3).  The RE-20 is modern take on THE classic tape echo of all time, the Roland RE-201 Space Echo.  Unlike the original, the RE-20 doesn't have 50 moving parts but Boss has done a good job of staying true to the original's vibe with a similar panel layout.  It has the same spacious, analog tone of the original Space Echo, with none of the headaches and noise that come with the original.  It even faithfully models the RE-201's tape flutter and magnetic head sound saturation and has the same Mode selector knob with 12 placements just like the original Space Echo.  The tap input pedal allows delay time to be set by foot and in the long mode the delay time is 6 seconds, longer than the original model.  In addition to the cool vibe is the red and yellow rotating light on the front - I just love that thing!  You can also control parameters such as repeat rate, intensity, and more via an expression pedal.  Here's an unbiased review, good and bad, at TweakHeadz.com and a good demo from Guitar World can be viewed here.  Works on 6 AA batteries or optional external power supply.  A new one's $249 but this one's mint condition in the box with all the paperwork for $179.  

1997 Fender Jerry Donahue Telecaster, (front), (back), (headstock), (neck pocket), (bridge).  I have to begin by saying this is one of the finest sounding Teles I've had, around 1 in 30 sounds this fine.  Very good sustain and sweet harmonics; no low harmonic "ghost notes" when you play double-stops through a high gain amp.  The "JD" Tele is a fairly rare and one of the more desirable models from Fender Japan.  But...after trying everything to get a low set up with this one we finally gave up and changed necks, using one of the best Mex necks I've had, from a '69 Classic Tele Thinline.  The original neck (shown here) has the truss rod tightened all the way and the action is medium at best.  The JD is everything you want in a Tele - killer looks, great tone, versatility, superb action, and a featherweight, especially for a bound Tele, at 7.2 lbs.  Basically this model is loosely based on a 50's Custom Tele, which at that time merely meant "bound body" and the original neck is a 50's soft-V profile.  I say loosely because it has features that weren't used in the 50's including basswood body and 3-ply BWB pickguard.  Let's not get picky though - this really isn't a reissue.  Tonally versatile with Custom pickups made for this model with a Strat in the neck position and 5-way switching as follows - Position 1) bridge PU alone delivering a classic 1952 vintage sound. Position 2) The bridge PU and the neck PU out-of-phase delivering a Strat tone similar to position 4 on a Strat.   Position 3) The bridge PU and the neck PU in parallel, creating a sweet fat tone for rhythm.   Position 4) Neck PU alone for a classic 1957 vintage Strat sound ran through the tone control.  Position 5) neck PU completely bypasses the tone control - straight to the jack - for the additional punch of this vintage Strat tone.  Although simple, this can be a useful feature such that - you may have the neck tone rolled off a little and when you're ready to jump into a more searing lead tone just flip the switch up one notch.  This guitar was collector owned and offered in very near mint condition, with the only flaws being several very tiny scratches in the clear coat on back.  The action is superb all the way up the neck, no choking out on bends, and tonally, it's like having a quality sounding Strat and Tele in one guitar - all for $679(Tent. Hold - Stu C).  Includes deluxe Fender gigbag.  

Composite Acoustics (CA) Cargo Travel Guitar, (front), (back), (headstock), (gigbag).  If you're looking for a big sound from a small guitar, the CA Cargo guitar beats anything I've heard. This baby is quite loud, both from the audience perspective and even more so for the player due to the offset soundhole located on the upper bass bout. One of the few travel guitars I've heard that can be played in a performance situation, where the audience wouldn't suspect that the tone is coming from a travel-sized acoustic. Best of all, it's built entirely of carbon fiber, which is impervious to climate changes. You can take it from the heat of your car trunk, into an air-conditioned venue, and just your set. No more seasonal set-ups with winter saddle/summer saddle - leave it in the stand by the fireplace year round and it' always set up perfectly.  For you actual travelers, the Cargo easily fits airline overheads or anywhere space is tight and is extremely durable, able to be battered around with no ill effects.  Features include carbon fiber neck and body, precise Hipshot tuning machines, proprietary carbon fiber bridge and saddle materials, and L.R. Baggs Element pickup system with volume control protruding slightly from the soundhole routed to an endpin jack.  Scale length is 22 3/4", which is around 2-3" shorter than a full scale.  I've had difficulty getting my fingers to "fit" most travel guitars but CA overcomes this problem with a wide 1 3/4" nut width.  While you might notice a slightly shorter scale, the increased string spacing, side to side, allows easy chording and fingerstyle work.  It's as comfortable to play as most standard guitars.  Here's a demo by Acoustic Guitar Mag (fast forward to 2:33 to hear it in action); and another brief performance video here.  If you want some interesting background info on CA and carbon fiber guitars, Click here for a 2-part factory tour and manufacturing process.   The Cargo carried a $1798 list price, street priced at $1478 but since Composite Acoustics went out of business they've become hard to find and are starting to achieve a sort of legendary status.  This one is in excellent condition, priced at $999.  Includes a high quality semi-hard gigbag.  

Ca. 1968 Vox Scorpion 4x10 Combo, (pic2), (pic3).   The V116 Vox Scorpion combo amplifier,  introduced in 1968, was designed from a combination of parts and subassemblies from earlier Vox amps.  The closed-back cabinet was the one used by the Royal Guardsman, but it used casters instead of a trolley.  Unlike the Royal Guardsman, the Scorpion cabinet had a full front grill.  Inside it's loaded with four 10" 16 ohm Vox Gold Bulldogs (Oxford made) with ceramic magnets, wired in parallel to make a 4 ohm load.  The preamp and controls are from the Berkeley III head.  The 60-watt power amplifier, mounted to the bottom of the amp cabinet,  is from the Royal Guardsman.  Vox was the best at refining a solid state design into an amp that had the warmth and feel of tubes and this is another good example.  Fairly rare model and a good value in a vintage Vox combo.  Lots of features including bi-level control panel with Normal and Brilliant channels, each with its own volume-bass-treble.  On the lower level there's footswitch input, reverb, tremolo depth, tremolo speed, line reverse switch, and Aux speaker out.  Classic Vox looks with Diamond grill cloth, vertical logo, and top/back control panel.  The Scorpion sold for $529 in '68, which was $30 higher than a Fender Twin Reverb, and a good bit of cash during that era and it equates to over $3000 in today's dollars.  Cosmetically it's in decent shape, sounds good, and is a good buy on a rather unique vintage amp at $699.    

2006 Fender USA Highway One Telecaster, (front), (back), (headstock), (deluxe gigbag).  Immaculate condition.  Best value in a USA Tele, with all the vibe and twang of an American Standard, at better than $200 savings.  The main cost savings is due to the low gloss, satin lacquer finish, which actually adds sustain and clarity.  A satin finish will actually buff out to a high gloss, which is a service we offer on nitro satin finishes as shown on this Highway One Strat comparison.  Fender has made many Tele's with fancy finishes, modern hardware, and "breakthrough" pickups, but if you ask many Tele fans, they'll probably tell you that simple is better and that, for the money, a Highway One is impossible to beat.  Features include solid alder body, maple neck with rosewood fretboard, US hardware including vintage bridge with three chrome saddles, modern 9.5" radius, 22 jumbo frets, Hot Alnico Tele pickups, Fender/Ping tuners, and 70's era logo.  Controls include standard 3-way switch with volume control and "Greasebucket" tone circuit that rolls off highs without muddying up the bass.  The necks on these feel great, with a very thin satin finish that feels natural and unfinished, as sleek as you'll find on a Fender and it doesn't stick to your hand when you sweat.  This guitar appears to be virtually unplayed, with no scratches or wear anywhere, frets are like new, plastic is still on the pickguard.   Don't pay $729 for a new one when this one is as clean as a new one hanging in your local store and just $575(HOLD-Joe S 8/25).  Includes Fender Deluxe gigbag.  

2007 Martin Custom 000-15M, (front), (back), (headstock), (detail), (case).  These "Custom" Martins can be somewhat of a mystery.  Some are simply one-offs, where a customer orders a specific guitar, spec'd out to their wishes.  Others are small runs for individual dealerships, where they might order a few dozen or more, of a specific model.  The most obvious difference between this guitar and the regular 000-15M is the finish, where the regular 15M features a satin finish, rather than the gloss lacquer on this guitar.  On the last Custom I had, an OMC Custom, the gloss finish was an $800 add-on, although it appears as though Martin has dropped the cost significantly.  In addition to the gloss finish, however, this guitar also has a one-piece back, usually an expensive upgrade, which I haven't seen on any other of the 000 Customs.  In addition, it looks as though it's never had a pickguard installed.  Like the regular 000-15M, it  features all mahogany construction.  Mahogany 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 this wouldn't be the best for fingerstyle, the smaller body seems to contribute to better note definition than a mahogany in a dreadnought size.  Other features include 000 size body of all solid mahogany, neck meets body at 14th fret, 1-11/16" nut width, 25.4" scale length, raised gold-leaf logo, dot inlays, herringbone rosette, sealed Martin tuners, gloss finish top/back/sides.  Cosmetically, nice shape with just light players wear.  The set up is great, with very comfortable action up and down the neck.  With a stock Satin finish 000-15M running $1149, here's a nice Custom model with gloss finish for less.  Just $950 with Martin wood/Tolex case with green lining.  

2007 Epiphone Les Paul Custom, (front),  (back), (headstock), Epi's version of the LP Custom, truly the Cadillac of the Les Paul line, beautifully adorned with multi-ply body binding, neck binding, inlaid logo and split diamond headstock inlay, multi-ply bound headstock, and gold hardware.  In addition, from my observations, the neck angle seems to be better on Customs which allows for a very low set up at the nut, all the way up the neck.  This one's finished in Alpine White, always a popular finish in a Custom.   Pickguard was removed for aesthetic reasons but otherwise, it's all original and in excellent condition, other than two finish cracks (shown here).  Finish cracks in this area, or below the fingerboard, are extremely common on white Customs, both Epi and Gibson.  Prior to shipping we will lacquer over the area at no charge to prevent any flaking and color match the area, if desired.  This guitar plays great, with a quality tone, and a with new ones selling for $699, get a nice savings on this great playing used one.  Just $379 - or add $22 for a new TKL gigbag (shown here), or $55 for a used Epi case (shown here).  

OFF-HOLD:  2009 Gibson SG Standard - Heritage Cherry, (front), (back), (headstock), (3/4 view), (case).  Your basic classic SG, largely unchanged since 1961, when it was released as the "new" Les Paul style.  It has been in production continuously since that year, the longest running solid body model in Gibson history.   Features include all-mahogany construction finished in gloss Heritage Cherry lacquer, solid quarter-sawn mahogany neck, rosewood fretboard with 12" radius, trapezoid inlays, Corian nut, 1 11/16" nut width, bound fretboard, 22 medium jumbo frets, Gibson Deluxe tuners with Keystone buttons, holly headstock overlay with mother-of-pearl inlaid logo and crown inlays, black top hat knobs with silver inserts, Tuneomatic ABR-1 bridge and Gibson's most popular pickups, the 490R/498T Alnico humbuckers.  The SG Standard's remarkable sustain is due largely to two unique features:  the mortis & tenon neck joint which binds the neck to body so that the two pieces form one solid unit, employing the long tenon found on earlier SGs - plus the traditional 17 degree headstock angle, which increases pressure on the strings which maximizes string vibration between the nut and the tuners.  It features the neck profile of the mid-60's, not at all chunky as the 50's style, but nicely rounded.  Famous players of the SG Standard is a who's-who of rock music greats including Clapton during the "Cream" era, Tony Iommi and Angus Young both users for over 30 years, and Derek Trucks, who also uses extensive slide work in his playing.   This guitar is in beautiful shape with a superb low set up and a nice buy on a true classic at $879(Tent. Hold - Jordan 8/29). 

2001 Gibson Les Paul Studio - Wine & Chrome, (front), (back), (headstock), (case).  These pre-chambered body Studios have recently become desirable models as I have customers specifically seeking out pre-'06 models.  They have a crisper attack and more punch in the bass, more sparkle in the highs.   Gibson generally saves all of their lighter woods for their expensive Historic series so if you buy a Studio from this era you're not going to find a light one but then I don't feel that light weight guitars are necessarily more resonant.  This one is quite lively sounding in fact.   Since the early 80's the Studio has remained the best value in the "real" Les Paul line, i.e. carved maple cap over mahogany body, gloss finish, trapezoid inlays, 490R and 498T Alnico humbucker, and Gibson Deluxe tuners.  I'm seeing more and more "stars" playing Studio's on TV, and these are guys who can have any Gibson they want, usually for free.  Other than a few cosmetic appointments, this model is pretty much identical to the LP Standard but it's stripped down cosmetics (i.e. no binding and headstock inlay) means around a 40% savings compared to the Standard.  The original Studio's, ca. early 80's, were a more distinct model, with an all-mahogany body and dot inlays.  Within a few years Gibson offered a "Studio Standard" with body and neck binding, maple cap, but dot inlays and screened headstock decals - and finally in the late 80's the model we know today.  Cosmetically this guitar is in pretty nice shape with some light scratches and a few minor finish impressions, but nothing nasty and a fantastic low set up.  The neck profile is medium, falling somewhere between the 60's thin taper and chunky 50's - and  well rounded in the back.  Gloss finish Studio's are now running $1319 new.  This '01 model hasn't seen much actual playing time, judging by the frets, and is an inexpensive way to move up to a Gibson Les Paul - just $850 with original gigbag.  

1969 Gibson ES-150DCN, (front), (back), (back-2), (headstock), (label), (case) (catalog).   Fairly rare model from Gibson - this '69 was the first year for the ES-150DCN, which ran through '75.  Offered in Walnut, Cherry, and the most desirable model, this Natural finish.  During it's 7-year run, less than 2,500 were shipped, with Natural being the most rare.  I don't have the exact totals, but I would estimate that less than 100 in the Natural finish were shipped in '69.  If it looks strangely familiar, it's probably because, from the front, it's pretty much identical to the ES-335TD.  It was very much a full-bodied version of the thinline 335.  Both were made from the same materials, with the same cosmetic appointments and hardware.  At 3" deep, the 150DC was 1 1/4" deeper than the ES-335TD, plus it's a true hollowbody, lacking the center block of the 335.  At $495 (less case), it sold for $20 more the ES-335, but $30 less than the closest full size mode, the ES-175D.  Features include double cutaway body with a 16" lower bout, 3" body depth, natural finish, laminated maple top with f-holes, maple back and sides, mahogany neck joins body at 19th fret, 22-fret rosewood fingerboard with small pearloid block inlays, 1-9/16" nut width, 24-3/4" scale, 2 humbucking pickups, master volume control on upper treble bout, 2 volume controls, 2 tone controls, 3-way switch, trapeze tailpiece, tune-o-matic bridge with nylon saddles, beveled black plastic pickguard and adjustable bracket, triple-bound top, single-bound back, bound fretboard, crown peghead inlay and inlaid logo, double-line double-ring Kluson tuners with Keystone buttons.  This guitar is in beautiful shape and 100% original.  The finish has a beautiful gloss and little to no checking.  The neck angle is perfect which allows for a great set up.  If you're looking for one of the great Rockabilly axes made, this is certainly one of them.  As most of you know, pre-70's Gibsons are the most desirable models and at $2700 this is an excellent value on a rare archtop with all the desirable features.  Includes old black tolex case with plush red lining, probably not original but fits perfectly.   

Korg AX1000G Floor Multi-Effect, (close-up  lit-up), (effects/models), (back).  A good choice for players who want a multi-effect with a layout similar to a row of stompboxes.  If you want to change, for instance, from a Hall Reverb to Ping Pong Delay, just reach down and turn a knob.  The AX1000G has 56 types of modeling effects cover numerous vintage compressor, overdrive, distortion, echo, reverb, and wah units that are expensive and difficult to obtain.  Numerous simulations are provided, including the fat sound of tube amps, the nasty fuzz sound of the '70s, and the metallic distortion of the '90s.  In the drive-amp section, "REMS" supports the hybrid gain structure developed by KORG.  You even get unique lo-fi effects such as a tape echo that simulates the unique distortion produced by magnetic tape and the unstable pitch caused by irregularities in rotation speed. The Cabinet effect gives you a wide range of simulations that cover both vintage amps and modern designs, down to every detail of cabinet shape and speaker characteristic. The expression pedal lets you control eleven types of pedal effect in real-time-not only volume and wah, but also unique sounds like pitch bend and traveler (filter).  With the Power-Paced Practice with the Phase Trainer, you can record up to 16 seconds from a CD/MD player or cassette, and then slow down the playback to as little as 25% of the original speed without affecting the pitch, an ideal way to learn rapid solos or difficult phrases by ear.  The recorded phrase can also be looped for playback, allowing you to listen repeatedly, plus, you can even hold a specific note.  Scored 4 of 5 stars on Harmony-Central reviews, cited for its ease of use, which is a big thing for me, a non-manual-reader.  To view or download manual, click here for Korg's site.  This pedal is very solidly built, especially the rocker pedal, and should take years of road use.  With an original retail price of $350, this is a bargain at $99, less than you'll pay for a most single effects.  Includes power supply; include a new heavy gigbag for $22.  

2010 Marshall Class 5 All Tube Combo, (panel), (top), (back), (back2).  With the Class 5 Marshall has produced a another classic, with simple controls, classic looks - like a baby Bluesbreaker, and that classic all-tube Marshall tone.  What really sets them apart from the plethora of low-powered amps which have become de rigueur, this amp is made in England, rather than China, Korean, or Vietnam.  With "just" 5 watts through a single EL84 power tube, with two 12AX7's in the preamp, the Class 5 delivers what ever Marshall enthusiasts wants, crunchy fat tones, at a power level that lets you run the power tube hot without getting an eviction notice.  With quality features like finger-jointed birch ply cabinet rather than pressed board, and a great sounding Celestion G10F-15 made specifically for this amp, gives excellent low end response and a very punchy mid-range.  Click here for their review on the Class 5; click here for all the info from Marshall.  If you're a Marshall fan but need something a little more studio/home friendly, the Class 5 has a truly authentic 70's Marshall tone.  Don't be fooled though, 5 watts is very loud and it's actually enough for some band situations - or if you really want to hear it blast, run it through an extension cab.  Something is up with the Class 5 but I haven't found any revision in descriptions, they've dropped the price to $399, and changed the design to an open back with back grill, where the earlier ones were nearly closed back, with just a small port in the back.  I A/B'd this one with my earlier models and it sounds the same to me so I guess it's a moot point.  This one's in perfect condition and a nice little 5-watter for $275.  I have two of the earlier models, as new in the box, for $329 on my amps page.  

2006 Ibanez Prestige RG2620CBK (Cubed Black Pewter), (front), (back), (headstock), (trem), (case).  Another fine Japanese Prestige Model, the 2620CBK comes with a very cool graphic finish, slightly textured, that Ibanez calls Cubed Black Pewter, which reminds me of one of the finishes from the USA Custom series from many years ago, which were offered in several machine graphic finishes.  Other features of this fine Prestige include: Basswood body; hand-oiled Prestige 5 piece Wizard maple/walnut neck; Jumbo frets; Edge Pro trem; Dimarzio IBZ pickups; 5-way selector for a choice of single - or humbucker - tones; Cosmo black hardware; Cubed Black finish; Ibanez J-craft form-fit case. This guitar has a super nice setup and the Edge Pro stays in tune under the heaviest dive bombing, virtually impervious to going out of tune.  This one also has a pleasantly flamed maple neck (pic).  These Wizard necks are fantastic, and despite their extremely thin profile, they set up with incredible action, a shredder's delight.  With a list of $1506, this model sold new for $1129.  This guitar is virtually unplayed and could be sold as new and a nice price of $799.  Includes J-Craft case, manual, tools, tags, etc. 

Seymour Duncan Humbucker Pair.  Includes a Pro Shop "Full Shred Trembucker" and a Production Floor Custom "Trembucker". A Production Floor Custom is a regular production pickup that's a one-off ordered with a slight change in specs such as wiring or cosmetic differences.  These are both rather high-end Duncans, very low hours, in perfect condition.  $125/pair.  

T.C. Electronic Sustain + Parametric Equalizer.  A true classic from Denmark's T.C. Electronics and like all the old TC's, it's sound is awesome and it's built for decades of constant use.  Delivers studio quality compression in a pedal; crank it to the extreme and it’ll give your sound that percussive “thud” brilliant for funk or country, and with its parametric EQ you’re in full control of which frequencies to target. If you have your pedalboard set up with all your favorite effects and it's still missing "something", this could be the answer.  It really enhances your tone - from subtle compression to extreme sustaining effects - this sustainer will prolong life of even your weakest tone otherwise destined for premature death and since Sustainers inherently add some noise, there's also a very effective adjustable noise suppressor as well as a simple but effective Distortion switch which provides a subtle but distinct fattening of your sound.  They have reissued a different version of this pedal in their "Classic' series but this early model appears to be more solidly built than the recent models.  It also has a different layout than the new style pedal plus "Distortion" on/off and a bandwidth selector switch.  One thing about TCE pedals, they were used, and used generally by professionals.  Unlike other 80's pedals that are mint in the box, I've never had a vintage TCE pedal in that condition.  Click here for an in-depth review.  This is a true classic model that's been used in countless stage and studio rigs for 25 years. Works perfectly and a true classic for $175.  

2006 PRS 20th Anniversary Singlecut Trem with Artist Package, (front-1 front-2), (back), (headstock), (pickup options), (case).  Violin Sunburst beauty, tricked out with the optional Artist Package, PRS's most tricked out production model.  This special Singlecut model features special bird inlays and truss rod cover to commemorate the 20th anniversary of Paul Reed Smith guitars. Available as a standard model or, like this one, with Artist package which includes the highest grade of maple top available, Brazilian rosewood fingerboard and headstock veneer, paua shell bird inlays with brown lip mother of pearl wisps, inlaid headstock signature with paua shell, and gold hardware.  The Singlecut Trem has the traditional look and classic tone of the Singlecut, but with a thinner body, uncovered "zebra" #6 humbuckers, 3-way switching with push/pull tone knob, PRS tremolo system. PRS low mass locking tuners, optional tremolo tailpiece, mahogany back, 25" scale mahogany neck, and wide-fat neck.  Singlecuts are great guitars, much like the Custom 22 except in a more timeless body shape, but the features are undeniably PRS including the flamed maple "binding" where PRS leaves the maple unstained, bookmatched maple top and PRS locking tuners.  Not counting the Santana II, the Singlecut Trem was the most expensive model in the PRS catalog during this era. PRS is the most consistently guitars we get in.  We have never had a single neck issue and none have failed to set up with superb action.  In addition to being a fantastic player, this guitar is in immaculate condition with a top as stunning as you'll find, even on an Artist.  With a list price of $4780, this one is like new at 50% off list, just $2390(Tent. Hold - Geo M).  Includes the standard PRS case, hang tag, unsigned warranty, and other case candy. 

Hofner Beatle Bass - Icon Series - Lefty, (front), (back), (headstock), (case, etc.).  As new condition and unplayed, with plastic still on the pickguard and pickups.  With so many Beatle fans in the world, many of whom couldn't afford a $2400 500/1 reissue, and since a lot of instruments are bought purely as memorabilia, it only made sense for someone to produce a model that's quite playable, but manufactured in China for a fraction of the cost of German labor. The Hofner Icon Bass has the look that made this the most iconic bass in the history of rock and roll:  dual staple pickups pearloid pickguard and control plate, rosewood bridge with steel saddle plates, 5-bar trapeze tailpiece, violin-shaped arched-top and back body, spruce laminated top with flamed maple laminated back and sides, and white body binding.  If you're a Beatles or McCartney fan, this is a lefty, and the one you want.  If you're a player, this is a real blast to play.  With a very small body, and super lightweight hollowbody design, you barely know there's a bass strapped around your neck.  It also has a tone that sounds very close to the old Beatle recordings.  Again, this bass is unplayed except for my tech who did a very nice set up on it and at $349, you can't go wrong, especially considering that includes optional hardshell case. 

2004 Fender 50th Anniversary American Deluxe Stratocaster, (front), (back), (headstock), (case).  On the heels of the 50th American Standard I posted recently, comes the other 50th Anniversary model - the 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 al 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 are loving 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 excellent condition with only some clearcoat dings and scratches, but no players wear and frets are like new.  A new American Deluxe is going to run $1500, 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 $1099(HOLD-Carlos 8/9).  Includes original case, strap, polishing cloth, and assorted paperwork and tags. 

Custom-made Heavy Relic '69 Stratocaster  - Olympic White, (front), (back), (headstock), (neck), (Callaham bridge), (case).  George is a local luthier who specializes in custom guitars and for the past few years has been perfecting the Relic process.  His work is the most authentic I've seen - just check out these pics:  (edge wear), (spider checking), (flaking), (buckle rash).  He has done extensive trial and error, working with various techniques and finishes and has even received some guidance from Vince Cunneto, the original Relic Master.  He starts with a raw body and neck, quality built from USA Customs.  To the body he applies a finish that he says is "like" Fullerplast, the undercoating used on early Fender models.  It wears the same way, has the same texture, and the right color.  He then applies several coats of paint and clear coat.  Every detail of the finish is accurate, including pick wear above the pickguard, finish checking, buckle rash, dings and finish chips with the undercoat visible, and especially the forearm area where the undercoat and finish have the proper transition and the body the right darkness rather than a raw appearance.  The neck, which is on the chunky side, has authentic looking wear front and back, with the back having and extremely sleek, natural feel.  Rather than being historically accurate, he went with better hardware, like a Callaham bridge/saddles, Sperzel tuners, and locking strap pins.  The Sperzels don't require a string tree so he removed it, but we can install one if you like the look better.  For pickups George used a set of Custom Shop Fat 50s, with the usual Fender electronics including USA pots and switch, and cloth wires.   He did, however, invest in a genuine vintage serialized Fender neckplate.  I plan on consigning a few of his guitars eventually, but for now they're so labor intensive that they'd have to be priced as high as Fender Custom Shop, which I'm not keen on.  I got this one in trade at a reasonable price, not too much over the cost of materials.  On the horizon, I'll be posting an early 60's Sonic Blue light relic, primarily with finish checking.  This is a very resonant guitar - you don't invest this kind of time into a dead piece wood - and it oozes vintage Strat tone and vibe.  I would definitely rate this higher than a Team Built Relic, on par with a Master Built in terms of the relic process.  Just a super nice Strat for $1500.  Includes molded Fender case.  

Genz-Benz ML200 Bass Head, (panel), (back - detail), (top).  Excellent tone shaping for a variety of applications in a lightweight, easily portable head.  The ML200 head features the same amp used in the 112T, 115T, and 210T combos, with the speakers.  This allows you to use the amp with whatever speaker cabinet you prefer, and it's easier to handle a 20 lb. head and 25 lbs. cab, rather than a 55 lb. combo.  The ML200's  flexible dual-output design lets you operate this power amp in bridged mode, pumping 200 watts into an eight-ohm cabinet, or as 2 separate amps, each putting out 100 watts into 4 ohms.  Starting with the input jack, you can select Passive or Active via pushbutton switch, and adjust your gain control until the red overdrive light flashes occasionally.  Tone shaping includes "Shape" controls for Low Boost, Mid Scoop, and Signal Attack, while active EQ includes Low, semi-parametric Mid, and High.  The output knob controls the overall volume and there's a tuner output jack adjacent.  Back panel features dual 100W output jacks, as well as a 200W bridged output.  There's also a fan on/off switch, ground lift switch, XLR Direct Out for recording or going direct to your live mixer, and an effects loop.  Genz-Benz builds good sounding gear at good prices.  If you're looking for a nice sounding head for small to medium gigs, this one's in nice shape and hard to beat at just $199.   

1972 Gibson Les Paul Deluxe, (front-1 front-2), (headstock), (back), (control cavity/"sandwich" line), (fretboard/back of neck), (case).  Fantastic playing vintage Deluxe with a great vibe, nice mini-hum tone, and one modification that will appeal to players, especially players who don't want to spend $3K+.   Before I saw this guitar, my customer mentioned that the volute had been removed and it had been crudely finished over.  When I saw the guitar in person, in the parking lot of a Target store, the modified area had been painted over with some opaque paint, rather than a clear stain.  I immediately said, "oh, it's a headstock crack repair'.  The customer trusted the store where he got it and was certain that they would have mentioned a repair.  I told him that I couldn't resell the guitar as a non-repaired headstock since I couldn't prove that it hadn't been cracked.  Solution:  he went to Home Depot for sand paper....I sanded off the thick opaque paint all the way down to bare wood and...no repaired crack!  Click here to see the area sanded down, alongside a pic of the finished product where Martin applied red transparent stain and several coats of nitro clear lacquer.  Many players don't like the volute so for them, this is a better guitar.  Gibson serial numbers on 60's/early 70's are ambiguous, usually narrowing a guitar down to a choice of two years.  In the case of a guitar in the 600,000 range, it can be '70 to '72, or '74 and '75.  You then have to use features to narrow it down.  The "sandwich" body (see below) was used '69 to '73; and in '74 they changed to a three-piece maple neck.  This means this guitar with a sandwich body and mahogany neck would be '69 to '73 and since there are no "goof" rings (secondary pickup rings) it's a pretty safe bet that this is a '72.  You can get a "no earlier than" date with pot codes, however, as is common, the date codes all have a spot of solder over the date code.   and the one-piece mahogany neck" Goof Rings".  It has the "sandwich" body used in this era, which consisted of a maple top with twin layers of mahogany underneath, divided by a thin layer of maple, clearly seen in this pic where the line in the center is the thin maple center.  Gibson cited that this method added strength and prevented cracking and checking.  It was a more expensive method, contrary to what you might read at some sites on the web.  Features of the Deluxe were basically identical to the Standard except for pickups, where the Deluxe used the mini-humbuckers and the Standard used the PAF style humbuckers.  A number of players prefer the mini-hums for their brighter tone; they fall between a PAF and a P90 to my ears.  Cosmetically this guitar is in nice shape consider it's 40 years old next year. The top is very clean with just a few very light check lines only visible in perfect light (shown here); back has some buckle rash and scratches but not through the finish.  Frets are in good shape and with a perfect neck angle and straight neck, this guitar sets up with low action.  Tuners are newer but they have the same footprint of the originals.  Otherwise, this is an original Paul including bridge, knobs/pointers, pickups/pots/switch. Real world market price on an early 70's Deluxe is around $3K but if you don't mind the volute being removed and the area refinished, get this nice one at the player's price of $2100(HOLD-Chris H).  Includes a quality TKL/Canada tolex case. 

ca. 1989 Charvel Spectrum, (front), (back), (headstock), (Schaller Floyd), (gigbag).  At the height of the Super Strat era, Charvel came out with this very un-hip looking model, specifically having a pickguard which were generally shunned during the hair metal days, and a large early-50's P-bass style guard at that.  It has all the other features found on Super Strats including, most importantly, a double-locking tremolo system, flat fretboard and reverse headstock.  An interesting beginning, this model is a copy of a guitar that Jackson designed for Jeff Beck (Jeff's Guitar, yes, those are racks of Seymour Duncan Convertible amps as found on my amps page) and although never a signature model, you can thank Jackson and Jeff for the invention of this cool guitar.  Although it wasn't a huge success at the time, in the years that followed this became a very desirable model, due to its relative rarity and simply because they're great guitars.  The coolest thing about this model is the Jackson J-1200 parametric mid EQ circuit, activated by a mini switch and the 3rd knob becomes like a wah-wah pedal.  It can be used to do wah effects or simply set in one of the in-between positions to emulate a wah that's partially depressed.  The most useful aspect of the circuit is to make your guitar sound jump out of the mix; just turn it very slightly to find and boost a frequency that's the band isn't occupying.  It's easily noticeable while playing preset songs on my Fender G-Dec where the amp/distortion/EQ level is set different for every song.  With the circuit turned off the guitar can be lost in the mix but turn it on and dial in 800Hz, for instance, and my leads are right out in front, without overpowering the overall song level.  The range of the J-1200 is very wide, from a low mid fatness to a high end shrill sound, but most players prefer the hollow tones in between.  The knob is very sensitive with around 15 different frequencies that I can discern.  Some of them do a good job of replicating a talk box so you can find a setting for "Livin' on a Prayer."  Pickups look like ingle coils but the are, in fact, J-200 Bi-Level humbuckers with two single coils stacked on top of each other.  To the string it's a single coil but to the amp, it bucks the 60 cycle hum.  It still has a Stratty tone, especially in positions 2 and 4.  Cosmetically it's in excellent condition with the worst flaw being an etched cow's skull in the pickguard (pic), in someone's effort to resemble an old Robin guitar.  Frets are in perfect condition, great neck that sets up great, nice sustain, and a killer rock tone. I got this without a case but I have a Kramer "pleather" gigbag for a reverse headstock that I'll include.  This is a cool piece of Charvel history and a great guitar for $575.  

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 just $100 more than a stock American Standard and the coolest American Standard/Series I've ever had.  $1099 includes Fender case, serialized hang tag, and paperwork.  

ESP Ltd Viper VP-400 Baritone, (front), (back), (headstock), (case).  For players who want the ultimate in heavy tone.  A lot of player are using drop-D tuning to get that thick heavy tone but for the ultimate you should check out B tuning, 3 half-steps lower.  If you want to get an idea of the tone, check out Mike Mushok of Staind, but it's not strictly for the super heavy music.  Old spaghetti westerns use a lot of Baritone in their soundtracks, Dave Matthews used a lot on his album "Everyday", and some Nashville session players use one as a secret weapon.  Closer to home, my tech Martin uses a Warmoth baritone as his regular guitar - I don't think he plays a regular electric at all.  You can use a 7-string guitar to get the same effect but with a baritone you don't have to re-train your brain, i.e. chording is identical on an baritone and standard.  Features of the VP-400 include set-neck construction with mahogany body and 3-piece maple neck; rosewood fretboard with 24 extra jumbo frets; EMG81/85 active pickups with volume-tone-three-way switch; Earvana compensated nut; Grover tuners; 27" baritone scale; dot inlays with model number at 12th fret; back hardware; tuneomatic bridge with stopbar tailpiece; offered in Black Satin only.  Overall very clean shape other than a few shiny spots as satin finishes are prone to doing.  For full specs on the Viper series, click here for ESP or some Harmony-Central reviews are here.  With quality touches like EMG's, Earvana, Grovers, this model was a good value in a set-neck Korean guitar; $899 list and $629 on the street - without case or gigbag.  This one has a great setup, is in excellent condition, and just $429 with gigbag or $495 with a nice ESP case.  Try it...you might like it. 

2007 Fender American Deluxe Jazz Bass, (front), (back), (headstock), (controls), (case/etc.).  Killer looks, playability, and tone and the evolution of Fender's timeless Jazz Bass.  Since the late 80's Fender has had "Deluxe" models for their Strat's, Tele's, P's, and J's, originally called "Plus" models, with upscale features such as pickups, electronics, and hardware.  Deluxe features of this model include 3-band active EQ with a stacked EQ pot, SCN Jazz pickups, deluxe tuners, abalone dot inlays, rolled fingerboard edges, select Alder body, and highly detailed fret and nut work (i.e. people actually touch the neck more).  Other features include deluxe bridge that allows for string-thru or top-load stringing, raised chrome logo, graphite reinforced neck for super stability, 5-bolt neck attachment and sculpted heel for easy access to the top frets.  This bass is in beautiful "under-the-bed" condition, in classic 3-tone sunburst with a maple board.  This bass has one nice upgrade:  Hipshot Ultralite tuners replace the originals.  These are a direct retrofit, so no modification was required.  Lower mass (weight) on the headstock allows more vibration of the headstock, contributing to better sustain and a more lively feel.  This fine bass plays wonderfully and with this electronics suite you can get a wide variety of tones, from traditional punchy J-bass, to a fat bottom P-bass, and many more.  Cosmetically there is virtually no wear and it's cleaner than most new floor models hanging in a store.  A new Deluxe will set you back $1599, or even a regular American Standard is $1250.  Why not get this barely played beauty, set up to perfection, for way less.  $1099(HOLD-Jack B 8/3) includes Fender case, serialized hangtag, and assorted paperwork and tags.  .  

1996 PRS McCarty Custom, (front-1 front-2), (headstock), (back), (pickup cavity), (side).  Great looking McCarty which, according to factory writing in the pickup cavity, was a custom model.  I'm not sure what the custom features were but my guess is the opaque black finish with flamed maple edge which I think wasn't stock and would have been a custom order in '96, the third year of the McCarty model.  The McCarty was discontinued after being in production for 14 years, but returned briefly as the McCarty II and currently, the McCarty 58.  This is one of the original models with several unique features for a PRS, most notably a mahogany body that's 1/8" thicker than other PRS's, a headstock that's slightly thinner and with a greater headstock angle, and vintage style non-locking tuners, all of which are a nod to the 50's guitar that Ted McCarty designed for Gibson.  Other features include wide-fat neck, McCarty Treble and Bass pickups with 3-way switching and push/pull coil tap for 6 tone combinations, compensated wraparound stoptail bridge, and mahogany body with a thick maple cap.  After Martin buffed this out it was apparently that it's a very clean guitar overall, with just some clear coat flaws, the worst being headstock scratches from string changes and a few clear coat impressions (as shown here).  All original other than pickup covers have been removed.  The set up is typically phenomenal, much better than your average Paul.  My tech, Martin, has sworn for years that this is the most tonefull model that PRS has ever made, which he reiterated after setting up this one.  It has a very sweet tone with excellent sustain.  If you're looking for a nice McCarty, that has the look of a Custom 22, I highly recommend this one.   $1399HOLD-Tom O Ire 8/25). includes non-original hardshell case.  

Fishman AFX Reverb, (pic2).  The first reverb stompbox to offer studio-quality spaces designed specifically for acoustic guitar.  The AFX includes eight effect presets:  Studio, Room, Plate, Chamber, Stage, Concert Hall, Cathedral, and Canyon.  It has level, tone and decay time controls function for all effects, allowing you to tailor the sound to your instrument, room, and taste.  If you want a full wash that decays in 2 seconds, just dial it in.  Compatible with stereo set up with 1/4" stereo ins and outs.  An input gain switch adds level boost.  Built for years of use, housed in durable all-metal construction.  Click here for a good demo by Fishman, and here for full features/specs. Sells new for $279 but this clean used one is just $195.   

1998 Fender American Standard Stratocaster, (front), (back), (headstock/neck), (Custom '54's).  Excellent playing Strat with some upgrades to enhance tone and playability.  A pair of custom shop Custom '54 pickups have been installed, along with an orange drop cap, and changed to vintage wiring with a tone pot in place of the TBX.  Nut has been changed to a Graphtec graphite nut, which reduces friction and helps maintain tuning stability.  Lastly, the back of the neck has been sanded down, with the poly finish removed.  It feels much faster this way and most players seem to prefer the feel of natural wood.  This guitar hasn't been played to death and looks very presentable from the front, but at one time it did have a careless owner thus there are finish chips around the edge down to the white undercoat (as shown here).  These '54's are used in many Custom Shop guitars, primarily because they sound excellent and have more of a vintage bell tone--and  more quack--than the stock pickups.  If you're a player looking for bang for the buck and not concerned with some finish chips the audience can't even see, this one feels great, sounds great, and is set up to perfection.  A good value for the player at $729(HOLD-Keith Z 8/2).  Includes hardshell case and trem arm.  

2010 Dean Deceiver F, (front), (back/cutaway), (headstock), (Floyd), (side).  The Deceiver F (Floyd Rose), combines great looks, quality tone, and unique design features in a well-made guitar that, remarkably, retails for under a grand.  It's tone-sustaining mahogany body is finished in high-gloss black with a set-in mahogany neck capped off with 24 jumbo frets and ebony fingerboard, complete with striking pearl Deceiver inlays.  It features a 24-3/4" scale which is great for bends and sweeping arpeggios.  Other features include arched top, belly cut on back, 3/side Grover tuners with Dean headstock design with a winged "Dean" logo, multi-ply body binding, USA Dean DMT Time Capsule neck humbucker and a USA Dean DMT Baker Act humbucker in the bridge, black nickel hardware including a real (not licensed) Floyd Rose Special tremolo bridge and Grover tuning machines.  One really nice design features is the cutaway area and heel (as shown above), which provides superior access to the upper frets.  Here's a demo of a Deceiver F in action.  These play okay right out of the box but once Martin does his thing to the set up, they play like guitars costing 3X the price.  Retail price on this model is $942, but I have it brand new and unplayed, other than our in-house set-up, for around 55% off list, $429.  

CHARVEL SAN DIMAS DAY - These USA models are becoming harder to find but I was lucky enough to come across a few more.  These are built in Japan now, and there's no shortage of the imports online, but for players who demand USA manufacture, these are still good deals when you can find them.  

2008 Charvel USA San Dimas Style 1 2H - Candy Red, (front), (back/plate), (headstock), (gigbag).  The original first batch of the US Production Series, "Style 1" (Strat body), in Candy Red.  In addition to regular colors (black), Charvel released a new series of colors that ran for around 3 months and when they were gone, they were gone, only to be followed by the next series of custom colors.  Charvel is known as the original "hot rod" guitar brand and this series are killer rock/metal axes in the Charvel tradition.  This "USA Production Model Series", was originally released in July '08 and termed Charvel "bumper to bumper", meaning they are tooled and built with the same specs as the originals including little touches like the recessed back plates and top of the line electronics and hardware.  Features include Alder Body, 1-Piece Maple Neck, original-style San Dimas neckplate, Seymour Duncan pickups with a JB bridge and '59 neck, Compound Radius neck 12" to 16", wide neck - 1 11/16" at the nut, genuine Floyd Rose Tremolo, Dunlop strap pins, Grover Mini Tuners, black hardware.  To me, USA Charvels have always had one defining feature - the gunstock oil neck.  As soon as you run your hand down it, it feels like the neck you've been looking for your whole life - and it's just as friendly to sweaty palms as it doesn't "stick" the way lacquer does.  Click here for all specs on the USA Production Series.  This model sold new for just $1099, and I spoke here early on about the lack of profitability of an American Charvel at this price.  I appears as though I was right since they've since switched production to Japan and dropped the price.  You can get a new Japan Pro-Mod series for $899 but why not get this USA model, in the very first batch of custom colors from July '08 with a low 4-digit serial, for the same price.  It is in dead mint condition, totally flawless, and plays as good as any of these I've had, which is fantastic.  $899 includes original Charvel deluxe gigbag, trem arm, and Dunlop strap locks.

2006 Epiphone SG Standard G-400 with Upgrades, (front), (headstock), (front), (EMG SPC), (pickups).  New and unplayed, and upgraded with a pair of Gibson SG Standard pickup as well as an EMG SPC/Mid-Boost active circuit.  Finished in classic Alpine White, this G-400 has the look of the early 60's SG and with these upgrades you have a guitar that sounds as good as it looks.  This guitar was originally a Ltd Ed model with EMG's, thus it already had a battery compartment, so when we added the EMG mid boost, which requires a 9V battery, no modification to the body was necessary.  The SPC is a killer unit that adds a lot of versatility.  It can fatten up the sound of single coils, or it works equally well with humbuckers, fattening up the mids which can make your tone less muddy.  It can also be used as a clean boost - just turn up the knob when you want some extra output, for leads etc.  It provides sufficient gain to drive a tube amp into clipping while adding more harmonic content.  The SPC is wired for both pickups; likewise the Tone control.  Features include solid mahogany body with set-in mahogany neck, Grover tuners, slim-taper neck has a rosewood fretboard with pearloid trapezoid inlays, with a deep double-cutaway allowing easy access to the upper frets.  Don't judge Epi SG's by guitars you may have played in a store.  With a proper set up, they play with ease and the fret ends are perfectly dressed.   This model listed for $999 and with these upgrades, a nice deal at $479, flawless and unplayed.  Includes, manual, cable, poster, etc.  (Note:  I also have this model with EMG81/85 on my Gibson page).  

Blues Pearl Blue Screamer, (pic2).  Blue Screamer is not a distortion pedal, it's an overdrive pedal. The Blue Screamer has an asymmetrical notched clipping design with a bit more kick and versatility then other guitar effects pedals in its class. The idea is to provide some kick to make your amplifier scream for you with even order harmonics when you need it. There is enough clean gain and level to use this guitar pedal as just a boost or full overdrive pedal. This is a recent model with a 9V jack and LED indicator, plus quality components, sturdy construction, and true bypass.  Here's a brief YouTube demo (link).  I don't know if anyone is stocking these any longer, or perhaps Blues Pearl is only selling direct nowdays but they're available from Blues Pearl for $229 (info/pricing) but this nice used one is just $99.  

PICS FIXED:  2009 Fender Limited Edition American Standard Stratocaster - Fiesta Red, (front), (back), (headstock), (bridge ex.), (case, etc.).   Limited Edition model, Fiesta Red with matching headstock, from a small run of just 150 pieces.  Fender did these in Seafoam, Fiesta Red, and Daphne Blue, the great pastel custom colors from the 50's ad 60's.  Other than the custom color with matching headstock and silver logo, the specs are identical to current American Standard:  alder body with gloss finish, 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, 2-Point Synchronized Tremolo with New American Standard Bent Steel Saddles, 1-ply 8-screw vintage-style pickguard, volume - neck tone control - Delta tone control (“Delta Tone” system includes high output bridge pickup and special No-Load tone control for Middle and Bridge pickups). Other features include New Bent Steel Saddles with Elongated String Slots, Copper Infused High Mass 100% Metal Bridge Block, 3-play white pickguard, knobs, and pickup covers, Rolled Fretboard Edges and H/S/H Pickup routing.  Other than the plastic film removed from the pickguard, this guitar is in brand new condition with zero scratches, immaculate frets, trem hole still covered, etc.  Aside from its obvious great looks, it's a joy to play with low action and up-bends without choking out.  Whether you're a collector or player, you'll love this Fiesta beauty.  $1099 includes Fender case with TSA latches, strap, polishing cloth, serialized hang tag, and misc. paperwork.  (Note:  I also have a Ltd Ed Tele in Seafoam Green (pic here). 

Manuel Rodriguez C1 Cedar Top Classical, (front), (back), (sides), (headstock), (appointments), (top/label).  Excellent quality beginner/intermediate classic made in the traditional Spanish style by a respected builder in a long family line of Manuel Rodriguez.  There's a good bit of info on this model and builder on google, click here for link.  This is an older model, although very well maintained, and has some desirable features over the current model.  The C1 features a carefully chosen, solid Canadian cedar top and laminated Indian rosewood back and sides, the C1 Classical Guitar is a beauty to behold and play. The headstock and fretboard are of Indian rosewood. Nickel-plated tuners and silver-plated frets are installed to last a lifetime. The body binding and wood rosette are on par with classicals costing ten times the price.  Rodriguez guitars are hand crafted and glued to create precise balances. From the invisible careful sanding, even inside the body, that ensures a purity of tone, the beautifully unique rosette inlays around the soundhole and on the back of the neck, each guitar is a credit to its luthier and solid enough to hand down to the next generation.  Rodriguez woods are carefully chosen and aged to guarantee the highest quality.  No wood is purchased before the tree has been cut down, and at least 2 years must elapse before the tree is turned into lumber.  The grain must be close and absolutely vertical. The shop is totally free from humidity.  Other companies rush the process and go from fresh, green wood to finished guitar in a matter of months.  For backs and sides, as well as the headstock, Rodriguez uses laminated Indian Rosewood, chosen as much for its beauty as its fine acoustic properties.  For the top, the most important aspect of an acoustic guitar, they use Red Western Cedar, obtained from Canada and the Northwest U.S., hand-selected to ensure straight grain, devoid of faults.  For the neck, Rodriguez uses cedar from Honduras as preferred over Mahogany, which is heavier and not as desirable on a classical.  Lastly, it features an ebony fingerboard which feels sleeker to the touch and is a tad brighter than rosewood.  The current C1 sells new for $399, which I maintain isn't quite as good as this model.  This one is in excellent condition, with a pro set up, and one of the best classicals I've had for under $500.  $319 and I'll include a well-padded gigbag or substitute a used hardshell case for $45 (pic).  

T. C. Electronics M3000, (panel), (back).  As new, immaculate condition.  Some high end gear here, used in the A room of many studios but priced within reach of the serious home recording engineer.  The M3000 offers a mammoth selection of 250 single and 50 combined presets, including many of the favorites from TC's previous units.  If that's not enough, you can get an internal RAM bank for up to 250 single and 50 combined user-memories, plus you can store the same number again onto a standard PCMCIA card.  New algorithms offered are the VSS Reverb and Gate, along with TC's CORE (Coefficient Optimized Room Emulation) Reverb, Reverb 3, Delay, Pitch, EQ, Expander, Compressor, Chorus/Flanger, Tremolo/Panner, Phase and De-Esser.  Like the M2000, the M3000 features two separate processors which you can use in serial, parallel, dual-input, dual-mono, linked and pre-glide modes. The M3000 also features 24-bit resolution A-D and D-A converters, along with 16- and 20-bit dithering for output to devices working at these lower resolutions.  Rather than write a full page of info, for full specs go to TCE's site here.  I know most of my customers are guitarists and rest assured this is one of the finest units you can have in your rack.  Guitar great John Petrucci uses 3 of these in his stage rig (interview).  These sell everywhere for $1599 but this one's "as new" and a more friendly $1099.  (Note:  I also have a few G-Majors and the Triple-C compressor in stock).

2007 Gibson Melody Maker with Duncan JB Jrs., (front), (headstock), (back), (other mods), (case).  Another one!  If P90/Phat Cats aren't your thing (guitar near the bottom of this page), how about some fat, quiet humbuckers?   Originally equipped with stock single coils, this one has been upgraded with a JB Jr. Bridge and JB Jr. Neck.  The JB's are primarily geared toward heavy blues, rock, and metal (specs here).  Stock pickups on this model make it a decent guitar for rhythm or fill, but with these Duncans, it can jump out of the mix and sound absolutely huge, on rhythm or leads.  Another important upgrade:  the stock bridge has been upgraded with a Tonepros, which is fully intonatable so you'll have a guitar that plays in tune.  Other specs include '59 rounded neck profile that's not at all chunky, standard 24 3/4" scale, 1.695" nut width, 22 frets, and '59 authentic single-ply black pickguard.  This is a very lightweight guitar, 5.8 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 almost $300 in upgrades, including a hardshell case, it's a totally gigworthy workhorse guitar for just $550.  

Neumann KMS 105 Condenser Mic, (close-up).  Best known for their world class studio condensers like the U87 and U47, Neumann makes truly fine stage mics as well, clearly in their own class.  While the KSM 105 is fine for the studio, it was specifically engineered for the stage environment with rugged construction and superb gain before feedback.  The frequency response of the mic is wide and clean, clearly balanced for close-mic applications and with a high-end brightness which works well on vocals but it's sufficiently neutral in its characteristics to provide excellent reproduction on a wide range of acoustic or amplified instruments.  For full specs click here for Neumann.  If you're looking for perhaps the best stage mic you've ever heard, that can double as your best vocal mic in your home studio, try the KMS 105.  If you're hesitant to try a new one for $699, this one's in very clean shape and just $475.  

NOW WITH A GREAT NECK:  1998 Fender Floyd Rose Deluxe Series Standard Stratocaster HH - upgraded, (front), (back), (headstock).  One of the Deluxe Series back in the 90's and sort of an Iron Maiden vibe with Olympic White finish and black pickguard.  Rather than ship out a guitar that sets up less than stellar, Martin just installed a new Musikraft Strat neck - Floyd Rose ready, (pic2).  We're big fans of Musikraft and more and more we're using them on custom made guitars.  The quality is on par with Warmoth and our custom orders are usually finished in a day or two.  This one is quartersawn, like an Eric Johnson Strat, and features 21 medium jumbo frets, black dot inlays, 9.5" radius, and 1 5/8" nut.   It has a super nice logo job with a ca. '72 logo with one patent number.  In doing the logo, gloss finish is applied to the headstock only - taped off - with an oil finish on the rest of the neck so you have great looks plus a fast feel.  We use multiple coats of nitro over the logo, wet-sanding between coats, so there's no outline of the logo visible and it's indistinguishable from factory.   Martin also hand-rolled the fretboard edges so it feels fantastic.  We had been selling this neck separately for $225, not counting a new set of Hipshot locking tuners, which are lightweight and the best tuners for under $100 that we've found.  Other upgrades include a pair of real Duncans with a Pearly Gates bridge and '59 in the neck, plus the "good" Floyd Rose, made by Ping (specs here), the only licensed model, identical to the Original Floyd in specs, which is allowed to carry the Floyd Rose logo.  Body has HSH routing so you can change to a different configuration if desired (pic here), and equipped with CTS pots and a super switch. Very clean shape and an exceptionally nice player.  The neck is chunkier than the stock neck and with the rolled edges, it feels great in the palm of your hand.  This guitar has been upgraded so much, the only thing stock remaining is the body.  If you want a killer metal axe with a killer look, here's a nice one for $599 with gigbag; $650 with case.  

Cole Clark Culprit 3, (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 so it appears as though they've discontinued the semi-hollowbody 3.  You can still find a few in stores, priced at $1600 and up.  This one is in perfect condition, with plastic still on the pickguard, and a killer thinline for $1199.  

DeArmond Model 41 "Toaster" Pickup w/Controls.  Very well preserved, chrome plating shines like new.  The Model 41 was available as an add-on to any guitar, and was stock some high end archtops like the Swedish-made Levin 300 series, which used the Model 41 from '57'-58, before switching to Dynasonics in '59.  All original including the clear acrylic tapered knobs, mini pots, and 1/8" output jack.  The Model 41 has a very thin base which allows mounting to both flat top and archtop instruments.  I can't get a true reading but it measures 7.53K at two lugs of the volume pot, most likely higher if metered right off the pickup lead.  These are great sounding pickups which are highly regarded and can easily be permanently mounted, or with a little effort adapted as a floating unit.  Beautiful shape, works great, $175.  

USB to 2 X MIDI Cable.  USB to MIDI adapter cable, with USB to 2 DIN-5 MIDI-IN and MIDI-OUT Connectors.  Use to connect a keyboard, controller or other MIDI device to desktop or notebook computer.  $15. 

Ibanez Edge Tremolo.  Original 80's model, thought by many to be the best tremolo Ibanez has ever made.  Stamped "Ibanez Edge Japan", with the "HS" stamp on the reverse, which generally means it was used by H&S, which were guitars that were assembled in USA (Bensalem PA) of Japan parts.  $99 includes trem springs.  

2009 Charvel USA San Dimas Complete *Body* - "Style 2" 2H, (back), (gigbag).  Complete body and gigbag - everything but the neck. This is one of the original USA Style 2 Model 2H Tele shape, in beautiful condition, which has been discontinued in favor of the Japan-made "Pro Mod" series.   Features Alder Body, Seymour Duncan pickups with a JB bridge and '59 neck, genuine Floyd Rose Tremolo, Dunlop strap pins, and black hardware.  This model sold new for $1099.   Add a neck with *your* favorite profile and you've got a complete guitar. $375 includes Charvel deluxe gigbag and trem arm.  Note:  We can install a quality neck, with original mini-Grovers and Floyd nut for around $300 more.   

ca.'84 Scholz SR&D Bass Rockman, (close-up).  (available with or without optional Rockadapter).  Shortly after release of the popular Rockman X-100, came the Bass Rockman, especially designed to meet the needs of bassists.  I used one of these in the mid-80's, both on stage and in the studio, and I'm quite a fan of their tone.  Played through headphones, you'll hear a tone you've never heard before.  It won't sound like your usual jamming...it will sound like you're listening to a CD and you're playing the notes. This unit features a quality analog chorus, 2 clean settings, a distortion setting, Fat-Bright-Mid EQ settings, High Frequency Clip and Comp switches, Sustain level switch, Hi/Lo volume setting as well as a Gain dial on back, 1/8" stereo headphone/line out pair, and an Aux Input/Low Level Out 1/4" jack.  You can hook these up to your guitarist's Rockman and get some great tones on a "silent" jam.  Quiet enough for the studio and on stage adds fatness and a pretty good vintage bass distortion for your Cream songs.   We sold these new in the mid-80's for $199 which is like $403 in 2011 dollars.  This is the cleanest Bass Rockman I've had since I owned mine back in '85 and includes original SR&D headphones, manual, and box.  I see beaters regularly going up to $125 but isn't it worth a little more to get one that's obviously seen little use and one that works flawlessly?  $149 for this one or, if you also want the Rockadapter, $189.  

2008 Fender USA Highway One Stratocaster "Custom", (front), (back) (headstock), (pickups).  Lots of custom work on this one.  We began with a Highway One alder body, removed all the parts, and buffed it out to a high gloss so it looks like Fender's old "Wine" finish, except instead of Fender's old thick poly finish, it's a Nitro finish.  The thin nitrocellulose lacquer finish lets the body wood's natural tone shine through and contributes to a lively sustain. The neck that was on it wasn't the greatest so we installed a Fender-licensed Mighty-Mite late-60's large headstock and a late 60's transitional logo.  The logo job is perfect, with clear coat under the logo and 3 coats over, wet sanded between coats, so the outline of the logo isn't visible (as shown here).  The profile is a very soft-V, but not at all deep, and has a thin satin finish that's as sleek as silk.  To keep it in tune we used a quality set of locking tuners by Hipshot.  These lightweight tuners have around 1/2 the mass of the tone-sucking Fender/Ping tuners.  For pickups we used a trio of Duncan Hot Rails which is one of the hottest output and most popular Strat pickup Duncan makes.  Although they're humbuckers, they still have a lot of Strat tone, especially in positions 2 and 4 where you get the classic hollow Mark Knopfler tone.  Hot Rails are characterized by zero noise, excellent sustain, and a fat, full tone - not at all a searing, harsh tone of many other hot pickups.  Bridge is the stock Fender vintage tremolo with heavy steel block.  This guitar is super clean with no discernable flaws to speak of and the set up is fantastic.  At 7.4 lbs., it's a nice weight for an alder body.  If you're looking at a new Highway for $729, here's one that's way cooler and a better guitar, for just $579(HOLD-Ron M 7/16).  Includes Fender/Charvel deluxe gigbag.  

Gibson Les Paul Case - Dark Fire.  Cool looking case with sort of white fabric pattern from the Limited Edition first run of the Robot guitar.  This is a rare case since they were sold only with the limited edition Dark Fire, first run.  Other than some very faint black marks near the top edge, very clean shape and for a case this cool, a nice deal at $129.  

Belcat BC850 Chromatic Tuner.  This is the best tuner I've found in this price range.  Many budget tuners dance around and take a second to zero in on the note.  This one gets a solid read instantly.  The advantage of a chromatic tuner is that it automatically displays the note you're playing and lets you know if you're sharp or flat.  This is a quantum improvement over non-chromatic tuners which require you to select "E", for instance, and it doesn't respond until you get within a 1/2 step of an E.  If your string is tuned to a "D", you really don't know if you have to go up or down, since it won't meter until you get within range of an E.  For specs, check Belcat's site here.  I'm not selling these separately, but if you buy another item, you can add one for $7.50.  

ca. 1974 Mansfield Telecaster Bass Copy, (front), (back), (headstock).  Another beauty from the land of the rising sun, and like the Teisco below, survived almost 40 years with very little wear.  It presents itself nearly as well as the Teisco, other than finish checking on the back (as shown here), four finish check lines on the front, and some light rubs on the edge of the body.  Frets are immaculate and there is zero player's wear.  Mansfield was a brand used by a Canadian importer in the 70's and the actual factory that built the is debatable.  You'll find claims that these were built by Ibanez but I don't see anything on this bass that would substantiate that.  There were so many Japanese factories springing up to meet the demand for guitars that any hard info is difficult to find.  Mansfield were also fairly widespread in the UK in the 70's, branded as "Jedson", "Zenta", and others.  Here's link of an identical model branded "Zenta" in the 1974 Bell Music (UK) catalog.  This is a pretty cool copy of a Tele bass but rather than a dead knockoff, they based the lines, not on a Fender Tele Bass, but on a Tele guitar with a similar body style, pickguard, and control plate.  This is a short scale, 30", which is great for smaller players or guitarists converting to bass.  It doesn't feel as short as other short scales I've had so any bassist should be able to enjoy playing it.  It features dual single coil pickups with exposed pole pieces, located in middle and neck rather than bridge and neck.  Controls are on/off switch for each pickup as well as master volume and tone controls.  A bright chrome bridge cover conceals a Fender vintage style bridge with four stainless barrel saddles.  Pickguard and control plate are both 3-ply WBW, with a thumb rest attached below the G string.  It has an adjustable truss rod with access easily accessible via a cutout in the pickguard and a zero fret.  The 3-tone sunburst finish looks very close to the sunburst Fender was using during this era with a thin band of red between the black and yellow.  This bass has a surprisingly nice tone that can easily cut it in a band situation.  After Martin did his magic it also plays great as well.  Just a nice old short scale Tele style in lovely vintage condition for $275.  

ca. 1969 Teisco E-110, (front), (back), (headstock).  True museum piece - as clean as it looks in the pics.  So many of these old Teisco and Teisco Del Ray guitars are beaters that it's very unusual to come across one that's in pristine condition, especially one without any finish checking.  For many players in the 60's, this was their first guitar and since so many were sold to kids, and the fact that they weren't very expensive, most did not receive the care of a fine musical instrument, rather, they were treated as a toy that Junior outgrew and they went out in the shed with the chemistry set and Chutes and Ladders game.  Teisco was one of many Japan factories that flourished during the guitar boom of the 60's.  Unlike many others, they tended to use their own designs rather than building copies.  Most of their guitars before this year featured a 4+2 headstock, for instance, and they had some very unusual body shapes.  This one is referred to as the "Tulip" body, due to its resemblance to the flower.  Beginning the year after this one was built, Teisco jumped on the bandwagon and began building more and more copies, and most of their unique shapes went away.  I've come across many old Teisco's which were horrible players and since they don't have an adjustable truss rod, most were relegated to becoming slide guitars.  That is not the case with this one.  The action is very comfortable throughout the fretboard.  With its single toaster style pickup, located in the middle position, it has a rather mellow tone that sounds like a cross between a Jazzmaster neck and Strat middle pickup.  Dating Teisco's is ambiguous, but the Teisco (without the "Del Ray"), the tulip body in an E-110, and the 6/side headstock, pretty much puts it at a '69.  There are a few good web sites on Teisco's, here's one on Facebook with links to old catalogs and another one called Teisco Twangers.  If you're a collector of guitars in the finest condition, or simply want a cool, feather weight guitar that's fun to play, this one's hard to beat for $225.  

1965 Kay Vanguard, (front), (back), (headstock/neck), (detail).  Model K-332 in nice condition; plays as good as it looks.  Vanguards went through various design changes, almost yearly, and this is one of the cooler ones with beveled body edges and a headstock with sort of a German carve on top - flat on back.  It also has matching pickup covers and bridge cover (back in the mid-60's they tried everything!).  This model came in a single pickup version (K-331) and this two pickup K-332.  These pickups have a nice mellow vintage tone, slightly lower output than a 60's Strat, and more balanced without the Strat's harshness.  Overall nice shape for 46 years - top is super clean, back is in nice shape, but there are some finish dings around the edges (shown here) and it's all original except for one replaced fret (shown here).  Speaking of frets, Kay used brass frets which adds to the overall wackiness of these cool guitars which do tend to wear more quickly than nickel/silver frets.  This one has a very recent fret dressing so there are no dishes in the frets but the next time they wear down it will likely want to have a refret.  Old Kays are hit or miss as far as playability - this one is fantastic.  With a perfectly straight neck and perfect neck angle, it sets up with low action from the 1st fret to the 19th.  I remember 10 years ago when you could pick up old Kay's, Harmony's, Silvertone's, etc., for $100-$200 but in recent years they've increasingly gotten the respect they deserve.  For a great player like this, it's still an excellent value in a vintage American guitar at $425.  

Pickguards:  All of these are excellent/mint, most with plastic film still on the guard:

Box of Guitar Stands.  Fret Rest by Proline model HT-1010.  Breaks down into 3 small pieces and sets up in 15 seconds.  Sells new everywhere (link) for $19.99, but get this box of 6 new ones for the price of 3.  $57.97 takes all 6.  

2003 Fender 70's Classic Stratocaster - Maple Neck w/black parts, (front), (back), (headstock).  Cool looking 70's Classic with the look of a '77-'82 Strat with all black plastic parts (guard, covers, knobs, tip) rather than the stock all white parts.  Other than the pickguard, this guitar is stock and in nice shape.  These Classic Series are an excellent value, priced less than 1/2 of a USA Vintage, with quality that's very near the USA models.  It features the large headstock with black/gold CBS logo and bullet truss rod, ash body with glossy poly finish, U-shaped maple neck with 21 vintage frets, trio of Alnico stag pole pickups, Fender/Schaller F-tuners, Synchronized tremolo with stamped steel saddles and heavy trem block, 3-bolt neck with micro-tilt adjustment, 7.25" vintage radius.  Overall very clean shape and a great set up that's better than most of the real 70's I've had.  Finished in Natural Ash, a $50 upcharge, this model sells new for $799.  If you want the classic look of a late 70's Strat, here's a nice one and it's just $579, set up to perfection.  Includes Fender Deluxe gigbag.

2009 Marshall MG50FX 1X12 Combo, (panel), (top), (back), (box/acc.).   As new, absolutely flawless, with all factory packing.  Marshall's latest in the highly successful MG4 line which has taken solid state to an even higher plane and, in fact, many players will prefer the tone and response of this MG50FX over their tube models.  This amp has about everything you could want in a 50-watt combo, including 4 channels (Clean, Crunch, Overdrive 1, and Overdrive 2), and lets you quickly and easily dial in your favorite settings and save them.  It also features onboard digital effects including Chorus, Phaser, Flanger, Delay, and Reverb. The settings for each channel can be customized to your liking—with effects if desired—and saved for instant recall.  It features one 12" speaker, an external effects loop, power amp damping which is a subtle but very impressive feature, a headphone/line out jack with speaker emulation, a line in for an MP3 player, and a two-button footswitch which lets you access all 4 channels.  There's plenty of info online about this amp and for a good video overview, click here for Guitar World's demo and Click here for full specs and more at Marshall.   With a list price of $580, this is an incredible value on an "as new" 50-watter with this much power and versatility at just $279(HOLD-Richard T 7/15).  

2011 Fender Classic Series 60's Telecaster, (front), (back), (headstock), (fretboard), (gigbag).  Unplayed condition, with plastic still on the pickguard and not a flaw anywhere.  Excellent vibe and tone for a fraction of the real thing.  I've been very impressed with Fender's Classic series and they probably provide the best value for the money of any Fender's line-up.  I mean...a Fender that's good enough to play out with for under $700?   Setup is excellent, stays in tune very well, and the tone is classic Tele twang.  The 60's Classic features dual single-coil Alnico pickups, vintage bridge and saddles, knurled chrome knobs, alder body, C-shaped maple neck with a very dark rosewood fingerboard, vintage 7.25" radius, 21 vintage size frets, 3-ply mint pickguard, synthetic bone nut, Fender/Ping vintage tuners, and vintage Spaghetti logo.  These sell for $699 in stores and online but this one is "as new", with a great in-house set up for just $499(HOLD-Joe 7/7).  Includes Fender deluxe gigbag.  

Fulltone Catalyst, (pic2).  Transform your amp rig with a single, compact pedal, with Fulltone quality that's built for decades of use and abuse.  The Catalyst gives you three units in one.  You get very cool fuzz tones that be easily switched to more conventional distortion tones, plus you get very useful clean boost utility (for pumping up leads or maximizing other effects in the signal chain) and a great-sounding overdrive — all from a little box that's easy to use at home, onstage, or in the studio.  The Catalyst features a very intuitive control layout, with large Volume and Gain knobs, smaller Bass/Mids and Treble knobs, and a Flame/Spark switch that lets you effortlessly move from fuzz to crunch. You can transform your amp rig with one pedal.  Click here for a YouTube demo by Tone Factor and here for a brief GP magazine review, specs, an audio samples.  A great little pedal for $110.  

1997 Fender Collectors Stratocaster - #1955 of 1997, (front), (back), (headstock), (gold hardware), (inlay), (case).  I haven't had one of these in years.  In 1997 Fender produced a run of limited edition model USA Strats aimed, understandably, at the collector, but they're great Strats in their own right.  These were styled after a Vintage '62 Strat and finished in 3-tone sunburst with a tortoise pickguard and gold hardware, plus a commemorative "1997" oval inlay at the 12th fret and serialized neckplate which reads "XXXX of 1997" (this one's #1955). Isn't this just a '62 with a fancy neckplate?, you may ask.  Not really.  The gold hardware isn't used on a USA Vintage '62, while other differences include pearloid dot inlays, 4-ply tortoise shell pickguard, and custom shop Texas Special pickups.  This guitar isn't factory original, although it looks identical.  The body was actually replaced with a Kenny Wayne Shepherd signature model, in mint condition.  Other than a poly clear coat, the Kenny Wayne body is identical to the original '97 body with a 3-tone sunburst finish over alder, with vintage routing and a worm track in the bridge pickup cavity.  Cosmetically, this guitar is beautiful shape.  There are no flaws on the body, gold hardware has no wear, medium-jumbo frets are in great shape.  This guitar looks great, has a nice set up, and the hot SRV tone of Texas Specials.  It's a lot of guitar for $999.  Includes G&G/Fender tweed case, straplocks, and trem arm. 

2003 Tacoma DM9 Dreadnought, (front), (back), (headstock), (case).  9-Series Dreadnought.  The DM9 is probably the most basic of Tacoma's line and just your basic spruce and mahogany dreadnought - but the tone and playability are anything but basic.  It's a wonderful sounding D-size, with remarkable bass response and not as mid-range heavy as many mahogany models, and the satin finish contributes to a very lively sound with good sustain.  Again, all solid woods here with a solid Sitka spruce top; solid mahogany sides and back; plus one-piece mahogany neck; rosewood fretboard and bridge; chrome tuners; wide 1.75" nut width; 25.5" scale; 4-color herringbone rosette; tortoise shell top binding; abalone dot fretboard markers.  This one hasn't been a case queen and has some honest playing wear, plus one repaired center seam crack (shown here), which has been professionally glued and cleated so it poses absolutely no future problems at all and has not affected the tone.  Also, the clear pickguard has been removed.  This is a nice playing, excellent sounding flattop for just $549.  Includes TKL hardshell case and original paperwork.  Made in Tacoma, Wash., USA.

Warwick FNA Jazzman 5, (front), (back), (headstock/neck).  Fantastic higher-end 5-string from one of the most respected builders of professional quality basses, Warwick, Germany.  This one has it all - tone, ergonomic comfort, balance, and killer looks to boot.  Although specs are listed as only a AA flamed maple top, this top, finished in Honey Violin, is as fine as you'll see on this model, and would be rated at least a AAAA by most makers.  The FNA Jazzman took a great bass a step further by adding a Jazz pickup, yielding more great tones to an already great bass.  Features include bookmatched flamed maple top, USA swamp ash back, Corvette bodyline, Warwick's own MEC pickups with a massive MM style humbucking in the bridge and slant Jazz style in the neck, Basslines preamp with 3-band active EQ, 3-piece ovangkol neck, wenge fingerboard, 34" scale, 24 frets, 2-piece Warwick bridge, Warwick "Just a Nut III", gold hardware, and stock gigbag. The nut on this model is very unique, with a slot for an Allen key to let you adjust the nut up and down, with tension still on the strings.  This model is now only available via Warwick's custom shop but during regular production they carried a list price of $3849, selling discounted as low as $2599.  For $200 less than the cost of Fender American Deluxe Jazz, you can get a true bassist's bass, just $1499.   Includes choice of heavy gigbag or hardshell case.  

1998 Gibson SG Special - Ferrari Red, (front), (headstock), (back), (gigbag or case).   The SG Special provides the classic SG tone, but without the cosmetic features of a Standard, it's a better bargain.  It features an un-bound neck, dot inlays, screened logo, and uncovered pickups, but is otherwise the same guitar.  Its all mahogany construction with unmistakable beveled edges gives it that classic warm SG tone that has helped define the sound of rock, most notably with Angus Young.  The light weight, thin body, and deep cutaways make it one of the most comfortable guitars to play.  Pickups are 490R/490T Alnico humbuckers.  The neck is well rounded and more chunky than the '60 thin taper, but not as chunky as a 50's style.  Cosmetically, the body has some scratches in the clear coat and the top of the headstock has 6-7 small touch ups on some finish chips (shown here), but no real issues such as cracks, repairs, or fret wear.  For more info click here for Gibson's site.  Don't confuse this with the faded series - this gloss finish model lists for $1665, $500 more than the Faded SG, plus neither comes in Ferrari Red, which was discontinued years ago.  If you're looking for a real SG and not worried about a few minor cosmetic flaws, you can save big time on this great playing used one.  $629 includes Gibson gigbag or, if you prefer, $699 includes a nice 90's Gibson brown case with pink lining shroud.  (Note: I have this model in Black on my Gibson page).

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

TASCAM TM-ST1 Stereo Condenser Microphone, (pic2), (stock pic).  With the proliferation of budget digital recorders on the market, who wants to spend more on their mic than the recorder costs?  Likewise, you may want a better sound for your digital camcorder, especially a wider stereo field.  Enter the TM-ST1, a good sounding stereo microphone with stereo pattern switching with a price that won't set you back a week's pay.  With the ability to select either 90 or 120 degree pickup pattern you can choose to capture more ambience or to reduce background noise while its mid-side design captures a wide stereo field while maintaining a solid center image.  For full specs check out Tascam's site here.  The output cable uses a 3.5mm stereo jack, used for most of the mini recorders but you can use a 1/4" stereo adapter, depending on your deck.   It runs on a single AA battery which runs for many hours.  I have several of these new in the box and each includes microphone clip, table-top stand, battery and windscreen.  With a list price of $99, these sell in some of the biggest online stores for as much as $69.  If you need  good quality stereo mic for your video or audio recorder, here's one that won't break the bank, just $39.   (A few available, Hold one for Mr Watson)

Epiphone Valve Junior Head.  This is the one that started the budget all-tube amp shootout.   After Epi's success, came the Fender Champion 600, Vox AC4, and others, generally 5-watters with single EL84 power.  At 5 watts single-ended Class A you can get a full power tube distortion at very reasonable home levels but you'll likely be surprised at how loud 5 *tube* watts can be.  Controls are as follows:  Volume.  That's it...volume.  Tubes are a 12AX7 preamp and an EL84 power.  It has a nice clean sound at low volume but gets a good saturated tone starting around 4 and attaining increased breakup at virtually every number above 5, and it's also engineered to work very well with your guitar's volume control.  Back it off for clean, turn it up and send the amp into overdrive.   There are a number of mods available for this amp, including a very popular one by Mercury Magnets which guarantee boutique tone at around 1/2 the cost of a boutique amp.  There's even a site devoted to this cool lil' amp, http://www.valvejunior.com/.  While these mods are nice, they can be expensive and the good deal goes out the window.  It actually sounds good in stock condition.  Beautiful condition, works perfectly, and just $99.   

Ibanez PT-909 Phase Tone, from the TS-808 era, very collectable pedal with quality tone.  Great reviews on Harmony-Central.   $125.

60's Dearmond Weeper Wah, (pic2).  Sounds great.  Does a nice 60's whocka-whocka-whocka.  All original and decent vintage condition.  $99.  

Holmes H-X3 Super Flanger, (pic2), (pic3).  A surprisingly excellent sounding Flanger.  Japan made with stereo outputs and noiseless FET switching.  LED flashes in time with the sweep to make it easy to synch with the beat.  Missing battery cover, but electrical tape works fine or not even needed if mounted on a pedalboard.  Dollar for dollar, one of the best flangers I've heard, $50.  

Creations Audio Lab MK 4.23 Clean Boost, (pic2).  Possibly the cleanest, quietest and most sonically transparent boost pedal out there. The MK.4.23 gives you from zero to +24dB of crystal clear boost - noiseless boost - with no signal distortion, zero tone coloration and quiet switching when you engage the circuit.  It gives you YOUR TONE, only more of it, without adding the noise typically associated with an increase in gain.  Housed in 16 gauge stainless steel body and white LED's quite literally reflect premium materials and craftsmanship.  Hearing is believing - click here for video demo's at CAL's site, as well as a list of reviews.  Runs only on external power, with a Boss type 9V neg. tip power jack, so you probably already have proper power in your pedalboard.  Nice unit for just $99.  

Effector 13 Dark Boost Overdrive/Boost, (inside).  Tim Shortnacy hand-builds Effector13 pedals at his shop in Austin TX and they're fairly rare.  Other than one Torn's Peaker pedal, this is the only one I've had. This one was built on 3/9/04 and looking at their production stats, there were only 10-20 of this model built in '03-'04, and a total production of around 65, give or take, over its run of '03-'09.  According to Tim, the Dark Boost was actually a fluke while trying to design a Bass overdrive/distortion.  He said it "Made my Strat sound more like a Jazzmaster, so I figured : What the hell... someone's bound to want something like this."  Other guitarists claim it makes their Strat or other single coil guitar, sound fatter and darker, more like a Les Paul.  Not surprisingly, it has also been positively reviewed by bassists (link). It's circuit board is suspended inside the pedal, covered in black tape, and features true bypass.  Here are some reviews at Harmony-Central.   I don't know what Effector 13 is doing now, but they have a budget line of pedals out, from the Orient no doubt, but back when this one was made they sold for $150 and, I'm sure, of significantly higher than their new line which are distributed by Ooh La La manufacturing.  If you're looking for a transparent clean boost, this isn't for you, but if you want something to fatten up your signal, perhaps after running through your favorite OD/Distortion, this is a great choice.  $99.  

Jam Pedals Chill Tremolo, (close-up), (circuit).  Jam builds hand-made pedals in small number from their factory in Greece.  The Chill is their classic vintage, sine-wave, analog tremolo, made with carbon comp resistors.  It can also be used as a clean boost. Simply set the Depth control to zero, and adjust the Level to your preference.  Runs on 9V battery or Boss type adapter, and has a cool looking sunset orange LED when engaged.  For full specs and samples, click here for Jam's site, with a Tonequest report here.  YouTube demo here.  Sells new for $220 but this one's mint in the box for $155(On Hold).  

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

2006 Fender Deluxe Player's Stratocaster - Sunburst and Gold, (front), (back), (headstock), (relic "wear").  Upscale Strat at an affordable price.  Back around '05 Fender took the model known as the Deluxe Super Strat a step further by adding high end electronics, namely a set of Vintage Noiseless pickups with USA pots and switch, so it sounds as good as it looks.  The quality doesn't stop there, Fender uses a solid ash body, 4-ply tortoise guard, flat 12" radius for easy playing, vintage trem with heavy block, and vintage tuners, gold plated hardware, and its signature mini-pushbutton switch which gives you more tonal choices than the average Strat.  The switch engages the bridge pickup so in position 1 you get neck and bridge, position 2 you get all three pickups, 7 great Strat tones in total.  As an '06 model this guitar also has the little "60th" coin on the back of the headstock to commemorate the 60th anniversary of Leo's "Fender Electric" company.  As shown in the pics, as is becoming more common these days, the previous owner added some "relic" wear to the body, with rubs around the edges and some pick scratches above the pickguard but judging by the clean gold hardware and perfect frets, it's actually seen very little playing time and is all original other than strap pins upgraded to Schaller locking type.  Personally, I'm a relic kinda guy and prefer a guitar that has some character, but I realize it's not everyone's cup of tea.  For full specs click here for Fender's site.  With a new plain old Standard Strat now at $499, why not pay less and get cool looks, and features that make it good enough for professional use.  $439(HOLD-Dan, local 6/23) includes Fender Deluxe gigbag and trem arm.  

2001 Hamer Artist Korina (ARTK),  (front), (back), (side), (headstock), (neck joint), (case).  Fantastic Artist in immaculate condition, built with all solid white Korina (Limba), top, body, and neck.  Compared to a mahogany body/maple top, Korina has a warmer sound that I find much more fulfilling for jamming by myself, but it also fills a lot more space in a band setting.  Hamer made their name building classic Gibson styles...but better.  They soon started incorporating some unique characteristics such as their Artist model with semi-hollow design and single F-hole.  Although it's roughly a Les Paul double-cut  in appearance, this model competes with Gibson ES-330's, Guild Starfire P90, etc., and with Seymour Duncan P90 pickups and thinline chambered body with F-hole, the tone lends itself to many different styles, from rock to jazz to blues.  Other features include labor-intensive hand-carved 5/8" maple top, precision routed semi-solid Korina body, vintage round neck carve (.900), wide oval frets, bone nut 1.65", 23 3/4" scale, flat 14.5" radius, 14 coats of hand-buffed lacquer, Dunlop locking strap pins, and Schaller hardware.  Hamer guitars are among the best American guitars in their price range.  Like PRS, I can't ever remember getting a bad one, which I definitely couldn't say about Fender or Gibson.  Their woods are properly seasoned, so all the shrinkage occurs before the guitar is built.  If you've never tried a Hamer, I highly recommend you give one a try.  For more info, click here for Hamer Guitars.  While not cheap, considering the labor-intensive cost of a carved top and expense of Korina woods, it carries a reasonable list price of $3800, discounted to around $2600.  This one is barely played, with a superb set-up and 1/2 the price of a new one at just $1299.  

1960's Favilla F-6 Orchestra Model, (front), (back), (headstock), (side), (label).  Many of you have probably never heard of Favilla guitars, but they have a proud history of stringed instrument building in the USA going back to 1890 at various locations in NYC (Long Island late in production), peaking at around 3,500 instruments a year in the mid-60's but due to the proliferation of the electric guitar market, the company closed its factory  in 1973, although they built a few custom orders until 1986 from their retail store.  Toward the end of production another line, "Aquila", were imported from Japan.  In all my years in business, I've only had one Japan model, and this is my first NYC model.  Considering the 1000's of these made over the years, it's a mystery why so few are in circulation.  You can read the Favilla story here.  This F-6 is comparable to a Martin 000/OM size, measuring 14 5/8" across the lower bout (3/8 less than a 000), identical 11 1/4" at the upper bout, and 9 3/4" across the waist.  It features a sold red cedar top, with mahogany back, sides, and neck, with a Brazilian rosewood fretboard.  Other features include Fire Stripe pickguard, pearl dot inlays (5th, 7th, 9th, 12th, 15th frets with double dots at the 7th and 12th), scalloped bracing, 1 11/16" nut width, rounded neck with medium thickness, and thin semi-gloss finish.  Cosmetically there are some rubs and dings, as well as finish checking (as shown here), but no cracks or repairs.  This is by no means a fancy guitar but the tone is excellent, with excellent projection and a very "open" sound.  It is well balanced, with perhaps a slight peak in the mid-range, but not at all boxy sounding.  It plays very well, with comfortable action, and that's on the original neck set.  You can get cheap USA Kay, Silvertone, Harmony, etc. but this guitar is clearly in another league.  It's the best value on a quality vintage USA flattop you can imagine at $499(HOLD-Mark S).  I got it without a case but I can offer this great, Martin's best, Geib case (as shown here), for $135 if desired.  Try it...you'll like it!  

1992 Zion Classic, (front), (back), (headstock), (Kahler/nut), (beveled heel), (ebony board), (case).  Ken Hoover earned a fine reputation for hand-crafting guitars in Greensboro NC starting in 1980 and they are some of the finest you'll find.  On the earlier models such as this one, were simply classic designs, but with an elegance and quality that exceeds the models they're based on, easily on par with the early Valley Arts, Tom Andersons, and Suhrs.  I couldn't find a definitive "vintage" Zion site, but I'm guessing this model is called the "Classic" and the old logo and serial in the low 4000's, makes it around a '92.  With the HSS pickup combination and in more styles of music, from country to metal.  Perhaps most remarkably, this guitar weighs just 6.8 lbs., and is not chambered!   Features include basswood body, maple neck with ebony fretboard, HSS pickup configuration with 5-way switch, master volume and tone, black hardware, Kahler/Floyd Rose double-locking & recessed tremolo, Sperzel tuners, deep cut treble horn for easy access to the top notes, 1 5/8" nut, 25 1/2" scale, and 22 medium jumbo frets.  The tremolo appears to be the Kahler 2760 Steeler, USA made, and nearly identical to an Original Floyd.  There's a lot of hand crafting in this guitar, evident by the gentile, sloping carved top - especially on both the horns - while the pickup cavities and tremolo are nicely rounded rather than straight cut.  Even the headstock, rather than a straight cut, is nicely rounded on the edge with a bevel on the treble side.  As shown here, Zion also reinforces the tremolo studs with wood that is harder than the basswood, an expensive touch that Valley Arts used to use.  This craftsmanship is evident from the moment you pick this guitar up.   These Zion pickups were designed and from what I hear, quite possibly built, by pickup building icon Bill Lawrence.  They are mounted directly to the body, which lets you "hear" the wood and not just the pickups.  It is a superb sounding guitar with excellent sustain and note definition.  There are minor dings and impressions (example), but nothing horrible and nothing structural.  These older Zions have great reviews on Harmony Central, but unfortunately, I can't figure out how to find the database as I did on the old site.  Like all Zions, this was a very expensive guitar 20 years ago, around 3X the cost of an American Standard Strat.  Today, it's as fine as ever, plays superbly, and is in good used condition.  Super nice SuperStrat for just $950.  Includes original Zion case.  

1964 Epiphone Olympic, (front), (back), (headstock), (neck), ("inside"), (checking).  With it's plain Cherry finish, dot inlays, screened logo, single pickup, and simple wraparound stud tailpiece, the Olympic is a no-frills guitar but for many players, me among them, that makes for the perfect guitar.  I had one of these a year or two ago but it had the optional vibrola.  For most players, this model has a better feel, stays in tuner better, and is way cooler.  These solid mahogany guitars are generally lightweight and, get this, 5.0 lbs. on this one!  One of the unique design aspects is the neck joining the body at, literally, the top fret, which allows the easiest possible playing in the upper register.  Overall very nice vintage condition, with original finish with consistent finish checking all over - front, back, neck, and headstock.  It's 100% original with no cracks, repairs, or overspray.  Like Gibsons with this finish, these nitro finishes are prone to losing their color and turning brown but a look under the guard shows how vibrant the cherry finish remains, and it's nearly as vibrant as the color under the pickguard.  All electronics are original including solder joints with pots dated '64, original nickel Kluson tuners with plastic buttons, black radio style knobs with metal pointer rings around the pot shaft.  Great looking Brazilian fretboard that Martin reconditioned while he had it on his bench (pic here), and he also polished the frets so bends feel smooth as silk.  These guitars are real sleepers on the vintage market, as are most USA Epiphone's, and sell at a fraction of a comparable SG Juniors, made by Gibson's "other" company.  Tone-wise, it has the clarity of a single coil pickup mixed with the warmth of mahogany, a combination that I enjoy. Although not as hot as a P90, the tone isn't unlike an SG Junior from this era.  If you're looking for a guitar that's fun to play, super lightweight and at almost 50 years old has no where to go but up in value, I highly recommend Olympics.  Just a really nice, original Gibson-made Epi for $1499.  I got this without a case but I recommend a new aluminum flight case (pic1  pic2) complete with ATA recessed latches, for just $100 more.  

Boss DS-2 Turbo Distortion.  The choice of John Frusciante, Billie Joe Armstrong, and Kurt Cobain, among others.  Unlike most Boss OD/Dist pedals, the DS-2 gives you two modes of distortion.  In mode I the DS-2 sounds a bit like the DS-1 or the OS-2, with a circuit designed to remove any shrill frequencies.  In Mode II you get a tone more like the HM-2 or MT-2 with the ability to really overload the signal for some cool grunge tone.  Great shape, in the box, for $49.  

Electro-Harmonix Holy Grail Reverb, (pic2).  Not as versatile than the RV-3 but definitely one of the best an most natural-sounding digital reverbs made, on any of three built-in algorithms.  Perfect emulation of classic spring reverb so natural that even Surf God Dick Dale couldn't tell the difference.  Hall reverb is so lush and spacious that you'll feel like you're playing in the Fillmore.  Flerb adds a bit of flanger (to the reverb tone only) and it can add new a totally new dimension and change your playing style.  Lots of cool tones in a small pedal and even if your amp has reverb, you'll probably never use it again.  Hearing is believing - click here for a good YouTube demo.  Sell new for $118; this used one works perfectly and just $65.   Includes original power supply.

Electroharmonix USA Big Muff Pi Distortion/Sustainer, (pic2).  Recreation of the classic 70's model, still made in the USA, and a dead-on copy of the original.  The Muff delivers some of the finest harmonic distortion/sustain you'll ever hear, and is one of the few pedals from the 70's that still holds its own today.  Sustain knob optimizes the long sustain with just the right amount of harmonic distortion while the Tone control provides a range of sounds, from warm bass to crisp treble.  These go for $79 new but by this one's in really clean shape in box with manual for $49.  

1989 Fender HM Strat - Bright White, (front-1  front-2), (back), (headstock/neck), (Kahler/nut), (cosmetics).  Another killer shredder HM and the first white one I've had in a while.  As you can see in the pics, the bridge humbucker has been changed to a Duncan JB, which many players prefer over the DiMarzio.  It's still wired into the mini splitter switch, so you get your choice of full humbucker or split with the switch in the up position.  Not the cleanest one I've had with numerous dings, rubs, and finish chips around the edge, but no serious issues such as cracks or repairs.  Also, the knobs are missing the rubber caps.  We can change to standard Strat knobs at no cost if desired.  Features include HSS pickup configuration controlled by Strat 5-way with an additional mini-switch to split the bridge humbucker which gives you all the vintage Strat choices, plus two humbucker choices.  Other features include Kahler Spyder double-locking tremolo (licensed by Floyd Rose), quality Gotoh tuners, Kahler locking nut only (rather than the locking nut behind the standard nut found on the Kahler Pro, super flat fretboard (17" radius) with 24 jumbo frets, 25" scale, volume - tone - TBX control, Strat shaped body with the cutaways and heel beveled to provide maximum ease in playing in the upper register.  The necks on these are very thin and wide, with only a sealer coat which provides a very natural feel and doesn't stick to your hand.  Despite its abundance of "character" marks, this is a great playing HM with serious tone, perfectly working Kahler, and will get the job done as well as museum condition HM that you're afraid to gig out with. $499 includes gigbag; $564 with a molded hardshell case.  

1997 Fender Squier Fat Stratocaster HSS - MIK, (front), (back), (headstock/neck).   Highly regarded Squier, made during the same era that the Korean factory was also building the Squier Protone series.  A few things are noteworthy about this guitar - the HSS pickup configuration is rather uncommon for a 90's Squier, the Galactic Purple finish, which was only around for a few years, and the neck profile, which is a rather thick D-shape.  The neck is around the same depth in the upper register as most Strats, but it's thicker in the lower register, i.e. doesn't change as much from the 1st fret to the 12th fret.  The HSS configuration makes this guitar more versatile than your traditional Strat, and is capable of fat humbucker tones in positions 4 and 5, while position 5 is virtually noise free.  Overall nice shape for a used guitar of this age with just some surface scratches and impressions in the clear coat.  It plays very easily and has a nice tone in both the single coil and humbucker modes.  With a new Chinese Squier Standard at $230, I think this is a better product and a better value for $169. 

1989 Orville Les Paul Custom, (front-1  front-2), (back), (headstock), (long tenon), (case.).  Pretty rare bird, at least in the USA and unlike most of the other Japanese knockoffs, Orvilles were actually built for Gibson.  The knockoff market was stealing business from USA manufacturers and in order to compete, some companies began building guitars there to take back that share of the Japan market.  Just as Fender used the "Fender Squier" name for Japan-made guitars built for the Japan market, Gibson used the Orville brand, starting in 1988.  The brand name "Gibson" was already taken in the Japan, thus the use of "Orville", in honor of Gibson's original owner, Orville Gibson.  Production was done by the esteemed builder Fujigen-Gakki and Terada-Gakki, makers of other high quality guitars by Greco, Burny, Aria, etc.  With perfect binding work, superb paintwork, quality hardware and electronics, quality tonewoods, and the long neck tenon, many believe the quality of Orvilles exceeded their Gibson counterpart during this era.  While I'll steer clear of that debate, I will say that this is a truly fine Les Paul and, for the money, is a true bargain compared to a 22-year-old Gibson LP Custom.  You've possibly seen both "Orville" and "Orville by Gibson" logos, with the distinction being OBG used USA pickups, '57 Classics, had a nitro finish, and ebony fretboard - while the Orvilles used their own pickups, had a poly finish, and rosewood fretboard. Other than that distinction, I've had both and they are equal in terms of overall quality.  In the mid-90's, production of Orvilles moved to Korea which eventually transitioned into the Epiphone line, and the Orville brand was discontinued in '98, a brief run of 10 years.  Cosmetically, nice shape for its age.  Worst flaws are oxidation and wear to the gold hardware (shown here) that looks "perfect" for a vintage guitar, some buckle rash on back, finish chips on both top edges  on the headstock (we can touch-up if desired), and a bb-size piece of lacquer is missing from the split diamond headstock inlay (all shown here).  With that said, this guitar is in nice shape for its age.  The top is clean and any other cosmetic flaws are in the clearcoat only.  There are no cracks or repairs.  Includes a quality Canadian TKL case in great shape other than some tolex is missing from the back edge and end (shown here).  This guitar plays exceptionally well and like a Gibson, action is low at the nut and stays low all the way up the neck.  We have a set of Gibson pickups we can throw in but I really don't recommend it since the stock pickups sound great to my ears, and have the gold pole pieces so I'm sure they're original.  As this guitar has collector's value, I wouldn't mess with it.  With an 80's Gibson selling in the mid $2K's, here's a guitar that many feel is as good or better, and a much better value at $1199(HOLD-Shawn T 8/31).  

Walco Sustainer, (circuit), (schematic).  One of those wild and wacky 70's effects from one of the lesser known companies.  Around 5 years ago a bunch of Walco effects, all new-old-stock from 1973 and this is one of those.  Although missing original shrink wrap packing, it is in dead mint condition and works perfect.  Very simple to use - just an on/off switch.  It provides a lot of compression at a fixed rate and sounds almost like a Swell pedal with soft output upon attack, that quickly blooms and holds the note or chord for a long time.  Like most compressors, it does induce a fair amount of noise which is most noticeable on higher gain settings.  This can tamed somewhat with a replacement FET's; the MPF102 is readily available a Radio Shack and supposedly works well.  This is definitely one for the collection and at $59, a very small investment.  

2006 Epiphone SG Double-Neck - Heritage Cherry Flametop, (front), (back), (headstock), (case.).  Ah, the iconic SG double neck.  Who can't look at one of these without thinking of Jimmy Page in concert or in "The Song Remains the Same" concert documentary.  These aren't the guitars you play all night long but whip it out for a few select songs and the audience inevitably claps louder because you can "play two guitars at once",  and you'll be able to use it like Jimmy, Slash and John McGlaughlin, etc.  This is the bolt-on model which is actually a good thing on these guitars, which are prone to neck angle problems.  On a set neck guitar, if you need to change the neck angle, typically because the action is too high but the bridge is all the way down.  When that happens you'll need to take it to a tech for a $200+ neck reset.  On this model it'll cost you around 10 min. and a neck shim.  Another plus, is Korean manufacture (Unsung factory) which we've found to be markedly superior to Chinese.  Also, I don't think they do the flame top models any longer and it certainly adds some visual appeal.   The set up on this guitar is fantastic, on both necks, with low action and nicely dressed fret ends.   For those who aren't familiar, there is a 3-way selector to choose 6-string, 12-string, or both.  Both is used when you want the un-used neck for it's special "droning" effect, which sounds pretty cool if used properly.  Each guitar also has the standard 3-way pickup selector for neck, bridge, and both pickups.  The pickups are Alnico humbuckers and they sound very good.  Nothing makes the crowd go "wow" more than when you pull out the double neck and you needn't spend thousands of dollars to get a great playing, nice sounding Gibson.  This one will do the job quite nicely...for $750.  Includes Epiphone case and one killer pro set up.  

2006 Fender Classic Player 60's Stratocaster - 3-tone Sunburst, (front/back), (headstock/trem/bridge), (Abby pickups/body), (case).  Designed by Fender Master Builder Greg Fessler, this fine Strat features a blend of the old and the new, something Fender has been featuring throughout much of their line the past few years.  The 60's Classic Player, has some unique features (pic4), most notably 3 USA gray-bottom Custom '69 pickups signed by the legendary Abigail Ybarra, and Fender's new vintage-style 2-point fulcrum bridge that has never been offered outside of the custom shop.  Other features include very thin poly gloss sunburst finish alder body, maple "C" shape neck with and even flatter 12"  radius, rosewood fingerboard, 21 medium jumbo frets, 5 way pickup selector, chrome hardware with Gotoh vintage style locking tuning machines, "Custom Shop designed" engraved neck plate, and aged plastic parts.  Most of these have the '69 gray bottom pickups but I this is the first one that were built and signed by Abby herself.  With a list of $1099, this model sells everywhere for $799 - not bad for, quite honestly, a pro quality instrument that appeals to players looking for serious vintage tone but with the modern features everybody likes.  Better yet, we're including an Earvana (link) compensated nut ($49/installed on other guitars) - PLUS  custom shop Fender 60's case ($159) in black tolex with metal Fender logo and red crushed velvet lining..  Flawless condition and set-up better than factory specs, for $799.  

Boss DD-6 Digital Delay, (pic2).  Not just another update in the DD-series, the DD-6 is the first BOSS delay pedal to offer true stereo delay and panning effects. Features include built-in tap tempo capability and a delay/hold time of over 5 seconds (5,200ms).  A new Reverse mode makes it easy to get trippy ‘60s and ‘70s-style effects, while a newly designed Warp mode creates radical delay effects on the fly.  Click here for a brief demo.  Not mint but good shape for a used pedal and includes box and manual.  Sold new for $159 but this used one works perfectly and is just $99.  Read full specs here.  

Boss DD-6 Digital Delay.  As above with one replaced knob, no box or manual but it's downloadable here.  1/2 price of a new one at just $79.  

1998 Ibanez Ergodyne EDC705 - Black Pearl, (front), (back), (headstock), (controls/jack).  The Ergodyne series has long been one of the best selling basses on my site.  They set up extremely well and, as the name would imply, they are designed with ergonomics in mind, with a body that is radically sculpted so that the bridge and strings are placed lower into the body, with a sculpted belly area in back and arched top that lets you rest your arm comfortably while your hand is in perfect position to hit the strings.  Unlike other contoured basses, with the knobs further down on the body, the EDC700s feature a special control area for easy access, but well out of the way of your plucking hand.  The long upper horn balances the bass perfectly, so you won't have to hold it up.  More than any other bass I can think of, this bass just lets you play, with nothing else to worry about.  Even the output jack is unique - the special die-cast jack plate eliminates inconsistent contact and cutting out of ordinary jacks, plus your plug comes out in an area that won't pull out easily if stepped on.  Features include slender 2-octave EDB5 maple neck offers fast and easy fretwork, medium frets, Ibanez' own Luthite body, Accu-Cast B25 bridge, and powerful Ibanez SFR soapbar pickups with active Vari-Mid Hi-Fi tone circuitry offering hi and low cut/boost, with a mid-frequency selector with corresponding cut/boost pot.   For anyone used to a single passive tone pot, you're in for a thrill when you play this baby.  For the money it's a hard bass to beat.  P and J basses are great, but pretty much limited to one cool tone. The EDB600 does so much more.  Overall this bass has seen very little use and the only real flaw is a finish chip on the top of the headstock (shown here) that we color matched nicely.  This model was fairly expensive in '98, with a list price of $950, discounted to $669.  A quality bass that's good enough for the intermediate to advanced player for just $379 is a bargain, set up to perfection and ready to gig. 

2010 Taylor Dave Matthews Limited Edition Signature Model (DMSM), (front), (back), (headstock), (appointments), (cert.), (case, etc.).  "As new" condition.  I've been wondering if Taylor would ever get Dave to collaborate on a signature model.  I see the Dave Matthews Band (DMB) every year at SPAC when they're breezing through town and he's been playing a 914CE and W65ce 12-string for as long as I can remember.  They are constantly on tour, year after year, and he has given Taylor as much visibility as any guitar/artist association I can think of.  This guitar isn't markedly different from a stock 914CE which begs the opinion, why try to improve on perfection.  The 914 is, quite simply, the best Taylor production guitar made, with choice tone woods, stunning cosmetic appointments, and the most popular & comfortable body size.  The Grand Auditorium body is 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.  For Dave's guitar, he chose the old "Cindy" fretboard inlays, which are much nicer than the recent "moustache" inlays, plus a headstock inlay designed by Dave.  Other customized inlays were designed to tribute to DMB's longtime horn player, LeRoi Moore, who passed away in 2008. Based on a sketch that Dave provided, a crown inlay between the 11th and 12th frets honors Moore, incorporating ball-tipped points with one ball partially missing in memory of Moore.  Moore's nickname, "Grux", is inlaid vertically between the 13th and 18th frets.  The headstock inlay was also developed from a sketch by Matthews.  The DMSM features select Indian rosewood back and sides, and Sitka spruce top, all solid woods, with the top shaded with an aged toner to approximate the patina Dave likes on his older 914ce, paired with an American mahogany neck with ebony fretboard.  Other features include the acclaimed Taylor Expression System for amplified/studio work, bone nut and saddle, ebony bridge, Gotoh 510 gold tuners, and stunning abalone adorning the edge of the soundboard as well as abalone soundhole rosette.  Dave hand-signed the label and certificate for each guitar.  For the whole DMSM story click here for Taylor.  The DMSM sells new for $3999 ($5428 list), which I believe is the same as a regular 914CE.  This one was collector owned and offered in mint condition for $1200 less, just $2799.  Includes red-lined Taylor luggage case, unsigned warranty, certificate, and Taylor paperwork.  

2007 Fender Rory Gallagher Stratocaster, (front), (back), (headstock), (case/etc.).   Called an guitar is an exact representation of his personal guitar, the Rory Gallagher Stratocaster is the perfect tribute to the Irish blues singer and songwriter.  Fender has done a number of closely detailed tribute models such as EVH's Frankenstrat, SRV's Brownie and #1, Clapton's Blackie and ES-335, etc., but this one isn't $8K to $20K, like the aforementioned tribute guitars, which makes it accessible to many more Rory fans.  Above all, it's a great Strat, period.  It plays superbly, has a very resonant body, and sounds like a genuine vintage instrument.  This model has the heaviest "wear" of any Strat made, closely duplicating his original '61 (shown here) that Rory bought in '63 and played extensively in the following three decades.  It is thought that his rare blood type caused his sweat to be very acidic which stripped away the nitro finish, but any Strat with that was gigged heavily for 33 years would be expected to be heavily worn.  Other interesting details include the tuners, outfitted with the Sperzels that Rory used in the latter days, while there are still footprints of a Gotoh set previously used, and the low E remained a Gotoh tuner.  In addition to the body and neck aging process, Fender painstakingly aged all other parts such as all plastic parts (shown here), making this the most authentic non-Master Built signature model in their history. The neck also has one plastic dot at the 12th fret, that Rory used to replace one of the clay dots that fell out.  Features include custom wound '60s single-coil pickups, aged chrome hardware, 21 jumbo frets and a bone nut.  Features include extremely relic'ed select alder body, early 60's C-shape neck with Nitro finish, 21 medium jumbo frets, Master Volume - neck tone - middle tone, 5-way switching, 3-ply mint guard, heavily aged plastic parts, and slot-head mounting screws in selector switch.  List price on new is $4499, selling in stores for $3999.  This one is "as new" without any non-factory wear, aka "relic mint", for $1400 less, just $2599.  Includes 60's brown Fender/G&G case, strap, cable, certificate, 3-way switch, back plate (installed at no expense), factory hang tag, and misc paperwork.  

1979 Fender Stratocaster - Black w/Maple Board, (front1  front2), (back), (headstock), (neck), (neck pocket), (fretboard), (body), (pickguard), (case).   One of the cleanest vintage Strats I've had and I actually owned it twice, selling it around 5 years ago and just recently getting it back in trade.  Condition aside, it's an excellent player and the "Blackie" appearance is always one of my most popular sellers.  Appears to be all original with '79 pots; matching serial number on body; gray bottom pickups, two of which are dated '79 and the other one undated, which isn't uncommon from my experience.  Pickups have a nice medium output that gives this guitar that vintage Strat tone that's made the reissues Fender most popular Strats for the past 30 years.  Cosmetically, the only flaws on this guitar (shown here), are a small finish chip on the back, corner of backplate cracked, small dings on back/tip of headstock, and a small chip of lacquer missing from the edge of fretboard on the 3rd fret.  This may sound significant, but keep in mind that the average "excellent" condition 70's Strat has too many minor flaws to mention.  When you see this guitar you'll immediately be impressed with its near museum condition - body shines like new with no scratches front or back, no wear on the fretboard or back of neck, face of the headstock isn't scratched up from numerous string changes, neck/knobs/pickguard aren't yellowed; hardware isn't pitted, etc.  Modified '79's in rough condition are going over $1K.  Isn't it worth it to get and original that's one of the cleanest around - for $1450(HOLD-Shawn T)?  Includes rectangular molded case in nice shape.  

2000 Fender American Series Stratocaster - Sunburst w/Noiseless, (front), (back), (headstock), (case).  First year American Series, with all the new refinements over the previous American Standard.  These refinements included rolled fretboard edges, more detailed nut and fret work, staggered height tuners which eliminated the need for the 2nd string tree, and the swimming pool body route was replaced by individual pickup routes.  This one's in beautiful condition and all original except for two noteworthy modifications:  front and back plastic has changed to white pearl, which looks good on a sunburst body and, more importantly, pickups have been upgraded to a set of Vintage Noiseless, which were used in the American Deluxe during this era and are noted for having the vintage single coil tone, but without the hum.  No noteworthy flaws anywhere and a fantastic low set up.  Beautiful guitar, great player, and with the pickup upgrade, better than stock, all for $850.  Includes original case.  

1997 Fender American Vintage '57 Stratocaster, (front), (back), (headstock), ("inside"), (pickguard), (case).   14-year-old V57 in beautiful condition.  The American Vintage '57 has all the original specs and detailing of the original '57, including neck and headstock shapes and body radii and contours.  It comes fitted with American Vintage pickups with cloth wires, original synchronized tremolo, aged lacquer finish neck, nickel silver frets, and other vintage appointments.   I sold this guitar several years ago and was happy to get it back in trade, in the same near pristine condition as when I saw it last.  Looking under the pickguard, you'll see that this body was originally candy red and then stripped and resprayed sunburst - not all that uncommon but a cool detail to pass along.  Please note that if you call a guy at Fender customer service, who probably has never opened up a Strat, he might tell you Fender doesn't repaint bodies.  Take it from somebody who has been inside over 1000 Strats - this finish is 100% factory and is not irregular in the least.  All dates correct for '97 with untouched solder joints, and 100% original including 3-way switch, although we can install a 5-way if desired.  Plays fantastic, sounds great, and in beautiful shape.  A new 2-tone sunburst is going to run you $1599 at the superstores but this one is beautiful, set up to perfection, and just $1099.  Includes Fender vintage tolex case.  

1981 Fender Lead III, (front), (back), (headstock), (tremolo), (case).  I've had a few of these recently, but this is the first "III" I've had in many years.  Fender's Lead Series had a very short run, from 1979 to 1982, but they're excellent utility guitars, built by the same craftsmen who built the Strats and Teles from that era.  With the I, II, an III, the Leads were offered in 3 pickup configurations.  The I featured a single humbucker; the II featured dual single coils; this III model featured dual humbuckers, with coil taps that make it the most versatile of the bunch.  These are excellent sounding pickups, with more fatness than single coils but not at all muddy.  Several features of this guitar (smaller vintage style headstock, truss adjust at the butt, and 4-screw neck) make the Lead, essentially, the bridge between the earlier Strat and the Smith Strat.  These features appeared on the Lead in '79, which preceded the Smith Strat by 2 years.  This Lead III originally featured a string-thru-body hardtail bridge, which was replaced with a professionally installed Kahler Pro tremolo and locking nut.  Other features include truss rod adjusts at the heel, Fender F-tuners, soft-C neck with vintage 7.25" radius, 25.5 full scale, and 21 medium jumbo frets.  Players who associated with the model include Bono, Eliott Easton, and Steve Morse.  I remember Fender had a very aggressive ad campaign in Guitar Player mag when these were being produced and I was one of the 1,000's who were taken with this "poor man's Strat".  I played my Lead II for around 5 years and this guitar reminds me of what great guitars they are.  Sets up fantastic with low action and clean original frets which indicates it has hasn't seen much playing time.  Fender used a polyurethane finish which is brittle and prone to cracking but this finish has none of the normal cracking and is extremely clean other than one extra strap pin hole was plugged and finished over, and one small area of wear to the fretboard (both shown here), although the frets are in great shape.  This is another example of affordable vintage, an American guitar that's 30 years old that sells for less than a new model would sell for today, had they continued making them of course.  It has a quality tone and super nice set up.  A totally gig-worthy American Fender for $550, complete with a killer tremolo system and original molded case.  Case is slightly rough but all latches and hinges are intact.  I also have Fender's premium case for this model (pic) which you can substitute for $50 more. 

Moses Telecaster Neck, model NT-27, licensed by Fender with a standard Tele headstock, 1.7" at the nut, patented one-piece construction with a fine-tune truss system eliminates delamination, twisting, and warpage problems.  The integrated fingerboard has a smooth, wear-resistant finish, 16" flat radius.  List is $330.  I just found one more of these, never installed, for $199.  Includes machine screws with inserts already installed in neck.  

Boss DC-3 Digital Space-D, (sides/back).  Extremely rare pedal, at least here in the USA.  Made only from '88 to '93, the DC-3 was made in Japan, for the Japan market only, other than a brief period in 1988 when it was offer to markets outside of Japan.  This pedal replaced the DC-2 Digital Dimension (you know, the one with 4 push buttons presets instead of knobs) and, in fact, the '88  version was called the DC-3 Digital Dimension before the name was changed to Digital Space-D (first version shown on left in this pic).  The two DC-3 versions had identical circuits, only the name was changed.  Controls are straight ahead:  Effects Level, EQ, Rate and Depth.  The chorus produced is a bit different from other chorus units in that most chorus effects adds vibrato as the depth of the effect is increased.  The DC-3 adds significantly less vibrato than the others with the resulting sound described as dimensional and spacial - especially when using the stereo outputs - and natural sounding.  There are more range of sounds than you'll find on most chorus pedals from this era and, overall, and excellent sounding unit and being a Boss pedal, will likely be in use for decades to come.  There are very few of these on the market, understandable since every one was introduced into the country by a consumer.  Considering its rarity, tone quality, and very nice condition for its age, a nice pedal for $165.  

ca. 1969 Lectrolab S-400 Combo, (top/flip-up handle), (panel), (chassis), (back).  If you haven't heard of Lectrolab, welcome to the club.  My research tells me this was a small company out of Chicago who built very few amps back in the 60's.  My buddy Roy, who sold me this amp was raving about it and was eager to get my opinion.  I am totally impressed.  Judging by the plain look I was thinking, okay, another 60's amp with a decent clean tone but probably no character, much like Alamo or Univox, for example.  When I fired it up I was in for a very pleasant surprise.  It indeed does have a quality clean tone, but even then, a nice thick clean.  It's when I cranked it up I really became a fan.  This amp gets thicker with a nice saturation starting at around 5, and gets increasingly saturated as you turn it up further.  It also has a good sounding tremolo, with speed and intensity controls to dial it to taste.  An all-tube circuit with a single EL84 (aka 6BQ5) for output, 6X4 rectifier, a 6EU7 preamp and, 6AU6 for the tremolo. I like this amp for much the same reason I like an old Fender Champ, which is a nice break-up on a low-powered combo.  With a single EL84 it probably cranks out around 5-8 watts.  Unlike the Champ though, which has a single 8" speaker, the dual 8's on this amp make it sound fuller, more lush.  It would be an excellent recording or backstage practice amp.  There are a few very good sites on the web with pics, reviews, and schematics.  "Obscure but cool," is how these are described on a great site dedicated to all things Lectrolab, lectrolab.worldpress.com.   Another good review is at myrareguitars.com.  Speakers are Quincy Speaker Mfr Corp. from 21st week of '69.  I know that Lectrolab did use Quincy speakers in some of their amps so I'm guessing they're original.  Overall this amp is in nice shape for a vintage amp.  There's a hole in the back masonite panel but it's easily replaced if it bothers you and the brand name is missing from the front, which I may just replace with some stick on letters from Staples (click here to see what it's supposed to look like).  It has a cool pop up bar handle that's tucked away atop the control panel when not in use.  It appears to be all original, including 2-prong power cable, and works flawless, not in need of filter caps or any tweaking whatsoever.  It sounds absolutely perfect right now.  This amp sounds so much better than all the new Chinese lower-powered combo's that comparison isn't possible - plus it's hand-wired and built to last for a very long time, rather than until the warranty is up.  At $325(Tent. Hold - Dennis H 11/16) it's a small investment, but the pay off will be huge.  If vintage amps were valued according to tone as much as brand name, this would be an $800 amp.  

Voodoo Labs Proctavia.  Mint condition.  Classic fuzz/octave tones, true bypass switching, made in the USA.  The Proctavia is an exact replica of Tycobrahe Sound Company's Octavia pedal with the same types of transistors, germanium diodes, and transformer-coupled output stage in its circuitry, creating a note an octave higher than the original.  The sound of the Octavia effect is easily identified by the "Purple Haze" tone and can also be heard on numerous tracks by Jeff Beck, John Mayer, and Michael Landau.  Sells new for $129 - could be your perfect germanium tone for just $79.  

ca. '86 Jackson Strat - Saturn Graphic, (front), (back), (headstock), (graphic1  graphic2), (case).  San Dimas neckplate - early Ontario Calf. production in a rare "Saturn" graphic finish.  Nothing says '80's metal more than a Super Strat in a graphic finish and this one is unique and in beautiful shape.  Jacksons were a boutique company during this era, with each guitar built to order from a spec sheet provided by their dealer network.  When I worked at Hotlicks we had a form where the customer would fill in all the specs they wanted, woods, finishes, electronics, inlays, etc.  We would send the form to Jackson and a few months later the guitar would arrive back at our shop.  They had a fairly comprehensive list of custom graphics with dozens of geometric paint jobs and airbrushed artwork.  This Saturn finish differs from one which followed in the early 90's but it shows a large planet Saturn with ring, a few other smaller plants, and hundreds of stars.  It's pretty intricate when viewed closely.  Features include Strat/Dinky style body with thinner horns and sharper edges, dual Jackson humbuckers, probably J50C, black hardware, Jackson JT-6 Floyd-licensed tremolo and locking nut, Schaller locking strap pins, thin profile maple neck with thick rosewood fretboard and sharkfin inlays, and 22 jumbo frets.  Controls are very simple:  volume control and 5-way pickup selector switch.  USA Jacksons are believed by many to be the ultimate shred machine.  Sure, Kramer Americans were much more popular but with a Baretta selling for $649, it was almost 1/2 the price of a similar Jackson.  This is one fine playing axe and it's in stunning condition, especially for around 25 years old, with the worst flaw being some finish scratches on the back plate.  For an airbrushed graphic in this condition, a nice buy at $850(HOLD-Dave E 6/14).  Includes original Jackson chainsaw case, not as clean as the guitar, with the customary one broken latch.  

ca. '86 Jackson Strat - Zap! Pow! Graphic, (front), (back), (headstock/neck),  (case).  Another early Ontario Calf. production with San Dimas plate with another rare graphic, with comic book style "Zap!" "Pow!" graphics, like something you'd find in a Batman comic.  This guitar has been mated with an Ontario DR2 neck with sleek ebony fretboard, reverse headstock, Floyd Rose nut, and side markers only.  It looks perfect with this graphic.  Other features include Strat body with rounded edges and thicker horn than the Saturn pictured above, F-spaced DiMarzio DP-207 D-Sonic pickup, newer Gotoh reverse tuners, Jackson JT-6 Floyd-licensed tremolo, 22 jumbo frets, and black hardware.  Electronics consist of a single humbucker and volume control only, which is one of the favorites in 80's shred machines where you generally only want one killer rock tone.  On the ballads you can crank the volume knob back to 7 and it cleans up great through the clean channel of your amp.  This one is also in insanely clean shape for 25 years with the worst flaws being a few miniscule dimples in the finish (as shown here).  The anodized back plates are immaculate, no buckle/button scratches, neck and frets are like new, just a super clean, extremely cool guitar.  This is one of the coolest looking Jacksons I've had and it plays as good as it looks, especially with just a sealer coat on the neck and the ebony fretboard.  An incredible guitar, and a real attention getter, for $950. Includes Jackson case form fit for the Strat body.  

1980 Gibson Les Paul Standard Conversion wBigsby, (front1  front2), (back), (headstock/neck), (pickups), (case).  Another "player special" but a very cool modified vintage Paul.  This was originally a Deluxe, with mini-humbuckers that was converted to Standard specs with the mini's swapped out with PAF's.  The Gibson Burstbucker-3 bridge and Classic '57 are a combination used on several Les Pauls, including the current Traditional Pro.  The routing job was done with proper tooling and looks perfect.  It also has a genuine Bigsby vibrola installed, which is the best choice for a Les Paul tremolo in my opinion.  Check out video's of Neil Young and "Old Black", his '56 Les Paul with a black refin, to get an idea of the possibilities of a Bigsby-equipped LP.  The back of the neck has been steel-wooled through the lacquer, for the sleek feel of bare wood.  It is a "faster" feel than the lacquer and will only get more sleek the more it's played.  It also had a string retainer at some point, thus two small plugged holes, shown here, are barely visible on the headstock.  In the pics three of the knobs were pretty new ones, but I had a spare set of '79 knobs which we installed after the pics were shot.  All frets have been re-crowned and polished, for a silky smooth feel during bends - see fret on the left in this pic to see the difference.   Cosmetically, the front is very presentable; the back has plenty of scratches and buckle rash, but there are no cracks or repairs anywhere.  This guitar has an excellent neck angle and straight neck so it sets up with very low action.  The tone is fantastic, again, with more of a singing quality than most recent models.  At 11 lbs., it's not the heaviest Paul I've had from this era but not recommended for the weak of back.  This guitar isn't for everyone, especially collectors looking for clean original guitars.  But...if you appreciate the tone of 30+ year-old wood that's been enjoyed its entire life rather than sitting in the case, with a killer set up and fat singing sustain, here's your guitar.  $1499(HOLD-Luke 5/23) includes new wood/tolex hardshell case.  

2008 Fender American Standard Stratocaster - Olympic White, (front), (back), (headstock), (case/acc.).   Beautiful Strat with a great set up and excellent sustain.  First year for the new American Standard, officially released on Jan 1, 2008 after the 8-year run of the American Series.  Fender incorporated some significant improvements including a redesigned bridge, new bent-steel saddles with elongated string slots, a Fender-exclusive high-tech molded case and, most significantly, a new neck and body finish.  Finish on the body has a very thin, high gloss appearance that has the look of nitro.  The neck has a satin finish which has a "fast" feel and is comfortable to the hand, while the headstock has been changed to a gloss finish which gives it more of a vintage look.  Other spec's include alder body with gloss finish, 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, 2-Point Synchronized Tremolo with New American Standard Bent Steel Saddles with Elongated String Slots, Copper Infused High Mass 100% Metal Bridge Block, Rolled Fretboard Edges, H/S/H Pickup routing, 3 hot American Strat single-coil pickups, Delta-tone no-load circuit which includes high output bridge pickup and special no-load tone control for middle and bridge pickups.  This guitar is in near flawless condition other than the normal 1/4" finish cracks by the neck pocket that you'll sometimes find on brand new guitars, but no scratches or fret wear.  If you're shopping around for "one of the good ones", look no further, I found it for you.   $799 includes the new Fender/SKB case with ATA latches.  Note: We just sold one of these with an upgraded HH pickguard assembly and we can make a similar change to this guitar if desired.  

1999 Rickenbacker 360FG, (front), (back), (headstock), (Output), (case).  True classic from Rick in the popular Fireglo finish and if you don't want to wait 18 months (some models are up to 3 years) for one to be built, this one is pretty much pristine and ready to ship today.  Ricks continue to go up on the used market mainly due to the insanely long lag time on new ones.  Rather than wait, some players go with a different brand, but nothing will scratch that Rick itch - nothing sounds like it; nothing has that Rick vibe.  Specs are basically the same as they've been for many decades:  hollowbody design, all maple, "Rick-o-Sound" stereo outputs, comfortable round contour around body, dual truss rods, Master presets for volume and tone, bi-level pickguards, and triangle pearloid fretboard inlays.  If you want a new Rick, good luck finding one, which has really driven up prices on the used market.  There are Ebay sellers who snatch up many of them before they even arrive at the dealers, thanks to Rick's site that lists all recently shipped guitars and the store to which they're shipped to.  These entrepreneurs are buying them at 10-20% off list and then selling them at full list - or above list - at auction.  God bless free enterprise.  This one's $1499(Tentative Hold - Robin) ...no reserve!  Includes original Rick case in similarly tidy shape.  

Rockman Soloist in Box with Headphone, (front/back), (panel), (headphones).   Original 80’s model, which a slightly more affordable version of the X-100.  The Soloist has the same "Boston" clean and overdrive tone as the X-100 except it only has one clean setting (X-100 has two) and it doesn't have echo.  It does have the distortion-edge-clean settings and lush stereo chorus that are trademark tones for the Rockman tone.  Works great through your amp, straight into the recording/live console, or as a practice amp through headphones.  With a split stereo cable ( 1/8" RTS to dual RCA) you can run into your recording deck, home stereo, etc.  Yes, this unit sounds great played through a home stereo unit. You get a wide stereo field for the chorus and the overall tone is closer to studio quality than if played through a guitar amp.  It runs on 8 AA batteries or optional Rockman power supply.  We sold the Soloist with power supply for $169 back in '85 and, in fact, the original store price sticker is still on the box.  Cleaner than most of these I get in and $70 cheaper than it sold for 25 years ago at $99 - or $129 with the optional Rockman power supply (pic).  

1999 Fender Standard Jazz V Bass Fretless, (front), (back), (headstock), (extra neck  pic2).  Killer player with the classic mid-range Jazz honk plus the growl of a fretless.   This one started out life as a fretted bass but was pro-modded to fretless.  My customer's luthier removed the frets, filled in the fret slots, and planed down the fretboard.  If you're looking for a Jazz V but want a fretted model, we can change it to a brand new Warmoth Jazz V neck (shown above) with a sleek Ebony fretboard and even install a vintage logo with a nitro finish under and over the logo.  Features contoured alder body, modern C-shaped maple neck with rosewood fretboard and dot inays, 20 medium-jumbo frets, 9.5" radius, and 1 1/2' nut width.  Electronics are dual Jazz single coil pickups which are wired as a humbuckers with both pickups engaged, controlled by Vol-Vol-Tone.   Body is a high gloss, finished in Electric Blue.  Overall very clean shape other than a small paint chip (pic) that we can touch up if desired.  Sells online for $699 but this nice used one is just $450 with Fender gig bag.  We can swap out the neck with a new Warmoth neck at a slight upcharge.

2000 Fender American Deluxe Ash Fat Stratocaster - Teal Green Transparent, (front-2  front-2), (headstock/neck), (back), (bridge), (features), (case).  Nice and clean American Deluxe finished in Teal Green Transparent on a swamp ash body.  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 has Fender's "new" DH-1 humbucker in the bridge for the best of both worlds.  Other deluxe features include polished chrome locking tuners, optional Fender locking tremolo, abalone dot inlays, fret and nut work that's even more detailed than the regular American Series, LSR roller nut, and raised chrome logo.  The locking tremolo is fairly rare on these guitars.  Originally stamped "Floyd Rose" when it was first used in the 90's, it's a Floyd design, although nothing like the Floyd double-locking tremolo units you normally associate with the name.  It's a very effective unit and stays in tune better than any other pivot-type unit Fender has used.  Overall This guitar is in very clean condition and it hasn'