{"title":"Just Arrived","description":"","products":[{"product_id":"fender-precision-bass-solid-body-electric-bass-guitar-1964-13176","title":"Fender Precision Bass Solid Body Electric Bass Guitar (1964)","description":"Fender Precision Bass Model Solid Body Electric Bass Guitar (1964), made in Fullerton, California, serial # L38032, sunburst lacquer finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis 1964 Precision bass is about as real as relics get, with a LOT of finish wear that is the product not of artificial ageing but gigging over the last six decades. Beneath this wear this is a truly lovely pre-CBS Precision, one of the lightest and handiest we have had with the look, feel, and sound that defines the classic 1960s Fender bass. The original pickup has been perfectly rewound and sounds exactly like it should, all else is unaltered since it left Fullerton. \u003cbr\u003e\u003cbr\u003eThe features particular to this period include a thin-lam rosewood fingerboard with clay dot inlay, \"Transition\" silver Fender logo decal, mid-\"L\" serial number plate, tortoiseshell pattern nitrocellulose pickguard and Kluson bass tuners. The neck and body are finished with the thin Pre-CBS style lacquer, the body in a nicely blended sunburst finish noticeably mellower than the \"target\" bursts of 1965 and after.\u003cbr\u003e\u003cbr\u003eThe bass would have been assembled in fall 1964, just months before the CBS takeover. The neck heel is stamped 5 JUL64C, the pot dates are to the 23rd week of that year. It has obviously seen a lot of use over nearly six decades but remains more original than many old Fender basses that have been stripped, modified or heavily rebuilt. It has the classic Precision sound with a bright midrange growl that warms up nicely when the tone knob is rolled off a bit. At just under 8 1\/2 Lbs. (with both covers ON) this is light for a Precision Bass from ANY era, with a superbly resonant sound even unplugged.\u003cbr\u003e\u003cbr\u003eThis is simply a great player's example of the world's premier electric bass, still ruler of the roost 55+ years on and ready for the next half-century of low end action. This era Precision Bass is an absolute classic, played by the majority of the great electric bassists of the 1960s and heard on literally thousands of recordings since then. This bass is a true relic, worn by decades of use, not with hammers and sandpaper. It remains a wonderful instrument for any style of music, an absolute joy to play and a prime example of the final; glory days of the Fullerton California Fender factory.\u003cbr\u003e \u003cbr\u003eOverall length is 45 3\/4 in. (116.2 cm.), 13 in. (33 cm.) wide at lower bout, and 1 5\/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 34 in. (864 mm.). Width of nut is 1 3\/4 in. (44 mm.)., 8.48 lbs. \u003cbr\u003e\u003cbr\u003eThis bass is uniformly well-worn overall but remains in excellent playing condition with the original finish and nearly all the original hardware. The all-original sunburst lacquer finish has heavy play wear over the entire instrument with large and small dings, scrapes, chips and deeper wear spots. The face has numerous chips above the strings from finger contact, a deeper wear spot under the G string and there are rubs, dings and chips into the wood on all the body edges. There are several large swaths of wear on the back with numerous dinks, scratches and chips. Oddly enough the original 3-color sunburst is still surprisingly bright, with very little fade despite probably having been played in the smoky bars of decades past; it must have never hung in a store window! \u003cbr\u003e\u003cbr\u003eThe back of the neck is nicely worn down with the classic \"old Fender\" feel, with nearly all of the lacquer worn through on both edges and in the lower positions. There is a tiny cigarette burn on the headstock edge below the E tuner shaft. The parts have some wear and corrosion but nothing too serious everything works as intended. The pickguard has some noticeable shrinkage with several cracks at the screw holes and two forward corners chipped off, the lower glued to the shielding plate. The tailpiece cover is original (with the remnants of the mute strip underneath) while the chrome pickup cover is a repro. As noted the pickup has been rewound, but all the remaining components are original.\u003cbr\u003e\u003cbr\u003eThis bass has just been played a LOT; as they used to say \"someone fed their family with this one\". The original thin frets show some wear in the lower positions but are still fully playable; we would assume the bass has likely had flatwound strings on for most of its life as it does now. The neck is excellent and the truss rod works fine, never over tightened at all; \"bassically\" This Fender took a lickin' and kept on tickin\". It resides in the original late '64 \"no-Logo\" black Toles Fender case, ready the next century with the perfect Precision sound for the ages. Overall Very Good + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853712576652,"sku":"13176","price":13500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e03de0f7-7706-4704-a0b9-c669aef6edd3.jpg?v=1774344289"},{"product_id":"fender-princeton-reverb-aa1164-tube-amplifier-1968-13720","title":"Fender Princeton Reverb AA1164 Tube Amplifier (1968)","description":"Fender Princeton Reverb AA1164 Model Tube Amplifier (1968), made in Fullerton, California, serial # A-19578, black tolex covering finish. \u003cbr\u003e\u003cbr\u003eThe Fender amplifier lineup saw some distinct cosmetic changes following the now classic black-panel period as the '60s wound down. The new blue-on-metallic front panel appeared in late 1967 and persisted well through the '70s while the silver trim surrounding the silver\/aqua-stripe grille cloth (nicknamed \"drip edge\") proved a short-lived feature. \u003cbr\u003e\u003cbr\u003eCBS had just acquired Fender a few years prior and although changes were already affecting many Fender instruments, the amplifiers retained their mid-60's circuits underneath the new exterior up until around the turn of the decade. This mid-1968 Princeton Reverb still runs the AA1164 circuit of the earlier black panel Princetons. This comparatively rare transitional version was only in production for about a year before the CBS engineers stated making changes that in retrospect nobody wanted!\u003cbr\u003e \u003cbr\u003eHeight is 16 in. (40.6 cm.), 19 3\/4 in. (50.2 cm.) width, and 9 1\/2 in. (24.1 cm.) deep. \u003cbr\u003e\u003cbr\u003e Externally this amplifier is in fabulous condition. The black Tolex covering is well preserved, very clean and with very minimal sings of wear. The faceplate has some general surface scuffing, but overall in good shape and all the stenciled lettering is still intact as well as all the knobs. The plastic Fender logo is present and the grille cloth is nicely preserved overall save for one smaller tear towards the lower left. The chassis straps and handle hardware show moderate signs of corrosion. Sadly the original reverb and tremolo footswitch is not present, but a newer one is included with the amp. \u003cbr\u003e\u003cbr\u003eElectrically, the amp is also nicely original. After 1967 the tube chart on these amps was no longer stamped with a date code but the serial number dates the amp to around late 1968. The cabinet houses a 10\" Oxford 10L5-1 speaker bearing the code 465-524, dating it to the 24th week of 1965, almost certainly a beefier period replacement; arguably an upgrade from the stock much less efficient Oxford. The speaker still retains its original cone and tests great and sounds fantastic. The Schumacher-made power and output transformers and Better Coil-made reverb transformer are all original to the amp and marked 606-740, 606-625, and 831-6726, dating them to the 40th week of 1967, 25th week of 1966 and 26th week of 1967, respectively.\u003cbr\u003e\u003cbr\u003e All pots appear original and visible date codes date to late '66. The reverb tank cables have been replaced (the originals are included). The amp has otherwise received our typical maintenance and servicing, including replacement of all electrolytic capacitors, cleaning of all sockets, pots and jacks, a new grounded three-prong power cord installed and biased to spec. Overall this is a super example of this \"CBS but still the Bes'\" of great recording and gigging combo amps. Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853713166476,"sku":"13720","price":3950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_02e0ddc0-a8e1-4378-a8ed-737f478e0125.jpg?v=1774344306"},{"product_id":"fender-jaguar-solid-body-electric-guitar-1966-13266","title":"Fender Jaguar Solid Body Electric Guitar (1966)","description":"Fender Jaguar Model Solid Body Electric Guitar (1966), made in Fullerton, California, serial # 158769, Orange Sparkle over Candy Apple Red finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eOK, here is a 1960s Hot Rod Weird-Oh, as 1960s California as a custom woodie! This early 1966 Jaguar started life as an already pretty flashy guitar, finished in Candy Apple Red with a matching headstock. Early on (possibly immediately) the body was overfinished in a super striking Tangerine Sparkle metallic finish making for a very unique look! Fender DID fulfill customer orders for this type of finish on a very limited basis; this one is definitely period BUT we cannot verify it as a Fender-ordered job, so it is not priced in the $50K+ range as one of those would be!\u003cbr\u003e\u003cbr\u003eCustom sparkle metallic car finishes were a big part of Southern California culture at the time, and if a customer requested one on a guitar Fender outsourced the job to local hot rod shops as their in-house spray guns were not set up to handle the heavier paint. The most prolific was named Dennis Swinden, who shot a number of sparkle instruments for Fender including a set for Dick Dale's Deltones. \u003cbr\u003e\u003cbr\u003eIndividual players would have their guitars done at local shops as well, and that's likely the story with this one. The Tangerine Sparkle paint was applied OVER the original Candy Apple Red lacquer; under the pickguard the body cavities were masked off and retain the original red finish. The body is die-stamped \"ES\" which is common on 1966 Fenders, but also has a ink-stamped white sticker reading \"SHOW\" applied. Oddly the neck pocket was not masked off. There is a thin clear lacquer coat over the sparkle paint, a standard procedure at the time. The headstock was not re-shot, another indicator this was a post-sale customization; it retains the original red finish and Fender decal. \u003cbr\u003e\u003cbr\u003eApart from the body finish this is a stock '66 early CBS Custom color Jaguar, otherwise original and overall nicely preserved. The guitar has \"transitional\" early 1966 features: a neck dated March 66 with a bound rosewood fingerboard with pearl dot inlay, an \"F\" marked neck plate with a six-digit serial number, white plastic pickguard, then brand-new \"F\" plate Fender tuning machines and the older style gold Fender logo on the matching headstock. The flip-up mute is intact but the foam has ossified to the consistency of ancient chewing gum! Within a few months of this guitar being made block inlay would be added to the fingerboard changing the look of the Jaguar for the rest of the decade.\u003cbr\u003e\u003cbr\u003eEnjoying a recent return to popularity, the top-line offset Fender Jaguar remains a unique guitar with several interesting features. The 24\" scale length is shorter than other professional grade Fenders, intended to be easier to play with the heavy strings common at the time but lass adaptable to lighter gauges. The pickups are optimized for clarity and crispness, another factor that led to the Jaguar losing popularity in the late '60's as twang went out and slinky strings, distortion and crunch came in! This customized Tangerine Sparkle hot rod Fender was undoubtedly somebody's pride and joy in 1966 (having this finish shot was not cheap even then) and survives as an utterly distinctive guitar, a visual and sonic statement of the eternal twang!\u003cbr\u003e \u003cbr\u003eOverall length is 40 in. (101.6 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 5\/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 24 in. (610 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis custom hot rod Jag remains original except for the overfinish on the body and is complete including the trem arm and even the snap-on bridge cover. It was definitely someone's gigging guitar, and has been played but not abused showing some fairly minor wear overall. The clear lacquer overcoat on body finish has yellowed somewhat and there are some chips and dings on the body which have nearly all been patched in, it looks like decades ago. The lower edge is the most affected, and overall the finish looks very clean until closely examined. \u003cbr\u003e\u003cbr\u003eThe thin finish is worn to the wood on the back and sides of the neck from the first to 12th fret; Fender finishes began getting thicker soon after this guitar was made. The (once) matching headstock has fine checking on both sides with some chips and dings to the edges, particularly on the bass side. The original Fender logo decal is fully intact.\u003cbr\u003e\u003cbr\u003eAll pickups, wiring and hardware remain original; some areas of the chrome plating show light wear but nothing too serious. The pickguard has a couple of small tight cracks off the lower switch plate and nearest screw. There is some wear to the original small fret wire in the lower positions but not enough to impede playability. \u003cbr\u003e\u003cbr\u003eOverall this is simply a WAY cool guitar, all correct to the period if not provably original to the Fender sales department! It comes complete in the original black Tolex Fender case with the original hang tag booklet with the matching serial number still in the pocket, worn but mostly intact alongside a period grey patch cord. For some reason a matchbook and note pad from Chicago hotels of the period are included; perhaps the owner played this glittering Jag there back in the day!\u003cbr\u003e\u0026gt; Overall Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853713297548,"sku":"13266","price":8950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_efc56426-48b4-489a-9e25-06d9cda7066a.jpg?v=1774344315"},{"product_id":"gibson-es-295-sunburst-custom-arch-top-hollow-body-electric-guitar-1953-13694","title":"Gibson ES-295 Sunburst Custom Arch Top Hollow Body Electric Guitar (1953)","description":"Gibson ES-295 Sunburst Custom Model Arch Top Hollow Body Electric Guitar (1953), made in Kalamazoo, Michigan, serial # A-14058, sunburst lacquer finish, laminated maple body; mahogany neck with brazilian rosewood fingerboard, original brown hard shell case. \u003cbr\u003e\u003cbr\u003eHere is a really unique and *extremely* rare example of one of Gibson's classic 1950s archtops, the ES-295. This model was only offered in one stock finish: gleaming gold overall with cream-colored pickup covers and a unique floral decorated pickguard. THIS ES-295 is finished in a typical 1950s Gibson sunburst, less flashy perhaps but when mixed with the model's typical cream and gold fittings still giving a very striking look. We have examined the guitar closely and it shows no signs of being a later factory refinish (we had a 295 that was just recently) giving every indication of having been originally ordered this way. The (presumably original) owner had the name \"Vic\" added to the top below the tailpiece in professional sign painter's lettering, probably when it was new. Perhaps Vic thought the gold finish was a little garish but liked the other 295 features, so ordered this special take on the model. Generally, if you had a dollar and a dream (or in this case a bit over $300) your Gibson dealer would be happy to oblige! \u003cbr\u003e\u003cbr\u003eIn its usual gold-finished form the ES-295 been long recognized as one of the iconic guitars of the 1950s. It is equipped with double P-90 pickups under cream plastic \"dog ear\" covers and the classic four-knob tone\/volume control array with amber \"hatbox\" knobs and switch tip. The top is triple-bound; the back and fingerboard are single-bound. The 19 fret rosewood fingerboard has double parallelogram inlays; the headstock has a pearl crown and \"Gibson\" inlay and is fitted with Kluson Deluxe tuners.\u003cbr\u003e\u003cbr\u003eThis guitar carries a dark ambered sunburst in the top and back with dark-shaded sides typical of the early\/mid '50s. It still features all gold-plated hardware including the adjustable patent pending \"Les Paul\" trapeze style bridge\/tailpiece with the strings looping over a rolled steel bar, a defining element in its powerful tone. Other than this bridge, the ES-295 is essentially a flashier ES-175D featuring the same laminated maple body and mahogany neck of that model; visually this guitar is sort of a cross between the typical sunburst ES-175 and the cream-and-gold accented ES-295. \u003cbr\u003e\u003cbr\u003eGibson built 1,770 ES-295s between 1952 and 1958, but VERY few were finished in anything but gold, and only if a customer requested it. This particular guitar has a factory order number Z3093-30 indicating it was begun in 1952, but the serial number suggests it was not shipped until around June 1953, possibly delayed due to the non-stock finish order. In any case it is one of 637 sold in this, the model's single most popular year. \u003cbr\u003e\u003cbr\u003eThe ES-295 was famously the guitar played by Scotty Moore on Elvis Presley's iconic Sun records, and is often considered the ultimate Rockabilly guitar. The classic 1950s Ersel Hickey photo that epitomizes the Rockabilly aesthetic features him with his ES-295 and drape suit, the quintessential bopper. This special sunburst variation courtesy of \"Vic\" is still a \"Cool Cat's\" guitar, a super Gibson rarity and a great-playing\/sounding instrument to boot!\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/16 in. (40.8 cm.) wide at lower bout, and 3 3\/8 in. (8.6 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis practically unique, great-looking and playing 295 has tons of vibe but not too much wear; Vic definitely played his namesake guitar back in the day but for the most part it was well cared for. It did suffer a typical \"jack bash\" with damage to the lower side from a fall causing the output jack area to crack; this has been solidly but visibly repaired and presents no functional issues. \u003cbr\u003e\u003cbr\u003eApart from this one spot \"Vic\" retains all original finish and hardware and the guitar actually looks relatively clean for a 70+ year old gigged instrument. The finish shows typical pretty uniform checking overall, and there are small dings and chips but no major worn-away areas. The back of the neck has a some feelable dings and chips along its length with a particularly deep one on the inner curve of the heel. No strap button was ever added; perhaps Vic played sitting down. \u003cbr\u003e\u003cbr\u003eAll hardware and fittings are original and intact. Some of the gold plating is worn in with a nice patina, there are some minor chips to the painted underside of the pickguard. The plating is worn completely off the top of the tailpiece and the upper tailpiece leg behind it. The guitar retains the original thin frets that have been crowned down a bit with some wear; the fingerboard has some noticeable divoting in the lower positions but the guitar is still fully playable. Apart from the jack area there are no other apparent repairs.\u003cbr\u003e\u003cbr\u003eThis custom sunburst finished ES-295 is a really cool Gibson rarity; not in the expected finish but still original and in its own way as flashy as always; great-sounding with a fantastic vibe as well. Thanks Vic! It includes what appears to be an original brown HSC (although not exactly the standard 1953 Gibson pattern) with a period store tag from Erie, PA (where the guitar spent its entire life) under the lid. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853713363084,"sku":"13694","price":19500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a5f2d2b3-5675-4562-8049-74a0a66edb03.jpg?v=1774344318"},{"product_id":"gibson-l-4-arch-top-acoustic-guitar-1934-13826","title":"Gibson L-4 Arch Top Acoustic Guitar (1934)","description":"Gibson L-4 Model Arch Top Acoustic Guitar (1934), made in Kalamazoo, Michigan, serial # 1105 (FON), sunburst lacquer finish, maple back and sides, spruce top; mahogany neck with rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis lovely L-4 originally dates to 1934, a transitional time for the model as it evolved from its original 1910s oval hole format to the \"modern\" F-hole form it would eventually take in the later 1930s. This one is a unique example as it was rebuilt and refinished at Kalamazoo in late 1958; amazingly the paperwork for this survives intact providing not only full documentation of the guitar's current form but a fascinating window into Gibson's repair procedures at the time. \u003cbr\u003e\u003cbr\u003eInside a Gibson envelope postmarked November 17, 1958 are documents pertaining to this process. A quotation form from dated the same day lists the cost for a for new back, installed at $36.50, a new fingerboard installed at $27.50, new fingerrest and machine heads at 13.20 plus a complete refinish (\"while in process) at \"$30.25 add'l\". The total bill is noted in pen at $107.25. This document is signed in a lovely flourished hand by Gerald Woodworth, manager of the service department. (And incidentally isn't \"Woodworth\" a fabulous name for the manager of Gibson's service operation?)\u003cbr\u003e\u003cbr\u003eA card is included from Gibson postmarked Nov. 25 thanking the customer for approving the quotation on the 21st, and promising completion of the job by January 28 \"under our present schedule\". The customer noted on this card he mailed Gibson a check for the full amount on December 13. A receipt for this is also included, as are the railway shipping documents for the guitar's journey from California to Kalamazoo. While we have handled a number of guitars showing evidence of factory service over the decades, we have never had such a complete set of documents pertaining to the process before!\u003cbr\u003e\u003cbr\u003eWe would guess the original back was badly damaged taking the label and serial number with it (it would normally be noted on the service documents) but the ink-stamped Factory Order Number on the neck block survives confirming this as a 1934 instrument. At this time the L-4 was a 16\" round-hole archtop with a carved top and back, single bound, with a bound dot-inlaid fingerboard and pearl Gibson headstock logo and diamond \"stickpin\" inlay on the headstock. In 1933 the L-4, which had at one point been the second in line Gibson guitar below the L-5 at $150 was down-priced to a $100 midline instrument, with the new F-hole L-7 taking its old place in the catalog. This means the player who had the guitar re-worked at 1958 paid more for the work than the instrument cost when new! \u003cbr\u003e\u003cbr\u003eWith its 1930s build and 1950s finish and hardware this is quite the hybrid! The neck has a slim \"V\" profile quite different from both earlier and 1950s Gibsons, while the 1950s pickguard and finish dress up the 1934 guitar in a new suit. The round hole archtop in general is a somewhat unusual form offering a sound that has some of the character of both flattop and archtop guitars, which this one bears out. It is a very good sounding and playing L-4 with a surprising amount of power and a well-modulated tone even when pushed. Not only a fine guitar, this factory re-worked Gibson is a hybrid time capsule of two fantastic Gibson eras and a truly unique piece.\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/4 in. (102.2 cm.), 16 1\/8 in. (41 cm.) wide at lower bout, and 3 3\/8 in. (8.6 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis very clean guitar does not show evidence of a much use since its trip back from Kalamazoo in 1958. The now 68 year old \"new\" finish has some light dings, scratching and scuffing but no serious wear; this is most notable on the back. There are a few small additional dings and dents and that's about it. The hardware is original either to 1934 (notably the bridge and tailpiece) or 1958 except the tuners, which are modern repros of the \"keystone\" button Kluson Deluxe of that period. \u003cbr\u003e\u003cbr\u003eThe frets on the \"new\" fingerboard show only very light wear; the guitar plays very nicely with a surprisingly warm sound. The neck angle is shallow enough that the curved lower ends of the tailpiece hover close to the top, close enough to vibrate against it occasionally so there are small felt pads inserted there to damp this tendency. This is actually a surprisingly common situation with these, many of which seem to have been originally built with a fairly shallow neck angle. \u003cbr\u003e\u003cbr\u003eThis is a cool virtually one-of-a-kind piece mixing the 1930s and 1950s with impeccable documentation of its story in the form of the almost never preserved original Gibson paperwork. It lives in a later arched-lid Dreadnought HSC for security but the period (and pretty much non-functional) chipboard case it shipped back from Kalamazoo in is also included if desired; there is even some original 1950s Gibson tissue paper left inside! Overall Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853713395852,"sku":"13826","price":5500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8f209ceb-bc65-468e-bbf4-949adadc21df.jpg?v=1774344321"},{"product_id":"oscar-schmidt-stella-concert-flat-top-acoustic-guitar-1928-13614","title":"Oscar Schmidt Stella Concert Flat Top Acoustic Guitar (1928)","description":"Stella Concert Model Flat Top Acoustic Guitar, made by Oscar Schmidt, c. 1928, made in Jersey City, NJ, natural finish, original black chipboard case. \u003cbr\u003e\u003cbr\u003eOK, you say you got the blues? Well, this somewhat worn-in and super vibey Oscar Schmidt-made Stella guitar, yet another example of the endlessly varied pre-war instruments marked with this iconic blues-approved brand. It has been well used over close to 100 years but remains a fully playable icon and a direct link to the pre-WWII blues tradition. These inexpensive but solidly made Stella brand guitars were often the only decent instruments affordable to rural Americans of every stripe, and offered great looks and good sound for the money. When asked decades later what guitars the pre-war bluesman he championed played, early talent scout H.C. Speir responded \"Stellas, they all played those old Stellas\".\u003cbr\u003e\u003cbr\u003eOver a production history from the late 19th century into the mid-1930s, the Oscar Schmidt factory in Jersey City produced seemingly endless variations of their Stella and Sovereign branded guitars. This is a concert sized guitar built of an interesting mix of woods (oak, spruce and poplar mostly) with fairly plain cosmetics. The figured oak body is very attractive but somewhat uncommon for a Schmidt made guitar, this timber is more often associated with Chicago makers like Lyon \u0026amp; Healy. This instrument carries the classic yellow \"Stella Guitar\" label in the soundhole, the earlier version showing two musicians presumably enjoying their Stella instruments with no additional text. \u003cbr\u003e\u003cbr\u003eThe spruce top has multiple layers of trim around the outer edge and soundhole with the edges bound in white. The figured oak back is not bound, but ornamented with a decal backstrip running down the center. The dyed maple floating bridge and flat-plate metal tailpiece are original with a later saddle. The tuners are standard period strips but with the shafts peened to the gears instead of screwed, another oddity more typically seen on Lyon \u0026amp; Healy instruments. \u003cbr\u003e\u003cbr\u003eInternally, the construction is typically Schmidt\/Stella including the 'lazy\" square un-mitered kerfing under the top. The 13 7\/16\" wide 12-fret body has a ladder braced spruce top with a large flat bridgeplate in the classic Stella mode. The 24 3\/4\" scale neck is slimmer than some Schmidt guitars with a much softer \"V\" profile than most of the Stella models we have handled, giving this one a much less archaic feel. The ebonized fingerboard has plain pearl dot inlay and an ebonized maple nut. \u003cbr\u003e\u003cbr\u003eThis is a very good playing and sounding guitar of its type. Like many Stellas it seems happiest in open tunings and is perfectly suited to the sort of pre-war blues and hillbilly stylings that make players lust after an original Stella in the first place. This is a genuine relic rough-but-ready showpiece that would stand out in any context!\u003cbr\u003e \u003cbr\u003eOverall length is 37 in. (94 cm.), 13 3\/8 in. (34 cm.) wide at lower bout, and 3 9\/16 in. (9 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 7\/8 in. (48 mm.). This guitar is structurally solid and a very good player, somewhat worn in but with these Stellas the funk of the ages is a big part of the story. It appears to have been played for decades, with some older typical repair work but nothing tragic. The original varnish finish has VERY heavy checking with some general wear just about everywhere. The top finish is worn through from picking below the strings and the back has some odd zig-zag lines that appear to be an eccentric case of vinyl strap burn. Still, the only non-original component is the replaced bridge saddle, all else seems as it was built. \u003cbr\u003e\u003cbr\u003eThe original small frets are intact, lightly crowned and not much subsequently worn and quite playable. There is only light wear to the dyed fingerboard, mostly on the edges. The neck has been reset, the action very good and the guitar is perfect for the types of blues picking Stellas are De rigeur for. There are no cracks in the top or back; a long split on the mid-upper side and another short one on the kerfing line below the heel are solidly sealed up. Some errant glue is visible around the heel. The interior is clean and intact as Schmidt made it and has not been altered of re-braced as many have. \u003cbr\u003e\u003cbr\u003eThis old Stella plays today at least as well (probably better) than it did 100 or so years ago and has strong enough mojo for anybody who has ever coveted an old Paramount 78 to be self explanatory. While it won't replace anyone's Martin as an everyday guitar, if you want a real relic of when blues was only heard in the street, plantation or on shellac discs this is it. It even includes (improbably) a correctly fitted period) chipboard case that has somehow survived more or less intact for 90 or so years. Very Good + Condition.","brand":"Oscar Schmidt","offers":[{"title":"Default Title","offer_id":46853713526924,"sku":"13614","price":1750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ee522cd1-d197-470b-8614-549598be0931.jpg?v=1774344329"},{"product_id":"gibson-sj-200-flat-top-acoustic-guitar-1951-13333","title":"Gibson SJ-200 Flat Top Acoustic Guitar (1951)","description":"Gibson SJ-200 Model Flat Top Acoustic Guitar (1951), made in Kalamazoo, Michigan, serial # A-9066, sunburst lacquer finish, maple body and neck, spruce top, Brazilian rosewood bridge and fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is beautifully weathered and worn in SJ-200 is a super vibey showpiece and simply a great sounding and playing guitar. In the 1940s and '50s this model was Gibson's \"King of the Flat Tops\"; if you were any sort of singing cowboy or cowgirl you had one of these or a Martin Dreadnought if you wanted to be worth your boots and saddle! The model was launched in the later 1930s but really came into its own after WWII, still a Gibson showpiece in the 21st century.\u003cbr\u003e\u003cbr\u003eThis SJ-200 originally shipped out of Kalamazoo in November 1951, one of 131 sunburst SJ-200s sent into the world that year. The SJ-200 was already the choice of many country stars (notable Eddie Arnold) and went on to become a favorite of many early rockers as well. Elvis Presley famously had a natural J-200; The Everly Brothers adopted twin sunburst models for their duets, and the J-200 became enshrined as the #1 Rock \u0026amp; Roll rhythm guitar. It also remained a top C\u0026amp;W singer's choice, the best six-string companion to a Nudie suit.\u003cbr\u003e\u003cbr\u003eThis one has typical features for the early 1950's, retaining more of a 1940s look with a noticeably darker sunburst lacquer finish over the beautiful burl maple back and sides and even grained spruce top. The top is multi-bound and decorated with the unique floral-engraved tortoise celluloid pickguard; this is the earlier fancier version with an extra line around the perimeter made of somewhat darker celluloid. The top also features the redoubtable \"moustache\" bridge with multiple pearl inlays, another hallmark of the model. This 1951 example retains the earlier lighter top bracing pattern with a single \"X\" under the bridge. In 1952 this was beefed up with a second smaller \"X\" added under the fingerboard and generally heavier construction.\u003cbr\u003e\u003cbr\u003eThe 25 1\/2\" scale laminated maple neck has a bound rosewood fingerboard with \"crown\" inlay and a pointed end. This one has a slightly chunkier round-backed feel than some later J-200 necks we have felt, a very solid and comfortable handful. The single-bound headstock has a pearl Gibson logo and \"crown\" inlay over the deluxe L-5 style wide-bordered truss rod cover. The gold-plated tuners with keystone button are the earliest version of the familiar enclosed Kluson Deluxe machine with no shaft hole on the inner side of the cover. There is a great original banner shaped store sticker on the back of the headstock reading \"PLACE MUSIC COMPANY-Place the place, it's place's place\". \u003cbr\u003e\u003cbr\u003eThis \"King of the Flattops\" was Gibson's priciest non-carved acoustic guitar listed at a whopping $315 in 1951, plus $55 for the deluxe #600 \"Faultless\" plush-lined case. It was designed to power an entire band and look great doing it, the ultimate front person's guitar. The SJ-200 is still unsurpassed in that role and a fantastic live or recording guitar when a powerful rhythm sound is the job to be done. Someone got a lot of use out of this one but also took good care of it; it is a splendid survivor and a fabulous instrument by any standard. It sounds both incisive and rich, with punch and depth in equal measure, easily one of the best sounding SJ-200s we have had.\u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/4 in. (107.3 cm.), 17 in. (43.2 cm.) wide at lower bout, and 4 15\/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 25 5\/16 in. (643 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis 75 year old \"real relic\" veteran SJ-200 has some noticeable wear, most heavily to the top and some typical minor repair but remains otherwise original and unaltered. The original lacquer finish shows dings, scrapes and dents overall, by far the heaviest of which are to the top. There is considerable evidence of heavy strumming \"back in the day\" with pickwear well into the wood above and below the fingerboard as well as all around the pickguard and soundhole rim. These areas appear to have been discreetly tinted to appear less conspicuous but not overfinished. The sides and back are comparatively clean (there is not typical cowboy belt buckle wear) with surface scuffing and scratching but no deep wear areas. \u003cbr\u003e\u003cbr\u003eThe back of the neck has small dings and dents over its length and the finish worn down to the wood from play mostly in the first position, where the original owner seems to have spent most of their play time. The beautiful engraved pickguard has some pick scuffing on the forward upper areas and two very small spots of celluloid deterioration, one at the upper back corner and the other at the lower center point. These have been stabilized with a tinted epoxy to help stave off further distress. \u003cbr\u003e\u003cbr\u003eThere are some relatively minor repairs, but no structural issues. The top has a long sealed grain split all along the upper edge of pickguard which has been fully closed and delicately cleated, this is only visible externally between the pickguard and bridge. There is a small grain split to the back off the bass side of the neck block, and a longer crack in the treble side waist; these are sealed with no cleats and some light topical touch up on the side only. There is a plugged jack hole on the lower rim in the typical spot, sealed but visible and two plugged strap button holes on the heel which are very neatly touched up. No other cracks are apparent on the instrument. \u003cbr\u003e\u003cbr\u003eThe guitar has never had the neck reset, the angle is good and the bridge appears solid and never reglued. Internally the fairly small maple bridge plate remains intact as are the bridge securing bolts. A number of braces have been neatly reglued on the back and sides. \u003cbr\u003e\u003cbr\u003eYou can't fake the vibe of this SJ-200; it has simply has the sound and character played into it. It is a great example of the cowpoke's companion with a huge ringing but still deep sound, possibly the best sounding post-WWII SJ-200 we have had although not the cleanest looking. A strummer's delight, a TRUE country\/western guitar and majestically vibey even without a Nudie suit! It comes in the original pink lined brown Lifton hardshell case, which is in one piece but heavily battered with some of the lower edges literally worn away. A sturdy modern case is included as well. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853713559692,"sku":"13333","price":22500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_2ebe7af2-a8cc-4ec4-9e1b-64fce820df8b.jpg?v=1774344331"},{"product_id":"paramount-style-e-tenor-banjo-1927-13719","title":"Paramount Style E Tenor Banjo (1927)","description":"Paramount Style E Model Tenor Banjo (1927), made in New York City, serial # 10250, natural varnish finish, laminated white holly rim and neck, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a fantastic and beautiful original example of the rare and very fancy Paramount Style E, one of William Lange's high end models. The Style E is also one of Paramount's most attractive designs, a blonde holly wood gem richly decorated with elaborate marquetry including chain pattern wood edging, wood binding, and brightly colored wood inlay. The multilaminate neck has a fully carved heel, carved peghead back and multilayered wood binding with extremely fancy engraved pearl inlay on headstock and rosewood fingerboard.\u003cbr\u003e\u003cbr\u003eAll metal parts are \"quadruple\" gold plated and elaborately hand engraved. The fragile original gold-plated Page tuners with pearl buttons are intact and functional, as are the Paramount adjustable tailpiece and \"hot dog\" armrest. Selling originally for $290 - at the time a Ford model T automobile cost $260 -- the Style E is an extremely fancy top-grade professional Tenor Banjo from that instrument's heyday affordable only to the most serious professional users.\u003cbr\u003e\u003cbr\u003eParamounts were the most important orchestra banjos of their day which introduced the salient features of the modern resonator banjo to the world. These instruments were firm favorite with professional jazz musicians in the 1920's and are frequently seen in period photographs, especially with the pioneering African-American Jazz Orchestras of the period. The Style E represents the full flowering of this opulent tenor banjo era; an extremely fancy top-grade professional Tenor Banjo from the instrument's heyday, and as fine an \"orchestra banjo\" as there has ever been.\u003cbr\u003e \u003cbr\u003eOverall length is 34 1\/2 in. (87.6 cm.), 11 1\/4 in. (28.6 cm.) diameter head, and 3 1\/2 in. (8.9 cm.) in depth, measured at side of rim. Scale length is 23 in. (584 mm.). Width of nut is 1 1\/4 in. (32 mm.). \u003cbr\u003e\u003cbr\u003eThis banjo remains in fine original condition, showing some typical play wear overall and no alterations. It was recently acquired from the original owner's family, and has not been played for decades. The finish has some general playwear and checking, with dings and scratches to the resonator back and walls and some wear-through on the back of the neck. A tiny piece of marquetry is gone from the resonator lip just below the heel, and the lower edge has some finish flaked off. A good amount of the oft-flaking clear lacquer over the engraved pearl on the headstock face remains intact.\u003cbr\u003e\u003cbr\u003eThe heavy gold plating has a lovely deep amber patina with some areas of loss (most heavily on the armrest, which is down to bare metal on the top) and minor discoloration. All hardware is original and functional including the hinged adjustable tailpiece and the fragile Page tuner housings. The typically very thin original Paramount frets are intact with only minor wear. The fine engraving on the fingerboard inlays is largely intact, with some of the black fill lost.\u003cbr\u003e\u003cbr\u003eAll in all this is one of the nicer examples of a high-grade Paramount we have had, and plays and sounds exactly as it should. Set up with a modern Fiberskyn head this is a truly stunning and splendid 1920's piece of tenor banjo art, and a great piece of New York Jazz age history. It resides in a very worn but solid OHSC with the trademark Paramount double pockets and zipper lining. Overall Excellent - Condition.","brand":"Paramount","offers":[{"title":"Default Title","offer_id":46853713657996,"sku":"13719","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_bd0a59fa-1388-4b1f-8c41-9554b85f620f.jpg?v=1774344335"},{"product_id":"fender-electric-xii-12-string-solid-body-electric-guitar-1965-13827","title":"Fender Electric XII 12 String Solid Body Electric Guitar (1965)","description":"Fender Electric XII Model 12 String Solid Body Electric Guitar (1965), made in Fullerton, California, serial # 106244, sunburst lacquer finish, alder body, maple neck with rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThe \"Electric XII\" is not one of Fender's best-remembered creations but is a superbly designed and extremely practical 12-string guitar. Introduced at the July 1965 NAMM Show at the dawn of the CBS era the Fender XII married the popular Jaguar\/Jazzmaster style offset body to a new neck with a distinctive extended headstock, quickly nicknamed the \"hockey stick\" for obvious reasons. Prototypes and pre-production examples were built earlier in 1965, but as with many Fenders the main production seems to have begun in the fall, with the great bulk built in 1966. \u003cbr\u003e\u003cbr\u003eThe XII's electronics are unique for a guitar with two pickups each with two separate coil units, as pioneered by the Precision Bass wired to a 4-way selector setup. The elaborate bridge is a marvel of Leo Fender's design prowess; it strings through the body with 12 staggered-height, intonation-adjustable saddles and is generally considered the best of its kind.\u003cbr\u003e\u003cbr\u003eThis early sunburst example has no date stamp on the neck heel (unusual but not unknown in the early CBS era) but the pots are coded to the 16th and 30th weeks of 1965. The neck itself has a 1 11\/16\" nut width and feels slightly chunkier than many later examples we have had, the tuners were originally Kluson Deluxes not the Fender-made \"F\" tuners seen on most examples. This guitar has a wiring quirk we have encountered with other early XII's from 1965; the selector is mis-wired not effecting one of the two pickup combinations. This is a factory error and can be corrected if desired, but for now we have left it untouched original.\u003cbr\u003e\u003cbr\u003eDespite a well-thought and harmonious out design Fender missed the boat a bit on the electric 12-string fad and by the time the \"Electric XII\" came to market in quantity Rickenbacker had already mostly reaped the benefit of the Byrds and Beatles popularization of the sound. For all that, the Fender is often considered the best-playing electric 12 of the 1960s, an excellent sounding stage or recording instrument albeit without exactly capturing the Rick's trademark jangle. Led Zeppelin, the Velvet Underground, The Move, The Kinks, Herb Alpert's Tijuana Brass, the Baja Marimba Band and many others have made classic recordings with this model, and much of its potential is perhaps still untapped.\u003cbr\u003e \u003cbr\u003eOverall length is 42 7\/8 in. (108.9 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 1\/2 in. (3.8 cm.) in depth, measured at side of rim. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis XII is relatively clean overall with some light wear, mostly minor fade to the sunburst with dings, dents and scrapes scattered around, heaviest as usual on the body edges. The back of the neck has a few small dinks but nothing major. The tuners were once changed to mini-Schallers but have been restored with repro Kluson Deluxe machines; there are light compression rings on the headstock face but no errant screw holes. All other components including pickups and pots remain original. \u003cbr\u003e\u003cbr\u003eThis one has a very good straight neck and the original frets have been crowned with just a bit of wear showing. This is a very supple playing and fine sounding example of this distinctive Fender creation, not the absolute cleanest but about the best player we have had. It rests in a later modern black Tolex HSC. Overall Excellent Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853713920140,"sku":"13827","price":6500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_4653ece5-ccc4-447c-bc8c-73336f2dcac0.jpg?v=1774344339"},{"product_id":"regal-serenader-concert-size-flat-top-acoustic-guitar-1928-11950","title":"Regal Serenader Concert Size Flat Top Acoustic Guitar (1928)","description":"Serenader Concert Size Model Flat Top Acoustic Guitar, made by Regal, c. 1928, made in Chicago, natural lacquer finish, rosewood back and sides, spruce top; mahogany neck with ebonized fingerboard, original black chipboard case. \u003cbr\u003e\u003cbr\u003eThe variety of instruments built by the Regal company of Chicago seems never ending; just when you think you've seen everything up comes something new. While mostly remembered for low budget instruments Regal also crafted some of the finest guitars to come out of Chicago in the 1920s and '30s. Many were built for sale under other names, and sometimes (as in this case) they bear no brand at all.\u003cbr\u003e\u003cbr\u003eThis fancy pearl-trimmed flat top appears practically identical to the \"Serenader Concert Size\" guitar illustrated in the 1929 Montgomery Ward catalog, except that model is described as having \"Genuine mahogany\" back and sides where this is made of rosewood. That model was priced at $24.95; this rosewood instrument would have had to be somewhat costlier simply due to the materials. We don't know if this is also a Ward's model or was made for another jobber, but based on the illustration at least cosmetically the instruments are indistinguishable. \u003cbr\u003e\u003cbr\u003eThis fancy concert-sized guitar has no label, number or other branding. The back and sides are made of a surprisingly fine grade of solid and beautifully straight grained rosewood which was not cheap even in the 1920s! The spruce top is ladder braced, strikingly trimmed all around with a wide band of colorful abalone with celluloid outer binding. The soundhole is bound with chain pattern marquetry bordering an thinner abalone ring. The back is single bound with a simple wood backstrip, the ebony bridge is a typical Regal rectangular pattern. \u003cbr\u003e\u003cbr\u003eThe one-piece mahogany neck has a fairly slim soft \"V\" profile; the ebonized fingerboard is single bound with an elaborate \"tree of life\" pearl inlay pattern from the 3rd to 11th frets and some dots added above and below for good measure. The narrow slotted headstock is bound and faced in rosewood with some small inlaid pearl pieces. The tuners are the same engraved Waverly strips used on 1920s Martins and Nationals, again a fairly expensive fitting.\u003cbr\u003e\u003cbr\u003eWhile not as delicately built as a 1920s Martin (or even a top-grade Harmony Supertone) this is a well made pre-war rosewood guitar with high grade materials, very fancy pearl trim and a good sound. It serves well as a fingerpicker for pre-war blues stylings and other period sounds and is stout enough to respond to heavier flatpicking as well.\u003cbr\u003e \u003cbr\u003eOverall length is 37 3\/16 in. (94.5 cm.), 13 5\/8 in. (34.6 cm.) wide at lower bout, and 3 7\/8 in. (9.8 cm.) in depth at side, taken at the end block. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 25\/32 in. (45 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar show a some typical wear and a decent amount of mostly older repair work overall but remains a nice playing and sounding instrument. The lacquer finish remains largely original on the back and sides, with one decent sized area of overfinish on the lower back related to crack repairs there. There are dings, dents and scratches to the back and sides but no really heavy wear. The top shows some noticeable picking wear and looks to have had some light French polishing done related to a number of crack repairs. The back of the neck is heavily worn down to the wood on the sides and spine with a number of feelable dings and dents.\u003cbr\u003e\u003cbr\u003eThere are several mostly older crack repairs. The top has four straight spruce grain splits running from the back side of the bridge to the back edge, with the longest one on the bass side extending forward of the bridge almost to the soundhole. Closer to the edge of the lower treble bout there is another fairly long grain split, with a couple of small ones right off the edge. These are all sealed with some fairly extensive cleating work underneath; this looks like older work and they not completely lined up as neatly as they might have been. \u003cbr\u003e\u003cbr\u003eThe rosewood back has a sloppily sealed crack off the lower treble bout edge, which looks to have taken a hit long ago. This is accompanied by an area of finish disturbance around it from an ancient overfinish. The side\/bottom seam in this area was resealed as some of the binding is not perfectly seated, and there is some of that old overfinish in this area as well. There are several smaller grain splits in the center of the back, neatly sealed with no overfinish and cleated with cross-grain rosewood. \u003cbr\u003e\u003cbr\u003eThe neck has been reset and the bridge is a repro in the correct style but with an angled bone saddle. Internally the original long narrow Stella-style maple bridge plate has been replaced with a thin but deeper maple piece to better stabilize the top; the original ladder braces are intact. This guitar seems well enough suited to steel strings and is a good playing instrument with a surprisingly sweet and fairly powerful sound. It would also offer a deeper, mellower tone if strung with silk \u0026amp; steel. This is far from a pristine instrument but a nice player's example of a higher grade Regal guitar, one of the fancier we have had. It lives in what appears to be the original worn chipboard case. Overall Very Good + Condition.","brand":"Regal","offers":[{"title":"Default Title","offer_id":46853714083980,"sku":"11950","price":2450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_81d14823-9acb-433c-9d0b-414871b25b6f.jpg?v=1774344349"},{"product_id":"gibson-es-335td-semi-hollow-body-electric-guitar-1972-13792","title":"Gibson ES-335TD Semi-Hollow Body Electric Guitar (1972)","description":"Gibson ES-335TD Model Semi-Hollow Body Electric Guitar (1972), made in Kalamazoo, Michigan, serial # 745798, cherry sunburst lacquer finish, laminated maple body, mahogany neck with rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis example of Gibson's classic ES-335TD was made in the early 1970's but still retains much of the feel of a late '60's instrument. It features a laminated maple body finished in a fairly lively cherry sunburst, nicely blended with a subtler shading than some; there is even a bit of flame figure to the top. Other features include the three-piece laminated mahogany neck with a bound, block inlaid rosewood fingerboard, chrome-plated Tune-O-Matic bridge and tailpiece, two Gibson T-top \"Patent Number\" humbucking pickups with the covers removed, \"amp\"-style black molded knobs and the small white-and-purple rectangle label used in that period.\u003cbr\u003e\u003cbr\u003eThe back of the neck has the volute and \"Made in USA\" stamp typical of '70s instruments; the narrow 1 9\/16 nut width is in place as it had been since late 1965. This guitar shows only fairly minor play time and remains clean and original, showing only minor wear for 50+ years of use. It remains a great-sounding and playing instrument, perhaps not from Gibson's more esteemed \"Golden Era\" but a serious player's guitar still.\u003cbr\u003e \u003cbr\u003eOverall length is 41 3\/4 in. (106 cm.), 16 in. (40.6 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003eThis is a clean and largely original guitar showing just some very light wear overall. The all-original finish is very well preserved with some minor scuffing overall and a few small dings and dents; some scuffing is also present on the pickguard. The seams of the heel joint have some minor glue fill visible, but there is no movement to the heel. There are some small laminate checks to the wood on the top beside jack and upper bridge post, and some deeper dings on the back of the neck behind the 10th fret area.\u003cbr\u003e\u003cbr\u003eThe chrome covers were removed from the original Patent # pickups, and it looks line an extra piece of electrical tape was wrapped around the coils to protect them. That was a \"Thing to do\" in the 1970s. The bridge is the correct style chrome Tune-O-matic but unmarked so an aftermarket replacement. The pickguard bracket has no outer nut but all else appears original. The chrome plating is very nice as well, with only light wear. \u003cbr\u003e\u003cbr\u003eThe original frets have been crowned down a bit; they and the fingerboard show very little wear and this is an excellent player, with the caveat that the neck is the very slim profile of this period. This 335 is a nice piece from Gibson's early 1970's arsenal, a fine feeling and sounding guitar housed in a nice original HSC. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853714116748,"sku":"13792","price":4950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3f11a78a-a747-4c40-beca-42622ebfd2cd.jpg?v=1774344351"},{"product_id":"edd-presnell-3-string-appalachian-dulcimer-1960s-13495","title":"Edd Presnell 3-String Appalachian Dulcimer (1960s)","description":"Edd Presnell 3-String Model Appalachian Dulcimer, c. 1960s, made in Banner Elk, North Carolina, natural finish, cherry top, walnut back and sides, handmade gig bag case. \u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"850\" height=\"567\" src=\"https:\/\/www.youtube.com\/embed\/TcElzej61aI\" title=\"Ed Pressnell: Dulcimer Maker\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eIn Appalachian North Carolina, Watauga County to be exact, dulcimer building and homegrown lutherie often ran in the family with a handful of recognizable surnames popping up regularly on labels as the craft was passed from generation to generation. Among those surnames was Presnell, beginning with Eli Presnell who is said to have circulated the design of the traditional hourglass body dulcimer around the area after learning its design from a Westward stranger. Edd Presnell was born in 1914 in Banner Elk, North Carolina. Also a maker of toys and other small wooden goods, Edd is said to have made over 1,000 instruments in his life alongside his wife Nettie, a dulcimer player and builder who herself came from the \"Hicks\" family of Dulcimer builders.\u003cbr\u003e\u003cbr\u003eThis is a pretty straightforward but nicely constructed example of a classic 3-string Appalachian dulcimer made with a cherry top with walnut back and sides. Matching hand carved tuners are nestled into a cherry scroll headstock; the darker wood friction pegs and nut appear to be rosewood, which would be uncommon but very special. Presnell may have kept a small amount of this exotic wood around to give his dulcimers a little something special in the details or for more deluxe special orders, but it is also possible that these were replaced at some point and upgraded from what would have presumably been cherry pegs. The strings pass over original, minimally worn frets and a possibly non-original rosewood bridge to a single metal nail endpin. It has a traditional hourglass shaped body and the ever-charming heart shaped soundholes.\u003cbr\u003e\u003cbr\u003eThe hardworking Edd was, like so many of the other dulcimer makers in his community, also a ballad singer and folklorist; he and Nettie were awarded the Brown-Hudson Folklore Award in 1974 for dulcimer making and woodcarving. He stopped making dulcimers in the latter years of his life and passed away in 1994 shortly followed by his lifelong partner Nettie in 1997. Yet a bit of Edd lives on; all photographic and video evidence of him features a wild and bushy beard, and he is said to have glued a strand of his beard hair in every instrument. We cannot confirm whether or not this dulcimer has any beard hair inside, but it is still a gem from Edd's bench.\u003cbr\u003e \u003cbr\u003eLength is 34 3\/4 in. (88.3 cm.), 6 1\/4 in. (15.9 cm.) wide at lower bout, and 3 1\/4 in. (8.3 cm.) in depth at deepest point. \u003cbr\u003e\u003cbr\u003eThis is a well-preserved example of a higher quality genuine handmade dulcimer. The wood has a few scratches and dings here and there from use over the years, but no major flaws and no visible history of repairs. There are minimal signs of use and an absence of any even factory tooling marks, and the finer details display Presnell's growing craftsmanship. The whole unit held close emits a faintly sweet woody aroma and plays very well.\u003cbr\u003e\u003cbr\u003eThe hand-carved tuners are carved from some slightly darker stained wood that still appears to be cherry, and as noted the bridge (which may not be original) is a small sliver of rosewood. The original quite large frets show small traces of wear with plenty of life left in them. There is a large and verbose label inside the lower treble side soundhole; it is still legibly from Mr. and Mrs. Edd Presnell, but it is otherwise quite worn and not the easiest to read and no exact date is visible. It would almost certainly have not left the shop in an original bag or case, but it now cozily resides in an specially ordered Amish-made dulcimer bag. A copy of a Presnell genealogy writeup is included, though Edd is not on it. Excellent Condition.","brand":"Edd Presnell","offers":[{"title":"Default Title","offer_id":46853714149516,"sku":"13495","price":650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_6dc20bd6-fcbe-4c4a-a359-e370ac2064ac.jpg?v=1774344353"},{"product_id":"gibson-es-330tdc-thinline-hollow-body-electric-guitar-1963-13814","title":"Gibson ES-330TDC Thinline Hollow Body Electric Guitar (1963)","description":"Gibson ES-330TDC Model Thinline Hollow Body Electric Guitar (1963), made in Kalamazoo, Michigan, serial # 109753, cherry lacquer finish, laminated maple body; mahogany neck with rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice original example of a cherry-finish ES-330TD from 1963, a very good year for Gibson! The ES-330TDC has a classic set of mid-line Gibson features, but a distinctive feel. This one is equipped with a period Bigsby vibrato tailpiece, so while somewhat heavier offers a bit of extra sauce sonically! The Bigsby is actually gold plated (though most of it is worn off) and though not a factory fitting is a period-appropriate one.\u003cbr\u003e\u003cbr\u003eWhile grouped with the thin-line semi-solid 335 range this is actually a very different instrument to play. The slim double-cutaway single-bound body is fully hollow without any center block, making it much lighter and more resonant. This also led to another distinguishing feature of the 330, the neck joining the body farther in at the 16th fret to allow the joint to be stronger. This one was made earlier in 1963 and retains an evolved version of the flatter, wide profile neck that Gibson used in 1960-62.\u003cbr\u003e\u003cbr\u003eThis guitar has typical period details including a medium cherry finish overall, bound rosewood fingerboard with pearloid block inlay and nickel-plated hardware including the tune-o-matic bridge and trapeze tailpiece. The tuners are single enclosed Kluson deluxe with plastic buttons. Two P-90 pickups under nickel-plated covers are mated to the standard Gibson wiring rig, with the 1960's style \"capped\" plastic tone and volume knobs and white switch tip. Just the previous year the ES-330 switched from a dot-inlaid neck with plastic pickup covers to this configuration. \u003cbr\u003e\u003cbr\u003eThe double pickup ES-330 is a great sounding very versatile guitar at home in many musical situations. Despite being intended by Gibson as an \"amateur\" instrument (the least expensive of the double-cutaway thinlines) the 330 has been heard on countless classic records in many styles of music since its introduction in 1959. Jazz great Grant Green used this model extensively on his most well-regarded early-1960's recordings. A number of period bluesmen have been spotted with 330's as well, including occasionally B.B. King, Chuck Berry and most notably Slim Harpo, who is nearly always pictured with one. \u003cbr\u003e\u003cbr\u003eThe ES-330 and its nearly identical sister guitar the Epiphone Casino were also featured by countless '60's British invasion bands including the Beatles, Rolling Stones, Kinks, Manfred Mann, the Merseybeats and many more. With added the Bigsby this one definitely has a \"Beat-era\" feel and is ready to rock on for the next 60+ years.\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/2 in. (102.9 cm.), 16 in. (40.6 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis cherry red thinline has been around over 60 years; it shows some general wear and tear but still plays fine. Overall there is typical checking to the finish with a collection of dings, scrapes and dents; a larger belt buckle wear spot is evident on the back. The back of the neck is well worn down to the wood, with some dings and dents largely worn smooth again. The ES-330 originally had no forward strap button; this one had a standard Gibson style pin added on the back of the heel. \u003cbr\u003e\u003cbr\u003eAs noted a Bigsby tailpiece was added long ago, likely when the guitar was new. It was originally gold plated but much of that is worn off, and there is a license # lightly etched into the treble side of the baseplate. The tuners are repros of the correct period Kluson Deluxe machines re-installed in place of something else with some scars visible; the Tune-O-Matic bridge and pickguard bracket are correct style repros as well. The other hardware remains original, the nickel plating showing some general wear. \u003cbr\u003e\u003cbr\u003eThis 330 definitely has some adventures along the way, but has a great vibe. The guitar has been refretted and the fingerboard shows some residual wear but remains an excellent playing and sounding guitar, complete in an original yellow-lined HSC. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853714215052,"sku":"13814","price":7500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_bf830291-c0a4-48b3-ab11-0a95ce98b5d2.jpg?v=1774344357"},{"product_id":"c-f-martin-5-18-flat-top-acoustic-guitar-1951-13084","title":"C. F. Martin 5-18 Flat Top Acoustic Guitar (1951)","description":"C. F. Martin 5-18 Model Flat Top Acoustic Guitar (1951), made in Nazareth, PA, natural lacquer finish, mahogany body and neck, spruce top; Brazilian rosewood fingerboard and bridge, original black chipboard case. \u003cbr\u003e\u003cbr\u003eThe model 5-18 is Martin's entry into the all-time cutest guitar sweepstakes, and a very playable and good-sounding professional quality instrument despite its diminutive size. The \"modern\" 5-18 is built from the company's 19th century terz guitar patterns, with an 11\" body and short scale just over 21\". It carries standard Style 18 features with a mahogany back, sides and neck, spruce top, rosewood fingerboard and bridge and tortoise celluloid trim. With appeal beyond its obvious suitability for young students, the 5-18 was steadily produced -- albeit in small numbers -- for much of the 20th century. The guitar was a surprisingly solid seller through the 1950s, averaging over 100 units per year. In 1951 an even 150 were shipped out; 1950 had just been the model's all-time best year.\u003cbr\u003e\u003cbr\u003eWith a sparkling sound and unmatched portability, this littlest Martin remains a well-regarded instrument today for travel, recording, and even live use. Dolly Parton has been a longtime fan, seen numerous times with a 5-18 over the years. Marty Robbins was particularly fond of this model in the late 1950s and was often seen with one, sometimes strumming and sometimes paddling up an imaginary stream! This early '50s 5-18 is built just a bit lighter than later examples with a livelier sound than some, not much worn and just a lovely original little guitar.\u003cbr\u003e \u003cbr\u003eOverall length is 33 3\/8 in. (84.8 cm.), 11 1\/4 in. (28.6 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 21 3\/8 in. (543 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis is a fine playing and lovely original example of this delightful miniature Martin, showing only light wear and no major repair; it simply appears not much used over the last nearly 75 years. The all-original finish has some small checking and scattered dings, scrapes and chips but no large areas of wear. Structurally the guitar is excellent with a couple of minor brace reglues but no cracks anywhere. If there was ever a neck reset it was an exceptionally clean job, and the original rosewood bridge has never been cut down or reglued. This is a sweet but punchy sounding example of this diminutive gem, absolutely one of the nicest we have ever had complete in its original \"Bull's Head\" chipboard case. Overall Excellent Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853714247820,"sku":"13084","price":5500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_82793523-d3a6-4810-873a-498087b9d6cc.jpg?v=1774344359"},{"product_id":"gibson-sg-special-solid-body-electric-guitar-1969-13612","title":"Gibson SG Special Solid Body Electric Guitar (1969)","description":"Gibson SG Special Model Solid Body Electric Guitar (1969), made in Kalamazoo, Michigan, serial # 894544, cherry lacquer finish, mahogany body and neck, rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very nice example of the later 1960's style SG Special, clean overall and an excellent player. The guitar mounts two hot P-90 pickups in the larger pickguard adopted in 1966, when the SG series was redesigned to use a single universally routed body for all variants. It also has the streamlined and much more solid neck joint adopted at the same time, which finally cured the heel issues that often plagued earlier SG's. The cherry finish is darker than earlier examples, with an almost burgundy hue. \u003cbr\u003e\u003cbr\u003eThe bound, dot inlaid neck is a slim 1 9\/16\" at the nut as is typical of the later '60's, but gets much chunkier as it approaches the body. It also has a very early example of the first \"soft\" volute on the back, a new 1969 idea for Gibson at the time that would become more prominent in 1970. \u003cbr\u003e\u003cbr\u003eThe guitar carries all chrome hardware, including the \"short\" Vibrola and solid bridge that were standard fittings used throughout the '60's. The plastic \"Witch Hat\" amp style knobs are particular to this later '60s period. The only hardware not original are the Kluson Deluxe strip tuners; this guitar has had several tuner fittings over the decades. The pickups are the original P-90's mated to an untouched wiring rig with pots dated the 34th week of 1969.\u003cbr\u003e\u003cbr\u003eThe SG Special was and remains a very popular guitar, with good reason -- anyone who has seen live footage of The Who in the late '60s knows what these ultra light and responsive Specials are capable of! This is a very nice example of one of the classic rock guitars of that or any era; more versatile than many think, with a \"special\" sound unto itself.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 19 in. (48.3 cm.) wide at lower bout, and 1 5\/16 in. (3.3 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003eOverall this is a very nicely preserved instrument, showing some minor wear but really not that much use over 55+ years remaining in excellent playing condition. The finish has hardly any checking and just small dings, dents and chips but no large areas of loss; the back has some light curly cord marks. There are some scuffs and scratches to the plastic pickguard and pickup covers but again no heavy wear.\u003cbr\u003e\u003cbr\u003eThe tuning machines have been restored to period Kluson Deluxe strips; there are small scars to the headstock back and face from several prior tuner installations. That was the only alteration done to the guitar. The frets are in excellent shape and the neck angle is quite good. This is a super light and handy guitar, a real screamer with a lot of sound for the pound complete in the original deluxe rectangular HSC. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853714608268,"sku":"13612","price":5950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e82ba018-14f0-461c-b8be-d7611eebc15f.jpg?v=1774344363"},{"product_id":"weber-yellowstone-carved-top-mandola-2000-13772","title":"Weber Yellowstone Carved Top Mandola (2000)","description":"Weber Yellowstone Model Carved Top Mandola (2000), made in Belgrade, Montana, serial # 001701, sunburst finish, maple back and sides, spruce top, maple neck with ebony fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis instrument is a fairly rare modern interpretation of the Gibson H-5 Mandolin format built by the Weber company back when they were in Belgrade, Montana. It retains most of the design elements of the original 1920s Loar-era Gibson but with a noticeably longer scale length, 17\" versus the Gibson's 15 3\/4\". This adds a little extra resonance and the fairly slim modern feeling round-backed maple neck makes this an superbly playable instrument. \u003cbr\u003e\u003cbr\u003eThe top is carved from very tight grained spruce; it as well as the attractively grained maple back, sides and neck are all finished in a dark sunburst. The instrument is single bound on the top, back, and headstock. The flat-radius fingerboard is full length without a treble side extension and is single bound with small diamond pearl inlay. The only overtly decorative touch is a pearl Weber logo and single inlay underneath. The pickguard, adjustable bridge and solid tailpiece are Weber's own proprietary fittings.\u003cbr\u003e\u003cbr\u003eWhile this mandola is built in the classic F-hole format the top is braced in an X-pattern instead of with twin tone bars. This major deviation from the Loar\/Gibson formula adds to the unique sonic character, giving a somewhat rounder tone with a more open character. This is an unusual instrument, even as mandolas go and definitely has a unique sound and feel. It is signed on the label by Bruce Weber and was crafted by him and his team in January 2000. Now 26 years along this mandola does not appear too much played and the tone is still maturing.\u003cbr\u003e \u003cbr\u003eOverall length is 37 3\/4 in. (95.9 cm.), 10 15\/16 in. (27.8 cm.) across at the widest point, and 2 1\/16 in. (5.2 cm.) in depth, measured at side of rim. Scale length is 17 in. (432 mm.). Width of nut is 1 1\/4 in. (32 mm.). \u003cbr\u003e\u003cbr\u003eAlthough this instrument is over 25 years old it shows only very light signs of play, appearing not too much used. The original finish shows some small dings, dents and scuffs but no heavy wear. The most notable flaw is a bit of disturbance under the treble side bridge foot from the bridge shifting at some point. \u003cbr\u003e\u003cbr\u003eThis is an excellent player, certainly more modern friendly feeling than the vintage shorter scale, heavier strung Gibsons it is descended from. The sound is fairly bright for a mandola with a nice midrange punch. If lacking some of the depth in the lower register compared to many older Gibsons this weber is much more practical full chorded instrument than they are, and single lines, dyads and triads punch through nicely as well. For anyone seeking a superbly playable modern mandola this is a cool find, complete in its original rectangular HSC. Overall Excellent Condition.","brand":"Weber","offers":[{"title":"Default Title","offer_id":46853714772108,"sku":"13772","price":6250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_95856706-6a21-40a6-949b-b122d7b76db7.jpg?v=1774344373"},{"product_id":"gibson-style-a-snakehead-carved-top-mandolin-1925-13771","title":"Gibson Style A Snakehead Carved Top Mandolin (1925)","description":"Gibson Style A Snakehead Model Carved Top Mandolin (1925), made in Kalamazoo, Michigan, serial # 79131, black top, dark stained back and sides finish, birch back and sides, spruce top, mahogany neck with ebony fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a good playing and sounding Style A mandolin from mid\/late 1925, just after the end of the \"Loar era\" at Gibson. It has some general wear but retains the excellent sound these \"Snakeheads\" are known for. Gibson's mandolin craftsmanship in this era produced what many consider the best-sounding roundhole A style mandolins ever made, just before the company's focus shifted to banjos and then guitars.\u003cbr\u003e\u003cbr\u003eThese \"Snakehead\" instruments are nicknamed for their Loar-designed peghead that angles inward towards the tip, a very logical design feature inexplicably abandoned by Gibson a couple of years after he left the company. They are revered for their unmatched tone and projection and have other advanced features of the era including the adjustable truss rod neck, raised adjustable bridge and very slim neck profile. The top on this A bears a striking black lacquer finish, bound in white celluloid with a thin half-herringbone wood soundhole ring. The tailpiece has the engraved \"The Gibson\" cover plate and the tuners are strips with plain ends. The stenciled silver script \"The Gibson\" logo on the headstock is specific to this period.\u003cbr\u003e\u003cbr\u003eLloyd Loar's tenure as acoustic engineer at Gibson has become so mythical that sometimes separating fact from fiction is difficult. Certainly the mandolin family instruments made during the period of his employment are the most perfectly realized in Gibson's history, and have become the template for most similar instruments since. The Master Model Style 5 line with their violin-style F-holes was his greatest contribution but all Gibson mandolins were refined at the same time. Even this basic \"A\" model has noticeable sonic and playing improvements benefitting from \"Master Loar's\" input that are still evident today, exactly 100 years on.\u003cbr\u003e \u003cbr\u003eOverall length is 25 3\/4 in. (65.4 cm.), 10 in. (25.4 cm.) wide, and 1 7\/8 in. (4.8 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 1\/16 in. (27 mm.). \u003cbr\u003e\u003cbr\u003eThis is a fine playing and great sounding century-old \"snakehead\" showing some fairly light wear overall but remaining nearly all original. The all-original finish shows a some light typical wear, mostly small dings, nicks and scrapes with wear to the wood all along the unbound back edge of the body. The back of the neck is cleaner than most, with really not much wear while the headstock has some checking and small chips and dings, and for some reason the painted logo is fairly well worn.\u003cbr\u003e\u003cbr\u003eAll the body seams are solid; as is typical some along the back\/side edges have been visibly reglued but there are no crack repairs. All hardware including the tuners, tailpiece and cover, elevated pickguard and bridge are original. The fingerboard has been refretted with wire somewhat larger than the typical period spec, which many modern players will prefer for playability. This mandolin indeed plays beautifully with a bright and singing sound, a typically fine \"Snakehead\" tone. It resides in a worn but functional original HSC. Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853714804876,"sku":"13771","price":3650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ac0c5e98-a554-4a3f-9d4b-c58823191e3a.jpg?v=1774344375"},{"product_id":"c-f-martin-r-18-arch-top-acoustic-guitar-1934-13174","title":"C. F. Martin R-18 Arch Top Acoustic Guitar (1934)","description":"C. F. Martin R-18 Model Arch Top Acoustic Guitar (1934), made in Nazareth, PA, serial # 57196, sunburst top, natural back and sides finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, period black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a worn-in example one of C. F. Martin \u0026amp; Co.'s most overlooked guitars, the F-hole R-18. It represents the lower end of the company's noble but ultimately doomed attempts to challenge Gibson and Epiphone for the swing-era archtop market. The R-series were Martin's budget archtop guitars, introduced in 1933 sporting a mix of flat- and arch-top style features. From the modern perspective Martin arch-tops have never been well-appreciated compared to flat tops, but in the middle of the Depression this was a surprisingly popular guitar with 486 sold in 1934 alone.\u003cbr\u003e\u003cbr\u003eUnlike Epiphone (and eventually many others) when designing their archtop line Martin chose not to directly copy Gibson but created what could best be described as hybrid instruments, built on their flat-top forms. The R-18 essentially took their 00-18-body, pitched the 14-fret neck way back and gave the top a gentle arch with segmented F-holes. Similar guitars emerged around this time from Washburn, Vega, and Weymann, among others. The R-18 was briefly introduced with a round soundhole before being quickly redesigned with F-holes in later 1933.\u003cbr\u003e\u003cbr\u003eThis version of the R-18 was produced up through the end of the decade. The model stood near the bottom of the Martin arch top line, with only the similar mahogany-top R-17 below it. The list price was $55 in 1934, $5 more than the cost of a Gibson L-50. The features are distinctly Martin; the flat-backed mahogany body has a dark sunburst finished spruce top with typical Style 18 trim. The top on these earlier R-18's are solid spruce but pressed into shape over braces, not carved. In 1937 the top was altered to a carved pattern but by then the model was already in decline.\u003cbr\u003e\u003cbr\u003eLike all prewar Martins of any price the workmanship is impeccable and all woods top-notch. The neck has a lovely rounded profile with just the faint hint of a soft \"V\"; the unbound rosewood fingerboard has a pearl dot inlay. The tailpiece is a heavy Grover piece with an engraved Martin logo on the base while the adjustable bridge is a lovely carved two-piece unit that is a work of art in itself.\u003cbr\u003e\u003cbr\u003eThe sound is very bright and punchy, quite focused but thinner than the typical mid-1930's Gibson. The feel is halfway between the typical arch top and flat top, with the smaller body making it more comfortable to a typical Martin player. This makes an excellent \"acoustic lead\" guitar as it has a lot of cut, if not that much depth to the sound. While admittedly a minority taste, we find these Martin arch tops can be a fun guitar to play and are quite suited to some string band or similar playing applications, if the player is not expecting a conventional flat top sound. This one is fairly well battered but may be the best sounding of these we have had, and a serious bargain in a prewar Martin!\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 14 3\/8 in. (36.5 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThe R-18 has fairly heavy wear overall and some typical repair, but remains a nice player. The all-original finish shows a large collection of scratches, nicks, and dings overall, most heavily on the top and sides. The back of the neck is worn to the wood over much of its length, with a few old capo dings rubbed smooth again and dings and chips to the remaining lacquer closer to the heel \u003cbr\u003e\u003cbr\u003eThe spruce top is crack free. The mahogany back has several grain splits off the lower bass bout, with another on the upper bass bout, all sealed with no touch ups. The back center seam has been resealed and there are a couple of deeper scratches on the back as well. The lower side has several grain splits similarly sealer at the turn of the loser bass bout, and one back closer to the endpin. The lower back\/side seams have been resealed in a couple of spots. \u003cbr\u003e\u003cbr\u003eThe neck remains nicely straight, the original bar frets have been lightly polished with a bit of wear just in the first position, the ebony nut remains original. The original Martin-logo Grover trapeze tailpiece and elegant carved bridge are still intact. The original tuners have been replaced with modern openback Kluson style machines. The original pickguard has cupped upwards and has a repair just below the bracket screw. Although looking like a bit of a beater the guitar plays very well, and sounds better than most we have heard with a bit more depth than some. It is housed in an original 1930's case, very battered and more sized for a Gibson-style arch top. Perhaps that what all the dealer had that day in 1934! Overall Very Good Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853714870412,"sku":"13174","price":2450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_216712c7-0aa2-4bae-946d-bd9071519986.jpg?v=1774344380"},{"product_id":"wulschner-regal-contra-bass-harp-guitar-1900-11395","title":"Wulschner Regal Contra Bass Harp Guitar (1900)","description":"Regal Contra Bass Model Harp Guitar, made by Wulschner, c. 1900, made in Indianapolis, Indiana, serial # 9994, sunburst top, natural back and sides finish, rosewood back and sides, spruce top; mahogany neck with rosewood fingeroard. \u003cbr\u003e\u003cbr\u003eThis spectacular and super striking harp guitar has had a bit of a checkered history to this point, but has survived over 120 years as a playable conversation piece, at the very least! It was built by the original Regal company of Indianapolis (the ancestor of the more familiar Chicago firm) right around 1900. That firm was out of business completely by 1904, and this unique design has never been repeated since. At some point along the way the body was refinished with a sunburst top, something pretty much unknown when it was made. The guitar was part of the famous Chinery Collection for a time, pictured on page 29 of the 1996 book documenting that assembly of instruments.\u003cbr\u003e\u003cbr\u003eThe now obscure Wulschner \u0026amp; Sons of Indianapolis were the original owners of the Regal tradename, active just before the turn of the 20th century. By 1900 the brand was already in flux, re-organized several times before 1904. After that the name was sold to Lyon \u0026amp; Healy, then reborn an independent Chicago company in the early 1920s. While later Regals are mostly remembered as budget-brand instruments, these first Indianapolis made instruments are fine quality pieces, comparable to many of the better guitars of the period. This one has both a paper label and pressed wooden disc under the soundhole proclaiming as much! The label reads in part \"All Regal guitars are made by hand and the very finest material obtainable is used\". Looking at the heavily figured rosewood and tight grain spruce on the top they were not kidding! \u003cbr\u003e\u003cbr\u003eThere are a small number of these very large Regals surviving in the 21st century, of which this is the best known example. As noted the sunburst top is not an original feature, but now makes this a one-of-a-kind piece. The enormous rosewood body is over 19\" wide, and 4\" deep as well; that's a LOT of Brazilian there! The spruce top is multi-bound and braced in a modified \"A\" pattern with a very large bridgeplate which has kept it solid for well over a century. The eccentric and distinctive design has a separate solid upper body extension holding the sub bass tuners instead of a second neck or Knutson-style hollow extension.\u003cbr\u003e\u003cbr\u003eThe mahogany neck is substantial but round-backed, not the \"V\" shape common in this period and more comfortable for it. The rosewood fingerboard is unbound with small shaped pearl inlay, the headstock is bound with similar ornament. The \"Regal\" logo is inlaid in pearl script on the face of the harp extension, which is also bound. This is a huge sounding guitar, with plenty of volume and a very deep resonance. The sub-bass strings are shorter than many harp guitars; while not as strong alone as some designs they do a nice job of resonating sympathetically when the guitar is played, adding an extra element to the sound. Eccentric for sure, but this is actually a very nice instrument and despite its size handier and better balanced than many harp guitars.\u003cbr\u003e \u003cbr\u003eOverall length is 40 in. (101.6 cm.), 19 1\/4 in. (48.9 cm.) wide at lower bout, and 4 1\/2 in. (11.4 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eAs noted this guitar has seen a lot of work over the last 120+ years, but remains a fully playable piece. The body was refinished long ago in a matte lacquer with a shaded sunburst on the top and natural rosewood on the back and sides; the finish on the neck remains original with some checking, while the harp extension was also refinished but possibly at a different time. \u003cbr\u003e\u003cbr\u003eThere are several long sealed cracks in the rosewood back, looking to have been first repaired long ago before the finish work. There is some light flaking, mostly along the backstrip. The sides have a few old sealed cracks as well, the massive top has only a couple of tight grain splits off the back edge and is amazingly flat and true. The ebony bridges appear original, or very old replacements if not. They have been reglued in any case. The frets also appear original, of if replaced again it was done long ago. They show only minimal wear. \u003cbr\u003e\u003cbr\u003eThe tuners for the harp strings were re-worked at some point; they are banjo style friction pegs without buttons (except for the lowest one) and require a banjo or zither style wrench to tune. This is not particularly convenient but they do hold tune decently once gotten to pitch. This is wonderful sounding guitar, even ignoring the harp strings which even unused add a sort of subliminal depth. Based on period photographs several prominent vaudeville players used this style of instrument well over a century ago, when it was one of the largest and most visually impressive guitars available. It still makes quite an impression today, both aesthetically and sonically! Very Good + Condition.","brand":"Wulschner","offers":[{"title":"Default Title","offer_id":46853714903180,"sku":"11395","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a923064a-0f32-481b-9ad5-3b91777e570b.jpg?v=1774344382"},{"product_id":"northfield-nfo-el2-elc-octo-solid-body-electric-octave-mandolin-2024-13356","title":"Northfield NFO-EL2 Elc-Octo solid body electric Octave Mandolin (2024)","description":"Northfield NFO-EL2 Elc-Octo Model solid body electric Octave Mandolin (2024), made in Marshall, Michigan, serial # ELO230034, amber varnish finish, Adirondack red spruce top, figured maple body, figured maple neck with ebony fingerboard, original molded black plastic hard shell case. \u003cbr\u003e\u003cbr\u003eThis unusual and innovative instrument is a creation of Northfield Mandolins in Marshall, Michigan. This company builds fine modern mando-family instruments featuring excellent materials with very high build quality and a close attention to detail. Northfield was founded by a team of experienced luthiers in Michigan and China with the goal of producing the highest quality instruments they can, and have proved very successful.\u003cbr\u003e\u003cbr\u003e This EL-2 Elc-Octo is one of their most unique creations, a truly excellent electric Octave Mandolin which has no vintage and hardly any modern equivalent. The EL-2 has a 22\" scale maple neck on a West Virginia red spruce topped maple body finished in matte spirit varnish. The bridge is a Gibson-style stoptail \"wrap around\" made of black anodized aluminum. A small tortoise celluloid pickguard adorns the forward part of the top.\u003cbr\u003e\u003cbr\u003eThe instrument is powered by Northfield's \"Kapsule\" piezo pickup, an in-house, multi-element unit set into the body. This can be blended with a Seymour Duncan Apollo 2 Jazz Bass style humbucker via the Fishman \"PowerChip\" preamp offering stereo output. A dedicated piezo volume control simulates body resonance and acoustic warmth, while a stereo output jack allows split or blended signals. This gives a versatile, expressive, and sonically dimensional output. Overall this is a unique instrument with a wide range of sonic options, offering a truly new and unique playing experience.\u003cbr\u003e \u003cbr\u003eOverall length is 36 1\/8 in. (91.8 cm.), 13 in. (33 cm.) wide at lower bout, and 1 1\/2 in. (3.8 cm.) in depth, measured at side of rim. Scale length is 22 in. (559 mm.). Width of nut is 1 13\/32 in. (36 mm.). \u003cbr\u003e\u003cbr\u003eThis instrument appears very little played, with just some minor handling marks. It plays very well and remains in the original molded HSC with a passel of original paperwork. Overall Excellent + Condition.","brand":"Northfield","offers":[{"title":"Default Title","offer_id":46853714935948,"sku":"13356","price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1b8f7b38-3856-488c-89f4-1421f29858ad.jpg?v=1774344384"},{"product_id":"fender-precision-bass-solid-body-electric-bass-guitar-1959-13687","title":"Fender Precision Bass Solid Body Electric Bass Guitar (1959)","description":"Fender Precision Bass Model Solid Body Electric Bass Guitar (1959), made in Fullerton, California, serial # 36065, sunburst lacquer finish, alder body, maple neck, original tweed hard shell case. \u003cbr\u003e\u003cbr\u003eThis early 1959 Fender Precision Bass is one of the coolest \"Genuine Relic\" examples we have had of what many hold to be the finest electric bass ever made. It shows a decent amount of cosmetic wear but no structural damage, repair or alteration, remaining completely original down to period LaBella strings. This bass appears to have been played a LOT when new, then put away for decades sleeping through the '70s and beyond to emerge in 2026 like a 4-string Rip Van Winkle.\u003cbr\u003e\u003cbr\u003eThe bass has a fabulous provenance played with the Merl Lindsay band, one of the premier American Western swing outfits from the 1930s to the mid-1960s. If mostly forgotten now Lindsay was popular in the southwest especially in Oklahoma; at one point their singer was a young Wanda Jackson. They cut some great records from the 1940s into the early '60s including some hot boogie sides that could be classed as proto rockabilly; this bass is likely heard on the last couple of them. This style of music was what Fender instruments were designed for, but it is now rare to find one actually played in the genre. Perhaps it was procured direct from the factory in 1959!\u003cbr\u003e\u003cbr\u003eIn mid-1957 Leo Fender's Precision bass had been re-designed with new features: gold anodized aluminum pickguard, split pickup, fully adjustable 4-saddle bridge and a larger \"Strat style\" headstock on the slimmer one-piece maple neck. The deep 3-color sunburst finish was added shortly after. These basses have been sought after since the beginnings of electric instrument collecting, generally regarded as some of the most desirable of all Fender basses and the apex of Precision Bass design.\u003cbr\u003e\u003cbr\u003eThis played-in but ALL original example dates to early\/mid 1959. The neck is marked 3-59 on the heel; Fender suspended this dating soon after, to resume a year or so down the line. The bass was assembled not quite two years after this updated version went into production and only a few months before the model was altered with the new \"slab\" rosewood fingerboards that summer. Production for this Precision variant ran only that two-year span; these basses have never been common. The beautiful gold anodized metal pickguard would last into the late summer of 1959, then replaced by celluloid. The tendency of the metal to wear through was the reason Fender Sales insisted on the change but the \"gold guard\" has been a status symbol ever since!\u003cbr\u003e\u003cbr\u003eThe bass carries a lovely three-tone sunburst lacquer finish with plenty of red hue remaining; under the pickguard it is deeper still. The natural-finished neck has a round-backed but quite slim profile. The headstock is adorned with the old \"Spaghetti\" Fender logo decal. This is an absolute classic, as played by the great majority of the then-new electric bassists of the late 1950s heard on countless recordings. Even in the 1960s one of these old maple neck, gold guard basses was often considered a status symbol by the discerning bassist (Amusingly illustrated in the film \"That Thing You Do\"). This well-played bass has major Mojo and remains a superb piece of history, a wonderful instrument for any style of music and a prime example of the early glory days of Fender.\u003cbr\u003e\u003cbr\u003eThe original case is included, so battered as to be not really functional BUT with it is the best piece of \"case candy\" we have ever seen: a full-length beautifully tailored blue denim cover that encloses the whole case, stenciled MERL LINDSAY BAND in large letters on both sides. We can only imagine the adventures this set has seen!\u003cbr\u003e \u003cbr\u003eOverall length is 46 in. (116.8 cm.), 13 in. (33 cm.) wide at lower bout, and 1 1\/2 in. (3.8 cm.) in depth, measured at side of rim. Scale length is 34 in. (864 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis bass shows moderately heavy wear overall, especially to the back but no structural damage, repair or alteration remaining completely original. Many of these basses were played for decades and a large proportion of them have lost the original finish entirely; this one is worn but unaltered. \u003cbr\u003e\u003cbr\u003eThe lacquer has noticeable wear overall with a collection of dings, dents and scrapes over much of the instrument. The body edges are heavily dinged up, as is common. The largest wear area is heavy belt-buckling to the back; we'd bet the original owner had quite the cowboy belt buckle. Because of this, at some point he glued a large piece of foam to the back; this has been removed but some of the finish wear is residual from the glue involved. By contrast the face and pickguard are cleaner than many; there is armwear along the upper edge and a *deep* spot of finger-wear under the strings on outer edge of the lower cutaway. This is where Merl's bass player anchored their digits, playing with the thumb over the body end of the fingerboard, as Leo intended! \u003cbr\u003e\u003cbr\u003eThe neck has typical '59 linear checking on the fingerboard and headstock; the decal is very well preserved. some finish has been worn through to the wood on the back on the lower side and specific spots on the upper edge and spine; we can see this band played a lot in the keys of A and C! There is less lacquer loss to the fingerboard than many, mostly just at the upper end from plucking action. The headstock has a big cigarette (cigar?) burn below the E tuner and a dark smoked (?) spot on the back, otherwise is pretty clean with a well-preserved decal. The anodized pickguard only a few small wear spots and remains cleaner than most with a very attractive patina.\u003cbr\u003e\u003cbr\u003eInternally the bass is all original, externally all the hardware is original including both chrome covers; the original foam is intact under the tailpiece bell. The original small-wire frets show some light wear but are quite playable; it has always had LaBella flatwound strings installed. The very slim maple neck is lovely and straight and plays effortlessly. This bass sounds fantastic with the now-seldom-found 60+ year old LaBella strings representing an extremely rare opportunity to appreciate EXACTLY how a Fender bass played and sounded when new. It is still an absolute killer, ready for stage or studio; you say you want the \"True vintage\" sound? This is IT, Baby! The original tweed hardshell case is included in relic shape with no latches remaining but that fantastic cover to hold it together; a modern foam case is provided as well. Overall Very Good + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853715001484,"sku":"13687","price":22500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fbfd0728-45ea-4694-8f96-dcd126f37a9e.jpg?v=1774344388"},{"product_id":"c-f-martin-0-18-flat-top-acoustic-guitar-1937-13834","title":"C. F. Martin 0-18 Flat Top Acoustic Guitar (1937)","description":"C. F. Martin 0-18 Model Flat Top Acoustic Guitar (1937), made in Nazareth, PA, serial # 66414, natural lacquer finish, mahogany back, sides and neck, Adirondack spruce top, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is lovely Martin 0-18 dates to early 1937, the year when the depression was finally beginning to ease up a bit. Despite difficult conditions over the previous years the Nazareth PA company had managed to keep up a steady output of the highest quality guitars in the world, of which this was one of the more affordable. This year 227 of these featherweight, scallop-braced 0-sized marvels shipped out of Nazareth at a list price of $40, plus case. \u003cbr\u003e\u003cbr\u003eThis 0-18 is an unpretentious but delightful small-body flat-top, in 1937 built superbly lightweight with typical features for the era. The mahogany body has a beautifully scalloped X-braced Adirondack spruce top with tortoise celluloid binding on the edges, tortoise celluloid pickguard, a long-saddle Brazilian rosewood bridge, and a nicely ambered nitrocellulose lacquer finish. The scalloped bracing makes an enormous sonic difference on these smaller-bodied guitars; unfortunately this was phased out on all models in 1944.\u003cbr\u003e\u003cbr\u003eThe mahogany neck has a slim round-backed profile with a hint of a \"V' as it moves towards the body and dot-inlaid rosewood fingerboard. The headstock face is adorned with a \"C.F. Martin\" gold decal on the rosewood facing and fitted with individual Waverly openback tuners with metal buttons. This is a fine playing and fantastic-sounding little guitar, lightly worn in but friendly to play with a very big tone for its size.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 13 9\/16 in. (34.4 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis lovely prewar Martin has been generally well preserved, showing fairly minor wear and a few typical maintenance repairs in its past. The original lacquer finish shows a number of scratches, dings and dents, the most noticeable on the top with strum wear most heavily along the forward edge of pickguard, which was lightly touched up along the way. The lower lip of the sound hole and the back edge of the pickguard also have has some pick marks into the wood. There are numerous dings and scratches over the back and sides but no large areas of finish loss. The back of the neck is comparatively clean with some robbed-through spots in the lower positions. \u003cbr\u003e\u003cbr\u003eThere are no visible crack repairs on this guitar , which unusual and delightful on a Martin from this era! The neck has been very neatly reset with a small shim added under the fingerboard extension. The fingerboard has been trued and refretted with fretwire correct for this period, the bone not appears replaced or at least reworked. The original bridge had been reglued but appears uncut and even the saddle appears original; there are new bridge pins. Internally all the original scalloped bracing and the small maple bridgeplate are intact and unaltered. \u003cbr\u003e\u003cbr\u003eNo strap button was ever installed on the heel; the original openback Waverly tuners are intact with plating loss mostly to several of the buttons. The guitar plays very nicely with a defined but extremely responsive sound, particularly a singing high-mid register. It resides in a modern HSC. Overall Excellent - Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853715099788,"sku":"13834","price":17500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_7f47a239-d767-437a-9b8d-00e96f1f6f37.jpg?v=1774344394"},{"product_id":"stanley-hicks-3-string-appalachian-dulcimer-1984-13492","title":"Stanley Hicks 3-String Appalachian Dulcimer (1984)","description":"Stanley Hicks 3-String Model Appalachian Dulcimer (1984), made in Vilas, North Carolina, natural finish, oak top and back, cherry sides, handmade gig bag case. \u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"740\" height=\"555\" src=\"https:\/\/www.youtube.com\/embed\/swGncojYqZo\" title=\"Stanley \u0026amp; Ray Hicks: Roving Gambler (1982)\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eWatauga County, North Carolina was home to many of the torchbearers of American traditional music and Appalachian storytelling, but Stanley Hicks in particular was a master of his many crafts including storytelling, flatfooting, and of course instrument making. From humble beginnings as the child of English immigrants, Hicks taught himself how to build banjos and dulcimers like his father and grandfather before him. Like other resourceful mountain instrument builders, Hicks made use of the easily attainable tone woods on his property and likely used the skins of whatever critter was for dinner that week. \u003cbr\u003e\u003cbr\u003eThis is a pretty straightforward but very nicely constructed example of a classic 3-string Appalachian dulcimer made with a lovely figured oak top and back with what appears to be cherry sides and accents. Matching hand carved tuners are nestled into what appears to be a cherry headstock with each individual tuner numbered. The strings pass over original, minimally worn frets through the relatively thick bridge to a single metal nail endpin. It has a traditional hourglass shaped body and the ever-charming heart shaped soundholes. \u003cbr\u003e\u003cbr\u003eHicks was a vital part of the region's folk music community writ large and an avid storyteller, a tradition that holds a lot of weight in Appalachia and earned him several regional and national accolades. He went on to be recorded by the likes of Alan Lomax and was awarded the National Endowment for the Arts National Heritage Fellow in 1983, the highest national honor for folk art. He passed away in 1989 only a few years after the construction of this banjo, building instruments and making music until the end of his life. Today his instruments are considered among the higher quality examples of the mountain banjo and Dulcimer tradition, and among the more sought after of this style of instrument.\u003cbr\u003e \u003cbr\u003eLength is 35 in. (88.9 cm.), 6 3\/8 in. (16.2 cm.) wide at lower bout, and 3 1\/4 in. (8.3 cm.) in depth at deepest point. Scale length is 27 in. (686 mm.). Width of nut is 1 1\/4 in. (32 mm.). \u003cbr\u003e\u003cbr\u003eThis is a particularly excellent playing, sounding, and looking example of a higher quality genuine handmade dulcimer. The oak top appears minimally scuffed with only small evidence of play and thoughtful care through the years and the whole unit held close emits a faint, beautifully sweet, woody aroma. Hicks offered superior buildmanship and a tone much more robust and pleasant than many of the common kit-made dulcimers at the time though there remains a charming \"folksiness\" to the work after decades of autodidactic lutherie. This one was made later in his life and is even more refined than other dulcimers we have played from his workshop.\u003cbr\u003e\u003cbr\u003eThe oak back is clean as well, as are the matching flamed maple tuners (each faintly inscribed 1, 2, 3, and 4 on the end) and the frets show only small traces of wear with plenty of life left in them; there are a couple small scuffs on the edge of the cherry fingerboard. There is absolutely no mistaking the identity of this dulcimer as Stanley Hicks marked it not twice but thrice: his name and the date are found on a label in a lower soundhole, written in pencil in the upper soundholes, and carved as he customarily did on the back of the headstock. It would almost certainly have not left the shop in an original bag or case, but it now cozily resides in an specially ordered Amish-made dulcimer bag. Excellent Condition.","brand":"Stanley Hicks","offers":[{"title":"Default Title","offer_id":46853715132556,"sku":"13492","price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a34188f7-4d6f-458b-914c-5c0706d1ab7b.jpg?v=1774344396"},{"product_id":"c-f-martin-0-17-flat-top-acoustic-guitar-1931-12925","title":"C. F. Martin 0-17 Flat Top Acoustic Guitar (1931)","description":"C. F. Martin 0-17 Model Flat Top Acoustic Guitar (1931), made in Nazareth, PA, serial # 46362, natural lacquer finish, mahogany body and neck, rosewood fingerboard and bridge, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice example of a transitional Depression-era Martin 0-17 in very fine condition for its age. Not only does this guitar show only light wear but it is also a wonderful player with a surprisingly powerful voice for a small all-mahogany guitar. This 0-17 was built in mid-1931, as the clock was ticking for the switch to a \"modern\" fourteen fret design. At the time the Depression was hitting its worst point and this small, affordable guitar was unsurprisingly one of Martin's best sellers. This model may well have had a major role in keeping the company in business.\u003cbr\u003e\u003cbr\u003eThis 0-17 is a direct descendant of Martin's first 12 fret, 2-17 steel string budget guitars of the early 1920's, which were a novel idea for the company at the time. Designed to offer a reliable, great sounding instrument at the lowest price Martin could possibly manage, these all-mahogany Style 17 instruments were a study in elegant minimalism. This larger 0-sized version was designed in 1929 and first shipped in quantity in 1930 so is a second year example.\u003cbr\u003e\u003cbr\u003eThe 0-17 body is all mahogany, with no binding or ornament except for the 5-ply soundhole ring. This one is just too early to have the tortoise celluloid pickguard that was coming into use at the time. The top is very delicately scallop braced, but designed for steel strings. The neck has a shallow very soft \"V\" profile with an unbound, tiny-dot-inlaid rosewood fingerboard. The ebony nut is wider than later models at 1 13\/16\". The traditional Martin bar frets were retained until early 1934, then supplanted by modern tang fretwire. The tuners are unplated brass strips with black plastic buttons.\u003cbr\u003e\u003cbr\u003eWhile plain in appearance and at the bottom of the Martin guitar line, The 0-17 is still built of high-grade materials to the company's lofty standards. Decent guitars could be had at the time much cheaper from the likes of Harmony, Regal or the Sears catalog, but none came close to the sonic value of this instrument. All of 353 of these little mahogany wonders were shipped in 1931, a large number for the company at that time and an indication of how their dealers must have been clamoring for an affordable Martin guitar. While the original price of $30.00 may seem laughable today, in 1931 this was still a fairly expensive proposition for many Americans struggling to make ends meet.\u003cbr\u003e\u003cbr\u003eThen as now 0-17 is a fully professional-quality guitar, extremely responsive with a rich, singing tone that belies its small size and humble appearance. This initial 12-fret version without a pickguard is a fairly rare variation of the model and a true treat for the Martin connoisseur as well as the casual strummer.\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 13 5\/8 in. (34.6 cm.) wide at lower bout, and 4 1\/8 in. (10.5 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 13\/16 in. (46 mm.). \u003cbr\u003e\u003cbr\u003eThis is one of the better preserved early depression-era mahogany Martins we have seen recently, showing signs of use but still generally pretty clean and solid for being well over 90 years old. The thin lacquer finish is completely original showing some dings, dents and scrapes, with some of the common pick wear to the top below the strings where a pickguard would shortly be. There is one deeper scrape near the waist on the lower treble bout, and some deeper scratches around the sides.\u003cbr\u003e\u003cbr\u003eThis Martin has survived the past 90 years with only a minor repairs. There is one short grain split to the back running from the outer edge off the rim on the treble side lower bout, sealed, cleated and minimally touched up. The lower side\/top seam has a small impact mark with a tiny crack at the turn of the lower treble bout. \u003cbr\u003e\u003cbr\u003eAll of the delicate internal bracing and very small maple bridgeplate are intact and unaltered, the X-brace on the treble side of the lower bout has been reglued. The neck has been neatly reset with a shim under the fingerboard. The rosewood bridge is a correct replica matching the original footprint. The original bar frets have a fresh grind and polish and are in fine shape with plenty of life left, The original brass strip tuners with black buttons are intact and functional. \u003cbr\u003e\u003cbr\u003eThis depression-era 0-17 is really a lovely find in a more affordable prewar Martin combining the 1920s 12-fret body with the slightly sturdier depression-era construction. It offers a huge shimmering sound for a small mahogany guitar, one of the nicest examples of this fairly rare transitional 12-fret instrument we have had; a real gem housed in a modern HSC. Overall Excellent - Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853715755148,"sku":"12925","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5abee887-7904-4b3d-80db-6946fa89a974.jpg?v=1774344404"},{"product_id":"gibson-les-paul-custom-lite-solid-body-electric-guitar-1987-13802","title":"Gibson Les Paul Custom Lite Solid Body Electric Guitar (1987)","description":"Gibson Les Paul Custom Lite Model Solid Body Electric Guitar (1987), made in Nashville, TN, serial # 81967358, Tobacco sunburst top, natural back and sides finish, mahogany body with maple cap; mahogany neck with ebony fingerboard, original brown tolex hard shell case. \u003cbr\u003e\u003cbr\u003eFrom the vantage point of nearly 40(!) years on this 1987 Gibson Les Paul Custom Lite seems like one of those great ideas that happen at Gibson from time to time but never really catch on. After years of customers and dealers petitioning for a lighter Les Paul than the average '70s\/80s models, Gibson responded with this very clever solution. The Les Paul Custom Lite offers a dramatically slimmed body depth and an additional Fender-like belly cut on the back for added comfort. The mahogany body retains the carved maple top and most of the sound and familiar layout of the traditional Custom, but with a lot less bulk and weight. \u003cbr\u003e\u003cbr\u003eThis first-year '87 Custom Lite carries a relatively rare tobacco sunburst finish; most were issued in the traditional \"Black Beauty\" livery. This one also features late examples of the Tim Shaw PAF-style Humbucking pickups, which were being discontinued at Gibson at the time; this is the last year they normally appear. Another oddity of this model is a coil tap switch instead of one of the tone knobs, a useful if generally unfamiliar feature for a Les Paul. As is typical for a Custom there is all-gold hardware, multi ply binding everywhere with the single bound, pearl block inlaid ebony fingerboard, and elaborate pearl inlayed headstock. \u003cbr\u003e\u003cbr\u003eA minor oddity of this particular guitar is two \"Made in USA stamps\" on back of the headstock; well, the one above the serial number actually just says \"Made In\"! This model was sadly short lived, with the specs changing starting in 1988 and then discontinued in 1990. This is a lovely and rare example, a cool example of Gibson's sometimes underappreciated creativity and a very fine playing if quirky Les Paul variation, especially appreciated by anyone with an ageing shoulder!\u003cbr\u003e \u003cbr\u003eOverall length is 39 1\/4 in. (99.7 cm.), 13 in. (33 cm.) wide at lower bout, and 1 1\/4 in. (3.2 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.)., 8.5 lbs. \u003cbr\u003e\u003cbr\u003eThis is a very clean and original guitar, looking not much player over nearly four decades. The only repair is to a typical crack in the neck pickup mounting ring, common in this period where it flexes over the body. There are some light scuffs and dings to the finish but no really serious wear. The switch tip is a replacement; a brass one is included in the case pocket as well. This is a cool sounding and playing guitar, a nifty \"slim twist\" on the Custom formula in the original specially fitted HSC. Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853716246668,"sku":"13802","price":5500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_127bce56-6fc6-46f2-8934-8f3a55677748.jpg?v=1774344414"},{"product_id":"wandre-tigre-semi-hollow-body-electric-guitar-1965-13571","title":"Wandre Tigre Semi-Hollow Body Electric Guitar (1965)","description":"Wandre Tigre Model Semi-Hollow Body Electric Guitar (1965), made in Cavriago, Italy, black finish, wood and plastic body, plastic sheathed aluminum neck with rosewood fingerboard, original gig bag case. \u003cbr\u003e\u003cbr\u003e\"What are those guitars -- man, we don't have those in the STATES!\" So spoke Bob Dylan in 1965, captured on film looking into the window of an English music store full of Wandre guitars. These amazingly futuristic and completely original instruments were sold under several different brand names in Europe through the 1960s. They have fascinated adventurous electric guitar fans since then, but most players have never seen or handled one. A few models were briefly marketed in the US just prior to the guitar boom period but they are extremely rare in this country. All Wandre instruments are eccentric, sometimes to the extreme. The solid-body \"Tigre\" is one of the tamer beasts to come from Wandre Pioli's zoo, a creation that came in the latter half of the company's production span in an attempt to reach a wider market than some of their more whimsical creations of previous years.\u003cbr\u003e\u003cbr\u003eThe Wandre story is a book-length epic tale of the battle between creativity and commerce, and there is a (unfortunately rare) 2014 book \"WANDRE-The Artist Of The Electric Guitar\" by Marco Ballestri available for the curious! After some years of unstable company financials and underwhelming export sales, Pioli was advised to create an instrument aimed at a broader and more Fender-esque appeal to young players that might be scared to tackle the flashy, exotic oddities that constituted much of Wandre's catalog. The Tigre was his most \"normal\" instrument for the time with his unorthodox interpretation of some union between Fender's Stratocaster and Jaguar, a 3-pickup configuration with an offset body and a warped take on a very familiar looking headstock. This was not his first attempt at America-centric marketability though, as just over a year prior the company debuted the Doris model with a similar philosophy.\u003cbr\u003e\u003cbr\u003eWe can approximate the date of this one to 1965 based on the Tiger logo on the pickguard (a feature from the first release of the Tigre) and the knobs which are generally found on Wandres from 1964-1965 and replaced with something new a year later. Each Davoli pickup is controlled by a switch located on the lower bout of the thick plastic pickguard with a master volume and tone in the usual place. The unique bridge mounts OVER the strings, with small cradles for them hanging off the underside. It is fully adjustable for height and intonation, with wheels on either side to raise or lower the unit and saddles which can be adjusted via Allen screws. The unit is housed under a metal cover and flanked by a palm-action mute anchored into the body above a fairly straightforward vibrato arm. \u003cbr\u003e\u003cbr\u003eWandre's proprietary aluminum neck is sheathed in black plastic, topped with a blatantly Fenderized slotted headstock carrying the openback \"batwing\" tuners on an aluminum strip screwed to the bass edge. The fingerboard is rosewood, lightly bound and inlaid with large plastic dots. While of somewhat conventional design compared to many of Wandre Pioli's more eccentric electric children, the Tigre maintains all the best sonic and engineering features of the line combined with more solid construction than most. It plays and sounds fantastic, with the airy-but-biting tone of the Davoli pickups but sturdier feeling and a bit more aggressive sounding compared to the ethereal semi-hollow designs that make up much of the Wandre line. This is yet another wonderful instrument from the most inspired oddball Italian '60s guitar designer, a true artist of the electric guitar.\u003cbr\u003e \u003cbr\u003eOverall length is 44 1\/4 in. (112.4 cm.), 16 in. (40.6 cm.) wide at lower bout, and 1 7\/8 in. (4.8 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis ebony Tigre is in remarkably good condition with very little wear overall. The black lacquer is shiny, smooth and covered with only a smattering of dings and scratches in the lacquer finish. It appears all original down to every bit of hardware including the often lost or broken sheath covering the aluminum neck. The small protruding plastic cover on the back of the body shielding the vibrato unit has cracked and been repaired, all else is fully intact and undamaged. \u003cbr\u003e\u003cbr\u003eThe plastic and metal pickguard housing the dual Davoli pickups is not cracked or broken as many are and also safely houses the original adjustable bridge and mute apparatus. All pickups sound strong and clear, all electronics are original and untampered with as are the knobs and control panel.\u003cbr\u003e\u003cbr\u003eThe original frets appear to have been crowned down somewhat but are still in fine playing shape in the original fingerboard with minimal wear. It comes in a non-original hardshell case for safe travel, but included in the sale is its extremely rare original black leather Davoli-branded gig bag. The bag is worn at some seams making it not fit for gigging, but a delightful piece of Wandre\/Davoli ephemera that deserves to stay with the guitar it has lived with all its life. Excellent Condition.","brand":"Wandre","offers":[{"title":"Default Title","offer_id":46853716279436,"sku":"13571","price":4950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_af210be7-38a8-459b-90c3-31083d9edea6.jpg?v=1774344416"},{"product_id":"huss-dalton-owens-mill-5-string-resonator-banjo-2004-13848","title":"Huss \u0026 Dalton Owens Mill 5 String Resonator Banjo (2004)","description":"Huss \u0026amp; Dalton Owens Mill Model 5 String Resonator Banjo (2004), made in Staunton, VA, serial # B-012, shaded maple finish, laminated mahogany resonator, laminated maple rim, mahogany neck with ebony fingerboard, original tweed hard shell case. \u003cbr\u003e\u003cbr\u003eWhile we have had some Huss \u0026amp; Dalton guitars in stock, this is the first of their beautifully crafted banjos we have had the pleasure to offer. Huss \u0026amp; Dalton guitars are known for their exceptional tone and build quality; this Mastertone style 5-string is absolutely in the same league. Oddly enough the founders both worked at the Stelling Banjo Works before combining their talents; although the company is primarily known for acoustic guitars, they also have produced a limited number of superb open-back and resonator banjos.\u003cbr\u003e\u003cbr\u003eThis is a very early Owens Mill model carrying serial number B-012 on the label inside the resonator, signed by the builders. The Owens Mill is their individual take on the classic Mastertone Bluegrass banjo. It features a Jim Stull #4 20-hole flathead tone ring on a three-ply Cooperman laminated maple rim, with a typical cast one-piece flange all in the standard 1930s Mastertone mode. The resonator is laminated mahogany over maple, bound with blonde maple on both edges. The hardware is typical Mastertone style including Gibson-pattern hooks and a Kershner style \"eagle claw\" tailpiece. \u003cbr\u003e\u003cbr\u003eThe neck is more individual, made of mahogany with the intricate \"Majestic\" mother-of-pearl pattern on the ebony fingerboard, which is also bound in clear maple. The headstock is more reminiscent of the Stelling pattern than the traditional Gibson, with shaped pearl inlay including the Huss \u0026amp; Dalton logo. The tuners are modern 2-band Grover style. All hardware is nickel plated with a nice vintage look. This is really a superb Bluegrass banjo, different enough from the typical Gibson clone to have its own individual identity but close enough to the source to nail the expected classic \"Earl\" tone.\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 11 in. (27.9 cm.) diameter head, and 3 1\/4 in. (8.3 cm.) in depth, measured at side of rim. Scale length is 26 in. (660 mm.). Width of nut is 1 5\/16 in. (33 mm.). \u003cbr\u003e\u003cbr\u003eThis 20+ year old banjo shows only light wear overall, notably some occlusion to the nickel plating giving it a true \"vintage' look! There is very little finish wear, just some scuffing and tiny dings to the lacquer here and there. The back of the neck has one feelable dent in the 10-11th fret area. There are 4 railroad spikes in the fingerboard at frets 7,8,9 and 10; we don't know if it was ordered this way or they were added. This is a great playing, truly excellent sounding banjo with a truly classic rounder Mastertone sound compared to many modern 5-strings that sometimes accentuate the crisper high-end response at the expense of the overall tone. It resides in the original HSC. Overall Excellent Condition.","brand":"Huss \u0026 Dalton","offers":[{"title":"Default Title","offer_id":46853716312204,"sku":"13848","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0b1911e3-7b5a-4378-b4da-6366c4c204ff.jpg?v=1774344418"},{"product_id":"paramount-style-c-tenor-banjo-1926-13799","title":"Paramount Style C Tenor Banjo (1926)","description":"Paramount Style C Model Tenor Banjo (1926), made in New York City, serial # 8529, natural lacquer finish, laminated mahogany rim and neck, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice century-old example of a Style C tenor banjo, one of Paramount's most attractive designs. Although well off the top of the line the Style C is still a very fancy instrument, richly decorated with multiple lines of wood marquetry and elaborate engraved pearl inlay. The overall look is dark finished mahogany with chain pattern wood edging, wood and celluloid binding and colored wood inlay. The mahogany neck is of multilaminate construction with carved heel, carved peghead back and multilayered wood binding with a chain marquetry inlay up the sides.\u003cbr\u003e\u003cbr\u003eThe Paramount \"fiddle\" shaped headstock is decorated with an extremely detailed engraved pearl inlay and the fingerboard has shaped and engraved pearl in a flying bird motif. The hardware includes the original Page tuning pegs (perfectly functional 100 years along), the Paramount adjustable tailpiece and the \"hot dog\" style armrest. \u003cbr\u003e\u003cbr\u003eParamounts were the most important orchestra banjos of their day which introduced the salient features of the modern resonator banjo to the world. These instruments were the firm favorite with professional jazz musicians in the 1920's and are frequently seen in period photographs, especially with the pioneering African-American Jazz Orchestras of the period. Selling originally for $185, the Style C was a comparatively affordable but still upscale professional grade tenor Banjo from that instrument's heyday, and a fine professional orchestra banjo a century along.\u003cbr\u003e \u003cbr\u003eOverall length is 33 3\/4 in. (85.7 cm.), 11 1\/4 in. (28.6 cm.) diameter head, and 3 3\/4 in. (9.5 cm.) in depth, measured at side of rim. Scale length is 23 in. (584 mm.). Width of nut is 1 1\/4 in. (32 mm.). \u003cbr\u003e\u003cbr\u003eOverall this is a clean example, showing some light general wear but no alterations. There is only pretty minor wear overall with mostly small dings, dents and scratches; as usual this is most heavily on the resonator back with scratching into but not through the finish. The back of the neck is comparatively clean with a couple of small dinks around the fifth-sixth fret area. All hardware remains original and complete; the plating has only light wear and tear after a century of use still remaining quite shiny. All four cast-housing Page tuners still work properly; it is rare to find a Paramount with these pegs intact so that is a nice touch. \u003cbr\u003e\u003cbr\u003eThe original small-wire frets show some re-crowning and minor wear; the original fingerboard inlay is mostly crisp with some loss to the lower pieces and a repair to the heads of the tiny birds at the seventh fret. The neck is not absolutely straight with a slight upbow but the banjo is fully playable with the action at 2\/32 treble and 3\/32 bass side. This is a nice find in a Paramount tenor, in what appears to be an original HSC (battered but functional) with the standard two box pockets but a with a snap-fastened ribbon to secure the banjo instead of the usual zipper cover. Overall Very Good + Condition.","brand":"Paramount","offers":[{"title":"Default Title","offer_id":46853716377740,"sku":"13799","price":1650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_562d8a0b-4b70-4c2e-9eb0-4fd0130b6d37.jpg?v=1774344422"},{"product_id":"c-f-martin-custom-shop-000-17-12-12-string-flat-top-acoustic-guitar-2001-13841","title":"C. F. Martin Custom Shop 000-17-12 12 String Flat Top Acoustic Guitar (2001)","description":"C. F. Martin Custom Shop 000-17-12 Model 12 String Flat Top Acoustic Guitar (2001), Nazareth, PA, serial # 802936. \u003cbr\u003e\u003cbr\u003eThis is a truly unique Custom Shop Martin, a \"guitar that (usually) doesn't exist\" with an unusual combination of features. With a 15 1\/8\" all mahogany body and a 14-fret mahogany neck this is technically a 000-17-12, although the designation on the heelblock is simply \"CUSTOM\". This combination of features is not a standard Martin formula; the 000-17 14-fret 6-string was just launched as a featured model in 2025, and no 12-string is offered. Back in 2001 someone special ordered this guitar and we have to say it represents and excellent idea well executed!\u003cbr\u003e\u003cbr\u003eThe back, sides and top are mahogany, satin finished, with a mahogany neck and rosewood bridge and fingerboard. The neck has a fairly shallow \"C\" profile and is quite comfortable for a 12 string, with a trussrod adjusted in front of the soundhole. The uncommon choice of a mahogany top adds an different timbre to the 12-string palette, offering a tight response and a lot of clarity compared to the standard spruce top. This is a really fun guitar to play, with a superbly comfortable action and a great ringing sound acoustically, or plugged in via the installed Baggs pickup system. While unassuming in looks this is a superb player's instrument, a really cool and unique take on the modern\/vintage 12-string formula.\u003cbr\u003e \u003cbr\u003eOverall length is 41 1\/4 in. (104.8 cm.), 15 1\/8 in. (38.4 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 25 1\/4 in. (641 mm.). Width of nut is 1 27\/32 in. (47 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows signs of only light play over the last 25 years, with just minor scuffs and very light scratches scattered around. There is a little wear to the little soundhole rim. The pickguard has some pick scratching in the surface; the plastic protective film was never removed and is now quite scruffy looking but of course was never intended to be left on in the first place! This is a very fine playing guitar with a light, easy action and a pleasant, surprisingly rich sound. It is fitted with an L.R. Baggs Anthem pickup under the bridge plate (removable) wired to an endpin jack and would make an excellent gigging guitar. This unique Martin lives in the original HSC. Excellent Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853716443276,"sku":"13841","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_de7d436a-ede1-4fc2-a2b1-c51abea24fe7.jpg?v=1774344426"},{"product_id":"valvotronics-custom-rackmount-made-for-and-used-by-tom-verlaine-tube-amplifier-1990s-12886","title":"Valvotronics Custom Rackmount Made for and Used by Tom Verlaine Tube Amplifier (1990s)","description":"Valvotronics Custom Rackmount Made for and Used by Tom Verlaine Model Tube Amplifier (1990s), made in USA, blue and cream enamel finish. \u003cbr\u003e\u003cbr\u003eTom Verlaine of Television is one of the musical legends we sadly lost in early 2023. Helping to pioneer the new wave and alternative rock scene in New York City in the 1970s, Tom's style of writing and the band's performances at now-legendary venues such a CBGBs quickly gained a cult following, firmly establishing their influence with the release of their debut album Marquee Moon. Verlaine's unique playing then and in decades since remains a sonic touchstone and required listening for several generations of electric guitarists.\u003cbr\u003e\u003cbr\u003eTurns out, Tom was also quite a vacuum tube afficionado; a hobby and passion bordering on obsession. Tom spent decades experimenting with amplifier designs, many based around early Hi-Fi tube amplification of the 1930s. Throughout the 90s, Tom commissioned a series of custom made amplifiers from Rob Derby of Valvotronics, a handful of which we have the pleasure to feature here in our showroom. As schematics show, several of the amplifiers are iterations of an ongoing R\u0026amp;D pursuit of a design featuring switchable preamp and output tubes, variable bias and selectable tone-stack voicings; others are unique one-off designs exploring the concept of switchable tube types. All seemingly in the pursuit of better understanding the inherent sonic characteristics of various vacuum tube types.\u003cbr\u003e\u003cbr\u003eThis particular amp is a rackmount design featuring several combined units, including the Valvotronics 'Gain Ryder' tube compressor, a switchable trem\/vibrato circuit as well as a full-fledged amplifier. The amp uses two dual triode 6BX7 tubes, alongside a 5U4 rectifier. The front panel features controls for Volume, Pre-volume, Tone and Presence. The 'Gain Ryder' section has a in\/out switch and control for the compressor, and the tremolo section a switch for selecting tremolo or pitch-bending vibrato and a speed control for the effect. There's also jacks for 'input', 'preamp', 'higain' and 'pre-out'.\u003cbr\u003e \u003cbr\u003eHeight is 5 1\/2 in. (14 cm.), 19 in. (48.3 cm.) width, and 12 1\/2 in. (31.8 cm.) deep. \u003cbr\u003e\u003cbr\u003eCosmetically, this rackmountable amp head is in excellent shape showing only minimal wear; the blue and cream enamel-clad chassis is free of any notable scuffing or worn areas, as is the perforated cover. The handle is thoughtfully offset to balance the weight of the rather substantial toroidal transformer. The hardware is overall free from any corrosive staining. The top cover bears a metal badge that reads 'Valvotronics'.\u003cbr\u003e\u003cbr\u003eElectrically, this little amp is unmodified since leaving Tom's hands. It was recently looked over by the maker, Rob Derby and has been given any necessary routine servicing and thorough tested by our amp department as well. The amp comes with original documentation. Please note that these amplifiers are custom made to Tom's exact specs and intended for experimental studio use; in other words, they have quirks by design and may not be suited for hard touring applications. That said, they are all wonderful sounding one-of-a-kind pieces, all brainchildren of Verlaine's tireless pursuit of tone and this is a rare opportunity for any fan of Tom's to own one of his sonic creations. Overall Excellent - Condition.","brand":"Valvotronics","offers":[{"title":"Default Title","offer_id":46853716770956,"sku":"12886","price":3150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fd465f66-0ff6-4ae5-81d1-575b535103ec.jpg?v=1774344446"},{"product_id":"gibson-les-paul-standard-solid-body-electric-guitar-1963-13843","title":"Gibson Les Paul Standard Solid Body Electric Guitar (1963)","description":"Gibson Les Paul Standard Model Solid Body Electric Guitar (1963), made in Kalamazoo, Michigan, serial # 118022, cherry lacquer finish, mahogany body and neck, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a great playing 1963 SG\/Les Paul Standard, one of Gibson's all-time classic solidbodies. In the early 1960s this novel, radical-looking design was unprecedented, offering more unencumbered neck than anyone had ever seen! It is amazing in retrospect that this wicked looking guitar was the product of Gibson's middle-aged conservative design team, long pre-dating even the dream of heavy metal music. \"Take that, Fender\" they must have been thinking!\u003cbr\u003e\u003cbr\u003eThis style \"Standard\" replaced the original 1950s single-cutaway Les Paul just at the end of 1960, a bold statement of guitar modernism from the Kalamazoo company. While the original single-cutaway Les Pauls roared back to favor later in the 1960s, this slim and supple SG has also found generations of adherents. Les Paul himself was not a fan of this design (\"a guy could injure himself on those sharp horns\") and his name was removed from the model later in 1963.\u003cbr\u003e\u003cbr\u003eThe cherry lacquer finish on this exquisitely sculpted double-cutaway body is a darker reddish hue than many, accentuated by a lot of \"smoking\" over the years. This final year LP\/SG has two very hot original \"Patent Number\" humbucking pickups, unchanged structurally from the later PAF's. The original pots are topped with capped back-painted plastic knobs with \"tone\" and \"volume\" markings. The hardware is all nickel plated including the original style no-wire Tune-O-Matic bridge with Nylon saddles mated to the about-to-disappear elaborate Gibson side-to-side vibrato tailpiece. This one is intact and fully functional, though many players prefer not to use it!\u003cbr\u003e\u003cbr\u003eThe bound rosewood fingerboard has the larger frets typical of the period and trapezoidal pearloid inlay which have darkened noticeably from smoke exposure. The headstock has double-ring Kluson deluxe tuners and Gibson's classic \"crown\" inlay on the face; the lacquer over the inlay has also gone particularly dark and partially chipped away here. The \"Les Paul\" markings are engraved into the truss rod cover, which has also darkened somewhat as have the tuner buttons. The neck retains the slim back-to-front character of the flat-feeling \"1960 style\" but with more dressed away sides for a nicely rounded feel. The neck heel is neatly faired into the body and less prone to distress than most.\u003cbr\u003e\u003cbr\u003eDespite perhaps in retrospect being a bit lightly built for the abuses of the road, these early Les Paul-marked SGs have an aesthetic and sonic character unlike any others. If fairly popular when new they really came into their own in the late 1960s with the advent of high volume amplification (Marshall, especially) unleashed the screaming beast within! . \u003cbr\u003e\u003cbr\u003e1445 of these elegantly badass guitars were shipped in 1963, at a list price earlier in the year of $295 plus $50 for the case. The Les Paul\/SG Standard in general remains a very popular guitar, with good reason. It had a particular heyday in the late '60s and early '70s, a fixture in many heavy and Psychedelic bands particularly after Cream's Eric Clapton toured his riotously psychedelically painted \"Fool\" to enormous acclaim in 1967-8. This is simply one of the classic rock guitars of that or any era, and actually a more versatile instrument than many think.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 13 1\/4 in. (33.6 cm.) wide at lower bout, and 1 1\/4 in. (3.2 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis is fine playing first-year Les Paul Standard, showing signs of use but generally well-preserved. The finish is completely original and darker than most, showing the effects of a very smoky environment long ago over most of the instrument. Despite this, neither the guitar or the case have a residual smoke odor. The color is a very deep almost burgundy hue more than the typical brighter cherry of most, but all finish is original. The back of the neck has bleached out just a bit from hand contact as is typical. There is some very fine checking and small dings, chips and scuffs overall but no major loss; there is a spot of belt buckle wear into but not through the back finish. The back of the neck has a few small dinks but is only worn away on the treble edge, mostly from the first to seventh frets on the treble side. The neck binding is heavily ambered from smoke\u003cbr\u003e\u003cbr\u003eThe heel joint is the trouble spot on early SGs, often having been either partially or wholly broken. This one shows one very small tight split to the wood on the treble side of the body off the heck joint, running diagonally down about 1\/2\" from the edge of the shelf. All is solid but the tenon on the treble side must have shifted a bit and been reglued on that side. There is a bit of finish chipping just above this and a small amount of glue residue visible over the spot. This particular faired-in style heel is the strongest of the pre-1966 designs; it shows no movement or splitting along the back of the body or the bass side and the neck is completely solid, whatever movement there was having been dealt with. The headstock is also completely free of the common cracks. \u003cbr\u003e\u003cbr\u003eAll hardware on the guitar is original, inside and out. The Patent # pickups have never had the covers lifted and all solder joints appear untouched, with a visible pot date to the 41st week of 1962. The \"Patent Number\" decals are intact on the bases, quite darkened but legible. The plating has general wear and tarnish overall but no heavy loss. The side-to-side trem unit is intact and functional, with a chip to the plating on the forward piece. The pickguard has a repair to the lower front tip. The original double-ring buttons on the Kluson tuners have darkened quite a bit but are not shrunken up.\u003cbr\u003e\u003cbr\u003eThe frets are the original style but are likely an older refret; in any case they have been crowned down somewhat in the lower positions with minor subsequent wear but not enough to cause any playability issues. The fretboard has some light divoting in the lower positions, again not affecting play; the nut is original. This is a real screamer of a LP\/SG Standard, with a full dose of the raunchy, singing tone these are known for when cranked. The original deluxe yellow-lined black case is fully intact and cleaner than we would have expected, with some minor wear but fully solid with some old Gibson string envelopes in the pocket. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853717721228,"sku":"13843","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_9bf3acff-3cca-4adb-be25-c7966e650df7.jpg?v=1774344484"},{"product_id":"gibson-country-western-owned-and-played-by-earl-scott-flat-top-acoustic-guitar-1956-13511","title":"Gibson Country Western Owned and Played by Earl Scott Flat Top Acoustic Guitar (1956)","description":"Gibson Country Western Owned and Played by Earl Scott Model Flat Top Acoustic Guitar (1956), made in Kalamazoo, Michigan, serial # V7389-29, natural lacquer finish, mahogany back and sides, spruce top; mahogany neck with rosewood fingerboard, original brown alligator chipboard case. \u003cbr\u003e\u003cbr\u003eThe Gibson Country-Western model is essentially a re-named SJN, the Southern Jumbo in a natural finish. When the model was officially renamed in 1955 it was given a special lariat-bordered label. In either guise it sat at the top of the company's 1950's slope-shoulder Jumbo line over the SJ, J-50, and J-45. The SJ itself had become a somewhat fancier guitar by the mid-1950's, gaining a pearl logo and crown headstock ornament, while at the same time a natural top option was added soon before the natural SJN was renamed the Country-Western Model as a tip of the hat to the many Gibson pickers of that genre.\u003cbr\u003e\u003cbr\u003eThis guitar has a really cool provenance as it did in fact belong to a professional Country singer\/picker, albeit one who is not well remembered today. Earl Scott began recording in the late '50s; in the early '60 he had a couple of minor hits the biggest being \"Then a Tear Fell\" in 1962 on Kapp Records. He later recorded for Mercury and Decca Records without much success, but made a few guest appearances on the Grand Ole Opry and Ernest Tubb's record shop Midnight Jamboree. His stage wear was apparently flashy enough to once merit a special magazine article! He appears to have played this Gibson early in his career; it arrived in the original brown alligator chipboard case with a printout of a photo of him in full regalia playing the guitar, and a copy of his 1961 HAP 45 \"You're That Certain Someone\/\"Opal Lee\". \u003cbr\u003e\u003cbr\u003eThis C\u0026amp;W was made in 1956, the first year after the model's renaming. it features a multi-bound top and back, bound fingerboard with pearloid double parallelogram inlay and the new larger tortoise celluloid pickguard used after 1955. It remains in nice original condition with one small addition; an second plastic endpin added over the heel, set into the upper end of the neck block. Earl's old C\u0026amp;W shows signs of use but remains an effortless player with a warm, sweet but still powerful tone, still a hillbilly strummer's delight and an excellent all around guitar.\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/4 in. (41.3 cm.) wide at lower bout, and 5 in. (12.7 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis is played-in guitar that remains largely original with some cosmetic wear but no major damage or repair. There is moderately heavy checking overall; the top has dings and scrapes with pickwear into the wood around the lower soundhole edge and just off the back edge of the pickguard, with a few case lid dings by the upper edge. The back and sides show checking and wear spots with some \"belt buckling\" into but not through the back finish; Earl definitely wore a cowboy buckle! The back of the neck has some feelable dings and chips but no heavy capo wear, the headstock shows some chips and dings as well.\u003cbr\u003e\u003cbr\u003eThere are no cracks or structural repairs detectable on the instrument. The original celluloid pickguard was replaced with a correct tortoise replica but it is included in the case; likely it has shrunken up somewhat. The rosewood top-belly bridge is original and appears to have been taken down just a hair long ago and possibly reglued although if so it was a clean job. Internally all bracing and the maple bridgeplate are original and undisturbed, the bridge retaining bolts are still in place. The only modification is the added endpin\/strap button over the neck heel (secured into the upper end of the neck block) which is odd but solid. \u003cbr\u003e\u003cbr\u003eThe frets appear original, crowned down somewhat in the lower positions but still fully playable; the fingerboard shows some divoting in the first position (where we'd guess Earl mostly played). The neck has never been reset and the angle is good and the guitar plays very nicely with a great chunky Honky-Tonk sound. If not the cleanest C\u0026amp;W this one sounds and plays great with a killer story and vibe about it; We don't know how long Earl played the guitar (he had a J-200 later in the 1960s) but is seems to have been part of his story. It still lives in the original brown alligator chipboard, solid but worn with some ephemera related to Earl Scott included. Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853717753996,"sku":"13511","price":7500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_70d4fd4e-83e2-47ef-bee7-c680f1e03706.jpg?v=1774344486"},{"product_id":"c-f-martin-style-b-flat-back-mandolin-1917-13854","title":"C. F. Martin Style B Flat Back Mandolin (1917)","description":"C. F. Martin Style B Model Flat Back Mandolin (1917), made in Nazareth, PA, serial # 5351, natural varnish finish, rosewood back and sides, spruce top; mahogany neck with ebony fingerboard, black gig bag case. \u003cbr\u003e\u003cbr\u003eMartin mandolins remain fairly obscure to most modern players, but in general not particularly rare. This early Style B IS a fairly obscure model; in Martin mando-terms a big step up from the MUCH more common mahogany Style A. The stylistic equivalent of a Style 21 guitar, the Style B has a Brazilian rosewood body with herringbone inlay for the backstrip and soundhole ring, multiple wood binding back and front with a side line and slotted diamond inlay in the ebony fingerboard. The neck has a fairly deep round backed \"U\" profile, while the headstock has a Vinaccia-style cutout and is fitted with bowlback-style integrated tuners.\u003cbr\u003e\u003cbr\u003eThe Style B mandolin was introduced in 1914 and stayed in production up until WWII in ever-decreasing numbers; it briefly re-appeared in 1946 then was gone forever. This example was made in 1917, just as the US was entering the First World War when the mandolin still ruled the fretted roost; the list price at the time was $30, plus case. It is one of 97 made that year, the model's highest total up to that point. In this early period Martin mandolins were rather more lightly built offering a generally livelier sound than the more commonly found 1940-60s Style A's. This is a fine playing example, a more delicate feeling instrument than many later mandolins and very nice and rather unique sounding instrument. The tone is a bit gentler and less barky than the typical Gibson but with more depth than some and a nice sparkle to it.\u003cbr\u003e \u003cbr\u003eOverall length is 24 1\/4 in. (61.6 cm.), 9 11\/16 in. (24.6 cm.) width, and 2 5\/8 in. (6.7 cm.) in depth at side, taken at the end block. Scale length is 13 in. (330 mm.). Width of nut is 1 1\/8 in. (29 mm.). \u003cbr\u003e\u003cbr\u003eThis mandolin is a solid survivor of well over a century on Earth, all original showing signs of use but still and sounding lovely. The all-original very thin varnish finish shows dings, scratches and scuffs overall, but with less pickwear to the top than many. The inlaid pickguard has blushed a bit but shows no cracks; there are some check marks at the upper edge of the top that look like grain splits but do not go through to the inside. \u003cbr\u003e\u003cbr\u003eThe finish on the back also shows some noticeable blushing and some deeper scratching but no large areas of loss. The back of the neck has some spot worn to the wood in some spots along with some dents and dings on the centerline, the back edge of the headstock is worn down a bit.\u003cbr\u003e\u003cbr\u003eThe instrument remains all original and complete, including the integrated tuners, carved ebony bridge and impossible-to-find-if-missing engraved tailpiece cover. The original bar frets have been polished out and leveled and playability is excellent. While less \"gutty\" sounding than many Gibsons this dainty gem of a mandolin offers a bright, peppy tone and plenty of volume. This would make an excellent old time or recording mandolin, complete in a modern gig bag. Very Good + Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853717852300,"sku":"13854","price":1950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_9bcf0ad0-3fc0-402a-96ce-d5ee4a8758b9.jpg?v=1774344492"},{"product_id":"epiphone-sheraton-e212tv-arch-top-semi-hollow-body-electric-guitar-1964-13870","title":"Epiphone Sheraton E212TV Arch Top Semi-Hollow Body Electric Guitar (1964)","description":"Epiphone Sheraton E212TV Model Arch Top Semi-Hollow Body Electric Guitar (1964), made in Kalamazoo, Michigan, serial # 67842, cherry lacquer finish, laminated maple body, mahogany neck with rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis spectacular semi-hollow thinline guitar 1964 Epiphone Sheraton is beautifully finished in the rich cherry lacquer originally reserved for Gibson instruments but by mid-1962 also offered on many Epiphone models. The E-212T was Epiphone's top of the thinline semi-hollow guitar line in the 1960s; only the huge hollow body Emperor was more expensive. This guitar is an E212TV, designating that it was factory fitted with the Epiphone Tremotone vibrato, a catalog option, instead of the standard Frequensator tailpiece. On the July 1963 Epiphone price list this combination of features cost $595 plus $50 for the #1519 hard case; in September this went up to $635 and $60. \u003cbr\u003e\u003cbr\u003eAfter Gibson's parent company Chicago Musical Instruments bought the nearly defunct Epiphone operation in 1957, it took them a year or so to come up with a guitar line using the former competitor's name. Samples were shown at NAMM 1958 but production did not begin in earnest until the 1959 model year. The Sheraton was one of the first models offered and combined Gibson's then-new double cutaway, semi-hollow body design with a more traditional Epiphone look. \u003cbr\u003e\u003cbr\u003eThis model was the rough equivalent to Gibson's ES 355TD but built in much smaller numbers. Differences included the then-proprietary Epiphone mini-humbucking pickups replacing the New York made single-coils used earlier and elaborate Epiphone inlay patterns, a tradition dating to the 1930s. Stereo\/Varitone options were not part of the Epiphone package, which in retrospect was probably a good thing! \u003cbr\u003e\u003cbr\u003eThis 1964 Sheraton would be an early example with the new-that-year longer headstock . The one-piece mahogany neck has a comfortable round-backed profile, slimmer both in width and depth than most 1964 semi-hollow Gibsons. The rosewood fingerboard is 5-ply bound inlaid with the split pearl block with \"V\" abalone centerpiece used on top-line 1940s Epiphone Emperor and Deluxe models. The headstock is triple-bound with the signature \"tree of life\" pattern in pearl also borrowed from those pre-Gibson top-line Epiphones.\u003cbr\u003e\u003cbr\u003eThe body has a beautiful deep cherry lacquer finish; at the time this instrument would have been ordered this or sunburst were the catalog options, with a natural finish model priced even higher. The top is bound in 6-ply celluloid and the back is 3-ply; the tortoise celluloid pickguard is 5-ply bound with an E epsilon logo. All hardware is gold-plated including the original Grover Rotomatic tuners, Tremotone tailpiece and ABR-1 Tune-O-Matic bridge with nylon saddles. The knobs are the typical \"capped' 1960's Gibson style. The gold-plated mini-humbuckers are original and untouched.\u003cbr\u003e\u003cbr\u003eThe Sheraton was made only in very limited numbers in the 1960s, with just 36 tremolo-equipped examples shipped in 1964 (most of which were sunburst) and 80 of all finish options combined. In this year how many were finished in cherry is not recorded separately. This is a rare guitar in any case, a very comfortable player with a lovely neck feel and the powerful but somewhat brighter tone these pickups offer. This is a truly lovely guitar, one of the nicest Sheratons we have had and one of the finest of all Kalamazoo-made Epiphones.\u003cbr\u003e \u003cbr\u003eOverall length is 43 in. (109.2 cm.), 16 1\/4 in. (41.3 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is nicely original shows just some minor wear; overall it is very well-preserved appearing only lightly played over the last 60 years. The finish shows light checking and very small dings, dents and scuffs with some scratching to the back. There is one noticeable small dink between the pickups under the strings. There are no visible repairs or alterations except the strap buttons were replaced with Straploks, probably back in the 1980s. \u003cbr\u003e\u003cbr\u003eThe gold plating shows some typical wear, especially to the bridge ends, pickup covers and trem arm while the pickguard has some light scuffing on the top. The original frets have been crowned down in the lower positions but still play fine. Other than these small points, this is a really superb 60+ year old example of Epiphone's top semi-hollow guitar, one of the nicest we have seen. It lives in a modern HSC. Overall Excellent Condition.","brand":"Epiphone","offers":[{"title":"Default Title","offer_id":46853718016140,"sku":"13870","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_2b3db41c-f3cf-4473-8032-45bac166e76f.jpg?v=1774344502"},{"product_id":"premier-e-730-solid-body-electric-guitar-2025-13845","title":"Premier E-730 Solid Body Electric Guitar (2025)","description":"Premier E-730 Model Solid Body Electric Guitar (2025), made in New York City, serial # 06, black lacquer finish, mahogany body, rosewood neck, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThe original scroll-body Premier guitars are some of the coolest and quirkiest 6-strings ever to come out of the \u003cbr\u003eNew York area, but in the late 1950s-early '60s had only a very short shelf life. These unique instruments have now \u003cbr\u003ebeen lovingly recreated right here in New York by the revived Multivox company, inheritors of the original Premier Mojo. We are thrilled to have several of the very first and coolest examples of the reborn line here in our showroom. \u003cbr\u003e\u003cbr\u003eThe original 1950s Premier guitars were a product of the Peter Sorkin company, a large distributor in New York City. They established a satellite electronics company named Multivox; the guitars have this name on a plaque on the back of the headstock. Sorkin's 1959 catalog featured Premier solid-body \"scroll\" solidbody guitars in several different finish options and pickup combinations with or without a Bigsby Vibrato. By 1962-3 they had already been redesigned and cheapened, and they disappeared after 1965.\u003cbr\u003e\u003cbr\u003eThe guitars are supremely visually striking, then and now. The unique solid mahogany body has a Gibson \u003cbr\u003emandolin like scroll carved into the upper bout, the cutaway below curving downward in \u003cbr\u003ea gentle arc. The top is bound into the scroll area, accented with a celluloid dot in the center. Another unique feature is the neck itself, fashioned from solid rosewood with a bound fingerboard. These now models are built with an adjustable truss rod, something the originals unfortunately lacked. The neck has a chunky deep-C profile, substantial but very comfortable. The 3-on-3 headstock is adorned with an engraved and painted Premier logo and torch emblem.\u003cbr\u003e\u003cbr\u003ePremier's trademark gold-sparkle pickguards and sparkle-topped knobs are exactingly re-created on the new versions. Also perfectly reborn are the original pickups, in the 1950s a product of Fransch electronics in Woodside, NY. Both the distinctive stamped metal covers and original windings have been meticulously recreated from the ground up, using original examples as the template. \u003cbr\u003e\u003cbr\u003eThis ebony-finished Model E730 is a recreation of the original standard model with two pickups and a Bigsby vibrato tailpiece. The \"dogbone\" Bigsby bridge was called the \"Sorkin\" model back in the day as they were a catalog option factory-fitted. \u003cbr\u003eDespite their local origin we rarely see original Premier solid-bodies today. These recreations are superbly done, and we are proud to feature them in out showroom. Come in and try one!\u003cbr\u003e \u003cbr\u003eOverall length is 37 3\/4 in. (95.9 cm.), 13 in. (33 cm.) wide at lower bout, and 1 9\/16 in. (4 cm.) in depth, measured at side of rim. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 23\/32 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is new, unsold with the tiniest touch of handling wear and some vintage-y relic scuffing to the pickup covers. This is a superb playing guitar and a proud revival of a lost New York classic guitar newly revived for the 21st century. Near Mint Condition.","brand":"Premier","offers":[{"title":"Default Title","offer_id":46853718605964,"sku":"13845","price":4850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5e511e98-dd7b-43f1-9bce-7a85ed8c98ca.jpg?v=1774344520"},{"product_id":"premier-e-722-solid-body-electric-guitar-2025-13844","title":"Premier E-722 Solid Body Electric Guitar (2025)","description":"Premier E-722 Model Solid Body Electric Guitar (2025), made in New York City, serial # 03, cherry lacquer finish, mahogany body, rosewood neck, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThe original scroll-body Premier guitars are some of the coolest and quirkiest 6-strings ever to come out of the \u003cbr\u003eNew York area, but in the late 1950s-early '60s had only a very short shelf life. These unique instruments have now \u003cbr\u003ebeen lovingly recreated right here in New York by the revived Multivox company, inheritors of the original Premier Mojo. We are thrilled to have several of the very first and coolest examples of the reborn line here in our showroom. \u003cbr\u003e\u003cbr\u003eThe original 1950s Premier guitars were a product of the Peter Sorkin company, a large distributor in New York City. They established a satellite electronics company named Multivox; the guitars have this name on a plaque on the back of the headstock. Sorkin's 1959 catalog featured Premier solid-body \"scroll\" solidbody guitars in several different finish options and pickup combinations with or without a Bigsby Vibrato. By 1962-3 they had already been redesigned and cheapened, and they disappeared after 1965.\u003cbr\u003e\u003cbr\u003eThe guitars are supremely visually striking, then and now. The unique solid mahogany body has a Gibson \u003cbr\u003emandolin like scroll carved into the upper bout, the cutaway below curving downward in \u003cbr\u003ea gentle arc. The top is bound into the scroll area, accented with a celluloid dot in the center. Another unique feature is the neck itself, fashioned from solid rosewood with a bound fingerboard. These now models are built with an adjustable truss rod, something the originals unfortunately lacked. The neck has a chunky deep-C profile, substantial but very comfortable. The 3-on-3 headstock is adorned with an engraved and painted Premier logo and torch emblem.\u003cbr\u003e\u003cbr\u003ePremier's trademark gold-sparkle pickguards and sparkle-topped knobs are exactingly re-created on the new versions. Also perfectly reborn are the original pickups, in the 1950s a product of Fransch electronics in Woodside, NY. Both the distinctive stamped metal covers and original windings have been meticulously recreated from the ground up, using original examples as the template. \u003cbr\u003e\u003cbr\u003eThis cherry-finished Model E722 is a recreation of the original standard model with two pickups and no vibrato. The \"dogbone\" Bigsby bridge was called the \"Sorkin\" model back in the day as they were a catalog option factory-fitted. \u003cbr\u003eDespite their local origins, we rarely see original Premier solid-bodies today. These recreations are superbly done, and we are proud to feature them in out showroom. Come in and try one!\u003cbr\u003e \u003cbr\u003eOverall length is 37 3\/4 in. (95.9 cm.), 13 in. (33 cm.) wide at lower bout, and 1 9\/16 in. (4 cm.) in depth, measured at side of rim. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 23\/32 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is new, unsold with the tiniest touch of handling wear and some vintage-y relic scuffing to the pickup covers. This is a superb playing guitar and a proud revival of a lost New York classic guitar newly revived for the 21st century. Near Mint Condition.","brand":"Premier","offers":[{"title":"Default Title","offer_id":46853718638732,"sku":"13844","price":4750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_eaec674f-ffb4-4b66-ac52-bb5f2598d64a.jpg?v=1774344523"},{"product_id":"watkins-electric-music-wem-rapier-bass-owned-by-jeff-tweedy-of-wilco-solid-body-electric-bass-guitar","title":"Watkins Electric Music (WEM) Rapier Bass Owned by Jeff Tweedy of Wilco Solid Body Electric Bass Guitar (1967)","description":"Watkins Electric Music (WEM) Rapier Bass Owned by Jeff Tweedy of Wilco Model Solid Body Electric Bass Guitar (1967), made in London, England, serial # 9250, natural re- finish, African mahogany body, maple neck with rosewood fingerboard, black chipboard case. \u003cbr\u003e\u003cbr\u003eWatkins Electric Music (later abbreviated as WEM) was a notable British electronics company perhaps known best for their PA systems and amplifiers such as the Dominator; they also dabbled in a modest line of fairly budget-level guitars. The Rapier guitar series was their best known instrument; this 4-string version is one of only a few bass designs they offered. This example has an original finish neck and a stripped body. Admirers of these UK-made basses and guitars know that the thick polyester finishes were prone to serious cracking and checking, often largely flaking off with time. At some point a previous owner of this bass simply stripped the body to bare wood. \u003cbr\u003e\u003cbr\u003eThe African mahogany body has a look and feel reminiscent of a period Burns bass, but much thinner at the rim. The Fender-esque maple neck has a dot-inlaid rosewood fingerboard, zero fret and an adjustable truss rod. This later model is outfitted with chrome hardware, a brass nut, and Dutch made Van Gent plastic-button tuners. The electronics include two metal-covered single coil pickups wired to a master volume and 4-way tone selector knob. The fully adjustable bridge has an extremely large metal cage\/cover surrounding it (that looks like a giant horseshoe pickup) housing an adjustable mute; the strings run to a very basic bent metal tailpiece. \u003cbr\u003e\u003cbr\u003eSeveral different versions of this Watkins\/ WEM\/Wilson bass exist with slightly different configurations, some carrying the \"Sapphire\" name. The company would shortly rebrand the guitars as \"Wilson\" and eventually by the early-1980s the instrument line was discontinued. Watkins\/WEM\/Wilson survivors have been relegated to being mostly appreciated in their own niche circles of aficionados or as fun thrift shop finds. This one made its way to Chicago and found itself in the service of Wilco's Jeff Tweedy, who is now passing it on to the world.\u003cbr\u003e \u003cbr\u003eOverall length is 46 in. (116.8 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 3\/8 in. (3.5 cm.) in depth, measured at side of rim. Scale length is 30 1\/2 in. (775 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis is a fun and funky player's grade bass that sounds good and plays well. The finish on the body was stripped to bare natural wood, the clear Poly on the neck is intact while headstock face had the logo sanded off. The body finish is right down to the wood, sanded and smoothed but not resprayed with any additional lacquer. Within that refinish are only a scattering of small dings and dents and not a tremendous amount of additional wear; there are some scars and additional holes from a now-lost tailpiece cover. The neck has some heavy check lines and small dings and dents.\u003cbr\u003e\u003cbr\u003eThe hardware and the electronics appear otherwise original and in tact including the Burns-like multi-piece plastic pickguard, elaborate bridge\/mute assembly and tuners. It remains a comfortable and playful little bass with a rocker spirit; the frets and fingerboard are healthy, with a brass nut added above the zero fret. It is currently strung up with Jeff's choice of mix-and-match roundwound strings but would surely sound great with a thumpy set of flats. It resides in a period softshell case with the Wilco Loft markings in the standard spot along the bottom edge. Also inside the case lives a certificate of authenticity from the Wilco Loft validating the provenance of this piece. Overall Very Good Condition.","brand":"Watkins Electric Music (WEM)","offers":[{"title":"Default Title","offer_id":46858811867276,"sku":"13305","price":900.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b534f94a-8180-49b6-a735-2b594b4dc930.jpg?v=1774372557"},{"product_id":"fender-competition-mustang-solid-body-electric-guitar-1973-10291","title":"Fender Competition Mustang Solid Body Electric Guitar (1973)","description":"Fender Competition Mustang Model Solid Body Electric Guitar (1973), made in Fullerton, California, serial # 436903, Candy Apple Red with Racing Stripe finish, alder body, maple neck, rosewood fingerboard, original grey hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a later-day Competition Red Fender Mustang from 1973, built at the end of the run for this rather whimsical \"Competition\" version of the model. This was the last year for the snazzy Candy Apple Red metallic \"car\" finish and \"racing\" stripe on the body; the matching headstock had been discontinued a couple of years earlier. Soon after this one was made the finish options for the model were changed to sunburst, natural, or black and the \"Competition Mustang\" series was retired under the checkered flag. \u003cbr\u003e \u003cbr\u003eThe rosewood-fingerboard neck is clear-dated MAR 73 on the heel; the lead PU is also dated 1973 while the pots are coded 137 7310, also dating to early 1973. Except for the lack of a matching finish on the headstock, the features (including the snazzy pearloid pickguard) of this guitar remain nearly identical to the late 1960s models. These include the springy \"Dynamic\" vibrato tailpiece, 6-barrel adjustable bridge and twin Mustang pickups with switching allowing in or out of phase combinations. \u003cbr\u003e\u003cbr\u003eThe Mustang series was Leo Fender's last original design for the company that bore his name, launched in mid-1964 to immediate success. By the early 1970s the proliferation of cheaper Japanese guitars had undercut the market and sales were way down, but the easy handling short scale Mustang endured as a classic in its own right. The Mustang has proved a timeless favorite of countless garage and pro bands from the 1960s and '70s until today, easily exceeding Leo's original intentions as a simple but effective student instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 12 1\/4 in. (31.1 cm.) wide at lower bout, and 1 5\/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 24 in. (610 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis Mustang remains nicely original except for a repro trem bar and is in solid playing condition overall. There is checking to the body finish with some fairly random finish scuffs, chips and dings, a few fairly deep, but no major belt-buckle wear on the back. The neck finish is relatively clean with one deeper scrape behind the third fret area. \u003cbr\u003e\u003cbr\u003eThe lower tip of the pickguard on the treble horn has split off with some glue residue visible were it was once tacked down. The pickguard itself has shrunk up a decent amount which in turn has outgassed somewhat bled into the finish underneath in some places, but this is only visible when the guitar is disassembled. Everything works as intended, the trem arm is a correct repro. The original frets have only light wear and this is a good playing and sounding Mustang; still snazzy and sporty these many years on! It rests in the original case. Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46985514057868,"sku":"10291","price":3450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b335b43a-72d6-4a1c-92f7-aee33c16506c.jpg?v=1774641596"},{"product_id":"epiphone-e444t-granada-thinline-hollow-body-electric-guitar-1965-13786","title":"Epiphone E444T Granada Thinline Hollow Body Electric Guitar (1965)","description":"Epiphone E444T Granada Model Thinline Hollow Body Electric Guitar (1965), made in Kalamazoo, Michigan, serial # 363736, sunburst top, dark back and sides finish, laminated maple body, mahogany neck with rosewood fingerboard, black gig bag case. \u003cbr\u003e\u003cbr\u003eThe E-444T Epiphone Granada is the doppelganger for Gibson's more familiar ES-120T -- the least expensive hollow body guitar the company offered under either brand name in the 1960s. This is a thinline fully hollow, non-cutaway guitar with a thin 1 3\/4\" rim and only a single upper f-hole.\u003cbr\u003e\u003cbr\u003eIt features one single-coil pickup mounted to a large hollow molded plastic pickguard unit that also carries the controls and jack. The pickup is the same unit used in the Melody Maker series, but seems to offer more depth to the sound when mounted on a hollow instrument.\u003cbr\u003e\u003cbr\u003eOther features are typical for the period including the adjustable rosewood bridge, trapeze tailpiece, and Kluson Deluxe strip tuners. The modular construction (the pre-wired electronics unit just dropped onto the body) allowed this guitar to be built to a relatively low price, but it still upholds Gibson's usual standards and is quite a friendly guitar to play.\u003cbr\u003e\u003cbr\u003eAlthough designed originally for students, the Granada is a very good stage guitar for acoustic\/electric playing and has a distinct sound all its own, clearer and less bassy than many similar guitars but still with a warm edge. This Epiphone variation on the ES-120T formula was built in much smaller numbers than its Gibson sister and this is a nice original example. 648 E-444T's were shipped out in 1965 at a list price of $170, compared to nearly 2600 of its Gibson branded sibling.\u003cbr\u003e \u003cbr\u003eOverall length is 42 in. (106.7 cm.), 15 15\/16 in. (40.5 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 25 3\/4 in. (654 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar has had some play time since the 1960s but remains in nicely original condition. There is typical finish checking and some dings, dents and scuff marks overall but the guitar remains relatively clean and all hardware is complete and intact. An area in the center of the back has some heavier moisture checking and light \"strap burn\" while the headstock shows the largest collection of dings. An old Gibson strap button on the side above the heel was probably added at the time. This is good-playing acoustic\/electric and still a serious bargain in an original 1960s Kalamazoo-built electric, resting in a modern molded case. Overall Excellent - Condition.","brand":"Epiphone","offers":[{"title":"Default Title","offer_id":47053267894412,"sku":"13786","price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1462beca-165c-436d-b94d-dd9550ff5a7a.jpg?v=1774728700"},{"product_id":"gibson-les-paul-junior-solid-body-electric-guitar-1959-13150","title":"Gibson Les Paul Junior Solid Body Electric Guitar (1959)","description":"Gibson Les Paul Junior Model Solid Body Electric Guitar (1959), made in Kalamazoo, Michigan, serial # 935049, cherry lacquer finish, mahogany body and neck, rosewood fingerboard, original brown hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice example of an original late-1959 double-cutaway Les Paul Junior, lightly played in showing some general wear but structurally excellent and well preserved for just having passed 65 years old. This version of Gibson's perennial student solidbody is the classically cool if fairly short lived stepping stone between the original slab-bodied single-cut '50s design and the slim, elegantly sculpted SGs of the 1960s. This new version was introduced in mid-1958 and phased out in early 1961.\u003cbr\u003e\u003cbr\u003eThis particular cherry Junior was made around the end of 1959; the 6-digit serial number ink-stamped on the back of the headstock indicates all 5-digit possibilities had already been used up! The body is the thick slab-o-mahogany 1950's construction with rounded edges, dressed in a beautiful unfaded deep cherry color. This Junior as always mounts a single \"dogear\" P-90 pickup by the bridge, a tone and volume knob, the classic Gibson stop tailpiece\/bridge unit and not much else! A single-layer tortoise celluloid pickguard and the silkscreen logos on the headstock complete the cosmetic trim.\u003cbr\u003e\u003cbr\u003eThe neck joins the body at the 22nd fret making the entire fingerboard accessible, Gibson's new concept of the time. It has the typical '59 round-backed neck profile, fairly chunky feeling if slimmer than some with a bit more dressed away on the sides compared to earlier in the year. The unbound, dot inlaid rosewood fingerboard carries the larger frets Gibson started using around this time, perfect for the heavy-bending rock guitar styles still in the future in 1959.\u003cbr\u003e\u003cbr\u003eThe Junior in any form is one of the all-time classic rock guitars, with a roaring tone when cranked that can be dialed back to a sweet midrangey bark at lower volume. An old \"New Yawk\" favorite (these were inevitable sightings plugged into Marshalls at CBGB's and Max's back in the '70s), these double cutaway Juniors are a true classic of the bare-bones genre. This great playing and sounding Junior has seen some use over the past 65 years but survived unbroken and unbowed, still rocking along!\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 13 in. (33 cm.) wide at lower bout, and 1 5\/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis is not an exceptionally clean guitar but a very solid survivor with no alterations, cracks or breaks just honest wear from use over the last 65 years. The deep cherry finish has some minor fade on the top and more on the upper side (maybe it sat in a window where that faced the sun). There are dings, dents, scuffs and scratches over the entire instrument but no really heavy wear. The back of the neck has some shallow dings and dents, with the finish worn down a bit on the spine.\u003cbr\u003e\u003cbr\u003eThis Junior made it through the decades with NO cracks, breaks or any other repairs; neck heel and headstock damage are very common on these. All hardware is original and complete (even the tuners and buttons) while the pickup and wiring are untouched original. The original frets and fingerboard show some general wear but thanks to the larger wire adopted around this time playability remains excellent.\u003cbr\u003e\u003cbr\u003eThis is just a nice double cutaway Junior; still giggable, well-loved and riding in a special bonus. It comes in the original brown pink-lined Gibson hard case, almost never purchased with this model as it added $42.50 to the $132.50 price in late 1959. This is of course the \"5-latch Burst case\" that is the correct housing for a '59 sunburst Standard; This one is VERY well worn but still solid, and as they say \"It is what it is\". We have left these fellow travelers together as they apparently have been for decades but someone with a well-worn \"Burst\" missing its case would be sorely tempted to separate them. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":47053270352012,"sku":"13150","price":11500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fea525c2-ad14-4663-9ce1-04deb21bb62e.jpg?v=1774728707"},{"product_id":"gibson-j-50-adj-flat-top-acoustic-guitar-1965-13851","title":"Gibson J-50 Adj. Flat Top Acoustic Guitar (1965)","description":"Gibson J-50 Adj. Model Flat Top Acoustic Guitar (1965), made in Kalamazoo, Michigan, serial # 364820, natural lacquer finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice mid-60s example of the J-50, essentially the same instrument as the J-45 with a natural top finish. This was originally worth a small markup to Gibson but by 1965 both models listed at the same $175, plus case. Over the years the natural-top guitars were generally produced in smaller numbers than that familiar sunburst-top favorite, but in 1964 the J-50 was for the first time the more popular option.\u003cbr\u003e\u003cbr\u003eBy the mid-1960's all of Gibson's slope-shouldered Jumbo guitars had been popular with Folk, Blues and Pop players for about 30 years; in the early '60s Folk era they really took off as some of Gibson's best sellers. It's easy to see why; this is a very comfortable guitar to play with a sleek, round neck and a very warm, versatile sound. The neck has the slimmer nut width that had become ubiquitous by 1965, but otherwise the instrument is little changed from earlier 1960s models. \u003cbr\u003e\u003cbr\u003eThe backstrip is marked \"J-50 ADJ\" as the guitar is fitted with the company's adjustable ceramic saddle in the rosewood bridge, which was the only option available in 1965. While many used to consider this a sonic demerit, over the last few decades many players have come to prefer the guitar unaltered with the slightly more condensed sound this setup usually produces. \u003cbr\u003e\u003cbr\u003e1965 was Gibson's top production year of the decade and saw a grand total of 4312 of these J-50 ADJ's ship out of Kalamazoo at a list price of $175. The J-50 was favored notably at the time by Jorma Kaukonen and Texas blues legend Lightnin' Hopkins, among many others! This is a well used guitar but well cared for and remains a nice playing example; one of friendly guitars you just don't want to put down.\u003cbr\u003e \u003cbr\u003eOverall length is 40 11\/16 in. (103.3 cm.), 16 in. (40.6 cm.) wide at lower bout, and 4 7\/8 in. (12.4 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003eThis just 60+ year old guitar shows general wear overall, but no serious damage or major repair. This was brought to us by the original owner's widow, who had many memories of it being played over the decades. There is checking overall with scuffs, dings and dents scattered around and some marks on the back from the finish reacting to a plastic strap long ago. The back of the neck is quite clean with only a few tiny dings. \u003cbr\u003e\u003cbr\u003eThe back seam looks to have been resealed near the endpin at some point and the bridge reglued. There is a period Gibson plastic strap button on the heel, probably added when the guitar was new. The tuners have been restored to repro Klusons, replacing '70s Schallers that changed the balance drastically; there are telltale filled screw marks from this on the headstock rear. The original owner put his name on the peghead face via a Dymotape strip, and also etched license number into the back of the headstock, as the police used to advise us all to do! This J-50 plays and sounds very nice, not the loudest or punchiest but a very sweet and friendly guitar and lovely songwriter's companion, residing in a more modern HSC. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":47060449427596,"sku":"13851","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_dde32a93-dde4-49b1-baa8-bd8fc4ad2925.jpg?v=1774736178"},{"product_id":"magnatone-custom-413-tube-amplifier-1962-13587","title":"Magnatone Custom 413 Tube Amplifier (1962)","description":"Magnatone Custom 413 Model Tube Amplifier (1962), made in Torrance, Ca, brown fabric covering finish. \u003cbr\u003e\u003cbr\u003eThis is a superficially worn but sonically wonderful example of Magnatone's Custom 413 model amplifier. Originally founded in the 1930s as the Dickerson Musical Instrument Company, the re-dubbed Magna Electronics Company began focusing primarily on guitar amplifier design after being acquired by Art Duhamell in 1946. Although also producing guitars, it was the amplifiers that became popular amidst the first Rock 'n' Rollers, most notably Buddy Holly and Lonnie Mack. Magnatone amps were distinctive for their great sounding pitch-shifting vibrato effect, setting them apart from amps with the more common volume-varying tremolo.\u003cbr\u003e\u003cbr\u003eThe Custom 413 was the successor to the very popular and successful 213\/213A Troubadour\/Tonemaster models, offering the company's iconic vibrato in a compact format aimed at working professionals. Listed at $179.95 in the 1960 catalog, Magnatone describes it as \"the finest compact, light amplifier available. Covered in modern charcoal leatherette with gold color appointments the Custom 413 is a power-house of tone. Rich, round bass tones, sparkling highs plus the sensational exclusive MAGNATONE BIG \"V\" Vibrato --the first true musical vibrato-- make the custom 413 the ideal professional amplifier for club dates, recording sessions and T.V. or radio appearances.\"\u003cbr\u003e\u003cbr\u003eLike it's predecessors, the amp features two channels, each with their dedicated two high\/low gain inputs, as well as volume for each, a shared tone control and vibrato speed and depth controls. The dual-6V6 power section puts out around 12-15 watts into a single 12\" speaker. The iconic pitch-shifting vibrato effect is achieved with two varistors; a somewhat simpler iteration compared to the flagship stereo models but delivers the same hypnotic effect that put Magnatone amps on the map!\u003cbr\u003e \u003cbr\u003eHeight is 16 in. (40.6 cm.), 20 in. (50.8 cm.) width, and 10 in. (25.4 cm.) in depth at deepest point. \u003cbr\u003e\u003cbr\u003eCosmetically this is a decently preserved amp overall, especially considering how prone to wear Magnatone amps from this era are. The fairly thin fabric covering is mostly intact, with the exception of some scuffing and minor tears around the corners and edges, mostly on the front and rear bottom. The rear-mounted control plate bears notable wear, mostly to the lower edge; additionally, a past owner (presumably) had scratched in their license place number above the controls. The knobs are older chickenhead-style replacements. The grille cloth is very clean and free of any tears or signs of fraying. The handle and its hardware is original and is moderately tarnished. The amp also comes with what appears to be a period 'door-stop'-style footswitch, either partly homemade or from another amp of the era. \u003cbr\u003e\u003cbr\u003eElectrically, the amp is nicely original. The 12\" Utah speaker is original to the amp and bears the code 328-205, dating it to the 5th week of 1962. It appears to sport a recent\/newer recone and tests and sounds wonderful. The Schumacher power and output transformers are original as well, coded 606-208 and 606-148, dating them to the 8th week of 1962 and 48th week of 1961, respectively. Visible pot codes date to late '61 and early '62 as well. The amp has received our typical maintenance and servicing, including a grounded 3-prong power cord, replacement of all electrolytic capacitors, any other out-of-spec components replaced, cleaning of all sockets, pots and jacks and power tubes biased to spec.\u003cbr\u003e\u003cbr\u003eOverall, this is a fantastic example of one of this great-sounding medium-size combo amps, excellent for both recording and gigging, and that pitch-shifting vibrato STILL can't be beat! The Custom 413 is about the most cost-effective of Magnatones with this sought-after feature, a relative sonic bargain in todays amp world. Very Good Condition.","brand":"Magnatone","offers":[{"title":"Default Title","offer_id":47060451459212,"sku":"13587","price":1850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f5829b1d-cbdd-4fd0-9a4e-1f9fe117f6b2.jpg?v=1774736182"},{"product_id":"gibson-f-2-carved-top-mandolin-1912-12933","title":"Gibson F-2 Carved Top Mandolin (1912)","description":"Gibson F-2 Model Carved Top Mandolin (1912), made in Kalamazoo, Michigan, serial # 17005, black top, dark stained back and sides finish, birch back and sides, spruce top; mahogany neck with ebony fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis more than a century old mandolin is a somewhat worn in but still fully playable piece of Art Nouveau with a lovely sweet sound. When this beautiful scroll-body instrument was made in mid- 1912 the F-2 \"Artist Model\" was the next to the top of Gibson's mandolin line, and at $75.00 \"net\" price quite expensive by period standards. It is built to the same structural design as the top-line F-4 only lacking some of that model's fancier decorative elements. The single key difference is the F-4 was the only early Gibson built with maple back and sides; like the rest of the line the F-2 is built of birch despite what the catalogs said! This sometimes gives them a slightly softer tone, sweeter and not as strident; sometimes it seems to make no difference at all!\u003cbr\u003e\u003cbr\u003eThe \"V\" profile mahogany neck has a bound, dot inlaid ebony fingerboard. The fittings are standard for the period with a raised celluloid pickguard and clamp, \"The Gibson\" slanted pearl headstock logo, Handel tuners with inlaid celluloid buttons, the engraved tailpiece cover and a solid ebony bridge with individual compensated saddle pieces. In 1912 many of these design elements wear recent developments, and the Gibsons from this period represent the first full flowering of these incomparable and at the time absolutely unique mandolins. This F-2 looks beautiful with its lovely gleaming ebony top and sounds even better, ready to celebrate its next 100+ years.\u003cbr\u003e \u003cbr\u003eOverall length is 26 1\/4 in. (66.7 cm.), 10 1\/16 in. (25.6 cm.) width, and 1 11\/16 in. (4.3 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 3\/16 in. (30 mm.). \u003cbr\u003e\u003cbr\u003eThis pre-WWI mandolin has survived the last century well with some minor repair, showing general wear but remaining a lovely instrument to play. The original thin varnish finish shows typical minor micro-checking and light wear, with some discreet touch up on the top around the scroll, above and below the fingerboard and off the lower body point. This is only visible on close inspection. There are small dings, scratches and dents but no really heavy wear. The neck finish remains original with some areas down to the wood mostly on the sides. The headstock face shows some heavier checking, many small dings and scratches and one patch to the finish down from the top edge inside of the scroll.\u003cbr\u003e\u003cbr\u003eThere is a repaired split coming down off the top edge if the headstock halfway between the point and the scroll; this was not detached as many have been and the repair is relatively inconspicuous. The top has what appears to be an ancient grain split repair just above the fingerboard, also very neatly sealed. Several of the back\/side seams have been resealed as is typical on Gibsons of this era. A couple pieces of fingerboard binding have been patched in with grained ivoroid, including the bass side from the nut to the 5th fret. \u003cbr\u003e\u003cbr\u003eThe hardware is original and complete including the tuners, tailpiece, and bridge; A correct vintage pickguard and clamp are fitted but these originated on another mandolin with an older style clamp. The bridge has three small holes neatly drilled in the base, which was something folks would occasionally do decades ago. The fingerboard has been refretted with period appropriate wire. This is a very sweet and enjoyable mandolin with a mellower sound than some, generally well preserved and superbly playable with a comfortable action. It still rests in the original shaped HSC, well worn but serviceable. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":47125454422156,"sku":"12933","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_23238eee-1dee-41d6-816a-aba914553a5b.jpg?v=1774888473"},{"product_id":"fender-telecaster-solid-body-electric-guitar-1968-12975","title":"Fender Telecaster Solid Body Electric Guitar (1968)","description":"Fender Telecaster Model Solid Body Electric Guitar (1968), made in Fullerton, California, serial # 244494, blonde polyester finish, ash body, maple neck, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a cool player Fender Telecaster from the turn of 1968\/9, still looking and playing great with a mix of features characteristic of that early-CBS era. It retains its original appearance and character but has seen a decent amount of alteration and then restoration along the way. Here us a rundown from the headstock down: The neck dates to October 1968; it is a late example of the \"maple cap\" construction about to be replaced in '69 by the return of Fender's original 1950's style one piece neck. \u003cbr\u003e\u003cbr\u003eThe maple fingerboard has been refretted with somewhat taller wire and overfinished lightly with some older divoting and wear visible under this. The back of the neck was sanded down to bare wood and feels like it was slimmed just a bit by this process, the heel area retains the original finish. The headstock remains original including the newer large-letter decal introduced in 1967 and retains the original Fender \"F\" style tuners and string tree.\u003cbr\u003e\u003cbr\u003eThe visible parts of the body retain the original translucent blonde finish, somewhat heavier than typical mid-60s lacquer. There is almost no ash grain visible, and it has yellowed quite a bit over time. The guitar was once routed for humbucking pickups and the area under the pickguard has been correctly filled back in and overfinished, a very clean job. The bridge is a correct style period piece but likely not original to this guitar. The bridge pickup is an original Fender unit from the early '70s, nicely rewound and sounding great. The neck pickup is recent. The 1966-dated pots and some of the original cloth wiring remain, the switch is the sometimes seen \"alternate\" style specific to '68 Telecasters. The 3-ply pickguard is a recent repro. \u003cbr\u003e\u003cbr\u003eAt 7.74 lbs. this guitar is not featherweight but still lighter than many late '60s-70's examples and handles excellently. Even with its checkered history of alteration and restoration and slipping into that \"true-CBS\" Fender period it still has the classic Tele sound and character in spades.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 12 3\/8 in. (31.4 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 5\/8 in. (41 mm.)., 7.74 lbs. \u003cbr\u003e\u003cbr\u003eAs noted this Tele has been reworked more than once but remains in excellent playing condition overall. The original body finish has some typical light checking and dings and dents with typical wear to the wood on the edges. There is some random scratching and some old areas of dirt and smoke built up to give it character, something modern \"relics\" never catch. The area under the pickguard has a more recent overfinish due to the filled routs, but this work is very cleanly done and not visible at all when the guitar is assembled. \u003cbr\u003e\u003cbr\u003eThe originally lacquer-finished neck is down to the wood on the back and the fingerboard is lightly refinished with lacquer, The original finish on the headstock shows some checking but the decal is very well preserved.\u003cbr\u003e\u003cbr\u003eThe bridge unit is correct but likely not original to the guitar, the tuners, pots and switch, knobs, strap buttons and the screws remain original. The bridge pickup is an older Fender unit rewound, the neck pickup recent with plastic lead wires. Both neck and bridge sound great, the bridge pickup sound is quite hot but well defined retaining the typical spanky '68 Telecaster tone but never getting shrill as Teles from this era sometimes can.\u003cbr\u003e\u003cbr\u003eThe frets are fairly tall showing just very light wear in the lower positions and play great. This Tele is housed in the somewhat battered but functional original black Tolex Fender HSC. Overall this is a fine player's Fender with a lovely bright but full sound, still a much better feeling and sounding guitar than many 1969-70 and beyond examples. Very Good + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":47125456781452,"sku":"12975","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_c241cb41-87bd-4c46-999b-0f7851cfc27b.jpg?v=1774888493"},{"product_id":"fairbanksvega-senator-5-string-banjo-1920-13779","title":"Fairbanks\/Vega Senator 5 String Banjo (1920)","description":"Fairbanks\/Vega Senator Model 5 String Banjo (1920), made in Boston, Mass., serial # 44802, shaded maple and natural varnish finish, laminated maple rim; mahogany neck with eponized maple fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThe Senator was the plainest banjo in the 1910s-'20s Fairbanks\/Vega line but a fine quality instrument nonetheless. Built with a simple sheathed metal tone ring and plain mahogany finish, the Senator was a no-nonsense student banjo that is nonetheless highly prized today as a stellar old-time and frailing instrument. \u003cbr\u003e\u003cbr\u003eThe neck is one-piece mahogany; the ebonized fingerboard is unbound with dot-and-dash pearl inlay. The laminated maple rim is finished dark to match with simple but solid hardware. While the materials and finish are Spartan, all construction and fitting is to a typically high level as with all Fairbanks\/Vega banjos from this era. \u003cbr\u003e\u003cbr\u003eThis Senator has had some more modern fittings added for player convenience; all geared tuners and a couple of railroad spikes at the 7th and 9th frets. It has the absolutely classic old-time sound of these basic Fairbanks\/Vega banjos, a lovely player and fine example of a 100+ year old Boston made instrument which is no more expensive today than many reproductions.\u003cbr\u003e \u003cbr\u003eOverall length is 37 3\/8 in. (94.9 cm.), 11 in. (27.9 cm.) diameter head, and 2 5\/8 in. (6.7 cm.) in depth, measured at side of rim. Scale length is 27 in. (686 mm.). Width of nut is 1 1\/4 in. (32 mm.). \u003cbr\u003e\u003cbr\u003eThis century+ old banjo shows some general wear but remains in excellent playing condition. The all original thin varnish finish is heavily worn along the bottom of the rim, with lighter wear elsewhere. Original hardware includes the hooks, nuts, hoop, dowel retainer and cool original No-Knot tailpiece; the plating on these shows light general wear. Newer hardware includes a complete set of geared Grover style tuners (the original were un-geared friction types) and a modern Vega-style armrest. The banjo is set up with a recent genuine calfskin head and compensated bridge. This is a gig-ready fine playing and sounding old-time banjo, plain but effective housed in a somewhat oversized but functional modern HSC. Overall Very Good + Condition.","brand":"Fairbanks\/Vega","offers":[{"title":"Default Title","offer_id":47167094096012,"sku":"13779","price":2450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_307f2917-2dc8-4afc-bde2-9867112485e6.jpg?v=1774978334"},{"product_id":"gibson-es-5-arch-top-hollow-body-electric-guitar-1951-13840","title":"Gibson ES-5 Arch Top Hollow Body Electric Guitar (1951)","description":"Gibson ES-5 Model Arch Top Hollow Body Electric Guitar (1951), made in Kalamazoo, Michigan, serial # A-6156, sunburst lacquer finish, laminated maple body and neck, rosewood fretboard and bridge, original brown hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a really superb original example of an early ES-5 from early 1951, one of the all-time classic Gibson full body arch top electrics. This 17\" fully hollow guitar was the most deluxe dedicated electric model Gibson offered when it was introduced in 1949. The *three* black covered P-90 pickups were a novel appointment at the time, something no other maker had yet tried. It was the direct inspiration for the even fancier Epiphone Zephyr Emperor Regent, and by extension the Fender Stratocaster.\u003cbr\u003e\u003cbr\u003eThe early ES-5 has no selector switch; the pickups are controlled by three individual volume knobs on the lower treble bout and one master tone knob on the cutaway. These are topped with 5\/8\" high barrel knobs, clear with numbers as used by Gibson from 1949 through early 1953. All the hardware is gold-plated.\u003cbr\u003e\u003cbr\u003eThe laminated maple body has a single rounded cutaway and two bound f-holes, with some subtle tiger grain on top. The pickguard is five-ply laminated plastic with a beveled edge; the trapeze tailpiece is the \"L-7\" style with pointed ends and three raised parallelograms. The maple neck is a three piece laminate, the center element being a narrow black stripe. The rosewood fretboard is five-ply bound and inlaid with pearl blocks.\u003cbr\u003e\u003cbr\u003eThe headstock is single-bound with a mother-of-pearl crown and Gibson logo inlaid in the peghead overlay. The back of the peghead is painted black, coming to a point just below the nut on the back of the neck. The enclosed Kluson Sealfast tuners (nicknamed \"Wafflebacks\") have plastic \"tulip\" single ring buttons.\u003cbr\u003e\u003cbr\u003eGibson records indicate this ES-5 was originally sold to Eddie Bell Guitar Headquarters here in NYC on Feb 5th, 1951, one of 88 sunburst examples shipped in 1951. The ES-5 was redesigned in 1955 with a large selector switch on the cutaway and dubbed the \"Switchmaster\", that version lasted into the early 1960's. Despite a 5+ year production history ES-5's were expensive instruments and produced in fairly small numbers. \u003cbr\u003e\u003cbr\u003eAside from its knockout looks, this ES-5 is a great-playing and sounding guitar, the most versatile of full-depth Gibson electrics due to the myriad extra tonal shadings offered by the center pickup. All three pickups can be blended in any combination and despite the lack of a switch it is easy to select a range of sounds by dialing in the individual volume controls. This model is most famous as the guitar of choice for T-Bone Walker in his heyday and remains well-suited to a variety of jazz, pop, blues, or early rock and roll styles, in addition to being a very imposing and collectible instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 42 in. (106.7 cm.), 17 in. (43.2 cm.) wide at lower bout, and 3 1\/2 in. (8.9 cm.) in depth, measured at side of rim. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis ES-5 has been around for 75 years now but has been very well cared for and remains completely original. Overall the guitar is quite clean with little fade, some moderately heavy checking (especially to the lower sides around the endpin) and small dings, dents and marks but no major loss. All hardware and fittings remain original with some typical gold plating wear, heaviest on the tailpiece. The only repair is a typical small split on the lower side running forward from the jack, solidly sealed up but visible. An old Gibson style strap button was added to the heel.\u003cbr\u003e\u003cbr\u003eThe original frets have just some very light wear in the lower positions, the guitar still plays very nicely and sounds great. This is a super vibey ES-5, we don't know who played it \"back in the day\" but it is cleaner than most and does the T-Bone thing in spades! The Gibson-style brown hard shell case it rests in is actually for a Epiphone guitar (it has the \"E\" marking under the lid) but appears to have been with this ES-5 for a long time. The handle is heavily worn but the rest is relatively clean and fully solid. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":47170514124940,"sku":"13840","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8acc0d9d-1dd7-495b-8d49-62a4a487401c.jpg?v=1774989026"},{"product_id":"jerry-jones-neptune-shorthorn-semi-hollow-body-electric-guitar-2009-13823","title":"Jerry Jones Neptune Shorthorn Semi-Hollow Body Electric Guitar (2009)","description":"Jerry Jones Neptune Shorthorn Model Semi-Hollow Body Electric Guitar (2009), made in Nashville, TN, serial # 098631, black lacquer with vinyl siding finish, maple neck with rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is an excellent playing and sounding Retro-Modern instrument, one of the \"classic\" Danelectro re-creations built by the now-closed, much-missed Jerry Jones workshop in Nashville. It is basically a modernized version of the c. 1961 Danelectro U-2, one of the most sought after of the original New Jersey models. This exact variant is famous as the \"Jimmy Page\" guitar as used onstage with Led Zeppelin for open-tuned songs. \u003cbr\u003e\u003cbr\u003eJones' tweaks to the original design include an adjustable truss rod, solidly body-mounted adjustable non-trem Strat-style bridge instead of the elevated wood-saddle Danno style with the strings running through the body and Gotoh individual tuners. \"Tweakin' Tradition\" was the slogan for the Neptune models, and this is certainly a nice example of that philosophy in action. This is a late production example from 2009, not long before production ended leaving Jones instruments often as (or more) sought after than the Neptune originals.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 13 1\/4 in. (33.7 cm.) wide at lower bout, and 1 1\/2 in. (3.8 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is in just lightly used condition, appearing only minimally played. It shows showing very some light scuffing and a few tiny dings to the finish on the edges. This is a fine example of Jones' later period work, an excellent playing and sounding instrument worthy of its original inspiration. It resides in the original HSC with the Jerry Jones hangtag. Overall Excellent + Condition.","brand":"Jerry Jones","offers":[{"title":"Default Title","offer_id":47174854082700,"sku":"13823","price":2450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_89f386d1-4512-41f1-8dee-94ff0b9384e1.jpg?v=1774994645"},{"product_id":"gibson-es-335tdc-semi-hollow-body-electric-guitar-1963-13878","title":"Gibson ES-335TDC Semi-Hollow Body Electric Guitar (1963)","description":"Gibson ES-335TDC Model Semi-Hollow Body Electric Guitar (1963), made in Kalamazoo, Michigan, serial # 103798, cherry lacquer finish, laminated maple body, mahogany neck with rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a truly beautiful original example of one of Gibson's absolute classic electric guitars -- an ES-335TDC from 1963. It is one of 807 cherry finish ES-335s shipped out that year, by which time the more traditional sunburst finish was being heavily outsold by this new-for-the-'60s bright cherry livery. As the '60s progressed, this flashier finish became the look most associated with the model and an iconic look of the decade. Eric Clapton's famous \"Cream\" ES-335 was a cherry stoptail from 1964, which has given this exact '63-4 version of the model an extra cachet. \u003cbr\u003e\u003cbr\u003eAlong its vibrant red finish, this ES-335TD shows other typical 1963 features. The most notable is what is NOT there; there is no vibrato, the configuration many players since the 1970s and beyond have strongly preferred. In the mid-'60's most players wanted a vibrato; you could not properly play many hits of the day without it! (\"Hanky Panky\", anyone?). This makes an original \"stoptail\" 335 from this period comparatively harder to find. \u003cbr\u003e\u003cbr\u003eThe bound rosewood fingerboard is inlaid with the small pearloid blocks introduced in 1962 as a style upgrade, replacing the dots used since 1958. The neck profile is fairly slim but deeper than the flat and shallow \"1960 neck\" used into 1962. By 1963 the necks had evolved to a somewhat rounder profile again, which many players preferred than and now. Some '64s get even chunkier again before the slim-nut 1965 necks take over.\u003cbr\u003e\u003cbr\u003eAll hardware is nickel-plated including is original including the Patent # pickups, ABR-1 bridge with retaining wire and Kluson Deluxe tuners with double-ring keystone buttons. The early \"Patent number\" humbuckers are technically identical to the final PAF's. This pair has their Patent stickers intact and undisturbed covers; these pickups are the heart of the guitar and sound spectacular. The beveled-edge pickguard is the shorter version introduced in 1961, the knobs the metal-capped versions that appeared around the same time. \u003cbr\u003e\u003cbr\u003eThis cherry gem shows some light play wear but remains a fantastic guitar, used but not but not altered or abused. It plays great and sounds amazing for everything from straight jazz to funky blues to flat-out screaming rock. Even not plugged in it has a real ring. It is housed in the original classic 1960s pebble-grained gold-lined black Gibson hard shell case.\u003cbr\u003e \u003cbr\u003eOverall length is 41 3\/4 in. (106 cm.), 16 in. (40.6 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eOverall this is a lightly played-in but original guitar, a real sweetie with a \"Lot 'O'Soul\". The finish shows only minimal checking or fading, retaining a strong cherry color over the entire instrument. There is some very light general wear to the finish with scuffing and a few scattered chips and dings, but really no serious marks. The back of the neck is very clean, with one small scratch behind the 7th fret and some light checking. The headstock edges have a few minor dings and chips but less than most.\u003cbr\u003e\u003cbr\u003eThe hardware is all original and complete showing typical wear to the nickel plating, mostly visible on the pickup covers and especially the top surface of the tailpiece. The pickups and all wiring remain original. The guitar has been very neatly refretted with appropriate wire showing no subsequent wear; the bone nut is also newer. This is an excellent playing and truly fine sounding 335, with a great vintage vibe and the killer sound these are renowned for. The original yellow-lined hard shell case is included, showing a decent amount of external wear but still quite solid and fully functional. Clean but just worn enough to play without worry, this is a fabulous find for the 335 fan. Overall Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":47177597845644,"sku":"13878","price":35000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_9b927f54-b231-424b-acdd-f0c403c6d9f4.jpg?v=1774997448"},{"product_id":"fender-precision-bass-owned-by-ian-mcdonald-of-king-crimson-and-foreigner-solid-body-electric-bass-g","title":"Fender Precision Bass Owned by Ian McDonald of King Crimson and Foreigner Solid Body Electric Bass Guitar (1964)","description":"Fender Precision Bass Owned by Ian McDonald of King Crimson and Foreigner Model Solid Body Electric Bass Guitar (1964), made in Fullerton, California, serial # L31355, Blonde lacquer with white overspray finish, ash body, maple neck with rosewood fingerboard, black rigid foam case. \u003cbr\u003e\u003cbr\u003eThis super well-worn but great sounding 1964 Precision bass has seen a lot of use over 60+ years, most notably by protean English musician Ian McDonald, founding member of both King Crimson and Foreigner. While McDonald is not known as a bassist per se, he played a wide range of instruments throughout his long career and was a highly accomplished songwriter; this was his studio bass for that work. It comes directly from his family with two letters of provenance written by his son Maxwell McDonald and former Wife Laura McDonald, to whom he gifted the instrument some time ago.\u003cbr\u003e\u003cbr\u003eIan McDonald may be best remembered as the co-founder of King Crimson, playing keyboards, clarinet, zither, flute, and most strikingly Mellotron on their groundbreaking 1969 debut album \"In the Court of the Crimson King\", still considered by many as the most influential progressive rock album ever. McDonald and drummer Michael Giles then split and recorded their \"McDonald and Giles\" duo LP, now considered a lost prog-rock classic. He reappeared with King Crimson in 1974, contributing to the album \"Red\". In the mid-1970s he moved to New York City and co-founded the multi-platinum Foreigner, appearing on the group's first three albums and hit singles before leaving the band in 1980. McDonald contributed to many classic recordings as a session player as well; his full discography is most impressive. He also toured with the \"21St Century Schizoid Band\" playing the original King Crimson classics for new generations. \u003cbr\u003e\u003cbr\u003eMcDonald purchased this 1964 Precision Bass in 1980 while on tour in Texas, according to his family. The bass is as real as relics get, with a LOT of wear and some changes but nothing that diminishes its musical character. This is a lovely feeling and sounding pre-CBS Precision, superbly resonant even not plugged in and one of the lightest and handiest we have had. We can only imagine that master musician Ian McDonald felt this immediately when he first encountered the bass in 1980; according to his family it has not been altered since then except for a newer jack installed recently.\u003cbr\u003e\u003cbr\u003eThis Precision is a rare variation, originally finished in Blonde over an ash, not alder body. This was a catalog option but rarely ordered in 1964; all other Precision finish variations were sprayed over alder bodies, only the blonde used ash. Some of the original lacquer has been lost and much of it finished over, but the sound is undiminished. It has a powerfully upfront take on the classic Precision bright midrange growl, warming up nicely when the tone knob is rolled off. \u003cbr\u003e\u003cbr\u003eThe bass was originally assembled in summer 1964, just months before the CBS takeover; the neck heel is stamped 5 JUN 64C. Features particular to the period include a thin-lam rosewood fingerboard with clay dot inlay, \"Transition\" silver Fender logo decal, \"L\" serial number plate and \"backwards\" Kluson bass tuners. At just over 8 lbs. this is light for a Precision Bass from ANY era, a lovely \"real relic\" example of the world's premier electric bass, still ruler of the roost 60+ years on. It is scarred by decades of use, not hammers and sandpaper and remains a wonderful instrument for any style of music, a joy to play carrying the legacy of a master musician.\u003cbr\u003e \u003cbr\u003eOverall length is 45 3\/4 in. (116.2 cm.), 13 in. (33 cm.) wide at lower bout, and 1 5\/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 34 in. (864 mm.). Width of nut is 1 3\/4 in. (44 mm.)., 8.1 lbs. \u003cbr\u003e\u003cbr\u003eThis bass is VERY well-worn, and the original blonde lacquer finish only partly survives intact under a later (but pre-1980) thin white overspray. The original heavily yellowed lacquer is visible mostly on the sides, especially in the areas around the neck heel. The face looks to have been at least partially sanded down before the entire body was overfinished long ago in white. This shows heavy play wear everywhere with dings, scrapes, chips and numerous areas worn through, some to the bare wood and some to the original blonde. \u003cbr\u003e\u003cbr\u003eThe neck is almost completely down to the bare wood with the classic \"old Fender\" feel; what finish remains is original with no overspray. Small red dots were painted along the edge for on-stage visibility, and there is some old funk present we chose not to remove! The headstock finish and decal are original, a small spot was scraped off the lower corner of the face by the E tuner. The Kluson tuners are original, the \"Hootnanny\" strap button is missing from the back of the headstock. Pieces of a business card from an old guitar shop are present in the neck cavity as shims.\u003cbr\u003e\u003cbr\u003eThe tortoise pattern pickguard is an old Fender part but is not original to the bass, dating to the late '60s\/early '70s with the original 1964 grounding plate still underneath it. It has a few extra holes drilled but not used, while the body has a couple of extra holes in different places underneath, indicating another guard was fitted at some point. The rearmost corner is cracked off, but the screw still secures it. \u003cbr\u003e\u003cbr\u003eThe great sounding pickup is original with some later foam added underneath for adjustability. The original 1964 volume pot is intact, the tone pot dates to 1973 (the cap is original) and the jack is newer; the original jack is in the case. The knobs are the correct style but later; they are secured by Allen screws. The original neckplate, strap buttons and bridge are intact; all parts have some wear and corrosion but everything works as intended. \u003cbr\u003e\u003cbr\u003eBoth before and after Ian McDonald's purchase this bass has been played a LOT. The frets are the original thin-style wire but look to be a very old refret, there is some pull marking to the rosewood fingerboard in spots. They have been crowned down over the decades but remain playable; for heavy use a modern player might prefer a refret with larger wire. In honor of its English rock heritage we put on a vintage set of Rotosound RS66 \"Swing Bass; the McDonald family strings are pretty worn but still in the case pocket. \"Bassically\" This lovely veteran Fender \"took a lickin' and kept on tickin\", providing generations with great sound. It comes in a heavy duty hard foam carry case, inside are lovely heartfelt letters of provenance From Ian McDonald's former wife and son attesting to the importance this bass has had to their family over 45+ years. Overall Very Good + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":47229819420812,"sku":"13825","price":16000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a516b0e4-72d2-49e9-be02-4c14be0660ba.jpg?v=1775154608"},{"product_id":"dangelico-style-b-arch-top-acoustic-guitar-1937-13885","title":"D'Angelico Style B Arch Top Acoustic Guitar (1937)","description":"D'Angelico Style B Model Arch Top Acoustic Guitar (1937), made in New York City, serial # 1286, sunburst lacquer finish, maple back and sides, spruce top; laminated maple neck with ebony fingerboard, original brown hard shell case. \u003cbr\u003e\u003cbr\u003eThis 1937 Style B is a lovely example of the work of the man considered the dean of arch top guitar builders, John D'Angelico. It is a fairly early example of his craft, but was re-worked at some point at his NYC shop with a later finish and hardware, something that is common with these expensive, hand made guitars. Working players who owned and used these instruments constantly routinely had them \"spruced up\" if they began to look worn, often with upgraded hardware fitted as well. This one also mounts a 1960s DeArmond Rhythm Chief pickup; the look and sound combine the aesthetics of two different eras at John's shop into one very fine and rather unique instrument. \u003cbr\u003e\u003cbr\u003eAt the time this guitar was originally made, D'Angelico was well into developing his signature style both cosmetically and sonically. His earliest instruments resembled Gibson's L-5, but around 1934-5 began to take on their own distinctive character both in appearance and sound. His top Excel model incorporated elements from both Gibson and Epiphone and combined them into his own recipe. This late 1937 Style B was just under the Excel in his line; a professional grade instrument just not as flashy as the top-line model. This one is fancier than most Style B's with more trim on the body and gold hardware. \u003cbr\u003e\u003cbr\u003eThe guitar has a 17 1\/8\" wide body, just a bit larger than the \"advanced' Gibson L-5 introduced in late 1935. Despite being originally priced $75 below the Excel, the Style B is built with the same care and top-grade materials throughout. The hand carved top is very even grained spruce and the back and sides are maple with some beautiful tiger figuring on the back and plainer sides. The top and back are 6-ply-bound in white\/black\/white celluloid, which is more elaborate than most Style Bs of the time. The top is carved relatively thin for a D'Angelico and is parallel braced, with single bound traditionally shaped f-holes. \u003cbr\u003e\u003cbr\u003eThe elaborate headstock is triple bound and carries an inlaid \"D'Angelico, New York\" script logo over an elaborate pearl decorative motif. John outsourced this piece as it sometimes appears on older New York-made instruments, both his and others. There is a pearl banner engraved \"Style B\" at the base of the headstock, while at the crown is an early example of the famous signature brass finial seen on John's higher end guitars. Later Style B's would eliminate this decorative touch. The tuners are later Grover imperials fitted at the time of the re-work; as the headstock was designed for smaller machines these were mounted at an angle to fit! \u003cbr\u003e\u003cbr\u003eThe neck is laminated maple, fabricated from 5 pieces with triple inner layers as are most early D'Angelico necks. It is carved to a very slim \"C\" profile and 1 9\/16\" nut width, small for this era, but all John's necks were custom made to order. The fingerboard is ebony with plain pearl block inlay single bound from the top with an added side line. While John is often described as heavily influenced by Gibson, the guitars Epi Stathopoulo's company was turning out on West 14th street not too far north of D'Angelico's Kenmare street shop also had a major impact on his designs. Indeed, this Style B resembles the contemporary Epiphone Broadway more closely than anything Gibson offered. It would have been priced at the same $200 as that instrument, as well as the competing Gibson L-12.\u003cbr\u003e\u003cbr\u003eThe heavy gold-plated stairstep tailpiece is engraved \"D'Angelico New York\" and like the tuners is a later shop fitting; the original would have been plainer. The ebony bridge is John's later style carved piece with an angled saddle, also fitted when the guitar was re-worked. The pickguard is amore recent repro of what was on the guitar but suffered Celluloid deterioration some time ago; it is also in the later angled deco pattern. The later gold hardware and extra binding make this guitar more deluxe than most Style B's, you could call it a \"B+\".\u003cbr\u003e\u003cbr\u003eThis guitar is listed in D'Angelico's ledger as completed on 09\/28\/37, originally sold to New York Jobber Barth-Feinberg. Like many D'Angelicos it returned to the shop probably a couple of decades later and was refinished with modern upgraded hardware added; it is impossible to tell if that was all done at once, or over time. The look of the finish is representative early work of John's apprentice Jimmy D'Aquisto, who after 1960 took over more of the heavier tasks in the workshop as his mentor's health failed. The sunburst is very rich with a dark reddish edge blending with a amber center. \u003cbr\u003e\u003cbr\u003eThis guitar has been carefully played for many decades since. The tone is very responsive but incisive, as Swing-era instruments needed to be, with an overriding roundness and balance that is the hallmark of D'Angelico. Compared to his more expensive and ornate creations, it still has a comparable sound -- indeed, some players have preferred the more basic models over the years. It remains a fantastic sounding instrument both acoustically and amplified by the classic DeArmond pickup, a true gem built by one of the greatest guitar makers of the 20th century.\u003cbr\u003e \u003cbr\u003eOverall length is 41 5\/8 in. (105.7 cm.), 17 1\/8 in. (43.5 cm.) wide at lower bout, and 3 1\/8 in. (7.9 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar does not appear too much played since its re-working, which would have happened well over 60 years ago. There is only very light finish wear to the entire instrument with some checking and scuffing but very little in the way of scratches, scrapes and dings, and no large areas worn away. The top finish has some minor discoloration under the pickguard from the old guard suffering Celluloid deterioration.\u003cbr\u003e\u003cbr\u003eThe instrument shows less in the way of cracks than many older archtops. There are just two tight grain splits on them back, coming of each one on the upper bouts looking so symmetrical they likely represent flaws in the maple more than any impact damage. Both were solidly sealed decades ago, with no added touch up. The top and back center seams which often move on these guitars as the wood shrinks and ages, have never opened up. The neck laminate seams are also solid with no notable movement or open spots.\u003cbr\u003e\u003cbr\u003eAll hardware remains as fitted at John's shop except for the later repro pickguard, done to the same pattern as the last original fitted but cut to accommodate the DeArmond pickup. The mounting bracket looks decades old with some corrosion from the older pickguard but may not be original. The binding shows no signs of Celluloid deterioration or distress. The guitar was refretted more recently with no subsequent wear. The fingerboard was likely trued at the time and shows hardly any wear at all.\u003cbr\u003e\u003cbr\u003eThis is simply a very fine-playing and sounding guitar, both acoustically and amplified. Although a lower-priced model than an Excel or New Yorker it sounds as wonderful as they usually do and still functions perfectly even after over 80 years. It still rests in an original period hardshell case, a superbly playable piece of history. Overall Excellent - Condition.","brand":"D'Angelico","offers":[{"title":"Default Title","offer_id":47229819650188,"sku":"13885","price":16000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_78733f19-1dab-4d3c-aac5-89116f97a287.jpg?v=1775154616"}],"url":"https:\/\/retrofret.com\/collections\/just-arrived.oembed?page=23","provider":"RetroFret","version":"1.0","type":"link"}