{"title":"Summer Sale","description":"","products":[{"product_id":"fender-deluxe-reverb-tube-amplifier-1967-11208","title":"Fender Deluxe Reverb Tube Amplifier (1967)","description":"Fender Deluxe Reverb Model Tube Amplifier (1967), made in Fullerton, California, serial # A-23687, black tolex covering finish. \u003cbr\u003e\u003cbr\u003eThis is a truly road-worn relic, early-CBS era example of one of the all-time classic Fender amps, the black-panel Deluxe Reverb. The mid-60's version of the Deluxe was made as both a Reverb model and a non-Reverb model. Both featured a two-channel layout, one \"normal\", one \"vibrato\" (also sporting the reverb effect on the reverb model) with two instrument inputs on each. A dual 6V6-power section into a 12\" speaker puts out around 18-20 watts of power. The Reverb model packs a little more gain in the preamp section and can yield some truly righteous breakup higher on the volume dial.\u003cbr\u003e\u003cbr\u003eWith enough gain to kick at low level, sufficient headroom to keep up with a drum kit and full reverb and tremolo, the Deluxe Reverb is one of the benchmark 1960s amps all others since are compared to. For decades this has been considered one of the best recording and club gig amps ever made, and now in a lower volume world can be seen and heard on stages of all sizes. This is a heavily used but fully serviced and ready-to-gig example.\u003cbr\u003e \u003cbr\u003eHeight is 17 1\/4 in. (43.8 cm.), 24 1\/4 in. (61.6 cm.) width, and 9 1\/4 in. (23.5 cm.) in depth at side. \u003cbr\u003e\u003cbr\u003eThis Deluxe appears very well-worn appearing to have had an eventful life as someone's faithful gigging amplifier! Externally the black Tolex shows heavy wear with several areas of missing material, especially around the lower corners. The chassis straps and hardware shows light-to-moderate signs of corrosion. The faceplate looks decently clean with its share of scuffs and general wear, but all the graphics remain intact. Several of the knobs have been replaced with modern repros. The grille cloth is taut overall, but shows three notable holes and a couple smaller punctures, as well as a large area missing in the lower right corner of the baffle. The amp does not retain its original tremolo and reverb footswitch, but comes with a shorting pin to activate the tremolo effect. The handle is original and the rubber grip is torn on one side. \u003cbr\u003e\u003cbr\u003eElectrically, the amp is nicely original. There is no tube chart stamp code to go by but the serial number A-23687 dates the chassis to 1967. The speaker is the original gold label Jensen C12N, marked 220-651, dating it to the 51st week of 1966. The power, output, choke and reverb transformers appear all original, marked 606-607, 606-618, 606-626 and 606-721, respectively; all dating between the 7th and 26th week of 1966 and the 21st week of 1967. The power transformer component code is non-CBS, but if not original, a period-correct Schumacher. All pots appear to be original and visible pot codes date to '66. The reverb tank is original as well.\u003cbr\u003e\u003cbr\u003eThe amp has had routine maintenance performed, including the replacement of all electrolytic capacitors, a grounded 3-prong cord added, cleaning of all sockets, pots and jacks and power tubes biased to spec. All of the remaining original blue Astron signal capacitors are still working well!\u003cbr\u003e\u003cbr\u003eOverall this is a fabulous sounding early-CBS example of one of the all-time classic Fender amps, scruffy but unbowed, looking like a genuine rough-rode relic outside but in ready-to-gig condition. Very Good Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853517049996,"sku":"11208","price":4350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_7367f3d0-6a8b-42ba-b475-0fe3ca8b1173.jpg?v=1774340814"},{"product_id":"gibson-a-junior-snakehead-carved-top-mandolin-1927-11239","title":"Gibson A-Junior Snakehead Carved Top Mandolin (1927)","description":"Gibson A-Junior Snakehead Model Carved Top Mandolin (1927), made in Kalamazoo, Michigan, serial # 82711, brown stain finish, birch back and sides, spruce top; mahogany neck with ebony fingrboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a great-playing and sounding original A-Junior mandolin from late 1927\/early 1928, some time after the \"Loar era\" at Gibson, but still embodying many of \"Master Loar's\" ideas. This is a lovely example of Gibson's mandolin craftsmanship, even though by the time it was built the company's focus had shifted primarily to banjos. \"Snakeheads\" are generally considered the best-sounding roundhole \"A\" style mandolins ever made, revered for their unmatched tone and projection compared to earlier or later A-models. Although the A-Junior was the lowest priced model offered this one certainly bears this out.\u003cbr\u003e\u003cbr\u003e\"Snakehead\" instruments are named for their Loar-designed peghead that angles inward towards the tip, a feature inexplicably abandoned by Gibson not long after this one was made. While this basic A-Junior lacks some of the other advanced features of the era (it does not have an adjustable truss rod or height-adjustable bridge) it does sport Loar's slimmer neck profile and sleeker peghead shape. The finish is a clear lacquer coat over an overall brown stain; this is the period when Gibson was switching from varnish to lacquer finishes and the results were sometimes inconsistent. This one is shinier than some but appears all original. The FON (factory order number) on the neck block indicates it was made in later 1927, the penciled serial number on the special \"Junior\" label suggests it was shipped out in early 1928. \u003cbr\u003e\u003cbr\u003eThere is no binding at all, but the same tortoise celluloid pickguard as the higher grade models is secured by the later '20s side bracket clamp. The tailpiece has a simple \"clamshell\" cover plate and the tuners are plain openback strips. Even this most basic \"A\" model is a very fine instrument, with sonic and playing improvements carrying over from \"Master Loar's\" tenure still evident in the later 1920s, and nearly 100 years on making for a very fine (if plain looking) mandolin.\u003cbr\u003e \u003cbr\u003eOverall length is 25 3\/4 in. (65.4 cm.), 10 1\/4 in. (26 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 3\/16 in. (30 mm.). \u003cbr\u003e\u003cbr\u003eThis near century-old old mandolin appears to have seen comparatively little use since new, remaining an excellent player with a lively sound. The original lacquer finish has a lovely aged patina, still shiny with just typical fairly minor checking and some small dings, dents, and scrapes overall. The top in particular remains quite clean and completely free of the typical pick wear. There are no visible crack or other repairs, even all the back\/side seams appear to be perfectly aligned and solid..\u003cbr\u003e \u003cbr\u003eAll hardware remains original and complete including the tuners, tailpiece and pickguard. The original carved ebony bridge appears to have been neatly lowered a bit from the top. The neck has remained true for 95 years and the original frets are very clean, probably polished out a bitt but showing hardly any wear. This an excellent example of Gibson's plainest 1920s A Model, much cleaner than most and complete in its original red-lined hard shell case that shows some external wear but is still fully solid. Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853522227340,"sku":"11239","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a6b986e4-2e37-4a46-b29e-8f06fc098b41.jpg?v=1774341031"},{"product_id":"fender-precision-bass-solid-body-electric-bass-guitar-1966-10410","title":"Fender Precision Bass Solid Body Electric Bass Guitar (1966)","description":"Fender Precision Bass Model Solid Body Electric Bass Guitar (1966), made in Fullerton, California, serial # 128578, sunburst lacquer finish, maple neck, rosewood fingerboard, alder body, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very clean example of an early CBS-era Fender Precision Bass, appearing not too much played since new. The CBS Corporation had owned Fender for just over a year when this bass was built; it shows only minor cosmetic changes from the pre-CBS pattern and still retains the feel of Leo's earlier instruments. Most of these basses have been played for decades so finding one in this sort of condition is a real treat. \u003cbr\u003e\u003cbr\u003eThis bass shows the typical features for this period; a thin-lam rosewood fingerboard with pearl dot inlay and the older smaller frets, the silver \"transition\" Fender logo decal on the headstock and a 3-ply tortoise pattern plastic pickguard in place of the earlier nitrocellulose piece. The thin lacquer sunburst finish is the brighter and tightly defined \"target\" burst typical of 1965-66. The neck is still finished in the thinner lacquer that feels more comfortable to most players than the thicker finishes Fender began using the next year. \u003cbr\u003e\u003cbr\u003eWe snuck a look under the pickguard to verify the electronics are untouched and the visible pot date is 6603. The ink stamp on the heel of the neck is 5 Feb 66C, so this bass probably was assembled and sold in the early spring of that year. Besides its looks, this is a superbly light and resonant bass; an effortlessly excellent player. We often find that 1966 era Precisions have a distinctive sound, a bit brighter than earlier versions and with a noticeable midrangey growl. They can make great rock basses; this one is mellowed out a bit by the 1960s Nylon flatwound strings fitted and has a lovely warm sound.\u003cbr\u003e \u003cbr\u003eOverall length is 45 in. (114.3 cm.), 13 in. (33 cm.) wide at lower bout, and 1 1\/2 in. (3.8 cm.) . Scale length is 34 in. (864 mm.). Width of nut is 1 3\/4 in. (44 mm.)., 8.63 lbs. \u003cbr\u003e\u003cbr\u003eThis lovely bass shows signs of use but not too much wear, especially considering it is now 55+ years old. There are a few minor dings, dents, and chips to the finish, and light wear to the edges and back of the neck. The sunburst lacquer on the body shows very strong color with hardly any fade to the red layer. This Precision never sat in the sun in a store window! The lower body edge has a few deeper wear spots, mostly from bouncing around in the case. The pickguard has two small and relatively inconspicuous extra screw holes from someone experimenting with relocating the thumbrest, one on the upper front tang and the other just forward of the chrome pickup cover. Apart from this it remains completely original with all hardware original and intact down to the last screw, and pretty much the strings!\u003cbr\u003e\u003cbr\u003eThere are no other alterations or repairs, and this fabulous bass is still waiting to be played properly. It appears to have only ever had two sets of strings on it; the black nylon Fender strings it bears now, and the original green-silk Fender flatwounds it came with in 1966 neatly coiled up in the Fender string package still in the case pocket. As a result the frets show virtually no wear. That original black Tolex \"no logo\" Fender case shows a lot more wear than the bass itself with some old damage to the ends, but is still in solid functional shape. This Precision looks pretty much as it would have sitting in a pawnshop during 1967's Summer of Love, magically transported to spread good vibrations to our times Excellent + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853522292876,"sku":"10410","price":10000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1e7880c3-cac8-4112-bd59-f25f53bad3fe.jpg?v=1774341033"},{"product_id":"c-f-martin-000-18-flat-top-acoustic-guitar-1951-10601","title":"C. F. Martin 000-18 Flat Top Acoustic Guitar (1951)","description":"C. F. Martin 000-18 Model Flat Top Acoustic Guitar (1951), made in Nazareth, PA, serial # 122726, natural lacquer finish, mahogany back, sides and neck, spruce top; Brazilian rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eTo many players and Martin aficionados, the 000-18 has remained one of the company's most propitious and beloved combinations of wood, wire, and inspiration. The light mahogany back and sides coupled with a spruce top make for a transparent but warm and responsive guitar; the 15\" wide narrow-waisted 000-size body contributes both depth and clarity to the sound. The 14-fret 000-sized instrument was introduced as the OM-18 in 1930. After 1933 nearly all Martin guitars were built in this new \"Orchestra Model\" format, so the OM designation was dropped and the model simply called the 000-18, one of the company's mainstays ever since. \u003cbr\u003e\u003cbr\u003eWhile not a particularly expensive guitar by 1950s Martin standards, listing at $95.00 (plus case) in 1951 the 000-18 still represented a substantial investment to many players. This is not a flashy guitar; the trim is discreet with tortoise celluloid on the body edges and a simple multiply sound hole ring. In classic Martin style, the elegant understatement speaks for itself. Despite its lack of flash, this was always a fully professional instrument popular with radio entertainers, most obviously the country acts common in the Southeast.\u003cbr\u003e\u003cbr\u003eThis example was built late in 1951, one of a total of 425 000-18s shipped that year. It incorporates typical post-war Martin style 18 features including lovely mahogany on the back and sides, a superb straight-grained spruce top, Brazilian rosewood fingerboard and bridge, and tortoise celluloid pickguard and body binding. The neck is mahogany with a fairly slim \"C\" profile; the fingerboard inlay is mixed size dots and the tuners are open back individual large-plate Kloons with metal buttons. \u003cbr\u003e\u003cbr\u003eThis 000 has seen some use but remains cleaner and more original than many from this period. It is an excellent fingerpicker's instrument but also has a lot of punch and clarity as a straight rhythm machine as well. This is a very well cared for, just 70 year old guitar that has matured beautifully and will continue to provide exceptional sound as the years go on.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 15 3\/16 in. (38.6 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 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar remains in very fine original condition with some light typical wear and minor repairs. The finish remains beautifully original; overall it has typical small dings, dents, and scrapes but nothing major. The top lacquer shows some areas of wear, mostly strumming marks on the treble side of the soundhole and around the pickguard. There is a small worn-away area on the lower sound hole rim. The back and sides show some typical scuffs and dings but again nothing major. \u003cbr\u003e\u003cbr\u003eThe top has a tightly sealed \"B\" string crack, originally caused by the shrinking of the pickguard which also resulted in a couple of tightly repaired cracks under the outer edge of the pickguard near the edge binding. This was neatly repaired by loosening the pickguard, sealing the cracks and then gluing the pickguard back down, and is now practically invisible. A spruce cleat has been added underneath to stabilize this area. The top center seam has been neatly re-sealed from the tailblock to the bridge without any added finish. \u003cbr\u003e\u003cbr\u003eThe headstock area has some general wear. The finish is worn away a bit on the sides of the neck but there are no heavy capo marks or deep dings along the back, only a few small dinks. The fingerboard has been trued and refretted with period correct fretwire and the guitar is a very fine player. The bridge appears original and full-height; the bone saddle has been replaced. The thin maple bridgeplate is original and unaltered. There appears to have been a nicely done neck re-set some time back. This 000 feels superbly played in and is just a wonderful-feeling and sounding instrument. It is housed in a modern hard case; an original period soft shell case is also included, a lovely relic festooned with colorful stickers if not entirely functional. Excellent - Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853522686092,"sku":"10601","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_53c90bfb-64bc-4397-804b-98927fd64f36.jpg?v=1774341049"},{"product_id":"gibson-l-5-arch-top-acoustic-guitar-1934-10705","title":"Gibson L-5 Arch Top Acoustic Guitar (1934)","description":"Gibson L-5 Model Arch Top Acoustic Guitar (1934), made in Kalamazoo, Michigan, serial # 1149 (FON), Cremona Brown Sunburst finish, curly maple back and sides, spruce top; maple neck with ebony fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis 1933-4 L-5 is an interesting example of the pre-eminent orchestra guitar of its era, with one unusual if fairly subtle modification. A newer correct style pearl block inlaid fingerboard was fitted, which is not uncommon on older L-5's which were often gigged for decades. What is unusual is when this was done the scale length was increased to 25\" from the original 24 3\/4\" design, which adds a bit of extra power to the sound. The bridge sits slightly farther back on the top as a result, and the guitar has a bit more \"bark\" to the tone, with a little of a more \"Epi-Phonic\" character to the sound than the standard L-5 of this period. \u003cbr\u003e\u003cbr\u003eThe 16\" L-5 -- the original f-hole carved top guitar -- is an extremely fine instrument by any standard. Debuting in 1923-4, the L-5 was the first modern archtop, with a layout still widely copied today. At the time this one was built around ten years later it was still the top of Gibson's line and generally considered the finest guitar orchestra made.\u003cbr\u003e\u003cbr\u003eBy 1933 most dance and jazz band banjoists had converted to guitar; the L-5 along with Epiphone's Deluxe were the choice of nearly all top professional guitar players. The era's most influential guitarist, Eddie Lang, adopted a dot-neck (probably 1927) L-5, then an early block neck L-5 around 1930 setting the trend for all to follow. From that time the L-5 ruled the roost for orchestra guitars, giving Gibson a dominance they never really lost.\u003cbr\u003e\u003cbr\u003eThat said, these early 16\" L-5s are fairly rare guitars today. Retailing at $275.00 (plus case), the L-5 was an extremely expensive instrument (the top-of-the-line Martin pearl-trimmed Style 0M-45 retailed at $100.00 less). At the height of the Depression, only working professional users could afford such an indulgence. Most were played extensively for years, some owners preferring them to any later guitars. They can be seen in the hands of recording studio players well into the 1960s. As constant working guitars these instruments were often modified, refitted, or refinished. \u003cbr\u003e\u003cbr\u003eApart from the slightly extended scale this guitar shows typical features for the early-mid 1930s; the transitions between L-5 variants inexact at best. The label is intact but the serial number has faded into oblivion. A factory order number penciled on the lower back suggests it was built in 1934. \u003cbr\u003e\u003cbr\u003eThe top, back, and sides on this guitar carry a beautifully blended dark sunburst finish; the back is tiger maple with a subtle but attractive figure. The top and back are triple bound in white celluloid. The side-line bound ebony fingerboard is done in period style with genuine pearl block inlay and the slightly pointed end used on 1920's versions. The 3-piece laminated curly maple neck is slimmer than some with a fairly prominent \"V\" spine and relatively shallow profile. \u003cbr\u003e\u003cbr\u003eThe pearl inlaid flowerpot in the triple-bound headstock with a straight across \"Gibson\" logo above are hallmarks of the 1932-35 L-5, as are the then-new Grover G-98 tuners, gold plated with metal \"butterbean\" buttons. The long triple-bound celluloid pickguard is screwed to the top by the neck block instead of pinned to the side of the fingerboard. The tailpiece is the 1930's \"string through\" style; the adjustable ebony bridge still has the 1920s split base and reversible saddle with the \"Hawaiian\" underside.\u003cbr\u003e\u003cbr\u003eThis instrument has a powerful and very versatile sound, typical of the early L-5s bur =t perhaps a bit of extra power from the slightly extended scale, which makes the strings a bit tauter. The tone is simultaneously warm and incisive with plenty of depth. The guitar plays perfectly and is extremely responsive for an archtop guitar...it even sounds lovely fingerstyle! While not 100% original this is now a unique example of one of our all-time favorite instruments.\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 in. (40.6 cm.) wide at lower bout, and 3 1\/4 in. (8.3 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eApart from the fingerboard replacement this L-5 shows remains largely original with some general wear but in excellent structural and playing condition. The finish shows some typical checking with a varied collection of scratches, dings, dents and other marks overall, a number of them touched up. The back of the neck is worn through to the wood along the spine over a decent amount of its length, and has some light overspray which appears mostly worn through again. The rim on either side of the endpin has some dark overspray which appears intended to cover a couple of areas of deeper finish wear on the rim rather than any structural repair. \u003cbr\u003e\u003cbr\u003eAs noted the guitar was at some point fitted with a new fingerboard, with the original 24 3\/4\" scale length extended to 25\". This was quite professionally done some time ago. The fret wire is somewhat taller than the original; but not out of character. The frets have light divoting under the unwound strings in the lower positions; the ebony fingerboard itself shows very little wear. The pearl nut is a replica; by this point L-5's generally had bone nuts. \u003cbr\u003e\u003cbr\u003eThe top has a spruce grain crack just above the center seam under the tailpiece, sealed with minimal overfinish. There is one tiny crack on the upper rim, and the back center seam has been resealed, below a noticeable scrape in the upper center of the back. The \"Vampire\" pin marks from an old DeArmond pickup installation are touched up but still visible on the bass side of the fingerboard extension, and there is a parched strap button hole in the heel. \u003cbr\u003e\u003cbr\u003eThe hardware is original except the pickguard which is a nicely done replacement in the correct style, and what appears to be a very close replica bridge base. The original bridge saddle looks to have possibly been cut down over the adjustment wheels just slightly long ago. The neck angle is very good and there is plenty of room for action adjustment if desired. The tailpiece has lost most of the plating, especially on the crossbar.\u003cbr\u003e\u003cbr\u003eThis L-5 is still housed in the original case, which has some external wear and a replaced handle. While not 100% original this is still a great instrument to play (and to hear) and with its subtly extended scale has a unique sound and feel, even among these splendid models. Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853522882700,"sku":"10705","price":16000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_d3fb3bf2-7c8a-4bdc-9f85-ed667b5f0797.jpg?v=1774341057"},{"product_id":"gibson-lg-0-flat-top-acoustic-guitar-1962-10903","title":"Gibson LG-0 Flat Top Acoustic Guitar (1962)","description":"Gibson LG-0 Model Flat Top Acoustic Guitar (1962), made in Kalamazoo, Michigan, serial # 55565, natural lacquer finish, mahogany body and neck, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nicely all-original example of Gibson's least expensive flat-top from the 1960s, the LG-0. Intended for the hordes of aspiring guitar students of the era, this model features all solid mahogany construction with a tortoise celluloid-bound solid mahogany top and simple ladder bracing. This early '60s example still has the traditional small rectangular wooden bridge, replaced not long after with the dreaded bolt-on plastic bridge unit. Fittings are as simple as possible; the black plastic pickguard is screwed to the top, and the tuners are the plainest Waverly strip units with plastic buttons. \u003cbr\u003e\u003cbr\u003eThis 1962 example has the slim but flatter neck profile common to the early '60s Gibsons combined with the narrower 1 5\/8\" nut the company was phasing in on their student models. The LG-0 is about as simple as a Gibson ever got, but true to the company's intentions, still a great-playing and surprisingly good-sounding little guitar. Overall this is a really nice example of the early '60s guitar that helped many students become Gibson fans for life.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 14 5\/8 in. (37.1 cm.) wide at lower bout, and 4 9\/16 in. (11.6 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis 60+ year old all-original guitar shows some light general wear overall but no modifications and only a couple of small repairs. The finish has some noticeable checking small dings, dents, and scrapes, but no real pickwear. The back of the neck is comparatively clean with a couple of small dings and dents.\u003cbr\u003e\u003cbr\u003eThere are several long repaired grain cracks to the mahogany back, sealed but not overfinished. The longest has some thin mahogany strips added on the inside as cleating. Even the bridgepins and endpin ate original and unchanged. The original frets and fingerboard have some light wear but this is a very good-playing LG; the slim neck profile and low action making it quite comfortable. It is also one of the better-sounding ones we have had as well, with plenty of volume and a sweeter tone than many. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853523701900,"sku":"10903","price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a398f87d-11b0-474b-a0c6-62f9dd146b85.jpg?v=1774341067"},{"product_id":"gibson-es-330tdc-thinline-hollow-body-electric-guitar-1967-10921","title":"Gibson ES-330TDC Thinline Hollow Body Electric Guitar (1967)","description":"Gibson ES-330TDC Model Thinline Hollow Body Electric Guitar (1967), made in Kalamazoo, Michigan, serial # 098034, cherry lacquer finish, laminated maple body; mahogany neck with rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very nice original example of a cherry finish ES-330TD from 1967, with typical features for the period including chrome pickup covers, tailpiece and tune-o-matic bridge with nylon saddles. The nut is the very narrow 1 1\/2\" width sometimes seen this year, although 1 5\/8\" was the technically correct standard. 2563 cherry ES-330TD's shipped from Kalamazoo in 1967, the model's grandest total to date. While not particularly rare these were still not built in enormous quantities compared to many modern instruments. \u003cbr\u003e\u003cbr\u003eThe single bound body has a brilliant cherry finish overall and is fully hollow, unlike the semi-hollow 335-355 series. The neck joins the body at the 16th fret and has a bound rosewood fingerboard with pearloid block inlay. The tuners are single enclosed Kluson Deluxe with plastic buttons. The two P-90 pickups are mated to the standard Gibson wiring rig, with the newer late 60's style \"witch Hat\" amp-style plastic tone and volume knobs and white switch tip. \u003cbr\u003e\u003cbr\u003eThe ES-330 is a great sounding and 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 used by legions of professional players and heard on countless classic records in many styles 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 it as well, including B.B. King, Chuck Berry and most notably Slim Harpo, who is nearly always pictured with one. \u003cbr\u003e\u003cbr\u003eThe 330 and its nearly identical sister guitar the Epiphone Casino were featured in countless '60's British invasion groups, including the Beatles, Rolling Stones, Kinks, Manfred Mann, the Merseybeats and many more. The American garage band era players who took inspiration from these bands made extensive use of the model as well. This early 1967 guitar shows only minor wear and is a very nice example, recently refretted for superb playability with the expected \"Fab\" sound in spades!\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 1\/2 in. (38 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is in very nicely preserved original condition overall, looking played but well cared for over the past 55+ years. The original cherry lacquer finish is clean and bright overall with some typical checking but very little fade, retaining strong color. There are some fairly minor dings and chips overall but no heavy wear; the back has some belt buckle scratches into but not through the finish.\u003cbr\u003e\u003cbr\u003eThe original hardware is intact and complete except for the tailpiece which is the correct style but has replaced a Bigsby previously fitted; there are some marks in the finish from this but they ate fairly discreet. The chrome plating shows some minor wear on the pickup covers and bridge. The guitar has recently been neatly reftetted and the fingerboard trued making for a super friendly player, especially if you like a narrow neck. It sounds great and resides in a later (1970s or 80s) ES-335 style black case. Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853523734668,"sku":"10921","price":6500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8e205aa8-99e0-4bd6-a820-cf9e46ff7b5f.jpg?v=1774341069"},{"product_id":"danelectro-standard-shorthorn-model-3612-electric-6-string-bass-guitar-19614-10946","title":"Danelectro Standard Shorthorn Model 3612 Electric 6-String Bass Guitar (1961\/4)","description":"Danelectro Standard Shorthorn Model 3612 Model Electric 6-String Bass Guitar (1961\/4), made in Neptune, NJ, serial # 2031, bronze lacquer finish, masonite and pine body, poplar neck with rosewood fingerboard, chipboard case. \u003cbr\u003e\u003cbr\u003eThis is a nicely preserved example of a relatively uncommon -- and now much sought after -- Danelectro creation. The original Shorthorn guitar and matching 4-string bass are fairly common finds as old Dan-O's go, the 6-string bass version was made in far smaller numbers than either and is much less commonly encountered. \u003cbr\u003e\u003cbr\u003eThis copper-top beauty is a great playing and sounding example of the Model 3612. It is either a factory re-neck or was assembled from two different instruments as the body and associated components date to 1961 (the pots are coded to the 40th week of 1960) while the neck is from the 1964-5 period. Even so it is entirely authentic period components with all the \"classic\" 1960s Dan-O features: A semi-hollow Masonite and pine body topped with the \"seal\"-shaped white Masonite pickguard, earlier style white pebble vinyl side covering, two-piece metal strap buttons and white plastic ridged knobs. \u003cbr\u003e\u003cbr\u003eThe single lipstick tube pickup is controlled with a volume and tone knob, the latter mated to a 3-way tone modifier switch that offers two different roll-off settings for bass and treble. The short 15-fret neck has a Brazilian rosewood fingerboard and is topped with the trademark \"coke bottle\" headstock. This is adorned with a vertical silver Danelectro logo, \"Totally Shielded\" sticker, and fitted with the Danelectro-made \"skate key\" strip tuners introduced in 1964. This is a great-sounding 6-string bass\/Baritone guitar with the classic Dan-o twang factor, even with only a single pickup. We don't know this ones exact history, but it is one of the best playing and sounding of these we have had!\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 13 1\/4 in. (33.7 cm.) wide at lower bout, and 1 5\/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 29 1\/2 in. (749 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eOverall this is a relatively clean example of this 6-string twanger with some typical light wear and no notable repairs. There are some small scrapes and dings to the top finish, mostly along the upper edge. The back has one noticeable scrape, and some light greening to the metallic paint in spots. The back of the neck has very clean with hardly any of the typical \"greened\" and worn-away areas; the metallic copper color coat was sprayed OVER the clearcoat, so it wears very quickly on contact with the hand. \u003cbr\u003e\u003cbr\u003eEven considering its two-stage origins this is one of the nicer of these 6-string Shorthorns we have had and a fine instrument, especially considering it's made mostly of Masonite! It is currently set up in the original 6-string bass (E-E) configuration but can be easily adapted for Baritone (B-B or A-A) tuning if desired. It includes a period grey chipboard case we would describe as semi-functional, but a modern gig bag can be included as well if desired. Excellent Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46853523767436,"sku":"10946","price":2750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_c2c9d70d-2e68-4cf8-9211-40165daec050.jpg?v=1774341072"},{"product_id":"gibson-es-175d-special-arch-top-hollow-body-electric-guitar-1968-10777","title":"Gibson ES-175D Special Arch Top Hollow Body Electric Guitar (1968)","description":"Gibson ES-175D Special Model Arch Top Hollow Body Electric Guitar (1968), made in Kalamazoo, Michigan, serial # 950255, black lacquer finish, laminated maple body, mahogany neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a superb 1968 ES-175D in a custom black finish, an unusually dramatic looking example of Gibson's perennial \"working man's\" electric archtop. While usually pigeon-holed as a Jazz player's instrument, this one is perhaps a bit more of a rocker as it was originally custom ordered with a gleaming black finish instead of the common sunburst. There seems to have been a small run of these ebony gems made around 1968; even so we have only seen one other with the special contrasting white pickguard which gives an especially striking \"tuxedo\" look\u003cbr\u003e\u003cbr\u003eOffering one of Gibson's best combinations of sound and value, the ES-175 has been consistently popular since its launch in 1949. The double pickup version was launched in the early 1950's and is a somewhat more versatile instrument. The ES-175D is considered one of the classic electrics of all time, but was not made in the same quantities as many Gibson electrics. The published production numbers show 1968 as the peak vintage year for the model with 949 shipped, but the tiny percentage of black examples was not recorded separately. \u003cbr\u003e\u003cbr\u003eApart from the ebony finish and contrasting pickguard this two-pickup black beauty has typical features for the late 1960s. This is the period when Gibson narrowed their necks dramatically; the nut width on this guitar is a very slim 1 1\/2\". The hardware is chrome plated and the knobs are the late '60s \"witch hat\" style but otherwise the model is little changed from the late 1950's. With a two Patent-number humbucking pickup this 175 has the classic period sound but looks more wicked than its sunburst siblings doing it! \u003cbr\u003e \u003cbr\u003eWhile to many players an ES-175 instantly murmurs \"jazz\" when plugged in, the double pickup D model is actually a fairly versatile guitar suitable for a wide range of styles. Numerous jazz greats including Herb Ellis, Jim Hall, Kenney Burrell, Pat Metheny and more have made it a mainstay but sophisticated rock players including Steve Howe of Yes and Richard Thompson (in the earliest Fairport Convention days) made good use of it as well. This black ES-175d adds a unique look that can lend class or badass depending on the context!\u003cbr\u003e \u003cbr\u003eOverall length is 40 7\/8 in. (103.8 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 1\/2 in. (38 mm.). \u003cbr\u003e\u003cbr\u003eThis is a clean guitar overall, nicely preserved looking played but well cared for over the past 54 years. The original finish and hardware are intact and complete; the only alteration is the bridge wheels and posts may have been replaced as they are a bit stouter than typical 1968 style; the rosewood bridge itself appears the correct period fitting. The black lacquer has not faded appreciably, the finish is clean overall with some typical wide checking, dings and dents. There is a feelable chip in the back of the neck behind the 8th fret and some small chips and dings around the headstock. \u003cbr\u003e\u003cbr\u003eThere is a correct period Gibson strap button on the upper side above the heel; this may have been added when new or a factory fitting ordered at the time. The original frets have had some minor G\u0026amp;P work and the guitar plays very well, complete in the original yellow-lined case also very well preserved. An original period strap and hang tag are included. This guitar is a really cool twist on the '60s 175 formula, adding a bit of drama to the generally respectable 175 character. It is still ready for anything from straight bop to vintage rockabilly to screaming psychedelia, just like it was in 1968! Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853526323340,"sku":"10777","price":9000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3628ee8e-ab1b-48fb-8455-9f4f29035266.jpg?v=1774341158"},{"product_id":"matt-rubendall-classical-guitar-2021-12108","title":"Matt Rubendall Classical Guitar (2021)","description":"Matt Rubendall Classical Guitar (2021), made in Brooklyn, NY, French polish finish, Ziricote back and sides, Alpine spruce top; mahogany neck with ebony fingerboard, Bam Hitech hard shell case. \u003cbr\u003e\u003cbr\u003eThis lovely very modern classical was handmade right here in Brooklyn; it is beautifully crafted with a well balanced sound and excellent projection. The guitar is a development of the Humphrey Millenium design with a \"negative\" neck angle. It is built with Ziricote back and sides with some fantastic graining, Alpine spruce top and mahogany neck with a dark ebony fingerboard. It has an adjustable neck angle and small port in the upper side; the asymmetrical bridge is made with a compensated saddle for more precise intonation. \u003cbr\u003e\u003cbr\u003eAll the binding, decorations and rosette are wood; the headstock features a distinctive circular cutout decoration. The finish is a very nicely applied French polish, gloss on the body and matte on the neck. This is a superb player's concert instrument, a splendid if rather non-traditional design with this maker's distinctive character in spades.\u003cbr\u003e\u003cbr\u003eThis is how Matt Rubendall describes his instruments: \"...my approach combines modern and traditional elements of guitar construction, I rely on hand tools and traditional methods whenever possible, even when it lengthens the process. My standard model loosely recalls the body style of a Herman Hauser I. I use elevated fretboards for playing comfort and stability, and compensated nuts and saddles to keep my instruments playing perfectly in tune. I handcraft the rosettes and decorative details that are unique to each guitar, and finish every instrument with the French polish technique.\u003cbr\u003e\u003cbr\u003eThe overall sound quality I'm looking to achieve is based on balance. I want to have a piano like openness with a consistent note quality between each string. I'm more concerned with the musicality of the notes rather than building merely for loudness for its own sake. Using these tools along with a personalized approach to wood choices and playing style I can achieve a wide tonal palette while maintaining my own sound.\"\u003cbr\u003e\u003cbr\u003e We couldn't say it better!\u003cbr\u003e \u003cbr\u003eOverall length is 38 7\/8 in. (98.7 cm.), 14 1\/2 in. (36.8 cm.) wide at lower bout, and 3 5\/8 in. (9.2 cm.) in depth at side, taken at the end block. Scale length is 25 3\/16 in. (640 mm.). Width of nut is 2 in. (51 mm.). \u003cbr\u003e\u003cbr\u003eAlthough a fairly recent build this guitar has been used for concert performances so has seen some play time. It shows some light typical wear to the very thin finish most notably the top, has some small finger marks including dings and dents mostly on the lower half. The bottom rim has small dinks and scratching, the rest of the finish is quite clean. The back was recently French polished by the maker to remove some marks caused by reaction to a rest and the tuners upgraded, other than these it remains as built. This guitar offers exceptional playability and a powerful yet sweet sound, and is ready to tour housed in a modern lightweight Bam travel case. Overall Excellent Condition.","brand":"Matt Rubendall","offers":[{"title":"Default Title","offer_id":46853527928972,"sku":"12108","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e322a8ce-ab4d-43da-bbd0-302fe576c1bb.jpg?v=1774341208"},{"product_id":"fender-telecaster-with-bigsby-solid-body-electric-guitar-1967-11507","title":"Fender Telecaster with Bigsby Solid Body Electric Guitar (1967)","description":"Fender Telecaster with Bigsby Model Solid Body Electric Guitar (1967), made in Fullerton, California, serial # 208507, Lake Placid Blue lacquer finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a well-preserved example of a rare Telecaster variation: Lake Placid Blue with factory Bigsby and rosewood fingerboard neck. It was built less than three years after Fender became CBS\/Fender; the neck date stamp is November 1967 and the pots are coded to the 42nd week of 1966. While a solidly CBS-era guitar it still retains the feel of earlier instruments with an all-lacquer finish.\u003cbr\u003e\u003cbr\u003eIn 1967 the Bigsby vibrato was a brand-new extra-cost option for the Telecaster, introduced in the July 1967 FENDER FACTS. Due to bad blood between the Paul Bigsby and Leo Fender this never happened under Leo's reign; by this point both men had sold their respective companies. This guitar is a very early such example, a double custom order with the blue metallic body in addition to the vibrato. It picked up the nickname \"The Blue Devil\" in the shop as there is a factory job number \"666\" die-stamped into the wood under the pickguard; this does not appear to be the sometimes seen hand-etched indicator of a factory refin.\u003cbr\u003e\u003cbr\u003eStandard features of the Telecaster from this era include a wide bevel 3-ply laminated white plastic pickguard (replacing the earlier 3-ply greenish nitrocellulose), the then brand-new \"big\" logo decal (supposedly instituted by CBS so the guitar would be more recognizable on TV) and the new-style Fender-made \"F plate\" tuners. The wiring is still the earlier 60's cloth-covered style, and the guitar is still rigged in the old 1950s control scheme with the \"mud cap' on the front pickup and no two-pickup combination without balancing the switch between positions #2 and #3.\u003cbr\u003e\u003cbr\u003eThis guitar is medium weight for a later '60s alder body Telecaster at 8.58 lbs.; the Bigsby adds some noticeable weight but it still handles very nicely. The very comfortable slim rosewood-fingerboard neck has a lovely lacquer finish with some checking but minimal wear, much thinner than the Polyester used the next year. The metallic Blue lacquer on the body has a lovely deep and vibrant hue, with less fade than many. This is a supremely cool and rather rare 1960s Telecaster variation, in superb playing condition and sounding as great as it looks!\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 12 5\/8 in. (32.1 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.)., 8.58 lbs. \u003cbr\u003e\u003cbr\u003eThis Tele is not perfect but for 55 years old it really is pretty clean! The body finish has some minor dings, dents and handling marks with chipping along the back edges. The finish retains excellent color with much less \"greening\" and fading than many. The back of the neck has very little wear though there is some checking on the headstock. \u003cbr\u003e\u003cbr\u003eAll hardware inside and out is original except the neck pickup has been rewound by the redoubtable Norio Imai and sounds great; the 1967-dated bridge pickup has been wax potted long ago but appears otherwise intact original. These later '60s CBS-era Tele pickups can be VERY microphonic so this is fairly common. As a result some solder joints have been redone but all internal components remain original. As noted the original rather archaic wiring scheme is still intact; this is a very late example of a Telecaster wired this way, we have had Telecasters with earlier '67 neck dated fitted with the \"modern\" wiring scheme from the factory. \u003cbr\u003e\u003cbr\u003eThe instrument is complete except for the nearly-always-lost snap-on bridge cover. A few metal parts show some wear, noticeable on the bridge plate where a player rested their finger and the unplated Bigsby. This very striking and fairly unique metallic blue Telecaster with a wangability option plays as good as it looks, with just some minor fingerboard divoting and light fret wear in the lower positions. It includes the original black Tolex HSC. Overall Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853528060044,"sku":"11507","price":22500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_2898ce7a-75de-4e92-a4de-1d0a13db7fb0.jpg?v=1774341216"},{"product_id":"fender-jazz-bass-solid-body-electric-bass-guitar-1966-10075","title":"Fender Jazz Bass Solid Body Electric Bass Guitar (1966)","description":"Fender Jazz Bass Model Solid Body Electric Bass Guitar (1966), made in Fullerton, California, serial # 128485, sunburst lacquer finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a relatively clean and original example of a \"transitional\" early-CBS era Fender Jazz bass, with typical 1965-into-'66 features. The most notable is the pearl dot rosewood fingerboard *without* the binding that appeared by early '66. The neck is dated DEC 65 and would be one of the very last unbound ones made. By the summer of '66 the block markers fingerboard came in and dots were banished for the next couple of decades!\u003cbr\u003e\u003cbr\u003eThe headstock has a gold \"transition\" logo decal and the unusual Fender-made \"egg button\" chrome-plated tuners oddly particular to Jazz basses of this period. The pots are all original and date to the 42nd week of 1965 and the 9th week of 1966, indicating the bass was likely assembled in early spring '66. The early 6-digit serial number on the \"F\" neckplate is consistent with this as well. \u003cbr\u003e\u003cbr\u003eThe body is finished in a bright and vibrant 3-tone \"target\" sunburst lacquer finish with a tortoise plastic pickguard. At just over 9 lbs. with both covers on, this is a medium weight for a 1960s Fender Jazz Bass and quite resonant. It is a fine player with the typically bright midrangey tone of these mid-60s Jazz Basses. This bass appears used over the past 55 years but well cared for, with some typical playwear and a mid-60s great vibe.\u003cbr\u003e \u003cbr\u003eOverall length is 46 1\/2 in. (118.1 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 34 in. (864 mm.). Width of nut is 1 1\/2 in. (38 mm.)., 9.11 lbs. \u003cbr\u003e\u003cbr\u003eThis bass shows only fairly light wear for its 5 1\/2 decades on the planet and appears not too heavily used since the '60s. It remains nicely original and complete including both chrome covers, down to the last screw. There are some dings and dents overall, and typical light lacquer checking. The face has one deeper finger wear mark into the wood below the E string and some chips and dings mostly to the edges; the back has dings and dents and one heavier spot of wear through the finish into the wood from belt buckle contact. \u003cbr\u003e\u003cbr\u003eThere is some finish worn down on the edges of the neck, and small dings and dents in the finish on the back of it. The neck has some small oil stains under the finish; we expect that indicates a light clear overspray long ago but examination under UV light reveals no other evidence of this. Nevertheless we'd have to call just the back of the neck lightly sprayed over with period clear lacquer; it must have been long ago as a decent amount of it is worn through on the edges. The original small frets and fingerboard show some minor wear in the lower positions. \u003cbr\u003e\u003cbr\u003eThe hardware is all original and complete; the bridge and saddles have some typical corrosion under the chrome cover. The front cover has some wear into the chrome from hand contact. The wiring is completely original and untouched; at the moment the tone control does not seem to do much of anything; it does work but the effect is quite subtle. This can be easily remedied by replacing the tone cap if desired but as everything is unaltered original we have left it as is for the moment. The bass is still accompanied by its original black Tolex case, showing some wear but solid and fully functional. Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853528420492,"sku":"10075","price":11000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_9fb52066-c402-4102-8d94-c4fbc84bc78a.jpg?v=1774341238"},{"product_id":"larson-brothers-wm-stahl-style-7-flat-top-acoustic-guitar-1914-10696","title":"Larson Brothers Wm. Stahl Style #7 Flat Top Acoustic Guitar (1914)","description":"Wm. Stahl Style #7 Model Flat Top Acoustic Guitar, made by Larson Brothers (1914), made in Chicago, serial # 18004, natural varnish finish, Brazilian rosewood back and sides, spruce top, mahogany neck with ebony fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eAny discussion of the finest flat-top guitars ever made will soon enough come around to the work of Carl and August Larson. From the very beginning of the 20th century up until WWII, the Larsons' small Chicago workshop turned out a dizzying assortment of exceptionally well-crafted fretted instruments -- guitars, mandolins, the occasional ukulele, and even harp guitars. The catch is, the Larsons never put their own name on their instruments. Much of their output was contracted to sell under other brands, with guitars labeled \"Maurer\" sold by themselves. When building instruments to order, the Larsons made what was requested, but always to their own lofty standards.\u003cbr\u003e\u003cbr\u003eOne of their most prominent resale accounts was William C. Stahl of Milwaukee, a virtuoso mandolin player turned to authoring instruction methods. Around 1906 the Larsons began supplying mandolins and guitars to Stahl, who claimed himself as the maker, a deception common in this \"patent medicine\" era. Wm. C. Stahl remained one of the Larson's biggest accounts in the 'aught years and 'teens, and they built a steady stream of mandolins and guitars for him up into the 1930s. If Carl and August seemed reticent to promote themselves, William Stahl was the opposite: garrulous, confident, and endlessly chatty. \u003cbr\u003e\u003cbr\u003eStahl's 1910s ads scoff at \"machine-made\" instruments, insisting his are strictly \"handmade ... reasonable in price and perfect as human hands can make them\" and built under his \"personal supervision\". This would have been quite a trick, as the Larsons were building in Chicago while Stahl's offices were in Milwaukee! While Stahl primarily promoted mandolins, he also sold a decent proportion of guitars, including high-end pieces like this one. \u003cbr\u003e\u003cbr\u003eThis particular instrument is a lovely example of the brothers' finer work, labeled for Willian Stahl but in every way a Larson product. The brothers' instruments have become recognized as uniquely desirable and historically important in recent years, and the best grade flat-top guitars are the most sought-after pieces. This appears to be a Stahl Style #7, priced at $40 in 1912 or so. The very few extant catalogs are often not exactly representative of the actual instruments made over many years, but this is the closest match. Based on Larson scholar Robert Hartman's research this appears to be a fairly early example of a Stahl dating to around 1914. \u003cbr\u003e\u003cbr\u003eWhatever its actual designation this is a beautiful guitar featuring many of the Larson brother's higher grade appointments. The back and sides are high-grade Brazilian rosewood with a lovely straight grain figure on the back and some colorful swirling on the bass side. The top is very tight-grained spruce, built with sturdy X-pattern spruce braces; most Stahls do not have the Larson's patented laminated bracing system. Both the top and back are built with the subtle arching that is a Larson trademark. \u003cbr\u003e\u003cbr\u003eThe top is bordered with a wide beveled celluloid strip, two half-herringbone bands and gleaming abalone inlay around the circumference and sound hole rim. The bridge is ebony with an inlaid pearl clover at each end. The neck is one piece mahogany, slim with the hint of a soft \"V\" profile the Larsons stopped using by the 1920s. It still has a surprisingly supple modern feel for a nearly 110-year-old guitar. The thick ebony fingerboard is very thinly bound with grained ivoroid and inlaid with shaped pearl pieces. The headstock is overlaid with Brazilian rosewood, bound and inlaid with small pearl doodads on the face. This is a physically small but sonically imposing guitar, a truly fine representation of the Larson's artistry and after well over a century an exceptional sounding instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 13 5\/8 in. (34.6 cm.) wide at lower bout, and 4 11\/16 in. (11.9 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 13\/16 in. (46 mm.). \u003cbr\u003e\u003cbr\u003eOverall this is a lovely 100+ year old example of a small body, high grade Larson-made instrument. The top finish shows only a few signs of wear, with pickwear in a small area next to the high \"E\" string running from the soundhole rosette and towards the bridge. Otherwise, the finish shows light crazing throughout and only a few press marks, dings and dents. The neck is similarly clean with only a couple of non-feelable marks along its length. The headstock has a couple of scuffs on the bass side of the front face, but is also otherwise clean.\u003cbr\u003e\u003cbr\u003eThe top has one carefully sealed grain crack just below the fingerboard, running from the rosette to the neck block. Only a tiny portion of it shows at the edge of the rosette below the fingerboard extension. Except for this one neat repair the interior is clean, showing just a tiny carefully made maple bridge plate cap to protect the original spruce plate from string ball end damage. The bridge is original and show no signs of regluing, though the front edge has been shaved slightly, presumably to lower the action before a neck set was performed. \u003cbr\u003e\u003cbr\u003eThere are a pair of tightly sealed and lightly touched up rosewood grain cracks on the bass side rim next to the heel block. Otherwise the back and sides are clean and free of anything other than a few scuffs, marks and light scratches. The neck has been neatly reset. There are a pair of discrete touch ups on either side of the heel where it meets the rim on each side as a result. \u003cbr\u003e\u003cbr\u003eThere is a short stretch of edge binding replaced on bass side of the fingerboard edge, running from the 12th fret to the rosette and another tiny section on the treble side next to the rosette. The frets have been replaced with slightly larger wire than the original which most modern players would prefer as that was quite small! This is simply a lovely guitar to play, with the delicate yet powerful sound that is the Larson trademark. Overall Excellent - Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46853531074700,"sku":"10696","price":11000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_2ab7658c-8662-47f9-8496-0b4eeda09302.jpg?v=1774341339"},{"product_id":"c-f-martin-d-28-flat-top-acoustic-guitar-1958-10737","title":"C. F. Martin D-28 Flat Top Acoustic Guitar (1958)","description":"C. F. Martin D-28 Model Flat Top Acoustic Guitar (1958), made in Nazareth, PA, serial # 159518, natural lacquer finish, Brazilian rosewood back and sides, spruce top; mahogany neck with ebony fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis superb playing and fine sounding Martin D-28 dates to very early 1958, just before the runaway success of the Kingston Trio made ownership of this exact instrument a badge of honor for EVERY aspiring folk guitarist! The Country \u0026amp; Western stars of the day had also made the D-28 their standard, and many top artists would not be seen without one!\u003cbr\u003e\u003cbr\u003e After WWII this was the biggest, best and most expensive guitar Martin made. The elaborate pearl trimmed models were discontinued during the war and not revived, leaving this comparatively austere rosewood Dreadnought as top of the line. Despite strong competition from Gibson's Jumbos, in the 1950s the D-28 was the final word in a serious flat-top instrument to most professional players.\u003cbr\u003e\u003cbr\u003eThis example was one of 677 sold in 1958 at the fairly stiff price of $270 (without case). It shows the classic period appointments: multi-layer celluloid binding on the back and top, a long-saddle ebony bridge, \"Big-dot\" graduated pearl inlaid ebony fingerboard, tortoise pattern Celluloid pickguard and the then brand new \"patent pending\" Grover Rotomatic tuners. It features a beautiful straight-grained Brazilian rosewood back with a dramatic bookmatched streak and a tight and even-grained spruce top that would also be considered premium wood today. The mahogany neck is slimmer than some with a noticeable \"soft V\" profile. A small \"Made in USA\" stamp on the back of the headstock indicates this was originally an export guitar, probably to Canada. \u003cbr\u003e\u003cbr\u003eWhile this is a fabulous guitar to look at as with most old Martins the real beauty comes in the playing. The D-28 is one of the most respected of all Martin models, and this is a particularly easy playing example. It offers a powerful full-range sound and is more responsive than some while still maintaining the powerful bass response D-28's are prized for. This guitar is perfectly suited to period styles including purely acoustic Bluegrass of folk, acoustic\/electric Honky Tonk or more modern playing applications; it even makes a good fingerpicker, which some do not particularly excel at. This is a real gem of an early \"Folk-era\" D-28, a very smooth player and just overall super friendly guitar.\u003cbr\u003e \u003cbr\u003eOverall length is 41 in. (104.1 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 5 in. (12.7 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis clean old Martin has had a few repairs over the past 65 years, but very well cared for not appearing to have been actually played all that much. It really is a lovely instrument with the original lacquer finish well preserved overall, showing some light checking mostly to the top. The color has not ambered as much as many from this period, this guitar likely never saw any smokey bars. The top shows some light pick scratches above and behind the soundhole and wear to the wood on the lower soundhole rim. Beyond this there are a few small deeper dings in the top in the area below the bridge that were neatly touched up some time ago. The back and sides show only a few small dings and scratches in the finish. \u003cbr\u003e\u003cbr\u003eOther than these superficial imperfections this D-28 is very nicely preserved, remaining amazingly completely crack-free, which is pretty unusual after more than 6 decades. The neck has been neatly reset and the ebony bridge is a well done later replica. There are some small pulls to the spruce around the perimeter from the old bridge lifting. Internally, the original small bridge plate and braces remain perfectly intact. \u003cbr\u003e\u003cbr\u003eThe original small frets show some light wear in the lower positions but still play well. This D-28 once had a larger set of tuners installed, but has been restored to original with a period correct set of the early \"Pat Pend.\" Grover Rotomatics. Some small rings on the headstock face are the only evidence of this. This very fine Martin survivor is a fine player with a very comfortable action and a powerful deep sound. It currently resides in a modern Martin TKL hardshell case. Overall Excellent - Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853531173004,"sku":"10737","price":13500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_64f6a54a-7c6c-45c3-8024-e77194c4b576.jpg?v=1774341343"},{"product_id":"gibson-f-4-with-virzi-carved-top-mandolin-1917-10312","title":"Gibson F-4 with Virzi Carved Top Mandolin (1917)","description":"Gibson F-4 with Virzi Model Carved Top Mandolin (1917), made in Kalamazoo, Michigan, serial # 11068 (FON), sunburst lacquer finish, maple back and sides, spruce top; mahogany neck with ebony fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very interesting example of an early Gibson mandolin that almost certainly was returned to the factory for work more than once in the decades after it was originally made, a not too uncommon situation. The instrument is an F-4 originally built in 1917, confirmed by the factory order number (FON) stamped on the neck block; the serial number on the label is too obscured to read clearly. Sometime in the early 1920s (probably around 1923-4) it had a Virzi tone producer installed and a second label added with Virzi serial number #10718. This was a Gibson factory service job at the time, something Lloyd Loar personally advocated. As this entailed removing the back, it was probably at least partially refinished at this time. Sometime later (probably around 1960) it was returned to Gibson for service again, refretted and refinished with contemporary sunburst lacquer. \u003cbr\u003e\u003cbr\u003eThe F-4 was Gibson's top of the line mandolin at the time this one was made and the company flagship in the 1910's. The scroll-body instrument had been fully perfected from its early 3-point body form and was an utterly distinctive creation, almost certainly the finest mandolin in the world in 1917. Many of these were the personal instruments of professional players, Gibson teacher-agents or their best pupils; at a price of $150.00 the f-4 was an extremely expensive and prestigious instrument. It would have been the top choice for practically any virtuoso mandolinist in the WWI era.\u003cbr\u003e\u003cbr\u003eUnder its later-style sunburst finish this F-4 has typical features for the late 1910s. The one-piece maple back has a discreet but noticeable flame figure; the F-4 was the only Gibson mandolin in 1917 actually made of maple as the catalogs specified. All binding is grained ivoroid, and with the double-flowerpot pearl and abalone inlay on the headstock the F-4 exudes a particular Art Nouveau grace and class. The Handel tuners are period but lack the inlaid buttons usually seen in 1917; they may have been replaced by Gibson when the Virzi was added. \u003cbr\u003e\u003cbr\u003eThe Virzi \"Tone Producer\" is actually a thin spruce disc suspended under the top. Produced by the Virzi Bros. violin company in New York it was championed by Loar and offered by Gibson as an optional (and extra cost) feature. The Virzi was usually installed in Loar's pet Master Model instruments; it is relatively uncommon in a round hole mandolin. A small number of \"Virzi F-4's\" are known to exist, and this retrofitted example is particularly unusual. The \"Tone Producer\" was intended to add extra harmonic partials to the sound; many players have been disappointed that it does not actually assist volume. What it does do is help produce a more complex sound with richer overtones; that is the theory anyway! Some have been removed by players who want a louder more driving tone, but those that remain are a fascinating part of the Loar era story. \u003cbr\u003e\u003cbr\u003eThe F-4 Artist's model was Gibson's highest grade mandolin until the advent of the Master Model F-5 in 1922, and even after that model's introduction remained an important part of the company's line. The owner of this one seems to have treasured their instrument and had it kept up to date by the Factory over decades; perhaps they even knew Master Loar and had the Virzi installed at his suggestion! Whatever its story this mandolin's journey through different eras of Gibson history have given it a unique character.\u003cbr\u003e \u003cbr\u003eOverall length is 26 in. (66 cm.), 9 7\/8 in. (25.1 cm.) wide, and 1 9\/16 in. (4 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 1\/8 in. (29 mm.). \u003cbr\u003e\u003cbr\u003eThis is a sweet sounding old F-4, with a unique mix of features from across the decades. The vibrant sunburst lacquer finish as noted appears to date to the late '50s or early 1960s; it is definitely Gibson factory work. There has been some subsequent wear, with light pick marks here and there and some minor checking to the top. The back of the neck has a bit of playwear in the lower positions and some chipping near the heel. Other than that there is not a lot of wear. \u003cbr\u003e\u003cbr\u003eThere is an old typical scroll repair on the headstock, which is very inconspicuous may have been fixed in the 1920s by the look of it. Apart from one small back\/side seam bulge above the tailpiece there are no other structural repairs. The fingerboard appears to have been refretted and rebound when the refinish was done. The oft-missing celluloid pickguard is gone, the original tailpiece is intact and the tuners are period if possibly not the first original set. The bridge is a more recent adjustable 1920s style. This \"hybrid\" F-4 is very good player, with a very comfortable action and a nice singing tone, somewhat mellower than the typical f-hole mandolin, but with plenty of body and \"bite\" when needed. This is a neat playable piece of Gibson mandolin history, housed in a later HSC. Generally Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853531631756,"sku":"10312","price":5500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_debbe98d-f74c-4c55-8f5e-793bff047274.jpg?v=1774341362"},{"product_id":"fender-mustang-solid-body-electric-guitar-1979-10790","title":"Fender Mustang Solid Body Electric Guitar (1979)","description":"Fender Mustang Model Solid Body Electric Guitar (1979), made in Fullerton, California, serial # S 823784, Antigua shaded polyester finish, alder body, maple neck, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis rather rare and slightly oddball Fender Mustang is an extremely short-lived Antigua model from 1979, one of the least common of all these delightful fretted ponies. This specialized shaded finish option was originally offered only on hollowbody Coronados in the late '60s but was inexplicably revived on Fender solidbody models for a short time at the end of 1970's. The creamy polyester hue with greenish edges was very eye-catching, if not to everyone's taste! It also often does not stand up particularly well in actual use, the painted pickguard being the most prone to wear; this one survives in far better shape than many.\u003cbr\u003e\u003cbr\u003eThis guitar shows some light general wear but remains clean overall and very unique looking in its love-it-or-hate-it sort of pea soup livery. It was built some years after the end of the run of the rather whimsical \"Competition\" Mustangs in 1973, at a time when the Mustang had otherwise reverted to more generic 1970s Fender cosmetics. The shaded Antigua finish on the body, topped with the matching painted plastic pickguard certainly offered a much more dramatic look than the standard limited late 70s Fender color palette. This Mustang has a darker Antigua shade than some, particularly on the pickguard which has a greener hue than the body. \u003cbr\u003e\u003cbr\u003eAnother notable change from earlier models is the one-piece maple neck and fingerboard, an original 1950s Fender feature that came late to the Mustang in the mid-70s. The serial number decal on the headstock designates this as a 1979 model, which is typical for the Antigua runs. The original tone pot dates to the 26th week of 1978; the volume pot is also original but the date is neatly soldered over. Aside from the maple fingerboard, and of course the eye-catching finish most other features remain basically similar to later 1960s models including the switchable in\/out of phase pickups and \"Dynamic Vibrato\" trem system.\u003cbr\u003e\u003cbr\u003eLike its automotive namesake the Fender Mustang was introduced in 1964, one of Leo Fender's final original design for the company that bore his name. Although originally intended for students, the instrument is so well-designed and laid out that many professional players have used it extensively over the decades. By the end of the '70s Fender was phasing the model out (the Fender Bullets were the company's new student model concept) and it would disappear officially in 1982. Late 70's Mustangs are rare to begin with and this slightly wacky but very endearing Antigua Mustang, one of the rarest variations, has survived the decades very well and is ready for another 40+ years!\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 1\/2 in. (3.8 cm.) deep. Scale length is 24 in. (610 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003e This Mustang shows just some isolated finish wear but remains clean overall and all original. The body just one noticeable ding on the face a bit off the input jack, possible caused by a mis-directed plugging-in attempt. The neck has a couple of spots of \"strap burn\" and some scuffing on one small chip the back edge but overall there are no large areas of wear. The neck finish has a few tiny dings and dents and wear along the bottom side but is generally intact. All hardware is original and unaltered and this is a nice fine player, and of course super distinctive looking! It resides in its nicely preserved original black Tolex Fender HSC. Excellent Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853533008012,"sku":"10790","price":3950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_05e467b9-8b88-4965-b732-0eb1385bf9e6.jpg?v=1774341406"},{"product_id":"fender-stratocaster-solid-body-electric-guitar-1972-10788","title":"Fender Stratocaster Solid Body Electric Guitar (1972)","description":"Fender Stratocaster Model Solid Body Electric Guitar (1972), made in Fullerton, California, serial # 354187, sunburst polyester finish, alder body, maple neck, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very early example of the now-classic mid-1970's pattern Stratocaster, mounting the then-brand new 3-bolt neck with the \"Bullet\" truss rod that was a controversial change at the time. Another then-recent change to the Strat include the cast bridge saddles and trem block. This mid-1972 example still carries some soon-to-disappear-in the-70s features including staggered-pole pickups (changed to flat-pole in 1975) and the white pickguard and trim supplanted by black plastic in 1976.\u003cbr\u003e\u003cbr\u003eThis Stratocaster has a neck clear-dated to April '72, with pots from the 6th week of that year as well. It is resplendent in a typical Fender sunburst finish, not much changed at this point from the first Poly runs in 1969 including a slight greenish tinge to the yellow center. This was applied more heavily than the earlier 1960's style but not yet the super-dense \"Thick Skin\" Polyester that enveloped the Strat starting in 1975. At 7.77 Lbs (without the bridge cover) this is fairly light for the period, a good playing and sounding Strat typical of its '70's era, now amazingly (to us old guys) 50 years old and not much the worse for wear.\u003cbr\u003e \u003cbr\u003eOverall length is 39 1\/4 in. (99.7 cm.), 12 3\/4 in. (32.4 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.)., 7.77 lbs. \u003cbr\u003e\u003cbr\u003eThis early '70's Strat is quite clean overall with some typical minor wear. The finish is still shiny and unchecked; it has some scuffing and a few small dings and dents but really this is a better survivor than many. It remains all original down to the trem arm and even the snap-on bridge cover. Just remember this was the era of massive numbers of Fenders becoming Frankensteins of all sorts; they may have made a lot of these in 1972, but a large proportion are no longer so original and unaltered. \u003cbr\u003e\u003cbr\u003eThere is some small chips on fingerboard edges, and just a few worn spots on the fingerboard itself. The body shows a small armwear spot on the top, and a similarly rubbed-down area on the back\/rear edge by the strap button. All hardware is original, complete and quite clean; there is one small crack to the pickguard off the screw just below the neck. There is some wear to the original frets wear in the lower positions, and they have been crowned down a bit but still have decent height. \u003cbr\u003e\u003cbr\u003eThis is a fairly spanky-sounding Stratocaster with a lively range of tones tone and some great \"in-between\" sounds, though you still have to balance the original 3-way switch to get them. Overall a nice example from this period, playing well and sounding like it should still living tin the original black Tolex Fender HSC. Overall Excellent Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853533663372,"sku":"10788","price":7500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_03b1afff-fd2c-4d92-af69-a6e4cfd13e9b.jpg?v=1774341432"},{"product_id":"fender-telecaster-with-bigsby-solid-body-electric-guitar-1969-10482","title":"Fender Telecaster with Bigsby Solid Body Electric Guitar (1969)","description":"Fender Telecaster with Bigsby Model Solid Body Electric Guitar (1969), made in Fullerton, California, serial # 243504, blonde finish, ash body, maple neck, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice example of a 1969 Telecaster with a factory-fitted Bigsby vibrato, one of the better new ideas CBS-Fender brought into production after acquiring the company in 1965. Paul Bigsby had designed a version of his \"True Vibrato\" unit specifically for the Telecaster as early as 1953 but Fender never adopted it and they are extremely rare today. The CBS-Fender Bigsby was offered as an add-on or factory fitted to the Telecaster, which can be easily distinguished by the lack of string holes in the back of the body. This option initially proved fairly popular but was discontinued in the 1970s as interest in Bigsbys in general hit a low ebb. \u003cbr\u003e\u003cbr\u003eThe CBS blueprints for the \"F\" branded Bigsby tailpiece were dated to the beginning of September 1967, the option was available by early\/mid 1968. Beach Boy Carl Wilson used an early example for the group's Ed Sullivan show appearance. This guitar's one-piece maple neck is dated May '69, not long after the original 1950s-style one-piece construction was revived. The original pots date to the 32nd week of 1966; CBS bought so many pots that year that 66-dated pieces are the norm well into 1970. \u003cbr\u003e\u003cbr\u003eThe original finish shows a lot of yellowing but not too much wear. The neck has a subtle but nice flame figure to the maple that is quite attractive. The hardware is original and complete including the \"F\" tuners, Pearloid-on-the-reverse white pickguard and Jazzmaster style bridge. This is a great sounding guitar with a powerful dose of twang from the bridge pickup and nice mellow tone from the fingerboard unit. Overall one of the nicest Bigsby Teles we have had!\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 12 5\/8 in. (32.1 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.)., 8.5 lbs. \u003cbr\u003e\u003cbr\u003eThis \"summer of '69\" Tele remains nicely original and relatively clean overall, played with some typical light wear but no modifications. The finish has been \"smoked\" quite a bit, giving the guitar a darker more butterscotch patina than its original white\/blonde hue. This seems common in this era of early Fender experiments with blonde Poly finishes on the body. There are some minor chips and dings and a few finish rubs to the edges, with some general handling wear but this appears to be a fairly well-cared for guitar. \u003cbr\u003e\u003cbr\u003eThe neck finish is really quite clean too with some small rubs along the treble edge of the fingerboard. The pickguard had shrunk slightly up a decent amount, which is typical of these pearloid-backed units from the 1969 period. There are pulls at several of the screws and the upper and lower rear corners has split off. The bridge itself shows some typical corrosion to the steel saddles, the snap-on cover is long gone. \u003cbr\u003e\u003cbr\u003eThe original frets show some wear and re-crowning but still play well. For 50+ years out in the world this is below average wear and tear and this Tele is as ready to twang the night away just like it was 1969 (OK maybe 1971) again! The original (or at least period) black Tolex case is VERY battered but all the latches still work and it remains more or less functional. Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853533696140,"sku":"10482","price":7950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_6e7e1bf5-b5bc-44a2-adf5-9a72d876e81e.jpg?v=1774341434"},{"product_id":"gibson-lg-1-flat-top-acoustic-guitar-1951-10902","title":"Gibson LG-1 Flat Top Acoustic Guitar (1951)","description":"Gibson LG-1 Model Flat Top Acoustic Guitar (1951), made in Kalamazoo, Michigan, serial # 9133-13, sunburst top, dark back and sides finish, mahogany back and sides, spruce top; mahogany neck with rosewood fingerboard, original brown chipboard case. \u003cbr\u003e\u003cbr\u003eThis Gibson LG-1 was Gibson's lowest budget flat top in the early 1950's, but still a classy looking and good sounding guitar. The model is essentially identical to the next-in-line LG-2 but with simpler ladder-bracing under the top instead of the more elaborate X-pattern. The materials and cosmetics are otherwise exactly the same, with mahogany back and sides and a spruce top. The only way to tell the difference is to peer (or poke a finger) under the back edge of the soundhole! The top is finished in a stately sunburst, the back and sides natural mahogany and both are single bound. The mahogany neck has a plain dot-inlaid rosewood fingerboard and is topped by the standard Gibson-logo'd headstock with Kluson Deluxe tuners. \u003cbr\u003e\u003cbr\u003eWhile designed as a budget guitar for student players and teaching studios the LG-1 in this period is still a very nicely made instrument, especially compared to most of its competitors. The sound is usually somewhat brighter and less sophisticated than its X-braced sisters, with something like a mix of Gibson and Stella characteristics. These days some folks actually like the barkier, bluesier tone of the ladder braced models better! This is a superbly well-preserved and original 1951 guitar, one of the cleanest, best playing and sounding of these we have had complete in the original case with the original hangtag and receipt.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 14 3\/8 in. (36.5 cm.) wide at lower bout, and 4 3\/8 in. (11.1 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 guitar is VERY clean and nicely original, showing hardly any play wear for it's 70+ years on the planet. It is all original except for a set of exact repro tuners. The finish still shines with some typical checking, mostly along the grain lines on the top. The finish has a few minor typical dings, dents and scuffs mostly into but not through the lacquer but really this guitar looks very little used. The instrument shows a rich patina to the sunburst, darker than many later examples with a very stately look for a small budget guitar.\u003cbr\u003e\u003cbr\u003eThere is an old repair to a typical sealed grain split off the lower edge of the pickguard; there are no other cracks. The neck has been very neatly reset; playability is excellent with the original bridge that has been lowered a bit with a new saddle. The original frets and the fingerboard show almost no wear. Overall this is a really sweet example of Gibson's elegant little student flat-top model from the early '50s, still accompanied by the original chipboard case which has some damage but is still fairly solid. Inside is the hang tag and purchase receipts indicating the guitar was bought in Carlisle Pennsylvania in April 1952 and paid off over the next few months. Overall Excellent + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853534285964,"sku":"10902","price":3950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a9a908f6-3613-47ec-bd10-2dfc36487277.jpg?v=1774341453"},{"product_id":"fender-telecaster-paisley-solid-body-electric-guitar-1968-11309","title":"Fender Telecaster Paisley Solid Body Electric Guitar (1968)","description":"Fender Telecaster Paisley Model Solid Body Electric Guitar (1968), made in Fullerton, California, serial # 250279, pink paisley metallic paper with overcoat of clear acrylic finish, ash body, maple neck with maple cap fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis infamous and fabulous looking guitar was one of CBS\/Fender's most whimsical ideas in the summer of 1968: putting pink paisley or blue floral wallpaper on Telecasters to catch the \"Groovy\" 1960's vibe at its late-decade high. The slab-bodied Tele shape worked well (the contoured Strat proved impractical!) and the instruments were released to the world in mid-1968. The guitar does not suffer any loss of function under this colorful livery, maintaining all the same hardware as the regular version and the classic Telecaster feel and sound. \"Paisley Red pulsates with every beat and swirls in a blinding carousel of colors and forms\" claimed Fender's promotional materials, and who are we to argue. Unfortunately these were not huge sellers and were out of production by later in 1969.\u003cbr\u003e\u003cbr\u003eThis \"Pulsating Paisley\" guitar has a neck dated to August 1968, making it a fairly late example of the laid-on maple fingerboard about to be replaced with the re-introduced original 1950s style one-piece maple design. The pots are coded to the 17th week of 1966, part of the huge haul CBS bought in that year. The bottom of the grey bobbin lead pickup is dated 10-25-68 in unusually clear writing; this coil and baseplate are original but the bobbin was rewound long ago. \u003cbr\u003e\u003cbr\u003eAt the time this was made the Telecaster was the most venerable design in the Fender catalog, and CBS management hoped this new flashy look would resonate with the \"hip' players of 1968. It was not a major success but in 1968 the Telecaster was experiencing a renaissance of sorts anyway, with numerous more successful variations to come from CBS\/Fender in the coming years. The Paisley Telecaster became the signature instrument of one major player at the time: James Burton, who remarked Elvis thought the guitar was \"Really Cool, man!\". Although hardly a major success when new these \"Psychedelicized' telecasters have come to be regarded as one of the truly grooviest 6-strings ever made, re-issued constantly and unmistakable wherever they may appear!\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 12 3\/4 in. (32.4 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.)., 7.99 lbs. \u003cbr\u003e\u003cbr\u003eThis guitar shows some general wear overall but remains in mostly original condition. The one exception is the lead pickup, which retains the original hand-dated grey bobbin but was re-wound long ago, now wrapped in black electrical tape instead of the original white string. The sound is bright and spanky, little different from what we would normally expect from a '68 Tele pickup. A later plastic-covered ground wire was installed at the same time; all the other wiring retains the original cloth leads and the pots and switch remain original. \u003cbr\u003e\u003cbr\u003eApart from this one old alteration in general this is one of the better preserved examples of this model we have seen; the heavily coated Poly over the paisley wallpaper has often proved problematic. It does have a decent helping of the heavy topcoat checking that often occurs when the finish shrinks over the wallpaper applique, but there is not the heavy peeling or flaking sometimes found on these. There are some chips and dings to undercoat and wood on the body, mostly along the edges but only one notable small spot chipped off the back but no really heavy wear. The upper edge of the body near the strap button shows several deeper dings. There is some light play wear to the neck with minor loss to the lacquer along the treble side edge of the fingerboard and a few small dings on the fingerboard and the back. The headstock shows some typical checking.\u003cbr\u003e\u003cbr\u003eAll hardware and fittings are complete and original, except the rewound pickup. The high E string tuner is a little bent, but it still tunes fine. The original frets have been taken down somewhat and show some fairly heavy wear in the lower positions, still playable but if the guitar is to be gigged heavily a refret is in order soon. We'd be happy to discuss this with the next owner. Whine not pristine this is still a super cool and a rare find, it is complete in the original Fender HSC with the original strap, cord and some period Fender strings in the pocket. Overall Excellent - Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853534515340,"sku":"11309","price":24500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_014d76cb-813d-42f9-8a18-d5a412ee72f5.jpg?v=1774341461"},{"product_id":"gibson-a-junior-snakehead-carved-top-mandolin-1928-10282","title":"Gibson A-Junior Snakehead Carved Top Mandolin (1928)","description":"Gibson A-Junior Snakehead Model Carved Top Mandolin (1928), made in Kalamazoo, Michigan, serial # 82977, brown stain finish, birch back and sides, spruce top; mahogany neck with ebony fingrboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a great-playing and sounding original A-Junior mandolin from early 1928, some time after the \"Loar era\" at Gibson, but still embodying many of \"Master Loar's\" ideas. This is a lovely example of Gibson's mandolin craftsmanship, even though by the time it was built the company's focus had shifted primarily to banjos. \"Snakeheads\" are generally considered the best-sounding roundhole \"A\" style mandolins ever made, revered for their unmatched tone and projection compared to earlier or later A-models. Although the A-Junior was the lowest priced model offered this one certainly bears this out.\u003cbr\u003e\u003cbr\u003e\"Snakehead\" instruments are named for their Loar-designed peghead that angles inward towards the tip, a feature inexplicably abandoned by Gibson not long after this one was made. While this basic A-Junior lacks some of the other advanced features of the era (it does not have an adjustable truss rod or height-adjustable bridge) it does sport Loar's slimmer neck profile and sleeker peghead shape. The finish is a clear lacquer coat over an overall brown stain; this is the period when Gibson was switching from varnish to lacquer finishes and the results were sometimes inconsistent. This one is shinier than some but appears all original. \u003cbr\u003e\u003cbr\u003eThere is no binding at all, but the same tortoise celluloid pickguard as the higher grade models is secured by the later '20s side bracket clamp. The tailpiece has a simple \"clamshell\" cover plate and the tuners are plain openback strips. Even this most basic \"A\" model is a very fine instrument, with sonic and playing improvements carrying over from \"Master Loar's\" tenure still evident in the later 1920s, and nearly 100 years on making for a very fine (if plain looking) mandolin.\u003cbr\u003e \u003cbr\u003eOverall length is 25 3\/4 in. (65.4 cm.), 10 1\/4 in. (26 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 3\/16 in. (30 mm.). \u003cbr\u003e\u003cbr\u003eThis 95 year old mandolin appears to have seen comparatively little use since new, remaining an excellent player with a lively sound. The original lacquer finish has a lovely aged patina, still shiny with just typical fairly minor dings, dents, and scrapes overall, with some wear-through to the unbound edges. The top in particular remains quite clean and largely free of the typical pick wear. There are no visible crack or other repairs.\u003cbr\u003e \u003cbr\u003eAll hardware remains original and complete including the tuners, tailpiece and pickguard. The neck has remained true for 95 years and the original frets are very clean, probably polished out a bitt but showing hardly any wear. This an excellent example of Gibson's plainest 1920s A Model, cleaner than most and complete in its original hard shell case that is nicely preserved as well. Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853535563916,"sku":"10282","price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_15ce672b-ae5f-4279-86ef-29010df8ccfe.jpg?v=1774341498"},{"product_id":"gibson-a-junior-snakehead-carved-top-mandolin-1925-11244","title":"Gibson A-Junior Snakehead Carved Top Mandolin (1925)","description":"Gibson A-Junior Snakehead Model Carved Top Mandolin (1925), made in Kalamazoo, Michigan, serial # 80166, brown stain finish, birch back and sides, spruce top; mahogany neck with ebony fingrboard, molded plastic hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a great-playing and sounding original A-Junior mandolin from the mid-1920s, just after the \"Loar era\" at Gibson but still embodying many of \"Master Loar's\" ideas. This lovely example of Gibson's mandolin craftsmanship was built in late 1925 (based on the factory order number) but the serial number indicates it was not shipped until about a year later. By that time the company's focus had started shifting primarily to banjos, and mandolin sales were slowing to a crawl. \u003cbr\u003e\u003cbr\u003e\"Snakeheads\" are generally considered the best-sounding roundhole \"A\" style mandolins ever made, revered for their unmatched tone and projection compared to earlier or later A-models. Although the A-Junior was the lowest priced model offered this one certainly bears this out. They are nicknamed for their Loar-designed peghead that angles inward towards the tip, a feature inexplicably abandoned by Gibson a couple of years after this one was made. \u003cbr\u003e\u003cbr\u003eThe A-Junior was Gibson's lowest priced carved top mandolin in the 1920's, designed primarily for sale to beginning students. The top and back are still fully carved like the higher priced models, as the instrument was designed to still sound \"Gibsonic\" at the lowest price point. To this end it has no ornament at all but is still built to the same standards as the company's higher end instruments. \u003cbr\u003e\u003cbr\u003eWhile this basic A-Junior lacks some of the other advanced features of the era (it does not have an adjustable truss rod or height-adjustable bridge) it does sport Loar's slimmer neck profile and sleeker peghead shape. The finish is a clear lacquer coat over an overall brown stain; this is the period when Gibson was switching from varnish to lacquer finishes and the results were sometimes inconsistent. This one is shinier than earlier examples but appears all original, the back and sides may have been polished out at some point but do not appear oversprayed.\u003cbr\u003e\u003cbr\u003eThere is no binding at all; the same tortoise celluloid pickguard as the higher grade models is secured by a side bracket still using up the old lever-action clamp. The tailpiece has a simple \"clamshell\" cover plate and the tuners are plain openback strips. Even this most basic \"A\" model is a very fine instrument, with sonic and playing improvements carrying over from \"Master Loar's\" tenure still evident in the later 1920s, and nearly 100 years on making for a very fine sounding (if plain looking) mandolin.\u003cbr\u003e \u003cbr\u003eOverall length is 25 3\/4 in. (65.4 cm.), 10 1\/4 in. (26 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 3\/16 in. (30 mm.). \u003cbr\u003e\u003cbr\u003eThis close to 100 year old mandolin has seen some use since new, but remains an excellent player with a lively sound. The lacquer-over-varnish finish appears original with some possible polishing out on the back and sides and a few small touchups. The finish overall is still shiny with typical checking to the top and fairly minor dings, dents, and scrapes overall, most notable on the back. There is some wear-through to the unbound edges and more heavily to the wood on the back of the neck. The top remains cleaner than many, largely free of the typical pick wear. There are no visible cracks.\u003cbr\u003e\u003cbr\u003eAll hardware remains original and complete including the tuners, tailpiece and pickguard. The neck has remained true for 95 years and the original frets are very clean, probably polished out a bitt but showing hardly any wear. This an excellent example of Gibson's plainest 1920s A Model, cleaner than many and still an excellent players instrument nearly a century on. It is housed in a modern molded HSC...it likely originally came swathed in chipboard. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853536088204,"sku":"11244","price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_62faabcf-ab23-4ab1-a12d-c0f5ac7f7599.jpg?v=1774341509"},{"product_id":"fender-stratocaster-solid-body-electric-guitar-1965-10978","title":"Fender Stratocaster Solid Body Electric Guitar (1965)","description":"Fender Stratocaster Model Solid Body Electric Guitar (1965), made in Fullerton, California, serial # 101176, sunburst lacquer finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/EDP07TNunns?si=gCcs1fmnXlyCeR60\" title=\"YouTube video player\" 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\u003eThis is a superb original example of a \"transition\" early-CBS era Stratocaster, with some light wear but all original, unmodified, and appearing relatively little used. This Strat was built in the far-off fall of 1965. The neck code is 2 Oct 65B; the pots are coded 137 6532 (32 week of 1965) and the grey-bobbin pickups hand-dated 11-29-65. The complete guitar would have been assembled less than a year after Leo's company was sold to the giant CBS corporation and shows typical features seen at this time, mixing old and new. It actually retains more Pre-CBS character than most, thanks to the then-obsolete \"green guard\" older style nitrocellulose pickguard it is fitted with. These begin to be replaced by whiter ABS plastic on the line in early '65; this must be one of the very last to leave Fullerton on a guitar! This is a combination of features only possible this year, by second quarter of 1966 the new big peghead would appear. \u003cbr\u003e\u003cbr\u003eThe small Pre-CBS style headstock sports the newer gold \"transition\" logo that appeared in mid-1964. The sunburst lacquer finish on the body follows the trend towards the more quickly sprayed \"bull's-eye\" bursts that became the norm as 1965 rolled into '66, but is not as sharply demarcated as some with a nice mixing of the shades. \u003cbr\u003e\u003cbr\u003eThe thin-lam rosewood fingerboard has the pearloid dot inlay that came in at the end of 1964, replacing the older \"clay\" dots. This neck is a bit chunkier than some '65 and '65's with a nice solid feel. The \"green\" nitro pickguard is mounted over the scrap aluminum shielding plate used since 1959. Other hardware is consistent with Pre-CBS instruments; steel stamped bridge saddles and trem block, and the Kluson tuners CBS would replace the next year with their own in-house \"F\" plate machines. The Serial number on the F-marked neckplate is a very early 100,000 number\u003cbr\u003e\u003cbr\u003eThis is a great-sounding, medium weight resonant Strat built just before things really started \"a-changin\" in Fullerton as a consequence of the January 1965 sell-out to CBS. All three pickups have the typical mid-60s sheen, powerful and crisp without being excessively bright. \u003cbr\u003e\u003cbr\u003eWhile PRE-CBS has been a watchword for Fender afficionados for decades, this early-CBS Stratocaster is still simply a great-feeling and sounding guitar, a far cry from what the instrument would evolve into a few years down the line. This one has a super 1965 vibe; while Pete Townshend and Jimi Hendrix were sacrificing '60s Strats for immortality, this one spent the great bulk of the last half-century sitting in its case, waiting for a chance to shine.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 12 3\/4 in. (32.4 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) deep. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 5\/8 in. (41 mm.)., 8.11 lbs. \u003cbr\u003e\u003cbr\u003eThis beautiful Strat is not absolutely mint, but it is certainly one of the better preserved examples from this period we have seen in a while. The guitar remains 100% original and unaltered. It does not look to have been played that much over 55+ years, but shows some general light play and handling marks. The vibrant sunburst finish has only some minor fading; this guitar likely never hung in the dealer's window!\u003cbr\u003e\u003cbr\u003eThere are some minor dings, scuffs and dents to the body finish, most visibly on the face between the bridge and back edge and a few on the back. There is no heavy belt buckle wear. The treble side has some light marks from moving around in the case. There are a few chips by the neck pocket, souvenirs of folks checking the neck date; the original factory shim is still in the pocket. The back of the neck is very clean and smooth with hardly any of the common playwear. \u003cbr\u003e\u003cbr\u003eAll the hardware is original and complete. The beautiful greenish nitro pickguard has shrunken slightly but has only some minor pulling at the screws, with no popped corners or cracks. The original trem backplane is also completely uncracked. The tuners and bridge show some minor corrosion, notably to the steel saddles, the screws and springs are relatively clean. The original bridge cover and trem arm are still intact.\u003cbr\u003e\u003cbr\u003eInternally the electronics are all untouched original. There is some very light fretwear to the original small wire and the lower frets look to have been crowned down just a bit. The decal on the headstock has some tiny bubbles and spotting but is better preserved than many '65s. \u003cbr\u003e\u003cbr\u003e For many players these final small-headstock '65s are the last of the great ones before the CBS changes started piling up. This little-used guitar sounds great and plays just as it did then, with the classic fender twang of the ages. It resides in the original black Tolex \"no logo\" case with the original strap and polish cloth, a lovely period survivor and all-around great example of the Fender's best in that pivotal year of 1965. Excellent Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853539856524,"sku":"10978","price":27500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_c0e35532-b005-438a-aa59-69f76ad24f48.jpg?v=1774341653"},{"product_id":"gibson-es-140-arch-top-hollow-body-electric-guitar-1953-10956","title":"Gibson ES-140 Arch Top Hollow Body Electric Guitar (1953)","description":"Gibson ES-140 Model Arch Top Hollow Body Electric Guitar (1953), made in Kalamazoo, Michigan, sunburst lacquer finish, laminated maple body, mahogany neck with rosewood fingerboard, brown alligator chipboard case. \u003cbr\u003e\u003cbr\u003eThe diminutive ES-140 is an extremely cool little Gibson creation and a surprisingly great-sounding guitar. The small 3\/4 size ES-140 electric archtop was offered through much of the 1950s, described by Gibson as perfect for students, \"ladies,\" or just guitarists desiring a compact fully hollow archtop. This one shows only light signs of use and remains in superb original condition. \u003cbr\u003e\u003cbr\u003eLooking deceptively almost like a toy ES-175, the ES-140 is in fact a fully professional quality instrument with a great-feeling round profile neck, single P-90 pickup and simple but classic Gibson appointments. With a smaller body cavity, the tone is a bit brighter and snappier than the typical ES-175. This 1953 ES-140 -- one of 409 shipped that peak production year -- plays beautifully and has an amazingly big honking tone for such a small instrument -- we think it sounds better than many full-sized archtops!\u003cbr\u003e \u003cbr\u003eOverall length is 36 1\/2 in. (92.7 cm.), 12 3\/4 in. (32.4 cm.) wide at lower bout, and 3 1\/4 in. (8.3 cm.) in depth, measured at side of rim. Scale length is 23 in. (584 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows only very light playwear and remains a super nice playing example. The all original dark sunburst lacquer finish is very clean overall showing only some light checking and very tiny chips, scuffs and dings. There is one lamination check on the back near the lower waist that does not go through the wood past the surface. There are no noticeable repairs. \u003cbr\u003e\u003cbr\u003eThe Kluson Deluxe tuners are original with newer buttons; all other hardware remains original with some light wear to the nickel plating. This example has a very good neck angle and shows only very light wear to the original frets. This is a super cool little Gibson; light, incredibly handy and great fun to play. It lives in a slightly oversize period brown Gibson alligator chipboard case intended for an LG flat top; this ES-140 appears to have been in it since new and two old Xeroxes of the original Gibson ads for this model are included. Overall Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853541232780,"sku":"10956","price":4250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_063355ba-505f-4a60-83d4-ecb7c02718f1.jpg?v=1774341701"},{"product_id":"fender-tremolux-model-5g9-tube-amplifier-1958-10975","title":"Fender Tremolux Model 5G9 Tube Amplifier (1958)","description":"Fender Tremolux Model 5G9 Model Tube Amplifier (1958), made in Fullerton, California, serial # 01301, tweed fabric covering finish. \u003cbr\u003e\u003cbr\u003eThis is a stunningly clean 1958 example of the narrow-panel tweed Tremolux, one of Fender's enduring classic period amps and one of rarest and now most sought-after bigger-box Tweeds. The Tremolux was introduced in 1955 alongside its smaller cousin, the Vibrolux, the two amps pioneering the company's first built-in tremolo effect. \u003cbr\u003e\u003cbr\u003eThis initial 5E9 circuit was essentially a 5E3 Deluxe with the on-board effect added in a taller cabinet. The 5E9-A revision added minor changes, but the following 5G9 circuit is a wholly different animal. It holds the distinction of being the last Tweed-era design before the launch of the new 'brown\" series at the turn of the decade, which is likely the reason why it was given the 'G' denominator on official schematics, skipping the \"F\" for this particular model. Fender was still using up the old 5E9-A-marked tube charts and to our knowledge, no one has actually seen a 5G9 Tremolux with a properly marked tube chart! This particular chart has the 5E9-A crossed out and 5F9 added by hand; the handwriting appears the same as the serial number next to it, thus almost certainly done at Fender. \u003cbr\u003e\u003cbr\u003eThe circuit itself is a fairly big departure from its predecessor. It borrows the power section from its bigger sibling, the revered 5F6-A Bassman, while the fixed bias, long-tailed phase inverter and the higher voltage of the 5U4 rectifier results in significantly more volume, headroom and an overall 'tighter' response than a 5E3 Deluxe. The dual-6V6 power section yields around 15-18 watts of power. Still sporting the modest-sized 12\" Jensen P12Q speaker in the oversized tall cabinet of the Pro (designed to fit a 15\" speaker), the format has a similar low-end enhancing effect found in the Vibrolux 5F11; sturdy bass with overall more acoustic 'breadth\" to the sound. \u003cbr\u003e\u003cbr\u003eLike past Tremolux models, the control panel features two channels and corresponding four input jacks (which can be jumpered for more saturation) a volume control for each channel, a master tone control as well as depth and speed knobs for the tremolo. The tremolo is the classic swampy \"power tube bias-vary\" style and sounds exceptionally smooth and deep.\u003cbr\u003e \u003cbr\u003eHeight is 20 in. (50.8 cm.), 22 in. (55.9 cm.) width, and 10 1\/2 in. (26.7 cm.) in depth at deepest point. \u003cbr\u003eCosmetically, the amplifier is in close to pristine condition. The Tweed covering is in immaculate shape, sporting a fresh patina as if it just left the factory! Apart from a couple VERY minor scuffs along the lower front corners and some minor staining on the lower right-rear corner area, this is one of the cleanest tweeds we've ever had the pleasure to feature in our showroom. Like the cabinet, the chrome-plated control panel is equally unblemished, with a mirror-clean finish and all the stenciled lettering intact. The grille cloth is equally in phenomenal shape and shows no sign of tearing or fraying. \u003cbr\u003e\u003cbr\u003eThe original handle is present, however worn enough to no longer be functional so has been replaced with the closest reproduction of this style leather handles we've been able to source. The original is included with the amp. The various chrome hardware is very clean overall, save for some notable corrosion on the right handle mount, which likely contributed to the handles demise. The amp also retains the often missing original tremolo footswitch and even the original cover made by Victoria Luggage Co, which also bears the name tag of (presumably) the original owner and has some general staining.\u003cbr\u003e\u003cbr\u003eElectrically, this amp is all original. The tube chart bears the stamp HA, indicating a production date of January 1958. The serial number 01301 matches that of the amp chassis and records indicate that Fender only made around 400 of these amps in 1958! The original 12\" alnico Jensen P12Q speaker (marked 220-751) dates to the 51st week of 1957, still retains its original cone and sounds fantastic. The Triad power, choke and output transformers are original as well and are marked 8160, 14684 and 50246, respectively. Pot codes all date between the 50th of 1956 and 38th week of 1957. All other components appear original to the amp and solder joints appear untouched as well, including the grey two-prong power cord. The piece of masking tape inside the chassis bears Lupe's signature. \u003cbr\u003e\u003cbr\u003eDISCLAIMER: While we normally service all amplifiers for use, this nearly 63-year-old amp is original and untouched since leaving the Fender factory, so we have elected in the interest of history to leave it that way. As such it is offered in AS-IS condition, not because of any damage or perceived flaw but due to its uniqueness, age and all-original state. The amplifier HAS been tested and sounds remarkably great (and extremely low-noise considering the age of many components), however, if it is to be used regularly or as a reliable gigging\/touring instrument without risk of damage or degradation, we would recommend it be professionally serviced to the level desired and we would be happy to do so upon sale. The electrolytic capacitors in the amplifier have aged many decades past their expiration dates to the point where we cannot guarantee their continued functionality and their failure could potentially cause damage to irreplaceable components. However, as it stands, this is an unaltered historic piece, an irreplaceable part of Fender history. Understanding that some would prefer to keep it unaltered, we leave it to the next owner to decide. Excellent + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":46853638717580,"sku":"10975","price":14000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_bd6d7ffd-7ecd-4d5b-9ad2-1bd4014225eb.jpg?v=1774341996"},{"product_id":"c-f-martin-5-16-flat-top-acoustic-guitar-1962-10715","title":"C. F. Martin 5-16 Flat Top Acoustic Guitar (1962)","description":"C. F. Martin 5-16 Model Flat Top Acoustic Guitar (1962), made in Nazareth, PA, serial # 183895, natural lacquer finish, mahogany body and neck, spruce top; Brazilian rosewood fingerboard and bridge, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThe model 5-16 is a vary rare (and quite obscure) mini-Martin, a short-lived variation that temporarily replaced the Model 5-18, Nazareth's more familiar entry into the all-time cutest guitar sweepstakes. This first-year 5-16 is structurally the same just with a lighter matte finish, designed to lower (just a bit) the price of what was increasingly considered a student instrument. Like its slightly upscale 5-18 sister this is a very playable and good-sounding professional quality instrument despite its diminutive size.\u003cbr\u003e\u003cbr\u003e The \"modern\" size 5 models were built from the company's 19th century terz guitar patterns, with an 11\" body and short scale just over 21\". With appeal beyond its obvious suitability for young students, the \"regular\" 5-18 was produced -- albeit in small numbers -- for much of the 20th century. The guitar was a solid seller throughout the 1950s, averaging well over 100 units per year. In 1962 when this spinoff 5-16 was introduced in its place sales had been seriously declining; more people were looking for bigger guitars it seems. The experiment seems to have failed; a paltry 77 5-16s shipped out that first year, and a further 50 the next year constitute ALL that were ever produced. A couple of years later the 5-18 returned to the catalog in its place. \u003cbr\u003e\u003cbr\u003eWith a sparkling sound and unmatched portability, this littlest of Martins remains a well-regarded instrument today for travel, recording, and even live use. This is a very rare guitar, one of only 127 EVER made. It also remains in superb original condition, a fine sounding and playing example, and yes still awful durn cute!\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 guitar shows very little wear and remains beautifully original and an excellent player. Structurally this is a superb example showing no real cracks anywhere, just a bit of open grain to the spruce where the lower edge of the pickguard has shrunk up just a bit. The all-original finish shows a very small amount of checking, with some very minor dings and nicks. \u003cbr\u003e\u003cbr\u003eThe original rosewood bridge, bone nut, and saddle still remain; it appears that the bridge had been neatly reglued at some point. This 5-16 has had a very clean neck set and refret making for a very good-playing and sweet sounding example of this rare diminutive gem. This mini-Martin lives in a well-fitted black tolex hardshell case, quite hard to find for this model. Excellent + Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853687607436,"sku":"10715","price":4950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1f411a8e-2684-463d-a8ee-05cd63930906.jpg?v=1774342971"},{"product_id":"bacon-professional-ff-special-grand-concert-5-string-banjo-1915-9969","title":"Bacon Professional FF Special Grand Concert 5 String Banjo (1915)","description":"Bacon Professional FF Special Grand Concert Model 5 String Banjo, c. 1915, made in New York City, natural varnish finish, laminated maple rim and neck, ebonized fingerboard, period black hard shell case. \u003cbr\u003e\u003cbr\u003eThis banjo is a somewhat worn-in example of a very attractive 1910s instrument, Fred Bacon's top-of-the-line offering long before David Day became his partner. The \"Professional Special Grand Concert\" was made for and sold by the Bacon Banjo company of Forest Dale, Vermont. Bacon himself was a leading 5-string banjo stylist in the early 1900s and like several of his peers started designing and selling his own banjos. There was no Bacon factory in this period; the earliest instruments were built by Vega in Boston but by the time this one was made the subcontractor was Rettberg and Lange in New York. Like everything Fred Bacon put his name on this is a first-class instrument all the way.\u003cbr\u003e\u003cbr\u003eThe \"FF Professional\" models' most unique design element was the rim, built around Fred Bacon's patented tone ring and a unique internal resonator system. This consists of a hollow chamber with a substantial air cavity between the inner and outer surfaces. There are vaguely S-shaped soundholes running all along the back, while the cupped Bacon tone ring is mounted under the head. \u003cbr\u003e \u003cbr\u003eThis is a superbly detailed instrument; The bottom edges of the maple rim are trimmed with elaborate wood marquetry and half-herringbone trim. The neck is also quite fancy, made up of multiple laminated maple pieces with a underlaid wood strips including beneath the bound ebonized fingerboard. This and the headstock (front and back) are inlaid with elaborate shaped pearl and abalone designs; the face carries Rettberg \u0026amp; Lange's interpretation of the iconic floral vase inlay used by Vega earlier. The backstrip of the headstock extends well down the neck, which also has a pearl floral inlay on the heel.\u003cbr\u003e\u003cbr\u003eThe 1914 catalog of \"The Bacon Manufacturing Co. of Forest Dale Vermont\" describes the model as \"Positively the finest banjo ever made, both for tone and looks. A WORK OF ART\". While the fine folks at Fairbanks\/Vega might have argued that point, certainly this is a very elaborate and beautiful-sounding instrument. Retailing in 1914 at the very hefty sum of $125.00, this was absolutely one of the best banjos of its day. \"Every note clear as a bell\" was Bacon's claim, and now 110 or so years later this banjo still delivers!\u003cbr\u003e\u003cbr\u003e; the 1914 catalog of the Bacon Manufacturing Co. of Forest Dale Vermont describes the model as \"Positively the finest banjo ever made, both for tone and looks. A WORK OF ART\". While the folks at Fairbanks\/Vega might have argued that point, certainly this is a very elaborate and beautiful-sounding instrument. Retailing in 1914 at $125.00, this was absolutely one of the best banjos of its day.\u003cbr\u003e\u003cbr\u003eThis model originally listed at $75 in the early 1900s; by the 1915 era it was $125 described by Bacon as \"Positively the finest banjo ever made, both for tone and looks; A Work Of Art\".\u003cbr\u003e \u003cbr\u003eOverall length is 37 1\/8 in. (94.3 cm.), 11 in. (27.9 cm.) diameter head, and 2 1\/2 in. (6.4 cm.) in depth, measured at side of rim. Scale length is 27 in. (686 mm.). Width of nut is 1 1\/8 in. (29 mm.). \u003cbr\u003e\u003cbr\u003eThis banjo is a good player but shows a decent amount of older repair work, some not as neatly done as it could have been. Most of this pertains to the neck, where the original ebonized fingerboard appears to have suffered some disintegration and had extensive patching. The pearl inlays at the third and fifth frets spots are mostly missing with patching around them; the rest of the inlaid pieces are mostly intact. The fingerboard appears to have been refretted and rebound some time ago. It shows patching, filling and buffing over much of its length and has been re-dyed for a more consistent look. \u003cbr\u003e\u003cbr\u003eThere is some sort of small filled repair spot at the base of the back of the headstock, but no evidence of a larger neck crack or break. The dyed pearwood veneer on the back of headstock may have crumbled in this area. The face of the headstock has been overfinished and buffed out; the lovely inlay remains intact. The entire back of the neck has a thin overfinish with some dings and dents under this; the added finish has begun to wear through again. \u003cbr\u003e\u003cbr\u003eOverall the rim remains in more original shape. There are sections of wood inlay missing along the lower edge of the rim, where some pieces fell out and the spots were filled in with wood putty. The upper edge is fully intact. All hardware appears original including the tuners, a full set of hooks and nuts and an original Elite tailpiece. The neck has a slight bow in the lower region but is still quite playable, set up with Nylgut strings and a Waverly Fiberskyn 2 head. While this is obviously not the cleanest or most collectible Bacon FF we have had, it is still a very attractive and good sounding instrument that would make a good gigging example of this very collectible banjo. It resided in a solid if imperfectly fit period HSC. Overall Very Good Condition.","brand":"Bacon","offers":[{"title":"Default Title","offer_id":50852814127244,"sku":"9969","price":2350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e6ef4797-8e17-4fde-9a9d-feb3bef91331.jpg?v=1781989398"},{"product_id":"ampeg-ausb-1-electric-bass-guitar-1967-10577","title":"Ampeg AUSB-1 Electric Bass Guitar (1967)","description":"Ampeg AUSB-1 Model Electric Bass Guitar (1967), made in Linden NJ, serial # 788, red\/black sunburst finish, laminated maple body, maple neck with ebony fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a superb example of one of the strangest instruments to come out of New Jersey in the 1960s, and that's saying something! The original fretless Ampeg AUSB-1 (Ampeg Unfretted \"Special\" Bass #1) was the company's rarest production \"horizontal\" bass. This eye-popping design has unsurprisingly earned the nickname \"The Devil Bass\" for obvious reasons; our old friend \"Big\" Bob Guida attributed that name to J.B. Hutto, with whom he played one of these unmistakable creations back in the '70s. \u003cbr\u003e\u003cbr\u003eAmpeg had prospered with amplifiers since the 1950s, but made only half-hearted attempts to market instruments before 1966. After the fiberglass upright electric \"Baby Bass\" in 1961 they dabbled with importing re-branded Burns of London guitars. Following that Ampeg decided to create a unique original design just for bassists. The distinctive \"scroll' basses were launched at the 1966 NAMM show with some fanfare and have become a '60s classic, although never mounting serious competition to the Fender Precision or Jazz bass. \u003cbr\u003e\u003cbr\u003eThe bulk of the design was primarily by Dennis Kager, but the body of this model was the brainchild of another Ampeg employee, Mike Roman. The swooping horns allow total access to the entire fretboard and beyond, and of course look extremely wicked in the process. Ampeg bass designs were shaped by company founder Everett Hull's distaste for the Fender bass. Hull was a purist who considered the upright bass to be the legitimate low end instrument, and wanted to cater to traditional jazz and even classical players. To this end the first Ampeg \"Horizontal Basses\" do not have an understring magnetic pickup but utilize the same vibration-activated \"Mystery Pickup\" beneath the bridge as the upright Baby Bass, allowing use of gut strings as well as steel. This point Hull insisted on, much to the chagrin of his employees who knew rock'n'roll players were the mass market. The unique scrolled headstock was another nod to bass tradition added on to Kager's design, which has been a defining feature ever since.\u003cbr\u003e\u003cbr\u003eAmpeg had these in production by late 1966, offering fretted and fretless models of the more conventional AEB-1 and AUB-1, with these alternate \"Devil\" models designated ASB-1 and AUSB-1. This bass is a wonderful example of the fretless AUSB-1, the rarest of the lot. They were considered an 'alternate design' to the offset, F-hole body models and only produced in tiny numbers compared, most estimates are a couple of dozen at best.\u003cbr\u003e\u003cbr\u003eThe body is built of laminate woods; the most notable feature is of course the huge swooping horns, with further open areas carved out underneath. The pickguards are hard signmaker's plastic, with a cut-through Ampeg logo below the strings. There are large wooden handrests above and below the strings and tone and volume controls in a conventional location. The bridge unit is milled aluminum adjustable for height and intonation. The strings run to a separate heavy tailpiece which can be adjusted for string tension. This setup requires special extra-long strings, although the scale length is the same as a Fender at 34\". The serial number is stamped under the tailpiece bar. \u003cbr\u003e\u003cbr\u003eThe scroll-headed maple neck has a plain rosewood fingerboard inlaid on the top edge with tiny position dots. The fretless electric bass was a genuine innovation in 1966, designed for upright players and offering the familiar microtonal fingerboard, a direct opposite to Fender's fretted \"Precision\" bass. Unfortunately in the ever higher-volume playing environments of the late 1960s, the rather microphonic pickup proved somewhat impractical. Pickup oddities aside, the rest of the design is extremely well-engineered and quite functional.\u003cbr\u003e\u003cbr\u003eThis bass has a sound somewhere in between a fretless bass guitar and an upright. The acoustic-y twang of the \"mystery\" unit can be mellowed using the volume and tone controls, but it takes some expperimentation with the amp to understand how to get a variety of sounds from the instrument. The combination of the fretless fingerboard and special pickup can create a convincing electric upright sound if used carefully, just as Everett Hull envisioned. While admittedly not to every taste, the AUSB-1 is one of the most striking and unusual electric basses ever made, a connoisseur's delight with a unique character and history.\u003cbr\u003e \u003cbr\u003eOverall length is 47 in. (119.4 cm.), 14 1\/2 in. (36.8 cm.) wide at lower bout, and 1 1\/4 in. (3.2 cm.) in depth, measured at side of rim. Scale length is 34 1\/2 in. (876 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis bass shows some fairly minor wear overall but remains nicely original and unaltered. Ampeg \"Scroll\" basses have often fallen into disrepair or been modified over the last 50+ years; it is a treat to find a well-preserved original. The bass has some typical fairly heavy linear finish checking but by and large the original lacquer is well-preserved. Ampeg were new to finishing wood in 1966 and many early examples have significant finish loss. This bass is mostly free of this; there is chipping along the upper rim along the laminate line, with a similar situation inside the upper cutaway. Other than this the body shows mostly just small dings and dents, some of them discreetly touched up. \u003cbr\u003e\u003cbr\u003eBeyond that, the bass has just light general play wear overall. The back of the neck and headstock are lightly checked but show very little wear beyond tiny chips and dings. The hard plastic pickguard has some tiny chips as well but no notable wear spots. The fingerboard shows some light string markings but is generally well-preserved. The bass is set up with flatwound strings to avoid further fingerboard wear.\u003cbr\u003e\u003cbr\u003eAll hardware is also original; the sliding bridge cover and mounting bolts are gone but everything else is still intact and working. This AUSB-1 a very good player, eccentric-sounding for sure, but it performs exactly as intended. A superb example of this unique New Jersey creation, one of the most interesting and distinctive of all vintage American basses. The large and somewhat cumbersome original HSC is included, somewhat worn with some latch additions but still fully functional. Overall Excellent - Condition.","brand":"Ampeg","offers":[{"title":"Default Title","offer_id":50852814160012,"sku":"10577","price":7950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ebf67d4b-e37e-43a6-b4c2-00d7c9f9fc4f.jpg?v=1781989401"},{"product_id":"fender-telecaster-solid-body-electric-guitar-1968-10741","title":"Fender Telecaster Solid Body Electric Guitar (1968)","description":"Fender Telecaster Model Solid Body Electric Guitar (1968), made in Fullerton, California, serial # 263022, sunburst finish, alder body, maple neck with maple fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a superb and rare example of a Fender Telecaster from the fall of 1968, custom ordered with an unusual mix of appointments. This Tele has features particular to that early-CBS era when many things were a-changin at Fender. The neck is dated October 1968, one of the last fabricated with a separate maple \"cap\" fingerboard as they had been for several years at that point. The original 1950's style one piece maple neck would be re-introduced shortly but when this guitar was assembled the maple fingerboard was still a special-order option. The Fender logo on the headstock is in the newer style which had been introduced the year before, for better visibility on TV according to CBS theory. The tuners are the newer style Fender \"F\" logo style that replaced the venerable Klusons in 1966.\u003cbr\u003e\u003cbr\u003eThe body carries a sunburst finish, which is a very rare feature for the period on a Telecaster. Although standard on most Fenders (including the bound-body Telecaster Custom) the sunburst body finish was a custom order option on the \"regular\" Telecaster, and one that was not often requested. This particular guitar has stayed truer to the original 3-tone hue and the red pigment has faded less than many over 50+ years. The finish is the transitional style of the 1968-9 period, thicker than the earlier 1960s lacquer but not as heavy as the 70s Poly to come. \u003cbr\u003e\u003cbr\u003eThe pickups are wired with the standard 3-way switching adopted in 1967, much more player friendly than the older \"deep cap\" schemes. The pickup leads are now plastic coated, the old cloth wire having been recently supplanted. The pots date to 34th week of 1966 when a huge quantity were bought in by the CBS purchasing department, which lasted into the early 1970s. The bridge has the new non-threaded steel saddles that appeared around this time. \u003cbr\u003e\u003cbr\u003eAt 7.88 LBs (with the chrome bridge cover on) this guitar is medium weight for a late-60s Telecaster. A sunburst Telecaster is always an unusual and striking looking guitar in any era, a cool change from the common blondes. This custom-ordered one with the laid-on maple fingerboard is rarer still. It handles perfectly and is a fine playing and great sounding \"early CBS\" Tele with the crackling bright but not brittle tone typical of the later 60's guitars.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 12 5\/8 in. (32.1 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.)., 7.88 lbs. \u003cbr\u003e\u003cbr\u003eThis very clean and super attractive Telecaster shows signs of some fairly light use over the last 50+ years but no repairs or modifications, remaining completely original and unaltered. The body finish shows light checking with very small dings, chips and dents (mostly on the bottom edges) and some minor scuffing on the back. The neck finish is very clean with hardly any wear at all. The pearloid-backed pickguard has shrunken somewhat, cupped a bit in the middle with two chips off the back edge at the mounting screw holes. \u003cbr\u003e\u003cbr\u003eAll hardware is complete and original. A previous owner lightly etched his driver's license number on the backplate long ago. The High E tuner shaft is slightly bent but still works fine. The original frets have some light wear and have been polished a bit but remain quite playable. This medium weight Tele handles perfectly with a great snarling sound from the bridge pickup, sweet mellow purr from the neck pickup and a nice blend in the middle. The original black Tolex HSC is also well preserved with some light wear; in the pocket is the original serial number matched hang tag\/booklet. Where there is a space for price, \"See Clerk\" is written in! This Tele would have cost a bit more than a standard in 1968! Overall Excellent + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":50852814192780,"sku":"10741","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_591bb277-8240-4de0-9d4a-d6cda458b3a4.jpg?v=1781989405"},{"product_id":"fender-super-amp-6g4-a-tube-amplifier-1961-10807","title":"Fender Super Amp 6G4-A Tube Amplifier (1961)","description":"Fender Super Amp 6G4-A Model Tube Amplifier (1961), made in Fullerton, California, serial # 03590, brown tolex covering finish. \u003cbr\u003e\u003cbr\u003eThis lovely Super-Amp Model 5G4-A is a very fine example of one of the true gems from Fender's often underrated early 1960s \"Brown\" period. Although there are always transitional amps from any era, more changes to Fender's line occurred in 1960 than any other year. This version of the Super is one of the first of the company's novel designs for the new decade, a two 10\" speaker combo covered in the brown Tolex just coming into use as the '60s dawned. The front-mounted control panel and all-new layout were just some of the long lasting innovations ushered in around this time. The amps' dual 5881 power section yields around 40 watts of \"clean and distortionless power\", claimed Fender in their 1960 catalog, which was filled with iconic amps that would soon change the course of guitar history with their overdriven tones!\u003cbr\u003e\u003cbr\u003eA noteworthy feature found in the higher-powered models in the new line-up is the all-new harmonic tremolo. Unlike the bias-vary tremolo appearing on earlier Fenders and the lower-powered contemporaries, which modulates the output volume, the harmonic vibrato circuit modulates higher and lower frequencies separately, at the same rate, but offset in phase from one another. There is no actually change in overall volume or pitch, but the faux doppler-effect created by the phase-shifting between high and low frequencies makes it sound like a mixture of both. It is a very cool effect and takes a whopping two-and-a-half preamp tubes to accomplish!\u003cbr\u003e\u003cbr\u003eThis amp's tube chart is stamped KF indicating assembly in June 1961. It has a handwritten \"A\" after the model designation, indicating an early example of the 6G4-A circuit, a light revision of the initial 6G4 that uses two 5881 output tubes as opposed to the earlier 6L6GC's and the revised harmonic tremolo circuit curiously leaves one half of a 12AX7 unused. The A-revision also addresses a rather peculiar original front-panel layout decision which put the volume control third, after bass and treble. This design received immediate backlash from players who found the volume control placement utterly confusing and the layout was changed to the more intuitive and now classic \"volume, treble and bass\" order.\u003cbr\u003e \u003cbr\u003eHeight is 18 in. (45.7 cm.), 24 in. (61 cm.) across at the widest point, and 10 in. (25.4 cm.) in depth at side. \u003cbr\u003e\u003cbr\u003eThis Super is a truly stellar example. The cabinet is overall in phenomenal shape. Save for a few minor dings and dents, the brown Tolex covering is otherwise extremely clean. The front panel is mostly free of blemishes with all the lettering is nicely intact, the front grille cloth covering is impeccably clean and only has one notable tear along the center of the lower edge. Even the original molded plastic handle is intact, and the chassis straps only show very minor signs of corrosive staining. The original vibrato footswitch is unfortunately long gone. The amp has also been outfitted with reproduction tilt-back legs.\u003cbr\u003e\u003cbr\u003eElectrically, the Super is all original. Both speakers are the original ceramic 10\" Oxford 10K5-S8's, both marked 465-125, dating them to the 25th week of 1961. The Schumacher-made power, choke and output transformers are original to the amp and are marked 606-113, 606-117 and 606-116 dating them to the 13th, 17th and 16th week of 1961, respectively. The amp has received our routine maintenance, including the replacement of all electrolytic caps, a three-prong power cord, all sockets, pots and jacks cleaned and biased to spec. \u003cbr\u003e\u003cbr\u003eThis is a truly excellent example of a rare, great-sounding amp from a short-lived era in Fender's history, offering a unique-sounding tremolo and a great punchy breakup at higher settings. With somewhat more headroom and clarity than the brown Deluxe, this Super is a very versatile gigging or recording amp that can keep up with a louder playing situation while still offering the classic cracking overdrive of the \"brown sound\" Fenders. Excellent Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":50852814225548,"sku":"10807","price":7000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fd96ec13-1729-48b8-8971-3413fbbfe988.jpg?v=1781989409"},{"product_id":"fender-telecaster-custom-with-bigsby-solid-body-electric-guitar-1968-11258","title":"Fender Telecaster Custom with Bigsby Solid Body Electric Guitar (1968)","description":"Fender Telecaster Custom with Bigsby Model Solid Body Electric Guitar (1968), made in Fullerton, California, serial # 219957, sunburst finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis superbly well-preserved Telecaster Custom was built just 3 years after Fender became CBS\/Fender. It is factory fitted with a Bigsby vibrato, a fairly rare sighting on a bound-body Tele. The neck date is January 1968 and the pots are coded to the 42nd week of 1966. The features of the Telecaster Custom from this era include a wide bevel 3-ply laminated white plastic pickguard (replacing the earlier 3-ply greenish nitrocellulose) with a slightly heavier 3-tone sunburst lacquer finish, the then-new \"big\" logo decal (supposedly instituted by CBS so the guitar would be more recognizable on TV) and the new-style Fender-made \"F plate\" tuners. \u003cbr\u003e\u003cbr\u003eThe Telecaster Custom is distinguished from the standard by its body with bound edges, usually finished in sunburst. These were introduced in 1959 and always made in much smaller quantities than standard blonde Teles. They were somewhat more expensive, flashier looking but offered the same sonic character. This one is further distinguished by Bigsby vibrato tailpiece, which in early 1968 was a recently introduced extra-cost option for the Telecaster. \u003cbr\u003e\u003cbr\u003eThis guitar is medium weight for a later '60s alder body Telecaster at under 8 1\/2 lbs.; the Bigsby adds some noticeable weight bit it still handles perfectly. The very comfortable slim neck has a lovely lacquer finish with some checking but minimal wear, much thinner than the Polyester used the next year. The sunburst lacquer on the bound body has a lovely deep and vibrant red hue, with virtually no fade. This is a supremely cool and rather rare 1960s Telecaster variation, in superb all original undisturbed condition playing and sounding as great as it looks!\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 12 5\/8 in. (32.1 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.)., 8.41 lbs. \u003cbr\u003e\u003cbr\u003eThis one is not *absolutely* perfect but it really is pretty clean! The body finish has some checked spots and a few very minor dings, dents and handling marks, but the finish still shines like it's, let's say the summer of 1968. The back of the neck has one small worn spot behind the 9th fret area, otherwise it is nearly perfect. There is some minor checking on the face of the headstock. All hardware inside and out is original and complete, even the snap-on bridge cover. A few metal parts show some wear, noticeable on the bridge plate where a player rested their finger and on some areas of the unplated Bigsby. \u003cbr\u003e\u003cbr\u003eThis close-to-time-capsule Tele pays as good as it looks, with just some very minor fingerboard and fret wear in the lower positions. It includes the original black Tolex HSC (a bit more worn than the guitar, with the \"R\" missing from the Fender logo) with the original hangtag, serial numbered for this instrument with the warranty card detached. Excellent + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":50852814258316,"sku":"11258","price":18500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f5692a67-54ba-4f75-900c-80240103c652.jpg?v=1781989412"},{"product_id":"guild-aristocrat-m-75-thinline-hollow-body-electric-guitar-1956-11489","title":"Guild Aristocrat M-75 Thinline Hollow Body Electric Guitar (1956)","description":"Guild Aristocrat M-75 Model Thinline Hollow Body Electric Guitar (1956), made in Hoboken, NJ, serial # 3390, sunburst top, dark back and sides finish, mahogany body, spruce top; laminated mahogany neck with rosewood fingerboard, original brown hard shell case. \u003ciframe width=\"1092\" height=\"614\" src=\"https:\/\/www.youtube.com\/embed\/TWpZBaw8XPU\" title=\"1957 Guild Aristocrat M-75 Played by Brad Allen Williams \/\/ SOUND CHECK\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eGuild's M-75 is one of the company's most interesting original designs, their take on an idea that was kicking around New York in the early '50s -- a small semi-hollow electric guitar to compete with that new-fangled solid-body Les Paul from Gibson. Gretsch had come out with the Duo-Jet, a flashier take on the not-quite solid concept. At the time there seemed to be some resistance to the true solid-body in New York where many studio and broadcast performers worked. The archtop guitar was the preferred tool of professionals, and the major NY-based builders -- Gretsch, Epiphone and Guild all eschewed actual solid-bodies in favor of this hybrid up into the next decade. While the M-75 looks somewhat like a Les Paul, it is much lighter with a more traditional archtop-flavored sound.\u003cbr\u003e\u003cbr\u003eIn the 1950's Guild sold an extensive line of full-sized archtop electrics, but the M-75 and its down-market sister the M-65 were arguably their most modern and distinctive offerings. Introduced in 1954 the \"Aristocrat\" is a classy little guitar, with higher end touches like gold plated hardware and block inlay on the bound fingerboard. The top is laminated spruce without soundholes, set over a mostly routed-out mahogany body. This gives the M-75 more of an acoustic tone quality than the Gretsch Jet series guitars that have more internal blocking.\u003cbr\u003e\u003cbr\u003eThe two pickups look like Gibson \"soapbar\" P-90's but were made by Fransch electronics in Woodside (Queens) NY, branded Franz. These units were standard on most 1950's Guilds; they have a lower output but a sweet and clear, somewhat microphonic response and add to the M-75's more acoustic character. The fairly slim and comfortable neck is mahogany with a laminated center strip and a bound rosewood fingerboard inlaid with pearloid blocks. The tuners are gold-plated individual Kluson Deluxe with the translucent plastic buttons specific to this model.\u003cbr\u003e\u003cbr\u003eThis 1956 M-75 has features specific to that decade; the knobs are small clear ambered style without numbers and the pickguard and small truss rod cover are typical 1950s Guild fittings. The headstock features a \"Guild\" inlay and a fairly crude version of their \"G-Shield' symbol.\u003cbr\u003e\u003cbr\u003eThe M-75 was an under-appreciated instrument in its day, and never achieved the recognition it deserved. Players are often amazed at what a versatile and comfortable guitar this is. While not as much of a straight rock instrument as the Les Paul, and other solidbodies, it handles effortlessly and feels like nothing else. More than 65 years on The Aristocrat endures as a still-unique design and one of the original Guild company's finest moments.\u003cbr\u003e \u003cbr\u003eOverall length is 39 1\/4 in. (99.7 cm.), 13 5\/8 in. (34.6 cm.) wide at lower bout, and 2 1\/8 in. (5.4 cm.) in depth, measured at side of rim. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar has some general wear and minor repair but overall is one of the nicer examples of this fairly rare model we have seen. It retains mostly original finish and hardware with just some typical maintenance work over the years. The binding -- which is often deteriorating badly on 1950s Guilds -- has several small repaired splits but is original and overall still intact with no badly shrunken or crumbling areas. \u003cbr\u003e\u003cbr\u003eThere is checking to the top finish and most heavily the headstock face and some dings, scrapes and dents to the finish overall. The back of the neck was worn down and has an old clear overspray which is now partially worn through again. The back and sides have some spots of \"strap burn\" from contact with a vinyl strap in the case long ago. The back of the headstock has a similar spot of \"curly chord burn\". There are scuffing marks under the bridge feet from it being moved around over the years. \u003cbr\u003e\u003cbr\u003eAll hardware appears original; there is some general wear to the gold plating. The white plastic pickup covers have shrunken up a bit but not to the detriment of the pickups themselves, which still sound great. The wooden bridge saddle has had the wings undercut a bit to allow lower action settings. The frets are original; they have been polished down somewhat and have some subsequent wear but still play well. This guitar plays and sounds excellent with a low, fast action and still resides in a well-preserved original Guild hard shell case. Overall Excellent - Condition.","brand":"Guild","offers":[{"title":"Default Title","offer_id":50852814291084,"sku":"11489","price":5850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_366d8c84-a5ab-484a-9f45-4d0a22b95c3a.jpg?v=1781989416"},{"product_id":"gibson-a-4-carved-top-mandolin-1928-11501","title":"Gibson A-4 Carved Top Mandolin (1928)","description":"Gibson A-4 Model Carved Top Mandolin (1928), made in Kalamazoo, Michigan, serial # 84006, red sunburst top, dark stained back and sides finish, maple back and sides, spruce top; mahogany neck with ebony fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is an interesting and fairly rare Gibson mandolin; a Style A-4 from the end of the 1920s. The long-running model was phased out of production in the early 1930s but even at this point relatively few of this top model in the A-style line were being made. The A-4 was Gibson's highest priced non-scroll mandolin for much of the company's early history, but mandolin sales in general were in sharp decline by the end of the 1920s and Gibson was building very few compared to the 1910s glory days -- especially of these more expensive models.\u003cbr\u003e\u003cbr\u003eThis A-4 was built towards the end of 1928 and according to available data likely shipped right at the beginning of 1929. It is generally similar to earlier examples, but equipped with all the newer 1920s features carried forward from the \"Loar Era\" including the adjustable truss rod in the neck, adjustable ebony bridge and \"modern\" metal rod pickguard bracket. It still carries the model's trademark pearl fleur-de-lis and Gibson logo on the headstock, but the beautiful inlayed Handel tuners had disappeared after WWI.\u003cbr\u003e\u003cbr\u003eThe round-profile neck is just a bit thicker and chunkier feeling than the 1920s \"snakehead\" examples made during Lloyd Loar's tenure, but has a very comfortable feel compared to the sharper \"V\" profile of the 1910s. The dark red sunburst top has a very deep hue, and this is still a very classy-looking mandolin. Considerably less common than its 1910s or early '20s ancestors, this late model A-4 is a still lovely and very fine-sounding instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 26 in. (66 cm.), 10 1\/4 in. (26 cm.) width, 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 3\/16 in. (30 mm.). \u003cbr\u003eOverall this is a very nicely preserved, all original and fine playing mandolin showing some light play wear with no major damage or repair. The untouched original finish still shines like it did before the Stock Market crash with typical checking and some minor dings, dents and scratches; the back of the neck especially is very clean.\u003cbr\u003e\u003cbr\u003eThe instrument shows no cracks or even visible seam repairs. All hardware is original and complete in very good condition. The original small frets have been recently crowned and show very little wear; the mandolin plays beautifully with a powerful and even tone. The original HSC is present showing some external wear but in very solid shape as well. Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":50852814323852,"sku":"11501","price":4000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e59db107-1254-4d46-bc10-1c8e711a8409.jpg?v=1781989419"},{"product_id":"gibson-les-paul-56-custom-shop-solid-body-electric-guitar-2025-13129","title":"Gibson Les Paul '56 Custom Shop Solid Body Electric Guitar (2025)","description":"Gibson Les Paul '56 Custom Shop Model Solid Body Electric Guitar (2025), made in Nashville, TN, serial # 6-5068, gold lacquer top, natural back and sides finish, mahogany body with maple cap, mahogany neck with rosewood fingerboard, original brown tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a lovely and very accurate almost new Gibson Custom Shop\/Murphy Lab rendition of the classic 1956 goldtop Les Paul, shipped just this January 2025. The combination of the Tune-O-Matic bridge and twin P-90 pickups was specific to this short lived Les Paul variant in the 1950's although often re-issued since. This 2025 Custom Shop version represents the vary rare \"all gold\" variation, rarely seen on an original '56. While very recently built this guitar gets much closer in feel to the nearly 70 year old original than most previous attempts, a great playing and sounding Les Paul by any standard. \u003cbr\u003e\u003cbr\u003eThe guitar is \"Heavy Aged\" and reliced per its Murphy Lab COA, but appears very little used. At 8.16 Lbs. it is light for one of these, more in line with a '50s original than many. It comes complete in the original deluxe re-issue brown case (with purposely corroded latches) with a passel of case candy and the Murphy Lab COA included. There is an extra Custom Shop metal switch backplate as well, which can be used in place of the original '50s style plastic piece. This is one of Gibson's most well-done re-issues, a closer instrument to the original than many such attempts.\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 13 in. (33 cm.) wide at lower bout, and 1 15\/16 in. (4.9 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.)., 8.16 lbs. \u003cbr\u003e\u003cbr\u003eThis guitar appears to be in minimally played condition, looking not too much used over its lifetime of just the last 6-8 months. Of course it looks like it's been rode hard for 65+ years, but then that's the idea. The guitar performs exactly as it should, a powerful sounding and ready to gig modern \"Old\" Les Paul done up to a very high standard. Overall Excellent + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":50852814422156,"sku":"13129","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_de27f7db-a5f7-478a-a32f-a6aa5bacaf14.jpg?v=1781989430"},{"product_id":"electro-harmonix-lester-k-vibrato-effect-2016-13131","title":"Electro-Harmonix Lester K Vibrato Effect (2016)","description":"Electro-Harmonix Lester K Model Vibrato Effect (2016), made in New York City. \u003cbr\u003e\u003cbr\u003eElectro-Harmonix Lester K is a lush and lively Leslie speaker emulator with options to run either stereo or mono. There are two stomp controls on the pedal: one for bypassing the effect and one for toggling between a faster and slower effect to replicate the sound of a Leslie speeding up, and the additional controls are all about reining in the desired speed, tone, and drive of the cabinet. It's the simpler, more straightforward little sibling of the Lester G pedal.\u003cbr\u003e \u003cbr\u003eHeight is 4 3\/4 in. (12.1 cm.), 4 in. (10.2 cm.) width, and 2 1\/4 in. (5.7 cm.) deep. \u003cbr\u003e\u003cbr\u003eThis pedal is in near-mint condition and resides in its original (but more worn than the pedal itself) box with its original power supply. Excellent + Condition.","brand":"Electro-Harmonix","offers":[{"title":"Default Title","offer_id":50852814487692,"sku":"13131","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5a76e6d5-129b-4131-b7fc-c3c628b282a1.jpg?v=1781989434"},{"product_id":"larrivee-l-09-flat-top-acoustic-guitar-1990-13192","title":"Larrivee L-09 Flat Top Acoustic Guitar (1990)","description":"Larrivee L-09 Model Flat Top Acoustic Guitar (1990), made in Victoria, BC Canada, serial # 10163, natural finish, Indian rosewood back and sides, spruce top; mahogany neck with ebony fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis Deluxe L-09 Larrivee guitar represents the company's proprietary \"L body\" design. Compared to Martin dreadnought the upper bout smaller and the waist nipped in, while the lower bout is wider. With their narrow waist and lively touch sensitivity they respond like smaller body guitar but with the power of a small jumbo, not unlike the Gibson J-185. The Larrivee L body have the power and bass response of a large guitar, but retain a more balanced tone and an excellent treble response. \u003cbr\u003e\u003cbr\u003eThe first L-09s were built in the '70s and 40 years later not much has changed, this one was registered on Jun 15, 1990. It is built with East Indian Rosewood back and sides under a Sitka spruce top constructed with Jean Larrivee's own specially designed X-Brace system. The mahogany neck has a comfortable round-backed profile and bound ebony fingerboard. This L-09 features upgrades including the optional torch \u0026amp; wing fingerboard inlay and highly detailed flying eagle headstock veneer by master pearl engraver Wendy Larrivee, whose inlay artistry has graced the company's instruments for more than 40 years. This is a more original instrument design than many \"modern\" flat tops neatly combining tradition and individual innovation; it is also a vert fine sounding and playing guitar with its own distinctive character.\u003cbr\u003e \u003cbr\u003eOverall length is 40 9\/16 in. (103 cm.), 16 1\/8 in. (41 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 25 5\/8 in. (651 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis is a generally clean guitar overall showing mostly light play and handling wear. The top has clear Flamenco-style tap plates under and below the strings so shows less finger wear than many; there are a few inconspicuous pick scratches that appear to be below them. There are small scuffs and dings overall but that's about it. There is a strap button added to the heel but no other visible repairs or modifications. This is a fine playing instrument with a lovely big sound, a nicely aged-in fairly deluxe guitar that appears to be still waiting to be seriously played. Overall Excellent Condition.","brand":"Larrivee","offers":[{"title":"Default Title","offer_id":50852814553228,"sku":"13192","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1dd23ae5-06a7-4244-82fb-f72635b7deb7.jpg?v=1781989437"},{"product_id":"fender-jaguar-solid-body-electric-guitar-1965-13267","title":"Fender Jaguar Solid Body Electric Guitar (1965)","description":"Fender Jaguar Model Solid Body Electric Guitar (1965), made in Fullerton, California, serial # L52721, sunburst lacquer finish, alder body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is amazingly well-preserved example of a Turn-of-CBS era Jaguar, one of the cleanest we have seen 60 years along. Except for one bash mark on the lower rim (somebody dropped it once?) and a couple of random dinks and dents the instrument shows only the lightest surface handling wear and remains in extremely fine playing condition. It also dates to a pivotal moment in Fender history. \u003cbr\u003e\u003cbr\u003eThis guitar was being built just as the Fender sell-out to CBS was happening; the stamped neck date is the same month of the contract signing January 1965; and the pots date to the 50th week of 1964. Although technically a 1965 guitar it retains all late 1964 features include an unbound rosewood fingerboard with the older style \"clay\" dot inlay, bright 3-color \"target\" sunburst lacquer finish on the body and gold transition logo headstock decal. The pickguard is the older nitrocellulose tortoise style, soon phased out at Fender in favor of a thinner (and less flammable!) ABS plastic. The guitar includes a very clean original case, strap and even the store price tag!\u003cbr\u003e\u003cbr\u003eHaving recently undergone a strong revival over the last decades, the Jaguar still remains a somewhat misunderstood guitar with several interesting features. The scale length is shorter than other professional-grade Fender guitars at 24\", a feature designed to enhance playability. The \"offset\" body style, two-circuit wiring and floating vibrato are shared with the Jaguar's ancestor, the Jazzmaster, but the guitar actually feels quite different. The unique Jaguar pickups with the chrome-plated \"claw\" baseplate are optimized for clarity and crispness, factors that led to the model losing popularity in the late '60s as twang went out and distortion and crunch came in! Nevertheless, these top-of-the line 1960s Fenders are very high quality guitars, and extremely well suited to today's lower volume but often effects laden environment. This is simply a spectacular example!\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\u003eAs noted this is simply a very clean guitar overall, and 100% original, unaltered since it left Fullerton in 1965. There is one impact mark on the turn of the lower rim at the peak of the offset extension; it looks like the guitar hit something and the spot has been lightly touched up. There are a couple of tiny dinks to the top above the upper control panel and a few miniscule chips by the neck pocket, apart from these there are just some light handling marks overall. This is all pretty minor; the finish shows hardly any fade and the guitar is still shining like it was 1965! \u003cbr\u003e\u003cbr\u003eInternally the guitar is untouched original and the factory shims are still in the neck pocket. All hardware is intact and very clean including the (hardened) mute foam, trem arm and the often-lost snap-on bridge cover. Whoever bought this guitar originally (for $379.50 plus $52.50 for the case, according to the original price tag) simply did not use it much, and it has sat waiting to be played since. This is simply a really superb old Jaguar, shining bright and ready to twang again in the clean original case with the original strap and polish cloth included. Excellent + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":50852814618764,"sku":"13267","price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1d414436-dac9-4664-94bc-169b1668402d.jpg?v=1781989445"},{"product_id":"micro-frets-golden-melody-semi-hollow-body-electric-guitar-1969-13280","title":"Micro-Frets Golden Melody Semi-Hollow Body Electric Guitar (1969)","description":"Micro-Frets Golden Melody Model Semi-Hollow Body Electric Guitar (1969), made in Fredrick, Maryland, serial # 1422, Green-Yellow sunburst finish, maple body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eSome of the most unique and original American guitars of the late 1960s\/early '70s came out of Frederick, Maryland, where the small Micro-Frets company built their beautifully engineered if decidedly offbeat fretted offerings. The line was the brainchild of one Ralph Jones, a self-taught engineer and inveterate tinkerer. Jones first perfected what he called the \"Calibrato\" vibrato unit in 1965, designed to enable individual tension adjustments for each string, theoretically allowing entire chords to be raised and lowered while remaining in tune. After failing to interest established manufacturers in the device, he went the next step and with financial help from his former employer started his own guitar manufacturing firm.\u003cbr\u003e\u003cbr\u003eMicro-Frets was launched in 1967, by the following year the small factory was producing a fairly extensive line of utterly unique semi-solid electric guitars. Collectors have identified three major stages in their evolution from the earliest models through the company's demise in 1975, dubbed type 1, 2 and 3 depending on the construction and fittings. This instrument is a \"Type 1-B\" Golden Melody, a semi-hollow body guitar with a two-piece maple sandwich body routed from the inside, with both halves clipped together but without the \"Tempered Masonite\" center gasket used on the earliest models. Micro-Frets serial numbers appear to start at either 1000 or 1100; in either case at #1422 this is a fairly early model, somewhat rarer than later pattern guitars.\u003cbr\u003e\u003cbr\u003eJones called this construction the \"Tonesponder\" body; Micro-Frets rivals the UK's Burns firm in coming up with snazzy names for guitar parts. A universal feature of the company's instruments is the patented Micro-Nut, which allows harmonic compensation at the headstock and individual string height adjustments. This sits on a maple neck with an unbound rosewood fingerboard inlaid in an eccentric multi-dot pattern. The single-sided headstock is a swooping Fender\/Bigsby inspired shape, fitted with openback Waverly strip tuners. The headstock has a decorative metal disc on the ball end, a brand logo and model name decal and a metal plate screwed on above the nut which appears redundant as the truss rod adjusts as the body end.\u003cbr\u003e\u003cbr\u003eAt the other end of the strings is a simple stamped metal tailpiece; this Golden Melody lacks the \"Calibrato\" vibrato unit, the heart of the Micro-Frets legend. It does substitute a large metal \"M\" logo plate on the lower body, waggishly dubbed the \"seagull\" by fans of the brand. The fairly stout bridge is an improvement on the earlier Rickenbacker-inspired quadruped unit mounting on two rather stout pins adjustable for height. The saddles are adjustable for length; this earlier version of the bridge does not use the knurled locking wheels added later. The oddest feature (more or less, take your pick1) is a built in FM transmitter which supposedly eliminated the need for a cord, IF you had the receiving unit. This is controlled by the small 2-way frequency selector knob on the upper bout; there is a small hatch on the back for the battery. We don't have anything to receive the signal, so can't say if this guitar is still broadcasting; in any case a patch cord into the jack works just fine!\u003cbr\u003e\u003cbr\u003eThe maple body is finished in what we can only describe as sort of a 2-tone Ice Cream sunburst, with bright green edges and a creamy center. It looks sort of like a lime-flavored version of a Creamsicle! The two interlocking maple body halves are rounded at the edges with a single stylized F-hole filled in with loose-threaded fabric. The two tone and master volume for the twin pickups are carried laterally on the top-mounted pickguard, which is bi-level in the Rickenbacker mode with a triple laminate upper section; earlier models had 4 rotary knobs. A selector switch is mounted to the body behind this. The pickups themselves are DeArmond single-coil units with adjustable poles; the next year Jones would perfect his own pickups with help from Bill Lawrence.\u003cbr\u003e\u003cbr\u003eThis rare early Golden Melody is a cool example of the factory's widely varied output, an rather eccentric looking but well-made and fine playing guitar with a slim comfortable neck and bright, responsive pickups. The sound is crisp and hi-fi with surprising depth when needed; the tonal range is impressive. \"Micro-Frets: the Personal guitar\" was the company slogan, highlighting the extensive adjustability of nearly every component. A number of prominent country artists endorsed Micro-Frets in the late 1960's including Carl Perkins, Buck Trent, Tommy Cash and the Statler Brothers. Micro-Frets had a fairly short history but the high-quality, well engineered instruments they left behind remain totally unique, fine examples of American guitar ingenuity and worthy of the attention of both players and collectors.\u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/2 in. (108 cm.), 14 1\/8 in. (35.9 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 sharp looking and easy playing guitar remains clean and all original, showing only very light general wear overall. The eccentric green-edged 2-tone body finish has some very small dings and dents but no really major wear. The top has one deeper ding just below the wireless knob. The back of the neck is clean except for a couple of tiny dinks and a deeper ding up behind the second\/third fret area. The metal hardware has some light corrosion here and there. The frets appear lightly crowned; they and fingerboard have minimal wear and playability remains excellent. This is a fine example of a super cool \"Martian Cream\" Micro-Frets, quite a rarity in the original HSC. Overall Excellent Condition.","brand":"Micro-Frets","offers":[{"title":"Default Title","offer_id":50852814651532,"sku":"13280","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1f5d5f9a-a24d-4059-8ddf-2109d88fd127.jpg?v=1781989448"},{"product_id":"micro-frets-covington-semi-hollow-body-electric-guitar-1968-13281","title":"Micro-Frets Covington Semi-Hollow Body Electric Guitar (1968)","description":"Micro-Frets Covington Model Semi-Hollow Body Electric Guitar (1968), made in Fredrick, Maryland, serial # 1291, red finish, maple body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eSome of the most unique and original American guitars of the late 1960s\/early '70s came out of Frederick, Maryland, where the small Micro-Frets company built their beautifully engineered if decidedly offbeat offerings. The line was the brainchild of one Ralph Jones, a self-taught engineer and inveterate tinkerer. Jones perfected what he called the \"Calibrato\" vibrato unit in 1965, designed to enable individual tension adjustments for each string, theoretically allowing entire chords to be raised and lowered while remaining in tune. After failing to interest established manufacturers in the device, he went the next step and with financial help from his former employer started his own guitar manufacturing firm. \u003cbr\u003e\u003cbr\u003eMicro-Frets was launched in 1967, by the following year producing a fairly extensive line of utterly unique semi-solid electric guitars. Collectors have identified three major stages in their evolution from the earliest models through the company's demise in 1975, dubbed type 1, 2 and 3 depending on the construction and fittings. This instrument is a \"Type 1\" Covington, a semi-hollow body guitar built with a two-piece maple sandwich body routed from the inside, with both sides clipped to a center gasket made of \"Tempered Masonite\". Micro-Frets serial numbers appear to start at either 1000 or 1100; in either case at #1291 this is a fairly early model, much rarer than the later pattern guitars.\u003cbr\u003e\u003cbr\u003eJones called this construction the \"Tonesponder\" body; Micro-Frets rivals the UK's Burns firm in coming up with snazzy names for guitar parts. A universal feature of the company's instruments is the patented Micro-Nut, which allows harmonic compensation at the headstock and individual string height adjustments. This sits on a maple neck with an unbound rosewood fingerboard inlaid in an eccentric multi-dot pattern. The single-sided headstock is a swooping Fender\/Bigsby inspired shape, with Grover Rotomatic tuners with the mounting tabs clipped slightly to fit. The headstock has a decorative metal disc on the ball end, a brand logo and model name decal and a metal plate screwed on above the nut, although the truss rod adjusts as the body end. \u003cbr\u003e\u003cbr\u003eAt the other end of the strings is a first-pattern \"Calibrato\" vibrato unit, the heart of the Micro-Frets legend. This is the early separately-mounted version of Jones' masterpiece, more Bigsby-like than the second integral bridge\/tailpiece version that appeared in 1969. The Calibrato was advertised as having \"Precise Pitch modulation\" and Jones wrote elaborate treatises on its function; basically there is an adjustable screw for each string that theoretically individually fine-tunes the exact pitch change. This is coupled with the \"Microsonic bridge with sustained harmonic action and floating power\" which is fully adjustable for overall height and each string's intonation. This earlier version mounts to a floating wooden base pinned to the top. \u003cbr\u003e\u003cbr\u003eThe maple body is finished in gleaming red with a white center gasket and pickguard and blue trim, giving a rather patriotic effect. The two interlocking body halves are rounded at the edges with a single stylized F-hole filled with blue fabric. Tone and volume controls for the two pickups are carried laterally on the top-mounted pickguard, which is bi-level in the Rickenbacker mode with a triple laminate upper section. A selector switch is mounted to the body behind this. The pickups themselves are DeArmond single-coil units with adjustable poles; the next year Jones would perfect his own pickups with help from Bill Lawrence. \u003cbr\u003e\u003cbr\u003eThis very rare early Covington is a particularly cool example an extremely well-made and fine playing guitar with a slim comfortable neck and bright, responsive pickups. The sound is crisp and hi-fi with surprising depth when needed; the tonal range is impressive. \"Micro-Frets: the Personal guitar\" was the slogan, highlighting the extensive adjustability of nearly every component. A number of prominent country artists endorsed Micro-Frets in the late 1960's including Carl Perkins, Buck Trent, Tommy Cash and the Statler Brothers. Micro-Frets had a fairly short history but the high-quality, well engineered instruments they left behind remain totally unique, very fine examples of American guitar ingenuity and worthy of the attention of both players and collectors.\u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/2 in. (108 cm.), 14 7\/16 in. (36.7 cm.) wide at lower bout, and 2 in. (5.1 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 very rare and super sharp looking guitar remains all original except for (apparently) a perfect repro trem arm; we couldn't tell if we had not been told. It shows some fairly light general wear overall; the gleaming red body finish has dings, scratches and dents mostly into but not through the finish concentrated along the edges. There is really no major wear, and the back of the neck is comparatively clean with just a few small dinks. \u003cbr\u003e\u003cbr\u003eThe maple body sections have a couple of small laminate seams opening slightly coming off the edges, fully solid but visible on close inspection. There is a small sealed split to the back of the headstock below the low E tuner that is also solidly sealed up but more visible. The frets and fingerboard have some light wear but playability remains excellent. This is a super example of a way cool first-generation Micro-Frets in a dazzling color combination. These were only built in very small numbers, making for a far rarer find than the second and third pattern guitars. It resides in the deluxe original Micro-Frets branded HSC. Overall Excellent - Condition.","brand":"Micro-Frets","offers":[{"title":"Default Title","offer_id":50852814684300,"sku":"13281","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ae3a45c5-2fbc-414b-b5d0-33ebde771352.jpg?v=1781989452"},{"product_id":"micro-frets-golden-melody-semi-hollow-body-electric-guitar-1969-13285","title":"Micro-Frets Golden Melody Semi-Hollow Body Electric Guitar (1969)","description":"Micro-Frets Golden Melody Model Semi-Hollow Body Electric Guitar (1969), made in Fredrick, Maryland, serial # 1411, Black-Yellow sunburst finish, maple body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eSome of the most unique and original American guitars of the late 1960s\/early '70s came out of Frederick, Maryland, where the small Micro-Frets company built their beautifully engineered if decidedly offbeat fretted offerings. The line was the brainchild of one Ralph Jones, a self-taught engineer and inveterate tinkerer. Jones first perfected what he called the \"Calibrato\" vibrato unit in 1965, designed to enable individual tension adjustments for each string, theoretically allowing entire chords to be raised and lowered while remaining in tune. After failing to interest established manufacturers in the device, he went the next step and with financial help from his former employer started his own guitar manufacturing firm. \u003cbr\u003e\u003cbr\u003eMicro-Frets was launched in 1967, by the following year the small factory was producing a fairly extensive line of utterly unique semi-solid electric guitars. Collectors have identified three major stages in their evolution from the earliest models through the company's demise in 1975, dubbed type 1, 2 and 3 depending on the construction and fittings. This instrument is a \"Type 1-B\" Golden Melody, a semi-hollow body guitar with a two-piece maple sandwich body routed from the inside, with both halves clipped together but without the \"Tempered Masonite\" center gasket used on the earliest models. Micro-Frets serial numbers appear to start at either 1000 or 1100; in either case at #1411 this is a fairly early model, somewhat rarer than later pattern guitars.\u003cbr\u003e\u003cbr\u003eJones called this construction the \"Tonesponder\" body; Micro-Frets rivals the UK's Burns firm in coming up with snazzy names for guitar parts. A universal feature of the company's instruments is the patented Micro-Nut, which allows harmonic compensation at the headstock and individual string height adjustments. This sits on a maple neck with an unbound rosewood fingerboard inlaid in an eccentric multi-dot pattern. The single-sided headstock is a swooping Fender\/Bigsby inspired shape, fitted with openback Waverly strip tuners. The headstock has a decorative metal disc on the ball end, a brand logo and model name decal and a metal plate screwed on above the nut which appears redundant as the truss rod adjusts as the body end. \u003cbr\u003e\u003cbr\u003eAt the other end of the strings is a simple stamped metal tailpiece; this Golden Melody lacks the \"Calibrato\" vibrato unit, the heart of the Micro-Frets legend. It does substitute a large metal \"M\" logo plate on the lower body, waggishly dubbed the \"seagull\" by fans of the brand. The fairly stout bridge is an improvement on the earlier Rickenbacker-inspired quadruped unit mounting on two rather stout pins adjustable for height. The saddles are adjustable for length; this earlier version of the bridge does not use the knurled locking wheels added later. The oddest feature (more or less, take your pick1) is a built in FM transmitter which supposedly eliminated the need for a cord, IF you had the receiving unit. This is controlled by the small 3-way frequency selector knob on the upper bout; there is a small hatch on the back for the battery. We don't have anything to receive the signal, so can't say if this guitar is still broadcasting; in any case a patch cord into the jack works just fine! \u003cbr\u003e\u003cbr\u003eThe maple body is finished in a sort of Fender Antigua relative with darker brownish\/black edges and a creamy center. The spray work on this guitar is a bit sloppier than other Micro-frets we have had, with a certain amount of \"shadow\" creeping over to the sides from the 'burst. The two interlocking maple body halves are rounded at the edges with a single stylized F-hole filled in with brown fabric. The two tone and master volume for the twin pickups are carried laterally on the top-mounted pickguard, which is bi-level in the Rickenbacker mode with a triple laminate upper section; earlier models had 4 rotary knobs. A selector switch is mounted to the body behind this. The pickups themselves are DeArmond single-coil units with adjustable poles; the next year Jones would perfect his own pickups with help from Bill Lawrence. \u003cbr\u003e\u003cbr\u003eThis rare early Golden Melody is a cool example of the factory's widely varied output, an eccentric but well-made and fine playing guitar with a slim comfortable neck and bright, responsive pickups. The sound is crisp and hi-fi with surprising depth when needed; the tonal range is impressive. \"Micro-Frets: the Personal guitar\" was the company slogan, highlighting the extensive adjustability of nearly every component. A number of prominent country artists endorsed Micro-Frets in the late 1960's including Carl Perkins, Buck Trent, Tommy Cash and the Statler Brothers. Micro-Frets had a fairly short history but the high-quality, well engineered instruments they left behind remain totally unique, fine examples of American guitar ingenuity and worthy of the attention of both players and collectors.\u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/2 in. (108 cm.), 14 1\/8 in. (35.9 cm.) wide at lower bout, and 1 9\/16 in. (4 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 sharp looking and easy playing guitar remains relatively clean and all original, showing only light general wear overall. The eccentric 2-tone body finish has some very fine checking and small dings and dents (mostly to the edges) but no really major wear. The top has one deeper ding just below the \"tail\" of the \"seagull\". The back of the neck is clean except for a couple of tiny dinks and a deeper ding up behind the nut. The metal hardware has some light corrosion here and there. The frets and fingerboard have hardly any wear and playability remains excellent. This is a fine example of a super cool \"Antigua\" Micro-Frets, quite a rarity in the original HSC. Overall Excellent - Condition.","brand":"Micro-Frets","offers":[{"title":"Default Title","offer_id":50852814749836,"sku":"13285","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_872102fd-4f92-464e-8867-92f13b9763a9.jpg?v=1781989456"},{"product_id":"micro-frets-wanderer-semi-hollow-body-electric-guitar-1969-13287","title":"Micro-Frets Wanderer Semi-Hollow Body Electric Guitar (1969)","description":"Micro-Frets Wanderer Model Semi-Hollow Body Electric Guitar (1969), made in Fredrick, Maryland, serial # 1560, sunburst lacquer finish, maple body, maple neck with rosewood fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eSome of the most unique and original American guitars of the late 1960s\/early '70s came out of Frederick, Maryland, where the small Micro-Frets company built their beautifully engineered if decidedly offbeat fretted offerings. The line was the brainchild of one Ralph Jones, a self-taught engineer and inveterate tinkerer. Jones first perfected what he called the \"Calibrato\" vibrato unit in 1965, designed to enable individual tension adjustments for each string, theoretically allowing entire chords to be raised and lowered while remaining in tune. After failing to interest established manufacturers in the device, he went the next step and with financial help from his former employer started his own guitar manufacturing firm. \u003cbr\u003e\u003cbr\u003eMicro-Frets was launched in 1967, by the following year the small factory was producing a fairly extensive line of utterly unique semi-solid electric guitars. Collectors have identified three major stages in their evolution from the earliest models through the company's demise in 1975, dubbed type 1, 2 and 3 depending on the construction and fittings. This instrument is a \"Type 1-B\" Wanderer, a semi-hollow body guitar with a two-piece maple sandwich body routed from the inside, with both halves clipped together but without the \"Tempered Masonite\" center gasket used on the earliest models. Micro-Frets serial numbers appear to start at either 1000 or 1100; in either case at #1560 this is a fairly early model, somewhat rarer than later pattern guitars.\u003cbr\u003e\u003cbr\u003eJones called this unusual construction the \"Tonesponder\" body; Micro-Frets rivals the UK's Burns firm in coming up with snazzy names for guitar parts. A universal feature of the company's instruments is the patented Micro-Nut, which allows harmonic compensation at the headstock and individual string height adjustments. This sits on a maple neck with an unbound rosewood fingerboard inlaid with simple pearl dots. The single-sided headstock is a swooping Fender\/Bigsby inspired shape, fitted with openback Waverly strip tuners. The headstock has a decorative metal disc on the ball end, a brand logo and model name decal and a metal plate screwed on above the nut which appears redundant as the truss rod adjusts as the body end. \u003cbr\u003e\u003cbr\u003eAt the other end of the strings is a simple stamped metal tailpiece; this Wandered was built without the \"Calibrato\" vibrato unit at the heart of the Micro-Frets legend. It does substitute a large metal \"M\" logo plate on the lower body, waggishly dubbed the \"seagull\" by fans of the brand. The fairly heavy metal bridge is an improvement on the earlier Rickenbacker-inspired quadruped unit mounting on two rather stout pins adjustable for height. The saddles are adjustable for length; this earlier version does not use the knurled locking wheels added later. \u003cbr\u003e\u003cbr\u003eThe maple body is finished in a sort of Fender-y three-color sunburst. The spray work on this guitar is neater than some Micro-frets we have had, with very vibrant look to the 'burst. The two interlocking maple body halves are bound at the edges with a single stylized F-hole filled in with fabric. Two tone and a master volume for the twin pickups are carried laterally on the top-mounted pickguard, which is bi-level in the Rickenbacker mode with a triple laminate upper section; earlier \"Style 1 \" models had 4 of these rotary knobs. A selector switch is mounted to the body behind this. The pickups themselves are DeArmond single-coil units with adjustable poles; the next year Jones would perfect his own pickups with help from Bill Lawrence. \u003cbr\u003e\u003cbr\u003eThis early Wanderer (where was it supposed to wander to?) is a cool example of the factory's widely varied output, an eccentric but well-made and fine playing guitar with a slim comfortable neck and bright, responsive pickups. The sound is crisp and hi-fi with surprising depth when needed; the tonal range is impressive. \"Micro-Frets: the Personal guitar\" was the company slogan, highlighting the extensive adjustability of nearly every component. A number of prominent country artists endorsed Micro-Frets in the late 1960's including Carl Perkins, Buck Trent, Tommy Cash and the Statler Brothers. Micro-Frets had a fairly short history but the high-quality, well engineered instruments they left behind remain totally unique, fine examples of American guitar ingenuity and worthy of the attention of both players and collectors.\u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/2 in. (108 cm.), 14 1\/8 in. (35.9 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 sharp looking and easy playing guitar remains very clean and all original, showing only very light general wear overall. The finish on the body has some very fine checking and a few small dings and dents pretty much confined to the edges but really no serious wear. The top has one spot of light chipping around the treble side \"wing\" of the \"seagull\". The back of the neck is very clean except for a couple of tiny dinks along the treble side in the lower position. \u003cbr\u003e\u003cbr\u003eThe metal hardware has some light corrosion and wear marks here and there, most notable on the neckplate. The frets and fingerboard have hardly any wear and playability remains excellent. This is a fine example of a cool \"Style 1 1\/2\" Micro-Frets in the original branded HSC which is a factory-reproposed bass case; they must have ordered more than needed and sent some out with guitars in them! Overall Excellent Condition.","brand":"Micro-Frets","offers":[{"title":"Default Title","offer_id":50852814782604,"sku":"13287","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5dd40866-bbf0-4bfa-a3ba-95767bd18e54.jpg?v=1781989460"},{"product_id":"gibson-es-225td-thinline-hollow-body-electric-guitar-1956-13357","title":"Gibson ES-225TD Thinline Hollow Body Electric Guitar (1956)","description":"Gibson ES-225TD Model Thinline Hollow Body Electric Guitar (1956), made in Kalamazoo, Michigan, serial # V8739-7, sunburst top, dark back and sides finish, laminated maple body, mahogany neck with rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a clean and largely original example of a Gibson ES-225TD from 1956, the first year of production for the model. The 225 was the first of Gibson's down-market thinline electrics, a radical idea when it was designed in 1955. They were offered in both single and double pickup format, this twin pickup model being a lot more versatile. This ES-225TD remains a cool and often overlooked 1950's Gibson, a simple but very functional instrument. \u003cbr\u003e\u003cbr\u003eThe thin-rimmed single cutaway, bound sunburst body is fully hollow with two P-90 pickups and the standard 4-konb, 1 switch wiring gig. A distinctive feature is the patented Les Paul metal trapeze tailpiece\/bridge, shared only with the ES-295 and then 1952-3 Les Paul Model. This gives a different sonic character than the usual wooden bridge\/tailpiece combination found on most similar Gibsons. The bound rosewood fingerboard has pearl dot inlay, the headstock carries a pearl Gibson logo and individual enclosed Kluson tuners with plastic buttons. Only 205 of these shipped 1956, not a spectacular figure and the model only held on until 1959, when it was replaced by the new ES-330 and the similar but less expensive ES-125 TD. \u003cbr\u003e\u003cbr\u003eThe combination of the thin hollow body, solid metal bar bridge and P-90 pickups results in a sharper tone than most other '50's hollowbody guitars while retaining plenty of Gibsony \"meat\" and growl. The 225TD is a great choice for Blues, Honky Tonk, Rockabilly or early Rock'n'Roll stylings, and a good stage guitar under many circumstances. This model was most memorably used by Crickets' rhythm guitarist Nikki Sullivan on the early Buddy Holly recordings, and is famously pictured on the cover of the 1958 LP \"The Chirping Crickets\". This '56 has a slimmer round-backed neck than some and is an excellent player, a super friendly guitar with a great vibe.\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/2 in. (102.9 cm.), 16 in. (40.6 cm.) wide at lower bout, and 1 13\/16 in. (4.6 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 guitar is quite clean overall with just some small dings and chips to the all-original, mostly to the headstock and heel. There is some checking here and there, most heavily on the sides, heel and headstock. The guitar has no cracks or structural damage.\u003cbr\u003e\u003cbr\u003eThe hardware is mostly original with a few exceptions: The tuners are authentic original individual plastic-button Klusons but from the 1960s with the characteristic \"double line\" logo on the casing. The amber switch tip is a repro, as is the blind nut on the pickguard bracket. All other hardware remains original with some wear, particularly to the plating on the top of the Les Paul tailpiece (which is sometimes missing entirely). \u003cbr\u003e\u003cbr\u003eThe guitar has been refretted with wire both wider and taller than the original, but not obnoxiously so. This is a very good player with a better neck angle than some, housed in a modern molded HSC. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":50852814946444,"sku":"13357","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f5474257-f9c7-4152-824c-484912998fc9.jpg?v=1781989463"},{"product_id":"c-f-martin-t-18-10-string-tiple-1938-13380","title":"C. F. Martin T-18 10 String Tiple (1938)","description":"C. F. Martin T-18 Model 10 String Tiple (1938), made in Nazareth, PA, serial # 69618, natural top, dark stained back and sides finish, mahogany back, sides and neck; spruce top, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very nice and rare variant of the Style 18 Martin Tiple, from the only year of Martin's manufacture of this model during the entire decade of the 1930s. The Tiple (laughingly called \"The Uke that went to College\") was basically a Martin invention, designed by and for New York based Hawaiian music entrepreneur William J. Smith to be an \"upsell' for ukulele players. Loosely based on South American originals, Martin's model is strung with 10 steel strings in uke tuning. Martin offered the basic design in several different models, surprisingly keeping some in the catalog up into the 1980s. \u003cbr\u003e\u003cbr\u003eThe T-18 in particular had an odd production history. It was the first Tiple model offered and sold well for a time in the early-mid 1920s, but was discontinued around the end of the decade in favor of the cheaper all-mahogany T-17. It returned to production after a 10-year hiatus with a single batch of 25 produced in 1938, of which this is one. These were the ONLY examples from the entire decade and the last pre-war T-18s built except for a single one-off shipped in 1940. The model then returned to Martin's line after the war and was sold up into the 1970s. \u003cbr\u003e\u003cbr\u003eThe T-18 is built to the same standards as pre-war Style 18 guitars; mahogany back, sides and neck with a spruce top, ebony fingerboard and bridge. The headstock overlay and binding are Brazilian rosewood; the tuners are unplanted Waverly brass strips with celluloid buttons. This 1938 model has an X-braced top, sturdier than the earlier fan-braced 1920s examples but still extremely light and resonant. The T-18 listed for $35 in 1938, more than enough to buy a good guitar from anyone who was not Martin. \u003cbr\u003e\u003cbr\u003eWhile not well-remembered today, numerous small African-American string-swing ensembles of the 1930s made extensive use of these small, loud instruments for both fast lead work and frantic rhythm strumming. Two of the best known were the Spirits Of Rhythm (featuring guitarist Teddy Bunn) and Cats and the Fiddle, where Tiny Grimes got his professional start. Comic Timmie rogers was the best known exponent of the instrument in the 1960s. This T-18 is a lovely example from this rare batch that plays and sounds great. No better examples of these now somewhat obscure instruments have ever been made, and the Martin Tiple remains -- even if by default -- the world's standard.\u003cbr\u003e \u003cbr\u003eOverall length is 27 1\/4 in. (69.2 cm.), 9 in. (22.9 cm.) wide at lower bout, and 3 1\/2 in. (8.9 cm.) in depth at side, taken at the end block. Scale length is 17 in. (432 mm.). Width of nut is 1 1\/2 in. (38 mm.). \u003cbr\u003e\u003cbr\u003eThis nearly 90 year old T-18 remains a very fine player with the bright ringing tone these are known for and plenty of volume. The top finish shows some light checking and minor dings, dents, and scrapes but none of the heavy strum wear Tiples often have. The back, sides and neck have some scratches and small dings and dents but no really heavy wear.\u003cbr\u003e\u003cbr\u003eStructurally the instrument is excellent with a nice, flat top; internally the delicate scalloped X bracing remains all original and unaltered. The ebony bridge is a correct style replacement; Tiple bridges are notorious for having self-destructed over the years to this is very common. There are small scars around the base of the bridge from the original lifting. There are no cracks.\u003cbr\u003e\u003cbr\u003eThe neck has probably been reset; the original thin bar frets show little wear but some work done to the fingerboard around them, some looking to have been pulled and re-seated, probably to true the fingerboard. Playability is very good, like most Tiples intonation becomes suspect higher up the fingerboard but this one has been tweaked to be better than most. This rare 1930s model is one of the best sounding and certainly coolest Tiples to brighten our doorstep in a while. The lovely original hardshell case is included. Overall Excellent - Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":50852814979212,"sku":"13380","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_290ed53d-08fe-445d-9320-fab0da3d7fab.jpg?v=1781989467"},{"product_id":"guild-a-350-arch-top-acoustic-guitar-1966-13400","title":"Guild A-350 Arch Top Acoustic Guitar (1966)","description":"Guild A-350 Model Arch Top Acoustic Guitar (1966), made in Hoboken, NJ, serial # 46622, sunburst lacquer finish, solid spruce top, maple back and sides, laminated mahogany neck, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis 1967 Guild is labeled as an acoustic A-350 but appears to be a custom-ordered guitar with a stock Artist Award DeArmond pickup fitted by the neck. The A-350 was a high\/midline carved top acoustic guitar, something of an endangered species in the mid-60s when this one was built. Most players of the period added electrification to guitars of this type, which continued to be mostly used in serious jazz or recording studio applications. \u003cbr\u003e\u003cbr\u003eThis guitar also has an interesting anomaly we have occasionally seen on 1960s Guilds before. The neck was originally stamped with a serial number with the prefix for intended for an A-500, the next model up the line. This was sprayed over and the new number stamped under it in the older 5-digit generic series used for instruments produced in such small runs they did not have a dedicated number series. The A-350 was one of those, and this number confirms a 1967 assembly date. \u003cbr\u003e\u003cbr\u003eThis is a fairly deluxe guitar, although not an overly fancy one. The full-depth 17\" body is made of curly maple with a carved spruce top, 5-ply bound on the top and back and finished in a fairly dark red\/orange sunburst. The f-holes are bound as well. The 24 3\/4\" scale mahogany neck has a maple center lamination strip and a single bound ebony fretboard inlaid with pearl blocks. All hardware is gold-plated, including the Grover Rotomatic tuners and the engraved Guild harp tailpiece. The DeArmond Rhythm chief model 1000 is a special white-topped version made for the Artist Award model, with engraving to that effect on the plastic insert piece. \u003cbr\u003e\u003cbr\u003eThe controls and jack are mounted on the floating back-painted acrylic pickguard, leaving the guitar's acoustic character unimpeded. It is built with a fairly heavy top carved and likely served batter as an amplified instrument as was clearly intended from the beginning. That said it has a lovely electric sound and a decent output unplugged as well, less toppy than many later acoustic archtops. This is a cool and classy Guild rarity and an excellent gigging guitar where an acoustic\/electric character is desired.\u003cbr\u003e \u003cbr\u003eOverall length is 42 in. (106.7 cm.), 17 in. (43.2 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 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows some general wear but nothing too serious. The all-original finish shows some dings, dents and a few pick scratches to the top but no really heavy wear. The area of the top just below the DeArmond control box has some impact scars around the lower F-hole. The finish shows minimal fade with a deep strong color to the sunburst. \u003cbr\u003e\u003cbr\u003eThe laminate seam on the back of the neck has been reglued in the area just below the nut; this is fairly common on Guilds from this period. There are no other cracks or notable repairs. Everything on the guitar appears original; the frets show some light recrowning and the instrument plays very nicely. This is a very nice carved top guitar, not as fancy as the Artist Award but sonically and functionally essentially the same instrument. It is a lovely instrument to play with a classic DeArmond-powered sound, complete in the original HSC. Overall Excellent - Condition.","brand":"Guild","offers":[{"title":"Default Title","offer_id":50852815011980,"sku":"13400","price":4250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_2ff4c3e9-44d4-4e9c-928f-520217f814ed.jpg?v=1781989471"},{"product_id":"fender-competition-mustang-solid-body-electric-guitar-1971-13475","title":"Fender Competition Mustang Solid Body Electric Guitar (1971)","description":"Fender Competition Mustang Model Solid Body Electric Guitar (1971), made in Fullerton, California, serial # 320028, Lake Placid Blue with Racing Stripe finish, alder body, maple neck, rosewood fingerboard, original grey hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a nice playing example of the most popular-for-the 2020s version of the ubiquitous Fender Mustang, the \"Competition Blue\" model from the turn of the 1960s-70s. This guitar was built in 1971, later in the run for this rather whimsical \"Competition\" version of the model. It features a snazzy Lake Placid Blue metallic \"car\" finish, \"racing\" stripe on the body, a pearloid pickguard and a natural headstock instead of the matching one used in 1969. A couple of years after it was made the finish options for the model were changed to sunburst, natural, or black and the super snazzy \"Competition Mustang\" series was retired under the checkered flag.\u003cbr\u003e\u003cbr\u003eThe Mustang was Leo Fender's last major original design before the CBS buyout, launched in mid-1964 to immediate success. The revamped Competition models were introduced in 1969 with contoured bodies and automotive themed hot rod trim that seem particularly suited to a guitar sharing its name with Ford! By the early 1970s the proliferation of cheaper Japanese guitars had undercut the market and sales were down, but the easy handling 24\" scale Mustang endured through the decade as a classic in its own right. This one has several date markings inside; the neck is clear-dated to September 71, the pots coded to the 16th week of the same year and the pickups ink-stamped with 1971 codes as well.\u003cbr\u003e\u003cbr\u003eExcept for the lack of a matching headstock, the features of this Mustang remain nearly identical to late 1960s models. The neck has the typical lacquer headstock over poly, which Fender did in this era to \"set' the decal properly. The neck even has a bit of figure in the maple. \u003cbr\u003e\u003cbr\u003eThe humble Mustang has proved a timeless favorite of countless garage and pro bands from the 1960s and '70s until today, forever exceeding Leo Fender's original intentions as a simple but effective student instrument. The Competition Blue variant in particular has earned special notice of late due to an enduring connection to Kurt Cobain, who is reputed to have called his rare left-handed one his favorite guitar.\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 guitar had a now-invisible alteration at some point, but is neatly restored to original and remains a nice example, appearing largely original with some minor wear and tear and one small internal mystery. Under the pickguard all components are original or at least period correct but it appears another pickguard was mounted at some point. There are a couple of extra screw holes along the rim under the guard and several areas of hard residue from a sticky substance where something was once glued; all fittings are correct and complete and there is no additional routing or other alteration. We can't say if the original pickguard was re-installed or an exact correct assembly sourced from another 1971 Mustang; all components and wiring are era correct and likely original to the guitar; the solder joints also appear original but the wires were spliced just before the control cavity. \u003cbr\u003e\u003cbr\u003eAll else appears original and complete except for a repro trem arm, and the nearly always missing bridge cover is indeed gone. Inexplicably the front rim of the bridge cradle was notched for strings; someone had it mounted backwards at some point. The all-original finish has some checking, chips, dings and dents, but less \"greening\" than some and no large areas of loss except a decent sized buckle rash spot on the back down to the wood. The body color has darkened and \"greened' somewhat as is usual but remains truer than many and does not appear to have spent much time in smoky environs.\u003cbr\u003e\u003cbr\u003eThe pearloid pickguard is very prone to shrinkage; this one is in very nice shape with only minor pulls at the screw holes. The headstock finish has some scuffing but the decal is perfectly preserved. The original frets have been crowned down a bit but the guitar plays fine and sounds exactly as it should. It includes the original hard case, still the traditional '60s-style grey model showing a decent amount of wear. Overall Very Good + Condition.","brand":"Fender","offers":[{"title":"Default Title","offer_id":50852815044748,"sku":"13475","price":4000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_4dc54c27-24e9-4145-bb06-250fabf84cea.jpg?v=1781989473"},{"product_id":"magnatone-g-70-lap-steel-electric-guitar-1955-13588","title":"Magnatone G-70 Lap Steel Electric Guitar (1955)","description":"Magnatone G-70 Model Lap Steel Electric Guitar (1955), made in California, serial # 51321, grey pearloid finish, hardwood body, original tweed hard shell case. \u003cbr\u003e\u003cbr\u003eThis sleek dark Pearloid-covered steel is a great-sounding instrument from the era when Magnatone hired Paul Bigsby to help create their professional designs, resulting in some excellent steel and Spanish guitars. The pickup in this G-70 is basically the same unit used in the Mark III, Mark IV and Mark V Spanish guitars and is generally considered the best in Magnatone's history. The \"Saf-Ti-Slot' Kluson tuner strips and Clarostat pots are the same parts Fender used in this era, these last ink-stamped to the 40th week of 1955. This is a cool and fairly rare piece of Magnatone's California history, and a much better sounding steel than their familiar far more common student models.\u003cbr\u003e \u003cbr\u003eOverall length is 31 5\/8 in. (80.3 cm.), 7 3\/4 in. (19.7 cm.) wide at lower bout, and 1 3\/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 2 in. (51 mm.). \u003cbr\u003eThis steel is very nice overall with only very light wear and remains all original. There is no damage or repair and this very good sounding steel is complete in the original HSC, more battered than the guitar but fully functional. Excellent Condition.","brand":"Magnatone","offers":[{"title":"Default Title","offer_id":50852815077516,"sku":"13588","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a18f75c5-a301-4def-8086-787af444bebc.jpg?v=1781989477"},{"product_id":"gibson-les-paul-pro-deluxe-solid-body-electric-guitar-1977-13600","title":"Gibson Les Paul Pro Deluxe Solid Body Electric Guitar (1977)","description":"Gibson Les Paul Pro Deluxe Model Solid Body Electric Guitar (1977), made in Kalamazoo, Michigan, serial # 06113357, black lacquer finish, mahogany body with maple cap, laminated maple neck with ebony fingerboard, original molded black plastic hard shell case. \u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"899\" height=\"506\" src=\"https:\/\/www.youtube.com\/embed\/69ovBm7W6Z0\" title=\"Fleet Foxes | Pitchfork Music Festival 2018 | Full Set\" 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\u003eHere is a prime player's example of a 1977 Ebony-finished Les Paul Pro Deluxe with a bit of golden era indie provenance; this guitar was formerly owned and used extensively by Fleet Foxes guitarist (and Retrofret's own) Skye Skjelset. Just above we have embedded a video of a particularly beloved Fleet Foxes Pitchfork Fest performance where this Les Paul is played several times by Skjelset. \u003cbr\u003e\u003cbr\u003eThe \"Pro\" is set apart from the other standard Les Paul Deluxe models of the time by a pair of cream-colored P-90 pickups rather than the expected mini-humbuckers. The guitar was otherwise appointed with a matching bound top and cream pickguard, replaced on this one by a black piece. It still features a mahogany body with a maple cap and three piece laminated maple neck, another feature that IS specific to this time (previously this would have seen a traditional mahogany neck). That neck is topped with a bound, pearloid block inlaid ebony fingerboard (another change from the \"regular\" Deluxe) and has a medium \"C\" profile with the typical '70s volute. There is always something superbly classy about a black Les Paul and this lightly worn-in example with an added twang factor is no exception.\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 13 in. (33 cm.) wide at lower bout, and 1 15\/16 in. (4.9 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 nice example of this fairly obscure 1970s Les Paul variation. Overall it shows some typical play wear including dings, dents, and scuffs to the finish, with a bit of buckle rash on the back. The electronics are original and unaltered. The original chrome bridge and tailpiece show slight patina but still shine; the original low frets are in fine shape with traces of wear, the original knobs are in good order, and the original output jack cover is in place albeit slightly chipped. As with many from the 1970s this guitar has been \"Groverized\" with a set of chrome Rotomatic tuners replacing the Kluson originals.\u003cbr\u003e\u003cbr\u003eThe original cream guard is missing replaced with a black guard designed for full-sized humbuckers for that nearly \"murdered out\" look. This is interrupted by a few cute tulip stickers along the bottom edge, there is some wear on the face. There are a few other choice stickers around the guitar including Saturn on the back of the headstock and one tiny one on the body with the anime character Dorami; the back of the headstock has a small sticky spot where one fell off. \u003cbr\u003e\u003cbr\u003eThis guitar was put to good use in its life by one of the most notable indie acts of the 2000's but was kept healthy and safe despite time on the road, free from the all-too-common Gibson headstock or heel cracks. It still resides in its original red plush lined Gibson \"chainsaw\" case, marked with the previous owner's name in a couple of spots and carrying his preferred flatwound strings. Inside the case is a letter of authenticity from that previous owner, Fleet Foxes guitarist Skye Skjelset. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":50852815110284,"sku":"13600","price":4250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_c988a27f-d638-4c32-aabd-ec31b37f8678.jpg?v=1781989481"},{"product_id":"gibson-style-a-snakehead-carved-top-mandolin-1925-13605","title":"Gibson Style A Snakehead Carved Top Mandolin (1925)","description":"Gibson Style A Snakehead Model Carved Top Mandolin (1925), made in Kalamazoo, Michigan, serial # 77389, black top, dark stained back and sides finish, birch back and sides, spruce top, mahogany neck with ebony fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a good playing and sounding Style A mandolin from early-mid 1925, just at 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 double inlaid 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 good playing and sounding \"snakehead\" showing some wear overall but remaining largely original. The all-original finish shows a decent amount of accumulated 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 partially worn through to the wood mostly on the bass side, the treble side of the heel area is also worn through and the headstock has small chips and dings. \u003cbr\u003e\u003cbr\u003eAll the body seams are solid (some were likely reglued long ago) and there are no visible crack repairs to the top or back. The lower side below the heel has a repaired split just at the end of the heelblock, oddly not uncommon on these. It is solidly sealed but still visible with minimal touchup added. The tuners, tailpiece and cover, and bridge are original, the pickguard is a nicely done repro with a modern bracket. The frets appear original, recrowned and in some cases reseated but still quite playable. This mandolin plays very well with a bright and singing sound, a typically fine \"Snakehead\" tone. It resides in a more modern HSC. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":50852815143052,"sku":"13605","price":3450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_d6c0a99b-6cd3-4309-ae9b-4df5ab56d7c8.jpg?v=1781989484"},{"product_id":"carvin-32-sgb-solid-body-electric-guitar-1962-13613","title":"Carvin #32-SGB Solid Body Electric Guitar (1962)","description":"Carvin #32-SGB Model Solid Body Electric Guitar (1962), made in Covina, California, natural finish, maple body and neck, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eThis unassuming little solidbody is an interesting historical piece, a surprisingly fine guitar despite its rather homemade appearance! Carvin instruments are a product of the same Southern California spawning grounds as many electric guitar lines of the 20th century; Fender, Rickenbacker, National, Bigsby and Mosrite all emerged from the same general time and place.\u003cbr\u003e\u003cbr\u003eThe confluence of a lively, progressive hillbilly music scene, proximity to the entertainment colossus of Hollywood, and numerous untraditionally-minded craftsmen resulted in a radical re-thinking of the electric guitar, and the emergence of the solid body instrument as its ultimate form. While Carvin is not usually mentioned in connection with these other pioneers, the small California company was active from early on and is still an ongoing success.\u003cbr\u003e\u003cbr\u003eCarvin founder Lowell Kiesel moved his fledgling steel guitar-building operation from Nebraska to California around 1948, and by 1950 had changed the name from Kiesel to Carvin, which combined his two sons' names. Carvin became famous for selling primarily electric instruments via mail order only, as well as being one of the few sources in the 1950s selling parts for do-it-yourself electric guitar tinkerers. Carvin's best remembered products of the era are the AP-6 pickups mounted on this guitar; they were the early favorite of Semie Moseley (among others) for his handmade guitars.\u003cbr\u003e\u003cbr\u003eThis 1962 Model 32-SGB was Carvin's standard solid body electric, newly re-styled the year before into a more Fender-like body shape after debuting in the late 1950's. This guitar is the second variation of the model, with the previously more eccentric body replaced by a kind of \"flat Strat\" profile. For several years in the early 50's Carvin had sold Fender guitars through their mail-order catalog and no doubt took notice of their ever-growing popularity. \u003cbr\u003e\u003cbr\u003eBy 1957 Fenders were no longer listed by Carvin, and the home-grown SGB series appeared. By the early '60s when this 32-SGB was built the line also included single and triple pickup versions, electric basses, mandolins, doublenecks and of course steel guitars. The company was extremely proud of these natural wood \"butcher block\" solid bodies, going so far as to disparage other makers who finished their instruments in \"fancy\" colors that hid the natural wood. Carvin's main sale items were still steel guitars and amplifiers, and these Spanish guitars are comparatively rare. The 1962 direct mail price for the #32-SBG was $119.00, quite a bit cheaper than even a Telecaster!\u003cbr\u003e\u003cbr\u003eWhile crude-looking and feeling next to a 1962 Fender, this is a solidly-made guitar. With two cream plastic covered AP-6 pickups, a 3-way switch and individual tone and volume control layout it is powerful and versatile-sounding. The Fender-like maple neck has a truss rod adjusted at the heel and a thick slab rosewood fingerboard, something Carvin used before Leo. It is bolted to the double cutaway solid slab maple body which has a deeper treble cutaway than a Fender but no contouring art all. Hardware consists of a rough-cast Bigsby knockoff aluminum bridge saddle under a stamped cover and a metal tailpiece screwed to top near the rim, a major improvement on the fragile plastic units previously used. The tuners are the same plastic-button Kluson Deluxe Fender used on the Musicmaster. The pots are date coded 6220 and 6236 so this guitar was likely assembled in late 1962.\u003cbr\u003e\u003cbr\u003eEven having a rather 'homemade' character this is still a good-playing and fine-sounding guitar. These pickups were used on Joe Maphis' and Larry Collins' Mosrite doublenecks and the sound is pure Hollywood Hillbilly Heaven. Known mostly to vintage tone connoisseurs, the AP-6 is regarded as worthy of listing with the pre-war Rickenbacker horseshoe, the Fender Broadcaster pickups, and the Gibson PAF as one of the finest-sounding coils of wire ever wound, and is waiting to be rediscovered by a wider audience. This #32-SGB is its prime delivery system!\u003cbr\u003e \u003cbr\u003eOverall length is 38 7\/8 in. (98.7 cm.), 12 1\/2 in. (31.8 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\/4 in. (641 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis is a mostly clean and all-original example of this fairly rare early solidbody Carvin. The finish is very thin; it feels rather more like 1950's kitchen furniture than a typical guitar finish! There is an armwear spot on the top and some small dings, scratches and dents overall but nothing too serious. The back of the neck has wear down to the wood in the lower positions like an old Fender neck and a few dings and dents, with a couple of feelable chips behind the 7th fret.\u003cbr\u003e\u003cbr\u003eThe guitar retains all original fittings and components, it is complete as built and never repaired or altered. The crucial AP-6 pickups and somewhat crude single-strand wiring are unaltered; the wiring is a bit noisy, but that's how it was built. The woodworking is rather basic in feel but the guitar plays well with an excellent sound. It includes the original red-lined hard case. Overall Excellent Condition.","brand":"Carvin","offers":[{"title":"Default Title","offer_id":50852815175820,"sku":"13613","price":2450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ac589cba-abaf-4cfb-8b89-c2885329cb9e.jpg?v=1781989487"},{"product_id":"gibson-eh-150-tube-amplifier-1936-13624","title":"Gibson EH-150 Tube Amplifier (1936)","description":"Gibson EH-150 Model Tube Amplifier (1936), made in Kalamazoo, Michigan, serial # 2910, tweed fabric covering finish. \u003cbr\u003e\u003cbr\u003eThis is a very well-preserved and fine-sounding example of the world's first great guitar amplifier, Gibson's EH-150. This amp is the 1936 variant, a monumental improvement from the fairly primitive predecessors, and what would set the foundation for the better known \"round shouldered\" versions to follow. This \"second revision\" EH-150 is still in a smaller rectangular cabinet without the domed upper edge that became the model's signature look. The gold\/brown tweed cabinet cover has orange and black vertical stripes in the center, with a black script Gibson logo in the lower right hand corner. The compact square cabinet has leather-covered corners and round hard rubber feet, with a leather-covered handle at the top. The round front speaker aperture is covered by a black metal grill.\u003cbr\u003e\u003cbr\u003eThe detachable latched-on back cover reveals the chassis mounted on the bottom with a deco-styled control panel. This lays out left-right with an on\/off switch, fuse, \"echo speaker\" output jack, microphone volume, instruments volume, a microphone input and two instrument inputs, as well as the \"bass tone\" switch, changing the low-end response of the amp. Many of these were firsts for what was featured on a compact professional amplifier. The Echo feature is a particularly novel idea: the true \"Echo effect\" is obtained by keeping the amplifier with its built-in speaker near the player and the extension \"Echo\" speaker at an approximate 35-foot distance, preferably further from the audience and to either side. The slight soundwave lag time creates what Gibson called \"a new and beautiful effect\". The dual 6N6-G push-pull power section puts out around 15-20 watts into a 10\" field coil speaker.\u003cbr\u003e\u003cbr\u003eThis EH-150 is a fairly early iteration of one of, if not THE most popular professional amplifier of its day, used by Charlie Christian and a host of other 1930s-40s greats. It remains a wonderful and unique-sounding amp today.\u003cbr\u003e \u003cbr\u003eHeight is 14 in. (35.6 cm.), 15 1\/4 in. (38.7 cm.) width, and 7 1\/2 in. (19 cm.) deep. \u003cbr\u003e\u003cbr\u003eFor its age this amp is very nicely preserved, showing only modest wear overall. The fairly fragile cabinet covering only has minor scuffing and overall sports a very attractive amber patina. All the leather corners are in good shape and still intact, some showing some typical wear and a bit of cracking on one. The original leather handle is still holding together, although sporting a fair bit of surface wear and missing leather around one of the end-balls; that said, it still has life left in it! All the latches work and the interior paper lining is also intact throughout the inside of the cabinet. The cabinet itself is structurally sound and sturdy with no cracks or open seams.\u003cbr\u003e\u003cbr\u003eElectrically, the amp is nicely original. The 10\" Admiral-made field coil speaker is original to the amp and sounds great. The amp also retains its original transformers; power transformer is a branded Thordarsson, marked 7896. Pots are original as well and this little Gibson has otherwise received our typical routine maintenance and servicing, including replacement of all electrolytic caps, a grounded 3-prong power cord, cleaning of all sockets, pots and jacks and power tubes biased to spec. The pilot light holder has been replaced. \u003cbr\u003e\u003cbr\u003eOverall, this simply a phenomenally well-preserved early pre-war amplifier, still sounding fantastic and celebrating its 90th birthday this year! Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":50852815372428,"sku":"13624","price":3750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0675db85-0fc9-4012-8b66-fb049d08cb40.jpg?v=1781989494"}],"url":"https:\/\/retrofret.com\/collections\/summer-sale.oembed?page=4","provider":"RetroFret","version":"1.0","type":"link"}