Schecter Stiletto Elite 4 Supplementary Manual

There's very little info on the web or in my books about this guitar other than Gruhn's book calls it an "Electar F-Hole Flattop model name unknown " and another sources indicated that it's possibly called an "Electar Model C". The Precision, with its classic fat-bottom tone, defined the tone of electric bass on virtually all hits from the 50's, 60's, and 70's, and it remains the most popular bass in the current era. A flexible input gain control modifies preamp gain with a special "pull" switch that permits the rhythm channel to be changed form high headroom, clean operation - to soft clipping and heavy overdrive. Vex is noted for some of the coolest pedals on the market and this distortion is way cool indeed. For players who want a quality archtop, without the ungainly size, the EL3 fits the bill.

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Whenever you play one of these older PRS's you can sense the meticulous human attention to detail; you're holding a guitar that will likely never be this hand-crafted again. Prices on Annapolis-era Customs continue to rise but they're still a good value, especially when they're cheaper than a comparable new one, i.

Commemorative Stratocaster , front , back , headstock , detail , case. Built for Fender's Diamond Anniversary in , the 60th Commemorative Strat blends the old with the new in a stunning two-color sunburst with gold hardware. From its tone and overall look, this could be a vintage reissue, with a set of '54 single-coil Strat pickups and glossy ash body, but Fender updated the original model with modern features, such as a compound-radius fretboard and a Micro-Tilt adjust neck.

They are paired with pearloid buttons that lend an elegant look. Bridge is the modern 2-point type but with the vintage style stamped saddles. It also features Fender's No Load tone controls - bridge and the middle pickups are completely cut out of the signal path when set wide open. The compound radius 9. There is one minor mod. The pickguard and back plate have been changed to white pearloid but we can switch back to the original parchment if desired.

Offered in lovely condition with perfect frets and a killer low set up. Includes commemorative center-pocket tweed case with embroidered inside lid, as well as Schaller straplocks, strap, polishing cloth and manual. Just got another one in, without the small side repair the other one has. This is a fairly rare model, produced only from ''99 in the "G"" model, i. Washburn builds some very good quality archtops and these older Korean models are superior to current models and blow away any of the plethora of Chinese guitars on the market today.

The design is somewhere between a hollowbody and a semi-hollow, as it does have a block under the bridge, but it doesn't run the entire length of the body, but it's enough to eliminate the feedback problems most hollowbodies have. Here are some reviews at Harmony-Central 4 of 5 stars ; and some video's on YouTube link surf music and this one , restaurata e settata da Luigi Buono liutaio presso Centro Chitarre Napoli.

This guitar has a very solid feel and a hefty weight to match , fingers effortlessly, and would make an excellent choice for jazz, Rockabilly, or Standards - pretty much whatever you use a Gretsch Chet Atkins for. A real stunner in Honey finish - solid maple top with beautiful flame in beautiful condition. The Artist Studio features an offset double cutaway mahogany body with sound chamber, carved bookmatched solid maple top, mahogany neck, single f-hole, fret neck, Wilkinson hardtail wraparound bridge, Schaller tuners, and a great pair of pickups - Seymour Duncan Seth Lovers.

Extremely clean condition with the worst flaw being a little milky clear coat on the edge of the fretboard, which is a common flaw on Hamers but overall a solid 9. Just a fabulous semi-hollow. Keeley Super Mod Workstation. Not a bad setting on this unit. Each effect is superb, whether used sparingly or over the top. Nice tap temo feature, expression pedal input, stereo outputs, and deep editing for those who want it. They're extremely comfortable to play but, most notably, the design appeals to players who don't necessarily want a tremolo.

Just as important is the thick maple cap on this model which, at. It's this marriage of maple top and mahogany back that gives these guitars "that sound", a sound that was first discovered with the LP Goldtop.

You get the brightness and snap of the maple, with the warmth and richness of mahogany. Perfection that will likely never been improved upon The brilliant highs and lows of the RGA's arched 16mm maple over mahogany body produce a classic tone that's been one of the ultimate tones since the 50's. This guitar is in exceptional condition all around. Frets are perfect and the setup is fantastic. Includes J-Team Prestige case, tool case, factory check-list tag, other hangtags, and a very comprehensive manual.

Lovely condition, finished in the new Olympic Pearl which looks like Olympic White but with more pop. This is one of the newer version Deluxe's with the 3rd generation of the Noiseless pickups N3 , with an Atomic humbucker in the bridge.

There are plenty of switching options with the S-1 switch, which doubles the tonal choices of the 5-way selector, plus a "Passing Lane" pushbutton, which, regardless of the 5-way and S-1 selection, takes you directly to the bridge humbucker wired directly to the output jack for pure, powerful rock tone.

These SCN N3 pickups are the latest and greatest from Fender for creating warm tone and responsive bite, a genuine vintage tone, but without the noise. Like most Deluxe's, it has a great neck which for fantastic low action and crystal clear bends. Because of this I was very excited to get in one of these new A6 Ultra models, which offer the playing comfort of their electric neck and quality acoustic tones without feedback, plus the addition of a neck humbucker which opens up a whole new world in sonic possibilities.

Godin uses a preamp section designed specifically for the Ultra, with sliders for acoustic volume, treble, mid, and bass plus independent controls for the electric humbucker volume, treble and bass. Inclusion of the neck humbucker transformed this guitar from a quality stage acoustic to a guitar that's easily capable of jazz, rock, blues, or country. Includes high quality Godin gigbag that's very plush, with a neck stabilizer. They were made in the USA by Danelectro and were actually decent student model kits.

Most were in this finish, black sparkle, including the amp and guitar and featured a single lipstick tube pickup had dual pickups. The amp is as simple as it comes with just a volume control and 3-tube circuit including power, rectifier, and preamp. At only 3 watts it goes into overdrive mode fairly quickly, around , with more saturation at every number up the dial. Appears all original and is structurally solid including hinges, latches, and hinge. Exterior shows normal wear of a year-old piece of gear.

Man, if that doesn't make you feel old This is a nice old vintage Strat, and better than most since it had a pro refret by my man Martin a while ago. Frets are medium jumbo, fretboard was left with original finish, and fret ends are dressed perfectly fret pic. Sure, some had necks that were slightly smaller than the neck pocket but these were the days before CNC's and exact measurements were non-existent.

This guitar is original, other than one of the pickups which we replaced from another '79, but it's an identical spec gray-bottom. Serial number on the pickguard matches the guitar's serial; pots are 79; bridge has proper numbers and is original, tuners have never been off-on an are original, other than frets all original finish with no overspray, body has no additional routes and cavities have the white dust you want to see on these, cover, knobs, and tip are original.

This guitar hasn't sat in the case it's entire life so there is finish wear around the edges, some finish checking. It's a good sounding Strat with a nice vintage medium output and excellent sounding pickups, especially the neck pickup which has a wonderful growl when the gain is cranked up. Since the refret it's an excellent player with a neck that's fairly chunky for this era and frets you can really dig into.

Original case included for this era was this molded case that was only made for 2 years, easily identifiable by its thickness which is around an inch thicker than the later molded case, 4-latches instead of 3, and a door on the storage compartment.

Fairly rare model from PRS, available since '98 but, oddly, rarely appearing in a catalog. The CU22 Soapbar is not your traditional Custom, due mainly to the trio of Seymour Duncan Soapbar pickups rather than the dual humbuckers found on the regular Custom. It also features a 5-way blade selector instead of the usual rotary selector since the single coil Soapbars don't allow splitting of coils.

The 5-way is set up slightly different from a Strat. While 1, 2, 4, and 5 are the same as a Strat layout, with 4 being noise-canceling, position 3 is the neck and bridge in combination also noise-canceling , rather than the middle pickup alone.

It makes sense to me. I never use the middle pickup on a Strat, but I use the other 4 settings. It feels like a soft-V in the lower register, becoming a C-shape as you go up the neck. Other features are the same as the regular Custom 22 including Phase II locking tuners with ebony buttons, PRS tremolo, mahogany back with contoured maple top with unstained edge for maple "binding".

Frets are in nice shape and the set up is excellent. Includes original case, structurally sound but not as clean as the guitar. True classic from Rick in lovely Fireglo, a finish that always looks vintage and shows off the nice maple grain. Ricks are always hard to find and sellers on Ebay and Reverb are usually trying to sell their clean used ones for near new cost.

Specs are basically the same as they've been for many decades: There were two small finish chips on the edge shown here , that Martin has touched up and lacquered over shown here as to be barely noticeable.

Otherwise, excellent condition with perfect frets and a superb set up. Nothing sounds like a Rick, or has the vibe of a Rick. I took two of these in trade other one looks identical. Ltd Ed Combo , panel , top , back , back panel.

In commemoration of 50 years of Marshall amplification Marshall released the JVM-1C, complete with all the great rock sounds that echo the tone of their recent JVM amps from the s.

Amazingly, the opted to build this one in England rather than opting for Asian manufacture. Why the switchable power?

One watt is actually pretty loud and the. The Overdrive channel is pure Marshall creaminess. Includes 1-button Marshall footswitch. First year example of the JCM with 50 watts of bone-crunching Marshall all-tube power and very versatile for a its day, with two independently controlled footswitchable channels, each voiced totally differently.

Just tuned up, including all new tubes with a matched pair of Electroharmonix 's with three Groove Tubes ECC83 preamp tubes. This amp needs nothing - quiet at idle and all the power you expect from a 50W Marshall. The JCM's was well-conceived, incorporating the trend of players modifying their earlier models to achieve more gain. The 's not only did this, but they incorporated the tricky part, keeping the noise to a minimum while building in reliability.

In response to Spinal Tap, they also included a Lead Gain knob that went all the way to "20" if "11" is good, why not go all the way to "20"? The two channels are voiced completely differently and in the most basic comparison, Channel A sounds rather Fender-y; Channel B is classic JCM crunch, with the ability to go way over the top of previous JCM's.

This particular model, the , is basically the evolution of the JCM , although with the enhancements mentioned above. You can check out the manual for this series at this link. Overall pretty nice shape for 23 years other than 2 tolex touch ups on the back and one handle cap all shown here. If you think you need watts to play large clubs This thing is loud enough for any clubs I've played, including seaters.

The Strat Plus made its debut in and had a very successful year run, ending in '99, which was the last year of the American Standard series. When released in '87, the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.

It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups.

The Gold Laces 50's Strat sound on this model are the same pickups used on the Clapton and Buddy Guy signature models and both players toured with their stock pickups for many years. The Plus also features Sperzel locking tuners as well as a Wilkinson roller nut, both enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure. The Sperzels also make string trees unnecessary so you have a much cleaner look on the headstock with no string hang-ups.

This is an excellent playing guitar and I personally love the original Lace Sensors so the sound is superb. Other controls are the normal 5-way with volume, tone, and TBX. Cosmetically it's in really nice shape. Frets are near perfect as is the lettering on the Laces. Includes original case and trem arm.

These are fairly rare and they seem to have been sleepers which I would probably attribute to their competition with the Wolfgang, which was produced during the same era. The Firenza, which came in several configurations, is similar to the Wolfgang in appearance and, in fact, was made in the same USA factory. They are sometimes referred to "Leakesville Firenzas", made in Peavey's Leakesville factory from and , roughly the same timeframe as the Wolfgang which was also produced there. With a variety of models JX - HSS configuration and string-thru body; Soapbar - P90 pickups, mahogany body, tuneomatic bridge, and the top of the line AX - dual humbuckers with fulcrum tremolo and ash body they were mid-priced guitars and excellent values for USA models.

There was also an entry level "Impact-Firenza" which was a lower priced model. This guitar has a fantastic low set-up and excellent tone via a quality set of humbuckers that look and sound very much like a Wolfgang. The Red Flake finish, which I think is somewhat rare, is a thing of beauty; these pics do not do it justice. This guitar is in beautiful shape other than missing the back plate.

For tone, playability, and quality components, it's one of the best values I've seen in an American guitar. Upscale model that features an incredible number of tones thanks to Fender's new V6 switch. By appearances this is simply a nice vintage styled Strat but with an ingenious electronics package it's much more. Specifically, it's equipped with a set of Texas Special cloth-wire pickups, an S-1 switch built into the volume knob and a V6 rotary knob disguised in the first tone knob position.

The S-1 switch bypasses the preamp for traditional Strat tones but in the preamp active position you get 6 tonal variations think Gibson Varitone for all 5 stops on the pickup selector switch. Other features include a traditional Strat tremolo later models were floating with bent steel saddles, Fender Ping tuners, easy access 9V battery door on back, aged plastic parts, and large 70s style headstock.

This one even has some nice flame on the headstock and back of the neck! This is a version 1 model. Version 2 has locking tuners, 2-point tremolo, and Noiseless pickups, updates which may or may not appeal to you.

Other than a tiny indent on the upper horn, it's in brand new condition with zero scratches or wear. There are two mods: Get this beautiful one with a killer in-house set up for less. Includes Fender deluxe gigbag and paperwork. Kay is a little tricky with dating and figuring out model names, but I was able to identify the model by the body stamp "L " and it appears identical to the Swing Master K in the catalog shown in "Guitar Stories Part II" pg. Features include laminated spruce top with laminated maple body, flamed maple back, set neck construction, bound neck with frets on a rosewood board, 14 frets clear of the body, Venetian cutaway, double-bound body multi-ply binding on top, dual "speed bump" single coil pickups, 3-leg trapeze tailpiece with cross bar, rosewood bridge, dual volume and tone controls with white Bakelite radio-style knobs.

The flamed maple back on this is unusual for a budget line guitar and from the comparable models I've seen on the web, as nice as you'll find on this model.

Many cheaper models had fake painted flames but this one is the real deal. Kay's history goes back to the 's and in , Henry Kay Kuhrmeyer bought the company, and by the company was officially known as the "Kay Musical Instrument Company". Among their accomplishments, perhaps most notably they were the first maker of electric guitars, a disputable but, quite likely, true assertion.

Kay was the largest USA guitar builder during the golden era. Department stores or catalogs were the largest sellers of guitars when I was a kid and if you bought one during the 60's, chances are it was made by Kay. This guitar plays good for an old Kay with typical medium action, getting higher as you go up the neck. Currently set up with a fresh set of flat wound strings, for a traditional jazz box tone. The pickups are lower output as was the fashion in the 60s and have a unique tone of their own.

It's all original, with the exception of tuners and in extremely nice shape for nearly 60 years with the worst flaw being a worn spot on the back, typical with a thin nitro finish, but it has obviously seen very little playing time with near perfect frets and minimal extraneous wear. Will include a gigbag but I might have a hardshell that fits it. MXR closed their doors around , with no more pedals being produced until Dunlop bought the licensing rights in '87 and began building reissues shortly after, although they're highly modified from the originals.

One of the great analog chorus units ever, and actually better than the Boss CE-2 in my opinion. It sounds warm, lush, and natural. Great for adding sparkle to clean-toned lead passages and for fattening chords. Bottom plate is scratched up but the label is intact and overall very nice condition for 35 years and works perfectly.

Offset waist design that's made specifically for Univox's Strat copy, though it will likely fit a Tele or others. Nice vintage condition and hard to find original part for your prized Japanese Univox. There's very little info on the web or in my books about this guitar other than Gruhn's book calls it an "Electar F-Hole Flattop model name unknown " and another sources indicated that it's possibly called an "Electar Model C".

Certain features, and Gruhn's book, date this to ca. I think there's more weight dating it to ca. It's a rather unique, important instrument, Epiphone's first electric and one of the earliest electric guitars made. Although they made a number of lap steels under the Electar brand, it was their Spanish style guitars like this one, designed by Herb Sunshine, was technically superior to others.

Thanks largely to the tone control systems and, primarily, pickup design, these aren't primitive guitars at all, with a sound that's not unlike hollowbody guitars built decades later. Many of the competing pickups were the "horseshoe" type, used by Rickenbacker and others and Epi even used the Horseshoe on some other models. As you can see in this picture , the pickup was a massive bent steel design, curved at the top to rest parallel to the strings and inline with the fretboard, surrounded by a long oval bobbin, capped with a black cover.

Some interesting history regarding pickups in this era. You'll notice the Miessner Inventions Inc. While everybody was working on various pickup designs in the early-mid 30's, Miessner's patents on designs to make a guitar louder were used as threats to every electric guitar maker, demanding that they pay a licensing fee for any guitar that used a pickup, generally, any device used to make a guitar louder.

Rickenbacker even had a earlier patent on their Frying Pan guitar! Miessner backed off as it was too expensive to challenge them in courts. Anyhow, some interesting history if you want to look around the web. Note the Brazilian rosewood fretboard that extends past the body in traditional archtop fashion. Rosewood bridge has a flat bottom to conform to the flat top and is original. Tuners are Kluson Deluxe and are not original and the pickup had low output so it was rewound by Kent Armstrong to the typical lower output of guitars of the era.

Obviously, the sunburst finish was removed and the guitar sports a thin finish, possibly shellac. We suspect that it originally had an Electar logo plate but as they're impossible to find, we installed an Epi plate of the type used in the 30's. The tone knob is located very close to the tailpiece but other Electars from this era have the same unusual location.

This guitar was far from playable when it came in but Martin did a great job restoring it, including binding work, cleaning up the frets, reconditioning the fretboard, and some real tech magic making this a wonderful playing guitar.

Its small body carries a full scale, in fact, a This guitar is a lot of fun to play and it has a cool, honky tone that lends itself to delta blues or early jazz. Electronics work perfectly and it's a solid guitar, with no breaks or repairs. Double black bobbins plus 4-conductor for coil splitting, if desired. Excellent choice for neck position. Kahler Locking Nut for Floyd Rose. This is one of those Kahlers that mounts like a Floyd with two screws through the back of the neck.

Just the third year in Ovation's Collector's Series, the '84 Collectors was the finest among the early models. When this guitar was produced, Ovation fans would instantly, albeit mistakenly, identify it as an Adamas, Ovation's extremely expensive flagship model. No other guitar at that time featured the wooden epaulets e. It's simple by today's standards but the fact is these guitars don't need a lot of EQ'ing to sound good.

Includes certificate of authenticity, manual, key, and original molded case. Not just your basic Standard Strat, this one is in a Limited Edition finish, "Seafoam Pearl", which look a lot like the old Seafoam Green, but with pearlesence in the finish. It's a great look. It also has the popular medium jumbo frets with the modern 9.

Other features include alder body with gloss poly finish, C-shaped maple neck with satin finish, 21 frets, "aged" plastic parts with 3-ply mint green pickguard, Fender Ping tuners, vintage-style tremolo with stamped saddles and heavy tremolo block and Standard single coil pickups with staggered pole pieces. A must-have for players who are serious about acoustic amplification. Designed for single channels, the offers 8 patented FBX Filters, bit digital resolution and increased headroom.

The outshines virtually all other feedback controllers in accurately controlling feedback during live performances. In fact, the FBX gives back more than 90 percent of the power lost with using a graphic EQ to control feedback.

If you want to say goodbye to feedback forever, without sacrificing tone, here's the answer. Full details - click here. Top quality Canadian Sabian. Vintage model, pre AA-series. Original run of the Sound Formula, ca. Fairly rare model from Kramer, in cherry finish, commemorating the significant contribution Floyd made to the incredible success of the young Kramer company.

I don't know if Floyd designed this himself, I have a feeling he did, but it's basically a Pacer Imperial with a different body. Overall pretty nice vintage shape cosmetically with only one area through the finish on back of neck , all other flaws are in the clear coat only and not through to the wood - worst flaws are shown here. There is also some wear on the edge of the fretboard as well as a few finish check lines. The action is extremely low, with just a hint of string buzz audible only acoustically, or we can raise to factory specs if that's your preference without any buzz.

I wouldn't touch a thing since right now this guitar seems like it plays itself. The neck isn't one of the thinner ones that appeared in '84 or so, but fairly substantial. Classic chicken beak headstock with Floyd Rose signature logo, original model non-recessed Floyd Rose tremolo and locking nut, Schaller humbuckers with 2 volume and master tone, gold Gotoh tuners with rounded buttons aka "San Dimas" tuner and straight mounted set screws, and brass "large head" strap pins.

This guitar appears all original, with the exception of missing one of the back plates repro's available at minimal cost. This is sort of an oddball guitar in the Kramer line but its small body and light weight make it a lot of fun to play. It's not clean enough for collectors of near mint examples for others, a killer player in nice vintage condition.

Line 6 Amplifi 75 Bluetooth Guitar Amp , top , back. For more info check out Line 6 here and a quick overview here. Godin offers top quality guitars at remarkably reasonable prices.

Known primarily for their acoustic models, they also build some fine solidbodies such as this Radiator. Click here for a review by GuitarOne. One of my personal gripes with the stock Radiator is the lack of a pickup selector. Godin opts to skip the 3-way switch relying instead on individual volume knobs but if you want to go from bridge to neck quickly, forget it, you have to turn down the bridge knob and then turn up the neck knob.

This guitar now has a CTS 3-way switch installed. Cosmetically, knobs have been changed to a larger amp style knob, more accurate for fine-tuning settings, and the automotive type logo has been removed from the body. The single coil pickups sound very good and they're fairly quiet Godin calls them "low noise" but keep in mind if you use the mid-boost they're not going to be as quiet if you use a higher gain amp setting.

If you boost the mids by 12dB, keep in mind that you're also boosting the noise by 12dB. If you want the stock sound of the guitar, just put the TBX in the middle center is detented and roll the mid-boost knob all the way back.

You probably won't use the mid boost all the time but it's easy to get hooked on the fat, harmonically rich sound and may find yourself using at least some boost on all your songs. Set up on this guitar is fantastic, with low action and no fret out on bends anywhere on the neck.

This guitar is 3X more versatile than a stock model and it's easily good enough for professional use. On the heels of my Deering Black Diamond which recently sold, another fine Deering. Even though the Boston is a fairly inexpensive banjo by Deering standards, the tone and playability are definitely first rate and are so far above any import that comparison isn't possible.

Combined with the piece flange, this steel rim design gives a remarkably loud and clear tone. Also, it can be easily converted to an open back by removing the flange pieces and resonator. Deering cases are the best I've ever seen and this case weighs around twice as much as the banjo itself.

If you've become frustrated with your playing ability - or lame tone - here's a fairly inexpensive way to upgrade both.

For details on the Boston Click here for Deering's site. New, factory sealed boxes. You don't have to spend a fortune piecing together pro quality mics for a drum kit.

This EV kit can mic just about any drum kit and provide quality sound that won't drive your sound tech crazy trying to EQ out feedback caused by mics with a low gain before feedback or an unfriendly frequency response. The EV PL33 kick drum mic delivers tight, low-end and punctuation for kick drums and low frequency instruments, and the PL35 dynamic supercardioid tom and snare microphone, with its unique body design, integrated swivel and drum rim clamp is voiced for exceptionally natural tom and snare drum sounds.

Its unique body design with the shaft at an angle eliminates the need for right-angle XLR connectors and minimizes cable clutter over the drum and under cymbals. Each one includes a DRC-1 snap-on drum rim clamp that mounts the mic directly to just about any brand drum rim.

They're voiced for exceptionally natural tom and snare content, with superior isolation and a frequency response - 50 Hz - 16 kHz. The EV Gig Bag is firm and durable with Denier nylon exterior Form cutouts for up to 10 PL drum mics, padded handle and shoulder strap, zippered rear compartment for sheet music, sticks, and accessories.

This set has received great reviews in various publications and sites, such as this one on epinions. This fine British company has been one of the most respected names in professional live and studio decks for decades. With their new Notepad series you get the sound quality and engineering you've come to expect from Soundcraft. What sets them apart from the proliferation of budget mixers currently on the market is the quality of their components such as the acclaimed British GB30 mic preamps and GB30 3-band EQ technology.

Unlike most other brands, they're not built with the cheapest parts on the market. The two models are basically identical except the FX has built-in digital effects which has a feed from every input and over effects, including a pink noise and test setting.

The FX control can also be used to set delay tap tempo, a feature not found in many mixers in this class. Rather than list all the specs here, just check out Soundcraft. This is my favorite of these models. Additionally one mod has been done: Fender chose quality pickups for this model, the custom shop Texas Special, formerly reserved for only high end models. Controls are 3-way switch with master volume and "greasebucket" tone circuit which allows roll-off of the tone control without adding bass.

Other features include alder body with Gloss urethane finish, maple neck with modern C-shape profile vintage logo, vintage style Tele bridge with 3 brass saddles, modern 9. This is an impressive guitar for the money. The finish is impeccable save for one small impression on the side that Martin has finished over. It also has nice sustain, quality tone, and a great neck that sets up with nice low action. Nice weight it 7 lbs 12 oz.

Includes original gigbag and paperwork. Just got some more of these in. Tone enhancing and virtually eliminating string breakage. Ferraglide and Tusq are center screw for vintage style Fenders; String Savers are offset screws for American Standards. Has the same Peterson speed and accuracy, but now it also offers true bypass and an active D.

It features a handle if you want to use it as a mini-desktop unit. Features a very bright LCD screen for use in dark stage areas. Master Series are all fairly rare, and especially scarce in recent years. The Esprit was the predecessor to the Robben Ford Signature Model, which was basically the same guitar in a custom shop version pic of Robben with Esprit Ultra. When this was made, Fender had been trying to steal a portion of Gibson's market for many years, namely a guitar with dual humbuckers on a double-cutaway body; guitars like the Coronado, Wildwood, Starcaster, etc.

In the mid's Fender's effort was this "Master Series", which included the semi-solidbody Flame and Esprit models, as well as the D'Aquisto hollowbodies. The Esprit, was basically identical to the Flame but in a slightly 14" vs. The Standard was the base model with single ply body binding, neck and headstock binding, simple Les Paul style controls dual hums, dual Vol-tone, 3-way , dot inlays, rosewood fretboard, metal tuner buttons, and an excellent "three-axis" including side-to-side spacing Schaller tuneomatic bridge and stopbar tailpiece.

The tone chambered body was credited with the Esprit's traditional archtop top, with none of the feedback problems of F-hole type guitars, but the same resonance and sustain--and fuller, rounder tone. The Schaller humbuckers are very highly regarded and are found only on this series. They're splitable, should you ever wish to add a switch or push-pull pot, and feature different spacing for neck and bridge, plus a extra windings on the bridge pickup for a "hotter, mellower sound", while the neck pickup was designed with a higher resonant frequency for clear, lush, rhythm sounds.

The Master Series had a brief run, with the Esprit officially produced from ca. Total production for this model is said to be only around 4, units. Here's a good site for the Master Series link with a lot of info on all of the models. As you can see in the pics, this guitar has been very well cared for, played sparingly, and is in beautiful condition.

If you like low action - this is your guitar. With the strings slotted low at the nut, the action starts out low at the 1st fret and stays low all the way up the neck.

It is, simply put, a phenomenal playing guitar. Esprit's have become highly prized due to their rarity and the fact that they're simply great guitars. I think I have a nice Epiphone hardshell case to fit it so figure one will be included at that price. The original manual is downloadable at Fender's site: One of the most desirable Marshall series of all time, and probably the most desirable post-JMP era.

Jubilees were recently resissued by Marshall but this is the original… The Jubilee Series, from , marked Mr. Jim Marshall's 25th year in amp building, and 50th year in the music business.

Each amp is a superb example of Marshall engineering at its finest and all have a similar circuit and features, other than the W head featuring 2 more power tubes. Compared with the JCM on which this amp was based, it features a unique output stage that functions as the classic Marshall circuit but can also be reconfigured from normal high power pentode operation to low power, halfing the output from 50 to 25 watts, offering superior distortion tone and overall better performance at low volume levels.

Other unique features to this circuit, it features quiet channel switching with a specially supercharged Lead mode. Special overdrive and re-voicing circuitry in the Lead channel provides an extreme range of distortion effects including very long sustain, even with single coil pickups.

The Lead Master control is also switched into operation in this model, enabling the lead channel to be volume-balanced with the Normal channel while also providing increased gain into the master section so that solos can be heard over the rhythm settings.

A flexible input gain control modifies preamp gain with a special "pull" switch that permits the rhythm channel to be changed form high headroom, clean operation - to soft clipping and heavy overdrive.

Lastly, the output master controls the total output of the preamp section, which allows the lead section to cascade the input gain and lead controls into the output master for further high-powered variations in tone.

Technical discussion aside, this amp is a tone monster. It sounds huge, and has the most singing sustain of any Marshall you'll hear. It's also very easy to dial in a great tone. It has a minimum of frills but when an amp is engineered as well as this, you don't need a lot of extraneous stuff that inevitably sucks the signal.

Be warned, this amp is not light. Other than a Boogie Mark series, probably the heaviest 1X12 made. Overall this amp is in nice condition with the worst flaws pics here being a glued handle cap, a few dirty spots in the tolex, small ding on tolex on back shown in pic on the right , and some light scratches on the panel, primarily around the input jack. For players who want a quality archtop, without the ungainly size, the EL3 fits the bill. With its 14" lower bout and slimmer 2" depth, it's comfortable for stand-up playing, while it's chambered body without F-holes provides a rich acoustic tone without the feedback of most archtops.

With a weight in the 6 lb. That's not to say this guitar is limited in any way, and it can cover the range from jazz to blues to rock, and it's superb feedback suppression lets you crank up the gain and enjoy sweet tones, rather than annoying feedback. Eastman spares no expense in using all solid woods in the ER3, with a carved mahogany back and sides, and, at least in their spec sheet, a carved maple top.

Both Martin and I believe this is burled mahogany veneer over a solid maple top. The figuring and grain pattern simply don't look like maple, but looking at a cross cut of the wood via a pickup cavity, it's definitely solid wood and does appear to be maple, both in color and grain. Overall very nice condition with the exception of some finish checking shown here that's visible only on close inspection.

This is a very thin and hard finish and it's going to be prone to checking, probably more and more as the years go by. It doesn't pose a problem and adds a genuine vintage flair that some players will appreciate. Everything about this guitar oozes quality, which is evident the moment you pick it up and strum your first chord.

It's very easy to play, sounds wonderful, and can cover the ground of an ES Includes original case which is a unique design, top quality case, that offers excellent protection. Case can be carried by handle or strapped on for subway travel. It also features a Triad output transformer, which is original spec for Fender's classic tweed amps including the low-powered Twin, Super, and Pro, which is part of the magic of this fine amp. Channel 1 is the perfect clean with crisp highs, fat lows, and a very throaty voice overall.

Channel 2 is the OD channel with excellent sustain with a beautiful break-up. CH-2 reaches full volume at around 9'oclock and from there on it's more of a gain knob, with more overdrive, sustain, and compression as you turn it up. The tone knobs are very interactive with the volume controls and really act like gain controls as much as EQ knobs. Turn up the bass or treble and you'll notice an increase in gain at the same time.

The tonal possibilities aren't as simple as the layout appears but there really isn't a bad sound on this amp, regardless of settings. Rather than the vintage style separate inputs for the two channels, the Galaxie uses a footswitch to change channels, which is a nice touch for live bands, with an indicator light to let you know when you're on CH This features wasn't really to offer an appreciable difference in output rather than different voicings.

Although it has a very slightly higher output, the 40W setting is a bit tighter and slightly more high fi sounding; while the 30W setting gives the amp and earlier breakup. There are a number of good demo's on YouTube including this one by Frankie Starr, playing what appears to be an earlier version with a different layout. Callaham Vintage Strat Bridge Assembly.

Precision machined steel by the best guys in the business. Used but works perfectly. The solution for replacement tuners without modifying your guitar.

The universal mounting plate UMP means no extraneous holes in your headstock. Includes 6 staggered height tuners no string tree needed and all UMP parts. Great choice for your vintage Strat project.

Nearly vintage, this '89 Warmoth neck a fret C-shape, perhaps slightly slimmer profile than a Fender American Standard with about the same depth at the first fret and 12th fret.

The Pau Ferro fretboard is beautifully figured, resembling Brazilian in its color contrast. Includes vintage tuners, 50's style string tree and pro-installed logo with 3 patent numbers. Fender Vintage Noiseless Strat Set. The feature special beveled edge Alnico 5 magnets and enamel-coated magnet wire to produce brilliant clarity, definition and the best harmonic attributes of a vintage Strat. Fender suggests 1 Meg pots, which are not included.

Fender Telecaster N3 Noiseless Pickups. New in the box. N3's provide the spank and warmth of traditional single-coil Tele pickups, without the hum of vintage models with stacked Alnico V magnets. They're a bit hotter but still sound like a Tele One of the most popular bridge humbuckers for Strats. Wire is cut to proper length for bridge position. A number of years ago EMG developed these passive humbuckers as an alternative to their active series.

Delivers a well balanced tone, with tight bass, glassy mids, and crunchy highs. The H4 is most often used in the bridge position where it shines with excellent range, responsiveness and sweet harmonics.

Similar characteristics to the H4 set above, just a previous generation. Very clean shape and an inexpensive upgrade, without having to change your pots, for your dual humbucker guitar.

Uses EMG's exclusive 5-wire quick-connect output which allows for multiple wiring combinations, fully shielded for reduced noise.

Very nice Plus model in 3-tone sunburst with a rosewood board, for a real vintage vibe that's straight out of the early 60's.

The Strat Plus made its debut in and had a very successful year run, ending in '99, which was the last year of the American Standard , replaced by the American Series , with the "American Deluxe" replacing the Strat Plus as Fender's premium production model. When released in '87 the Plus was essentially a deluxe model American Standard, with upgraded pickups and hardware.

It featured a trio of the new Lace Sensor pickups, which provided a vintage tone without the annoying noise associated with standard Strat pickups - and no magnetic string pull to kill the sustain of the strings. The Gold Laces 50's Strat sound on this model are the same pickups used on the early Plus models as well as on the Clapton and Buddy Guy signature models; both of whom toured with these stock Laces for many years.

I'm a big fan of these pickups as they're the best I've found for zero hum while retaining that vintage Strat tone. The Plus also features precision locking tuners and LSR roller nut or Wilkinson cam nut on early models , enhancements to keep the guitar in tune, especially for players who use the tremolo to great measure. This one's in excellent condition overall with the only flaw being some buckle scratches on the back shown here in the clear coat only. Frets are in excellent shape and the set up is spectacular with low action and no choking out on bends.

This one comes with a new Stew-Mac truss rod adjustment tool shown here since someone used a wrong size Allen key at some point, but the Stew-Mac tool is beveled and made for this very purpose. Lettering on the pickups is still in nice shape which usually indicates a guitar hasn't seen much playing time. It's shown without back cover but remind me and I can install one prior to shipping. Includes trem arm, springs, and original "Plus" case with deluxe latches and gray interior.

Beatles fans will note that this one will take you back to 60's Shea Stadium, one of the most recognizable icons of '60s Pop. With its vintage Hilo'Tron single coil pickups, "Rocking" bar bridge, Gretsch Bigsby B6C Vibrato tailpiece, and simulated F holes, this quality thinline has all the features of the original 60's model. Other specs include single cutaway hollow body with burgundy stain finish, 16" lower bout, 2" body depth, arched laminated maple top with multiple binding, laminated maple back and sides, 3-piece maple neck, black headstock overlay, rosewood fingerboard, neo-classic "Thumbnail" inlays, 22 frets, 12" radius, In fact, all the cool features and all the vibe of the 60's model, but none of the problems - these are, quite simply, better guitars than the originals.

Look at the pics. This baby is clean and has seen almost no playing time since new. Only real flaw is some pitting to two of the knobs. Other than the nicely aged binding and pitting on 2 knobs, this guitar is immaculate — with a killer set up and Gretsch vibe thrown in for free. The latest and greatest version of the American Standard, with some nice enhancements over the previous versions.

Pickups were developed by pickup guru Tim Shaw: Add to that more clarity on the highs with Fender's new treble-bleed tone circuit. This guitar is in unplayed condition with plastic still on pickguard and not a hint of use. It will ship in the original Fender shipping box. Includes the latest version Fender case with ATA latches and plush gray interior, as well as all paperwork, tools, etc. Chris Shiflett, guitarist for the Foo-Fighters and his own group, Dead Peasants, is a top rock and country guitar stylist.

In conjunction with Shiflett, Fender designed this Tele modeled after his own '72 Tele Deluxe, with manufacture in Mexico. It's instantly recognizable as a Deluxe by the large Strat headstock, bullet truss rod, large pickguard, dual humbuckers, 70's Fender F-tuners, Hard-tail Strat bridge and 4 knobs, just like the original Deluxe. Other features include a super flat 12" radius excellent for note bends , an alder body, 4-ply pearloid pickguard, maple neck with rosewood fretboard, and 70s style Deluxe logo.

There was one very minor mod to this guitar: Cosmetically, it's in super clean shape other than a little finish stain on the edge of the belly cut on back. Other than that, pretty much perfect.

Set up is extremely comfortable and fans of flatter fretboards will find this a joy to play. At 7 lbs Includes deluxe Tolex case and paperwork. For this reason we transformed this Strat Plus into an Ultra model. I even sacrificed one of my rare Ultra cases with gray covering.

No major mods were required, just an Ultra HSS pickguard this one still has plastic coating on it , a Lace Dually red pickup, and a mini-toggle for the bridge pickup. Features include tremolo with "pop-in" tremolo arm and an innovative Hipshot "Tremsetter" inside the tremolo cavity.

The Tremsetter was a simple but effective device for floating tremolo systems and is simply a double-acting spring that returns the tremolo to an exact zero "neutral" position at rest and eliminates adjacent strings detuning while doing string bends and pitch flutter when playing aggressively.

Other features include a LSR roller nut, staggered height Sperzel locking tuners that eliminate the need for string trees and Schaller locking strap pins. They're very expressive, which you want with a Strat and noise free.

They also have zero magnetic pull which allows strings to vibrate longer, thus incasing sustain. With the 5-way the mini-switch yields 9 distinct tones.

Remarkably, there is a distinct difference on the two pickups that comprise the "Dually" with the back coil brighter and more responsive; the front pickup warmer and fatter sounding. This guitar presents very well. Overall very clean with the top being pretty much perfect and only some very minor clearcoat scratches on back.

I occasionally come by some rare cases. But this is much more rare. All of them I saw online were thinline hollowbodies shown here with case which seem to conform to this case, measuring around 16" lower bout, 12" upper bout, 11" waist, and Appears to be made by the same maker as 60's Fenders and could be suitable for other brands of guitars from this era. Good vintage condition with all latches and hinges intact, with some rubs on the tolex but should clean up well.

Handle has been replaced with a similar style. It lights up and motor turns but I don't have a tape or knowledge to test it. Nicknamed "Sireko" aka "Sir Echo", these units use the tape cartridge, rather than the loose tape. Lid is missing, but otherwise seems to be in pretty good shape for around 40 years old. Lovely early model American Deluxe in great condition.

Unlike the Strat Plus that preceded this model, the American Deluxe had more upscale features that distinguished it from the stock Strat. Pickups were Fender's Vintage Noiseless, which were Fender's premium pickups for the era and still preferred today by many players today due to their traditional tone, but without the hum of vintage single coils, with the bridge pickup being slightly hotter. Another popular feature on these is the rounded heel and accompanying rounded neck plate , that made playing in the upper register easier.

Other deluxe features include polished chrome locking tuners, polished chrome bridge and saddles with pop-in trem arm, abalone dot inlays, fret and nut work that's even more detailed than the regular American Series, vintage style nut, and raised chrome logo. This third year model is in beautiful condition with zero noteworthy cosmetic flaws. Includes Fender molded case and trem arm. I just discovered a pair of these in the shop, both new old stock and never retailed!

The i81 was the most affordable model in the i-Series but an exceptional import in its own right. Has the same Brian Moore signature looks including sculpted headstock, sleek arched-top body, and unique rear output jack of the higher end models. When BM went in search of factories to do their imports they did it right and the quality rivals some US makers in my opinion.

The i81 features bolt-on neck, mahogany body with beautifully bookmatched flamed maple top, classic " iM" Alnico humbuckers, and "iM" precision tuners. These guitars will be set up to perfection and will play as well as guitars costing 4X the price.

Includes a very heavily padded Brian Moore gigbag and all other accessories. This amp is super RARE. I have not one but TWO of these babies. One of them works perfectly - the other one has a glitch on some of the patches and is priced accordingly.

Looking through the 62 page manual it's clear that there are too many features to list here so I'll just do a brief overview. If you're an ADA fan, this might be your only chance to get your hands on one of these rare and great sounding amps - and a piece of ADA history. Somewhere I have the page owner's manual but if I can't find it, it's still on the web. Lollar Imperial Low Wind Bridge. Top quality humbucker, especially good choice for your archtop guitar. Exceptional definition for chord voicing and excellent presence that cuts through a mix.

Also matches well with Les Pauls that sounds darker in the neck position, or for guitars with darker tones in general. Good choice for a project guitar or an upgrade on most imports. Celestion G Heritage 65W Speaker. Super clean, don't think it's ever been installed. It was used in many of Marshall's 4X12 cabs and works fine in that application, but also sounds great in a single 12" or 2X12" combo.

Excellent note definition, plenty of power handling, and not overly bright. Celestion G12M watt Greenback. Classic British tone, warm with lots of growl. Perfect for lower powered amps, providing some speaker break-up at lower volumes compared to a 75w or 90W speaker which has to be played at ear-bleeding levels to break up. There is a proliferation of budget combo's, nearly all having a major weak spot with the speaker. Tokai Super Edition Neck.

Nice shape, especially for a neck that was made over 30 years ago. Had a string retaining bar removed, three small holes plugged — now uses a vintage style string tree. Factory black headstock, would look great on a black body. Carvin tuners replace original vintage style. Sets up very nicely…no issues. Engl BC Reaper Pedal.

Click here for a brief demo. I find it compares very well to other non-wood bodies. It sounds more natural than an Ovation and even close to a Rainsong, which costs around 4X as much.

Although it's a solid Spruce top, the sides, back, and neck are high pressure laminate. I wouldn't have though that alternative source guitars would sound so natural; so "woody". The tone is nearly indistinguishable from a mahogany or rosewood body. Similarly, the projection is excellent and even with the smaller auditorium body style it sounds very big and is quite loud.

Sounds good amplified as well, with control wheels for volume and tone just inside the soundhole. You may have noticed that Martin action has come down over the past few decades and this guitar is no exception. Action is low and comfortable, although it can easily be raised if you do very hard strumming. For the money, this is a hard guitar to beat. Extremely clean shape with no flaws to speak of. Mounts to soundhole, Velcro attaches battery bag attaches inside your guitar, easy mount end-pin jack.

The ACS delivers quality amplified acoustic guitar tone without the feedback issues. It offers a broader frequency range than a piezo pickup while delivering authentic acoustic tone with enough volume to play alongside a large band. The ACS employs a unique internal preamp that's been tailored for the phase and frequency response of an acoustic guitar while still retaining a brilliant top-end favored in acoustic guitar tone.

Two in stock, one pictured is brand new and never installed. If you're into trying alternate tunings, there is nothing better. You can add a few detuners such as an original Hipshot and Hipshot tuner and use drop tunings on two strings, which is pretty cool. The Trilogy, however, allows you to detune any and ALL strings.

It is a direct retrofit for USA Fenders, no modification is required, so your Strat can be returned to stock if desired. In all, the Trilogy offers an amazing possible tunings, all at the flick of the thumb, and includes sample tuning chart. Each string has 3 positions with a straight tuning and 2 detune stops. For more info checkout Hipshot here. This unit installs very easily and is the most versatile alternate tuning system ever devised. Never installed and mint. Finished in bright chrome, ultrasensitive built-in saddle transducers sense the natural acoustic vibrations of a solidbody guitar, giving an authentic acoustic sound to the instrument.

A supplied stereo output jack allows independent use of the saddle pickups or a blending with the guitar's regular pickups. All installation materials and instructions are included. Taylor's most popular grand auditorium - where quality tonewoods and fine craftsmanship combine with a modest price, at least for a Taylor. Taylor's and series are good guitar for the money but the series is really in a different class and in my opinion, the best value in their line.

We've installed a quality L. Baggs Element under-saddle pickup pic , with a volume control inside the soundhole, and endpin jack which houses the preamp. After seeing Samuelson perform live with Megadeth, Poland went backstage and suggested an impromptu audition as a lead guitarist.

Poland thereafter became a full-time member of the band, along with Samuelson drums , Mustaine lead vocals, guitar , and Ellefson bass. However, Poland left the band during the tour to support the album due to a business dispute and was temporarily-replaced by guitarist Mike Albert. Poland later rejoined the band to record their second album Peace Sells The album was highly acclaimed critically for both its instrumental and lyrical complexity, and is today considered widely to be one of the defining records of thrash metal.

Poland has often commented in interviews that the fact that the band had been playing the songs from the "Peace Sells.. Mustaine later referred to Poland as "an amazing guitar player—he can play circles around me". In July , a conflict arose between Mustaine and Poland regarding a T-shirt contract that Poland claimed to have been left out of.

Poland quit the band in protest leading to an ongoing feud between the two musicians. Mustaine wrote a song called " Liar " about Poland's drug use and lifestyle. Mustaine would regularly dedicate it to Poland during live performances.

After leaving Megadeth, Poland was successfully treated for substance abuse, and joined punk rock legends The Circle Jerks as a bass player. Although he did not record with the group there are several bootlegs and videos on YouTube featuring Poland on bass with The Circle Jerks. Written mostly while on the road with The Circle Jerks, in , Poland released Return to Metalopolis , his first recorded musical output post-Megadeth.

Shortly before recording Return to Metalopolis, Poland agreed to record demos for Megadeth's fourth album, which was to be entitled, Rust in Peace , but declined what would be the first of two offers to re-join the band permanently in this instance partly because of his concentration on his solo album, and the fact that, since most of the album's music and arrangements had already been written, Poland felt that the scope for his input would be limited. Guitarist Marty Friedman joined Megadeth later that year, and adapted some of Poland's guitar solos for the release version of Rust in Peace , which would go on to be one of Megadeth's most critically praised albums.

The demos recorded for the "Rust In Peace" record can be found as bonus tracks on the remastered version of "Rust In Peace," which were released by Mustaine without Poland's permission, in There is about an album's worth of B-sides from the debut recording as well as rehearsals of several songs the band was working on for their sophomore effort that have never been released.

Upon Dave Clemmons' departure from the band, the remaining members recruited a new vocalist, John Skipp also a well-known horror novel and film scriptwriter , and re-formed as Mumbo's Brain , recording Excerpts From The Book of Mumbo in The band disbanded following the departures of David Randi, and John Skipp. Although many original tracks were written, professionally recorded, or just demoed as rehearsals, only less than 10 of them have been officially released via the aforementioned "Excerpts From the Book of Mumbo" cassette and as part of Chris Poland's release on Grooveyard Records, "Rare Trax.

In , less than ten years after the release of Return to Metalopolis , Poland released his second solo album, Chasing the Sun , as well as a solo compilation album Rare Trax. In they released "Tsunami Jams" a collection of live in the studio jams to hold over fans awaiting a new studio recording. The following year, he contributed to Lamb of God's next album, Ashes of the Wake , with a guitar solo on the album's instrumental title-track beginning at 3: In a surprise turn in , Dave Mustaine requested Poland to record guitar solos for the Megadeth record The System Has Failed , the first Megadeth album not to feature original bass player and founding member David Ellefson.

Poland recorded the solos on a contractual basis, but did not re-join the band. Poland and Mustaine subsequently came into dispute with one another over payments relating to the "Rust in Peace" re-release, on which appeared demos of Poland playing solos for some tracks that were to eventually appear on "Rust In Peace" - the dispute was due to Mustaine not asking Poland's permission to use the recordings on the release.

In , Poland appeared on Misty Mountain Hop: In , OHMPhrey released a follow-up effort, "Posthaste," which was a more songwriting-focused effort. There are current talks about the ensemble getting together to record a third effort when schedules align.