The jamatorium 2014 STUDIO GEAR RENTER’S GUIDE
Version 5.3 Updated 7/29/2014 Welcome!!!
It happens all the time – you’re reading the liner notes on an album and it reads, “…we used a ’63 Tele’ on that song to get a different feel…”
As a collector and a musician, I am continuously amazed at how profoundly one seemingly simple piece of gear can change, inspire or add to the creative thought process of a musician… My personal goal has always been to find “that perfect guitar…” My continuous search has left me with a collection of what I consider to be true “player” guitars – the ones you want with you on your special studio day. Some happen to be great makes and models that we all know… some are not so familiar. Some are truly surprising!
I make available my personal collection of musical instruments to regional professional recording studios. I have much to offer your studio in providing added value to your clients – perhaps the one piece of gear that will alter or inspire a project!
Let’s enhance your clients studio experience with the option to use alternate gear! Inside...
Terms Guitars Amps Miscellany
Rock’n Rich 1984 “Amnesty” SIMPLE Terms… We rent to studios for studio work only!!! Our gear is not permitted to be used for performances, “gigs” or any thing not studio related! You may set-up the guitars to your liking (actions, strings…)Please reset the instrument to original actions prior to our retrieving the instrument (except for strings). Please off-set customized tunings to reduce stress on the neck and return to standard when done. Do not make gear alterations other than set-ups! Do not change tubes in the amps, remove parts, disassemble or attempt any gear repairs! Do not install strap locks – please use the plastic ones included with the strap from the case. We deliver to and retrieve from your studio. Keeping it easy… 50% of replacement cost deposit required. Frequent renters may agree to a fixed deposit. Flat rate: $75 per 24hr period, per item (guitars and amps, $20 per day for effect pedals and misc.) Total Minimum $225/DAY. Minor travel fees may apply - I will tell you this when we talk. There are no surprises. Renters are responsible for the care of the instrument. All items featured here are considered one of a kind. This includes theft prevention. Inspect the instrument for general condition upon receipt. Renter is responsible for any damage, complete replacement costs or repairs by authorized repair facility only. If you have questions regarding any terms or general equipment concerns, PLEASE CALL or email!!! 585-727-0765 [email protected] Guitars
“Each guitar offers the player a distinct, rich sampling of yet another way by which tone may be found. Enjoy!!!” -Rock’n Rich Fender stratocaster
I played 6 of these specific types of Strats and bought this one near 2004… I was told that the acoustic tones married to the most robust pickups that Fender had built in years made these Highway One guitars feel and perform far better than the new Standard Stratocasters. It was true – I bought three! I really love this guitar and respect the risk that Fender took when they created this line. Even unplugged, this Highway One Stratocaster USA sounds like a baby grand! It has no lacquer finish. Probably the most playable Strat I have ever touched. All stock. First year issue. Nothing can touch this nicely worn-in mojo groove maker! Fender stratocaster
Great find - USA Standard Stratocaster brought back from the dead – by me! The original bridge pickup was in the case, and had been replaced by a poorly installed EMG – OMG! Found an NOS USA pickguard from same vintage and a vibrant, new USA Strat emerged, ready to defend the free world one more time! So freak’n easy to play and has a gentle “C” neck that is medium radius. Twin post pivot bridge (instead of six screws…) Distinct fender tone on each position of the 5- way switch. The pickups are the stock, no-fuss, Fender Classic pickups and deliver what you would expect from one of my guitars – perfect tone. Fender stratocaster
I purchased this one used in Rochester NY. It features a big headstock, standard configurations and is a mix of USA and import Fender parts. It plays fantastic. Perfect weight and feels so tight – as if it was a well-loved custom order. Like I mentioned in the beginning – I have only PLAYER instruments here. When I thinned-out my Strat collection, I could not let this one example go. The maple neck is a satin finish with an amazing rosewood fretboard, medium sized frets with no inlay along the back. I had reverse wound pickups installed – it is super quiet and so easy to play. This is my “surf Strat” – match it with the ‘59 Bassman and the Holy Grail Reverb pedal – wow. FENDER standard TELECASTER Leo got it right the first time… True Tele lovers should perhaps start with this one and move on down the line from here! This Fender USA Vintage ‘52 Standard Telecaster reissue features a gentle “C neck (not as thick as the “No-Caster” and a little more than that of the USA Highway One, both featured here as well, of course) Though it has the wear indicative of fairly steady use, the prior owner claimed that it was “hardly ever used and just sat”. Hmmm. Somewhere a very sad nephew or niece is looking for that missing tweed case from under the bed or in that guest-room closet… Fender 1951 “no-caster” vos
Custom Shop ’51 “No-Caster” built especially for the 2009 NAMM Show! This vintage neck pickup is killer. Also killer is the radius of the neck: lets just say baseball bat cut in half. No joke - this is a rare Custom Shop production and it really shows off the stellar capability of the Fender Custom Shop luthiers. Nobody can put this one down – even if you dislike fat necks! There are no real specs listed on this other than it is everything you ever read about in a 1951 “No-Caster”. Oh – it’s PINK! Ash-tray cover is easily removable - snaps on or off… might even just fall off when you are playing. Loves county, blues and VOX amplifiers!!! Fender esquire telecaster Simple, vibe-laden, and LOUD! C-neck shape. Custom-Wired at the factory 3- position blade: Position 1: Volume control & no Tone control w/ capacitor activated for darker tone. Position 2: normal Volume/Tone control. Position 3: Volume control only.
Alnico vintage single-coil Tele-Bridge pickup is stock. It may appear to be a one-trick pony, but that pickup is ROBUST. It is a bit heavier than most other Telies, making it feel like the serious guitar that it is. It is just another great guitar where tone starts with the amp cranked, guitar volume control for output control until you find your sweet spot! Loves a VOX amp!!! Fender telecaster
My Highway One Telecaster USA… Again – I played a bunch of these, and selected this one based upon it’s perfect neck (hot knife through butter) and ability to deliver true Tele tone with no fuss. It has no outer finish – the tone really lives through the wooden body. All stock parts. This one is a first year Highway One with the medium jumbo frets and gentle medium-radius neck making it very easy to play. Another favorite of regional studio musicians.
It even smells good. Fender 1972 telecaster deluxe With the successful re-launching of Gibson’s Les Paul several years before, Fender decided to compete in the humbucking world with this entry (and several prior): the 1972 Telecaster Deluxe. This re-issue features an alder body, a C-shaped maple neck, bullet truss rod, ‘70s vintage hardtail strings- through Strat bridge, three-bolt neckplate with micro-tilt adjustment. ‘70s Strat headstock, two Wide Range humbucking pickups, traditional three-way switching and four skirted amp-style knobs. Wears nicely too since it features a contoured body – odd for a Tele. Great jazz guitar with it’s creamy, deeper tones and easy to play neck. It leapt out at me in the store because it was so business-like and lacked any eye-candy. Plays so fine. Fender 1969 thin-line telecaster To spicen-up the Fender Tele line, the brains at CBS (then owners of Fender) decided to “pick on” the pick guard and pick ups while making the body semi-hollow. This Fender reproduction of the ‘69 Thin Line accurately delivers the goods with a raspy bold tone in a feather weight guitar. Surprisingly resilient to feedback despite its semi- hollow body and acoustic sound “f”vent. Comfy, easy neck – thin and narrow when compared to the ‘72 Deluxe and ‘50 No- Caster. While an overall joy to play, the tone with a slightly overdriven tube amp is inspiring, to say the least. Fender jaguar
In 1962 Fender targeted high-end Gibson users with the Jaguar. Having never found the popularity of the Stratocaster, and discontinued from 1975-1985, the slightly bigger and bolder Jaguar will always be known for it’s killer looks and successful countless surf tunes, hard rock and punk rock tunes which emerged from the fret boards of this innovative line of Fender guitars. From early surf to late seventies punk and indie tunes, so many amazing genres have been plucked from the strings of the Jaguar. Hard to put down, even when staring at a 68 other guitar options. Some called it the “improved Strat.” Use mine as part of the creative formula to build your own tune - your own interpretation of genre. For me, it’s the authentic early 1960’s style Maple neck - super comfortable and easy to play. Numerous tone options make this a great guitar for exploring the tune that you have not perfected yet – the one that may otherwise get away. And, nothing sounds like a clean Fender Jaguar – except for a slightly distorted one!!! The trem has such a great surf bend to it! Fender Jazz bass Classic Jazz bass – no wonder this model was a favorite of so many great artists… Love the narrow/micro-small radius neck toward the nut end – so easy to play. Easily the most playable bass here, in the full-size department. First introduced in 1960 as the “Deluxe Model Bass” (as was the 1960 Jazzmaster guitar, later to both receive their own identifications and also featuring an a-symmetrical body design) No selector switches - tone changes are just a twist away with two pickups, each having two pole- pieces per string to produce a punchier sound, controlled by two volumes and a master tone. A “go-to” guitar for anything bass related. This approximates what a 1964 model would have looked and played like. One of Leo Fender’s true contributions to the music world was the electric bass guitar – some say this is the cream of the crop in electric basses. So innovative… professionally, he wasn’t even a musician – just If you don’t like the pickup an innovative electronics repairman!!! covers on my Fenders… take them off! (just don’t lose them!) Fender precision bass
Nice playing very straight-forward Fender Precision Bass… Love the discoloration of the aged wood on the neck and the diminished appearance of the tarnished nickel bridge and tuners – it really puts you in the mood for making music. This is not a “distressed” guitar – the wear is from normal use. Unsure of it’s year of manufacture, I bought it used in 2002 and it was built in Japan. Though this particular design does not represent the initial style of the “P-Bass” line, it has certainly been the most enduring, largely unchanged since 1957, when it departed from the original Telecaster-inspired appearance and took on the more Stratocaster-like image that it retains today. The key physical changes were to the headstock, a new contoured body, and the pick-guard. A technical change was to the pickup, which was changed from a single- piece/single-coil to a staggered two- If you don’t like the pickup covers on my piece/single coil. This is what a P-Bass from about Fenders… take them off! (just don’t lose 1955 would have looked and played like… them!) Fender Tele Bass Butterscotch Blonde Saw this from outside the store, stopped the car and went inside to see what it was… It was UNREAL. If you like the standard P-Bass design, you will love this because it is easier to play, boasts more tone options and is LOUDER. Fender approached the modern take on the original “P-Bass design” – with features that include an alder body, C-shaped maple neck, maple fretboard with 9.5" radius and 20 medium jumbo frets, dual Modern Player Wide Range humbucking Precision Bass pickups, vintage-style bridge with four (not two) brass saddles, open-gear tuners and nickel/chrome hardware. This Butterscotch Blonde is so rich and looks so killer with the darker maple Tele neck. Basically, it’s a 1951 with a whole bunch of upgrades. FENDER ‘53 PRECISION BASS In 2005, Fender released the Limited Edition “Sting” ’53 P-Bass as a tribute to the musician and his trusty aged instrument… As you can see from my other selections in this document, I am not a “signature model” kind-a guy. I bought this was because I sold my ‘51 P-Bass reissue in 2004 (idiot, idiot… uh..! It WAS perfect and in butterscotch, black pick guard. It is too painful to look at the photos…) and this was the only thing available presently, locally, that would come close to making me almost want to smile again. It plays significantly better than my ’51. It features a single coil Fender Vintage Re-Issue pickup, right under the pickup cover. The ‘53 is fun to play and instills that early rock ‘n roll feeling that the greats must have felt when they were getting down to work on the stuff we still love today. You will get past that “Sting” logo on the neck – just don’t look at it… like you are now. Stop it. Seriously. If you don’t like the pickup covers on my Fenders… take them off! (just don’t lose them!) Gibson firebird v
Not really finding much to say about this guitar… This one took me 25 years to find. This is a crazy-perfect guitar in every respect. Perfect neck and tone accompany this masterpiece of workmanship. There is nothing like a real Gibson Firebird for your recording. The flat, medium radius neck is super-smooth and easy to play. This is probably the best session guitar made anywhere and is a favorite of several east coast artists. I like the basic or standard models of a particular issue of any guitar – less the afterthoughts and mods. This is about as much as I would want in an instrument – though I would very much like to find a Jr. version of this exact model. It’s just so perfect, there is nothing else to say… Gibson explorer Retro Explor-dinaire!!! I haven’t found another one like this on the net or in any stores that I have visited in the past 30 years. The vibrato throws all searches off… The Explorer model has such an interesting history as one of Gibson’s least understood black sheep children – having no future or hope when it was not well received by the conservative late 1950’s market. This one is a re-issue of the 1958 model. Only a few were released with the vibrato (then and now…) A pair of ’57 humbuckers, short vibrato and rock-solid playability make this classic an easy choice for those who need a reliable piece of gear for capturing that special blues riff. Medium-slim neck means super fast, easy and fun to play! The people who helped me find this really know what I like! How to enjoy: get over the looks, get beyond the shape… Then, hear and feel a real instrument in your hands. Gibson les paul special jr.
Nutty fluke in somebody’s ordering landed this instant classic into my personal inventory! Apparently, a custom order from Gibson for a retail entity abroad was cancelled… This fine instrument and it’s siblings ended up for sale in the US! I snagged one and love it for it’s simplicity and P-90 tonal color. Brighter than a standard Les Paul Jr. with P-90s, this one offers a super clean play-to-dirty with the roll of the volume. Besides, you gotta love the reach into the upper neck regions with the double cut body. Attitude sometimes makes a session – this will help you get there. So many great designs came from the 1950s… Gibson les paul special
This model was the result of Gibson trying to make an affordable classic to compete with the deluge of mid-priced imports between 2002-2009. Super light weight, tune-a- matic bridge with stock P-90s. Tone gem – perfect sound. The body is thinner than the original issue guitar of the 1950s so it is ideal for players who are of small to medium frame. This is a “Worn” series guitar, though much of the wounds are from me since it was my personal go-to guitar at home for years. It is a first year issue of it’s type. Gibson les paul special vos
Fell in love with this guitar… four years after I bought it!!! I like how it sounded and loved the amazing woodwork – just couldn’t get it to PLAY the way I like them to FEEL. My guitar tech (Rob) did a set-up… and wow! The synergy of killer craftsmanship and my playing finally met. P-90s rule!!! This Custom Shop favorite of mine (they are ALL favorites of mine!!!) is the real deal and works fine as a jazz or rock platform. All you have to do is to not drool all over it, stop staring at it and just play! Full size body and thicker neck (not quite baseball bat though…), unlike the “worn” series. Nothing more needs to be said here… it is a real privilege and pleasure to play. Gibson les paul deluxe
Loved by Pete Townshend of the Who and used heavily following his SG years of the late 1960′s, this Les Paul model is stock (unlike Pete’s, where a full-sized humbucker was installed between the two mini-buckers) and features a mid-sized Les Paul neck – not too thin, not too thick! Crisp and distinctively brighter tones than the standard humbucker, much like the Firebird. The gold is so gold! Originally built between 1968 and 1974 in an effort to spicen-up the newly rejuvenated Les Paul line of guitars, mine is a recent 2003 Gibson reissue of a 1969 model. Gibson les paul 1952 tribute When ol’ Les died, Gibson cranked out 564 of these beauties. As a tribute to him, Gibson finally got this model built correctly to the specs that Mr. Paul demanded: the strings go OVER the bridge and the tail-piece features a nicely sculpted plate. The neck is fat, but not the fattest I’ve seen on a Les Paul. The guitar arrived ungrounded, so I grounded it. The stock P-90 pickups are the best matched- to-body I have ever seen from Gibson. Tone and playability are best described as “If the world melted away today, all I would want to take with me is this guitar!” It is the king of all Les Pauls and makes everything else not matter. Like 99% of my guitars, this one is in near perfect condition in all respects and just loves to be played. Gibson early ‘60s les paul tribute In 2010, Gibson announced plans to recreate several lines of SGs and Les Pauls with the early 1960s thin tapered necks... This 2011 Gold Top is the result on the Les Paul side of things. Satin finish gold paint with no lacquer equals unparalleled sustains. Super easy to play guitar with that great P-90 tone. The neck is medium radius, so I am not sure why they call it an “early 60’s style guitar (not thin, like the Sunburst LP Classic also featured here) This is another true “can’t go wrong” guitar when going on an extensive search for tone is not an option. The more it gets played, the better it feels and sounds… such a player axe – it just keeps wanting for you to play one more song. Gibson les paul pro
Super player guitar – 1978 Les Paul Pro! Heavy, nicely aged body and worn-in (not out!) neck channeling through two incredible stock P-90s make this a favorite amongst regional players who have used it. This Les Paul was my fourth or fifth and has been a go-to guitar for my own work when I want the job done with no fuss. Focus on the art in your music with this wonderful creature… This is one of the heavier Les Pauls that I have ever owned, but absolutely a must try as it is a classic Gibson – you will know why after striking your first chord. Gibson les paul classic custom A true time machine - when you finally put it down, you will notice that 5 hours have just gone bye without you in them. Ridiculously cool looks only to be eclipsed by the smokey-smooth tone of single coils on this Classic Custom Les Paul. The amber binding only makes the black body and gold hardware speak bolder as you slowly dial up the volume knobs to find the sweet spot on the tube amp that matches the ambiance of this magical guitar. The pickups are matched so nicely… wow. Gibson les paul classic
Super thin 1961 neck, two Gibson Classic ’57s pickups (replaced the wimpy stock humbuckers) make this a classic in it’s own right… Extreme playability with the weight of a standard Les Paul. The thin neck radius is the big difference between this and a Les Paul Standard. This was my first “new” LP (non-yard sale) and has many hours of play time on it, and thousands more to go… Gibson les paul studio
Another one for a bargain – this 1995 had EMGs installed, missing it’s pickguard and heavy wear to the armrest area. Returned pickups to Classic Alnico ‘59s, did a thorough cleaning of the entire guitar and added the Gibson pickguard to bring her back to spec. The neck is a medium radius with lots of life remaining in the frets. This is a favorite of several area rockers – why I am not sure… I think it delivers the vibe and tone of hard rock. It has some really amazing wear to the body that just makes people smile when they put it on. Awesome… Gibson les paul studio
This 1983 LP was another great find – Nobody wanted it! The selector switch wasn’t functioning properly and the frets are worn way down. It also had that funky 80’s micro-tuning stop piece that was missing parts. The finish was checkering too (Awl shucks!!!) I grabbed it for under half it’s value, cleaned up the selector switch and DID NOTHING TO THE FRETS BECAUSE THEY ARE SO GREAT WORN DOWN!!! Swapped the tunable stop piece for a normal Gibson part. Probably one of the easiest to play guitars in the inventory with a medium-to-thin radius neck, this Studio example of the Les Paul likes all the normal facets of rock and jazz and sounds great with the nicely aged 1983 body and stock pickups. As for the checkered finish – mojo vibe! Gibson les paul jr.
Simple, straight-up stop- bridge P-90 at it’s best! This Les Paul features the satin finish without multiple coats of varnish, giving the guitarist a sense of “woody-ness” sustain. Great for any kind of rock genre. Neck is medium radius. Plays as good as it looks! Gibson les paul jr. One of my personal favorites ’cause it’s so beautifully ugly! The Jr’s had such an ugly pick guard to begin with… but the paint on this is… um, yellow? Green??? A mixture??? Ah – WHO CARES what color it is – it played amazing and followed me home – I swear! This all-stock guitar sat unwanted and not played in a store for years. Why?!?! Great tone and highly playable, this flat face classic is perky, bright and true to the mission of tone on a less expensive LP body. Love the dull nickel hardware! I think it is one of my very best examples of an American made guitar. It can growl with the best or deliver clean blues and jazz while offering a comfortable neck for those keeping score. It’s one of those guitars that puts you into a “mood for playing” What more could a player ask for? Gibson melody maker
Simple fun is the theme here… The Gibson Melody Maker has been around since 1959 in various forms – usually a lower-line spin-off of a main line. There were many years where it had it’s own distinct appearance and sound. This heavily played and well-worn-in reissue of a 1959-1961 single cutaway Melody Maker. Though it has the basic Les Paul shape, it is half the thickness and is a flat face. The bridge pickup delivers bright, crispy tone and a blast to play. Great garage tones. All stock parts. This color scheme is not easy to find due to demand. Most early ones were and amber-burst. I love these classic colors on this great instrument. Medium-to- (almost) thick neck. What a pleasure to play this Gibson jewel. Gibson sg vos
Another classic – the SG VOS from Gibson Custom Shop! Really adds classic vibe to the moment just by looking at it! Definitely a thicker neck than the Standard SG, this P-90′d monster sounds fab through either large or low wattage tube amps. I love the SG because it fits like a body part and sounds bright, yet powerful as if you just stood on somebody else’s. It either screams British invasion or unstable punk rocker – which one are you? Gibson sg jr.
I know what you’re thinking… “ANOTHER P-90 GUITAR!!! AHHH!” Don’t let it get to you – seriously! It’s one of my little issues regarding how I interpret sound, I’m sure. But – it’s an SG which means you cannot go wrong… Plays amazing and sounds great – they all do or I wouldn’t own them!!! Uncomplicated is the word. Crank the tone to full rich, increase volume as needed while the amp is maxed-out. It has that killer retro- minimalist vibe that will make your studio day fun! Gibson sg (Les paul) 1961 limited edition The only thing Gibson got right on this guitar is how it looked new in ‘61! The neck is more reminiscent of a early 70’s feel. I know why nobody liked the Vibrola tremolo system from ‘61 – it was horrible! This is a 2013 factory re-engineered version and is even worse than the original, with the strings coming over the bridge at such a shallow angle that the strings barely want to stay engaged in the saddle grooves when you play hard. Players typically removed this unit and either installed a Bigsby or made it a hard-tail. Don’t use the Vibrola – just keep it tucked away like in the picture and you won’t travel out of tune. So… Why did I even buy it? What was I thinking? This guitar has one of the most unique SG “sparkle” tones that I have ever heard that is best described as if you were to toss a rock into a tranquil lake – the “toss” being the pick touching the strings and the growing rings expanding outward duplicates the sound exiting the amp in waves. It plays and feels really great – the set-up makes it - just don’t pick it up thinking that you are playing a real ’61! It also has perfect weight and is so well balanced – has that expensive feel. Try it!!! Just don’t use the Vibrola!!! Gibson 1961 les paul For some, this is a “religious” item. Others may call it “pivotal” I guess it doesn’t matter what you call it as long as you know this one was one of the first built that critical year when Gibson gambled on its freaky cool SG design to be the new Les Paul. It is, actually, a Les Paul. Les didn’t like the design and demanded that his name be removed from future headstocks. It doesn’t matter what anybody thinks of it – one chord or lick will make you into a 1961 junkie. This neck is so thin, so wafer thin and fast that it is banned in 43 States. Easily puts any shredder guitar to shame instantly. Current Bigsby is the third such trem on this serial number. Minor body damage to the ¼” jack area was poorly addressed over 20 years ago and is noted not to have any effect on it’s playability. Note the “softer”, rounded body horns. As for the pickups - PAFs. As for tone – bright and full of natural compression – strikes a nerve like nothing else in the collection. This is the real deal and you will know why the classics are the way to go after just three chords… Gibson sg 1970 After foolishly having sold my original back in 1988, I finally got it back! This is a 100% unadulterated 1970 Gibson SG Standard. It even has the original orange velvet case! The sound is a little deeper and darker than the neighboring 1961 due to the stock nylon bridge saddles which Gibson used on this and several hollow body designs in the late 1960’s. The neck is thinner and narrower than the all of the tribute models (this is the real deal) but not quite as thin as the 1961. Nicely wears the scars of a thousand nights out on the town, doing it’s thing… Finish is beautifully cracked everywhere. I know and believe that once you play a thin neck SG, you will be hooked forever. They don’t come cheap – Gibson has done a fantastic job of NOT making anything quite like this and the 1961 again, despite what they say in their marketing of “reissue” guitars with notably thin necks. I have played hundreds of SGs and the two here that are vintage are for real. Real ‘61s and ‘70s are truly unique. Gibson sg Standard bass
This is a 2012 reissue of the classic 1960’s Gibson short-scale bass that the company claimed was the “fastest playing bass”. Featuring all mahogany body and neck, it is outfitted with traditional T-Bird three-point bridge and Grover Shamrock tuners. The SG Standard Bass's deep, powerful T-Bird Plus pickup in the neck position and a smaller, punchier vintage-style T-Bird mini pickup in the bridge deliver titanic timbres. They're routed through independent volume controls and a master tone control, yielding a versatile combination of multiple- and single- pickup tones, as I am sure you already figured since it lacks a fourth knob and selector switch. Gibson es-333
Gibson stock pickups gave me the creeps... So, after unsuccessfully trying out lots of pairs of pants, I chose Plaid! Yes – those are SINGLE COIL pickups! After goofing on the pickups, I decided to go all the way with a Bigsby trem. Haven’t filled the former post holes from the old bridge and not sure if I will. Great rocker guitar – bright, yet with the right amp, comes up remarkably smokey with rough edges on the neck pickup for some musty-old jazz. I like this one for those 1965 early Grateful Dead sounds. Early sixties slim neck (almost like a ‘61 SG!), satin finish. Like the Highway One guitars from Fender, this has incredible natural tone which I attribute to the “lack of lacquer”. I love this one for the thin neck and killer single coil tones. To me, this one is a working musicians axe. Gibson flying v Another Gibson classic – this Flying “V” leaves little question to the imagination as to how shape may effect your ability to play an instrument as it allows complete access to the upper frets. Gibson had trouble selling them when they were introduced in 1958. Go figure – just like the explorer featured here as well – neither sold well at all. Jimi Hendrix and subsequent rockers in the late 1970s and ‘80s brought it back to main stream and it has been in the Gibson repertoire ever since. Mine features Vintage Alnico II humbuckers. The body is much lighter that you would expect. Flat, hand-rubbed finish allows the tone to resonate nicely. I played this often and kept it out of the case for many years. My Flying “V” is a fantastic player guitar that is hard to put down. I think the feeling of freedom (of anything near your hands) best describes this lightweight, fast playing beauty. HOFNER 500/1 STANDARD BASS
The 500/1 Hofner Bass made it’s debut in 1956. Prior to 1962, the bridge pickup was mounted at the center of the guitar body. Paul McCartney, the most noteworthy of Hofner players, had a 1961 and a 1963 500/1 model. The older example was stolen in 1968 during the filming of Let It Be. Heavier than the B-Bass yet still super easy to play, the tone rich Standard model is a step-up in construction from it’s B-Bass brother. Lead switch, dual volumes and a master kill switch offers the musician all of the options to “get the bass groove” going… Fantastic alternative to get you into the creative mode faster. Even the case is narrow. Rickenbacker r-330 Killer fun! Rickenbacker first developed the 300 series in 1956 with the advent of the “capri Series” guitars. Rickenbacker had been around since the 1930s, building mostly banjos, until the 1950s. The break that launched the brand worldwide was when the Beatles, early in their career, began using the “Ricks” live and in the studio. The 300 series had less variations than the Fender Stratocaster and the Gibson Les Paul, just for comparison, and has been in continuous production since 1956. Perfectly balanced and loaded with attitude, this late 1980’s 330 Rickenbacker features upgraded standard single coil pickups with no other modifications. Robust tone in all directions and bitch’n vibe! Super easy to play with the neck sitting high above the body in classic Ric style!!! Rickenbacker r-330-12 Gotta have a 12-stringer somewhere… so, it may as well be a Rickenbacker – right? First released in limited quantities in 1963, the “Rick 330-12” has changed very little, if at all, since day one. Once again, it was Beatle George Harrison who bought one and used it live and on numerous recordings, making it a must-have for anybody looking for that “chimey-chime” sound. Try as you may, no guitar simulator can exactly reproduce the real deal. Great all stock guitar that sounds perfect when played through a Fender Blues Deluxe amp with ext cab. You will need a compressor to tame that ringy-ring, chimey chime! The ultimate one for the job is made by the Analog Man in the Ross style of circuitry – and we have one here… Fun to play, great tool in a studio situation as a stand-bye for making that memorable sonic statement. Rickenbacker r-360
The gentle sparkling metallic red and white beckoned me from across the room… This particular Rickenbacker was owned by the author of Rock books about vintage gear from Bigsby and Gretsch, as well as serious gear documentaries chronicling Beatles and Rolling Stones, right down to the last pick used. He did the initial set-up , too. What a work of art – such an amazing design. It plays as nice as it looks – such a dream tool for studio use. Write that new song with this – it creates new music “right on the spot.” If this doesn’t move you, then you are either already dead or simply need to rent a different guitar… from me. Rickenbacker r-4001 bass
No explanation required here… this Fireglow 4001 is a genuine 1976 with it’s original case. Nearly every big name used one at some point or another, from REM to the Beatles. This R-4001 is in super- excellent condition and has no alterations that I am aware of. I had to get one, and this one was a dream come true, surpassing all of my requirements for a used guitar and far exceeding my original expectations by being a vintage instrument, which I never expected to acquire in this particular model. The bridge pickup cover is in the case, not pictured here. So sweet, amazing and iconic. Plays truly amazing too! Feel history through your fingers as you create something new – a new history. Squire duo-sonic
Smaller body than the Stratocaster or Telecaster… or, even a Mustang. This light weight and easy to play guitar is amazing. If you have a small body frame, then today is your lucky day! Two stock pickups offer a true voicing of early ‘60’s single coil circuitry. The neck is probably the nicest feature – smooth and tiny. So comfortable, a five year old can learn the Star Spangle Banner in one lesson… Regarding this item, my guitar tech says of this purchase, “Rich - this one is the best voiced and most playable of all of your other guitars… and, it’s a Squire!” Like I said, this gem is another good one for those with small frames. The vomit beige color makes me even happier. DANELECTRO 3021 Another 1997 re-issue of a classic: The Danelectro 3021… This is my second one of this exact model and color. I sold the first one and kept this example, which also happens to be the first item I ever purchased off the internet. It is the lightest guitar around with incredible tone from such basic single-coil pickups. It best exemplifies the classic tone of an early 1960′s Danelectro and retains the original floating-style bridge. So easy to play… Nothing truly has that late 1950s, early 1960s feel to it with the distinctive “way-out there” construction of mostly post-war building materials that minimize the use of wood, hence, it’s light weight. The tone is so cool – it is exactly what you’d expect from this type if you have played an original, only mine is better constructed and feels really tight. D’ARMOND M-75
This is my second M-75. I bought a re-issue in 1998 and returned it with neck issues. I was really depressed. Then, 7 years later, I found this item in the used” section of a favorite guitar store in Rochester, NY. I couldn’t believe my fortune as I had only seen two of these anywhere, ever. They are that rare. Heavy (weight) solid body with a crisp bright sound. Original D’Armond pickups give this 1960’s re-issue a hard punch. Great with maxed-out volume on a low watt tube amp… Use the guitar volume for total tone control and hear the colors emerge! It pairs nicely with the Fender Vaporizer amplifier released in 2014. I think that the amplifier is really important with this instrument, so I would go with either the Vaporizer, Vox Handwired AC15 or the 1966 Fender Pro Reverb. Music man sterling stingray bass
The “SUB” series to Music Man has absolutely done something amazing here… This bass has the play-ability of the best bass guitars around and costs a fraction of the price to own. In terms of value, this Stringray is a must-own for anyone considering the purchase of a studio or “just for-fun” bass, but wants to have quality of workmanship and tone that the $1600- 2200 versions offer. Like all Music Man bass guitars, it is active with a 9v batter… while I would love you to try the Rickenbacker bass, the feeling I get when I play this one is one of “bring it on” and great confidence. Enjoy!!! Dean cadillac
The Dean Cadillac first made it’s debute in 1978 as an alternative to the Gibson Les Paul. Though “cool looking”, it was never a huge seller. Other than the obvious physical design differences, including the oversized headstock and jutting “Gibson Explorer” lower body horn, the other main differences were in the contoured body and reduced thickness of the body, making it a comfortable and lightweight alternative to the Les Paul. By 1978-79, many manufactures were taking business from Gibson and Fender with innovative to gimmick-y designs. Over the next decade, the two aging rivals would struggle to seek an identity amongst the numerous challenges to their long-seated reign, ultimately to return to their vintage core strengths. This particular model was used by Rick Okasek of The Cars, in 1979-80. DEAN ML1979
Dean guitars found their way into the heavy metal arena with a different look and feel than the standard double coil axes of the late 1970’s... Several other acts outside of the metal genre (most notably Elliott Easton of The Cars) played this style Dean in 1979-80. This particular guitar is a re-issue of that era, most likely crafted between 1999-2002. Thin, wide neck with low action feels like the original and plays like a dream! Cream binding on a set-neck design… so nice. Univox hi-flyer bass
The exact year of my U1801B (“B” for black) is unknown, though estimated to be between 1971-1976. Of the ones that I have seen that survived to this day, mine is by far the best example of an un- altered Hi-Flyer bass in super condition. Univox copied the Mosrite guitar theme and made them available in 6 and 12 string versions as well, though heavier than a Mosrite. This is a short scale bass – there is no evidence of Univox ever having built a conventional scale version of this guitar… Following a 20-minute set- up, it played like a dream! The neck has a medium radius feel (almost feels flat in the middle!) and currently features flat- wound strings. Well built, with Japanese craftsmanship easily recognizable just by picking it up. Epiphone Rivoli Bass
Classic 1960′s bass tone embodied in a semi-hollow configuration. Set neck with a smooth medium radius diameter. Classic Gibson T-Bird three-point bridge and T-Bird neck pickup featuring volume and tone control. The push-button controls the polarity of the pickup. The Rivoli was very fashionable in the 1960s Notable users of the Epiphone Rivoli in the 1960s include Chip Hawkes (The Tremoloes), Cahs Chandler (The Animals), John Entwistle (The Who), Tony Jackson (The Searchers), karl Green (Herman’s Hermits), Paul Samuel Smith and Jimmy Paige (The Yardbirds). In its resergence, the Rivoli bass found more recent users Adam Clayton (U2), Robert Levon Been (Black Rebel Motorcycle Club) and Manuel Balone (Licks). Epiphone classic thunderbird iv bass Another great guitar from Epiphone… This Thunderbird grabbed my attention with it’s narrow and thin neck – much the way the ‘61 and ‘70 vintage SGs are built. The frets on this extremely lengthy guitar are medium jumbo sized. Coupled with the comfy neck, the nicely rounded frets really make a killer combination for enhancing your talents on the bass. The mahogany neck- through design is so solid and well crafted – beautiful 7-ply mahogany/walnut. Passive Gibson TB Plus Humbucking pickups… Fun guitar to play and easy to use. If thunderbirds are your style, this Epiphone does it with class. Epiphone Wilshire (Crestwood or newport???) My friend Scott had an original 60’s black one with the big “e” right in the middle of the pick guard that he brought into school one day in 1981… I fell in love with it immediately. Particularly memorable was the neck – ridiculously heavy and smooth… some years ago, he told me that he had sold it! Saw this one at a favorite store – played it without plugging it in for :30 seconds and bought it. Fast, accessible smooth neck on a mat finish. Rich playability with great reach into the upper frets. Incredibly smooth rubbed- in finish with no lacquer is so beautiful. Recommend a juicy low-end amp as these mini buckers are bright. Country and garage punk are it’s favorites! Epiphone casino 1964 Limited Edition The finger print smudges are mine… obviously was in a big hurry when I took the picture that day. Sorry. Medium-chunky neck, great P-90 tonal variation and a completely hollow body. The pickups are awesome and they are the reason why I selected this guitar. Slow trem (like a Bigsby) and nice natural acoustic tone. This is a limited edition and is an exact replica of the original ’64 from Michigan. I was delighted to see that adding some serious volume and a little natural tube compression did not tip it over into the feedback zone, as many hollow bodies are prone to… Thicker neck than the neighboring Sorrento, featured here as well. Epiphone dot (es-335)
This is my 3rd Epi 335. The most important thing to learn about guitars is that the price of the item will never interfere with the playability of the instrument. Epiphone and Squire both prove this daily as both have instruments depicted here that topple the most expensive guitars in this collection. This DOT is a killer, fast, no lies and no issues axe that feels and sounds as fun as it looks. It was built in the mid nineties (the best years along with right now) Faithfully making you sound your best and leaving the fans to wonder which $4000 guitar you used to make that recording – tell them with pride that a used Epiphone did it right the first time… Epiphone sorrento Limited Edition I will gladly put it up against any Gibson semi-hollow or hollow body out there right now, for that matter. This one is my second one, and, in my opinion, the best re-build of a classic instrument, right to 1962 specs. Perhaps my favorite of all because of the natural sonic tone making it a true dream guitar. Acoustically, it is by far the best in the collection. Have had no feed back issues with those stock mini- buckers. I am a medium build guy – this fits my body size like a glove with it’s thin body that goes forever with tone… It’s another limited edition with certification. So well built, it will sway you toward Epiphones forever – I guarantee it. Epiphone AJ-200 VS
This Epiphone AJ does a great job as a rhythm instrument to accompany any arrangement possible, just short of having the deeper tone of a Gibson or nicely aged vintage Epiphone. The neck is highly playable – like an electric guitar, and that is why it earned a place here with me – thin and uncomplicated. To put it best - the neck is thinner than the tone of this future classic example! Epiphone ej-200 limited edition My second one of these… could not put this one down because it played so well and was highly affordable.Big body contrasts the medium-to-small radius neck. Great guitar for feel and playability with a crisp-semi deep tone. No electronics on board, so you will either need to mic it or get yourself a detachable acoustic pickup (hmmm – note to self…) Though it sounds brighter than it’s wealthier Gibson cousin, I find this to be a fine recording guitar and does the job magically due to it’s ease of use. A true “winner axe” from the moment that I first played it. Not sure what makes it a “Limited Edition” – just a name I guess… Ibanez ar420 artist
“If you can’t join them - beat them!” was the cry from Ibanez’s work benches in the late 1970’s as the law suits piled up on their virtually exact Gibson copies. This design was the result of their research from 1978 and is a faithful re-issue of the fabled AR420 series electric guitar, from Ibanez. The basic plan is of the Gibson Les Paul, however, the pickups may be used in series or parallel and coil tapped for single coil tones by utilizing the Ibanez Tri-Tone selectors to get that Fender sound as well. Super 58 custom pickups feature moderate output and vintage tone. Rich arched flamed maple top in Blu-Burst (super rare!!!) and mahogany back. Abalone body binding looks cool. 3pc maple neck and overall great performance made this a champion guitar. The significance of this item was that it represented one of the first quality import challenges to a US- dominated industry. I was lucky to play an original back in 1983-84 that belonged to my friend Jay, of “Amnesty”. This one, with a little more wear, will also become a classic. Ibanez ae450
Not a classic by any means – I took this to college in 1984! First generation thin-bodied acoustic-electric with passive Vol./Balance EQ. Ceramic stock pickup in a nicely aged body allows for some great tone possibilities. Comfortably worn-in over 3 decades of camp fires, courtships and gigs. Thin body delivers bright tones, so think about EQ control on your console. Not to be used without the pickup for recording purposes since it is a thin bodied instrument lacking deep natural acoustic tone. Gretsch g-3156
This cat’s-eye wonder with a rare single action Bigsby trem features stock pickups which have good output. It won’t feedback as much as you may think, despite it being completely hollow – just be reasonable with where you sit/stand relative to the amp. Very fun to play as it’s mere presence in a room is inspiring. This is very playable, unlike some of the other Gretsch models that have a distinct tone, but are sometimes regarded as more challenging to love. I have owned three Gretsch hollow bodies and just keep this one for now because it is such a winner. Gretsch g118t
The real deal… wanted one since the mid eighties when I saw a vintage one in a guitar shop in Catonsville, near Baltimore, then saw a documentary on CSN & Y where they showed them being used by Buffalo Springfield… so cool! A country western style guitar used in a rock format!!! This is a stock guitar, of recent vintage, but was purchased because it sounds and plays like a much older guitar. The back and sides are of a darker green. Sounds and plays amazing dubbing it as an attitude maker, game-changer for studio sessions. This is a really high quality piece of gear, for certain, and has inspired hundreds of players from county to rock. Gretsch g5034tft rancher electro acoustic I know what you are thinking – it’s Pee Wee Herman’s guitar!!! Am I right?!?! When I first learned of this item, I was sitting with it’s main creator, Andy, who had an idea that was totally “Gretsch”, yet, Gretsch had never embarked upon it’s design because it was thought to be a technical nightmare! Guess what – it was!!! Which nicely explains why nobody (including Gretsch) has mass produced this style. Gibson built a resonator just like it in very limited quantities in 1999. (10, maybe..?) You can’t just slap a full Bigsby trem on to an acoustic guitar – the top can’t handle it. This G5034TFT is specially designed by increasing the neck angle, special interior bracing which doesn’t sonically ruin the natural tone, a very mild arch at the bridge and special-secret tough as hell wood that stays true to using only natural products in building the body… The result – the G5034TFT. I bought one with low expectations of it perhaps having a cheap and uncomfortable feeling to it… Not at all! The feel is best related as really tight, completely comfortable to play and it sounds amazing! No joke – this is as serious of a guitar as any other depicted here. Gretsch g-3203
In the mid-to-late nineties, Gretsch embarked upon a sales effort focused on bringing back some of it’s heritage pieces from the early 1960’s, including this nice jumbo-bodied guitar. It features Fishman electronics with B-M- T tone EQ, volume and MHZ control. Cool retro raised pick guard should not scare you – it won’t ever get in the way of your playing. Acoustically speaking, the tone is between Guild and Epiphone-Jumbo. I like this one because of it’s electronics package and because it is just an unusually appointed instrument that is clearly getting better sounding with age. GRETSCH G-2210 JR. JET BASS All you long-neckers need to take a walk on the short side of bass guitars… Any of you 6-stringers that think you’ve seen it all, stand back!!! This, and any of my short-scale basses (3???) are without a doubt the most fun you will have with four strings – especially if you are a six string player fill’n in with some bass duty. This is blast to play – FAST & SOLID. I have spent hours playing this UNPLUGGED because it crushes in speed anything out there. You will learn something new each time you pick it up because you can do so much without the restrictions of neck length. It makes six string-ers (like me) sound like we know what we are doing! I like this because it FEELS right, even though it appears so wrong! Gretsch g9220 Bobtail (round neck) Got to have a resonator guitar somewhere, right? This is my second resonator, my first being a Regal, who was the supplier of acoustic guitar bodies to the original maker of resonators, John Dopyera, back in 1928. I have played a bunch over the past ten years or so, trying to find a great sounding one to keep. Create some bright – tin pan acoustic tones with this highly playable (some are not so playable) resonator guitar. Put some different strings on it or open tune it to your desire if playing slide. This G9220 features what Gretsch terms as a “round neck” that actually is more like a “V” root from the body toward the headstock. Plays slide-style great and sounds rich with those open tunings. This guitar has no on- board electronics. Enjoy!!! Gretsch g-100
Old-old school at it’s re-incarnated best. Archtop body and sound holes give it that cool pre-1960s feeling – super bright and crisp. That is the normal tone for these types of guitars, no matter their age. This is a reproduction guitar that harnesses today’s technology in woodworking to make a more playable classic instrument. The neck, for example, features a super thin-tapered radius that feels more like an early eighties Dean guitar. The body is about an inch shallower than that of a modern standard dreadnought acoustic guitar. The finish is satin, single coat. This is the one I like to take to on weekend outings. No electronics on board… Godin 5th Avenue - kingpin Simple, old-school design that boasts a single coil P-90 type pickup at the neck position… simple vol/tone controls. Played three of these over a two year period and was not in love with any after fantasizing about this make and model for nearly the entire ten years of their production… Then, one cold wintery day, opportunity knocked on the web and this one fit the fantasy – the factor: it was USED. Used gear is almost always a better way to go anytime I have a choice. Crispy-new sometimes sounds… “too crispy”. 16" fingerboard radius 24.84" scale 1.72" nut width, all Canadian Cherry top-back and sides. Silver Lead Maple neck. Plays and sounds just like a classic 1950’s archtop!!! Freak’n awesome… Guild A-150 SAVOY The elegant tone quality and design of this guitar will bring real satisfaction to the most critical player. A truly outstanding acoustic/electric, the A-150 Savoy is a pleasure to see and hear, pairing a wonderfully free- playing late-1950s Guild orchestra model with the distinctive addition of an exceptionally voiced DeArmond 1000 floating pickup. The welcome return of a true Guild classic. Picture yourself in the later days of Big Band music when these guitars first began to show up. Use this on your jazz or orchestral session to bring in the mood of your music. Guild ac30 usa 1986
Sure is getting harder and harder to find USA made Guild guitars… This one popped up on the web and I webbed it with it’s original hardshell case. This is a fine example of a 1986 Guild just prior to factory closure in New Hampshire. It’s funny what you will find in the case compartments of used guitars… this was loaded with full string packs, about 40 picks, a quartz tuner, winder, glass slide, two straps and has a very non-intrusive pickup installed with no alterations made to the guitar. The price was so low, I had the sales clerk pinch me. After apologizing for my bizarre request, I went home with it… the guitar, that is. Martin d12x1 12-string
Great 12-stringer for those acoustic strum-alongs where a little extra “ring” to your tone is desired… this one is easy to play (for a 12-string acoustic) and isn’t too neck heavy either. You will need the acoustic Ernie Ball pickup (got one here you can use) or a good microphone (should actually try using a PAIR of condensers) to record with this item. Great for those creative moments where you have the opportunity to add another flavor to the tone of your project. Think of the folk heroes of the 1960’s or alternative/indie rockers of the 80’s-90’s and how they either used this tool as the backbone of the tone, or, as an “almost afterthought” layer of a hit. RECORDING KING LAP STEEL
Whether your mak’in Hawaiian style music , old school Mississipi or Exile on Main Street background tones, this lap steel slide will faithfully create tones to remember. P-90 style single coil bridge pickup, mother-of- toilet seat pearl deck and a whole ‘lotta of wood will bring your sliding ideas to into the studio microphones.
Selection of standard guitar glass and steel slides provided upon request… Otherwise, you may use whatever slide tool you want. AMPLFIERS
“Like other musical components, the amplifier is as unique unto itself as is any other piece of gear every time you turn it on.”
-Rock’in Rich Fender supersonic combo Such a cool amp because it’s three tube amps! The Supersonic is a ‘65 Vibrolux, ‘66 Bassman and a dual (cascading) gain “Burn”amp all in one unit! This amp is a clear favorite of most who have played through all in the collection. Footswitch toggles between the classic ‘60’s genre and the dual gain channel. It also toggles between the two ‘60’s amps and engages/disengages effects loop. The 60wt output is really, really powerful. Gobs of Fender classic springy-spring reverb – surf is definitely up on the Vibrolux channel! The “Burn” channel with the Other specs: single 12" Celestion® "Vintage 30" 8 cascading gains is in a similar class as ohm speaker and high-grade baltic birch ply. Vintage Channel: Volume, Treble, Bass, Voicing modern Marshall/Mesa in tone and Switch (Vibrolux/Bassman). Burn Channel: Gain 1, decay, though totally unique in Gain 2, Treble, Bass, Middle, Volume, Master overall feel. This amp super-delivers Reverb, Rear-Panel Effects Send/Return Level on value for recording. Controls. Tilt legs. Preamp Tubes: 6 x 12AX7, 2 x 12AT7 Power Tubes: 2 x 6L6. Ext cab output. Fender ‘59 bassman One of those fun to learn and tweak amps that only takes a minute to get acquainted with… If this amp has a fault, its that you have to play it loud to “get that sound” from it’s 50wt power source. But, that is half the fun! The other half is playing a bass guitar through it to get that Beach Boys sound – such a cool and versatile amp!!! It truly has that vintage bass tone! With either type of guitar you will like the sharp and quick response that the 4x10” Fender Green Back Other Specs: 50 watts, two independent channels: Normal speakers deliver. It has that Fender and Bright. 2 Normal/2 Bright ¼” inputs. Controls: Normal Vol./Bright Vol., Treb, Mid, Bass, Presence (it works). US-made “THUNK” sound with a six string GT-6L6 output tubes, 12AX7 preamp tube, original spec 5AR4 instrument – both chunky and rectifier tube, internal bias pot to adjust for other tubes. thunderous. No on-board effects at all – straight foreword sound machine from the 1950’s. It can do this clean or incredibly loud - distorted. It’s a favorite! Fender blues deluxe & ext cab
This is a fun amp to experiment with tube swapping at the pre-end of business. Currently, I chose to clean it up a bit so that the clean channel remains clean at higher volume settings. I added an ext. cab for bigger tone. I play my Rickenbacker R330-12 with an Analog Man “Ross” compressor through it – right on the money for 1966 tone! The ext. cab really adds to the overall depth of tone, delivering unmistakable vintage Fender tube texture to your project. Good for country too in the clean mode. Rockers will love the natural crunchy-ness in the second channel with “drive” mode for gritty dirt! It’s a known fact that the Presence knob does absolutely nothing on this model!!! Other specs: 40 watts, one 12” Special Design Eminence® speaker, two 6L6 Groove Tubes® output tubes and three 12AX7 preamp tubes. Two channels (normal with bright switch, and drive, spring reverb, effects loop, footswitch for channel and reverb. Fender blues jr.
Remember the amp that you tried at the store, fell in love with, but couldn’t come up with the scratch at the time to make it yours? Here it is!!! This FBJ model has been enhanced with a Hellatone G12H30 Vintage Celestion speaker which allows the tone break-up to occur at a higher output, giving that extra 15% of usable volume range that was previously over-oversaturated and truly unusable with the stock speaker. Output (decibels) is greater too. The result – more tone range to experiment with while still delivering slightly muddy-to- nicely muddy tones. Fat Other Specs: 15wt output, EL-84 output tubes, switch is fun to tap into at varied 12AX7 preamp tube overdrive, spring reverb. outputs. Spring Reverb. Just a killer Single jack input. studio tool! Everybody loves this amp… Fender pro reverb This 1972 vintage “Silverface” (CBS years) was another lucky find as it faithfully assists the artist in locating authentic juicy and vibrant classic tube tones from surf spring reverb to mild distortion. The point-to-point wiring is really noticeable when making any changes to volume or tone. LOTS OF VINTAGE FENDER “THUNK” VOLUME! Super sensitive to the type of guitar being played through it. Don’t expect a Telecaster to produce any wildly distorted tones, however, humbuckers and P-90’s tend to break-up much earlier with gentle Other specs: 6L6 power tubes, casters, original volume progressions. Fender 2x12 speakers. Footswitch. Normal channel reminds me of my old Twin Reverb – super squeaky clean!!! Fun combo: A-B/Y this amp with the brother ‘66 Pro Reverb… I don’t know what to call it, but it sounds so cool!!! Fender pro reverb 1966
Unreal! No master volume – you only get one knob to play with. Go nuts! Go insane! Ahhh!!!!! The reverb is bigger than an Olympic sized pool – surf factor is way beyond legal. Two independent channels (like the Twin) . All hand-wired, all tube (even the rectifier), two 12” Jensen - Fender speakers (one is original, the other is “original” to 1967…) and at 40 watts of tube power, look out! Almost enough gig power, but suited just as well for a longer life of studio work. Tone breaks up nicely (unlike the Twin) for most guitars, right around ¾ of output where it won’t get louder, just “muddy-er” Great amp for that natural tube compression where the tone begins to get thick, like late 1960’s rock, where it retains the warmth without all that modern-day crispy crackle. FENDER VIBRO CHAMP XD
This is the smallest chunk of sound I own… While not big enough to join the band, the Vibro Champ makes a great practice, rehearsal, or, recording amp. With sixteen digital voice options, five digital effects and pre-post tubes, this amp creates enough quality sound for studio time when isolated tracks are in need. Several things I recommend when using this amp: put NEW strings on the guitar, only use it for leads, and play in a solo in a sound booth. Microphones matter too – choose them based upon what your studio tech recommends for small Other Specs: 1x12AX7A pre-amp tube and 1x 6V6GT amps as this is one of those amps where delivering 5WT output through an 8” Fender Special you will WANT to hear all of the cool Vintage Modified Design speaker. subtle errors in your playing. (play “scrappy” leads) Fender excelcior pro
“Pawn shop special”, as proclaimed by the Fender marketing execs… Huge 15” monster tone Eminence Legend speaker does just that, with a Tone switch (yup… Bright/Dark)) and a single volume. The effect is a variable rate Tremolo at a fixed output/depth. Another throw-back are the three ¼” inputs for Guitar, Microphone and… Accordion!!! Why I like it: It sounds unique due to the huge speaker and keeps the creative thoughts flying through my head with those red hot vacuum tubes. A Other specs: Its surf green. Dual 12AX7 preamp tubes and dual 6V6 output tubes, three favorite due to unique tone individually optimized inputs. on the first date… Fender vaporizer This is one of two “Pawn Shop Specials” here, where their idea was to create a totally unique soup-to-nuts tube amplifier design not common in the current marketplace, make a thousand or so over the course of a year, then, end the line. The Vaporizer is garage band- style amp featuring a 2x12” configuration, has two inputs (normal and bright) and simple controls for Volume (no master volume control), Tone and Reverb. It’s the weirdest wet-tunnel reverb ever. In fact, the user may even turn off the volume and just play in the reverb tank (2% volume) which is best Other Specifications: 12w, two x 12AX7; described as if you were dropped into an two x 6BQ5/EL84 tubes, Internal speaker enormous empty stainless steel wine barrel. disconnects to allow the amp's 1/4" output to be used with external 8Ω speaker Such a unique and totally 1960’s sounding enclosures, Speakers: 2x10" Special Design effect. It has lots of early clean and then Vaporizer speakers, “Wedge” pedal crunches big in hi-gain volume. volume boost. No distortion pedals needed here – already included is the VAPORIZER pedal that bypasses the volume settings all together and goes full-throttle volume- boost insane, as-in beyond “10”. Hey, do you think Budweiser suggested the front grille design??? Vox ac15 classic
Could not resist the tones on the newer VOX AC15 Classic, which are truly great for recording. This amp may be able to handle small gigs and mic’d for larger ones, but it hits it’s mark in the studio regime for certain with a nicely clean-to-broken up tone in the Normal channel and the unmistakably VOX Top Boost tones. Trem and Reverb on board are very smart and crisp. I love this amp – It plays as if it were designed for studio work and offers the classic overtones that were so prevalent in Other specs: Valve/tube complement: 2 x rock between 1964 and 1972. EL84/6BQ5 & 2 x 12AX7/ECC83, one Sometimes it is great to have a Celestion/VOX 12”, 15wt/8ohm speaker, million tone options – sometimes it is footswitch. better to have many options with just a few effective controls… the VOX AC15. VOX AC15hw (HAND WIRED) Define or redefine tone today with an unusual amp whose sole purpose is to take whatever instrument that you are holding in your hands and basically make it… “more”. More Les Paul, Telecaster, SG, R-360… Just “more”. The HW series amps are no-frills, tube- tweaker delights. Most old-school hand wired amps had no master volume… VOX has installed a MV kill switch, just so you throwbacks can get excited with a single volume knob, if that is what floats your boat. A foot switch controls Other specs: One 12” Celestion Alnico Blue channel switching between (you speaker, The preamp uses three classic guessed it!) “Normal” and “Top ECC83/12AX7 tubes. The power stage a duet of Boost” channels. The Alnico Blue EL84 tubes. The VOX Hand Wired Series use a tube rectifier, an EZ81 tube. Channel switching speaker delivers a bell-top high end pedal. with natural compression and dampened warmth below. JET CITY 333 JCA20 HEAD & Bugera 212bk cab
The Jet City 333 Head, created by Mike Saldano himself, is a straight-up 20wt Class A head featuring old-school raw tube tone provided by a Master Volume, Gain, 3 EQs and Presence. 8ohm output and Standby mode. Why I like it: Great recording amp for those looking for the late seventies to late eighties tube tones. Really sensitive tone controls.
The Jet City head came with a single 12” cabinet – way too thin. After searching for a 2x12 cab for the Jet City, I became attached to this Vintage Series 140wt Bugera, which receives either 4/16ohm mono or 8ohm stereo output. This is a well-engineered cabinet from both a tone and vibration perspective. Marshall CLASSIC 5 head Faithfully reproduces the tones featured on great albums from the early classic rock era… Don’t let the 5WT fool you – it will easily fill a room with wonderful broken-up natural old- school Marshal distorted tone! Most reminiscent of the late 1960’s Plexi head, when compared to other Marshall tones. Many who have discovered this call it the “mini-Plexi”. Play it through a Marshall 1960A or B 4x12 cab - ‘cause that’s what I do! Unreal!!! Loves pedals – try a “wah” pedal and find yourself in a white room Other specs: Dual 12AX7 preamp with black curtains at the station… Try tubes and a single EL84 power amp the Electro Harmonix line boost pedal tube. Single output./input. (LPB-1) because it too faithfully replicates the late 1960’s overdrive tones that match the amp’s design. Marshall 1974x handwired Classic rockers must-have item… the tone-vibe that moved a generation into the mid to late 1960s and set the bar from that point forward – the 1974X, which closely matches the tones of the “Blues Breaker” amp of that era. Produced from 1965-1968, it was primarily used as a studio amp while the larger Marshall valve heads found their way on stage. Most rocker wanna-be’s don’t get it because THIS IS YOUR FATHER’S OLDSMOBILE! Like any great vintage tube amp, you need to listen closely as you make SMALL control input changes on both the guitar and amp to get your tone right for the project – no presents for the Gen Y user. It is Other Specs: 18W 1x12 Combo Amp hand-wired so changes are subtle to sudden. comes with 2 EL84 tubes in the power amp, 3 ECC83s in the preamp, an EZ81 Includes tremolo. One volume, like the Class 5 rectifier tube, and features valve-driven head also featured here – wind it up until you tremolo. A proprietary, aged reissue of find your tone. Like most quality tube amps, you the 20W, ceramic magnet Celestion T1221 speaker used in the original adds can find great clean tones too. The range I to the Marshall 1974X's tonal enjoy is where the aggressiveness of the pick authenticity. on the strings determines how muddy the tones emerge. Marshall jcm 900 dual reverb Killer ½ stack of classic rock tone featuring 50 watts of Marshall HiGain tube tone. Two channels, each having their own reverb. Footpedal and single input on face. Master and Gain knobs per channel and shared 4 channel EQ… The cabinet is what makes it a Marshall, though. Without the 1960A/B cabinets, the sound is just not a Marshall. Such great fun! The Model 4500 is studio friendly with a “downshift” to 25wt mode if desired, and has that tone everybody else tries to copy. Why I like it: This amp can provide a late 1960’s distorted sound on the clean channel when maxed out. The distorted channel really delivers a steady rumble of any level of Marshall distortion you care for when in the mood. Loves effects –
“tones/feels” won’t get lost. Spend most Other Specs: Select down to 25wts, FX loop, and my time on the clean channel – actually features 3xEEC 83 preamp control tubes and 2x5881 gives a good jazz tone too! output tubes. PEAVEY CLASSIC VTX 1981 In November of 1981, I bought my first VTX. The output is all tube, the front end is solid state. Many great jazz and metal tones may be derived with the numerous tone variations such as Saturation and Post Gain. Strangely, it does an incredible job at giving life to country and jazz- style picking too.... The reason why it is a “game changer” has nothing to do with it’s interesting pre and post configurations – it’s the built-in phase shifter that makes this an indispensable amp and thereby earning a permanent place in my collection. The phaser itself is nothing more than a typical everyday unit with “rate/amount” input, HOWEVER, it produces an incredibly broad analog range, and, by pulling out on the “rate” Other specs: 65wt output, 4x6L6 tubes, spring reverb. Footswitch for: reverb, knob (stopping the phase loop) the now channel and phase shifter. 2x12 Scorpion mystified user may slowly dial in any tone on the speakers. phase spectrum that stimulates that nerve in your brain that says “this is just way too cool!!!”, and keep it there. Jimmy Page – eat your heart out! Coolest filtering on the planet, by far… Epiphone so-cal 50 One day I decided to just try this at a favorite local independently owned music store – brought it home that same day. May be used in either a 25 triode or 50 watt configuration (selector switch on back side). 412 cab featuring Eminence Vintage speakers. The So- Cal is a class AB amplifier. Monster tone controls really are sensitive – the knobs themselves are BIG - that is why I like this amp. You can also cut the entire EQ section out for just raw tone – what an innovation. Reverb is spring. Foot switch for channel/reverb. So many options for tone earned it a place in my personal studio. Some love it for the clean mode. It’s an amp that fits no mould, so if you are trying to create a tone – start here. Nicely sensitive Mid range. It’s overwhelming size means relatively nothing in terms of amount of sound, it simply makes a quality “big” studio amp. The 412 speakers are key as they tell the story well.
Other specs: 4, 6 and 8 ohm outputs. Tubes are EL34’s with DC powered filaments. Yorkville bass master 200
In a pinch for a simple to use but great sounding bass amp? The Yorkville Bass Master 200 of the late 1990’s features a 15” Unity speaker driven by a 150 watts/4ohm rating solid state combo power with contour (great “slap” enhancer!) and limiter control buttons, Bass, Mid, High-Mid, and Treble EQs. Effects loop is a great bonus. Built the way it sounds – like a tank. I use this for live session recording because it can fill a room with distinctive round bass tone without killing the rest of the band… Simply put – it makes bass playing super fun and records very well as a solo piece. While I always am looking for better gear, I have not found anything that does as good of a job as this combo, so it remains (after 12+ years) my longest running go-to bass amp. It loves effect pedals too. Acoustic b100 Bass amplifier
Studio bass from Acoustic – the masters of bass amplification. The B100 is a (you guessed it) 100 watt amp. It can handle any studio work with that clean Acoustic tone which many bassists demand. Moderate gain advancements allows for a distorted but kindly compressed sound – just keep below the speaker limits (“idiot”clip light… as if you can’t hear when it gets to be TOO much!) The Acoustic B100 is a studio go-to amp if you B100 specs: 100W Power output, 15" don’t need the bigger Yorkville speaker, Passive and Active (-15dB) 1/4" input jacks, Effects Loop, Controls/EQ: sound, also featured here. Gain, Volume, Variable Notch Filter, Low, Lo-Mid, Hi-Mid, High Miscellany 1
ELECTRO-HARMONIX ELECTRO-HARMONIX LPB-1 OVERDRIVE LINE ENGLISH MUFFIN ELECTRO-HARMONIX ELECTRO-HARMONIX ELECTRO-HARMONIX Iron SIGNAL BOOST MASTER AND GAIN MINI BIG MUFF HOLY GRAIL REVERB Lung: EH’s VOCODER FEATURING SINGLE VOLUMES, SUSTAINER, FUZZ FEATURING SPRING, EFFECT WITHOUT ALL OF OUTPUT KNOB, ON/OFF TREB/MID/BASS HALL AND “FLERB” DISTORTION. FOOT SWITCH. CONTROLS. TWO THE FANCY COVERED 12AY7 ADJUSTMENTS! VAACUM TUBES.
VOX WAH PEDAL ELECTRA STEREO ANALOGMAN BARBER ELECTRONICS SUPER CLASSIC STANDARD FLANGER 605F COMPRESSOR ANALOG SPORT DISTORTION TOO MANY MODEL ZOOM 506II BASS FOUR CONTROLS: COMPRESSOR BUILT TO ADJUSTMENTS TO LIST HERE! PEDAL 39 EFFECT/AMP SIGNAL SPEED, PERFORM LIKE THE SUPER-COOL BOUTIQUE MODELING PEDAL. DEPTH, SWELL, CLASSIC ROSS TONES… COLOR. COMPRESSORS OF THE Note: We will provide the proper power source/power connectors for each AC unit. 1960’S. Batteries for DC units are the renter’s responsibility. Miscellany 2
IBANEZ AD9 LINE 6 LINE 6 DELAY BOX 20 LINE 6 FM4 ANALOG IBANEZ TS-9 MODULATOR DELAY TYPES, REVERSE MODELER LOTS DELAY THREE TUBE SCREAMER BOX STOMP MODE, DIGITAL LOOP O’FUNKY MODS CONTROLS: BOX 15 SAMPLER TIME/LENGTH, MODULATION REPEAT, TYPES LEVEL.
LIVE WIRE AB/A&B DANELECTRO VIBE (BASIC SWITCH LINE 6 POD 2.0 BOSS BLUES DRIVER UNIVIBE) Note: We will provide the proper power source/power connectors for each AC unit. Batteries for DC units are the renter’s responsibility. Miscellany 3
(MAKE UNKNOWN, BUT IT’S REALLY NICE!) 1949 YORK BEHRINGER 4 INPUT YAMAHA JAZZ DX24 KEYBOARD STAND CORONETT MIXER WITH ON-BOARD EFFECTS
TOCA SYNERGY bongos, no stand. LP Congas includes Stand.