Hello again Fretheads!
From my last post's talk of Marshall Elephant Tolex to another animal themed post. The Pignose Amp. I bought two of these wonders recently. I am talking about the original Pig Nose Amplifier with the Metal Pig's Nose Volume Control on the front...what is now referred to as the P7-100. A design so simple for a battery amp...the open and close mechanism is the tone control...Now that is an uber cool design idea dontchathink?
Time was you couldn't open up a copy of Beat Instrumental or International Musician without seeing the guitar greats we all looked up to backstage or in the studio with a "Piggy" in tow. Oh look there's Frank Zappa at his Cailfornia Studio with a Piggy on the mixing desk. There's Peter Frampton or Joe Walsh or Alex Lifeson or Jeff Beck all with a "Piggy" in the vicinity. Imagine my shock when the current price list came out and the P7-100 is now £129.95!!!! More ominously I haven't seen any for sale secondhand for ages. It looks like they are the kind of iconic original items that have now found their way into everyone's collection and supply has dried up and this is reflected in the price of the new item. If you have one stick hold of it I will be hanging to the two I already have as I sense a great future for the humble "piggy".
Wednesday, September 22, 2010
Orange, Red and Purple Elephants and Levants
Hello Fretheads we are of course talking about Marshall Tolex. Marshall and Park products produced in coloured tolex are on the whole worth more than their plain black counterparts.
This cool little Park 6 watter was one of those made by Marshall for Grattan's catalogue in the late 60's and early 1970's. Between 1967 and the mid 1970's Marshall offered Red, Orange and Purple amps like this little Park right up to the mighty 200w PA amps. This included such cool amps as Mercury's Capri's and of course the so called Plexi's and Master Volumes which makes them pretty collectable indeed. The earlier less pronounced grained Tolex from the late 60's is called Levant, the one with the deeper grain was named naturally 'Elephant'. All in all I think they look pretty cool and def have that retro 60's and early 70's vibe.
If you want to check out the little Park amp its on my website
Until next time fretheads!
This cool little Park 6 watter was one of those made by Marshall for Grattan's catalogue in the late 60's and early 1970's. Between 1967 and the mid 1970's Marshall offered Red, Orange and Purple amps like this little Park right up to the mighty 200w PA amps. This included such cool amps as Mercury's Capri's and of course the so called Plexi's and Master Volumes which makes them pretty collectable indeed. The earlier less pronounced grained Tolex from the late 60's is called Levant, the one with the deeper grain was named naturally 'Elephant'. All in all I think they look pretty cool and def have that retro 60's and early 70's vibe.
If you want to check out the little Park amp its on my website
Until next time fretheads!
Tuesday, September 21, 2010
Flying V's over Leeds
Hello again Fretheads!!!
Well over to Leeds for the annual Wars of the Roses Guitar Show in which I a Lancastrian attempt to tell a Yorkshireman but clearly I can't tell him much! Not a bad show on the whole but I am somewhat at a loss at the Leeds show as I never seem to do well sales wise and end up buying more than I sell. Some lovely stuff on show including some nice old 60's Strat's and an early 60's SG Les Paul.
I did spy on one stand a very nice 70's Flying V but the price was realistic rather than profitable. I DO like the Flying V's and I think this goes back to a mate of mine having one in the 1980's when I had a humble and rather badly made three bolt neck Strat. Yes even during that terrible period in Fender's history I bought the worst example. A hardtail Sunburst one with an unsteady neck. Anyway back to the Flying V! I do love the Flying V shape as I do all the Gibson Modernistic models. I suppose those modern shapes fit in with the vintage retro modern aesthetic of Modern Guitars.
The limited number of V's produced between 65 and 70 and the obvious Hendrix connection mean that values of these guitars have rocketed (if you pardon the pun) in recent years. The change in body design on the 65 and later models to the 'slope shoulder' pattern is, to me, more pleasing to the eye. 1970 to 1974 Gibson V's known as the Medallion Models due to the 'Limited Edition' medallion (in reality a sticker) being added to the front of the body are also becoming sought after. 1975 -1980 V's are less rare and less valuable but still have resonance with players and collectors. After 1980 there were a whole range of designs ending with the V2 (yes you can have V shaped pickups Sir!). Since then the more sought after have tended to be Custom and Historic models recreating the original 1958 Modernistic designs and some signature models.
V's are great guitars that can span blues and metal, They are sought after by collectors and players alike and at the right price represent a bargain....I have seen them sell for as little as £650 for an early 1980's model as people 'fall out' with the shape and go for something a little less 'radical'.
Until next time Fretheads!
Well over to Leeds for the annual Wars of the Roses Guitar Show in which I a Lancastrian attempt to tell a Yorkshireman but clearly I can't tell him much! Not a bad show on the whole but I am somewhat at a loss at the Leeds show as I never seem to do well sales wise and end up buying more than I sell. Some lovely stuff on show including some nice old 60's Strat's and an early 60's SG Les Paul.
I did spy on one stand a very nice 70's Flying V but the price was realistic rather than profitable. I DO like the Flying V's and I think this goes back to a mate of mine having one in the 1980's when I had a humble and rather badly made three bolt neck Strat. Yes even during that terrible period in Fender's history I bought the worst example. A hardtail Sunburst one with an unsteady neck. Anyway back to the Flying V! I do love the Flying V shape as I do all the Gibson Modernistic models. I suppose those modern shapes fit in with the vintage retro modern aesthetic of Modern Guitars.
The limited number of V's produced between 65 and 70 and the obvious Hendrix connection mean that values of these guitars have rocketed (if you pardon the pun) in recent years. The change in body design on the 65 and later models to the 'slope shoulder' pattern is, to me, more pleasing to the eye. 1970 to 1974 Gibson V's known as the Medallion Models due to the 'Limited Edition' medallion (in reality a sticker) being added to the front of the body are also becoming sought after. 1975 -1980 V's are less rare and less valuable but still have resonance with players and collectors. After 1980 there were a whole range of designs ending with the V2 (yes you can have V shaped pickups Sir!). Since then the more sought after have tended to be Custom and Historic models recreating the original 1958 Modernistic designs and some signature models.
V's are great guitars that can span blues and metal, They are sought after by collectors and players alike and at the right price represent a bargain....I have seen them sell for as little as £650 for an early 1980's model as people 'fall out' with the shape and go for something a little less 'radical'.
Until next time Fretheads!
Monday, September 6, 2010
Tonewoods Part 1
Hi there Twang Kings and Fret Queens
There is much speculation about the way that Ash and Alder bodies affect tonality. In fact masses have been written about the subject in vintage guitar books and magazines. The often neglected tonal/tonewood element is however, the neck and board. Maple Board on Maple or Rosewood Board. The added snap and bite from a maple neck isn't always a given. Neither is the "truth" that rosewood boards are somehow mellower. I have had strats and teles with maple boards that have been how shall we say quite "refined" tonally. Laid back almost!...Equally I have had rosewood board guitars that are lively and have an incredible tonal "snap" to them. You may have noticed the use of inverted commas as my opinions are highly subjective and therein lies the problem. One guitarist's twang heaven is another player's "shrill hell".
Until next time Fret Heads!
Arrive Durci!
There is much speculation about the way that Ash and Alder bodies affect tonality. In fact masses have been written about the subject in vintage guitar books and magazines. The often neglected tonal/tonewood element is however, the neck and board. Maple Board on Maple or Rosewood Board. The added snap and bite from a maple neck isn't always a given. Neither is the "truth" that rosewood boards are somehow mellower. I have had strats and teles with maple boards that have been how shall we say quite "refined" tonally. Laid back almost!...Equally I have had rosewood board guitars that are lively and have an incredible tonal "snap" to them. You may have noticed the use of inverted commas as my opinions are highly subjective and therein lies the problem. One guitarist's twang heaven is another player's "shrill hell".
Until next time Fret Heads!
Arrive Durci!
Friday, July 30, 2010
Fender Built by Mexicans Played by...Snobs!?
Hi there fret heads...
I have been keeping my eye on Mexican Fender's at the moment. I have recently had one offered and it is/was a truly lovely guitar... foam green. I have to admit to being a US Guitar snob and certainly with sales and buys pretty thin on the ground in these recessionary times I have "stuck to the knitting" with regard to US Instruments.
One guitar recently changed my mind. I have bought in a cream coloured maple board California Series Telecaster with Humbucker at the neck. A 1990's one....regular readers will know my love of 1980's and 1990's Fenders in custom colours. But this is great!!!! A real knockout! The Cal series guitars are a bit like the Road Worn ones now....made in Mexico but they were assembled in the US and have that all important Made in The USA mark on the headstock. Apparently the bodies were routed and sprayed in Mexico then a cross border switcheroo meant they were assembled in the good old USA ...mine has a Corona Neck plate too...bonus!
After all anyone who has read any of the histories of Fender's early day will note Abigail Ybarra, Tadeo Gomez and a host of other Mexican names working at the Fullerton plant. So I guess you can say that the best Fenders have always been made by Mexicans!
This one has an AMXN serial number and is a true players guitar that wont lose its value but will give good service with that great Humbucker at the neck a la Andy Summers....pictures up on the website soon....
Until next time Los Twang Wrestlers!
I have been keeping my eye on Mexican Fender's at the moment. I have recently had one offered and it is/was a truly lovely guitar... foam green. I have to admit to being a US Guitar snob and certainly with sales and buys pretty thin on the ground in these recessionary times I have "stuck to the knitting" with regard to US Instruments.
One guitar recently changed my mind. I have bought in a cream coloured maple board California Series Telecaster with Humbucker at the neck. A 1990's one....regular readers will know my love of 1980's and 1990's Fenders in custom colours. But this is great!!!! A real knockout! The Cal series guitars are a bit like the Road Worn ones now....made in Mexico but they were assembled in the US and have that all important Made in The USA mark on the headstock. Apparently the bodies were routed and sprayed in Mexico then a cross border switcheroo meant they were assembled in the good old USA ...mine has a Corona Neck plate too...bonus!
After all anyone who has read any of the histories of Fender's early day will note Abigail Ybarra, Tadeo Gomez and a host of other Mexican names working at the Fullerton plant. So I guess you can say that the best Fenders have always been made by Mexicans!
This one has an AMXN serial number and is a true players guitar that wont lose its value but will give good service with that great Humbucker at the neck a la Andy Summers....pictures up on the website soon....
Until next time Los Twang Wrestlers!
Wednesday, May 19, 2010
Making You an Offer You Can't Refuse
Hello Fret Kings and Queens!
Mooching around on my fave online classified ad sites and I am amazed by the number of guitars of a vintage hue on there where people are asking for 'offers'. This seems to be a trend possibly exacerbated by the closure of Music Ground's two Northern stores. The guitar sellers cry of "But its £2500 in Music Ground!" has been replaced by "Make me an Offer!". It is as if no-one can fix a price point anymore!
There is a counter to the old Caveat Emptor saying of - let the buyer beware and that's Caveat Venditor - let the seller beware! Quite clearly no-one has a clue where vintage and quality guitar prices are going to land at the moment. There are too many variables around at present although my recent experience at the Northern Guitar Show suggests that buyers and sellers ARE doing deals again!
The make me an offer thing is a conundrum though. Do the sellers who bring guitars along to shows or advertise them think a dealer is going to have a sudden fit of generosity and make a hugely 'over the top' offer. They also seem genuinely insulted when a dealer makes a realistic market based offer...or even a cheeky one! I usually work around the 'what price did you have in mind' at which point they blurt out their price expectation! Why not just start from that and work around it instead of this ridiculous 'fandance'. I used to have a friend in the used car trade who as he put it - knocked the price offered down by 5% for every half hour of his time the seller wasted. I am not sure you can be that harsh in the vintage guitar market but if you are coming to do business with me have a price sorted out in your head! Please!
Until next time fretheads!
Mooching around on my fave online classified ad sites and I am amazed by the number of guitars of a vintage hue on there where people are asking for 'offers'. This seems to be a trend possibly exacerbated by the closure of Music Ground's two Northern stores. The guitar sellers cry of "But its £2500 in Music Ground!" has been replaced by "Make me an Offer!". It is as if no-one can fix a price point anymore!
There is a counter to the old Caveat Emptor saying of - let the buyer beware and that's Caveat Venditor - let the seller beware! Quite clearly no-one has a clue where vintage and quality guitar prices are going to land at the moment. There are too many variables around at present although my recent experience at the Northern Guitar Show suggests that buyers and sellers ARE doing deals again!
The make me an offer thing is a conundrum though. Do the sellers who bring guitars along to shows or advertise them think a dealer is going to have a sudden fit of generosity and make a hugely 'over the top' offer. They also seem genuinely insulted when a dealer makes a realistic market based offer...or even a cheeky one! I usually work around the 'what price did you have in mind' at which point they blurt out their price expectation! Why not just start from that and work around it instead of this ridiculous 'fandance'. I used to have a friend in the used car trade who as he put it - knocked the price offered down by 5% for every half hour of his time the seller wasted. I am not sure you can be that harsh in the vintage guitar market but if you are coming to do business with me have a price sorted out in your head! Please!
Until next time fretheads!
Sunday, May 9, 2010
Firebird Sweet!
Hello again Fret Kings and Twang Queens
What balls! I am talking about Gibson's management in 1963 the year old Mr Modern was born incidently. To launch the Gibson Firebird after the failure of the Modern series V and Explorer took 'mucho cohones'.
I really don't know why I like the Firebird so much after all I have owned two both of them 1976 Bicentennial and both were horrible. Incidently I sold the first one to the sadly missed Steve Clark formerly of Def Leppard.
The first Firebird's however were especially handsome guitars, whilst the second generation models, how can I say this had a style only a mother could love.
Gibson produced 2800 of the superb neck through body instruments and was available in ten custom colours, my own favourite being Kerry Green or Pelham Blue or Cardinal Red! Its all good!
Until next time Fretheads!
What balls! I am talking about Gibson's management in 1963 the year old Mr Modern was born incidently. To launch the Gibson Firebird after the failure of the Modern series V and Explorer took 'mucho cohones'.
I really don't know why I like the Firebird so much after all I have owned two both of them 1976 Bicentennial and both were horrible. Incidently I sold the first one to the sadly missed Steve Clark formerly of Def Leppard.
The first Firebird's however were especially handsome guitars, whilst the second generation models, how can I say this had a style only a mother could love.
Gibson produced 2800 of the superb neck through body instruments and was available in ten custom colours, my own favourite being Kerry Green or Pelham Blue or Cardinal Red! Its all good!
Until next time Fretheads!
Wednesday, February 17, 2010
Open Back v Closed Back
Well fret heads this week I am not talking Mrs Modern's choice of dresses but tuners. It is a generally accepted that closed back tuners are better in some way. There are some great and iconic tuners such as the Grover Imperials. I will let you into a little secret check out many of Steve Howe's guitars when next you see him performing with Yes or the Steve Howe Trio. He retro-fits Imperials to many of his Gibson's and they look and I assume perform like the very thing.
But the open back v closed back issue is an interesting one. The need for a cover to protect from dust and damage is a bit of a moot point. After all its better to have access and open backs can be easily cleaned with graphite or a non sticky lubricant. The price issue is an interesting one too. Student instruments usually have cheaper open back tuners whilst Strat's, Tele's usually have closed back Klusons or retro fitted Grovers.
One tip though twang kings and queens... if you do swap your tuners for something more aesthetically pleasing or functional don't go selling the originals on Ebay will you.
Until next time my little riffsters and "strum"pets!
But the open back v closed back issue is an interesting one. The need for a cover to protect from dust and damage is a bit of a moot point. After all its better to have access and open backs can be easily cleaned with graphite or a non sticky lubricant. The price issue is an interesting one too. Student instruments usually have cheaper open back tuners whilst Strat's, Tele's usually have closed back Klusons or retro fitted Grovers.
One tip though twang kings and queens... if you do swap your tuners for something more aesthetically pleasing or functional don't go selling the originals on Ebay will you.
Until next time my little riffsters and "strum"pets!
Tuesday, January 19, 2010
60's Telecaster v Les Paul v Kramer DMZ
OK So I agree its not a fair contest but...it says something about tonal characteristics and the way that tone and our perception of tone is affected by perceptions of value.
If you regard a nice well played in pre-CBS Telecaster as being a super cool super playable guitar as being the peak of guitar construction and tonal excellence (and there are lots that do!) then think for a moment about its construction. Slab alder or ash body, maple neck, "monkey metal" chromed plate bridge and those rinky dink single coil pickups. Put up against any older Les Paul ( and I am not talking $250,000 59 Standards) and the the tonal characteristics should be obvious. But which is more unique ? Which guitar will more allow the characteristics of the player the shine through? No in any book weight = sustain and density and mass = ultra sustain. But why then do the 1970's guitars with heavy bodies, over glazed necks and lumpy brass parts weighing 14lbs not sustain way beyond what the other two guitars do. Especially reference this telecaster again at this point...it really is the best of both worlds; or you could buy in one with a retro or factory fitted Bigsby and go for an optimum mix of the two sets of sometimes conflicting ideas!
If you regard a nice well played in pre-CBS Telecaster as being a super cool super playable guitar as being the peak of guitar construction and tonal excellence (and there are lots that do!) then think for a moment about its construction. Slab alder or ash body, maple neck, "monkey metal" chromed plate bridge and those rinky dink single coil pickups. Put up against any older Les Paul ( and I am not talking $250,000 59 Standards) and the the tonal characteristics should be obvious. But which is more unique ? Which guitar will more allow the characteristics of the player the shine through? No in any book weight = sustain and density and mass = ultra sustain. But why then do the 1970's guitars with heavy bodies, over glazed necks and lumpy brass parts weighing 14lbs not sustain way beyond what the other two guitars do. Especially reference this telecaster again at this point...it really is the best of both worlds; or you could buy in one with a retro or factory fitted Bigsby and go for an optimum mix of the two sets of sometimes conflicting ideas!
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