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!
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