Vox Guitar Serial Number Dating Seagull
See jedistar DOT com for a guide to vintage guitar, amplifier, effects and drum dating. Jedistar is a massive collection of musical instrument resources and links. Tags: Vintage guitar Serial number Guitar dating. Have something to share? Create your own guide. Write a guide. Based in Australia, carrollpp has.
Mar 21, 2013. I can still take it back if it is. I just need to know. Here are some pictures, the first being of the serial number. Let me know what you all think! Image Orange Rockerverb 100. Vox AD120VTH w/ AD212 Gibson Firebird V Fender Telecaster Seagull and Ovation Acoustic Electrics. The secrets of date codes, serial numbers, and serial number plates are revealed. Dating AC50s. Serial numbers, unfortunately, are not a wholly reliable means of dating early AC50s, that is to say, amps made from December 1963 to mid 1965. Wait, $1600 for a Vox from the 60s with original speakers? You'd pay that much for a carcass and cab.
A wah-wah pedal (or simply wah pedal) is a type of electric guitareffects pedal that alters the tone and frequencies of the guitar signal to create a distinctive sound, mimicking the human voice saying the onomatopoeic name 'wah-wah'. The pedal sweeps the peak response of a frequency filter up and down in frequency to create the sound, a spectral glide, also known as 'the wah effect'. The wah-wah effect originated in the 1920s, with trumpet or trombone players finding they could produce an expressive crying tone by moving a mute in and out of the instrument's bell. This was later simulated with electronic circuitry for the electric guitar when the wah-wah pedal was invented. It is controlled by movement of the player's foot on a rocking pedal connected to a potentiometer. Wah-wah effects are used when a guitarist is soloing, or creating a 'wacka-wacka' funk-styled rhythm for rhythm guitar playing.[1]
An envelope filter or envelope follower is often referred to as an auto-wah.
History[edit]
The first wah pedal was created by Bradley J. Plunkett at Warwick Electronics Inc./Thomas Organ Company in November 1966. This pedal is the original prototype made from a transistorized MRB (mid-range boost) potentiometerbread-boardedcircuit and the housing of a Vox ContinentalOrganvolume pedal. The concept, however, was not new. Country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late 1950s recordings of 'Hot Toddy' and 'Slinkey'. Jazz guitarist Peter Van Wood had a modified Hammond organ expressionpedal; he recorded in 1955 a version of George Gershwin's 'Summertime' with a 'crying' tone, and other recordings including humorous 'novelty' effects. A DeArmond Tone and Volume pedal was used in the early 1960s by Big Jim Sullivan, notably in some Krew Cats instrumental tracks, and in Dave Berry's song 'The Crying Game'.
The creation of the modern wah pedal was an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in 1966. Warwick Electronics Inc. also owned Thomas Organ Company and had earlier entered into an agreement with Jennings Musical Instruments (JMI) of England for Thomas to distribute the Vox name and products in the United States. In addition to distributing the British-made Vox amplifiers, the Thomas Organ Company also designed and manufactured much of the Vox equipment sold in the US The more highly regarded British Vox amplifiers were designed by Dick Denney and made by JMI, the parent company of Vox. Warwick assigned Thomas Organ Company to create a new product line of solid state Vox amplifiers called Vox Amplifonic Orchestra, which included the Super Beatle amplifier, named to capitalize on the Vox brand name's popularity in association with the Beatles, who used the JMI English Vox amplifiers such as the famous Vox AC30 (although the Beatles did use several American-made Super Beatle units on their 1966 US tour). The US-made Vox product line development was headed by musician and bandleader Bill Page. While creating the Vox Amplifonic Orchestra, the Thomas Organ Company decided to create an American-made equivalent of the British Vox amplifier but with transistorized (solid state) circuits, rather than vacuum tubes, which would be less expensive to manufacture. During the re-design of the USA Vox amplifier, Stan Cuttler, head engineer of Thomas Organ Company, assigned Brad Plunkett, a junior electronics engineer, to replace the expensive Jennings 3-position MRB circuit switch with a transistorized solid state MRB circuit.
Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ (an electric solid state transistorized organ) to duplicate the Jennings 3-position circuit. After adjusting and testing the amplifier with an electronic oscillator and oscilloscope, Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher, noticed the sound effect caused by the circuit. Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier. John Glennon, an assistant junior electronics engineer with the Thomas Organ Company, was summoned to bring a volume control pedal which was used in the Vox Continental Organ so that the transistorized MRB potentiometer bread-boarded circuit could be installed in the pedal's housing. After the installation, Page began playing his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc./Thomas Organ Company, to listen to the effect. At this point the first electric guitar was plugged into the prototype wah pedal by guitarist Del Casher who suggested to Joe Banaron that this was a guitar effects pedal rather than a wind instrument effects pedal. Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Page rather than for the electric guitar as suggested by Casher. After a remark by Casher to Banaron regarding the Harmon mute style of trumpet playing in the famous recording of 'Sugar Blues' from the 1930s, Banaron decided to market the wah-wah pedal using Clyde McCoy's name for endorsement.
After the invention of the wah pedal, the prototype was modified by Casher and Plunkett to better accommodate the harmonic qualities of the electric guitar. However, since Vox had no intention of marketing the wah pedal for electric guitar players, the prototype wah-wah pedal was given to Del Casher for performances at Vox press conferences and film scores for Universal Pictures. The un-modified version of the Vox wah pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal.
Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, and Brad Plunkett to write and submit the documentation for the wah-wah pedal patent. The patent application was submitted on February 24, 1967, which included technical diagrams of the pedal being connected to a four-stringed 'guitar' (as noted from the 'Description of the Preferred Embodiment'). Warwick Electronics Inc. was granted U.S. Patent 3,530,224 ('foot-controlled continuously variable preference circuit for musical instruments') on September 22, 1970.
Early versions of the Clyde McCoy featured an image of McCoy on the bottom panel, which soon gave way to only his signature. Thomas Organ then wanted the effect branded as their own for the American market, changing it to Cry Baby which was sold in parallel to the Italian Vox V846. Thomas Organ's failure to trademark the Cry Baby name soon led to the market being flooded with Cry Baby imitations from various parts of the world, including Italy, where all of the original Vox and Cry Babys were made.[3] Jen, who had been responsible for the manufacture of Thomas Organ and Vox wah pedals, also made rebranded pedals for companies such as Fender and Gretsch and under their own Jen brand. When Thomas Organ moved production completely to Sepulveda, California and Chicago, Illinois these Italian models continued to be made and are among the more collectible wah pedals today.
Cream and Jimi Hendrix[edit]
Some of the most famous electric guitarists of the day were keen to adopt the wah-wah pedal soon after its release. Among the first recordings featuring wah-wah pedal were 'Tales of Brave Ulysses' by Cream with Eric Clapton on guitar and 'Burning of the Midnight Lamp' by the Jimi Hendrix Experience,[4] both released in 1967. Hendrix also used wah wah on his famous song Voodoo Child, in intro and in soloing. Clapton, in particular, used the device on many of the Cream songs included on their second and third albums, Disraeli Gears (1967) and Wheels of Fire (1968) respectively. Clapton would subsequently employ it again on 'Wah-Wah', from his good friend George Harrison's solo album All Things Must Pass, upon the dissolution of The Beatles in 1970. Another prominent use occurred in the recording of 'Crimson and Clover' by Tommy James and the Shondells in late 1968, with the single version eventually reaching number one in early 1969. Terry Kath, lead guitarist for the band Chicago, used it on many of their early recordings as well. Martin Barre, lead guitarist for the fledgling Jethro Tull, also employed it to great effect on their second album Stand Up, particularly on 'We Used to Know' and 'Look into the Sun'. Jimmy Page featured the wah-wah pedal on several songs from the final Yardbirds album Little Games, as well as the solo on the Led Zeppelin song 'Custard Pie', and throughout 'Trampled Under Foot', both from Physical Graffiti. Tony Iommi used it on the songs 'Black Sabbath', 'The Wizard' and Geezer Butler (Bass) 'N.I.B.' from their self-titled debut album, 'Electric Funeral' from Paranoid album. He also employed it on later recordings, such as 'Shock Wave' on Never Say Die! (1978), 'Lady Evil' from the first Ronnie James Dio-era album Heaven and Hell (1980), and 'Turn Up the Night' on the subsequent Mob Rules (1981).
The wah-wah pedal was revived in the British music industry in the late 1980s by John Squire of The Stone Roses whose squelching licks graced most of the Roses songs from 1988 to 1990, particularly 'Elephant Stone', 'Waterfall' and in particular 'Fools Gold'. By the late 80s Squire had tired of the overly angular guitar riffs which dominated British music and had bought a wah wah pedal to soften the Roses sound. The wah would also be used by the Roses contemporaries such as the Happy Mondays and The Charlatans [UK], and became one of the defining sounds of British guitar music in the late 80s/early 90s.
Other functions[edit]
In addition to rocking the pedal up and down to crest a spectral glide, another function of the pedal is to use it in a fixed position. A guitarist using the wah in this way selects a position on the wah pedal and leaves the pedal there. Depending on the position of the pedal, this will boost or cut a specific frequency. This can be used for emphasizing the 'sweet spot' in the tonal spectrum of a particular instrument. One electric guitar player to use the pedal in this way was Jimi Hendrix, who revolutionized its application by combining a Fender Stratocaster with stacked Marshall Amplifiers (in both static and modulated mode) for lead and rhythm guitar applications unheard of before then. According to Del Casher, Hendrix learned about the pedal from Frank Zappa, another well-known early user.[5][6]
Milestones of this signature guitar and amplifier combination include songs such as 'Voodoo Child (Slight Return)' as well as the 'Star Spangled Banner' which was played by Hendrix at Woodstock in 1969. Mick Ronson used a Cry Baby for the same purpose while recording The Rise and Fall of Ziggy Stardust and the Spiders from Mars.[7]Michael Schenker also utilized the pedal in his work.[8]
Another famous style of wah-wah playing is utilizing it for a percussive 'wacka-wacka' effect during rhythm guitar parts. This is done by muting strings, holding down a chord and moving the pedal at the same time. This was first heard on the song 'Little Miss Lover' (1967) by the Jimi Hendrix Experience. One of the most famous uses of this effect is heard on Isaac Hayes's 'Theme from Shaft' (1971), Charles Pitts playing the guitar.[9]The 'wah-wah' and 'wacka-wacka' effects are often associated with the bands on 1970s TV variety shows, like those of Sonny and Cher, Flip Wilson, or Donny and Marie Osmond; or with the soundtracks of pornographic films, the sound referenced in TV commercials for Axe body spray as 'bow chicka wow wow.'
David Gilmour (Pink Floyd) used the pedal to create the 'whale' effect during Echoes. He discovered this effect as a result of a roadie accidentally plugging his guitar into the output of the pedal and the input being plugged into his amp. The effect was first used during live performances of The Embryo during 1970 but was then switched into Echoes as it was being developed before being released on the Meddle album on 31 October 1971.[10]
Other instruments[edit]
Many bassists have also used the wah-wah effect, for example Michael Henderson on Miles Davis's album On the Corner (1972). Funk band Kool and the Gang, B.T.Express, and Jimmy Castor Bunch used Wah-wah pedal also. Bassist Cliff Burton of Metallica used a Morley Wah pedal (along with a Big Muff Distortion) extensively, including on '(Anesthesia) Pulling Teeth', which is a bass solo recorded for Kill 'Em All (1983), and 'The Call of Ktulu' and 'For Whom the Bell Tolls', both recorded for Ride the Lightning. Geezer Butler, bassist of Black Sabbath, used it when playing his solo 'Bassically', along with the bass line in 'N.I.B.'. Chris Squire of Yes used a wah-wah pedal on his solo piece 'The Fish' on the album Fragile. While wah pedals are less popular as a bass effect, various companies now offer pedals designed specifically for bass guitars.
Many steel guitar players use a wah-wah, such as Robert Randolph from the Robert Randolph and the Family Band.
Melvin Ragin, better known by the nickname Wah Wah Watson, was a member of the Motown Records studio band, The Funk Brothers, where he recorded with artists such as The Temptations 'Papa was a Rolling Stone', Marvin Gaye 'Let's Get It On', The Jackson 5, The Four Tops, Gladys Knight & The Pips, and The Supremes, Undisputed Truth 'Smilin' Faces'.[11] He played on numerous sessions in the 1970s and 1980s for many top soul, funk and disco acts, including Herbie Hancock.
Keyboardists have also made use of the wah-wah effect both in the studio and during live performances. Garth Hudson famously used a wah-wah pedal on a clavinet in The Band's song 'Up on Cripple Creek' to emulate a jaw harp. Rick Wright of Pink Floyd played a Wurlitzer electric piano through a wah-wah pedal in their song 'Money' to give the impression of many consecutive chords being played. Jordan Rudess of Dream Theater made an extensive use of the wah-wah pedal on Dream Theater's album Train of Thought. John Medeski of Medeski, Martin, and Wood uses a wah pedal with his clavinet.
Many jazz fusion records feature wind and brass instruments with the effect - Miles Davis's trumpet being a well-known example. Davis first used this technique in 1970 (at concerts documented on Live-Evil and The Cellar Door Sessions) at a time when he also made his keyboard players (Keith Jarrett and Chick Corea) play electric pianos with a wah-wah pedal. Napoleon Murphy Brock played a saxophone amplified through a wah-wah pedal in the Frank Zappa movie The Dub Room Special, as well as on some of Zappa's albums. David Sanborn can be heard playing an alto saxophone modified by a wah-wah pedal on the David Bowie album Young Americans. Noted saxophonist King Curtis was also known to use a wah-wah pedal. Dick Sims, the keyboard player with Eric Clapton in the late 1970s, used a Hammond organ in conjunction with a wah-wah pedal, placed on top of the organ and operated by his palm.
The effect is also extensively used with the electric violin. Notable examples are Jerry Goodman with the Mahavishnu Orchestra, and Jean-Luc Ponty, Don 'Sugarcane' Harris and Shankar with Frank Zappa, all usually engaged in long wah-wah violin/guitar duels. Boyd Tinsley of the Dave Matthews Band is known to use a wah-wah pedal live.
See also[edit]
References[edit]
- ^Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 375. ISBN1-904041-96-5.
- ^Heatley, Michael (2009). Jimi Hendrix Gear: The Guitars, Amps & Effects that Revolutionized Rock 'n' Roll. Voyageur Press. p. 105. ISBN978-0-7603-3639-7.
- ^Guitar Player: The Complete Electric Guitar Package
- ^http://www.jimdunlop.com/product/jh1d-7-10137-04796-9.do
- ^Kostelanetz, Richard; Rocco, John M. (1997). The Frank Zappa companion: four decades of commentary. Schirmer Books. p. 94. ISBN0-02-864628-2.
- ^Wallace, Amy (August 6, 2011). 'With a Flip of a Knob, He Heard the Future'. The New York Times. Retrieved November 12, 2012.
- ^Molenda, Michael (August 2012). 'The Genius of Ken Scott'. Guitar Player. p. 149.
- ^Blackett, Matt (October 2004). 'The 50 Greatest Tones of All Time'. Guitar Player. pp. 44–66.
- ^The Boss Book: The Ultimate Guide to the World's Most Popular Compact Effects for Guitar. Hal Leonard. 2002. p. 89. ISBN978-0-634-04480-9.
- ^Riis, Bjørn (2009-10-26). 'Echoes 'seagull' effect tutorial'. Gilmourish. Retrieved 2017-04-06.
- ^http://www.wahwah.com/history
Further information[edit]
- Cry Baby: The Pedal that Rocks the World (documentary, 2011)
Ibanez Guitar Serial Number
The following 134 guitars and amps have been stolen from Fretted Americana in California. If you have any information about the crime, or if someone tries to sell you one of these instruments, please call (818) 222-4113:
Rating Year Make Model serial# Color
9.00 1974 Alembic Series 1 Stereo Bass Waylon Jennings - Jerry 74/73 Natural
9.50 2000 Andreas Fierce Shark 2000 1053 Burned Western Larch
9.50 1999 Breedlove Master Class Grand Concert C25 5975 King Koa
9.50 2001 Carvin Swallowtail AC375 by T. Breeze VerDant 65466 Hawaiian Curly Koa/Mahogany
8.50 2006 Clive Brown '54 Blackguard Telecaster 0472 Butterscotch Blond
9.50 1964 Danelectro Short Horn Standard Model 3022 Bronze over white vinyl
9.25 1966 Danelectro Convertible Model 5005 2126 Woodgrain over white vinyl
9.25 1963 Epiphone Broadway E252N 120765 Natural
9.25 1958 Epiphone Broadway E252 A 1497 Sunburst
8.25 1961 Epiphone Casino E230-T Oliveburst
9.25 1966 Epiphone Casino E230-TD 380003 Sparkling Burgundy Metallic
9.25 1959 Epiphone Century E422T A-2576 Sunburst
9.25 1966 Epiphone Coronet 'Dwight' SB-533 Silver Fox 570326 Silver Fox (translucent green with
8.75 1961 Epiphone B4B Newport Bass 36335 Cherry
9.00 1965 Epiphone Olympic SB 722D 254592 Sunburst
2009 Fender Bassman 250 Type PR597 09004865
9.00 1969 Fender Champ A 17091 Black with silver face
9.00 1966 Fender Coronado ll 249762 Antigua
9.25 1967 Fender Coronado ll 199474 Cherry Red
9.25 1967 Fender Coronado ll 502538 Cherry Sunburst
9.25 1967 Fender Coronado ll 503025 Lake Placid Blue
8.75 1954 Fender Deluxe (Wide-Panel) Amp Model 5B3 6685 Tweed
9.50 1995 Fender Esquire 'Snakehead' Prototype Prototype #1 White
9.50 1968 Fender Jaguar 229804 Candy Apple Red
9.25 1991 Fender '62 Re-Issue Stack-Knob, Slab-Board Jazz Bass V 057239 Olympic White
9.00 1962 Fender Electric Mandolin 01534 Sunburst Three-tone
9.00 1966 Fender Mustang 124581 Daphne Blue
9.25 1972 Fender Mustang 413063 Three-Tone Sunburst
9.00 1971 Fender Competition Mustang 305537 Competition Red with cream
9.25 1966 Fender Mustang 186854 Dakota Red
9.25 1966 Fender Mustang 186031 Dakota Red
9.50 2002 Fender Precision Bass 1968 Reissue (MIJ) P 098184 Blue Floral
9.50 1995 Fender Precision Bass (Fender Custom Shop for Dick CN401515 Chartreuse Sparkle
9.25 1978 Fender Precision Bass S 867926 Antigua
9.50 2005 Fender Stratocaster Custom Shop 1956 Relic R15743 See-Through Blond
9.50 2000 Fender Stratocaster (Hardtail) Fred Stuart 0777 Sunburst Two-tone
9.50 2002 Fender Squier, 20th Anniversary Stratocaster CY02027410 Olympic White
9.50 1992 Fender 'Pearl Jam' Custom Shop Stratocaster V059055 Burgundy Mist
9.25 1972 Fender Stratocaster 354653 Olympic White
9.25 1973 Fender Stratocaster (Hardtail) 524290 Natural
9.50 1979 Fender Stratocaster S 937364 Antigua
9.00 1971 Fender Telecaster 300280 Blond
9.50 1999 Fender Telecaster (Nashville B Bender) N9413028 Candy Apple Red
9.00 1978 Fender Telecaster Deluxe S 807814 Antigua
9.00 1978 Fender Telecaster Custom S 816948 Antigua
9.25 1978 Fender Twin Reverb Amplifier A 970731 Silver face
9.00 1972 Fender Twin Reverb Amplifier A 431287 Silver face
9.50 1986 Fender (Japan) Telecaster Custom '62 A024818 Sunburst Three-tone
9.00 1934 Gibson L-Century (Century of Progress) 897 Sunburst
9.25 1940 Gibson Kalamazoo KGN-12 Flat Top - 14 fret neck 5132G 37 Natural with faux tortoise-shell
9.25 1940 Gibson Kalamazoo KGN-12 Flat Top - 14 fret neck 3220G 18 Natural with faux tortoise-shell
9.50 1982 Gibson Map Guitar 83582001 Natural Mahogany
8.75 1939 Gibson ES-150 CC (first variant) FGE 2208 Chocolate brown with golden
9.25 1962 Gibson ES-120T 50525 Teaburst
Vox Guitar Serial Number Dating Seagulls
8.75 1956 Gibson ES-175N A 22487 Natural
9.25 1968 Gibson Firebird I 'Non-Reverse' 947896 Sunburst
8.75 1935 Gibson L-10 Sunburst
9.00 1957 Gibson L-48 U 2745 33 Tobacco Sunburst
8.75 1960 Gibson Les Paul Junior 3/4 0 3492 Cherry
9.00 1963 Gibson Melody Maker 133536 Sunburst
9.00 1966 Gibson Melody Maker 900231 Pelham Blue with Mahogany Neck
9.00 1960 Gibson Melody Maker 0 7111 Sunburst
9.00 1967 Gibson Melody Maker D 320678 Sparkling Burgundy with Mahogany
9.00 1966 Gibson Melody Maker D 800362 Pelham Blue with Mahogany Neck
9.00 1952 Gibson Super 300 A 10160 Cremona brown
9.25 1964 Gretsch 6125 Anniversary Model 74580 Two-Tone Jaguar Tan and Ivory
9.25 1959 Gretsch 6125 Anniversary Model 31392 Two-Tone Smoke Green
9.25 1962 Gretsch 6117 Double Anniversary Model 50565 Sunburst
9.50 2005 Gretsch G6134 Black Penguin Solid Body (Japan) JT05129199 Black
9.50 2005 Gretsch G6121 Nashville Solid Body (Japan) JD05 011332 Western Orange
9.50 2005 Gretsch G 6120 SSLVO with two original 1960 JT05074509 Western orange
9.25 1961 Gretsch 6132 Corvette Solid Body 44859 Cherry
9.50 2005 Gretsch G6128TCG Duo Jet Solid Body (Japan) JD05 031630 Cadillac Green
9.00 1957 Gretsch 6161 Electromatic Dual Twin Amplifier X 72478 Two-Tone Gray
9.50 2005 Gretsch G6136 Black Falcon (Japan) JT05118317 Black
9.50 2005 Gretsch G6136 White Falcon (Japan) JT05118300 White
Alicia Keys - Try Sleeping With a Broken Heart7. Alicia keys new day mp3 torrent. Alicia Keys - Doesn't Mean Anything9. Alicia Keys - Brand New Me8. Alicia Keys - Empire State of Mind (Part II) Broken Down6. Alicia Keys - De Novo Adagio (Intro)10.
9.00 1957 Gretsch 6131 Jet Firebird 21146 Red Top with Black Back and Sides
9.50 2005 Gretsch G6121W Roundup Solid Body (Japan) JT05 010570 Orange
9.50 2006 Gretsch G6121W Roundup Solid Body (Japan) Orange
8.75 1957 Gretsch 6189 Streamliner 23689 Copper Mist with Bamboo Yellow
9.50 2005 Gretsch G6134 White Penguin Solid Body (Japan) JT05106964 White
9.25 1954 Guild MasterAmp 60 2022
9.50 2010 Henman Mod MOD-002XG Xenia Black Stain (glossy finish)
9.25 1974 Hofner 500/1 'Violin' Bar-Blade Pickup Bass Sunburst
9.25 1954 Hofner Model 463 Acoustic Archtop 27.9.54 Tan spruce with mahogany back
9.25 1958 Hofner Model 457/S/E2 Electro-Acoustic 714 Tobacco sunburst
9.00 1959 Hofner Club 60 Brunette (Selmer) 670 Sunburst
8.75 1960 Hofner 456/S/b Acoustic (fitted with Schaller pickup) 2531 Natural
9.00 1969 Hofner 457/S n/a Sunburst
9.25 1983 Ibanez (Japan) AM-205 Stagemaster I 830130 Burl Mahogany
9.25 1978 Ibanez (Japan) Bob Weir Professional Model 2681NT D 787913 Natural
9.50 1997 Jackson Roswell Randy Rhoads Aircraft Aluminium Guitar RSW 106 Aluminium
9.50 2005 James Trussart Steelcaster - Holey Back - Rusty Steel 05 098 Rust
9.50 2006 James Trussart Steeltop Antique Silver Chinese Dragon 0317 Mahogany/Brushed Silver
9.50 2006 James Trussart Steeltop Antique Silver Chinese Dragon 06 215 Mahogany/Brushed Silver
9.50 2006 James Trussart Antique Silver Chinese Dragon 06 211 Mahogany
9.50 2010 James Trussart Holey-Steelcaster Rastafari Colors 'Ziggy Marley' 10 245 Three-Tone 'Ganja' (Yellow, Green &
9.50 2007 Lentz HSL Buddy Whittington Model Lentz/DB Fiesta Red
9.25 2002 Lentz 'T' Style Signed '52 Blackguard 'Lentz 7/29/02' Blond
9.25 1987 Marshall JCM 25/50 Silver Jubilee Model 2554 12' 02908 Silver Vinyl
9.25 1989 Marshall 4001 Studio 15, 15W 1 x 12' combo X10780 Black Tolex
9.50 2009 Martin D-28 Museum Edition 1941 Guitar & Case 1350038 Mahogany Mesa/Boogie Combo Mk 1
9.00 1973 Mosrite 350 Mono Bass AB 0072 Semi-transparent Wine Red
9.25 1967 Mosrite Melobar Nine String 055 Sunburst Three-tone
9.00 1966 Mosrite Joe Maphis Mark 1 D 381 Natural
9.50 1967 Mosrite Combo Mark 1 H 1147 Translucent red
9.00 1976 Mosrite Bi-Centennial Archtop (Stereo) Natural
9.50 1965 Mosrite The Ventures Mark 1 Double-Neck 6/12 String 2J 309 Sunburst Three-tone
9.25 1986 Mosrite Joe Maphis Double Six string+Octave Guitar PRO 001 Sunburst Two-tone
9.00 1965 Mosrite Joe Maphis Model Double-Neck 6/12 String 2J 359 Natural
9.25 1987 Mosrite The Ventures Model (Hard-Tail) 1X Storm Gray
9.25 1970 Mosrite The Ventures ll Red
9.50 1983 Mosrite The Ventures (Triple-Bound Body Re-Issue) 64010 Sunburst Three-tone
9.50 1961 National Glenwood 95 'Map' T 68492 Vermillion Red
9.25 1975 Ovation Deacon 12-String 1253 E 10290 Mahogany burst
9.50 1997 Paul Reed Smith Artist Series lll (Amber Flame Top) 7 33461 #295 Violin Amber
9.50 1999 Paul Reed Smith McCarty HollowBody Turquoise Maple 10 Top 9 42311 Turquoise with Translucent Sides
9.25 1987 Paul Reed Smith PRS Standard 7 2412 Dark Blue Metallic
9.00 1957 Rickenbacker Model 1000 C150-18 (3/4 size) V 7107 Jet Black
9.00 1966 Rickenbacker 330/12 (two pickups, no vibrato) FL 4231 Mapleglo (Natural)
9.00 1954 Silvertone 1359 Standard 'Peanut' Style Body / Coke XXXX Tan and Ginger Simulated Leather
10.00 Tone Americana EVIL*ROBOT 18/30 Watt Head CLASSIC Vintage brown
10.00 Tone Americana EVIL ROBOT Extension 2 x 12 Cabinet CLASSIC Vintage Brown
10.00 Tone Americana EVIL*ROBOT 2/5/18/30 watt Combo CLASSIC Vintage brown
10.00 Tone Americana EVIL*ROBOT 2/5/18/30 watt Combo CLASSIC Vintage brown 1995 Trace Elliot V-Type V8 400 Head + 2 x 15 500W Bass
9.00 1964 Vox Kent 543877 Red
9.00 1966 Vox Phantom Xll Stereo 300380 Black
9.00 1965 Vox Mark Vl 'Teardrop' (V222) no serial # England White
9.25 1966 Vox Bulldog 267110 Sunburst Three-tone
9.50 2013 Yamaha (Japan) Phil X SG1801PX H1Y506E Piano White