Get classic Fender twang with plenty of swagger in tow with the 1973 Telecaster in a blonde finish. Built with a slab ash body and smooth C-shape maple neck, the '70s Teles featured a pair of warm single-coil pickups and string guides for greater precision introduced in the previous year. It's pretty hard to go wrong with a vintage Telecaster in see-through blonde.
* This is a guitar built in 1976 despite the "1978" engraved on the neck plate. This has been confirmed by a serial number search through Fender.
Though many of its features vary from guitar to guitar, the G&L Comanche, across the board, is notable for its unique split Z-Coil pickups. Released in 1998, the Comanche was technically a reissue of earlier Leo Fender models of the '80s, particularly its namesake, the Comanche V. From its release, G&L has offered the Comanche with a wide variety of tonewood choices, neck profile possibilities, and other customizable parts -- which will affect the used prices. The Tribute Comanche offers similar specifications to the USA-made model, but is manufactured overseas for more affordable pricing.
This is a VINTAGE instrument from 1952 being offered in near original condition. The tuners have been replaced using the original grommet screws. There is a visible, significant crack across the shoulders which has been repaired somewhere along the line.
The ES-125 evolved out of the ES-100 in 1941 and was produced until 1943. Upon its reintroduction in 1946, the ES-125 changed in a number of ways including a wider body, a new P-90 pickup, and trapezoid inlays. The ES-125 was updated again in 1950 with an adjustable P-90 pickup and dot inlays.
The revolutionary double-cutaway thinline electric guitar series begun by Gibson with the ES-335 in 1958 expanded to both higher- and lower-end models by 1959. These included the upscale gold-hardware-bearing ES-345 and ES-355, as well as the student level ES-330T, ES-330TD, ES-125TC, and ES-125TCD. (The “D” was used to denote a double pickup model.) The ES-330 shared the same body dimensions as the ES-335, ES-345, and ES-355, but had a very different interior construction. Rather than having a semi-solidbody, the ES-330 was fully hollow, similar to the original 1955 thinlines like the ES-350T and ES-225.
The original catalog text describing the guitar highlights the similarities to the ES-335: “A wonderful instrument with truly magical tone available in single- or double-pickup models. The double cutaway body and thin silhouette make it wonderfully easy to hold and play. The new slim neck provides fast, low action and perfect response. A beautiful guitar in the finest curly maple and rosewood and nickel-plated metal parts.”
This 1959 ES-330T has the usual features seen that year. These include:
Gibson launched the Firebird design in 1963 with four main models: the Firebird I, II, V, and VII. Each was distinguished by different pickup and hardware configurations, though they all shared thru-body construction and a unique "reversed" body shape with a large lower horn. The Firebird III in specific used chrome hardware, a vibrato tailpece, and two mini-humbucker pickups. By mid-1965, Gibson changed the Firebird (as well as its counterpart Thunderbird bass) to a more traditional "non-reversed" body shape.
This instrument is in all original condition. Photos are of the actual instrument.
Introduced in 1959, the Melody Maker was Gibson's flagship entry-level solid body guitar. Initially offered in three iterations-- a standard model with an lone single-coil pickup, a 3/4 sized model, and a Melody Maker 'D' dual pickup model--, early Melody Makers featured a single-cutaway sunburst slab mahogany body redolent of a Les Paul Junior. The body transitioned to double-cut in 1961, and in 1967 two additional models-- a three-pickup Melody Maker III and a 12-string model-- were introduced. The original run of Melody Makers was discontinued in 1971.
This is a VINTAGE guitar being sold in 'Excellent' condition. Non-original hardshell case included.
When the Gibson Guitar Company decided to leave the factory in Kalamazoo in 1985, a few former senior employees decided they wanted to continue the tradition of handcrafting beautiful, high quality electric guitars in Kalamazoo, where some of the most legendary electric guitars in history were being made. These employees are the founders of Heritage Guitars.
This Heritage Prospect is a semi-hollow that is inspired by a traditional semi-hollow guitar, but with a twist. It's a little smaller with a slimmer waist than a normal ES-guitar.
The Kramer aluminum neck era ran from 1976 to 1985 and was the legacy of the company before switching over to the more popular wood neck models uring the 80s. The first production batch of Kramers were introduced in November 1976. All of these early Kramers featured a "forked" aluminum headstock and aluminum "skeletal" neck (the Dukes had no headstock). These necks, designed for sustain, contained slots that ran the length of the neck for holding the wood fills in place. The idea of the wood inlays were to reduce the coldness feel of aluminum. Usually but not always, the wood neck fills were the same type and color as the body. The Ebonol fretboard contained large Phil Petillo designed "center-touch" frets, a zero nut and aluminum dot inlays. The higher up models had the mother of pearl "crown" shaped inlays. Scale lengths were 25". Tuners were Schallers. They were manufactured at the Kaiser Aluminum plant on East Avenue in Erie, Pennsylvania. The necks were attached to the body by two bolts and the bolts were covered by an oval shaped aluminum plate. Control cavity covers were also aluminum.
The first pickups were chrome covered with "Kramer" etched in the covers and pickup height was adjusted from the back of the guitar. The first models also had walnut pickup surronds that broke rather easily. Pickups were of an unknown origin but rumored to be Mighty Mites. Body woods in the beginning were fancier imported woods like koa, bubinga, swetenia, afromosia, etc. before going on to plain maple and walnut.
"The Deacon. A work of art. Its form follows its function. And its function is to make music. Whether you‘re standing on stage or sitting in the studio. the sculptured Deacon shape conforms to your body. Which leaves you free to concentrate on your music. The Deacon's slim, two-piece mahogany neck means faster ﬁngering and more control. The high cutaway extends playing range to a full two octaves. Powerful double-coil humbucking pickups are fed through the active electronics of a built-in FET pre-amplifier for enhanced output. Conveniently mounted volume and tone controls put you in charge of every note. And the pickup selector switch permits a choice of three distinct sounds. Select the neck pickup for rhythm guitar. Or the bridge pickup for bright, piercing leads. Or both pickups out-of-phase for a funky sound. Balance. Grace. And a functional shape designed to bring out the artist in you. Listen to sound sculpture. Play the Deacon. Play a work of art."
Case: Original hardshell case included
Teisco was a Japanese budget brand that produced guitars starting in the late '40s. By the early '60s, Teisco guitars became increasingly unique with a number of original shapes and designs being produced. Those imported to the United States were branded as Teisco Del Rey starting in 1965. Collector interest in Teisco and other budget import brands has increased in the past several years. Teiscos are notoriously difficult to date and identify as no comprehensive records were kept during production. The ET-200 was a two pick-up version of an earlier design.
Years of Production: 1960s
Design Elements: Two single-coil pickups, floral pickguard, dot inlays
John Veleno is the undisputed successful maker of the first completely all aluminum guitar, neck and body, manufacturered in a production manner. His intention was to build an easy to play great sounding guitar. In the early 1970's it was soon discovered by accomplished players that Veleno's guitars had extremely fast action, sustain, and superior sound qualities and became a choice guitar for studio recording by many professionals. Most of the guitars john made had a chrome plated body with a b lack hard coat neck, and a few had a polished chrome looking neck providing a very unusual and strikingly pleasant look. Some were produced with a color anodized body with a black hard coat neck.
A Veleno Original guitar, marked with No. 138 was shipped to Veleno Instrument Company for examination and verification for a Certificate of Authenticity. The following identified components specific to this lot of guitars from which Veleno Original No. 138 was manufactured was found.
Rework and Certification:
Upon request, frets were not replaced but were re-dressed/. Neck re-polished which had shown extreme wear. New pickguard installed. This Veleno Original guitar marked with No. 138 is verified as being a genuine Veleno Original guitar made by John Veleno and has been autographed inside by John Veleno and photographed, a fingerprint for future identification and verification. Two I.D. photos were furnished with guitar upon delivery. Other high resolution digital photos were taken inside and outside the instrument for future identification as being the only one like it in existence. The photos and a more detailed record of this guitar are kept in three separate locations by Veleno family members for future reference and verification if needed.